The Process

It also characterizes itself as an one form involuntary distortion, a time that is not about a conscientious intervention. Ratifying this Hohlfeldt affirmation (2008) he writes: Gatekeeping would consist, therefore, an involuntary distortion? in the measure where one is not about a conscientious, sensorial intervention? of the information, which had to the way for which if it organizes, it institutionalizes and it develops the function journalistic, the calls infernciais structures, that do not mean manipulation, pure and, here it is that are not deliberated distortions, but involuntary, simply unconscious, that they can arrive, therefore, the levels well more radical and dangerous, in the measure where they omit or they keep out of society events that, for times, could effectively be important and significant the least for determined collectives. Hohlfeldt (2008, P. To know more about this subject visit cupboards. 206) the affirmation of HOHLFELDT (2008) on the levels of distortions of the notice that can be radical or dangerous the measure would be given to it that the process of election of the notice takes more in consideration the experiences of the group of colleagues of the writing and in the system of the sources of what on in the implicit necessities of the proper public. While this last one little is known by the journalists, the professional, organizacional and bureaucratic context of the journalistic company exerts decisive influence in the choices of gatekeepers. HOHLFELDT (2008) among others explains that the function of gatekeeping depends, factors, of the institucional authority and its eventual sanctions, on the feeling of allegiance and esteem stops with the superiors, the aspirations to the social mobility of the part of the professional and the absence of allegiance of groups that if oppose. The factors mentioned for inherent HOHLFELDT the performance of gatekeeping very exceed in any concern or reference to the viewer, who would be the true reason of the professional activity of the journalist. . .

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