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[目的/意义] 以"科学人讲坛"在"新媒体+科学文化内容"方面的有序推进为主要案例，论述新媒体技术在图书馆科学文化传播活动中的具体应用，找到专业图书馆科学文化传播工作优势及发展方向。[方法/过程] 梳理"科学人讲坛"讲座内容、推送渠道及观看数据，通过数据分析影响科学文化传播效果的主要因素。[结果/结论] 新媒体及时、灵活、强互动等特性在科学文化传播工作中起到了良好的效果。图书馆的服务意识、丰富馆藏及科学人文精神与新媒体技术优势的结合，使科学文化传播工作中公众的参与兴趣得到了极大提升，拉近了科学与公众间的距离，提高了科学文化传播效果。 相似文献
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[目的/意义] 以"科学人讲坛"在"新媒体+科学文化内容"方面的有序推进为主要案例，论述新媒体技术在图书馆科学文化传播活动中的具体应用，找到专业图书馆科学文化传播工作优势及发展方向。[方法/过程] 梳理"科学人讲坛"讲座内容、推送渠道及观看数据，通过数据分析影响科学文化传播效果的主要因素。[结果/结论] 新媒体及时、灵活、强互动等特性在科学文化传播工作中起到了良好的效果。图书馆的服务意识、丰富馆藏及科学人文精神与新媒体技术优势的结合，使科学文化传播工作中公众的参与兴趣得到了极大提升，拉近了科学与公众间的距离，提高了科学文化传播效果。 相似文献
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今天,我们应构建什么样的媒介文化 总被引：1，自引：0，他引：1
十七大提出建设和谐文化,媒介文化对此负有神圣的责任与使命。对此,要充分认识媒介文化的文化意义、政治意义、经济意义、社会意义、民本意义、权力意义。在此基础上,建构一个公信力强、文明和谐、与时俱进、富有创新力的媒介文化,为全面建设小康社会做出重要贡献。 相似文献
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Nete Nørgaard Kristensen 《Journalism Practice》2015,9(6):760-772
This special issue addresses a topic of journalism studies that has previously been somewhat neglected but which has gained increasing scholarly attention since the mid-2000s: the coverage and evaluation of art and culture, or what we term “cultural journalism and cultural critique.” In this introduction, we highlight three issues that serve to frame the study of cultural journalism and cultural critique more generally and the eight articles of this special issue more specifically: (1) the constant challenge of demarcating cultural journalism and cultural critique, including the interrelations of “journalism” and “critique”; (2) the dialectic of globalisation’s cultural homogenisation, on the one hand, and the specificity of local/national cultures, on the other; and (3) the digital media landscape seen in terms of the need to rethink, perhaps even redefine cultural journalism and cultural critique. 相似文献
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青年亚文化与当代媒介素养教育 总被引：8，自引：0，他引：8
本文探讨了媒介素养教育中的一个特殊但极具现实意义的命题。青年亚文化在青少年中很有影响力,它的存在自然会影响青少年对媒介使用和对信息的接受,也自然会影响他们的世界观、价值观的形成。青年亚文化背景下媒介素养教育的难点较多,最突出的是认同感的调整。青少年媒介素养教育的一项重要工作就是努力使青少年从对亚文化的强烈认同中转化过来。为此,要发挥学校社区的作用、组织讨论、让学生学会控制自身行为、强调媒体自律、强化经典的传播渠道等。 相似文献
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数字媒体孕育了各种新的文化景观的形成,改变着人们对文化的认知方式和表达手段。网络传播就具有表达上的随意、戏仿、谐谑和拼贴的游戏化特点,人们常常被越来越多地‘拉’出现实世界,手机传播使文化活动和日常活动变得更方便、灵活、快捷、多变、不稳定和随心所欲。 相似文献
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Kathrin Schmieder 《Journalism Practice》2015,9(4):580-596
The participation of amateurs in the production of news has been widely noted as a growing phenomenon. Recent research demonstrates that amateur photographs are understood as raw, additional or potential elements of news content making and are subject to a translation process. In this paper, I introduce the concept of the visual quote to show how news media workers both accommodate and distance themselves from amateur content. In making the connection between amateur photographs and quotes, I aim to shift the understanding of amateur photographs away from the perception that they represent a new form of journalism. Instead I use the concept of the visual quote to identify how news media workers maintain their professional authority over amateur photographs in much the same way as quotes from bystanders are used in written journalism. The concept of the visual quote also acknowledges the role of the camera as a note-taking device in contemporary media use. I argue that the sourcing of amateur photographs is not explicitly disruptive; rather it blends with the existing processes of professional news media practice. It questions claims that the rise of the amateur would lead to fundamental changes in media and society. The research was conducted in 2010/2011 using interview evidence and observations collected at the Australian Leader Community Newspapers chain. Interviews were also conducted with representatives from a further 14 media institutions in Australia, Germany and the United Kingdom. In addition, secondary sources were used to provide further insights and suggest general tendencies in the field. 相似文献
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"媒介研究"是英国文化研究发轫以降的一大核心旨趣,其兴起与二战后英国"丰裕社会"的来临、媒介文化的爆炸以及"新左派"诞生的特定历史情境紧密相关。"文化马克思主义"旨在破除教条主义对"经济基础与上层建筑"理论模式的机械阐释,强调从一种隐喻意义上理解二者之间的复杂交互关系,并且在社会历史总过程中将"文化"重构为一种"日常的"生活方式。霍加特、威廉斯以及青年霍尔的早期研究充分展现了"文化马克思主义"在媒介研究领域的理论特性。 相似文献
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有机真实,不是简单的新闻真实类型,而是在新兴媒介环境中观察分析新闻生产、新闻真实的一种新观念、新视野,它意味着真实观念的变革,更意味着在新的媒介环境中,新闻真实实现的主体方式、媒介方式、符号方式、文本方式及其背后思维方式正在发生变革。有机真实的实质,是说新闻真实是在不同报道主体相互作用、相互影响过程中呈现的真实,有机真实是在不同媒介方式、符号方式、文本方式有机互动中呈现的真实。就当下来说,尽管有机真实的实现有赖于一个社会、一个国家信息的公开程度,有赖于职业新闻生产的透明度和公开度,也有赖于社会公众及其他各种社会组织、群体参与新闻生产传播的热情与水平,但最要紧的是,专业新闻媒体要充分发挥自身的专业能力,职业新闻工作者应该承担自身的应尽职责,在新兴媒介环境中重建自身的权威性、公信力。 相似文献
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Jan Fredrik Hovden 《Journalism Practice》2015,9(6):791-810
Based on comprehensive surveys in 2005 and 2013 among journalists, professional critics, and artists in Norway, this article analyses the cultural journalists’ position within the fields of journalism and culture. Although increasingly adhering to journalistic ideals and becoming more similar to other journalists through education and social recruitment, cultural journalism is still not the place to gain prestige and honour in the journalistic field. As cultural journalists tend to be recruited more from journalism schools than from higher education in the humanities, they also lack the skills and knowledge to be properly recognized within the cultural field. Cultural journalists seem to occupy a subordinated position in both fields—they are doubly dominated. The analysis also shows increasing differences between cultural journalists and professional critics. Cultural journalists are more anti-elite and populist in their view on culture than critics (and artists), and they are more likely than these groups to be supportive of the idea of culture as a private realm of leisure that should be guided more strongly by economic interests. There are signs of a division of labour where critique and high culture are left to professional critics, while employed cultural journalists with less formal competence adopt an advisory role in the realm of popular culture. With increasing coverage of popular culture and traditional criticism under pressure, these are signs of a less-critical cultural journalism that falls short of the idea of a cultural public sphere as a site for acquiring intellectual and cultural resources to (better) cope with the complexities of modern life. 相似文献
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ABSTRACT The aim of this paper is to probe into the social media use by Chinese climate journalists through the examination of their professional practices on social media. Taking COP21 as a case, the study conducted a survey from Chinese COP21 journalists and analyzed WeChat and Weibo posts from Chinese journalists and tweets from their UK and US colleagues. The results show the prevalent use of WeChat among Chinese journalists and the personalization of the social media content accordingly. Compared to their Western counterparts, the use of social media for professional purposes by Chinese COP21 journalists was relatively limited. Nevertheless, several patterns of using social media were identified. Specifically, Chinese journalists tended to more frequently express personal opinions, discuss work experience and favor conventional news sources of authority than UK and US journalists. The results also suggest that climate change in Chinese media discourse will remain more a policy-related issue instead of an environmental or scientific issue, with Chinese government playing a central role. 相似文献
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ABSTRACTWhen Stuart Hall and his Birmingham School colleagues argued that media technologies were essential to the production of moral panics, they focused on the relationship between mass media and the state. Because new technologies have altered our cultures of ostracism and punishment, we offer a revised analysis of this relationship that examines the role of online shaming in current moral panics. Not only do we analyze the new technological affordances of digital media, we argue that our current shaming culture is symptomatic of a deep-seated political disenfranchisement that leaves subjects grasping to “do something.” Contributing to a social media-driven panic culture that punishes and ostracizes deviants thus stands in for meaningful political participation. Ultimately, we argue that the evolving orientation to public life fostered by these new technologies has created a culture of shaming whereby citizens often prosecute their own discrete moral panics amid the more sustained sense of political crisis that characterizes contemporary life. 相似文献
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Dora Santos Silva 《Journalism Practice》2019,13(5):592-601
In January 2013, Peter Bradshaw, a film critic for The Guardian, said that Twitter users had become the favourite “critics” of the film industry. The implicit concern in this article on a subject dear to cultural journalism—“Would be criticism bankrupted when we are all ‘critics’ on the Web?”—became evident in the following years. It is pertinent, then, to explore the media answer not only to this subject but both to sourcing and expertise in general in the culture section. Did they embrace these new news sources (and which) that emerged in the digital environment, such as the reader, blogs or artists tweets? Assuming the first hypothesis, how did they include them in their editorial model, alongside with the “traditional” experts and sources? We conducted a content analysis to the culture section of an international media—The Guardian—between 2014 and 2016 (n?=?992), identifying the role of what we would like to call digitally empowered sources and the presence of new “experts” in cultural criticism. We concluded that these digitally empowered sources play an important role in the overall editorial, business and engagement media's strategy and are deeply engaged with a new digital feature: hypertextuality. New patterns of expertise also reflect an editorial positioning supported in an engagement strategy and in the recognition of the readers’ added value to content. 相似文献
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Kristina Riegert 《Journalism Practice》2015,9(6):773-790
This article explores how nine Swedish cultural editors and managers in mainstream media institutions define cultural journalism and its political dimensions during times of increased digitization and media convergence. Swedish cultural journalism is aesthetic and political critique applied to subject areas (music, literature, etc.) and contemporary societal and ethical issues. Drawing on Zelizer we ask whether there is a common interpretive community of cultural journalists in different media regarding: (1) how they define their scope, (2) how they understand “the political” in cultural journalism and its implications for democracy, and (3) how they view media convergence and digitalization. We find that although editors/managers from different media share a basic understanding of cultural journalism as an alternative perspective to news, “the political” in cultural journalism is approached differently in the press and the public service broadcast media. Furthermore, due in part to structural conditions, they also see the effects of digitization differently, forming sub-communities on two counts. This study thus contributes new knowledge to a field previously focused almost exclusively on newspapers. 相似文献
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Ann Johnson 《传播与批判/文化研究》2013,10(2):166-183
This essay examines The Man Show as a contemporary example of blatant sexism. A growing body of feminist criticism documents the emergence of subtle forms of sexism in popular culture. Such forms may be characterized as an accommodation or hegemonic negotiation in which dominant discourses must become flexible in the face of pressure from oppressed groups. Yet blatant sexism abounds in contemporary culture. I argue that The Man Show provides viewers with rhetorical resources to imagine their viewing practices as an act of protest against an imagined dominant female authority, and that those resources potentially allow viewers to accept the sexism of the program at face value. 相似文献
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John M. Sloop 《传播与批判/文化研究》2013,10(3):191-213
Through an analysis of public discourse surrounding two different controversies featuring professional race car driver, Deborah Renshaw, this article foregrounds contemporary relationships between gender and (auto)mobility. It draws on both theories of gender performativity and media ecology to outline the ways in which the automobile as a technology influences gender performance and the ways in which the automobile is understood through cultural discourses that are already largely gendered. The essay uses the discourse surrounding the Renshaw case to problematize both contemporary gender norms and understandings of the relationship between prosthetic media and the body. 相似文献
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在文化的产业化进程中,文化的"他律"遮蔽了"自律",文化消费主义大行其道。从长远来看,视觉文化艺术及其教育的可持续健康发展何以维系的问题已经不容回避,当代视觉艺术及其教育在文化消费主义影响下的生存境遇亟需引起广泛的关注,文化价值取向的异化和扭曲现象应当引起深入务实的探讨。 相似文献
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Ben Alexander 《Archival Science》2005,5(2-4):1-11
Despite our society's increasing reliance on electronic documentation, to-date archives remain, largely, material repositories
of cultural memory. It is an accepted historical problematic, however, that culture is often resistant to material preservation.
There exists an undeniable and profound tension between scholarly efforts to reconstruct history and interpret cultural traditions
and the fragmentary, and often limited, material record. That is to say, scholarship is shaped by a sinuous negotiation around
the historical silences that encompass all of material culture. Historical silences, however, can at times be marginalized
(or at best excluded) by a sensitive configuration of material evidence with oral history.Excluding Archival Silences: Oral History and Historical Absence uses a historically and geographically specific example of oral history to engage in a more generalist discussion of how
oral reflection, especially when shaped by material evidences, can be an especially effective tool for preserving the dynamics
of culture that often remain undocumented. 相似文献
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Fiona Allon 《传播与批判/文化研究》2013,10(2-3):216-221
This essay suggests that cultural studies, media studies and communications need to focus on the changes and challenges associated with this particular historical conjuncture, and re-assess the kinds of analysis that can most fruitfully contribute to this critical project. This requires rethinking some conventional assumptions about everyday life, media texts and communications technologies so that a more nuanced understanding of the imbrication between culture, labour and economy in the present moment may be developed. 相似文献