Market matters: interdependencies in the Indian media economy

2019 ◽  
Vol 42 (3) ◽  
pp. 431-448 ◽  
Author(s):  
Vibodh Parthasarathi ◽  
Adrian Athique

In the complex operations of the Indian media economy, the phrase ‘media markets’ requires careful consideration as an analytical concept. As a noun, ‘media markets’ is typically used to refer to a spread of media businesses and/or consumer sectors. Closer examination reveals that there tend to be multiple markets operating simultaneously within any media business (for products, capital, labour, audience, etc.). This implies an ‘economy of markets’, transacting both across media formats and with markets situated outside of the media production process. Both ‘media exchanges’ and ‘mediated exchanges’ shape the dynamics of the inter-locking markets that constitute the Indian media economy. Thus, at the categorical level, we ask several questions: What are the boundaries of media markets? Who are the key actors? How are these transactional relationships valued? With these questions in mind, this article seeks to identify points of distinction in form and geography along with critical relationships between overlapping markets and underlying interests. We propose a topology of Indian media markets, organised via three levels, with treatment of each taking into consideration the synergistic character of media markets and how interdependency shapes functional norms, rules of exchange, and the embedding of media transactions.

2001 ◽  
Vol 11 (2) ◽  
pp. 287-303
Author(s):  
Sai-hua Kuo

By means of the analytic method of critical linguistics, this study illustrates and discusses how Chinese nationalism manifests itself in the language of a newspaper text, what linguistic devices are employed for this purpose, and how the media production process in China shapes news texts. The study also analyzes how ideological positions can be reflected through lexical and grammatical choices.


Author(s):  
Kirsten Frandsen ◽  
Hanne Bruun

In recent years, media production studies have grown into a thriving field of research, which has given rise to a discussion of the theoretical and methodological approaches it employs (Paterson et al., 2016; Frandsen, 2007; Bruun, 2010, 2016b). This article is a contribution to this development. The focal point is a discussion of how time and timing are important in media production research. The article points out that time is not just a matter of the amount of time that researchers have for their data collection. In production studies, the researcher constructs the object for analysis, and time is to be considered depending on the type of analytical object you are trying to create, on the temporality that is present in the production process behind specific genres and subject areas, and on the changes the media are undergoing. A particular aspect of time is timing, which has both a performative and a strategic dimension. The importance of time and timing will be illustrated with examples from our own and other researchers’ projects.


Comunicar ◽  
2005 ◽  
Vol 12 (24) ◽  
pp. 69-75
Author(s):  
Ana-Rayén Condeza-Dall’Orso

Since 2002 the Media Studies Institute at Pontificia Universidad Católica de Chile is working with extremely poor children and adolescents in a public boarding school set in a rural area, with the purpose of teaching them how to be reporters. The method was designed to make students work in the process of media production, including experiences of their own reality and youth interests. Learning to be reporters teach children to use media as a pretext to develop better skills in thinking, teaching them to take decisions in the production process of creating messages. Desde el año 2002 el Instituto de Estudios Mediales de la Pontificia Universidad Católica de Chile trabaja en la formación de niños y adolescentes reporteros con estudiantes de un internado rural en situación de extrema pobreza del sur del país. La metodología allí utilizada se diseñó con el objetivo que ellos experimenten con los medios de comunicación desde su propia realidad e intereses para que desarrollen habilidades superiores de pensamiento, por medio del ejercicio periodístico, del «reporteo » y de la toma de decisiones para la producción de los mensajes.


2009 ◽  
Vol 46 (1) ◽  
pp. 37-61
Author(s):  
Joo-Yeun Park ◽  
Bum Soo Chon
Keyword(s):  

2021 ◽  
pp. 030573562199909
Author(s):  
Ann-Kristin Herget ◽  
Jessica Albrecht

Although it is frequently used and is highly valued in practice, background music in non-fictional media formats has shown a broad spectrum of ambiguous results in previous empirical research. Scholars have often even advised against the use of music in formats such as television news, news magazines, and documentaries. Discrepancies in the effectiveness of background music have also been found in film and advertising research. In these research areas, the congruence between music and medium has been shown to be especially relevant for predicting music’s effects. In this study, two experiments were conducted to investigate the influence of congruent and incongruent music in non-fictional media formats. The first experiment ( N = 92) focused on music’s expressed and induced emotions, recipients’ memory performance, and the perceived credibility and general evaluation of the media format. Experiment 2 ( N = 147) concentrated on attitude changes. As expected, carefully selected congruent background music (i.e., music expressing emotions and triggering associations fitting the media format’s topic) positively influenced recipients’ emotionalization, memory performance, and attitude change, as well as the perceived credibility and general evaluation of the media format. All of the measured effects can be considered medium or large ([Formula: see text]).


2018 ◽  
Vol 20 (7) ◽  
pp. 720-738
Author(s):  
Balázs Boross ◽  
Stijn Reijnders

Interventional television formats centering around the ritual transformation of “ordinary people” are not only followed by sizable audiences worldwide but also attract large numbers of aspiring candidates. Although the benefits and consequences of participating in such shows have long been debated within academia and beyond, research into actual experiences of participating in such television productions remains scarce. Based on in-depth interviews with participants of the disability dating show The Undateables, this article focuses on how contributors deal with their position in the production and how their experiences reflect the emancipatory claims of the program. By presenting the production process through the story and from the perspective of three participants, different modes of participation will be discussed, revealing how instances of submission, appropriation, and contestation of the production logic are linked to ideals of representation, notions about empowerment and voice, and to strategies of negotiating normalcy and difference.


2021 ◽  
Vol 2 (4) ◽  
pp. 529-544
Author(s):  
Daniel Zomeño ◽  
Rocío Blay-Arráez

Media convergence and the incorporation of new narratives typical of the consumption habits of younger audiences in the social media environment have led to the proliferation of a wide variety of formats and types of content in the media ecosystem through which the editorial content offered to brands is being distributed. This qualitative research, using in-depth interviews with a qualified sample of branded content managers from the main Spanish media, allows us to determine the main characteristics of the native advertising demanded by advertisers. The results corroborate observations that content channelled through more sophisticated consumption experiences, using both multimedia and interactivity with a clear transmedia approach, tends to be better received by the audience and, therefore, in greater demand by brands. It also confirms that both video and social media formats have grown exponentially when it comes to providing an outlet for branded content. Based on the results obtained, a proposed classification of these products, including definitions, has been drawn up so they can be publicised to the professional world, offering the reflection and precision that their rapid development has not allowed until now.


2020 ◽  
Vol 8 (3) ◽  
pp. 60-63
Author(s):  
Jonas Harvard ◽  
Mats Hyvönen ◽  
Ingela Wadbring

In the last decade, the development of small, remotely operated multicopters with cameras, so-called drones, has made aerial photography easily available. Consumers and institutions now use drones in a variety of ways, both for personal entertainment and professionally. The application of drones in media production and journalism is of particular interest, as it provides insight into the complex interplay between technology, the economic and legal constraints of the media market, professional cultures and audience preferences. The thematic issue <em>Journalism from Above: Drones, the Media, and the Transformation of Journalistic Practice</em> presents new research concerning the role of drones in journalism and media production. The issue brings together scholars representing a variety of approaches and perspectives. A broad selection of empirical cases from Finland, Spain, Sweden, the UK and the US form the basis of an exploration of the changing relations between the media, technology and society. The articles address topics such as: Adaption of drone technology in the newsrooms; audience preferences and reactions in a changing media landscape; the relation between journalists and public authorities who use drones; and attitudes from journalistic practitioners as well as historical and future perspectives.


Sign in / Sign up

Export Citation Format

Share Document