Pub Date : 2023-04-01DOI: 10.1177/17480485231152864
Yeşim Kaptan, Ece Algan
The transnationalization of the Turkish television industry, which began in the late 1990s, has been continuing with enormous success with Turkish TV series now being exported to more than 150 countries. In both introductions to the double special issue, we contextualize television in Turkey as a significant cultural field of production within its historical background and trace the transnational trajectory of Turkish dramas in Turkey and abroad. By focusing on the tensions and transformations spurred by the global presence of Turkish television, we critically examine what it means both for global audiences to consume and for the industry to produce Turkish dramas in the contemporary global televisual landscape. In the first volume (Issue 3) of this double special issue, the contributors reflect on the reception of Turkish TV series as well as their global and local consumption networks. In the second volume (Issue 4), the manuscripts explore the consequences of the industry practices and perceptions around what travels well along with nation-states' interventions and influences.
{"title":"Guest Editors’ Introduction: Cultural Politics and Production Practices of the Turkish TV Industry","authors":"Yeşim Kaptan, Ece Algan","doi":"10.1177/17480485231152864","DOIUrl":"https://doi.org/10.1177/17480485231152864","url":null,"abstract":"The transnationalization of the Turkish television industry, which began in the late 1990s, has been continuing with enormous success with Turkish TV series now being exported to more than 150 countries. In both introductions to the double special issue, we contextualize television in Turkey as a significant cultural field of production within its historical background and trace the transnational trajectory of Turkish dramas in Turkey and abroad. By focusing on the tensions and transformations spurred by the global presence of Turkish television, we critically examine what it means both for global audiences to consume and for the industry to produce Turkish dramas in the contemporary global televisual landscape. In the first volume (Issue 3) of this double special issue, the contributors reflect on the reception of Turkish TV series as well as their global and local consumption networks. In the second volume (Issue 4), the manuscripts explore the consequences of the industry practices and perceptions around what travels well along with nation-states' interventions and influences.","PeriodicalId":47303,"journal":{"name":"International Communication Gazette","volume":"85 1","pages":"266 - 270"},"PeriodicalIF":1.9,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47400095","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-01DOI: 10.1177/17480485231152870
Zeynep Sertbulut
Based on 21 months of ethnographic research in the dizi industry, Turkey's internationally popular serialized TV melodramas, this article explores how dizi makers explain their productions’ global popularity and how they imagine, classify, and discuss foreign markets. It describes dizi makers’ competing ideas of the “global” and different regimes of value when evaluating the popularity of their products in the world. It illustrates how Turkish dizi creatives, seeking prestige, regard the wide-spread circulation of their productions in Non-Western contexts not as an asset but as an impediment to achieving symbolic capital and recognition. The article also demonstrates that at a time when a significant portion of the dizi industry's profits come from foreign sales in Latin America, the Balkans, and the Middle East, producers and distributors find themselves in a position where a notion of the “global” that is inclusive of non-Western regions is strategically and economically necessary to them. It makes the case that despite these differences in what it means to be global—for dizi creators who seek prestige and for the distributors and producers that focus on profitability—both construct the global using developmentalist logics.
{"title":"The dizi industry's geographic imaginaries and narratives of global success","authors":"Zeynep Sertbulut","doi":"10.1177/17480485231152870","DOIUrl":"https://doi.org/10.1177/17480485231152870","url":null,"abstract":"Based on 21 months of ethnographic research in the dizi industry, Turkey's internationally popular serialized TV melodramas, this article explores how dizi makers explain their productions’ global popularity and how they imagine, classify, and discuss foreign markets. It describes dizi makers’ competing ideas of the “global” and different regimes of value when evaluating the popularity of their products in the world. It illustrates how Turkish dizi creatives, seeking prestige, regard the wide-spread circulation of their productions in Non-Western contexts not as an asset but as an impediment to achieving symbolic capital and recognition. The article also demonstrates that at a time when a significant portion of the dizi industry's profits come from foreign sales in Latin America, the Balkans, and the Middle East, producers and distributors find themselves in a position where a notion of the “global” that is inclusive of non-Western regions is strategically and economically necessary to them. It makes the case that despite these differences in what it means to be global—for dizi creators who seek prestige and for the distributors and producers that focus on profitability—both construct the global using developmentalist logics.","PeriodicalId":47303,"journal":{"name":"International Communication Gazette","volume":"85 1","pages":"289 - 306"},"PeriodicalIF":1.9,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42392222","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-01DOI: 10.1177/17480485221151111
Fatma Orhan Tahralı, K. Smets, P. Meers
This study explores the reception of selected melodramas and their cosmopolitan imaginary, based on a large-scale qualitative study consisting of 79 in-depth interviews with young Turkish audiences across three locations: the metropolis Istanbul, the rural town of Emirdağ, and Brussels which has a large Turkish diasporic community. In the past two decades, melodramas representing the upper-class, elite, westernized lifestyles taking place in luxury residences in Istanbul's urban landscape occupy a central space in the Turkish series as an example of cosmopolitan imaginary in their representation and mode of production. The study reveals that the cosmopolitan imaginary of these TV series leads participants to negotiate Turkish modernity, westernized secular, upper-class lifestyles, Turkish values, religion, and identity issues in these settings and destabilizes a uniform and fixed understanding of their identity and imagined community.
{"title":"Cosmopolitan imaginary: The reception of Turkish TV series among young audiences in urban, rural, and diasporic settings (Istanbul, Emirdağ, and Brussels)","authors":"Fatma Orhan Tahralı, K. Smets, P. Meers","doi":"10.1177/17480485221151111","DOIUrl":"https://doi.org/10.1177/17480485221151111","url":null,"abstract":"This study explores the reception of selected melodramas and their cosmopolitan imaginary, based on a large-scale qualitative study consisting of 79 in-depth interviews with young Turkish audiences across three locations: the metropolis Istanbul, the rural town of Emirdağ, and Brussels which has a large Turkish diasporic community. In the past two decades, melodramas representing the upper-class, elite, westernized lifestyles taking place in luxury residences in Istanbul's urban landscape occupy a central space in the Turkish series as an example of cosmopolitan imaginary in their representation and mode of production. The study reveals that the cosmopolitan imaginary of these TV series leads participants to negotiate Turkish modernity, westernized secular, upper-class lifestyles, Turkish values, religion, and identity issues in these settings and destabilizes a uniform and fixed understanding of their identity and imagined community.","PeriodicalId":47303,"journal":{"name":"International Communication Gazette","volume":"85 1","pages":"198 - 215"},"PeriodicalIF":1.9,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44475920","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-01DOI: 10.1177/17480485221151115
Gabrielle Camille Ferreira
In just over a decade, the transnational expansion of Turkish media industry reached regions geographically and culturally distant from Turkey, thus establishing Turkish dramas as a prominent media contra-flow. In Brazil, the rise of Turkish dramas is supported by informal distribution: many online fan communities translate, add subtitles, and distribute episodes without monetary profit, which is a practice known as fansubbing. In this research, I focus on the biggest Brazilian fansubbing community of Turkish dramas to investigate the complexity behind this practice from the perspectives of distribution and reception. Through online questionnaires, a virtual ethnography, and in-depth interviews, I explore how these communities operate and impact the daily lives of audiences. Findings point out that by making Turkish content more accessible, they are reshaping media practices taking the place of national broadcasters and subscription video-on-demand (SVOD) services in the popularization of Turkish dramas in Brazil.
{"title":"The role of online fan communities in the popularization of Turkish TV dramas in Brazil","authors":"Gabrielle Camille Ferreira","doi":"10.1177/17480485221151115","DOIUrl":"https://doi.org/10.1177/17480485221151115","url":null,"abstract":"In just over a decade, the transnational expansion of Turkish media industry reached regions geographically and culturally distant from Turkey, thus establishing Turkish dramas as a prominent media contra-flow. In Brazil, the rise of Turkish dramas is supported by informal distribution: many online fan communities translate, add subtitles, and distribute episodes without monetary profit, which is a practice known as fansubbing. In this research, I focus on the biggest Brazilian fansubbing community of Turkish dramas to investigate the complexity behind this practice from the perspectives of distribution and reception. Through online questionnaires, a virtual ethnography, and in-depth interviews, I explore how these communities operate and impact the daily lives of audiences. Findings point out that by making Turkish content more accessible, they are reshaping media practices taking the place of national broadcasters and subscription video-on-demand (SVOD) services in the popularization of Turkish dramas in Brazil.","PeriodicalId":47303,"journal":{"name":"International Communication Gazette","volume":"85 1","pages":"216 - 232"},"PeriodicalIF":1.9,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46086945","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-01DOI: 10.1177/17480485221151108
Yeşim Kaptan, Ece Algan
The transnationalization of the Turkish television industry, which began in the late 1990s, has been continuing with enormous success with Turkish TV series now being exported to more than 150 countries. In both introductions to the double special issue, we contextualize television in Turkey as a significant cultural field of production within its historical background and trace the transnational trajectory of Turkish dramas in Turkey and abroad. By focusing on the tensions and transformations spurred by the global presence of Turkish television, we critically examine what it means both for global audiences to consume and for the industry to produce Turkish dramas in the contemporary global televisual landscape. In the first volume (Issue 3) of this double special issue, the contributors reflect on the reception of Turkish TV series as well as their global and local consumption networks. In the second volume (Issue 4), the manuscripts explore the consequences of the industry practices and perceptions around what travels well along with nation-states' interventions and influences.
{"title":"Guest Editors' Introduction: Global Audiences and Fans of Turkish TV Dramas","authors":"Yeşim Kaptan, Ece Algan","doi":"10.1177/17480485221151108","DOIUrl":"https://doi.org/10.1177/17480485221151108","url":null,"abstract":"The transnationalization of the Turkish television industry, which began in the late 1990s, has been continuing with enormous success with Turkish TV series now being exported to more than 150 countries. In both introductions to the double special issue, we contextualize television in Turkey as a significant cultural field of production within its historical background and trace the transnational trajectory of Turkish dramas in Turkey and abroad. By focusing on the tensions and transformations spurred by the global presence of Turkish television, we critically examine what it means both for global audiences to consume and for the industry to produce Turkish dramas in the contemporary global televisual landscape. In the first volume (Issue 3) of this double special issue, the contributors reflect on the reception of Turkish TV series as well as their global and local consumption networks. In the second volume (Issue 4), the manuscripts explore the consequences of the industry practices and perceptions around what travels well along with nation-states' interventions and influences.","PeriodicalId":47303,"journal":{"name":"International Communication Gazette","volume":"85 1","pages":"193 - 197"},"PeriodicalIF":1.9,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48142590","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-01DOI: 10.1177/17480485221151119
Deniz Özalpman, Seçkin Özmen
Despite gradually increasing consumption patterns, the notion of memory remains a key concept that is rarely drawn on by scholars to better understand television (TV) series. This research contributes to the existing literature on the reception of Turkish TV series in the specific case of Macedonian audiences by conducting interviews in Skopje, the capital city of Macedonia. By focusing on a majority Christian demographic that does not speak Turkish and has no familial bonds to Turkish people, this study hopes to move beyond cultural proximity arguments. The findings suggest the crucial importance of photographic (eidetic) and prosthetic memories from mediated accounts of Turkish series in creating cultural and collective affinities with local audiences.
{"title":"Viewing Turkish TV series in Skopje: Audience memories on travelling cultural products","authors":"Deniz Özalpman, Seçkin Özmen","doi":"10.1177/17480485221151119","DOIUrl":"https://doi.org/10.1177/17480485221151119","url":null,"abstract":"Despite gradually increasing consumption patterns, the notion of memory remains a key concept that is rarely drawn on by scholars to better understand television (TV) series. This research contributes to the existing literature on the reception of Turkish TV series in the specific case of Macedonian audiences by conducting interviews in Skopje, the capital city of Macedonia. By focusing on a majority Christian demographic that does not speak Turkish and has no familial bonds to Turkish people, this study hopes to move beyond cultural proximity arguments. The findings suggest the crucial importance of photographic (eidetic) and prosthetic memories from mediated accounts of Turkish series in creating cultural and collective affinities with local audiences.","PeriodicalId":47303,"journal":{"name":"International Communication Gazette","volume":"85 1","pages":"250 - 265"},"PeriodicalIF":1.9,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48829974","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-28DOI: 10.1177/17480485231165479
T. Jacobson, Nicole Lemire Garlic
The field of social and behavior change communication (SBCC) has a history reaching back to the period of decolonization following World War II. Since that period, much has been learned about theories and methods pertinent to this communication subfield. One topic that has received too little attention is the ethical dimension of SBCC. This paper considers the need for an SBCC code of ethics and justification for such a code. Amartya Sen's capabilities approach and Habermas's discourse ethics are reviewed as substantial contributions to such a justification. Habermas's U and D principles are selected as especially useful when the criteria for communicative action are considered, including criteria related to validity claims and general symmetry conditions. The paper argues that discourse ethics is the most suitable general ethical approach for SBCC, offering both a theoretical foundation for SBCC ethics and guidelines for practice in the field.
{"title":"Ethics principles for social and behavior change communication","authors":"T. Jacobson, Nicole Lemire Garlic","doi":"10.1177/17480485231165479","DOIUrl":"https://doi.org/10.1177/17480485231165479","url":null,"abstract":"The field of social and behavior change communication (SBCC) has a history reaching back to the period of decolonization following World War II. Since that period, much has been learned about theories and methods pertinent to this communication subfield. One topic that has received too little attention is the ethical dimension of SBCC. This paper considers the need for an SBCC code of ethics and justification for such a code. Amartya Sen's capabilities approach and Habermas's discourse ethics are reviewed as substantial contributions to such a justification. Habermas's U and D principles are selected as especially useful when the criteria for communicative action are considered, including criteria related to validity claims and general symmetry conditions. The paper argues that discourse ethics is the most suitable general ethical approach for SBCC, offering both a theoretical foundation for SBCC ethics and guidelines for practice in the field.","PeriodicalId":47303,"journal":{"name":"International Communication Gazette","volume":" ","pages":""},"PeriodicalIF":1.9,"publicationDate":"2023-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46957819","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-28DOI: 10.1177/17480485231165208
Justin D. Martin, Mariam F. Alkazemi, Krishnan Sharma
Countries in the Middle East go to considerable lengths using mass media to try to maintain or improve their images among the U.S. public. The same countries often engage in negative media campaigns in the U.S. against each other, attempting to bring down public support for regional rivals. This study examined diplomatic evaluations of five Middle East countries—rating Saudi Arabia, Israel, Palestine, Qatar, and UAE as an ally, neutral, or enemy of the U.S.—among a large, representative sample of U.S. adults ( N = 2059), and assessed measures of news use, social media use, political partisanship, and demographic variables as predictors of the evaluations. News use and other media use predicted little variance in diplomatic ratings; the strongest predictors of positive ratings of a given country were having rated one or more of the other countries positively also—what we term a “regional halo effect.” A key implication of this study is that attempting to harm public perceptions of a regional rival may be self-defeating for a given country, as negative attitudes toward the former country are associated with poor attitudes toward the latter.
{"title":"A “regional halo effect”: Media use and evaluations of America's strategic relationships with five Middle East countries","authors":"Justin D. Martin, Mariam F. Alkazemi, Krishnan Sharma","doi":"10.1177/17480485231165208","DOIUrl":"https://doi.org/10.1177/17480485231165208","url":null,"abstract":"Countries in the Middle East go to considerable lengths using mass media to try to maintain or improve their images among the U.S. public. The same countries often engage in negative media campaigns in the U.S. against each other, attempting to bring down public support for regional rivals. This study examined diplomatic evaluations of five Middle East countries—rating Saudi Arabia, Israel, Palestine, Qatar, and UAE as an ally, neutral, or enemy of the U.S.—among a large, representative sample of U.S. adults ( N = 2059), and assessed measures of news use, social media use, political partisanship, and demographic variables as predictors of the evaluations. News use and other media use predicted little variance in diplomatic ratings; the strongest predictors of positive ratings of a given country were having rated one or more of the other countries positively also—what we term a “regional halo effect.” A key implication of this study is that attempting to harm public perceptions of a regional rival may be self-defeating for a given country, as negative attitudes toward the former country are associated with poor attitudes toward the latter.","PeriodicalId":47303,"journal":{"name":"International Communication Gazette","volume":" ","pages":""},"PeriodicalIF":1.9,"publicationDate":"2023-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45389942","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-28DOI: 10.1177/17480485231165371
Wenshan Jia, Fangzhu Lu
The present study provides a comparative analysis of the media convergence of China Media Group and US Agency for Global Media to illustrate the increasing US–China rivalry in international communication. It yields the following tentative findings: Both have been undergoing rigorous development at the technological and operational levels of convergence to enhance international communication; both are made to show more explicit loyalty to its official ideology, and both have become more monolithic via convergence; both have integrated their broadcasting services for an increasingly integrated market of information and news; both seem to be weaponizing itself against each other to fuel rivalry in international communication between the two nations rather than deepening mutual understanding and cooperation for mutual good and global good. The two case studies reveal that media convergence has not been able to liberate journalism from nationalistic constraints and transform it into an instrument to spawn new ideas and disseminate high-quality information and news for global public good.
{"title":"Media convergence for US–China competition? Comparative case studies of China Media Group and the US Agency for Global Media","authors":"Wenshan Jia, Fangzhu Lu","doi":"10.1177/17480485231165371","DOIUrl":"https://doi.org/10.1177/17480485231165371","url":null,"abstract":"The present study provides a comparative analysis of the media convergence of China Media Group and US Agency for Global Media to illustrate the increasing US–China rivalry in international communication. It yields the following tentative findings: Both have been undergoing rigorous development at the technological and operational levels of convergence to enhance international communication; both are made to show more explicit loyalty to its official ideology, and both have become more monolithic via convergence; both have integrated their broadcasting services for an increasingly integrated market of information and news; both seem to be weaponizing itself against each other to fuel rivalry in international communication between the two nations rather than deepening mutual understanding and cooperation for mutual good and global good. The two case studies reveal that media convergence has not been able to liberate journalism from nationalistic constraints and transform it into an instrument to spawn new ideas and disseminate high-quality information and news for global public good.","PeriodicalId":47303,"journal":{"name":"International Communication Gazette","volume":" ","pages":""},"PeriodicalIF":1.9,"publicationDate":"2023-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43673456","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-28DOI: 10.1177/17480485221151116
D. Larochelle
The viewing of Turkish soap operas in Greece is a stigmatized activity not only for reasons intrinsically related to the nature of soap operas per se, but also for reasons related to the historical past and the traditionally troubled diplomatic relationship between the two countries. Based on the data gathered during an audience ethnography, the author analyzes the use of Information and Communication Technologies made by the fans of these transnational soap operas. Online fan communities function as havens for their members as, in these communities, the norms which are dominant within the Greek society are not rigidly adhered to, stigmatized viewing preferences are endorsed by like-minded individuals and prevalent ideologies can be challenged without fear of criticism in a sympathetic, nonprejudiced environment.
{"title":"Transnational soap operas and viewing practices in the digital age: The Greek fandom of Turkish dramas","authors":"D. Larochelle","doi":"10.1177/17480485221151116","DOIUrl":"https://doi.org/10.1177/17480485221151116","url":null,"abstract":"The viewing of Turkish soap operas in Greece is a stigmatized activity not only for reasons intrinsically related to the nature of soap operas per se, but also for reasons related to the historical past and the traditionally troubled diplomatic relationship between the two countries. Based on the data gathered during an audience ethnography, the author analyzes the use of Information and Communication Technologies made by the fans of these transnational soap operas. Online fan communities function as havens for their members as, in these communities, the norms which are dominant within the Greek society are not rigidly adhered to, stigmatized viewing preferences are endorsed by like-minded individuals and prevalent ideologies can be challenged without fear of criticism in a sympathetic, nonprejudiced environment.","PeriodicalId":47303,"journal":{"name":"International Communication Gazette","volume":"85 1","pages":"233 - 249"},"PeriodicalIF":1.9,"publicationDate":"2023-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42083384","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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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