Proposing Transmedia Storytelling for Malaysian Film Industry: Thematic Considerations

Media convergence is ultimately the result of the disruption in media technology, creating a new episteme that foregrounds the diverse and interlinked way a story travels across platforms. One crucial development of media convergence is transmedia. While media scholars argue that media convergence has resulted in ontological uncertainties, it ironically entrenches some recognisable functions of the traditional media. This enables traditional communication functions like storytelling to be incorporated within media convergence. Storytelling, as communication functions, has continued to challenge the spatial and temporal metaphors of messages, allowing cultural symbols to transcend traditionally held boundaries in communication. Indeed, much has been written about transmedia storytelling, less however, has linked transmedia storytelling with the Malaysian film industry. The main aim of this paper is to thematically review past studies on transmedia storytelling in order to propose the idea that transmedia storytelling can help the Malaysian film industry as it is a new form of communication that the industry needs in increasing production, creating and determining local and global consumption of Malaysian stories. The review of past studies on transmedia storytelling reveals five salient themes: 1) Transmedia and engagement; 2) Liberatory potential; 3) Hybridisation of producer and user; 4) Uniqueness of media genre, and 5) Media literacy. The themes found are used to problematise transmedia storytelling and the Malaysian Film industry; this leads to the proposal of how transmedia storytelling can help the Malaysian film industry prosper while contributing to the understanding of transmedia storytelling and its benefit for the Malaysian film industry. Keywords: Transmedia storytelling, Malaysian film industry, media convergence, digital technologies, themes.

THE IMPERIAL CONTEXT OF RUSSIAN MEMORIAL POLICY IN ANNEXED CRIMEA

The purpose of the article is to analyze the basic principles of Russian memorial policy in Crimea in the context of Russia's current imperial ambitions. Research methodology is based on a systematic approach, which allows us to consider the policy of memory in Russia as part of public policy to restore the status of "great power" in the world. Scientific novelty of the study is that it has been proved that Russia is actively filling the symbolic space of Crimea with imperial symbols at the same time as preserving the symbols of the Soviet times to restore the imperial status in modern realities. Conclusions. Russia has always considered Crimea its own territory and was not going to give up the peninsula. To support the dominance of pro-Russian sentiment, they actively used symbolic space, trying to fill it with their own cultural symbols. With monuments in honor of Empress Catherine II, the Russian authorities reminded of the first annexation of Crimea and demonstrated their own historical claims to the peninsula. Even, partial decommunization in Crimea took place according to the Russian scenario – the streets were given back the names of the times of the Russian Empire. After the annexation, the Kremlin implemented its own memory policy on the peninsula, demonstrating through new monuments the «Russian status» of the peninsula and its role in the formation and development of the Russian Empire. Accordingly, imperial symbols, along with Orthodox ones, are beginning to play a key role in Crimea. At the same time, Moscow preserves and enlarges the Soviet symbolic space to accelerate the process of building the «Fifth Empire» through the reconciliation of «white» and «red» projects in the mental field, the expansionist foundation of which was laid by the annexation of Crimea.

The discourse of Kurdish traditional textiles

Verbal communication is not the only way by which people can interact; people communicate with each other through different signs, colours, cultural symbols and costumes. One of the ways that people can communicate through is clothes or textiles. The language of textiles and its covert discourse have not been studied profoundly. Each bit of textile has its specific meaning. Through the discourse of their clothes, people try to show their nationality, age, gender, social status, geographical belonging etc. Kurdish traditional clothes are believed to be culturally rich, since they are dressed by a large number of people in the past and present. This study is an attempt to examine the relationship between discourse and clothes. It tries to study the hidden discourse of Kurdish traditional textiles. The study seeks to answer several questions, including: What do the clothes say about the people who wear them? How different types of clothes show different forms of people’s identity? How do clothes reveal the people’s nationality, age, gender, geographical territory and social class? The principles of discourse analysis, more specifically Foucault’s approach of material discourses, are used to investigate the collected data. The study uses a mixed approach of quantitative and qualitative methods. The data are collected in three ways: by analysing the photo albums, a survey and a site visit to Kurdish Textile Museum in Erbil. The study concludes that the pieces of textiles can be seen as linguistic elements in communications and Kurdish traditional clothes embraces specific cultural codes and symbols that can be used to reveal the discourses they embrace.

Strategies of action and marginalised identities in Pop Culture Paganism and Magic

<p>In this thesis I will argue that marginalised individuals are highly represented in the Pop Culture Paganism and Magic community, because it is a religious movement which encourages participants to use the cultural symbols that populate the media for religious meaning-making. The availability of media symbols for this purpose is important for marginalised individuals, who do not access the same ‘traditional’ religious resources or symbols as other individuals in society due to the sense of exclusion which arises from their marginality, but still seek religious meaning-making.</p>

Strategies of action and marginalised identities in Pop Culture Paganism and Magic

<p>In this thesis I will argue that marginalised individuals are highly represented in the Pop Culture Paganism and Magic community, because it is a religious movement which encourages participants to use the cultural symbols that populate the media for religious meaning-making. The availability of media symbols for this purpose is important for marginalised individuals, who do not access the same ‘traditional’ religious resources or symbols as other individuals in society due to the sense of exclusion which arises from their marginality, but still seek religious meaning-making.</p>

Analysis of the Characters in The Sacred Book of the Werewolf

The Sacred Book of the Werewolf is a masterpiece of Russian postmodernism literature, which is filled with magic features, oriental and occidental religions, as well as cultural symbols. The author depicts a series of expressive characters in almost acerbic descriptions. Especially when the oriental elements in foxes from China encounter the occidental elements in wolves from the West; the collision of the two cultures is obvious, which portrays all living creatures during the end of the Soviet Union and Contemporary Russia.

How do people in the “Land of Hornbills” perceive Hornbills?

Summary Sarawak is known as the “Land of Hornbills”, having the Rhinoceros Hornbill as the state emblem and with hornbills also being closely associated with important cultural symbols and beliefs among various local communities. However, up to date there is limited understanding on the perception, awareness, and beliefs of local communities towards hornbills. This paper aims to describe the aforementioned factors in western Sarawak, in hope of acquiring the socio-cultural information needed to fill the gap, and to clarify misconceptions towards hornbill conservation efforts in Sarawak. Data collection was accomplished using Open Data Kit (ODK). A total of 500 respondents were approached in five administrative divisions in western Sarawak, namely Kuching, Samarahan, Serian, Sri Aman, and Betong. The questionnaire was carefully formulated to control acquiescence bias that might arise. Boosted Regression Tree (BRT) modelling was conducted to evaluate the strongest demographic predictor variables influencing the answers and word clouds were used to visualise hornbill species by the local community. Sarawakians acknowledge the importance of hornbills as a cultural symbol (95%) despite hornbills being used for food, medicine, and decoration. Whilst this study describes the perceptions of hornbills in local communities, a comprehensive assessment throughout Sarawak is recommended for better understanding of hornbill importance in other communities. Such socio-cultural information is vital to ensure the success of conservation efforts and for effective management strategies of hornbills within Sarawak.

SANSKAR BHARTI RANGOLI : MEDIUM TO CONSERVE TRADITIONAL ART OF RANGOLI FROM EXTRINSIC TO INTRINSIC

भारतीय संस्कृति एवं कला का अटूट संबंध है जहां संस्कृति की बात आती है वहीं भारतीय कला का रूपांकन नेत्रों में आ जाता है। भारतीय कलाओं में से एक है रंगोली कला। यह भारतीय पारंपरिक फ्लोर आर्ट है जिसे मुख्य द्वार के सामने तथा आँगन में किसी विषेष अवसर अथवा उत्सव व त्यौहारों पर बनाई जाती है, रंगोली न केवल आंगन की सजावट थी अपितु यह ईष्वर के आषीर्वाद प्राप्त करने के लिए, सौभाग्य के लिए एवं अतिथियों के सत्कार के लिए बनाई जाती है। रंगोली के कई प्रकार हैं, उसमें से एक है संस्कार भारती रंगोली जो महाराष्ट्र में अत्यधिक लोकप्रिय है। इसमें कई हिन्दू मान्यता एवं संस्कृति से संबंधित चिन्हों का प्रयोग किया जाता है। संस्कार भारती रंगोली में उपयुक्त होने वाली डिज़ाइनों का होम फर्निषिंग टेक्सटाइल उत्पाद पर विभिन्न वस्त्र अलंकरण जैसे- फैब्रिक प्रिटिंग (ब्लॉक, स्क्रीन प्रिटिंग, स्टेन्षील प्रिटिंग), फैब्रिक प्रिटिंग, एम्ब्रायडरी का उपयोग करना जिससे फैषन उपभोक्ता के लिए अद्वितीय डिज़ाइन बनाने अथवा पारंपरिक कला में उपयुक्त रंग, डिज़ाइन अथवा शैली का उपयोग कर रंगोली कला की डिज़ाइनों को संरक्षित करना है। संस्कार भारती रंगोली में उपयुक्त होने वाली आकृति को वर्ग, डिज़ाइन, समूह डिज़ाइन, के लिए अनुकूलित किया गया था।लेख के लिए कुल दस डिज़ाइन चयनित कर विकसित किए गए थे और फैब्रिक पेंटिंग के द्वारा होमफर्निषिंग टेक्सटाइल पर बनाने के लिए सर्वश्रेष्ठ 05 डिज़ाइन का चयन किया गया। उपभोक्ता के द्वारा भारतीय रंगोली कला संस्कार भारती रंगाली कला का उपयोग कर बनाए गए उत्पाद बहुत सराहे गए। संस्कार भारती रंगोली कला वस्त्रोत्पाद पर प्रयोग करके लेख तैयार किया गया है। Indian culture and Art Share an unwavering Connection between them. Indian art providespicturesque Slide view of Indian culture, Rangoli Art is one of the most prominent art amongIndian Art forms. This is a floor art, which were basically designed and embossed at mainentrance and courtyards. On various auspicious occasions and festivals Rangoli was designed togrant divine blessings of God as well as signifies the prosperity and heartwarming welcome ofguests. There are many varites of Rangoli in IndiaSanskar Bharti Rangoli is one of the most popular rangoli art of Maharashtra. This art formcomprises of many Hindu aesthetics, artifacts and cultural symbols. These symbols bring adistinct feature to Sanskar Bharti Rangoli. This paper aims at conservation of Rangoli art formby shifting its inclination to fabric embossing. These art form can be consummate by fabricprinting (Block, screen printing, stencil printing), fabric printing and embroidery can be used byfashion enjoy to uplift the unique experience of traditional colors, designs and styles to conservethese rangoli art formsSanskar Bharti Rangoli is designed to facilitate compatibility of shape, area design and groupdesign which brings appropriateness to art form. Ten art designs developed for this paper, on thecounter part, five best fabrics painting finalized to paint on Home furnishing Textile. FashionUsers appreciated the products designed with traditional Indian Rangoli art , Sanskar BhartiRangoli. This paper elaborates the efforts and significance of Sanskar Textile fabric,

Igbo eschatology and environmentalism

The present work sets out to examine the intersection between Igbo eschatology and environmentalism. It seeks to determine how the tenets of Igbo eschatology impact on environmental conservation. The approach is conversational. Given that the work centers on a particular cultural area, an ethnic nationality in West Africa with unique cultural symbols, the paper also employs the tool of hermeneutics. It is discovered that the Igbo eschatology is characteristically this-worldly, cyclic and perceives human existence as continuous given the possibility of reincarnation. Accordingly, it impacts a sense of permanence or semi-immortality on the evanescent earthly existence thus rendering the optimism or motivation which environmentalism, a futuristic endeavor, demands. This is unlike an otherworldly, linear and terminal eschatology which forecloses the possibility of continuous existence and demotivates for the care of the environment. Secondly, given the animistic and this-worldly orientation, the symbolic presence of the eschata (new realities) such as the ancestors and spirits in the mundane world elevates the status and compels respect and care for nature or the environment. The paper therefore submits that the Igbo eschatology is pro-environmentalism.

Mariela Muñoz

Mariela Muñoz became the first transsexual widely socially recognized as a mother in Argentina. She emerged as a leading figure during her struggle to recover legal custody of three of her children, which had been previously annulled by a judge. Moreover, in 1997 she became the first transsexual recognized as a woman by the state. This text analyzes the making of Mariela Muñoz's motherhood repertoires to redefine political, social, and intimate citizenship. It argues that her politics were paradoxical, in that she appealed to traditional meanings of womanhood such as fulfilment through motherhood and the duty of care for others. On the other hand, these uses of key cultural symbols displaced the imagined margins for travestis and transexuales and helped her enjoy popular support.