scholarly journals Producers, Sponsors and Fans of Tiger & Bunny: A Case Study of the Flow of Media Content in Convergence Culture

2018 ◽  
Author(s):  
Erika Junhui Yi
Keyword(s):  
Real Life ◽  
Product Placement ◽  
Participatory Culture ◽  
Reality Tv ◽  
Sense Making ◽  
Convergence Culture ◽  
The Media ◽  
Media Reports ◽  
Tv Show

The popular Japanese anime Tiger & Bunny has become a topic of discussion in media reports because of its eye-catching product placement approach. This paper is a case study on this superhero anime in order to demonstrate that the convergence in media is a process both top-down corporate-driven and bottom-up consumer-driven. The unique feature of this anime is the integration of product placement with the story itself. The sponsors in real life place their product logos onto the hero suits of the superheroes in the anime, whom are celebrity superheroes of a reality TV show in the story universe. Therefore, in the story world of this anime, characters are dealing with a highly commercialized media convergence themselves.This research illustrates the change in audience attitude and their reflections on such commercialization within and outside of the story world. The data unfolds the changing relationship between audience and producers and the influence of participatory culture on the media production, especially in the realm of audience's sense making towards the product placement within the show.

scholarly journals FROM MOCKUMENTARY TO INTERNET MEME: THE BRITISH MEDIA, CELEBRITY, AND PRINCE HARRY’S SECOND MILITARY DEPLOYMENT TO AFGHANISTAN

2021 ◽  
pp. 73-85
Author(s):  
Richard A. Voeltz `
Keyword(s):  
Public Relations ◽  
Reality Tv ◽  
The Internet ◽  
Strong Reaction ◽  
The Public ◽  
Internet Age ◽  
The Media ◽  
Unlimited Access ◽  
Television Coverage ◽  
Tv Show

Media critics of the war in Afghanistan and Prince Harry’s participation in it hoped that his imagined kidnapping by the Taliban portrayed in the British TV mockumentary The Taking of Prince Harry (2010) would prevent his return to Afghanistan. Prince Harry’s first deployment to Afghanistan in 2007-2008 was conducted under a media blackout to protect him from potential Taliban threats. He returned home after news of his service leaked out on the internet. However, his second deployment to Afghanistan after the mockumentary aired was radically different. The British media was now given almost unlimited access to Captain Wales in terms of interviews, television coverage, and video postings on YouTube. Prince Harry’s second 20 weeks serving in Afghanistan from 2012 to 2013 became an effective reality TV show and viral internet sensation, culminating in the propaganda documentary exercise of Prince Harry: Frontline Afghanistan (2013) that the British government and military hoped would erase the public relations disaster associated with his first deployment that prompted the making of The Taking of Prince Harry. But the successful packaging of Prince Harry proved difficult in the Internet Age. In fact, the perceived unfair treatment of Harry by the media prompted such a strong reaction in him that it can be seen as instrumental in the current attempts by Harry and Meghan to establish new identities separate from the monarchy through a newly refashioned celebrity.

The Mars Meteorite: A case study in controls on dissemination of science news

2000 ◽  
Vol 9 (1) ◽  
pp. 15-41 ◽  
Author(s):  
Vincent Kiernan
Keyword(s):  
American Association ◽  
News Coverage ◽  
Press Coverage ◽  
Science News ◽  
The Media ◽  
Media Reports

Through interviews with participants and analysis of media reports, this paper reconstructs the preparations for the 1996 announcement of the discovery of evidence of fossilized life in a meteorite from Mars. The National Aeronautics and Space Administration (NASA) and the American Association for the Advancement of Science (AAAS) attempted to manipulate the timing and manner of press coverage. Contrary to the stated rationale for embargoes on science news, premature disclosure of the paper in the media resulted in news coverage that was largely accurate.

Police officer or social media star? Live PD and microcelebrity

2020 ◽  
Vol 8 (3) ◽  
pp. 237-249 ◽  
Author(s):  
Alex McVey
Keyword(s):  
Social Media ◽  
New Media ◽  
Police Officers ◽  
Public Discourse ◽  
Reality Tv ◽  
Self Presentation ◽  
Visual Access ◽  
The Media ◽  
Tv Show ◽  
Fan Engagement

This article examines the rhetorical strategies of microcelebrity in the reality TV show Live PD. Live PD is an important text for understanding how police work with the entertainment industry to create selective strategies of self-presentation in the wake of the media challenges posed by the Black Lives Matter movement. It shows how police draw on new media and social media to shape public discourse about police and promote alternative images of police officers. It also shows how police mobilize the techniques of reality TV, fan engagement and social media to respond to emergent crises of police credibility. This article argues that Live PD’s rhetorics of microcelebrity use intimate visual access and fan engagement to create new modes of cultural attachment to police power while also substituting affective sensations of intimacy for substantive demands of police accountability.

Transgender idol: Queer subjectivities and Australian reality TV

2016 ◽  
Vol 20 (1) ◽  
pp. 87-103 ◽  
Author(s):  
Joanna McIntyre
Keyword(s):  
United States ◽  
Minority Groups ◽  
The United States ◽  
Reality Tv ◽  
Normative Framework ◽  
Cross Pollination ◽  
Tv Shows ◽  
Tv Show

Transgender is a marginalised category to which reality TV has given visibility, yet it is usually overlooked in observations regarding the minority groups that have gained mainstream representation through these programmes. Popular Australian reality TV shows have provided a unique space for the constructive representation of certain queer subjectivities. The Australian reality TV contestants in question present gendering that embraces ambiguity, that is, they demonstrate the deliberate disruption and blurring of gender/sex category divisions. This article examines the ways in which Australian reality TV’s representations of transgender contestants remain robustly queer while also being negotiated and made palatable for ‘family’ television audiences. It asserts the reality TV shows that feature transgender performance orchestrate a balance between queer expression and its containment. This article also takes as a case study a particularly successful Australian transgender reality TV contestant, Courtney Act. It argues Act’s representation of queerness was ‘managed’ within the normative framework of mainstream television yet she is still significantly troubled by gender binaries during her time on Australian screen. In 2014, she appeared as a contestant on the United States’ queer-themed reality TV show RuPaul’s Drag Race and again proved to be a reality TV success. This transnational intersection of transgender performance signalled the productive possibilities of international cross-pollination in regard to affirmative reality TV representations of marginalised subjectivities. At the same time, however, it also revealed the localised nature of reality TV, even in those shows with an international queer appeal.

Versifying Batman: Superheroes in contemporary poetry

2019 ◽  
Vol 5 (2) ◽  
pp. 268-286
Author(s):  
Jeff Thoss
Keyword(s):  
Comic Book ◽  
Contemporary Poetry ◽  
Participatory Culture ◽  
Media Ecology ◽  
Media Culture ◽  
Convergence Culture ◽  
The Us ◽  
The Media ◽  
The Uk ◽  
Alan Moore

AbstractSince the late 1980 s, poets from the US and, to a lesser extent, the UK have increasingly featured superheroes in their work, mostly appropriating iconic figures along the lines of Batman or Superman and exploring some aspect of their personality (e. g., Batman’s relationship to Robin, Superman’s loneliness) in dramatic monologues. The prevailing if not sole account of this phenomenon argues that these characters provide a shared mythology to a generation of writers to whom biblical and classical references are no longer readily available. It also ties the superheroes’ provenance exclusively to the medium of comics. This latter point, in particular, is open to debate, insofar as since the late 1980 s, superheroes are, more than ever, part of media franchises that treat comic books as but one among many outlets. The present article hence views the superheroes in poetry not so much as an appropriation of comic book but of transmedia characters. Simon Armitage’s seminal poem “Kid” (1992), for instance – a diatribe by Robin directed at Batman’s dismissal of him – resonates as much with the 1960 s TV series or Tim Burton’s Batman films (1989, 1992) as with the dark knight’s reinvention at the hands of comic book writers such as Frank Miller or Alan Moore. At the same time, the article aims to locate the place of the seemingly insular genre of poetry within a “convergence culture” that disseminates superheroes in the media ecology. Evidently, the “superhero poems” are not licensed creations that partake in officially sanctioned transmedia networks. Neither, however, are they a product of fandom and participatory culture. Instead, I would suggest that poetry here tentatively engages with the media culture that has factored into its marginalization during the past decades.

In the Frame: Crime and the Limits of Representation

1996 ◽  
Vol 29 (2) ◽  
pp. 81-101 ◽  
Author(s):  
Alison Young
Keyword(s):  
Cultural Representation ◽  
The Media ◽  
Media Reports

Recent research in criminology has taken up the question of the representation of crime. This article seeks to show, by means of a case study, that the question of representation should be addressed less in terms of its correspondence to reality, but rather in terms of its own structures. These structures enable us to see how crime is staged as a problem in and of cultural representation. The case study analysed is that of the James Bulger case in Britain: the murder of a two year old boy by two 10 year old boys, the ensuing trial and sentencing of the boys for murder and abduction. The article analyses three themes which were prominent in the media reports (representations of the nature of childhood; the maternal relation; and the paternal figure). The article also demonstrates, by means of an analysis of the reliance upon a technology of the image in the case, that there are limits to representation: as the desire or demand for representation seeks to see the event of abduction and murder, that event can only be represented as lack or absence.

Doing gender and leadership

2011 ◽  
Vol 4 (1) ◽  
pp. 85-111 ◽  
Author(s):  
Chit Cheung Matthew Sung
Keyword(s):  
Leadership Style ◽  
Project Managers ◽  
Reality Tv ◽  
Media Representations ◽  
Gender And Leadership ◽  
Discourse Strategies ◽  
The Media ◽  
Tv Show ◽  
Masculine Discourse ◽  
Gendered Expectations

This article examines the media representations of gender and leadership discourse in the debut season of the American reality TV show The Apprentice. By drawing upon the method of discourse analysis, I analyse the leadership styles that two male and two female project managers employ in ‘doing leadership’. The analysis shows that two of the managers display discourse styles of leadership which largely conform to traditional gendered expectations, and that two other managers employ a ‘mixed’ leadership style by making use of some discourse features that are indirectly indexed for the other gender. It is revealed that a masculine discourse style is still represented as the preferred, default way of doing leadership, and that the combination of discourse strategies which are stereotypically coded as masculine and feminine in ‘doing leadership’ is represented most favourably in the reality TV show. Based on the data analysis, it is also argued that female managers may be under more constraints in using ‘mixed’ gendered strategies and in violating stereotypically gendered speech norms when enacting leadership at work.

scholarly journals The video Three Things About Islam: Islamophobia online or a religious dialogue?

2013 ◽  
Vol 25 ◽  
pp. 222-231 ◽  
Author(s):  
Ruth Tsuria
Keyword(s):  
Free Speech ◽  
Social Order ◽  
Participatory Culture ◽  
The Internet ◽  
Important Phenomenon ◽  
Religious Dialogue ◽  
The Media

Some scholars view the internet as a place of democracy, where free speech leads to sincere dialogue. Others see it as a place which, instead of endorsing dialogue, actually promotes the offline social order and creates even more animosity between different groups. This paper explores the option of online dialogue in the media of YouTube. It is done so by addressing the rather heated issue of Islamophobia, through the case study of a YouTube video titled Three Things About Islam.The ideology behind the video seems to support the notion of Islam as a threat and its presentation of Islam is closed-minded and tends to generalize. In this case the participatory culture of the media in which the video was presented, YouTube, created a dialogue between anti-Islamists and supporters of Islam. This dialogue, like many dialogues, might not change the opinions of either side, but the mere fact that the online sphere embraces and promotes religious dialogue is an important phenomenon.

Leaping to conclusions: archaeology, gender and digital news media

Antiquity ◽  
2015 ◽  
Vol 89 (344) ◽  
pp. 472-477
Author(s):  
Lucy Shipley
Keyword(s):  
Digital Media ◽  
News Media ◽  
The Public ◽  
Digital News ◽  
The Press ◽  
The Media ◽  
Media Reports ◽  
The Public Sphere ◽  
The Impact

In the autumn of 2013, a discovery was made in the Doganaccia necropolis close to the ancient Etruscan city of Tarquinia. A sepulchre was uncovered, mercifully and unusually unlooted. Inside were the remains of two individuals and a range of grave goods, allowing the tomb to be typologically dated to the late seventh or early sixth century BC. One of the individuals had been cremated, while the other was laid out in a supine position. Both were placed on funeral benches similar to those known from Etruscan tombs across the region (Steingräber 2009). This excavation was as unusual as it was spectacular—the equally vigorous efforts of nineteenth-century enthusiasts (Leighton 2004: 12) and twentieth-century tomb robbers (van Velzen 1999: 180) have left little of the Etruscan burial record undisturbed. Unsurprisingly, there was a great deal of media excitement over the burial, as its excavator, distinguished Etruscan scholar Alessandro Mandolesi, spoke with the press of his impressions of the remains and their relationship to the artefacts found in the tomb. Little of his exact words remain in the public sphere, but the impression he provided to the press was clear in the flurry of media reports that followed his statement. The ensuing media interest and archaeological developments present a number of serious issues for the practice of archaeology in an age in which digital media can magnify the impact of any major discovery. In addition, the interpretation put forward exposed the continued androcentrism inherent in many sub-disciplines of archaeology, which, 30 years on from Conkey and Spector's (1984) transformative publication, remain locked in deeply problematic interpretative patterns. This interpretation of the Tarquinia burial is emblematic of a far wider phenomenon, both within and beyond Italy, which has serious implications for future archaeological practice. This article unpicks both the media storm and interpretative paradigms that characterised this case study, and queries archaeological responsibility and visibility in an age of 24-hour news.

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