Media meta-commentary and the performance of expertise

2017 ◽  
Vol 21 (3) ◽  
pp. 340-356 ◽  
Author(s):  
Ronald N. Jacobs ◽  
Eleanor Townsley
Keyword(s):  
First Century ◽  
Media Industry ◽  
Expert Performance ◽  
Regulatory Changes ◽  
Peculiar Form ◽  
The Social ◽  
The Media ◽  
The Aesthetic ◽  
Primary Basis ◽  
Media Practices

This article examines the rise of meta-commentary in US media, and considers the consequences it has for the social construction and the performance of intellectual expertise. Media meta-commentary is defined as critical reflection about media practices and performances, in which the primary basis for criticism is the comparison of different media formats. Meta-commentary began to emerge with the differentiation of the aesthetic sphere and the development of a new kind of expert, the cultural critic. Cultural criticism led to a proliferation of expert performance styles, including a type of counter-performance that rejects the somber and serious nature of traditional intellectual practices. By the 1980s, these new styles of intellectual performance were being reinforced by important institutional and regulatory changes within the media industry, and ultimately by the proliferation of new digital technologies and DIY culture. By the twenty-first century, media meta-commentary had become a distinctive and peculiar form of expert discourse, which legitimates the act of criticism while also relativizing it. The current environment suggests two possible outcomes: a hopeful one that encourages greater reflexivity, and a more ominous one that points toward populism.

scholarly journals Countervailing aesthetics? Depictions of British Muslims and the multicultural working class in post-7/7 art

2018 ◽  
Vol 53 (2) ◽  
pp. 240-254
Author(s):  
Madeline Clements
Keyword(s):  
Working Class ◽  
Cultural Context ◽  
First Century ◽  
Community Members ◽  
The Social ◽  
Islamic Terrorism ◽  
Breeding Grounds ◽  
The Media ◽  
The Aesthetic ◽  
British Culture

This article considers the significance of artist Philip Gurrey’s 2008 series of portraits of members of multicultural working-class communities in Beeston, Leeds, in the social, political, and cultural context of the aftermath of the 7/7 bombings. Reflecting on the impetus for making these works, Gurrey has observed that “the predominant rhetoric [in 2007] was almost as if this place was generating extremism” (2014a: n.p.). In his opinion, “the artist’s prerogative is to look at the aesthetic generated; the feel and mood of the place as portrayed by the media was completely wrong” (2014b). This essay focuses on The Beeston Series (2008–2009) of paintings, which Gurrey composed by merging and splicing together the features and skin-tones of the suburb’s community members, and subsequently exhibited to local audiences at the BasementArtsProject in south Leeds, a space removed from the metropolitan centres that appeared either to dismiss or to demonize them. Drawing on Jill Bennett’s explorations of art as the “critical, self-conscious manipulation of media” (2012: 6), this article goes on to explore how such mundane and unsensational, though striking, portraits presented an aesthetic that ran counter to contemporaneous representations of such communities as the breeding grounds of Islamic terrorism. It argues that through such critical, aesthetic approaches, artists in twenty-first-century Britain contest still-dominant discourses around the failure of multiculturalist policies and supposed alienness to indigenous British culture of Muslim identities, and fears about the harbouring of an “enemy within”. In doing so, it draws comparisons between Gurrey’s regionally-specific paintings and other more metropolitan attempts to depict the aesthetic realities of 7/7, the perpetrators of such attacks, and the multicultural, working-class identities scrutinized in their wake. Works discussed in relation to The Beeston Series include Mark Sinckler’s controversial drawing Age of Shiva (2008), and Faiza Butt’s Is This the Man (2010) portrait series.

scholarly journals Counter-hegemony of the East Java Biennale art community against the domination of hoax content reproduction

2020 ◽  
Vol 33 (1) ◽  
pp. 26
Author(s):  
Jokhanan Kristiyono ◽  
Rachmah Ida ◽  
Musta'in Mashud
Keyword(s):  
Social Movements ◽  
Modern Society ◽  
Digital Art ◽  
Research Approach ◽  
Media Industry ◽  
Digital Counter ◽  
Digital Format ◽  
The Social ◽  
The Media ◽  
Art Community

This research analyses and describes in detail how the digital biennale activities that are a part of the Indonesian Digital art community has become a form of criticism and silent resistance to the social hegemony. It refers to the ideology, norms, rules, and myths that exist in modern society in Indonesia, especially the reproduction of hoax content. Hoax refers to the logic people who live in a world of cyber media with all of its social implications. This phenomenon is a problem, and it is at the heart of the exploration of the art community in East Java Biennale. The critical social theory perspective of Gramsci’s theory forms the basis of this research analysis. The qualitative research approach used a digital ethnomethodology research method focused on the online and offline social movements in the Biennale Art Community. The data collection techniques used were observation and non-active participation in the process of reproduction-related to the exhibition of Indonesian Biennale digital artworks. It was then analyzed using Gramsci’s hegemony theory. The purpose of this study was to describe the process of social movements in a digital format conducted by the Indonesian Biennale when reproducing works of art to counteract the dominance and hegemony of the Hoax phenomenon in Indonesia. The benefit of this research was that it obtained a preposition of Gramsci’s hegemony theory in the world of digital art as created by contemporary Indonesian Biennale artists. Digital technology has had a tremendous effect on the media industry, government, trade, informal industry sector, human resources, urban planning, services, disaster relief, health, education, religion, artistic and cultural expression, in addition to various other fields. The conclusion obtained from this research is that there is a formation of a new hegemony, a digital hegemony. This new hegemony is of particular concern for the digital artists in East Java Biennale. Through the digital format works, the artists also try to communicate their art as a form of silent resistance, protest, and criticism of the hegemony that occurs in society, referring to the ideology, norms, and myths. It can be called a digital counter-hegemony.s

scholarly journals The Drift in Journalism Education in India vis-à-vis New Media: Use of New Media by Administrators/ Educators in Journalism Schools

2020 ◽  
Vol 30 (1) ◽  
pp. 28-43
Author(s):  
Neha Jindal
Keyword(s):  
New Media ◽  
Journalism Education ◽  
Media Industry ◽  
Curriculum And Pedagogy ◽  
Willingness To Adopt ◽  
Education In India ◽  
Curriculum Instruction ◽  
Private And Public ◽  
The Media ◽  
Media Practices

With new media becoming the mainstay of the journalism industry, there is a change in curriculum and pedagogy in journalism education. Even with Web 2.0 becoming the main source of news dissemination, journalism educators will still be required to impart skills to the next generation on writing with clarity, organizing ideas cleanly and working efficiently as a team. The change will be in the methodology, and has to be accepted by the institution at the administrative level first. Since journalism education is required to develop a rational capacity in future graduates, and help them attain all skills essential to understand the media industry with regard to new media practices and changing trends, journalism administrators and educators have to be ably equipped with the skills, only then these can be delivered to the students. The study is about private and public (government) journalism schools in India and focuses on their willingness to adopt the requisite skill set and display adaptability towards using new media. It includes interviews conducted with administrators (who are also educators) in government and private journalism institutions in the country, concerning acceptance of new media and adoption in curriculum, instruction, evaluation and feedback, and arrives at results interpretatively.

Christian Prigent's Mimological Machine: Le Monde est marrant and La Vie moderne

2017 ◽  
Vol 17 (1) ◽  
pp. 125-141
Author(s):  
Peter Poiana
Keyword(s):  
First Century ◽  
Media Industry ◽  
Vocal Imitation ◽  
The Media ◽  
Twenty First Century

Christian Prigent views his writing as an effort to expose the 'parler faux' of ambient discourses and condemn the impoverishment of language and ideas by the media industry, in particular. Prigent's later texts work on the principle that the acceleration, intensification and gratification that characterize an image-driven society result in the disempowerment of its citizens. Prigent responds with a critical poetics that this study endeavours to describe with reference to two texts: Le Monde est marrant (2008) and La Vie moderne (2012). These texts devise techniques of vocal imitation (which, adopting Gérard Genette's neologism, we call mimological) as a means of addressing those techniques by which the media industry creates credulous and consumption-ready subjects. This critical poetics constitutes a system, it is argued, because it deploys a limited set of combinations as a way of figuring an aberration of an existing system. Prigent's mimetic system demonstrates how poetry offers a means of grasping the harsh realities of the twenty-first century.

scholarly journals Digital maturity as a critical element development of the media industry

2021 ◽  
Vol 14 (1) ◽  
pp. 42-50
Author(s):  
E. I. Kuznetsova ◽  
A. V. Rusavskaya
Keyword(s):  
Communication Technologies ◽  
Critical Element ◽  
Media Industry ◽  
Net Income ◽  
Media Environment ◽  
Revenue Growth ◽  
The Social ◽  
Media Space ◽  
Key Competencies ◽  
The Media

The article defines that the social functioning of communication technologies forms the media environment (media space) of a digital society. Organizations that are at high levels of digital maturity are significantly more likely than organizations with lower maturity to achieve high net income and annual revenue growth. Based on the analysis, ten key competencies that are critical for the management of the media industry are identified.

scholarly journals “Destabilized Perception”

2018 ◽  
Vol 14 (3) ◽  
pp. 304-326
Author(s):  
Rob Coley
Keyword(s):  
First Century ◽  
Audiovisual Media ◽  
Aesthetic Form ◽  
The Media ◽  
Contemporary Media ◽  
Twenty First Century ◽  
The Aesthetic

The formerly dissident status of the essay film has, in recent years, been exchanged for a great deal of favorable attention both inside and outside academia. In the more overly moralistic commentary on the form, the contemporary essay film is submitted as a tactical response to a surfeit of audiovisual media, to an era in which most of us have become both consumers and producers of a digital deluge. The work of Adam Curtis is notably absent from these ongoing debates. Yet Curtis is far from an underground figure—he has been making essayistic films for the BBC for more than twenty years and was the first to produce work directly for the iPlayer platform. Using archival images to examine the present, his films produce counterintuitive connections and abrupt collisions that supplant the authority of narrative causality for a precarious network of associations and linkages. This article treats Curtis’s recent body of work diagnostically. It argues that, quite apart from any promise of escape or deliverance, the aesthetic form of his work actively inhabits the rhythms and vectors of contemporary media. For Curtis, the media-technological conditions of the twenty-first century provoke a crisis that is both political and epistemological, one in which sensemaking can no longer claim to take place at a distance from the infrastructure that mediates such processes but is instead thoroughly and inescapably immanent to it, a situation that prevents contact with the outside. His films are about what he calls “destabilized perception,” but importantly they are also a function of this condition, one that in turn demands a shift in how we conceive the essay film in the twenty-first century.

scholarly journals Challenges and Access to Production and Distribution of News in the Era of Big Data

2020 ◽  
Vol 3 (3) ◽  
Author(s):  
Sirui Zhu
Keyword(s):  
Big Data ◽  
Media Industry ◽  
Propagation Effect ◽  
Social Functions ◽  
News Production ◽  
The Social ◽  
Challenges And Opportunities ◽  
Production And Distribution ◽  
The Media ◽  
Media Integration

With the strategy of media integration, transformation and upgrading of media has become an important issue. In the era of big data, due to the dual impact of data and technology, the media brings both challenges and opportunities. The paper traces the characteristics of the era of big data, focuses on analyzing the challenges and opportunities in the media industry, and analyzes the transformation and upgrading of the media from the dimensions of news production and distribution to better realize the social functions of media in the era of big data. Some strategic suggestions are put forward to improve the propagation effect.

Sport Omnibus Events as Media Shows

2018 ◽  
pp. 538-554 ◽  
Author(s):  
Diana-Luiza Dumitriu
Keyword(s):  
Social Field ◽  
Social Agenda ◽  
Media Events ◽  
Sport Competition ◽  
The Social ◽  
The Media ◽  
Commercial Value ◽  
Tv Shows ◽  
The Aesthetic ◽  
Sport Events

Inside the wider commodification process that the social field of sport has been subject to, sport events are not only about the competition itself, but they have become a global multilayered show. The ‘symbiotic relationship' (Valgeirsson & Snyder, 1986, p. 131) between sport and media made them one of the most successful entertaining products as they provide an intense spectatorship experience. The main aim of this chapter is to focus on the media-sport nexus in order to understand the impact that this hybridization process between the two social fields had on sport events? How media reflect and redefine sport competitions as media events? What are the main aspects that make sport events so competitive on the wider entertaining (media) market? Despite the undisputable transformative effects brought by sport competitions entering the media logic, I will argue that there is also a reverse effect that major sport events exert upon the media field, focusing mainly on their interruptive quality (Dayan & Kats, 1992) in terms of media and social agenda. In discussing these aspects I will narrow down the analysis on the major sport competitions, as they are the most complex media-sport constructs. The ‘fun factor' (Kellner, 2003, p. 3) and the emotional flow of the competition reach their most spectacular form through what I call omnibus events. By omnibus events I refer to major competitions on the sport global map that are defined as impressive shows, involving world wide audiences, significant number of sport acts and actors and high commercial value (i.e. The Olympic Games, The World Cup). More important, their vortextual nature (Whannel, 2002) makes them referential for the public agenda, drawing everyone's attention and building alternative ways to connect large number of people to them. The chapter will approach these sport omnibus events as media shows by analyzing their multilayered structure: the dramaturgical dimension of sport acts and its corollary management of impression, the ritual dimension of sport ceremonial practices, the axiological dimension of sport events as social values' system, the commercial dimension of sport events as products on the entertaining and celebrity market, the aesthetic dimension of sport acts as expressive media constructs and their emotional dimension in terms of spectatorship experience. On this last dimension there are two main aspects that I will focus on, one regarding the live-remote experience and the other one directed towards the multiplication process of sport competition related events (from special TV shows, social media events, to thematic parties or marketing events). Media's centrality inside the social field of sport came with a consistent spectacularization effect, contributing to sport competition becoming resourceful media shows in terms of public impact and commercial value, a process that this chapter manages to lay emphasis on by addressing the multilayered nature of such events.

Sport Omnibus Events as Media Shows

2016 ◽  
pp. 194-210
Author(s):  
Diana-Luiza Dumitriu
Keyword(s):  
Social Field ◽  
Social Agenda ◽  
Media Events ◽  
Sport Competition ◽  
The Social ◽  
The Media ◽  
Commercial Value ◽  
Tv Shows ◽  
The Aesthetic ◽  
Sport Events

Inside the wider commodification process that the social field of sport has been subject to, sport events are not only about the competition itself, but they have become a global multilayered show. The ‘symbiotic relationship' (Valgeirsson & Snyder, 1986, p. 131) between sport and media made them one of the most successful entertaining products as they provide an intense spectatorship experience. The main aim of this chapter is to focus on the media-sport nexus in order to understand the impact that this hybridization process between the two social fields had on sport events? How media reflect and redefine sport competitions as media events? What are the main aspects that make sport events so competitive on the wider entertaining (media) market? Despite the undisputable transformative effects brought by sport competitions entering the media logic, I will argue that there is also a reverse effect that major sport events exert upon the media field, focusing mainly on their interruptive quality (Dayan & Kats, 1992) in terms of media and social agenda. In discussing these aspects I will narrow down the analysis on the major sport competitions, as they are the most complex media-sport constructs. The ‘fun factor' (Kellner, 2003, p. 3) and the emotional flow of the competition reach their most spectacular form through what I call omnibus events. By omnibus events I refer to major competitions on the sport global map that are defined as impressive shows, involving world wide audiences, significant number of sport acts and actors and high commercial value (i.e. The Olympic Games, The World Cup). More important, their vortextual nature (Whannel, 2002) makes them referential for the public agenda, drawing everyone's attention and building alternative ways to connect large number of people to them. The chapter will approach these sport omnibus events as media shows by analyzing their multilayered structure: the dramaturgical dimension of sport acts and its corollary management of impression, the ritual dimension of sport ceremonial practices, the axiological dimension of sport events as social values' system, the commercial dimension of sport events as products on the entertaining and celebrity market, the aesthetic dimension of sport acts as expressive media constructs and their emotional dimension in terms of spectatorship experience. On this last dimension there are two main aspects that I will focus on, one regarding the live-remote experience and the other one directed towards the multiplication process of sport competition related events (from special TV shows, social media events, to thematic parties or marketing events). Media's centrality inside the social field of sport came with a consistent spectacularization effect, contributing to sport competition becoming resourceful media shows in terms of public impact and commercial value, a process that this chapter manages to lay emphasis on by addressing the multilayered nature of such events.

scholarly journals When the Greedy Giant Tumbling Down: Analyzing Nickelodeon's Spatialization Practice in Indonesia

2018 ◽  
Vol 73 ◽  
pp. 10010
Author(s):  
Ganis Ashari Rizqi
Keyword(s):  
Social Impact ◽  
Strategic Alliance ◽  
Media Industry ◽  
Television Industry ◽  
Media Companies ◽  
Cable Industry ◽  
The Social ◽  
The Media ◽  
Cable Television Industry ◽  
Corporate Community

The developments of technology and globalization have made the emergence of various changes in media industry. In the entertainment sector various children programs can be broadcasted easily in Indonesia through the cable television industry. Unfortunately, the market share of cable industry is currently experiencing sluggishness. It encourages Nickelodeon to apply certain ways to keep its products dominance in Indonesia. Using spatialization approach in the study of the political economy media, this article aims to describe how Nickelodeon, maintains its product dominance to face that condition. From descriptive qualitative analysis conducted on the news in the mass media and the national company website, found the tendency of localizing strategic alliance both with national companies in the media and non-media industries. Cooperation built between Nickelodeon and the media industry (MNC Group) creates Indonesian-language cartoons and special shows for Indonesian children. Meanwhile, cooperation with non-media companies (Telkomsel and Campina) creates a corporate community base that supports the marketing of Nickelodeon products. The implications of Nickelodeon's collaboration with Telkomsel in the creation of mobile applications are discussed in this article as the social impact of spatialization practices resulting in imbalance of accessing information.

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