Journalistic creativity as a transformative activity. Journalistic creativity as a professional activity

. Responsibilities of a journalist in production. Conditions for specialization of a journalist. Semantic, syntactic and pragmatic aspects of creativity. Content and form of a journalistic work. Analytical-integrating work of a journalist. Requirements for working with facts. The process of analyzing cause and effect. Forms of analysis. Factors of content-formal unity. Editorial activity as creativity

The subject of mass information activity is a journalist

Whatever field of journalism he works in, his work is always connected with creativity. This is exactly how it should be perceived

So much is said about the pragmatism of this type of creative activity that one gets the impression that journalism as a whole is not self-sufficient, it would not be a goal, but a means of achieving some other goals that lie outside of it: the transfer of information from an individual source to the mass consumer, formation of public opinion in a certain direction, ensuring the adoption of specific government decisions. Consequently, the common thought is: the result of a journalist’s creativity is the material itself, and the effect caused by it.

This is only partly true. After all, every journalist takes up his pen in the need for creativity, in the search for self-expression. Every day, signing journalistic works with his name, he aims to describe the social environment, inform readers about the most important current news, talk about the fate of his heroes, their thoughts and feelings, and, perhaps, reveal the truth about himself. And this is already such a lofty goal, for which it is worth living and working, even if this particular journalist did not achieve government approval for his publications.

Journalism always balances between creativity and craft. It is a craft that is of an applied nature, aimed at achieving the expected result associated with the formation of public opinion in a likely direction, with the official nature of the journalist’s activity. Journalism is a creative activity associated with the birth of new spiritual entities, with the creation of previously non-existent, unknown, socially useful cynicisms.

A modern newspaper or magazine, radio program or television show is a product of collective creativity, but this does not eliminate the problem of talent and creative individuality in journalistic work. A bright personality with deep knowledge, the ability to present information simply and clearly, good speech, and universal appeal is needed in any journalism.

The professional responsibilities of a journalist in the production of information can be reduced to the following:

1. Participation in planning current and future, including putting forward one’s original ideas, searching for information, genre solutions for material, conducting information campaigns, opening new sections, updating the design of publications.

Young journalists sometimes ask, not unreasonably, the question: is it possible to plan news? It is true that in a society there is a huge number of predicted events and expected news that are subject to coverage in its newspaper. Once every two months, a session of the city council takes place, visits to the city are pre-planned by the president or the chairman of the cabinet of ministers, the theater completes preparations for a new play and its premiere is scheduled for a certain specific date, the school year and the heating season begin on a specific date, matches are held according to a pre-compiled calendar football championship, etc.

It turns out that many events are predictable. They push the journalist to a targeted rather than spontaneous search for news. A good journalist always plans his work; he knows what he will write about tomorrow, the day after tomorrow and on the third day. From the planning process comes creativity. This is her first step. The better a journalist imagines his immediate and distant future, the easier it is for him to carry out his profession or functions.

2. Organizational work involves establishing contacts with everyone who can provide news, inform about upcoming events, participate in identifying problems and finding ways to solve them. In other words, this type of responsibilities of a journalist includes the creation of a strong source network for his mass information activities and its constant replenishment and improvement. This also includes working with freelance writers, and creating feedback channels (i.e. from readers to newspapers).

3. PARTICIPATION in preparation for the release of information: creating your own information texts. Let us draw the attention of the future journalist, who begins this stage after completing the collection of information, then, when the sources of information have been emptied, the journalist gets acquainted with all possible versions of events, interpretation of the facts by experts. Only then does he have the right to begin creating his own journalistic work.

The journalist notes the ability to write in any conditions. It’s good if he has an office at home and in the editorial office, a voice recorder and a personal computer. All this facilitates creative work and makes it comfortable. But the magazine sheet is capable of writing its journalistic works both on the windowsill in the office, and on the knee in the field, and on the table of the carriage compartment, and in the “volcano of Etna,” as the writer figuratively put it. Savva. Dangulov in the novel “Kuznetsky Bridge” The need to work in any conditions is caused by such quality of journalism as efficiency. The success of a business here is decided not by who writes better, but by whoever manages to report important news first. A journalist has no right to expect inspiration or to fall into creative stagnation. He must always be ready to produce the final product of creativity - journalistic text - journalistic text.

4. Analysis of your own activities which can be individual or collective in nature, carried out alone or at various kinds of “flights” and meetings. A journalist should perceive each of his publications as a small miracle, appreciate every word that appears behind his signature. He must re-read the new publication carefully, analyze the editorial amendments, if any, and think again about whether he used all the information sources to create this material, correctly structured his text compositionally, and presented all the arguments to prove his position.

In editorial offices where professionals work, there is a practice, justified by the experience of many generations of media workers, to hold creative meetings on issues of planning and discussing published numbers. At their meetings, journalists in their teams evaluate the work of their colleagues and their own, determine the best material in the issue, and point out shortcomings. A journalist must always be ready for criticism and accept it calmly, as a proper component of his professional activity. The absence of benevolent criticism, with the help of which shortcomings in creative work are revealed and ways of obtaining a new, higher professional level are determined, can only harm the organization of mass media when entering the fascinating world of journalistic creativity, know that the absence of criticism from colleagues and self-criticism in it, demands on oneself is the path to creative stagnation, and then to creative death.

5 individual literary works. This paragraph supposedly contains a requirement that is impossible for a certain part of the pen workers who are not involved in literary creativity. But modern practice of information production (including in foreign countries) is based on the fact that a journalist should not be simply an empirical recounter of what he heard or a describer of what he saw, but carry out his creative analytical work, conduct independent journalistic investigations, be a specialist on a certain topic, write not only informational notes, but also analytical articles, documentary books.

It is clear that this is the highest level of journalistic activity, but even a beginner should dream of reaching it. There is a well-known saying: “Every soldier carries a marshal’s baton in his backpack.” It is necessary to orientate towards the highest examples of journalistic creativity. No, the tradition of unity of writing and journalistic work began to take shape in the 19th century, and in. XX reached its heyday in journalism was not considered shameful to work. Ernest. Gemingway,. Albert. Camus. Konstantin. Simonov. Oles. Potter,. Fedor. Abramov. Sergey. Placinda. Moreover, they viewed journalism as a box of themes and images, plots and conflicts. From the essay book “Around and Around” by Fyodor. Abramov grew up with his famous tetralogy “Brothers and Sisters.” Ten years of his life in journalism were presented in the book “I Remain a Journalist” by Konstantin. Simonov. The journalistic heritage has been carefully collected and published. E. Gemingueyaana and the journalistic downfall has been seen. E.. Gemingueya.

And if these books reflect the movement from top to bottom, representatives of literature into journalism, then there are many examples of movement in the opposite direction, from bottom to top, from journalism to literature. The ideal option is when essays, articles, flierons that were published in journalism, written with such brilliance and skill, contain such deep and rich content, do not age with time, can be collected into a book and go through more than one edition. Let's go to the one-volume book "Favorites" of Anatoly. Agra-sky, which was published in 1980 and included his journalistic works over twenty years of his creative life.

But in journalism there is another way of literary creativity: the purposeful creation of one’s own journalistic (documentary) books devoted to individual topics, problems, and heroes. This path has a long-standing tradition associated with the works of Ivan’s “Frigate” Pallada. Goncharova (vol. 1-2, 1858), "Island. Sakhalin" by Anton. Chekhov (1893), "K. Arctic through the tropics" Nicholas. Trublaini (1931), "England 933". Ilya. Ehrenburg and many others "Miy. Paris" (1933) Ill. Yerenburg and a lot of others.

A journalist must deeply know the classics of journalistic creativity and study it all his life, know at least university courses in the history of journalism (his own national and foreign) and constantly expand his knowledge by mastering the experience of modern leading masters. No matter how naturally talented a journalist is, he must be well aware that the path to literary study exists only from reading and re-reading the classics.

An outstanding Colombian writer and laureate spoke about this convincingly at one time. Nobel Prize 1982. Gabriel. Garcia. Márquez: “There is a tendency to disdain literary culture and,” he noted, “to believe in spontaneity, inspiration. The truth is that literature is a science that must be mastered, that ten thousand years of literary development stand behind every story.” which is being written now, and in order to understand this literature - this is where modesty and edification are needed." And a little further: "In the end, you don’t study literature at the university, but only by reading and rereading the letters of writers and writers."

And if this expression is relevant for literature, which should be studied, then it is doubly true for journalism, where the element of handicraft is traditionally large. Reading journalistic classics should become a regular professional duty of any employee. MASS MEDIA. Journalism is a profession that works in the paradigm: “Understand others and create your own texts” - and precisely in this sequence, since without understanding others and learning to understand others, there is no way to create your own texts.

A young journalist who is starting to master the profession can already be advised to put a marshal's baton in his backpack, that is, to start planning his own journalistic book right now. It can be dedicated to any important, socially significant topic: our university and its scientists, social protection of people with disabilities and public organizations that protect them. Kharkov Zoo or. Kharkiv Philharmonic, Opera House or Literary Museum, the state of maternity hospitals or the problems of garbage removal from the city, children's creativity and the fate of young professionals forced to trade in the market after university, etc., etc. Many topics contain human personal and public life. A journalist must find his own among them. And here we come to another important problem in journalism: creativity.

The fact is that the creative work of a journalist achieves the greatest effect subject to his specialization. Modern mass information activities provide for various types of specialization: industry (newspaper, photo, radio and television journalism, Internet journalism), thematic (politics, society, economics, culture, etc.) and role (reporter, correspondent, columnist, presenter television programs, direction editor, editor-in-chief, etc.). Since newspaper journalism is the basis for training journalists in Ukrainian universities, and other industry specializations should be implemented on its basis, we have given and laid out the laws of thematic specialization on the basis of newspaper journalism.

Thematic specialization suggests this

1 . Clarification, definition of your topic in accordance with “affinity,” as he said. Grigory. Pan. The topic must be attractive to the journalist and have the qualities of attractiveness. It will be impossible to spend your whole life trying to do something uninteresting to you. Some are interested in sports, others in theater, a third in politics, a fourth in high technology, a fifth in homestead farming, etc. A journalist must find for himself that area of ​​life that he likes to study and describe. This is where kinship will lie - in discovering for yourself an area of ​​life that is attractive to you from birth, which you like, to the heart of the soul, to the heart.

2 . Studying your topic, in-depth mastery of existing knowledge and ways to familiarize yourself with new products in this area. A journalist should visit stores and scientific libraries, read literature in his specialty, especially new releases, and not limit himself to books that accidentally fell into his hands, but try to thoroughly master the topic. A sign of professionalism is keeping notes of the scientific works read and compiling a thematic bibliography.

For example, a Polish journalist. Mariusz. Szczygiel, who works for "Gazeta. Wyborcza", in his documentary book about. Czech Republic "Gotland" (2006, Russian translation 2010) submitted a three-page bibliography of the literature used, as evidence of its conscientiousness in collecting information for its portrait sketches and reports, drawings and reports.

Mandatory for the thematic specialization of a journalist is systematic familiarization with scientific periodicals (magazines and newspapers) in his field, which will provide him with complete information about new products and make him involved in the life of the region. The skills produced in this way will make it possible to put the thematic specialization of a journalist on a professional basis.

3 . Creating your own dossier with the topics covered, and, over time, perhaps an archive. In storage folders systematized according to certain headings, the journalist compiles newspaper and magazine clippings, postcards, extracts from books, photocopies of articles and sections from monographs, his own publications and notebooks with interview materials, a bibliography of scientific works, regularly updates, etc.

V. Poltava Literary and Memorial Museum. V. G. Korolenko is worth his journalistic dossier. It’s worth it, since it’s a chest of drawers with two halves and five levels of drawers. The dossier for the outstanding publicist and editor of the leading Russian liberal-democratic magazine began. XX century "Russian wealth" was collected by the whole family, the daughter or wife reads the newspaper, finds interesting materials about. State. The Duma, the work of zemstvos, budget allocations for education, etc., makes a clipping and puts it in a special folder. When. V. G. Korolenko begins to work on a certain topic, then re-reads these materials and adds his own new ones. The post is coming soon, and soon a thorough journalistic article appears. Modern technologies make it possible, of course, to maintain electronic files.

The journalist must systematically update the dossier. From the very beginning of your professional activity, you should accustom yourself to creative discipline and diligence in maintaining your file. A journalist must work in such a way that not a single publication from his specialization passes his attention, nor an interview with a hero whose life and activities he professionally tracks goes unnoticed. The journalist re-reads it in direct preparation for the next interview with his hero or before writing a new essay.

As is already clear from the above, there can be several dossiers. For example, if a journalist specializes in covering political life, then he may maintain a dossier on contemporary politicians. It is unlikely that any ordinary citizen remembers, after four years of office, the election programs of the current deputies. Supreme. Radas that are again eager to get into parliamentary seats. But in the journalist’s dossier there is a postcard from four years ago with the text of the candidate’s address to his voters and with a promise to defend their interests in parliament. Only a professional journalist maintaining a dossier can take advantage of the opportunity provided and compare the word and deed of a deputy, comparing promises and execution. Thus, the dossier is maintained not for the abstract satisfaction of useless curiosity, but for its application in daily creative work.

4 . Creating a home library on your topic, selecting specialized literature that provides the journalist with a daily reference apparatus, with which he systematically gets acquainted and consults in his information activities, this should also include subscriptions to general and professional publications that provide the author with a source of operational information .

Of course, it is impossible to buy up all the publications that interest a journalist, so an important place in thematic specialization should be given to work in the library, but a certain part of the literature must also be available at home. Of particular value are reference publications (reference books, dictionaries, encyclopedias), which you should never spare money on. You should always have at least a minimum of sources at hand where you can look if necessary during creative work.

The home library should be replenished by subscription to general and professional publications, which serve as a source of operational information for the author; we recall that the entire volume of periodicals. It is impossible to pay for the license, however, you need to know it, so the question of the need to work in the library comes up again.

5 . Studying the circle of scientists and officials who can provide information on this area of ​​specialization

You need to get to know them personally, make a list of them with phone numbers and business addresses and have it on your desktop. The source network must be maintained in working order. It is impossible for you to turn to the official you need, but he completely forgot you, and you explain to him a quarter of the bastard who you are and remind him where and when you met. Therefore, from time to time you should maintain contact with newsmakers and remind them of yourself, take an interest in their activities and write not only about problems, but also about the people who deal with them and solve them; such people are not only your stable information providers, but also consultants with whose help you can always understand new material, understand problems and the best ways to solve them.

6 . Organize a circle of freelance writers around you who can create journalistic texts on your topic

In this sense, the journalist already acts as an educator and teacher, trains young colleagues in mass information activities in his thematic area, advises and explains. The omission of work with freelance authors in the modern mass information situation is hardly justified; as a rule, many gifted individuals accumulate around editorial offices who are not averse to trying their hand at journalism; It’s unlikely that we should push them away, given the same openness of our profession, its creative nature and the opportunity to work within its boundaries for everyone who has the inclination and talent for it.

Properly organized specialization ensures high efficiency of a journalist’s professional activity and is a guarantee of his success and popularity among the readership

The problems of journalistic creativity today are considered in three aspects:

1) semantic; is meaningful and semantic, provides for the consideration of issues, the work is selected and displayed from a million-faceted reality, the episodes are depicted, what plot is constructed, what kind of problems are raised

2) syntactic, i.e. compositional-textual, provides consideration of issues related to the construction of a journalistic text, the use of figurative-artistic and scientific-conceptual parts in it, workshops on the art of headlines and leads, the proportionality of the introductory and final parts

3) pragmatic, applied, involves consideration of questions about how the text is perceived by the audience, what feedback is received through feedback channels, what particularly affected readers, etc.

1. Semantic aspect is intended to consider the content side of a journalistic work. Unlike fiction, which is grounded in the essentiality of formal qualities, the social functioning of a journalistic text is supported by its own semantic discourses.

Like any consequence of human spiritual activity, a journalistic work constitutes a content-formal unity. Both content and form are complex phenomena that have an internal structure

1) the subject of reflection and

2) assessment of the reflected

The presence of these two parts reflects the relationship in the work of two types of information: external, coming from the world (the object’s program), and internal, produced by the author himself on the basis of his control over reality (the subject’s program.

The subject of display is the event-factual and thematic realities of the work, it is precisely the phenomenon being described, the event as an integrity, a fact or a system of facts reflected in the material, it is the plot and conflict of reality, which the author is obliged to reproduce adequately and reliably.

The assessment of what is displayed is the problematic, ideological and conceptual level of the work, this is the main problem and its branches, the posing questions and the multiplicity of its diverse turns, this is the author’s view of the subject, arguments and arguments in favor of his social position, his fundamental concept, which can be reduced to guiding directives, conclusions, pragmatic recommendations, but may include general philosophical reflections, ethical considerations.

The relationship between subject and assessment fluctuates significantly to the point where the former can be replaced by the latter and vice versa. It depends on the chosen genre and the goal. An information note of 10-20 lines, intended to report a fact or event, does not provide coverage of the author’s assessment of what is displayed. Here there will only be a statement of fact, and that’s all. The display item will completely replace the assessment. In the genre of reporting, which involves telling a story about an event as seen by an eyewitness, there is already room for an assessment (or assessments) that will not occupy a predominant place. The article genre contains a large volume of factual material, which “requires” the author’s ordering, generalization, explanation, and then the subject and assessment will be balanced in it. The review is an assessment of the work of art itself. It is presupposed by genre requirements, therefore, its share will increase, and the subject will take the place of the reason, the causative agent of this assessment. And finally, in the essay genre, the views of the journalist will dominate, and the facts will be subordinated to the illustrative ones. The subject here will completely give way to being evaluated by the center of evaluation.

While defending the right to life in journalism of internal information, commentary and assessments, it is still necessary to recognize that the soul of mass information activity is a fact that appears as a phenomenon or they will die. He is a full-fledged owner of not only many genres, but also many pages in newspapers, radio and television programs. Millions of readers around the world open a newspaper every day, hoping to learn from it about the events of our time, and not the opinion of some journalist about them. Awareness of this encourages theorists to develop requirements for working with facts. These requirements can be outlined as follows:

1. Credibility provides for the need to perceive facts as they are in reality, without deliberately decorating or distorting them. This basis is the opposite of the principle of subjectivity, which is always included in the action when assessments, comments, and the development of an analytical picture of the system of events are said. Reliability presupposes independence from subjective tastes, preferences, and likes. This is a supra-party category, which in turn consists of the following requirements:

a) scientific character as objectivity in the presentation and description of facts;

b) truthfulness, which presupposes the absence of deliberate lies;

c) accuracy, which requires submitting only verified information;

d) comprehensiveness and exhaustiveness, which means the need to cover a fact from different angles, not to hush up its unpleasant or inconvenient components

2 causal perception sets up the journalist to search for sources of facts, hidden mechanisms of their birth, and arrange them in a chronological sequence corresponding to the real course of events

Establishing a causal relationship is the most important link in the search work of a journalist. This is a complex and sometimes lengthy process that leads the author to develop his own position and create his own concept of events. Therefore it is especially important. This process involves the following stages:

a) thoughtful selection of observed facts and phenomena, at this stage the journalist separates the fact or group of facts that he intends to investigate, he would lock them in an imaginary circle of his own elbow. Zoser read them, achieve vigilance

b) establishing the essential features of the observed facts; consideration of the chronology of events; descriptions of attributive features of phenomena; the fact seems to be placed under a magnifying glass and studied carefully in all its full characteristics

c) hypothetical conclusions about the causes of a given fact or phenomenon, based on the study conducted, there are assumptions about cause-and-effect relationships in a given system of events that correspond to the facts established during the study process; facts are brought into a certain system, arranged in a logical sequence

d) verification of the obtained generalizations in other ways is carried out by checking the facts themselves, the reliability of which is better confirmed from three independent sources, as well as by searching for facts relating to the main event, indirectly illuminate it, and finally a deductive (from general to specific) verification is carried out; the journalist once again examines the constructed structure, finding out whether all the obvious facts fit into the concept and do not contradict it.

3. Historicism encourages us to consider facts in development, to trace the evolution of phenomena, to see what they were like yesterday, what they are today and what they will become in the future. The ambush of historicism does not belong only to the science of history, but there is a public philosophical method of approach to clarifying the essence of facts and phenomena; it does not relate to the past stage of their functioning. On the contrary, historicism presupposes consideration of a fact in the chronological context of modernity and, as it turns out, it can only be understood by taking modernity as a bridge from the past to the future.

4 dialecticity requires to perceive facts and phenomena in the unity and struggle of opposites, to see how accumulated quantity turns into quality, how negation is carried out. This is the application to rho. Obote with the facts of the main laws of dialectics. Seeing a fact in the context of other similar or opposite phenomena, clarifying the degree of its maturity, perfection, perfection, the degree of presence of positive and negative principles in it - all this constitutes dialecticism as the beginning of work on facts.

A journalist, as a subject of mass information activity, not only collects and relays news and messages, but also summarizes them, analyzes them, and gives his commentary. As already mentioned, there is an opinion according to which a journalist should not even take on such work, his position, they say, is of no interest to anyone, and readers do not need comments. This attitude is generated not by the natural state of affairs, not by the strength, but by the weakness of our journalism, the absence in it of truly big, significant names, talented workers of the pen and microphone. We don’t even have a common national newspaper that would be so influential that it would be a shame for every educated person not to pay or read it.

But as soon as a sufficiently authoritative journalistic name appears in the information space of Ukraine, readers become interested in the opinion of this journalist, his point of view on events is perceived as an organic part of his professional activity, and really influences the formation of public opinion and public consciousness. This applies to famous journalists: Vitaly, a columnist for the newspaper “Zerkalo Nedeli.” Tailor Kova, columnist for the same newspaper. Sergei. Rakhmanin, editor of the Universum magazine Oleg. Romanchuk, editor of the magazine "Ukrainian Week" Yuri. Makarov, popular TV presenters. Romana. Skrypina. Nicholas. Vera. Song,. Romana. Seagulls. Andrey. Kulikova. Moreover, the future appearance of bright names on the horizon of Ukrainian journalism cannot occur only within the framework of relay information activities, but is possible subject to the analytical work of the journalist, his expression of his well-founded and reasoned views on current problems of social life and the problems of his future life.

Researchers identify the following stages of a journalist’s analytical and integrating work:

1) focusing on a particular situation, state of affairs, fact that needs to be investigated, and highlighting a phenomenon from a million-faceted reality;

2) establishing the composition of the problem or phenomenon;

3) analysis, consideration of the situation, state of affairs, set of facts, if by analysis we mean a research method that consists in the mental or practical division of the whole into its component parts;

4) synthesis or assessment of the situation, state of affairs, sum of facts as a whole, at this stage the analysis turns into synthesis, we understand it as a method of studying an object or phenomenon

in integrity, unity and interconnection of its parts; 5) result, practical conclusion from the analysis and synthesis

In the form of a diagram, the analytical-integrating work of a journalist can be represented as follows:

The types of analysis themselves in journalism are the most. Among them the following main ones stand out:

1 direct analytical action consists in a linear, logically consistent presentation of the author’s concept as objective, the only possible one in the context of actual and mental arguments. The reader is convinced to directly bring the author's pockets of facts, statements of authoritative scientists or political figures, and the journalist's own thoughts about the topics raised.

The works famous in the history of Ukrainian journalism are constructed according to the type of direct analytical action: “Preface [to “Communities” of 1878]” and “Strange Thoughts about the Ukrainian National Cause”

(1892). Mikhail. Drahomanov, "Letters with Ukraine. Dnieper"

(1893). Boris. Grinchenko, “What is progress?”

For example, in the named work. Ivana. Franko, which was first published in the weekly Postup (1903, No. 2-26), the author offers a broad, voluminous understanding of social progress not only as an increase in material benefits, but also in the development and accumulation of spiritual achievements. Using numerous examples from history, the author shows with what difficulty humanity paved the way forward. From what has been said, he concludes that the situation here does not cover the entire human race, does not proceed evenly, but in waves, and is not tied to one geographical locality.

Internal development springs. Ivan. Franco believes that the division of labor leads to its acceleration, productivity growth and improvement. The increase in wealth on earth does not, however, lead to an improvement in the lives of all people. The bloody wound of our time is social inequality: the accumulation of wealth in a few businessmen and the poverty of millions. This situation gave rise to numerous theories with the help of which humanity sought a way out of the crisis.

Further. I. Franko leaves the historical argumentation, which he had mainly used before, and moves on to consider existing concepts of social progress. J-J. Rousseau, and after him... A lion. Tolstoy, they call to turn back to primitive society, when there was no division of labor, and each person ensured his own existence. In this theory. I. Franko sees his own denial of progress.

Happy opening. M. Darwin's law of the struggle for existence in the living world also gave rise to other theories that tried to adapt Darwinism to social life. Anarchists positioned themselves between Tolstoyism and Darwinism, demanding that all the benefits of civilization be left behind, but only the state be abolished. According to opinion. And.. Franco, the destruction of the state will entail great disaster. He refers to an old example. Poland, where the noble Svav Olya and equality turned into anarchy and led to the decline of this great country. Therefore, this theory is erroneous.

Communists recognize the progressive significance of the division of labor, but want to eliminate its negative consequences by introducing community of property and community of use. Supporters of ideas. K. Marx was created by the entire Social Democratic Party, which seeks to seize power in the state and, with the help of the state, implement its program of equality. What would the state be like?

“Ahead of everything,” I. Franko establishes through direct analytical action, “and the omnipotent power of the state would fall like a terrible burden on the life of every single man. The own will and the own thought of every husband would have to disappear, they are forsaken, because well, the state recognizes it harmful, unnecessary. Education, with the goal of educating unfree people, but only prosperous members of the state, would become a dead spiritual drill, a government drill. People would grow up and live in such dependence, under such state supervision, which is now absent in the most absolute police states and speeches. The people's state would have come into existence with the disappearance of the people's prison.

Prophetic visions are amazing. I.. Franco, made long before the Russian Bolshevik-Marxists carried out a tragic social experiment on a vast territory. Russian Empire

What a way out I saw. I. Franko? be given as ways to solve this problem. But the fight against each individual disaster, with each individual injustice, the destruction of the sources of disaster and injustice, the protection of each individual person is the path along which progress will be carried out in the future.

1 franc throughout his journalistic work uses direct analytical action as a type of analysis. He went through the canonical stages of the analytical-integrating work of a journalist: he focused attention on certain situations, posed the problem; established its composition, divided the whole into parts, examined its components; moved on to synthesis and united the parts again into a whole; offered his pragmatic conclusion from the analysis. Work. I.. Franko “What is progress?” and mastery.

2. Commenting used when there is a need to consider a specific current document, event or situation. The very characteristic of this type of analysis is a conscientious presentation of an event or document. In journalistic practice, however, there are also cases when the subject of analysis itself does not require description, since it is generally known. Then the presentation can be reduced as much as possible and summarized only with an indication of why the journalist expresses his commentary; the attributive features of this type of analysis are its dependence on the subject, its close connection with it.

An example here would be this article. Ivana. Bagryany "Oracle of the black imperialist night (Reflections on the new "Program. CPSU")", which was first published in the newspaper "Ukrainian News" 13 and 20 this year 1961 fate 13 and 20 year 1961 fate.

Reviewing the program. CPSU, according to which c. In the USSR, in two decades, until 1980, a communist paradise should have been built, the publicist makes unexpected and inherently paradoxical comments. When reading the program, he says, “one particularly characteristic feature strikes the eye with extreme clarity: all the hyperboles about the imminent arrival of the kingdom of communism start from something completely non-communist and are constructed () as a contrast to something that is not communist paradise, which serves as a black shadow to the bright light of the near future, which the Moscow oracle draws. That “something" is the present reality in the USSR. The oracle (the collective oracle, the CPSU), without noticing it, gave itself worse evidence, a verdict , confirmation of the fiasco of all his 45-year-old enthusiastic grievances for the "building of socialism-communism" in the USSR; confirmed his shameless blasphemy about the heartbreaking volumes of that construction "self-obsessions of that everyday life."

The entire article consists of such witty, apt observations, the main type of analysis in which is commenting on the text of the party program

An example of the application of this type of analysis regarding an event is the article. Miroslava. Marinovich "Chronicle of Agony" (first printer in the newspaper "Galician Dawn", Drohobych, August 1991). It consists of three small comments before the August putsch. State Emergency Committee c. Moscow. The events are not taught by the author, since they are well known and widely covered in the mass media of that time, and the conclusions from those events are not immediately expressed in clear verbal formulas. But some of the publicist offers readers, without hesitation, without hesitation.

“A separate word needs to be said to those who rubbed their hands and welcomed the coup,” writes M. Marinovich, “You cannot allow such a convincing lesson to pass without a trace for you. You perceived the idea of ​​democracy as a screen for crafty nationalists - now that’s it. to some of you it seemed that he was defending a holy idea, but in fact you were defending the base, vile and pathetic, but at one time your mind did not tell you which side the truth was on - let now your teacher be the burning shame "and rubbish".

Let us note the particular effectiveness of commenting as a type of analysis, since consideration of a topical political event or document always arouses keen interest among readers, such material will certainly be widely read and the analytical thoughts expressed by the journalist will be perceived by the public consciousness. Contemporary.

3. Analysis in the form of a presentation of a logical or chronologically sequential chain of events. This type of analysis is used when we are talking about an event or person that is not well known, or when information about them is received for the first time. Here, just a hint of a hero or situation is not enough; their description is necessary. As a rule, this type of analysis is applied to a bright, self-sufficiently expressive social phenomenon, the very presentation of which contains the author’s tendency, which does not even require additional verbalization.

An example would be an article. Miroslava. Marinovich "The Un-Stone Soul from Grenoble" (first printer in the newspaper "Galician Dawn", 1992, August 20), dedicated. Galina. Ignatyevna. Khotkevich, daughter of the famous writer. The type of analysis chosen by the publicist consists of a chronologically sequential presentation of her biography: “At the age of eight, Galya learned what a “member of the family of an enemy of the people” is,” the author begins and continues: “The war finally scattered the orphaned family nest; the roar of the front drove fugitives along all the roads of Europe, and Galya knew from her mother that it was possible to lose everything on the road, except for a few boxes with her father’s anduras, drawings and manuscripts, banduras, little ones and manuscripts.

In the whirlwind of war, the girl lost both her mother and father's chests. Salvation came in a tent with a red cross, where they spoke French. So. Galina found herself in. France. But she carried with her the memory of her father and love for Ukraine for the rest of her life. In distant Grenoble, she teaches music and at her school teaches pregnant French women to sing Ukrainian lullabies. She proves that this contributes to the birth of health and harmonious balance with the world babiestini.

Fate. Galina. Khotkevich as presented. M. Marinovich looks like a specific weight of Ukrainian history. XX century. It does not require additional explanations, verbal passages about the anti-humanism of the Soviet regime, the indestructibleness of the free Ukrainian spirit, which even in the unnatural conditions of a foreign land remains true to itself. The reader will see all this for himself and draw clear conclusions for himself. The author’s intervention with his explanations would look primitive and unnecessary in such material, which is why he does not resort to it. The very presentation of the chain of events eloquently testifies to the tendency of hangers.

4. Reproduction of the course of one’s own opinion, which develops in accordance with the facts, the journalist takes possession of them. This type of analysis is necessary in contrast to the previous one, especially active subjective intervention in the development of the topic, associated with the presence in the work of the image of the narrator, the author’s “I.” The publicist presents events, arguments and assessments in a personalized manner, in the first person, using his life experience, telling the readers about your hypotheses and assumptions, ways of testing them and establishing them in a certain position in life.

This type of analysis selects. Eugene. Sverstyuk in the article “Grains of Ukrainian-Israeli Solidarity,” which was transferred in December 1977 from a Soviet camp where a political prisoner was held to freedom, was distributed underground, and published for the first time in 1990. This work is not only written in the first person, but the author’s subjectivity is declared in it by the repeated use of the pronoun “I” and verbs in the first person singular of the present tense and the present hour.

Emphasizing the common features in the historical fate of Ukrainians and Jews,. Eat. Sverstyuk refuted the everyday idea of ​​their mutual antipathy. He actively refers to his life experience, tells what types and attitudes towards Jewry he met among Ukrainians and expresses the conclusion: the tendency remains for the Ukrainian people to have common affairs with Jews and to value more than to condemn “In Ukrainian samizdat I have not met a single things with anti-Semitic overtones,” the author further says. From this point of view, “the rapprochement between Ukrainians and Zionists in the camps is rather the ancient traditional position of the Ukrainian initiatives, continued in the camps” and “doubled in camps.”

Eat. Sverstyuk lists his acquaintances, dissidents of Jewish nationality, with whom fate brought him together in Soviet dungeons. Gives each a brief description, creating convincing and attractive images. C. These are the vital arguments that influenced the determination of his position, and therefore they resonate especially strongly for the reader. The author leads us through his own life experience and shows how his position was developed. Memories of childhood, when he studied at school with Jewish peers, the war, when his village saved Jews from fascist genocide, and finally, evidence of the “loyalty and dignity” of those Jews who were in. The UPA is called upon to complete the development of the idea of ​​solidarity between two peoples in the fight against the totalitarian communist regime.

Press in. The USSR, in its anti-Ukrainianism and anti-Semitism, began to gather in order to push two peoples together, and this sometimes works at the everyday level. But we must not allow the flames of interethnic discord to be fanned. Moreover, he believes. Eat. Sverstyuk, in rebirth. Israel is the prototype for the restoration of Ukrainian independence. And again the energetic subjective intonation: “But I believe that we will rise again and survive in a place where no one would believe.”

Having led readers along the paths of his arguments and considerations,. Eat. Sverstyuk added them to his life and mental experience, created a situation in which it was impossible not to believe him, and achieved special depth and analysis.

5. Interviews and links (quotes). This type of analysis is common in the work of both experienced journalists and beginners. It is used to give an accurate assessment of a fact or phenomenon by attracting the views and statements of famous figures: politicians, scientists, writers, etc. The logic of using this type of analysis is that a journalist strengthens his authority by relying on opinion(s) specialists in this field of government officials, which makes his own assessment look not unfounded and approximate, but deep and balanced. Consequently, the name of this type of analysis is not accurate enough, because the concept of “interview” extends to any statements, written or oral, that could be made public not only in a conversation with a journalist (journalists), but also made at a meeting, rally, or conversation with voters and other situations.

Quoting speeches, interviews and statements of famous people is the norm in modern newspaper practice. The host of the “7 Days” program invites you to speak in his program. Prime Minister or. Chairman of the Administration. The President of Ukraine, not because he himself cannot comment on a certain event, does not have his own point of view on it, but because the opinion of a high-ranking government official is of interest to a much larger number of people than the thoughts of a journalist. These are people endowed with real power, authorized to make government decisions. That is why their performances are able to arouse high interest among viewers.

The professional qualities of a journalist are measured by the extent to which he manages to attract influential figures to his programs or publications, to create his own. OMI is a communication channel for the most authoritative information and the journalist’s use of expert opinions demonstrates his professional skill. The program or the newspaper as a whole will benefit from this, its circulation or viewership will grow.

Using an interview as a type of analysis of a problem or situation does not exclude the possibility for the journalist himself to come up with his own assessment of this issue. But in this case, the journalist’s assessment will be more convincing and will inspire the trust of the recipients.

Let's take an example from the work of Vasily, the editor-in-chief of Literary Ukraine. Ivy, without whose article in the “Current Commentary” section at one time not a single issue of the newspaper would be published. In the issue dated June 15, 2000, his analytical material “Energy and Energy” was published, the subject of which is an examination of the crisis situation in the fuel and energy complex of Ukraine. Scattered throughout the text are numerous messages from the interview with. Prime Minister. V. Yushchenko. Chairman. Supreme. Glad and Ivy. Chairman. Council. National. Security and. Defense. Eat. Marchuk, statements on this topic are given. President of Ukraine. Of course, we are not talking about exclusive, but about collective interviews given at press conferences. But they ensured the credibility of the journalist's conclusion on preventing an energy disaster from occurring.

It is clear that it is possible to use the interview genre as a whole to analyze a specific problem. Then it is directed only at her, and the journalist’s question is formed in such a way that, in a logical sequence of cutting, it is presented exhaustively to the reader.

This type of analysis is indispensable in the case when a young journalist, without yet a popular name, does not know the problem deeply enough, and believes that his commentary or outcome will not be perfect. Then he is simply obliged to turn to a specialist in this field with a request to give clarification about the facts he has established and publishes this interview in his material. A compositionally convenient place to place such a part is at the end of the article, after the facts described. But this is not the only possible option. The language of a specialist can be heard after various parts of the text and accompany the journalist’s presentation.

The semantic aspect is most fully represented in journalism, since journalism itself is usually considered primarily as conveying to the reader a certain content (semantics) of statements and teachings. Much less attention is paid to the formal (syntactic) aspect. This is not entirely fair. It is clear that the form of presenting content in journalism is marked by a more artisanal level than in fiction, in particular poetry, but here, too, there are secrets of mastery, with the help of which an ordinary event can be presented as sensational, make the reader cry over the fate of the hero of an ordinary essay or think over well-known but one-sidedly perceived problems, to see them in multiple aspects, to involve in cooperation in solving them.

2. Syntactic aspect as already mentioned, it involves the study of the construction and organization of journalistic systems, starting from ordinary newspaper text, such as notes, correspondence, and ending with the structure of weekly broadcasts of the central national channel. In contrast to the previous semantic, content aspect, the syntactic level of analysis consists of considering the issue of the form of journalistic works.

Form refers to any means of expressing content, both textual and illustrative.

In relation to a printed publication or a radio and television program, it is customary to talk about the following elements of form:

1) genre, which refers to modifications of genres, various collections of materials, headings, sections, cycles, thematic strips, issues or programs;

2) plot-compositional, including plot, composition, characters, font design, illustrative design, a combination of pre-recorded plots with direct reporting from the studio, etc.

3) lexical-stylistic, that is, language, style, visual and expressive means, tonality, individual manner of the journalist, style of the publication as a whole

It should be understood that there are different levels of content-formal unity:

1) a separate test;

2) bands, bands, television or radio broadcasts;

3) newspapers, magazines, publications in general, radio studios or TV channels

A journalistic work as a consequence of mass information activity succeeds in conditions of content-formal unity. Artistry and aestheticism have the same importance in journalism as in literature and other forms of art, despite the pragmatic, applied nature of this type of spiritual work. But due to the specifics of journalism, the following factors influence the content-formal unity:

1) reality, life, objective reality in its general and specific manifestations; this influence can be direct and indirect;

3) the type of publication, its fundamental focus, traditions, the need to cover the phenomenon that forms the basis of the material;

4) the nature of the audience, taking into account the interests of the addressee;

5) the pressure of professional issues (urgency of publication, space limit in the newspaper, etc.);

6) stereotypes and traditions, established norms in the approach to such material (thematic, genre, etc.)

syntactic aspects of journalism will be given a significant place in the professional training of a journalist in the course “Theory and Methodology of Journalistic Creativity” and in a number of specialization disciplines, such as: “Information genres”, “Analytical genres”, “Artistic and journalistic genres”, “Design techniques” publications "toshch", "Technique of video design" toshch.

3. Pragmatic aspect determined by the immediate reaction of readers to a publication or radio and television broadcast. It is measured by the number of reviews - letters and telegrams, telephone calls, oral suggestions from visitors - that are received by the editor after the publication of a journalistic work. Evidence of a high effect is the attention paid to the problem of power structures: either directly through publication, or indirectly through the targeted formation of public opinion.

Provides new opportunities for implementing feedback and interactive activity. Internet journalism. Modern online publishing is a special way of existing texts on the Internet. Unlike paper journalism, online publication is built in the form of a complex model, the main components of which are the author’s material, reader comments on it, the author’s explanations about the comments, and new reader reviews. Ma monument of attention can swing between the author's and reader's positions ad infinitum. The possibility of commenting is not only evidence of feedback, but also the enrichment of the topic with facts, assessments, and conceptual solutions proposed by readers.

An important aspect of journalistic creativity is editorial activity. In a broader sense, editing means processing, preparation for printing of a certain text, manuscript, correction of it in accordance with the requests of the publication, reduction of material if necessary, its compositional restructuring, that is, any work to improve the text. In this sense, every journalist was an editor, since he prepared his own and other authors’ manuscripts for publication.

In a narrower sense, editorial activity consists of managing a publication, determining its strategic and tactical objectives, content and character, organizing a creative team to implement certain ethics, and final approval of materials for publication or broadcast. This mission is assigned not to each journalist individually, but to the editor-in-chief of the publication. Its activities are no less creative than other subjects of mass information activity, but are carried out against a broad public background and are associated with important organizational functions.

at one time an outstanding Ukrainian journalist and publicist. Michael. Drahomanov (1841-1895) in correspondence with a representative of the younger generation. Ivan. Franco (1856-1916) formulated important principles of editorial work. In a letter dated March 15, 1885, he, summarizing his twenty years of experience collaborating in magazines and his own editorial activities, warned. And.. Franko, who was then preparing to publish the magazine “Postup”, from possible mistakes: “Do not become infected with two editorial diseases,” wrote M. Drahomanov: “a) consider the public to be very stupid than writers, thinking that, supposedly, the public won’t understand one or the other, so they won’t be interested, etc. Give every serious matter to the public, tell it simply, but seriously, and the public will understand b). them mainly - and then give them the freedom to do it - and especially do not put off talking about burning matters until you yourself get ready to talk, perhaps better than the employee is ready in the finished article "and in the finished article."

. These tips: first respect the public and treat it as an equal interlocutor and, secondly, guarantee freedom of creativity by editorial staff, having agreed with them to observe only the main principles, to interfere in their work regarding every little detail - can serve as a pointer for every modern editor.

“Editing, like any craft, brought to the pinnacle of perfection,” noted Ivan. Koshelivets, for many years he edited the leading magazine of Ukrainian emigration “Modernity,” “can and should be the art of the complexity of the editorial craft begins with the little things that we do not attach any importance at all: the selection of fonts, format, uniform external design of preservation; the rest, each number has several hundred thousand printed characters, and all of them should stand in their place, without any unnecessary things. In short, a good editor should have a magazine that is pleasing to the eye the reader, like a beautiful dress from Dior. And regarding the main thing - planning: so that each number is on par with the others in content. And also: perhaps the most difficult thing is to be able to sometimes say to a deeply respected author - no “to say no” .

Among the functions of the editor-in-chief, the following should be noted as the most important:

1) formation of the identity of the publication, its informational and problem-thematic orientation;

2) creating a visual image of the publication, selecting fonts, image signs, and illustrative material;

3) planning the publication and the work of the creative team, determining the content of pages, creating headings;

4) conducting political, economic, cultural and other information campaigns on the pages of the publication;

5) attracting outstanding politicians, scientists, and artists to participate in the publication;

6) organizing discussions, polemics, general searches, clashes of opinions in your publication, defending your position, and expressing yourself when discussing it with opponents

The work of the editor seems so important that in the history of journalism, the periodization of a particular publication is often determined by the name of the editor-in-chief. For example, the well-known phenomenon of the magazine “New World” during its editing. Alexander. Tvardovsky (March 1950 - August 1954; June 1958 - February 1970). The magazine, thanks to the editor, especially in the second period, gathered around itself the best forces of writers, publicists, literary critics, who, under the conditions of a totalitarian regime, tried to remain in universal positions and maintain with their creativity the high level of classical Russian literature.

This, of course, is far from the only example of the decisive influence of the editor on the policy and position of the journal.

The opportunity for creativity and associated self-realization attracts talented young people to journalism (and, as we see, for good reason)

All the questions discussed in the previous chapters - from the essence of information to the problems of freedom and organization of the “information space” - are questions about the patterns of journalistic activity, manifested in various aspects of creativity. Any creative activity, including journalism, is characterized by the fact that its result is a qualitatively new “product” specific to this type of activity. Journalism “reaches out” to a mass audience with a large set of newspapers and magazines of different types and positions, television and radio programs, composed of many different works, in the preparation of which a large number of people of various creative profiles, united in creative teams, participate.

The appearance of these issues and programs is preceded by a lot of preparatory work: it is necessary to create a concept for this media, find a technical base, establish connections with information services and distribution services, form an editorial team, “debug” its work, and be able to maintain an optimal mode of activity. And to create an issue and program, you need to master the art of studying the audience and establishing effective contacts with it, developing directions for activity, planning the activities of the editorial office, organizing the work of departments and services, organizing mass work (with letters, non-staff employees, activists), defining a system of headings, maintaining campaigns, methods and methodological techniques for collecting information, mastering techniques for developing the concept of a work, forming and implementing ideas for individual works, creating and editing mass media texts, arranging them into an issue or program, etc. and so on.

And in all these aspects and steps of journalistic activity, reproductive, habitual, acquired in the course of “technological” learning, routine (French routine - “trodden path”) forms of work are used, which are to one degree or another enriched with original finds, unique (lat. .unicus - “unique”) by methods and results of activities. Without the use of routine forms, fruitful activity is impossible. But if a journalist resorts only to reproductive methods of activity, he remains at the user level with established forms of labor, known technology.

Creativity always combines reproductive and productive forms of activity. Its level is determined by the ratio of “components”, which reveals the measure and nature of the journalist’s creative abilities, skills and abilities. It is obvious that creative searches are possible and necessary in all aspects and steps of an activity that requires the fullest use of established techniques applicable in a specific creative situation, as well as the maximum inclusion of a unique personal component. At the same time, unique properties arise only on the basis of confident possession of the “technological” knowledge accumulated in each field of creativity in various areas of journalistic work, which forms the basis of the methodological culture of a journalist. Good command of methodological culture is the basis for maximum mobilization of existing abilities for creativity. Freedom of creativity is manifested in the fact that on the basis of knowledge in the sphere of necessity, a “breakthrough” occurs into the sphere of creative findings and discoveries.

Mastering theoretical knowledge about the methodological foundations and culture of journalistic activity, studying the experience of well-known publications/programs and the work of major journalists is the path to understanding the heights of creativity in its semantic (how reality is displayed) and syntactic (how a work is constructed) aspects of creating works. Pragmatics (how to interact with an audience) is covered in the next chapter.

To organize the production of a publication or program, the editorial office needs creative workers of many specializations. With some convention we can distinguish three types of creative activity in journalism: editorial, organizational and authorial. Of course, in real practice they are intertwined and in the creative activities of specific journalists they turn out to be inseparable from one another. Nevertheless, each of these types has its own specifics, and the activities of an individual journalist, as a rule, still belong to one of them.

Editorial (Latin redactus - “putting in order”) activity involves a very wide range of actions and is itself divided into a number of subspecies. A journalist constantly faces the so-called "literary editing"- various types of text editing (abbreviations, clarifications and changes in structure, stylistic comments, etc.), work on the form of the work. The substantive side of the work on the work - its concept, themes and issues, the general concept - together with the author is carried out by a specially authorized employee of the editorial office, a representative of its management. Depending on the degree of rigidity of the editorial office’s information policy content editing(necessarily with the consent and preferably with the participation of the author) can be of a different nature - from work in full agreement with the position of the editors to advisory advice (when the editors declare that the point of view of the authors does not necessarily have to coincide with the position of the newspaper or program). Determining the information policy, shaping the appearance of the publication and program, developing areas of activity, selection of employees and management of the creative team, general ideological, creative and organizational management of the media, and then the layout of issues and issues - this is already the editorial activity of the “highest level”. It is led by the leading “headquarters” of each media outlet - the editor-in-chief (or general director) and his closest assistants, who make up the editorial board (or some other structure).

Organizational the activities of the management group of a given media (editorial board, secretariat, editor and similar entities, as well as specially designated editorial staff) allows (since a program has been formed, the direction of activity has been identified and the “external appearance” of this media has been determined) to conduct its daily work at an appropriate level, making the necessary clarifications and changes in program objectives and methods of their implementation in connection with changes in social reality. Special tasks for organizational activities: maintaining business relations with the founder and publisher, establishing and optimizing relations with departments of information, technical, scientific, educational and other journalism infrastructures; resolving personnel issues; management of editorial activities; formation of mass connections, organization of work of the correspondent corps; tracking the behavior of the audience and providing management and employees with information about their interests and reactions to media speeches, requests and wishes of employees of editorial departments, maintaining relations with advertisers, sponsors, etc. and so on.

Under the leadership of the editorial “headquarters”, many specialized departments carry out their work: services for creating electronic versions, departments of letters, mass work, sociological research, correspondent network, advertising, distribution services, public receptions, etc. The success of a business in journalism depends no less on the efficiency of employees and the creative level of organizational work than on the preparedness, abilities and skill of editors and authors.

Author activity (from the Latin auctor - “creator”; not from the Greek autos - “himself”) activity is the most significant part of the work of most journalists. This includes preparing one’s own works, directing, arranging works into a number or program, compiling a collection of works, literary recording, and other types of work protected by copyright laws. Authorship in journalism requires each employee to have a significant degree of universalism (i.e., to be able to do everything to some extent), but at the same time to certainly specialize in one or another area (thematic, problem, genre, style, etc.) . Only if the editorial staff can “close” all areas and necessary forms of its activities at a sufficiently high level and with interchangeability (if the need arises), can we talk about a formed creative team.

The most important unifying factor in the editorial activities is the adopted information policy, adopted by a specific media, but developed and implemented within the legally defined framework of state information policy.

The initial part of the information policy of a particular media is the direction, ideological and creative concept conducting problem-thematic lines, the nature of the development of which is determined by social position and is embodied in the totality of accepted forms of program implementation. The main features of this direction are determined by the founder when developing the concept of the media in preparation for its registration. The founder can carry out this activity independently or in collaboration with future leaders of the publication or program. The latter option is preferable, since it allows you to involve professionals in the complex task of forming a direction and, even before registration, create the core of the future editorial staff, while at the same time making sure that their creative level corresponds to the successful management of the media in the chosen information “niche”, and their social position corresponds to the views of the founder.

The founder, together with the editor-in-chief, can pursue an information policy in three options. One is “hard”, characterized by the desire for complete unity in the implementation of the media line by each employee and the suppression of any “liberties” - manifestations of a creative approach in carrying out a strictly defined information policy. The second is based on the idea that it is not at all necessary to achieve complete unanimity - there may be such a definition of the direction of the publication in which “diversity of views” is important, i.e. the founder and editor-in-chief can also focus on pluralistic management of problem and thematic lines. Such publications/programs resemble “warehouses of diverse views.” A mild expression of such information policy is sometimes expressed in an open warning: “The opinions of the authors do not always coincide with the position of the editors.” On the one hand, this is a demonstration of the openness of the position. But, on the other hand, it raises questions regarding the real position of the editors. But there is a third one, which seems optimal for a democratic society. Within the framework of a fairly strictly defined and clearly stated direction, journalists receive more or less extensive space to reveal their position, which at some points does not coincide with the accepted direction, and can demonstrate shades of opinion. For the media, seeking to respond to the “challenges of the time,” this is very important, as it allows them to constantly conduct searches in changing conditions and creates a basis for correcting the program.

Therefore, a truly viable media that actively takes into account the movement of life avoids both extremes - boundless pluralism, when its direction is dissolved in a multitude of opinions and thereby a publication or program is formed “without direction” (such a direction can be called quite definitely unprincipled), when serving opportunistic considerations, momentary the mood of the audience forces them to act according to the rule “whatever you want.” After all, it is precisely in such media that a disclaimer is often a refrain: the opinions of the authors may not coincide with the opinion of the editors. And the audience is left to guess where it is dealing with the editorial position, and where with a judgment for which the editors do not want to take responsibility. Such a seemingly good desire to give scope to pluralism turns out to be the opposite - hiding the accepted position. The other extreme is the rigid implementation of the position once adopted by the founder (publisher, broadcaster), regardless of changes in the situation, the emergence of serious objections, and the formation of modified approaches in the editorial office based on a discussion of the situation. Such dogmatism leads to separation from life and activity based on illusory ideas, which requires “adjusting” life to a previously accepted scheme.

The failure of these extreme, and therefore inadequate, forms of information policy is ultimately inevitable, but on the way to collapse, the impact on the “yielding” segments of the audience can be extremely negative, more or less disorienting, which is fraught with inappropriate behavior of people in various areas of life .

The second most important component of the editorial office’s information policy is audience orientation and methods of relationship with the audience. When determining information policy, it is impossible to do without any clear ideas about the range of the desired audience and the functional content of interaction with it (the nature of ideological, direct organizational, cultural and educational, advertising and reference, recreational activities). Of course, there is a direct dependence on the direction of the media. However, in connection with the real “vision” of the audience (its outlook on life, educational characteristics, needs, interests, demands, preferences in the field of mass media), the editors cannot help but develop specific forms of implementation of their direction precisely in connection with the nature of the audience. It is one thing to work with an audience close in orientation to the media, and quite another to go with your views into layers that disagree (fully or partially) with the direction of the media. But it is necessary to convey the views of one direction to the most different segments of the audience, and this requires a variety of publications and programs, and originality in approaches to different segments of the audience (social, professional, national, educational, etc.). For example, we need to talk about the usefulness of integration in the post-Soviet space in completely different ways in different social, national, religious, and regional groups; even with staunch supporters of the union it is necessary to talk from the point of view of the demands of new relations, and not of a mechanical restoration of old ones.

And with all layers of the audience we need an open dialogue, an honest discussion of all the accumulated problems, disagreements, misunderstandings, emotional and psychological stress, etc.

The third most important component of information policy is methods of interaction with other media. Of course, you can ignore other publications and programs that “reach” the same (or similar) audience with the same or different position. Then the implementation of information policy will be similar to the monologue of a “grouse on a leash”, who does not hear other voices and does not want to respond to them. There may also be a position of monologue dialogue, covertly taking into account the positions of others, or dialogic monologue, even openly responding to the statements of “opponents”. But all this is only partial participation in the public solution of public problems, since the basis remains one’s own position, which, under “pressure” from opponents, is subjected to “small”, sometimes “cosmetic” improvements for the sake of establishing one’s “private” position.

The best position is an open dialogue with other media, based on the idea of ​​broad social partnership and tolerant pluralism.

At the same time, between media of different directions - from left-democratic to right-radical - there are clashes in views and opinions on certain specific problems. And if the editorial offices of these various media outlets employ journalists who truly strive for “truth, goodness and justice” (with all the diversity of interpretation of these universal human values), the result of such clashes should be the development of constructive ones that satisfy all

sides of decisions. Therefore, the creative search of each editorial office and each journalist necessarily includes taking into account different judgments and assessments.

There are several ways to present the opponent’s opinions: you can openly express the opponent’s point of view, his assessment of phenomena and its justification in order to challenge it, express doubts or agree, or you can covertly - hiding the opponent’s judgments inside your own, responding to the “unrepresented” judgment . A third method may also become a software requirement for the publication: a balance of the first two. But in any case, a self-respecting editor will not resort to deliberate distortion of opposing views and dishonest methods of polemics.

In this case, of course, there will be significant differences in the nature and implementation of information policy by “private”, “state” and “public” media, which is predetermined by their nature (see Chapter 6).

The information policy of a particular media outlet is thus based on the declared socio-political direction, on the choice of “its” audience segments and on the determination by the editors of relations with other media.

An integrative component of information policy is the nature of interaction with the audience.

The result of creative activity in journalism is one or another influence on the audience, an impact on mass consciousness and behavior. This impact is social and pedagogical in nature (it is also called ideological and educational, mass political, ideological, etc.), since as a result of the “consumption” of the information offered by journalism, a certain image of the world, a system of attitudes, and the direction of will are formed in the minds of the audience. Thus, creative activity in journalism, being cognitive and creative and manifested in the work as the author’s self-expression regarding the known phenomena of life, “at the output” turns out to be a factor in the formation of the social position of the audience, its beliefs.

From here it is clear that - whether a journalist wants it or not, whether he acts openly or secretly - his creative activity in implementing information policy has a propaganda, agitation and organizing character.

Propaganda (from the Latin propagare - “to spread”) is the activity of disseminating fundamental ideas that form the basis of mass consciousness, i.e. activity to establish in him a certain worldview, worldview, historical consciousness. When understanding the features of propaganda activity, one must keep in mind other meanings attached to this term in theory and in practice. Propaganda is also called any form of information activity, the dissemination of any knowledge, ideas and views (propaganda of scientific knowledge, best practices, promotion of a healthy lifestyle, etc.). The term “propaganda” is also used to designate any form of ideological, mass-political work (by the way, it was first used in Christian missionary practice to introduce religious ideas). The word is often interpreted to mean “false information”, “misleading information”, etc. Consequently, when faced with the term “propaganda” and using it, it is necessary to accurately determine the meaning that is attached to it in this particular case.

If the term “propaganda” is used to denote the activity of forming the fundamental blocks of mass consciousness, then this activity will have several directions. First of all, this is distribution views held by the editors(and the social groups behind it, political forces, parties, associations, etc.) on fundamental issues of life. This includes program goals and methods for their implementation, i.e. model of the “desired future” and means of achieving it.

Then propaganda “development” requires journalist's attitude to the politics of the ruling circles(the three authorities) and the forces supporting them, as well as the views of the opposition.

As a result of the development of these areas, as well as “next to” them, journalism forms an image of the modern world from the positions characteristic of each media outlet, gives characteristics of the modern era, forms an idea of ​​individual countries and regions of the world, the laws by which they develop, and presents value guidelines for understanding economic, political, social processes occurring in them.

Agitation (Latin agitato - “motivation, excitement”; agitare - “to set in motion”) is the dissemination of operational information about current events that actively shapes the audience’s positions on specific situations of modern life. Based on information about specific facts of current life (events, statements, actions, decisions, etc.), the journalist as an agitator, in accordance with his position, gives an idea about them, using direct assessments or through the presentation of facts, forms an attitude towards them. Purposefully selected news reports, the nature of their presentation, the presence of direct or hidden commentary form the audience’s “event picture” of what is happening and an ideological and emotional attitude towards them corresponding to the information policy of the media, influencing public opinion.

At the same time, in propaganda and especially agitation (since it is more firmly connected with the facts of current life), it is necessary to strive to separate facts from opinions to the greatest possible extent. A fact - what happened, what actually happened (from an increase or decrease in the price of a product to a policy statement of a “hostile” political party; from the government’s assessment of the situation in industry to a scandalous story with a movie star) - a self-respecting journalist must state accurately, completely, impartially, regardless of your personal attitude towards him. Opinion - comments, assessments, forecasts - is directly related to the position of the journalist and (or) the direction of the media where he speaks, and depends on his views and attitudes. “Facts are sacred, comments are free” is an aphorism that must be followed, keeping in mind the requirements of objectivity and the social and creative framework of freedom.

In conditions of political pluralism, many publications and programs of different directions and the nature of information policy arise and operate, which, of course, is manifested in differences in the selection, arrangement, coverage of facts, their explanation, evaluation, and commentary. Thus, a certain competition, rivalry, and struggle arise between different media. After all, silence, one-sided presentation of facts, falsification or, conversely, exaggeration of the significance of a particular fact, hype around minor events tend to be minimized. One of the consequences of this is that in the normal state of the media system, the most “safe” is the desire of each media outlet to present the picture of events as completely and accurately as possible and give convincing comments to it. This, of course, does not cancel the right to one’s own position, but it is carried out in a more balanced version. After all, “rival” media in such a situation have the opportunity to conduct successful counter-propaganda campaigns.

Counterpropaganda- such a side of the information policy of the media, which is, as it were, a response to the activities of other media. Since the term “counter-propaganda” is not accepted, the concept of counter-propaganda includes actions of all kinds, including speeches against the propaganda actions of political opponents.

There are several areas of counter-propaganda.

Firstly, these are all forms of positive propaganda and agitation, since they oppose the implementation of the information policy of media opponents.

Secondly, these are direct statements of criticism (from corrective to denying) directed against those media that pursue an unacceptable information policy. In this case, criticism comes to the forefront, affecting the fundamental principles, first of all, the ideological positions of the opposing media. The debate surrounding the characteristics of the current state of affairs in the world given in various media is also important. This also includes issues affecting ways to solve major problems of our time, both on a global scale and on the scale of individual countries and regions.

Thirdly, this is what can be called “counter-propaganda” - polemical remarks on the speeches of other media, if the operational picture of current events created by them and (or) their interpretation causes disagreement, requires adjustments or even rejection in general or (more often) in specific manifestations.

If the editors are committed to conducting an open dialogue, then the propaganda, agitation and counter-propaganda lines are “searching” in nature, enriched with a tolerant spirit and have a clear focus on finding agreed solutions. This manifests itself in a completely different way when the editors strive to “fight until victory,” which in our time leads to destructive confrontation.

The implementation of information policy, developed on the basis of the direction adopted by the given media, leads, if carried out effectively, to corresponding changes in mass consciousness and, as a consequence, to changes in aspirations, direction of will, and behavior. This shows organizing principle creative activity in journalism.

Organizing side Media activities can be aimed at a variety of forms of activity - from strengthening, changing or transforming behavioral attitudes in work, social life, and at home to the formation of an active style of behavior during elections. And the desired (albeit distant) result is proactive participation in the life of parties, unions, associations, up to nomination to the ranks of organizers of public actions or acting as leaders of public opinion and organizers of the life of public associations. Thus, journalism, through its creative activity, shapes the civic activity of the audience and, of course, its orientation (“left”, “center”, “right”).

All three aspects of the implementation of information policy: propaganda, agitation, organization are firmly interconnected and all together constitute different aspects of a single creative activity in journalism. Each work, in one way or another, in one way or another, contains propaganda, agitation and organizational principles, although they can manifest themselves in varying degrees of clarity and intensity.

A single work may generally seem to carry only a “communicative” charge. However, included in the body of works selected for a newspaper issue or a television program, it reveals its focus. The relationship between the propaganda, agitation, and organizational sides in journalistic creativity can be schematically represented as interacting, mutually influencing and complementary areas of activity:

Agitation is “at the forefront”, since the “initial” and main task of journalism is the formation of public opinion, and this determines the leading role of agitation (in its various forms - from simple reporting of facts in a work to the active inclusion of “interpreters” and “ conscription" components).

The direction determined by the editors and the information policy based on it are implemented through the formation of the face of the publication - a system of “external” features, “internal” content, creative forms of expression of its typological characteristics.

The typological characteristics of the publication (program) find their “external” manifestation primarily in the regular implementation of fundamentally important, identifying the foundations of the direction, problem-thematic lines, developed from the social positions adopted by the editors, its ideological foundations. The thematic and problematic field of life is immensely wide. Therefore, the first task when determining problem-thematic lines is to choose: either to be universal (publication or program), i.e. strive to display the entire diversity of life phenomena, at least in significant manifestations to represent the entire field of reality, or to specialize in several “selected” layers of life, or to focus on one problem-thematic line. The first group includes, for example, “Izvestia” and “Rossiyskaya Gazeta”, the second - “Culture” and “Kommersant”, the third - “Top Secret” and “Your Six Hectares”.

Of course, universal publications (programs) unevenly pay attention to various aspects of life, the main thing for them is the main political, economic, and social problems of our time. Therefore, universal publications are often called general political media. At the same time, focusing on one particular area of ​​life is not at all evidence of a narrow problem horizon - and in a “small” thematic space, general social problems can be considered. And in the newspaper “Cat and Dog” you can raise problems of humanism, ecology, culture of life, etc., touch on economic, social, even political issues.

Specifically, these problem-thematic areas are embodied in constantly ongoing column programs and materials. A column that is bright in form and accurately expresses the features of a publication or program is a major creative find of a journalist, and its regular and systematic maintenance using various forms in a unity of constancy and dynamics is a measure of the creative level of the whole team.

Materials can be combined into headings according to various criteria. First of all, these are sections that provide a thematic overview of life (“Panorama”, “Hot News”, “20th Century in Persons”, “A Look Through the Years”). Then there are problem-type sections (“Opinions”, “Looking for a solution”, “At the crossroads of views”). It is also necessary to distinguish headings by genre (“Current report”, “Sunday feuilleton”) and by type of situation (“Facing the city”, “Emergency”, “Following the event”, “Investigation”).

Many column formations, expanding, incorporating a number of other materials and standing apart on a newspaper page or in a TV/RV channel, develop into a kind of “newspaper within a newspaper”, “program within a program” (“Cinema Travelers Club”, “Radio “Mir”” , regional inserts, etc.).

A set of headings - small in number, but characteristic of a publication (program) - seems to create a system of guidelines for both journalists and the audience, defining the main areas of activity, areas of increased interest of the editors and unique ways of developing them.

An important form of implementing problem-thematic lines that form the essence of the direction of a publication or program is the organization of campaigns. In contrast to classified materials, a campaign is an intensive, relatively short-term management of a current topic that requires special planning, determined by certain important events of a given period of current life (for example, a political campaign associated with elections or discussion of a legislative act, with a major international event or historical date ). Its thematic basis can be important events in economic, cultural, sports, and any other sphere of life. The goal of a campaign is usually related to achieving propaganda, agitation, and organizational goals clearly defined by the editors, so it has a certain “plot” that determines the dynamic nature of the composition, the system of forms used, etc.

Maintaining problem-thematic lines necessarily includes planning, preparation and publication of those that are fundamental for a given publication (program) to large individual materials, which are a kind of “milestones” placed from time to time in the course of conducting an issue-thematic line as a campaign.

As the personal and authorial principle increases in journalism, regular (often highlighted by a heading or specially designed on a page or in a program) becomes of great importance. speeches by leading journalists and publicists(the so-called “columnists” who write their own columns), submitted, for example, under the title “Opinion of a political observer” or “Author’s program.”

The daily management of problem-thematic lines is ensured by a variety of private performances(planned and spontaneous) journalists and the author’s activists, as well as a large number of letters received by the editor, responses to speeches, answers, remarks, etc.

Information policy as the implementation of the direction of a publication (program) in accordance with the typological features of the media is manifested in the development of problem-thematic lines through a set of works of different directions.

Positively affirming orientation characteristic of those works by journalists in which a generally positive assessment is formed in relation to a particular phenomenon, although certain aspects of it may be subject to criticism. If the activities of a normally oriented journalist are aimed at positive changes in life, then, naturally, he has a keen interest in the phenomena that these positive changes demonstrate. Therefore, the media tend to celebrate even small steps towards the “desired future.” But at the same time, sobriety of assessments, the absence of illusions and exaggerations, the ability to see each phenomenon in relation to others and in the perspective of development are fundamentally important, and empty praise and hype are intolerable. What is required is the study of something new, an “investigation” into the essence of the phenomenon, an analysis of whether a step forward has really been taken and what its real significance is.

Critical focus journalistic creativity presupposes an open rejection of everything that, in accordance with the social position of the media, negatively affects the movement of society forward, which puts resistance on the path to the “desired future.” At the same time, criticism should not be unsubstantiated, offensive, loud and scandalous. It is important to correlate the severity or even harshness of statements with the actual measure of “negativity” of the criticized phenomenon, act, or person. And the constructive content of criticism is extremely highly valued - business proposals, indications of possible ways out of the current situation, putting forward and discussing various options for overcoming the criticized state of affairs. Questions: “What to offer instead of the unsuitable?”, “Which way to look for a way out?” - should be a constant background of criticism, since naked denial is evidence of the lack of a positive program in the media.

A special type of critical speeches are materials that have satirical orientation. Such materials involve the creation, using means that cause a comic effect, an ironic attitude, angry laughter or indignation, of paintings and portraits of the obsolete, historically powerless, but claiming to represent “truth, goodness and justice.” Satire is an important weapon in the fight against what hinders progress; it helps to debunk the promoters of false ideas and preachers of bad decisions, and get rid of ideas about the power of the forces of the past. However, when using the weapon of laughter, it is extremely important not to make mistakes in relation to the addressee. As in other cases, the accuracy of the use of satire is determined by the fidelity to the journalist’s social position and the degree of fairness in his assessments of modern phenomena.

A special form of criticism (often using satirical means) are works polemical orientation. Controversy is a partial or complete rejection of the opponent’s erroneous positions, his incorrect statements and arguments based on a critical analysis of public speeches, media materials, and published documents. At the same time, the tone of the controversy largely depends on what force is behind the contested positions and judgments - “irreconcilable opposition” or “honestly mistaken”. If in the first case sharp, even devastating attacks or derogatory irony towards the enemy are permissible (depending on the nature of the disputed provisions), then in the second it is important to maintain a comradely tone of criticism with an emphasized desire to find common ground in the hope of bringing together positions, views, assessments . In both cases, one must strive to reach positive statements, to find solutions to the problems under discussion, bearing in mind that new ideas usually develop precisely in the course of polemics with old ones that have become obsolete and have ceased to “work” in changed conditions. Thus, polemics, like criticism, are strong because of their constructive beginning.

However, when discussing complex issues, these constructive ideas and suggestions are not always easily discovered. Therefore, it is very important to at least accurately state the problem. Thus, when posing complex questions, the answers to which have yet to be found, works arise problem-oriented. Social development, life activity of complex social objects, human relations with nature, etc. inevitably give rise to problems that require solutions to theoretical and practical issues. When faced with a pressing problem, it is important to pose it correctly, to determine the essence and the factors that gave rise to it. The problem is often defined as “knowledge about ignorance.” The efforts of journalists (and sometimes the joint efforts of journalists and specialists) in such situations are aimed at “removing” this ignorance, i.e. to solve a problem, find conditions, directions and possible ways to answer the questions posed that constitute its essence.

Major problems of a complex nature, affecting the interests of various social forces and social groups, cause ambiguous attitudes and differing proposals for their solution in conditions of political pluralism. Identifying the nature of problems and ways to solve them in these conditions requires materials discussion-oriented.

Discussion is a form of joint search for truth, solving a problem by discussing its various sides and solutions proposed by different participants. During a fruitful discussion (and there are also “empty” discussions, when the participants do not look for or find an acceptable outcome and remain in their previous positions), each of the participants, trying to solve the problem based on their options, makes their own private contribution to the common cause. Moreover, participants in the discussion usually use forms of criticism, forms of polemics, and forms of positive development of ideas. During the discussion, public attention to the problem under discussion is significantly intensified and an active response to the opinions and proposals expressed occurs. Expanding the number of participants in the discussion allows us to identify the widest possible range of approaches and proposals. With a clear organization and interest of the “parties,” the search for an optimal solution can be successful, satisfying, if not everyone, then many, i.e. the main social forces and groups of society.

As participants in public dialogue, media journalists of different directions in their activities are guided by a number of general professional requirements that determine the quality of mass information. In their system, the following have a decisive role.

Relevance (Latin actualis - “real”, “present”) - an appeal to truly significant, topical issues and phenomena of current history, important for orientation in life, to acute theoretical problems, historical events of the past and forecasts for the future. Therefore, when faced with every fact, event, action, statement, etc. etc., the journalist must decide whether to prepare a speech for the media based on this material, i.e. First of all, I evaluate this material “for the relevance” of a possible publication. |

At the same time, it is important to distinguish between objective relevance (implying the real significance, high specificity of a fact, event, problem for the life of society), the degree of understanding of which depends on the fidelity of the social position and creative flair of the journalist, and subjective relevance (the significance of information about these facts, events, problems for audience). For creative activity, the degree of coincidence of objective and subjective relevance is of paramount importance. Additional difficulties for a journalist arise when what is objectively important is not recognized as such by the audience, and when what is subjectively important is actually of little significance. In the first case, the creative task is to convey to the audience the significance of what is truly relevant; in the second - filling the unimportant with the essential. In other words, the result of creativity should be unity in the work of what is objectively and subjectively actual.

Efficiency (Latin operatio - “action”) is the ability of a journalist to act so that information is received, processed and published in a timely manner. In some cases, timeliness is the ability to prepare and distribute it in the shortest possible time; in others, the ability to accurately grasp the moment when pre-created, “locked in” information must be published in order to be needed at that particular moment and thereby have the greatest impact. To be operational for a journalist means to acutely feel the pulse of life and the public need for information that meets the needs of the moment and situation. The ability to work “on wheels”, as well as the ability to wait for the right moment for publication, are equally important qualities of efficiency due to the specifics of journalism, the periodicity and “timeliness” of which require speaking “on time”, requiring being “by the way” at a certain moment, not sooner and not later.

For journalism, which recreates the “picture” of life in its entirety, an extremely important quality is the complexity (Latin complexus - “combination”) of publications. For both universal and specialized publications and programs, complexity is based on the awareness of the need for an issue or program of such a set of materials, thanks to which a holistic idea of ​​the subject area of ​​reality is created. Not a random selection of materials, but precisely its diversity, from which a single picture is formed. The quality of complexity obliges journalists to see any of their work in the system of materials of an issue or program, to prepare it as a relatively independent fragment of the whole, to be able to present a complete picture through diversity (thematic, problematic, genre, scale, geography, style of focus, etc.).

Complexity is associated with such qualities of journalism as constancy and consistency in maintaining a problem-thematic line, the need to expand, develop and deepen the direction adopted by the publication or program on the material of its subject area, taking into account the nature of the audience.

The nature of the audience is associated with a special number of qualities of information material - accessibility, persuasiveness, fascination, etc. (See chapter “Effectiveness and effectiveness of journalism”).

Information policy and its constituent thematic lines are implemented in journalism through works of all types of creativity developed by humanity - scientific, artistic, journalistic. Without turning to them, it is impossible to fully fulfill the functions of journalism in the sphere of public opinion, worldview, worldview, and historical consciousness. And although different publications (and programs) use either scientific, artistic, or journalistic forms of creativity as their main ones, in each of them a place can be found for any of these forms.

Towards a scientific type of creativity in journalism they are resorted to when it is necessary to convey to the audience scientifically obtained and strictly (albeit popularly) presented information that is important for the formation of a scientific “picture” of the world. These are worldview concepts, historical characteristics, political, diplomatic, economic and other documents, various information from various fields of science (from philosophy to ecology, from literary criticism to psychology). After all, the audience needs to gain knowledge about the patterns of ongoing processes and trends in social development, about the nature of the modern era, about the ways and means of moving forward in economic, political, social and other areas of life. Therefore, scientific-theoretical, scientific-historical, scientific-ideological, and popular science works are intended to provide a significant share of propaganda campaigns.

That is why it is becoming increasingly important to attract scientists of various profiles to participate in journalism, who can form the authorial asset of a publication (program) or work “for journalism” on sporadic orders. At the same time, among media employees there are more and more journalists with academic degrees and titles in the fields of economics and law, international relations and history, biology and medicine, ecology, etc. These are both scientists who came to journalism and journalists who became scientists - candidates and doctors of science. However, the problems solved by journalism with the help of scientists are so extensive and so significant that “ordinary” journalists are also required to master the skills of working with scientific literature, data banks, and operational scientific information. Penetration into the language of science, rigor in handling scientific concepts, data, concepts, everyday business communication with scientists - all these are important qualities of journalists needed in everyday work. But at the same time, a journalist must certainly remain a journalist who “serves” a mass audience, who can see and show the connection of scientific knowledge with pressing issues of our time.

Artistic type of creativity is also widely represented in journalism, and in a number of television and radio programs, in thick magazines and some other media, works of art sometimes occupy a predominant place. The role and place of the artistic type of creativity in journalistic activity (both of the journalists themselves and of the literary and artistic figures involved) are determined by the ability of artistic works to actively participate in the formation of a worldview, in the creation of an artistic picture of the present, past and future. Works of art play a huge role in the emotional and figurative orientation of the audience in the life of society.

That’s why it’s so important to have artistically educated and gifted employees working in journalism. After all, selecting, and especially specially ordering, works of this type of creativity is possible only with knowledge and artistic taste, combined with a journalistic vision of the problems of our time. When organizing “broadcasts” of works of art, the journalist is faced with the task of preparing comments that accompany the publication of stories, novels, novels, poems, inclusion of performances, films and concerts in the program, and reporting from exhibitions, museums and private collections of collectors. The role of these comments is connect selected works with pressing issues of the day. Organically introducing works of art into the structure of an issue or program is not an easy task, requiring a combination of journalistic qualities and artistic taste. This is especially necessary when special programs are created based on works of art (musical and poetic compositions, radio films about the work and life of composers, musicians, television series about artists, sculptors, architects, “travels” to museums, architectural ensembles, etc.) .

In this regard, in journalism (especially on television and radio), a special group of creative personnel is being formed - these are people who have acquired a “second specialty” as art critics, artists, as well as professional journalists who have joined the world of art.

However, despite the importance of scientific and artistic works, the leading place in journalism is occupied by works of journalistic type of creativity. And this is understandable: journalism as a type of creativity was formed to “serve” public opinion, and interaction with public opinion is the central task of journalism. If we also take into account that works of journalism, in one way or another, carry fundamental information related to worldview, worldview and historical consciousness, since a journalist’s reflections on current events cannot but rely on deep layers of his consciousness. Naturally, therefore, the role of journalism for journalism turns out to be “doubly” significant. Since, while “serving” public opinion, it also, to one degree or another, “works” for other components of mass consciousness.

Journalism (Latin publicus - “social, popular, public”) as a type of creativity “accompanies” the entire history of mankind (originating in the syncretism of thinking and forms of verbal communication in primitive society), although the word “journalism” itself came into use in the first half XIX century in Russia. At the same time, the concept of “journalism” is still interpreted differently by different scientists. Some consider all works of socio-political topics to be journalism; others are mass political texts; still others are polemically sharp works; fourth - article genres of journalism, excluding essays and reporting works. There are other opinions.

If we consider journalism as a creative form that arose to “serve” public opinion as a special component of mass consciousness, we can (in accordance with the needs and characteristics of public opinion) identify a number of characteristic features of journalism as a type of creativity.

First of all, journalism, with the totality of its works, with the normal functioning of the media, recreates a complete panorama of modernity as a “moment” of transition from the past to the future. Connected with this is the characteristic feature of publications and programs that they are composed of many works and constitute a kind of unity in diversity. In this way, current history can be presented in its entirety.

In this regard, it is clear that journalism reflects reality through many individual, most characteristic specific situations. Each situation is a complete fragment present. Therefore, knowledge about the situation includes both the event side and the idea of ​​the “acting” persons” of this situation, their positions, statements, actions, and a vision of everything surrounding it, including the reasons for its occurrence and dynamics, etc.

The panorama of modernity in journalism consists of many works. Each of them has independent value, but it acquires its true meaning only when it is combined with others on a newspaper page or in a TV program. Only by displaying (through many specific situations) all the richness of the thematic layers of life in its characteristic manifestations can journalism fulfill its duty to public opinion in creating a panorama of current situations.

Of course, the objective panorama of current events in journalism is of a meaningful subjective and personal nature, i.e. contains not only selected facts, but also opinions about them. In accordance with the direction of each publication (program), a unique “picture” of life is created and its own assessments are given. In different media, the journalistic lifestyle takes on different features, both in nuances and in general. Therefore, it is important for each media outlet to note how the picture it presents differs from the rest. Otherwise, the reader will have to either turn to other media or trust the only one.

When conveying moments of current history, considering developing, unfinished events, it is extremely difficult to reveal their underlying causes (often not lying on the surface), to show the significant connections of some events with others and to determine the possible consequences of what is happening. But this difficulty should not be a reason for refusing to display and evaluate hot events; on the contrary, it should increase responsibility for judgments, lead to caution and prudence (expressed in some cases by reservations such as “one can assume”, “it seems”, “apparently” etc.). Is it by chance that historians, after decades and even centuries, argue about the essence and meaning of many events, phenomena, and persons?

Possible errors in the reflection of unfinished fragments of life with insufficiently clear reasons and motives require amendments, additions and clarifications in subsequent issues so that the presented changing picture of reality remains as adequate as possible.

Due to the fact that public opinion always judges life holistically, journalism also holistically examines the phenomena of reality, i.e. is obliged by its nature to give their characteristics with the participation and at the intersection of political, economic, legal, ethical, aesthetic, philosophical approaches to life situations. In those cases when any of these approaches to understanding certain phenomena becomes leading, works of journalism of special types arise (political, philosophical, legal, etc.).

An important feature of journalism is also its syncretism, those. the use of both scientific, rational-conceptual and artistic, emotional-figurative means at the same time. This is also due to the nature of the reflection of reality in public opinion, which is syncretic in nature. Of course, in different situations and with different publicists, the “proportions” of the conceptual and figurative can change significantly, but the combination of both is inevitable.

Due to the fact that journalistic works arise as a reflection of diverse fragments of reality, recorded in different ways, the journalistic “picture” of life consists of works of different genre forms. These genre forms are very diverse and comprise several groups. Group reportage works(notes, reports, interviews, reports) provides a predominantly event-based snapshot of current phenomena, recording events and the opinions of participants and witnesses about them. These genres require a broad appeal to facts and maximum efficiency in reporting them with a minimum of commentary “from a publicist.” Group article genres(correspondence, comments, articles, reviews) is mainly occupied with a journalistic understanding of the phenomena of life, revealing their essence, developing problems and ways to solve them. Essay genres(essays, feuilletons, pamphlets) are aimed at depicting major typical characters of modern history, presenting a panorama of life in its personal manifestation. Of course, the report will also present individuals in one way or another and provide the beginnings of an analysis of events, and in the article the publicist will turn to both the characteristics of the participants and the reporting of facts. But the focus of each group of genres are events, phenomena, and characters, respectively.

Finally, it should be borne in mind that the deep development of life situations in this way represents the current reality in a journalistic work, that the generalizations contained in it are capable of shaping the worldview of readers, leaving a mark on the historical consciousness of the audience and its worldview.

Being the central type of creativity in journalism, journalism inevitably influences the works of other types. This manifests itself in them as journalisticism, i.e. enriching scientific and artistic works with the features of journalism - primarily by raising modern questions and answering the needs of a modern audience in connection with the problems of current reality.

To become a publicist, it is not enough to have an inclination and ability for this field of activity; it is not enough to have the desire to actively serve public opinion (although all this is certainly necessary). It is also important to have methodological culture, on the basis of which inclinations, abilities and aspirations can be realized in the best possible way.

Methodology (Greek methodos - “path”, “way of studying”; logos - “concept”, “teaching”) is a body of knowledge about the essence, system and methods of activity in a given field, ensuring the effective solution of creative problems. The methodological culture of a journalist is formed at least on the basis of knowledge and skills from four areas that are organically connected with each other. This is a general methodology of social cognition, a general journalistic methodology, a methodology for obtaining empirical data and a methodological basis for interpreting the information obtained. Schematically, this system can be represented as follows:

The basis of the methodological culture of a journalist, like any social and political figure, is general methodology of social cognition. Its core is the social philosophy that the journalist adheres to, i.e. a system of ideas about the laws on the basis of which society functions and develops (in the range between strict economic determination and the idea of ​​the will of historical figures determining history). The general methodology also includes knowledge of the material of specific social sciences: economic doctrines, political science, management theory, jurisprudence, ethics, religious studies, etc.

A journalist cannot do without orientation in the field of epistemology, logic, sociology and social psychology, history, literature and art. Specializing in a particular area, he needs to turn to the relevant scientific disciplines that “describe” this area (theory of the state or knowledge in the field of sports, agricultural science or advertising, cultural theory or the basics of family life, etc., etc. .). In other words, due to the specific nature of journalism, media workers have to be universal social thinkers and, at the same time, experts in a particular area of ​​life. The lack of necessary knowledge or the inability to use it in creative and cognitive activity deprives the work of a journalist of fundamental guidelines and leads to a superficial approach to the phenomena of life, fraught with erroneous judgments that mislead the audience.

The second component of a journalist’s methodological culture is general journalistic methodology. This includes the entire body of knowledge about journalism as a field of mass information activity used in the creative process, any knowledge about journalism - from the essence of mass information and its functions to the laws of creative activity. The use of this knowledge sets a specific, moreover, accentuated journalistic framework for creative search and therefore not only constitutes an addition to the general methodology of social cognition, but gives its use a specific character characteristic of journalism. In particular, knowledge of the specifics of journalism determines the features of using the laws of historical and logical, artistic and scientific knowledge, the principles of concreteness, consistency, practicality of knowledge, etc.

The third area of ​​methodological culture is methods for obtaining empirical data, gathering facts. The totality of these methods includes knowledge and skills in the field of organizing observation, conducting surveys (interviewing, questionnaires), studying documents (official, personal, etc.), and conducting, if necessary, an experiment (real, model, mental). Mastery of information collection methods also includes the ability to work in archives and libraries, maintain dossiers and notebooks, and document the data obtained in order to have sufficient confidence when publishing facts.

Not any information obtained by a journalist is a fact. A fact can be called, firstly, such information that reflects what actually happened and allows verification. At the same time, it is important to distinguish between documented information (endorsed text of an interview, a properly made copy of a document, an exact reference to a book or article, etc.) and facts of the type “as learned from credible sources” or (in extreme cases) rumors. Operating with such information (as well as data obtained in actual conversations, but not documented) requires special reservations.

Secondly, a fact is usually called significant, significant events, statements, actions that play an important role, while small, insignificant, uncharacteristic phenomena of reality are called facts, suitable only for mention “by the way.” The question of the specificity of a fact is directly related to the social position and methodological approaches of the journalist: an incorrect methodological basis leads to incorrect approaches to collecting and evaluating the information received, incorrect thinking leads to the fabrication of false facts. They also talk about “factoids” - what they “talk about”, but which has no evidence.

Finally, the fourth sphere of methodological culture of a journalist is methods of interpretation, evaluation and explanation of the obtained facts, development of conclusions and recommendations, formation of the general concept and real content of the future work. Interpretation methods allow you to “gather” the obtained facts into a holistic picture of the phenomenon, establish relationships between individual situations and characterize the role and significance of each of them, reasonably express your assessment and draw conclusions in accordance with the actual nature of an event, its dynamics, true significance for life. The objectivity of consideration and assessment of current life is ensured by correct initial methodological premises, a deep understanding of the current patterns of functioning and development of society. It is this knowledge that provides the methods and nature of data interpretation. After all, each situation must be shown in broad historical connections, taking into account the factors that give rise to its features and properties, which again is determined by the social position of the journalist, the ability to apply adequate “measures” to a specific situation. This also determines the measure of accuracy of characteristics and assessments.

Theoretical knowledge in the field of methodology of journalistic and publicistic activities finds practical application in the process of creating journalistic works.

Incentive motive initial stimulus the creative activity of creating a specific work can be influenced by various factors - an assignment from the editorial office, a question that has excited the journalist, an “order” in a letter, an unusual fact that has come into his field of vision, a conversation he accidentally overheard, etc. If this is recognized by the journalist as a problem requiring his intervention, an initial stimulus appears, which is often called a “trigger mechanism.” Thanks to him, all the “reserves” of knowledge of the journalist, his accumulated experience, skills and abilities of creative work are activated and put into action. In other words, the methodological culture of the journalist is “launched” and brought into working condition. Due to its development and authenticity of the creative situation, the primary comprehension of the material leads to the initial formation of an idea - a still unclear idea of ​​the future work, with many options (sometimes even mutually exclusive).

In the plan, first of all, the possible future content of the work is determined - its theme (Greek theme - “founded on the basis”), the totality of life phenomena that will be discussed; problem (Greek problema - “put forward, task”) - a question considered on given life material; idea (Greek idea - “thought, knowledge”) - conclusions, judgments, opinions, proposals that will be substantiated and proven when solving the questions posed on the material of the phenomena of reality under consideration. Along with this, albeit vaguely, in various versions, an idea of ​​the form of the work is formed - an outline of a genre, compositional, stylistic solution.

In the original plan, the components of content and form are predominantly in the state of hypotheses (Greek hipothesis - “assumption”, “probable basis”) - possible, proposed solutions. Their multiplicity does not harm, but, on the contrary, helps the work of the publicist, whose further activity consists in “arranging” existing and newly collected material in a certain way, so as to confirm, refute or modify hypotheses.

Work on hypotheses during development, modification, clarification of the plan and turning it into a completed one concept of a future work the publicist conducts on the basis of his methodological culture, which at this stage determines the nature of his creative activity. Preparedness for solving creative problems may turn out to be insufficient, and then there is a need for additional preparation, and sometimes for significant changes in the adopted approaches. The “openness” of a life publicist must be very high, so that dogmas do not fetter his thoughts and do not give rise to stereotypical decisions. Only in this case is a complex, creative search for facts related to the topic, creation of a holistic picture of the situation under consideration, development of problems and formation of the ideological content of the work and its “design” possible.

The final phase of the creative act - creation of the text of the work- is also guided by various components of the journalist’s methodological culture. The specificity of the processes and results of creating a text depends on the characteristics of knowledge and understanding of journalistic theory, and on its individual creative qualities, personal experience and inclinations, intuition, the nature of fantasy, style of thinking and feeling, etc.

Mastering methodological culture, developing creative qualities, skills and abilities require tireless work, studying the laws of creativity, knowledge of the works of masters of journalism, penetrating into their creative laboratory, accumulating and comprehending one’s personal experience, and this work must continue unceasingly.

At the first stage of creative life, the primary knowledge, skills and abilities of a journalist are formed, technological beginnings in the field of editorial, organizational, author's work in various media. On this basis - depending on abilities and education, tested by experience - the opportunity arises to rise to the next level of professional creative activity - to master the art of journalistic creativity. Art presupposes skillful mastery of a profession, accessible to those who are more experienced in creativity, have formed their personal taste and internally established themselves in the profession (passed the test). Art presupposes the originality of the creative appearance.

If technological techniques (if you have abilities and inclinations) can be learned, and art can be mastered in the process of work, then mastery is the highest level of creative activity. You can become a master only by independently realizing your talent. If at the technological level, mainly the results of learning, routine, reproductive capabilities are manifested, and at the level of skill, a kind of balance of routine and unique qualities of a journalist arises, then the master, of course, has a predominance of unique properties, realized in works that have the greatest impact on mass consciousness.

Creativity in its most general form is the emergence of something new in any area of ​​human practice. As a result of the creative act, new realities are created, which together form culture. These realities can represent material values ​​and are characterized by a material-energy nature (tools, knowledge, lighting fixtures); their creation is associated with the biological nature of man; may represent spiritual values, characterized informational nature(works of science, literature, art), or in other words information products. The impetus for the creation of new realities of an informational nature is human information needs. Information needs arise in connection with the cognitive process and the need for communication, determined by the social role of a person, his responsibilities, and lifestyle. An information product is designed to satisfy human information needs.

The specificity of the information product is that it is an inextricable unity of knowledge and creativity. Consequently, the creation of an information product includes both of these sides. Each person cognizes objective reality by creating its image in his inner world directly through his own contact with it or indirectly through information products created by other people.

No person can acquire the knowledge he needs about the world based only on his direct experience. For the comprehensive orientation of the individual, the collective, and society, information accumulated by humanity throughout its long history and continuously supplemented today is used. Information that arises in the process of human exploration of the world is social. A higher level of human interaction with reality is the creation of social information and information products.

Social information is produced in the process of human activity, reflects facts from the point of view of social significance and serves for communication between people and their achievement of their goals determined by their social status. Creating information products is creativity. In the flow of information circulating in society, journalistic information stands out. Journalistic information is perhaps the most social in its significance and prevalence.

The specificity of journalistic information lies in the unity of spiritual (informational) and social-administrative principles.

IN spiritually journalistic information is characterized by: - ​​ideological richness (since the audience should not only get acquainted with journalistic material, but also assimilate ideas and views); - relevance (which consists of topicality, acuteness of topics); - popularity (intelligibility): no matter what genre the journalist works in, his message must be clear and understandable: the language should not contain special terms if they are not explained by the journalist and are addressed to a mass audience; complex stylistic constructions, phrases, vague hints should be avoided, associations.

IN social and managerial relation journalistic information is characterized (according to G.V. Lazutina):

First of all, this is novelty: journalists report everything new, what has changed or should change; The media help people adjust their behavior, their actions, their intentions taking into account new living conditions or influence the actions of authorities and other organizations in order to prevent negative changes in real life; Not all facts are of interest to a journalist, but primarily news; every professional strives to find information that would be at the same time useful, necessary and interesting;

The next important feature is efficiency: a journalist must convey information quickly, because the news may become outdated;

Korkonosenko adds to this: documentaryism in reflecting reality (facts, accuracy), authenticity (in contrast to the artist, for whom the main thing is to create an image); brevity of the material,

Analyticity (reserve for increasing the effectiveness of the influence of the press on the audience),

Thus, journalistic information combines the documentary validity of the information, its interpretation from the standpoint of social interests, and evidence of the author’s personal perception of the observed events. In addition, according to Lazutina, journalistic information must contain news, be prompt, relevant, meet the needs of the audience, be interesting, useful and understandable to readers.

Journalism is permeated with creativity; it is creativity by definition. A journalist has to make decisions in specific conditions, refuting patterns that have consistently existed in social practice and in the public consciousness, and one way or another create something new.

The beginning of creative activity for a journalist is given by the information-control connections of a person and his environment, which allow him to receive, retain, accumulate, and process information signals from the environment, turning them into an information product.

Creative activity exists in two forms: amateur (amateurism) and professional. The first is a voluntary activity of those who wish, the second is an institutionally organized performance of duties for the production of certain information products in society by relevant professional groups. Journalists are one of the professional groups. Journalistic creativity is incompatible with amateurism and incompetence. The work of a journalist is professional, i.e. is subject to certain laws, given algorithms, depends on knowledge, training, practical skills, corporate traditions.

In journalistic creativity, the desire to create something new and original is inseparable from fulfilling strict responsibilities and tasks. The creativity of a journalist is limited by strict laws and placed within a clearly defined chronological framework.

The specificity of journalistic creativity is that, unlike artists, journalists participate not in artistic, but in social and cultural creativity. Their main task is to change, develop the elements of culture, create its value-normative coordinates, and culturally equip social processes. Or in other words, the creation of information products for operational use, designed to promptly change reality.

Thus, the specificity of journalistic creativity is determined by the characteristics of the product of journalistic activity - journalistic information.

CREATION- Creation of cultural or material assets that are new in design.

Value- importance, importance, benefit, utility anything

Mastery - High art V some region

Skill - Ability do smth., based on knowledge, experience, skill.

Journalistic creativity as a professional activity

Creativity in its most general form is the emergence of something new in any area of ​​human practice. As a result of the creative act, new realities are created, which together form culture. These realities can represent material values ​​and be characterized by a material-energy nature (tools, knowledge, lighting fixtures) - their creation is associated with the biological nature of man; may represent spiritual values, characterized informational nature(works of science, literature, art...), or in other words – information products. The impetus for the creation of new realities of an informational nature is human information needs. Information needs arise in connection with the cognitive process and the need for communication, determined by the social role of a person, his responsibilities, and lifestyle. An information product is designed to satisfy human information needs.

The specificity of the information product is that it is an inextricable unity of knowledge and creativity. Consequently, the creation of an information product includes both of these sides. Each person cognizes objective reality by creating its image in his inner world directly through his own contact with it - or indirectly through information products created by other people.

No person can acquire the knowledge he needs about the world based only on his direct experience. For the comprehensive orientation of the individual, the collective, and society, information accumulated by humanity throughout its long history and continuously supplemented today is used. Information that arises in the process of human exploration of the world is social. A higher level of human interaction with reality is the creation of social information and information products.

Social information is produced in the process of human activity, reflects facts from the point of view of social significance and serves for communication between people and their achievement of their goals determined by their social status. Creating information products is creativity. In the flow of information circulating in society, journalistic information stands out. Journalistic information is perhaps the most social in its significance and prevalence.

The specificity of journalistic information lies in the unity of spiritual (informational) and social-administrative principles.

IN spiritually journalistic information is characterized by: - ​​ideological richness (since the audience should not only get acquainted with journalistic material, but also assimilate ideas and views); - relevance (which consists of topicality, acuteness of topics); - popularity (intelligibility): no matter what genre the journalist works in, his message must be clear and understandable: the language should not contain special terms if they are not explained by the journalist and are addressed to a mass audience; complex stylistic constructions, phrases, vague hints should be avoided, associations.

IN social and managerial relation journalistic information is characterized (according to G.V. Lazutina):

First of all, this is novelty: journalists report on everything new - what has changed or should change; The media help people adjust their behavior, their actions, their intentions taking into account new living conditions or influence the actions of authorities and other organizations in order to prevent negative changes in real life; Not all facts are of interest to a journalist, but primarily news; every professional strives to find information that would be at the same time useful, necessary and interesting;

The next important feature is efficiency: a journalist must convey information quickly, because the news may become outdated;

Korkonosenko adds to this: documentaryism in reflecting reality (facts, accuracy), authenticity (in contrast to the artist, for whom the main thing is creating an image); brevity of the material,

Analyticity (reserve for increasing the effectiveness of the influence of the press on the audience),

Thus, journalistic information combines the documentary validity of the information, its interpretation from the standpoint of social interests, and evidence of the author’s personal perception of the observed events. In addition, according to Lazutina, journalistic information must contain news, be prompt, relevant, meet the needs of the audience, be interesting, useful and understandable to readers.

Journalism is permeated with creativity; it is creativity by definition. A journalist has to make decisions in specific conditions, refuting patterns that have consistently existed in social practice and in the public consciousness, and, one way or another, create something new.

The beginning of creative activity for a journalist is given by the information-control connections of a person and his environment, which allow him to receive, retain, accumulate, and process information signals from the environment, turning them into an information product.

Creative activity exists in two forms - amateur (amateurism) and professional. The first is the voluntary work of those who wish, the second is the institutionally organized performance of duties for the production of certain information products in society by the relevant professional groups. Journalists are one of the professional groups. Journalistic creativity is incompatible with amateurism and incompetence. The work of a journalist is professional, i.e. is subject to certain laws, given algorithms, depends on knowledge, training, practical skills, corporate traditions.

In journalistic creativity, the desire to create something new and original is inseparable from fulfilling strict responsibilities and tasks. The creativity of a journalist is limited by strict laws and placed within a clearly defined chronological framework.

The specificity of journalistic creativity is that, unlike artists, journalists participate not in artistic, but in social and cultural creativity. Their main task is to change and develop the elements of culture, create its value-normative coordinates, and culturally equip social processes. Or in other words, the creation of information products for operational use, designed to promptly change reality.

Thus, the specificity of journalistic creativity is determined by the characteristics of the product of journalistic activity - journalistic information.

Due to the specifics of journalistic information, the main criterion of professionalism in journalistic creativity can be called the ability to convey the social significance of the material. Hence the peculiarities of the creative content of the journalist's profession - the active interaction of the journalist with social reality, a special requirement - objectivity. (Factors that reduce objectivity: 1) general laws of cognition (the human psyche cannot reflect a single fragment of reality in full); 2) the creative nature of consciousness (the ability to “replace” any “cut off” essential connection with an inessential one); 3) the nature of the circumstances in which the journalist’s work is carried out).

Cultural studies and art history

Journalistic creativity today. Creativity in journalism has a personal aspect and presupposes the presence of abilities thanks to which a text is created that is distinguished by novelty, originality, and uniqueness. Journalistic creativity exists among other types of creativity. Life is creativity and therefore history is creativity.

65. Journalistic creativity today.
The socio-political formation has changed, and journalism has also changed. Analysis, research and highly artistic journalism have been replaced in journalism by cursory information, commentary, versioning of events and sensationalism. The high principles of morality and ethics that have always existed in Russian and Soviet journalism have almost disappeared from the Russian media.
Journalism today reflects the interests and aspirations of the Russian ruling elite and regional elites. Journalism is increasingly becoming information capital. Capitalizing, journalism today competes in the skill of gossip, intrigue, and mastery of paparazzi techniques. Journalism is rapidly turning yellow.
The owners of the modern press, publishers, and founders vying with each other to say that yellowishness and porno-sexological topics are necessary in the newspaper. The reader needs them. These include the editor-in-chief of the newspaper “Komsomolskaya Pravda” and the general director of the publishing house “Komsomolskaya Pravda” V. Sungorkin.
A lot of space in a modern newspaper is taken up by custom materials. The editors and journalists are paid for the prepared material. And the journalist here obediently fulfills the will of the customer, his conceptual guidelines. Naturally, there is little left of creativity here.
Creativity is rare in modern journalism. More than anything else, we see the craft of journalism on the pages of newspapers. The craft is the skills of journalistic work. As a rule, the materials of a craft journalist are not very deep, superficial, and often cliched.
The second step on the path to creativity is mastery. It presupposes mastery of all types of journalism genres. Knowledge of the secrets of composition and material concepts. Journalism has its own stylistic characteristics.
The third step on the path to creativity is talent. Talent means a high level of development of abilities. The presence of talent in journalism should be judged by the results of the journalist’s activities, which should be distinguished by fundamental novelty and originality of approach.
The creativity of a journalist is an activity that results in the creation of new highly artistic texts that have great moral and spiritual significance. Creativity in journalism has a personal aspect and presupposes the presence of abilities, thanks to which a text is created that is distinguished by novelty, originality, and uniqueness.
The English scientist G. Wallace identified four stages of the creative process: preparation, maturation, insight, verification.
The central, specifically creative moment was considered insight intuitive grasp of the desired result.
Journalistic creativity exists among other types of creativity. For example, the creativity of an actor. K. S. Stanislavsky put forward the idea of ​​superconsciousness as the highest concentration of the spiritual forces of the individual in the generation of a creative product. K. S. Stanislavsky understood superconsciousness as the highest stage of the creative process, different from its conscious and unconscious components. Superconsciousness in creativity, according to Stanislavsky, acts as a mechanism of creative intuition.
Creativity is the experience of a journalist who knows what he wants to say, on behalf of whom to say it and in the name of what to say. Journalistic creativity is multifaceted. Its origins are in socio-political life, economics, history, philosophy, culture, etc.
“Life is creativity, and therefore history is creativity. Creation is a sacrifice...”, wrote the Russian philosopher Sergei Nikolaevich Bulgakov. So, according to Bulgakov, creativity stems from life, from its diversity. Therefore, in order to become a real creator, a creative person, a journalist must deeply understand life and its deep processes.
“...it is in the power of journalists and non-professional newspaper volunteers to remove partitions, create a sense of unity in our diverse life, and show people with a fresh look how interesting their work is, how connected it is with everything that is happening around them.
Really, these are not empty words: an exciting life full of surprises goes on everywhere, even in the most boring-looking institution with its long-established, unchanging order,” wrote A. Z. Rubinov.
Knowledge of life, life situations, the ability to analyze them are inherent in journalistic creativity. Journalistic creativity has many components. The main tool of creativity is the word. The creator of the word, his master A. M. Remizov wrote: “The world is a dictionary. You can scratch me with a word and seduce me.”
The word plays a leading role in a journalist’s work. It is the word that helps the journalist reflect the desire to create a text that expresses something new, previously unpublished. A new twist on a theme, or a new theme, composition or concept.
Creativity is a difficult and multifaceted, multifaceted process. Creativity is not born in a vacuum. There are many components in its anticipation. And the most important component of creativity is work. The daily work of writing. “You need to write every day, not just for exercise; a verbal person blooms like a flower. And often you yourself don’t know what other flowers and leaves the soul keeps.”
Yes. true creativity loves work. Hard work, up to a sweat.
The creative state is a difficult and uncomfortable thing. The poet N. Zabolotsky, referring to creativity, wrote: “In order not to pound water in a mortar, the soul must work day and night, and day and night.”
Yes, now there is a lot of “water” in journalistic creativity. “Information water” has filled newspaper pages, television programs, and radio stations.
In the story by Yu. Nagibin “The typist lives on the 6th floor” I read: “Creative state internal aggravation.”
Without a creative state, creativity is impossible. True creativity is preceded by a lot of painstaking work. The state of the threshold of creativity was well expressed by V. A. Soloukhin. Here's what he wrote:
“Oh, the whiteness of a sheet of paper!
Not a curl, not a dash, not a sign.
Not a thought, not a blot. Dumbness.
And blindness. Neutral paper.
While it is vast and pure
You need either naivety or courage
For the first spotting step
You will leave a mark and you will not erase the trace.”
Many journalists have left and will leave their creative mark on journalism. Different topics, different methods and methodologies of journalistic creativity make this creative trail unique and unique.
In the multi-themed, multi-colored creativity is our wealth, our heritage. Naturally, this wealth is used to one degree or another in journalism. And therefore, journalistic creativity of each era, based on what has been achieved, has every opportunity for creative growth.
Many interesting, creatively thinking journalists have worked and are working in Russian, Soviet, Russian journalism these are Gleb Uspensky, Vladimir Korolenko, Vladimir Gilyarovsky, Vlas Doroshevich, Anton Chekhov, Alexander Gorky, Larisa Reisner, Mikhail Koltsov, Boris Polevoy, Konstantin Simonov, Pyotr Lidov, Valentin Ovechkin, Efim Dorosh, Anatoly Gudimov, Evgeny Ryabchikov, Tatyana Tess, Anatoly Agranovsky, Andrey Vaksberg, Olga Tchaikovskaya, Yaroslav Golovanov, Anatoly Rubinov, Valery Agranovsky, Vasily Peskov, Yuri Rost, Alexander Nevzorov, Boris Reznik, Alexander Minkin, Dmitry Kholodov, Andrey Loshak, Fyodor Pavlov-Andreevich, Dmitry Sokolov-Mitrich and many other journalists who worked and are working in the central media.
Master journalists also work here in the provinces. Irkutsk media is also rich in creative personalities. Among them, I would name Yuri Udodenko, Lyubov Sukharevskaya, Alexei Komarov, Tatyana Sazonova, Nadezhda Kuznetsova and others. Their work has received wide recognition from readers and listeners. Their materials are awaited, read, listened to...

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