Convergence Culture: Where Old Media and New Media Collide
... 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.
... "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
... El carácter democrático de las tecnologías, sólo se aprecia entonces en la medida en que todos los ciudadanos puedan interactuar y sean consideradas sujetos participantes capaces no solo de recibir sino también de generar contenidos que den cuenta de las diversas manifestaciones culturales y sociales (Jenkins, 2006). Esto implica una constante interacción entre pensar global y actuar local. ...
The purpose of this research is to analyze the processes of social appropriation of the Information and Communication Technologies in the community radio stations La Cometa and La Esquina Radio located in Colombia. The qualitative analysis uses the semi-structured interview as a research method. The results of the study show how technology can strengthen the communicative projects of community radios, providing mobility, independence and facilitating their relationship and proximity to their communities of influence.
... Users appropriate old media (e.g. films and TV) and remix it into new multimodal formats of information representation (Gainer & Lapp, 2010;Jenkins, 2006). One form of UGC typically distributed through social media, in the aforementioned different formats, are memes. ...
Memes within animated graphical interchange formats (GIFs) are developed and shared by Internet users to communicate cultural ideas, symbols, or practices for a wide global audience. Among the billions of GIFs shared internationally, some portray scientists engaged in scientific work. Media and science education scholarship alike have evidenced how scientists are portrayed can influence social perceptions of science and contribute to stereotypes that deter youth’s interest in and affinity to science and science occupations. To understand what social perceptions of science may manifest from new media (GIFs), the present study ascertained stereotypes using Warmth and Competence constructs from Fiske’s Stereotype Content Model (SCM). The SCM utilizes high, medium, and low warmth and competence dimensions found in media-based imagery to illuminate stereotypes. Researchers coded and categorised 287 meme-based GIFs of scientists sourced the largest online GIF repository, Giphy. A directed qualitative content analysis found high-competence and low-warmth dimensions most represented within the sample that theoretically (per SCM) represent perceptions that contribute to an envious stereotype with elements of admiration and contempt. This study suggests that although there have been improvements in the portrayals of scientists in media, however, GIFs may preserve and perpetuate the trope of the competent, yet cold, scientist.
... The cocitation network reveals two central communities (Fig. 8). That represented in red includes works on the effects of new media, either social (Castells, 2009;2012) or cultural (Jenkins, 2006;Scolari, 2013). The community in blue deals with the social construction of media reality (Tuchman, 1978) with a special presence of framing (e.g., Entman, 1993). ...
(English and Spanish versions) The late incorporation of Spain into the international circuit for the publication of results of scientific research in Communication has not proved to be an obstacle to reaching a level similar to international research in this discipline recently. However, this development is still subject to some obstacles. In this study, we carried out co-word and cocitation analyses of the intellectual and thematic structure of articles published by researchers affiliated with Spanish centers in journals indexed in the Communication category in Scopus and published between 1980 and 2020 (n = 7,422). This enables an analysis of the intellectual and thematic structure of Communication studies between 1980 and 2020 and its evolution. The aim is to contextualize this process, in a broad sense, thus establishing the similarities to and differences from European (n = 33,615) and Latin American (n = 5,160) Communication research during the same period. The results reveal a homogenization of the research interests between Spanish academics and their European counterparts during the last decade, with an emphasis on digital technologies and social networks. The first prominent studies in Spanish research have also appeared, albeit not yet becoming established as such on the international stage during the last decade. It is concluded that Spanish Communication research has developed around Journalism while the other classic disciplines (Audiovisual Communication, and Advertising and Public Relations) have not managed to consolidate a coherent and cohesive thematic and intellectual community to date, mainly due to their greater heterogeneity.
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.
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.
The chapter addresses how the journalistic genre transmedia journalism (TMJ) can be implemented into news media outlets’ workflows, and suggests a tentative model for TMJ in news rooms. The model considers participatory culture and focuses on story expanding multi-platform publishing using various content formats preferred by the audience and includes news evaluation, content production and distribution. It also suggests that traditional journalistic skills and methods could be complemented by competences from outside the newsroom. It aims at refining storytelling to increase the audience’s sense of participation, identification and engagement, thus contributing to new ways of generating income for news media outlets. It could assist news journalism in strengthening its position as a major part of audiences’ daily media rituals, and thus contribute to an unbiased, professional, informative, critical, relevant and democratization-favoring journalism.
I explore some of the ways that various groups have tapped resources from popular culture in order to work towards social change on the ground. I will argue that social change is linked to how people imagine themselves, their communities, the process of change, and the alternatives to current situations. We have seen world-building in particular move from the toolkit that media makers use to construct transmedia franchises to a set of practices people can use within grassroots communities to identify shared visions for a better world and begin to work to achieve them. And I describe some of the ways our USC Civic Imagination Project has built on our observation of these processes to develop workshops that help bring communities together. We are offering models of successful practices we hope other groups might use to foster new kinds of civic imagination in their communities.
En las últimas décadas, los juegos digitales se han convertido en parte esencial de la cultura de los adolescentes y jóvenes. Los consumidores de contenidos de estas plataformas se han incrementado notablemente, así como los estudios en torno a ellos. El objetivo de esta investigación consiste en analizar los contenidos generados por los usuarios en los juegos móviles Episode: Choose Your Story y Choices: Stories You Play, los cuales poseen una gran cantidad de usuarios jóvenes que difunden y expanden las historias a través de las redes sociales más importantes. Se realizaron dos estudios de casos sobre la estructura de las narrativas transmedia de estos juegos y se empleó una metodología cualitativa basada en el análisis narrativo y el análisis de contenido. Los resultados indican que, si bien ambos juegos expanden las historias en diversas plataformas, la presencia de un laboratorio de escritura por parte de Episode genera un comportamiento más delimitado en los usuarios en comparación con Choices, el cual brinda una mayor posibilidad de convertir a los consumidores en prosumidores. La enorme comunidad de fans en torno a estos juegos, corrobora la importancia de las narrativas expandidas en distintos medios.
This chapter presents one lineage for cancel practices as they emerged in celebrity and fandom cultures. Social media platforms are central as spaces where relevant content is posted as well as where public figures and fans interact, with “receipts” of wrongdoing often drawn from public and private social media posts. In addition, there is significant economic value to fan engagement with media content and producers online. One kind of popular media cancelling, exemplified by the 2019 case of beauty vlogger James Charles, involves fans judging celebrities for misbehavior, often in instances of interpersonal “drama.” These cancellings result in the loss of social media followers, yet the decrease is usually temporary, and the controversy brings continued views to the cancel target’s posts as well as generating additional discourse that itself draws views and commentary. A second kind of cancelling arises from fan activism, such as of the television series The 100 in 2016 around LGBTQ representation and the 2014 #CancelColbert campaign spurred by a tweet found problematic in its references to Asians. The campaign against The 100 also illustrates how fans understood the financial value of their digital participation, and how they could wield their collective power to influence data-driven statistics.KeywordsCelebrity cultureFan activismFan culturesJames CharlesStephen Colbert
The 100
La publicité visuelle a connu une vraie évolution avec l’apparition des réseaux sociaux. Le mode de consommation des images visuelles a ainsi évolué, impactant notre manière de nous comporter, d’agir, de voir le monde ou de nous informer. Ces changements amènent les chercheurs en marketing à s’intéresser aux problématiques liées à l’influence des images visuelles sur les comportements des consommateurs. Sur la base des recherches étudiant l’impact des stimuli iconiques susceptibles de provoquer un changement de comportement chez le consommateur, ce travail doctoral cherche à répondre à la problématique suivante : en quoi les images digitales amènent l’individu à se raconter une histoire et quels sont les éléments dans une image permettant de générer cette histoire nourrie par l’imagerie mentale ? Pour y répondre, une étude expérimentale, faite sur un large panel d’individus ayant une expérience de voyage, se penche sur l’effet de deux caractéristiques de la photographie sur l’imagerie mentale de l’individu tout en tenant compte de trois variables modératrices : l’implication, le type de lieu fréquenté et le genre. Les résultats soulignent par exemple qu’une photographie avec un plan large par rapport à une photographie avec un plan moyen, conduit l’individu à générer davantage d’IMVI (images mentales visuelles d’imagination). Les contributions théoriques de cette thèse ouvrent la voie à de nouvelles pistes de recherche sur les antécédents de l’imagerie mentale. Les contributions managériales portent sur la place et le rôle des images sur les sites internet et plus exactement ici, sur toutes les structures touristiques telles que les OTA.
Driven by technological advances, some of the new services developed within the financial industry have been grouped under the general label of fintech (Maier, Journal of Retailing and Consumer Services 33, 143–153, 2016). One of these innovations is crowdlending, a method of financing by which a large number of investors, each making a relatively small contribution, directly connect with borrowers through online platforms. These speciality sites guide the investors to select one or more projects they wish to support according to their desired risk profile. The objective of this chapter is to offer a complete and updated vision of crowdlending, especially in regard to startups. This is important because nascent companies with few assets usually have a difficult time trying to obtain loans to fund their growth. In this environment, crowdlending has enlarged the financing pool by positioning itself as an alternative to the usual funding by traditional institutions, angel investors and venture capitalists or friends and family. This work aims to provide a didactic and applied vision of this financing system. Thus, we use academic sources as well as information from professionals active in this sector. This is important given that simple concepts easily become complex due to the large offer of somewhat similar financial products.
La plataforma SVOD Netflix acercó a la audiencia española a un abundante catálogo de títulos surcoreanos. Esta producción audiovisual de Hallyuwood forma parte de un fenómeno más amplio, la nueva ola surcoreana o hallyu, integrado también por el desarrollo particular de la industria del cómic en Corea del sur en webtoons que cuenta con sus propias plataformas de distribución transnacional de contenidos. Este artículo aborda el estudio de caso de la serie televisiva Itaewon Class (JTBC, Netflix, 2020) dirigida por Kim Sung Yoon a partir del webtoon homónimo distribuido por Tapas Media con la colaboración de su webtoonist, Kwan-Jin. El artículo contextualiza la evolución de la tira cómica al webtoon y su empleo como fuente de transmedia storytelling en la literatura existente. Ese contexto precede un análisis de contenido, intertexto y de los personajes transmedia principales según el modelo propuesto para identificar los cambios en sus identidades existenciales y ficcionales consecuencia de su transformación táctica de OSMU a transmedia storytelling.
Dystopias—societies organized around deep inequalities—have existed in the context of Atlantic Canada since colonization. In this article, we seek to center the concept of dystopia as an important sphere of inquiry through participatory visual research with six 2SLGBTQ+ young people (14–17) in Fredericton, New Brunswick, Canada. Using an intersectional lens (Crenshaw, 1989), we consider how intersecting power structures—gender, race, class, and disability—produce unequal impacts in relation to social and reproductive justice issues in Atlantic Canadian contexts. In this paper, we highlight DIY media-making—as a multiliteracy practice—with 2SLGBTQ+ youth to explore social and reproductive justice. As early as 1994, Julian Sefton-Green and David Buckingham wrote about the importance of acknowledging the situated nature of people’s local literacy practices and of examining the ways that people make meaning through multiple texts in order to instigate social change. Other scholars working within a multiliteracy framework (see, e.g., Barton and Hamilton, Literacy practices. In Barton D, Hamilton M, Ivanic R (eds) Situated literacies: theorizing reading and writing in context. Routledge, pp 25–32, 2005; Rowsell J and Pahl, The Routledge handbook of literacy studies. Routledge, 2015) argue that an understanding of multiliteracies includes modes of processing, producing, analyzing, and meaning-making. Centering 2SLGBTQ+ youth agency, we position DIY media-making as a multiliteracy practice through stencil production and drawing. Through a close reading of three youth-produced images, and an interdisciplinary inquiry into dystopias present and future, we seek to make visual an ethical place of belonging among the dystopic.Keywords2SLGBTQ+DIYDystopiaParticipatory visual researchNew Brunswick
Youth
Mittels der explorativen Studie und den damit verbundenen methodologischen Vorüberlegungen, wurde für die Strukturale Medienbildung eine methodologisch anschlussfähige komparative Methodik entwickelt. Im letzten Teil der Arbeit, sollen die wesentlichen Erkenntnisse und Ergebnisse aus den beiden vorangegangenen Teilen zusammengefasst und reflektiert werden. Hierbei liegt der Fokus auf den beiden zentralen Fragestellungen der Arbeit:
• Wie kann eine komparative Methodik im Kontext der Strukturalen Medienbildung aussehen?
• Welche Konstruktionsprinzipien für Bildungspotenziale lassen sich aus der komparativen Methodik ableiten?
Daher sollen hinsichtlich des entwickelten Analyseprozesses (vgl. Abbildung ) zunächst die Aspekte des Samplings, der Materialgenerierung und des Kodierprozesses, als Basis der komparativen Methodik, im Fokus der Reflexion stehen. Daran anschliessend sollen mit Blick auf die höheren Kodierebenen, die Konstruktionsprinzipien von Bildungspotenzialen im Kontext der entwickelten komparativen Methodik untersucht werden.
The article treats digital technologies impact on modern ways of content producing, promotion and consumption. The focus is on interactive book apps as innovative publishing projects that use interactive multimedia content. Interactive book apps are designed for tablets and smartphones and combine different elements (texts, images, video, audio, animation and so on). The author traces back in short e-books prehistory from Kindle gadgets to the time of innovative iPad tablet that resulted in a new generation of e-books. Different types of interactive book apps are highlighted in the article on the base of their purposes and genres (for examp.: fiction, non-fiction, for kids and so on); some of these apps have elements of critical edition. From theoretical point of view interactive book apps can be treated within the frame of the media convergence approach that tends to blur boundaries between contents of different types. Exactly from these stem theoretical and practical difficulties as follows: in the first case – with notions that could be applied to them, in the second one – with tools for their search, identification, systematization and preservation in archives. The article analyzes a number of limitations (technological, software, legal, socio-cultural) that hinder their dynamic development in the modern media system. Main strategies of apps’ output and promotion are generalized and a number of restrictions that hinders their actual development in the media system is analyzed.
ResearchGate has not been able to resolve any references for this publication.