scholarly journals A Typology of Media Innovations: Insights from an Exploratory Study

2014 ◽  
Vol 1 (1) ◽  
pp. 28-51 ◽  
Author(s):  
Valérie-Anne Bleyen ◽  
Sven Lindmark ◽  
Heritiana Ranaivoson ◽  
Pieter Ballon
Keyword(s):  
Innovation Policy ◽  
Academic Community ◽  
Point Of View ◽  
Media Industries ◽  
Media Economics ◽  
Media Management ◽  
The Media ◽  
Tv Shows ◽  
The One ◽  
Statistical Indicators

The concept and phenomenon of media innovation is gaining some attention in the academic community, policy circles and among practitioners. However, the phenomenon is still poorly defined and not well understood. This paper therefore first analyses how media innovation is framed in the literature on media economics and media management. Then it considers to what extent the standard analysis of innovation could be applied to the media field, considering, on the one hand, the traditional view on innovation policy and, on the other hand, some of the most common indicators of innovation. Based on this information, the paper suggests a novel conceptualisation of media innovation. Furthermore, an analysis of statistical indicators on R&D expenditure leads to three assumptions related to media innovation, namely (1) that the Media and Content Industries (MCIs) are much less innovative than the ICT industries, or/and (2) that R&D statistics do not properly capture the innovativeness of the MCIs, or/and (3) that the innovative activities in media and content are largely taking place elsewhere (for instance in the ICT sector). Whereas the statistical indicators point towards the second explanation, a small round of expert interviews in Flanders revealed that there is a case for assumptions (1) and (3) as well. First of all, it was shown that all forms of innovation defined in our typology exist in the media field, but not with the same importance. The most important ones from the media industries’ point of view seems to be the innovation related to the product, notably concerning the core (e.g. creation of new types of TV shows) and business model innovation. There is also technological innovation taking place in the media industries, for instance concerning new ways to access and interact with the content but this innovation comes from out the media sector (e.g. HD-TV, search engines) and at best the media industries try to adapt to this rapidly changing technological context.

Die Macht der Bilder und Bilder der Macht: die sprachliche Konstruktion von Nationalismus und Konservatismus in der strategischen politischen Kommunikation von Vox España

2020 ◽  
Vol 136 (2) ◽  
pp. 538-566
Author(s):  
Sandra Issel-Dombert
Keyword(s):  
Language Use ◽  
Point Of View ◽  
Right Wing ◽  
Multimodal Discourse ◽  
The Social ◽  
Core Elements ◽  
The Media ◽  
Right Wing Populism ◽  
The One ◽  
The Relationship

AbstractFrom a theoretical and empirical linguistic point of view, this paper emphasizes the importance of the relationship between populism and the media. The aim of this article is to explore the language use of the Spanish right wing populism party Vox on the basis of its multimodal postings on the social network Instagram. For the analysis of their Instagram account, a suitable multimodal discourse analysis (MDA) provides a variety of methods and allows a theoretical integration into constructivism. A hashtag-analysis reveals that Vox’s ideology consists of a nativist and ethnocentric nationalism on the one hand and conservatism on the other. With a topos analysis, the linguistic realisations of these core elements are illustrated with two case studies.

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 Wstrząsająca treść jako manipulacyjny element dyskursu konfliktu

2018 ◽  
Vol 9 ◽  
pp. 135-143
Author(s):  
Anna Hłuszko
Keyword(s):  
Hate Speech ◽  
Traditional Approach ◽  
Point Of View ◽  
Media Discourse ◽  
Visual Content ◽  
Political Situation ◽  
The Media ◽  
The Common ◽  
The One ◽  
Web News

Shock content as a manipulative component of conflict discourseDifficult socio-political situation in Ukraine creates specific media discourse, which in turn gives rise to a number of phenomena, connected to information war categories, war of meanings, hate speech etc. Active entry of military issues into web news content affects traditional approach to the media-text drafting. The report examines the trends of shock visual content and its announcement in the web headlines. The influence of the content emotionalization, which is one of the common features for conflict discourse, not only on text style, but also on features of page making, selection and use of photo illustrations, headline creation, is studied. The material covering military developments usually involve deaths, injuries, loss, destruction of settlements as a result of hostilities, that is, they focus on information on suffering of both military and civilians. This results in stronger integration of shock visual content into the news, which in turn may be used as manipulation and propaganda tool. On the one hand it is used to demonstrate crimes of the enemy, on the other — as an evidence of Ukrainian military success. From the point of view of ethic and humanism the justification of such tactic is doubtful in both cases. However, the study shows that open image of death, blood, injuries in the materials and the announcement of such content in headlines are the cause of high popularity of such publications, and this mainstreams the problem of dehumanizing impact both on material’s subjects and on media audience.

Soccer Players and Their Media-Related Behavior

2016 ◽  
Vol 4 (4) ◽  
pp. 367-384 ◽  
Author(s):  
Thomas Birkner ◽  
Daniel Nölleke
Keyword(s):  
Media Coverage ◽  
Point Of View ◽  
The Other ◽  
Soccer Players ◽  
Sport Communication ◽  
The Media ◽  
The One ◽  
Tabloid Press ◽  
The Relationship

Using the concept of mediatization, in this article, we analyze the relationship between sport and media from a sport-centered perspective. Examining the autobiographies of 14 German and English soccer players, we investigate how athletes use media outlets, what they perceive as the media’s influence and its logic, and—crucially—how this usage and these perceptions affect their own media-related behavior. Our findings demonstrate the important role of the media for the sports systems from the athlete’s point of view and demonstrate the research potential of mediatization as a fruitful concept in studies on sport communication. On the one hand, the sport stars reflect in their autobiographies that their status and income depend on media coverage; and on the other hand, they complain about the omnipresence of the media, especially offside the pitch and feel unfairly treated by the tabloid press, both in England and in Germany.

scholarly journals Lexical Variants of Fixed Word Combinations in Political-Social Press Releases

2012 ◽  
Vol 21 (26) ◽  
pp. 34-43
Author(s):  
Joanna Bryła-Lech
Keyword(s):  
Source Material ◽  
Point Of View ◽  
Press Releases ◽  
Proper Understanding ◽  
Base Form ◽  
Polish Language ◽  
The Media ◽  
The Subject ◽  
The One

Fixed word combinations and their modifications are frequently used by journalists in press releases of a political and/or social profile. Analyzing the source material gathered from “Gazeta Wyborcza” in 2001, I found many lexical variants of phrasemes and proverbs.The most interesting modifications appeared in the headlines. This article describes a few such examples.Fixed word combinations make it easier for senders of political-social announcements to express their thoughts indirectly. They can be used to convey irony, mockery, or aversion towards a person or the subject of the statement in a veiled way. The proper understanding (i.e., in accordance with the sender’s intentions) of such a constructed announcement often requires some intellectual effort from the reader. It is a kind of game. Interpreting the metaphorical sense causes a relationship to form between the participants of the communicative process.Changeable modifications appear as a result of the replacement of one component by a different word, which from the sender’s point of view is more attractive than the one in the base form (Bąba 1989, p. 54). This leads to the appearance of so-called lexical variants. Most frequently, these units are not fixed in the Polish language, but are created especially for the needs of a certain text. They enable the meaning of a phraseme or proverb to be matched to the content of the article, which constitutes the context of its usage. They usually narrow the meaning.The modified phrasemes and proverbs attract the reader’s attention, convincing him of the sender’s views. The language of politics and the media is the language of manipulation and persuasion. Fixed word combinations are very important language devices that facilitate an effective influence on the reader/receiver.

scholarly journals El retorno de la inversión en las relaciones públicas, una revisión bibliográfica

2020 ◽  
Vol 10 (20) ◽  
pp. 71-90
Author(s):  
Francisco Leslie Lopez-del-Castillo-Wilderbeek
Keyword(s):  
Public Relations ◽  
Return On Investment ◽  
Theoretical Work ◽  
Academic Community ◽  
The Other ◽  
The Media ◽  
The Subject ◽  
The One ◽  
The Cost ◽  
Financial Measurement

This research has carried out a systematized bibliographic review to analyze how the return on investment (ROI) in communication, and specifically in public relations, has been theoretically treated. The financial measurement of communication outcomes represents a topic of great interest for the academic community because organizations need to know the real results of their communication efforts. At the same time, economic measurement turns out to be a variable that can be understood by the management of the organizations and allows them to know where the money is being spent. However, despite more than forty years of theoretical work, a homogeneous nor globally accepted solution has not yet been achieved. The bibliographical study of the return on investment in communication, and especially in public relations, shows the difficulty of turning the success of the activity of public relations professionals into money. On the one hand, there is no doubt that the ROI is directly related to financial data; on the other hand, in communication it is usual to introduce non-economic values to evaluate the results achieved. The bibliographical results indicate in the first instance that, on a quantitative level, the economic aspect is predominant in the calculation of the ROI (96.3%). In this context measurement by equivalence in advertising (AVE) is an economic model as used by professionals as it is rejected by researchers. It is based on comparing the cost of a presence in the media with the equivalent cost if it were advertising. Nevertheless, this model is criticized for the differences between advertising (a completely controlled message) and publicity (a message that is altered by the media). However, taking the previous works about the subject, it can be said that the evaluation of public relations actions can be dealt with from the perspective of opportunity cost: the loss of other alternatives when one alternative is chosen. In this way, the evaluation of the cost of a traditional advertising action can be compared with the cost of other options available to public relations professionals. For example, native advertising is a resource of public relations teams whose cost can easily be compared to traditional advertising. Native advertising is a paid promotion that matches the audience's consumption and contains information of interest to the advertiser. Hence opinions that reject the advertising equivalence measurement (AVE) are not justified when the product generated by public relations has the characteristics of native advertising because in both cases (advertising vs. native advertising) the professional can exactly compare the investment made with one instead of the other.

Translating film titles

Babel ◽  
2014 ◽  
Vol 60 (2) ◽  
pp. 193-215
Author(s):  
José Santaemilia Ruiz ◽  
Betlem Soler Pardo
Keyword(s):  
English Language ◽  
Film Industry ◽  
Point Of View ◽  
Western World ◽  
European Languages ◽  
Cultural Texts ◽  
The Media ◽  
Marketing Tool ◽  
World English ◽  
The One

In Spain, as in the rest of the non-Anglophone Western world, English-language film titles have become texts (or paratexts) of great cultural importance. The titles of the films that one may encounter in Western cinema can be considered, on the one hand ephemeral, elusive, and inconsequential. However, on the other hand, despite their clear irrelevance, film titles are considered to be the genuine contemporary cultural texts, for their continued presence in the media and for their evocative nature: an important marketing tool. Moreover, the result of what happens when film titles are translated into other languages and cultures has always intrigued the audience: this is perhaps indicative of the vast universe of translation studies. The differences between languages are palpable, not only from a linguistic point of view but also from a pragmatic, historical or cultural standpoint. In this paper, we deal with the translation of Quentin Tarantino’s film titles into a number of European languages, including Spanish, Catalan, French and German. Quentin Tarantino’s films are controversial, self-reflexive and have acquired a significant recognition within popular culture. Most of the typologies employed so far have revolved around the notion of ‘fidelity” in the translation of film titles, and involving such strategies as literal translation, transposition, addition, etc. We wish to propose here another avenue for investigation: that of film-title translation as a complex (and globalised) rewriting phenomenon that benefits the commercial and ideological interests of the film industry.

scholarly journals The Possibility of Critique in an Era ruled by the Media

In medias res ◽  
2020 ◽  
Vol 9 (16) ◽  
pp. 2489-2498
Author(s):  
Divna Vuksanović ◽  
Dragan Ćalović
Keyword(s):  
New Media ◽  
New Technologies ◽  
Point Of View ◽  
The Road ◽  
New Media Art ◽  
Starting Point ◽  
Critical Action ◽  
The Media ◽  
The One ◽  
Media Practices

Taking the philosophy of media as a starting point, this text examines the possibilities, forms and status of critique in our times which are dominated, at least in the West, by what is known as media culture. On the one hand, the text avoids reducing systemic and strategic critique of capitalism to merely a critical point of view, while on the other it problematizes and examines the critique of modern media practices. The authors implicitly conclude that merely asking these questions paves the road to comprehensive critical action, within the existing systems of this media universe, as well as beyond it, i.e. in the particular socio-economic system of thought and action. This text also examines the possibility of achieving critical practices through art, and in the context of emerging new technologies. Possibilities for critique within the framework of new media art are explored in particular, as this might revolutionize not only media practices, but also the social, historical and economical practices of capitalism as such.

scholarly journals Theories of Media Economics

Communication ◽  
2012 ◽  
Author(s):  
Gracie Lawson-Borders
Keyword(s):  
Media Industries ◽  
Media Economics ◽  
Media Management ◽  
The Public ◽  
Media Companies ◽  
Public Media ◽  
Entry Points ◽  
Revenue Streams ◽  
The 1960S ◽  
Business And Management

The business of media includes economics and research, and studies in the field examine numerous aspects of economics in the industry. The statement has increased in its impact in the digital economy, in which the digitization of data has had a profound effect on the operations of media organizations. The old commercial model based on two primary revenue streams of advertising and paid subscriptions has been usurped by a plethora of entry points in the digital arena. Theories are used to help explain this phenomenon, and as the field of media economics grew, the number of theories, paradigms, and approaches flourished. In addition, theories from other fields are used to study media industries. Research dating to the 1960s examined economic aspects of communication and media in numerous journals. Early research through the 1980s examines the economics of media, the makeup and strategies of organizations that capitalize on their audience and delivery of content. Theories from business and management relative to innovation, markets, and vertical and horizontal integration have been used to address media economics. As the field and scholars expanded the research throughout the latter part of the 20th century, more work honed in on the specifics of media industries and challenges faced due to the particulars of the field, from regulations to advertising and changing markets. In 1995, a special issue on theory and media economics in the Journal of Media Economics, cited under Journals, included work by scholars with various focus across industries on the business of media and economics. The field received a boost with the publishing of the Handbook of Media Management and Economics (Albarran, et al. 2006, cited under Central Texts). The edited text is a compilation of scholars addressing theories, methodological tools, application, emerging technologies, and other changes. Economist Eli Noam (Noam 2009, cited under Central Texts) provides a different perspective in his concentrated look at media ownership and concentration inclusive of the financial elements, markets, and strategies that have facilitated mergers and acquisitions, which created corporations with billion-dollar assets and vast influence on the public. Media economics focuses on the strategies and operations of media companies. In the following sections are samples of research, through articles and books that provide insight into scholarship examining the economics of media.

Why Don’t We All Speak the Same Language? Some Reflections on the Role of Cognition

2020 ◽  
Vol 12 (3) ◽  
pp. 127
Author(s):  
Luca Cilibrasi
Keyword(s):  
Point Of View ◽  
Specific System ◽  
Lingua Franca ◽  
Natural Tendency ◽  
Shared Information ◽  
The Media ◽  
Younger Generation ◽  
The One ◽  
European Situation

From the psycholinguistic point of view, the use of English by non-natives in Europe poses an interesting contradiction, especially for the younger generation. On the one side, it is a non-preferred choice: Speakers have a natural tendency to avoid cross-group intelligibility, and are thus not keen in using a language that increases the amount of shared information, such as English. On the other side, English carries a specific system of values that are psychologically appealing to the younger generation, since it identifies with what speakers see in the media. As such, the new generations of Europeans experience an internal turmoil where the two tendencies, for and against English as a lingua franca, interact. One of the consequences of this particular situation is the use of English terms in local languages (so-called anglicism), a phenomenon rather common across Europe. Using the European situation as an example, this paper discusses the cognitive factors that drive the existence of (so many different) languages, as well as the factors that lead, in the opposite direction, to the use of a lingua franca among speakers.

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