Emily Bell’s 2015 Hugh Cudlipp Lecture in full

emily bell gesture

Emily Bell shares her view of the future of digital journalism. © Lewis Bush

On Monday 26 January 2015, Emily Bell, Founder Director to the Tow Centre for Digital Journalism at Columbia Graduate School of Journalism in New York City, gave the annual Hugh Cudlipp Lecture here at LCC.

As former Editor in Chief of the Guardian’s websites and director of digital content, Emily led the strategy to make the Guardian an open platform for journalism.

View images from the event on Flickr

Now in its twelfth year, the Lecture – named in memory of the late Lord Cudlipp, former Editorial Director of the Daily Mirror – also serves as a platform for the Hugh Cudlipp Award.

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Ryan Ramgobin and Adam Barr, ‘The Referendum Boys’, accept their award for student journalism. © Lewis Bush

This year’s student journalism prize of £2,000 went to Ryan Ramgobin and Adam Barr, ‘The Referendum Boys’, for their outstanding on-the-ground coverage of the Scottish Referendum from Glasgow city centre.

LCC has been the proud host of the Hugh Cudlipp Lecture since 2005 and we once again partnered with The Daily Mirror for the event.

Emily Bell’s speech, on journalism’s response to the changing digital landscape, can be found in full below:

Good evening everyone, I want to thank Natalie Brett, Karin Askham, Paul Charman, the Cudlipp Trust, London College of Communication, UAL, the Daily Mirror, and Hugh Cudlipp in absentia for giving me the great honour of talking to you all tonight.

I was a tabloid journalist for one day.

This is not the beginning of a Daily Mail confessional but a statement of fact.

I did one shift on the Londoner’s Diary at the Evening Standard when I was a student. The highlight of the day, and probably my career, was lunch in the pub with Keith Waterhouse – for the students here looking bemused, in those days lunch in the pub with Keith Waterhouse for a student journalist would be the equivalent today of Taylor Swift liking your tumblr post and sending you a box of biscuits. Despite bonding with Keith and writing a lead item after three gin and tonics, I was sacked. Or rather not asked back. Not it seems for being drunk at my desk, that seemed entirely expected, but for not being posh enough.

I had a posh name, I went to a posh University so they assumed I would be posh – a conduit for the goings on in Eton Square. So before you say what does a Guardian journalist who teaches at an Ivy League university know about tabloid journalism, I just want you to know, I was once a tabloid journalist but not posh enough to make a career out of it…

Tonight I want to talk to you about the ‘Digital Tabloid’.

What is happening to popular journalism on the web. Tabloids always had the biggest reach, the largest impact, the most flexible standards. On the web, however, we are seeing the tabloidisation of everything. I don’t mean this as a negative. Far from it. All news outlets need numbers in the web economy that are vastly greater than they had in an analogue world firstly to make the economics work and secondly to have an impact. The demands of web scale economics have torpedoed the local news model; they have also driven great invention and a new set of entrepreneurial skills into journalism.

But attaining size in the world we are going into means surrendering control to the systems that deliver it. Going viral is a goal in nearly all newsrooms. The protocols and networks that deliver it were never conceived with the idea of journalism in mind.

I think this has brought us to a very interesting and challenging moment in the press and in broader society. The ‘too long didn’t read’ version of this speech is journalism needs a lot more journalists who are technically proficient, and the new gods, the platform companies, social networks and search engines, need to hire a lot more technologists who are proficient in news. Because at the moment we have a situation which is not working for either of us.

Those of us engaged with what journalism is and will be, who have a direct and vested interest in the protection of free speech and standards for information have a lot to do, and we need to work together, because we are now part of one continuous global information loop.

Hugh Cudlipp – Lord Cudlipp, as he became – understood that to have authority, impact and a business model you had to achieve scale. And he did. At its peak of 5 million the Daily Mirror was the bestselling newspaper in the world.

It achieved that by a combination of three things: a strong sense of what role journalism could play in the lives of its audience, great reporting and courageous independent editing, and a thorough knowledge of how to put contemporary technology to the service of journalism.

Cudlipp was highly creative within the boundaries of his time. I wonder now, confronted with unbounded possibilities, what would Hugh Cudlipp do?  How would he interpret the job of the editor and journalist in the digital age?

When he was appointed editorial director of the Mirror in 1952, newspaper groups were the big beasts in the information landscape. They were the way that people found out about the world, their only competition coming from BBC radio news and from newsreels. At that time, there was not really a proper television news service.

Even during the rise of TV news, which changed journalism profoundly, newspaper businesses retained a dominant position in the media industry and in popular culture.

The internet and the worldwide web have transformed that landscape.

We are seeing unimaginably large new entities, which get their size from publishing not just a selected number of stories but everything in the world.  Social networks and search engines are the masters of this universe.

As we see the disappearance of print as a significant medium, and the likely decline of broadcast television, the paths our stories and journalism must travel down to reach readers and viewers are being shaped by technologies beyond our control.

A recent study from the Pew Research Center suggested that 39 per cent of Americans had seen news on politics and government on Facebook in the past week. Another Pew study confirmed that thirty per cent of US adults consider Facebook to be a key source of all news.

In Britain, the number of people getting their news from social media is rising. A poll for Havas, quoted in the Press Gazette in October, found 27 per cent of people used Facebook as a source for local news, and 11 per cent used Twitter. The platforms might change, next year WhatsApp, the year after who knows, but the behaviour will not – these numbers will only increase.

And we as journalists have been in turn both enthusiastically and reluctantly complicit in this growth.

The most powerful trend in journalism today is full integration with reporting, presentation and distribution of journalism through the social web. The sharing and liking economy is literally changing the shape of what we do at a pace we are running to keep up with.

Twenty years ago we had the first creaky efforts to get newspapers onto the internet at all, squeezed through copper wires and dial up modems. Fifteen years ago no one had a camera in their mobile phone, ten years ago no-one had a smartphone. Five years ago Instagram didn’t exist.

Today, the ‘new newsroom’ has optimisation desks, to make stories work better on social media, data scientists who analyse the information about story performance to tell journalists how to write headlines, produce photographs and report stories which will be ‘liked’ and ‘shared’ more than others. It has aggregation desks, which scour the web to find news that ordinary people have posted for a wider audience. It has audience insight desks that work on how to get more people to spend longer reading more journalism. And it has data desks, which take the newly available sources of information in vast quantities and use the latest mining tools and techniques to clean, interpret and visualise information in new ways.

The “social media team” is no longer the group of people bullying you to tweet your story, but now key to the operation of how and what you report. The practice of good social media use, finding verifying and disseminating stories, are core to reporting, not simply a wrapper for ‘proper journalism’. No matter where a journalist’s work is published, on television, in a glossy magazine or on page three, it is now shared and discussed in a digital environment. Increasingly as a journalist you do your work in public and away from the content management system of your own publication.

Integrating with the web means responding, quickly, to what people want. The way the new social media platforms have been designed encourages certain types of use and elevates certain types of journalism.  The formats that work well on social media have certain characteristics Hugh Cudlipp would have been familiar with.

Lists work well, pictures are even better, games are even better than that, headlines need to be intriguing and chatty, there needs to be bathos and pathos: a cat involved, or a wombat falling off a sofa. A viral story is the holy grail. And viral does not mean a couple of hundred thousand any more, it means millions. Sometimes tens of millions.

Almost every news operation, with a very small number of exceptions, is pursuing this model in some form or another. Tabloid or popular journalism is being done by the same outlets that produce the most serious chin-stroking think-pieces.  In 2005 the Huffington Post pioneered this ‘mullet strategy’ for journalism, which looked neat and respectable at the front, wild and hairy at the back. The overall effect might be jarring, but generally people are choosing to only look at one side at once. That approach is now refined by a new generation of digitally native news organisations like Buzzfeed, Vice, Upworthy and Mashable.

Even legacy news companies are getting in on the act. It is great to be giving this talk at the Mirror because of the ‘red top’ papers, it is making the most progress on the web. Through the snappy news games and visualisations of its own internal start-ups, UsVsTh3m and Ampped, it is experimenting with the different ways serious news can reach a wider audience.

A few months ago I had coffee with a senior journalist in New York whose editor-in-chief had been expressing dismay at how little traffic was being referred back to their stories from social media platforms. ‘What is the right percentage?’ they asked, ‘does anybody know?’. No. But it seems we are all working on it and the general view is: the higher the better. There is a whole other talk I could give at how bad we are currently at measuring journalism.

Social media companies know that having the news industry fully engaged and using their tools is important to them.  Every major social platform has a team dedicated to working with newsrooms to help them get the most out of their technologies.

Until now, though, this relationship has been mostly a one-way street. Journalism has been engaging on the terms of technological values created in Silicon Valley. And Silicon Valley has in return been putting a tiny fraction of its billions into working with journalists.

The balance has now tipped though to a point where this is likely to change.

The numbers suggest that these super platforms ARE the free press, taking over many of the functions of the mainstream media. Social networks are now attracting the same pressures and challenges at a much larger scale that journalism and civic media has wrestled with for years.

YouTube has one billion visitors a month, four hundred hours of video is uploaded every minute, we watch on average an hour of video on YouTube every month for every person on earth.

In social networks the numbers are similarly impressive. Facebook has over 800 million active users, WhatsApp has 700 million, Instagram has over 300m… and for the astute in the audience, you will know that Facebook owns all three of those properties.

Twitter has 300 million active users, but 40 per cent of people just use Twitter to read not tweet.

Google, which owns YouTube, has a market capitalisation of $340 billion. By contrast, the once unstoppable Murdoch companies, across publishing and TV, have a combined market capitalisation of around $80 billion. That’s only just about twice the size of Twitter. And on the web, Britain’s largest daily newspaper, The Sun has 225,000 subscribers.

I say that not to make a cheap joke, but to illustrate an important point. The Sun on the web has a paywall, a subscription model which works for News International, but it is no longer part of the popular journalism ecosystem, because its young male readership are all laughing at the Lad Bible on Facebook.

Journalism is a thin thread in a vast new global tapestry of conversation and information. But that thread, I would argue, keeps the whole cloth together, because when it works as it should, gives people a daily feed of important, entertaining, interesting and vital information.

As social media become increasingly powerful in our economy and in our culture, we are beginning both to see the consequences of a global free information society. We might also – dare I say it – start to miss the sense of mission historically associated with the press. The problems the press creates when it works badly – errors of fact and interpretation, opacity, carelessness – are amplified by new technology and new capabilities.

We need the values of journalism in software as much as we need the software systems supporting journalism.

What are those values?

Making sure news is accurate, which seems pretty basic, being accountable for it if it is not accurate, being transparent about the source of stories and information, standing up to governments, pressure groups, commercial interests, the police, if they intimidate, threaten or censor you. Protecting your sources against arrest and disclosure. Knowing when you have a strong enough public interest defence to break the law and being prepared to go to jail to defend your story and sources. Knowing when it is unethical to publish something. Balancing individual rights to privacy with the broader right of the public interest.

I am not saying the traditional press has always covered itself in glory in carrying out these functions. In fact, all too often the opposite has been the case. But I think we can all agree that these principles are not high-minded unattainable objectives but basic requirements for anyone aiming to do good journalism.

These responsibilities are not however “shared” or even “liked” very much by social platforms.

Google and Facebook are magnitudes larger and richer than any other entities, and more influential in terms of reach than any press company in history. Until now though, the default position of participants in the sharing economy, with the exception perhaps of Twitter, has been to avoid the expensive responsibilities and darker more complex aspects of hosting the free press. This is understandable.

Engineers are not trained to think about moral consequences, they are educated to produce efficient systems, which they earnestly and often rightly believe will improve society. Similarly most journalists do not know nearly enough about technology to understand that how you design software, what you include in algorithms, are essentially editorial decisions.

Both sides of this equation has to change. We are taking it seriously as a mission at Columbia Journalism School where we teach data, computational journalism and as of this year digital security, at a higher level to more students than any other journalism school in the world. That is not so much a boast, but rather a sign that, like the profession journalism education is scrambling to get across these issues.

Our research program at the Tow Center is looking at the intersection of technology and journalism and how it is and will change our field. Our subjects include how new technologies, from drones and sensors, to virtual reality, to bots that read and write stories are going to affect journalism. Ethics and legality are central to these studies. How social platforms and journalism work together will be a major research project starting this year and so will algorithmic accountability, which is rapidly becoming one of the most important stories of our time. The veracity and transparency of our news and information is too important to be left to just commercial non-journalistic entities.

But Journalism Schools are the beginning of the pipeline, not the end. I am glad we are up with – even ahead of the industry – in identifying these areas and training journalists to be fluent in technology. But to have real impact the change must also happen in every part of the system.

I’ve argued before and I am going to argue again tonight, that the mission that motivated Cudlipp and other great editors, the reason why he worked so assiduously at building the largest possible audiences, is a mission, which must find its new digital expression. It has to be shared by all who profit from the world telling stories to itself.

Cudlipp was a master of form and format.  He knew he had to connect to audiences in language they understood, with all the methods technology gave him.

In creating journalism of impact today though, we have to go through exactly the same process as Hugh Cudlipp did then. We have to decide how to make an impact, without the benefit of owning or controlling the distribution chain.

In a report I co authored in 2012 with Clay Shirky and Chris Anderson, called Post Industrial Journalism: Adapting to the present, we talked about exactly this system of mass publishing empowerment, and that journalism, as it became distributed in new systems faced a dilemma. On the one hand it enables individuals so news is made and shared outside the newsroom.

On the other it weakens the institutions that have traditionally made journalism strong. Although all of us see vastly more benefit in the systems we have now, the problem of how to strengthen journalism in its broadest sense, under its new definitions is a hard one.

Let’s look at practical examples and what I am talking about.

Here are two people you might never have heard of: Jordi Maier and Ramsey Orta. You might not have heard of them but you have I guarantee seen their work on every news channel, in every paper, on every news website you visit in the last three months.

Jordi Mir lives in Paris. On Wednesday 7 January ago he happened to look out of his apartment window when he heard a disturbance in the street.  What he saw were two masked gunmen, and as a reflex he took out his phone to film them. With a remarkably steady hand he captured the horrifying footage of the two assailants murdering policeman Ahmed Merabet as he lay on the ground, part of the horrific attack on the Charlie Hebdo offices.

What he did next, Mir told Agence France Presse, was he put it on Facebook. He reflex to publish came from his frequent use of social media. ‘I take a picture of a cat, I put it on Facebook. It was the same stupid reflex’. Stupid or heroic?

After ten minutes or so Mir, still in shock, reconsidered his decision to publish the film to his 2,500 Facebook friends and took it down. But by then it was too late. Someone had uploaded the video to YouTube. Within an hour, Mir was alarmed to see his own film on the television news.

The clip is an iconic, chilling, unforgettable and informative set of images from the Charlie Hebdo attacks. The film is undoubtedly in the public interest. If you had shot it as a journalist you WOULD have filed it.

But it is also an invasion of Mr. Merabet’s privacy, a shock to his grieving family who cannot unsee the footage, and potentially a risk to Mr. Mir himself. Jordi Mir didn’t have the luxury of an editor or even the possibility of changing his mind. He doesn’t now have the protection of an editor or the legal advice of leading counsel from any of the organisations who used his film.

Now let’s take the case of Ramsey Orta. Orta is a 22 year old Staten Island resident with let’s say a slightly sketchy record with the police, who on 17 July last year was standing on Bay Street with his friend Eric Garner, who had just broken up a fight on the pavement.

The police arrived once the scuffle was over, but instead of driving off the officers turned their attention to Garner, a father of six who was known to police for the petty tax crime of selling loose cigarettes. In questioning Garner about his own activities, the police moved in on him, he was put in an illegal choke hold and wrestled to the ground.

His friend Orta did what Mir did in Paris; he got out his phone and filmed the incident. ‘I can’t breathe’ said Garner as the policeman throttled him; the film shows an asthmatic Garner lying cuffed on the ground. He repeated the words ‘I can’t breathe’ eleven times. We know this because we have Orta’s film.

The chokehold and restraint made Garner lose consciousness, and as we now know he died of a heart attack on the way to hospital in an ambulance. Orta’s video found its way to the New York Daily News and its publication was a spur to the outrage and disbelief New York citizens felt when in August a Grand Jury decided not to indict any officers involved.

Hundreds of thousands of people stopped traffic in New York and around the country; the New York Police Department has been in open revolt against its mayor. Along with the shooting of Michael Brown in Ferguson Missouri it has blown open the most important social issue of racial inequality.

Someone involved in the case was arrested, though.

Orta, the man who shot the video, on separate gun possession charges, a day after the Grand Jury decision. Police point to a long record of minor offences, Orta says he was targeted and set up for shooting the film. As with Mir, Orta reflexively performed a spontaneous act of a witness, of journalism, which has had personal consequences for him that he might not have anticipated. He said he always pulls his phone out if he thinks the police might arrest him, as protection.

I use these sensational stories which had such tangible effects as an illustration of what impact a single person can have, but also to highlight how we now have publishing systems which can amplify every act, alert the world to important events, but which also don’t yet afford these new forms of journalism the same protections as the old. They don’t give Jordi Mir the protection of an editing process or Ramsey Orta the authority of an institution.

Journalism is moving faster than the speed of thought. It is spreading beyond the newsroom, beyond geographic and cultural boundaries that once limited audiences, carried there by platforms engineered for instantaneous global communication.

Mir and Orta are not  “journalists” but they were sources. They were not on the staff of any newspaper or agency; they were not paid a salary; they had had no training; they were not members of any union, they have no added protections that might be afforded to the press.

It is important for social platforms and news organisations to include the people with the mobile phones who fill our pages, because we need them, and we have a responsibility towards them in both a broad and specific sense. They might not be journalists but they are part of our ecosystem of news.

Last year we produced a report from the Tow Center, which evaluated how much amateur footage, was now used across a number of broadcast TV bulletins. Our researchers found that footage is used daily, but that newsrooms are very bad at crediting the individuals or even at training staff to use verification techniques. Companies like Storyful, which was recently bought by Rupert Murdoch, were ahead of the curve in understanding that aggregation and authentication of material is a central function now for a newsroom.

This morning I woke up to an even more powerful example of why we have a problem. Yesterday the Guardian broke the story that Google had handed over private emails between WikiLeaks staff to the FBI in the wake of the cable leaks. Google is legally obliged to do such a thing when presented with a warrant. However Google chose not to tell the staffers at WikiLeaks that they had handed over the material for nearly three years.

Google has been encouraging us to think of it as a platform that supports free speech, its several hundred thousand dollar contribution to Charlie Hebdo a case in point, this is a chilling reminder of either how little Google understands what supporting free speech means or it’s naked dishonesty.

It is inconceivable that a serious news organisation would do such a thing to a source and not be put out of business. It calls into question Google’s trustworthiness as a platform. It also highlights how poorly the press has behaved in respect of Wikileaks. As Trevor Timm, head of the Freedom of the Press Foundation wrote for the Guardian today: ‘The outrageous legal attack on WikiLeaks and its staffers…is an attack on Freedom of the Press itself and it’s shocking more people aren’t raising their voices (and pens and keyboards) in protest’.

Healthy journalism relies of a system, which supports all parts of a free press, and at the moment we don’t have that.

As speed and scale dominate the world of information, how these platforms sort and present stories back to the world, and what they do with the data associated with them, is a matter of commercial sensitivity deep secrecy. If they have our instant messages, emails and private contacts, but don’t protect sources, then as a society we are in deep trouble.

Never before in the history of journalism has the power and reach of a small number of players had such a decisive effect on a market, and never before have we known so little about its operation.

Delving into the past of the Northcliffe dynasty, I was reminded that wealth that supported this great newspaper empire which created the Mirror, the Mail, the Sun and saved The Times and the Observer, came from a foundation on what its founder Alfred Harmsworth, described as ‘useless information’.

His first extremely popular publication was called Answers to Correspondents, and was the viral content of its day. I am sure that given the opportunity, Northcliffe would, had he been able to, made full use of digital formats – 17 horses that look like Sarah Bernhardt, 25 below stairs servants having a worse day than you, The Duchess of Kent got a new hairstyle and you’ll never guess what happened next…

The success of Northcliffe in his initial enterprise meant that much of the British press was built on this entrepreneurial understanding of how to exploit new literacy levels among working and middle class people. It combined industrial publishing technologies and emergent mass transportation systems. What Hugh Cudlipp brought to this strategy was vision, empathy and – most importantly – mission.

In the internet age we are still in our ‘Answers’ phase of development. And we sorely need the mission.

I don’t think this at all a hopeless observation, as we are seeing signs of serious success now for mainstream and even mass market digital journalism. Right now we are seeing the rise of the first generation of large-scale digitally native news organisations, and the vigorous adoption of digital only strategies by existing legacy businesses.

The most successful new ‘digitally native’ journalism companies are those who have fully integrated themselves into the fabric of these new dominant platforms. And the most successful legacy news organisations in terms of reaching large audiences on the web are those like the Daily Mail and the Guardian that have experimented with or shifted the format or substance of their journalism to do the same.

For the Guardian, it has meant relentlessly pursuing what we originally set out as long ago as 2001 to be ‘of the web and not just on the web’. For us at the time this meant web production and editorial working on an equal footing with our technologists and developers. It also meant paying very close attention to what was happening on the web outside the field of journalism.

For the Mirror, as mentioned before, it has meant new projects so far from traditional print stories they bend the definition of journalism in exactly the right way.

For ten years at the Guardian I had the great joy of working with a team that energetically went about experimenting with how we could translate the character and values of our journalism into our software development, our data policies, our digital reporting and formats.

We negotiated a route towards what Alan Rusbridger defined as open journalism. It came from a desire to build our technology and new forms of journalism with the same values that CP Scott had laid out over 150 years previously. It set the Guardian on a path where it could publish the brilliant and important stories like WikiLeaks and the NSA disclosures, internationally and securely to far wider audiences than would have been possible in just print. When I started working online at the Guardian in 2000 we had 1 million monthly users. When I left 10 years later we had sixty times that. Now it’s over 100 million.

The most startling publishing success story in America in the past five years has been Jonah Peretti’s transformation of Buzzfeed, which he started as a social traffic side project to the innovative Huffington Post, but which has grown into America’s most copied news company. I visit many newsrooms around the world and the B word is everywhere.

As Peretti himself says, there are great journalism institutions out there and there are excellent technology companies, but few places that pay as much attention to working on both as Buzzfeed. And this is the key. Peretti himself is a creative technologist with editorial flair.

Buzzfeed works on the principle of understanding the social web and building on top of it. It also works because it understands the math of the social web. For Buzzfeed to grow its 400 strong staff the advertising rates of the Internet dictate it must have massive audiences.

It is widely studied for being the sophistication of thought it gives to how technology and journalism work together. Even the New York Times paid it significant attention in its own internal ‘Innovation’ report:

‘BuzzFeed, Huffington Post and USA Today are not succeeding simply because of lists, quizzes, celebrity photos and sports coverage. They are succeeding because of their sophisticated social, search and community-building tools and strategies, and often in spite of their content’, says the report.

Peretti is like Lord Northcliffe on steroids. The ‘Answers’ phase of his strategy lasted two years not twenty, and now he is adding foreign correspondents, feature writers and an investigations unit. I am hopeful even optimistic that this understanding of how to create and harness scale in mass-market journalism, can support serious mission and a new set of standards for journalism too.

There are also some signs that the social media companies are giving way on the point that they are not ‘just platforms’. We have seen just over the past year how Twitter decided it would intervene directly in the circulation of beheading videos. Google now will have to formulate a better answer for its WikiLeaks decision than ‘we were just following the rules’.

When we are building the new newsrooms of the future and working out how to make our journalism powerful on the social web, we need to build in some of the mission driven values and processes alongside the rocket fuel for our cat gifs.

We have cracked the problem of how to deliver popular journalism on the internet, with our mixture of cute animals and data science. We can crack the problem of how to make popular journalism important and robust in the digital world too. But that isn’t a solo competitive enterprise, and it isn’t quick or easy.

We will need more than investment in social sharing strategies to do so.  We will need an open and collaborative dialogue both with each other, and with the new masters of the information universe who have the resources and the audiences to help.

We need to edit for new types of journalism and journalists, we need to recognise that the free press is more than professional journalists and more than platform technologies.

The digital tabloid sounds like an oxymoron and maybe it is. Popular journalism which reaches a mass market with reliable timely information that they want to read is as real and important as ever.

And publishing is powerful. Enormously, dangerously so. Hugh Cudlipp’s book bore the battle cry title for journalists: Publish And Be Damned! But that came from a time when we knew who the publishers were and what damnation meant.

This too is altered by the Internet. When terror organisations, psychopaths, corrupt corporations are the publishers damnation looks rather different to an angry phone call from Number 10.

Publish and be damned sounds daring, appealing almost.  Publish and be murdered at your desk, publish and be overwhelmed with foul mouthed threatening messages, publish and be imprisoned without due process, publish and be beheaded for a publicity stunt, publish and be blown up in a basement in Homs,  publish and have your office smashed up and your family intimidated, publish and put a stranger’s life in danger. These sound less swashbuckling, much more threatening, and yet that is what is happening, not just in Paris, but in Egypt, in Mexico, in Iran, in Syria, in Saudi Arabia, in Britain, in America, everywhere in fact.

I think for a while journalism thought it couldn’t afford the difficult bits, the investigations, the new technology skills, the legal teams, the time for the more complicated problems. We could only secure our survival with automatically generated dancing hamsters and robot-written press releases.

Now when we look at the mighty new networks of our age, I hope we all realise, Us and Them, that these are the very things we can’t afford not to do.

What would Hugh Cudlipp do today? I like to think he would learn to code.

Thank you.

Visit LCC’s Hugh Cudlipp page

New Course Discourse // MA Arts and Lifestyle Journalism

Simon Hinde profile

Programme Director in Journalism and Publishing Simon Hinde.

In the first of our regular blog series New Course Discourse exploring LCC’s exciting new undergraduate and postgraduate courses, we speak to Programme Director in Journalism and Publishing Simon Hinde about MA Arts and Lifestyle Journalism.

Can you start off by telling us about the decision to create this course?

The point about creating this MA is that arts and lifestyle journalism are important and growing parts of the journalistic landscape.

Lots of newspapers have got arts and cultural supplements, there are specialist channels like Sky Arts, it’s a main plank of BBC Radio 4, BBC Three, BBC Four, there are lots of websites. There’s a big and growing appetite for it.

We know that lots of undergraduate students that we’ve talked to are very interested in this area, yet there is really at the moment only one postgraduate course in the country covering it. In the States there are quite a lot, so it seems a shame that there aren’t more opportunities in the UK.

We are also a design and media college in an arts university; it seems like a very natural thing for us to do, because we have the expertise and the history to do it well.

It’ll allow us to help journalists develop not just the skills to do arts and lifestyle journalism really well, but also the ethical understanding about things like freedom of speech and the appropriate way to deal with public relations people – which is not necessarily known by a lot of people who do this work at the moment because they come from very varied backgrounds.

It’ll allow us to create a body of professionals who do this kind of work to the highest professional and ethical standards.


Student journalists in the LCC newsroom. © Vladimir Molico

What can students expect from the course?

We take a very broad view of what arts and lifestyle might mean – deliberately broad – because I think you can do interesting journalism about just about anything. I don’t want to restrict it to just fine art.

It could be art, theatre, film, music, television, food, travel, but the point is to do high-quality, interesting journalism in those fields, not just turn over trivial, easy and superficial work. The point is to go into it in depth, to have a theoretical underpinning that will allow students to succeed.

The course will also be highly practical. Each student, during the course, will develop a journalistic project they want to complete as part of their final major project – a substantial piece of journalism in an appropriate field of arts and lifestyle.

That might be writing a long-form piece of journalism on something, it might be making a radio documentary or a film documentary, or it might be doing something web-based, but it will be something that has got real substance and depth to it on a topic of their choosing.

I would hope that the piece of work that the student produces would be a piece of work that could be published. That would be the aspiration, that they would be producing high-quality, professional-standard work that they could then take to a publisher or broadcaster and get disseminated.

What are the main differences between undergraduate and postgraduate study in journalism?

One of the shifts, I think, is that you are to a much greater extent developing your own practice. Obviously at undergraduate level you’re learning the tools of the trade, but everyone kind of does the same thing to some degree. As you move into the third year, you start to develop your own voice, your own style, your own interests.

In postgraduate study you take that further, so that you develop your own journalistic way of addressing a particular subject, and your own subjects you want to address. There’ll be a bit more depth and breadth, you’ll attack things on a greater scale.

Rather than doing a 2,000-word piece, that might be typical at undergraduate level, you’ll be doing a 10,000-word piece, or a book. It’s scale and depth that are the distinguishing features.

Why should people study journalism here at LCC?

Obviously we’re based in London, which is a major arts and cultural centre, but it’s more about being in this University, where there’s just incredible breadth of knowledge and expertise in the arts and in design. There are people all over the place we can bring in who know about this subject from different points of view.

We have a collaborative project as part of this course, and we’ll be able to collaborate with people who are designers, photographers, fine artists, sound artists, whatever it might be. It’s an opportunity you don’t get at other institutions.

In terms of facilities, the College has industry-standard radio studios, a brand new TV and video studio opened at Christmas, and a fully-equipped newsroom.

The department has also just launched Artefact, a new magazine which is very stylish and design-conscious and itself has a lot of coverage of arts and culture. It’s written and edited by students and appears twice per term in the autumn and spring terms, with additional topical special editions.

Artefact 3 cover

LCC’s new free magazine Artefact, written and edited by journalism students

What will this course be looking for in its applicants?

I’m very open as to the kind of people who apply. We’ve had interest from a very interesting and diverse range: working journalists who want to specialise in the field of arts; people who’ve done an undergraduate course in journalism and now want to take it on – both to specialise in arts but also to do journalism to the depth and scale that postgraduate study allows; people who are doing a first degree in an arts subject – fine artists for example – who are thinking they would like to develop the communicative side of their practice.

Maybe they want to be fine artists but also to write about fine art, maybe they want to move away from being a practising fine artist and to be a journalist about fine art. They’ve got all that practitioner knowledge and they want to communicate that to an audience – that’s really interesting.

And then we’ve had people who are on more theory-based courses – cultural studies or media communications-type courses – who are interested in developing their theoretical knowledge into something more interfacing.

What are the career opportunities for students graduating from this course?

There are lots of newspapers with arts and cultural supplements, there are specialist broadcast programmes, news programmes have arts correspondents.

There are specialist arts channels that want programmes made for them, like Sky Arts, there’s reporting on arts – a lot of newspapers have arts reporters – and there are specialist magazines and websites about art and culture.

Institutions like art galleries all have their own magazines, so there are lots of opportunities there.

Moving slightly beyond the field of journalism, the skills that you develop as a journalist – the skills of communication and storytelling – are very valuable in public relations and marketing, and there are companies that specialise in those areas for the arts.

Becoming freelance as a writer or broadcaster in these areas is also a very popular and growing thing.

Visit the MA Arts and Lifestyle Journalism course page

Visit the Artefact website

Digital pioneer Emily Bell to give Hugh Cudlipp Lecture 2015

Emily Bell interview cropped

Image © Nokton

Emily Bell, Founder Director to the Tow Centre for Digital Journalism at Columbia Graduate School of Journalism in New York City, will be the guest speaker for the Hugh Cudlipp Lecture 2015, taking place at London College of Communication on Monday 26 January.

Booking is essential – reserve your free space

“It is a great and humbling honour to be asked to deliver the Cudlipp Lecture. The Cudlipp tradition is an important part of the rich, robust and innovative soul of British journalism,” said Emily Bell.

As former Editor-in-Chief of the Guardian’s websites and director of digital content, Emily led the strategy to make the Guardian an open platform for journalism.

“We are delighted that Emily Bell has agreed to give this year’s Cudlipp Lecture. At a time when the media industry is being transformed by digital, her thoughts and research on its impact on the business of journalism and news output will be seminal, not least because she was one of the digital pioneers in the UK at the Guardian,” said Natalie Brett, Pro Vice-Chancellor and Head of College.

Now in its twelfth year, the annual Hugh Cudlipp Lecture – named in memory of the late Lord Cudlipp, former Editorial Director of the Daily Mirror – also serves as a platform for the Hugh Cudlipp Award, given to a student who has made an outstanding contribution to journalism.

Entries are now closed for this year’s student journalism prize of £2,000, with the criteria widened this year to include video journalism. The winner of this prestigious award will be announced at the lecture.

London College of Communication has hosted the Hugh Cudlipp Lecture since 2005 and we are once again partnering with sponsors The Daily Mirror for the event.

“The Daily Mirror is honoured to be sponsoring the Hugh Cudlipp Lecture for the second year in a row. Emily Bell is one of the leading lights in digital journalism. The Mirror has been making great strides online, so it’ll be enlightening to hear her speech,” said Lloyd Embley, Editor-in-Chief of the Daily Mirror.

Watch previous Hugh Cudlipp Lectures on the LCC YouTube channel

Read more about the Hugh Cudlipp Lecture

Read about BA (Hons) Journalism

Read about MA Arts and Lifestyle Journalism

Read about MA International Journalism (Online)

Teaching excellence award for LCC Course Leader

UAL Teaching Scholars Group

The four UAL Teaching Scholars 2015

Congratulations to Paul Lowe, LCC’s Course Leader for MA Photojournalism and Documentary Photography, who has been awarded the prestigious title of UAL Teaching Scholar.

This new award is for academic and support staff at UAL who demonstrate excellence in teaching and support.

The title is held by successful applicants for two years. Teaching Scholars also receive £5,000 project and development funding, a special responsibility allowance and professional development support to become a Senior Fellow of the Higher Education Academy.

Receiving the title alongside Paul were Anne Marr (Course Leader, BA (Hons) Textile Design, CSM), Fred Meller (Course Leader, BA (Hons) Performance Design and Practice, CSM) and Dr. Natascha Radclyffe-Thomas (Course Leader, BA (Hons) Fashion Marketing, LCF).

The awards were presented at the 2015 Learning and Teaching Day by Professor Susan Orr.

UAL Teaching Scholar Paul

Course Leader, MA Photojournalism and Documentary Photography, Paul Lowe

Speaking about his achievement, Paul said:

“This is a fantastic initiative from UAL that really recognises that teaching is central to our practice and I am delighted to be with such a great group of fellow scholars.

“I’m really looking forward to building on all our work and collaborating together over the next two years”.

Read more about the UAL Teaching Scholarship

Read more about MA Photojournalism and Documentary Photography at LCC

View Paul Lowe’s staff profile

LCC announces major photography, sound and moving image exhibition ‘Staging Disorder’

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Opening on Monday 26 January and curated by Christopher Stewart and Esther Teichmann, ‘Staging Disorder’ explores the contemporary representation of the real in relation to modern conflict.

The project is initiated and supported by Karin Askham, Dean of the School of Media.

The exhibition includes selected images from seven photographic series that were made independently of each other near the start of the new millennium:

Adam Broomberg and Oliver Chanarin’s ‘Chicago’, Geissler/Sann’s ‘personal kill’, Claudio Hils’ ‘Red Land Blue Land’, An-My Lê’s ’29 Palms’, Richard Mosse’s ‘Airside’, Sarah Pickering’s ‘Public Order’ and Christopher Stewart’s ‘Kill House’.

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’747 Heathrow’, Richard Mosse

These artists portray fake domestic rooms, aircraft, houses, streets and entire towns designed as military and civilian mock-ups in preparation for real or imagined future conflicts across the globe. Their work asks questions about the nature of truth in current photographic practice.

The images in all seven series are documentary images of something which appears real but has in fact been staged to mimic a disordered reality.

In capturing this constructed reality, the works explore modern, premeditated conflict, and analyse a unique form of architecture.

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‘High Street’, Sarah Pickering

The ‘Staging Disorder’ concept refers not to how the photographers have staged disordered reality themselves, but rather to how they have recognised and responded to a phenomenon of staging that already exists.

These themes are also extended throughout the LCC gallery spaces in work by sound artists from UAL’s Creative Research into Sound Arts Practice (CRiSAP) research centre.

CRiSAP artists Cathy Lane, Angus Carlyle (and his collaborator, the anthropologist Rupert Cox), David Toop and Peter Cusack add a multi-dimensional element to the photographic works with sound and moving image installations and written texts.

The show coincides with a symposium on the afternoon of Tuesday 27 January and a book launch at 6pm of the publication ‘Staging Disorder’ by Black Dog Publishing, co-edited by Christopher Stewart and Esther Teichmann.

Staging Disorder
Private View: Tuesday 27 January 6-9pm
Exhibition open: Monday 26 January – Thursday 12 March
Opening times: Monday-Friday 10am – 5pm, Saturday 11am – 4pm, Sunday closed
RSVP for Private View
Venue: London College of Communication, Elephant & Castle, London SE1 6SB.


Read about BA (Hons) Photography

Read about BA (Hons) Photojournalism and Documentary Photography

Read about BA (Hons) Sound Arts and Design

Read about MA Photography

Read about MA Photojournalism and Documentary Photography

Read about MA Sound Arts

News // Third-year BA (Hons) Film and Television student’s film selected by London Short Film Festival

Torpor Still 2

Still from ‘Torpor – Wintersleep’, Jannik Schmoller, 2014.

Jannik Schmoller, a third-year LCC BA (Hons) Film and Television student, has just had his film ‘Torpor – Wintersleep’ accepted to the London Short Film Festival.

The experimental short film tells the story of Lucia, a nineteen-year-old struggling to overcome the traumatic memories of her childhood with an abusive father. This unique film tells Lucia’s story entirely through gesture and contemporary movement. Citing David Lynch as one of his greatest courses of inspiration, Jannik explains “in my short films, I aim to explore our vast and fascinating subconscious.”

‘Torpor – Wintersleep’, a project Jannik wrote and directed whilst in his second year at LCC, was one of a few films selected from over a thousand submissions to this year’s festival. Jannik is particularly excited to be screening his film in the London Short Film Festival because he considers London to be the creative capital of the world.

However, whilst enjoying his success Jannik has already moved on to his next project, an ambitious graduation film, and is looking for passionate and dedicated collaborators.

The festival runs from Friday 9 – Sunday 18 January.

Read more about BA (Hons) Film and Television

Read more about the London Short Film Festival

LCC Postgraduate Shows 14 // Spotlight on MA Photojournalism and Documentary Photography


‘Abide with Me’, Andy Barmer, 2014.

Kicking off 2015 at LCC – with a Private View on Thursday 8 January – is our final Postgraduate Show of the season, featuring work by thirty-three talented postgraduate students from MA Photojournalism and Documentary Photography.

In this year’s show, ‘Consider This’, we see how Rwanda is making a new history through competitive cycling, picture the private lives of Iranian women differently, view a mythical interpretation of Galicia, northern Spain, and explore how history is recorded and remembered via the story of an unresolved plane crash.


‘X-Ray’, Betty Zapata, 2014.

Work also includes Betty Zapata’s undercover project ‘X-Ray’, which reveals how public hospitals in Venezuela are locked in their own emergency.

‘X-Ray’ shows from the inside the decomposition of public healthcare facilities and the suffering of vulnerable patients as the country undergoes huge political and economic crisis.

The constant realities of poverty, violence, internal political conflicts, corruption, negligence and abandonment are found to be present both within the walls of public hospitals and within the borders of Venezuela itself.


‘Abide with Me’, Andy Barmer, 2014.

Andy Barmer is showing ‘Abide with Me’, a fourteen-minute film short and four-minute dual screen looped video installation exploring three generations of one family – daughter, mother and grandfather – and the influence of the past upon the present.

Daughter Beth travels to France, Yorkshire and Scotland to explore her grandfather’s traumatic Great War history, and psychological issues are shown to resonate down the generations.


‘And the Mountain Said to Munzur: You, River of My Tears’, Miriam Stanke, 2014.

In ‘And the Mountain Said to Munzur: You, River of My Tears’, Miriam Stanke presents the story of Dersim, a remote mountainous area of Eastern Anatolia with the Munzur river and valley at its heart.

Dersim is the historical heartland of the Kurdish Alevis, a heterodox religious group that has suffered a long history of oppression and violence and continues to fight for its heritage.

The project captures glimpses of a society whose cultural and religious history reveals itself not only in special prayers and rites but in clear political actions towards autonomy and equality.

LCC Senior Lecturer Max Houghton introduces ‘Consider This’:

“Photography’s ability to create or extend discourse is not yet utilised fully in our sophisticated culture; its use more frequently associated with instant, devourable satisfaction, as defined by the unsavoury neologism ‘click-bait’.

“The gentle invitation, then, to look longer; to consider, may be the most radical act you could engage in today”.

Not a Blank Canvas

‘Not a Blank Canvas’, Joshua Irwandi, 2014.

School of Media: MA Photojournalism and Documentary Photography

Exhibition open: Friday 9 – Thursday 15 January 2015
Private View: Thursday 8 January 6-9pm
RSVP to Private View
Late night opening: Wednesday 14 January until 9pm

Read more about MA Photojournalism and Documentary Photography

New postgraduate courses announced

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Image © Ana Escobar

We’ve been making some very exciting changes to our postgraduate offer lately, so below we’ve rounded up all our new and revised postgraduate courses in one place.

New courses //

Starting in September 2015, we are offering a range of fantastic new courses in order to meet demand and expand applicants’ options in a number of fast-evolving and developing creative industries.

We hope that there will now also be even more opportunity for undergraduate-to-postgraduate progression.

Our new postgraduate courses, subject to validation, are:

MA Animation: Students create, explore and play with both 3D digital and 2.5D analogue technologies. This course offers the chance to develop a personal practice that understands animation in multiple forms, creating innovative approaches to animation driven by critical understanding.

MA Design Management and Cultures: Students develop high-level leadership, management, communication and analytical skills for a career in the creative and cultural industries. The course combines academic study with creative and professional practice in a project-led curriculum.

MA Film (2016 entry onwards): Information available shortly

MA Games Design: Rooted in experimental practice, MA Games Design ensures that students are equipped with both the technical and critical skills that allow them to produce a broad portfolio of innovative game prototypes. Concepts of goal, challenge and obstacle are also explored through critical evaluation.

MA International Journalism (Online): A new course developed to help journalists get an international perspective on the world and the way in which global media is now accessible across traditional frontiers thanks to rapidly-evolving communications technology.

MA Television: This unique course delivers the skills needed to design and make fact-based television programming. Students learn how to translate their ideas into practical, hands-on advanced programming and also learn about pitching, budgeting, and how to establish their own production company.

Postgraduate Diploma Photography: This course builds a foundation of technical skills, from analogue to the latest digital technologies, and expand your ideas through a set of course projects. Students learn to develop a strong conceptual approach and personal identity to your practice, and finish the programme with a high quality portfolio as well as the professional skills to launch your career in photography or continue in education at a higher level.

Updated courses //

Some of our other postgraduate courses have been significantly revalidated and are now offering updated content.

MA Arts and Lifestyle Journalism (revalidated MA Journalism): Students develop the advanced skills needed for a successful career in journalism, create substantial pieces of journalism on aspects of arts, culture and lifestyle, and learn from tutors with extensive professional experience of arts journalism in print, broadcast and online.

MA Graphic and Media Design (revalidated MA Graphic Design): Students establish a distinct understanding of the fields of graphic design and visual culture, as well as those that infect, destabilise and unravel it. This course invites thoughtful, critical, productive individuals interested in the effective articulation of design.

Changes //

We’re also ensuring that all our Masters programmes (MAs) start in September. Courses which currently have January starts will have one final January intake in 2015, then standardised September starts will begin in September 2015.

All full-time MA courses will also move to a four-term model, with part-time MAs using a seven-term model.

We hope you enjoy exploring our new postgraduate possibilities!

View all postgraduate courses

Read more about the changes

Visit the LCC Graduate School pages

LCC alumna reveals lives of hospice patients in new exhibition


Jade Sempare, 31, was diagnosed with MS at the age of 13. She told Eléonore about how her house keys represented living independently from her mum.

MA Photojournalism and Documentary Photography alumna Eléonore de Bonneval has recently been working with patients at St. Joseph’s Hospice, Mare Street, Hackney, to create a series of intimate portraits capturing the most important objects in their lives.

Launched to coincide with Hospice Care Week, Eléonore’s ‘Everlasting Lives’ exhibition features photographs of objects selected not for their materialistic value but for the personal and emotional stories attached.

St Joseph’s Hospice is one of the oldest and largest hospices in Britain, founded in 1905. It is an independent charity providing compassionate support and care for people with life-limiting conditions and terminal illnesses in Hackney and the City of London, Newham and Tower Hamlets.

Speaking at the exhibition opening, Eléonore said:

“I want to thank St Joseph’s Hospice staff and patients for their support and trust throughout this project.

“Jade, Sanjay, Lucie, John, Josie, Susan and Viviane told me about their life stories, we identified together five objects that mattered to them, but really those objects don’t matter.

“What do matter are the stories attached. Through those you’ll get a window into their lives, hear about their trips, favourite books or music and most importantly you’ll hear about the essential role played by their beloved friends and family.”


John Waterhouse’s photograph of his dad

John Waterhouse, 77
Diagnosed with blood cancer in January 2013

My dad
I was born the wrong time, 1937. I didn’t see my father. I don’t remember seeing my father until I was 8 years of age. It wasn’t a normal upbringing because my mother was in the hospital. She had TB. She died at 32. I was 9.

I was about 8 years of age when my dad came back, he was like a stranger because I had not seen him at all really. I remember he came in, he gave us a little jar of sweets and went round the pub. I still remember that day. I don’t know what sweets it was in those days, everything was rationed.


Toys belonging to Susan Murray’s children

Susan Murray, 52
Diagnosed with MS on January 18, 2008

‘Eric the Sheep’ and ‘Stripey Zebra’, my children’s teddy bears.
I had my first kid Alfy, now 15, when I was 38 and Jake, now 12, when I was 40. The only thing I didn’t do is travel to South America, which is the next place I wanted to go to. But I had the kids instead.

My life has completely changed since I had the kids. It does. They are really important to me.


Perfume bottle belonging to Viviane Fatimani’s grandmother

Viviane Fatimani, 29
Diagnosed with MS in December 2009

The scent of my French grandmother
My grandmother died last year at Christmas, two days before we came to visit but I think it was on purpose because she always made me promise I would be at her funeral. When I was living in Mexico, sometimes she said ‘you will come back for my funeral right?’ ‘Yeah of course I will Mémé !’.

I have kept her perfume because it smells of her. It is Cinema by Yves Saint Laurent. I can’t believe she used to bath herself in this stuff. I used to think that it was just what she used to smell of. I didn’t realize it was perfume. My aunt told me ‘you should take the perfume’.

I took it to my sister and I said: ‘Close your eyes, smell this, what is it ? What does it smell of?’ She said, ‘it smells of Mémé!’

‘Everlasting Lives’ continues at St Joseph’s Hospice until Friday 16 January 2015 and is open every day 9am-6pm.

Read more about MA Photojournalism and Documentary Photography

Review // David Goldblatt and Anthony Clavane turn spotlight on football’s big issues

Flickr image

David Goldblatt, award-winning author of The Game Of Our Lives.

Second-year BA (Hons) Sports Journalism student Stephen Kilbey, winner of the 2014 Sir William Lyons Award for best young motoring journalist, reports on the latest in LCC’s popular series of sports guest lectures.

Award-winning authors David Goldblatt and Anthony Clavane recently tackled the good, the bad and the downright ugly sides of the ‘beautiful game’ as guests of LCC’s BA (Hons) Sports Journalism course.

Goldblatt’s latest book, The Game Of Our Lives, has been widely acclaimed as a seminal look behind the money-fuelled hype surrounding English football at its elite level.

Clavane, who is also a Sports Journalism tutor at LCC, is the author of Promised Land, about his emotional ties to his home city Leeds and its football club, which was named as both Football and Sports Book of the Year in 2011.

He also writes on football for, amongst others, the Mirror, Independent and New Statesman and is an authority on the Jewish influence on the English game.

On their agenda at LCC were hot topics including club ownership, recent incidents of racism within the sport, and the growing popularity of the women’s game.

“I think with the rise of women’s football, we should see a new type of following,” said Goldblatt. “I don’t know quite what it is yet, but I certainly think it will be better to see something other than a clone of the Premier League.

“Will it ever be as big as men’s football to truly rival it? I’m not sure… Women’s football still has a long way to go, but it’s certainly the most prominent it’s been for the public since its boom during the early 20th century.”

BA (Hons) Sports Journalism Course Leader Anne Coddington said after writing her 1997 book One Of The Lads: Women Who Follow Football, she expected to have seen more progress by now in terms of female fandom, roles within clubs and in the sports media.

Clavane illustrated the progress made in dealing with racism in football with anecdotes from his time supporting Leeds United while growing up, when it was still widespread among fans.

“It was hard,” he explained. “I actually gave up my fandom for a couple of years because it got too much for me.

“When there’s several thousand fans chanting the same obscene things at black players, your fellow supporters, sometimes people you’d call friends… The only way I found I could deal with it was to get up and leave.”

The session ended with some thought-provoking questions from the students, who left motivated and eager to continue the discussion.

Words by BA (Hons) Sports Journalism student Stephen Kilbey

Read more about BA (Hons) Sports Journalism

Journalism Guest Speaker Review // Magazines, Fashion, Style and Apps

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Joanna Montgomery (far left) and Deborah Joseph speak to LCC’s Programme Director of Journalism and Publishing, Simon Hinde.

Last month the Podium Lecture Theatre at London College of Communication hosted a talk on the digitalisation of media and how fashion magazines build interest through social media.

Joanna Montgomery, head of digital at Bauer Media, responsible for the publishing of products such as GRAZIA, Mojo, Kerrang, Q, most recently The Brief and many more, was one of two guest speakers.

The creative director of emerging fashion app ASAP54, Deborah Joseph, joined the talk to share her experience as a fashion journalist and also entrepreneur.

BA (Hons) Journalism student Desislava Todorova reports on the event.

Joanna Montgomery began by telling us about her experience in the industry. As a head of digital in Europe’s largest privately owned publishing group since 2012, she takes care of digital marketing, audience and content strategy, product management, media analytics and a bit of technology.

According to Joanna, social media has become an important element of the marketing strategy and people are becoming more aware of that. Accurately building up an audience on all social media channels could be crucial for the success of a campaign, for instance.

Another topic touched on was the digital content of magazines and how, as she mentions, “three years ago” websites were regarded as pure marketing tools, while now they are separate editorial products in their own right. As a result, the best content is being selected and later included in the print version.

To the question of whether or not digital is killing print media, she referred to the mobile versions of Bauer’s products. In this way, people are not focusing on the magazine as an object but more on its content. So her answer was “yes and no” because in the end, apps, websites and mobile versions are simply different mediums for information and digitalism has provided us with more options without necessarily excluding their print versions.

This is when Deborah Joseph stepped into the talk. She is the creative director of mobile app ASAP54. Her career more recently involved being an editor-in-chief of Condé Nast’s publication Easy Living magazine.

Her vision of the fashion world has changed through the years, as well as her perception of publications. She recalled saying years ago during an interview that she couldn’t imagine reading a book (as an example of print publication) without physically feeling it as part of the experience.

Today, she carries her Kindle and explains how fascinated she is with this swift pace of change due to digitalisation. Her most recent project, ASAP54, is a combination of trend research, fashion styling and cool-hunting which completely changes the shopping experience.

Therefore, this product is an example of the reshaping power of digital media and how this has changed our everyday perspective.

The talk was attended by students from various courses and concluded with a Q&A session which proved very useful for students aiming at fashion and digital journalism.

Words and image by BA (Hons) Journalism student Desislava Todorova.

Read more about BA (Hons) Journalism

LCC Postgraduate Shows 14 // Spotlight on MA Graphic Design and MA Graphic Moving Image


‘Skim Scan Read Copy / Rec. Live’, Cleber De Campos, 2014.

Our School of Design Postgraduate Show opens officially with a Private View on Tuesday 9 December from 6-9pm. To celebrate, here’s the last in our preview series, putting a spotlight on two courses with really exciting work on display.

This year MA Graphic Design students have been inspired by a diverse range of subjects from pornography to pedagogy, and their work explores the many facets of the design process from in-depth research to experimentation.


‘Blink’, James Buell, 2014.

Students exhibiting this year include James Buell, whose project ‘Blink’ takes a sideways look at the future of the news. ‘Blink’, a bold electronic product, caters to a future customer so addicted to headlines and gossip that truth and accuracy carry little importance.


‘Blink’, James Buell, 2014.

This random headline generator, with an inbuilt algorithm, sources key words and phrases from a wide variety of online platforms and merges them together. Future headlines include ‘Taylor Swift Detained after Shooting in Ottawa’ and ‘Boris Johnson Beheaded by Ed Miliband’.

Cleber De Campos presents ‘Skim Scan Read Copy / Rec. Live’, a project that investigates the process of mutual influence that newer and older media have over each other.


‘Skim Scan Read Copy / Rec. Live’, Cleber De Campos, 2014.


‘Skim Scan Read Copy / Rec. Live’, Cleber De Campos, 2014.

The end result is a hyper-mediated zine that discusses contemporary subjects such as surveillance, information overload, life-editing and copy.


‘Skim Scan Read Copy / Rec. Live’, Cleber De Campos, 2014.

MA Graphic Moving Image students have explored a broad range of screen-based communication designs throughout their studies, from traditional moving image such as animation, documentary, narrative shorts and broadcast design to web content, projection and video mapping.

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‘The Hadron and the Higgs Installation’, Kalai Yung, 2014.

‘The Hadron and the Higgs Installation’, a piece by Kalai Yung, aims to explain the concept behind the Hadron Collider experiment and the Higgs Boson at CERN. Driven by a desire to simplify complex ideas, Kalai’s work investigates how effective video mapping can be.

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‘The Hadron and the Higgs Installation’, Kalai Yung, 2014.

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‘The Hadron and the Higgs Installation’, Kalai Yung, 2014.

Yang Guo has used his own experience of suffering from air pollution in China in 2013 to produce ‘Stop Repeating’, an animated film that promotes engagement with environmental causes. Drawing parallels between the ‘Great Smog’ of London in 1952 that killed 12,000 people and China’s current air pollution crisis.


‘Stop Repeating’, Yang Guo, 2014.


‘Stop Repeating’, Yang Guo, 2014.

Come along to the huge School of Design show to see this and much more work by our talented graduating students!

School of Design: MA Contemporary Typographic Media, MA Graphic Branding and Identity, MA Graphic Design, MA Graphic Moving Image, MDes Service Design Innovation, PGCert/PGDip Design for Visual Communication
Exhibition open: Monday 8 – Saturday 13 December
Private View: Tuesday 9 December 6-9pm
RSVP for Private View
Late night opening: Thursday 11 December until 9pm

Read more about MA Graphic Design

Read more about MA Graphic Moving Image