![]() Furthermore, business news is conceptualised as a social institution which interacts with – almost to the point of being “colonised” by – other institutions within the wider social system of capitalism ( Hansen, Cottle et al. News is determined by social mechanisms and negotiation – involving people, organisations, rules and practices – that make up the institutional environment for news making ( Ericson, Baranek et al. The second contribution is the comparative analysis of business news in Finland and Sweden that elucidates variations in these processes, a relativism perspective that Tolbert and Zucker (1999) have called for. The first contribution to the field is the conceptualisation and specification of these processes. Thus, this article features a process-based concern regarding how and to what extent business journalists have conformed to certain practices of capitalism. This article is methodologically inspired by the institutional approach and presents a sociological inquiry into the world of Nordic business journalism reflected in the context of political economy. Here this concept is transferred to the world of journalism and situations where these parties use news to establish and maintain their legitimacy and authority within a system of social control (for similar approaches to negotiated news, see Pallas 2007, Grafström, Pallas 2007, as well as Ericson, Baranek et al. Nordic capitalism has been conceptualised as a social system of negotiation between different legitimate groups ( Pedersen 2006) with national variations. This change in the social order has been legitimised by journalists as a manifestation of capitalist hegemony ( Tumber 1993, Parsons 1989). There is a continuing economisation and marketisation of the public sphere in which social and cultural functions are defined, monitored and evaluated in economic terms more than ever before ( Schuster 2006: 4). The diffusion of particular forms of management practices and business paradigms has transformed large parts of Nordic society, including journalism, where recent collective shortcomings can be traced to the dispute over the role of business journalists in the expansion of market capitalism ( Doyle 2006, Fraser 2009). ![]() 2006: 14, Kjær, Slaatta 2007, Grafström 2006, Viscovi 2006) driven by the ideology of maximising shareholder value ( Kantola 2006, see also, Lazonick, O’Sullivan 2000). Its emotional appeal (and its subject’s importance to Hollywood) is the main reason I’m reporting on the show’s demise.Over the last 20–30 years media coverage of business has increased in the Nordic region with the expansion of market capitalism ( Ainamo, Tienari et al. The story was well-received and remains one my favorites of this column’s relatively short history. I interviewed co-creator and executive producer Jessie Nelson and co-star Kevin Valdez last summer about the show and what it was like to work with members of the neurodiverse community. Judging by my Twitter mentions, I’m definitely far from alone in expressing this sentiment. While CODA picks up the mantle from Little Voice, it’s nonetheless sad to lose the latter for the representational angle towards neurodivergent people. On August 13, Apple is premiering CODA, a film about a 17-year-old girl who’s the lone hearing person in a deaf family. That Little Voice got the axe is a big blow to the cause and to the community, but See won’t be alone in positively depicting disability on Apple TV+. This effort not only was a shining example of true diversity and inclusion, where oftentimes disabled people are left out of the conversation, it was emblematic of Apple’s commitment to accommodating disabled people, which was heretofore only seen in the company’s consumer products. As disability has historically been portrayed as something to be pitied and overcome-too often resulting in pandering, feel-good, ableist fodder which many in the disability community derisively refer to as “inspiration porn”-Apple deserved more acclaim by bucking this trend with not one but two shows. The loss of Little Voice, while run-of-the-mill by Hollywood cancellation standards, is not an insignificant one when you consider its impact on furthering disability representation in film and television.
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