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China in the Era of Social Media discusses how social media is changing the world in an unprecedented way through speed, scope, and depth. In the last decade or so, social media in China has witnessed the most explosive growth in the world. Being the most populous nation in the world, it has the most social media users in the world as well. This book examines the current situation and unique characteristics of Chinese social media, the significance of social media in the country’s social transformation, and particularly its influences on political change in the nation. The main goal of this book is to explore how social media has been affecting and thus changing China’s political system, the ruling communist ideology, and the state-run media, as well as its public discourse and public opinions. Scholars of Asian studies, political science, and communications will find this book particularly interesting.
The Internet and social media are pervasive and transformative forces in contemporary China. The Internet, Social Media, and a Changing China explores the changing relationship between China's Internet and social media and its society, politics, legal system, and foreign relations.
Introducing the concept of state-sponsored platformization, this volume shows the complexity behind the central role the party-state plays in shaping social media platforms. The party-state increasingly penetrates commercial social media while aspiring to turn its own media agencies into platforms. Yet state-sponsored platformization does not necessarily produce the Chinese Communist Party’s desired outcomes. Citizens continue to appropriate social media for creative public engagement at the same time that more people are managing their online settings to reduce or refuse connection, inducing new forms of crafted resistance to hyper-social media connectivity. The wide-ranging essays presented here explore the mobile radio service Ximalaya.FM, Alibaba’s evolution into a multi-platform ecosystem, livestreaming platforms in the United States and China, the role of Twitter in Trump’s North Korea diplomacy, user-generated content in the news media, the emergence of new social agents mediating between state and society, social media art projects, Chinese and US scientists’ use of social media, and reluctance to engage with WeChat. Ultimately, readers will find that the ten chapters in this volume contribute significant new research and insights to the fast-growing scholarship on social media in China at a time when online communication is increasingly constrained by international struggles over political control and privacy issues.
Life outside the mobile phone is unbearable.’ Lily, 19, factory worker. Described as the biggest migration in human history, an estimated 250 million Chinese people have left their villages in recent decades to live and work in urban areas. Xinyuan Wang spent 15 months living among a community of these migrants in a small factory town in southeast China to track their use of social media. It was here she witnessed a second migration taking place: a movement from offline to online. As Wang argues, this is not simply a convenient analogy but represents the convergence of two phenomena as profound and consequential as each other, where the online world now provides a home for the migrant workers who feel otherwise ‘homeless’. Wang’s fascinating study explores the full range of preconceptions commonly held about Chinese people – their relationship with education, with family, with politics, with ‘home’ – and argues why, for this vast population, it is time to reassess what we think we know about contemporary China and the evolving role of social media.
In Chinese, the term wanghong refers to creators, social media entrepreneurs alternatively known as KOLs (key opinion leaders) and zhubo (showroom hosts), influencers and micro-celebrities. Wanghong also refers to an emerging media ecology in which these creators cultivate online communities for cultural and commercial value by harnessing Chinese social media platforms, like Weibo, WeChat, Douyu, Huya, Bilibili, Douyin, and Kuaishuo. Framed by the concepts of cultural, creative, and social industries, the book maps the development of wanghong policies and platforms, labor and management, content and culture, as they operate in contrast to its non-Chinese counterpart, social media entertainment, driven by platforms like YouTube, Facebook, Instagram, and Twitch. As evidenced by the backlash to TikTok, the threat of competition from global wanghong signals advancing platform nationalism.
There are billions of internet users in China, and this number is continually growing. This book looks at the various purposes of this internet use, and provides a study about how the entertainment-consuming users form into publics through the mediation of technologies in the era of network society. It questions how individuals, mediated by new information and communication technologies, come together to form new social categories. The book goes on to investigate how public(s) is formed in the era of network society, with particular focus on how fans become publics in a society that follows the logic of network. Using online surveys and in-depth interviews, this book provides a rich description of the process of constructing a new social formation in contemporary China.
The Internet and digital media have become conduits and locales where millions of Chinese share information and engage in creative expression and social participation. This book takes a cutting-edge look at the impacts and implications of an increasingly networked China. Eleven chapters cover the terrain of a complex social and political environment, revealing how modern China deals with digital media and issues of censorship, online activism, civic life, and global networks. The authors in this collection come from diverse geographical backgrounds and employ methods including ethnography, interview, survey, and digital trace data to reveal the networks that provide the critical components for civic engagement in Chinese society. The Chinese state is a changing, multi-faceted entity, as is the Chinese public that interacts with the new landscape of digital media in adaptive and novel ways. Networked China: Global Dynamics of Digital Media and Civic Engagement situates Chinese internet in its complex, generational context to provide a full and dynamic understanding of contemporary digital media use in China. This volume gives readers new agendas for this study and creates vital new signposts on the way for future research. .
Where is the line between digital utopia and digital police state? Surveillance State tells the gripping, startling, and detailed story of how China’s Communist Party is building a new kind of political control: shaping the will of the people through the sophisticated—and often brutal—harnessing of data. It is a story born in Silicon Valley and America’s “War on Terror,” and now playing out in alarming ways on China’s remote Central Asian frontier. As ethnic minorities in a border region strain against Party control, China’s leaders have built a dystopian police state that keeps millions under the constant gaze of security forces armed with AI. But across the country in the city of Hangzhou, the government is weaving a digital utopia, where technology helps optimize everything from traffic patterns to food safety to emergency response. Award-winning journalists Josh Chin and Liza Lin take readers on a journey through the new world China is building within its borders, and beyond. Telling harrowing stories of the people and families affected by the Party’s ambitions, Surveillance State reveals a future that is already underway—a new society engineered around the power of digital surveillance.
This book is the first in-depth study to apply the Foucauldian notion of governmentality to China's field of social media. Regulating Social Media in China provokes readers to contemplate the democratizing potential of social media in China.
Winner, 2020 Outstanding Book Award, given by the International Communication Association Honorable Mention, 2020 Nancy Baym Book Award, given by the Association of Internet Researchers How the transformation of social media platforms and user-experience have redefined the entertainment industry In a little over a decade, competing social media platforms, including YouTube, Facebook, Twitter, Instagram, and Snapchat, have given rise to a new creative industry: social media entertainment. Operating at the intersection of the entertainment and interactivity, communication and content industries, social media entertainment creators have harnessed these platforms to generate new kinds of content separate from the century-long model of intellectual property control in the traditional entertainment industry. Social media entertainment has expanded rapidly and the traditional entertainment industry has been forced to cede significant power and influence to content creators, their fans, and subscribers. Digital platforms have created a natural market for embedded advertising, changing the worlds of marketing and communication in their wake. Combined, these factors have produced new, radically shifting demands on the entertainment industry, posing new challenges for screen regimes, media scholars, industry professionals, content creators, and audiences alike. Stuart Cunningham and David Craig chronicle the rise of social media entertainment and its impact on media consumption and production. A massive, industry-defining study with insight from over 100 industry insiders, Social Media Entertainment explores the latest transformations in the entertainment industry in this time of digital disruption.