scholarly journals COVID 19 MEDIA COVERAGE: AN ANALYSIS OF HEORHII POCHEPTSOV’S VIEW

2021 ◽  
Author(s):  
Oksana Levantovych
Keyword(s):  
Media Coverage ◽  
Political Crisis ◽  
Unexpected Event ◽  
Online Mode ◽  
Media Space ◽  
The World ◽  
Chinese Province ◽  
The Media ◽  
Artificial Nature ◽  
Great Game

The article analyses the peculiarities of the coverage of the covid pandemic in the Ukrainian media, the emphasis placed by the media in news, and how the online mode of modern life and social distancing affects the growth of media influence. Special attention is paid to the view of the famous publicist Heorhii Pocheptsov, who does not exclude the possibility that the coronavirus was invented intentionally to control millions of people around the world. Permanently, the world faces numerous challenges of different scales: economic, military, socio-political, environmental, epidemiological ones. In 2020, the largest and the most unexpected event, undoubtedly, was the deadly coronavirus pandemic, which spread from the small Chinese province of Wuhan to the whole world and already took more than one million people’s lives in less than a year. Thus, the media, that in the post-information society actually have an unprecedented impact on people, form a person’s perception of such challenges. As a result, our understanding of the pandemic is directly related to the information we consume from the media. In fact, from the very start of quarantine, the media space began to be captured by analytical materials in which experts from various fields tried to predict what the world would be like after the end of coronavirus. These experts were of two types: some claimed that irreversible changes would deepen the permanent economic and socio-political crisis, and by claiming that they intensified panic, while others argued that any crisis is a chance to restart and grow. The experts put different emphases covering the covid pandemic in the media, but it is important to pay attention to the analysis of the famous publicist, propaganda researcher – Heorhii Pocheptsov, who sees the coronavirus as a tool to influence millions of people. The pandemic will end sooner or later, but no matter whether the virus was artificially invented or not, the processes that have already been launched around the world cannot stop as if nothing had happened. But Heorhii Pocheptsov’s opinion about the possible artificial nature of the virus should make us more vigilant while consuming information from TVs or from the online media, as it is possible that this information might be a part of a great game that we were not warned about.

scholarly journals Image of "other" and "stranger" in the media space of Ukraine (for example, in the media coverage of the Church of Jesus Christ of Latter-day Saints

2016 ◽  
Vol 1 (19) ◽  
pp. 164-167
Author(s):  
Alla Boyko
Keyword(s):  
Media Coverage ◽  
Religious Organizations ◽  
Religious Movements ◽  
Latter Day Saints ◽  
Religious Groups ◽  
Protestant Churches ◽  
Media Space ◽  
The Media ◽  
The Church ◽  
Ukrainian Society

The multifunctionality enshrined in the Constitution of Ukraine and the tolerance of various religious groups that prevail in the Ukrainian society allow each citizen to find his way to God and publicly reveal his own worldview and worldview, including in the media. Therefore, in our society there should be an interest in different denominations and religious movements that are represented in the media space of the state. Some confessions, namely, the UOC-KP, UkhC, UOC-MP, Muslims, Jews, Protestant churches, are to some extent justified. But in Ukraine there are many religious organizations, around which there is a so-called information blockade, to a certain extent artificial. That is, some religious organizations operate outside the media, or information in the media about their activities is not sufficient, which often leads to various fabrications, speculation, which become the basis for stereotyped perception of a phenomenon.

scholarly journals Pandemic 2011: coming soon to a location near you.

2021 ◽  
Author(s):  
Jennifer Sacco
Keyword(s):  
Media Coverage ◽  
World Health ◽  
First Case ◽  
The World ◽  
Spanish Flu ◽  
Seasonal Flu ◽  
The Media ◽  
One Year ◽  
Health Organization ◽  
Lower Death Rate

"H1 N1 is a virus that has been sensationalized by the media since the first case was discovered in Mexico during the spring of 2009. People around the world feared that the virus would mutate into something as severe as the 1918 Spanish flu, one of the deadliest plagues in history. However experts had discovered by June of 2009 that the Spanish flu was not comparable to H1 N1. Yet for six months newspaper reporters continued to compare the ew epidemic to the Spanish flu, thus keeping alive the threat of an unstoppable pandemic. One year has passed since the first case of H1 N1 was confirmed. After all of the attention that H1 N1 received, it proved to be not much different than a typical seasonal flu, resulting in a lower death rate (Schabas and Rau, 2010). Recently, a number of investigations have begun to determine if the World Health Organization (WHO) overemphasized the level of risk, resulting in a large quantity of sensationalized media coverage, and citizens in a state of panic.

scholarly journals Application of innovative technology "Media Synergy" in the process of training specialists at the technical university in the conditions of digitalization of education

2020 ◽  
Vol 210 ◽  
pp. 18012
Author(s):  
Tatiana Vlasova ◽  
Evgenia Krasnova
Keyword(s):  
Professional Education ◽  
Modern Society ◽  
Educational Technologies ◽  
Innovative Technology ◽  
Media Space ◽  
The World ◽  
The Media ◽  
Technical University ◽  
Ethical Component ◽  
Manipulative Techniques

The article is devoted to the innovative technology of upbringing students "Media synergy", which was used for four years of training teachers at the technical University in a prolonged experiment. Special attention is paid to the analysis of educational technologies that are used in higher foreign and domestic professional education, including information, health-saving, subject, media, upbringing, in the conditions of digitalization of all spheres of life in modern society. The article substantiates a set of conceptual ideas that allowed us to determine the criteria of the spiritual and ethical component of the existential period of students. Models of the "Media synergy" technology were developed; the results of the application of innovative technology were summarized, which allowed to realize the main goal in the professional education of teachers – to overcome the pseudo-virtual picture of the world in the minds of students through synergetic relationships between equal partners and through interaction based on anti-manipulative techniques in the media space.

To The Internet, From The Internet: Comparative Media Coverage Of Transnational Protests

2003 ◽  
Vol 8 (3) ◽  
pp. 249-272 ◽  
Author(s):  
Paul Almeida ◽  
Mark Lichbach
Keyword(s):  
New York ◽  
Web Sites ◽  
Media Coverage ◽  
World Trade ◽  
New York Times ◽  
The Internet ◽  
Event Reporting ◽  
Comparative Media ◽  
The World ◽  
The Media

We compare activist-based internet data with four other media sources—Lexis Nexis Academic Universe, The Seattle Times, Global Newsbank, and The New York Times—on their coverage of the local, national, and international protests that accompanied the World Trade Organization's (WTO) Third Ministerial Conference in Seattle, Washington in late 1999. Using the Media Sensitivity-Protest Intensity Model of event reporting, we find that activist-based web sites report a greater number of transnational protest events at the local, national, and international level. We also find that activist-based websites are less positively influenced by the intensity properties of protest events. In the age of globalization, research on transnational movements should therefore combine conventional media sources and activist-based web sources.

scholarly journals Verbal and linguocultural content of a text

2021 ◽  
pp. 18-32
Author(s):  
Myroslava Mamych ◽  
Keyword(s):  
Mass Media ◽  
Structural Level ◽  
Literary Language ◽  
Human Needs ◽  
A Value ◽  
Media Space ◽  
The World ◽  
Verbal Content ◽  
The Media ◽  
The Mass Media

This article gives a detailed account of one of the topical issues of modern integrative linguistic stylistics, i.e., substantiation of the content of the latest concepts that are formed within the interrelated disciplines. Attention is specifically paid to the terms media stylistics, verbal and linguocultural content of the media. The author elaborates on the concept of linguocultural content of the media text interpreting it as linguistic and aesthetic signs of culture, components of linguistic and informational pictures of the world, i.e., a value-content meaning of the mass media which unfolds and concretizes the general and nationally marked concepts, and as a regular manifestation of the language norm. The data of the magazine A Woman shows that the verbal content is a significant, specific segment of the functioning of the modern Ukrainian literary language in the media space. It reflects the universal stratification of the language of national professional, social, every day, and artistic culture, the synergy of its mediatopes and media genres, broadcasts a hierarchy of social (socio-political, gender), psychological and economic stereotypes, and human needs. They are all united by the Ukrainian-centric linguocultural platform which consists of both value-semantic signs of culture and structural-level units of the literary-linguistic continuum. In terms of media stylistics, the language of Ukrainian-language media is analyzed in two complementary perspectives: 1) via metaphorical-associative field structures with specific core nominations; 2) via the principles of realization of the media structural-level norm in the mass media. Keywords: media stylistics, verbal content, linguocultural indicator of value, metaphorical-associative field, language norm, sign of culture.

scholarly journals Communication, Negotiation, and Influence at International Climate Change Meetings and Summits

2017 ◽  
Author(s):  
Hartmut Wessler ◽  
Julia Lück ◽  
Antal Wozniak
Keyword(s):  
Climate Change ◽  
Civil Society ◽  
Media Coverage ◽  
Clean Energy ◽  
Future Research ◽  
Production Environment ◽  
Intergovernmental Panel ◽  
The World ◽  
The Media ◽  
The Impact

The annual United Nations Climate Change Conferences, officially called Conferences of the Parties (COPs), are the main drivers of media attention to climate change around the world. Even more so than the Rio and Rio+20 “Earth Summits” (1992 and 2012) and the meetings of the Intergovernmental Panel on Climate Change (IPCC), the COPs offer multiple access points for the communicative engagement of all kinds of stakeholders. COPs convene up to 20,000 people in one place for two weeks, including national delegations, civil society and business representatives, scientific organizations, representatives from other international organizations, as well as journalists from around the world. While intergovernmental negotiation under the auspices of the UN Framework Convention on Climate Change (UNFCCC) constitutes the core of COP business, these multifunctional events also offer arenas for civil society mobilization, economic lobbying, as well as expert communication and knowledge transfer. The media image of the COPs emerges as a product of distinct networks of coproduction constituted by journalists, professional communicators from non-governmental organizations (NGOs), and national delegations. Production structures at the COPs are relatively globalized with uniform access rules for journalists from all over the world, a few transnational news agencies dominating distribution of both basic information and news visuals, and dense localized interaction between public relations (PR) professionals and journalists. Photo opportunities created by globally coordinated environmental NGOs meet the selection of journalists much better than the visual strategies pursued by delegation spokespeople. This gives NGOs the upper hand in the visual framing contest, whereas in textual framing NGOs are sidelined and national politicians clearly dominate media coverage. The globalized production environment leads to relatively similar patterns of basic news framing in national media coverage of the COPs that reflect overarching ways of approaching the topic: through a focus on problems and victims; a perspective on civil society demands and solutions; an emphasis on conflict in negotiations; or a focus on the benefits of clean energy production. News narratives, on the other hand, give journalists from different countries more leeway in adapting COP news to national audiences’ presumed interests and preoccupations. Even after the adoption of a new global treaty at COP21 in Paris in 2015 that specifies emission reduction targets for all participating countries, the annual UN Climate Change Conferences are likely to remain in the media spotlight. Future research could look more systematically at the impact of global civil society and media in monitoring the national contributions to climate change mitigation introduced in the Paris Agreement and shoring up even more ambitious commitments needed to reach the goal of keeping global warming well below 2 degrees Celsius as compared to pre-industrial levels.

Visual Arts Festivals and Globalisation, The rise of biennials

2016 ◽  
Author(s):  
Monica Sassatelli
Keyword(s):  
Contemporary Art ◽  
Media Coverage ◽  
Global Scale ◽  
Art World ◽  
Art Exhibitions ◽  
Global Culture ◽  
The World ◽  
The Media ◽  
Cultural Power ◽  
First Time

Biennials or biennales are periodic, independent and international art exhibitions surveying trends in contemporary art; since the 1990s they have proliferated across the globe. Biennials are much more than curated displays, they constitute ‘festival-exhibitions’ working as “a public model and a shifting backdrop against which the meanings of contemporary art are constructed, maintained and sometimes irrevocably altered” (Ferguson et al., 2005: 48). Whilst most contemporary post-traditional festivals (Giorgi and Sassatelli, 2011) have ancient roots, it is only in recent years that they have become an almost ubiquitous fixture of cultural calendars in cities around the world. This current proliferation is even more striking for art biennials. They arguably originate from the Venice Biennale, held for the first time in 1895, but have long exceeded their European, Western origin to establish a global format. Up to the 1980s they were only reproduced in a handful of examples; today biennials and derivates (triennials and others) have become key institutional nodes linking production, consumption and distribution of contemporary art. With now over 150 biennials around the world, we are increasingly likely to encounter contemporary art through their mediation, directly as visitors or more indirectly via the nebula of critical discourse and more generally the media coverage they generate. The phenomenon attracting attention has become not just the biennials but more specifically the biennalisation of the art world. The term biennalisation is used within the art world itself as shorthand to refer to the proliferation and standardisation of biennial exhibitions under a common (if rather loose) format. Sociologically, biennalisation can thematise the shifting set of cultural classifications, practices and values that differentiate the contemporary art world, affecting both its content (now sometimes referred to as biennial art) and the type of rationale and experience it crystallises. As phenomena that increasingly represent themself “on a global scale” (Vogel 2010), biennials offer a unique vantage point to access what is often termed ‘global culture’. However, they remain rarely empirically studied in clearly defined contexts, especially beyond affirmation or negations of their measurable impact (Buchholz and Wuggenig, 2005). Reprising within the art world unsolved dilemmas in the analysis of cultural globalisation, alleged optimists see in biennials the “embracing of a democratic redistribution of cultural power” (De Duve 2009: 45); whilst pessimists point rather to the “recognition of a new form of cultural hegemony and re-colonization” (2009: 45). This chapter traces the rise of the biennial, across time and space, providing contextualisation and interpretation for what are now often hyperbolic accounts of “hundreds of biennials” (Seijdel 2009: 4) across the globe.

scholarly journals Editorial: ‘One City, Many Tales’: COVID-19, perception, and the importance of contextualization

2021 ◽  
Vol 6 (1) ◽  
pp. 3-7
Author(s):  
Xiaoling Zhang
Keyword(s):  
Media Coverage ◽  
Soft Power ◽  
Special Issue ◽  
Health Crisis ◽  
Image Construction ◽  
The World ◽  
The Media ◽  
Methodological Approaches ◽  
Media Narratives ◽  
The Relationship

This introduction to the special issue summarizes the contributions from the five leading scholars in the field—their contribution to the conceptualization of such concepts as soft power, sharp power, image shaping, image reception, as well as methodological approaches. It highlights the importance of contextualizing their findings for a full understanding of the image of China in the media narratives examined. In doing so, the Introduction lays foundation for further investigations on the relationship between media coverage of health crisis and image construction as the world continues to fight against the virus.

scholarly journals Humor in German media coverage of Poland and Poles

2019 ◽  
pp. 273-294
Author(s):  
Mariusz Jakosz
Keyword(s):  
Media Coverage ◽  
Strong Influence ◽  
Negative Image ◽  
German Press ◽  
Norms And Values ◽  
Social Discourses ◽  
The World ◽  
Introductory Part ◽  
The Media ◽  
The One

Media play a significant role in perceiving the world and constructing our conception of reality since the samples of social discourses exposed in the media have a strong influence on the shaping of the image of nations, opinions, attitudes, and hierarchies of values. The present article discusses humorous content in German press, television, and Internet coverage from recent years, which has reinforced a negative image of Poland and Poles in German minds. In the introductory part, the attention is focused on presenting the essence and functions of humor in the light of contemporary humor research, with a special emphasis placed on the interdependencies between humor, language, and discourse on the one hand, and ethnic cultures on the other, which differ in terms of preferred norms and values.

scholarly journals Surgical Emotions: How TV and Newspaper Coverage Furthered the Cause of Heart Transplantation in France (1968–1973)

Gesnerus ◽  
2019 ◽  
Vol 76 (2) ◽  
pp. 279-307
Author(s):  
Philippe Chavot ◽  
Anne Masseran
Keyword(s):  
Heart Transplantation ◽  
Media Coverage ◽  
Public Support ◽  
Newspaper Coverage ◽  
The World ◽  
The Media ◽  
Early Operations ◽  
Two Peaks

This paper shows the influence of media coverage for the fate of heart transplantation in France. It argues that the media’s support not only reinforced the graft’s medical legitimacy, but also sustained the practice by mobilizing public support. Our study focuses on two peaks in media coverage. The first took place in 1968/69, as the first grafts in the world and in France were performed. The second occurred in 1973, when surgeries resumed in France following a four-year hiatus due to the mixed results of the early operations. French transplants were then largely covered on TV and in newspapers. We examine the reasons for these peaks in coverage and the underlying rationales of the alliance between French surgeons and journalists. Cross-analysis of TV and print productions sheds light on the media devices used to enlist the general public’s moral support. It shows that state television proved an effective platform for doctors, allowing for a different kind of storytelling than in newspapers.

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