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This paper aims to discover the dependence on global media of foreign policy reporting of the Yugoslav daily newspapers in the period when Yugoslavia was a member of the Non-Aligned Movement and gave support to the attempt to reduce the influence of international news agencies around the world. The research is founded on the assumption that the reporting of international events by the Macedonian newspaper Nova Makedonija, the Slovenian newspaper Delo, and the Serbian newspaper Politika in the 1983 print editions, is insignificantly influenced by the global media. Empirical results were obtained using the method of quantitative content analysis. The data were gathered over a four-month period, using the issues printed from the year of 1983. Research results show that global media had insignificant direct influence on international reporting of all Yugoslav newspapers. At the same time, heavy, but indirect influence of global media is present in the newspapers Nova Makedonija and Politika. Media representation of international actualities in all newspapers was mostly geared toward information about actual events that had happened on the northern continents and regions of the earth. Military and political conflicts were the main topics of interest for covering the southern parts of the world. However, empirical results also revealed some surprising contrasts on these issues among the Yugoslav daily newspapers in 1983.
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The article is devoted to the consideration of historical dynamics of the organization’s means of cultural practices in Ukraine, in their power and politically-technological perspective, taking into account their optic modes. The difference between classical culture industry and global culture industry is formulated by British researcher Scott Lash is basis of our analysis. It is also taking into account his distinguishing a high culture model of Enlightenment in contrast to a cultural industry. Everyone has its own specificity in the constructing of cultural practices within the organizational dominance of social institutions. In describing the features of each historical form of cultural practices, an attempt has been made to outline their specificity in the Ukrainian cultural space. Each historical type of cultural practices organization (high culture, the classical culture industry, global industry of culture) has its own ways of involving in political technology, its mediators, and the modes of vision. The early Modern form of the material culture production was balanced by the normativity of social institutions and their disciplinary practices. The discursive practices of Modern provided the status of a high culture and its model of power-over. Its textual mode of vision served the cultural practices of the implementation of the national state.
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The observatory that founded by Aristide Coumbary in 1868 in Istanbul, operated until the end of the First World War. The observatory that equipped with imported equipment from Europe, has shared information with stations in Ottoman Empire and observatories in Europe countries through telegraph lines. Thus, the measurements made by the stations were evaluated together with the data from observations in Europe and weather forecast reports were issued. Obtained meteorological reports have been tried to be publicized daily through telegrams and newspapers. The possibilities of the process are limited and therefore, sufficient success has not been achieved. The observatory has arranged the data obtained as daily, monthly and annual tables to start from 1868.The data has been shared with the press for the benefit of the people. It can not be said that weather forecasts are published regularly due to reasons such as the interruption of observatory work for various reasons, the partial destruction of the observatory's material during the March 31 Incident and the variable interest of the newspapers.
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In 2014, the Polish studio 11 Bits Studio produced the computer game entitled This War of Mine. The concept of this game was based on the course of the siege of Sarajevo. This production has changed the way of representation of war in video games. The main characters are not soldiers, but civilians, whose main aim is: to simply survive the war. Starvation, cold, lack of sleep and psychosomatic problems turn out to be more dangerous than the enemy’s army. Survival is possible, but forces the player to make ethically ambiguous decisions. The aim of the paper is to determine how the creators of the game presented the perspective of the civilians. This analysis will be based on the plot and mechanics of This War of Mine, on the historical context (war in the Balkans: the siege of Sarajevo) and with regard to virtual war schemes (topic of war in video games). The paper will also propose a concept of the game about war as an agon: the territory of not only a conflict, but also competition and a war spectacle.
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This article deals with the question of how games can affect people’s future. The author claims that the main mechanism of this influence is gamification. The features of this process make it a way of preparing people to function in reality created as a result of the development of digital technologies. It is possible to indicate three main areas of the realization of this function of gamification. The first one is progressive virtualization, resulting in the disappearance of reality and multiplication of man’s ways of existence. Gamification teaches how to function in these conditions. The second is the need for constant auto-creation, resulting from the rapidly changing economic and social conditions. Gamification works well here, which can be seen, for example, when it connects with self-tracking. The third is the disappearance of the meaning of life, which is the result of devaluation of various activities in the world of constant change and technical progress satisfying more and more human needs. Here gamification works as a meaning generator, a kind of prosthesis for activities, the performance of which has already lost its external justification. These three aspects form the basis for the recognition that gamification is a kind of transhumanist program that binds human development to technological development.
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Sharply dressed, smooth, and sporty—these are probably among the first attributes associated with the Russian president Vladimir Putin. This image is promoted by television which still remains a powerful medium in Russia. While the annexation of Crimea by the Russian Federation in March 2014 initially led to an increase in the popularity of Putin, his approval rating has significantly fallen since the signing of pension reforms in autumn 2018. This could explain why in September 2018 a new talk show called Moskva.Kreml’.Putin, which offers a synopsis of Putin’s working week, began its broadcast. By analyzing the „new“ image of Putin portrayed in this show and comparing it with his visual presentation in the news program Vremia and the annual talk Priamaia Linia s Vladimirom Putinym, the following paper examines the visual portrayal of Putin transmitted on television. By focusing on the visual, the analysis reveals that the president’s image, and the attributes assigned to him, are established and communicated mostly via the content and arrangement of (moving) pictures. Thus, the study suggests that visual communication on television significantly shapes and influences the perception of the Russian president. This work therefore contributes to a better understanding of television in general and of mass media communication in Russia in particular.
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The paper investigates the role of lexical and grammatical means of modality in realising intentionality of media discourse. The discourse category of intentionality is understood as the main communicative purpose of a discourse genre which determines its overall structure, the author’s communicative strategies and the linguistic means for their representation. The research is based on material of problem feature articles excerpted from the American press. The paper focuses on the pragmatic analysis of language units expressing propositional modality (possibility, necessity) and illocutionary modality (imperatives and interrogatives) used in different structural parts of a problem feature article. The results demonstrate a different potential of modal utterances with these meanings to express the author’s global intention – suggesting ways of solving the problem raised in the article. A special procedure has been worked out to prove the connection between the modal utterance and the intentionality of the media discourse genre under study.
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The article presents academic Polish online journals which focus on media and journalism. In the first part, the author discusses the history of Polish academic publications and the profiles of chosen journals. The second part of the article describes the characteristics of journalism genres as they appear in journals.
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The paper focuses on the tendencies in the linguistic evolution of newspaper headlines in the diachronic aspect – of two time periods: the beginning of the 20th and the 21st centuries. The article considers the structural types of newspaper headlines, their stylistic composition and predominant expressive means. On the basis of the obtained results an attempt to identify the main pragmatic function of the excerpted headlines has been made
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The paper deals with the way source-in-target metonymy and target-in-source metonymy are used in text on international affairs. In such texts, the notion in the source domain is typically a toponym, but there are cases in which the source can be an ethnonym derived from a toponym. With target-in-source metonymies, the source domain stands for a target sub-domain. With source-in-target metonymies, a source sub-domain stands for a target domain. Both types of metonymy are unidirectional, as the target concept activated by the source concept does not in its turn activate the source concept in the same text. The study traces the way those types of metonymy are exploited in the media and studies the similarities and differences in their use in Bulgarian and English language texts.
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Current statistics indicate that about two in fifty cases of rape are reported in Nigeria, and thepercentage of reported cases has continued to reduce over the years in spite of the observedconsistent increase in the number of rape incidents. The burden of rape is more on womenwho do not have power balance with men to propagate or prosecute a majority of cases. Thelong silence of women due to the lack of support from male folk shows some kind of genderpolitics behind rape. Hence, the stigma associated with rape continues to discourage womenfrom reporting rape cases. However, this issue has been continuously explored in many Nigerian(Nollywood) films. But to what extent have Nollywood films contributed to the mobilization of theNigerian populace toward reducing incidences of rape in Nigeria? Using the framing theory ofthe media, this article examined two Nigerian films, Tango with Me (dir. Mahmood Ali-Balogun,2012) and Code of Silence (dir. Emem Isong, 2015), which were purposively selected due totheir storylines on rape. The movies were content analysed to highlight the role that men andwomen play, and the views of society towards rape incidences. The study also examined thegender roles vis-à-vis the stigma and trauma experiences of the victims (mainly the women)and the punishment meted out to the perpetrators of rape. Findings indicated that there isa code of silence; consequently, rape victims (mainly women) are not encouraged to speakout, for fear of losing their mental wellbeing and social status in society. The role of womenin rape is passive and submissive to the dictates of a society which valorises patriarchy whilethe role of men shows aggressive and unrepentant behaviour, which society hardly punishes.The conclusion reached is that Nollywood content producers should help to raise the level ofNigerians’ awareness through their productions to make rape victims see the need to promptlyreport rape incidents, so that offenders can be punished and deterrents can begin to emerge.
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This paper analyzes the models that media apply to represent collective memory and historical discourse into the public space. The focus is on the relation between media populism and the discourses of the past. The paper comments on the defining role of media logic in the mediation of collective memory and historical knowledge. It also presents major theoretical sources and their respective interpretation of the category ‘memory’ and its correlation to history. Furthermore, it reviews the aspects through which media theory interprets the thematization of collective memory by news outlets.
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The Holocaust is treated in the scholarly literature as a phenomenon characterized by singularity and specifi city, therelevance of the subject being often discussed in political or historical studies. To determine how it was possible for so manypeople involved to act both actively and passively in this dark episode of history, it is necessary to treat the Holocaust within theframe of social sciences at an interdisciplinary level. We propose to treat the subject both from a legislative perspective, in orderto follow the way in which the rule of law can instrument the extermination of a group for religious reasons, as well as fromthe perspective of informing through the press, respectively that of public policies, to observe the masking of a phenomenon ofsuch extent. Also, the article emphasizes that the post-Holocaust Jewish reintegration decisions in the Romanian society werein fact formalities and the Romanian culture was and will remain one of an anti-Semitic type.
More...Rolul efectelor speciale în dezvoltarea artei cinematografice
Creativity is one of the main attributes of mankind. Special eff ects deal with exactly that – how to be creative in videoor audio. This paper off ers information on special eff ects: how the whole thing started and how do they aff ect our lives. Wewill fi rst lay out the basic concepts behind this technology and we will try to understand why some of these process whereso advanced for their time. The main purpose for our action is to build a picture of the special eff ects industry. We will beconsidering defi nitions and a brief history of special eff ects. Special eff ects in television are a subject that we considered to beappropriate for investigation. In the second part of the paper we prepared a practical study that will help us understand howthe constant development of new special eff ects technology can turn a fi lm into a masterpiece or it can ruin it completely.
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In modern society, digital convergence contributes to interoperability between different media, with a high level of interactivity between the users and the means of communication. Therefore, it is essential to find and formulate a new basis for copyright and related rights that will provide the necessary legal protection for authors, artists, users, etc. Collective Management and Collective Copyright and Related Rights Organizations face many challenges in the digital environment. Digital rights management provides right holders with individual oversight, monitoring and measurement of broadcast copyright works and objects of related rights through the media, thus allowing greater transparency. Collective management organizations, which have made an outstanding contribution since the second half of the 19th century towards promoting culture and the progress of the media industry in our societies, and which have remained powerful organizations to this day, are currently experiencing a strong wave of change. The media is at the forefront of the changes caused by the impact of digital technology. The nature of digitalization and its implications for broadcasting are increasingly being explored. There is also a growing need to analyse the consequences of the changes caused by the impact of digital technology on broadcasting, as well as the appropriate change policy.
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In modern society, digital convergence contributes to interoperability between different media, with a high level of interactivity between the users and the means of communication. Therefore, it is essential to find and formulate a new basis for copyright and related rights that will provide the necessary legal protection for authors, artists, users, etc. Collective Management and Collective Copyright and Related Rights Organizations face many challenges in the digital environment. Digital rights management provides right holders with individual oversight, monitoring and measurement of broadcast copyright works and objects of related rights through the media, thus allowing greater transparency. Collective management organizations, which have made an outstanding contribution since the second half of the 19th century towards promoting culture and the progress of the media industry in our societies, and which have remained powerful organizations to this day, are currently experiencing a strong wave of change. The media is at the forefront of the changes caused by the impact of digital technology. The nature of digitalization and its implications for broadcasting are increasingly being explored. There is also a growing need to analyse the consequences of the changes caused by the impact of digital technology on broadcasting, as well as the appropriate change policy.
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The paper presents media culture in the area of education as a dominant culture in the world whose careful study is necessary in order to understand social trends. Youth needs to be introduced to different types of mass media such as film, theatre, radio, television, print media, the Internet, and library. The main role of the media education is to enable students to use key media-related vocabulary. A media literate person will be able to recognize the true value of the media.The choice of teaching methods, aids, and resources depends on the aim of the lesson. Media education is part of first language education, as well as art education.Based on a case study, in this paper we tried to answer the following questions:1. To what extent is media education present in the first language education?2. Has the media education been neglected?3. To what extent are students interested in media education ?The analysis was conducted by applying heuristic method of analysis, descriptive analysis, and theoretical analysis
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Communication and communication behavior are significant phenomena in the field of human action. Positioning in public and media discourse is directly related to the level of communication competence of an individual. Communication competence can be considered as crucial for the appropriateness and success of his or her behavior in the public and media sphere, as well as for the realization and outcome of the public and media discourse of each participant individually and all participants together. On the other hand, the “speed of life” in modern societies also dictates the pace of communication. People are exposed to a large number of emerging situations and relationships that makes communication an increasingly challenging. In addition to the theoretical stronghold on communication and communication competence, the paper examines some of the essential features of communication behavior in public and media discourse, such as the culture of dialogue, the ethics of public words, and hate speech.
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