Digitally Mediated Identity in the Cases of Two Sámi Artists

2017 ◽  
Author(s):  
Ann Werner
Keyword(s):  
Cultural Issues ◽  
Global Media ◽  
Dominant Form ◽  
Industry Studies ◽  
Media System ◽  
Internet Users ◽  
System P ◽  
Music Consumption ◽  
History Of ◽  
Streaming Services

This chapter explores identity issues in commercial streaming services, which have grown steadily in the 2010s to become the dominant form of music consumption in the Nordic countries, with about 60% of all Internet users in 2015. The chapter offers an alternative to the dominant trend in music industry studies by focusing not on the industry’s interests but instead on broader cultural issues. The chapter presents case studies of two female Sámi artists and their representations on Spotify, YouTube, MySpace, and artists’ websites, taking various aspects of the services into account, including the interface and the algorithm-based recommendations. Informed by feminist cultural studies, the argument is that the industry continues a history of reinforcing stereotypes of ethnicity, indigeneity, and femininity. Thus, commercial streaming is not only making music available to global audiences, it is also selling images of Otherness within an unequal capitalist global media system.

scholarly journals FOLLOW THE MONEY: A LARGE-SCALE INVESTIGATION OF MONETIZATION AND OPTIMIZATION ON YOUTUBE

2020 ◽  
Author(s):  
Oscar Coromina ◽  
Ariadna Matamoros-Fernández ◽  
Bernhard Rieder
Keyword(s):  
Large Scale ◽  
The Other ◽  
Media Industries ◽  
Global Media ◽  
Media System ◽  
Critical Media ◽  
Revenue Streams ◽  
Dominant Actor ◽  
The One ◽  
The Relationship

While YouTube has become a dominant actor in the global media system, the relationship between platform, advertisers, and content creators has seen a series of conflicts around the question of monetization. Our paper draws on a critical media industries perspective to investigate the relationship between YouTube’s evolving platform strategies on the one side and content creators’ tactical adaptations on the other. This concerns the search for alternative revenue streams as well as content and referencing optimization seeking to grow audiences and algorithmic visibility. Drawing on an exhaustive sample (n=153.770) of “elite” channels (more than 100.000 subscribers) and their full video history (n=138.340.337), we parse links in video descriptions to investigate the appearance and spread of crowdfunding platforms like Patreon, but also of affiliate links, merchandise stores, or e-commerce websites like Etsy. We analyze the evolution of video length and posting frequency in response to platform policy as well as visibility tactics such as metadata and category optimization, keyword stuffing, or title phrasing. Taken together, these elements provide a broad picture of “industrialization” on YouTube, that is, of the ways creators seek to develop their channels into media businesses. While this contribution cannot replace more qualitative, in-depth research into particular channels or channel groups, we hope to provide a representative picture of YouTube’s elite channels and their quest for visibility and success from their beginnings up to early 2020.

Nationalism as a Global Institution: A Historical-Sociological View

2020 ◽  
pp. 157-176
Author(s):  
Tobias Werron
Keyword(s):  
Sociological Theory ◽  
Sociological Perspective ◽  
Global Media ◽  
Media System ◽  
System P ◽  
Globalization Studies ◽  
Zero Sum ◽  
Sociological View

This chapter elaborates how nationalism has long been underestimated in both sociological theory and globalization studies. It mentions sociological theorists who have theorized the role of nationalism in modernity and globalization literature, and who have tended to see globalization and nationalism as being in a zero-sum relationship. It also highlights a historical-sociological perspective on the nationalism–globalization nexus, which allows nationalism to be studied as a global institution. The chapter connects recent insights into inconspicuous 'banal' forms of nationalism to insights from globalization studies. It emphasizes two types of nationalism: 'institutionalized nationalism' and 'scarcity nationalism', showing how they have been reinforced by globalization dynamics and facilitated by the emergence of a global media system.

Forging an ‘Asian’ media fusion: Singapore as a 21st century media hub

2016 ◽  
Vol 158 (1) ◽  
pp. 80-89 ◽  
Author(s):  
Terence Lee
Keyword(s):  
Development Strategy ◽  
21St Century ◽  
Cultural Policy ◽  
Creative Industries ◽  
Global Media ◽  
Telecommunications Infrastructure ◽  
Media System ◽  
The Media ◽  
The Government ◽  
City State

The city-state of Singapore commemorated its 50th year of independence in 2015. In that 50-year period, Singapore defied the odds by forging itself into an important media and communication hub, one that services the Asian region by linking it to other global media centres. This article examines Singapore’s efforts to develop its media sector over the years from a historical (and) policy perspective. The article begins by explaining how early policy discourses were bifurcated along internal versus external lines, where the development of a national media system to mould a fledgling society was the internal mission, while externally, the vision was to promote Singapore to the rest of the world as a reliable port (where media and cultural goods can be safely and reliable transported to/through) and teleport (where messages and satellite signals can be exchanged via reliable telecommunications infrastructure and uplink–downlink facilities). It was not until the early 2000s, with the launch of Media 21 and the Creative Industries Development Strategy (both in 2002), that the external mission began to dominate. In 2009, the Singapore Media Fusion Plan (SMFP) declared that Singapore would become a ‘Trusted Global Capital for New Asia Media’. While articulating that a strong media sector engenders a better understanding of Singapore culture, the latest policy does little to promote local culture. Instead, the cultural footprint of Singapore has expanded to include not just Asia, but ‘new Asia’, defined very problematically in the report as ‘newly confident Asian countries’ (p. 26). This article unpacks the ‘Asian media fusion’ discourse and contends that the positioning of Singapore as a 21st century media hub is arguably the most overtly economic media and cultural policy that Singapore has yet produced. It is clear that the media sector is a little more than a cluster of economic activity, where the goal of the government and the agencies involved is to boost Singapore’s status as the best business city. The media hub policy rationales have thus been, for better or worse, coherent with the Singapore government’s broader economic ideologies over the past 50 years and look set to continue into the foreseeable future.

scholarly journals Problems of media ownership in Serbia

2016 ◽  
pp. 475-488
Author(s):  
Irina Milutinovic
Keyword(s):  
Public Interest ◽  
Market Model ◽  
Media Policy ◽  
Global Media ◽  
Media Ownership ◽  
Public Discussion ◽  
Media System ◽  
Current Trends ◽  
In The Beginning ◽  
New Millennium

Different implications of media ownership on democratic capacity of Serbian society in the beginning of the new millennium are analyzed in the paper. The frame of the research is democratic and market model of media policy which was established after political changes in Serbia in 2000. The aim of the paper is to identify the main problems of media ownership in Serbia in the process of adjustment to the European media policy. In order to understand the genesis of marked problems, they are observed in the context of current trends on wider - global - media market. It can be concluded that democratic and market model of media system does not guarantee the conditions for democratic public discussion and satisfaction of public interest.

Den kinematografischen Akteuren folgen

2013 ◽  
Vol 4 (2) ◽  
Author(s):  
André Wendler
Keyword(s):  
Visual Culture ◽  
Digital Media ◽  
Network Theory ◽  
Film Studies ◽  
Actor Network Theory ◽  
Global Media ◽  
Actor Network ◽  
Moving Images ◽  
Media System ◽  
Digital Visual Culture

"Die gegenwärtige digitale visuelle Kultur hat die Filmwissenschaft in den letzten Jahren mit einer Reihe tiefgreifender Fragen konfrontiert. Das sind Fragen nach einer neuen Ontologie bewegter Bilder, dem Zuschnitt des globalen Mediensystems oder der Genealogie digitaler Medien. Der Beitrag schlägt vor, einige der in diesen Debatten aufgeworfenen Fragen mit Hilfe der Akteur-Netzwerk-Theorie (ANT) zu lösen. </br></br>In recent years, digital visual culture has confronted film studies with a series of profound questions. These concern a new ontology of moving images, the design of the global media system or the genealogy of digital media. This paper suggests to solve some of these issues by means of the actor-network theory. "

Medium Infrastruktur

2013 ◽  
Vol 4 (2) ◽  
Author(s):  
Gabriele Schabacher
Keyword(s):  
Visual Culture ◽  
Digital Media ◽  
Network Theory ◽  
Science And Technology Studies ◽  
Film Studies ◽  
Actor Network Theory ◽  
Global Media ◽  
Moving Images ◽  
Media System ◽  
Digital Visual Culture

"Obwohl Medien nur in bzw. als Infrastrukturen greifbar sind, geraten diese erst neuerdings in den Fokus medienwissenschaftlichen Interesses. Dabei bieten die Science and Technology Studies (STS), insbesondere die Akteur-Netzwerk-Theorie (ANT), produktive Ansätze, um die mediale Dimension des Infrastrukturellen zu erschließen. Im Durchgang durch die Infrastruktur-Theoriegeschichte werden drei Hinsichten entfaltet, die für den Zusammenhang von Medien und Infrastruktur aufschlussreich sind: die Frage der In/Visiblität von Infrastrukturen, Probleme von Standardisierung und Metrologie sowie die spezifische Prozessualität von Infrastrukturen. </br></br>In recent years, digital visual culture has confronted film studies with a series of profound questions. These concern a new ontology of moving images, the design of the global media system or the genealogy of digital media. This paper suggests to solve some of these issues by means of the actor-network theory. "

UNESCO and the Book in the Developing World

2014 ◽  
Vol 127 (1) ◽  
pp. 33-54 ◽  
Author(s):  
Sarah Brouillette
Keyword(s):  
Book History ◽  
Developing World ◽  
History Of The Book ◽  
Global History ◽  
Global Media ◽  
Media System ◽  
History Of ◽  
1960S And 1970S ◽  
The 1960S ◽  
Developed World

This article establishes the importance of UNESCO’s role within the global history of the book. Its focus is the research on the book in the developing world that UNESCO sponsored in the 1960s and 1970s, and how that research supported claims that government should intervene in book and media industries in order to shift the disastrous imbalance in the global media system. It shows how these claims were undermined by the interests of the developed world and sidelined by the emerging discipline of book history.

scholarly journals Trump’s Afghanistan Policy: How Afghan Mainstream Media Borrowed Official US Narratives to Frame the Myth of Peace

2018 ◽  
Vol 02 (01) ◽  
Author(s):  
Sher Baz Khan ◽  
Qaisar Khan
Keyword(s):  
Sampling Technique ◽  
Global Media ◽  
News Frames ◽  
Collective Memories ◽  
Mainstream Media ◽  
Media System ◽  
Post Conflict ◽  
Current Affairs ◽  
The Us ◽  
Us Government

This study draws from scholarship in framing theory and mediated collective memories for the analysis of the adoption of official narratives of US President Donald Trump’s Afghanistan policy as ready-made news frames by Afghanistan’s Tolo TV’s popular current affairs program as Tawde Khabare (Hot Talks). Collected through purposive sampling technique, a comparative qualitative analysis of selected programs of Tawde Khabar and the text of President Trump’s Afghanistan policy suggests that the post-Taliban US-established Afghan media system has largely adopted and borrowed ready-made news frames and official narratives disseminated by the US government to domestic and global media. The findings suggest further that official frames of Donald Trump’s Afghanistan policy received greater acceptability in the Tolo TV coverage of the concerned issue. The study has raised several questions regarding the credibility of the post-Taliban Afghan media system and as do similar systems in other post-conflict societies established through the financial and technical help of the US and allied states after 9/11.

The Universal Knowledge Machine

2021 ◽  
pp. 102-132
Author(s):  
Alan Radley
Keyword(s):  
Artificial Intelligence ◽  
Collective Intelligence ◽  
Grand Unification ◽  
Global Media ◽  
Vast Number ◽  
Media System ◽  
Artificial Brain ◽  
World Brain ◽  
To Come ◽  
User Friendly

The chapter introduces a technical prescription for a universal knowledge machine (UKM), or World-Brain, a proposed global media system with the capability to encapsulate/organize/index and provide user-friendly access to all human knowledge. The goal is not to develop an artificial brain or any kind of Artificial Intelligence (AI) so-to-speak. Rather, the authors wish to build a collective intelligence repository, a vast ‘living' memory bank for everything known and in terms of a totality of knowledge emanating from each of the three worlds of physical, mental, and objective knowledge. Envisaged is a place for humanity to come together collectively and to create, capture, record, link, search, sort, filter, classify, map, granulate, aggregate, chunk, window, overview, catalogue plus communicate a vast number, and great variety, of ideas, facts, claims, variants, data, texts, theories, images, happenings, and opinions. The goal is nothing less than a grand unification of all knowledge such that items are endlessly visible, explorable, linkable, navigable, etc.

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