Newsletter No. 533

數碼時代的新聞工作者 Eleven Pointers for the 21st Century Journalist 牽絆人間 The Silken Tie 美國總統 特朗普 經常和傳媒尋釁，「假新聞」、「後真相」等詞因而不脛而走。但其實新聞 業及大眾傳媒的彌天巨變已在不知不覺中開始，而且影響深遠。 數碼科技大大改變了過往的新聞傳媒作業流程、傳播平台和經營模式，對傳統新聞業起了 顛覆作用。新聞與傳播學院 蘇鑰機 教授便留意到新時代下數碼新聞學的十一個新趨勢。 首先，單一媒體傳播平台的時代已經一去不復返，多方平台變成常態。其次，大部分媒體都 必奉「流動優先」為圭臬。第三，「內容決勝」會讓路給「受眾／平台決勝」。第四，在線傳播 與非在線傳播界線會變得模糊。這些在新聞業的生態中都屬範式轉移的巨變。 在這個新的傳媒生態中從業員該如何自處？蘇教授見到的第五個趨勢是記者需具備多種才 能。第六是舊有分工模式瓦解，不同工種崗位之間需要更多更大協作。第七，新聞變成「即 時新聞」，對記者來說每分每刻都是「死線」。第八，如果記者能以不同形式（如趣聞、大數 據、虛擬實境）作出報道，則競爭力肯定大大增加。 那麼傳媒老闆又如何？第九，由於數碼媒體不存在國界問題，所以傳媒老闆都必想方設法 開拓國際市場。第十，行內行外會出現頻繁的合併收購風潮。最後，新的經營模式會注重如 何向網民收費及訂戶與廣告的收入比重。 新聞工作者將無可避免要適應新的模式、平台和做法，以迎接新世紀的挑戰。蘇教授相信 要在刮科技大風的新傳媒秩序中站穩陣腳，從業員必須培養出只此一家的創意。 Donald Trump ’s diatribes with the media have made terms such as fake news and post-truth household. But the changes in journalism and the mass media have started much earlier and are more far-reaching. Digital technology is subversive to traditional journalism as it renders past work routines, distribution platforms and business models out-of-date. Prof. Clement So of the School of Journalism and Communication can identify 11 media trends that have evolved or are evolving. First, the era of single media distribution platform has ended and multiple platforms have become the norm. Second, ‘mobile first’ is the slogan for almost all media operators. Third, the notion of ‘Content is King’ is beginning to make way for ‘Audience/platform is King’. Fourth, online and offline convergence is the way to go. These are paradigm shifts in the journalistic ecology. How should journalists cope in this new ecology then? Fifth, journalists of the 21st century have to be equipped with multiple skills. Sixth, there is a change of work routine that reshuffles the traditional division of labour and emphasizes cooperation and synergy among different departments. Seventh, ‘instant news’ makes every minute a deadline for the journalist. Eighth, the multiple ways of storytelling such as using ‘factoid’ (a trivial news item or a false statement presented as a fact), big data, Virtual Reality techniques, etc., can give one an edge in competition. How would all these affect the media owners? Ninth, as digital media recognize no national boundaries, the media owners would try to develop international markets for their businesses. Tenth, partnerships within the profession and across different businesses will make it a busy time for mergers and acquisitions. Lastly, the change of business model is imperative especially regarding how to charge online and the profit ratio of subscription vs advertising. Practising or aspiring journalists have to adopt the new formats, platforms and practices while adapting to the ‘brave new world’ environment. After the darkness there will be a new dawn. For journalists to succeed in this technologically driven world, they have to strive for creativity and uniqueness. The former gives them the edge while the latter enables them not to be easily copied and outdone by others. T.C. 長命百歲是否必然幸福？ 黃肇邦 執導的紀錄片《伴生》展現患病長者與照顧者之間的牽 絆。早前大學通識教育部與東華三院合辦《伴生》放映會暨座談會，座無虛席，導演現身解 答選材和拍攝手法等問題，亦有不少觀眾反映電影道出其照顧家人的掙扎。 「伴生」二字令我想起「共生」，即兩個生命體互惠共存，例如魚菜共生，魚的排泄物會化 為菜的養分，而菜葉的光合作用又能淨化水質，改善魚的生活環境。導演解釋片名的緣由， 「伴生有次序之分，由主幹植物衍生的周邊植物，會扶持主幹生存，好比子女通過父母的繁 衍來到世界，長大後照顧雙親。」 2014年，黃肇邦在東華三院做義工半年，認識了紀錄片內的三個家庭，在徵得他們同意後， 用兩年拍攝他們進出老人院、醫院，甚至是靈堂的經歷。他說：「其實我不拍攝的時間比較 多，放下攝錄機後，我是一名普通義工，更會與他們討論治療與照顧的對策。」 這份關懷贏得拍攝對象的加倍信任。他們在鏡頭前神態自然，也不諱言道出內心感受：長 子Paul不捨暮年的父親，但不忍他受病痛折磨，寧願他早日解脫；陳小姐獨力照顧兩老幾 近崩潰，卻為送他們到老人院而愧感不孝；晚上工作的兒子於日間陪患癌母親往返醫院覆 診，疲憊不堪。 《伴生》拍得一點也不煽情，它把兩代人相濡以沫和充滿張力的關係如實表達。片尾是陳 小姐趁假日帶兩老住酒店、到尖沙咀互相依偎看海。兩老已入住老人院，牽絆仍在，但她學 會了放手，珍惜眼前的海闊天空。 Is longevity truly a blessing? Snuggle , a documentary directed by Wong Siu-pong , deals with the relationship between care-givers and their ageing parents with chronic illnesses. The screening-cum-talk of Snuggle co-organized by CUHK’s Office of University General Education and the Tung Wah Group of Hospitals attracted a full house. Besides questions on the director’s choice of theme and shooting style, many members of the audience shared their struggles in caring for their family members. I associate ‘snuggling’ with symbiosis , a mutually dependent and beneficial relationship between two organisms such as in aquaponics. The waste produced by farmed fish supplies the nutrients for plants grown hydroponically, which in turn purify the water via photosynthesis. The director explained the film title: ‘Snuggling is hierarchical: the symbionts bred by their host will in turn support the host’s survival. It’s like the adult children taking the turn to care for their parents who brought them to the world.’ In 2014, Wong Siu-pong volunteered for half a year in the Tung Wah Group of Hospitals and met three families. Having obtained their consent, he spent two years recording their journeys accompanying their ageing parents to the elderly care homes, hospitals or even funeral halls. ‘Actually I spent more time not shooting. Off camera, I was just an ordinary volunteer and would join them in discussing the treatments and care plans.’ His genuineness has deepened the families’ trust on him. They acted natural in front of the camera and made no bones about their feelings: The eldest son Paul hopes that his father could soon end his suffering, though he would badly miss him; Miss Chan is on the verge of a breakdown caring for her two parents by herself, but the thought of sending them to the elderly home makes her guilty; the son who works night shifts wears himself out by taking his mother to the hospital in daytime for cancer care. Snuggle has very little sentimentality in it. It presents starkly the mutual support and tensions between the two generations. At the end of the film, Miss Chan brings her parents to a local hotel for vacation and is snuggling with them before the scenic Victoria Harbour. Her parents have been admitted to the elderly home, but the tie is still there. She has, however, learnt to be at ease and live for the moment to take in the sky and the sea. J. Lau Source: A Priori Image 09 # 5 3 3 | 0 4 . 0 3 . 2 0 1 9 字 裏 科 技 / T ech T alks 藝 士 匹 靈 / ARTS pirin