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		<title>Mediapart</title>
		<link>https://multiplejournalism.org/case/networks/mediapart/</link>
		
		<dc:creator><![CDATA[Multiple Journalism]]></dc:creator>
		<pubDate>Fri, 17 Apr 2026 02:26:35 +0000</pubDate>
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					<description><![CDATA[A group of driven and accomplished French journalists in search of a new business model for creating a profitable independent press online.]]></description>
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									<h1><strong>Mediapart</strong></h1><p>A group of driven and accomplished French journalists in search of a new business model for creating a profitable independent press online.</p>								</div>
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									<p><strong>When</strong></p><p>2007</p><p><strong>Where</strong> </p><p>France</p><p><strong>Who</strong> </p><p><span class="article-meta__data js-read-more">Edwy Plenel, François Bonnet, Laurent Mauduit, Gérard Desportes</span></p><p><strong>Website</strong></p><p><a href="https://www.mediapart.fr/en/english" target="_blank" rel="noopener">mediapart.fr</a></p>								</div>
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									<h5><strong>What is it?</strong></h5><p>After former editor-in-chief Edwy Plenel left French daily Le Monde in 2005 as a result of a fundamental dispute about the ownership of the newspaper, he joined his former managing editor Laurent Mauduit, former Libération editor-in-chief Gérard Desportes and François Bonnet (Le Monde, Libération, Marianne) to launch a new journalistic project.</p><p>Mediapart sought to be independent from advertising revenues and companies that are not primarily concerned with journalism, like the ones that own Canal+, Le Monde, Libération, and many other media outlets in France. A poster in Plenel&#8217;s office reading &#8220;Seul nos lecteurs peuvent nous acheter&#8221; (“only our readers can buy us”) reminds the journalists of this objective every day.</p><figure style="width: 450px" class="wp-caption alignleft"><img fetchpriority="high" decoding="async" src="https://bramalkema.github.io/multiplejournalism-static/uploads/shared/images/scaled/case_section_media/382.jpg" alt="" width="450" height="299" /><figcaption class="wp-caption-text">Introduction by Edwy Plenel (Mediapart event with François Hollande as guest, 6 months before being the official PS presidential candidate)</figcaption></figure><p>The founders insist Mediapart is not a website, but rather an online newspaper focused on investigative journalism while also covering current events. &#8220;From the start, for us, it has been newspaper. It is not a site, it is a newspaper. Yes, it is a newspaper. And I think we are really showing what a digital newspaper can be,&#8221; emphasizes Plenel.</p><p>They always aim to cover the current events from a different angle, using sources that do not usually appear in the traditional media. This is what according to editor-in-chief François Bonnet makes for the original editorial line of Mediapart.</p><p>Launching a newspaper online obviously costs much less than creating a print newspaper, but the founders also believe the online format has particular advantages. Publishing online provides journalists unlimited space, allowing the story to dictate the length and format of the piece, and provides opportunities to embed hyperlinks and interact with their readers.</p>								</div>
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									<h5><strong>How does it work?</strong></h5><p>Mediapart was meant to address what its founders perceived as a three-fold crisis in journalism with economic, moral and democratic dimensions.</p><p>To address the economic crisis, they needed to invent a business model for journalism that did not rely on debt, investment and advertisement revenues. Against the prevailing wisdom in 2007, which claimed that charging for online content would not work, they decided on a subscription model. Apart from the headlines and the first paragraph of each article on the home page, the longreads, podcasts and web documentaries are behind a paywall.</p>								</div>
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															<img decoding="async" width="528" height="297" src="https://multiplejournalism.org/wp-content/uploads/2026/04/20151111-Mediapart004-AndreaWagemans-lr-528x297.jpg" class="attachment-tc-ws-small-thumb size-tc-ws-small-thumb wp-image-1500" alt="" srcset="https://multiplejournalism.org/wp-content/uploads/2026/04/20151111-Mediapart004-AndreaWagemans-lr-528x297.jpg 528w, https://multiplejournalism.org/wp-content/uploads/2026/04/20151111-Mediapart004-AndreaWagemans-lr-1110x624.jpg 1110w" sizes="(max-width: 528px) 100vw, 528px" />															</div>
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									<p>The homepage is updated three times a day, producing three daily editions with articles organised according to relevance instead of time of publication. Sometimes an article with very high relevance is even published in multiple editions. This distinguishes the online newspaper from news sites, where the most recent article is also on top of the homepage.</p>								</div>
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									<p>Subscribers can furthermore contribute blogs and discuss with journalists in the Le Club section of the website, which is also accessible to non-paying readers. A subscription costs 12 euros a month.</p>								</div>
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										<img decoding="async" width="897" height="378" src="https://multiplejournalism.org/wp-content/uploads/2026/04/20151111-Mediapart005-AndreaWagemans.png" class="attachment-large size-large wp-image-1501" alt="" srcset="https://multiplejournalism.org/wp-content/uploads/2026/04/20151111-Mediapart005-AndreaWagemans.png 897w, https://multiplejournalism.org/wp-content/uploads/2026/04/20151111-Mediapart005-AndreaWagemans-300x126.png 300w, https://multiplejournalism.org/wp-content/uploads/2026/04/20151111-Mediapart005-AndreaWagemans-768x324.png 768w, https://multiplejournalism.org/wp-content/uploads/2026/04/20151111-Mediapart005-AndreaWagemans-570x240.png 570w" sizes="(max-width: 897px) 100vw, 897px" />											<figcaption class="widget-image-caption wp-caption-text">Membership growth in the first years after founding</figcaption>
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									<h5><strong>Why does it succeed?</strong></h5><p>The founders were journalists on a mission; apparently, it was one that resonated with a sufficient number of people. As the president of another French start-up put it: “I don&#8217;t think Mediapart&#8217;s subscribers all read the newspaper on a daily basis, but they feel like being a part of it.” Mediapart has come to resemble a community. Many of its subscribers see it as supporting a cause.</p><div class="section-media soundcloud"><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/241318998&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true" width="100%" height="450" frameborder="no" scrolling="no" data-mce-fragment="1"></iframe><span class="credits__title">Laurent Mauriac, co-founder Rue89 and Brief.me</span> <span class="credits__meta">by Andrea Wagemans</span></div><p>To communicate this mission they had a very charismatic spokesperson in president Edwy Plenel, who employs a clear discourse and has a strong journalistic reputation. While editor-in-chief François Bonnet manages the editorial line and content production, Plenel makes sure the Mediapart story is heard in the outside world.</p><p>In order to fulfill their promise to publish quality content, Mediapart started out with a substantial team of 25 qualified journalists. They account for 2,5 million euros annually in employment costs; 70% of the total capital needed to create and run the online newspaper. Luckily, the founders were reputable and accomplished journalists, who invested a total of 1.325.000 euros of private capital. Also, they had a network of friends and acquaintances that together contributed 504.000 euros.</p><div class="section-media soundcloud"><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/246674297&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false" width="100%" height="166" frameborder="no" scrolling="no" data-mce-fragment="1"></iframe><span class="credits__title">President Edwy Plenel</span> by <span class="credits__meta">Andrea Wagemans</span></div><p>To develop their audience, they cleverly made use of opportunities when they came along, with the Bettencourt affair being the most important one. Publishing secretly taped phone calls that other media had passed on allowed for a major scoop, leading to extra media attention and a consequential doubling of the number of subscribers in the 6 months that followed.</p>								</div>
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									<h5><strong>Why did we select it?</strong></h5><p>Mediapart shows that there are business models available for making independent online journalism profitable. While researchers (Witsche &amp; Nygren 2009) note increasing pressure on online media to sell out in order to attract more readers—and thus advertisers—in order to survive, Mediapart aims to be completely funded through paid subscriptions in order to maintain its editorial independence.</p>								</div>
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															<img loading="lazy" decoding="async" width="680" height="1024" src="https://multiplejournalism.org/wp-content/uploads/2026/04/20151111-Mediapart003-AndreaWagemans-web-680x1024.jpg" class="attachment-large size-large wp-image-1558" alt="" srcset="https://multiplejournalism.org/wp-content/uploads/2026/04/20151111-Mediapart003-AndreaWagemans-web-680x1024.jpg 680w, https://multiplejournalism.org/wp-content/uploads/2026/04/20151111-Mediapart003-AndreaWagemans-web-199x300.jpg 199w, https://multiplejournalism.org/wp-content/uploads/2026/04/20151111-Mediapart003-AndreaWagemans-web-768x1157.jpg 768w, https://multiplejournalism.org/wp-content/uploads/2026/04/20151111-Mediapart003-AndreaWagemans-web-570x858.jpg 570w, https://multiplejournalism.org/wp-content/uploads/2026/04/20151111-Mediapart003-AndreaWagemans-web.jpg 824w" sizes="(max-width: 680px) 100vw, 680px" />															</div>
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									<p>Mediapart’s readers are willing to subscribe to the online newspaper for 12 euros a month. Although a large part of their capital is still accounted for by the investment of the founders’ private money, they have been profitable since autumn 2010 and are working towards creating a foundation to use these profits to buy out the initial investors and become completely funded by its readers. For Mediapart’s founders, financial independence is a means to editorial independence.</p><p>When the online newspaper was launched in 2007 many believed it would fail, because its paid subscription model was still untested. This makes them a pioneer in new business models for online journalism. Ad revenues have been falling for years, forcing journalism to find revenue sources (Naldi and Picard 2012, Bruno and Kleis Nielsen 2012). However, few alternative options are available. And many of those who have tried charging for online journalism have failed.</p>								</div>
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									<p>Though Mediapart seems a rare case, its success reminds us that there is no excuse to not do journalism the way you think it should be done. Mediapart shows first that it is possible to find a new viable business model for online content, and second, that readers are willing to support what they consider good journalism. Just like the readers of De Correspondent and Follow the Money in The Netherlands, for example.</p>								</div>
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									<h5><strong>Extra</strong></h5><p>The English translation of the audio interview above with co-founder of Rue89 and <a href="http://Brief.me">Brief.me</a>, Laurent Mauriac:</p><p>“For my part, I think Mediapart’s success is two-fold. It’s a journalistic success, but not merely that. I think that it has also been a success in the motivation of Mediapart’s readers, and that’s linked to the personality of Edwy Plenel and the strength of his convictions. I think there’s also the idea of membership, of supporting a cause—a bit like a club in fact.&#8221;</p><p>&#8220;And I think that the readers, the people of Mediapart, are proud to subscribe. But they don’t have a relationship with Mediapart like with traditional media, which is to say I am not sure that all subscribers of Mediapart read it everyday, for instance.&#8221;</p><p><img decoding="async" src="https://bramalkema.github.io/multiplejournalism-static/uploads/shared/images/scaled/case_section_media/390.jpg" alt="" /><br /><em>Laurent Mauriac</em></p><p>But they are members everyday?</p><p>&#8220;They are happy they are members, there’s a feeling of membership, exactly.&#8221;</p><p>And you have learned something from Mediapart as well, or it’s a specific case?</p><p>&#8220;I think that it’s a specific case, yes. I think that Mediapart often says, look, we are a laboratory and we show the way for other media. But for my part I am a bit skeptical about the possibility of applying this formula. I think it’s a unique case.&#8221;</p><p>Why?</p><p>&#8220;Because as I explained, the personality of Edwy Plenel and all the stories that have emerged, the feelings of membership, the notion of subscribing, these are all things that are difficult to replicate.&#8221;</p><p>The English translation of the audio interview above with Mediapart&#8217;s president Edwy Plenel:</p><p>“There were several challenges. First, we faced the challenge of independence. And, second, we faced a challenge of experimentation with respect to those who, in 2007 and 2008 when the project was conceived and launched, said that information was free on the internet—that information should be free on the internet. Everyone was saying that people wouldn’t go to just a newspaper but that people would surf around and that news readers were the trend. The other nonsense people insisted upon at the time was that the internet implied short formats.</p><figure id="attachment_1559" aria-describedby="caption-attachment-1559" style="width: 300px" class="wp-caption alignleft"><img loading="lazy" decoding="async" class="size-medium wp-image-1559" src="https://multiplejournalism.org/wp-content/uploads/2026/04/20160110-Mediapart008-web-300x300.jpg" alt="" width="300" height="300" srcset="https://multiplejournalism.org/wp-content/uploads/2026/04/20160110-Mediapart008-web-300x300.jpg 300w, https://multiplejournalism.org/wp-content/uploads/2026/04/20160110-Mediapart008-web-150x150.jpg 150w, https://multiplejournalism.org/wp-content/uploads/2026/04/20160110-Mediapart008-web-768x770.jpg 768w, https://multiplejournalism.org/wp-content/uploads/2026/04/20160110-Mediapart008-web-570x571.jpg 570w, https://multiplejournalism.org/wp-content/uploads/2026/04/20160110-Mediapart008-web-510x510.jpg 510w, https://multiplejournalism.org/wp-content/uploads/2026/04/20160110-Mediapart008-web.jpg 959w" sizes="(max-width: 300px) 100vw, 300px" /><figcaption id="caption-attachment-1559" class="wp-caption-text">Edwy Plenel standing in the studio before airtime</figcaption></figure><p>Basically, those three things refer to what sociologists would consider to be “technical illusions”—this idea that it’s the technical side that shapes how things are used, whereas it’s the way things are used that determines what we do technically. Unless we let ourselves be dominated by it. But it’s the ways things are used that allows us to do things. And we have shown that with the internet, people were ready to read a newspaper, to become loyal as an audience, and that hyperlinks also allowed them to do richer, more profound, and more lasting things than could be done in the confines of a printed paper.</p><p>And we showed that all of this could create value, because every industrial revolution is a battle about value. There’s a battle over distributing value and a battle over creating value. So we wanted to show that we could create value and to do it in a way that would profit those who create rather than the shareholders.&#8221;</p>								</div>
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		<title>Chimurenga</title>
		<link>https://multiplejournalism.org/case/point-of-view/chimurenga/</link>
		
		<dc:creator><![CDATA[Multiple Journalism]]></dc:creator>
		<pubDate>Thu, 16 Apr 2026 21:13:51 +0000</pubDate>
				<category><![CDATA[Cases]]></category>
		<category><![CDATA[Point of View]]></category>
		<guid isPermaLink="false">https://multiplejournalism.org/?p=1416</guid>

					<description><![CDATA[An innovative, multimedia platform that challenges cultural dominance and xenophobia with free ideas, new aesthetics, and political reflection by Africans about Africa.]]></description>
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									<h1><strong>Chimurenga</strong></h1><p>An innovative, multimedia platform that challenges cultural dominance and xenophobia with free ideas, new aesthetics, and political reflection by Africans about Africa.</p>								</div>
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									<p><strong>When</strong></p><p>2002</p><p><strong>Where</strong> </p><p>South Africa</p><p><strong>Who</strong> </p><p><span class="article-meta__data js-read-more">Ntone Edjabe, Paula Agukizibwe, Stacy Hardy, Bongani Kona, Rustum Kozain, <span class="details"> Dominique Malaquais, Graeme Arendse and Gael Reagon and many others</span></span></p><p><strong>Website</strong></p><p><a href="https://chimurengachronic.co.za/" target="_blank" rel="noopener">chimurengachronic.co.za</a></p>								</div>
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									<p><strong>What is it?</strong></p><p>Chimurenga was launched in 2002 by writer and DJ Ntone Edjabe. He attended the University of Lagos but was &#8220;educated&#8221; by Nigerian musician and radical thinker Fela Kuti. In 1993, Edjabe relocated to Cape Town and set up the Pan African Market as a space for the free flow of ideas and projects in a context marred by xenophobia.</p><figure style="width: 450px" class="wp-caption alignright"><img loading="lazy" decoding="async" src="https://bramalkema.github.io/multiplejournalism-static/uploads/shared/images/scaled/case_section_media/313.jpg" alt="Vol.9 June 2006" width="450" height="639" /><figcaption class="wp-caption-text">Vol.9 June 2006</figcaption></figure><p>In 2002 he launched Chimurenga magazine to collect and distribute original perspectives on the contemporary African experience. It offers fresh interpretations, analyses, poetry, and photography by leading thinkers, writers, journalists, and practitioners in various disciplines from Africa and elsewhere.</p><p>Chimurenga’s network of cutting-edge contributors has gained an audience that includes public intellectuals, social leaders, and activists, both in Africa and internationally.</p><p>The magazine’s 2,500 print-run is distributed to enthusiastic followers, and selected articles are posted on the website and available as &#8220;pocket literature&#8221;. Its titles include &#8220;Music is The Weapon&#8221;, &#8220;Black Gays and Mugabes&#8221;, and &#8216;The Curriculum is Everything&#8221;.</p><p>Over the years, Chimurenga has developed into a series of publications, cultural projects, and public events called the Chimurenga Sessions. It is now a mutable object, taking shape as a print magazine, a website, a workspace, and a platform for editorial and curatorial activities.</p><p> </p>								</div>
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															<img loading="lazy" decoding="async" width="604" height="404" src="https://multiplejournalism.org/wp-content/uploads/2026/04/140202-Chimurenga8-FCaris.png" class="attachment-2048x2048 size-2048x2048 wp-image-1428" alt="" srcset="https://multiplejournalism.org/wp-content/uploads/2026/04/140202-Chimurenga8-FCaris.png 604w, https://multiplejournalism.org/wp-content/uploads/2026/04/140202-Chimurenga8-FCaris-300x201.png 300w, https://multiplejournalism.org/wp-content/uploads/2026/04/140202-Chimurenga8-FCaris-570x381.png 570w" sizes="(max-width: 604px) 100vw, 604px" />															</div>
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									<h4><strong>The Chronic</strong></h4><p>&#8220;The Chronic is one small, deeply subjective attempt to do things differently. We recognised the newspaper—a popular medium that raises the perennial question of news and newness, of how we define both the now and history, as the means to best engage the present.”</p><p>“We selected the medium both for its disposability and its longevity, its ability to fashion routine in a way that allows us to traverse, challenge and negotiate liminality in everyday life.”</p>								</div>
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															<img loading="lazy" decoding="async" width="700" height="390" src="https://multiplejournalism.org/wp-content/uploads/2026/04/142609-Chimurenga18_Edjabe_dj-FCaris.jpg" class="attachment-large size-large wp-image-1429" alt="" srcset="https://multiplejournalism.org/wp-content/uploads/2026/04/142609-Chimurenga18_Edjabe_dj-FCaris.jpg 700w, https://multiplejournalism.org/wp-content/uploads/2026/04/142609-Chimurenga18_Edjabe_dj-FCaris-300x167.jpg 300w, https://multiplejournalism.org/wp-content/uploads/2026/04/142609-Chimurenga18_Edjabe_dj-FCaris-570x318.jpg 570w" sizes="(max-width: 700px) 100vw, 700px" />															</div>
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									<p>In 2013, The Chimurenga Chronic was founded as a quarterly gazette, in an effort to challenge the newspapers&#8217; historical role as a tool of nationalism. Ntone Edjabe:&#8221;In many ways the Chronic is a self-administered antidote to the easy certainties of mainstream journalism.&#8221;</p><p>The pan-African production of  The Chronic unites journalists, editors, writers, theorists, photographers, illustrators, and artists from around Africa and the world to critical debate and the exchange of ideas about Africa. Each issue of The Chronic is published online, but can be read in print too.</p>								</div>
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									<p><strong>How does it work?</strong></p><p>The research platform of The Chimurenga Chronic is called The Chimurenga Newsroom blog. An aggregator of ideas, sources and discussion, it taps into the extraordinary potential of online and offline media and selects, organizes and shares the information.</p>								</div>
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															<img loading="lazy" decoding="async" width="600" height="400" src="https://multiplejournalism.org/wp-content/uploads/2026/04/Chimurenga17_poster.jpg" class="attachment-large size-large wp-image-1431" alt="" srcset="https://multiplejournalism.org/wp-content/uploads/2026/04/Chimurenga17_poster.jpg 600w, https://multiplejournalism.org/wp-content/uploads/2026/04/Chimurenga17_poster-300x200.jpg 300w, https://multiplejournalism.org/wp-content/uploads/2026/04/Chimurenga17_poster-570x380.jpg 570w" sizes="(max-width: 600px) 100vw, 600px" />															</div>
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									<p>On the public forum, visitors can read article briefs, interact in editorial discussions and access reading lists. The blog also functions as an open-source archive, documenting the projects’ research process and progress. In the Chronic, Africans write about Africa as they see it, both taking from and contributing to the 21st century emergence of truly global sources of news reflecting multiple points of view and cultural diversity. As the blog Africa is a country states in their masthead: ”It’s not about famine, Bono or Barack Obama.”</p>								</div>
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									<p>Making strategic use of media and collaborations, Chimurenga’s activities also include The Chimurenga Library, an unique online archive of independent African cultural periodicals, and two editions of the Pan African Space Station, a 30-day series of live performances and radio broadcasts expanding notions of African music from ancient techno to future roots.</p><p><img loading="lazy" decoding="async" class="alignright" src="https://bramalkema.github.io/multiplejournalism-static/uploads/shared/images/scaled/case_section_media/272.jpg" alt="" width="498" height="218" /></p><p>Chimurenga also co-produces the African Cities Reader, an online journal and biennial print publication about African urban life, featuring stories by Africans drawing their own maps and representing their spatial topographies; and Pilgrimages, an attempt to counter media distortions through literary journalism by inviting fourteen African writers to visit an explore the complex urban landscapes of fourteen African cities.</p>								</div>
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									<p><strong>What&#8217;s unique about it?</strong></p><p>Chimurenga has been selected for the quality, originality, and impact of their productions, for creatively using networks to challenge established definitions of journalism, and for their commitment to independent journalism and intellectual autonomy.</p><p>Chimurenga is an effective and innovative pan-African, multimedia publication, which is networked across the continent and beyond, presenting multiple voices on various media platforms, including online, print, public sessions, and art exhibitions. It has a unique focus on new African aesthetics and visual storytelling, drawing in outstanding artists and storytellers from various disciplines.</p><p><img loading="lazy" decoding="async" class="size-medium wp-image-1430 alignleft" src="https://multiplejournalism.org/wp-content/uploads/2026/04/111_chimurenga00-300x229.jpg" alt="" width="300" height="229" srcset="https://multiplejournalism.org/wp-content/uploads/2026/04/111_chimurenga00-300x229.jpg 300w, https://multiplejournalism.org/wp-content/uploads/2026/04/111_chimurenga00-570x435.jpg 570w, https://multiplejournalism.org/wp-content/uploads/2026/04/111_chimurenga00.jpg 700w" sizes="(max-width: 300px) 100vw, 300px" />Through Chimurenga, photographers, cartoonists, artists, and journalists work closely together to tell multi-layered stories and to show multiple points of views on social, cultural, and political issues concerning Africa, contributing to a deeper understanding of cultural diversity in African countries. The editors add analyses and reflection to news stories.</p><p>Chimurenga’s capacity to influence ideas, its literary writing, and its role as an innovative educational model have been recognized internationally. According to Simon Kuper of The Financial Times “Chimurenga changes your view of Africa, and of journalism.”</p><p> </p>								</div>
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					<h6 class="elementor-heading-title elementor-size-default">Related Cases</h6>				</div>
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				<a class="elementor-post__thumbnail__link" href="https://multiplejournalism.org/case/point-of-view/chimurenga/" tabindex="-1" ><div class="elementor-post__thumbnail"><img loading="lazy" decoding="async" width="300" height="287" src="https://multiplejournalism.org/wp-content/uploads/2026/04/140201-Chimurenga6-FCaris-300x287.jpg" class="attachment-medium size-medium wp-image-1421" alt="" srcset="https://multiplejournalism.org/wp-content/uploads/2026/04/140201-Chimurenga6-FCaris-300x287.jpg 300w, https://multiplejournalism.org/wp-content/uploads/2026/04/140201-Chimurenga6-FCaris-768x736.jpg 768w, https://multiplejournalism.org/wp-content/uploads/2026/04/140201-Chimurenga6-FCaris-570x546.jpg 570w, https://multiplejournalism.org/wp-content/uploads/2026/04/140201-Chimurenga6-FCaris.jpg 900w" sizes="(max-width: 300px) 100vw, 300px" /></div></a>
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			<a href="https://multiplejournalism.org/case/point-of-view/chimurenga/" >
				Chimurenga			</a>
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			<p>An innovative, multimedia platform that challenges cultural dominance and xenophobia with free ideas, new aesthetics, and political reflection by Africans about Africa.</p>
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		<title>Partnership CleenVerify</title>
		<link>https://multiplejournalism.org/news/partnership-cleenverify/</link>
		
		<dc:creator><![CDATA[Multiple Journalism]]></dc:creator>
		<pubDate>Wed, 15 Apr 2026 15:57:33 +0000</pubDate>
				<category><![CDATA[News]]></category>
		<category><![CDATA[deepfake]]></category>
		<category><![CDATA[disinformation]]></category>
		<category><![CDATA[Visual]]></category>
		<guid isPermaLink="false">https://multiplejournalism.org/?p=1298</guid>

					<description><![CDATA[Multiple Journalism has started a partnership with Dutch start-up CleenVerify, a company developing technology to help people verify whether photos and videos are real. Its system uses hardware-backed cryptography to digitally sign images and videos at the moment they are captured, creating a verification link that can later be checked in a browser. The start-up [&#8230;]]]></description>
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									<p>Multiple Journalism has started a partnership with Dutch start-up <a href="http://cleenverify.com" target="_blank" rel="noopener">CleenVerify</a>, a company developing technology to help people verify whether photos and videos are real. Its system uses hardware-backed cryptography to digitally sign images and videos at the moment they are captured, creating a verification link that can later be checked in a browser. The start-up says this is designed to address a growing “truth problem” online, where deepfakes, scams and manipulated visual content are becoming harder to distinguish from authentic material.</p><p>For journalism, that challenge is urgent. Newsrooms, researchers and the public are increasingly confronted with manipulated visuals, fake profiles and AI-generated media that can be used to mislead audiences, fuel disinformation and undermine confidence in reporting. CleenVerify positions its technology as a way to prove that a photo or video was captured live, remains unaltered and is linked to a device-generated digital fingerprint.</p><p>That mission connects closely to the work of Multiple Journalism. Our organisation is committed to strengthening journalism in an age of platform manipulation, algorithmic distortion and synthetic media. By partnering with CleenVerify, we aim to explore how verification technology can support reporters, researchers and storytellers working in high-risk information environments.</p><p>This collaboration is rooted in a shared belief: trust in journalism cannot be taken for granted. It must be built, tested and made visible. As visual deception becomes more sophisticated, tools that help verify authenticity are becoming increasingly important for the future of reporting.</p><p>Together with CleenVerify, Multiple Journalism will look at how this technology can contribute to more transparent journalistic practices and greater resilience against online deception.</p>								</div>
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		<title>Launch Signal Jam</title>
		<link>https://multiplejournalism.org/news/launch-signal-jam-dashboard/</link>
		
		<dc:creator><![CDATA[Multiple Journalism]]></dc:creator>
		<pubDate>Tue, 14 Apr 2026 21:50:25 +0000</pubDate>
				<category><![CDATA[News]]></category>
		<guid isPermaLink="false">https://multiplejournalism.org/?p=1179</guid>

					<description><![CDATA[Signal Jam, the dashboard developed in cooperation with Open Eyes Institute, took center stage on Monday evening, 13 April, during a public debate in The Hague (the Netherlands) on Russian disinformation and democratic resilience. Presented by Joris Heijkant, the tool shows how disinformation can be tracked, monitored and analysed, offering journalists and researchers new ways [&#8230;]]]></description>
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									<p data-start="66" data-end="477">Signal Jam, the <a href="https://signaljam.nl/" target="_blank" rel="noopener">dashboard</a> developed in cooperation with <a href="https://www.openeyesinstitute.org/" target="_blank" rel="noopener">Open Eyes Institute</a>, took center stage on Monday evening, 13 April, during a public debate in The Hague (the Netherlands) on Russian disinformation and democratic resilience. Presented by Joris Heijkant, the tool shows how disinformation can be tracked, monitored and analysed, offering journalists and researchers new ways to better understand online influence operations.</p><figure id="attachment_1185" aria-describedby="caption-attachment-1185" style="width: 300px" class="wp-caption alignright"><img loading="lazy" decoding="async" class="wp-image-1185 size-medium" src="https://multiplejournalism.org/wp-content/uploads/2026/04/Joris-Heijkant-300x300.jpg" alt="Joris Heijkant" width="300" height="300" srcset="https://multiplejournalism.org/wp-content/uploads/2026/04/Joris-Heijkant-300x300.jpg 300w, https://multiplejournalism.org/wp-content/uploads/2026/04/Joris-Heijkant-1024x1024.jpg 1024w, https://multiplejournalism.org/wp-content/uploads/2026/04/Joris-Heijkant-150x150.jpg 150w, https://multiplejournalism.org/wp-content/uploads/2026/04/Joris-Heijkant-768x768.jpg 768w, https://multiplejournalism.org/wp-content/uploads/2026/04/Joris-Heijkant-570x570.jpg 570w, https://multiplejournalism.org/wp-content/uploads/2026/04/Joris-Heijkant-510x510.jpg 510w, https://multiplejournalism.org/wp-content/uploads/2026/04/Joris-Heijkant.jpg 1080w" sizes="(max-width: 300px) 100vw, 300px" /><figcaption id="caption-attachment-1185" class="wp-caption-text">Joris Heijkant explaining how the Signal Jam Dashboard works</figcaption></figure><p data-start="479" data-end="811">The debate took place in a packed hall at Nieuwspoort, where former Dutch intelligence officer Jelle Postma of <a href="https://justiceforprosperity.org/" target="_blank" rel="noopener">Justice for Prosperity</a>, gave an in-depth talk on how Russian influence works in practice. His contribution offered the audience a clear and urgent look at the strategies, methods and broader impact of foreign interference.</p><p data-start="813" data-end="1159">Moderator Annette van Soest spoke with MP Kati Piri and historian and journalist Hubert Smeets about how we can respond more effectively to foreign influence. The conversation focused not only on what stronger action might look like, but also on how far we are willing to go in defending democratic values without undermining them ourselves.</p><p data-start="1161" data-end="1298">The evening brought together journalism, public debate and digital innovation around one of the most pressing issues facing Europe today.</p><p data-start="1161" data-end="1298">This event was a collaboration between Argos, Open Eyes Institute and Haagsch College, and was made possible in part by Vfonds, the National Fund for Peace, Freedom and Veterans.</p>								</div>
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		<title>Mídia Ninja</title>
		<link>https://multiplejournalism.org/case/networks/midia-ninja/</link>
		
		<dc:creator><![CDATA[Multiple Journalism]]></dc:creator>
		<pubDate>Sat, 21 Feb 2026 11:03:42 +0000</pubDate>
				<category><![CDATA[Cases]]></category>
		<category><![CDATA[Networks]]></category>
		<guid isPermaLink="false">https://multiplejournalism.org/?p=1076</guid>

					<description><![CDATA[An activist journalism network specializing in real time broadcasting.]]></description>
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									<h1><strong>Mídia Ninja</strong></h1><p>An activist journalism network specializing in real time broadcasting.</p>								</div>
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									<p><strong>When</strong></p><p>2011</p><p><strong>Where</strong> </p><p>Brazil</p><p><strong>Who</strong> </p><p>Bruno Torturra and many others</p><p><strong>Website</strong></p><p><a href="https://midianinja.com/" target="_blank" rel="noopener">midianinja.com</a></p>								</div>
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									<p><strong>What is it?</strong></p><p>NINJA ­Independent Narratives, Journalism and Action­ (aka Ninja Media) is a decentralized network of volunteer journalists who produce and disseminate content based on collaborative work and online sharing. Ninjas are primarily involved in real time broadcasting, but also produce news stories, documentaries and investigative journalism in Brazil and abroad.</p><p>The collective became known internationally for its outstanding coverage of the 2013 Brazilian social protests but has existed since 2011. Its capillary organizational culture caters to the need for direct witnessing in an age of ubiquitous digital network communication.</p><p>Their statement on the Mídia Ninja website reads: <img loading="lazy" decoding="async" class="alignleft wp-image-1083 " src="https://multiplejournalism.org/wp-content/uploads/2026/02/1-Logo-Media-NInja-300x232.jpg" alt="" width="323" height="250" srcset="https://multiplejournalism.org/wp-content/uploads/2026/02/1-Logo-Media-NInja-300x232.jpg 300w, https://multiplejournalism.org/wp-content/uploads/2026/02/1-Logo-Media-NInja-1024x791.jpg 1024w, https://multiplejournalism.org/wp-content/uploads/2026/02/1-Logo-Media-NInja-768x593.jpg 768w, https://multiplejournalism.org/wp-content/uploads/2026/02/1-Logo-Media-NInja-570x440.jpg 570w, https://multiplejournalism.org/wp-content/uploads/2026/02/1-Logo-Media-NInja.jpg 1282w" sizes="(max-width: 323px) 100vw, 323px" />“The Internet changed journalism and we are part of this transformation. We live in a peer-­to-­peer culture that allows people to share information without traditional mediators. New technologies and new forms of using technology have opened the way for new sharing spaces, in which people do not only passively absorb information, but produce and exchange information. In this new context &#8211; of networks connected to streets &#8211; multimedia citizens emerge with the capacity to make and share opinions in the virtual world. Connected, these new narrators make NINJA Media.”</p><p>Mídia Ninja emerged within the Circuito Fora do Eixo (&#8220;Off Axis Circuit&#8221;) a cultural cooperative founded in 2006 and devoted to fostering independent cultural production outside of mainstream broadcasting and radio systems in Brazil. Within Fora do Eixo a group of young journalists began to experiment with social media, blogs, and smartphones to report on the group&#8217;s activities, including concerts. This was the birth of Mídia Ninja. Its operational logic was based on using the web and spontaneous mobilization to create a network of independent, non-monetized production and diffusion practices.</p>								</div>
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										<img loading="lazy" decoding="async" width="1024" height="683" src="https://multiplejournalism.org/wp-content/uploads/2026/02/3-Midia-Ninja-Marijuana-March-web-1024x683.jpg" class="attachment-large size-large wp-image-1084" alt="" srcset="https://multiplejournalism.org/wp-content/uploads/2026/02/3-Midia-Ninja-Marijuana-March-web-1024x683.jpg 1024w, https://multiplejournalism.org/wp-content/uploads/2026/02/3-Midia-Ninja-Marijuana-March-web-300x200.jpg 300w, https://multiplejournalism.org/wp-content/uploads/2026/02/3-Midia-Ninja-Marijuana-March-web-768x512.jpg 768w, https://multiplejournalism.org/wp-content/uploads/2026/02/3-Midia-Ninja-Marijuana-March-web-1536x1024.jpg 1536w, https://multiplejournalism.org/wp-content/uploads/2026/02/3-Midia-Ninja-Marijuana-March-web-570x380.jpg 570w, https://multiplejournalism.org/wp-content/uploads/2026/02/3-Midia-Ninja-Marijuana-March-web.jpg 2048w" sizes="(max-width: 1024px) 100vw, 1024px" />											<figcaption class="widget-image-caption wp-caption-text">The battle for opening a public debate on "the war on drugs" still continues with this recent Marijuana march (May 2014 in Rio de Janeiro)</figcaption>
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									<p>Once a minimalist infrastructure for media production was established, the group confirmed its commitment to an agenda of social and civil rights reporting, but gradually expanded its scope by experimentally developing new forms of direct reporting not linked to Fora do Eixo events.</p><p>Mídia Ninja’s first work with a wider impact was the extensive coverage of the Marcha da Maconha (Marijuana March, May 21, 2011, Sao Paulo), a public pro-Cannabis and free speech demonstration, which was violently repressed by the police.</p>								</div>
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									<p><strong>How does it work?</strong></p><p>During the riots, the original group of ten Ninjas coming out of Fora do Eixo rapidly jumped to more than hundred. The majority were students, aged 18 to 24, with previous experience in social activism. For permanent video reporting on the protests, they used smartphones, small video cameras, light laptops and 3G Internet.</p><figure id="attachment_1090" aria-describedby="caption-attachment-1090" style="width: 645px" class="wp-caption alignnone"><img loading="lazy" decoding="async" class="wp-image-1090" src="https://multiplejournalism.org/wp-content/uploads/2026/02/6-Midia-Ninja-team-300x201.png" alt="" width="645" height="432" srcset="https://multiplejournalism.org/wp-content/uploads/2026/02/6-Midia-Ninja-team-300x201.png 300w, https://multiplejournalism.org/wp-content/uploads/2026/02/6-Midia-Ninja-team-768x515.png 768w, https://multiplejournalism.org/wp-content/uploads/2026/02/6-Midia-Ninja-team-570x382.png 570w, https://multiplejournalism.org/wp-content/uploads/2026/02/6-Midia-Ninja-team.png 771w" sizes="(max-width: 645px) 100vw, 645px" /><figcaption id="caption-attachment-1090" class="wp-caption-text"><span style="color: #ffffff;">Mídia Ninja from left to right: Filipe Marçal, Bianca Buteikis, Bruno Torturra, Felipe Altenfelder and Thiago Dezan</span></figcaption></figure><p>The unpaid, networked coverage of the riots simply emerged as a spontaneous, collaborative reporting act, facilitated and centralized by the Mídia Ninja creators, who had previously built the production infrastructure and communication network, including a web TV channel, significantly called Pós-TV (After TV).</p><p>Mídia Ninja co-founder Bruno Torturra has always insisted on his vision of journalism as a civic tool, in direct contact with reality, and on a radical philosophy that abjures editing. Sometimes, Mídia Ninja’s broadcasting simply consisted of a three or four hour-long take of one reporter showing images and talking with people.</p><p><img loading="lazy" decoding="async" class=" wp-image-1091 alignleft" src="https://multiplejournalism.org/wp-content/uploads/2026/02/4.1.1-Midia-Ninja-DEMO-web-300x200.jpg" alt="" width="317" height="211" srcset="https://multiplejournalism.org/wp-content/uploads/2026/02/4.1.1-Midia-Ninja-DEMO-web-300x200.jpg 300w, https://multiplejournalism.org/wp-content/uploads/2026/02/4.1.1-Midia-Ninja-DEMO-web-1024x683.jpg 1024w, https://multiplejournalism.org/wp-content/uploads/2026/02/4.1.1-Midia-Ninja-DEMO-web-768x512.jpg 768w, https://multiplejournalism.org/wp-content/uploads/2026/02/4.1.1-Midia-Ninja-DEMO-web-1536x1025.jpg 1536w, https://multiplejournalism.org/wp-content/uploads/2026/02/4.1.1-Midia-Ninja-DEMO-web-570x380.jpg 570w, https://multiplejournalism.org/wp-content/uploads/2026/02/4.1.1-Midia-Ninja-DEMO-web.jpg 2048w" sizes="(max-width: 317px) 100vw, 317px" /></p><p>Mídia Ninja is based on the advantages of the digital capture and editing revolution of the past decade, allowing the radicalization ofcorpo- a-corpoapproach and techniques inspired by war journalism and reporting. The idea behind its non-stop shooting is a direct sharing of experiences, e.g. when arrested at a Rio de Janeiro demonstration, one Ninja kept transmitting from inside the police car on his way to the local police station.</p>								</div>
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									<p>After the riots, Mídia Ninja gained international notoriety and went through a process of rethinking, with the intention of rewriting the rules of the collective and finding new ways to financial sustainability, professionalization, and long term independence.</p>								</div>
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												<figure class="wp-caption">
										<img loading="lazy" decoding="async" width="1024" height="681" src="https://multiplejournalism.org/wp-content/uploads/2026/02/4.4-Tropa_de_choque_PMERJ_2013-web-1024x681.jpg" class="attachment-large size-large wp-image-1092" alt="" srcset="https://multiplejournalism.org/wp-content/uploads/2026/02/4.4-Tropa_de_choque_PMERJ_2013-web-1024x681.jpg 1024w, https://multiplejournalism.org/wp-content/uploads/2026/02/4.4-Tropa_de_choque_PMERJ_2013-web-300x200.jpg 300w, https://multiplejournalism.org/wp-content/uploads/2026/02/4.4-Tropa_de_choque_PMERJ_2013-web-768x511.jpg 768w, https://multiplejournalism.org/wp-content/uploads/2026/02/4.4-Tropa_de_choque_PMERJ_2013-web-1536x1022.jpg 1536w, https://multiplejournalism.org/wp-content/uploads/2026/02/4.4-Tropa_de_choque_PMERJ_2013-web-2048x1363.jpg 2048w, https://multiplejournalism.org/wp-content/uploads/2026/02/4.4-Tropa_de_choque_PMERJ_2013-web-570x379.jpg 570w" sizes="(max-width: 1024px) 100vw, 1024px" />											<figcaption class="widget-image-caption wp-caption-text">Tropa de Choque in 2013</figcaption>
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									<p><strong>Why did we select it?</strong></p><p>The agility of Mídia Ninja&#8217;s networked organizational form takes full advantage of the digital revolution to provide better journalism. It allows journalists &#8220;to be there at the right moment&#8221;, without a big, expensive infrastructure. They reinforce independent journalism by challenging the news monopoly of traditional media corporations. With its coverage of the 2013 riots, it illustrated a power shift taking shape on the ground.</p>								</div>
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			<iframe class="elementor-video-iframe" allowfullscreen allow="clipboard-write" title="vimeo Video Player" src="https://player.vimeo.com/video/109523826?color&amp;autopause=0&amp;loop=0&amp;muted=0&amp;title=1&amp;portrait=1&amp;byline=1#t="></iframe>		</div>
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									<p>Furthermore, Mídia Ninja has radically de-monetized news production and consumption and reframed journalism as a public good. Lastly, they revitalized the use of non-edited and live video reports, raising public debate about the definition of journalism in the 21st century. While Ninja’s critics have argued that good journalism always involves conscious and careful selection of relevant facts and analysis, Ninjas have emphasized that the decision to be at a certain place at a certain time, or to point the camera in a certain direction, are also editorial decisions. </p>								</div>
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									<p>Mídia Ninja’s riot coverage reminds us that new situations require new approaches and a continuous negotiation of arrangements.</p>								</div>
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				<a class="elementor-post__thumbnail__link" href="https://multiplejournalism.org/case/networks/mediapart/" tabindex="-1" >
			<div class="elementor-post__thumbnail"><img loading="lazy" decoding="async" width="300" height="89" src="https://multiplejournalism.org/wp-content/uploads/2026/04/entete-petit-robert-lang-fr-300x89.jpg" class="attachment-medium size-medium wp-image-1498" alt="" srcset="https://multiplejournalism.org/wp-content/uploads/2026/04/entete-petit-robert-lang-fr-300x89.jpg 300w, https://multiplejournalism.org/wp-content/uploads/2026/04/entete-petit-robert-lang-fr-768x229.jpg 768w, https://multiplejournalism.org/wp-content/uploads/2026/04/entete-petit-robert-lang-fr-570x170.jpg 570w, https://multiplejournalism.org/wp-content/uploads/2026/04/entete-petit-robert-lang-fr.jpg 940w" sizes="(max-width: 300px) 100vw, 300px" /></div>
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				<h3 class="elementor-post__title">
			<a href="https://multiplejournalism.org/case/networks/mediapart/" >
				Mediapart			</a>
		</h3>
				<div class="elementor-post__excerpt">
			<p>A group of driven and accomplished French journalists in search of a new business model for creating a profitable independent press online.</p>
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				</article>
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				<a class="elementor-post__thumbnail__link" href="https://multiplejournalism.org/case/networks/midia-ninja/" tabindex="-1" >
			<div class="elementor-post__thumbnail"><img loading="lazy" decoding="async" width="300" height="171" src="https://multiplejournalism.org/wp-content/uploads/2026/02/2.2-Midia-Ninja-header-web-300x171.jpg" class="attachment-medium size-medium wp-image-1089" alt="" srcset="https://multiplejournalism.org/wp-content/uploads/2026/02/2.2-Midia-Ninja-header-web-300x171.jpg 300w, https://multiplejournalism.org/wp-content/uploads/2026/02/2.2-Midia-Ninja-header-web-1024x582.jpg 1024w, https://multiplejournalism.org/wp-content/uploads/2026/02/2.2-Midia-Ninja-header-web-768x437.jpg 768w, https://multiplejournalism.org/wp-content/uploads/2026/02/2.2-Midia-Ninja-header-web-570x324.jpg 570w, https://multiplejournalism.org/wp-content/uploads/2026/02/2.2-Midia-Ninja-header-web.jpg 1206w" sizes="(max-width: 300px) 100vw, 300px" /></div>
		</a>
				<div class="elementor-post__text">
				<h3 class="elementor-post__title">
			<a href="https://multiplejournalism.org/case/networks/midia-ninja/" >
				Mídia Ninja			</a>
		</h3>
				<div class="elementor-post__excerpt">
			<p>An activist journalism network specializing in real time broadcasting.</p>
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				</article>
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		<title>Next Media Animation</title>
		<link>https://multiplejournalism.org/case/visual/next-media-animation/</link>
		
		<dc:creator><![CDATA[Multiple Journalism]]></dc:creator>
		<pubDate>Tue, 03 Feb 2026 19:14:04 +0000</pubDate>
				<category><![CDATA[Cases]]></category>
		<category><![CDATA[Visual]]></category>
		<guid isPermaLink="false">https://multiplejournalism.org/?p=618</guid>

					<description><![CDATA[Next Media Animation provides the "missing images" of the news by producing news animations based on news feeds and factual reporting for international media outlets.]]></description>
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									<h1><strong>Next Media Animation</strong></h1><p>Next Media Animation (NMA) provides the &#8220;missing images&#8221; of the news by producing news animations based on news feeds and factual reporting for international media outlets.</p>								</div>
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									<p> </p><p><strong><span class="article-meta__title">When</span> </strong></p><p><span class="article-meta__data">2007</span></p><p><strong><span class="article-meta__title">Where</span> </strong></p><p><span class="article-meta__data">Taiwan</span></p><p><strong><span class="article-meta__title">Who</span> </strong></p><p><span class="article-meta__data js-read-more">Jimmy Lai (chairman and founder), Richard Chuang (co-chairman), Kith Ng (CEO), <span class="details"> Ben Wong (executive production director), Michael Logan (news director), Meggie Lu (head of production) and many others</span></span></p>								</div>
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									<p><strong>What is it?</strong></p><p>For many breaking news stories, images are not readily available. An airplane crash or terrorist attack is usually not captured on video, as footage is only recorded after the event. NMA&#8217;s News Direct service solves this problem by offering increasingly realistic, 3D animated news videos of actual events within two hours of breaking news.</p>								</div>
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				<iframe width="1140" height="200" frameborder="no" src="https://w.soundcloud.com/player/?visual=false&#038;url=https%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F2259617381&#038;show_artwork=true&#038;maxheight=1000&#038;maxwidth=1140&#038;auto_play=false&#038;buying=false&#038;liking=true&#038;download=false&#038;sharing=true&#038;show_comments=false&#038;show_playcount=false&#038;show_user=false&#038;color"></iframe>			</div>
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									<p>NMA website: &#8220;Animation is the future of the news. When there are no video cameras present to capture a big story, NMA is able to fill in the blanks with animated news graphics for our viewers and clients in industry-leading turnaround times.&#8221;</p>								</div>
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									<p>Convinced that the future of the news is visual, business man Jimmy Lai founded NMA in 2007 to produce entertainment videos for online publishers and TV broadcasters. He then realized that NMA should also provide &#8220;the missing images of the news&#8221; to serious news outlets through a separate News Direct service, which produces realistic, 3D animations in a sophisticated, high speed production process.</p>								</div>
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															<img loading="lazy" decoding="async" width="894" height="670" src="https://multiplejournalism.org/wp-content/uploads/2026/02/Scherm­afbeelding-2026-02-03-om-21.58.34-e1770154763255.png" class="attachment-large size-large wp-image-681" alt="" srcset="https://multiplejournalism.org/wp-content/uploads/2026/02/Scherm­afbeelding-2026-02-03-om-21.58.34-e1770154763255.png 894w, https://multiplejournalism.org/wp-content/uploads/2026/02/Scherm­afbeelding-2026-02-03-om-21.58.34-e1770154763255-300x225.png 300w, https://multiplejournalism.org/wp-content/uploads/2026/02/Scherm­afbeelding-2026-02-03-om-21.58.34-e1770154763255-768x576.png 768w, https://multiplejournalism.org/wp-content/uploads/2026/02/Scherm­afbeelding-2026-02-03-om-21.58.34-e1770154763255-570x427.png 570w" sizes="(max-width: 894px) 100vw, 894px" />															</div>
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									<p>Based in an industrial area in Taipei, NMA now is one of the largest animated news studios in the world, with a team of over 600 animators, script writers, and motion capture actors working on continuous shifts 24 hours a day. Using the latest technologies in 3D animation design, motion capture, and facial scanning, NMA delivers up to sixty 30-second unique news videos every day, equalling the production value and technical quality of a feature length, Hollywood style movie, produced in three days.</p><p>In addition to creating realistic news images that are &#8220;missing&#8221;, NMA also supplies animated graphics to clarify complex issues and visually enhance news reports by adding a new dimension that can help viewers understand news stories.</p>								</div>
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							<div class="elementor-wrapper elementor-open-inline">
			<iframe class="elementor-video-iframe" allowfullscreen allow="clipboard-write" title="vimeo Video Player" src="https://player.vimeo.com/video/105052261?color&amp;autopause=0&amp;loop=0&amp;muted=0&amp;title=1&amp;portrait=1&amp;byline=0#t="></iframe>		</div>
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									<p>While the News Direct animations and graphics are sold directly to clients like BBC and CNN, and distributed by Reuters to more than 35 international clients, including Al-Jazeera, Univision, Yahoo!, MSNBC and so on, Tomo News offers celebrity news and other &#8220;funny video&#8221; mainly through its own website and other online publishers.</p>								</div>
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									<p>Together, NMA’s videos generate about 90 million views online each month and have been featured on the Daily Telegraph, Bild, Der Spiegel, Focus, Wired, The Huffington Post, The Globe and Mail, The Daily Show, NBC Bay Area, The New York Post, KDVR and other media outlets.</p>								</div>
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									<p><strong>How does it work?</strong></p><p>The production of animated news is a race against time. At NMA, it is organized as an industrial, 24-hour pipeline involving a sequence of teams, each executing a specialized stage of the production process in a continuous cycle.</p><p>Throughout the day, on the top floor, the news director monitors incoming news feeds and selects stories fit for animation. Every hour, the selected news stories are announced to the news writers and fact checkers, who write an animation script for the story based on factual sources and hand it down to the story boarders one floor below.</p>								</div>
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								<div class="elementor-soundcloud-wrapper">
				<iframe width="1140" height="200" frameborder="no" src="https://w.soundcloud.com/player/?visual=false&#038;url=https%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F2259653903&#038;show_artwork=true&#038;maxheight=1000&#038;maxwidth=1140&#038;auto_play=false&#038;buying=true&#038;liking=true&#038;download=true&#038;sharing=true&#038;show_comments=true&#038;show_playcount=true&#038;show_user=true&#038;color"></iframe>			</div>
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									<p>After approval of the scripts during a storyboard meeting, the storyboard is handed over to the animators on yet a lower floor. The news animator will draw from an extensive database of virtual faces, bodies, and environments to actually build the animation itself. The animation is then given a &#8220;soul&#8221; by the motion capture actors, who impersonate the animated characters with their human movements in a 24/7 motion capture studio.</p>								</div>
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									<p>After a layer of info graphics and titles is added to the story, the news video is offered to Reuters clients. Animations of breaking news stories are updated every hour. Kith Ng, CEO of NMA, believes that 3D animation in video news will change the digital news industry.</p>								</div>
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									<p><strong>Next Media vs China</strong></p><p>Next Media Animation is privately owned by Jimmy Lai, who is also the founder and chairman of the Next Media group, the largest publicly listed media company in Hong Kong. It is best known for introducing tabloid style journalism in Hong Kong and Taiwan, publishing lifestyle magazines, web portals and tabloid newspapers, including Apple Daily, Sharp Daily and Next Magazine.</p>								</div>
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															<img loading="lazy" decoding="async" width="1024" height="577" src="https://multiplejournalism.org/wp-content/uploads/2026/02/Scherm­afbeelding-2026-02-03-om-22.50.55-1024x577.png" class="attachment-large size-large wp-image-682" alt="" srcset="https://multiplejournalism.org/wp-content/uploads/2026/02/Scherm­afbeelding-2026-02-03-om-22.50.55-1024x577.png 1024w, https://multiplejournalism.org/wp-content/uploads/2026/02/Scherm­afbeelding-2026-02-03-om-22.50.55-300x169.png 300w, https://multiplejournalism.org/wp-content/uploads/2026/02/Scherm­afbeelding-2026-02-03-om-22.50.55-768x433.png 768w, https://multiplejournalism.org/wp-content/uploads/2026/02/Scherm­afbeelding-2026-02-03-om-22.50.55-570x321.png 570w, https://multiplejournalism.org/wp-content/uploads/2026/02/Scherm­afbeelding-2026-02-03-om-22.50.55-528x297.png 528w, https://multiplejournalism.org/wp-content/uploads/2026/02/Scherm­afbeelding-2026-02-03-om-22.50.55.png 1096w" sizes="(max-width: 1024px) 100vw, 1024px" />															</div>
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									<p>Next Media is often perceived as supporting democratic groups in Hong Kong, sometimes provocatively, and regularly critiques the Chinese government. As a result, founder Jimmy Lai ispersona non gratain China and all Next Media publications are banned in the People&#8217;s Republic of China, though not in Hong Kong and Taiwan.</p>								</div>
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							<div class="elementor-wrapper elementor-open-inline">
			<iframe class="elementor-video-iframe" allowfullscreen allow="clipboard-write" title="vimeo Video Player" src="https://player.vimeo.com/video/105348583?color&amp;autopause=0&amp;loop=0&amp;muted=0&amp;title=1&amp;portrait=1&amp;byline=1#t="></iframe>		</div>
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									<p>Animated news originally started with Tomo‘s entertainment news videos about celebrities, offered through QR-codes in the Next Media magazines. The videos were extremely popular and shared on social media by millions of people in Hong Kong and Taiwan.</p><p>NMA founder Jimmy Lai realised that the lack of images of essential events in serious news media created a need for realistic animations. He then decided to start NMA’s News Direct service.</p>								</div>
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									<p><strong>Why did we select it?</strong></p><p>NMA opens the door to a future of journalism in which reality itself is (re)created in computers, raising important ethical questions about what it means &#8220;to bring the truth&#8221; in digital times.</p><p>In the new field of animated news, NMA is a pioneer and world leader with considerable impact globally. It has invented a new genre, accelerated the pace and scale of production, and continuously improves the aesthetics by investing in state of the art hardware and software.</p><p>CEO Kith Ng’s goal is to further speed up the production process and reach 100% realistic news animation in 2016. We can only begin to imagine what this will mean for news consumers.</p>								</div>
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			<iframe class="elementor-video-iframe" allowfullscreen allow="clipboard-write" title="vimeo Video Player" src="https://player.vimeo.com/video/105510313?color&amp;autopause=0&amp;loop=0&amp;muted=0&amp;title=1&amp;portrait=1&amp;byline=0#t="></iframe>		</div>
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									<p>The use of 3D animation in journalism raises important questions. To what extent is news animation telling the truth? How objective is it? Are storyboard artists and animators journalists? Is news animation different from photo journalism, which is often manipulated as well?</p><p>And how will news animations influence the credibility of news reports in the long term? These questions, relevant for the future of journalism as a public good, need to be debated.</p>								</div>
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									<p><strong>Comparable to NMA?</strong></p><p>The Taiwanese animation studio is the first company to produce news animations for media outlets on a large scale. There are no precedents and innovation happens by trial and error; often, for example, news writers draft scripts of news events deemed unachievable by the animators.</p>								</div>
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				If we would like to show a scene of a hundred people running the marathon, it wouldn't be possible due to the limitations of computer capacity			</p>
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											<cite class="elementor-blockquote__author">Meggie Lu</cite>
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				<iframe width="1140" height="200" frameborder="no" src="https://w.soundcloud.com/player/?visual=false&#038;url=https%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F2259669092&#038;show_artwork=true&#038;maxheight=1000&#038;maxwidth=1140&#038;auto_play=false&#038;buying=false&#038;liking=true&#038;download=true&#038;sharing=true&#038;show_comments=false&#038;show_playcount=false&#038;show_user=false&#038;color"></iframe>			</div>
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									<p>Meggie Lu: &#8220;There are some restrictions on what we can do at this moment. For example, if we would like to show a scene of a hundred people running the marathon, it wouldn&#8217;t be possible due to the limitations of computer capacity. Currently, the computer isn&#8217;t able to render so many people in two hours.&#8221; Hopefully, says Lu, these technical problems will be solved in a few years time.</p>								</div>
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					<h6 class="elementor-heading-title elementor-size-default">Related Cases</h6>				</div>
				<div class="elementor-element elementor-element-66454030 elementor-grid-3 elementor-grid-tablet-2 elementor-grid-mobile-1 elementor-posts--thumbnail-top elementor-widget elementor-widget-posts" data-id="66454030" data-element_type="widget" data-e-type="widget" data-settings="{&quot;classic_columns&quot;:&quot;3&quot;,&quot;classic_columns_tablet&quot;:&quot;2&quot;,&quot;classic_columns_mobile&quot;:&quot;1&quot;,&quot;classic_row_gap&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:35,&quot;sizes&quot;:[]},&quot;classic_row_gap_tablet&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]},&quot;classic_row_gap_mobile&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]}}" data-widget_type="posts.classic">
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				<a class="elementor-post__thumbnail__link" href="https://multiplejournalism.org/case/visual/next-media-animation/" tabindex="-1" >
			<div class="elementor-post__thumbnail"><img loading="lazy" decoding="async" width="300" height="136" src="https://multiplejournalism.org/wp-content/uploads/2026/02/Scherm­afbeelding-2026-02-03-om-20.46.42-300x136.png" class="attachment-medium size-medium wp-image-626" alt="" srcset="https://multiplejournalism.org/wp-content/uploads/2026/02/Scherm­afbeelding-2026-02-03-om-20.46.42-300x136.png 300w, https://multiplejournalism.org/wp-content/uploads/2026/02/Scherm­afbeelding-2026-02-03-om-20.46.42-570x258.png 570w, https://multiplejournalism.org/wp-content/uploads/2026/02/Scherm­afbeelding-2026-02-03-om-20.46.42-517x235.png 517w, https://multiplejournalism.org/wp-content/uploads/2026/02/Scherm­afbeelding-2026-02-03-om-20.46.42.png 622w" sizes="(max-width: 300px) 100vw, 300px" /></div>
		</a>
				<div class="elementor-post__text">
				<h3 class="elementor-post__title">
			<a href="https://multiplejournalism.org/case/visual/next-media-animation/" >
				Next Media Animation			</a>
		</h3>
				<div class="elementor-post__excerpt">
			<p>Next Media Animation provides the &#8220;missing images&#8221; of the news by producing news animations based on news feeds and factual reporting for international media outlets.</p>
		</div>
				</div>
				</article>
				<article class="elementor-post elementor-grid-item post-519 post type-post status-publish format-standard has-post-thumbnail category-case category-visual tag-visual czr-hentry" role="listitem">
				<a class="elementor-post__thumbnail__link" href="https://multiplejournalism.org/case/visual/firestorm/" tabindex="-1" >
			<div class="elementor-post__thumbnail"><img loading="lazy" decoding="async" width="300" height="239" src="https://multiplejournalism.org/wp-content/uploads/2026/02/130917-Firestorm1-FCaris-300x239.jpg" class="attachment-medium size-medium wp-image-521" alt="" srcset="https://multiplejournalism.org/wp-content/uploads/2026/02/130917-Firestorm1-FCaris-300x239.jpg 300w, https://multiplejournalism.org/wp-content/uploads/2026/02/130917-Firestorm1-FCaris-768x612.jpg 768w, https://multiplejournalism.org/wp-content/uploads/2026/02/130917-Firestorm1-FCaris-570x454.jpg 570w, https://multiplejournalism.org/wp-content/uploads/2026/02/130917-Firestorm1-FCaris.jpg 969w" sizes="(max-width: 300px) 100vw, 300px" /></div>
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				<div class="elementor-post__text">
				<h3 class="elementor-post__title">
			<a href="https://multiplejournalism.org/case/visual/firestorm/" >
				Firestorm			</a>
		</h3>
				<div class="elementor-post__excerpt">
			<p>An online interactive story about a family&#8217;s harrowing experience during a severe bush fire in Tasmania that integrates various media in visually innovative ways.</p>
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		<title>Firestorm</title>
		<link>https://multiplejournalism.org/case/visual/firestorm/</link>
		
		<dc:creator><![CDATA[Multiple Journalism]]></dc:creator>
		<pubDate>Tue, 03 Feb 2026 01:36:15 +0000</pubDate>
				<category><![CDATA[Cases]]></category>
		<category><![CDATA[Visual]]></category>
		<guid isPermaLink="false">https://multiplejournalism.org/?p=519</guid>

					<description><![CDATA[An online interactive story about a family's harrowing experience during a severe bush fire in Tasmania that integrates various media in visually innovative ways.]]></description>
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									<h1><strong>Firestorm</strong></h1><p>An online interactive story about a family&#8217;s harrowing experience during a severe bush fire in Tasmania that integrates various media in visually innovative ways.</p>								</div>
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									<p> </p><p><strong>When</strong></p><p>2013</p><p><strong>Where</strong> </p><p>United Kingdom</p><p><strong>Who</strong> </p><p>The Guardian<span class="article-meta__data js-read-more">; Jon Henley, Laurence Topham, Daan Louter, Francesca Panetta, <span class="details"> Jonathan Richards, Mark McCormick, Iain Chambers, Jane Ulman, Mark Heather, Julia Chapman, Kim Chakanetsa</span></span></p>								</div>
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									<p><strong>What is it?</strong></p><p>Firestorm takes the dramatic personal story of the Holmes family during a bush fire as a narrative anchor and embeds this human story in a broader context of the history of bush fires in Tasmania and global climate change.</p><p>It makes use of various media &#8211; including audio and video footage, interviews, writing, photography and maps &#8211; to produce a visually compelling and immersive interactive story. This interactive story seeks a fine balance between personal and contextual information, interaction and linear flow.</p><p>The project is the result of an intense collaboration between writer Jon Henley and the interactive team at The Guardian. In connection with the launch of Firestorm, Guardian Books published an accompanying eBook relating the story of the town of Dunalley.</p>								</div>
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									<p><strong>How does it work?</strong></p><p>During the great bush fire, Grandpa Tim Holmes used his smartphone to take pictures of his wife Tammy and five grandchildren clinging onto the jetty of a lake where they sought refuge from the fire. Right after the fires, the pictures of the Holmes family became world famous, an event that provides the starting point for the multimedia storytelling in Firestorm.</p>								</div>
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				<iframe width="1140" height="200" frameborder="no" src="https://w.soundcloud.com/player/?visual=false&#038;url=https%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F2259204854&#038;show_artwork=true&#038;maxheight=1000&#038;maxwidth=1140&#038;auto_play=false&#038;buying=false&#038;liking=true&#038;download=true&#038;sharing=true&#038;show_comments=false&#038;show_playcount=false&#038;show_user=false&#038;color"></iframe>			</div>
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									<p>The project for an interactive story was launched by The Guardian UK in collaboration with The Guardian Australia, which provided the opportunity to share resources and create a unique and labor-intensive story. The Guardian turned the Holmes family images into a rich magazine-like visual interactive, reconstructing the Holmes’ experience of that dark day.</p><p> </p>								</div>
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									<p>Firestorm creatively embeds a variety of sources in a compelling linear storyline that uses the dramatic photos shot by the family to bring to life a wealth of contextual information. The project reads like an e-book, divided in chapters and enriched with loads of embedded content that smoothly pops-up to enhance the power of storytelling.</p>								</div>
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															<img loading="lazy" decoding="async" width="1000" height="770" src="https://multiplejournalism.org/wp-content/uploads/2026/02/130917-Firestorm4-FCaris-e1770144205997.jpg" class="attachment-large size-large wp-image-589" alt="" srcset="https://multiplejournalism.org/wp-content/uploads/2026/02/130917-Firestorm4-FCaris-e1770144205997.jpg 1000w, https://multiplejournalism.org/wp-content/uploads/2026/02/130917-Firestorm4-FCaris-e1770144205997-300x231.jpg 300w, https://multiplejournalism.org/wp-content/uploads/2026/02/130917-Firestorm4-FCaris-e1770144205997-768x591.jpg 768w, https://multiplejournalism.org/wp-content/uploads/2026/02/130917-Firestorm4-FCaris-e1770144205997-570x439.jpg 570w" sizes="(max-width: 1000px) 100vw, 1000px" />															</div>
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									<p>Firestorm, which took three months to produce, credits twenty-three people. See this analysis by The Poynter Institute: &#8220;How on-going teamwork fuelled The Guardian&#8217;s Firestorm interactive&#8221;. Although few newsrooms have the kind of resources that The Guardian was able to commit, the inspiring experiment with layered, multimedia storytelling that Firestorm represents can be replicated on a smaller scale.</p><p>The keys to its success were early and realistic planning, and smooth collaboration between editorial, design and technical departments, which allowed the story to evolve alongside technical editing.</p>								</div>
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									<p><strong>Why did we select it?</strong></p><p>Firestorm is selected for its creative and innovative multimedia storytelling. It connects compelling visuals and texts to develop a contextual story about climate change and smoothly embeds video and audio sources in a non-fiction narrative to create a new kind of immersive reading experience.&#8221;</p>								</div>
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				<iframe width="1140" height="200" frameborder="no" src="https://w.soundcloud.com/player/?visual=false&#038;url=https%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F2259548894&#038;show_artwork=true&#038;maxheight=1000&#038;maxwidth=1140&#038;auto_play=false&#038;buying=false&#038;liking=true&#038;download=true&#038;sharing=true&#038;show_comments=false&#038;show_playcount=false&#038;show_user=false&#038;color"></iframe>			</div>
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									<p>A few similar interactive visual storytelling are Snow Fall, Last 32 hours of Martin Luther King (multimedia storytelling), and The New York Times’ Boston Marathon attack multimedia story.</p><p>Other fine examples are Medium (online platform for stories written by independent journalists and writers), and The Magazine (online paid-subscribers magazine, based on a theme with five medium to long articles of independent authors).</p>								</div>
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									<p>TED Books are shorter than a novel, but longer than a magazine article. TED Books are typically under 20,000 words and embed audio, video and social features in every book.</p>								</div>
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				Next Media Animation			</a>
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				<a class="elementor-post__thumbnail__link" href="https://multiplejournalism.org/case/visual/firestorm/" tabindex="-1" ><div class="elementor-post__thumbnail"><img loading="lazy" decoding="async" width="300" height="239" src="https://multiplejournalism.org/wp-content/uploads/2026/02/130917-Firestorm1-FCaris-300x239.jpg" class="attachment-medium size-medium wp-image-521" alt="" srcset="https://multiplejournalism.org/wp-content/uploads/2026/02/130917-Firestorm1-FCaris-300x239.jpg 300w, https://multiplejournalism.org/wp-content/uploads/2026/02/130917-Firestorm1-FCaris-768x612.jpg 768w, https://multiplejournalism.org/wp-content/uploads/2026/02/130917-Firestorm1-FCaris-570x454.jpg 570w, https://multiplejournalism.org/wp-content/uploads/2026/02/130917-Firestorm1-FCaris.jpg 969w" sizes="(max-width: 300px) 100vw, 300px" /></div></a>
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			<a href="https://multiplejournalism.org/case/visual/firestorm/" >
				Firestorm			</a>
		</h3>
				<div class="elementor-post__excerpt">
			<p>An online interactive story about a family&#8217;s harrowing experience during a severe bush fire in Tasmania that integrates various media in visually innovative ways.</p>		</div>
				</div>
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		</article>
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