Since the emergence of social media in the journalistic landscape, the BBC has sought to produce reporting more connected to its audience while retaining its authority as a public broadcaster in crisis reporting. Using empirical analysis of crisis news production at the BBC, this book shows that the emergence of social media at the BBC and the need to manage this kind of material led to a new media logic in which tech-savvy journalists take on a new centrality in the newsroom. In this changed context, the politico-economic and socio-cultural logic have led to a more connected newsroom involving this new breed of journalists and BBC audience. This examination of news production events shows that in the midst of transformations in journalistic practices and norms, including newsgathering, sourcing, distribution and impartiality, the BBC has reasserted its authority as a public broadcaster.
Public Service Broadcasting Essay
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Public Service Broadcasting Essay
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Susan Jacobson (2011) focuses her study on the website of the New York Times, nytimes.com. Specifically, she focuses on the changes that occur in the journalism of the New York Times when their news is transcoded to their website. Some of the parameters measured for change include: the storytelling intent, the nature of reporting (objective, subjective or analytical), and perspectives of narration. The study reviewed 479 packages posted on the website of the New York Times (nytimes.com), out of a total of more than 25000 packages posted between the years 2000 and 2008.
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The rise of social media and its impact on mainstream journalism Victor Mambor
e rise of social media and its impact on
mainstream journalism:
A study of how newspapers and broadcasters in the UK and
US are responding to a wave of participatory social media,
and a historic shi in control towards individual consumers.
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Readings are largely drawn from Gatewatching and News Curation: Journalism, Social Media, and the Public Sphere (Bruns, 2018), with additional readings recommended for selected lectures.
Reading for this lecture:
Bruns, A. (2018). #BREAKING: Social News Curation during Acute Events. Gatewatching and News Curation: Journalism, Social Media, and the Public Sphere. Ch. 3. Peter Lang.
Project Serenity is an innovative initiative aimed at transforming urban environments into sustainable, self-sufficient communities. By integrating green architecture, renewable energy, smart technology, sustainable transportation, and urban farming, Project Serenity seeks to minimize the ecological footprint of cities while enhancing residents' quality of life. Key components include energy-efficient buildings, IoT-enabled resource management, electric and autonomous transportation options, green spaces, and robust waste management systems. Emphasizing community engagement and social equity, Project Serenity aspires to serve as a global model for creating eco-friendly, livable urban spaces that harmonize modern conveniences with environmental stewardship.
nytimes.com
Susan Jacobson (2011) focuses her study on the website of the New York Times, nytimes.com. Specifically, she focuses on the changes that occur in the journalism of the New York Times when their news is transcoded to their website. Some of the parameters measured for change include: the storytelling intent, the nature of reporting (objective, subjective or analytical), and perspectives of narration. The study reviewed 479 packages posted on the website of the New York Times (nytimes.com), out of a total of more than 25000 packages posted between the years 2000 and 2008.
A Primer on Emergence and Growth of Citizen Journalism, with Special Referenc...Rabia Noor
The research paper 'A Primer on Emergence and Growth of Citizen Journalism, with Special Reference to India' has been presented by doctoral scholar Rabia Noor at 3-day 9th J&K Science Congress 2013 held at University of Kashmir, Srinagar, on October 1-3, 2013.
The rise of social media and its impact on mainstream journalism Victor Mambor
e rise of social media and its impact on
mainstream journalism:
A study of how newspapers and broadcasters in the UK and
US are responding to a wave of participatory social media,
and a historic shi in control towards individual consumers.
Gatewatching 3: #BREAKING: Social News Curation during Acute EventsAxel Bruns
Lecture 3 in the course From Gatekeeping to Gatewatching: News and Journalism in the Digital Age.
This lecture series addresses the continuing transformation of the production and consumption of journalism in the contemporary media environment. It provides a brief history of the impact of participatory online news production and engagement practices – from the first wave of citizen journalism to the social media platforms of today – on how news content is disseminated and experienced; examines reactive and proactive responses to these changes by news organisations and journalists; and explores the longer-term impact of these developments on the public sphere, touching on the power of social media platforms and their role in shaping their users’ information diets.
Readings are largely drawn from Gatewatching and News Curation: Journalism, Social Media, and the Public Sphere (Bruns, 2018), with additional readings recommended for selected lectures.
Reading for this lecture:
Bruns, A. (2018). #BREAKING: Social News Curation during Acute Events. Gatewatching and News Curation: Journalism, Social Media, and the Public Sphere. Ch. 3. Peter Lang.
Project Serenity is an innovative initiative aimed at transforming urban environments into sustainable, self-sufficient communities. By integrating green architecture, renewable energy, smart technology, sustainable transportation, and urban farming, Project Serenity seeks to minimize the ecological footprint of cities while enhancing residents' quality of life. Key components include energy-efficient buildings, IoT-enabled resource management, electric and autonomous transportation options, green spaces, and robust waste management systems. Emphasizing community engagement and social equity, Project Serenity aspires to serve as a global model for creating eco-friendly, livable urban spaces that harmonize modern conveniences with environmental stewardship.
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it is identified that China plays a leading role in "felt obligation" research. The analysis of keywords emphasizes
the thematic focuses of these studies and provides a roadmap for future research. Finally, various
recommendations are presented to deepen the knowledge in this area and promote applied research. This study
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KEYWORDS: Felt Obligation, Bibliometric Analysis, Research Trends
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Improving Workplace Safety Performance in Malaysian SMEs: The Role of Safety ...AJHSSR Journal
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burden of workplace accidents. A consensus among scholars attributes a substantial portion of these incidents to
human factors, particularly unsafe behaviors. This study, conducted in Malaysia's northern region, specifically
targeted Safety and Health/Human Resource professionals within the manufacturing sector of SMEs. We
gathered a robust dataset comprising 107 responses through a meticulously designed self-administered
questionnaire. Employing advanced partial least squares-structural equation modeling (PLS-SEM) techniques
with SmartPLS 3.2.9, we rigorously analyzed the data to scrutinize the intricate relationship between safety
behavior and safety performance. The research findings unequivocally underscore the palpable and
consequential impact of safety behavior variables, namely safety compliance and safety participation, on
improving safety performance indicators such as accidents, injuries, and property damages. These results
strongly validate research hypotheses. Consequently, this study highlights the pivotal significance of cultivating
safety behavior among employees, particularly in resource-constrained SME settings, as an essential step toward
enhancing workplace safety performance.
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Your Path to YouTube Stardom Starts HereSocioCosmos
Skyrocket your YouTube presence with Sociocosmos' proven methods. Gain real engagement and build a loyal audience. Join us now.
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This tutorial presentation provides a step-by-step guide on how to use Facebook, the popular social media platform. In simple and easy-to-understand language, this presentation explains how to create a Facebook account, connect with friends and family, post updates, share photos and videos, join groups, and manage privacy settings. Whether you're new to Facebook or just need a refresher, this presentation will help you navigate the features and make the most of your Facebook experience.
Surat Digital Marketing School is created to offer a complete course that is specifically designed as per the current industry trends. Years of experience has helped us identify and understand the graduate-employee skills gap in the industry. At our school, we keep up with the pace of the industry and impart a holistic education that encompasses all the latest concepts of the Digital world so that our graduates can effortlessly integrate into the assigned roles.
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EASY TUTORIAL OF HOW TO USE G-TEAMS BY: FEBLESS HERNANEFebless Hernane
Using Google Teams (G-Teams) is simple. Start by opening the Google Teams app on your phone or visiting the G-Teams website on your computer. Sign in with your Google account. To join a meeting, click on the link shared by the organizer or enter the meeting code in the "Join a Meeting" section. To start a meeting, click on "New Meeting" and share the link with others. You can use the chat feature to send messages and the video button to turn your camera on or off. G-Teams makes it easy to connect and collaborate with others!
EASY TUTORIAL OF HOW TO USE G-TEAMS BY: FEBLESS HERNANE
Social media and the BBC (excerpt)
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Social Media and the BBC
The Re-Making of Crisis Reporting
By Valerie Belair-Gagnon
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Table of Contents
Acknowledgements
Abbreviations
List of Table, Charts and Illustrations
List of Social Media
Timeline
Introduction
Crossing the Rubicon
Crisis Reporting in a Digital Era
Structure and Chapters Overview
Chapter 1: ‘Auntie’ Takes on Social Media
The Emergence
BBC and Audience Participation
The 2004 Asian Tsunami: The Rise of UGC in Journalism
The London Bombing Attacks: The UGC Hub in Action
The BBC’s White Paper: A Public Service for All
Taking Social Networking Seriously
Chapter 2: Tweet or be Sacked!
Integration
The Saffron Revolution in Myanmar: From Emails to Self-publication
New Guidelines
The Mumbai Attacks: Reassessing BBC’s Norms
The Iranian Elections: Twitter and Real-time Journalism
The New Editor’s Job
The Haiti Earthquake: The Power of Crowd-Sourcing
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Social Media Are Not Discretionary Anymore!
Chapter 3: A New Order
Introduction
The Arab Spring
New and More Training: Social Media as Part of the Furniture
The Death of Osama bin Laden
Twitter and New Journalistic Guidelines
Newsgathering and Source Selection
News Distribution
From “Should We?” to “How Should We?”
Chapter 4: New Structures, New Actors in the Newsrooms
The Return of Techies
The News Cycle and Social Media
The Social Media Editor
Social Media Education
New Guidelines
Tech-Savvy Journalists Re-defining Reporting
Chapter 5: The Connected Newsroom
Social Networking and its Impact on BBC Journalism
Old and New Features of Journalistic Practices and Norms
New Relationships, New Roles
Conclusion: Global Crises, Local Responses
Appendix 1: Unpacking Social Networking
Notes
Bibliography
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Introduction
Crossing the Rubicon
On Thursday 7 July, 2005, during the morning rush hour, coordinated terrorist attacks
affected the London public transportation network. At 8:50 a.m., three bombs exploded
between Kings Cross and Russell Square, outside Edgware Road and Liverpool Street
stations of the Underground. An hour later, another bomb exploded in a double decker
bus at Tavistock Square, near Russell Square. These attacks, quickly dubbed “the London
bombings” or “7/7,” claimed 52 lives and left 770 injured.
Trapped in the London Underground, witnesses used their mobile phones to record and
take pictures of the events as they unfolded. Unable to deploy journalists to the bombing
sites, the BBC relied on eyewitness accounts and victims’ stories. Alexander Chadwick, a
survivor, snapped a cellphone camera photograph of the evacuation of Kings Cross.
Chadwick emailed the picture to yourpics@bbc.co.uk. Around 11:30 a.m., the picture
landed on the desks of BBC editors. It quickly became the iconic picture of the day. Other
mainstream news media organisations such as The New York Times and The Times used
that picture on their front pages. Chadwick’s case was not isolated; as the day progressed
user-generated content became the main source journalists used to cover the attacks
(Borenstein, 2009; Boxer, 2005). In a speech in 2008, BBC News Director, Helen
Boaden recalled that:
Within 24 hours, the BBC had received 1,000 stills and videos, 3,000
texts and 20,000 e-mails. What an incredible resource. Twenty-four hour
television was sustained as never before by contributions from the
audience; one piece on the Six O’clock News was produced entirely from
pieces of user-generated content. At the BBC, we knew then that we had
to change. We would need to review our ability to ingest this kind of
material and our editorial policies to take account of these new forms of
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output (Boaden, 2008).
Boaden also remembered that during these events, the BBC staff found that many of the
amateur shots were “better than those supplied by the photographic agencies” (Boaden
quoted in Barnes, 2008). The publication of Chadwick’s picture on BBC News platforms
was a watershed moment in BBC journalism. In the eyes of many journalists, the
publication of that iconic picture highlighted the increasingly blurred boundaries, the
social network available to reporters, and tensions emerging from new forms of
interactions between journalists’ and audiences’ accounts of events.
Referring to the events surrounding 7/7, Richard Sambrook, former BBC Global News
Director says that, like never before, the audience became involved in telling stories to
journalists:
By day’s end, the BBC’s newsgathering had crossed a Rubicon. The
quantity and quality of the public’s contributions moved them beyond
novelty, tokenism or the exceptional, and raises major implications that
we are still working through. Not the least of these is how to handle this
volume of material. Our small hub of four people was overwhelmed and
is clearly going to be inadequate as we go forward. Of course, the BBC
has used phone-ins, amateur video, and e-mail in its programs for years,
but what was happening now was moving us way beyond where we’d
been before (Sambrook, 2005).
The BBC reacted to the influx of citizen material during 7/7 by building journalistic
structures to integrate this type of material into journalistic output. A UGC Hub journalist
claims that a week after the bombings happened, the UGC Hub team was set up:
That proved to be a hugely significant story from an audience content
point of view–user-generated content point of view because the content
that we were getting from the audience on that day was determining our
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agenda, for most of the stories. Because most news output reporting the
official line, which was that there was a power stop in the underground.
We saw pictures of a bus that had exploded at Tavistock Square.
7/7 was a significant story for the BBC. Audiences helped the news organisation report
the story with stark eyewitness pictures.
Before 7/7, audience material had shaped the news, from Abraham Zapruder’s film of the
Kennedy assassination in Dallas’s Dealey Plaza, to videos, pictures and eyewitness
accounts of the World Trade Center attacks on 11 September 2001 (Allan, 2013; Bélair-
Gagnon and Anderson, 2014; Borenstein, 2009). Today, the quantity, quality and
affordability of such material make every citizen a potential reporter (Cornu, 2013). The
possibility exists for many future Zapruders than it was in the early days of professional
journalism in the late 1800s and early 1900s (Gant, 2007).
On 7/7, pictures, videos, and eyewitness accounts travelled through social media and e-
mail, and landed on the BBC news desk, helping journalists put the story together. This
continued for weeks after the attacks: on 21 July the BBC received 67 pictures and 33
videos, and on the day of the arrest of the suspects, the BBC received an additional 20
pictures (Douglas, 2005). After 7/7, the BBC had crossed the Rubicon, claimed Richard
Sambrook (2005), signalling a turning point for the BBC’s relationship with its
audiences.
Although social media have enabled new forms of reporting, such as blogging, and a
stronger reliance on user-generated material in reporting, BBC journalists are concerned
with how social media affects their daily work. Anchored in the ideals of public service,
and with expectations that it will pursue accuracy, balance, impartiality, and objectivity,
the BBC faces a challenge: it seeks to incorporate social media into its reporting while
maintaining its reputation and quality of content. The BBC strives to maintain its
authority with audiences, licence fee payers, and engage them in a collaborative dialogue.
This dynamic, involving a computer-mediated communication between reporters and
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audiences, is at the core of this book.
This book explores the role of social media in crisis news production. It also unfolds
social processes and tensions that have developed in professional practices and norms at
the BBC. At the heart of this book lies the idea that the BBC’s struggle to understand and
manage social media in its crisis reporting should be interpreted in the context of
journalistic conventions, and the BBC in a period of politico-economic, cultural, socio-
technological and institutional change. The BBC re-imagination of social media is part of
a large-scale project of the organisation to become closer to its audiences. As Steve
Barnett and Andrew Curry argue, changes at the BBC “have not been achieved without
conflict. Change is woven into British society and political life. It has been praised and
“stripped open” (Barnett and Curry, 1994:10).
Crisis Reporting in a Digital Era
This book examines the ways in which social media have transformed BBC journalistic
practices and relations with audiences, and how journalists and audiences articulate this
new logic of communication in crisis reporting. Crisis reporting refers to “surprise events
that challenge key organizational values and demand a swift response” (Olsson,
2010:87). It is relevant to study changes in crisis reporting for several reasons. First,
people’s ordinary lives are interrupted, which prompts them to contribute UGC material
to news organisations. Second, from the perspective of the “former audience” and
journalists, crisis reporting contributes to increased integration of social media in news
reporting as opposed to daily news reporting. Third, it is also important to make the
distinction between crisis reporting and other (daily news) modes of reporting.
Crisis reporting scholars have claimed that social media provide “a new space of
reporting with significant consequences for what was covered, how and why” (Allan and
Matheson, 2004:7; Allan, 2013; Allan, Sonwalkar and Carter, 2007; Andersen, 2012;
Balaji, 2011; Beckett, 2008; Chouliaraki, 2010; Murali, 2011; Riegert et al., 2010). The
BBC has, for example, appropriated citizen journalism in its own “cosmopolitan vision”
by incorporating “ordinary voices” in its news output, wrote Chouliaraki (2010). This
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book explores the ways in which social media have led to changes in journalistic norms
and practices. It answers the question: have social media enabled new spaces of reporting
in which “ordinary” citizens contribute to traditional reporting, created new structures
within the newsroom, and encouraged a more “collaborative” type of reporting of crisis
reporting?
This book extends the work of scholars such as Mervi Pantti, Karin Wahl-Jorgensen and
Simon Cottle to the case-study of the BBC, crisis reporting and social media. “Today’s
journalists speak about and reflect on their own practices in the context of disaster
reporting may yet help us to better understand how journalists, correspondents and news
producers both conceive and perform witnessing with respect to major disasters and
ground such practices within the organisational and cultural milieu of contemporary news
production” (Pantti et al., 2012:93).
Placed in an international context, this book also explores the effects of social media on
the largest public service broadcaster news production (including sourcing,
newsgathering, and distribution) by examining news production processes and tensions,
particularly in contexts of crisis reporting. It also answers the following questions: to
what extent have social media transformed BBC journalistic practices and relations with
audiences? How have journalists reported crisis news events since 7/7 and what does this
reportage tell us about which journalistic practices and norms are manifest in crisis
reporting? How have BBC journalistic structures changed in relation to social media, and
what are the effects on power relations in the newsroom? By addressing these questions,
the book contributes to the revision of the blurring lines between ordinary citizens
witnessing and traditional journalists reporting global crisis news events.
Social media are global and have had a special significance in crisis reporting, such as
coverage of the 2011 protests against authoritarian regimes in the Middle East and North
Africa, commonly dubbed the “Arab Spring.” Journalists are more inclined to use social
media in the context of crisis reporting, particularly where they cannot access
immediately the area under scrutiny and try to “learn from on-the-ground sources” (Lotan
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et al., 2011:1376). Yet social media are also used in other types of coverage.
Social media are also critical in domestic crisis reporting. For example, the Glasgow
airport bombing in 2007 and crowd-sourcing experiment with the London tube strike in
2010 each played a critical role in the BBC’s adoption of social media. Other events,
including the UK elections in 2010, were also important in terms of political candidates
using Twitter. Also, although the news organisation appears to centralise its social media
endeavours within the UGC Hub in London, English regions have also developed their
own social media goals and strategies. BBC journalists nevertheless remain accountable
to the general rules binding the news organisation.
This book gathered information from direct observation of the BBC newsroom,
interviews with 50 journalists and senior managers, and document analysis of BBC
reports, studies, and the websites of BBC News and the BBC Academy. The fieldwork
was conducted in 2011 and the book describes changes that have taken place since the
watershed moment of the London bombing attacks of 7 July, 2005. Since 2011, other
global crises have occurred, including the continuing coverage of the conflict in Syria.
This book describes and analyzes the early usage of social media at the BBC from 2005
to 2011. It contextualizes social media practices and norms within the history of the BBC.
Changes in journalism affects how journalists report crisis events can be understood
through the concept of “media logic” (see Altheide and Snow, 1979; Dalghren, 1996;
Deuze, 2008). In crisis reporting, journalists use norms that are specific to their
profession: accuracy, impartiality, verification and balance. These norms are, in turn,
articulated in the new technological communication infrastructure (social media) which
allows people to interact and leads to new power relations in the media logic and the
news discourse presented to the audience. The media logic framework is helpful for
understanding processes of management of social media in changing journalism.
Structure and Chapter Overviews
Part I of this book, “Crisis Reporting in a Digital Era,” explores the use of social media in
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BBC crisis reporting since 7/7. In doing so, it looks at the norms and practices
engendered by the socio-technological and polico-economic context in which journalists
meet social media. Chapter 1, “‘Auntie’ Takes on Social Media,” traces the
transformation of BBC since the emergence of social media. This chapter describes how
journalists have used social media in crisis reporting since 7/7 and how journalists have
used these events to reaffirm traditional journalistic norms and practices. I focus on the
link between technologies and journalistic norms and practices in the context of the BBC.
I argue that social media need to be understood in relation to socio-political changes
occurring at the BBC and in the journalism. We should interpret the struggle to
understand and manage social media in BBC journalism in the context of crisis reporting,
journalistic conventions, and the BBC in a period of political, economic, cultural and
institutional shift. In this chapter, I show that the re-imagination of social media in BBC
journalism is part of a large-scale project of the BBC to become closer to its audiences.
Chapter 2, “Tweet or be Sacked!” provides an analysis of crisis reporting events between
2006 and 2010. During these years, the new communication context indicates an
increasingly growing overlap between social media and journalism. To make this point, I
explore several significant crisis news events: the Saffron Revolution in Myanmar
(2006), the Mumbai attacks (2008), the Iranian elections (2009), and the Haiti earthquake
(2010).
Chapter 3, “A New Order,” discusses how as the upshot of socio-technological changes,
politico-economic changes occurring at the BBC and the media industry, the period post-
2011 journalists had recognized social media as part of their toolkit to improve their
reporting. I argue that we should interpret the struggle to understand and manage social
media in BBC journalism in the context of crisis reporting, journalistic conventions, and
the BBC in a period of political, economic, cultural and institutional shifts.
Chapter 4, “New structures, new actors in the newsrooms,” maps and analyses the role
played by techies in articulating journalism in social media contexts, particularly in
newsgathering. This chapter compares and contrasts changes in the structure of the
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newsroom over time. In the last part of the chapter, I discuss the rise of social media
education and link it to the emergence of the BBC College of Journalism, created as an
upshot of the 2004 Neil Report. This chapter argues that social media have created a
demand to manage this material in the newsroom. At the same time, we notice the
emergence of new structures in the newsroom and the return of tech-savvy journalists
defining social media in BBC journalism, a breed of journalists that drove BBC early
success online in the late 1990’s. This chapter reflects on techies and the politico-
economic, institutional and socio-technological conditions that have led to their return in
power in the newsroom. In sum, the return of techies in the newsroom and the combined
effects of politico-economic, social, institutional and technological shifts suggest that
journalism in crisis reporting has become much more collaborative.
The conclusion, “The Connected Newsroom,” reflects on the extent to which social
media have transformed BBC journalistic practices and relations with audiences and how
these transformations speak to broader issues of journalism, media institutions, and
technologies. The preceding chapters have been descriptive in identifying structures,
actors, norms and practices in the new media ecosystem, charting old and new
boundaries. In this chapter, I shift my attention to the new media logic and outline the
struggle of the BBC to manage social media in its journalism as well as the emergence of
new structures and actors in newsrooms. This chapter argues that journalists use values
and practices that are specific to their profession such as accuracy, impartiality,
verification, and balance. These are, in turn, articulated in social media, which allows
people to interact and gives rise to new power relations in the media logic and the news
discourse. I argue that while the BBC initially struggled to manage social media in its
journalism social media have contributed to the architecture of information that is being
presented to its audience during news events. This series of changes has led to a more
collaborative approach to crisis reporting, insofar as new structures accommodating this
new logic have supplanted the structures that existed in the media logic pre-dating social
media.