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In an era when (especially new) media are celebrated for their participatory potential, questions about the nature and intensity of these participatory processes seem to be superfluous. But raising these questions pushes us into a critical mode towards the changes that have lead to the present-day media landscape. This volume's authors aim to activate this critical mode and reflect on the participatory nature of contemporary media organizations and products. In order to stand even a remote chance to realize this objective, and to critically unravel the societal role of participation, we need to acknowledge that participation is a complex and contested notion, covering a wide variety of meanings and practices that are converging into a hybrid of technologies, genres, and formats. At the same time, prudence is required, as many of the empowering and transformative opportunities cover-up a multitude of restrictions that deal with muting voices, appropriations, techniques of surveillance, inequalities, and exclusions. This volume thus provides its readership with a set of analyses that reconcile the appreciation for the analogue and digital empowerment and emancipation with the critical analysis of their boundaries.Participation and Media Production is the result of the intellectual work of the participants of the 2007 San Francisco Conference of the International Communication Association (ICA).
′This is the media and society text that critical scholars have been waiting for′. - Professor Mark Andrejevic, Pomona College This book unpacks the role of the media in social, cultural and political contexts and encourages you to reflect on the power relationships that are formed as a result. Structured around the three cornerstones of media studies; production, content and participation, this is an ideal introduction to your studies in media, culture and society. The book: Evaluates recent developments in media production, industries and platforms brought about the emergence of interactive media technologies. Examines the shifting relationship between media production and consumption instigated by the rise of social and mobile media, recasting consumption as ‘participation’. Explores the construction of texts and meanings via media representations, consumer culture and popular culture, as well as the relationship between politics and public relations. Assesses the debates around the creative and cultural labour involved in meaning-making. Includes a companion website featuring exercise and discussion questions, links to relevant blogs and web material, lists of further reading and free access to key journal articles.
News production, distribution and consumption are in rapidly changing due to the rise of new media. This book examines how these processes become more and more interrelated through logics of dissemination, sharing and co-production. These changes have the potential to affect the criteria of newsworthiness as well as existing power structures and relations within the fields of journalism and agenda setting. The book discusses changing logics of production, from citizens’ as well as journalists’ perspectives, examines distribution and sharing as a link between but also an intrinsic part of production and consumption, and addresses the changing logics of consumption. Contributors place such changes in a historical perspective and outline challenges and future research agendas.
Many teens today who use the Internet are actively involved in participatory cultures—joining online communities (Facebook, message boards, game clans), producing creative work in new forms (digital sampling, modding, fan videomaking, fan fiction), working in teams to complete tasks and develop new knowledge (as in Wikipedia), and shaping the flow of media (as in blogging or podcasting). A growing body of scholarship suggests potential benefits of these activities, including opportunities for peer-to-peer learning, development of skills useful in the modern workplace, and a more empowered conception of citizenship. Some argue that young people pick up these key skills and competencies on their own by interacting with popular culture; but the problems of unequal access, lack of media transparency, and the breakdown of traditional forms of socialization and professional training suggest a role for policy and pedagogical intervention. This report aims to shift the conversation about the "digital divide" from questions about access to technology to questions about access to opportunities for involvement in participatory culture and how to provide all young people with the chance to develop the cultural competencies and social skills needed. Fostering these skills, the authors argue, requires a systemic approach to media education; schools, afterschool programs, and parents all have distinctive roles to play. The John D. and Catherine T. MacArthur Foundation Reports on Digital Media and Learning
A thorough analysis of contemporary digital media practices, showing how people increasingly not only consume but also produce and even design media. With many new forms of digital media–including such popular social media as Facebook, Twitter, and Flickr—the people formerly known as the audience no longer only consume but also produce and even design media. Jonas Löwgren and Bo Reimer term this phenomenon collaborative media, and in this book they investigate the qualities and characteristics of these forms of media in terms of what they enable people to do. They do so through an interdisciplinary research approach that combines the social sciences and humanities traditions of empirical and theoretical work with practice-based, design-oriented interventions. Löwgren and Reimer offer analysis and a series of illuminating case studies—examples of projects in collaborative media that range from small multidisciplinary research experiments to commercial projects used by millions of people. Löwgren and Reimer discuss the case studies at three levels of analysis: society and the role of collaborative media in societal change; institutions and the relationship of collaborative media with established media structures; and tribes, the nurturing of small communities within a large technical infrastructure. They conclude by advocating an interventionist turn within social analysis and media design.
This book offers a fresh and accessible introduction to the relationship between media power and cultural production. By marshalling a range of theoretical perspectives from political economy and cultural studies, The Media and Cultural Production invites the reader to analyze the relationship between the making of meaning, political, economic and social power and the machinery of cultural production - the media. The book: critically examines the notion of the `cultural industries'; examines the regulatory framework in which the cultural industries operate; looks at the impact of globalization on cultural production; explores the way in which meaning is both produced and contested. The Media and
A critical introduction to meaning and power in an age of participatory culture, social media and digital platforms. Helps students to understand the central role media play in the social world, and how they can become informed media citizens themselves.
This anthology explores challenges to understanding the nature of cultural production, exploring innovative new research approaches and improvements to old approaches, such as newsroom ethnography, which will enable clearer, fuller understanding of the workings of journalism and other forms of media and cultural production.
Amateur Media and Participatory Cultures aims to delineate the boundary line between today’s amateur media practice and the canons of professional media and film practice. Identifying various feasible interpretative frameworks, from historical to anthropological perspectives, the volume proposes a critical language able to cope with amateur and new media’s rapid technological and interpretative developments. Conscious of the fact that amateur media continue to be seen as the benchmark of visual records of authentic rather than mass-media-derived events, Annamaria Motrescu-Mayes and Susan Aasman pay particular attention to the ways in which diverse sets of concepts of amateur media have now merged across global visual narratives and everyday communication protocols. Building on key research questions and content analysis in media and communication studies, they have assessed differences between professional and amateur media productions based on the ways in which the ‘originators’ of an image have been influenced by, or have challenged, their context of production. This proposes that technical skills, degrees of staging and/or censoring visual information, and patterns in media socialisation define central differences between professional and amateur media production, distribution and consumption. The book’s methodical and interdisciplinary approach provides valuable insights into the ways in which visual priming, cultural experiences and memory-building are currently shaped, stored and redistributed across new media technologies and visual channels.
This fascinating dictionary covers the whole realm of social media, providing accessible, authoritative, and concise entries centred primarily on websites and applications that enable users to create and share content, or to participate in social networking. From the authors of the popular Dictionary of Media and Communication, Daniel Chandler and Rod Munday, comes a title that complements and supplements their previous dictionary, and that will be of great use to social media marketing specialists, bloggers, and to any general internet user.