Journalism & Communication

Hannah currently works as a communications assistant at Bournemouth University’s Student Union (Photo: Hannah Sweetnam).

A BA Multimedia Journalism graduate is one of 25 people shortlisted to become Chief Funster in Tourism Australia’s Best Jobs in the World competition.

Hannah Sweetnam, who graduated last year, competed against 45,000 other entrants from 196 countries to get through to the second round.

If selected as Chief Funster, Hannah will have a hands-on social media role, review festivals and shows, and be considered a “Sydney VIP”.

Hannah explained she never expected to get this far in the competition.

“I was completely shocked when I found out. I was eating porridge and I nearly dropped it everywhere. I almost deleted the email by accident.”

Other roles available include Outback Adventurer, Park Ranger, Wildlife Caretaker, Lifestyle Photographer, and Taste Master.

Over 600,000 people applied for the six positions available, with more than 130,000 applications being made within the first 72 hours.

She said skills she had learned on her course influenced which role she applied for, and have been particularly useful in highlighting her entry.

“I owe getting through this round entirely to BA Multimedia Journalism. I couldn’t even Photoshop an image before and now I can edit videos and audio.”

For the second round of the competition, Hannah has to find the “ultimate referee” to support her application.

This includes submitting a piece of content – on any platform – showcasing support for her application.

“For the time being I am tweeting, Instagramming, Facebooking and YouTubing away to try and generate as much support as I can.

“I hopefully – fingers crossed – have a few tricks up my sleeve but we’ll have to wait and see.”

Hannah is one of five Britons shortlisted for the role. You can view her first-round entry in the video below. To support her campaign, tweet with the hashtag #hannahforchieffunster or like her Facebook page: facebook.com/HannahForChiefFunster

A number of Media School students, including those from BA Communication and Media, recently took part in a production of Beauty and the Beast.

BA Communication and Media’s programme co-ordinator, Ann Luce, watched the production alongside other course lecturers. Ann said all those who took part did an absolutely fabulous job.

Ann added: “These types of extracurricular activities are a fine example of what it means to be a BA Communication and Media student. Not only are they creative and eager learners inside the classroom, but they bring that creativity with them to each and every endeavour that they pursue outside of the classroom, too.

“As their lecturers, we are very proud of them! Here’s to next year’s performance!”

Bournemouth University and the Arts University Bournemouth’s Performing Arts Society worked together to perform the production at the Peter Allsebrook Lecture Theatre at Talbot Campus.

Vin recommended students stray away from the default narrative that exists in reporting (Photo: Giulio Bernardi)

Former BBC Foreign Editor Vin Ray has given final-year journalism students a masterclass in the art of original storytelling.

BA Multimedia Journalism students were spoken to as part of their Professional Perspectives unit.

In a relaxed, informal session, students asked Vin a range of questions.

Vin emphasised the value of having original story ideas and the power of questioning.

“People who come up with great original ideas are often the difference between the best and the rest.”

He asked students for what they considered “original journalism” to mean, before revealing a useful brainstorming technique to help look at stories from another perspective.

“You have two columns and you write down on the left-hand side everything you normally do. Then down the right-hand side, [write down] what the opposite of that would be.

“Some of the ideas will be clearly barking mad but somewhere in there you’ll come up with something that’s much more interesting.”

Vin questioned what roadblocks exist to original journalism. Students argued budgetary restraints and the success of tried and tested formulas were preventive measures.

These were the answers he was looking for, as he posed another question: “To what extent is a lack of originality about money or a mindset?”

People often think of original stories as investigations, or scoops. He admitted these did need resources a lot of the time, but this wasn’t what he wanted to dwell on.

Vin described a some reasons given by editors for a lack of originality, including: cost, a bigger output with a smaller staff, and churnalism. “You’ll hear this a lot in newsrooms around the place.”

However, this isn’t the biggest complaint made by editors, according to Vin. A survey of BBC editors revealed the biggest complaint of morning editorial meetings was a lack of story suggestions.

The visiting professor said this represented a fantastic opportunity for journalism students looking to find employment.

Students picked out local newspapers, radio stations and generally talking to people, as sources to create original stories.

Vin was the first Director of the BBC College of Journalism, having beforehand served as Foreign Editor across TV and radio.

He added, “I think there is a tendency when you start out that you ought to be across everything.

“You’re much more likely to come up with a good story if you go in-depth on a few things, rather than try and consume everything everywhere.”

Vin’s argument was that questions are the most important tool that journalists have in original journalism. “You can use them to pries open any given story and they can take you in all kinds of places. It’s about curiosity.

“The hard part I think is often not finding the right question. It’s having the nerve to ask the question in the first place. You kind of think somebody else must have asked that question at some point.”

Vin challenged students to ask why the media follows – at times – a particular narrative and displays a “group think”, reporting on the same underlying themes.

“When a factory closes, the default narrative is almost always in the pub with the workers who have lost their jobs talking about their bleak futures.”

To spark creativity, Vin asked students to think of the opposite narrative to that, receiving story suggestions that focused on the positive aspects of a recession.

“It’s always worth asking yourself what if the reverse were true, particularly when the whole of the media is going one way.

“This is what you’ve got to work against – everyone thinking in the same way and going in the same direction.”

Vin then explored conventional story curves, but looked to see where the curve could be altered or brought back to life.

“You can bend the story curve by a number of ways, but using the diary is a very, very effective way of doing it.

“It’s clocking something that’s happened and thinking to yourself: how and when can I come back to that story in an interesting way?”

Vin asked students whether they considered themselves to be 24-hour journalists.

He reaffirmed curiosity is phenomenally important and you should remain thinking as a journalist outside of the newsroom.

“There is a real feeling at the moment in news organisations that too many journalists are journalists when they switch on their computer in the morning, and will turn off their computer and stop being a journalist when they go home in the evening.”

New recruits in BBC newsrooms have been asked to find stories in 20 minutes, according to Vin.

“It’s amazing how you can do it, if you’re just thinking in that slightly aggressive let’s find a story [attitude], then you’ll find one.”

He said journalists shouldn’t be put off from asking what they may consider to be stupid questions.

“Just by sometimes explaining something you can come up with a piece of original journalism, simply by saying how can we explain this in a really simple way.”

Vin finished by highlighting a few examples of reporting where original reporting had been really successful.

Having recently spent time with Channel 4 News, he provided one-to-one training sessions with correspondents and presenters.

“It’s often the smallest teams that are the most creative, because they have to be, because they don’t have the resources that the big guys do.”

Vin concluded his lecture by recommending to students that they should avoid formulaic journalism when they can.

“Ask questions all the time, and those disruptive questions will get you places that you wouldn’t otherwise get to.”

Channel 4 News’ Alex Thomson spoke of his experiences as Chief Correspondent (Photo: Oscar Tollast)

Channel 4 News’ Chief Correspondent Alex Thomson has told BA Multimedia Journalism students they’re on the right track to success.

Lecturing as part of the course’s Professional Perspectives unit, Alex took part in a question and answer session, and explained his career path.

Although Alex studied English at university, he had gained a lot of journalism experience working for his student newspaper.

“I’m so completely ancient there wasn’t any such thing as online or anything in those days. Life was considerably simpler in some senses, but actually a lot less fun.”

Armed with a pile of cuttings and deciding what career to embark upon, only one profession appeared to stand out.

“Journalism seemed more fun than working. It’s kind of worked out that way frankly ever since.”

He studied journalism at a postgraduate level, learning shorthand and media law. Alex admits, however, he learned nothing like the technical aspects available on Bournemouth University journalism courses.

“I’m painfully well aware I’m the most technically inept person in this room when it comes to journalism.”

Alex started work as a researcher for the BBC, working on the nightly news programme Wales Today. He then took a small hiatus, travelling across India, before returning and signing up to the BBC’s trainee scheme.

“The BBC had a brilliant trainee scheme in those days. It was fantastic.

“You had to go to television, the main TV newsroom, and you had to go to their main radio newsroom, which is the most terrifying place I’ve ever worked, including 20 odd years covering wars.”

Alex continued to work for the BBC in Northern Ireland as a reporter before later accepting a job offer at Channel 4 News.

He recognises Channel 4 News’ one programme format is perhaps a “slightly dinosaur idea” in an age of 24/7 news coverage, but Alex is glad the channel persists with this structure.

“I think it’s the best news programme in the world, but I would say that, wouldn’t I?

“It really has allowed me to do the sort of things which you would, I don’t think, be allowed or given the opportunity to do anywhere else.”

Alex said, as a reporter, you’re able to do a huge range of stories and given the one luxury most journalists crave: time.

“You get the chance to pursue investigations and you’re given time, which is the most precious thing in journalism. That’s allowed me to pursue stories for many years.”

He highlighted his reporting of Bloody Sunday, and the Mull of Kintyre Chinook crash – the latter incident described by Alex as an example of campaign journalism, clearing the pilots’ names.

“There are not many places where you would be given 16 years to wear out not one, not two, but three editors of the programme and to be able to persist in this.”

Alex said a more modern example of a Channel 4 News investigation is the programme’s reports on the financial crisis surrounding Rangers Football Club.

He noted the story was a lot more online-based, publishing 75 online articles but only airing six TV pieces.

“We were the only outside organisation outside of Scotland who were looking at that situation, which was a major story.

“Something had gone badly wrong and a lot of people clearly weren’t asking the right questions as to why that had happened.

“It was extraordinary in the way the whole thing took off.”

Alex underlined the growing significance of online journalism, highlighting the newsroom’s attitude towards the Internet a decade ago.

“You had one person fiddling around with some great big computer and vaguely trying to do something on the net, the World Wide Web. Nobody was really quite sure.

“Now you’ve got two main desks in the newsroom of a dozen or more people absolutely dedicated obviously to putting out the news online and doing our own particular online niche thing that we do.”

The growth in online journalism can only be a positive thing, according to Alex.

“The great thing about that is that it means jobs, and usually jobs at the front end.

“People coming in to join the programme quite often will come in and join online and sometimes work on through there to the TV side of production.”

Studying journalism at university

A number of today’s journalists have entered the industry via various routes, but Alex suggests students have nothing to fear by taking a degree.

“I’m not one of those people who will say, ‘You’ll never get a job in journalism unless you join your local newspaper when you’re three, make the tea and lick everybody’s boots.’”

He pointed to journalism in the United States, arguing it had always been seen very much as a graduate profession, and not a trade.

“I see more and more people coming into the business from that sort of route, not less and less.

“You should feel optimistic about being good enough to have got a place on this course. I think that’s increasingly the way that journalism’s going.”

Jon talking to final-year BAMMJ students (Photo: Lottie Gross)

BBC News presenter Jon Sopel has told BA Multimedia Journalism students not to be dissuaded from following their dreams.

Jon spoke to final-year students as part of the course’s Professional Perspectives unit, revealing he never thought he would end up where he is now.

He recently joined BBC World News as one of the channel’s lead anchors, and presents the afternoon show Global with Jon Sopel.

“All along the way people have tried to put me off from doing what I’ve been doing and effectively if you believe what you are good at, follow your dream.

“If you want to make God laugh, tell him you’ve got a plan. Realistically, your career can take all sorts of meandering paths.”

Jon gave a talk to students about the route he took into the industry, passing on invaluable pieces of advice.

Stocking a wealth of international and UK reporting experience, Jon has acted as Paris correspondent for BBC News and fronted the BBC Politics Show.

Jon said it is important to stay informed across all sorts of stories, having a “well-stocked garden” with lots of different information.

“That’s why I think we’re really brilliant dinner party guests to have because we know a small amount about a thousand different subjects from the stories we’ve covered.”

Speaking of the relationship between the audience and a journalist, Jon said he sometimes feels like he’s helping someone to cross a road, breaking down complex issues.

“Look, we’re going to cross the road together, we’re going to get to the other side safely and we’re going to navigate our way round all these cars that are coming towards us at great speed.

“We are the trusted guides. If we become untrusted, then people will switch off.”

Keeping the audience’s trust is essential, according to Jon, but he’s aware the BBC’s every move is observed for evidence of bias or misreporting. However, he welcomes this form of accountability.

“It’s not a bad thing for us to feel that actually we are being watched and the standards that we uphold for our audience’s sake really do matter.

“People see that bad things happen but people recognise as well that there is still astonishing journalism that takes place.”

Jon has also reported from the Middle East during the war between Israel and Lebanon, has covered the past two US presidential campaigns and visited Sri Lanka after the tsunami in 2004.

When asked about his most memorable encounters and people he’s interviewed, Jon replied it was often those that weren’t famous that left an imprint.

“People whose suffering is great but their dignity is greater; I find those sort of experiences really life-enhancing.”

Jon is continuing his role as a presenter and live coverage reporter on the BBC News Channel and BBC One. He has recently been travelling to Rome to report on who will be the successor to Pope Benedict XVI.

“I’ve tried to take the view that whatever opportunities come my way, I’ll try and use them to my advantage.

“Do I regret having gone into journalism? Not a bit. I’ve had a brilliant time. I still love it.”

Students were advised to be creative, able to come up with story suggestions and make a story’s subject matter interesting and compelling.

Jon said, “What would be my shopping list? I like people who are dogged, determined, inquisitive [and] interested in people.”

He added journalists needed to engage with people and couldn’t afford to waste an incredibly privileged position.

“This is the great privilege of what we do. You get the chance to talk to people at odd times in their lives when it’s just you and them. You suddenly get something you think is really interesting and they’re open.”

Jon said everyone has to find his or her own way of conducting an interview.

Rather than having a Rottweiler approach, Jon suggested there were ways of asking poisonous questions with a smile that were far more effective.

“The moments that I love in an interview are when you get somebody and they come off the message, they come off the pre-prepared script, and you get a bit of the humanity of the person.

“I think the most difficult thing is to find your own voice [and] to find your own personality. Otherwise anything else is just artifice, if you’re not who you are.”

He added confidence grows as you gain more experience and journalists will speak to people differently depending on their audience.

“Confidence comes. It genuinely does.

“There are times where I’ve thought, ‘Oh my God. I’ve completely lost my way; what am I going to ask next? Help.’

“But it happens less and less. As you become professionally more confident and competent, you’ll be fine.”

Final-year BAMMJ Lottie Gross sending the final feature off to America (Photo: Ann Luce)

A number of Bournemouth University Media School students have taken part in the International Documentary Challenge.

The team of BA Multimedia Journalism and BA Television Production students were challenged to make an eight minute documentary within five days.

The fruits of their labour was a film titled Memento Mori, looking at how one couple are bringing death to life in Bournemouth by trading human bones.

Lottie Gross, assistant director, got involved because she loves filmmaking. She said she was proud of the finished product.

“We worked incredibly well as a team considering some of us had never met before. Everyone showed great dedication when it came to being away for over 24 hours to get it finished.”

To make the long editing process a tad more comfortable, pillows and duvets were even brought in to allow members to take a break.

Lottie added, “We’re all really pleased with the film and can’t wait for everyone to see it. It was tiring, stressful and hard work but it was entirely worth it because we made a great film and – most importantly – had a lot of fun!”

The students were one of three UK teams taking part. TV Journalism lecturer, Mat Charles, said producing the film was a fantastic achievement.

“I’m convinced our entry is good as any other, especially given the timeframe.”

“The determination and commitment was impressive and everyone learned a lot. Not only do we have a film that’s technically strong, but it’s also just a great story – and one that we found on our doorstep!”

The film will be reviewed by an independent panel of professionals who will judge it on both story and production values, as well as genre and effective use of the assigned theme.

There are more than 20 awards available, but out of all the entries twelve “Best Films” will be named and screened at the Hot Docs Canadian International Documentary Film Festival in April.

A screening of Memento Mori will take place as part of the Journalism Research Group meeting on March 20th in W241, the Media School, at 4.30pm.

The PTC said students were well-equipped to operate at a high level in a fast changing digital landscape.

The Periodicals Training Council (PTC) has reaccredited Bournemouth University’s BA Multimedia Journalism course for a further two years.

Members of the PTC visited the Media School on Thursday to review the course’s materials and to check it still met the requirements of the accreditation criteria.

Associate Dean for Journalism and Communication, Karen Fowler-Watt, said the course had received a glowing report.

“They praised the innovation of the course and the student work, as well as the commitment of the staff and students to high standards and hard work.”

The PTC is the lead body for best practice in training and development for the magazine and business media industry.

During its visit, representatives also spoke to a number of students from all three year groups to gather their views on the course and what improvements could be made.

The course was praised for aiming high and achieving excellence, according to Karen.

“They were struck by the energy and drive of our students and the range of extra-curricular activities and employability sessions.”

Visiting speakers regularly come down to Bournemouth University to share their industry experience.

A number of student media outlets also exist – such as The Bournemouth Rock, JUMP TV, and Newslab – that offer students experience.

Karen added the plan now is to keep developing the course’s strategic vision to keep its unique selling point.

“A massive thank you to all the students and staff involved in making this such a successful visit. This is a report that everyone can be really proud of.”

The front page of the latest Bournemouth Rock

The Bournemouth Rock has partnered with Bournemouth Borough Council to produce a special community edition of the student newspaper.

The Rock will be distributed to 25,000 homes in Winton, Moordown, Charminster and Queens Park.

In a front-page article, editor-in-chief Julia Denni says this special edition is an exciting opportunity for the students behind the publication to show their talent and dedication.

“There is a strong community in this area with plenty of stories to tell. The Bournemouth Rock wants to reach out and provide it with a compelling mix of news, sport, features and entertainment.”

It is the 12th edition of the newspaper and news editor, Tazz Gault, said it has been one of the most stressful editions to produce.

“With 15 pages of news, it’s the most we’ve ever had. But it’s definitely been worth it, especially knowing just how many people will read our work.”

The newspaper’s front-page leads on the government’s introduction of the controversial ‘bedroom tax’.

Tazz said, “It’s always good to get a local angle on a national issue so that it is appropriate for our audience.

“We have also looked into many stories that show how the university is trying to have a closer relationship with the rest of the community.”

The fortnightly newspaper can also be picked up – free – at all Bournemouth University campuses and Asda in Lansdown, as well as being available to read online.

IPC Media enjoys a special relationship with BA Multimedia Journalism

IPC Media’s director of special projects, Steve Sutherland, visited final-year BA Multimedia Journalism students on Monday to discuss the magazine industry.

His visit featured as part of the course’s final-year Professional Perspectives unit.

IPC Media is one of Britain’s biggest publishing companies.

Owned by Time Warner, IPC Media publish a lot of well-known magazines, including Marie Clare, InStyle, Country Life, and Nuts.

Steve, who edited NME between 1992 and 2000, started the lecture by analysing a number of the music magazine’s front covers.

He asked students what they liked about the designs, what they didn’t like, and whether they sold well.

Covers touched upon included those that featured a naked Beth Ditto, lead singer of Gossip.

Steve revealed this particular edition sold “terribly badly”, but there could have been a number of factors for this.

He said the image was perhaps “trying too hard” to be something controversial.

He added research revealed consumers felt uncomfortable picking it up from the shelf and taking it to the cashier to pay for.

It did attract press attention and created a debate, but this did not translate into high sales figures.

Steve inherited the NME editorship during Britain’s famous Britpop era.

He described how the magazine differs from other brands and is like a right of passage for some.

“They [NME] encourage people to tell them what a terrible, rubbish job they’re doing.

“People, when they talk about NME, tend to treat the NME like the BBC. They feel that they own it in some way.”

Steve said one of the biggest mistakes made when working for a music brand – whether online or print – is that people think it’s about music.

“It isn’t about music. To talk about music is quite a boring thing. It’s about being a music fan.”

The brand should appeal to people’s emotional levels, according to Steve.

“It’s not about a great drummer, or a great guitarist, it’s about having a kind of feel for the emotional impact, or the way these people talk to you.”

Steve said when working for a music brand, students needed to understand the most important people are the people they’re talking to, not the people they’re talking about.

“It doesn’t matter what album you’re reviewing, what matters is the people reading that review.”

The role of the music journalist

Steve said the role of the music journalist has changed across the years quite dramatically.

He said that during the 1950s and 1960s, if working for this type of magazine, you would be a news reporter.

“There would be nowhere else in the world that you could find out if Elvis Presley was or was not coming to Britain.”

By the 1970s, the chart mentality had become a mechanism for turning musicians into celebrities.

“They became interesting people in their own right.

“You’re job, if you were a journalist working for any of these music papers at the beginning of the 70s, would have been to interview these guys.”

During Britain’s punk rock era, higher tax thresholds saw a number of celebrities temporarily emigrate to America, according to Steve.

This led to artists no longer having contact with their fans, creating a disconnection between the two.

“If you were a journalist around that time, you would have become an evangelist.

“What you would be doing at that point is telling people that’s crap; this is great. You should listen to this.”

This marked a significant shift from the music journalist’s sole role of being a news reporter.

“You were trying to change things. You were a force for change.”

The late 80s and 90s embraced the concept that music could mean something and be divided into the mainstream and alternative scenes.

Steve said when he started working within the music press in the late 80s, “You were kind of more of a documentary maker.

“You would follow things. You would tell people. You would gain access to [artists]. You would show them what was going on.”

A number of strong relationships would form between certain writers and bands, where they were able to get the inside scoop.

But in today’s climate, Steve said the industry is very different and this type of relationship has broken apart.

The rise of the Internet and artists publishing their own publicity material threatens the music press’ role as informers.

Steve said the job hadn’t changed “full circle” but in the past the journalist would be “passing down wisdom” to its readers.

Peer-to-peer recommendation, however, is now seen as far more powerful, whilst a lot of music can now be listened to without being bought.

“Your voice as a critic now is just one voice in the noise.

“Your job now is to be a lot more like a best buddy than some kind of prophet. You need to enthuse people through your enthusiasm.”

With “a lot of noise out there”, Steve said today’s music journalist has another important responsibility, acting as a filter.

“You’re helping people in their busy days and busy lives to find some great stuff among all the noise.

“That’s what the job kind of entails these days. It’s quite difficult for some people to swallow, because it sounds like a more humble role, but actually it’s a lot more subtle than that. It’s a really very clever role.”

Steve stressed the best thing trainee journalists have nowadays is the ability to blog, allowing them to rehearse and find their own voice.

“The way for all of you to get paid – and this is absolutely crucial – is to be absolutely brilliant at what you do.

By writing a blog and building an audience, you’ll be able to prove to employers how skilled you are, according to Steve.

Who you want to be as a journalist

Steve said if he were a magazine publisher, there would only be three or four reasons he’d launch a publication during this climate.

To find a gap in the market, Steve suggested looking at what existing brands do really well, but also find their weaknesses.

“The one thing you desperately need to know about the market is what the brand that you’re going to go and work for lacks.”

Steve said he liked to hire people who disagreed with him, but this isn’t something every editor does.

“I was always of the opinion that I’ve got one of me, so what’s the point of having two or three of me?”

A number of panelists at the course’s recent careers forum highlighted the need to specialise, but Steve said not to do this too early.

“Try to work out where you can fit and then look at the move. There are endless opportunities, if you just find the right one.”

Steve ended his talk by advising students to look at what they can bring to potential employers, how to market and set themselves apart from other applicants.

“When we take guys from this university to come and work at IPC, which we do every year, you end up going in and doing stuff that we’ve got people who can’t do it.

“Sometimes I have to remind people, this is supposed to be a great job. It’s not really a job at all. It can be a passion.”

The Bournemouth Rock: the first edition of 2013

The latest edition of the Bournemouth Rock is now available to read on campus and online, marking the first issue of 2013.

The paper was handed out to students in the Talbot Campus atrium this morning, as well as free copies of The i Paper.

The fortnightly newspaper’s front-page story focuses on a BA Multimedia Journalism student’s recent trip to Somaliland.

Owen Evans, a final-year student, visited Somaliland during the summer as part of a One World Media project to produce a documentary.

Within an hour of his arrival, the Media School student was caught up in a risky situation.

The latest edition also features a number of health-related stories, covering the Health Protection Agency’s announcement that a record number of gay and bisexual men were diagnosed with HIV last year.

This figure surpassed the number of diagnoses for heterosexuals for the first time since 1999, the highest annual figure since records began.

As well as these stories Tazz added, “As ever, we also have the fun and strange stories, such as a piece looking into the first ever garlic competition that will be held in Dorset.

“We’ll also be looking at some of our students taking the new UK citizenship test.”

The Bournemouth Rock is available to pick up on all Bournemouth University campuses and can be read online.