Pub Date : 2024-08-18DOI: 10.1177/20594364241267711
Yuqing Zhu
{"title":"Book Review: Psychophysiological Measurement and Meaning: Cognitive and Emotional Processing of Media","authors":"Yuqing Zhu","doi":"10.1177/20594364241267711","DOIUrl":"https://doi.org/10.1177/20594364241267711","url":null,"abstract":"","PeriodicalId":42637,"journal":{"name":"Global Media and China","volume":"45 1","pages":""},"PeriodicalIF":2.1,"publicationDate":"2024-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142204892","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-25DOI: 10.1177/20594364241267702
Renyi He
{"title":"Performing fear in television production: Practices of an illiberal democracy","authors":"Renyi He","doi":"10.1177/20594364241267702","DOIUrl":"https://doi.org/10.1177/20594364241267702","url":null,"abstract":"","PeriodicalId":42637,"journal":{"name":"Global Media and China","volume":"27 1","pages":""},"PeriodicalIF":2.1,"publicationDate":"2024-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141772968","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-17DOI: 10.1177/20594364241246902
Lei Xi
This paper argues that elemental media studies, which emphasize the entanglements between humans and non-humans, can offer new avenues for addressing the challenges faced by post-humanist heritage studies. Due to the importance of tourism for heritage revitalization, this paper examines the limitations of the local tourism industry’s understanding of the water element in the context of the tourism plan of the Sangyuanwei Polder Embankment System, particularly the neglect of the destructiveness of water. It also investigates human-water interactions in the history of SPES through elemental analysis, examining how water as a medium of life has inspired human affects, feelings, actions, as well as facilitated the transformation of and communication with water through the development of water-related engineering and social institutions. By focusing on the affective aspects of the elements, as well as revisiting the histories and local knowledge, elemental aesthetics derived from elemental analysis aims to reconnect humans to the elements as media of life, thus allowing for the initiation of dialogs with heritage management and tourism. The elemental aesthetics of water for the life of heritage sites aiming at flood control has often included the destructive characteristics of water, as well as the complex feelings of fear, awe, reverence, and dedication that it stirs. Based on this, this paper also points out a possible new orientation for the future development of water-related heritage sites.
{"title":"Water as elemental medium and heritage: The case of Sangyuanwei Polder embankment system","authors":"Lei Xi","doi":"10.1177/20594364241246902","DOIUrl":"https://doi.org/10.1177/20594364241246902","url":null,"abstract":"This paper argues that elemental media studies, which emphasize the entanglements between humans and non-humans, can offer new avenues for addressing the challenges faced by post-humanist heritage studies. Due to the importance of tourism for heritage revitalization, this paper examines the limitations of the local tourism industry’s understanding of the water element in the context of the tourism plan of the Sangyuanwei Polder Embankment System, particularly the neglect of the destructiveness of water. It also investigates human-water interactions in the history of SPES through elemental analysis, examining how water as a medium of life has inspired human affects, feelings, actions, as well as facilitated the transformation of and communication with water through the development of water-related engineering and social institutions. By focusing on the affective aspects of the elements, as well as revisiting the histories and local knowledge, elemental aesthetics derived from elemental analysis aims to reconnect humans to the elements as media of life, thus allowing for the initiation of dialogs with heritage management and tourism. The elemental aesthetics of water for the life of heritage sites aiming at flood control has often included the destructive characteristics of water, as well as the complex feelings of fear, awe, reverence, and dedication that it stirs. Based on this, this paper also points out a possible new orientation for the future development of water-related heritage sites.","PeriodicalId":42637,"journal":{"name":"Global Media and China","volume":"19 1","pages":""},"PeriodicalIF":2.1,"publicationDate":"2024-04-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140616401","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-13DOI: 10.1177/20594364241247675
Christine H Tran
Precarious careers in the games industry have long relied on the unpaid and largely feminized support of spouses and family members. This paper addresses the role of spouses and other domestic cohabitants in the production of live game broadcasts on Twitch, Amazon’s world-leading platform in live video entertainment. I introduce the heuristic of the ‘Twitch Spouse’ to underscore the crucial role that domestic partners have played as invisible workers in the wider games industry, whose precarious conditions have been extended by the rise of at-home livestreaming. Drawing from ‘playful’ interviews and ethnographic observation with 12 Twitch creators located across the United States and Canada, I delineate three themes by which the partners of Twitch streamers vitally contribute to livestreaming: collaborative space production, the management of intimacy, and timekeeping. Herein, I show how a theorization of the ‘Twitch Spouse’ will build future pathways for recognizing the intertwined struggles of domestic and digital work within the precarious horizons of the game industry. This paper argues that Twitch streamers’ conceptualizations of intimate partners’ supportive labour reinforce domesticity and visibility as co-extended forces in the evolving relevance of digital labour to contemporary capitalism.
{"title":"Twitch spouse: Livestreaming and the legacy of spousal labour in the video game industry","authors":"Christine H Tran","doi":"10.1177/20594364241247675","DOIUrl":"https://doi.org/10.1177/20594364241247675","url":null,"abstract":"Precarious careers in the games industry have long relied on the unpaid and largely feminized support of spouses and family members. This paper addresses the role of spouses and other domestic cohabitants in the production of live game broadcasts on Twitch, Amazon’s world-leading platform in live video entertainment. I introduce the heuristic of the ‘Twitch Spouse’ to underscore the crucial role that domestic partners have played as invisible workers in the wider games industry, whose precarious conditions have been extended by the rise of at-home livestreaming. Drawing from ‘playful’ interviews and ethnographic observation with 12 Twitch creators located across the United States and Canada, I delineate three themes by which the partners of Twitch streamers vitally contribute to livestreaming: collaborative space production, the management of intimacy, and timekeeping. Herein, I show how a theorization of the ‘Twitch Spouse’ will build future pathways for recognizing the intertwined struggles of domestic and digital work within the precarious horizons of the game industry. This paper argues that Twitch streamers’ conceptualizations of intimate partners’ supportive labour reinforce domesticity and visibility as co-extended forces in the evolving relevance of digital labour to contemporary capitalism.","PeriodicalId":42637,"journal":{"name":"Global Media and China","volume":"54 1","pages":""},"PeriodicalIF":2.1,"publicationDate":"2024-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140587100","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-05DOI: 10.1177/20594364241236909
Weikun Fan
This paper sets out to study how creative documentary practices deconstruct traumatic memory, and then digitalise witnessing and engagement afforded by digital technology in the award-winning online interactive documentary The Space We Hold. Premised on culture memory studies and documentary studies, the social function of the documentary in reshaping narratives and forging public engagement has been discussed in this research. Interactive documentary becomes the unique visual artistic medium that allows the wider public to bear witness and emotionally experience the meaning of a traumatic past. This interactive project is reviewed as one site of memory to answer the main research question: ‘How does hypermediacy in an interactive documentary enable this non-linear storytelling structure to reframe the narrative and identity of a community that struggles for social justice?’. Along with presenting direct provocation through the innovative hypernarrative, this interactive documentary focuses on victims’ current lives, familial feelings and their contribution in pursuit of justice, showing depth in reflection and density in life. By exploring how The Space We Hold acts as a bear and agent to enhance audience engagement, I contend that the documentary is restyled as a space that allows individual memory to intertwine with collective memory through the combination of authorial expressivity and interactive participatory. In this pragmatic and reflexive approach to bear traumatic witness, we sense the constant battle between stigmatised communities and their reinterpreting narratives.
{"title":"Remediated memory, digital witnessing and engagement: A qualitative analysis of the interactive documentary ‘The Space We Hold’","authors":"Weikun Fan","doi":"10.1177/20594364241236909","DOIUrl":"https://doi.org/10.1177/20594364241236909","url":null,"abstract":"This paper sets out to study how creative documentary practices deconstruct traumatic memory, and then digitalise witnessing and engagement afforded by digital technology in the award-winning online interactive documentary The Space We Hold. Premised on culture memory studies and documentary studies, the social function of the documentary in reshaping narratives and forging public engagement has been discussed in this research. Interactive documentary becomes the unique visual artistic medium that allows the wider public to bear witness and emotionally experience the meaning of a traumatic past. This interactive project is reviewed as one site of memory to answer the main research question: ‘How does hypermediacy in an interactive documentary enable this non-linear storytelling structure to reframe the narrative and identity of a community that struggles for social justice?’. Along with presenting direct provocation through the innovative hypernarrative, this interactive documentary focuses on victims’ current lives, familial feelings and their contribution in pursuit of justice, showing depth in reflection and density in life. By exploring how The Space We Hold acts as a bear and agent to enhance audience engagement, I contend that the documentary is restyled as a space that allows individual memory to intertwine with collective memory through the combination of authorial expressivity and interactive participatory. In this pragmatic and reflexive approach to bear traumatic witness, we sense the constant battle between stigmatised communities and their reinterpreting narratives.","PeriodicalId":42637,"journal":{"name":"Global Media and China","volume":"1 1","pages":""},"PeriodicalIF":2.1,"publicationDate":"2024-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140056705","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-31DOI: 10.1177/20594364241228880
Vu Minh Ngo
The recent advent of ChatGPT has stirred substantial attention and debates, potentially altering the dynamics across various industries, notably marketing. This pioneering study delves into the public reactions and applications of ChatGPT within marketing realms. Leveraging a text-mining methodology, a corpus of over 600,000 tweets harvested before and after ChatGPT’s launch from January 2021 to April 2023 was scrutinized to gauge public sentiment towards AI-incorporated tools in marketing, and to unearth the predominant themes within public discourse. Initial findings unveiled a buoyant public sentiment towards AI-facilitated tools, which however, ebbed in January 2023, driven by apprehensions regarding AI technology’s limitations and potential perils. Subsequent months witnessed a rebound in sentiment, stabilizing above the positive threshold, as Twitter users increasingly acknowledged ChatGPT’s prospective merits on employment and daily lives. However, compared to the period before the introduction of ChatGPT, there has been a decline in the general public’s sentiment towards AI in marketing. Furthermore, the analysis discerned a convergence in the core topics broached by the public concerning AI and ChatGPT’s ramifications on marketing. While the automation of mundane tasks and heightened customer experience were lauded, trepidations surrounding job displacement and the ethical quandaries of supplanting human labor with machines surfaced. This exposition recommends that enterprises meticulously assess the prospective impact of AI on their personnel, advocating for the judicious and ethical deployment of such emergent technologies.
{"title":"Does ChatGPT change artificial intelligence-enabled marketing capability? Social media investigation of public sentiment and usage","authors":"Vu Minh Ngo","doi":"10.1177/20594364241228880","DOIUrl":"https://doi.org/10.1177/20594364241228880","url":null,"abstract":"The recent advent of ChatGPT has stirred substantial attention and debates, potentially altering the dynamics across various industries, notably marketing. This pioneering study delves into the public reactions and applications of ChatGPT within marketing realms. Leveraging a text-mining methodology, a corpus of over 600,000 tweets harvested before and after ChatGPT’s launch from January 2021 to April 2023 was scrutinized to gauge public sentiment towards AI-incorporated tools in marketing, and to unearth the predominant themes within public discourse. Initial findings unveiled a buoyant public sentiment towards AI-facilitated tools, which however, ebbed in January 2023, driven by apprehensions regarding AI technology’s limitations and potential perils. Subsequent months witnessed a rebound in sentiment, stabilizing above the positive threshold, as Twitter users increasingly acknowledged ChatGPT’s prospective merits on employment and daily lives. However, compared to the period before the introduction of ChatGPT, there has been a decline in the general public’s sentiment towards AI in marketing. Furthermore, the analysis discerned a convergence in the core topics broached by the public concerning AI and ChatGPT’s ramifications on marketing. While the automation of mundane tasks and heightened customer experience were lauded, trepidations surrounding job displacement and the ethical quandaries of supplanting human labor with machines surfaced. This exposition recommends that enterprises meticulously assess the prospective impact of AI on their personnel, advocating for the judicious and ethical deployment of such emergent technologies.","PeriodicalId":42637,"journal":{"name":"Global Media and China","volume":"11 1","pages":""},"PeriodicalIF":2.1,"publicationDate":"2024-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139951714","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-30DOI: 10.1177/20594364241230434
Mirjam Gollmitzer
Since the COVID-19 pandemic, interest in care as a potential remedy for a variety of issues and crises, such as improving global health justice or creating more “caring” educational systems, has increased across academic disciplines. This article contributes to this literature from the perspective of journalism studies. It explores whether the notion of care captures and addresses one facet of the contemporary news industry crisis, namely the precarity of journalists. I focus on the work-life narratives of a small group of freelance journalists in Germany and Canada before and during the COVID-19 pandemic. Applying a care lens articulates the struggles the freelancers experience regarding income, social security, housing, and childcare as a result of careless states and careless markets. Furthermore, the care practices journalists use as coping strategies merge mutual aid for fellow freelancers or members of their local communities with entrepreneurial networking for professional survival. However, such informal care practices cannot make up for structural gaps in support. Waged work—outside journalism—in the formal labor market, performed by the freelancers themselves or their life partners, turned out to be more important for coping with precarity. Overall, the pandemic meant more continuity than change for the care struggles as well as coping strategies of the journalists examined here. Nevertheless, those with residential property, gainfully employed life partners, and established care networks fared best, hinting at the crucial role of privilege in shaping the work experiences of precarious journalists during crises.
{"title":"Care(lessness) in precarious journalism, before and during the pandemic: Freelancers’ work-life experiences and coping strategies","authors":"Mirjam Gollmitzer","doi":"10.1177/20594364241230434","DOIUrl":"https://doi.org/10.1177/20594364241230434","url":null,"abstract":"Since the COVID-19 pandemic, interest in care as a potential remedy for a variety of issues and crises, such as improving global health justice or creating more “caring” educational systems, has increased across academic disciplines. This article contributes to this literature from the perspective of journalism studies. It explores whether the notion of care captures and addresses one facet of the contemporary news industry crisis, namely the precarity of journalists. I focus on the work-life narratives of a small group of freelance journalists in Germany and Canada before and during the COVID-19 pandemic. Applying a care lens articulates the struggles the freelancers experience regarding income, social security, housing, and childcare as a result of careless states and careless markets. Furthermore, the care practices journalists use as coping strategies merge mutual aid for fellow freelancers or members of their local communities with entrepreneurial networking for professional survival. However, such informal care practices cannot make up for structural gaps in support. Waged work—outside journalism—in the formal labor market, performed by the freelancers themselves or their life partners, turned out to be more important for coping with precarity. Overall, the pandemic meant more continuity than change for the care struggles as well as coping strategies of the journalists examined here. Nevertheless, those with residential property, gainfully employed life partners, and established care networks fared best, hinting at the crucial role of privilege in shaping the work experiences of precarious journalists during crises.","PeriodicalId":42637,"journal":{"name":"Global Media and China","volume":"31 1","pages":""},"PeriodicalIF":2.1,"publicationDate":"2024-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139951811","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-09DOI: 10.1177/20594364241226845
Ngai Keung Chan, Chi-ying Kwok
Drawing on Polanyi’s concept of embeddedness, this article introduces the concept of “state-led embeddedness” to theorize non-competitive and subordinating state-platform relations in China. Under state-led embeddedness, platforms are not conceived first and foremost as private economic actors but as instruments for providing social good and resolving social problems. This article presents a qualitative thematic analysis of the official discourses about platforms for and against social good in four major cities that represent key technology and innovation hubs in China: Beijing, Hangzhou, Shanghai, and Shenzhen. The analysis reveals how platforms are discursively portrayed as emerging providers of social good, both nationally and locally. This discursive construction of platforms in conjunction with social good, in turn, encourages the state to legitimize collaborative governance and surveillance practices in cities like Beijing, Hangzhou, Shanghai, and Shenzhen. Finally, this study affords opportunities to regionalize platform studies in China by considering how diverse forms of intergovernmental relationships might result in diverse interpretations of a “platform for social good” in practical scenarios.
{"title":"State-led embeddedness: Analyzing the discursive construction of platforms and social good in Beijing, Hangzhou, Shanghai, and Shenzhen","authors":"Ngai Keung Chan, Chi-ying Kwok","doi":"10.1177/20594364241226845","DOIUrl":"https://doi.org/10.1177/20594364241226845","url":null,"abstract":"Drawing on Polanyi’s concept of embeddedness, this article introduces the concept of “state-led embeddedness” to theorize non-competitive and subordinating state-platform relations in China. Under state-led embeddedness, platforms are not conceived first and foremost as private economic actors but as instruments for providing social good and resolving social problems. This article presents a qualitative thematic analysis of the official discourses about platforms for and against social good in four major cities that represent key technology and innovation hubs in China: Beijing, Hangzhou, Shanghai, and Shenzhen. The analysis reveals how platforms are discursively portrayed as emerging providers of social good, both nationally and locally. This discursive construction of platforms in conjunction with social good, in turn, encourages the state to legitimize collaborative governance and surveillance practices in cities like Beijing, Hangzhou, Shanghai, and Shenzhen. Finally, this study affords opportunities to regionalize platform studies in China by considering how diverse forms of intergovernmental relationships might result in diverse interpretations of a “platform for social good” in practical scenarios.","PeriodicalId":42637,"journal":{"name":"Global Media and China","volume":"14 12","pages":""},"PeriodicalIF":2.1,"publicationDate":"2024-01-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139443238","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-05DOI: 10.1177/20594364231223772
Yaqin Zhong, Qingtong Yang, Yiwen Wang
With the development and transformation of contemporary Chinese urban areas, the production mechanism, place, and form of expression of urban public art are rapidly evolving. At the same time, urban planning is accelerating the disappearance of the urban “nearby” as a buffer zone and innovation space. Taking the Pearl River Delta region in China, and in particular, the historic city of Guangzhou and the immigrant city of Shenzhen as examples, this paper analyzes how urban groups perceive the nearby environment through the action of art through the evolution of urban culture. This paper proposes “nearby art,” a term that refers to the art form in which urban individuals or small groups from different backgrounds subtly target social issues and practice locally in complex urban surroundings. The concept of nearby art is based on the examination of trends toward diversification in public art. First, groups with different backgrounds have been playing a unique role in public art. Second, the places where public art is situated has extended to diverse and mixed urban spaces. In addition, diverse ways of interacting with public art have enriched the forms of expression of public art. Through nearby art, both creators and participants can better reflect on their present situation in life and rebuild social relations through interaction. This kind of art is increasingly becoming an important part of residents’ daily lives as it creates a more visual and fluid life esthetic. Simultaneously, it is constructing and disseminating narrative elements within urban culture by uncovering and integrating the diverse cultural content.
{"title":"Nearby art: A new type of public art practice in the Pearl River Delta, China","authors":"Yaqin Zhong, Qingtong Yang, Yiwen Wang","doi":"10.1177/20594364231223772","DOIUrl":"https://doi.org/10.1177/20594364231223772","url":null,"abstract":"With the development and transformation of contemporary Chinese urban areas, the production mechanism, place, and form of expression of urban public art are rapidly evolving. At the same time, urban planning is accelerating the disappearance of the urban “nearby” as a buffer zone and innovation space. Taking the Pearl River Delta region in China, and in particular, the historic city of Guangzhou and the immigrant city of Shenzhen as examples, this paper analyzes how urban groups perceive the nearby environment through the action of art through the evolution of urban culture. This paper proposes “nearby art,” a term that refers to the art form in which urban individuals or small groups from different backgrounds subtly target social issues and practice locally in complex urban surroundings. The concept of nearby art is based on the examination of trends toward diversification in public art. First, groups with different backgrounds have been playing a unique role in public art. Second, the places where public art is situated has extended to diverse and mixed urban spaces. In addition, diverse ways of interacting with public art have enriched the forms of expression of public art. Through nearby art, both creators and participants can better reflect on their present situation in life and rebuild social relations through interaction. This kind of art is increasingly becoming an important part of residents’ daily lives as it creates a more visual and fluid life esthetic. Simultaneously, it is constructing and disseminating narrative elements within urban culture by uncovering and integrating the diverse cultural content.","PeriodicalId":42637,"journal":{"name":"Global Media and China","volume":"20 18","pages":""},"PeriodicalIF":2.1,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139382816","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-30DOI: 10.1177/20594364231224817
Chi Zhang
{"title":"Book review: Minzu as technology: Ethnic identity and social media in post 2000s China","authors":"Chi Zhang","doi":"10.1177/20594364231224817","DOIUrl":"https://doi.org/10.1177/20594364231224817","url":null,"abstract":"","PeriodicalId":42637,"journal":{"name":"Global Media and China","volume":" 18","pages":""},"PeriodicalIF":2.1,"publicationDate":"2023-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139137388","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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