Between declared optimism and ambivalent skepticism: how brazilian journalists perceive the technological paradox in the era of digital transformation
DOI:
https://doi.org/10.1590/SciELOPreprints.13690Keywords:
Digital Journalism, Technological Innovation, Perceptions, Big Techs, Technological ParadoxAbstract
The digital transformation has created opportunities for journalism, with the emergence of new outlets, content distribution methods, and increased efficiency in production routines. This same transformation, however, is also cited as one of the main reasons for negative effects on journalism's institutional role and sustainability. A large part of the technical apparatus used by professionals is now predominantly controlled by big techs, companies that, on the flip side, undermine journalism's funding sources and independence. This study investigates this technological paradox by examining three questions: a) journalists' latent perceptions of the technologies' effects; b) the weight attributed by professionals to these dimensions; and c) the internal cohesion of these perceptions. The research was conducted with Brazilian journalists in 2023 (n=230) and utilized Factor Analysis to identify the latent perceptions. The results indicate the existence of a bifactorial model organized around an optimistic approach, “Innovative and Strategic Journalism”, and a critical stance, “Digital Skepticism”. The optimistic factor showed a significantly higher mean (M=3,53 vs. M=3,33, p<0,01) and greater internal consistency (α=0,701 vs. α=0,501). Despite this, the difference between the critical and optimistic factors presented a moderate effect size (RBC=0,247), suggesting a degree of ambivalence among journalists. The study offers evidence of the technological paradox in Brazilian journalism, contributing to an understanding of the digital transformation landscape, especially concerning the innovation, risks, and ethical challenges that are present.
English version: http://doi.org/10.20944/preprints202511.1399.v1
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Copyright (c) 2025 Fábio Vasconcellos

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