"All over the world, satirists courageously stand up for democratic values, often under extremely difficult conditions. Through their art, they create spaces for freedom and challenge authorities. On the other hand, extremists use humour for their political purposes too: They ridicule those who diss
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ent and make fun of democratic values. It is not helpful that political debates are increasingly taking place in digital spaces that lack transparency and fair rules." (Publisher description)
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"Centered around Mexico as a case study, the book explores the production of political entertainment in post-authoritarian legacy media and how political and economic conditions constrain the range and edge of discourse; how political entertainment in social media is shaped by the structure of platf
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orms, as creators are encouraged to conform to specific norms such as constant publication; and the impacts of these media on attitude formation among the population. The book proposes a theoretical framework for identifying the specific conditions of post-authoritarian democracies that constrain the production of political entertainment, as well as its outcomes in terms of content and effects. This framework can be applied to the analysis of similar case studies, particularly in the Global South at large." (Publisher description)
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"The far right is increasingly relying on visual and less extreme online communication, for instance by using memes, to strategically mainstream their ideology. The use of humor in particular renders their communication more relatable to a mainstream audience. However, little is known about the actu
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al impacts of the different content characteristics they employ to become more appealing, in particular on less moderated platforms that function as safe online spaces for extremist ideology and contents. To fill this gap, we conducted a manual quantitative content analysis of 1,200 memes distributed within German-language far-right Telegram channels in 2020 and 2021, concentrating on humor and several content-related factors to analyze their impact on meme reach. The results demonstrate that memes with extreme far-right narratives and memes with humor received fewer views than others, but that memes with both far-right narratives and humor had a significantly increased reach. The findings highlight the mainstreaming potential of humor, particularly when used to mask extreme content that would otherwise be less appealing." (Abstract)
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"The article is interested in the role of humour employed in memes on X by the government of Ukraine in the war following the invasion by Russia in 2022. It brings insights from cultural and humour studies as well as psychology into politics and shows how and what kind of humour the government aroun
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d President Volodymyr Zelenskyy, a professional comedian, uses in their meme communication via social media in order to communicate with the public, seek global legitimacy and support, as well as depict and attack the enemy. It shows that the government uses a broad set of different humour types, styles and theories while completely avoiding self-deprecation as a humour style and humour which corresponds to relief theory. While this absence may not seem surprising at first in a situation of war in which there is a need to maintain tension towards the enemy, to galvanize support and avoid emphasizing own faults which might make it appear weak, the void of such forms of humour should be reconsidered. While this absence may not seem surprising during a war – a time in which there is a need to maintain tension towards the enemy, to galvanize support and to avoid emphasizing one’s own faults so as not to give the appearance of weakness – the void of such forms of humour should be reconsidered. The article calls for further research on the benefits and limitations of laughter in war. It argues that both relief theory and self-deprecation can be effective tools of crisis communication as these forms of humour can contribute to the portrayal of confidence and strength, while also providing a means of dealing with the difficult and traumatic experiences the population is facing in times of war." (Abstract)
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"Since the outburst and spread of what was known as the ‘Arab Uprisings’ in 2010, the political and media landscapes in the Middle East region have dramatically changed. The initial hope for democratic change and governance quality improvements has faded, as several regimes in the Middle East ha
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ve strengthened their repressive tactics toward voices deemed critical of governments’ practices, including journalists, bloggers, and activists. The crumbling Arab media scene has also reached an abysmal low, with little to no independence, and public perception of basic freedoms in the region has significantly dropped, as has trust in media and government institutions. This book examines current challenges to media freedom, political participation, and democratisation in the region while reassessing the dynamic relationship between media use and political engagement, amidst a complex political environment accompanied by a rapidly changing digital media landscape." (Publisher description)
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"Das Fernsehen ist ein politisches Medium. Es ist in seiner institutionellen Gestalt geprägt durch Entscheidungen im politischen System und durch verfassungsgerichtliche Rechtsprechung. Politische Akteure versuchen immer wieder, Einfluss zu nehmen und das Medium für eigene Zwecke zu nutzen. Gleich
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zeitig ist das Fernsehen auch auf der inhaltlichen Ebene durch und durch politisch - und das nicht nur in der dezidierten Politikberichterstattung. So prägen Nachrichten, Sondersendungen, Talk-Shows, aber auch satirische oder fiktionale TV-Formate den Blick der Rezipientinnen und Rezipienten auf Politik und Gesellschaft. Der Medienwissenschaftler Andreas Dörner zeigt, wie das Fernsehen politisch konstruiert ist und wie es zugleich selbst die politische Welt konstruiert, Identitätsangebote macht und Interpretationsfolien für das Weltgeschehen anbietet. Er analysiert auch den Wandel des Mediums im Zuge der allgegenwärtigen Digitalisierung. Das sogenannte lineare Fernsehen ist auf dem Rückzug, Mediennutzung individualisiert sich weiter und TV-Sender, Streamingdienste und Videoplattformen verschmelzen zu einem vielfältigen Bewegtbildmarkt. Aber auch mit geänderten Formen und Vertriebswegen nimmt das Medium weiterhin eine zentrale Stellung in der politischen Öffentlichkeit Deutschlands ein." (Verlagsbeschreibung)
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"Hidden information, double meanings, double-crossing, and the constant processes of encoding and decoding messages have always been important techniques in negotiating social and political power dynamics. Yet these tools, "cryptopolitics," are transformed when used within digital media. Focusing on
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African societies, Cryptopolitics brings together empirically grounded studies of digital media to consider public culture, sociality, and power in all its forms, illustrating the analytical potential of cryptopolitics to elucidate intimate relationships, political protest, and economic strategies in the digital age." (Publisher description)
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"Memes dienen nicht nur der popkulturellen Unterhaltung oder der Kunst, sie werden auch in der Politik, in lokalen und internationalen Wahlkämpfen oder auf Demonstrationen verwendet. In ihrer typischsten Form sind sie Text-Bild-Gefüge, die sich digital mit viraler Geschwindigkeit verbreiten und tr
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ansformieren. Joanna Nowotny und Julian Reidy nehmen sich dieses Internetphänomens aus kulturwissenschaftlicher Perspektive an. Sie betreten Neuland, indem sie einzelne Memes kasuistisch analysieren und ihre Erkenntnisse systematisieren, um diese digitale Kommunikationsform definitorisch neu zu bestimmen – in stetem Bezug zu anderen digitalen Phänomenen wie dem trolling." (Verlagsbeschreibung)
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"The article seeks to discuss varied forms of citizen engagement in the era of Internet viral cultures, ranging from (1) the use of social media for online protest, characterised by political contestation and fleeting outbursts of anger and backlash in the Twittersphere, to (2) the appropriation of
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protest messages into humorous viral memes (often oversimplified, ignoring the complexities of the situation and more focused on humour rather than underlying core problems). Four select hashtags during the 2017 Kenyan elections are analysed as frames for collective action within the context of playful participation and “spreadable” media." (Abstract)
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"Satirical comedy is uniquely effective in its ability to bolster media development objectives. Through its ability to attract audiences and provide news commentary in an entertaining way, it can be used as an important tool to promote freedom of expression, foster accountability and transparency, c
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ounter disinformation, strengthen media literacy, and support more sustainable business models for media outlets. Donor funded satire news and current affairs programs in Bosnia and Herzegovina, Iraq, Kenya, North Macedonia, Nigeria, Serbia, Venezuela, and Zimbabwe demonstrate the format’s ability to advance these objectives, and make the case for greater integration of satire in international media assistance programs." (Key findings)
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"This paper aims at examining how Egyptian popular culture shapes perception of the Israeli – Palestinian conflict through the widespread medium of political cartoons. The paper examines cartoons published in Egyptian newspapers after the American president, Donald Trump, announced in 2017 that th
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e USA move its embassy in Israel to Jerusalem." (Page 2)
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"Despite the repressive power of the current regime the immense creativity of popular cultural practices, that negotiate and resist a repressive system, is a potent and dynamic force. This book draws on the expertise and experience of Iranian and international academics and activists to address dive
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rse areas of social and cultural innovation that are driving change and progress. While religious conservatism remains the creed of the establishment, this volume uncovers an underground world of new technology, media and entertainment that speaks to women seeking a greater public role and a restless younger generation that organises and engages with global trends online." (Publisher description)
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"The essays explore the role and function of image making to highlight the ways in which the images "speak" and what visual languages mean for the construction of Islamic subjectivities, the distribution of power, and the formation of identity and belonging. Visual Culture in the Modern Middle East
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addresses aspects of the visual in the Islamic world, including the presentation of Islam on television; on the internet and other digital media; in banners, posters, murals, and graffiti; and in the satirical press, cartoons, and children's books." (Publisher description)
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"This article analyzes the Palestinian sketch comedy show Watan Ala Watar, placing the groundbreaking program in the context of theories of satire, government control, and popular resistance. Detailing the show’s tumultuous relationship with the Palestinian Authority, the article argues that despi
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te publicly supporting Watan Ala Watar so as to create the impression of a liberal media regime, the government ultimately could not accept the existence of uncensored political comedy. However, the article shows that through the use of new media, the program has continued to have an impact despite the government’s refusal to put it on air." (Abstract)
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"Entwicklung und Plan einer türkischen Zeitschrift, die seit Februar 1962 „kritische“ Situationen in humorvoller und satirischer Form aufgreift." (Jean-Marie Van Bol, Abdelfattah Fakhfakh: The use of mass media in the developing countries. Brussels: CIDESA, 1971 Nr. 1444, topic code 110.2)