scholarly journals MEDIASI KESALEHAN SELEBRITI PEREMPUAN HIJRAH DI MEDIA SOSIAL INSTAGRAM

2020 ◽  
Vol 10 (1) ◽  
pp. 51
Author(s):  
Siti Machmiyah
Keyword(s):  
Social Media ◽  
Popular Culture ◽  
Everyday Life ◽  
Role Model ◽  
Message Content

ABSTRACT The group of people who call themselves 'hijrah' in the realm of Islam has indeed become a new trend in Indonesia. This cannot be separated from the influence of post-Islamism which is rife where the traditional elements (in this case religion) can go hand in hand with the elements of modernity. Hijrah becomes a form of popular culture that can be easily followed by some Indonesian people, including by female celebrities, they eventually become a new 'capital' among bearers of hijrah because celebrities have a strong magnet to be a Hijrah trendsetter only close to the da’I  who is a role model. The celebrities who hijrah were inevitably packing themselves to become the perfect celebrity hijrah figure, one of which was by branding the hijrah on Instagram social media, the hijrah celebrity then mediated ‘piety’ on Instagram through three things; upload preaching message content in everyday life, Islamic lifestyle in marketing endorsement products, and do remediation of preaching content from the da'i they follow. Keywords : Celebrity, Hijrah, mediation

scholarly journals MEDIASI KESALEHAN SELEBRITI PEREMPUAN HIJRAH DI MEDIA SOSIAL INSTAGRAM

2020 ◽  
Vol 10 (1) ◽  
pp. 51
Author(s):  
Siti Machmiyah
Keyword(s):  
Social Media ◽  
Popular Culture ◽  
Everyday Life ◽  
Role Model ◽  
Message Content

ABSTRACT The group of people who call themselves 'hijrah' in the realm of Islam has indeed become a new trend in Indonesia. This cannot be separated from the influence of post-Islamism which is rife where the traditional elements (in this case religion) can go hand in hand with the elements of modernity. Hijrah becomes a form of popular culture that can be easily followed by some Indonesian people, including by female celebrities, they eventually become a new 'capital' among bearers of hijrah because celebrities have a strong magnet to be a Hijrah trendsetter only close to the da’I  who is a role model. The celebrities who hijrah were inevitably packing themselves to become the perfect celebrity hijrah figure, one of which was by branding the hijrah on Instagram social media, the hijrah celebrity then mediated ‘piety’ on Instagram through three things; upload preaching message content in everyday life, Islamic lifestyle in marketing endorsement products, and do remediation of preaching content from the da'i they follow. Keywords : Celebrity, Hijrah, mediation

MEDIA LITERASI BAGI DIGITAL NATIVES: PERSPEKTIF GENERASI Z DI JAKARTA

2018 ◽  
Vol 6 (1) ◽  
pp. 60
Author(s):  
Ranny Rastati
Keyword(s):  
Social Media ◽  
Media Literacy ◽  
Generation Y ◽  
Role Model ◽  
Digital Natives ◽  
The Internet ◽  
Positive Image ◽  
Generation Z ◽  
Internet Users ◽  
Depth Interview

In 2017 the majority of internet users are 19-34 years old or 49.52% (APJI, 2017). Almost half of the internet users in Indonesia are digital natives who were born after 1980: Generation Y (1980-1995) and Generation Z (1996-2009). This research will be focused on Generation Z as the true generation of the internet. Generation Z was born when the internet is available, a contrast to Generation Y who is still experiencing the transition of the internet. The purpose of this research is to find an effective way of providing information about media literacy to Generation Z. Through descriptive qualitative, the study was conducted with in-depth interview and observation toward 12 university students in Jakarta. The results showed that there are four effective ways of providing information about media literacy which is i) videos distributed to social media such as Youtube and Instagram, ii) interesting memes in communicative style, iii) through selebgram or micro-celebrity in Instagram who is consider as a role model and have a positive image, and iv) roadside billboards. Another interesting finding is that male informants tend to like media literacy information through videos and memes, while female informants prefer campaigns conducted by positive image selebgram and billboard. AbstrakPada tahun 2017 pengguna internet di Indonesia mayoritas berusia 19-34 tahun yaitu sebanyak 49,52% (APJI, 2017). Dari data tersebut terlihat bahwa hampir sebagian pengguna internet di Indonesia adalah digital natives atau penutur asli teknologi digital yaitu orang-orang yang lahir setelah tahun 1980: Generasi Y (1980-1995) dan Generasi Z (1996-2009). Penelitian ini akan difokuskan kepada Generasi Z karena mereka dianggap sebagai sebenar-benarnya generasi internet. Generasi Z lahir saat teknologi tersebut sudah tersedia, berbeda dengan Generasi Y yang masih mengalami transisi teknologi hingga menuju internet. Tujuan penelitian ini adalah mencari tahu cara yang efektif dalam memberikan informasi mengenai media literasi kepada generasi Z. Metode yang digunakan adalah deskriptif kualitatif dengan observasi dan wawancara mendalam. Informan berjumlah 12 orang mahasiswa di Jakarta. Hasil penelitian menunjukkan bahwa ada empat cara yang efektif dalam memberikan informasi mengenai media literasi yaitu i) video yang disebarkan ke media sosial seperti Youtube dan Instagram, ii) meme menarik dengan bahasa yang mudah dimengerti, iii) melalui selebgram yang menjadi panutan dan berimage positif, dan iv) papan iklan di pinggir jalan. Temuan menarik lainnya adalah informan laki-laki cenderung menyukai informasi media literasi melalui video dan meme yang disebarkan ke media sosial, sementara perempuan lebih menyukai kampanye yang dilakukan oleh selebgram berimage positif dan papan iklan.

scholarly journals Missing value or behaviour: how to increase the signal of social media data

METRON ◽  
2021 ◽  
Author(s):  
Paolo Mariani ◽  
Andrea Marletta
Keyword(s):  
Social Media ◽  
Missing Data ◽  
Everyday Life ◽  
Processing Technique ◽  
Missing Value ◽  
Social Media Data ◽  
Practical Strategy ◽  
Specific Behaviour ◽  
Complex Features ◽  
Media Data

AbstractSocial media has become a widespread element of people’s everyday life, which is used to communicate and generate contents. Among the several ways to express a reaction to social media contents, the “Likes” are critical. Indeed, they convey preferences, which drive existing markets or allow the creation of new ones. Nevertheless, the appreciation indicators have some complex features, as for example the interpretation of the absence of “Likes”. In this case, the lack of approval may be considered as a specific behaviour. The present study aimed to define whether the absence of Likes may indicate the presence of a specific behaviour through the contextualization of the treatment of missing data applied to real cases. We provided a practical strategy for extracting more knowledge from social media data, whose synthesis raises several measurement problems. We proposed an approach based on the disambiguation of missing data in two modalities: “Dislike” and “Nothing”. Finally, a data pre-processing technique was suggested to increase the signal of social media data.

scholarly journals How Popular Culture Prompts Youth Collective Political Expression and Cross-Cutting Political Talk on Social Media: A Cross-Platform Analysis

2021 ◽  
Vol 7 (2) ◽  
pp. 205630512110088
Author(s):  
Ioana Literat ◽  
Neta Kligler-Vilenchik
Keyword(s):  
Social Media ◽  
Popular Culture ◽  
Qualitative Content Analysis ◽  
Political Expression ◽  
Political Views ◽  
Political Talk ◽  
Social Media Platforms ◽  
Cross Platform ◽  
Symbolic Resource ◽  
Political Differences

Adopting a comparative cross-platform approach, we examine youth political expression and conversation on social media, as prompted by popular culture. Tracking a common case study—the practice of building Donald Trump’s border wall within the videogame Fortnite—across three social media platforms popular with youth (YouTube, TikTok, Instagram), we ask: How do popular culture artifacts prompt youth political expression, as well as cross-cutting political talk with those holding different political views, across social media platforms? A mixed methods approach, combining quantitative and qualitative content analysis of around 6,400 comments posted on relevant artifacts, illuminates youth popular culture as a shared symbolic resource that stimulates communication within and across political differences—although, as our findings show, it is often deployed in a disparaging manner. This cross-platform analysis, grounded in contemporary youth culture and sociopolitical dynamics, enables a deeper understanding of the interplay between popular culture, cross-cutting political talk, and the role that different social media platforms play in shaping these expressive practices.

Entertainment publics in the Philippines

2021 ◽  
pp. 1329878X2098596
Author(s):  
Anna Cristina Pertierra
Keyword(s):  
Social Media ◽  
Popular Culture ◽  
Digital Technologies ◽  
The Philippines ◽  
Political Capital ◽  
Martial Law ◽  
Entertainment Media ◽  
Digital Era ◽  
The Media ◽  
Entertainment Television

Since the late 1980s, Filipino entertainment television has assumed and maintained a dominance in national popular culture, which expanded in the digital era. The media landscape into which digital technologies were launched in the Philippines was largely set in the wake of the 1986 popular movement and change of government referred to as the EDSA revolution: television stations that had been sequestered under martial law were turned over to family-dominated commercial enterprises, and entertainment media proliferated. Building upon the long development of entertainment industries in the Philippines, new social media encounters with entertainment content generate expanded and engaged publics whose formation continues to operate upon a foundation of televisual media. This article considers the particular role that entertainment media plays in the formation of publics in which comedic, melodramatic and celebrity-led content generates networks of followers, users and viewers whose loyalty produces various forms of capital, including in notable cases political capital.

Some Reflections on Making Popular Culture in Urban Africa

2008 ◽  
Vol 51 (3) ◽  
pp. 75-89 ◽  
Author(s):  
AbdouMaliq Simone
Keyword(s):  
Popular Culture ◽  
Everyday Life ◽  
Urban Residents ◽  
The Everyday ◽  
Urban Africa ◽  
The City ◽  
Ways Of Being

Abstract:In contemporary urban Africa, the turbulence of the city requires incessant innovation that is capable of generating new ways of being. Rather than treating popular culture as some distinctive sector, this article attempts to investigate the popular as methods of bringing together activities and actors that on the surface would not seem compatible, and as experimental forms of generating value in the everyday life of urban residents. This investigation, sited largely in Douala, Cameroon, looks at how youth from varying neighborhoods attempt to get by, and at the unexpected forms of contestation that can ensue.

scholarly journals The politics of a ‘Poncy Pillowcase’: Migration and borders in Coronation Street’

Politics ◽  
2016 ◽  
Vol 37 (3) ◽  
pp. 273-287 ◽  
Author(s):  
Alexandria J Innes ◽  
Robert J Topinka
Keyword(s):  
Popular Culture ◽  
Cultural Studies ◽  
Everyday Life ◽  
Soap Opera ◽  
Race Ethnicity ◽  
And Gender

This article examines the ways in which popular culture stages and supplies resources for agency in everyday life, with particular attention to migration and borders. Drawing upon cultural studies, and specific insights originating from the Birmingham Centre for Contemporary Cultural Studies, we explore how intersectional identities such as race, ethnicity, class, and gender are experienced in relation to the globalisation of culture and identity in a 2007 Coronation Street storyline. The soap opera genre offers particular insights into how agency emerges in everyday life as migrants and locals navigate the forces of globalisation. We argue that a focus on popular culture can mitigate the problem of isolating migrant experiences from local experiences in migrant-receiving areas.

BEYOND THE TOURIST EXPERIENCE: ANALYZING THE IMAGINATION OF PLACE AND TRAVEL IN EVERYDAY LIFE

2021 ◽  
Keyword(s):  
Popular Culture ◽  
Everyday Life ◽  
Identity Work ◽  
The Self ◽  
Small Scale ◽  
Individual State ◽  
Imaginary World ◽  
Tourism Research ◽  
State Of Mind ◽  
Depth Interviews

This article advocates a new agenda for (media) tourism research that links questions of tourist experiences to the role and meaning of imagination in everyday life. Based on a small-scale, qualitative study among a group of seventeen respondents of diverse ages and backgrounds currently residing in the Netherlands, we offer an empirical exploration of the places that are of importance for people’s individual state of mind and investigate how these places relate to (potential) tourist experiences. The combination of in-depth interviews and random-cue self-reporting resulted in the following findings: 1) all our respondents regularly reside in an elaborate imaginary world, consisting of both fictional and non-fictional places; 2) this imaginary world is dominated by places which make the respondents feel nostalgic; 3) in this regard, the private home and houses from childhood are pivotal; 4) the ‘home’ is seen as topos of the self and contrasted with ‘away’; 5) the imagination of ‘away’ emerges from memories of previous tourist experiences, personal fantasies and, last but not least, influences from popular culture. We conclude that imagining and visiting other locations are part of a life-long project of ‘identity work’ in which personal identities are performed, confirmed and extended. By travelling, either physically or mentally, individuals anchor their identity - the entirety of ideas about who they are, where they come from and where they think they belong - in a broader, spatial framework.

Film as /and Popular Social Text: The Reception of John Trengove’s Inxeba/The Wound and Wanuri Kahui’s Rafiki

2021 ◽  
Vol 47 (3) ◽  
pp. 55-79
Author(s):  
Gibson Ncube
Keyword(s):  
South Africa ◽  
Social Media ◽  
Popular Culture ◽  
Public Spaces ◽  
African Continent ◽  
Sexual Identities ◽  
Global North ◽  
State Responses

This article is interested in popular and institutional or state responses to the representations of queerness offered in the films Inxeba/The Wound (South Africa, 2017) and Rafiki (Kenya, 2018). Aside from portraying the marked homophobia that continues to circulate on the African continent, the institutional and state responses to the films have overshadowed the positive popular reception which has  characterised conversations around the films on social media and public spaces. This article shows how social media functions as animportant space of contestation for diverse issues relating to non-normative gender and sexual identities. As these films circulate in different spaces and are viewed by diverse audiences, they elicit equally diverse reactions and responses. The article examines how viewers, in Africa and beyond, receive and engage with the queerness represented in the two films. It argues that the multifaceted reactions to Inxeba/The Wound and Rafiki are central to articulating important questions about what it means to be queer in Africa,and particularly what it implies for black queers to inhabit heteronormative and patriarchal spaces on the continent. Through an analysis of the reactions and receptions of the two films in Africa and the global North, it is argued that it is possible to trace important inter-regional, intra-continental and intercontinental dialogues and conversations regarding the representation of queer African subjectivities. The intra-continental and inter-continental dialogues bring to light questions of gaze and viewing that are inherent in the circulation of queer-themed films. Kewords: Inxeba/The Wound, Rafiki, reception, popular culture, queerness

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