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Book Review: Wanghong as Social Media Entertainment in China 书评:作为中国社交媒体娱乐的网红
IF 2.1 2区 文学 Q1 COMMUNICATION Pub Date : 2022-04-14 DOI: 10.1177/20594364221089987
L. Vermeeren
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引用次数: 0
Book Review: Introduction of Computational Communication by Zhang Lun, Wang Chengjun, and Xu Xiaoke 书评:《计算通信导论》,作者:张伦、王成军、徐小可
IF 2.1 2区 文学 Q1 COMMUNICATION Pub Date : 2022-03-08 DOI: 10.1177/20594364221081327
Dani Fadillah, Luo Zhenglin, Bai Long
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引用次数: 1
Introduction to Global Media and China’s Special Issue on COVID-19 全球媒体介绍及新冠肺炎中国特刊
IF 2.1 2区 文学 Q1 COMMUNICATION Pub Date : 2022-02-21 DOI: 10.1177/20594364221081555
Lars Willnat, Zixue Tai
The COVID-19 pandemic has profoundly affected the lives of people around the globe. As of February 2022, the coronavirus has spread to 193 countries and regions worldwide, with about 378 million known infections and over 5.6 million deaths attributable to the disease (Johns Hopkins University, 2022). While the virus’s impact on health has been devastating, the pandemic impacted nearly every aspect of public life, including nationwide “lockdowns,” dramatic declines in economic output, rampant unemployment, political disputes about masking, and thousands of news stories about the origin and consequences of the pandemic. While there are indications that the number of new infections has finally passed its peak, the social, cultural, and political consequences of the pandemic will be long-lasting. One noticeable effect of the pandemic on public life has been the growing conflict over masking and vaccination mandates in the United States and Europe. Driven by deep political divisions among politicians and citizens alike, refusals to comply with these mandates have undoubtedly increased the number of deaths attributed to the coronavirus disease. There is also little doubt that former President Trump’s frequent use of the derogatory term “Chinese virus” in his speeches, tweets, and press conferences negatively influenced public perceptions of Asians living in the United States. Trump’s efforts to blame China for the worldwide spread of coronavirus likely encouraged some Americans to not only blame Asians for the pandemic but also physically attack them. Between March 19, 2020 and September 30, 2021, Stop AAPI Hate, a research organization
2019冠状病毒病大流行深刻影响了全球人民的生活。截至2022年2月,冠状病毒已蔓延到全球193个国家和地区,已知感染人数约3.78亿,死亡人数超过560万(约翰霍普金斯大学,2022年)。虽然该病毒对健康的影响是毁灭性的,但这场大流行几乎影响了公共生活的方方面面,包括全国范围的“封锁”、经济产出的急剧下降、猖獗的失业率、关于口罩的政治争端,以及成千上万篇关于疫情起源和后果的新闻报道。虽然有迹象表明,新感染人数终于超过了峰值,但这一流行病的社会、文化和政治后果将是长期的。大流行对公众生活的一个显著影响是,在美国和欧洲,围绕口罩和疫苗接种任务的冲突日益加剧。在政治家和公民之间深刻的政治分歧的推动下,拒绝遵守这些规定无疑增加了冠状病毒导致的死亡人数。毫无疑问,前总统特朗普在演讲、推特和新闻发布会上频繁使用“中国病毒”这一贬义词,对美国公众对亚洲人的看法产生了负面影响。特朗普将冠状病毒的全球传播归咎于中国的努力,可能会鼓励一些美国人不仅将疫情归咎于亚洲人,还会对他们进行人身攻击。在2020年3月19日至2021年9月30日期间,停止AAPI仇恨,一个研究组织
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引用次数: 1
A ‘New Arms Race’? Framing China and the U.S.A. in A.I. News Reporting: A Comparative Analysis of the Washington Post and South China Morning Post 一场“新军备竞赛”?在人工智能新闻报道中构建中国和美国:《华盛顿邮报》和《南华早报》的比较分析
IF 2.1 2区 文学 Q1 COMMUNICATION Pub Date : 2022-02-13 DOI: 10.1177/20594364221078626
Dennis Nguyen, Erik Hekman
This study explores the news framing of A.I., China, and the U.S.A. in two mainstream news outlets: The Washington Post and The South China Morning Post. The main objective is to analyse how both, as parts of different discourse cultures, portray the competition for leadership in A.I. innovation between China and the U.S.A. The study takes a critical look at the media discourse on the ‘new arms race’ and what role the news play in localising global technology trends. The empirical part makes use of a combination of manual and automated content analyses. To this end, a dictionary approach that utilises Names Entity Recognition was applied to a large volume of news texts (N = 3.055) to identify recurring news frames. The findings show similarities in the perception of A.I.’s potentials and versatility but also clear cultural differences in how risks and conflicts are portrayed in both outlets. Although the Washington Post appears more critical about A.I., the South China Morning Post frames the technology as a driver of economic growth and global influence. The discussion offers a starting point for theorising the relationship between mediatisation, tech trends, cultural differences, and international politics.
本研究探讨了《华盛顿邮报》和《南华早报》这两家主流新闻媒体对人工智能、中国和美国的新闻框架。研究的主要目的是分析作为不同话语文化的一部分,中美两国如何描述在人工智能创新领域的领导地位竞争。该研究批判性地审视了媒体关于“新军备竞赛”的话语,以及新闻在本地化全球技术趋势中扮演的角色。实证部分结合了手工和自动化的内容分析。为此,将使用名称实体识别的字典方法应用于大量新闻文本(N = 3.055),以识别重复出现的新闻框架。研究结果表明,在对人工智能潜力和多功能性的认知上存在相似之处,但在两种媒体对风险和冲突的描述上也存在明显的文化差异。尽管《华盛顿邮报》似乎对人工智能持更为批评的态度,但《南华早报》将这项技术描述为经济增长和全球影响力的驱动力。这一讨论为理论化媒介化、技术趋势、文化差异和国际政治之间的关系提供了一个起点。
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引用次数: 4
The Rise of the East Asian Gaming Industry: A Value-Added Chain Among the East Asian Game Companies During 2000–2010 东亚游戏产业的崛起:2000-2010年东亚游戏公司的增值链
IF 2.1 2区 文学 Q1 COMMUNICATION Pub Date : 2022-02-11 DOI: 10.1177/20594364221074422
L. Chen
From a historical perspective, this paper examines how these Asian game companies developed during the period 2000–2010. This research attempts to discern the relationships among the East Asian game companies when they become both game buyers and providers. Based on the model of the global value chain, suggested by Gereffi and others (2005), the results show that, first, the popularity of online games in the intra-Asian market is based on a collaborative relationship, while Korean and Chinese produced games are successfully operated in other markets. Second, the online game business became segmented in East Asia when game companies, in different markets, with their own advantages, were able to play different roles in order to add value to the modular form of the global value chain. Third, the value chains are not evolving along a single trajectory, if economic interdependence among game suppliers and buyers are further examined.
本文将从历史角度分析这些亚洲游戏公司在2000-2010年间的发展情况。本研究试图辨别东亚游戏公司在成为游戏买家和供应商时的关系。基于Gereffi等人(2005)提出的全球价值链模型,研究结果表明,首先,网络游戏在亚洲内部市场的流行是基于协作关系,而韩国和中国制作的游戏在其他市场成功运营。其次,东亚地区的网络游戏业务开始细分,游戏公司在不同的市场,凭借各自的优势,能够扮演不同的角色,为全球价值链的模块化形式增加价值。第三,如果进一步审视游戏供应商和买家之间的经济依赖关系,价值链并不是沿着单一轨迹发展的。
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引用次数: 2
Image, Reality and Media Construction - A Frame Analysis of German Media Representations of China 影像、现实与媒介建构——德国媒介中国再现的框架分析
IF 2.1 2区 文学 Q1 COMMUNICATION Pub Date : 2022-02-04 DOI: 10.1177/20594364211073859
Yuwen Gu
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引用次数: 8
Transmedia in Asia and the Pacific: industry, practice and transcultural dialogues 亚太地区的跨媒体:产业、实践与跨文化对话
IF 2.1 2区 文学 Q1 COMMUNICATION Pub Date : 2022-01-10 DOI: 10.1177/20594364211073860
A. White
Angeles Times. Asian Journal of Communication, 14(1), 53–67. https://doi.org/10.1080/ 0129298042000195170 Sparks, C. (2010). Coverage of China in the UK national press. Chinese Journal of Communication, 3(3), 347–365. https://doi.org/10.1080/17544750.2010.499637 Sun, Y. (2009).Decoding China’s image: A comparison of the reporting on China in the New York times and the times, 1993–2002. Beijing, China: World Affairs Press. Yan, W. (1998). A structural analysis of the changing image of China in the New York Times from 1949 through 1988. Quality & Quantity, 32(1), 47–62. https://doi.org/10.1023/a:1004245831853
洛杉矶时报》。传媒学报,14(1),53-67。https://doi.org/10.1080/ 0129298042000195170 Sparks, C.(2010)。英国国内媒体对中国的报道。通信学报,3(3),347-365。https://doi.org/10.1080/17544750.2010.499637孙旸(2009)。解读中国形象:1993-2002年《纽约时报》与《纽约时报》中国报道之比较。北京:世界事务出版社。闫伟(1998)。1949 - 1988年《纽约时报》中国形象变化的结构分析。质量与数量,32(1),47-62。https://doi.org/10.1023/a:1004245831853
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引用次数: 1
Punk Culture in Contemporary China 当代中国的朋克文化
IF 2.1 2区 文学 Q1 COMMUNICATION Pub Date : 2022-01-10 DOI: 10.1177/20594364211073862
C. Morgner
Since its emergence in London and New York in the late 1970s, punk music has subsequently become a global phenomenon (see Dines, Gordon, Guerra, & Bestley, 2019), spreading across the world to regions as diverse as Mexico (O’Connor, 2003), South Africa (Basson, 2007) and Indonesia (Prasetyo, 2017). In the early 1990s, punk music reached China. This book by Jian Xiao (with some co-authored sub-chapters by JimDonaghey and Paula Guerra) situates this arrival within a global context, tracing the history of punk, its meanings, norms and identity, and referencing handouts and performances that capture the punk scene. The influence of punk music is generally understood in terms of how it challenged established meanings and narratives, including capitalism and globalisation. However, most of the narratives in question related to Western contexts, and the authors note a “general lack of discussion about punk phenomena in Asian contexts” (p. 1). This opens new avenues of interpretation that are likely to be of interest to cultural sociologists who explore meaning-making and those with an interest in post-colonialism. The book’s nine chapters are organised as two main sections. The first (and longer) section investigates punk in China while the second compares the punk scenes in Indonesia and Portugal. All of the case studies emphasise the need to look beyond established narratives to understand these marginal punk scenes. As the opening chapter explains, a sub-cultural approach is inadequate in the Chinese context, where punk music is characterised by a plurality of styles and sub-genres, and its devotees come from diverse classes and professional backgrounds. To develop this pluralistic notion of punk, the authors ground their theoretical approach in Howard Becker’s notion of art worlds and Pierre Bourdieu’s cultural fields. To more fully develop their interpretation, one might have welcomed a slightly riskier approach referencing authors who look beyond established Western narratives—for instance, Homi K. Bhabha’s idea of hybridity or Gayatri Chakravorty Spivak’s Other—but these are surprisingly absent. Nevertheless, in acknowledging the role of the “myriad of complementary activities” (p. 8) in the production of cultural objects, the discussion of art worlds and cultural fields is somewhat adapted for the Chinese context.
自20世纪70年代末在伦敦和纽约出现以来,朋克音乐随后成为一种全球现象(见Dines, Gordon, Guerra, & Bestley, 2019),并在世界各地传播到墨西哥(O 'Connor, 2003),南非(Basson, 2007)和印度尼西亚(Prasetyo, 2017)等不同地区。20世纪90年代初,朋克音乐传入中国。肖健的这本书(JimDonaghey和Paula Guerra合著了一些子章节)将朋克的到来置于全球背景下,追溯朋克的历史、意义、规范和身份,并参考了捕捉朋克场景的资料和表演。朋克音乐的影响通常被理解为它如何挑战既有意义和叙事,包括资本主义和全球化。然而,大多数有问题的叙述都与西方背景有关,作者指出“普遍缺乏对亚洲背景下朋克现象的讨论”(第1页)。这开辟了新的解释途径,可能会引起那些探索意义制造的文化社会学家和那些对后殖民主义感兴趣的人的兴趣。全书共有九章,分为两个主要部分。第一部分调查了中国的朋克,第二部分比较了印度尼西亚和葡萄牙的朋克场景。所有的案例研究都强调需要超越既定的叙述来理解这些边缘朋克场景。正如第一章所解释的那样,亚文化方法在中国的背景下是不够的,因为朋克音乐的特点是多种风格和子类型,其爱好者来自不同的阶级和专业背景。为了发展这种多元的朋克概念,作者在霍华德·贝克尔的艺术世界概念和皮埃尔·布迪厄的文化领域中建立了他们的理论方法。为了更充分地发展他们的解释,人们可能会欢迎一种稍微冒险的方法,参考那些超越西方既定叙事的作者——例如,霍米·k·巴巴的杂交思想或加亚特里·查克拉沃蒂·斯皮瓦克的“他者”——但令人惊讶的是,这些都没有出现。然而,在承认“无数的互补活动”(第8页)在文化物品生产中的作用时,对艺术世界和文化领域的讨论在某种程度上适应了中国的背景。
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引用次数: 0
Delegitimising Data Subjects’ Economic Interests During Automatic Propertisation of Their Data: A Comparative Study of Data Protection on Social Media Platforms in the UK and China 数据自动产权化过程中数据主体的经济利益失合法性:中英社交媒体平台数据保护比较研究
IF 2.1 2区 文学 Q1 COMMUNICATION Pub Date : 2022-01-05 DOI: 10.1177/20594364211060874
Janet Hui Xue
Social media platforms (SMPs) generate revenue from the automatic propertisation of data contributed by users (i.e. they process these data algorithmically to feed products and services they sell to other customers, especially advertisers). This comparative study of the UK and China builds on key law and policy documents as well as in-depth interviews with 25 experts. We find that neither the human rights–based regulatory approach in the UK nor the impact-based approach of China provides users with economically meaningful forms of redress for harm suffered due to insufficient protection of their rights as data subjects. The study reveals the reasons for this: (1) by analysing data subjects’ rights in data protection law and establishing whether these rights preserve the economic interests of data subjects pertaining to their data; (2) by spelling out the conditions under which users can exercise their rights and (3) through an in-depth analysis of the existing mechanisms, which are not suitable to protect data subjects’ economic interests during automatic propertisation. This also helps us to understand the social impacts of China’s recently approved Personal Information Protection Law. Finally, it suggests two possible ways to improve the balance between the economic interests of data controllers and data subjects.
社交媒体平台(SMPs)从用户贡献的数据的自动资产化中获得收入(即,他们通过算法处理这些数据,为他们出售给其他客户(尤其是广告商)的产品和服务提供支持)。这项对中英两国的比较研究以重要的法律和政策文件为基础,并对25位专家进行了深入访谈。我们发现,无论是英国的基于人权的监管方法,还是中国的基于影响的方法,都没有为用户提供有经济意义的补偿形式,以补偿由于作为数据主体的权利保护不足而遭受的伤害。该研究揭示了其原因:(1)通过分析数据主体在数据保护法中的权利,并确定这些权利是否维护了数据主体与其数据相关的经济利益;(二)阐明使用者行使其权利的条件;及(三)深入分析在自动财产化过程中不适合保障资料主体经济利益的现有机制。这也有助于我们理解中国最近通过的《个人信息保护法》的社会影响。最后,提出了两种改善数据控制者和数据主体经济利益平衡的可能途径。
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引用次数: 0
‘Pathetic earthlings! Who can save you now?’ Science fiction, planetary crisis and the globalisation of Chinese culture “可怜的地球人!现在谁能救你?科幻小说、地球危机和中国文化的全球化
IF 2.1 2区 文学 Q1 COMMUNICATION Pub Date : 2021-12-30 DOI: 10.1177/20594364211067872
J. Hartley
Chinese policy has turned to the globalisation of communication and stories. Beyond the diplomatic ‘voice’, one of the ways that Chinese culture is reaching out to the rest of the world is through science fiction. Sci-fi can be construed as a specialist thinking-circuit for cultures to build and explore experimental models of collective action at global and planetary scale. What do its stories tell us about the globalisation of Chinese culture? When the need to ‘save the world’ has crossed over from sci-fi to science, from entertainment to activism, and from a thought experiment to imminent danger, humans as a whole face challenges of their own making: climate change, environmental pollution, pandemics, extinctions, exclusions and nuclear annihilation. Can sci-fi inspire collective action at species scale? What role will globalising China play?
中国的政策转向了传播和故事的全球化。除了外交上的“声音”,中国文化走向世界的另一种方式是通过科幻小说。科幻小说可以被理解为一个专家的思维回路,为文化建立和探索在全球和全球范围内的集体行动的实验模型。关于中国文化的全球化,它的故事告诉了我们什么?当“拯救世界”的需求从科幻跨越到科学,从娱乐跨越到行动主义,从思想实验跨越到迫在眉睫的危险时,人类作为一个整体面临着自己制造的挑战:气候变化、环境污染、流行病、物种灭绝、排斥和核毁灭。科幻小说能激发物种尺度上的集体行动吗?全球化的中国将扮演什么角色?
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引用次数: 3
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Global Media and China
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