Value and the media: cultural production and consumption in digital markets

2013 ◽  
Vol 22 (2) ◽  
pp. 139-140
Author(s):  
Casey Brienza
Keyword(s):  
Cultural Production ◽  
Production And Consumption ◽  
The Media

scholarly journals Continental shifts: capitalism, communications and change in Europe

2005 ◽  
Vol 7 ◽  
pp. 11-23
Author(s):  
Graham Murdock
Keyword(s):  
Political Economy ◽  
Cultural Production ◽  
Critical Approach ◽  
Production And Consumption ◽  
Challenges And Opportunities ◽  
Recent Developments ◽  
Classic Approach ◽  
Media Markets ◽  
The Media ◽  
Distribution Of Power

This article puts forward the fundamental lines of thought on the Political Economy of Communications and the Media, since the development of capitalism up to the present day. Clarifying the distinction between Economy and Political Economy, this work examines the central split between two traditions within Political Economy: the Classic approach which is centred on markets and competition mechanisms and the Critical approach which is centred on the analysis of property and the distribution of power in society. Despite internal distinct traditions, for political economists’ questions about cultural production and consumption are never simply matters of economic organisation or creative expression and the relations between them. They are always also questions about the organisation of power and its consequences for the constitution of public life. Based on different Political Economy perspectives, this article attempts to present the most recent developments on communications and media markets in Europe and the major challenges and opportunities the discipline faces in a time marked by the emergence of a digital public sphere.

scholarly journals Media, Ranah dan Dinamika Permainan

2017 ◽  
Vol 1 (1) ◽  
pp. 21
Author(s):  
Amirudin Amirudin
Keyword(s):  
Media Studies ◽  
21St Century ◽  
Cultural Production ◽  
Specific Response ◽  
Cultural Communication ◽  
Production And Consumption ◽  
The Media ◽  
Production Practices ◽  
New Perspective ◽  
Communication Agent

In the 21st century, the media is increasing rapidly and requires a specific response from anthropology studies. Not only does the media bring with implications for changes in the process of production and consumption of culture, but also changes to its viewpoint and approach. It's not enough if the media was studied only with a classical perspective that only positioned the media as a cultural communication agent, or otherwise the media is approached with the effects study. However, the media also needs to be recognized with a more progressive perspective that positions the media as an agency in cultural production practices. Based on the idea, this paper provides provocation through Amirudin's research (2016) which tried to present a new perspective in media studies

scholarly journals The Nested Precarities of Creative Labor on Social Media

2021 ◽  
Vol 7 (2) ◽  
pp. 205630512110213
Author(s):  
Brooke Erin Duffy ◽  
Annika Pinch ◽  
Shruti Sannon ◽  
Megan Sawey
Keyword(s):  
Social Media ◽  
Cultural Production ◽  
Ecological Model ◽  
Creative Economy ◽  
Cultural Industries ◽  
Professional Success ◽  
Social Media Platforms ◽  
The Media ◽  
Depth Interviews

While metrics have long played an important, albeit fraught, role in the media and cultural industries, quantified indices of online visibility—likes, favorites, subscribers, and shares—have been indelibly cast as routes to professional success and status in the digital creative economy. Against this backdrop, this study sought to examine how creative laborers’ pursuit of social media visibility impacts their processes and products. Drawing upon in-depth interviews with 30 aspiring and professional content creators on a range of social media platforms—Instagram, YouTube, TikTok, Pinterest, and Twitter—we contend that their experiences are not only shaped by the promise of visibility, but also by its precarity. As such, we present a framework for assessing the volatile nature of visibility in platformized creative labor, which includes unpredictability across three levels: (1) markets, (2) industries, and (3) platform features and algorithms. After mapping out this ecological model of the nested precarities of visibility, we conclude by addressing both continuities with—and departures from—the earlier modes of instability that characterized cultural production, with a focus on the guiding logic of platform capitalism.

Comparative research on cultural production and consumption

Poetics ◽  
2005 ◽  
Vol 33 (5-6) ◽  
pp. 253-256 ◽  
Author(s):  
Susanne Janssen ◽  
Richard A. Peterson
Keyword(s):  
Cultural Production ◽  
Comparative Research ◽  
Production And Consumption

scholarly journals ‘What Difference does it Make? Women's Pop Cultural Production and Consumption in Manchester’

2000 ◽  
Vol 5 (1) ◽  
pp. 116-129 ◽  
Author(s):  
Nicola Richards ◽  
Katie Milestone
Keyword(s):  
Popular Music ◽  
Urban Space ◽  
Cultural Production ◽  
Consumption Patterns ◽  
Cultural Industries ◽  
Production And Consumption ◽  
Gender Characteristics ◽  
Gender Power ◽  
The City ◽  
Experiences Of Women

This paper explores the experiences of women in small cultural businesses and is based upon interviews with women working in a range of contexts in Manchester's popular music sector. The research seeks to promote wider consideration of women's roles in cultural production and consumption. We argue that it is necessary that experiences of production and consumption be understood as inter-related processes. Each part of this process is imbued with particular gender characteristics that can serve to reinforce existing patterns and hierarchies. We explore the ways in which female leisure and consumption patterns have been marginalised and how this in turn shapes cultural production. This process influences career choices but it is also reinforced through the integration of consumption into the cultural workplace. Practices often associated with the sector, such as the blurring of work and leisure and ‘networking’, appear to be understood and operated in significantly different ways by women. As cultural industries such as popular music are predicated upon the colonisation of urban space we explore the use of the city and the particular character of Manchester's music scene. We conclude that, despite the existence of highly contingent and individualised identities, significant gender power relations remain evident. These are particularly clear in discussion of the performative and sexualised aspects of the job.

Fake Online News

2019 ◽  
pp. 152-166
Author(s):  
Janet Aver Adikpo
Keyword(s):  
Online News ◽  
Primary Reason ◽  
Fake News ◽  
Media Environment ◽  
Influence Model ◽  
Production And Consumption ◽  
Information Spread ◽  
The Media ◽  
Hierarchy Of Influence ◽  
Model Trajectory

Today, the media environment has traversed several phases of technological advancements and as a result, there is a shift in the production and consumption of news. This chapter conceived fake news within the milieu of influencing information spread in the society, especially on the cyberspace. Using the hierarchy of influence model trajectory with fake news, it was established that it has become almost impossible to sustain trust and credibility through individual influences on online news content. The primary reason is that journalists are constrained by professional ethics, organizational routines, and ownership influence. Rather than verify facts and offer supporting claims, online users without professional orientation engage in a reproducing information indiscreetly. The chapter recommends that ethics be reconsidered as a means to recreate and imbibe journalistic values that will contend with the fake news pandemic.

La Terra dei Fuochi

2018 ◽  
Vol 2 (1) ◽  
pp. 15-28
Author(s):  
Salvatore Giusto
Keyword(s):  
Radioactive Waste ◽  
Cultural Production ◽  
Political Change ◽  
Southern Italy ◽  
Academic Literature ◽  
The Media ◽  
Cultural Sphere

In the summer of 2013, two major televisual outlets released a groundbreaking campaign of information about a massive mafia-lead traffic of toxic and radioactive waste involving the peripheries of Napoli and Caserta, southern Italy, which was historically covered up by the national secret services. The widespread mass-mediation of such a dramatic news significantly impacted the local cultural sphere. At the same time, it elicited eclectic (re)actions among the dwellers of these two areas, which the media dubbed as the “Land of Fires.” This article ethnographically analyzes the “Land of Fires” case study as a discursive milieu that mirrors the relationships between power, cultural production, and political change in neoliberal Italy. In so doing, it aims to redefine the contemporary Italian mediascape, which most academic literature describes as a “cynical” machine of political consent merely engendering “televised” subjectivities amid its publics, as an highly controversial (but still sophisticated and vibrant) space of socio-cultural production.

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