共查询到20条相似文献，搜索用时 407 毫秒
1.
Danielle M. Stern 《The Communication Review》2013,16(1):50-77
Using MTV's popular long-running program The Real World as a case study, this essay examines the interrelationship of the construction and consumption of bodies in an increasingly surveillance-based, commercial, hybrid media culture. This article is part of a larger project that employed a multi-method approach grounded in feminism combining textual data from The Real World with interviews with producers and female fans of The Real World. The author investigates how Real World viewers make sense of the series' claims to the real, using the body as the site of cultural production. Two key frames of bodies on The Real World are identified: the troubled body and the heteronormative body. The analysis is situated among studies of media realism to interrogate the context in which real women today are recreated as the “fractured female” in popular culture. The author argues that scholars should continue in a move toward interdisciplinary approaches that link the cultural with the capital and offers the body as a major site of cultural production and reception. 相似文献
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Yang Chen‡ 《亚洲交流杂志》2013,23(1):97-115
This study aims to explain the reasons for the transformation of women's news in contemporary China. It concludes that in comparison with women news's in the Maoist period, present-day women's news is represented in a fragmented way. This article analyses the differences among the individual, professional, and institutional aspects in news production, while emphasizing the complicated interaction among feminism, state, and market to illuminate the reasons behind women's news transformation. Due to the immanent masculinity of both state and market, feminism in China has to face a state–market complex, that is, double pressure. Comparing with state and market, the influence from feminism to journalism is quite weak and there is a long way to go before feminism realizes its own agenda for media transformation. 相似文献
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Naomi Schiller 《Mass Communication and Society》2013,16(4):478-502
This article analyzes the circulation and contingent social production of meaning of The Revolution Will Not Be Televised, the documentary film that chronicles the 2002 coup d'état in Venezuela and its dramatic reversal. Drawing on interviews and observations with distributors and activists in New York City in 2004 and ethnographic fieldwork with community media producers in Caracas between 2003 and 2007, I explore how social actors contribute to the ongoing production of Revolution's impact. In this multisited account, I argue that the work of activists and distributors to frame the importance and authenticity of Revolution has been vital in molding debates and facilitating public discussion not only about Venezuelan politics but also about the role of media producers in shaping truth. This article draws attention to the ironies and complexities that filmmakers, distributors, and activists face when they use documentary film to challenge mediated depictions of the historical world. 相似文献
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ABSTRACT As a progressive intervention into patriarchy, feminism has traditionally centered (white) women's experience, yet when sex and gender are combined with race, feminism tends to lose its progressive edge. We argue that (white) feminism ideologically grounds itself in a gendered victimology that masks its participation and functionality in white supremacy. By erasing women of color, positioning women as victims of white male hegemony, and failing to hold white women accountable for the production and reproduction of white supremacy, (white) feminism manifests its allegiance to whiteness and in doing so commits “discursive violence”. We end with calling for ideological intersectionality as a possible corrective. 相似文献
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This paper explores the nature and extent of citizens’ connection to public space through media consumption. It reports on a study of data from two qualitative sources: panel responses and individual in-depth interviews. The authors’ findings are, first, that people's media consumption and forms of public connection may be significantly constrained by limitations on their time—not just objectively, but also subjectively (their sense of lacking time to use media or pursue information). Second, such is the complexity of how people think about their public connection that research methodologies must be sensitive to the details of people's reflexivity, while enabling effective typologies of the positions people take up in thought and practice. Third, such research may reveal not a consensus, but instead a range of incompatible framings of whether public connection matters and how it can be achieved. Research should aim, therefore, not at a redefinition of something as unified as “civic culture,” but rather at tracking the hetereogeneity of the “dispersed citizen.” 相似文献
6.
Elana Shefrin 《Critical Studies in Media Communication》2013,30(3):261-281
The culture of media entertainment, as exemplified in the Lord of the Rings and Star Wars film franchises, is being infused with new modes of authorship, production, marketing, and consumption that are characterized by Internet fan clubs, online producer‐consumer affiliations, and real‐world legal controversies over the proprietary ownership of digital bits of information. To analyze these new interactive patterns being employed by two competing media franchises, Bourdieu's theory of cultural production is supplemented with Jenkins's study of participatory fandom. Then, the contested nature of computer‐mediated communication is explored using a model that brackets the opposing potentialities of Internet influence on offline society. 相似文献
7.
《Journal of Radio & Audio Media》2013,20(2):268-276
Many forms of alternative media empower marginalized populations by providing the tools of media production as an outlet for their voices. Drawing on the experiences of youth collected from semi-structured ethnographic interviews, the preliminary research presented in this paper demonstrates how youth, in their own words, are empowered through their participation in the alternative media production process. Since the relationship between empowerment and radio production is currently unexplored, critical media literacy is applied to illustrate how production can enfranchise the creator. Although the production of the radio artifact initiates the process, it is the legitimacy of the discursive space that is truly empowering for youth. 相似文献
8.
Meg Tully 《Critical Studies in Media Communication》2018,35(2):194-207
This study engages in current scholarly debates regarding third-wave versus postfeminist media icons through an analysis of Tina Belcher, the eldest daughter in the animated series Bob’s Burgers and a paragon of what I coin “millennial feminism.” In it, I argue that Tina rejects popular postfeminist discourses and experiences a politicized feminist awakening. While Tina is significant in her own right, most remarkable is the way millennial audiences have utilized the internet to position Tina as a feminist folk hero. Ultimately, I trace how popular critics use Tina to theorize a millennial feminism that reflects the values and characteristics of the millennial generation. Revisiting Sarah Banet-Weiser’s (2004. “Girls rule! Gender, feminism, and Nickelodeon.” Critical Studies in Media Communication, 21, pp. 119–139) argument that Nickelodeon’s girl power programming demonstrated third-wave feminist politics for its audiences, I argue that adult-oriented animated sitcoms lend themselves to an absurdity and disregard for hegemonic gender ideologies which have the potential to unsettle dominant ideologies of gender and sexuality and can define contemporary feminist politics for viewers. 相似文献
9.
Social cognitive theory suggests that stereotypes of attractiveness from mainstream media may function as models for online profile pictures. The present study explores the relationship between media consumption, internalization, and body-ism, clothing, and gaze through a content analysis of the Facebook profile pictures of 288 students, and a survey to assess their media consumption and internalization. The relationship between magazine exposure and pictures was mediated by internalization: magazine readers who internalized media ideals were more likely to select pictures showing their body in revealing clothing. Television viewing had a direct effect on picture selection, but was not mediated by internalization. 相似文献
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Surveying 2,245 people from six nations immediately following the conclusion of the 2018 Winter Olympic Games, this study focused on the extent to which fan identification can predict media consumption and nationalistic feelings toward one’s country. Findings revealed that, while sport fanship, fanship toward the Winter Olympics, and fandom for one’s national Olympic team(s) each predicts increased consumption, a hierarchy was established with Winter Olympic national team fandom being a stronger predictor than the others. Differences in fan identification’s impact on media consumption and nationalistic qualities among participants were found among the represented nations as well. 相似文献
13.
This article discusses producer practices and the reasons why they engage their audience in the production process. In a digitised media context, audiences have become more visible, mainly through social media, and have more means to participate. Our research deconstructs the production process of a particular television programme by means of the “hierarchy of influences” model, which separates micro and macro levels that influence production. It draws on in-depth interviews with all editors of Flemish current affairs programme De Afspraak (The Appointment) and on a three-month participatory observation. We conclude that immersive ways of engaging the audience are applied in our specific case. More broadly, we argue that although practices change, pre-existing norms and values about the television audience remain central to how producers engage their audience through digital and social media. 相似文献
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This study aims to increase our understanding of the dynamics of the Palestinian media and the conditions and circumstances in which they work, including both the conflict with Israel and the internal political strife within Palestinian society. It is based on the use of qualitative research methods and was conducted in two stages. First, we performed a mapping of Palestinian media outlets. Data on these Palestinian media outlets were collected online from the West Bank-based Palestinian Authority’s Ministry of Information website, the Gaza-based Hamas government’s Ministry of Information website, and statements published by Palestinian media outlets on their websites describing their affiliation and ownership. Second, to gain a more in-depth understanding of the dynamics and experience of practicing journalism in a situation of asymmetrical conflict, semistructured in-depth interviews were conducted with 25 professional local Palestinian journalists working for local media outlets in the Gaza Strip, the West Bank, and East Jerusalem. Through this study we aim to learn more about how groups shape and express their narratives and agendas through the media when restricted by the conditions, pressures, and limitations of asymmetrical conflict. 相似文献
16.
In light of the media industry’s growing focus on audience engagement, this article explores how online and offline forms of engagement unfold within journalism, based on a comparative case study of two American public media newsrooms. This study addresses gaps in the literature by (1) examining what engagement means for public media and (2) applying the concept of reciprocal journalism to evaluate the nature of reciprocity (direct, indirect, or sustained) in the give-and-take between journalists and their communities. Drawing on direct observation and in-depth interviews, this article shows how this emerging focus on engagement is driven by public media journalists’ desire to make their relationship with the public more enduring and mutually beneficial. We find that such journalists privilege offline modes of engagement (e.g., listening sessions and partnerships with local organizations) in hopes of building trust and strengthening ties with their community, more so than digital modes of engagement (e.g., social media) that are more directly tied to news publishing. Moreover, this case study reveals that public media organizations, in and through their engagement efforts, are distinguishing between the communities they cover in their reporting and the audiences they reach with their reporting. 相似文献
17.
《Journalism Practice》2013,7(9):1075-1090
ABSTRACTThe initiation of economic reforms in the 1990s led to major recastings in the media-state-market relationship in India. Looking specifically at the television news media space, the age-old monopoly of the state broadcaster Doordarshan was challenged by the mushrooming of a host of private television news media. Private participation in the television news sector was in sync with the logic of market capitalism. Market-based news model radically altered the nature of production, representation and consumption of news. This paper makes an inquiry into one such predominant aspect of news production, the ascendancy of views/opinion based prime time programming in television news media, in contemporary India. Through a series of semi-structured interviews with journalists, the paper attempts to make sense of the reasons, the nature and significance and the likely impact of such programming on the nature of public discourse in India. 相似文献
18.
Sarah Stevens 《The Communication Review》2014,17(3):256-268
To date, feminists have conflated (and continue to conflate) historical understandings of bondage, discipline, dominance and submission, and sadomasochism (BDSM) as pathological and representations of BDSM in literature and popular media with the lived experiences of feminist BDSM practitioners. Feminist BDSM practitioner Madison Young’s pornographic film 50 Shades of Dylan Ryan (2012) takes the recent resurgence of the ongoing debate on women, submission, and popular literature as a starting point for reconsideration and possibility. By adapting the discourse surrounding 50 Shades of Grey, Young’s pornographic film points to the ways in which feminism also contributes to that which makes pleasure possible. Young’s film reimagines the dualities that have traditionally dominated feminist cultural critique through concepts the author calls “mediated authenticity” and “formal simultaneity.” Beginning with a brief, rigorous examination of the 50 Shades of Grey phenomenon, this article analyzes Madison Young’s 50 Shades of Dylan Ryan and seeks to provide a critical intervention in feminist studies of pornography and popular culture. 相似文献
19.
Xiujun Deng 《亚洲交流杂志》2018,28(5):526-540
After the Spring Festival of 2015, an environmental documentary called Under the Dome in which Chai Jing acted as a narrator has caused the public opinion to boom in social media in China. Why could a documentary released by internet attract so much attention and spark such a heated discussion? What are the factors that have influence on the information dissemination of social media environmental mobilization? This paper employed case study and semi-structure interviews to reveal these questions. It turned out that individual trust, group norms and information networks of the social capital played an important role in the social media environmental mobilization. The reason why Under the Dome became a hot issue was that it made full use of the social media users’ trust on the mobilizer, aroused the mobilized’s emotions and combined the network channels of social relationships. 相似文献
20.
Ainara Larrondo Ureta 《Journalism Practice》2020,14(8):991-1007
ABSTRACT According to a growing volume of academic literature on the subject, transmedia fiction and non-fiction production is now one of the main areas driving innovation in media companies, thanks to the improvements it brings in numerous interconnected fields: narrative and content, management and productive strategy, brand promotion, etc. In this context the article focuses on transmedia linked to public broadcasting companies, starting with a qualitative study based on interviews with expert professionals from thirteen corporations in Spain, one operating at the national level (RTVE) and twelve at the regional level (A Punt Media, CARTV, CCMA, CRTVG, CMM, EITB, EPRTVIB, RTVM, RTPA, RTVA, RTRM and RTVC). The results show how professionals view the concept of transmedia production, its advantages, disadvantages and the challenges it poses, which depend on these corporations’ service and relationship with audiences. As the conclusions state, the keys factors for understanding the professional transmedia strategy of public broadcasting corporations are found in the characteristics of today’s media market, which is suffering from budget cuts and growing competition. 相似文献