Suchergebnisse

Undesrtanding Media Production
Autor: Paul Dwyer
Editorial: Routledge
ISBN: 978-1-138-23814-5
Páginas: 231
Reseña de Minerva Campos Rabadán

Während des am 6. Dezember 1986 in London von der 'African Studies Association of the United Kingdom' abgehaltenen Symposiums "The media and Africa since independance: past trends and future prospects" wurde die kontinuierliche Verschlechterung der Afrikaberichterstattung vor allem britischer Zeitungen, aber auch des britischen Rundfunks seit den 60er Jahren beklagt: sie beschränke sich zunehmend auf spektakuläre Ereignisse (z.B. Hungersnöte) und verzerre dadurch die afrikanische Realität. (DÜI-SPE)

Queerness has always been marked by its untimely relation to socially shared temporal phases, whether individual (developmental) or collective (historical). (McCallum and Tuhkanen 6) The 2017 promotional campaign that launched Season Nine of Logo's award-winning reality competition TV series RuPaul's Drag Race (RPDR) spoke directly to anxieties circulating within LGBT communities in the US and beyond as a result of the 2016 election of Donald Trump (LogoTV). More specifically, the marketing strategy asserted the programme's timely relation to an unfolding history that seemed unrelentingly bleak. For, despite candidate Trump's pledges to support the LGBT community, his administration immediately undertook actions that rolled back Obama-era advances. Trump reassigned the senior advisor for LGBT health in the Department of Health and Human Services (HHS), fired every member of the President's Advisory Council on HIV/AIDS, attempted to ban all transgender people from serving in the US military (later limited to a ban on those who have transitioned), and sought to rescind workplace protections for LGBT people that had been recognised under Title VII of the Civil Right Act. As we write this Introduction in late 2018, Trump's administration announced plans to redefine gender as "biologically fixed", which will effectively "define out of existence" 1.4 million transgender Americans in the US (Green, Benner, and Pear). Sensing the growing vulnerability of queer life at the epicentre of this gathering storm, RPDR asserted its importance to American politics and culture. Prior to the airing of the season's first episode in March 2017, TV spots and online ads featured the tagline, "drastic times call for dragtastic measures", with Ru Paul proclaiming "we need America's next drag superstar now more than ever" (@RuPaul; LogoTV).

In the past three decades, global and regional media freedom advocacy and activist groups have multiplied as risks to journalists and media workers have escalated. Nowhere has this trend been so marked as in the Oceania region where some four organisations have developed a media freedom role. Of these, one is unique in that while it has had a regional mission for almost two decades, it has been continuously based at four university journalism schools in Australia, Fiji, New Zealand and Papua New Guinea. Pacific Media Watch was founded as an independent, non-profit and non-government network by two journalism academics in the Australian Centre for Independent Journalism (ACIJ) at the University of Technology, Sydney. Its genesis was the jailing of two Taimi 'o Tonga journalists, 'Ekalafi Moala and Filokalafi 'Akau'ola, and a 'whistleblowing' pro-democracy member of Parliament in Tonga, 'Akilisi Pohiva, for alleged contempt in September 1996. PMW played a role in the campaign to free the three men. Since then, the agency has developed an investigative journalism strategy to challenge issues of ethics, media freedom, industry ownership, cross-cultural diversity and media plurality. One of PMW's journalists won the 2013 Dart Asia-Pacific Centre for Journalism and Trauma Prize for an investigation into torture and social media in Fiji. This article presents a case study of the PMW project and examines its history and purpose as a catalyst for independent journalists, educator journalists, citizen journalists and critical journalists in a broader trajectory of Pacific protest.Figure 1: A Pacific Media Watch Fiji torture and social media investigation series won the Dart Asia-Pacific Centre trauma journalism prize in 2013.

"As part of China's 'going out' strategy, China is using its media to promote its views and vision to the wider world and to counter negative images in the US-dominated international media. China's Media Go Global, the first edited collection on this subject, evaluates how the unprecedented expansion of Chinese media and communications is changing the global media landscape and the role of China within it. Each chapter examines a different dimension of Chinese media's globalization, from newspapers, radio, film and television, to social media and journalism cultures and practices. Topics include the rise of CCTV and its ambitions to dominate the global market alongside the BBC and CNN; China Daily as an instrument of China's public diplomacy; the history of China's New Documentary movement; the influence of Western newspapers' move online on Chinese media models and the fierce discussion around the growth of China's state media in Africa. As well as chapters discussing entertainment television, financial media and the advertising market in China. This collection of essays offers a comprehensive evaluation of complex debates concerning the impact of China on the international media landscape now, and in the future. It makes a distinctive addition to Chinese media studies, as well as to broader global media discourses. Beyond its primary readership among academics and students, China's Media Go Global is aimed at the growing constituency of general readers, for whom the role of the media in globalization is a matter of wider interest" --

"This collection ... [focuses] on the relations of cinema to other media, artworks and diverse forms of entertainment, demarcating their sometimes conjoined, sometimes separate, histories ... [and] seeks to make visible the complex ways in which media anticipate, interfere with and draw on one another, demonstrating how what we have called 'cinematicity' makes itself felt in practices of seeing, reading, writing and thinking both before and after the 'birth' of cinema"--Page 1

This essay examines how "decolonization" has become a buzzword, arguing that its trajectory follows that of "intersectionality," another term popularized in media spaces and embraced by white leftist activists both in and outside of the academy. I propose that discursive activism online can be understood through two modes: extractive currency and redistributive currency. Exposing extractive media practices, this essay considers how "decolonization" has become commodified and stripped of its connection to the vital work of Indigenous people, transformed into what I call an "extractive currency" that promotes self-styled white "radical" voices at the expense of Indigenous sovereignty. Decolonial feminist media theory, I suggest, has a crucial role to play in undoing the power of this extractive currency in favor of a redistributive currency by unveiling the role of media in creating it and, instead, centering models of decolonial feminist activism. This exploration of #MMIW, the social media hashtag drawing attention to missing and murdered Indigenous women, demonstrates how media can be used in tactical ways to transform local activism into transnational phenomena while insisting on the need to attend to the ongoing experience of colonial violence, born from Indigenous dispossession and genocide, that threatens the lives of Indigenous women. In this way, I suggest, decolonial feminist media theory has a crucial role to play in reimagining the economies of media activism.