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2022 ◽  
pp. 199-217
Author(s):  
Lorna Heaton ◽  
Patrícia Días da Silva

The goal of this chapter is to draw attention to the interrelation of multiple mediatized relationships, including face-to-face interaction, in local civic engagement around biodiversity and the environment. The authors propose that civic engagement and participation transcend the type of media used, and that artificial distinctions between online and offline participation are unproductive. Their argument is supported by three examples of participatory projects in which social media-based and face-to-face interactions are closely interrelated. This contribution highlights local uses of social media and the web. It shows how engagement plays out across multiple channels and how resources can be found in a variety of media formats. In particular, online media significantly alter the visibility of both local actions and of the resulting data.


2021 ◽  
Vol 1 (3) ◽  
pp. 33-38
Author(s):  
Tatyana V. Boldyreva

The article is devoted to the study of the question of the existence of post-dramatic performances in the modern media environment, in particular, the media formats of site-specific performances are studied. The purpose of this study is to identify the mechanisms of interactivity, performativity and immersiveness in the media formats of post-drama theater. The article raises the question regarding the meaning of the media format concept used in media studies in its connection with theatrical practices. The basic components of the concept of media format are the technical characteristics and focus on the target public. The chosen methodology allows us to characterize the technical capabilities of modern media formats for creating the effects of performativity, interactivity and immersiveness. The empirical basis of the research is the podcast The Theater of Everyday Life. Site-Specific Performances for Everyday Places and Routes in the mobile application Yandex Music and performances in the application Mobile Art Theater. The article draws conclusions concerning the influence of technical and verbal means of interaction used in mobile applications and in VR performances on the emergence of the effects of performativity and immersiveness in the minds of the audience. It is pointed out that the mechanics of the performances under consideration are connected with the concepts of A. Artaud and H.-T. Lehman, in particular, draw a conclusion about the role of the audience in such performances.


2021 ◽  
Vol 39 (4) ◽  
pp. 25-50

This article analyzes the role of tv formats in the 2014 Burger King scandal in Germany as part of the popular representation of work, work-related conflicts, and the dynamic of power relations in both contemporary German companies and the German economy in general. It shows that investigative journalistic techniques in popular tv formats like Team Wallraff are essentially undermined by the existence of reality tv shows like Undercover Boss that use comparable techniques to present fundamentally different messages about companies, work conditions, and the relationship between employees and employers. I argue that to understand the effect of these representations of politics on the “real political arena,” in Germany and elsewhere, we should consider not only individual films, tv series, genres, and media formats, but also the crosseffects of multiple, often widely differing representations of politics in similar tv formats that can be viewed via identical media outlets.


2021 ◽  
pp. 87-107
Author(s):  
Viktoria Flasche

AbstractThis chapter explores intertwinements between digital media and communicative and socio-cultural practices as they emerge in relation to contemporary cultures, specifically youth cultures. Social media platforms such as Facebook, Instagram and TikTok are discursive-operative networks within a framework of economic strategies. The chapter’s empirical approach draws on the assumption that young people’s aesthetic practices, transmitted via social media formats, evoke in each instance specific relational modes that preform a space of possible subject positions. The chapter summarises the findings of two selective longitudinal studies examining young people’s practices of self-articulation, consistently interpreted in the context of the specific platform used in each instance. These findings point to the potential of aesthetic-tentative practices as performed by young people to catalyse societal critique.


2021 ◽  
Vol 2 (4) ◽  
pp. 529-544
Author(s):  
Daniel Zomeño ◽  
Rocío Blay-Arráez

Media convergence and the incorporation of new narratives typical of the consumption habits of younger audiences in the social media environment have led to the proliferation of a wide variety of formats and types of content in the media ecosystem through which the editorial content offered to brands is being distributed. This qualitative research, using in-depth interviews with a qualified sample of branded content managers from the main Spanish media, allows us to determine the main characteristics of the native advertising demanded by advertisers. The results corroborate observations that content channelled through more sophisticated consumption experiences, using both multimedia and interactivity with a clear transmedia approach, tends to be better received by the audience and, therefore, in greater demand by brands. It also confirms that both video and social media formats have grown exponentially when it comes to providing an outlet for branded content. Based on the results obtained, a proposed classification of these products, including definitions, has been drawn up so they can be publicised to the professional world, offering the reflection and precision that their rapid development has not allowed until now.


Author(s):  
Tanine Allison

Ang Lee’s 2019 film Gemini Man features the most realistic digital human to grace the cinematic screen, specifically a computer-generated version of young Will Smith who battles his more aged self throughout the film. And for the first time in film history, this photorealistic digital human is Black. This essay explores why this groundbreaking achievement has not been acknowledged or celebrated by the film's production or publicity teams. I argue that Will Smith’s particular “post-racial” identity mediates contemporary concerns related to the racialized implications of facial recognition and other digital imaging technologies, as well as to the future of the film industry in the digital age. In the second half of the essay, I examine how the appearance of Will Smith in deepfake parody videos illustrates how race circulates on screens of various media formats. I conclude with a call to use digital visual effects, deepfake tools, and other advanced technologies to further racial justice instead of repeating the problematic usage of the past.


2021 ◽  
Vol 7 (3) ◽  
pp. a13en
Author(s):  
Zanei Barcellos

The internet is the main source of news for Brazilians, the smartphone is the preferred device to reach them and social media have overtaken television as the hegemonic journalistic medium. Fragmented journalism in cyberspace demands new narratives, new media formats, production and distribution processes. Algorithms and artificial intelligence (AI) systems already perform many tasks, the profession reshapes itself and the teaching of digital journalism needs to keep up with the transformations. This article proposes multifaceted applied research as a way to develop narratives, apparatuses, production management systems and didactics capable of keeping up with technological evolutions and train journalists capable of researching and working in mutant environments.


Author(s):  
Jennifer Smith ◽  
Tessa Clemens ◽  
Alison Macpherson ◽  
Ian Pike

The purpose of this research paper is to assess the response on Facebook to a social marketing campaign for recreational boating safety. The campaign ran for the 2018 and 2019 boating seasons in British Columbia, Canada. Messages related to boating safety were delivered in multi-media formats, including ten Facebook posts. All public comments on the campaign Facebook page in response to the ads were included in the analysis. Comments were reviewed for tone and subject; those that related directly to the campaign or boating safety-related topics, such as alcohol use or enforcement, were labeled positive, negative or neutral in tone. Metrics such as likes and shares were also noted. The overall engagement rate (defined as engagements over people reached) was 4.1%. The posts were liked >7000 times and received 901 shares. A total of 219 comments were analysed. Almost half of the comments were positive (n = 106, 48.4%). Fifty comments were off-topic (22.8%), 45 were neutral (20.5%) and 18 were negative (8.2%). The majority of comments were positive, indicating that the campaign performed as planned and was generally well received by the people for whom it was intended. Comments illuminated prevailing attitudes towards risks, injuries and safety practices related to recreational boating. Positive comments valued safety as an aspect of having a pleasant experience, rather than a barrier. Negative comments were about perceiving reduced fun of boating, rather than objecting to the campaign itself. As a component of a multi-media social marketing strategy, Facebook can be a source of instant feedback from the campaign audience.


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