Convergence Culture: Where Old Media and New Media Collide
... Merits 2024, 4 296 Furthermore, MacDonald's use of technology exemplifies broader trends in the digital ecosystem and generates value through engagement and the establishment of communities rather than through conventional physical or digital products [9]. This success story shows a shift in how artists can organize their careers in highly unpredictable environments and industries, even if they are not traditional physically risky environments, which high reliability scholars tend to study [2]. ...
... Social media has also contributed heavily to the transformation of advertising [9]. Scholars emphasize the importance of convergence culture, wherein musicians integrate multiple platforms to create cohesive narratives that engage their audiences deeply [9]. ...
... Social media has also contributed heavily to the transformation of advertising [9]. Scholars emphasize the importance of convergence culture, wherein musicians integrate multiple platforms to create cohesive narratives that engage their audiences deeply [9]. This approach has given rise to the "persona" economy, where artists must carefully curate their public identities to sustain engagement across social media channels [19]. ...
Tom MacDonald's success in the music industry can provide valuable insights for leaders and founders, particularly in the context of high-reliability organization (HRO) theory-MacDonald's approach to music challenges conventional wisdom and societal norms, promoting open communication and adaptability. HROs should prioritize open channels, invest in training, and support continuous learning. Clear communication is crucial for employees to understand the organization's roles, responsibilities, and goals, facilitating collaboration and problem-solving. It also helps manage change and prevents crises. Investing in communication skills and practices is essential for driving organizational success and resilience in today's fast-paced business environment.
... They can also help blend and borrow all manner of media resources that students find online to strengthen and extend their communication practices in personal and powerful ways in and out of the classroom. Ours is not simply an image-driven culture but a convergence culture (Jenkins, 2006;Mizusawa, 2021b). Online, any end user is free to appropriate/misappropriate any image they find in service of their own content creation purposes. ...
... Lastly, Material 3 chose to generate a celebrity collage of found images that helped inscribe a unique cultural space where new patterns and preoccupations could be discovered. It reflected a convergence culture, where meaning was generated from blending and borrowing (Jenkins, 2006;Mizusawa, 2021b). ...
... En esa dirección, un concepto clave es la ciudadanía digital expuesto por Robles (2009), apoyándose en el caso español, que introduce la expansión de los derechos sociales y políticos en el espacio digital, lo cual puede acarrear formas de participación innovadoras y peligrosas de desigualdad sociales. Por otro lado, Jenkins (2006) ha enfatizado en la noción de "alfabetización transmedia" como una forma de ciudadanía digital, indispensable para poder navegar y comprender diferentes tipos de medios y plataformas con el objetivo de participar plenamente en la cultura digital. Y por su parte, Kellner (2006) ha discutido la importancia de la ciudadanía crítica en la era digital que implica la capacidad de analizar y cuestionar los mensajes que se encuentran en línea y comprender cómo se utilizan estos contenidos en su influencia en la sociedad. ...
... Las destrezas digitales, como la capacidad para navegar por Internet, utilizar aplicaciones y comprender las informaciones en línea, pueden involucrar, además de los niveles de instrucción, otras características sociales como los grupos de edad y los ingresos. Jenkins (2006) ha propuesto el concepto de "alfabetización transmedia" como una forma del desarrollo de la ciudadanía digital, las personas necesitan ser capaces de navegar y comprender diferentes tipos de medios y plataformas para participar plenamente en la sociedad y cultura digital. Las habilidades digitales, competencias y valores necesarios para participar activamente en la sociedad de la información incluye el acceso a información sobre obligaciones, procedimientos, derechos relacionados con las instituciones políticas. ...
El artículo analiza la participación política en las redes sociales de la Superintendencia Nacional de Aduanas y de Administración Tributaria (SUNAT) desde el 2019-2022. Después de la pandemia por COVID-19 el proceso de digitalización se incrementó en las instituciones públicas de manera decisiva. Proceso de ampliación de la ciudadanía que conlleva al desarrollo de brechas digitales pronunciadas, especialmente entre los usuarios con menos educación, menos ingresos económicos y mayor edad. Además, el examen de los emoticones de la red social Facebook, la más utilizada, permite una aproximación a la gestación de un cuadro emocional polarizado en la ciudadanía, entre los que gustan y aceptan la información de la SUNAT y aquellos a los que les molestan y entristecen los mismos contenidos. La investigación es longitudinal, se llevó a cabo una encuesta pre-test, se efectúo un análisis de la participación política y de los emoticones a partir del Big data de Facebook.
... É impossível explicar aqui a proliferação científica da qual a Web colaborativa tem sido o objeto, mas o tema central é, obviamente, o da participação/emancipação. A pesquisa francófona inclui temas abordados em obras de língua inglesa, em particular em torno da fan culture (JENKINS, 2006). Da mesma forma, esta pesquisa também persegue questões científicas anteriores já antigas. ...
... Nas esferas de língua inglesa e francesa, essas obras não críticas são frequentemente apoiadas por atores socioeconômicos na medida em que ajudam a legitimar as transformações atuais do capitalismo. A postura crítica também é considerada por alguns, incluindo Jenkins, como um arcaísmo na medida em que a Web colaborativa oferece ferramentas intelectuais e técnicas para que uma crítica coletiva de usuários contribuintes possa ser construída coletivamente (JENKINS, 2006). Criticar isso equivale então a defender a velha ordem autoritária. ...
Research on the socioeconomics of culture, the collaborative Web and the creative economy have converged today in an ideological construct: the notions of creative industries and the creative economy, at least as they are presented by national and supranational institutions and experts. Most of these themes were introduced into Francophone research through Anglophone works. In this regard, the distinction between various forms of critical research on the one hand and non-critical research on the other seems much more fundamental. As a consequence, we propose to take the notion of creative industries seriously, deviating from the definitions given by experts so as to build a critical theory of creative industries that reflects the dynamics of the economy of symbolic goods.
... The term "fandom" originates from the fusion of "fan" and "dom", denoting a distinct consumer culture where individuals not only admire their idols but also actively invest time and resources in their support [1][2][3][4][5][6][7][8][9][10][11][12][13]. Modern fandom extends beyond passive consumption, as fans integrate their devotion into their daily lives through creative engagement and participatory culture [14][15][16]. ...
In the evolving landscape of fandom economics, fan-driven crowdfunding has emerged as a powerful force, transforming audiences from passive consumers into active participants in celebrity branding. This study examines the roles of trust, loyalty, and perceived value in shaping crowdfunding participation within Chinese Weibo K-pop communities, where fans collectively finance large-scale public advertisements for their idols. Using structural equation modeling (SEM) on survey data from 260 participants, our findings reveal that trust and loyalty within fan communities significantly enhance engagement in crowdfunding activities, reinforcing perceived idol value and financial commitment to promotional campaigns. These insights position fan crowdfunding as a key driver of digital-era consumer culture, illustrating its impact on idol branding, online community dynamics, and the monetization of fandom engagement. By bridging fandom studies, digital marketing, and behavioral economics, this research provides theoretical advancements and practical strategies for entertainment agencies and celebrity managers seeking to harness the economic power of fan-driven marketing. As fandoms continue to reshape traditional advertising models, understanding the mechanisms behind community-based crowdfunding offers new avenues for brand engagement, audience monetization, and sustainable fan participation in the global entertainment industry.
... Nell'attuale era iperconnessa, media tradizionali e digitali interagiscono (Jenkins, 2006) e si trasformano reciprocamente attraverso un processo di rimediazione (Bolter & Grusin, 2005) e mediatizzazione (Hjarvard, 2013), elementi che intensificano la pervasività dell'informazione e, più in generale, delle piattaforme digitali. Questi fenomeni non solo modellano la fruizione mediatica, ma configurano nuove forme di partecipazione (Castells, 2012), modificando i modi in cui gli individui si relazionano e agiscono collettivamente. ...
This paper investigates influ-activism, defined as the intersection of influencer culture and activism, focusing on feminist and inclusive causes. The phenomenon is framed within the broader context of digital activism and platformization, highlighting the mutual influence between influencers and social media ecosystems. Building on existing literature, the study explores how digital platforms facilitate the rapid mobilization of social movements, while also reshaping activist communication and strategies. The research adopts a netnographic approach, analyzing Instagram profiles of ten female influ-activists aged between 25 and 52. These influencers were selected based on their engagement with feminist, LGBTQ+, and social justice topics. A thematic analysis of 151 posts, supported by NVivo software, revealed distinct generational patterns in their narratives and content strategies. The study identifies two main feminist frameworks: third-wave and fourth-wave feminism. Third-wave influ-activists emphasize gender equality through a critical lens on sexist language and imagery, often focusing on external advocacy. Conversely, fourth-wave influ-activists adopt an inclusive and intersectional perspective, promoting themes such as body positivity, gender identity, and self-expression. This wave also demonstrates a higher degree of commercialization, balancing advocacy with branded content. The findings suggest that younger influ-activists leverage innovative, media-integrated formats to engage audiences and foster change from within the media landscape. The study concludes that influ-activism represents a new form of digital activism, balancing authenticity, social commitment, and commercial interests. It highlights the evolving role of influencers as key actors in promoting social change in the digital age.
... Καταβάλουν πάντως προσπάθειες, όπως το να αξιοποιούν, όλο και περισσότερο, τα γραπτά μηνύματα, για να επικοινωνήσουν με τους/τις εφήβους (Subrahmanyam & Greenfield, 2008). Επιπλέον, συχνά οι γονείς δεν μπορούν να κατανοήσουν αυτή τη νέα μορφή κοινωνικοποίησης, η οποία αποτελεί πλέον αναπόσπαστο μέρος της ζωής των παιδιών τους και είναι μια επέκταση της ζωής τους εκτός σύνδεσης (Jenkins et al., 2006). Αυτή η δυσκολία να συμβαδίσουν με τον ψηφιακό κόσμο των παιδιών τους έχει ως αποτέλεσμα τη δημιουργία ενός χάσματος γνώσεων και τεχνικών δεξιοτήτων μεταξύ γονέων και νέων, το οποίο τελικά δημιουργεί εμπόδια στον τρόπο με τον οποίο οι γονείς και οι νέοι/νέες συμμετέχουν από κοινού στον διαδικτυακό κόσμο (Procentese, Gatti & Di Napoli 2019). ...
Η χρήση των μέσων κοινωνικής δικτύωσης (Μ.Κ.Δ.) χαρακτηρίζει την καθημερινότητα και τις κοινωνικές αλληλεπιδράσεις μικρών και μεγάλων στις μέρες μας, γι’ αυτό και τίθεται ως θέμα που χρήζει διερεύνησης και αντιμετώπισης. Πραγματοποιήθηκε έρευνα με ημιδομημένες συνεντεύξεις σε γονείς παιδιών προεφηβικής και πρώτης εφηβικής ηλικίας (11-13 ετών), με σκοπό την καταγραφή των γνώσεων και αντιλήψεών τους σχετικά με τα Μ.Κ.Δ. και την πιθανή προβληματική χρήση από τα παιδιά τους. Για την ανάλυση των δεδομένων
αξιοποιήθηκε η θεματική ανάλυση. Τα ευρήματα έδειξαν ότι οι περισσότεροι γονείς ασχολούνται με τα Μ.Κ.Δ., καθώς η πλειοψηφία τους έχει λογαριασμό σε κάποια από αυτά (π.χ. Facebook, Instagram) και λιγότερο σε κάποια άλλα (π.χ. TikTok). Σχεδόν όλοι οι γονείς είναι διαδικτυακοί φίλοι με τα παιδιά τους, για να ελέγχουν τη δραστηριότητά τους, αλλά δεν μπορούν να αντιληφθούν την πιθανή προβληματική χρήση από αυτά.
... "Media fandom is a phenomenon that encourages individuals to collectively and socially unite within a subculture based on shared interests or appreciation of a media world or product" (Oliver & Bartsch, 2010). Additionally fandom is also perceived as a form of subculture based on common identity uniformly found among the individuals who share interest in a media message (Jenkins, 2006 ). With the passage of time fandom is turned into fan communities and members tend to develop their social identity. ...
... Transmedia storytelling (Jenkins, 2006) is another approach to engaged learning. It is "a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience" (Jenkins, 2007). ...
... It can be said that the convergence of platform technologies is due to the digitization of media content, which causes old and new media to clash (Jenkins, 2008). In the context of the television media industry, the emergence of the internet fosters a collaboration between them, or what is commonly referred to as convergence. ...
Technological developments provide benefits for the society in receiving information and entertainment. This has resulted many innovations made by the communication media industry players, one of which is NET. TV by conducting media convergence. Media convergence is a consequence caused by technological developments, which then affects competition in the media industry. Media convergence is gaining momentum in the communications industry, where digital technology is being used more than conventional one. Under the auspices of PT Net Visi Media, NET. TV has now looked at YouTube and over-the-top digital platforms. By looking at the transitions, this research was conducted with a critical paradigm by mapping the problems that occur related to vertical power relations, based on political economy theory of communication media by Vincent Mosco. Interview with NET. TV production team became the primary data, which was then analyzed descriptively. According to the characteristics coined by Vincent Mosco as an analytical tool, the result is NET. TV performs absolute and relative labor commodification during media convergence. Where the Tonight Show Premiere and Match Island production teams are required to be multitasking and work overtime without being paid.
... La ficción se ha convertido en un contenido idóneo para ser difundido a través de diferentes ventanas. La multiplicidad de plataformas hoy disponible transforma las posibilidades de hacer fluir una historia, dentro de la llamada "narrativa transmedia" (Jenkins, 2003(Jenkins, , 2006Jenkins et al., 2013;Scolari, 2013;Scolari y Ibrus, 2014), multiplicando los canales por los que puede expandirse y las formas de llegar a la audiencia. La narrativa transmedia se desarrolla tanto desde los creadores de la serie como desde el fandom. ...
Las series dirigidas a jóvenes han conquistado su espacio en la ficción española. En un contexto de transformación de las audiencias y narrativas, centramos esta investigación en Skam España, una de las teen series con mayor proyección en nuestro país, poniendo el foco en la visión de un grupo de productores y directores sobre dos aspectos: estrategia transmedia y fenómeno fan. Recurrimos a la técnica de la entrevista en profundidad, con la que recabamos la valoración de un grupo de profesionales implicados en la creación de Skam España y en gran parte de las teen series más exitosas de los últimos años, e identificamos determinadas tendencias: el aumento de la oferta, propiciado por las plataformas VoD ha permitido segmentar el target y apostar por guiones dirigidos a adolescentes; las narrativas transmedia han generado historias extendidas por múltiples canales, fomentando la interacción del fandom.
... The DES and a qualitative leap in the development of new technologies have actualized media education (Nisha, 2019). Baoill and Jenkins (2006) argue that technological developments have caused a cultural shift, expressed by a culture of convergence, synergies between industries, and creative practices that have allowed the connection of cinema, video games, literature, etc. Öze and Soyer (2021) note that digitalization and social media as mass media and communication provide great opportunities for the formation of socio-cultural identity. In this context, the tasks of the society include the creation and identification of media resources that ensure the formation of personality stability. ...
Distance education (DE) has actualized the use of media resources for psychological support for schoolchildren and students. However, career guidance work with high-school-age children in a distance learning environment has not been well addressed in the research to date. This study aims to demonstrate the positive influence of cinema art on the attitudes, views, preferences, and motives of schoolchildren in their career choices. A total of 290 students from a humanitarian-technical college participated in the experiment conducted by this study. Based on this study's results, film education's effectiveness in forming the professional and personal self-determination of college students has been empirically confirmed. The study made it possible to analyze the process of professional and personal self-determination of college students, as well as to develop a program contributing to the successful professional and personal self-determination of high-school-age children. Keywords: Distance education; film education; media; personal self-determination; self-determination; technology.
... The past twenty years have seen an escalating discourse surrounding "community," as internet access and SNS disrupt earlier ideas of community creation and bounding while simultaneously creating previously unimagined opportunities for network building and community growth. For online community members -including those in any number of diverse music genres -belonging to the group can play as significant a role in their lives as that of a physical place-based community (Jenkins, 2006;Guimaraes Jr., in Hine 2005, as cited in Waldron, 2013, Waldron, 2018. ...
With the rise of the internet, work from the of fields of digital sociology, communications/social media studies, and online research methods have become increasingly relevant for music education scholars both investigating and facilitating music teaching and learning in online contexts. While opportunities for online music making, teaching, and learning activities have grown exponentially, the number of online places dedicated to music making, learning, and sharing has exploded with the arrival of COVID as much of the world moves online. What was once an option – going online to teach and learn music – has now become a necessity for most musicians and music educators. What existing models can music educators draw on to teach and learn music in the age of COVID?
We explore this question in this, the second of a three-part investigation of online communities of practice. The first study in the series (authors, 2021) surveyed digital music education in formal settings such as schools and institutions. This paper, second in the series, addresses online communities of practice involving music learning in what would usually take place in informal settings. We review current research in informal music education into areas of genre (vernacular, traditional, popular), fan-based, and composition. Our third and future investigation will consider the implications of on and offline convergent music teaching and learning. We contend that the most important and significant aspect of this work is not the technology but rather the sociological perspective -- the interactions and discourse that people have with one another through these digital enablers that render music learning, making, and teaching possible.
Keywords: digital sociology, online/offline convergence, online communities of practice, music teaching and learning, cross-disciplinary, lifelong learning, informal and nonformal music learning
... Assim, fica aberto o caminho ao desenvolvimento de novas relações entre estes sujeitos e os media, proporcionando novas experiências de aprendizagem, organização e produção de informação (Burton, 2005), abrindo espaço também para o surgimento de recetores de conteúdos que, em simultâneo, são também os seus produtores e emissores. Ou seja, estamos perante o que Henry Jenkins (2006), McChesney e Nichols (2016) e Rodriques e Braham (2011) apelidam de "jornalismocidadão" ou "jornalista-cidadão": criação jornalística, produção de conteúdos com técnicas jornalísticas ou o desempenho das funções de jornalista por quem não é reconhecido pela audiência como tal. ...
Resumo O projeto Forest FM pretende envolver jovens do ensino secundário, do distrito de Viseu, na criação de programas de rádio participativos, com vista ao aumento dos seus conhecimentos acerca da prevenção de incêndios florestais. Estes estudantes, caminhando para um acréscimo de literacia nesta área, serão levados a criar um programa de rádio participativo, a partir da recolha de histórias junto das suas comunidades locais, que serão depois selecionadas, desenvolvidas e adaptadas ao contexto do medium rádio e, consequentemente, ao programa idealizado. O Forest FM envolve uma rádio local, a Rádio Jornal do Centro, escolas com ensino secundário no distrito de Viseu, mas também organizações ligadas à prevenção e combate de incêndios florestais, nomeadamente bombeiros voluntários, proteção civil, entre outros. Numa fase inicial será aplicado um inquérito à totalidade dos alunos das escolas envolvidas no projeto, com a finalidade de aferir os conhecimentos acerca desta temática, mas também uma análise à produção de notícias nos diversos meios de comunicação social, antes, durante e depois dos incêndios. No decorrer do projeto é ainda expectável que os alunos do ensino secundário participem em workshops de rádio, voltados para temáticas como a produção, edição de som e jornalismo radiofónico. Esta estratégia, de metodologia ativa, enquadra-se no principal objetivo do Forest FM, que consiste em aumentar o envolvimento dos jovens estudantes com os conhecimentos científicos sobre os incêndios, tornando-os cidadãos mais proactivos nesta matéria. Palavras-chave: Educação, Rádios participativas, Prevenção Incêndios, Participação cívica. Abstract The Forest FM project aims to involve secondary school students from the district of Viseu in the creation of participatory radio programs, to increase their knowledge about the prevention of forest fires. These students, moving towards an increased literacy in this area, will be led to create a participative radio program, starting by collecting stories from their local communities, which will then be selected, developed, and adapted to the context of the radio medium and, consequently, to the idealized program. Forest FM involves a local radio station, Rádio Jornal do Centro, secondary schools in the district of Viseu, but also organizations linked to the prevention and combat of forest fires, including voluntary firefighters, civil protection, among others.
... Com o desenvolvimento da chamada web 2.0, a partir do início do século, a Internet transformou-se num espaço cada vez mais colaborativo e interativo, no qual os utilizadores tornaram-se simultaneamente produtores de conteúdo (Bruns, 2006). Esta "cultura participativa" foi celebrada pelos que destacavam o potencial democrático da world wide web (www) (Jenkins, 2006). Outros, no entanto, ressaltaram a rápida mercantilização deste ambiente em torno de plataformas cada vez mais poderosas, cujo modelo de negócio se baseia na cooptação de dados e conteúdos gerados pelos utilizadores (CGU) para atrair publicidade direcionada (Stehling et al., 2018). ...
O que sabemos sobre competências digitais, os processos pelos quais são adquiridas pelos adolescentes e os seus impactos nas oportunidades e riscos online? De que modos adolescentes europeus avaliam as suas competências digitais? Que competências digitais são necessárias para enfrentarem os desafios presentes e futuros de sociedades cada vez mais digitais? Respondendo a estas perguntas, o presente capítulo apresenta alguns dos primeiros resultados do projeto ySKILLS (2020-2024)1: a identificação de atores e de fatores que intervêm nas competências digitais. Para isso, analisa as considerações de informantes privilegiados – especialistas em Educação e Trabalho/Emprego; adolescentes entre os 13 e os 17 anos.
... They used words to evoke visualizations and frame the discourse accordingly. It is a testament to the back-andforth movement of communicative practices between media in a micro-manifestation of borrowing and cultural convergence of different forms of media-based communication (Jenkins, 2008). Image-based forms of communication (memes, gifs) and tight semantic framing (hashtags) are being stripped of their material realizations and adapted into new forms in a more logocentric and word-based media space. ...
This study examines emotion regulation strategies in written digital discussions revolving around controversial issues. Twenty-five undergraduate students, placed in five study groups, took part in written digital discussions. Two groups were chosen to participate in the study. Participants were interviewed and were asked to read the transcript of the digital conversation they took part in, while referring to all conversation turns. They were asked to explain their own, as well as others’ reasoning regarding emotion expression and emotion intensity levels. Ninety-three interpretations of participants’ turns were made during the interviews. We compared the ways composers labeled their own emotions and intensity levels, with the ways in which other participants’ recognize these emotions, in order to assess the correlations between them. We report on several emotion recognition strategies that were found and point to the idiosyncratically rich but lacking in common ground nature of emotional social language. We highlight the gaps between composers' emotion labeling and others’ emotion recognition. The study offers new insight regarding emotional communication in CSCL settings, claiming that despite poor correlation rates and lack of shared emotional language, participants were indeed able to communicate emotionally. In CSCL settings, emotions function as a dialogic instrument enabling people to relate to each other by fostering closeness and establishing relations.
... Traditional protectionist approaches to media literacy focus on expanding awareness of risks and advocate teaching youth about the ways exposure to media can have negative effects and methods to reduce those risks as a key remediation approach (Potter, 2010). However, simply mitigating these risks is not enough; youth are now consuming and creating media content (Jenkins, 2006) and protectionist approaches have been criticized for not sufficiently preparing youth to be responsible media creators or how to enjoy the "pleasures and power" of this role (Hobbs, 2010). Modern digital and media literacy approaches must extend protectionist frameworks to include skills for creating messages and engaging in online communities in socially responsible ways, thus "empowering" individuals in the process (Hobbs, 2010). ...
Social media has changed how youth communicate, with whom, and with what consequences. Potential risks include exposure to harmful content, engagement with strangers, or unwanted consequences from irresponsible or naive use. Social media literacy has been proposed as a way to mitigate such risks. This paper aimed to develop a comprehensive Youth Social Media Literacy Inventory (YSMLI) to objectively assess young adolescents’ (9-13 years) knowledge and skills in the context of social media use. The development process included four consecutive steps: 1) an in-depth review of the literature to identify core competencies and domains of social media literacy, 2) creation of a large item pool that assesses these core competencies within six domains (advertising, cyberbullying, privacy, news, phishing, and media balance), 3) expert review and cognitive pretesting with youth, and 4) empirical validation of the final 90-item pool using item response theory based on a sample of n = 306 youth participants. The final item bank is well-fitting, reliable, and valid, offering scales with varying lengths for different purposes including domain-specific assessment and parallel testing.
... Ao invés da ideia do desinteresse generalizado das gerações mais jovens face ao envolvimento político e à participação ativa na sociedade (Pontes, Henn, & Griffiths, 2019), os trabalhos analisados na revisão de literatura (e.g. Bennett et al., 2016;Crowley & Moxon, 2017;Jenkins, 2006a; descrevem um afastamento dos jovens das formas mais tradicionais de participar e um maior interesse em se envolverem em formas alternativas de participação e em defender temas que não apelam tanto às restantes gerações, como sugerem autores como Briggs (2017) ou Garcia et al. (2019). As leituras apontam, portanto, para um redirecionamento do interesse para formas de participar mais relacionadas com os espaços (digitais) onde se movimentam, as linguagens que usam e os temas com que se identificam (Crowley & Moxon, 2017;Dahya, 2017;Harris et al., 2010). ...
The growing possibilities of digital media highlight critical thinking, media literacy and creation as fundamental skills for young people to thrive and be participatory in society and in their communities. School can play an important role at this level, contributing to the critical and responsible use of media and to the promotion of citizenship. In this sense, several studies point out that towards this generation, which learns also in informal spaces, values learning by doing and the presence of the media in all spaces of their lives, school is challenged to integrate new practices and to value the knowledge that children and young people acquire with and through the media.
This research addresses media creation and production practices and school as a place to promote media literacy among young people. It seeks to understand the role and implications of media creation in formal educational practices and how it can be further promoted in school within the school curricula, with a view to discussing citizenship issues and student expression. Methodologically framed as action research, this study took place in two schools, in the school years 2018/2019, involving eight secondary school classes. Media creation and production activities were developed collaboratively based on themes related to citizenship and already outlined in the present in the curricula of various subjects. The key findings indicate that, in this case, the promotion of media creation and production activities functions as a catalyst to promote discussions on citizenship issues and explore students' expressions around the same topic. They also show that teachers and students believe that both creation and production have a space in the classroom, but not on a daily basis. Students do not always appeared to appreciate the themes or the platforms proposed in this study to carry out activities using the media. Furthermore, they do not recognise that media creation is one way forward to be heard by adults. In turn, teachers recognise the potential of media creation, but mention constraints arising from the lack of specific guidelines on promoting media literacy, particularly its creative dimension, the time available for media creation and production activities, and the pressure of national exams.
KEY WORDS: Young people, Media creation and production, Digital narratives, Media literacy, Citizenship
... Com o desenvolvimento da chamada web 2.0, a partir do início do século, a Internet transformou-se num espaço cada vez mais colaborativo e interativo, no qual os utilizadores tornaram-se simultaneamente produtores de conteúdo (Bruns, 2006). Esta "cultura participativa" foi celebrada pelos que destacavam o potencial democrático da world wide web (www) (Jenkins, 2006). Outros, no entanto, ressaltaram a rápida mercantilização deste ambiente em torno de plataformas cada vez mais poderosas, cujo modelo de negócio se baseia na cooptação de dados e conteúdos gerados pelos utilizadores (CGU) para atrair publicidade direcionada (Stehling et al., 2018). ...
This paper examines the relationships between young people's political mobilization and political parties by analyzing women?s mobilization effects on political parties' youth wings over the last five years in Argentina (2015-2020). The discussion raised in this article is part of a broader research focused on the Argentinean case that studies the production of "youth" as a central issue in national political parties during the last decade. This paper first gives a brief overview of the recent history of the relationship between young people's political mobilization and political parties' youth wings since the return of democracy in 1983 up to the present. Then, it examines the emerging gender-oriented agenda between younger generations since the 2015 women's mobilizations. The third part discusses the main transformations observed on the political parties' youth wings in relation to this process, including organizational structures, internal agenda, generational experience of young women, actions taken to work against gender violence, ideological orientations and relationships between youth militancy and adult leadership during the 2018 abortion legalization debate at the National Congress, gender parity law, and young women running for elected office. The last section comments on the main findings revealed by the relations between social movements and political parties, and boundaries between political system and social life. The paper finally argues that, in Argentina, younger generations of women are reshaping political parties and advance on their ongoing struggle for social, economic and gender equity.
http://hdl.handle.net/10400.3/6326
Жаңа медиа мен дәстүрлі медианың қоғам мен мәдениетке әсері туралы пікірлер мен теориялар кеңінен зерттелген және осы саладағы ғалымдардың ойлары түрлі көзқарастарды ұсынылады. Мақалада жаңа медиа мен дәстүрлі медианы салыстыра отырып, олардың қоғамның ақпараттық, мәдени және әлеуметтік құрылымдарына қалай ықпал ететіні талқыланды. Маклюэн мен Мұртаза сияқты ғалымдардың ойлары жаңа медиа мен дәстүрлі медианың әсерін түсіну мен қоғамның ақпараттық құрылымын талдауда маңызды орын алады. Бұл зерттеулер қазіргіқоғамның ақпараттық және мәдени өзгерістеріне қатысты терең түсінік беріп, медиа мен коммуникацияның рөлін айқындайды. Жаңа медиа үнемі өзгеріп, дамып отырады.Бұл ғалымдардың еңбектері жаңа медиа мен дәстүрлі медианың қоғам мен мәдениетке әсерін түсінуге көмектеседі.
This paper examines the burgeoning phenomenon of audio-based digital narratives and their transformative impact on literature consumption, focusing on the evolving role of listening in the digital age. As audiobooks, podcasts, and other audio formats gain prominence, they challenge traditional notions of reading and storytelling, reshaping individual’s engagement with literary works. Through a theoretical exploration drawing from cognitive theory, media studies, and literary criticism, this study argues that the rise of audio literature represents not merely a shift in medium, but a fundamental change to process and interact with narrative content. The paper investigates the historical evolution of audio narratives, the cognitive processes involved in auditory literary experiences and the emergence of “literary listening” as a distinct skill. It also considers broader implications, including accessibility issues, the democratization of literature, and potential future directions of storytelling in an increasingly audio-centric digital environment. By synthesizing existing research and theoretical frameworks, this study aims to provide a comprehensive understanding of the listening renaissance in literature. The paper concludes by reflecting on the changing nature of literature consumption and the enduring importance of listening in an individual’s engagement with narrative art, suggesting that audio-based digital narratives represent a significant cultural shift associated with literature, rather than just a technological trend.
Amidst an evolving and dynamic cultural landscape—the normalisation of (some) fans in convergence culture, an increase in mainstream queer representation, and the growing number of rights afforded to some members of the LGBTQ+ community—the contemporary queer fan negotiates multiple sites of inclusion and alienation. This chapter examines the shifting position of fans in contemporary culture, where changes in digital social and screen media industries have given some fans increasing cultural power while others remain on the margins. This section also addresses the dominant Whiteness of existing fan studies, positioning the project as part of a growing body of scholarship mitigating the invisibility of queer fans of colour.
This study focuses on the detection and analysis of Islamophobic hate speech on the TikTok platform. Social media platforms have a great impact in terms of reaching masses and sharing information. However, these platforms can also pave the way for the spread of negative content such as hate speech and discrimination. TikTok draws attention with its short video format, which is especially popular among young people. For this reason, it offers an important area of investigation in terms of the spread of hate speech and discrimination content. In this study, posts containing Islamophobic hate speech on TikTok were identified through the keywords ‘Islam’, ‘Muslim’, ‘Terrorist’, ‘Jihad’, ‘Sharia’, ‘Radical Islam’ and ‘Islamist’. These keywords were chosen from the terms that commonly define Islamophobic discourse in the literature. The 10 TikTok posts selected using simple random sampling technique were analysed by critical discourse analysis method. Critical discourse analysis is a method that analyses how texts and speeches gain meaning in the social context and how these meanings reflect social power relations. In the study, linguistic and visual analyses of Islamophobic content on TikTok were conducted. The research was conducted in the first six months of 2024. The data collection process carried out during this period was obtained as a result of the scans carried out on TikTok using the keywords mentioned above. The results of the study show that Islamophobic hate speech is spread linguistically and discursively through posts on TikTok. Islamophobic content reinforces negative stereotypes against Muslims and damages social cohesion. Such content leads to marginalisation, exclusion and violence against Muslims. Islamophobia and hate speech increase social polarisation and create distrust and hostility in society.
Digital games increasingly penetrate young people’s lives and have become a prominent tool for 21st-century teaching and learning. While digital games are promising resources for fostering multimodal literacy, empirical evidence of their application in educational settings remains limited. This study conducted a 10-year systematic review of 20 relevant empirical journal articles to provide a comprehensive understanding of utilizing digital games in multimodal literacy learning across primary, secondary, and higher education levels. The findings revealed the main contextual features, game features, theoretical and methodological perspectives, and the possibilities of digital games for multimodal literacy learning. In conclusion, the extant empirical studies prove that digital games are legitimate learning resources to foster students’ multimodal literacy, whereas limitations are also evident. Correspondingly, this study provided recommendations to address these limitations and leverage digital games for 21st-century literacy education, thus contributing to computer research in educational contexts.
With the growth of technology, elderly people in societies no longer gather children to conduct oral storytelling sessions, which are regarded as important tools for the preservation of culture. The objective of this study was to investigate how culture can be preserved through oral storytelling in schools and to determine how oral storytelling can be revived. Vygotsky’s (1978) Sociocultural Theory, which emphasises the importance of social interaction in the construction of social meaning, anchored this inquiry. A qualitative approach, entrenched in an interpretive paradigm, was utilised. An exploratory research design was chosen for this study. Semi-structured interviews were used to gather data from 6 purposely chosen language teachers, that is, 3 grade 9 English Additional Language teachers, and 3 isiXhosa teachers in the Eastern Cape Province, South Africa. Data, which were thematically analysed, indicated that oral storytelling has deteriorated in schools due to curriculum changes, and the influence of the Fourth Industrial Revolution. Multimedia storytelling has replaced oral storytelling. Furthermore, there is a lack of professional development in cultural heritage. The non-practice of oral storytelling could have a negative impact on preserving human culture in schools. The study recommends that culturally literate people from communities, including parents, should be utilised in schools to conduct storytelling sessions to preserve culture. This could be done through the organisation of cultural activities in which learners participate in oral storytelling. By integrating oral storytelling into the educational system, societies can ensure that future generations remain connected to their cultural roots while developing important cognitive and social skills. Keywords: Human Culture, Language Teachers, Oral Storytelling, Preservation, Social Interaction
This paper examines the artistic originality of Chinese online literature and its linguistic features on the example of the novelized cycle of the modern online novelist Moxiang Tongxiu “The Grandmaster of Demonic Cultivation” (墨香铜臭《魔道祖师》, 2016). The research is interdisciplinary in nature, the focus is primarily on the structural features of poetics, the principles of artistic world modeling and interacting elements of various levels (genre, stylistic, ideological, thematic, figurative, compositional, etc.), as well as some linguistic features associated with the writer’s idiosyncrasy. The text of the work is analyzed not only in its external, formal, but also internal, substantive aspects, a systematic description of the different structural elements is given. The genre affiliation and genre varieties of the work are considered separately, the question is raised about its multi-genre specifics and the simultaneous inclusion of various genre features of such forms as a novel, a web novella, a fantastic narrative, a fairy tale, a xianxia, etc. It is argued and put forward the hypothesis that these signs and their elements rather act not as a genre, but as a local textual effect, which can be point-episodic in nature and/or become the dominant feature of a web work. The analysis of intermediate and intertextual means and features is given. The author’s constant appeal to the ecphrastic technique in writing practice in the synthetic transmission of musical imagery, as well as to the integration of resources and materials of classical Chinese literature as an intertextual means of expressiveness of artistic literature, is proved.
Political communication on social media has become a vital part of democratic politics. This direct method of communication with voters has particularly been used by parties often classifed as populist, but it has increasingly become more relevant for parties of all types. This multi-country study investigates political Twitter communication across Europe during the European Parliament elections, revealing similarities and differences in the communication patterns of several parties.
The particular focus of this study is on the idea of the European public sphere, launched in the early twenty-frst century as a response to lively criticism of the European Union being a far too elite-driven project. More recently, the above-mentioned spread of the paired phenomena of social media and populism has increasingly challenged the EU with its anti-elitist spirit and made political communication and decision-making in many countries more polarised and quarrelsome. These challenges have also
increasingly complicated the idea of the European public sphere.
Using Twitter as a key to European political discourse, this study looks at what themes and content various political actors favoured in their campaigns and how these related to each other. Special attention is paid to European and Eurosceptic emphases in these debates. Nationalist radical right parties achieved their best results ever in the 2019 European Parliamentary elections, but their new party group in parliament, Identity and Democracy, remained marginal, with a less than 10% share of the seats, which also indicates the activity of opposing forces in the elections. Rather than fixing our gaze on the populist radical right, we have been particularly interested in the contestation across the party field.
By applying a new conceptual framework on populist dynamics, we investigated how parties were positioned and responded to by other parties in the European Parliamentary (EP) 2019 elections, and what their Twitter campaigns can tell us about the different forms of populism in the European and national public spheres. Our focus is on seven European countries across the field in which Twitter forms a central platform for political communication: the Netherlands, Germany, Finland, Italy, Spain, Ireland, and the UK. This mixture of countries captures a diversity of political and media systems, although leaving out the Eastern enlargement countries and focus on the older EU member states.
Making use of shared social media data and a mixed-methods approach combining computerised quantitative and manual qualitative analyses in the country cases, the study provides a unique research approach to political communication at a systemic level. Providing evidence of intertwined European and national topics across Europe, it contributes to discussions on European politics, integration, and the idea of a common European political public sphere
This paper examines the impact of new media information technology on food security. It specifically determines the extent to which new media technologies such as Instagram, Twitter/X, LinkedIn, WhatsApp, and many more, are agents of development and underdevelopment in food security in Africa. Drawing on systematic qualitative method, thus study assesses how new media technologies have posed positive and negative threats to food security in Africa. The findings showed that while new media technologies have aided food productivity, availability, and accessibility, the same cannot be said about food quality and utilization. The findings indicated that technology has enabled farmers to detect, adapt, and navigate dangerous climate change. However, it showed that the same new media technologies, through advertisement have been used to make huge profits at the expense of the good health of consumers, who are deceptively forced to consume unhealthy food produced through the means of Genetic Modified Organisms (GMOs). The paper recommends more organic food production through the use of new media technologies with more humane initiatives in Africa. It also recommends that food standardization and regulation agencies in African countries should create nationwide awareness, through new media technologies against the consumption of GMO foods that could impair their general well-being. This paper contributes and deepens knowledge on how farmers can detect and adapt to climate change for food security, using digitalized new media technologies in Africa. Keywords: Food security, Africa, New media, CSR, Agenda setting, Agroecology
Background: This article looks at discourses using alleged scientific sources to support or oppose political positions on the COVID-19 pandemic in Brazil.
Analysis: The authors analyzed more than 3.3 million tweets, sorted according to linguistic rules, from a broader database of tweets related to the pandemic. The focus of this analysis was tweets containing affirmations, allusions, or questionings allegedly referring to scientific studies and hypotheses or authoritative sources in order to legitimize a position as being based on scientific truth.
Conclusion and implication: The study shows that scientific sources are largely mobilized in networks of information and disinformation and are heavily present in a vast proportion of anti-science and negationist arguments.
Este texto ilustra el rol de los medios de comunicación alternativos frente a la denuncia y visibilización de casos de desaparición forzada y asesinato de líderes sociales después de la firma del Acuerdo de Paz en el 2016 en el Departamento del Meta-Colombia. A partir de ello, la investigación que se relata en este artículo, pretende nombrar a los líderes, sus territorios, el rol que desempañaban en sus comunidades para enunciar las particularidades de los sujetos que aún siguen sufriendo de estas afectaciones; los posibles responsables y la relevancia que tienen los medios de comunicación alternativos en hacerlos visibles, para la construcción de memoria colectiva.
Para ello se realizó un análisis de datos de tipo documental y de contenido durante el periodo 2017-2020, que da cuenta de las diversas formas de informar y denunciar estas afectaciones. La investigación aporta en posicionar la relevancia de estos medios de comunicación alternativos en la construcción de memoria colectiva y el no olvido de estas afectaciones como hechos sociales y políticos transcendentes y que estos medios a través de narrativas multimediales a partir de diversos formatos textuales, gráficas, sonoros y fotográficos se posicionan en las plataformas virtuales visibilizando la voz de las familias y comunidades que denuncian y buscan a sus familiares que intentan reivindicar su derecho a la verdad, reparación y memoria.
Manga with their distinct style and symbolism represent a growing reading trend in the world. Manga use an established set of symbols to convey various emotions. Manga have generally been more experimental in layout than Western comics. They are more fragmentary and contain more panels that enhance the dynamism of the story. We aimed to outline methodological approaches to the analysis of manga; to summarize specific features of manga as a separate medium; to analyse how multimodal cohesion is created in manga; to reveal various types of relations between visual and verbal modes. Manga is a multimodal discourse, combining several modes, mainly visual and verbal. The aural mode is represented by linguistic and visual signs, e.g. jagged borders of a speech bubble or the size and boldness of letters. We applied methods originally designed for the film analysis to the analysis of manga, in particular, Tseng’s (2013) theory of cross-modal cohesion, based on tracking cross-modally realized characters, objects, actions, and settings. This analysis included building cross-modal cohesive chains. We argue that it is possible to track cross-modal cohesion in manga, based on the interaction of visual, verbal, and aural components of identity chains. Besides, the interaction between visual and verbal modes was revealed by analysing text-image relations. In this paper we have outlined manga-specific features, distinctive features of manga’s page layout, cinematic devices, which manga borrowed from films, some of which may be used as focalisation-marking devices.
Este artículo presenta los resultados de un proyecto transmedial de investigación creación que recogió una diversidad de voces para reconstruir algunas de las experiencias individuales y colectivas del conflicto armado en la región conocida como Eje cafetero en Colombia. Además de la realización de una serie de obras, integradas por una narrativa transmedia, el proyecto muestra la utilidad de los proyectos transmediales en la doble tarea de contribuir a la reconstrucción de la memoria histórica del conflicto y de llegar a distintos públicos en diferentes formatos. El proyecto también evidencia la existencia de una conciencia dispersa pero persistente acerca de los horrores del conflicto armado en el Eje cafetero, una región que en las versiones oficiales y el imaginario social aparece como una zona de paz y prosperidad asociadas al cultivo del café. Para lograr esto, el proyecto convocó públicamente la participación de distintas personas, para que contaran sus relatos, en unos casos, y para que mostraran los resultados de su trabajo de investigación y de creación, en otros. De esta manera, el proyecto articuló voces y subjetividades que tradicionalmente se expresan por canales separados.
The article suggests the author’s approach to the conceptualization of the concept of “media inclusion” in the managerial aspect, which is dictated, firstly, by the absence of this term as a whole and separately of the concept of “inclusion” in domestic media studies, and, secondly, by the presence of a large body of work on the inclusion of certain types of media in the social space, which requires its own understanding. The author (1) reveals the sources of the emergence and specificity of new media in the framework of managerial discourse; (2) notes the features of the use of the concept of inclusion in the scientific lexicon; (3) shows the the specifics of considering inclusion in the media and the effectiveness of media in domestic and foreign science; and (4) conceptualizes the media inclusion from managerial the point. The methodological basis of the research is the work of F.I. Sharkov and V.V. Silkin on the genesis of the sociology of media space, which presents sociological tools for the study of the inclusion of media in social space and media space as a set of fields that unite individuals in the social information space. The author’s concept of media inclusion is based on a comprehensive study of media inclusion as a paradigm in already existing social processes at the management level.
This contribution enrolls coding practices in ethnographic research. Programming or coding requires creativity and critical thinking – future skills that are essential. Therefore, a solid understanding of the practices emerging along with digital technologies is a necessity in terms of education. Ethnography, understood as one crucial research approach to open up sociocultural contexts, can provide insights into different social and cultural implications of coding practices.KeywordsEthnographyCoding practicesAlgorithmsDataDigital publics
In the era of accelerated climate change, there is a growing argument to shift the communicative paradigm from ‘doom and gloom’ to messaging that highlights positive actions. With a critical stance remaining hopefully intact, this chapter explores how that paradigm shift might work when it comes to climate scholarship on the film and television industries. While UK screen industries are currently measuring their own production (and to a lesser extent editorial) effects on the environment, they are never likely to question how much production is necessary. Scholars should therefore highlight best practice in order to inspire further actions. This chapter utilises the work of Marxist scholars working in the digital media research field and systematically applies their concepts to various developments in the UK film and television industries. There are three main arguments. Firstly, that film and television industries can no longer be viewed as separate from digital technologies. Secondly, with that nuance in mind, the established changes and proposed increased digitalisation of film and television industries cannot solely be subjected to a widespread critique of digital solutionism. Thirdly, one way these processes might be better understood is through Fuchs and Sevignani’s (2013) conceptualisation of ‘digital work’, as opposed to the more pejorative ‘digital labour’ as the former term stresses a creative and commons-based engagement with digital technologies. The chapter draws from environmental media studies scholarship as well as industry documentation, employee interviews, and the author’s own experiences of working with sustainable screen industry collaborations in the UK.KeywordsDigital labourDigital solutionismBAFTAAlbertStar Wars
In diesem Beitrag wird der Bereich des informellen Lernens mit digitalen Medien
aus medienpädagogischer Perspektive entfaltet. Dazu wird einleitend auf das
außerschulisch orientierte Selbstverständnis der frühen Medienpädagogik hingewiesen und im Anschluss auf den Forschungsstand zum Themenbereich eingegangen. Am Beispiel partizipativer Medienkulturen wird ein zentrales medienpädagogisches Forschungsfeld im Bereich informellen Lernens diskutiert, und es wird das Konzept der informellen Bildung erläutert. Abschließend wird ein Fazit gezogen und ein Ausblick gegeben.
La convergencia y la cultura participativa son dos de los fenómenos más característicos del actual ecosistema mediático. El principal punto de encuentro entre ambos descansa en las narrativas transmedia, relatos complejos que fluyen a través de múltiples medios y soportes y que cuentan, en última instancia, con la colaboración de las audiencias para su expansión. El presente estudio tiene por objetivo describir de qué modo se ha llevado a cabo la investigación iberoamericana de alto impacto en esta materia durante la última década (2011-2020). Para ello, se llevó a cabo una metainvestigación a partir de una muestra de 148 artículos cuyo mínimo común denominador era, precisamente, el concepto de transmedia. Tras un análisis de contenido sistemático, objetivo y cuantitativo, es posible afirmar que esta producción académica tiene un marcado carácter empírico y cualitativo y está habitualmente centrada en el estudio de los relatos de ficción que se divulgan mediante las industrias culturales tradicionales. No obstante, también se observa un cambio de tendencia protagonizado por las redes sociales digitales y otras temáticas que van más allá de la ficción.
Anger Management Education (AME) is a growing genre of Family Life Education and Extension that shows promise in helping individuals manage the frequency and intensity of their anger. The majority of research using AME, however, has primarily examined outcomes from high-risk populations such as incarcerated populations, delinquent youth, and couples in relationship duress. This study examines the perceived benefits and experiences of 36 Latino adult participants in the RELAX: Alternatives to Anger family life education program. Five themes emerged using data from five focus group interviews depicting positive evaluative findings among participants, including (1) anger management strategies, (2) understanding anger, (3) improved relationships, (4) social support, and (5) cultural influence of anger. Implications for developing and implementing AME programming for Latino audiences are described.
This chapter considers the first film, Harry Potter and the Philosophers Stone, the third film Harry Potter and the Prisoner of Azkaban, and the eighth film Harry Potter and the Deathly Hallows Part 2 from the Harry Potter series. These interventions are robust examples of the way in which the series blends the aesthetic demands of franchise cinema with British cinema’s familiar ideological concerns. They are also examples of the series’ capacity to navigate attitudes of imperialism, empire and Britishness whilst recognising the destructive quality of these same ideals. In concluding this chapter, it is argued that the Harry Potter series forces a shift in understanding children's media culture and the child spectator, with fans of the series participating in the creation, elaboration, and extension of the Potter universe. In a contemporary context the child, as a technology literate individual with the capacity to create bespoke online communities in which to converse, becomes an active participant in discussions around their consumption habits and protection rather than simply a homogenised and commodified demographic.
Das Verhältnis zwischen PR und Journalismus ist nicht nur die Geburtsstätte der PR Forschung im deutschsprachigen Raum. Darüber hinaus markiert es ein Spannungsfeld, das sich durch Abgrenzungsversuche, Entgrenzungen, Antagonismen aber auch neue Profilbildungsprozesse auszeichnet. Die Digitalisierung hat öffentliche Kommunikationsprozesse mit einer neuen Logik versehen und neue, konvergente Kommunikatorrollen hervorgebracht. Die Frage der Notwendigkeit einer Abgrenzung von Marketing und von PR, und von Bloggern und Influencern von Journalisten, wird in diesem Beitrag abgelöst von einem sozial-konstruktivistisch geprägten Ansatz, der eine Brücke zwischen „doing journalism“ und „doing PR“ baut und dabei die Professionalisierungsdiskussion durch eine Verantwortungsdebatte ablöst. Damit wird die Aufmerksamkeit auf konvergente Prozesse der Produktion von Öffentlichkeit gelenkt, was mit Hilfe von Ergebnissen einer aktuellen Studie in diesem Kapitel diskutiert wird, in deren Rahmen Journalisten und PR-Schaffende in Österreich und Deutschland mit Hilfe narrativer Interviews zu den aktuellen Dynamiken ihrer Kommunikationsbereiche befragt wurden. Die Ergebnisse zeigen die Notwendigkeit einer vertiefenden Debatte zu Verantwortungszuteilung und -übernahme im Herstellen von Öffentlichkeit als soziale Praktik.
The present chapter combines the tools developed in multimodal studies of metaphor in comics and film, as well as those we find in comparative narratology and intersemiotic translation, in an analysis of a corpus of comic books and their film adaptations. All instances of visual and multimodal metaphor have been extracted from the collected comics corpus, along with certain examples of metonymy and specific alterations of standardised pieces of comics vocabulary that reinforce the metaphorical content. The fact that the comic books examined in this chapter have been adapted using two different media (animation and live action) provide us with an almost unique opportunity to investigate the ways in which metaphor gets converted from drawings into the animated and live-action forms, how this conversion alters the way in which metaphor can affect the audience, and whether the power of metaphorical messages can be retained in this conversion. The chapter presents different direct and indirect strategies for expressing a number of nonliteral messages (some of which appear to be very comics-specific) in different media – each of these media has to calibrate the instruments it has in its inventory in order to express different meanings within the animated or live-action discourse. The static nature of comic books seems to require a more abundant use of nonliteral representations so as to convey the intended meaning, thus making such instances more frequent in the analysed examples. Conversely, using the dynamic media of animation and live action, abstract messages can be contextualised in such a way that does not depend entirely on images with overt nonliteral content.
The coronavirus (COVID-19) global pandemic, which began in China’s Wuhan province in December 2019, has impacted nation states, highlighting their approaches and abilities to fight the pandemic. In Zimbabwe, attempts at fighting the pandemic have opened the floodgates for COVID-19-related corruption by “Covidpreneurs”-the politically connected and public officials. Therefore, in this chapter, we seek to examine the role of critical journalism and media convergence in exposing COVID-19-related corruption in Zimbabwe. Using qualitative content analysis on Zimlive newspaper stories culled over 1 month (1–30 June), interviews with media practitioners, and media convergence theory as a lens, this chapter critically looks at the discourses from Zimlive, and how these discourses expose corruption scandals involving COVID-19 funds. The study argues that critical journalism, taking advantage of digital technologies, was pivotal in exposing COVID-19 corruption in Zimbabwe.
All of us, at some point in our lives, build an illusionary interaction with our favourite personalities which is all about one-sided affection and admiration for that favorite persona. That interaction is academically named Parasocial interaction. In the past, various studies con irm the impact of drama on its audience and how this impact changes their attitudes and behaviors. This study examines the impact of drama on its audiences' in the context of Parasocial Interaction (PSI). A case study of Ertugrul Ghazi has been taken in this regard as this drama, at the time of research, got the highest viewer ship in Pakistan. This paper revisited parasocial interaction theory and scrutinized PSI between a viewer and the drama character. The paper study the PSI between Facebook group members and drama characters. Qualitative content analysis has been used to explore PSI between social media users (who watch drama series and are also active on Facebook groups for drama series) and drama characters. The themes have been generated and categorized under the level of motivations for PSI e.g., physical, social, and task attraction, and new dimensions for PSI have been explored.
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