Chilean muckrakers: Making investigative journalism in a post-authoritarian and neoliberal context

This research examines investigative journalism performed in a post-authoritarian period, under a neoliberal society, in the Global South, and it traces some changes over 25 years. In particular, the dissertation characterizes muckraking as a sub-field of the journalistic field, discusses its boundaries, as well as its main players and their agendas when producing investigative journalism. The study weighs the influence of political and economic elements in shaping investigative reporting. The first part of this dissertation examines the boundaries promoting and, at the same time, constraining investigative journalism. Indeed, it shows the specific historical roots of current basic principles organizing, fostering, or hindering an adversarial journalistic performance by analyzing the constitutional foundations of freedom of expression, a negative freedom approach, and the legal status of media. The research also shows the main features of the subfield through its mechanisms of recognition and the capital appreciated and mobilized by its players, both organizations and individuals. Through analyzing the performance of muckraking on television since the 1990s and through the mid-2010s, this research critically reviews rationality as the core principle of public service’s journalism. In doing so, I introduce nuances to better understand watchdog-style journalism when intertwined with visual languages in a Latin American journalistic culture. The research design mixes different methodological techniques (like interviews, archival work, and analysis of agenda) and material (such as administrative records, visual material, and datasets specially designed and collected for the purposes of this research)

Chilean muckrakers: Making investigative journalism in a post-authoritarian and neoliberal context

This research examines investigative journalism performed in a post-authoritarian period, under a neoliberal society, in the Global South, and it traces some changes over 25 years. In particular, the dissertation characterizes muckraking as a sub-field of the journalistic field, discusses its boundaries, as well as its main players and their agendas when producing investigative journalism. The study weighs the influence of political and economic elements in shaping investigative reporting. The first part of this dissertation examines the boundaries promoting and, at the same time, constraining investigative journalism. Indeed, it shows the specific historical roots of current basic principles organizing, fostering, or hindering an adversarial journalistic performance by analyzing the constitutional foundations of freedom of expression, a negative freedom approach, and the legal status of media. The research also shows the main features of the subfield through its mechanisms of recognition and the capital appreciated and mobilized by its players, both organizations and individuals. Through analyzing the performance of muckraking on television since the 1990s and through the mid-2010s, this research critically reviews rationality as the core principle of public service’s journalism. In doing so, I introduce nuances to better understand watchdog-style journalism when intertwined with visual languages in a Latin American journalistic culture. The research design mixes different methodological techniques (like interviews, archival work, and analysis of agenda) and material (such as administrative records, visual material, and datasets specially designed and collected for the purposes of this research).LimitedAuthor requested closed access (OA after 2yrs) in Vireo ETD syste

A PRODUÇÃO DE MÍDIA DE “OS POBRES DA CIDADE”: O CASO DA SÉRIE DE TELEVISÃO RAMONA

This article provides a close reading of the visual portrayals about “the impoverished inhabitants of the city” as a social movement. It does so by analyzing Ramona, a fiction television series broadcast by the Chilean public television in 2017 and 2018. The story is set in 1967 and it depicts a complex overview fueling what we call a visual common sense and media social memory about both the historical period and the phenomenon Ramona illustrates. The media production about “the impoverished inhabitants of the city” is more than one hundred years old and it has been represented by a plurality of languages, genres, styles, and cultural artifacts. Books, cartoons, films, or radio programming have promoted readings of popular characters, lives, and processes that have been key to the Chilean history and also a part of a cultural common sense. Ramona follows those previous paths at the same time it opens new media and interpretative clues, too.Este texto analiza la representación audiovisual de los llamados “pobres de la ciudad” en su desarrollo como movimiento social, en particular a partir de la serie televisiva Ramona, exhibida por la televisión pública chilena en 2017 y 2018. La producción sitúa su narración en 1967 y ofrece una lectura diversa y compleja que contribuye a sedimentar un cierto sentido común audiovisual y una memoria colectiva mediática sobre el período y el fenómeno que representa. La producción mediática de “los pobres de la ciudad” es más que centenaria y se ha expresado en diversos lenguajes, géneros, formatos y artefactos culturales, que han instalado en el sentido común masivo interpretaciones de un fenómeno central en la historia chilena, y con la cual Ramona dialoga pero, también, abre otras claves representacionales y mediáticas.Este texto analisa a representação audiovisual dos chamados “pobres da cidade” em seu desenvolvimento como movimento social, em particular a partir da série televisiva Ramona, exibida na televisão pública chilena em 2017 e 2018. A produção faz sua narração em 1967 e oferece uma leitura diversa e complexa que contribui para sedimentar um certo senso audiovisual comum e uma memória midiática coletiva sobre o período e o fenômeno que representa. A produção midiática dos "pobres da cidade" tem mais de cem anos e se expressou em diversas linguagens, gêneros, formatos e artefatos culturais, que instalaram no maciço senso comum interpretações de um fenômeno central da história chilena. e com o qual Ramona dialoga, mas também abre outras chaves representacionais e de mídia