"How can sound be utilized as a tool for political conscientization? COVID-19 has disrupted face-to-face organizing tactics for progressive movements globally, making it necessary to branch out to more mediated forms of grassroots political organizing. In this article, we explore how sound might be
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employed to invoke an imagined working-class community across ethnic, gender and generational divides against a backdrop of crisis and corruption on the structural level. Through a close listening of a South African radio drama, 'Plague in the Time of King Kapital and Queen Corona' (KKQC), we find that the use of sound enables a worldmaking that is both attuned to structural inequities and imagines a utopian, solidaristic working-class community. KKQC offers a case of worldbuilding and political conscientization through radio drama that is relevant to understanding the possibilities of the genre in the contemporary South African context." (Abstract)
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"Schaut man sich die Beispiele des Umgangs mit Corona in den drei behandelten Fernsehformaten – Nachrichten, fiktive Erzählgenres und Corona-Miniserien – an, fällt eine seltsame Ausweichbewegung auf, auch dann, wenn die Pandemie selbst das Thema ist. In den Nachrichten wird die Krankheit durch
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industrielle, menschenleere Bildarrangements erzählt, im Reich der Serien und Feature-Filme wird sie gleich ganz verschwiegen, und das Nischen-TV der experimentellen Corona-Miniserien zieht sich auf eine Dramedy mit komischer Heldin zurück. In der Erzähltheorie spricht man davon, dass nur mögliche Leben (possible lives) erzählt werden können, weil lediglich im Rahmen der eigenen Kultur und ihrer Vergangenheit ein Verständnis erzeugt werden könne. Dementsprechend scheint im derzeitigen Deutschland auch die Pandemie an die Grenzen der Erzählbarkeit zu stoßen. Covid-19 ist zwar nicht die erste Seuche, die das Abendland heimgesucht hat und erzählt wurde – man denke an die Pest, die Cholera, die spanische Grippe und AIDS –, sie ist aber die erste, die gleichzeitig global verbreitet ist, globalisierte Regime und Abwehrstrategien verlangt und – welch eine Kränkung! – in den demokratischen Nationen schwerer unter Kontrolle zu bringen ist als in einigen autoritären Regimen. Das kulturelle Selbstbewusstsein des Globalen Nordens verlangt, »Herr der Lage« zu sein. Wenn das nicht möglich ist, müssen wenigstens die Opfer unsichtbar bleiben. In den Unterhaltungsgenres, in denen vom besseren Leben geträumt wird und wo das (oft nur zwischenzeitliche) Liebes-Happyend alles wieder gut macht, hat Corona mit seiner Todesdrohung und seiner Berührungslosigkeit keinen Platz. Nur in einem Nischengenre wird ausprobiert, wie ein Leben mit Gesicht, Körper und Corona erzählt werden könnte." (Epilog, Seite 285)
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"In Chinese, the term wanghong refers to creators, social media entrepreneurs alternatively known as KOLs (key opinion leaders) and zhubo (showroom hosts), influencers and micro-celebrities. Wanghong also refers to an emerging media ecology in which these creators cultivate online communities for cu
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ltural and commercial value by harnessing Chinese social media platforms, like Weibo, WeChat, Douyu, Huya, Bilibili, Douyin, and Kuaishuo. Framed by the concepts of cultural, creative, and social industries, the book maps the development of wanghong policies and platforms, labor and management, content and culture, as they operate in contrast to its non-Chinese counterpart, social media entertainment, driven by platforms like YouTube, Facebook, Instagram, and Twitch. As evidenced by the backlash to TikTok, the threat of competition from global wanghong signals advancing platform nationalism." (Publisher description)
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"Recognised telenovela writer and scholar Rosane Svartman considers the particular characteristics of the telenovela format – number of episodes, melodrama influence, and influence of the audience on future writing – to explore how these can be preserved on multimedia platforms, and the challeng
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es this change may present. Svartman further charts the transformations of the telenovela throughout its history and its major influences and unveils the main storytelling elements and writing processes. Chapters examine the business model of Brazilian corporate television within the current context of hypermedia and analyse how this relationship evolves as it is influenced by the new interactive tools and technologies that amplify the audience’s power." (Publisher description)
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"We present Harmony Square, a short, free-to-play online game in which players learn how political misinformation is produced and spread. We find that the game confers psychological resistance against manipulation techniques commonly used in political misinformation: players from around the world fi
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nd social media content making use of these techniques significantly less reliable after playing, are more confident in their ability to spot such content, and less likely to report sharing it with others in their network." (Abstract)
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"Das Influencer Marketing hat sich in Deutschland in den vergangenen Jahren etabliert und entwickelt sich langsam aus der Experimentierphase heraus zu einem wesentlichen Baustein der Marketing-Strategie von Unternehmen. Dabei kristallisieren sich nach und nach Standards und allgemeingültige Regel h
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eraus. Dieses Buch beleuchtet einerseits relevante Aspekte sowie Entwicklungen des Influencer-Marketings und beschreibt andererseits unterschiedliche Typen von Meinungsmachern. Es ordnet das Influencer Marketing als Trend und Kommunikationsform in den Marketing-Mix ein und gibt praktische Tipps für die Umsetzung aus verschiedenen Perspektiven: von der Marketingstrategie und der Auswahl geeigneter Multiplikatoren über das Projektmanagement und den Umgang mit Influencern bis hin zur Erfolgsmessung." (Verlagsbeschreibung)
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"'El Radioteatro. Olvido, renacimiento y su consumo en otras plataformas' nos ofrece las claves del pasado, presente y futuro de un género, de un formato radiofónico que se sustancia en una explosión de creatividad que acaricia nuestros sentidos y nos abre a un mundo de posibilidades en una perfe
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cta conjunción de palabra, efectos especiales y música. El Radioteato es la expresión por excelencia del guion radiofónico ―el más completo de los géneros, el que más pasión y entrega exige de sus actores, guionistas y realizadores; y sin embargo un género que permaneció olvidado durante demasiado tiempo. Pero la esperanza perdida se convierte en realidad cuando renace como ave Fénix con el reto de conquistar a los nativos digitales que empiezan a admirar su riqueza en multipantallas, a la carta, en un medio de transporte o en altavoces inteligentes. Los textos que integran este volumen son la culminación del trabajo realizado en el I Congreso Internacional de Radioteatro celebrado en la Universidad de Málaga en marzo de 2019." (Descripción de la casa editorial)
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"There are still opposing and restraining forces to globalization processes taking place in media, and the global mediascape comprises international, regional and local markets, and global and local players, which in recent years have evolved at an uneven pace. By analyzing similarities and differen
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ces in a landscape where driving forces of globalization meet locally situated audiences and institutions, this volume unveils a complex, contested space comprising global and local players, whose success is determined by both their national and international dimensions. It guides its readers to the geographical and intellectual exploration of the international media landscape, analyzing the global and local media players and their modus operandi." (Publisher description)
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"Television was introduced in India in 1959 but for many years it was limited to state-owned broadcaster Doordarshan, which had one channel with twice-weekly, one-hour programs. However, there has been a marked shift in the television entertainment options available in India today, with 48 paid-for
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broadcasters, an estimated 60,000 cable operators, 6000 Multi System Operators (MSOs) and six pay direct-to-home (DTH) operators, all in addition to the public service broadcaster – Doordarshan. In total, there are over 850 TV channels registered with the Ministry of Information and Broadcasting. 2016 witnessed the arrival of a revolution in content consumption in India, with the entry of OTT (over-the-top) media services. OTT content is defined as the “productized practice of streaming content to customers directly over the web.” This has marked a big shift from the traditional tune-in, “consume-what-you-are-fed” model of conventional terrestrial, cable or satellite dish television, towards a new on-demand era of choice. Given the OTT boom, 82% of users in the Indian market are currently engaged on free-to-view, advertising-led videoon-demand platforms (like YouTube), compared to the 18% who pay for content on subscription-led video-on-demand services (such as Netflix and Amazon Prime). There are many factors that have been conducive to the on-demand model in India, the foremost being the growing penetration of internet and smart phones." (Introduction)
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"Media Culture in Transnational Asia: Convergences and Divergences examines contemporary media use within Asia, where over half of the world's population resides. The book addresses media use and practices by looking at the transnational exchanges of ideas, narratives, images, techniques, and values
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and how they influence media consumption and production throughout Asia, including: Sri Lanka, Bangladesh, South Korea, Singapore, Vietnam, Afghanistan, Iran and many others. The book's contributors are especially interested in investigating media and their intersections with narrative, medium, technologies, and culture through the lenses that are particularly Asian by turning to Asian socio-political and cultural milieus as the meaningful interpretive framework to understand media." (Publisher description)
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"Indian Film Stars offers original insights and important reappraisals of film stardom in India from the early talkie era of the 1930s to the contemporary period of global blockbusters. The collection represents a substantial intervention to our understanding of the development of film star cultures
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in India during the 20th and 21st centuries. The contributors seek to inspire and inform further inquiries into the histories of film stardom-the industrial construction and promotion of star personalities, the actual labouring and imagined lifestyles of professional stars, the stars' relationship to specific aesthetic cinematic conventions (such as frontality and song-dance) and production technologies (such as the play-back system and post-synchronization), and audiences' investment in and devotion to specific star bodies-across the country's multiple centres of film production and across the overlapping (and increasingly international) zones of the films' distribution and reception. The star images, star bodies and star careers discussed are examined in relation to a wide range of issues, including the negotiation and contestation of tradition and modernity, the embodiment and articulation of both Indian and non-Indian values and vogues; the representation of gender and sexuality, of race and ethnicity, and of cosmopolitan mobility and transnational migration; innovations and conventions in performance style; the construction and transformation of public persona; the star's association with film studios and the mainstream media; the star's relationship with historical, political and cultural change and memory; and the star's meaning and value for specific (including marginalised) sectors of the audience." (Publisher description)
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"This text provides a comprehensive introduction to the theoretical principles of ethical philosophies, facilitating ethical awareness. It introduces the Potter Box, with its four dimensions of moral analysis, to provide a framework for exploring the steps in moral reasoning and analyzing the cases.
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Focusing on a wide spectrum of ethical issues faced by media practitioners, the cases in this Eleventh Edition include the most recent issues in journalism, broadcasting, advertising, public relations, and entertainment. Cases touch on issues and places worldwide, from Al Jazeera to the Xinhua News Agency, from Nigerian “brown envelopes” to PR professional standards in South Africa. Racially divisive language comes up in different communication contexts, as does celebrity influence on culture." (Publisher description)
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"Transnational Korean Television: Cultural Storytelling and Digital Audience provides previously absent analyses of Korean TV dramas' transnational influences, peculiar production features, distribution, and consumption to enrich the contextual understanding of Korean TV's transcultural mobility. Ev
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en as academic discussions about the Korean Wave have heated up, Korean television studies from transnational viewpoints often lack in-depth analysis and overlook the recently extended flow of Korean television beyond Asia. This book illustrates the ecology of Korean television along with the Korean Wave for the past two decades in order to showcase Korean TV dramas' international mobility and its constant expansion with the different Western television and their audiences. Korean TV dramas' mobility in crossing borders has been seen in both transnational and transcultural flows, and the book opens up the potential to observe the constant flow of Korean television content in new places, peoples, manners, and platforms around the world." (Publisher description)
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"In the years since his death in 1993, Colombian drug lord Pablo Escobar has become a globally recognized symbol of crime, wealth, power, and masculinity. In this long-overdue exploration of Escobars impact on popular culture, Aldona Bialowas Pobutsky shows how his legacy inspired the development of
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narcocultura— television, music, literature, and fashion representing the drug-trafficking lifestyle in Colombia and around the world. Pobutsky looks at the ways the “Escobar brand” surfaces in bars, restaurants, and clothing lines; in Colombia’s tourist industry; and in telenovelas, documentaries, and narco memoirs about his life, which in turn have generated popular interest in other drug traffickers such as Griselda Blanco and Miami’s “cocaine cowboys.” Pobutsky illustrates how the Colombian state strives to erase his memory while Escobar’s notoriety only continues to increase in popular culture through the transnational media. She argues that the image of Escobar is inextricably linked to Colombia’s internal tensions in the areas of cocaine politics, gender relations, class divisions, and political corruption and that his “brand” perpetuates the country’s reputation as a center of organized crime, to the dismay of the Colombian people." (Back cover)
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