Our content analysis of Norway’s largest morning newspaper Aftenposten in a composite week and in four time-cuts between 1950 and 2008 reveals that, in terms of number of words, news stories expanded until 2008 when the newspaper changed to tabloid format with a mixture of both very short and very long articles. In more recent years, news stories have tended to have wider time frames and be less event-oriented. The simpler forms, such as reports of meetings and social events, etc., have also diminished considerably in number as have published stories. Journalists have become more visible – as commentators – in the past twenty years.
The overall aim of this article is a cognitive investigation of how, in the light of its epitext character – its commercial aspect – the film trailer manages to give the story of the film and at the same time to hold it back. In this article, three different film trailers, which are Danish directed and produced, are taken as examples: Elsker dig for evigt (2003) by Susanne Bier, Solkongen (2005) by Tomas Villum Jensen and Antichrist (2009) by Lars von Trier. A central observation common to all three is that they, so to speak, give priority to the basic emotional tone at the expense of staying in tune with the narrative chronology of the film. Film trailers often omit either complex elements or events that might contradict their basic emotional tone. In that sense the key purpose of the film trailer is to create an emotional atmosphere capable of making an impact on the audience. As a result, film trailers often appear monomaniac and very intense compared to the film itself, which of course also has to do with the fact that they operate within a limited time frame.
The article addresses the growing autonomy of journalism since the beginning of the 20th century. In analysing the revisions of the press-ethical codes in Norway since 1936, we demonstrate how the journalist’s profession gains in confidence and autonomy through processes of consolidation, expansion, difference, legitimacy and self-reflexivity.