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Dejavite (2006, p. 15) explains cultural journalism as:
 “[...] aquele conteúdo editorial que fornece
informação e diversão ao leitor e, ao mesmo tempo, constitui uma prestação de serviço”.

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The difference between man and animal is the ability to produce culture!

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The difference between man and animal is the ability to produce culture!

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We create an immensity of culture, the world is a gigantic diversity that keeps reinventing itself and moving all the time. Cultural journalism is necessary to cover our legacy, our mark of existence, taking all kinds of knowledge and customs to the most remote corners of the planet.

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It is a specialization of journalism as a profession. It involves the most diverse cultural manifestations, visual arts, music, cinema, theater, literature, folklore, popular culture, etc.

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The Cultural Journalism it ins't just relevant to select what is good (or not) to be watch or read. It also spread important local culture to the whole word, so that can be turned in a history mark. Last but not least, it helps to entertain the readers. Having fun is also good, specially in difficult times (like now) !

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Some of the ways that journalism uses to approach culture subjects are the reviews and the critics    

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Some of the ways that journalism uses to approach culture subjects are the reviews and the critics    

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A review is a report in the media in which someone gives their opinion of something such as a new book or film.
Examples:
Rave reviews and commercial success were accompanied by industry-wide adulation. We've never had a good review in the music press.

Synonyms: critique, commentary, evaluation, critical assessment

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EU-Eastern Partnership Culture and Creativity Programme

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In the area of ​​Journalism there are several strands, specializations and subdivisions. One of them is Cultural Journalism, this is the field in which it is used to report facts related to culture, be it local, national or international.

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10 literary critcs you should know about

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10 literary critcs you should know about

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English professor Eric Griffiths' lectures were so popular at Cambridge University, student newspaper Varsity featured them in its entertainments listings. Sometimes known as "Reckless Eric", the Liverpool-born critic was famous for his sharp tongue and quick wit, which would shine through in his analysis of others.

Griffiths would interpret texts word by word, once notably describing the word "divina" of the Divina Comedia to mean "fabulous poem, darling, loved it loved it loved it". He was able to demonstrate how a "Kafkaesque" mood, often applied to any situation with a hint of sinister bureaucracy, could be produced by small words like "if" and "but" in Franz Kafka's sentence structures.

But it seems not everyone fell for Griffiths' charm. Despite being called the "cleverest man in England" by the Guardian, poet Donald Davie once called him the "rudest man in the kingdom". Author AS Byatt even revealed that the critic had reduced her to tears by calling her Booker Prize-winning novel Possession "the kind of novel I'd write if I didn't know I couldn't write novels."
Elaine Showalter
Elaine Showalter dedicated her career to creating a woman-centric approach to the male-dominated field of literary criticism. The American writer is most famous for coining the term "gynocriticism" during the 1970s, which signified a "female framework for the analysis of women's literature" that would examine the "internalised consciousness" of being female.

Showalter defined three phases in which women's literature could be interpreted. From 1840 to 1880, in the "feminine" phase, writers like George Eliot would attempt to imitate male writers and use pseudonyms to publish their work. From 1880 to 1920, authors like Virginia Woolf led the "feminist" phase, full of protest, while an increased self-awareness from 1920 creatd the "female" phase, where women's experiences became "autonomous art."

Some experts said gynocriticsm omitted differences between women, such as class, race or sexuality, but the project was also credited with re-examining literary history from a feminist perspective. As Showalter put it, the world needed to "stop trying to fit women between the lines of the male tradition, and focus instead on the newly visible world of female culture."
James Wood
James Wood gained a fearsome reputation for reviewing books as the chief literary critic at the Guardian before going on to join the New Yorker in 2007. Financial Times called him "the best literary critic of his generation" the year after.

Always true to his opinion, Wood advocates an aesthetic approach to literature; even if it makes for a particularly blunt review. In 2015, he argued that Nobel Prize winner Kazuo Ishiguro's novel Never Let Me Go contained passages "that appeared to have been entered in a competition called The Ten Most Boring Fictional Scenes". Wood believes that the most important literary style is realism which is always "at the bottom" of his analysis.

But now the author of two novels, the writer has since said he is now much less likely to "slay people" in his reviews. Just last year Wood joked he had "lost his nerve" after being on the receiving end of criticism himself.
Stephen Greenblatt
Harvard University professor Steven Greenblatt has written seven books about Shakespeare and his Elizabethan world of words. In the 1980s, the critic co-founded New Historicism, arguing that writers are inseparable from the context of their surroundings, stating that he believed "nothing comes of nothing, even in Shakespeare."

But Greenblatt's is at his most impressive when linking the world-famous playwright's writing to today's top stories. In his latest book, Tyrant: Shakespeare on Politics, he hinted at a comparison between King Henry VI and a certain US President. "Drawing on an indifference to the truth, shamelessness and hyperinflated self-confidence, the loudmouthed demagogue is entering into a fantasyland-'When I am king, as king I will be'-and he invites his listeners to enter the same magical space with him," Greenblatt wrote.

"In that space, two and two do not have to equal four, and the most recent assertion need not remember the contradictory assertion that was made a few seconds earlier."
Tzvetan Todorov
In the 1970s, Bulgarian-French critic Tzcetan Todorov originated the concept of the fantastic, a subgenre of fiction characterised by ambiguous supernatural forces which cause the reader to hesitate when questioning reality. For example, in Edgar Allan Poe's The Black Cat, the murderer is unsure whether he is being stalked by an animal or something sinister from beyond the grave.

Todorov stated that readers of the fantastic would most frequently find themselves in two situations: Where supernatural forces are later revealed to have a rational explanation (the uncanny), or a straight up confirmation of a supernatural presence (the marvellous). His analysis has become vital groundwork to understanding the structural conventions of gothic, horror and science fiction.

Also a history, sociology, and philosophy academic, Todorov also studied the moral issues behind the Holocaust and questioned if "extreme situations" turned men into "beasts". He wrote over 20 books in his lifetime, many of which paved the way for other literary theorists such as Rosemary Jackson, who published Fantasy, the Literature of Subversion in 1981.

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10 Literary critics you should know about - Reader's Digest

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English professor Eric Griffiths' lectures were so popular at Cambridge University, student newspaper Varsity featured them in its entertainments listings. Sometimes known as "Reckless Eric", the Liverpool-born critic was famous for his sharp tongue and quick wit, which would shine through in his analysis of others.

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Cultural production in Brazil is going through a huge crisis!

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Cultural production in Brazil is going through a huge crisis!

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Cultural production in Brazil is going through a huge crisis accompanied by economic, political and ideological crises. Conservative neoliberal parameters provoke unimaginable discussions, capable of generating conflicts and contradictions (CANCLINI, 2016). The paradoxical dispute is quite fierce.
Cultural diversity, in this context, challenges artists and intellectuals, since freedom of expression requires space to dialogue with the other. Although it is essential to walk, continue our journey, especially in the process of producing knowledge, information and subjectivity (GUMBRECHT, 2015).
The role of journalism is to turn the fact into news. Therefore, the role of cultural journalism would be to take care of cultural matters that involve the journey of events in its surroundings.

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What the cultural journalism can talk about?

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What the cultural journalism can talk about?

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We already know that culture can be a whole set of customs from a specific group or civilization. The customs of some folk is definitely seen in different sectors of life. For example: cinema, music, food...

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 The primary concern of cultural journalism is with the arts and creative work, and with the individuals, institutions and policies that make or enable that work. The arts are usually understood to include literature, visual arts, music, film, theatre and dance, photography, architecture and design. They cover both ‘high culture’ (many of the traditional art forms) and ‘popular culture’ (once known as folk art). Culture also extends to mass entertainment in the form of popular films, radio, television and computer games. A broader definition might include everything from gardening and gastronomy to urban planning and innovative tech startups.

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Since the earliest days of cinema, movie critics have played a crucial role in filling seats (or not filling seats) at movie theaters. Countless movie reviews have been published over the decades, but only a select few film critics have become well-known for their work. The following famous movie critics have made a lasting mark on the film industry.

André Bazin

France's André Bazin was one of the earliest major film critics, having started his career in 1943. He was a co-founder of the renowned film magazine Cahiers du cinéma. More important than Bazin's reviews are his extensive writing on film theory, including essays on the importance of realism in cinema that are still widely read by film students.

Pauline Kael

Pauline Kael began her career as a film critic when the editor of a San Francisco magazine overheard her talking about films with a friend in a coffee shop and offered her a job.

Later as a critic for women's magazine McCall's, Kael became famous for her in-depth analysis, as well as for weaving her personal life and experiences into her reviews. She is also known for giving negative reviews to movies that were otherwise popular favorites, such as her extremely negative assessments of It's a Wonderful Life and The Sound of Music.

In 1968, Kael became a film critic for The New Yorker, where she regularly championed films that other critics ignored or dismissed. She also gained notoriety for her since-discredited 1971 essay Raising Kane that alleged that Orson Welles wrote very little of the Citizen Kane screenplay.

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The 10 Most Famous Movie Critics of All Time

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Since the earliest days of cinema, movie critics have played a crucial role in filling seats (or not filling seats) at movie theaters. Countless movie reviews have been published over the decades, but only a select few film critics have become well-known for their work.

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Exposure to various cultures can change a person in many ways, but most importantly, it can cultivate the ability to understand and respect others.

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Exposure to various cultures can change a person in many ways, but most importantly, it can cultivate the ability to understand and respect others.

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check out : https://dragonsprint.cis.edu.ph/2019/10/18/how-exposure-to-different-cultures-changes-us-cis-international-tunes/

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It's also important to highlight cultures that need more attention!

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It's also important to highlight cultures that need more attention!

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Check this report about black culture:

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This essay and the portfolio below are adapted from "Black Futures," to be published in December by One World, an imprint of Random House.

In a piece titled "LTS I," the Nigerian-American artist Toyin Ojih Odutola paints her brother in repose, with midnight-colored skin, gold jewelry and piercing eyes, unconcerned by who might be looking at him. The painting is part of "Like the Sea," a series of portraits of her two younger brothers rendered in her signature style, which emphasizes the depths of Black skin by applying layers of color, in this case, black pastels. Ojih Odutola said she gave her subjects the range to "just be" and exist "as they are," rather than forcing them into backdrops that might have felt more recognizable, or informed by historical representations of Black people.

Ojih Odutola named her series for a passage in Zora Neale Hurston's "Their Eyes Were Watching God," in which the main character, Janie Mae Crawford, reflects that "love is lak de sea. It's uh movin' thing, but still and all, it takes its shape from de shore it meets, and it's different with every shore." Crawford comes to realize that love is as vast as it is mysterious - like Ojih Odutola's practice, which insists on the beauty in seeing ourselves as we are.

What Ojih Odutola presciently conveys through her work is that Black representation is almost always limited if we allow ourselves to be crunched into other people's fantasies. In authoring our own images, Black people achieve some sovereignty beyond the reach of colonialist ideas and racist mythologies. Today you can see brilliant examples of this throughout our culture, whether in the plays of Jackie Sibblies Drury, or in the painter Amy Sherald's portraits of Michelle Obama and Breonna Taylor, or in the comedian Jaboukie Young-White's sly wit on Twitter, or even in the satirical takes on politics and public policy from young cultural producers on TikTok.

Online and off, we are witnessing a flourishing of Black creativity and art. Our Instagram posts, likes and quoted tweets are creating an unparalleled sense of dynamism and interconnectivity, and what is noticed feels more expansive than it has before. It is now possible, for instance, to witness our everyday thoughts and reactions and experiences - a staggering feat considering how little has been historically logged about the lives of Black people, unmediated and from our own perspectives.

In an essay collected in "Picturing Us: African-American Identity in Photography," Bell Hooks writes about how photography - particularly snapshots of Black people - form "pictorial genealogies" that "could ensure against the losses of the past." Hooks describes altars, hallways, credenzas and dressers as the commemorative homes for hallowed Black photos; today those collective memories are aggregated on social platforms. The daily diaries of our experience and the documentation of key moments in modern Black history - including the uprisings in Ferguson, Mo., the Ethiopia-Eritrea peace deal and feminist discussions about the impact of patriarchal violence on rapper Megan Thee Stallion - flow through Twitter, Instagram and TikTok. Our generation's James Browns release their new music not through Republic Records but on Bandcamp.

And yet, it is very likely that none of this is being preserved carefully or comprehensively for later review. Social media companies prioritize and monetize Black content, but make no effort to protect it. Ownership for Black people has long been constrained (just think of discriminatory redlining or the dismal number of Fortune 500 companies helmed by Black entrepreneurs), and online it is no different. These platforms encourage quantity over quality and make it increasingly difficult to access past posts. Already some of the most important reservoirs of modern Black culture, including Vine, a short-form video site that predated TikTok, or BlackPlanet, a social-networking site built specifically for Black people, have shuttered or faded from popular use. In some cases, the blogs, photos and clips created and exchanged on social platforms have disappeared from view. A recent update to Myspace, a social site that many Black musicians relied on, lost a trove of data some estimated to be as large as 53 million songs.

Online, there exists an inherent tension between remembering and forgetting that is particularly tormented, given how little agency we have over how information and memories are stored. Right now it is possible to download archives from Facebook, Instagram or Twitter for future reference, but it's hard to imagine that anyone is doing so with regularity. With social platforms, there is newly shared culture, and in effect, shared history, but it is one that is vulnerable to a loss as arbitrary as a server migration or company sale. Scholars like Meredith Clark at the University of Virginia and projects like Documenting the Now study how Black people use social media, but those efforts alone are not enough to capture the monumental flow of content.

Ten years ago, the Library of Congress announced plans to archive every single public tweet. The institution describes Twitter as "one of this generation's most significant legacies" for capturing "this rich period in our history, the information flows and social and political forces that help define the current generation." But in 2017, librarians were forced to abandon their efforts. The sheer volume of tweets - numbering in the high billions - and the multitude of formats shared on the platform (photos, videos, GIFs) made it impossible to archive and organize the catalog of data in a legible way. The Library of Congress has said it will continue to selectively save tweets around major events, like elections, and subjects, like public policy, but its challenges only highlight the urgency for more nuanced and creative approaches to archives.

In 2015, we set out to create our own analog archive of contemporary Black life by Black people and for Black people. This project eventually became the book "Black Futures," from which this portfolio is drawn. The ephemerality of social media terrified us, and as such, inspired us. We also wanted to acknowledge and assemble the multifaceted tiers of dialogues happening among activists, artists, academics, performers and athletes about Black life today. Generations before us had collections like Toni Morrison's "The Black Book" (1974); Akasha Gloria Hull, Patricia Bell-Scott, and Barbara Smith's "All the Women Are White, All the Blacks Are Men, But Some of Us Are Brave" (1982); and countless other texts, and similarly, we wanted to create a book that could serve as a guide to this unprecedented moment of connectivity and production to ensure that it would not be lost in the annals of history.

We set out on this project with a keen awareness that all archives are incomplete because they rely on the priorities and preferences of the authors and collectors. We called on the wisdom of Saidiya Hartman, a professor of English and comparative literature at Columbia University, who writes in her preliminary note to "Wayward Lives, Beautiful Experiments" that "every historian of the multitude, the dispossessed, the subaltern and the enslaved is forced to grapple with the power and authority of the archive and the limits it sets on what can be known, whose perspective matters and who is endowed with the gravity and authority of historical actor." One solution, embedded within "Black Futures," is encouraging our readers to see the book as an invitation to document our present as they see fit, too.

Right now, many of us are actively engaged with dismantling the history of the past, exposing it as wrong, perverted. This summer, we watched as people toppled racist monuments into rivers, renamed streets, unearthed pasts that we were told did not matter. The familiar is being made strange and shown to be ripe for revision. You can see this in the work of Amanda Williams, for example. Williams repaints empty houses on the South Side of Chicago using a palette based on products historically marketed to Black people. They include Crown Royal bag purple, Luster's Pink Oil Moisturizer pink, Ultra Sheen blue. Williams's houses transform an otherwise bleak landscape into something rich and brilliant, and simultaneously raise an eyebrow at how colors are tethered to notions of race and class. Sarah Lewis, who teaches art history, architecture and African and African-American studies at Harvard, uses her "Vision & Justice Project," which includes a multifaceted curriculum and print publication, to decenter whiteness in academia and scholarship. In describing the project, Lewis urges "speaking faith over the future" to sharpen our visual literacy as we do the work of looking back to better understand where we are headed.

The cultural landscape is a metaphorical sundown town - welcoming us conditionally and refusing us methodically, violently and consistently. In June 2015, in an article for The New Yorker, Edwidge Danticat wrote about Black people that "we have always traveled from place to place looking for better opportunities, where they exist. We are not always welcomed, especially if we are viewed as different and dangerous. ... Will we ever have a home in this place, or will we always be set adrift from the home we knew? Or the home we have never known." "Black Futures" is meant to be a dwelling place for our most precious cultural exports in a moment in which so much of our work is still subject to erasure. It wasn't enough to define ourselves by our examples of productivity; we also wanted to go further and invite each contributor to delve into what it meant to be alive.

The book is not an answer, but a series of prompts and questions, including what it would mean for everyone to create their own "Black Futures" project. We know that one book can't begin to capture everything about Black life, but we also know that too much has already been lost. Our effort goes beyond whom or what we should remember, but how we might begin the work of resisting being forgotten.

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This essay and the portfolio below are adapted from "Black Futures," to be published in December by One World, an imprint of Random House. In a piece titled "LTS I," the Nigerian-American artist Toyin Ojih Odutola paints her brother in repose, with midnight-colored skin, gold jewelry and piercing eyes, unconcerned by who might be looking at him.

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In addition, understanding other cultures makes it easier to understand world events, and, also different behaviors. Respecting diversity is important!

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In addition, understanding other cultures makes it easier to understand world events, and, also different behaviors. Respecting diversity is important!

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When Tarek Yahya moved to Philadelphia from Lebanon two years ago, he noted many cultural differences between Eastern and Western countries, specifically when it came to mental health.

"Here within the U.S., mental health appears to be regarded as essential," said Yahya, a junior biology major. "When in comparison to back home, it is not even considered as an aspect of you."

The transition to college life can hold a heavy weight on students' mental health as they are exposed to new topics, attempt to balance a demanding schedule and integrate themselves in a new culture with drastically different social settings.

Sixty-six percent of people suffering from a mental disorder in a 2019 survey of youth living in the Middle East never sought professional help due to stigma, Arab News reported.

For Yahya, the open dialogue about mental health in the U.S. has helped him become more aware of his emotions, he said.

Searching for acceptance of mental illness has not always been easy, Yahya said. The topic is often disregarded in health discussions and viewed as a non-influential factor in a person's everyday experiences, he added.

For people of Middle Eastern background, mental health can be seen as a weakness of faith which may prevent them from seeking help, according to a 2019 study published in the research journal Mental Health, Religion, and Culture.

Kareem Johnson, a psychology professor, feels the stigma around mental health is harmful to people.

"If you have never seen [mental illness], it is invisible to you because struggling with emotions isn't 'medical enough' for some," Johnson said.

In his classroom, Johnson tries to ease tensions felt among most college students by being understanding when one may ask for extensions on assignments because of their mental health.

It's difficult maintaining mental health through 2020, with the COVID-19 pandemic, the Black Lives Matter movement, the crisis in Yemen, the explosion in Beirut, Lebanon, and other global issues, he said.

"Life has always been stressful, but we used to have these ways of recovering, things we would do to heal our wounds," Johnson added. "With social distancing now, there is so much that we're losing access to."

Zakaria Alyan, a junior biology major who was raised in Jerusalem, Palestine, has been dealing with the stresses of working on a pre-med track.

Alyan says his academic workload, extracurricular activities and career planning are his main sources of stress, and they tend to stand in the way of his mental well-being.

"It's often difficult to discover what I truly want, instead of what others want me to do," he said. "Among peers, mental illness was a struggle that was hidden at times back home."

Yahya found that friends and relationships helped him realize the necessity of addressing stress concerns. Through this support, last semester Yahya contacted Tuttleman Counseling Services and he's grateful to receive mental health care while living in the U.S, he said.

"Mental health should be the number one priority because everything else is a testimony that stems from your mental performance," Alyan said. "It is easy to get caught up in superficial activities, but if you avoid putting time into work on what is bothering you in your head, it will keep building up to a point where you feel as if all control has been lost completely."

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Temple students navigate mental health between cultures

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When Tarek Yahya moved to Philadelphia from Lebanon two years ago, he noted many cultural differences between Eastern and Western countries, specifically when it came to mental health. "Here within the U.S., mental health appears to be regarded as essential," said Yahya, a junior biology major.

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Research shows growth in virtual consumption of culture during the pandemic

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Research shows growth in virtual consumption of culture during the pandemic

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Activities on the web positively impacted the daily lives and relationships of Brazilians at home

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A pandemia causou um aumento dos hábitos culturais no ambiente virtual, pesquisa aponta que 57% da população passou a usar mais a rede, 36% mantiveram o padrão de acesso desde o início do isolamento social e 7% reduziram suas atividades virtuais. Música, filmes, séries e shows estão no topo na lista de consumo conforme apontou o estudo realizado pelo Datafolha e Itaú Cultural.

O levantamento ouviu, por telefone, 1.521 indivíduos, de 16 a 65 anos, em todas as regiões do país, entre os dias 5 e 14 de setembro. O consumo de atividades culturais é maior entre aqueles que já consumiam serviços do setor nos últimos 12 meses antes da pandemia.

Sobre os hábitos de consumo cultural na web, dos que acessam a internet, 84% dizem ouvir música na rede, 73% declaram assistir filmes e séries e 60% dizem assistir shows no ambiente virtual. A leitura de livros digitais foi mencionada por 38% dos pesquisados, mesmo índice dos que mencionaram cursos livres como atividade realizada no período. Jogos eletrônicos foram apontados 34%, seguidos por webinars (32%), atividades infantis (28%), podcasts (26%), espetáculos de teatro (21%) e visitas a museus e exposições (17%). 5% não responderam.

A pesquisa também questionou sobre o consumo de atividades online após a pandemia e 57% diz ter interesse em acompanhar programas ao vivo com a participação de artistas, pensadores criativos e outros convidados discutindo arte, problemáticas atuais e ideias. Vídeos pré-gravados com dicas para fazer ou produzir arte interessam a 48% dos entrevistados. Visitar exposições e museus online e acompanhar oficinas de criação para crianças é foco de interesse, em ambos os casos, de 47% das pessoas ouvidas.

Outras atividades culturais que despertam o interesse dos usuários são assistir a vídeos gravados que ensinam a observar arte (41%) e aulas de dança gravadas (39%). Ainda, 37% dos entrevistados manifestaram interesse em participar de projetos artísticos guiados e ao vivo. Conversas gravadas sobre música com especialistas são objeto de busca de 32% deles e 28% pretendem acompanhar aulas de teatro gravadas. Somente 20% dos entrevistados disseram não ter interesse em nenhuma das atividades mencionadas.

Para 58% dos entrevistados, o consumo de programação cultural na web provocou uma melhora no relacionamento com as outras pessoas da casa. O fenômeno foi especialmente impactante para os indivíduos entre 45 e 65 anos - segmento no qual o índice chegou a 66% - e para os indivíduos com menor escolaridade, estrato em que 65% declaram melhora no relacionamento doméstico.

De acordo com a pesquisa, 54%, declararam que as atividades culturais na web ajudaram a diminuir a sensação de solidão e 45% apontaram redução do estresse e da ansiedade. Para 44% o consumo de cultura virtual na pandemia contribuiu para melhorar a qualidade de vida, com impactos na saúde mental e a convivência social.

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Pesquisa aponta crescimento no consumo virtual de cultura durante a pandemia

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A pandemia causou um aumento dos hábitos culturais no ambiente virtual, pesquisa aponta que 57% da população passou a usar mais a rede, 36% mantiveram o padrão de acesso desde o início do isolamento social e 7% reduziram suas atividades virtuais.