scholarly journals RETHINKING THE ‘TRUTH’ OF IDENTITY: DISSECTING QUEERNESS AND EMO SUBCULTURE IN NETFLIX’S THE UMBRELLA ACADEMY

2021 ◽  
Vol 8 (2) ◽  
pp. 139
Author(s):  
Pradipta Michella Wibrinda
Keyword(s):  
Judith Butler ◽  
Sexual Practices ◽  
Absolute Identification ◽  
Traditional Gender Roles ◽  
The Media ◽  
Streaming Services ◽  
Online Streaming ◽  
Tv Show ◽  
Diverse Audience

Over the years, the presence of LGBTQ+ community in the media has gone through noticeable change. It is a challenge for online streaming services like Netflix to represent as many communities and subcultures as they can, because accessibility comes with more diverse audience. While many LGBTQ+ characters have been put in the spotlight, those who identify beyond binaries are still arguably underrepresented, especially the ones that belong to socially degraded subculture like emo. The Umbrella Academy is a TV show rooted in emo subculture that feature LGBTQ+ superhero characters, Klaus Hargreeves and Vanya Hargreeves, who do not fully associate with the label “gay”, “lesbian”, or “bisexual”. This study employs what Judith Butler asserts, that gender expressions and practices of desire go beyond binaries, to see how emo subculture engages queerness as rejection to rigid classification of gender identities and sexual practices, as well as a tool to oppose conservatism, especially of previous generations. The discussion reveals that contrary to the popular belief that perceives emo as the culture of straight middle-class white boys, the show perceives emo subculture through the characters’ rejection to absolute identification. The characters show rejection through clothing, behavior, mannerism, and verbal statements. The characters also show opposition to conservatism, which include traditional gender roles, traditional superhero narratives, masculine-feminine polarity, and the ‘truth’ of identity.

Online streaming will transform media consumption

2019 ◽  
Keyword(s):  
Economies Of Scale ◽  
Content Type ◽  
General Data Protection Regulation ◽  
Online Platforms ◽  
The Media ◽  
General Data ◽  
Streaming Services ◽  
The Uk ◽  
Media Firms ◽  
Online Streaming

Subject Online streaming. Significance US media firms CBS and Viacom announced their merger yesterday, having split in 2006; this will create a 30-billion-dollar entity and economies of scale that will help the firm compete in online streaming. The UK telecoms regulator Ofcom’s annual media review on August 7 shows that 40% of viewers now watch TV and film largely through online video. Indeed, streaming on online platforms such as Twitch is becoming more popular than conventional media forms, and UK subscriptions to streaming services overtook subscriptions to traditional TV services for the first time last year. Impacts Competition will intensify -- AT&T, Comcast, Disney and Apple are starting streaming services to compete with Amazon, CBS, Hulu and Netflix. Online streaming has vast potential beyond the media, for example in training in sectors such as medicine, and in workplaces more broadly. Insufficient regulation of appropriate online content and advertising risks creating obstacles that may curb the rise of streaming. Methods will improve to monitor and punish illegal streaming, but cybersecurity will still struggle to keep pace. The EU General Data Protection Regulation is causing reports of data breaches to rise, risking reduced user faith in online platforms.

scholarly journals TV on the move: How the growth in Internet streaming influences the video quality on your mobile device.

2014 ◽  
pp. 159-163
Author(s):  
Jason Quinlan
Keyword(s):  
Video Quality ◽  
Portable Devices ◽  
High Definition ◽  
Adaptive Video Streaming ◽  
Adaptive Video ◽  
Internet Streaming ◽  
Streaming Services ◽  
Increasing Demand ◽  
Online Streaming ◽  
Tv Show

Every day, millions of people logon to the Internet to view their favorite TV show on Netflix, or similar streaming services, or to watch the latest viral video on YouTube. Two things are paramount, 1) that they receive the best streaming quality available, and 2) the video starts to play as quickly as possible. There is nothing worse than a video that stops and starts, takes forever to view or constantly changes between viewable qualities (resolutions). Due to our limited download speeds (bandwidth), in most houses it is not uncommon to hear “Stop downloading, I’m trying to watch something on Netflix”. When we couple this rise in online streaming with the growing number of portable devices (smart phones, tablets, laptops) we see an ever-increasing demand for high-definition online videos while on the move. This demand for mobile streaming highlights the need for adaptive video streaming schemes that can adjust to ...

scholarly journals Adapting to context: Creative strategies of video streaming services in Nigeria

2021 ◽  
pp. 135485652110173
Author(s):  
Godwin Iretomiwa Simon
Keyword(s):  
Video On Demand ◽  
Business Environment ◽  
Media Industry ◽  
Operational Environment ◽  
Structured Interviews ◽  
African Countries ◽  
Innovative Strategies ◽  
African Context ◽  
The Media ◽  
Streaming Services

This article examines the contextual challenges that characterize the video on demand (VOD) market in Africa. It provides critical analysis of the creative strategies employed by Nigeria-based streaming services to navigate the peculiar business environment on the continent. This research is on the background of the poor Internet infrastructure and economic divides in many African countries including Nigeria. Streaming services operating in these markets must understand a context where Internet access is complicated on the levels of availability and/or affordability, including significant lack of confidence in e-payment facilities. All these, together with epileptic power supply and poor standard of living, indicate that streaming services must innovate to capture subscribers within the continent. Despite the harsh operational environment, streaming services in Nigeria have continued to increase in number within the past 5 years. This is attributed to the transnational reach of the streaming services as they are patronized by Africans in diaspora across the globe, while they also enjoy popularity within African countries. This article specifically focuses on the innovative strategies employed by Nigerian streaming services to operate within their African markets in the context of their peculiar challenges. In so doing, it extends extant scholarship about Internet-distributed video using the African context. This article is situated within the Media Industry Studies framework and draws from semi-structured interviews with 7 streaming executives in Nigeria and 10 creative professionals in the Nigerian Video Film Industry (Nollywood). It also relies on desk research of press reports, industry publications, as well as the interfaces of streaming portals. This article underscores the necessity of contextualized research with the digital turn in video distribution. Through contextualized analysis of VOD market realities in a less studied terrain like Africa, it aligns with scholarly call to expand theories of Internet-distributed video to marginal contexts.

scholarly journals Sex Dolls in the Swedish Media Discourse: Intimacy, Sexuality, and Technology

2021 ◽  
Author(s):  
Robin Björkas ◽  
Mariah Larsson
Keyword(s):  
Critical Discourse Analysis ◽  
Critical Discourse ◽  
Sexual Practices ◽  
Media Discourse ◽  
Positive Effects ◽  
Therapeutic Uses ◽  
Broad Variety ◽  
The Media ◽  
Definition Of ◽  
The Relationship

AbstractSex dolls are a complex phenomenon with several diverse possible emotional, sexual and therapeutic uses. They can be part of a broad variety of sexual practices, and also function as a sexual aid. However, the media discourse on sex dolls first and foremost concerns how we perceive the relationship between intimacy and technology. A critical discourse analysis of the Swedish media discourse on sex dolls reveals six themes which dominate the discourse: (a) the definition of what a human being is; (b) a discourse on the (technological and existential) future; (c) a social effort; (d) a loveless phenomenon; (e) men’s violence against women; and (f) pedophilia. Accordingly, this discourse is very conservative and normative in its view of sexuality, technology, and humanity. Overall, the dominant themes do not provide any space for positive effects of technology on human sexuality, and if they do, it is usually as a substitute for something else.

The COVID-19 Pandemic

Glimpse ◽  
2021 ◽  
Vol 22 (2) ◽  
pp. 131-144
Author(s):  
Duygu Onay-Coker ◽  
Keyword(s):  
Hegemonic Discourse ◽  
Health Politics ◽  
Mainstream Media ◽  
Representation Of Women ◽  
News Stories ◽  
Unequal Treatment ◽  
Traditional Gender Roles ◽  
The Media ◽  
The Government ◽  
Media Channels

The COVID-19 pandemic both highlighted and exacerbated deep societal inequalities. Vulnerable and disadvantaged groups, especially women, faced even more unequal treatment. During the lockdown, women at home performed more childcare, and shouldered more cooking and cleaning duties, while husbands spent most of their time in virtual meetings. The media played a crucial role during this situation through its representation of women. An analysis of the reportage of two bestseller print mainstream media, Sabah and Hürriyet, compared to two alternative media channels on the internet, GazeteDuvar and T24, highlighted a serious difference in perspective in news stories about women. Bestseller mainstream Turkish media ignored the difficulties faced by women and followed dominant hegemonic discourse emphasizing women as wives and mothers who sacrifice themselves for their children and families. They ignored the plight of women victims subjected to violence during the lockdown and reproduced the idea of traditional gender roles through their news items. However, alternative newspapers provided a voice to the women, as well as to the voiceless, disadvantageous groups. They were critical of the government, local authorities, related powers, and their health politics. They did not prefer to ignore women and their voices but instead announced them in detail.

scholarly journals Graffiti as a sign: the semiotic approach to the study of the phenomenon

2019 ◽  
Vol 9 (18) ◽  
pp. 92-98
Author(s):  
Maria Chikarkova ◽  
Keyword(s):  
Cultural Context ◽  
Single Point ◽  
Point Of View ◽  
Urban Life ◽  
Street Art ◽  
The Media ◽  
Cultural Code ◽  
The One ◽  
Different Characteristics

Although graffiti is a well-known phenomenon of street art, there is still no single point of view on this phenomenon (even if it is considered art at all). Both the essence and the manifestations of graffiti remain a matter of debate - there are dozens of different classifications, that they are based on different characteristics. However, the phenomenon has rarely attracted attention from the point of view of semiotics, though it is the semiotic reading of graffiti that makes it possible to understand its nature more deeply. Due to semiotics we could create an integrative classification, which would combine stylistics and subject matter into one system. The article made exactly such an attempt –providing of the semiotic classification of graffiti, based on Ch. Peirce’s classification of semiotic signs. Graffiti is a sign, because it has a material shell of the latter, a marked object and rules of interpretation. It functions within the subculture and signifies the individual's desire to escape from the deterministic nature of urban life (J. Baudrillard). It is a culture of the semiosphere, which continuously gives rise to new connotations and, accordingly, generates new receptions. An important component of graffiti interpretation is the cultural code; it is not read outside the field of conventionality, cultural context. Decoding of graffiti can occur in three ways. From our point of view, it is appropriate to use S. Hall’sclassification. He suggested a scheme for "decrypting" messages in the media, however, in our opinion, his scheme works for any communicative act (including graffiti). He distinguished dominant ("dominant-hegemonic"), oppositional ("oppositional") and negotiated ("negotiated") decoding. In the graffiti situation, oppositional decoding prevails among ordinary recipients (passers-by). U. Eco called this type aberrant, because it provides "decryption" of text with a different code than the one it was created for. Authors of graffiti themselves are often not fully aware of what they createalso. Modern writers use techniques of op-art, Dadaism, surrealism, etc., without being very oriented in all these directions. When graffiti combines different types of art (for example, the combination of painting with literature), it takes into account the features of inter-semiotic translation, which makes the decoding situation even more complicated. We offercreating a semioticclassificationofgraffiti, that might be based on Ch. Peirce’s classification of semiotic signs, whichdistinguishthesigns-copies, signs-indexes, signs-symbols. It could help the essence of graffiti and decode them.

scholarly journals Native Advertising—The Formats and Types of Content Most Demanded by Brands in the Spanish Media

2021 ◽  
Vol 2 (4) ◽  
pp. 529-544
Author(s):  
Daniel Zomeño ◽  
Rocío Blay-Arráez
Keyword(s):  
Social Media ◽  
Rapid Development ◽  
Editorial Content ◽  
Media Environment ◽  
The Social ◽  
Media Ecosystem ◽  
The Media ◽  
Media Formats ◽  
Depth Interviews

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.

scholarly journals Memory in Linguistic Narrative vs. Postmodern Multitasked Multimedia Art Memory

2018 ◽  
Vol 1 (2) ◽  
pp. 101
Author(s):  
Vesna Srnic ◽  
Emina Berbic Kolar ◽  
Igor Ilic
Keyword(s):  
Short Term Memory ◽  
Social Role ◽  
Procedural Memory ◽  
Short Term ◽  
The Social ◽  
Multimedia Art ◽  
The Media

<p><em>In addition to the well-known classification of long-term and short-term memory, we are also interested in distinguishing episodic, semantic and procedural memory in the areas of linguistic narrative and multimedial semantic deconstruction in postmodernism. We compare the liveliness of memorization in literary tradition and literature art with postmodernist divisions and reverberations of traditional memorizations through human multitasking and performative multimedia art, as well as formulate the existence of creative, intuitive and superhuman paradigms.</em></p><em>Since the memory can be physical, psychological or spiritual, according to neurobiologist Dr. J. Bauer (Das Gedächtnis des Körpers, 2004), the greatest importance for memorizing has the social role of collaboration, and consequently the personal transformation and remodelling of genomic architecture, yet the media theorist Mark Hansen thinks technology brings different solutions of framing function (Hansen, 2000). We believe that postmodern deconstruction does not necessarily damage memory, especially in the field of human multitasking that utilizes multimedia performative art by means of anthropologization of technology, thereby enhancing artistic and affective pre&amp;post-linguistic experience while unifying technology and humans through intuitive empathy in society.</em>

scholarly journals Medier og selvstændighed i Grønland

Politik ◽  
2019 ◽  
Vol 22 (1) ◽  
Author(s):  
Signe Ravn-Højgaard
Keyword(s):  
Nation Building ◽  
Digital Platforms ◽  
The Public ◽  
Media Regulation ◽  
Media System ◽  
The Media ◽  
Streaming Services ◽  
Potential Impact ◽  
Media Systems ◽  
Public Economy

This article discusses the potential impact of Greenlandic independence on Greenland’s media system and suggests initiatives necessary for maintaining strong Greenlandic media in the future. Using Manuel Puppis' (2009) theory of the characteristics of small media systems, the Greenlandic media system is described. It is shown that it is built with the following aim in mind: the media should support the Greenlandic society by being independent and diverse, strengthening the Greenlandic language, and providing quality journalism that can heighten the public debate. However, as a small media system it is vulnerable to global tendencies where legacy media lose users and advertisers to digital platforms like Facebook and streaming services. The article argues that the vulnerability of the Greenlandic media system could increase if independence leads to a tighter public economy, impeding the media's ability to support Greenlandic society and culture. An interventionist media regulation could, therefore, be a prerequisite for a strong Greenlandic media system that can act as a unifying and nation-building institution.

Trudeau begins his third term with continuity

2021 ◽  
Keyword(s):  
Foreign Aid ◽  
Prime Minister ◽  
French Language ◽  
Social Spending ◽  
Pacific Region ◽  
Content Type ◽  
Streaming Services ◽  
Liberal Government ◽  
Online Streaming ◽  
Canadian Content

Significance The Liberal government of Prime Minister Justin Trudeau is beginning its third term with an emphasis on post-pandemic issues. While there was little new in the speech, which mostly signalled a continuation of existing policies, more action is likely on environmental and Indigenous reconciliation issues. Impacts New legislation will underpin the equality of the French language with English in federally regulated workplaces. Reform of the Broadcasting Act to cover online streaming services will require them to generate more Canadian content. Substantial increases in the foreign aid budget are likely, as are new diplomatic efforts in the Indo-Pacific region. Promises of renewed investment in defence are likely to be downgraded given the emphasis on social spending.

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