Queer attention matters: a study on affordance from queer male media practices on Zhihu

2021 ◽  
pp. 1-20
Author(s):  
Longxuan Zhao ◽  
Chuanhong Chu
Keyword(s):  
Media Practices

Radicals

2018 ◽  
Author(s):  
Harold D. Morales
Keyword(s):  
Hip Hop ◽  
Critical Appraisal ◽  
News Coverage ◽  
Peaceful Coexistence ◽  
Clash Of Civilizations ◽  
Media Practices

Chapter 5 is a critical appraisal of media practices that assume conflict rather than peaceful coexistence. It engages the “clash of civilizations” thesis articulated by both Samuel Huntington and the Mujahedeen Team, a Latino Muslim hip-hop group. The assumed media war contributes to both the reduction of Latino Muslims into simplistic binaries, between so-called good and bad Muslims, and also links a so-called Latino nature to radical religiosity. News coverage of Antonio Martinez’s arrest on charges of terrorism placed this problematic practice on full display. Responses by Latino Muslim leaders and organizations, however, often assumed a media war themselves. The chapter recommends that a better approach to “clashes of civilizations” or “cosmic wars” is to deny their very existence or overshadow their discursive relevance with much more complex, diverse, and fluid visions of American diversity.

The Role of Platforms in Fulfilling the Potential of Crowdfunding as an Alternative Decentralized Arena for Cultural Financing

2019 ◽  
Vol 13 (1) ◽  
pp. 115-140 ◽  
Author(s):  
Roei Davidson
Keyword(s):  
Social Media ◽  
Heterogeneous System ◽  
Media Practices ◽  
Corporate Blog

Abstract This study considers cultural crowdfunding as a heterogeneous system that allows money and attention to flow from backers to founders of cultural projects in diverse cultural sectors and focuses on the nature of the standards governing it. It analyzes Kickstarter’s corporate blog since the platform’s launch and finds indications that social media practices are increasingly naturalized as integral to crowdfunding and that social media architectures are increasingly adopted by the crowdfunding platform. This, I argue, has a potential exclusionary effect. At the same time, the analysis finds evidence that Kickstarter is striving to develop an independent capacity to set aesthetic standards, which might moderate that effect and help constitute crowdfunding as an alternative decentralized arena for the funding of culture.

scholarly journals Mobile bystanders and rubbernecks, disaster tourists, and helpers. Towards a theoretical framework for critically studying action possibilities at accident sites

2021 ◽  
pp. 205015792098482
Author(s):  
Linus Andersson ◽  
Ebba Sundin
Keyword(s):  
Digital Media ◽  
News Media ◽  
Well Being ◽  
Theoretical Framework ◽  
Communication Studies ◽  
Mobile Media ◽  
Ethical Implications ◽  
Theoretical Perspectives ◽  
Media And Communication ◽  
Media Practices

This article addresses the phenomenon of mobile bystanders who use their smartphones to film or take photographs at accident scenes, instead of offering their help to people in need or to assist medical units. This phenomenon has been extensively discussed in Swedish news media in recent years since it has been described as a growing problem for first responders, such as paramedics, police, and firefighters. This article aims to identify theoretical perspectives that are relevant for analyzing mobile media practices and discuss the ethical implications of these perspectives. Our purpose is twofold: we want to develop a theoretical framework for critically approaching mobile media practices, and we want to contribute to discussions concerning well-being in a time marked by mediatization and digitalization. In this pursuit, we combine theory from social psychology about how people behave at traumatic scenes with discussions about witnessing in and through media, as developed in media and communication studies. Both perspectives offer various implications for normative inquiry, and in our discussion, we argue that mobile bystanders must be considered simultaneously as transgressors of social norms and as emphatic witnesses behaving in accordance with the digital media age. The article ends with a discussion regarding the implications for further research.

scholarly journals Introduction to the Special Issue “Media Practices Commoning”

2020 ◽  
Vol 4 (1) ◽  
pp. 107-111
Author(s):  
Anne Ganzert ◽  
Beate Ochsner ◽  
Robert Stock
Keyword(s):  
Special Issue ◽  
Media Practices

scholarly journals On Frogs, Monkeys, and Execution Memes: Exploring the Humor-Hate Nexus at the Intersection of Neo-Nazi and Alt-Right Movements in Sweden

2021 ◽  
Vol 22 (2) ◽  
pp. 147-165
Author(s):  
Tina Askanius
Keyword(s):  
Content Analysis ◽  
Online Communities ◽  
Online Communication ◽  
Online Media ◽  
Extreme Right ◽  
Visual Content ◽  
Visual Aesthetics ◽  
Resistance Movement ◽  
Media Practices

This article is based on a case study of the online media practices of the militant neo-Nazi organization the Nordic Resistance Movement, currently the biggest and most active extreme-right actor in Scandinavia. I trace a recent turn to humor, irony, and ambiguity in their online communication and the increasing adaptation of stylistic strategies and visual aesthetics of the Alt-Right inspired by online communities such as 4chan, 8chan, Reddit, and Imgur. Drawing on a visual content analysis of memes ( N = 634) created and circulated by the organization, the analysis explores the place of humor, irony, and ambiguity across these cultural expressions of neo-Nazism and how ideas, symbols, and layers of meaning travel back and forth between neo-Nazi and Alt-right groups within Sweden today.

Deepfaking Keanu: YouTube deepfakes, platform visual effects, and the complexity of reception

2021 ◽  
pp. 135485652110304
Author(s):  
Lisa Bode
Keyword(s):  
Film Studies ◽  
Media Theory ◽  
Digital Rhetoric ◽  
Visual Effects ◽  
After Effects ◽  
Starting Point ◽  
Media Creation ◽  
Media Practices

On July 14, 2019, a 3-minute 36-second video titled “Keanu Reeves Stops A ROBBERY!” was released on YouTube visual effects (VFX) channel, Corridor. The video’s click-bait title ensured it was quickly shared by users across platforms such as Facebook, Twitter, and Reddit. Comments on the video suggest that the vast majority of viewers categorised it as fiction. What seemed less universally recognised, though, was that the performer in the clip was not Keanu Reeves himself. It was voice actor and stuntman Reuben Langdon, and his face was digitally replaced with that of Reeves, through the use of an AI generated deepfake, an open access application, Faceswap, and compositing in Adobe After Effects. This article uses Corridor’s deepfake Keanu video (hereafter shorted to CDFK) as a case study which allows the fleshing out of an, as yet, under-researched area of deepfakes: the role of framing contexts in shaping how viewers evaluate, categorise, make sense of and discuss these images. This research draws on visual effects scholarship, celebrity studies, cognitive film studies, social media theory, digital rhetoric, and discourse analysis. It is intended to serve as a starting point of a larger study that will eventually map types of online manipulated media creation on a continuum from the professional to the vernacular, across different platforms, and attending to their aesthetic, ethical, cultural and reception dimensions. The focus on context (platform, creator channel, and comments) also reveals the emergence of an industrial and aesthetic category of visual effects, which I call here “platform VFX,” a key term that provides us with more nuanced frames for illuminating and analysing a range of manipulated media practices as VFX software becomes ever more accessible and lends itself to more vernacular uses, such as we see with various face swap apps

Sign in / Sign up

Export Citation Format

Share Document