The fine line between journalism and advertising

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The fine line between journalism and advertising

A critical discourse study of ELLE.se’s use of advertorials and click-based content and an evolving hybrid genre

Author: Linnéa Maria Ruiz Mutikainen Stockholm University, Department of Media Studies Bachelor’s Thesis 15ECTS Journalism H15JPROG Supervisor: Torbjörn Rolandsson

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Abstract

The purpose of this study is to explore the expressions of a commercialising fashion

journalistic genre by focusing on how ELLE.se, Sweden’s biggest online fashion platform, use advertorials and click-based content. This is investigated through three research questions focusing on what journalistic and marketing discourses that are apparent in advertorials and click-based material; what blend of genres that are seen in different kinds of text commercial on ELLE.se and what discursive conflicts between journalistic ideals and commercial pressure are seen in the production of advertorial content. Theories used in the study are marketisation of public discourse together with Fairclough’s Critical Discourse Analysis (CDA), the

commercialisation of news and lastly genres, also focusing on fashion journalism as a genre.

In order to explore the expressions a discursive analysis is used on advertorials and click- based material on ELLE.se whilst qualitative interviews with respondents producing the content are conducted to investigate the third research question. The results of the study show that numerous journalistic and marketing discourses are apparent in advertorials and click- based material, with personification through conversational discourse, the pursuit of happiness by portraying the reader as an imperfect person and a friendly brand through corporate advertising as three recurrent themes. A majority of the text commercial at ELLE.se balances between editorial content and advertisement, demonstrating many aspects of an evolving hybrid genre. Lastly, respondents in the qualitative interviews identify digitalisation, loss of journalistic quality and decreased reliability as three discursive conflicts between journalistic ideals and commercial pressure. The result stresses how the impact of

commercialism and how journalistic and promotional discourses are continuously blended, showing aspects of ongoing hybridisation and converging genres.

Keywords: Fairclough, Critical Discourse Analysis, advertorials, native, affiliate, fashion journalism, commercialism, hybrid genre

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1. Introduction

“We want to deliver a strong concept to the customer and create flexible 360-solutions, meaning that we aspire to make the story visible on all our channels; it is seen online, on several Aller Media brands, on social media, perhaps on an influencer’s platform…” (Karlunden, 2018).

This quote shows how creative planner Malin Karlunden, producing advertorial content for both digital and print platforms to a range of leading fashion- and lifestyle magazines in Sweden, is reasoning. She was the very first person to only work focused with the production of native advertising at the Aller Media concern, who publishes ELLE. Today, Aller Media has an entire department who creates advertorial content, referred to as the Creative Studio.

The development is apparent – but how could commercial material impact fashion journalism?

A significant reason of concern is the compromise between journalism and advertisement.

Fashion journalism has a notable status, tracing back to the eighteenth century as a genre describing and illustrating fashion, portraying it as a desirable, highly sought for desire (Nelson Best 2017: 14). While advertorials, an advertisement in an editorial costume, often come across as poorly made and misleading with this editorial costume making it seem like they are sharing valuable information with its reader. Unfortunately, there is often a lack of valuable information (Zhou 2012: 324).

The concept of a hybrid genre, an intercrossed genre constructed by many discourses that are put together, is very present in fashion journalism (Cornis-Pope 2014: 15). In fact, fashion journalism is already a hybridised genre as it relies on the engagement of consumers and actors to reproduce. At the same time, commercialism is growing, and the quality of journalism is threatened as this potential revenue becomes evident, sought for and perhaps prioritised over maintaining a journalistic and reliable discourse.

1.1 Purpose

The study aims to explore the expressions of a commercialising fashion journalistic genre by focusing on Sweden’s most prominent online fashion platform ELLE.se’s use of advertorials and click-based content. In order to explore the expressions, a discursive analysis of text

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material from the website together with qualitative interviews with respondents producing advertorials and click-based content for the site are conducted.

1.2 Research questions

1. What journalistic and marketing discourses are apparent in advertorials and click- based material?

2. What blend of genres are seen in different kinds of text commercial on ELLE.se?

3. What discursive conflicts between journalistic ideals and commercial pressure are seen in the production of advertorial content? This research question is investigated through qualitative interviews with respondents from ELLE.

1.3 Limitations

This study analyses eight articles from ELLE.se; four covering native advertising and four covering affiliate marketing. These two categories are most frequent on the website concerning advertorial content. This study also contains interviews with three respondents who produce or have produced native, affiliate or both types of advertorial content for ELLE.se.

The limitation of articles is due to the body of work keeping a reasonable size as well as the time limit. For the interviews, only a small number of people produce or have produced this type of material for ELLE, explaining why only three were conducted.

The aim was to focus on a leading digital Swedish fashion platform. ELLE.se is Sweden’s biggest digital platform for fashion if looking at their scope. Their total monthly scope, meaning the extent in which their material distributes in a month, is 2 557 157 as of 2^nd of May 2018 (Ocast 1a 2018). To compare with Damernas Värld, the fashion and lifestyle magazine who are currently statistically superior to ELLE concerning the success rate of their print edition, who have a monthly scope of 1 221 652 as of 2^nd of May 2018 (Ocast 1b 2018).

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2. Background

Since the phenomena might be unfamiliar for some, this section explains the vocabulary used throughout the study. The four types of advertorials and click-based content used in this study are divided in Genre, as categories of text commercial and Elements, as components that may be evident in the texts in these two investigated genres;

2.1 Genre

2.1.1 Affiliate marketing

Affiliate marketing also referred to as affiliate, is a relatively new term within online journalism. At the moment, fashion and interior journalism are two areas in which the phenomenon is more notable. The phenomenon is frequent in shopping articles, for instance, XXX shoes you need to have this summer. Instead of providing the reader with a regular link to the retailer, a link is provided through a third-party company; defined as “someone who may be directly involved but is not a principal party to an arrangement or deal” according to Business Dictionary (2018). Withinaffiliate marketing, ELLE.se’s third-party companies are the following three affiliate networks; Apprl, Awin and Venuu (ELLE 2018).

When a reader clicks on an affiliate-link, the affiliate network gets an income. The income is then shared with the concern, in this case Aller Media. Lastly, the concern is responsible for distributing the profit to the magazines. A notable detail is that readers do not even have to buy the product for the companies to gain profit (ELLE 2018).

2.1.2 Native advertising

Native advertising also referred to as native, are editorial articles with content requested and paid by the advertiser (Aller 2018). Though marked as ads, it can be difficult for the reader to recognise that it is of a commercial character. Annika Englund mentions the concern in the article Native advertising – är det reklam, varumärkesprofilering eller rent av journalistik?

and stresses how a successful native relies on how the content is packaged and presented. The rival is just a search or a click away, so it is of precedence to be quick and reach out to the reader in time (Englund 2017). For the past one and a half year, Aller Media’s specific section of editorial staff called Content Studio is working with the production of native material (Aller 2018).

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2.2 Elements

2.2.1 Clickbait

Clickbait is “content whose main purpose is to attract attention” as well as assuring that visitors click on certain links (Lovell 2017: 173). Attracting attention and clicking on links are basic principles for any digital newspaper since it is the only way to maintain traffic and generate income through the editorial material. Clickbaits, however, are often identified through their slightly too promotional titles. A common example that Lovell mentions is the

“25 celebrities you did not know were dead”-article followed with the banner photo of a celebrity who is still well and alive. Hence, clickbait material builds up a specific interest but under-delivers by not living up to expectations. Poorly constructed journalism is offered instead, leaving readers feeling that the material did not match with their original perception (Lovell 2017: 174).

2.2.2 Search Engine Optimisation (SEO)

Search Engine Optimisation (SEO) is a method used to lure potential readers flourishing on Google by using titles that are searchable and straight-on, combined with heavily tagged material. If clickbait focuses on being brief and under-delivering, SEO focuses on being as tagged up and searchable as possible. As presented by Björn Häger in Reporter, 97 percent of all online searches are Google searches. 95 percent of the searchers are also extremely

demanding, only settling with one of the ten first matches of their search, an evolution that magazines are highly aware of (Häger 2014: 324-327).

There are two types of SEO, both aspiring to gain more traffic to the website. Off-page SEO focuses on external methods that bring traffic from outside, for instance when a link to an article gets posted on another social media platform (Kerns 2017: 9). On-page SEO is when the work is applied straight to the content by tagging it with relevant words that may enable the article to end up higher in the search results. Out of the two, on-page SEO is more common for online newspapers since it allows the author to influence the content without having to rely on a substantial amount of traffic from others (Kerns 2017: 9). At Aller Media, the delivery of relevant content is crucial concerning SEO. Metadata is modified so “Google understands what we want to convey” as well as working with URLs, says the publisher’s digital business developer Lisa Kierkegaard (Byström 2018).

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3. Previous research

The clash between journalistic text and texts of a commercial character is a focal point for the study. Hence it is of relevance to bring up previous research focusing on this changing

working climate, convergence in text and at work as well as the potential emergence of a hybrid genre. The research here below divides Production, which focuses on the editorial landscape and Text, which focuses on the material in itself and its character.

3.1 Production

3.1.1 Changing climates

Henrik Örnebring makes a more vital piece to this study through his book Newsworkers (2016). Örnebring focuses on the last decades changing working climate for journalists through a comparative perspective, monitoring the situation in Sweden, Great Britain, Italy, Poland, Estonia and Sweden (Örnebring 2016: 3). By interviewing journalists, Örnebring has received a thorough representation of how it is to be a modern-day journalist and how well journalists are responding to change.

A recurrent theme in the book is digitalisation, with modern-day journalists being expected to master new technologies as they emerge (Örnebring 2016: 181). Nonetheless, a quick

adoption does not guarantee improved journalism; journalists will instead be “guided by pragmatic attitudes when adopting technologies” (Machill & Beiler quoted in Örnebring 2016: 180). Örnebring highlights the myth of journalism being synonymous with

independency and autonomy and concentrates on the “empirical reality”, mentioning the importance of being ready to change their habits as new ways evolve – one of them being the development of digital technologies (Örnebring 2016: 187). Örnebring’s conclusion includes an interesting point to this study.

“The ongoing technologisation of journalism is thus far focused on reducing effort and increasing opportunities for control and surveillance, another circumstance that makes creating a counter-discourse of professionalism based on competence more difficult”

(Örnebring 2016: 191)

Örnebring explains how the technologisation of journalism focuses on smaller effort and increased observation of someone or something, in this study it would be someone who

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produces advertorials and click-based content. Digital tools allow magazines to monitor what type of content that is successful and then produce material based on themes that generate traffic. It causes difficulty for the author since it may limit the person to use its full competence to produce relevant fashion journalistic articles (Örnebring 2016: 191).

3.1.2 Convergence changing landscapes

Regarding convergence and its impact on editorial landscapes, Making Convergence Work in the Newsroom is used. This study focuses on convergence amongst editorial staff, using observations from South African newspapers to show how of convergence affects journalists working habits (Verweij 2009: 75).

The digital revolution is defined as a “profound change for journalism and the media” leading to the creation of a new platform – the web. Although the web is of importance for journalists in their research processes and to remain updated, the rise of convergence is a factor that is often forgotten (Verweij 2009: 75-78).

The study uses The Sunday Times, a newspaper situated in Johannesburg, as an example. The newspaper has a converged newsroom with a central desk for editors and sub-editors to work closely. In front of them, work islands are located to enable the creation of stories in a quick pace. Nonetheless, the transformation from a regular newsroom to a converged newsroom is quite a change. Convergence is fuelled by cooperation and communication, meaning that it is crucial for everyone to be aware of each other’s areas of work. Verweij states the importance of convergence and communication functioning for a newspaper to run smoothly (Verweij 2009: 78). Whether a converged newsroom equals improved journalism or just an increased amount of produced stories for the same price remains unknown. However, the study

proposes that a converged newsroom gives both reporters and editors “more integrated tools”

to produce and share stories (Verweij 2009: 87).

3.2 Text

3.2.1 Emerging hybrid genres

Regarding genres, Sijing Zhou focuses on “advertorials as an emerging hybrid genre” in her study ‘Advertorials’: A genre-based analysis of an emerging hybridised genre published in Discourse & Communication (Zhou 2012). The study focuses on two facets; to showcase how advertorials, both in language and its genre, are distinct from advertisements (Zhou 2012:

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324) and to receive a better understanding of the genre by applying genre theory on

advertorials, as a new and unexamined phenomenon. Zhou argues that advertorials are often misleading, with publishers intending to give the articles a legitimate costume by making it look like they are “sharing useful information with readers”. In conclusion, Zhou states that although there is no direct answer to if advertorials are more related to advertisements, editorials or news stories the defining traits of each three are blended. Hence, the study proposes that it is of relevance defining advertorials as “a sub-genre of advertisements” for the following reasons (Zhou 2012: 338).

Firstly, advertorials are both of a persuasive and informative nature. Newspaper articles are more informative, while editorials have a persuasive character with argumentation meant to be grounded on “unbiased facts”. Advertorials have the same communicative goals as advertisements but are not as direct. Here it is crucial to deliver information positively in courtesy of the actor behind the advertorial (Zhou 2012: 338).

Secondly, advertorials and news stories have similarities in their structures. However, the body of an advertorial includes details about the actor’s latest product or service, which Zhou identifies as a “distinct element in advertisements” (Zhou 2012: 338). Lastly, the author’s voice is not neutral in advertorials, instead it serves a more negative portrayal of the readers and an overwhelmingly positive attitude towards the actor. The vocabulary used in

advertorials is definitely of biased character (Zhou 2012: 338).

3.2.2 Converging genres

In the study Coming to terms with convergence journalism: Cross-media as a theoretical and analytical concept, Ivar John Erdal concentrates on the relationship between strategies on an organisational level, developing technologies and regular everyday news journalism (Erdal 2011: 213). The study highlights the emergence of convergent “media houses” through recent years and looks closer at news work and news texts within convergence journalism (Erdal 2011: 214)

Erdal argues that convergence journalism divides into two categories containing one vertical and one horizontal axis (Erdal 2011: 217). The vertical axis stands for the production, focusing on how a piece is created from scratch to its final product, being linked to the well- known concept of “multi-skilling”. The horizontal axis highlights the media platforms where

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a story can appear; print, television, radio, web and mobile media, hence referred to as the

“cross-media axis”. In conclusion, Erdal mentions that there is a lack of vocabulary to

illustrate how content emerges between different platforms. Therefore, the study proposes that a model integrating news work and news texts in convergence journalism would be useful (Erdal 2011: 217).

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4. Theoretical framework

Since the study addresses magazines in digital environments and has a critical perspective on its conditions of production, theories about marketisation of public discourse, Critical

Discourse Analysis (CDA), commercialisation of news and genre will be used.

4. Marketisation of public discourse meets Critical Discourse Analysis

Jürgen Habermas’ Theory of Communicative Action emphasises the system’s colonisation of the lifeworld, with the system being a dominating factor within economics, administration and partly politics. Lifeworld consists of individual values, appraising a private sphere (Alvesson and Sköldberg 2017: 215). The goal of communicative action is to reach a common

understanding between two parties without any ideas of personal profit.

An example of Habermas’ reasoning is seen in Fairclough’s concept of the marketisation of public discourse. Fairclough argues that market rates colonise the discourse practices of public departments (Winther Jørgensen and Phillips 2000: 77). Services and items turn into products as if they were to be sold and promoted. A well-renowned example is when marketisation of discourse practices within British universities were investigated. After an increased government demand, universities run much like regular businesses, attempting to sell their services and products to clients (Fairclough 1993: 143). Universities, unlike a

regular business, receive a significant amount of their income from the government. However, institutions are making changes on an organisational level as they see changes within the market, for instance by introducing “institutional planning” and focusing more on the marketing perspective (Fairclough 1993: 143).

The marketisation of public discourse links to the Critical Discourse Analysis (CDA), with power as one of its central perspectives. The theory recurringly examines the discourse used by influential figures responsible for societal differences and obstacles (Wodak and Meyer 2009: 9). Frequently CDA researchers look into the correlation between discourse and

reproduction of social superiority, meaning the misuse of power one assemblies over another.

If connecting to the example of British universities, CDA helps to pinpoint a new, emerging situation and showcase necessary revision of language and expression. Language is applicable as a barrier preventing ongoing and upcoming marketisation from exploiting journalistic

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discourse, yet it is essential to adjust it in accordance to modern-day developments and expressions and not rely on traditional practices (Fairclough 1993: 159). Traditional practices were most relevant when there was no competition from other actors, but now journalism has to adjust in accordance with other actors; which is the complete opposite. CDA may also help create an understanding of what is involved and what changes might be necessary to remain in control of discourse (Fairclough 1993: 159).

A common criticism for CDA includes accusations of researchers not being linguistic enough or perhaps too linguistic in their research (Wodak 2009: 33). There are also mixed opinions regarding the fine line “between social research and political argumentation”. To present social injustice, self-reflection is necessary during the research process as well as distance from the investigated material. If not being attentive enough or making more substantial adjustments due to time or structural matters, the research loses credibility and risks becoming more of an argumentative text of political nature rather than an investigating piece (Wodak 2009: 33)

4.2 Commercialisation of news

A factor behind the ongoing and upcoming marketisation is the commercialisation of news.

News is no longer primary; they are ranked behind possible revenues, advertisers and the preferences of consumers (Skinner et al. 2005: 119). Media is dependent on gaining the attention of an audience, hence making market shares so dominant that they could outrule the remaining principles. They are also used to not take “democratic or cultural standards of communication” into much consideration (Skinner et al. 2005: 127). Critics question the outcome for editorial offices and production of material as an outcome of the ongoing evolution of media together with hyper-commercialism, defined as a blend of

“commercialism, concentration, consolidation and conglomeration” by Mark Cooper (Cooper quoted in Skinner et al. 2005: 117). More carefully selected reporting, short texts that demand thorough simplification and increased production speed are a few concerns.

Magazines and newspapers today are dominated by commercialised features such as being shaped to attract a larger group of people, being cost-effective, entertaining and attempting to hold onto readers whose interest could be used for advertising purposes (Picard 2004: 61).

Furthermore, stories of a more niched, straight-on character often get ignored in favour of

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producing an entertaining text that attracts a wide range of readers. Subsequently, a text that is expensive to produce or jeopardises finances is dismissed. “Safe issues” are more likely to be covered, which may create homogeny in newspaper material (Picard 2004: 61).

4.3 Genres

Skinner shows how a genre changes due to commercialisation (Skinner et al. 2005: 119).

Since the study focuses on genres, this concept should be further defined.

A genre is a “socially ratified way of using language in connection with a particular type of social activity” (Fairclough quoted in Wodak 2009: 90). To exemplify; a manifesto against global warming builds on rules regulated by social standards. A pleasant climate change discourse could be apparent in a range of different texts and genres, for instance through televised debates focusing on political parties opinions on climate change, advice on how to be more climate-friendly and speeches by climatologists.

When using CDA in texts and looking at the use of “power”, discursive features are pinpointed. The features are ruled by power disagreement which is partly concealed in and also decided by discourse and genre (Wodak 2009: 10). Genres in texts make up an

interesting aspect of analysis since they often reveal proof of contrasting discourses and ideologies that are fighting for predominance. Researchers who solely focus on one genre often fall short of their expertise, hence why this study looks closer at two genres, elements that might have an impact on these genres and the potential rise of a hybrid genre (Wodak 2009: 73). Fairclough highlights socio-economical changes as a factor behind the rise of hybrid genres.

“… there is an extensive restructuring of boundaries between orders of discourse and between discursive practices; for example, the genre of consumer advertising has been colonising professional and public service orders of discourse on a massive scale, generating many new hybrid partly promotional genres…” (Fairclough quoted in Trosborg 2000: 149)

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Fairclough observes ongoing restructuring in orders of discourse and discourse practices. The example of consumer advertising colonising both professional and public discourse on a large scale shows signs of hybridised genres. This is relevant to the study since a prominent area is the identification of how journalistic discourse and marketing discourse are apparent, how they are blended and possibly causing conflict (Fairclough quoted in Trosborg 2000: 149).

4.3.1 Fashion journalism as a genre

A central genre to this study is fashion journalism since ELLE categorises as a fashion magazine. Fashion journalism interprets, describes and shares the creativity and

diversification of fashion. If fashion creates the value of a piece of clothing, fashion media such as fashion magazines, fashion-oriented columns in newspapers and television segments have been “at the very heart of the process” since the beginning (Nelson Best 2017: 12).

From a historical aspect, fashion journalism as a genre traces back to the eighteenth century and the establishment of Le Cabinet des Modes as the first magazine solely focusing on

fashion. In its first edition, it was authored how the magazine aimed at describing clothing and accessories of both sexes in a precise manner to narrate an “exact and timely knowledge”

(Nelson Best 2017: 31). Ever since the establishment of Le Cabinet des Modes, fashion journalism has been responsible for comprehensively describing fashion and portraying it as a desirable system. Fashion both emphasises an individual’s identity and the individual’s relationship to the group, as described by Nelson Best. Fashion journalism became the tool functioning as a bridge between the two since it is “democratising fashion but at the same time upholding its discriminatory and symbolic value” (Nelson Best 2017: 12-15).

Regardless, fashion journalism does not just write about the latest trends or new releases. Just like the bridge between an individual’s identity and an individual’s relationship to the group, Baudelaire states how fashion journalism also functions as a bridge between the “fashion industry and public consciousness” (Baudelaire quoted in Nelson Best 2017: 12-15).

Moreover, fashion journalism has significantly contributed to both cultural standards and ideological history, especially in areas explicitly concerning women. Besides narrating and forming the way society perceives beauty and femininity, it has also shaped standpoints on consumerism (Nelson Best 2017: 12-15). Fashion journalism is already a hybridised genre in itself since it relies on fashion, an area which relies on interest from consumers and a

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monetary engagement from actors in order to reproduce. Hence, this study highlights how the genre evolves and becomes further hybridised.

Today, fashion journalism is receiving more attention as a necessary, independent discipline.

It serves as the subject of both university degrees and independent courses, with many universities offering specific fashion institutions such as the London College of Fashion (Nelson Best 2017: 14).

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5. Methodology and studied data

In this section, the method used in this study, Critical Discourse Analysis (CDA) is

introduced. Its stages are presented and explanations of how the study uses them are provided.

Moreover, the selection of material, studied data and a method discussion is supplied.

5.1 Critical Discourse Analysis (CDA)

CDA is used since it is an appropriate and useful method when investigating not only the construction of texts but how discourse and other elements of the social process are correlated (Fairclough 1995: 10). Its primary research point is not on the individual level; instead it serves social relations (Fairclough 1995: 3). Discourse forms a vital part of social practice since it incorporates both the social world and diverse social practices (Winther Jørgensen and Phillips 2000: 66-68).

Furthermore, the method helps to highlight the linguistic-discursive aspect of both cultural and social phenomena as well as the ongoing modern-day development and transition.

Discourse can be seen as a matter, either living or material, shaped by a “complex set of relations” such as communication between people, or something as abstract as magazine and newspaper articles (Fairclough 1995: 3). CDA is also useful when looking at the formation of an institution, which this study partly does through information from respondents (Esaiasson 2003: 211).

5.2 Fairclough’s three dimensional model

To fully perceive the core of this study, Fairclough’s three dimensional model is illustrated.

The model presents “an analytical frame” that is suitable when doing empirical research focusing on communication, society or both (Winther Jørgensen and Phillips 2000: 75).

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Text focuses on the qualities and defining attributes of the text. In this study, the text level is realised through the discourse analysis of eight articles.

Discourse practice highlights the production- and consumption processes associated with the text. In this study, the discourse practice is prominent by interviewing respondents that produce or have produced advertorials and click-based content for ELLE.se.

Social practice defines the broader social practice that the

communicative action forms a part of, and in this study it is the stage where the text analysis and interviews connect with overarching theories, such as commercialism. This stage adds a third dimension by allowing people to not only comprehend the situation of the profession and how the phenomena appear in text but also how it connects with relevant theories (Winther Jørgensen and Phillips 2000: 75).

5.2.1 Analytical tools

The analysis used in this study implements the analytical tools presented by Winther Jørgensen and Phillips (2000: 86). The focus is linguistic, attempting at identifying what discourses the texts build on, often referred to as interdiscursivity. In accordance with the method presented in the book, the analysis is based on the following analytical tools, which are introduced and explained below.

An interdiscursive mix, partly mentioned above, is the result of different promotional

discourses being articulated together. An example of a promotional discourse can be evident in commodity advertising, with sentences such as “Make an Impact on the Generation” which causes the reader to feel like the only “right” option is to listen to the company’s message since it hints at a positive long-term impact. It is also common to personify both the reader and the institution by applying “you and we”, creating a conversational discourse and less informal atmosphere to the advertorial character (Winther Jørgensen and Phillips 2000: 86).

Phrases such as “with our reputation” that insinuate a certain greatness or success rate of the company are examples of corporate advertising. Frequent use of a logo to further expose the

SOCIAL PRACTICE DISCOURSE PRACTICE (production, consumption)

TEXT

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brand is another example of corporate advertising. At times, texts may also have perceptible narrative features, using descriptive and explanatory passages that create the illusion of a small tale rather than an advertorial text.

Furthermore, the interdiscursive mix may also be evident through personal quality discourse and management discourse. The first includes phrases such as “with your energy”, once again using personification but this time playing with the qualities and traits of the reader. The latter, management discourse, is seen when mentioning “expertise” or “teaching excellence”, again aspiring to present the company from its best light through a more advertising discourse (Winther Jørgensen and Phillips 2000: 86)

5.3 Qualitative interviews

In this study, qualitative interviews are used to highlight the production- and consumption processes associated with the text. Hence, the qualitative interviews make up the discourse practice of Fairclough’s three dimensional model as seen in 5.2 and help to investigate the third research question of this study: What discursive conflicts between journalistic ideals and commercial pressure are seen in the production of advertorial content?

A fundamental characteristic of qualitative interviews are the simple, direct questions asked and the compelling answers one receives. The collected material from qualitative interviews often provides exciting passages, opinions and patterns that may be difficult to come across but have the potential to add more legitimacy to the study (Trost 2010: 25). Concerning the interview itself, the preparations should be thorough but not scripted.

Two out of three interviews in this study take place at Aller Media’s office in central Stockholm. It was a natural choice of location since it is the workplace for two of the respondents, which also added a specific safety and comfort for them in the interview

situation since it is their “home soil” (Larsson 2011: 23). The third interview was a telephone interview since the respondent does not live in Stockholm. All three interviews felt relaxed and informative, receiving plenty of interesting material for the study. The telephone interview was initially a bit of a question mark, doubting that it would maintain the same quality as the other two. With that said, the result was above satisfactory with the respondent having plenty of time to answer all questions thoroughly.

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Before each interview took place, the respondents received an e-mail with some information regarding the study. The information involved the purpose of the study and more specifically what the interview would focus on; in this case the production of advertorials and click-based material at ELLE.se and potential conflicts.

5.3.1 Interview guide

Before conducting the qualitative interviews, an interview guide was put together (an

attachment provided at 9.1). An interview guide is appropriate however, the interview should flow on the respondent’s terms since its that person who is intriguing and the source of

research (Trost 2010: 54). As Trost stresses, the interviewer wants to hear how the respondent perceives its reality. Nonetheless, it is crucial not to get too carried away and forget the original, theoretical purpose of the interview (Trost 2010: 57).

Hence, the interview guide consists of a general theme and a smaller number of questions to allow the respondent to steer the way. The general theme focuses on the third research

question, which aims at presenting the discursive resources used when producing advertorials.

The questions cover the respondents view on production, a definition of journalism and possible conflicts that may appear between journalistic ideals and commercial pressure, to see if they feel like the phenomenon may clash with the continued success rate of the magazine.

5.4 Selection of material

In this study, the researcher implements an appropriate selection when selecting the articles.

Denscombe describes this type of selection as a subjective selection where the researcher picks its material after already ensuring that it will be suitable for the theme of the study (Denscombe 2009: 37). In this case, the researcher picks affiliate and native articles since they are examples of advertorials and click-based material.

The texts are narrowed down to four native articles and four affiliate articles. On ELLE.se clickbait and SEO are more prominent features rather than genres itself. An easy way to identify native and affiliate articles is through their branding as advertorial content; “in collaboration with…” for native articles, and “the article contains adlinks” for affiliate articles. In these genre articles, clickbait and SEO are apparent. Clickbait and SEO are ways to generate money, hence why they may come across in advertorials to commercialise and

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“bait” readers. To avoid an uncontrollably large study or possible difficulties with time; the study focuses on texts and interviews related to ELLE.se to maintain a red thread and keep the body of work as niched and specific as possible.

Concerning the qualitative interviews, the respondents were picked through a “snowball- method”. The method plays with the growing snowball principle, starting with one interview and finishing by asking the interviewed person for possible advice in the hopes of finding another relevant person to interview (Trost 2010: 137-145).

5.4.1 Respondents

The respondents selected to feature in the study offers their expertise in the production of advertorials and click-based content. They also help to identify possible conflicts between journalistic ideals and commercial pressure during the production process. All respondents have worked with the production of advertorials and click-based content for a various amount of time and come from different backgrounds within the journalism industry, which makes it likely for them to perceive advertorials and click-based content in different ways.

Respondent A is in its late twenties and has been active in the industry for roughly five years both as a reporter and a freelance stylist in Stockholm and Los Angeles. Has worked at ELLE for the past three years and produces material for both print and web, providing much

expertise of working with affiliate content to this study. Respondent B is in its mid-twenties and has a Bachelor’s degree in Fashion Studies, providing a relevant academic background to the study. Was actively producing affiliate content for ELLE.se during autumn 2017,

producing approximately two-three articles every week. The respondent is still active in fashion but in the retail industry. Respondent C is in its early forties and has been a journalist for the past twelve years, providing a very experienced perspective to the study. Currently produces native content at the Aller Media concern, with ELLE.se being one of the platforms.

5.5 Studied data

The articles listed in this section are used in the study to analyse and demonstrate how ELLE.se use advertorials and click-based content through native and affiliate, with possible elements of clickbait and SEO. They are listed in accordance to its category. All the material

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from ELLE.se is originally in Swedish, with translated titles in order to provide relevance and understanding to a larger group.

5.5.1 Native

Annika Sörenstam: “Jag betraktade framgångsrika kvinnor – och försökte lära av dem” / Annika Sörenstam: “I observed successful women – and tried to learn from them” Rooerade (2017-08-14) https://www.elle.se/golfproffset-annika-sorenstam-ser-tillbaka-pa-sin-

banbrytande-karriar/

Vårfräsch på 15 sekunder – 3 sätt att maxa fukten / Spring-fresh in 15 seconds – 3 ways to boost the hydration. Blomgren (2018-04-24) https://www.elle.se/varfrasch-pa-15-sekunder-3- satt-att-maxa-fukten/

5 irriterande saker som du med bröst går igenom – och hur du undviker dem! / 5 annoying things that you experience if you have breasts – and how to avoid them! Blomgren (2018-04- 05) https://www.elle.se/5-irriterande-saker-som-du-med-brost-gar-igenom/

Vill du vara både helrätt och bekväm i vår? Satsa på rosa sneakers! / Do you want to be trendy and comfortable this spring? Go for pink sneakers! Blomgren (2018-04-22) https://www.elle.se/vill-du-vara-bade-helratt-och-bekvam-i-var-satsa-pa-rosa-sneakers/

5.5.2 Affiliate

22 fina studentklänningar – ELLE väljer favoriter / 22 beautiful graduation dresses – ELLEs favourites. Möller (2018-01-25) https://www.elle.se/klanningar-for-studenten/

15 vita sneakers vi vill ha på oss våren 2018 / 15 white sneakers that we want to wear for spring 2018. Möller (2018-04-24) https://www.elle.se/vita-sneakers-2018/

Moderedaktören: Här är vårens absolut trendigaste väskmodell / The fashion editor: Here is the trendiest bag this spring. Fredriksson (2018-04-23) https://www.elle.se/gucci-marmont/

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Monki lanserar “This Body Got Rights”-kollektion tillsammans med RFSU / Monki launches

“This Body Got Rights” collection in collaboration with RFSU. Segerson (2018-04-23) https://www.elle.se/monki-lanserar-this-body-got-rights-kollektion-tillsammans-med-rfsu/

5.6 Method discussion

The study implements a qualitative method aiming at illustrating ongoing and upcoming phenomena as well as understanding how advertorials and click-based content is produced and packaged. The method goes one step further than systemised studies by not just stating an idea but also critically studying it (Esaiasson 2003: 214). Since the selected area is dependent on research and voices of expertise rather than general opinions through for instance surveys, a qualitative method felt more suitable than a quantitative method. The latter centralises an investigation of how often, how many or how frequent an occurrence is (Trost 2010: 32).

Validity and reliability are two possible concerns when implementing a qualitative method.

According to Metodpraktikan the concept of validity can be defined in one or a few of the following three ways: 1) a correspondence between a concrete, theoretical definition and the operational indicator, 2) excludes systematic errors, and 3) that we measure what we claim to measure in the research (Esaiasson 2003: 58). These definitions are often used synonymously.

Validity is challenging, but also a central, inevitable concern for all empirical social science research. The problem in itself is difficult to avoid since it is a natural consequence of research covering both a “theoretical and operational language” (Esaiasson 2003: 58). While research questions and the problem investigated in the study is defined on a theoretical level, the investigation and research in itself are made on an operational level (Esaiasson 2003: 58).

Reliability is by tradition defined as a way to ensure that an investigation is stable, authentic and not impacted by any random variables. An example of a random variable in qualitative interviews is if interviewers do not provide similar settings to all their respondents (Trost 2010: 131). As a researcher implementing a qualitative method in a study, one has to make it evident through writing that all studied data and analysed results are reliable.

Furthermore, discourse analysis as a whole is a rather broad, considerable area. Discourse has no definite end, which makes it the researcher’s responsibility to structure, narrow it down and be specific in the analysis. Segments could potentially turn out hefty, so it is fundamental to keep it precise and at times be more straightforward to keep a reasonable size. Difficulties

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in finding the relevant respondents and a possibly lack of interviews would have weakened the study, losing a level of analysis in the CDA-model. Not everyone is working with affiliate and native; hence the selection is rather slim. Additionally, all analysed texts have a banner photo by the beginning of the text, but these are excluded from the analysis. A thorough analysis of the photo could have provided more information to the analysis, yet it is excluded due to length and time.

5.6.1 Ethics and anonymity

Concerning the qualitative interviews, an ethical consideration regarding anonymity is made.

As previously mentioned, the respondents received an e-mail with information about the study before participating. This e-mail also mentioned the possibility to remain anonymous,

something that all respondents chose to be.

When applying a qualitative method, the researcher is aware of privacy by protecting the individual and confidentiality referring to the protection of data (Goodwin 2012: 341). Further on, the researcher is also aware of anonymity and “hiding any information that could identify the participants” as explained by Goodwin (2012: 341). In this study, information such as name, gender or area of residence is not relevant. The area of relevance and interest is the experience and thoughts of each respondent, not their identity (Goodwin 2012: 341). Hence, it does not affect the study that the respondents are called Respondent A, Respondent B and Respondent C.

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6. Analysis

In this section, the analysis is presented. It is divided in Text, focusing on the analysed text material and Interview which highlights the relevant passages in the conducted interviews.

6.1 Text

If connecting to Fairclough’s three dimensional model, the text level is evident through the results from the analysis of advertorials and click-based content, native and affiliate. Three recurrent themes are identified through the text analysis: The use of personification, the pursuit of happiness amongst imperfect readers who strive to become a better version of themselves and a friendly brand as the saving grace. These themes are explained and exemplified below in accordance with the analytical tools presented in the method section together with previous research, theoretical framework and research questions.

6.1.1 Personification

Personification refers to the conversational discourse which underscores the creation of a friendly bond between the reader and the institution (Winther Jørgensen and Phillips 2000:

86). This connects to the first research question, investigating what journalistic and marketing discourses that are apparent in advertorials and click-based content.

The use of conversational discourse is often evident in the title or in the lead paragraph, such as “5 annoying things that you experience if you have breasts – and how to avoid them”

(Blomgren 2018) and “… we recommend our graduation favourites for you to check out”

(Möller 2018). Conversational discourse is an example of interdiscursivity since it is a

discourse that the texts often are built on (Winther Jørgensen and Phillips 2000: 86). By using an informal, friendly tone it gives the reader a welcoming feeling. The primary goal is still to generate money, just like any other publication. However, it becomes more appealing when the advertorial material approaches someone in a less formal way (Winther Jørgensen and Phillips 2000: 86).

Although the article “5 annoying things…” is branded as a native, the title does not hint that it has anything to do with the lingerie brand Sloggi, the actor behind the article. It simply hints at mentioning five annoying aspects of having breasts and how you as a reader can avoid them. Zhou would argue that the impression of “sharing useful information with readers”

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through this legitimate, personal costume is a misleading way of delivering advertorial content (Zhou 2012: 324).

Each advice is formulated through a narrative description of a setting, again with heavy use of you, but also mentions either Sloggi or the collection Zero Feel in the advice which is a distinct characteristic of an advertisement (Zhou 2012: 338). This article may also be interpreted as a native with a slight element of clickbait, because although the title corresponds with the content its use of corporate advertising is heavy by frequently mentioning the actor and its latest collection (Winther Jørgensen and Phillips 2000: 86).

Hence, readers who click on the article may feel like the material did not correspond with their original perception (Lovell 2017: 174). Furthermore, an interdiscursive mix is

showcased since different promotional discourses, in this case, conversational discourse and corporate advertising, are combined and articulated together (Winther Jørgensen and Phillips 2000: 86).

6.1.2 The pursuit of happiness

Personification appears in the use of personal quality discourse, where personification is used to emphasise the qualities and traits of the reader (Winther Jørgensen and Phillips 2000: 86).

At ELLE.se it is often used in advertorials and click-based content to highlight the flaws or areas of improvement in the reader. These areas would be corrected once consuming a

product or service actualised by the actor behind the article. This theme shows journalistic and marketing discourse, but also the blend of genres investigated in the second research question.

24^th of April 2018 ELLE.se publishes a native produced in collaboration with The Body Shop (Blomgren 2018). It focuses on 3 ways to boost the hydration of your skin and includes many examples of personal quality discourse, such as; “your skin needs”, “you need” and “end your skin’s thirst” which focuses on personal traits (Winther Jørgensen and Phillips 2000: 86). It is evident that the emphasis is put on the reader, but not necessarily from an overwhelmingly positive light. The reader gets encouraged to revise and change its skincare routine by using products from The Body Shop, who are supposed to give your skin exactly what it needs. This is a glaring example of an un-neutral voice in advertorials since it is only the actor who

showers in positivity (Zhou 2012: 338). Just as any other digital or print platform, ELLE are victims of commercialism with a dependency of gaining the attention of an audience (Skinner et al. 2005: 117-127).

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Personal imperfection is also recognisable in this passage from a native produced in collaboration with ECCO:

“The boots are stored in the basement and your feet are longing for something lighter. Are you a person who rather strut around in high heels or do you prefer to move along in comfortable shoes that gives you a sporty look? Regardless, a pair of comfortable sneakers is a great investment as an option for the pumps or to express your personal style”

Blomgren (2018)

If reading between the lines, this passage contains a lot of personal quality discourse as it emphasises you on many occasions (Winther Jørgensen and Phillips 2000: 86). The reader is encouraged to buy a new pair of shoes since your feet are longing for a change after the rough months of living in winter-boots. Also, they are vital to express your style. This passage uses a lot with narrative and an essence of traditional fashion journalism by attempting to be the metaphorical bridge between the fashion industry and consciousness of the public (Nelson Best 2017: 12-15). It plays with public consciousness: it does not matter if you are a high heel-person or the comfortable, sporty woman, because these shoes can appeal to anyone.

ECCO acts as the fashion industry, being a well-renowned shoe brand with expertise that the reader probably relies on. This passage, perhaps more than the earlier examples, shows how ELLE.se are trying to find a balance between two strongly contrasting discourses, journalism and marketing, without losing their brand and credibility (Wodak 2009: 73).

A few years prior, before advertorials and click-based content became a necessity for

magazines to continue to generate enough profit to remain successful, the ECCO-article might have been a regular article providing shopping-inspiration. More traditional practices were successful when the competition from other actors was no-existent. Today, however, as argued in CDA-theory, journalism has to be flexible and change in accordance with other actors (Fairclough 1993: 159). In this case, ECCO is the actor behind the production of the article, showing how an institution has the power to colonise professional orders of

journalistic discourse (Trosborg 2000: 149). Journalistic and promotional discourses combine in an interdiscursive mix, and it is a reflection of the evolution of the fashion journalistic genre (Winther Jørgensen and Phillips 2000: 86). A modern-day development hinting at a new, promotional aspect of an already hybridised genre.

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Returning to the use of the imperfect person; it is a tool used to make ECCO appealing to the ELLE target group and potentially new readers. The content creates social needs and demands and by playing on journalistic narrative through the pursuit of happiness, ELLE.se attempts at shaping their content to suit a larger group of people through commercialised features (Picard 2004: 61).

6.1.3 A friendly brand as the saving grace

The use of personification and the portrayal of an imperfect person with flaws leads us to the saviour and further aspects of an evolving hybrid genre. Perhaps the most prominent feature in the analysed advertorials and click-based content from ELLE.se is their continued use of corporate advertising blended with management discourse in an interdiscursive mix. If the first insinuates power and stability through using the “fashion editor” as a promotional tool to fetch readers, the latter is used to promote the success of the brand by mentioning their

“expertise” or “teaching excellence” (Winther Jørgensen and Phillips 2000: 86).

In native material the saviour is an outside actor; “the lingerie brand Sloggi took care of the problem by creating a campaign where they want to focus on the fact that women have worn uncomfortable bras for ages. There are solutions to all problems!” (Blomgren 2018) or “as a part of our continuous collaboration with Rolex…” (Rooerade 2017). Affiliate material often portrays ELLE as the saviour or source of expertise, which is evident in the title “The fashion editor: Here is the trendiest bag this spring” or the lead paragraph starting with “We have listed a number of favourite models here below – read more and buy the bags straight away”

(Fredriksson 2018).

Instead of being strictly commercial, the brand often has a friendlier narrative much similar to the relationship they want to build up through the conversational discourse (Winther

Jørgensen and Phillips 2000: 86). Here the brand portrays itself as the “go-to friend” with expertise rather than just sharing information about the latest trends, which distinguish them from typical fashion journalistic discourse (Nelson Best 2017). This aspect shows how ELLE.se responds to ongoing commercialism while further pointing at the potential

development of a hybrid genre by blending defining traits of advertisements, news stories and editorials (Zhou 2012: 328).

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The native material that routinely has a problem-solving character through enunciating how they “took care of the problem” or hint at solid, “continuous collaborations” connects to CDA in texts and the use of power (Wodak 2009: 10). If using the Sloggi-native as an example, the text build on a narrative declaring that they embraced a long-lasting problem for females and found a solution to not just one problem, but all of them (Blomgren 2018). The underlying message is that their well-recognised brand came up with an idea that they put together in collaboration with another highly-valued brand, ELLE. Traces of traditional fashion journalism is seen, aiming at connecting fashion and public consciousness of a relatable matter (Nelson Best 2017: 12-15). If returning to the use of the imperfect person, it is evident that this Sloggi and ELLE-collaboration plays with certain greatness and a robust, positive portrayal of the actors (Zhou 2012: 338). It gives a powerful essence that may attract readers when hunting clicks, and it is all thanks to the blend of discursive features. The use of power discourse hints at another aspect of an evolving hybrid genre (Wodak 2009: 10).

The affiliate articles frequent use of management discourse is not just to present ELLE from its best light, but also a sign of awareness (Winther Jørgensen and Phillips 2000: 86). Much like the university example used by Fairclough, ELLE.se attempts at selling their services and products to their readers (Fairclough 1993: 143). Unlike the paper copy, the digital content is free to access. For the platform to get any significant profit, they use their most recognisable characters or include the name of their partnering brand to generate traffic. By using “the fashion editor” straight in the title, readers are intrigued to hear of that person’s expertise, hence they are more likely to click on the article and read it. It is a small adjustment, but it might have a visible impact regarding remaining in control of discourse at a time where other actors are becoming substantial (Fairclough 1993: 159).

About the elements of SEO and clickbait, SEO is generally more apparent in natives, and then it is seen through on-page SEO (Kerns 2017: 9). The majority of the analysed natives are longer in text, which gives the author an increased amount of material to tag which leads to a higher chance that it appears in search results. Affiliate material is also tagged, but mostly relies on further attention-attracting, promotional titles, which connects to clickbait (Lovell 2017: 173). Not all of the affiliate material is of clickbait-nature, but numerous texts are of a

“XXX dresses you need to have”-character. These are often photo-heavy with very little text, which may leave readers feeling underwhelmed or perhaps that they expected more from the brand (Lovell 2017: 174).

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6.2 Discourse practice

In this section, the analysis regarding the third research question is presented. The research question shall cover the production aspect of creating advertorial content and exemplify the possible conflicts that may occur. Respondents views on working with advertorials, how they define journalism, if they experience an ongoing conflict with journalistic ideals and potential conflicts when trying to keep the magazine economically successful will be investigated.

Parallels are drawn to previous research and theoretical framework. The answers used in the analysis below have been translated since the interviews were made in Swedish.

6.2.1 Respondents outlook on working with advertorials and click-based content This section focuses on the respondent’s outlook on working with advertorials and click- based content. Initially, all respondents share a very positive view on working with the phenomena. All three of them appreciate the effectivity of working with affiliate and native material and sees it as a simple way to produce content. Respondent A, who has been working with affiliate for a couple of years, is the first one who starts reflecting on the negatives of working with advertorials and click-based content.

“I feel a bit restrained since I produce a lot of affiliates for ELLE.se and the clothes available at the affiliate network are limited. There are still many big actors, like H&M and Zara, who are not signed to affiliate networks, which makes it harder to get a diversity when producing the articles. I often add them anyway with a normal link to get a better mix.”

(Respondent A)

For Respondent A, the lack of specific brands in the affiliate networks makes it difficult to produce articles with a nice diversity of products. Other products are featured but without affiliate-links which loses a bit of the point in producing an affiliate since there is no possibility to generate extra income (ELLE 2018). Respondent B, who has been producing many affiliate articles for ELLE.se during the past autumn, shares the views of Respondent A but also adds an initial problem to separate an affiliate article with advertisement.

“All along I felt restricted, but initially I also thought it was really hard to separate this from advertisement. By using certain expressions, writing about “must have’s” or “trendy outfits” I just felt really advertising rather than journalistic and independent. Before getting used to this way of working, I felt a bit uncomfortable with it.” (Respondent B)

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For Respondent B, it felt challenging to be controlled by another factor and let go of more

“independent” habits to produce affiliates the way ELLE.se wants. The platform has to make adjustments to produce successful content and remain commercially successful (Picard 2004:

61). A journalist changing its habits is synonymous with a commercialistic development, where in this case journalists have to feel familiar with these new technologies that emerge since they enable the concern to possibly generate more profit. Adopting a new habit fast is not necessarily the key to improved journalism either, since journalists are guided by

“pragmatic attitudes” to master these new ways of working (Örnebring 2016: 180-187).

Respondent C, who mostly creates natives, is less concerned about limitations and the adoption of new habits. The production process is delightful, with the only downside being the occasional extensiveness of implying a 360-solution which engages many platforms in the production and publishing phase.

“Actors often come to us with a product, asking what we have to offer. Then we may present a 360-solution, which focuses on using as many platforms as possible to expose the material like print, web, between different Aller brands… It is fun but definitely a lot to keep track on at times since it is a lot to monitor, many areas and many people.”

(Respondent C).

All three respondents identify both positive and negative aspects of working with advertorials and click-based content. They all appreciate how time-saving it is to produce an affiliate- or native article and how simple it is to put it together. However, it may also create the feeling of a restrained working climate as Respondent A and B both mentions. Journalists respond different to change, which advertorials and click-based content proves. The production of an affiliate may create difficulties for the journalist to remain professional and produce honest articles of one’s choice (Örnebring 2016).

Besides, the development of the modern-day journalist also implies that it is essential to keep track of what fellow editorial staff members are producing to be able to deliver qualitative material. This shows signs of convergence and how it affects, and possibly changes the professional landscape, since cooperation and communication are required to run a magazine smoothly (Verweij 2009: 78). Another obvious example of convergence is seen in the concept of the 360-solution, which blends journalistic ideals with commercial pressure.

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6.2.2 The conflict with journalistic ideals according to the respondents

This section focuses on the possible conflicts that the respondents perceive when producing advertorials and click-based content. Firstly, they reflect upon how they define journalism to understand why they may experience a conflict more easily.

Respondent C, who has been actively working as a journalist for the past twelve years, immediately stresses the importance of reliability.

“Reliability is always the most important thing for me. Good journalism is good reliability, that’s how it is. If we ignore this, then we will disappoint the readers, the readers will stop reading our material and the clients will naturally be upset.” (Respondent C)

For Respondent C, a journalistic piece cannot be successful if it lacks reliability. It will negatively affect the readers and make them lose faith in ELLE as a brand. Respondent A and B also identify legitimacy as something crucial for journalism. Respondent B continues by stating how journalism has to be informative and contribute to something.

“Readers have to feel like the text is trustworthy in order to enjoy it. They have to feel like it was worth their time to click on the article and read it, that it gave them something. To me, that’s really important for journalistic texts.” (Respondent B)

The thoughts of Respondent B show awareness of producing texts that contain useful information to remain journalistic and not advertising. This connects with research arguing that advertorial texts often look like they are sharing relevant information with their readers when they are just trying to give it a legitimate costume (Zhou 2012: 338). In this case, Respondent B notes the importance of actually producing qualitative material and not just using an informative layout to get more clicks.

Secondly, the respondents discuss possible conflicts with journalistic ideals. All respondents identify different conflicts, from digitalisation to maintaining a fashion journalistic narrative.

Respondent A narrows it down to digitalisation and how changes in platforms influences both the producers and changes the role of journalism.

“Today everything is so accessible through our smartphone, it’s a smart and fast way to stay updated which makes print less prioritised for the readers. Advertisements are removed from

The fine line between journalism and advertising