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Cultural criticism, prescription, recommendation, guide, promotion, intermediation and so on, cultural journalism carries in its trail a large number of concepts that may be closely related, but imply different approaches and uses. What remains to be done is to identify, list and analyse them. The aim is to examine the editorial specific practices of this type of journalism in media companies and cultural institutions. Where does cultural journalism stand out from a discursive, semantic and morphological point of view? In a context of digital transition and the facilitation of amateur expression, how is cultural criticism assumed and transformed? Do the critic’s commitment and involvement in public arenas constitute a means of perpetuating their usefulness as prescribers? These are some of the questions that this dossier, like the text that introduces it, attempts to answer these issues from both an interdisciplinary and transnational perspective. Several lines of inquiry follow: the legitimizing effects of cultural journalism for “niches” in cultural production, the links or even collusions between cultural journalism and institutional production, and finally the politicisation of cultural journalism and its interweaving with the mediatization of international conflicts.‪