A. Latypova, Alexander S. Lenkevich, D. Kolesnikova, K. Ocheretyany
The following article explores the notion of visual garbage and considers various strategies for its recycling, upcycling, and use. Visual garbage is investigated in the context of media sphere development and the theory of garbage itself. The authors propose to analyse such approaches of visual garbage use, as visual camouflage and glitch art, as well as to examine the principles of visual garbage recycling in terms of the Aristotelian conception of causality. Understanding garbage as a medium helps not only to uncover the features of its circulation, but also to consider garbage as a source of knowledge accumulation. Moreover, it helps to find new social, political and aesthetic strategies for understanding contemporaneity, which in turn allows us to draw conclusions about the untapped potential of visual garbage. Visual garbage not only becomes a source of visual pollution, but also contains a resource for reality conversion. In order to determine the criteria for visual pollution, it is necessary to examine the performative productivity of garbage and its effect as a mediating tool.
{"title":"Study of Visual Garbage as Visual Ecology Perspective","authors":"A. Latypova, Alexander S. Lenkevich, D. Kolesnikova, K. Ocheretyany","doi":"10.46539/gmd.v4i2.283","DOIUrl":"https://doi.org/10.46539/gmd.v4i2.283","url":null,"abstract":"The following article explores the notion of visual garbage and considers various strategies for its recycling, upcycling, and use. Visual garbage is investigated in the context of media sphere development and the theory of garbage itself. The authors propose to analyse such approaches of visual garbage use, as visual camouflage and glitch art, as well as to examine the principles of visual garbage recycling in terms of the Aristotelian conception of causality. Understanding garbage as a medium helps not only to uncover the features of its circulation, but also to consider garbage as a source of knowledge accumulation. Moreover, it helps to find new social, political and aesthetic strategies for understanding contemporaneity, which in turn allows us to draw conclusions about the untapped potential of visual garbage. Visual garbage not only becomes a source of visual pollution, but also contains a resource for reality conversion. In order to determine the criteria for visual pollution, it is necessary to examine the performative productivity of garbage and its effect as a mediating tool.","PeriodicalId":393706,"journal":{"name":"Galactica Media: Journal of Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128366933","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Humour has been celebrated as a way to cope with trauma – through disaster jokes, wartime humour and death-related humour in general, the joke-tellers alleviate the painful experiences and memories of these. But there is another side to this coin. Humour may trivialise the negative experience, especially because black humour is not only the priority of the victims. It can be shared by both those who lived through the trauma as well as those that caused it, e.g. the oppressors themselves. The way this trivialises the trauma is obvious: we laugh at others’ suffering, hence we don’t take it seriously. Standard theories of humour state that in order for a situation to generate humour, a certain tension or conflict combined with some distance from it is needed. At the same time, humour has been created also under difficult situations and extreme danger, which is the case with war humour. Its format can vary – be it verbal or visual – but the content carries similar features. This article describes the main features of humorous reminiscence of the WWII in Estonian post-war comic books. I will look more closely at two such examples from a collection of Estonian life stories. The first is a comic fictitious life story titled “Refugee: Refugee life in pictures” published in a refugee camp in Germany in 1946, very popular at its time. The other was first published only in 2006, but written in 1948, and is a comic depiction of war-time life as seen by the author Raoul Edari who fled to Germany during WWII. The material will lend grounds to discuss the influence of trauma and its humorous representation.
{"title":"The Reflection of Traumatic Memories in Estonian Autobiographical Comics","authors":"L. Laineste, Maria V. Semykolennykh","doi":"10.46539/gmd.v4i2.281","DOIUrl":"https://doi.org/10.46539/gmd.v4i2.281","url":null,"abstract":"Humour has been celebrated as a way to cope with trauma – through disaster jokes, wartime humour and death-related humour in general, the joke-tellers alleviate the painful experiences and memories of these. But there is another side to this coin. Humour may trivialise the negative experience, especially because black humour is not only the priority of the victims. It can be shared by both those who lived through the trauma as well as those that caused it, e.g. the oppressors themselves. The way this trivialises the trauma is obvious: we laugh at others’ suffering, hence we don’t take it seriously. \u0000Standard theories of humour state that in order for a situation to generate humour, a certain tension or conflict combined with some distance from it is needed. At the same time, humour has been created also under difficult situations and extreme danger, which is the case with war humour. Its format can vary – be it verbal or visual – but the content carries similar features. This article describes the main features of humorous reminiscence of the WWII in Estonian post-war comic books. I will look more closely at two such examples from a collection of Estonian life stories. The first is a comic fictitious life story titled “Refugee: Refugee life in pictures” published in a refugee camp in Germany in 1946, very popular at its time. The other was first published only in 2006, but written in 1948, and is a comic depiction of war-time life as seen by the author Raoul Edari who fled to Germany during WWII. The material will lend grounds to discuss the influence of trauma and its humorous representation.","PeriodicalId":393706,"journal":{"name":"Galactica Media: Journal of Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132723711","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article is devoted to the study of the theory of media memory and its role in the construction of collectively shared ideas about the past. The author proceeds in his work from McLuhan’s expansive interpretation of media. The processes of mediatization of communicative and cultural memory are being analyzed. Considering the views of Y. M. Lotman and J. Assman on cultural and communicative memory, the author comes to the conclusion that their theories explaining the functioning of collective memory in the era of oral and written communication, cease to work when describing the mechanisms of memory reproduction in the digital environment. Theories of mediatization of memory regard communicative memory are limited to J. Assman’s understanding of, that is, as a memory of the recent past covered by the time of the existence of contemporary digital media. Based on the works of J. Garde-Hansen, E. Hopkins and others, the author considered the theory of digital memory showing its difference from mediamemory. The processes of mediatization of collective memory in the digital environment lead to the emergence of media memory as a special virtual mechanism for constructing ideas about the past. Media memory possesses the characteristics of communicative, cultural and digital memory simultaneously, being a phenomenon of the digital era, where the change in the means of communication has led to the transformation of the content of memories and ways of their reproduction.
本文致力于研究媒介记忆理论及其在构建关于过去的集体共享观念中的作用。作者从麦克卢汉对媒介的广义解释出发。对交际记忆和文化记忆的媒介化过程进行了分析。考虑到Y. M. Lotman和J. Assman关于文化记忆和交际记忆的观点，作者得出结论，他们的理论解释了口头和书面交流时代集体记忆的功能，在描述数字环境下的记忆复制机制时就失效了。记忆媒介化理论认为交际记忆仅限于J. Assman的理解，即被当代数字媒体存在的时间所覆盖的最近过去的记忆。在J. Garde-Hansen, E. Hopkins等人的著作基础上，作者思考了数字记忆理论与媒介记忆的区别。在数字环境下，集体记忆的媒介化过程导致媒介记忆作为一种特殊的虚拟机制的出现，用于构建关于过去的观念。媒介记忆同时具有交际记忆、文化记忆和数字记忆的特征，是数字时代的一种现象，传播手段的变化导致了记忆内容及其再现方式的转变。
{"title":"Media Memory: Theoretical Aspect","authors":"D. Artamonov","doi":"10.46539/gmd.v4i2.269","DOIUrl":"https://doi.org/10.46539/gmd.v4i2.269","url":null,"abstract":"The article is devoted to the study of the theory of media memory and its role in the construction of collectively shared ideas about the past. The author proceeds in his work from McLuhan’s expansive interpretation of media. The processes of mediatization of communicative and cultural memory are being analyzed. Considering the views of Y. M. Lotman and J. Assman on cultural and communicative memory, the author comes to the conclusion that their theories explaining the functioning of collective memory in the era of oral and written communication, cease to work when describing the mechanisms of memory reproduction in the digital environment. Theories of mediatization of memory regard communicative memory are limited to J. Assman’s understanding of, that is, as a memory of the recent past covered by the time of the existence of contemporary digital media. Based on the works of J. Garde-Hansen, E. Hopkins and others, the author considered the theory of digital memory showing its difference from mediamemory. The processes of mediatization of collective memory in the digital environment lead to the emergence of media memory as a special virtual mechanism for constructing ideas about the past. Media memory possesses the characteristics of communicative, cultural and digital memory simultaneously, being a phenomenon of the digital era, where the change in the means of communication has led to the transformation of the content of memories and ways of their reproduction.","PeriodicalId":393706,"journal":{"name":"Galactica Media: Journal of Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115243569","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The international evidence base shows that the mass communication industry is characterized by elevated levels of employee burnout while there is scant research addressing parallel situations in Africa and more specifically Ethiopia. Accordingly, the objective, of the present study was to determine the prevalence and magnitude of burnout among journalists working for Amhara TV, Oromia Broadcasting Network and Tigray TV using the Maslachburnout inventory and a sample of 123 journalists. The aim was also to determine the contribution of job control, job demands, organizational support and biographical factors to burnout using hierarchical regression methods. A two-step hierarchical regression procedure was employed to determine the best fit to the data. Results indicated that biographical predictors failed to qualify as significant explanatory factors, but the model explained an improved 32 % of the variance in burnout. ANOVA tests showed no significant scores in burnout were attributable to gender, job level, age or work experience differences except for region. Implications are discussed.
{"title":"Burnout in Journalism: Evidence from Regional Television Stations in Ethiopia","authors":"Amanuel Gebru Woldearegay","doi":"10.46539/gmd.v4i1.228","DOIUrl":"https://doi.org/10.46539/gmd.v4i1.228","url":null,"abstract":"The international evidence base shows that the mass communication industry is characterized by elevated levels of employee burnout while there is scant research addressing parallel situations in Africa and more specifically Ethiopia. Accordingly, the objective, of the present study was to determine the prevalence and magnitude of burnout among journalists working for Amhara TV, Oromia Broadcasting Network and Tigray TV using the Maslachburnout inventory and a sample of 123 journalists. The aim was also to determine the contribution of job control, job demands, organizational support and biographical factors to burnout using hierarchical regression methods. A two-step hierarchical regression procedure was employed to determine the best fit to the data. Results indicated that biographical predictors failed to qualify as significant explanatory factors, but the model explained an improved 32 % of the variance in burnout. ANOVA tests showed no significant scores in burnout were attributable to gender, job level, age or work experience differences except for region. Implications are discussed.","PeriodicalId":393706,"journal":{"name":"Galactica Media: Journal of Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130743331","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Digital vigilantism is one of the challenges of e-democracy. Many scholars recognize the threat of vigilantism to civil society. However, we believe it can also reinforce weak government institutions. We consider digital vigilantism as an alternative to e-participation tools. This study aims to determine a model of digital vigilantism in Russia based on the analysis of the social media activity of StopXam in the context of the development of alternative e-democracy institutions. Considering vigilantism as an example of an informal institution, we analyze vigilantism following Helmke and Levitsky typology. The case chosen for analysis is one of the largest Russian vigilant StopXam movement that can be compared with the government initiative Moscow Helper. To identify the model of digital vigilantism in Russia, we conduct a social network analysis in respect to five communities in Vk.com, a Russian social network: “StopXam”, “StopXam Moscow”, the official community of “Moscow Helper”, the unofficial community of “Moscow Helper”, the community of opponents of “Moscow Helper” application. The findings of this study suggest that vigilantism could be considered as an instrument of informal institutionalization, which can be used by political actors (primarily the government) as a tool for setting the rules of the game that correspond to established public values. The creation of groups that are ready to observe the general principles of the game’s rules and impose common values with only minor, occasional violations of the letter of the law is becoming a working model of managed vigilantism. This model tends towards the routine practice of vigilantism, which limits the potential for online mobilization.
{"title":"Managed Cyber-Vigilantism: StopXam between Collaboration and Competition","authors":"D. Martyanov, G. Lukyanova","doi":"10.46539/gmd.v4i1.242","DOIUrl":"https://doi.org/10.46539/gmd.v4i1.242","url":null,"abstract":"Digital vigilantism is one of the challenges of e-democracy. Many scholars recognize the threat of vigilantism to civil society. However, we believe it can also reinforce weak government institutions. We consider digital vigilantism as an alternative to e-participation tools. This study aims to determine a model of digital vigilantism in Russia based on the analysis of the social media activity of StopXam in the context of the development of alternative e-democracy institutions. Considering vigilantism as an example of an informal institution, we analyze vigilantism following Helmke and Levitsky typology. The case chosen for analysis is one of the largest Russian vigilant StopXam movement that can be compared with the government initiative Moscow Helper. To identify the model of digital vigilantism in Russia, we conduct a social network analysis in respect to five communities in Vk.com, a Russian social network: “StopXam”, “StopXam Moscow”, the official community of “Moscow Helper”, the unofficial community of “Moscow Helper”, the community of opponents of “Moscow Helper” application. The findings of this study suggest that vigilantism could be considered as an instrument of informal institutionalization, which can be used by political actors (primarily the government) as a tool for setting the rules of the game that correspond to established public values. The creation of groups that are ready to observe the general principles of the game’s rules and impose common values with only minor, occasional violations of the letter of the law is becoming a working model of managed vigilantism. This model tends towards the routine practice of vigilantism, which limits the potential for online mobilization.","PeriodicalId":393706,"journal":{"name":"Galactica Media: Journal of Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125308203","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Today, historical video games going beyond the boundaries of the purely entertainment framework of screen media are increasingly influencing the formation of the public history infosphere. The aim of the study is a comprehensive analysis of historical video games as a tool for constructing mass historical consciousness and the implementation of ideologized strategies for the politics of memory. Methodologically, the work is based on the concepts of “public history infosphere” and “politics of memory”, as well as the historical method and classification approach. In addition, elements of comparative analysis, the method of narrative research of cultural artifacts and the optics of I. Bogost’s procedural rhetoric are used. The study determines the specificity and nature of broadcasting historical plots in the context of procedural actualization of video game narratives. Starting from the interactive-procedural nature of video games, the original possibilities and objective constraints in the reproduction of “stories about the past” are revealed. It is demonstrated that the programmatic and subjective-user modalities of a video game existence endow it with rhizome and nomadic characteristics. Video game architectonics has an intention to deconstruct the “metaphysics of presence” and the main repressive instances characteristic of traditional historical narrative. At the same time, based on the concept of simulations by G. Frasca, three main formats of historical video game reconstructions are revealed: factual (plot and setting), logical-dynamic and hybrid. The article identifies the most common ways of distorting, mythologizing and politicizing history in video games. Special attention is paid to the explication of the ideologized concept of “anti-Sovietism” in video game plots, as a form of quasi-historical criticism of the Soviet regime and the continuation of the rhetoric of the “Cold War”. The results of the study can be used in the expert assessment of the space of public history, in the identification of relevant media tools and meaningful concepts that form its semantic framework. In addition, certain conclusions are essential for the effective correction of memory policy strategies implemented in screen digital media.
{"title":"Historical Video Games in the Context of Public History: Strategies for Reconstruction, Deconstruction and Politization of History","authors":"D. Belyaev, Ulyana P. Belyaeva","doi":"10.46539/gmd.v4i1.204","DOIUrl":"https://doi.org/10.46539/gmd.v4i1.204","url":null,"abstract":"Today, historical video games going beyond the boundaries of the purely entertainment framework of screen media are increasingly influencing the formation of the public history infosphere. The aim of the study is a comprehensive analysis of historical video games as a tool for constructing mass historical consciousness and the implementation of ideologized strategies for the politics of memory. Methodologically, the work is based on the concepts of “public history infosphere” and “politics of memory”, as well as the historical method and classification approach. In addition, elements of comparative analysis, the method of narrative research of cultural artifacts and the optics of I. Bogost’s procedural rhetoric are used. \u0000The study determines the specificity and nature of broadcasting historical plots in the context of procedural actualization of video game narratives. Starting from the interactive-procedural nature of video games, the original possibilities and objective constraints in the reproduction of “stories about the past” are revealed. It is demonstrated that the programmatic and subjective-user modalities of a video game existence endow it with rhizome and nomadic characteristics. Video game architectonics has an intention to deconstruct the “metaphysics of presence” and the main repressive instances characteristic of traditional historical narrative. At the same time, based on the concept of simulations by G. Frasca, three main formats of historical video game reconstructions are revealed: factual (plot and setting), logical-dynamic and hybrid. The article identifies the most common ways of distorting, mythologizing and politicizing history in video games. Special attention is paid to the explication of the ideologized concept of “anti-Sovietism” in video game plots, as a form of quasi-historical criticism of the Soviet regime and the continuation of the rhetoric of the “Cold War”. \u0000The results of the study can be used in the expert assessment of the space of public history, in the identification of relevant media tools and meaningful concepts that form its semantic framework. In addition, certain conclusions are essential for the effective correction of memory policy strategies implemented in screen digital media.","PeriodicalId":393706,"journal":{"name":"Galactica Media: Journal of Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133027402","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Political telegram-channels play an important role in maintaining political decision making and shaping the public agenda in modern Russia. Both features of the messenger itself (convenience, a low barrier to entry, a short “shoulder” of communication) and the specifics of the political system of modern Russia together with the predominance of non-public policy have prompted political elites to use indirect communication and anonymous instruments of political struggle. Furthermore, political telegram-channels are in demand as an instrument of expert communication and reflection about the current political situation. The purpose of the research is to analyse the features of political and expert communication in telegram-channels in Russia. It is concluded that, despite the objective predominance of manipulative content, telegram-channels form a special expert ecosystem, a kind of “distributed think tank” which analyses Russian internal political and international agenda in real time. Experts and analytical centres use telegram-channels to communicate their position both to decision makers and the general public. The main problem with the use of telegram-channels as an expert network and “distributed think tank” is to distinguish between manipulative and expert components. A widespread phenomenon of “formative analytics” (manipulative content which pretends to be an expertise) take place in telegram-channels. To solve this problem, we offer analytical tools that require high professional skills in working with information from a researcher, as well as the use of the professional reputation of the sources within the real expert community.
{"title":"Telegram Channels in the System of Expert and Political Communication in Modern Russia","authors":"O. Lyakhovenko","doi":"10.46539/gmd.v4i1.230","DOIUrl":"https://doi.org/10.46539/gmd.v4i1.230","url":null,"abstract":"Political telegram-channels play an important role in maintaining political decision making and shaping the public agenda in modern Russia. Both features of the messenger itself (convenience, a low barrier to entry, a short “shoulder” of communication) and the specifics of the political system of modern Russia together with the predominance of non-public policy have prompted political elites to use indirect communication and anonymous instruments of political struggle. Furthermore, political telegram-channels are in demand as an instrument of expert communication and reflection about the current political situation. The purpose of the research is to analyse the features of political and expert communication in telegram-channels in Russia. It is concluded that, despite the objective predominance of manipulative content, telegram-channels form a special expert ecosystem, a kind of “distributed think tank” which analyses Russian internal political and international agenda in real time. Experts and analytical centres use telegram-channels to communicate their position both to decision makers and the general public. The main problem with the use of telegram-channels as an expert network and “distributed think tank” is to distinguish between manipulative and expert components. A widespread phenomenon of “formative analytics” (manipulative content which pretends to be an expertise) take place in telegram-channels. To solve this problem, we offer analytical tools that require high professional skills in working with information from a researcher, as well as the use of the professional reputation of the sources within the real expert community.","PeriodicalId":393706,"journal":{"name":"Galactica Media: Journal of Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115879538","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Book review: Poznin, V. F. (2021). Screen space and time. Structural-typological and perceptual aspects. St. Petersburg: Publishing House “Petropolis”.
{"title":"Anatomy of a Screen Image","authors":"S. Grigoryev","doi":"10.46539/gmd.v4i1.240","DOIUrl":"https://doi.org/10.46539/gmd.v4i1.240","url":null,"abstract":"Book review: Poznin, V. F. (2021). Screen space and time. Structural-typological and perceptual aspects. St. Petersburg: Publishing House “Petropolis”.","PeriodicalId":393706,"journal":{"name":"Galactica Media: Journal of Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130658153","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study looks at how investigative journalists practice gatekeeping in the context of China. By combining with the hierarchical model of influence (Shoemaker, 1991; Shoemaker & Reese, 2014), this study revisits the relationship between influential factors from the aspects of politics, markets, and organizations, which are across all the levels. Based on the interviews with 25 investigative journalists in Beijing, this research suggests that influential factors do not always have a strong hierarchical relation between each other regarding what sort of information could turn out to be news. This situation is because journalists share varied perceptions about what influential factor can convert into a particular constraint.
{"title":"Is There Any News Left after Gatekeeping? A Journalistic Perspective from Beijing on the Multi-Level of Analysis","authors":"Nairui Xu","doi":"10.46539/gmd.v4i1.166","DOIUrl":"https://doi.org/10.46539/gmd.v4i1.166","url":null,"abstract":"This study looks at how investigative journalists practice gatekeeping in the context of China. By combining with the hierarchical model of influence (Shoemaker, 1991; Shoemaker & Reese, 2014), this study revisits the relationship between influential factors from the aspects of politics, markets, and organizations, which are across all the levels. Based on the interviews with 25 investigative journalists in Beijing, this research suggests that influential factors do not always have a strong hierarchical relation between each other regarding what sort of information could turn out to be news. This situation is because journalists share varied perceptions about what influential factor can convert into a particular constraint.","PeriodicalId":393706,"journal":{"name":"Galactica Media: Journal of Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126320212","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Book review: McKenna, M. & Proctor, W. (Eds.), (2021). Horror Franchise Cinema. Routledge.
书评:McKenna, M. & Proctor, W.(编辑)，(2021)。恐怖系列电影。劳特利奇。
{"title":"The Era of Horror Franchising","authors":"A. Pavlov","doi":"10.46539/gmd.v4i1.255","DOIUrl":"https://doi.org/10.46539/gmd.v4i1.255","url":null,"abstract":"Book review: McKenna, M. & Proctor, W. (Eds.), (2021). Horror Franchise Cinema. Routledge.","PeriodicalId":393706,"journal":{"name":"Galactica Media: Journal of Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120913403","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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