Održiva moda je društveno i okolišno odgovorna moda, ekonomski uspješna te etična u odnosu prema prirodi, drugim živim bićima i ljudima. Rezultati istraživanja stavova hrvatskih dizajnera o konceptu održive mode u 2017. godini pokazali su da se većina ispitanika upoznala s tim konceptom u dokumentarnim filmovima (Holy i Borčić, 2018). To ne čudi jer ima mnogo atraktivnih dokumentarnih filmova na temu modne neodrživosti i promocije održivih modnih koncepata. Ovaj rad istražuje kako šest dokumentarnih filmova uokviruje koncept održive te brze/jeftine mode, koji se emocionalni apeli koriste u filmovima, kako se koriste narativi te kako je moda općenito prikazana. Analiza sadržaja provedenaje na sljedećim dokumentarnim filmovima: True Cost, The Next Black, Slow Down Fast Fashion,Unravel, River Blue i Do we change it? Ethical fashion documentary. Istraživanje je pokazalo kako se u dokumentarnim filmovima o modnoj industriji koriste manipulativne tehnike uvjeravanja, ali nedovoljno integriraju publike, što može utjecati na njihovu učinkovitost.
{"title":"Dokumentarni filmovi kao instrumenti promocije održive mode","authors":"Mirela Holy","doi":"10.20901/ms.12.24.6","DOIUrl":"https://doi.org/10.20901/ms.12.24.6","url":null,"abstract":"Održiva moda je društveno i okolišno odgovorna moda, ekonomski uspješna te etična u odnosu prema prirodi, drugim živim bićima i ljudima. Rezultati istraživanja stavova hrvatskih dizajnera o konceptu održive mode u 2017. godini pokazali su da se većina ispitanika upoznala s tim konceptom u dokumentarnim filmovima (Holy i Borčić, 2018). To ne čudi jer ima mnogo atraktivnih dokumentarnih filmova na temu modne neodrživosti i promocije održivih modnih koncepata. Ovaj rad istražuje kako šest dokumentarnih filmova uokviruje koncept održive te brze/jeftine mode, koji se emocionalni apeli koriste u filmovima, kako se koriste narativi te kako je moda općenito prikazana. Analiza sadržaja provedenaje na sljedećim dokumentarnim filmovima: True Cost, The Next Black, Slow Down Fast Fashion,Unravel, River Blue i Do we change it? Ethical fashion documentary. Istraživanje je pokazalo kako se u dokumentarnim filmovima o modnoj industriji koriste manipulativne tehnike uvjeravanja, ali nedovoljno integriraju publike, što može utjecati na njihovu učinkovitost.","PeriodicalId":41574,"journal":{"name":"Medijske Studije-Media Studies","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49608290","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}
Simona Bažantová, Eliška Štiková, Michael E. Novak, D. Gunina
Erotic appeals in advertising are sometimes considered unethical or provocative. Thisstudy addresses how consumers perceive advertisements with erotic appeals regarding eye movementand subjective appropriateness. This study is methodologically based on eye-tracking to capture theparticipants’ visual attention and semi-structured interviews to obtain further in-depth informationon the perceived appropriateness of erotic appeal in a particular advertisement from the respondent’sperspective. The results show a difference in how consumers look at advertising according to theirperceived appropriateness of an erotic appeal and indicate the importance of a suitably chosenprotagonist concerning the target group. Concerning the chosen protagonist, marketers must payattention to the strength and congruence of the erotic appeal.
{"title":"Erotic appeals in advertising","authors":"Simona Bažantová, Eliška Štiková, Michael E. Novak, D. Gunina","doi":"10.20901/ms.12.24.2","DOIUrl":"https://doi.org/10.20901/ms.12.24.2","url":null,"abstract":"Erotic appeals in advertising are sometimes considered unethical or provocative. Thisstudy addresses how consumers perceive advertisements with erotic appeals regarding eye movementand subjective appropriateness. This study is methodologically based on eye-tracking to capture theparticipants’ visual attention and semi-structured interviews to obtain further in-depth informationon the perceived appropriateness of erotic appeal in a particular advertisement from the respondent’sperspective. The results show a difference in how consumers look at advertising according to theirperceived appropriateness of an erotic appeal and indicate the importance of a suitably chosenprotagonist concerning the target group. Concerning the chosen protagonist, marketers must payattention to the strength and congruence of the erotic appeal.","PeriodicalId":41574,"journal":{"name":"Medijske Studije-Media Studies","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44342343","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}
Christine W. Trültzsch-Wijnen, Anca Velicu, Vilmantė Liubinienė
This article explores the issue of introducing children between six and ten years of age to robotics and investigates the use of robots in schools and in extracurricular activities. The central questions are 1) whether and how the introduction of robotics is addressed in political strategies and educational policies (RQ1), and 2) what the main actors in the introduction of robots in educational settings are (RQ2). Therefore, a pilot study in three European countries (Austria, Lithuania, Romania) was conducted, which included an analysis of national policy strategies, as well as interviews with three stakeholders per country. The article illustrates the specificities of the investigated countries presented as case studies and discusses them in a comparative way. The findings show that the investigated countries’ educational policies aim at mirroring the Digital Agenda for Europe and that two opposite approaches to implementation of robotics (bottom-up vs. top-down) can be identified.
{"title":"Robotics for children","authors":"Christine W. Trültzsch-Wijnen, Anca Velicu, Vilmantė Liubinienė","doi":"10.20901/ms.12.24.1","DOIUrl":"https://doi.org/10.20901/ms.12.24.1","url":null,"abstract":"This article explores the issue of introducing children between six and ten years of age to robotics and investigates the use of robots in schools and in extracurricular activities. The central questions are 1) whether and how the introduction of robotics is addressed in political strategies and educational policies (RQ1), and 2) what the main actors in the introduction of robots in educational settings are (RQ2). Therefore, a pilot study in three European countries (Austria, Lithuania, Romania) was conducted, which included an analysis of national policy strategies, as well as interviews with three stakeholders per country. The article illustrates the specificities of the investigated countries presented as case studies and discusses them in a comparative way. The findings show that the investigated countries’ educational policies aim at mirroring the Digital Agenda for Europe and that two opposite approaches to implementation of robotics (bottom-up vs. top-down) can be identified.","PeriodicalId":41574,"journal":{"name":"Medijske Studije-Media Studies","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48870271","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}
Data journalism is one way to provide readers with objective and relevant reports. The study is a content analysis of the use of data journalism by Slovak online news portals. The research sample consists of 11,267 articles published during February 2020, February 2019, June 2019 and November2019. The aim was to use a quantitative research strategy to determine whether significant policy events have an impact on the higher frequency of data journalism components in domestic news. The results show that data journalism is an integral part of newsrooms. Despite this, the use of data faces several problems, especially in terms of journalists’ lack of skills and experience in this area of journalism. This is also reflected in the limits of the use of data journalism in reporting on an influential agenda that has an impact on public and political life. Newsrooms do not respond adequately to the presence of a significant political and public agenda, which is mainly processed in the form of text articles, while more sophisticated components of data journalism are used only sporadically.
{"title":"Data Journalism in the Context of Important Political Events","authors":"Norbert Vrabec, Ján Proner","doi":"10.20901/ms.12.24.3","DOIUrl":"https://doi.org/10.20901/ms.12.24.3","url":null,"abstract":"Data journalism is one way to provide readers with objective and relevant reports. The study is a content analysis of the use of data journalism by Slovak online news portals. The research sample consists of 11,267 articles published during February 2020, February 2019, June 2019 and November2019. The aim was to use a quantitative research strategy to determine whether significant policy events have an impact on the higher frequency of data journalism components in domestic news. The results show that data journalism is an integral part of newsrooms. Despite this, the use of data faces several problems, especially in terms of journalists’ lack of skills and experience in this area of journalism. This is also reflected in the limits of the use of data journalism in reporting on an influential agenda that has an impact on public and political life. Newsrooms do not respond adequately to the presence of a significant political and public agenda, which is mainly processed in the form of text articles, while more sophisticated components of data journalism are used only sporadically.","PeriodicalId":41574,"journal":{"name":"Medijske Studije-Media Studies","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46697846","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}
U tekstu najprije istražujem medijske interpretacije filma Joker redatelja Todda Phillipsa (2019). One prikazuju glavnog junaka filma Arthura Flecka kao traumatiziranog i mentalno oboljelog pojedinca (ubojicu) čija ambicija da postane komičar nema utemeljenja. Budući da glavni junak živi u svijetu ‘iluzije’ odnosno ‘lažne svijesti’, u tekstu se najprije pokazuje kako to funkcionira u različitim shvaćanjima ideologije, počevši od Marxa, Althussera do postmoderne inačice (Debord). Iako je Žižek kritizirao Jokera da je nepolitičan, jer oslanjanje na ‘subjektivno’ nije dovoljno za „konstruktivno prevladavanje“ postojećeg, film zapravo treba vidjeti kao doprinos shvaćanju političkog u smislu „verifikacije jednakosti“ (Ranciere). Kako Arthur/Joker smatra da je život komedija, a ona je, kako kaže, ‘subjektivna’, time ugrožava ono što Ranciere naziva postojeća „raspodjela osjetilnog“. Štoviše, Joker neslijedi marksističko shvaćanje da se proleteri mogu emancipirati samo ako dođu do ‘ispravne’ svijesti. Ono što on radi, zapravo je potpuno suprotno. Posrijedi je, naime, njegovo prepuštanje ‘iluziji’ koja teži preoblikovanju zadane raspodjele vremena i prostora (što pokazujem raznim Ranciereovim radovima).Postižući tako ono što smatra ‘pravim ja’, Joker je izrazito političan iako je onkraj prijedloga da podupre ‘objektivne’ političke ciljeve koje mu želimo pripisati.
{"title":"Bolest kao privid","authors":"Tonči Kursar","doi":"10.20901/ms.12.24.5","DOIUrl":"https://doi.org/10.20901/ms.12.24.5","url":null,"abstract":"U tekstu najprije istražujem medijske interpretacije filma Joker redatelja Todda Phillipsa (2019). One prikazuju glavnog junaka filma Arthura Flecka kao traumatiziranog i mentalno oboljelog pojedinca (ubojicu) čija ambicija da postane komičar nema utemeljenja. Budući da glavni junak živi u svijetu ‘iluzije’ odnosno ‘lažne svijesti’, u tekstu se najprije pokazuje kako to funkcionira u različitim shvaćanjima ideologije, počevši od Marxa, Althussera do postmoderne inačice (Debord). Iako je Žižek kritizirao Jokera da je nepolitičan, jer oslanjanje na ‘subjektivno’ nije dovoljno za „konstruktivno prevladavanje“ postojećeg, film zapravo treba vidjeti kao doprinos shvaćanju političkog u smislu „verifikacije jednakosti“ (Ranciere). Kako Arthur/Joker smatra da je život komedija, a ona je, kako kaže, ‘subjektivna’, time ugrožava ono što Ranciere naziva postojeća „raspodjela osjetilnog“. Štoviše, Joker neslijedi marksističko shvaćanje da se proleteri mogu emancipirati samo ako dođu do ‘ispravne’ svijesti. Ono što on radi, zapravo je potpuno suprotno. Posrijedi je, naime, njegovo prepuštanje ‘iluziji’ koja teži preoblikovanju zadane raspodjele vremena i prostora (što pokazujem raznim Ranciereovim radovima).Postižući tako ono što smatra ‘pravim ja’, Joker je izrazito političan iako je onkraj prijedloga da podupre ‘objektivne’ političke ciljeve koje mu želimo pripisati.","PeriodicalId":41574,"journal":{"name":"Medijske Studije-Media Studies","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44212460","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 article addresses the phenomenon of gameplay video watching on YouTube. The study investigates what drives people to watch gameplay videos and what gratifications they seek in performing the activity of gameplay viewing. To this end, the authors adopted the uses and gratifications theory (UGT) and a qualitative methodology involving three online discussion groups with 100 members of international gameplay communities. While the results pinpoint the attractiveness of the player as the most important motive, other reasons, such as preview and learning aspects or substitution for the real game, also appear to be important. The qualitative approach enabled to uncover unique aspects of the motives of watching YouTube gameplay videos. In this respect, five distinctive types of gameplay viewers are identified – Spectator, Performer, Selector, Viewer, and Substitutor – where each of them seems to engage in such practices with specific motives and accompanying gratifications.
{"title":"Video gaming spectatorship","authors":"Urša Golob, Medeja Kraševec, T. O. Črnič","doi":"10.20901/MS.12.23.3","DOIUrl":"https://doi.org/10.20901/MS.12.23.3","url":null,"abstract":"This article addresses the phenomenon of gameplay video watching on YouTube. The study investigates what drives people to watch gameplay videos and what gratifications they seek in performing the activity of gameplay viewing. To this end, the authors adopted the uses and gratifications theory (UGT) and a qualitative methodology involving three online discussion groups with 100 members of international gameplay communities. While the results pinpoint the attractiveness of the player as the most important motive, other reasons, such as preview and learning aspects or substitution for the real game, also appear to be important. The qualitative approach enabled to uncover unique aspects of the motives of watching YouTube gameplay videos. In this respect, five distinctive types of gameplay viewers are identified – Spectator, Performer, Selector, Viewer, and Substitutor – where each of them seems to engage in such practices with specific motives and accompanying gratifications.","PeriodicalId":41574,"journal":{"name":"Medijske Studije-Media Studies","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2021-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46499224","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}
Porast „politike usmjerene na kandidata“ utjecao je na promjenu u komunikacijskim strategijama političara koji se sve češće koriste tehnikama privatizacije politike za zbližavanje s biračima. Društvene mreže pokazale su se kao idealan kanal za „smekšavanje“ njihovih imidža. Cilj je ovog rada istražiti jesu li se kandidati, i u kojoj mjeri, na hrvatskim predsjedničkim izborima 2019./2020. koristili društvenim mrežama za privatizaciju, odnosno personalizaciju politike. Metodom analize sadržaja utvrđeno je da su kandidati u svojim objavama u značajnoj mjeri koristili tehnike privatizacije politike kako bi se prikazali kao „jedni od nas“. Pobjedu na izborima odnio je Zoran Milanović koji je u potpunosti vodio personaliziranu kampanju u kojoj je najčešće naglašavao svoj osebujni karakter i svoje privatne osobine.
{"title":"Politička komunikacija kandidata na društvenim mrežama na hrvatskim predsjedničkim izborima 2019./2020.","authors":"Gabriela Galić","doi":"10.20901/MS.12.23.5","DOIUrl":"https://doi.org/10.20901/MS.12.23.5","url":null,"abstract":"Porast „politike usmjerene na kandidata“ utjecao je na promjenu u komunikacijskim strategijama političara koji se sve češće koriste tehnikama privatizacije politike za zbližavanje s biračima. Društvene mreže pokazale su se kao idealan kanal za „smekšavanje“ njihovih imidža. Cilj je ovog rada istražiti jesu li se kandidati, i u kojoj mjeri, na hrvatskim predsjedničkim izborima 2019./2020. koristili društvenim mrežama za privatizaciju, odnosno personalizaciju politike. Metodom analize sadržaja utvrđeno je da su kandidati u svojim objavama u značajnoj mjeri koristili tehnike privatizacije politike kako bi se prikazali kao „jedni od nas“. Pobjedu na izborima odnio je Zoran Milanović koji je u potpunosti vodio personaliziranu kampanju u kojoj je najčešće naglašavao svoj osebujni karakter i svoje privatne osobine.","PeriodicalId":41574,"journal":{"name":"Medijske Studije-Media Studies","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2021-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44091687","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}
Turkey’s TV drama industry has made a quantum leap in the past decade and exported many of its dramas (dizis) to more than a hundred countries. Turkey has become the world’s second-biggest TV drama exporter after the USA in 2016. The dizi industry’s transnationalization is attributable to the tireless efforts and unique features of its associated creative industry. However, the industry has some deep problems. This paper seeks to shed light on the challenges that the Turkish TV drama industry faces. The author has conducted in-depth interviews with Producers, Directors, Scenarists, Actors and Distributors. Their replies reveal the basic characteristics and difficulties of the dizi industry and provide clues as to what needs to be done to sustain and build upon the Turkish TV drama industry’s export success.
{"title":"How Turkey’s creative professionals see their TV drama industry","authors":"A. Gül","doi":"10.20901/ms.12.23.2","DOIUrl":"https://doi.org/10.20901/ms.12.23.2","url":null,"abstract":"Turkey’s TV drama industry has made a quantum leap in the past decade and exported many of its dramas (dizis) to more than a hundred countries. Turkey has become the world’s second-biggest TV drama exporter after the USA in 2016. The dizi industry’s transnationalization is attributable to the tireless efforts and unique features of its associated creative industry. However, the industry has some deep problems. This paper seeks to shed light on the challenges that the Turkish TV drama industry faces. The author has conducted in-depth interviews with Producers, Directors, Scenarists, Actors and Distributors. Their replies reveal the basic characteristics and difficulties of the dizi industry and provide clues as to what needs to be done to sustain and build upon the Turkish TV drama industry’s export success.","PeriodicalId":41574,"journal":{"name":"Medijske Studije-Media Studies","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2021-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48686366","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}
U članku se medijska reprezentacija novih psihoaktivnih supstanci razmatra primjenom teorije društvene reprezentacije. Budući da nove psihoaktivne supstance u hrvatskom društvenom kontekstu predstavljaju relativno nepoznat fenomen, u članku je obrazložena analitička upotrebljivost komunikativnih mehanizama društvene reprezentacije koji se mogu koristiti u istraživanju medija. S tom svrhom provedena je analiza sadržaja priloga o novim psihoaktivnim supstancama koji su u razdoblju od sedam godina objavljeni na odabranim hrvatskim internetskim portalima. Rezultati su pokazali da imenovanje, emocionalno sidrenje i emocionalno upredmećivanje predstavljaju ključne komunikativne mehanizme u procesu medijski posredovane društvene reprezentacije novih psihoaktivnih supstanci. Analiza implicitnih temeljnih vrijednosti sadržanih u objavljenim člancima pokazala je da se isticanjem zdravstvenih rizika i slabosti u djelovanju društvene kontrole, nove psihoaktivne supstance konvencionaliziraju preko teme „društvo bez droga“.
{"title":"Društvena reprezentacija novih psihoaktivnih supstanci na hrvatskim portalima","authors":"Nikša Dubreta, Karlo Lugarić","doi":"10.20901/MS.12.23.6","DOIUrl":"https://doi.org/10.20901/MS.12.23.6","url":null,"abstract":"U članku se medijska reprezentacija novih psihoaktivnih supstanci razmatra primjenom teorije društvene reprezentacije. Budući da nove psihoaktivne supstance u hrvatskom društvenom kontekstu predstavljaju relativno nepoznat fenomen, u članku je obrazložena analitička upotrebljivost komunikativnih mehanizama društvene reprezentacije koji se mogu koristiti u istraživanju medija. S tom svrhom provedena je analiza sadržaja priloga o novim psihoaktivnim supstancama koji su u razdoblju od sedam godina objavljeni na odabranim hrvatskim internetskim portalima. Rezultati su pokazali da imenovanje, emocionalno sidrenje i emocionalno upredmećivanje predstavljaju ključne komunikativne mehanizme u procesu medijski posredovane društvene reprezentacije novih psihoaktivnih supstanci. Analiza implicitnih temeljnih vrijednosti sadržanih u objavljenim člancima pokazala je da se isticanjem zdravstvenih rizika i slabosti u djelovanju društvene kontrole, nove psihoaktivne supstance konvencionaliziraju preko teme „društvo bez droga“.","PeriodicalId":41574,"journal":{"name":"Medijske Studije-Media Studies","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2021-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48281435","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 COVID-19 pandemic has fully revealed the significance of media literacy. A great amount of fake news, as well as information lacking background, has been distributed. The paper aims to determine the manner of usage and evaluation of information on the COVID-19 pandemic in Bosnia and Herzegovina within the context of five core concepts of media literacy. The results of the survey conducted online, have shown that the majority of respondents resorted to the Internet in their search for information, that they were confused by the sheer amount of information, that they often failed to double-check it, and that they were often not able to recognise any offensive content in it.
{"title":"Manner of usage and evaluation of information on the COVID -19 pandemic by citizens of Bosnia and Herzegovina within the context of five core concepts of media literacy","authors":"Dragan Trninic","doi":"10.20901/ms.12.23.4","DOIUrl":"https://doi.org/10.20901/ms.12.23.4","url":null,"abstract":"The COVID-19 pandemic has fully revealed the significance of media literacy. A great amount of fake news, as well as information lacking background, has been distributed. The paper aims to determine the manner of usage and evaluation of information on the COVID-19 pandemic in Bosnia and Herzegovina within the context of five core concepts of media literacy. The results of the survey conducted online, have shown that the majority of respondents resorted to the Internet in their search for information, that they were confused by the sheer amount of information, that they often failed to double-check it, and that they were often not able to recognise any offensive content in it.","PeriodicalId":41574,"journal":{"name":"Medijske Studije-Media Studies","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2021-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67613441","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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