Sport Omnibus Events as Media Shows

2016 ◽  
pp. 194-210
Author(s):  
Diana-Luiza Dumitriu
Keyword(s):  
Social Field ◽  
Social Agenda ◽  
Media Events ◽  
Sport Competition ◽  
The Social ◽  
The Media ◽  
Commercial Value ◽  
Tv Shows ◽  
The Aesthetic ◽  
Sport Events

Inside the wider commodification process that the social field of sport has been subject to, sport events are not only about the competition itself, but they have become a global multilayered show. The ‘symbiotic relationship' (Valgeirsson & Snyder, 1986, p. 131) between sport and media made them one of the most successful entertaining products as they provide an intense spectatorship experience. The main aim of this chapter is to focus on the media-sport nexus in order to understand the impact that this hybridization process between the two social fields had on sport events? How media reflect and redefine sport competitions as media events? What are the main aspects that make sport events so competitive on the wider entertaining (media) market? Despite the undisputable transformative effects brought by sport competitions entering the media logic, I will argue that there is also a reverse effect that major sport events exert upon the media field, focusing mainly on their interruptive quality (Dayan & Kats, 1992) in terms of media and social agenda. In discussing these aspects I will narrow down the analysis on the major sport competitions, as they are the most complex media-sport constructs. The ‘fun factor' (Kellner, 2003, p. 3) and the emotional flow of the competition reach their most spectacular form through what I call omnibus events. By omnibus events I refer to major competitions on the sport global map that are defined as impressive shows, involving world wide audiences, significant number of sport acts and actors and high commercial value (i.e. The Olympic Games, The World Cup). More important, their vortextual nature (Whannel, 2002) makes them referential for the public agenda, drawing everyone's attention and building alternative ways to connect large number of people to them. The chapter will approach these sport omnibus events as media shows by analyzing their multilayered structure: the dramaturgical dimension of sport acts and its corollary management of impression, the ritual dimension of sport ceremonial practices, the axiological dimension of sport events as social values' system, the commercial dimension of sport events as products on the entertaining and celebrity market, the aesthetic dimension of sport acts as expressive media constructs and their emotional dimension in terms of spectatorship experience. On this last dimension there are two main aspects that I will focus on, one regarding the live-remote experience and the other one directed towards the multiplication process of sport competition related events (from special TV shows, social media events, to thematic parties or marketing events). Media's centrality inside the social field of sport came with a consistent spectacularization effect, contributing to sport competition becoming resourceful media shows in terms of public impact and commercial value, a process that this chapter manages to lay emphasis on by addressing the multilayered nature of such events.

Sport Omnibus Events as Media Shows

2018 ◽  
pp. 538-554 ◽  
Author(s):  
Diana-Luiza Dumitriu
Keyword(s):  
Social Field ◽  
Social Agenda ◽  
Media Events ◽  
Sport Competition ◽  
The Social ◽  
The Media ◽  
Commercial Value ◽  
Tv Shows ◽  
The Aesthetic ◽  
Sport Events

Inside the wider commodification process that the social field of sport has been subject to, sport events are not only about the competition itself, but they have become a global multilayered show. The ‘symbiotic relationship' (Valgeirsson & Snyder, 1986, p. 131) between sport and media made them one of the most successful entertaining products as they provide an intense spectatorship experience. The main aim of this chapter is to focus on the media-sport nexus in order to understand the impact that this hybridization process between the two social fields had on sport events? How media reflect and redefine sport competitions as media events? What are the main aspects that make sport events so competitive on the wider entertaining (media) market? Despite the undisputable transformative effects brought by sport competitions entering the media logic, I will argue that there is also a reverse effect that major sport events exert upon the media field, focusing mainly on their interruptive quality (Dayan & Kats, 1992) in terms of media and social agenda. In discussing these aspects I will narrow down the analysis on the major sport competitions, as they are the most complex media-sport constructs. The ‘fun factor' (Kellner, 2003, p. 3) and the emotional flow of the competition reach their most spectacular form through what I call omnibus events. By omnibus events I refer to major competitions on the sport global map that are defined as impressive shows, involving world wide audiences, significant number of sport acts and actors and high commercial value (i.e. The Olympic Games, The World Cup). More important, their vortextual nature (Whannel, 2002) makes them referential for the public agenda, drawing everyone's attention and building alternative ways to connect large number of people to them. The chapter will approach these sport omnibus events as media shows by analyzing their multilayered structure: the dramaturgical dimension of sport acts and its corollary management of impression, the ritual dimension of sport ceremonial practices, the axiological dimension of sport events as social values' system, the commercial dimension of sport events as products on the entertaining and celebrity market, the aesthetic dimension of sport acts as expressive media constructs and their emotional dimension in terms of spectatorship experience. On this last dimension there are two main aspects that I will focus on, one regarding the live-remote experience and the other one directed towards the multiplication process of sport competition related events (from special TV shows, social media events, to thematic parties or marketing events). Media's centrality inside the social field of sport came with a consistent spectacularization effect, contributing to sport competition becoming resourceful media shows in terms of public impact and commercial value, a process that this chapter manages to lay emphasis on by addressing the multilayered nature of such events.

Media meta-commentary and the performance of expertise

2017 ◽  
Vol 21 (3) ◽  
pp. 340-356 ◽  
Author(s):  
Ronald N. Jacobs ◽  
Eleanor Townsley
Keyword(s):  
First Century ◽  
Media Industry ◽  
Expert Performance ◽  
Regulatory Changes ◽  
Peculiar Form ◽  
The Social ◽  
The Media ◽  
The Aesthetic ◽  
Primary Basis ◽  
Media Practices

This article examines the rise of meta-commentary in US media, and considers the consequences it has for the social construction and the performance of intellectual expertise. Media meta-commentary is defined as critical reflection about media practices and performances, in which the primary basis for criticism is the comparison of different media formats. Meta-commentary began to emerge with the differentiation of the aesthetic sphere and the development of a new kind of expert, the cultural critic. Cultural criticism led to a proliferation of expert performance styles, including a type of counter-performance that rejects the somber and serious nature of traditional intellectual practices. By the 1980s, these new styles of intellectual performance were being reinforced by important institutional and regulatory changes within the media industry, and ultimately by the proliferation of new digital technologies and DIY culture. By the twenty-first century, media meta-commentary had become a distinctive and peculiar form of expert discourse, which legitimates the act of criticism while also relativizing it. The current environment suggests two possible outcomes: a hopeful one that encourages greater reflexivity, and a more ominous one that points toward populism.

scholarly journals Countervailing aesthetics? Depictions of British Muslims and the multicultural working class in post-7/7 art

2018 ◽  
Vol 53 (2) ◽  
pp. 240-254
Author(s):  
Madeline Clements
Keyword(s):  
Working Class ◽  
Cultural Context ◽  
First Century ◽  
Community Members ◽  
The Social ◽  
Islamic Terrorism ◽  
Breeding Grounds ◽  
The Media ◽  
The Aesthetic ◽  
British Culture

This article considers the significance of artist Philip Gurrey’s 2008 series of portraits of members of multicultural working-class communities in Beeston, Leeds, in the social, political, and cultural context of the aftermath of the 7/7 bombings. Reflecting on the impetus for making these works, Gurrey has observed that “the predominant rhetoric [in 2007] was almost as if this place was generating extremism” (2014a: n.p.). In his opinion, “the artist’s prerogative is to look at the aesthetic generated; the feel and mood of the place as portrayed by the media was completely wrong” (2014b). This essay focuses on The Beeston Series (2008–2009) of paintings, which Gurrey composed by merging and splicing together the features and skin-tones of the suburb’s community members, and subsequently exhibited to local audiences at the BasementArtsProject in south Leeds, a space removed from the metropolitan centres that appeared either to dismiss or to demonize them. Drawing on Jill Bennett’s explorations of art as the “critical, self-conscious manipulation of media” (2012: 6), this article goes on to explore how such mundane and unsensational, though striking, portraits presented an aesthetic that ran counter to contemporaneous representations of such communities as the breeding grounds of Islamic terrorism. It argues that through such critical, aesthetic approaches, artists in twenty-first-century Britain contest still-dominant discourses around the failure of multiculturalist policies and supposed alienness to indigenous British culture of Muslim identities, and fears about the harbouring of an “enemy within”. In doing so, it draws comparisons between Gurrey’s regionally-specific paintings and other more metropolitan attempts to depict the aesthetic realities of 7/7, the perpetrators of such attacks, and the multicultural, working-class identities scrutinized in their wake. Works discussed in relation to The Beeston Series include Mark Sinckler’s controversial drawing Age of Shiva (2008), and Faiza Butt’s Is This the Man (2010) portrait series.

scholarly journals ESTETIKA KARAKTER ANIMASI PADA MEDIA KOMUNIKASI SOSIAL DENGAN KATEGORI AUDIENCE REMAJA

2020 ◽  
Vol 4 (1) ◽  
pp. 10-16
Author(s):  
Gede Lingga Ananta Kusuma Putra ◽  
Gede Pasek Putra Adnyana Yasa
Keyword(s):  
Social Communication ◽  
Qualitative Method ◽  
Communication Process ◽  
Ethical Values ◽  
Aesthetic Value ◽  
Technological Advances ◽  
The Social ◽  
The Media ◽  
The Aesthetic ◽  
High Level

Animation currently shows a fairly high level of flexibility due to the influence of increasingly rapid technological advances. An animation should ideally have aesthetic value, by knowing the aesthetic location in the animation, it is hoped that the social communication process will be more effective. In this article, we use a qualitative method by examining several existing animations, and using literature related to the cases raised in order to obtain more accurate data. Ethical values ​​are needed in a communication medium, in order to attract the attention of the target audience, so that the information contained in the media can be conveyed. Implementation of the aesthetic of animated characters can apply the principle of appeal, so that these characters become more attractive.

Murder with Impunity: The Construction of Arab Masculinities and Honor Crimes

1970 ◽  
pp. 38-45
Author(s):  
May Abu Jaber
Keyword(s):  
Violence Against Women ◽  
Social Boundaries ◽  
Religious Institutions ◽  
The Social ◽  
The Family ◽  
The Media ◽  
The One ◽  
Male Authority ◽  
Cultural Networks ◽  
Gender Specific

Violence against women (VAW) continues to exist as a pervasive, structural,systematic, and institutionalized violation of women’s basic human rights (UNDivision of Advancement for Women, 2006). It cuts across the boundaries of age, race, class, education, and religion which affect women of all ages and all backgrounds in every corner of the world. Such violence is used to control and subjugate women by instilling a sense of insecurity that keeps them “bound to the home, economically exploited and socially suppressed” (Mathu, 2008, p. 65). It is estimated that one out of every five women worldwide will be abused during her lifetime with rates reaching up to 70 percent in some countries (WHO, 2005). Whether this abuse is perpetrated by the state and its agents, by family members, or even by strangers, VAW is closely related to the regulation of sexuality in a gender specific (patriarchal) manner. This regulation is, on the one hand, maintained through the implementation of strict cultural, communal, and religious norms, and on the other hand, through particular legal measures that sustain these norms. Therefore, religious institutions, the media, the family/tribe, cultural networks, and the legal system continually disciplinewomen’s sexuality and punish those women (and in some instances men) who have transgressed or allegedly contravened the social boundaries of ‘appropriateness’ as delineated by each society. Such women/men may include lesbians/gays, women who appear ‘too masculine’ or men who appear ‘too feminine,’ women who try to exercise their rights freely or men who do not assert their rights as ‘real men’ should, women/men who have been sexually assaulted or raped, and women/men who challenge male/older male authority.

Disruptive Fixation

2017 ◽  
Author(s):  
Christo Sims
Keyword(s):  
New York ◽  
New York City ◽  
New Media ◽  
Media Technologies ◽  
Complex Processes ◽  
Middle Schoolers ◽  
The Social ◽  
The Media ◽  
Class Divisions ◽  
Conventional Type

In New York City in 2009, a new kind of public school opened its doors to its inaugural class of middle schoolers. Conceived by a team of game designers and progressive educational reformers and backed by prominent philanthropic foundations, it promised to reinvent the classroom for the digital age. This book documents the life of the school from its planning stages to the graduation of its first eighth-grade class. It is the account of how this “school for digital kids,” heralded as a model of tech-driven educational reform, reverted to a more conventional type of schooling with rote learning, an emphasis on discipline, and traditional hierarchies of authority. Troubling gender and racialized class divisions also emerged. The book shows how the philanthropic possibilities of new media technologies are repeatedly idealized even though actual interventions routinely fall short of the desired outcomes. It traces the complex processes by which idealistic tech-reform perennially takes root, unsettles the worlds into which it intervenes, and eventually stabilizes in ways that remake and extend many of the social predicaments reformers hope to fix. It offers a nuanced look at the roles that powerful elites, experts, the media, and the intended beneficiaries of reform—in this case, the students and their parents—play in perpetuating the cycle. The book offers a timely examination of techno-philanthropism and the yearnings and dilemmas it seeks to address, revealing what failed interventions do manage to accomplish—and for whom.

The effectiveness of Social Media Instagram as a Promotion of Agricultural product of fruits. (case :Instagram TaniHub Indonesia, Pasar Minggu, Jakarta Selatan)

2020 ◽  
Vol 4 (6) ◽  
pp. 866
Author(s):  
Nensy Yohana Natalia Pasaribu
Keyword(s):  
Social Media ◽  
Media Exposure ◽  
Agricultural Product ◽  
Marketing Activity ◽  
Feedback Message ◽  
The Social ◽  
The Media

Agriculture produces processed product which is perishable, so that the agricultural product should be distributed immediately. Processed product can be promoted to attract consumers to buy the product. One of the media that can be used to promote processed agricultural product is social media. Social media is needed to ease the marketing activity on the product. Social media is viral and can be delivered directly and personally to the consumer. Indicators are used to know the effectiveness of the social media as promotion media with AIDA concept. The results showed that promotion through Instagram has not been effective in the stages of attention (attention), interest (interest), desire (desire), and action (action). This study also explains that there is a relationship between the characteristics of gender followers and the level of social media exposure to the frequency of messages. In addition, there is also a relationship between the frequency of message feedback, message attractiveness, and intelligence in delivering messages with the interest stage. 

Globalization, Citizenship, and Subjectivity in Self Construction

2020 ◽  
Vol 10 ◽  
pp. 135-146
Author(s):  
Namita Poudel
Keyword(s):  
Social Structure ◽  
Social Field ◽  
Self Identity ◽  
The Social ◽  
Social Fields ◽  
Research Questions

One of the profound questions that troubled many philosophers is– “Who am I?” where do I come from? ‘Why am I, where I am? Or “How I see myself?” and maybe more technically -What is my subjectivity? How my subjectivity is formed and transformed? My attempt, in this paper, is to look at “I”, and see how it got shaped. To understand self, this paper tries to show, how subjectivity got transformed or persisted over five generations with changing social structure and institutions. In other words, I am trying to explore self-identity. I have analyzed changing subjectivity patterns of family, and its connection with globalization. Moreover, the research tries to show the role of the Meta field in search of subjectivity based on the following research questions; how my ancestor’s subjectivity changed with social fields? Which power forced them to change their citizenship? And how my identity is shaped within the metafield? The methodology of my study is qualitative. Faced to face interview is taken with the oldest member of family and relatives. The finding of my research is the subjectivity of Namita Poudel (Me) is shaped by the meta field, my position, and practices in the social field.

Child-Affirming Artifacts

2017 ◽  
Author(s):  
Peggy J. Miller ◽  
Grace E. Cho
Keyword(s):  
Self Esteem ◽  
Consumer Products ◽  
Social Imaginary ◽  
Children's Books ◽  
The Social ◽  
Children’S Homes ◽  
Tv Shows ◽  
Vygotskian Theory ◽  
Electronic Games ◽  
Inherent Worth

Chapter 7, “Child-Affirming Artifacts,” uses ideas from Vygotskian theory to describe the child-affirming artifacts that populated children’s homes. Some artifacts were widely distributed consumer products. Children interacted with toys and electronic games that dispensed praise. Children’s books and TV shows, marketed as promoting children’s self-esteem, featured characters who were celebrated for their achievements, individuality, inherent worth, and potential. Several children loved Blue’s Clues, a show whose star constantly praised its characters and audience. These consumer products instantiated the same self-enhancing practices that parents believed fostered children’s self-esteem, thereby amplifying the social imaginary. This chapter also describes personalized, handmade artifacts designed by the families to celebrate their children. Photos of the children and artwork by children were on display in every household, and some adults created original homages to their children, which prompted commentary and stories that extolled the children’s achievements and reminded them how much they were loved and cherished.

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