Actions for actors manual#
Actions for actors full#
Actions for actors professional#

The term cross- media refers to the integration of multiple media platforms. Thus, the nature of who or what-whether human actor or nonhuman technological actant-guides message formation and circulation, and how such media-shaping takes place in relation to whom (certain kinds of audiences) may require some rethinking.įor the study of institutional news production particularly and news work more generally, there is a scholarly need for theoretical frameworks that accommodate and account for the shifting character of these elements and the interconnections among them: human actors (e.g., journalists, technology specialists, and businesspeople) technological actants (e.g., algorithms, networks, and content management systems) and audiences (e.g., assemblages of audiences distinct to certain platforms, devices, or applications)-all potentially intertwined in the activities that constitute cross-media news work.

Actions for actors professional#

Perhaps most visibly among these changes, new configurations involving social actors, technological actants, work-practice activities, and different kinds of audiences have become interlinked in ways that confound boundaries between production and consumption, professional and nonprofessional, and intra- and extra-organizational domains. This article’s ultimate contribution is a cross-media news work matrix that illustrates the interconnections among the Four A’s and reveals where opportunities remain for empirical study.Īmid the widespread diffusion of digital information technologies, the mediascape is changing in various ways.

Actions for actors manual#

This emphasis addresses two shortcomings in the journalism studies literature: a relative neglect about (1) the interplay of humans and technology, or manual and computational modes of orientation and operation, and (2) the interplay of editorial, business, and technology in news organizations.

Actions for actors full#

We argue for developing a sociotechnical emphasis for the study of institutional news production: a holistic framework through which to make sense of and conduct research about the full range of actors, actants, and audiences engaged in cross-media news work activities.

This article explicates each of these elements-the Four A’s-in the context of cross-media news work, a perspective that lends equal emphasis to editorial, business, and technology as key sites for studying the organizational influences shaping journalism. So, take action.In contemporary journalism, there is a need for better conceptualizing the changing nature of human actors, nonhuman technological actants, and diverse representations of audiences-and the activities of news production, distribution, and interpretation through which actors, actants, and audiences are inter-related. It requires courage, it requires bravery and it’s not easy, but if you can work off the other actor, if you can understand a script, your last step is to take action. One of the most difficult lessons to teach someone is to stop them pretending and to let them leap out and just take action. Of course, it’s not that simple, but I suppose what I’m saying is that if you are given the actions to perform, quite a lot of the rest takes care of itself. When you perform the psychological actions of the character, you become engaged on all levels, you are emotional, mentally and physically connected to what you are doing.

What’s more, it is not that you need to become the character, but that by taking the actions of the character, the character becomes you. You do not need to believe you are someone else, you need to take actions on the character’s behalf. All the very best actors are doing is taking action under the imaginary circumstances of the scene. Something to head towards, a target to give their action some direction. I’m not saying that they shouldn’t think, feel and emote, just that the over-concentration on these things is unnecessary and so let us focus on the actions of the actor as the mainstay of any technique of acting, if such a technique is necessary.īut for the actor to take action, they must first have a clearly established goal. When you give an actor a clear ‘something to do’, they come alive, they take action, they act. It’s not thought, it’s not feeling, it’s not emotion: no one knows the thoughts, feelings and emotions of fictional people.