scholarly journals Media, Ranah dan Dinamika Permainan

2017 ◽  
Vol 1 (1) ◽  
pp. 21
Author(s):  
Amirudin Amirudin

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

2005 ◽  
Vol 7 ◽  
pp. 11-23
Author(s):  
Graham Murdock

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.


2017 ◽  
Vol 11 (3) ◽  
pp. 302-317 ◽  
Author(s):  
Anamik Saha

This article has two aims. Firstly, it challenges the assumption in both policy and media studies of race that increasing the number of minorities in the media will automatically lead to more diverse content. Secondly, it highlights how cultural distribution is a critical, yet under-researched, moment for racialised minorities working in the arts. Using a case study on ‘British Asian theatre’, the article problematises a particular cultural policy approach that emphasises the need to attract ‘new audiences’. While the emphasis on bringing marginalised audiences to the arts is welcome, this article argues that attempts to address racial inequalities in production and consumption in this way, reinforce rather than dismantle them.


Author(s):  
Aleksandra Sekulić

Drawing from a movement which aimed to re-activate the practices of the emancipation of cultural production established in Yugoslav cine-amateurism: Low-Fi Video (1997–2003), the Kosmoplovci Collective, established in 2001, developed various interdisciplinary experiments, contesting the elements of the media framework of production. In a specific osmosis of practices stemming from the computer demo scene, video, alternative comics, electronic music and design, Kosmoplovci contributed to the contemporary explorations of the media-archaeological art, which uses archival work and historical materials related to the shifts of media paradigms. The videos, computer demos and online interactive projects of Kosmoplovci produced in the beginning of the 2000s can be seen as the projections, emulations or anticipations of the imaginary or dead media, or even a future excavation and re-invention of media (Void, Selfaware, X21, Artificial Detection). The treatment of media machines in the tension of their imagined untimely existence, as in the description of imaginary media by Siegfried Zielinsky, and the imagined future recovery from their deep death which is another form of their dislocation, destabilizes the fixed positions of the elements of contemporary media art production: the camera, the internet, but also the parallel relation of the image and the sound. The practice of this overall destabilization of fixed elements of the media system puts the Kosmoplovci Collective in the line of continuity of the experiments of radical amateurism. Article received: December 28, 2017; Article accepted: January 10, 2018; Published online: April 15, 2018; Original scholarly paper How to cite this article: Sekulić, Aleksandra. "The Imaginary and the Dead Media in the Works of the Kosmoplovci Collective." AM Journal of Art and Media Studies 15 (2018): . doi: 10.25038/am.v0i15.233


2016 ◽  
Vol 2 (2) ◽  
pp. 129
Author(s):  
Urtak Hamiti

Barbaric, savage, horrific-these were terms to define the decision of the Islamic State of Iraq and Syria (ISIS) to murder its captured Jordanian pilot by burning him alive inspired a thesaurus of horror and revulsion. The men who did it, the perpetrators were described by the media as mad men, thugs, monsters. To most of the people, the act itself seemed inexplicable and without sense. However, behind the choreographed and videotaped violence lies a calculated horrible cold logic. Although, ISIS is often portrait as a mighty force on the ground in Syria and Iraq, facts state that they control mainly communications between various provinces in both countries, and, as most guerrilla armies, are militarily weak by conventional measure. ISIS has little or almost none defense against the bombing campaign that is facing now, while US has formed a coalition that is confronting them on the ground as well, after President Barack Obama published the “New Security Doctrine” which includes degrading and finally destroying ISIS. ISIS, however, have proven to be very organized in promoting dramatic acts of violence against their enemies and promoting them two achieve two goals: use terror tactics as a psychological weapon against all those facing them and all those that are to face them in combat. Secondly, through usage of social network platforms to promote killings and executions, the aim of ISIS is to encourage recruits from out of Syria and Iraq, and elsewhere, to join them in their cause. Online operations of ISIS fall under a production group called the Al Hayat Media Center. The Center was created to seduce Westerners into joining the ranks of ISIS and also to distribute propaganda through social and media platforms. It is difficult to assess the success of this operation, but solid sources provided by US military and intelligence estimate that at least 300 Americans are fighting in the ranks of ISIS (at least two Americans have been killed fighting for ISIS in Iraq/Syria region) while the number of Europeans is in thousands. The US Response to this psychological kind of warfare came when President Barack Obama established the Center for Strategic Counterterrorism Communications (CSCC) aiming to combat terrorist propaganda. The main strategy of CSCC is not directly to confront ISIS operatives, but rather than that to deal with the people they are trying to recruit. Now, with almost entire international public opinion on their side, it is time for US to more actively respond to ISIS especially in the manner of psychological warfare since it is obvious that operations of “winning hearts and minds” of people in Iraq and Syria are not enough compared to ruthless tactics of ISIS which “winning hearts and minds” by brute force, terror, and vivid violent images. The online propaganda war is a new component to conflicts of 21st century that allows enemies to reach one another’s home fronts directly. ISIS might seem not so strong on the ground but it has captured one fundamental flaw of the media of 21st century-the one that bad news is always good news and that televised violence will always have an audience. ISIS has proclaimed that its goal is to create a caliphate of 21st century but its psychological warfare and propaganda is inspiring individuals throughout the West to commit horrible terrorist crimes. Could this be another mind game set up by ISIS, it remains to be seen. However one thing is for certain, US and its allies must tackle ISIS not only by planes and other military means, but also by a strategy that would eliminate its influence in spreading their propaganda.


2021 ◽  
Vol 7 (2) ◽  
pp. 205630512110213
Author(s):  
Brooke Erin Duffy ◽  
Annika Pinch ◽  
Shruti Sannon ◽  
Megan Sawey

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.


2021 ◽  
pp. 205943642110125
Author(s):  
Kun Li

From the perspective of communication and media studies, this article explores a comparison between the image of older adults presented on media and online self-representation facilitated by the use of smartphones. The qualitative textual analysis was conducted with a sample (228 posts, from 1 January to 31 December,2019) selected from a representative WeChat Public Account targeting at older adults in China. The results demonstrate that leisure and recreation is the most frequently mentioned topic (58%) with memories of past life receiving the least references (3%). The striking features of popular posts among older people include a highly emotional tone, bright colours and multimedia. Sentiment analyses shows 68.42%, 13.16% and 18.42% of positive, neutral and negative emotions, respectively. A generally positive attitude of self-representation is in a sharp contrast with the stigmatic media image of older adults. The article concludes that the visibility of Chinese older people may help to reduce the stigma surrounding old age in China.


Poetics ◽  
2005 ◽  
Vol 33 (5-6) ◽  
pp. 253-256 ◽  
Author(s):  
Susanne Janssen ◽  
Richard A. Peterson

Sign in / Sign up

Export Citation Format

Share Document