scholarly journals The Problems of Media Strategy Transformation of Russian Regional Television Broadcasting Companies in the Context of the Crisis of Traditional Media

2021 ◽  
Author(s):  
Elizaveta Manskova
Keyword(s):  
New Media ◽  
Practical Experience ◽  
Video Content ◽  
Digital Platforms ◽  
Television Broadcasting ◽  
Strategy Transformation ◽  
Digital Broadcasting ◽  
Short Time ◽  
Television Market ◽  
Television Studio

The article deals with the problems faced by the regional television market in the context of the growing popularity of new media and the transition of Russia to a digital broadcasting format. Regional and municipal television broadcasting, having lost traditional platforms for promoting their content, faced the necessity to develop new platforms in a short time. The new media environment required regional TV companies to review the promotion concepts. The author of the article is the developer of one of such concepts of rebranding and relaunching a regional television studio in a new format, and, based on practical experience, analyzes the factors and difficulties of transformation of media strategies of regional TV companies.  Five blocks of problems were identified as a result of testing of the concept of a new regional broadcasting. They include: project management, its staffing and financial support, analysis and interpretation of modern media measurements, transition to new video content formats adapted to digital platforms.

Fandomization of online video or television in China

2019 ◽  
Vol 41 (7) ◽  
pp. 995-1010 ◽  
Author(s):  
Anthony YH Fung
Keyword(s):  
Social Media ◽  
New Media ◽  
Public Discourse ◽  
Media Ecology ◽  
Online Video ◽  
Video Content ◽  
Television Industry ◽  
Television Production ◽  
Production Company ◽  
Television Market

In this article, I explain a new media ecology for online television in which the online audience or fans and their participation play a stronger role in swaying the online video content or production. I call it fandomization of online television. Dependent on the number of online users and the viewership, online television platforms have to produce programs that align with the fans’ discourse and emotions to maximize their viewership. This results in a fan-discourse-led production, as in the case of China’s huge online video or television market. Based on my study of the top online television production company, Tencent Video, and its top television program, as well as ethnographic observations of their productions, I illustrate how Tencent Video manages fans by establishing a fan-based platform that works in tandem with its television platform. The dual television and fan-based platform of the television industry forms an interlocking web of the network of fans, their idols, and social media, with the consequences that social and political public discourse are highly synchronized in China’s extremely controlled Internet.

An Investigation on the Netflix Platform in the Context of Flow Theory

2021 ◽  
Author(s):  
Meltem Başaran
Keyword(s):  
New Media ◽  
Flow Theory ◽  
Structured Interview ◽  
Video Content ◽  
Analysis Method ◽  
Digital Platforms ◽  
Communication Device ◽  
Content Analysis Method ◽  
Streaming Service ◽  
Raymond Williams

Today, with the development of technology, many developments and changes have been experienced in mass media. In the traditional period, content could only be accessed from sources such as television, newspapers, magazines, and radio, while the digital platforms that emerged with the era of the so-called new media enabled people to acquire the content they wanted at any time. Netflix, one of these digital platforms, is a video streaming service that offers on-demand access to individuals. Netflix, which first started selling DVD subscriptions by mail in 1998, has turned into a platform that sells monthly subscriptions to reach the video content it hosts today. Digital platforms such as Netflix offer users the opportunity to watch the content they want from anywhere, with the communication device (tablet, phone, computer) they want, in a way that they can create their own streams, without even the need for internet. Within the scope of this study, the contents on the Netflix platform in the context of the flow theory of Raymond Williams will be analyzed by content analysis method. Williams discussed the program structure of the television as streaming. According to him, television contents create a whole among themselves and present a flow to the viewers and the audience is caught in this flow. Within the scope of the study, the contents of Netflix, one of the digital content viewing platforms that are formed as a result of changing broadcasting concepts, will be analyzed using semi-structured interview technique in the perspective of flow theory.

What is Cyber or Digital Autoethnography?

2020 ◽  
Vol 13 (3) ◽  
pp. 267-279
Author(s):  
Ahmet Atay
Keyword(s):  
New Media ◽  
Digital Platforms ◽  
Media Technologies ◽  
New Methods ◽  
Everyday Experiences ◽  
New Media Technologies

Because of rapid developments in new media technologies and digital platforms, we live in a media-driven and highly digitalized society. Most of our everyday experiences are either highly mediated or digitalized. Hence, we live in a complex and multidimensional cyberculture. In order to understand and make sense of our experiences and identities within this culture, as scholars, we require fresh, new methods; hence, I propose cyber or digital autoethnography. In this essay, I define cyber or digital autoethnography and making a case for their importance. I will also outline cyber or digital autoethnography’s potentiality.

Affordances, remediation, and digital mourning: A comparative case study of two AIDS memorials

2020 ◽  
pp. 175069801989468
Author(s):  
Spencer P Cherasia
Keyword(s):  
New Media ◽  
Collective Memory ◽  
Comparative Case Study ◽  
Digital Repository ◽  
Collaborative Project ◽  
Digital Platforms ◽  
Cultural Importance ◽  
Aids Memorial Quilt ◽  
Names Project

The NAMES Project AIDS Memorial Quilt is a collaborative project that memorializes individuals who have died of AIDS-related causes. Since its inception, it has become the world’s largest public folk art project. Scholars have noted the Quilt’s materiality, scope, and cultural importance to collective memory processes related to HIV/AIDS. More recently, discussions of collective memory in the digital public sphere have attracted attention from new media theorists and memory scholars alike. @theAIDSmemorial (TAM) is an Instagram account that serves as a digital repository for a new form of connective memory. By assessing two AIDS memorials as comparative cases, this research argues that TAM’s digital affordances of interactivity and reach are evident, although in assessing the digital remediation of the NAMES Project AIDS Memorial Quilt, the materiality, metaphoric origins, and scope of the Quilt cannot be rendered on digital platforms, representing a loss in affective engagement.

Using the Past and Bridging the Gap: Premodern Islamic Legal Texts in New Media

2018 ◽  
Vol 36 (4) ◽  
pp. 993-1019 ◽  
Author(s):  
Mahmood Kooria
Keyword(s):  
New Media ◽  
Islamic Law ◽  
Legal Tradition ◽  
New Developments ◽  
Digital Platforms ◽  
Historical Texts ◽  
Legal Discourses ◽  
Institutional Structures ◽  
Legal Texts ◽  
Audio Video

This article analyses the internal dynamics of online Islamic legal discourses embedded in their offline and multimedia contexts that use of a rich repository of legal texts composed over a period of about a thousand years. Through their vigorous and spirited engagements with these historical texts, contemporary Islamic jurists simultaneously create new digital platforms in mass and social media to disseminate their ideas. In so doing, they perpetuate a long textual legal tradition through hypertext commentaries and super-commentaries. The premodern texts are thus reborn through new forms ofḥāshiyas such as audio commentaries, video commentaries, audio-video commentaries and hypertext commentaries. These new developments from the age of new media contribute to the textuallongue-duréeof Islamic law. Tracking the peregrinations of three Islamic legal texts in the mass media and cyber world, I argue that the dissemination of premodern Islamic legal texts via cyber space has resulted in the “democratization” of a knowledge-system that was previously dominated by trained fuqahā and affiliated institutional structures and has enlivened the traditional school affiliations.

Cinema and New Media Possibilities in the Pandemic

2021 ◽  
Author(s):  
Burcu Kavas
Keyword(s):  
New Media ◽  
21St Century ◽  
Digital Publishing ◽  
Screening Process ◽  
Movie Theaters ◽  
Media Technologies ◽  
Global Cinema ◽  
The World ◽  
Digital Broadcasting ◽  
Collective Production

Cinema, which started to digitalize in the 20th century, continues to be integrated with digital publishing platforms that emerged with the development of new media technologies in the 21st century. With the coronavirus pandemic that affected the whole world in 2019, digital broadcasting platforms became popular as an alternative cinema event in the quarantine process. Various precautions have been taken around the world for the coronavirus pandemic. As a result of the quarantine precaution, the local and global cinema industry was negatively affected. Cinema industry which is a collective production and screening process, has been interrupted by the suspension of the filming and the closing of the movie theaters during the quarantine. New media created a movement area for the cinema industry in this process. In this sense, the aim of this study is examining the researches on the effect of the coronavirus pandemic on the cinema and the effect of new media tools and opportunities on the cinema sector.

The Construction of Orientalist Discourse in the Documentary Series on the Digital Broadcasting Platform Netflix

2021 ◽  
pp. 12-32
Author(s):  
Hüdai Ateş ◽  
Alev Fatoş Parsa
Keyword(s):  
Communication Technologies ◽  
Documentary Films ◽  
Semiotic Analysis ◽  
Digital Platforms ◽  
Digital Broadcasting ◽  
Global Perception ◽  
Technology And Communication

Developing technology and communication opportunities show that the audience can access fiction and documentary films more easily than in previous years. This research reveals the extent of globalization with the development of communication technologies and how orientalism takes place in documentary films through a netflix documentary. The orientalist perspective is transformed into a global perception through documentary films and documentary series on digital platforms, World's Most Wanted, Samantha Lewthwaite: The White. In this documentary, how the orientalist elements take place and how Islam is portrayed as a terror religion is revealed with the method of semiotic analysis, and the meanings created by the written-audio codes are revealed.

Political Economy of the Media

2018 ◽  
Author(s):  
Dal Yong Jin
Keyword(s):  
Political Economy ◽  
New Media ◽  
Digital Media ◽  
Intellectual History ◽  
Information And Communication Technologies ◽  
Culture Industry ◽  
Digital Platforms ◽  
Modern Capitalism ◽  
Information And Communication ◽  
The Media

Political economy of the media includes several domains including journalism, broadcasting, advertising, and information and communication technology. A political economy approach analyzes the power relationships between politics, mediation, and economics. First, there is a need to identify the intellectual history of the field, focusing on the establishment and growth of the political economy of media as an academic field. Second is the discussion of the epistemology of the field by emphasizing several major characteristics that differentiate it from other approaches within media and communication research. Third, there needs an understanding of the regulations affecting information and communication technologies (ICTs) and/or the digital media-driven communication environment, especially charting the beginnings of political economy studies of media within the culture industry. In particular, what are the ways political economists develop and use political economy in digital media and the new media milieu driven by platform technologies in the three new areas of digital platforms, big data, and digital labor. These areas are crucial for analysis not only because they are intricately connected, but also because they have become massive, major parts of modern capitalism.

Broadcasting Mainline Protestantism: The Chicago Sunday Evening Club and the Evolution of Audience Expectations from Radio to Television

2012 ◽  
Vol 22 (2) ◽  
pp. 233-264
Author(s):  
Michael Stamm
Keyword(s):  
Mass Media ◽  
New Media ◽  
Television Programs ◽  
Television Broadcasting ◽  
Visual Style ◽  
History Of ◽  
Mainline Protestantism ◽  
Public Entity ◽  
Sunday Evening ◽  
Mainline Protestant

AbstractThis article analyzes the broadcast activities of the Chicago Sunday Evening Club (CSEC), a mainline Protestant organization founded in 1908 and still active today. The CSEC began broadcasting its weekly meetings on the radio in 1922 and on television in 1956. Drawing on archival organizational records from the CSEC and from listener correspondence, this essay traces how the club's use of the new media of particular historical moments shaped its history as a public entity.This study makes two claims. First, it argues that, though evangelicals and fundamentalists took to radio and television broadcasting with greater vigor, mainline Protestant groups did as well, and the persistence of a group like the CSEC offers a way to understand the challenges that broadcasting presented to religious organizations. Second, this article shows how audience expectations for religious programming evolved from radio to television. For many listeners, radio offered what they told the CSEC was a spiritual and even miraculous experience, and they marveled at being able to tune in to religious services from their homes. Television, however, prompted remarks often focused on visual style, and the club found itself struggling to compete with the newly emerging group of religious television programs not only on denominational terms (many were evangelicals and fundamentalists) but also on aesthetic terms. In contrast to radio, as many viewers wrote to the CSEC, television seemed to provide not a singular “experience” but rather spectatorial access to events taking place elsewhere. In the context of competition from the more telegenic programming of evangelicals and fundamentalists, these shifting audience expectations shaped both the history of the CSEC as a public entity and the broader history of mainline Protestantism in the mass media.

The Old New Television and the New: Digital Transitions at Home

2008 ◽  
Vol 129 (1) ◽  
pp. 91-103 ◽  
Author(s):  
Julian Thomas
Keyword(s):  
Cultural Policy ◽  
Social Economic ◽  
Digital Television ◽  
Policy Problem ◽  
The Past ◽  
Television Broadcasting ◽  
Broadcasting System ◽  
Digital Broadcasting ◽  
Analogue To Digital ◽  
Degree Of Innovation

Over the past decade, a major policy and regulatory problem for governments in Australia and elsewhere has been the implementation of strategies to switch from analogue to digital television broadcasting systems. Despite extensive debate, the transition to digital broadcasting remains fraught. What seems to be a technical matter conceals a range of intractable social, economic and cultural policy decisions. This article explores some of the challenges of digital television through the prism of an earlier, and often overlooked, transformation of television, namely the consumer-driven uptake of what can be called the ‘new television technologies’ of the 1970s and 1980s. These earlier forms of new television help to highlight several arguments: that television was not a stable object prior to digital broadcasting; that the connections between television and broadcasting have been contingent and provisional; and that a remarkable degree of innovation, disruption and adaptation has occurred at the fringes of the broadcasting system, leading to the creation of new audiovisual economies on the boundaries of the household and the market. The article then considers some examples of the ways in which this ‘household sector’ is developing as a new policy problem.

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