New formats: what influence do they have on media practices?

On 28 February, 2024
3 min
Social media practices for PR

The arrival of "new media" and the evolution of traditional media have brought with them new ways of working. The imperatives of immediacy, transparency, reactivity, the constant need for images... Have communicators taken the measure of the changes that have affected the media, and the new ways in which information is disseminated? Do they need to reinvent their press relations strategies? And what do journalists expect from communicators?

Wiztrust, in partnership with Entreprises & Médias and the Social Media Club, held a Cercle Dircom Spécial Guests: Roger Coste, Cofounder of Brut, Armelle Le Goff, Editorial Director of 20 Minutes, Céline Pigalle, Editorial Director of BFM TV, and Nicolas Pellet, Cofounder and Director of MAD (FIGARO).

What influence do new communication formats have on your work?

"Even if we're a real success on television, we're very careful with the new media. If we're going to speak to all segments of the population, we have to speak to young people. That means being just about everywhere, on every platform," declares Céline Pigalle. Armelle Le Goff agrees and adds: "The idea is to be where our readers are. At the metro entrance, at the metro exit, online. We offer them an adapted medium". At MAD, owned by Le Figaro, social is native: "We adapt our messages to our different networks. In fact, when people talk about us, they call us MAD Officiel, which is the name of our Instagram account," says Nicolas Pellet with amusement.

"You have to orchestrate your message from one network to another. Think about your format carefully, and be constantly on the lookout, because uses move as fast as platforms," he reminds us.

As for Brut, they are multiplying formats and platforms. "We launched on social networks for cost reasons. However, we are also present on France Télévision, at France Info, on Instagram, on Snapchat, with dedicated teams," explains Roger Coste. But the Brut co-founder is determined to defend his target: "It's a huge mistake to think that young adults are less informed, less open to the world. Brut's big surprise is that millenials (25% of the world's working population) have the same interests in Delhi, New York, Los Angeles, Paris or London: democracy, the environment...". As he had said earlier, Brut's current development is international, and the successes are there for all to see.

"In India, we've become the leading news medium, ahead of Time of India. When we publish Indian content but translate it into French, we get almost as many views in France as a video about the yellow vests," he points out.

Are social media revolutionizing your work? And in your relationship with advertisers?

"X has changed a lot of things for journalists. Politicians are now just a click away," says Armelle Le Goff. 20 Minutes is a general-interest medium, and the managing editor assumes this. "We're not here to tell the story of each individual's life, but of collective life. As for the relationship with communicators, Céline cœurPigalle is clear: "The communicator is 'committed to his brand'. Journalists, on the other hand, are 'committed to creating a dialogue and getting the word out'. This can sometimes cause friction. But the Editorial Director knows communication. "I know the business because I'm often also a communicator for BFMTV". For her, "it's in our interest to observe, understand and feed off each other".

Do you have any advice for Dircom managers on how to be more effective in dealing with the media?

For Céline Pigalle, it's all about "precise media mapping and interpersonal skills". As for Nicolas Pellet, he remains faithful to the MAD model. According to him, you have to "try co-creation of content: I encourage different players to come and try out new formats".

"The role of the Dircom has become gigantic," says Roger Coste. "It's also very challenging, because it's impossible to control uncontrolled networks. We're at the heart of something far more gigantic than we ever imagined, and that's pretty scary.

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