"Currently, research on older Chinese rural women’s reading activities through social media is scarce. This paper, based on a 2015 ethnographic study in the south-central Chinese city of Changsha, responds to this disparity. It highlights some of the reading choices and sources shared by a group o
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f rural women (over 40 years of age) through the most popular Chinese social media platform WeChat. The discussion emphasizes that in particular women in this rural community advertising revenue mechanisms of WeChat’s official account platform. A significant finding is that Changsha’s rural women endorsed articles that appeared to reflect their off-line realities and aligned with their emotional states. Uncertainty about information accuracy was affected by their educational backgrounds, literacy levels, life experiences, and moreover, by underlying Chinese social conditions and cultural expectations, which together, meant they sometimes recirculated fake, sexual, misleading and poor-quality information." (Abstract)
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"The five-minute film Mouth of a Shark (Isobel Blomfield, 2018) conveys a young woman’s experiences and precarious situation while she awaits an outcome on her refugee status determination in Australia. Aasiya (pseudonym) lives in community detention. Her interest in creating the film stemmed from
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her own acknowledgement that she had a platform as a young, literate asylum seeker woman with a “strong” story, and was therefore in a position to portray asylum seekers in a positive light. However, she cannot be identified in the film, even though it depicts her story, due to concerns over safety and her claim for asylum. We use this example to illustrate issues of anonymity and representation, and suggest strategies in line with our commitment to avoid depersonalising tropes in filmmaking. While we are committed to ensuring that people from refugee and asylum seeker backgrounds exercise agency in filmmaking, protecting Aasiya’s identity had to prevail. We wanted to avoid depersonalising tropes, and instead devised filming strategies that were more respectful of the protagonist and, within the constraint of anonymity, ensured that Aasiya could still represent her story in meaningful ways. We argue for an ethical model that reconciles the need for both anonymity and representation in filmmaking, especially through collaborative editing." (Abstract)
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"Representing stories through documentary film can offer a means to convey multilayered and sensory accounts of the lived experiences of people in extreme transition, especially former refugees. However, along with the potential of this medium comes the responsibility to engage with participants in
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an ethical and reciprocal manner. This article examines these prerequisites and applies them to two films about the experiences of people from refugee backgrounds in Australia. The first film, The Last Refuge: Food Stories from Myanmar to Coffs Harbour (2015), explores the Myanmar community, their sociocultural relationship to food and how this informs their identity. The second film, 3Es to Freedom (2017), documents a supported employment program for women from refugee backgrounds. Despite having different purposes and target audiences, the two films reinforced the importance of establishing informed and negotiated consent with marginalised people as the basis of all interactions and representations on film. Such negotiation seeks to minimise power imbalances and forms the ethical starting point for reflexive filmmaking practice that considers the filmmakers’ and participants’ intentions, and that promotes a heightened awareness of how knowledge is created through image-making." (Abstract)
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"Anthropologists began to study media relatively late in the history of the discipline. Research on media - in particular, mass media - tended to be associated with the societies most anthropologists came from, and thus with the self rather than the other, and except for a few rare exceptions, it wa
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s not until the late 1980s that anthropologists began to turn systematic attention to media as a social practice. This was true even for older media, such as songs, dance and theater, since those topics were associated with the other late research focus of urban anthropology." (Introduction)
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"This study focuses on the impact of social media towards conserving African languages, particularly Sepedi, Tshivenda and Xitsonga. Social media are given attention to explore their impact in conserving African languages amongst youth. Youth is a suitable group to focus on as they are the future an
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d are thus expected to carry their African languages and pass them on to succeeding generations. This exercise should be done to ensure that African languages should not face extinction in the future. Generally, youth are constant users of social media platforms, hence it is cardinal to investigate their language-usage patterns on social media platforms. The majority of the African youth in South Africa use either one or more of the nine (9) indigenous African languages that are official, namely, isiNdebele, isiXhosa, isiZulu, Sepedi, Sesotho, Setswana, siSwati, Tshivenda, and Xitsonga. Therefore, one would expect speakers of these indigenous African languages to effectively use them on social media, particularly, Facebook, Twitter, and WhatsApp. African language heritage is undoubtedly a valuable resource, however, it needs state resources to develop it further and establish it as a core economic driver on various media platforms. The study employs exploratory and descriptive designs. These designs are appropriate for this study because it permits data to be collected through observations, focus group interviews and questionnaires. Focus group interviews, observations, and questionnaires were used to collect data. Focus group is a data-collection tool for understanding people’s behaviour and attitudes. The researcher moderated three focus groups. One hundred (100) questionnaires were distributed to the participants in this study. These tools are apt for the data-collection process in this study because they assist to discover factors that influence opinions, attitudes, and behaviours. Social media have great potential to conserve the African languages but the speakers of these languages should play a cardinal role in this process. Majority of the youth do not prefer to use the African languages on social media. Conversations on both Facebook and Twitter are dominated by English as youth prefer it ahead of Sepedi, Tshivenda, and Xitsonga. In contrast, youth prefer to use the African languages on WhatsApp because they know their contacts. However, code-switching is used a lot by youth on social media. Despite the fact that Sepedi, Tshivenda, and Xitsonga are not mostly used on Facebook and Twitter they remain relevant and useful amongst their speakers on a daily basis. Nevertheless, there is a need to develop the African languages based social media sites to stimulate their usage on these platforms. Additionally, these languages should be developed to fit the needs of social media." (Abstract)
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"A year ago, I set our teams a challenge: to aim for at least 50% women contributing to BBC programmes and content by April 2019. In this report, you’ll see how they’ve turned that challenge into a creative opportunity which has fundamentally transformed our approach to representation. This repo
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rt is an important milestone for the BBC and for our industry. It is proof that fair representation need not be an aspiration. It can be something we do every day. And it drives creative excellence and success. One of the most remarkable aspects of 50:50 is that it’s voluntary: it’s grown because our teams have embraced the ambition. From something that started with one team in our newsroom, we now have up to 5,000 commissioners, producers, journalists and presenters taking part. I have the greatest admiration for what they’ve achieved. I would also like to extend a warm welcome to our partners. It’s been fantastic to see 50:50 expanding across the world, with pilots running from Europe to America, South Africa and Australia." (Foreword)
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"The number of manuscripts (peer-reviewed articles and grey literature) related to the use of C4D approaches to address VAC has steadily increased each year since 2000. Of the 302 manuscripts that were coded, 44 per cent discuss an intervention implemented in a developing country, which speaks to th
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e geographic robustness of this review. A greater proportion of manuscripts discuss interventions in urban contexts as compared to rural contexts. Roughly half of the interventions reviewed do not explicitly reference a conceptual model to underpin the interventions. Those that do, typically cite individual or cognitive conceptual models and a majority (over 80 per cent) focus on the individual level of change. About 11 per cent use community approaches and slightly less than 10 per cent report using an ecological approach. While cognitive and individual-based behaviour change approaches are valid and useful in certain contexts, there is a growing realization that individuals are embedded within a larger social system. Effective interventions must keep in mind the interactions between levels in order to effectuate sustainable change. The social ecological model provides a framework to address the interactions between levels. Interventions that cut across the levels of the social ecological model should work towards addressing social, emotional, and behavioural skills (for example, self-efficacy) of individuals and groups, as well as norms, instead of only addressing individual knowledge and attitudes. Manuscripts reviewed did not necessarily explicitly state the use of C4D approaches. However, upon closer examination, it became apparent that the majority of responses to VAC were inherently communicative. Programmes addressing VAC often use C4D approaches to reduce harmful practices using a ‘harm reduction’ framework. Often in these cases, programme objectives focus on the negative, whereas C4D messages for the same intervention focus on positive changes. Overall programme objectives should be linked to communication objectives, which in turn yield C4D messages." (Executive summary, page 9)
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