Around the Bloc: Exhibit Showing Serbia’s Intolerance for Censorship Backfires
Taking a leaf out of Orwell’s 1984, the exhibition shows media materials critical of Prime Minister Aleksandar Vucic, labeled ‘lies.’
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Taking a leaf out of Orwell’s 1984, the exhibition shows media materials critical of Prime Minister Aleksandar Vucic, labeled ‘lies.’
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The paper’s aim is to explore the evolving nature of an encyclopaedia in the era of participatory culture. First, the article claims that there is no sense to pigeonhole Wikipedia as an encyclopaedia. To explain this statement, Wikipedia’s functional features against traditional knowledge compendia like an encyclopaedia are analysed. Second, it refers to empirical research outcomes on the Wikipedia’s reliability. Finally, the article closes with thoughts on a virtual encyclopaedia that is an interesting case of a network organisation in the era of participatory culture. It also points out research directions important to understand this phenomenon from the humanistic perspective.
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Rustavi 2 helped usher Mikheil Saakashvili into power during the Rose Revolution.
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The right of every person to obtain information, guaranteed by Article 54 Section 1 of the Constitution of the Republic of Poland, is realized mainly through media. In order to carry out these tasks, the media need to have guaranteed, and not just confirmed by the above mentioned regulation, freedom of speech, but also the freedom to perform activities, through which they will be able to distribute information. Such guarantees can be found in Article 14 of the Constitution, whereas the ban on preventive censorship and press licensing, expressed in Article 54 Section 2 of the Constitution is a detailed guarantee of the freedom to conduct business by the media. This regulation, however, stipulates that an act of parliament may introduce an obligation to obtain a prior license to run a radio or TV station. Administrative decisions in this matter are included mainly in Chapter 5 of the Broadcasting Act, titled "Licences to broadcast programmes", (Art.33-40b). It is also necessary to point to the fact that radio and TV programme broadcast takes place within the frames of running a business activity. However, according to Article 46 Section 1 Point 5 of the Act on the Freedom to Perform a Business Activity, running a business activity in the area of broadcasting radio and TV programmes requires to obtain a license, while the detailed range and conditions of running a business activity subject to licensing are regulated by other acts of parliament. According to Article 22 of the Constitution, “limiting the freedom to run a business activity is only acceptable by means of an act of parliament and only due to an important public interest.”
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The article discusses the history of the development of the idea of a network as a tool for research, indicating its dispersion within science, involving the use of extremely different theoretical approaches. The text proposes to include them in the form of the parent confrontation between mainly quantitative research stream and humanistic stream, based on the idea of a network society. It indicates also that a similar breakdown occurs from the beginning of the research within the quantitative stream, taking the form of a confrontation of sociological research and physical or biological research. The article cites facts about the development of all the described tracts, leading to conclusion, that such a state of network research must recall the epistemological reflection on the one hand, and, on the other hand, it establishes the possibility of the emergence of the synthetic and interdisciplinary concepts, which potential examples it shows.
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The inconstancy of business and competition models influence the need for constant redefining of media enterprises strategy. In case of polish regional radio station companies, the destabilization of subscription revenue and rules governing their division is an additional factor underlining the instability of management conditions. The purpose of this article is to demonstrate that in the face of persistent destabilization of external factors, public media companies have limited strategic choices and may maximize their income by increasing activity in the advertising market and value co-creation with the users of media products. The paradox of those companies actions lies in the fact that they seek for stabilization of their financial situation in the highly competitive and unstable advertising market and that the forced competition with other commercial media must accompany carrying out the public media mission. Those solutions are based on the example of the Polish Radio Gdańsk SA.
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The essence of management, is the confident and efficient use of resources, the organization’s and the means to achieve certain goals. The advertising agency, in addition to human resources also has financial, tangible and intangible resources. However, of particular interest is intellectual property rights which has economic value and gives the advertising agency a powerful competitive edge. It is significant, therefore, that the management of intellectual property is effective. In this article, the author attempts to illustrates what the process involves.
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Marketing Media (MM ) is a term which, together with the ongoing massification and interactivity of the media is becoming increasingly popular. The media in the media marketing are characterized by sending transfers, mediates them and multiply them being their recipient at the same time. Media marketing should not be regarded as a way of reaching out through the media to the client – it is the component of the management and marketing. This media marketing, not marketing products or services by the media. The article pointed out some of the tools, techniques and modern marketing communication channels used by media companies. The purpose of this publication is to analyze the aspect of marketing communication which is organization of „Action plebiscite” in the network. Exemplification of the above considerations is the „Dziennik Zachodni” acting in Silesia since 70 years.
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The main issue discussed by the article concerns the question what new digital media do to traditional TV audience and how new technologies are changing television programming and the way of viewing and consumption of this medium. Technological conditions of new mobile media are a decisive part of this change, which, at the same time, is not neutral, as it poses a threat of commercialization of our privacy.
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The current popularity of both radio and television services in the United Kingdom which are run on a not-for-profit basis, be they operated by the BBC or to a much lesser extent by the state-owned Channel 4, attests to the strength of public service broadcasting there. Largely – as this article seeks to explain – the strengths of the BBC and the influence of the public service ethos even in the way mainstream private-sector broadcasting, especially television, is regulated, can be attributed to the importance placed upon public service media right from the 1920s. Even in this pluralistic, multi-platform, age of media proliferation, the effects can be seen of the early establishment of clear objectives and standards for the sector by its founders, which have been largely maintained by their successors. There have been many pressures on the BBC and its supporters in public life to cede territory to the commercial sector, but although change has in some respects been inevitable, the corporation’s funding model and constitution have served the population well in bolstering the BBC against such attacks on its ability to function as an important bulwark of quality broadcasting and freedom of expression in democratic society. This is not merely a matter of territory, though, of spectrum allocation and the distribution of resources. It is also about public perceptions of the BBC and its output, the trust it enjoys among its audiences and the resultant brand loyalty upon which it ultimately depends and which is firmly rooted in quality and inclusiveness. This public sector ethos has, however, almost inevitably been weakened since the 1920s, as increasingly strident voices have lobbied for greater opportunities for the private sector to generate as much profit as possible from broadcasting have gained greater traction at certain critical points in the history of broadcasting, as is now also the case in 2016.
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It can be regarded as we have a problem with the application of its provisions to the content present in the network in terms of law because regulations on media infiltrate boundaries – so, and the media themselves. Polish law is not adapted to the changing technology reality. And it is not only the universal use of social media. Traditional media also taking into account the convergence process are present in the network. The purpose of this publication is to analyze certain aspects of legal regulations concerning the distribution of content in cyberspace – on the basis of the law in Poland the media. To demonstrate that self-regulation in the area of electronic media has the great advantage that it can go in a relatively short distance for the development of “new” media. In contrast, new, precise regulations in the matter of electronic media are difficult to be implemented in a short time.
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Convergence has contributed to placing some media contents on different electronic platforms. Bloggers and internet users have almost taken professional journalist’s place. The evolution has affected all branches of media sector, the citizen journalism has entered into the new media and social networks have become a source of information for many people. New models of media content management are primarily targeted at reducing costs and increasing profits and at splitting off from the traditional bilateral management model. In the modern chaos of information overload society needs to have not only free, clear and segregated media content available from a variety of devices but also to share their opinion with others.Such demand was sensed by Arianna Huffington who created the whole media empire counting more than 100 million readers from all over the world. She has created a huge opinion-forming platform (The Huffington Post) which combines a news aggregator and blogging platform together to which you can add TV channels, magazines and e-books activity. Such combination of media content aggregator activity with bloggers platform activity can be defined as “huffinization”. Media content are created by the platform users and more than 30 000 unpaid bloggers that is allowed not only to ramp up profits but also stimulate the development of political and social events.
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Except its commonness Russian and Belarusian worldview contains differences that signal about specificity in culture and mentality. Explication and taking into account national cultural information encoded at all language levels secure high quality of native speakers’ contacting. Some linguists identify communication as interaction of “speaking perceptions”, emphasizing that for such interaction they need the intersection of communicators’ cognitive fields: the larger the area of intersection the more adequate communication. In the article by the example of different language levels there was displayed that Russian and Belarusian “speaking perception” possesses peculiarities reflected in language and developing in the process of communication.
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This article focuses on both cyclical and linear qualities of time in superhero-themed comic books, and confronts them with various theories of myth, stressing some major similarities and some interesting differences. It also gives a brief insight into the history and evolution of superhero narratives and explains their cultural impact and influence on consecutive generations of readers. The article aims to establish and validate a new position of superhero narratives as a modern myth material and a complete cosmology.
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The meaning and the role of the network and guanxi are similar. The difference lies in the basis for the connections and methods used to make a long-term relationship with members of the network. The example can be Western instrumental network which is not equal with the social network. In Chinese culture, both are identical. In Western culture the relationship grows out of deals, but in China it is different, and deals grow out of the relationship. Westerners are generally unaware of the fact that in China social relationships are more meaningful than in the West. They are fundamental to the Chinese national character. In the West one does not need to have a personal relationship with members of the instrumental network.
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Apple could also face sanctions as Moscow continues to narrow the playing field for foreign tech companies.
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The text proposes an interpretation of the well-known video game series "Tomb Raider", which – apart from the most popular context, that is, gender analysis of the central character – places it in the context of the New Adventure Cinema, television in the 1990s, and older platform games that preceded it. Reference to this threefold background is used to indicate how technical limitations and the specificity of the poetics of video games lead to a privileging of grotesque parody as the primary means of expression of this form of narrative, especially in the context of the strong links between games and cinema, for which the first game in the analyzed series represented a breakthrough.
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The article examines a phenomenon popular in the years 1987–1998: the point-and-click adventure game, and in particular, their interface and SCUMM scripting language. The classic model for creating syntactic commands to interact with the world is read here as an element in determining the “expression” of these games and interpreted from the perspective of Bruno Latour’s flat ontology, incorporating a correction to his position introduced by Graham Harman. In this approach – representative of philosophy directed towards objects (OOO) – the games discussed offer a metaphysical model of reality based on the autonomy of subjects and the mechanism of vicarious causation.
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The article is an attempt to read the game "The Last Door" in relation to the works of the American writer Edgar Allan Poe. The author of the text tries not only to identify specific intertextual references, but also to answer questions about their function. The literary allusions that can be found in "The Last Door" differ significantly in terms of the degree of their concealment – and thus demand from the player varying degrees of reading competence. Besides indicating the function of intertextual relationships, the analysis also enables us to explore the mechanisms used to build a mood of terror, and the relevance today of the techniques developed by Poe in the first half of the nineteenth century.
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