deadline for submissions: 
January 15, 2024
full name / name of organization: 
ICNOVA - Universidade NOVA de Lisboa


Mar Chicharro-Merayo (Universidad de Burgos) 

Javier Mateos-Pérez (Universidad Complutense de Madrid)

Lorena Antezana (Universidad de Chile)


Important dates:

Article submission deadline: January 15, 2024

Editors’ decision: May 2024

Expected publication date: May/June, 2024 


The history of journalism was first captured on celluloid with the Lumières’ 1895 moving image of a train steaming into a station. The brothers wished to open "their objectives to the world", to reflect the reality of the planet, to inform. It is well established that audiovisual journalism was born and developed within the framework of cinema. The seventh art fostered and popularized journalism through documentaries and newsreels from around the globe which, together with fiction, were the genres most beloved and followed by the public.

Audiovisual journalism was to later establish itself on television, where it spread as informative content, consolidating its place on programming schedules and creating its own audiovisual language. At the same time, journalism was carving out a space for itself in audiovisual fiction through stories showing the profession in practice, events based on real life, or stories featuring journalists themselves -or others from the communication industry-, that have configured a subgenre of journalistic fiction, an area which in recent times has produced some outstanding work, and which has been broadcast on the many different screen formats that make up the audiovisual industry. 

Thus, films like Citizen Kane (Orson Welles, 1941); Ace in the Hole (Billy Wilder, 1951); All the President's Men (Alan J. Pakula, 1976); The Year of Living Dangerously (Peter Weir, 1982); The Truman Show (Peter Weir, 1998); The insider (Michael Mann, 1999); Good Night, and Good Luck (George Clooney, 2005); State of Play (Kevin Macdonald, 2009); Spotlight (Tom McCarthy, 2015); The Post (Steven Spielberg, 2017); etcetera, make up a solid legacy of work about journalism and the media, which have been joined by another small contingent of programs conceived, produced and broadcast on television, such as Lou Grant(CBS, 1977); Murphy Brown (CBS, 1988); Periodistas (Tele5, 1998); State of Play (BBC, 2003); The Hour(Prime, 2011); The Newsroom (HBO, 2012); Secret City (Foxtel, 2016); Crónica de sucesos (TVE1, 2016); Press (BBC, 2018); The Morning Show (AppleTV, 2019); Blinded (TV4, Sweden, 2019); Bala loca (Netflix, 2016); July 22 (NRK, 2020); among others. 

Apart from being represented in film and television fiction, journalism is also capable of presenting its work in feature film format. Documentaries are the most common genre for this perspective, though in recent times narratives typical of fiction have been appearing and have shifted to the setting of journalistic genres to give greater appeal to the author’s message, to make it touch the audience. In the same way, techniques such as storytelling, proposals such as docudramas, or more heterodox formats such as docuseries or audiovisual essays have become more commonplace. They propose mixtures of codes that broaden the horizons and blur the boundaries between information and entertainment. 

Starting from these initial coordinates, the monograph proposed for Media & Journalismo aims to contribute to debate, to research, and to reflection, setting out the academic implications. Researchers are encouraged to submit papers that address approaches such as representations of journalism in the audiovisual world; the relations between information and fiction; or the new hybrid formats that are being used to showcase journalists’ work. 

Contributions to the monograph may include, but are not limited to, the following topics:

-       The relationship between news genres and fiction formats: general issues. 

-       The creation, dissemination, and consumption of products in which information and fiction are connected. 

-       Uses of genres and strategies that hybridize information and fiction: docudrama, 

-       docuseries, reality television. 

-       Professional deontology and ethics in the face of the hybridization of content and codes. 

-       Information and fiction narratives: synergies and contagion. 

-       Fiction as a source of information. The case of historical fiction and memorial processes. 

-       Television fiction and journalistic imaginaries. Representations of journalism through fiction. The female journalist in fiction. 

-       Film journalism. Case Studies. The adaptation of journalism to fiction. 

-       Representing reality. The documentary and the audiovisual essay. 

-       Reception processes: audiences face confusion between reality and fiction.


Revista Media & Jornalismo (RMJ) is an open-access peer-reviewed scientific journal that operates in a double-blind review process and is indexed in Scopus. Each submitted work will be distributed to two reviewers previously invited to evaluate it, according to academic quality, originality, and relevance to the objectives and scope of the theme of this edition of the journal.

Articles can be submitted in English, Spanish, or Portuguese.

Manuscripts must be submitted through the journal's website ( When accessing RMJ for the first time, you must register to be able to submit your article and accompany it throughout the editorial process. Consult the Instructions for Authors and Conditions for Submission.

For more information, contact: