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This paper seeks to question whether and how instrumentalization of refugees by states impacts their media representations, based on the example of a border spectacle that took place in March 2020, when Turkey unilaterally opened its borders to the West, causing hundreds to flock to the land border with Greece and to the coasts of the Aegean Sea. In many ways, this ended up as a failed border spectacle, especially for international publics: Turkey appeared neither as a strong state nor as a benefactor of asylum-seekers. Yet, the paper claims, the spectacle nonetheless led to an ordering of the visibility of asylum-seekers that cannot be captured on the victim-threat spectrum across which they are usually represented. Examining Turkish mainstream TV evening news as well as state agencies' Twitter accounts, the paper traces how Greece was made hypervisible through the use of three frames (humanitarian, legalistic and moralistic) and asylum-seekers were reduced to extras (figurants) in the process. Such an ordering of visibility facilitated the re-moralization of instrumentalization of refugees and may have accordingly shaped the response-ability of citizens. The figure of the extra enables us to link refugee visibilities to splintering moral geographies of asylum. [ABSTRACT FROM AUTHOR]

This paper examines the significance of On the Wire, a BBC local radio programme, that provides a unique lens through which to examine changes in local radio, music radio in general and public service broadcasting. The paper provides a concise history and an account of the On the Wire, along with an explanation of its impact. The paper offers reasons for the programme's enduring appeal, including its ability to change and adapt, its emphasis on the local in a global context and its innovative approach to audience participation. The paper concludes by positing that the history of On the Wire provides valuable insights for broadcasters in general, highlighting key aspects that radio programmes can learn from its approach. By showcasing the possibilities of what local radio, music radio and public service broadcasting can be, On the Wire sets a positive example for what radio can achieve. [ABSTRACT FROM AUTHOR]

The way in which we describe processes of automation, the digital society and the technology companies that deliver many of its services carry implicit and sometimes contradicting values and ideas about the society envisioned. In this paper, we are interested in unfolding some of the metaphors that guide political discourses on digitalisation in Denmark, particularly those related to the nexus between the welfare state and the market. We propose that metaphorical analysis of policy documents serves to tease out and confront the implicit values and tensions related to how welfare ideologies are reconciled with market logics. This carries important messages about the Danish government's imaginary of digitalisation and citizens, such as which role citizens are expected to play vis-à-vis digital services and welfare provisions. This paper argues that in contrast to the EU's declared goal of human-centric digitalisation, the Danish government relies on metaphors that are technology-centric rather than human-centric. [ABSTRACT FROM AUTHOR]

The enduring effects of COVID-19 have called into question many of the assumptions upon which media and cultural studies rest, including a fundamental mode of perception: the sense of smell. In dialog with the field of sensory studies, this paper traces digital smell loss (anosmia) communities from pre-pandemic Facebook groups to mid-pandemic TikTok challenges. This article considers digital smell loss communities on TikTok as imitation publics characterized by repetition. Via replicable TikTok challenges, digital smell-loss communities reckoned with the unmooring effects of a seemingly mild symptom. By exploring how formulaic smell-loss challenges generated support and facilitated community-building, this article demands greater attention to a sense often considered 'disposable'. [ABSTRACT FROM AUTHOR]

This paper presents a reflective examination of challenges to design and communication from the current digital revolution, using the prism of a 1980s television advertisement for the Yellow Pages. Originating at the same time as the height of the desktop publishing revolution, the advert illuminates a transitional period in the evolution of digital technology and media communications, marked by changing user practices and experiences. The advert's storyline follows a young man's quest to convert an old cine film (of his father) to videotape for his mother's birthday, in the process showcasing the impending shift from analogue to digital technologies and encapsulating the multifaceted implications and transitional challenges of the period. The hybrid setting of technologies, alongside the tensions, confusion and ambiguities of different stakeholders metaphorically symbolises and can be contrasted alongside, the challenges impacting the design, media and communications industry of the period and can inform reflection on contemporary challenges. Engaging with the narrative, the Yellow Pages advert is used as a creative device which functions as a cultural, historical, narrative lens with which to contrast against contemporary (and future) transitional challenges within the digital revolution. [ABSTRACT FROM AUTHOR]

This paper proposes that LGBT+ mainstreaming on reality television programme Strictly Come Dancing creates space for audience demand for radical, authentic representations of same-sex desire and intimacy, both of which challenges normative representations of ballroom dancing. Integrating concepts of normativity and authenticity explored in existing scholarship, I argue against the encountering through a defensive stance, of reality TV's normalization of queer narratives to promote authentic, inclusive representation. Focusing on dance-themed British reality TV programme for family entertainment, I draw on a queer reading of 285 newspaper articles on Strictly Come Dancing's same-sex dance partnerships and 35 interviews with LGBT+ equality dancers in the United Kingdom, to conclude that active engagement with mechanisms of normalization can open up spaces for a reclamation of queer representation in its authenticity. The article makes a contribution to media and cultural studies and queer television scholarship through a troubling of anti-normativity, proposing a working with normativity to achieve queer inclusivity. [ABSTRACT FROM AUTHOR]

Visual messaging is a cornerstone of campaign strategies of political parties and candidates that can complement and amplify the effects of the written/spoken word. Through a thematic analysis of the Facebook ads of the two main political parties during the 2021 West Bengal assembly elections in India, this paper shows the interplay of identity, ideology, and gender in the visual communication strategies of political parties on Facebook as they tried to mobilize voters in an intensely polarized context. Both the incumbent and the opposition parties framed issues in their visual campaigns that were culturally situated; these issues centered around identity and ideology while simultaneously emphasizing strong leadership with gendered rhetoric. Our findings contribute to the advancement of theoretical understanding of political personalization, highlighting the intricate interplay between gender, ideological inclinations, and cultural identity, all of which profoundly influence the personalization process in the context of an intensely polarized election campaign. [ABSTRACT FROM AUTHOR]

The article engages with biometric data gathering technologies as part of migration infrastructures for the monitoring and control of migration. It explores power and agency by paying attention to the complexity of readings, interpretations, and storytelling of illegalised migrants in the Moria and Kara Tepe camps, in the Island of Lesvos in Greece, as they received their bureaucratic legal papers and discussed developments in their 'cases'. Borrowing from feminist and feminist security studies scholarship, the article argues for an understanding of data gathering and sharing infrastructures as material. It suggests that the datafication of migrants' bodies constitutes a manifestation of power that 'enacts' the migrant body as a subject of power but also produces counter self-subjectifications. The article also suggests an understanding of subject agency as the 'capacity to act' within contexts of power. Such a position on the agency of illegalised migrants allows us to examine the emergence of solidarities and alliances and to understand and contextualise not only actions that seem to be questioning and rejecting power, but also those that accept it and internalise it as a strategy of survival and of bettering one's life chances. [ABSTRACT FROM AUTHOR]

The entertainment industry is driven to sell certain commodities transnationally, particularly in a world where borders are becoming increasingly diffused through the access afforded by the Internet. Media content is easily consumed, making cultural exporting fast and easy. Similar tropes and plot have been replicated in the East Asian film and TV industry, perhaps in hopes of replicating the success. This paper looks at the manufacture of ideal masculinities within East Asia, particularly China. From ex-members of K-pop group EXO to the successful TV series, cross-influence of East Asian popular culture is prominent. Through this paper, I look at the influence of K-dramas on the Chinese TV industry and particularly the manufacturing of a militarized masculinity on Chinese TV. Far from portraying brute and fearsome soldiers, ideal masculinity on TV is portrayed as "steely exterior but gentle internally" and thus desirable romantic partners to heterosexual women. By exploring the basic conception of Chinese masculinity, I then discuss representations of militarized masculinity on the silver screen (Wolf Warrior II) and C-dramas, with particular focus on the series, You Are My Hero (2021). [ABSTRACT FROM AUTHOR]

TikTok, one of the most downloaded apps in the world, has been banned in India since June 2020, following military clashes on the India-China border. This article focuses on government narratives of the TikTok ban in the Indian media and situates the issue within the broader geopolitical framework of deteriorating Sino-Indian relations and attempts for digital sovereignty. At a time of strong nationalist discourses dominating the political and social communication in India, it is perhaps unsurprising that the narratives have been seen outside India as protectionism. However, this paper argues that the digital sovereignty in the Indian context is not exclusionary but aims to create a robust digital infrastructure that is critical for economic development and self-reliance. Highlighting the lessons from India, this paper concludes the following: (i) digital sovereignty is a form of discourse which does not imply any specific policy, (ii) digital sovereignty relates to user control over their data, however, the role and limits of the State is not clearly defined and (iii) digital platforms are highly vulnerable to changing geopolitics in which their existence is not determined by user-platform interactions but by international relations. [ABSTRACT FROM AUTHOR]

In this paper I discuss the affordances and popularity of the short-video app TikTok from an audience studies point of view. I do so by drawing on findings from ethnographic fieldwork with young adult TikTok users based in the United Kingdom that was conducted in 2020 and 2021. I trace how using the app, specifically scrolling through the TikTok For You Page, the app's algorithmic content feed, became a fixed part of the everyday routines of young adults. I show how TikTok appealed to them as a convenient means of escape and relief that they were unable to find elsewhere during and beyond times of lockdown. Further, I highlight the complex nature of TikTok as an app and the active role that users play in imagining and appropriating the app's affordances as meaningful parts of their everyday social life. Closing the paper, I reflect on future directions of TikTok scholarship by stressing the importance of situated audience studies. [ABSTRACT FROM AUTHOR]

This paper examines the mobile app BeReal, a popular social media platform, and challenges its claim to fame as a uniquely authentic platform. Through a critical analysis of the app's user experience and an exploration of popular discourse among social media users regarding its design, I seek to assess this claim. BeReal promotes authenticity, or "being real," through the act of users posting interesting content on demand and in real time. The app enforces this authenticity by imposing restrictions: users can only post once a day, at a specific time determined by BeReal, and in one take. Violating these rules triggers a judgment system that notifies other users when posts are made late or retaken. Despite the platform's promise of enabling users to express their true selves through its restrictive functionality, I argue that its version of authenticity instead intensifies the need for external curation due to an "always-on" mentality. [ABSTRACT FROM AUTHOR]

This essay explores the potential of digital mourning for activists and social movements, enabling them to navigate the injuries inflicted by hegemonic powers and harness these experiences as a meaningful force for social change. Through a literature review of scholarly works on mourning within digital platforms, the article identifies theories and characterizations that foster critical reflections on the significance of these online instances. Moreover, by presenting three examples of digital mourning activism (Black Lives Matter, COVID-19 protests, and the Arab Spring), the paper highlights the significance of digital platforms as spaces for collective mourning, shaping public opinion, building collective memory, and driving activism beyond the digital realm. Overall, this essay aims to contribute to a deeper understanding of digital mourning as an empowering tool for activism, shedding light on its role in facilitating meaning-making processes and fostering the potential for profound social change in the face of systemic challenges and injustices. [ABSTRACT FROM AUTHOR]

Like other consumers of 'low-brow' genres, self-help readers elicit polarized views in the literature. While little research to date has focused specifically on self-help readers with a history of mental illness, existing commentary reveals a particular tension: on the one hand, clinical researchers report positive outcomes for depressed readers engaged in bibliotherapy programs using self-help books, similar or superior to medication or talk therapy; on the other, scholars of media and culture express misgivings about the quality of self-help texts and highlight the negative potential of therapeutic discourse for individual readers and audiences more generally. By asking what actual readers do with self-help books, however, my research suggests an altogether more complex interaction between readers and the books they choose and use – especially as they navigate experiences of mental illness. Leveraging a reader-response heuristic in which I interviewed a cohort of Australian readers, this paper details some of the ways in which habitual consumers of self-help books describe their own interpretive activities, problematizing previous research that either emphasizes or downplays the significant expertise of vernacular audiences. [ABSTRACT FROM AUTHOR]

This short paper discusses people's news experiences before, during and after societal crisis situations, contributing with a sequential typology outlining the three phases ritual check-in, shocked immersion and regained stability. Theoretically, we draw on classical contributions to media studies and sociology, particularly the concepts of ritual communication and ontological security. Empirically, we build on qualitative interview studies with news audiences in Norway, spanning 5 years and different crisis cases including political turmoil, the COVID-19 pandemic and climate change. We underline the significance of emotional distancing to regain stability, and identify crises lacking start- and endpoints as particularly difficult to navigate. These insights should instigate further debate about our understanding of news audiences in a tumultuous world, particularly relevant to scholarship on news use and avoidance. [ABSTRACT FROM AUTHOR]

Focusing on the fact that digital media commodities are easily reproduced once initially produced, this paper explains, against the backdrop of Marxist insights, just how these commodities are produced, distributed, and consumed in the current digital media environment. Working with Marx's definition of the value of commodities as the social labor time required for their production, we can thereby define the value and price of reproduced digital media commodities as zero, but the market price of these commodities as in fact constituting the Marxist monopoly price. These determinations are then supported by a review of the ways valueless digital media goods are commodified in a monopolistic real world. The approach here, borrowing from Marx's research methods, starts from commodity analysis to explain comprehensively the wider political and economic system of capitalism. This viewpoint of the inherent value of media products is foreign to neoclassical economics as well as to mainstream media and communication studies embracing the utility theory of value. [ABSTRACT FROM AUTHOR]

Sharenting – a new term emerged over the past 10 years – refers to the practice of sharing textual and audiovisual contents concerning children online by their parents or guardians, potentially impacting the construction of children's digital identity before they can reach the age of consent. Based on a passive virtual ethnography carried out comparatively in Italian-speaking and English-speaking virtual communities focusing on children's wellbeing and health, this paper offers an empirical contribution to the study of sharenting. While contributing to the wider debates on the practices and discourses about sharing in digital media, this paper provides an analysis of how online and offline parenting cultures affect sharenting practices; how the consequences of sharenting are addressed in online communities; and how the privacy vs openness tension about sharing contents is negotiated by parents with regards to their own and children needs even in terms of digital security. [ABSTRACT FROM AUTHOR]

The No. 1 Ladies' Detective Agency is both a successful series of novels and a television series which ran for one series on the BBC in 2008. While the books have been criticised on a number of aspects, including its representation of Botswana, the television series has received very little academic attention at all. The television series was an international co-production between the United States, United Kingdom and South Africa, using a mix of American and South African actors in regular and recurring roles with British guest artists and production team despite being shot in Botswana. While the main features of the adaptation were primarily related to a reordering of vignettes from the books into the series, the television series added in a new character, the camp, gay hairdresser BK. At the time the series was airing, same-sex sexual activity was illegal in Botswana though that has since been changed. As such, this paper will discuss the addition of this liminal character into the series through close reading of the text and paratexts (including industrial context). Ultimately the paper will contextualise the addition with regard to both national and sexual identity and debates surrounding African queer identities. [ABSTRACT FROM AUTHOR]

Situated within the field of platform governance studies, this paper shares findings from an 'autoethnography of automated powerlessness', drawing from the researcher's disempowering experience of being a heavily moderated social media user. Using theoretical frameworks blending affordances and World Risk Society theories, this paper contextualises my experiences of moderation of my pole dance instructor, activist and blogger account @bloggeronpole from February to October 2021 within social media's broader de-platforming of nudity and sexuality, finding fallacies within platforms' own affordances, which lack mechanisms to aid or rehabilitate de-platformed accounts. With little to no information from platforms about the details of their moderation, qualitative, ethnographic and autoethnographic explorations of their governance are all users currently have to fight and understand their puritan, patriarchal censorship of nudity and sexuality, which are often conflated with risk. This study concludes with recommendations for different options for better, more equal and community focused moderation. [ABSTRACT FROM AUTHOR]

Bridging the theory of affective labor and reproductive labor, this paper proposes "affective reproduction" as a critical framework to analyze the unpaid work of volunteer content moderation. Findings from this study problematize the one-sided focus on streamers in the extant literature on platform labor vis-à-vis live-streaming. It contends that fan moderators help streamers reproduce the live-streaming atmosphere as friendly, pleasant, and relevant, facilitating Internet celebrities' money-making. This study contributes to studies of digital labor in two ways: 1) it expands the labor and work perspective to the study of content moderation and discloses the indirect value-generating nature of this work; 2) the designation of moderator in Chinese live-streaming platforms reveals a new form of work organization that exploits digital intimacy, transforming platform users into non-professional, secondary cultural workers. The proposed framework is applicable to various forms of participatory media, in which users are encouraged to manage and regulate their peers. [ABSTRACT FROM AUTHOR]

TV dramas that focus on food and eating reflect the popular trend of single culture, with a rising number of single-person households among the younger generation in South Korea. Analyzing Let's Eat (tvN), the South Korean food drama series that specifically focus on eating scenes, this paper uses the framework of survivalism and the popular discourse of healing to examine how eating alone as a social and cultural phenomenon represents the psychological turn in neoliberalism. In its three seasons, Let's Eat reflects how eating alone becomes a practice of endurance and resilience that encourages the younger generation to stay positive, even during an enervated state of mind, to bounce back, and to ultimately spring forward. I argue that Let's Eat reflects how survivalism especially requires the marginalized population of women in precarious employment to reflect and grow confidence without considering the problems of structural inequality. Let's Eat shows the younger generation's struggle and lack of societal support, perpetuating neoliberalism's focus on individual effort and blaming individuals for their enervation. [ABSTRACT FROM AUTHOR]

This paper aims to contribute to the ongoing discussions on authoritarian populism and the media, from the lens of the political economy of ownership. In contrast to studies that consider the link between media and authoritarian populism by focusing on the discursive structures of populist communication, this study analyses changes in the structure of news media ownership in four European countries that have been subject to authoritarian populism. By employing social network analysis, a methodology rarely used in media ownership research, we reveal how news media ownership concentration as well as changes in ownership structures have provided favorable conditions for the rise and endurance of authoritarian populism. Our study covers ownership developments during the period 2000 to 2020, in Austria, Hungary, Slovenia, and Turkey where authoritarian populist tendencies have been evident, albeit to varying degrees. Conclusions are drawn to illustrate how authoritarian populist actors in the sample countries not only capitalize on prevailing news media ownership structures, but also proactively intervene in ownership relations in order to increase influence over the diffusion of information. [ABSTRACT FROM AUTHOR]

Social media platforms evolved into significant arenas for comprehending crises, hardships, violence, and murder. This paper contributes to the discourse within the intersection of social media and crime by delving into the narratives through which people pour meaning online into tragedies with personal significance. When people experience life-changing events, some go through a process of "sense-making" to fully understand the events and their implications, and reach closure. Processes of "sense-making" become increasingly public and collaborative through stories people tell on social media. Still, a dearth of literature exists that systematically examines these stories as conduits for infusing meaning into tragedies. This article bridges this gap by analyzing the narratives emanating from Facebook groups commemorating Tair Rada and advocating for justice for Roman Zadorov, who was convicted with her murder. These narratives not only challenge Zadorov's culpability but also recount the sequence of events leading to the tragedy. Furthermore, they delve into the identity and motivations of the perpetrator(s), resuscitating neglected lines of police investigation and occasionally introducing alternative narratives. To establish their narratives' credibility, authors employ a range of strategies such as integrating source materials, employing categorical language, and cultivating an atmosphere of personal witnessing or knowledge acquisition. [ABSTRACT FROM AUTHOR]

TikTok continues to be the top downloaded app in many countries around the world as the short video consumption craze continues. But TikTok has also come under harsh scrutiny for its Chinese origins and data security. For TikTok, the journey of globalization has involved a painful contest with governments, geopolitical manoeuvrers, and, ultimately, finding platform regulation loopholes. TikTok's sister app, Douyin, shares identical digital architectures, but follows different trajectories of development in China. Through interviews with Chinese influencers and media practitioners, along with a content analysis of policy documents and industry reports, this paper identifies and analyzes the borderline practices that have occurred on Douyin – including content transfers, and algorithmic platformization – and evaluates the potential for these practices to be replicated on TikTok. [ABSTRACT FROM AUTHOR]

Though politics and promotion have never been completely separate, the convergence between the two spheres is increasingly prominent in today's digital culture. To broaden our understanding of such promotional politics in social media, this paper examines commercial collaborations between four Swedish influencers and two private companies that offer services enabled by specific neoliberal reforms during recent decades, and how they strive to present these services in a way that attracts an affluent but socially conscious middle-class. It argues that the political potential of influencers might not always be as spokespersons for a cause or party, but rather as 'ideological intermediaries' who promote a lifestyle to be inspired by, and aspire to. The analysis identifies the discourses that influencers draw on to achieve the promotional and ideological outcomes of commercial collaborations, as well as the authenticity labour that they perform in the texts. Further, the paper analyses how notions of authenticity also impact audiences' interpretation and politicization of the collaborations, in the comment sections to the sponsored blogposts. [ABSTRACT FROM AUTHOR]

China's Social Credit System (SCS) has been widely considered a centralized surveillance project, whereas recent research found multiple scoring systems co-existing in various fields at multiple administrative levels and in diverse forms. Despite the broadened view toward the complexity of SCS, these research projects continue to focus on SCS mainly as political and digital control mechanisms. Instead, this paper is interested in the social and cultural meanings of SCS constructed in the media, both at the national and local levels. Based on the analyses of news reports since the year 2003, when the term SCS was officially coined, this paper examines the historical narratives about SCS, including its rationales, stakeholders, and intended goals/tasks. It argues that the SCS construction has been a societal project anchored in a distinct moral orientation of financial credit. While credit systems are often used to classify consumers and financial subjects in Western contexts, the case of Chinese SCS shows that the moral dimension of financial credit scoring has enabled its spread into other non-financial domains. Also, the institutionalization of such moral standards is considered an effective approach to addressing various socio-economic and ethical issues that have long baffled economic development and social justice in China's reform era. [ABSTRACT FROM AUTHOR]

This paper argues that the current disinformation studies literature lacks any sustained analysis of a crucial element in any communication campaign – its sources of funding. The paper argues that crowdfunding platforms are arguably better networked and 'cross platform enabled' than most social media sites to spread disinformation. And that disinformation actors have weaponized crowdfunding to amplify and sustain the spread of their grievances and forms of disinformation. The paper offers a rich qualitative study of a set of election fraud and 5G themed campaigns on the GoFundMe crowdfunding platform. The study questions how networked content and financial appeals in the crowdfunding pitch can contribute to the disinformation literature and potential solutions. [ABSTRACT FROM AUTHOR]

This paper analyses how immigrants are understood by Swedish alternative media and the role that Islamophobia plays, if at all, in these representations. What is remarkable is that although all articles were sampled explicitly to discuss Ukraine, the analysis showed that Muslim immigrants figured with unexpected frequency throughout. The value of these two immigrant groups were antagonistically contrasted through arguments of alleged differences in culture and geographical origin, perceived legitimacy as asylum seekers, and in terms gratitude and supposed level of threat to Swedish society. With this, the unity that is formed around Islamophobia trumps any nationalist views of the Swedish nation state as particularly superior or white and the social and economic consequences which are usually believed to be at risk due to immigration. By extension, the war in Ukraine is articulated as a matter of whiteness and works to exploit war for strengthening the transnational far right. [ABSTRACT FROM AUTHOR]

This paper focuses on the radio's novelty years in 1920s Turkey to examine how the functions of wireless technology as a material artifact are negotiated in ways that fashion a national auditory. Most studies on radio's history prioritize sound, eliding people's tinkering with the wireless as a technical object. Based on archival research and oral history interviews, I suggest that early radio as a material object required as much of its listeners' attention as did the broadcast content. In young Turkey's war-torn economy, the only affordable way to listen to radio was learning how to assemble a receiver. Few owners of manufactured radios also learnt how to fix frequent problems. To form a passive national auditory, the state monitored the cultivation of these technical skills by banning transmitter-construction while encouraging assembling/fixing receivers. In addition to the body's visceral/affective capacities, then, nation-states also discipline technical skills while forming a national auditory. [ABSTRACT FROM AUTHOR]

Blood on the ice. Cheers when the injured athlete stands and limps off the field. Comebacks, backflips, and back injuries. Celebrity athletes are punished and rewarded for their abilities, including their ability to perform while injured or work through pain. Injuries, illness, disablement, and even death are not uncommon in celebrity culture broadly and the field of competitive sports more specifically. While critical disability studies often attends to disabled celebrities, less research and critical attention has been paid to the disablement of celebrity and the expectation and performance of injury or illness understood through the lens of ablenationalism. Focusing on international figure skating and the 2022 Winter Olympics, this paper offers a supercripping of athletic celebrity by interrogating how gender, race, age, and nationality impact a global audience's view of vulnerability, risk, and harm. Analyzing media coverage of the event alongside popular discourse uncovers the impact of nationalism, white supremacy, and patriarchy on sports narratives and celebrity cultures of debilitation and disablement. [ABSTRACT FROM AUTHOR]

As Brexit negotiations continue to draw criticism nearly two years on from the UK's withdrawal from the European Union, many media outlets have concentrated on making sense of what has been dubbed the 'Brexit circus'. In particular, significant media attention has been directed towards obstacles to Brexit's progression, such as the issue of the border between Ireland and Northern Ireland and the 'backstop' arrangement. Through an examination of different media efforts to explain the border issue, this paper will discuss how conventional reporting methods have been unable to make this issue comprehensible to the individual. This paper will suggest that a hypertextual aesthetic form would provide a more effective means of making sense of the complexity of the border issue and its relationship to global political and economic structures. However, an understanding of the border issue also requires an understanding of the affective reality of life in this region and the history upon which this reality is founded. In this manner, this paper also argues that representational regimes capable of conveying affective realities could contribute important experiential dimensions to efforts to render dominant political and economic structures both cognisable and contestable. [ABSTRACT FROM AUTHOR]

This paper assesses the media industry in the US by analyzing Big Tech's entrance into film and television production and the rise of streaming distribution technology. Through a case study of Prime Video, Amazon's prize streaming platform, this study explores how streaming technology has disrupted film and television from multiple perspectives, subjecting the industry to new logics of internet distribution, rooted in platforms, artificial intelligence, digital delivery systems, and big data. In the Big Tech worldview, disruption is an inherently progressive development. However, an analysis of Prime Video reveals how disruption is only the latest manifestation of conglomeration and convergence in the film and television industries. By uncovering the industry logics that govern the era of streaming, this paper analyzes the streaming industry of the present while taking into consideration the cable period in the past to account for the rapid technological development in the future. [ABSTRACT FROM AUTHOR]

This paper analyzes how stakeholders in the Korean media industries understand the penetration of Netflix and other foreign streaming video-on-demand (SVoD) platforms and how they respond to global SVoD players. Based on interviews with cultural workers and bureaucrats, the findings of this paper explore how stakeholders in the media industries interpret Netflix as both an investor who would enable them to produce a variety of content and introduce their products worldwide and as a competitor that has the potential to threaten domestic media production. Considering structural asymmetries caused by disparities in technologies and financial strength between local and global players in the market, as well as the distribution power which streaming moguls have enjoyed for years, the growing presence of Netflix in the domestic market may reduce the position of Korean media production as mere subcontractors of the platform. The paper's findings shed light on analyzing the relationship between global streaming platforms and local cultural producers. [ABSTRACT FROM AUTHOR]

Over the past decade, production in China’s television sector have reshaped media cultures across the country as well as the geocultural region of East Asia. Through analysis of licensed reality television programs such as China’s Got Talent, this paper examines transnational television formats and their circulation and replication in contemporary China, challenging the traditional concept that television format trade falls within a West-Rest narrative. While highlighting the cultural and media phenomena of interactive ‘glocalization’ of cultural products, this paper calls for de-westernization in approaching Chinese and East Asian media studies. It does so by pointing out unique imitating and adaptive practices of Chinese unscripted television programs, which serve as case studies to the existing literature of television business and cultures. The practice of licensing formats provides a unique perspective into analyzing China’s media strategies in a globalized industry and reviewing the current scholarship on media globalization. With a comparative analysis, the paper attempts to reconceptualize the spatiality of East Asian media production and consumption. I also include my observations while working on the production teams for these programs. [ABSTRACT FROM AUTHOR]

The emerging trend of online self-presentation that cause the selective release of photos and thus create biased city images circulating in social networks deserves greater research attention. As a response to this, the paper investigates the image of Wangfujing Beijing on Instagram, which cements its reputation as a symbol of traditional food culture but limits its potential to be the embodiment of cosmopolitan urban living. After arguing that the exotic images of the food market can better help Instagrammers play an urban adventurer before followers, the paper analyzes over 5500 sets of Instagram data, and then examines three narrative patterns used to describe the place, corresponding to the context description, the connection establishment, and the visual emphasis of the dominant theme. The visual storytelling techniques used in them will assist in understanding the image-based communication between social network users and thereby increase the possibility of managing the online city image. [ABSTRACT FROM AUTHOR]

This paper sifts through the affective connotations and methodological issues that crop up during conversations about caste with dominant caste (savarna) women working in the Malayalam language film industry in Kerala, India, in the context of a heightened focus on gender in the post #MeToo era. Drawing on arguments from critical whiteness and critical race theories, it argues that caste ought to be viewed not just as an ontological entity but as an epistemological framework which shapes how knowledge about the world and selves are produced and transferred. It also explores the methodological challenges in broaching the topic of caste with women occupying powerful social locations and how in failing to explore caste in seemingly gender-focused studies, the researcher contributes to an epistemology of ignorance, rendering invisible a crucial power differential. [ABSTRACT FROM AUTHOR]

That legacy media organisations are struggling in this era of global platformisation and datafication is well established. Yet, the power of platforms as well as critiques of them could be seen as being framed and facilitated by the prevailing forms of neoclassical economics. This paper addresses how analysis and planning of data-driven innovation in legacy media organisations could benefit from the perspectives deriving from heterodox economics. Using approaches within heterodox economics as a foundation, we build on two novel conceptual frameworks – innovation commons and cross-innovation systems, where decentralisation of media markets and collaboration between agents on different levels are central. Further, three tools – open data, blockchains and agent-based modelling (ABM) – offer ways to operationalise these frameworks. Central to these tools are further democratisation and growing complexity, openness and dynamism that enable media organisations to identify paths towards data-driven innovation that could improve the competitiveness of the legacy media industry in the platform economy. [ABSTRACT FROM AUTHOR]

Kashmir, the northernmost valley of Indian territory, is an acknowledged conflict area reeling under continuous violence for the past three decades. It is more in focus due to militancy, civil unrest, and human rights violations that have created difficult situations for the women of the Kashmir valley. They are usually portrayed as submissive and bound to conservative roles. While on one hand, their security of life and dignity is of prime concern, their education and professional development often take a backseat. Despite several odds and unstable circumstances, these women are striving hard to emerge as strong personalities. As Journalism empowers the masses with information and builds public opinion, it is crucial to have female contributions in this profession as their perspectives can't be presented by men. Media in Kashmir provided women a platform to express themselves and help them prove their identities and move beyond victimhood discourse. This paper is an attempt to understand how journalism has emerged as a career choice for women from Kashmir and also aims to document their roles in breaking the traditional stereotypes by moving beyond the conflict and registering their identities as media professionals. [ABSTRACT FROM AUTHOR]

Digital capitalism troubles classical notions of contextual singularity and agential unity and destabilises delineations of online and offline realities. Following Floridi, this paper applies the concept of 'onlife' for the 'new experience of a hypermediated reality', and we contribute to the understanding of this experience by highlighting the socioeconomic entanglements of users' self-expression and technological corporations' profiteering. We introduce the notion of onlife intersectionalities, where intersectionalities are understood as the enactment of identities at the crossroad of gender, race, sexuality, class, etc., and add the dimension of commercial interest to better conceptualise dynamics of empowerment and exploitation. Thus, we suggest that onlife intersectionalities are enacted in and as flows of playbour that produce surplus value through playful activity. Seeking empirical substance for these conceptual relations, we turn to the case of women in online gaming. Focusing on three individual women gamers' onlife trajectories and flows of playbour, we show how these interact differently for each gamer, leading to more play with higher rewards for some and more labour with less compensation for others. With this analysis, we illustrate the exploitation-cum-empowerment of human subjects under digital capitalism. [ABSTRACT FROM AUTHOR]

In 2021, the San Francisco Chronicle released a feature article about a man who chose to resurrect his deceased fiancée by training a chatbot system built on OpenAI's GPT language models on her old digital messages. He then had emotional conversations with this chatbot, which appeared to accurately mimic the deceased's writing style. This case study raises questions about the communicative influences of thanabots: chatbots trained on data of the dead. While thanabots are clearly not living conversational partners, the rhetoric, everyday experiences, and emotions associated with these system have very real implications for living users. This paper applies a lifeworld perspective to consider the hermeneutics of thanabots. It shows that thanabots exist in a long lineage of efforts to communicate with the dead, but acknowledges that thanatechnologies must be more thoroughly studied for better understanding of what it means to die in a digital age. [ABSTRACT FROM AUTHOR]

In March 2019, Ensaaf, a transnational, non-profit organization, launched the project of daily posts on their social media pages consisting of remains or traces of disappeared Sikhs (an ethnoreligious minority community in India and the diaspora), that is, their photographs and biographical details. In this paper, I reflect on the meanings implicit in Ensaaf's daily work of remembering and circulating remains of the disappearance on social media, specifically Facebook. By creating an archive that circulates regularly and frequently in and through social media, Ensaaf is performing what I call digital melancholia : continuous and ongoing grief work. The medium in which Ensaaf enacts its melancholic attachment with the disappeared leaves its imprint on the meaning of the performance itself. The daily work of melancholia performed in the constantly evolving space of Facebook is a form of "epistemic resistance" against the Indian state's "necropolitics." [ABSTRACT FROM AUTHOR]

The COVID-19 pandemic has reconfigured every social, political, economic and cultural aspect of modern society. Millions of people have been stuck in lockdown within and across borders, national and regional terrains, in their homes and worse places. At this time of unprecedented change and 'stuckedness', digital communication technologies have served as a lifeline to forge and nurture communication, intimate ties and a sense of continuity and belongingness. But being stuck and simultaneously virtually mobile has brought many difficulties, tensions and paradoxes. In this paper we discuss first insights from a study with 15 members of the older Culturally and Linguistically Diverse (CALD) population in Victoria, Australia to explore experiences of being physically stuck and virtually mobile. We find practices of translocal care – ways of caring for distant others through digital technologies, has been made more complex by the pandemic and shaped by two dynamics: networked collective 'existential mobility', and a quantification of feeling that we call 'intimacy 5.0'. [ABSTRACT FROM AUTHOR]

This paper reflects on the impact of dating apps' removal of ethnicity filters on racial minority users. Many scholars, mass media, and dating app users believe that ethnicity filters mark an institutional endorsement of racism which is embedded in digital infrastructure. Accordingly, they have called for the removal of these filters. This advocacy is based on the assumption that expressions of racial preference are inherently racist. In the summer of 2020, many dating apps removed ethnicity filters to show solidarity with the Black Lives Matter movement. However, I argue that racial minorities often express intra-racial desires through ethnicity filters to valorize their own sexual capital, evade discrimination or fetishization, and gain sexual opportunities. Consequently, removing the ethnicity filter makes it harder for racial minorities to connect. Even worse, it creates a culture of compulsory interracial intimacy, exposing minority users to more vulnerability and racial trauma. Moreover, the lack of discussion on whether to remove filters other than ethnicity reveals the negligence of intersecting oppressions on dating apps. Thus, this paper highlights the need to be more attentive to racial minorities' alternative uses of filters for self-empowerment, and to intersectional oppressions that should be tackled in designing inclusive dating apps. [ABSTRACT FROM AUTHOR]

The impact of iconic imagery on policymaking during humanitarian crises is oft-discussed within the literature. When rapid humanitarianization or sudden policy shifts emerge, researchers seek to identify why. One potential explanation is that of 'focusing events' – sudden, harmful events which destabilize political consensuses and elevate marginal agendas. While focusing events have been used to explain the impact of large-scale accidents and disasters, this paper extends their usage to activist-generated events such as the iconization of images of the drowned Syrian toddler, Alan Kurdi, during the 2015 migrant crisis. In exploring the Kurdi images' impact on US media and political discourses of asylum, this paper finds that asylum-related discourses became increasingly sympathetic and domestically focused, eventually culminating in the announcement of an increase in resettlement targets for Syrian migrants. By expanding conceptualizations of focusing events to cases such as Kurdi's, this paper supplements understandings of the agenda-setting function of iconic imagery. [ABSTRACT FROM AUTHOR]

How do we evaluate the value of a medical mask? And how does the mask acquire its meanings? In this paper, I approach the mask as a media entity: a mediated and mediating thing whose meanings and values arise from within a complex network of relations. The recent political divide regarding mask-wearing has roots in the ambivalence and confusion about their efficacy in the first few months of the pandemic. It remained unclear for some time whether masks protected the wearer or those around them, but nonetheless a global mask-making cottage industry emerged, shaped by DIY and citizen science. The DIY community cleverly leveraged this core ambivalence, foregrounding multivalence, and thereby feeding into a binary ethical obligation: for whom does one wear a mask? The mask was thus baptized into regular usage by the 'I/You' utterance that we are now familiar with: 'I wear my mask to protect you, as you wear your mask to protect me'. This paper reframes the facemask as a complex media entity, one that absorbs its presuppositions, while also being placed into new arrangements by its arrival through an emerging relational network. [ABSTRACT FROM AUTHOR]

In recent years, LGBT issues have received substantial media attention and engendered heated public debate in Ghana. This paper analyzes the prejudiced construction of LGBT issues in the Ghanaian news media and how this contributes to a discriminatory discourse that demeans LGBT people and puts them at the periphery of Ghanaian society. The study employs a critical discourse analysis framework and a dataset of 385 articles, comprising news reports, op-ed pieces, and editorials. The analysis reveals that news content on LGBT issues is biased and inflammatory, and it frames LGBT people as expendables and undesirables. This is realized by exploiting three discourses, or forms of othering, that culminate into the (re)production and naturalization of moral panic: a discourse of amorality/immorality and societal destruction, a discourse of alienization, and a discourse of medicalization or pathologization. The paper concludes with a call for a more balanced and ethically/socially responsible news reporting, especially since LGBT issues in Ghana hold implications for national cohesion and security. [ABSTRACT FROM AUTHOR]

The impact of social media use on youth subcultures, such as graffiti writers, has been rapid and dramatic, bringing with it a number of significant transformations that present both opportunities and challenges. This paper explores the impact of the Internet and social media on a community of graffiti practitioners. I argue that the rise and uptake of online social networking platforms such as Instagram and You Tube have offered a range of affordances to the practice of graffiti writing. These affordances include: greater accessibility to graffiti culture; learning opportunities; and opportunities for wider distribution and curation of graffiti pieces. Simultaneously, social media challenges the significance of 'community', that is, the physical social interaction afforded by participation in real world graffiti crews. The findings suggest that while there are tangible benefits from the use of the Internet and uptake of social media by the graffiti writing community, it is the physical communal bonds experienced within a graffiti crew that are vital to the wellbeing and continuity of the culture. This paper contributes to our understanding of how social media affects youth more broadly and specifically how social media platforms are transforming the experience of youth subcultural practice. [ABSTRACT FROM AUTHOR]

Media scholarship has long argued that public discourse is a function of the architecture of the media by which it is carried. Media architecture is, as political economists have argued, in turn shaped by the capitalist regime of accumulation within which the media operate. This paper draws together these two strands of literature to ask: as the accumulation of data is coming to define contemporary capitalism, what cultural logic does this produce? The paper argues that, as media are shaped around the extracting user data, they become organized around personhood and the extension of commodification deeper into our sense of self. The lifestyle fragmentation and segmentation engendered by new media technologies carry over into public discourse, shaping a public, and political life defined by identity and difference. If, as Neil Postman suggested, a society's way of knowing reflects its media technology, the emerging epistemology of the social media society is truth as identity, as our very ways of knowing are reduced to expressions of who we are. [ABSTRACT FROM AUTHOR]

Around the world, tabloid newspapers are routinely surrounded by a moral and cultural panic. They are criticised for lowering standards of journalism and privileging sensation above substance, diverting readers from serious news to entertainment, or foregoing ethical principles. However, scholarship about tabloids have also highlighted the ways in which these papers are frequently better attuned to their readers' everyday lived experience. In South Africa, tabloid newspapers have also received much criticism in the past for their perceived superficial treatment of important news. This article examines South African tabloid newspapers' coverage of the Covid-19 pandemic, focussing specifically on a case study of the national newspaper the Daily Sun. The national Daily Sun newspaper boasts the country's largest circulation figures. Through a quantitative content analysis of 1050 online news stories in the Daily Sun, we found that unlike mainstream front-page news reporting which was largely episodic, negative and alarmist, the majority of Daily Sun coverage was thematic and neutral. Daily Sun news coverage countered Covid-19 related misinformation and provided contextual coverage, with a large focus on the social impacts of Covid-19. The analysis concludes that despite the popular discourse of the reporting, Daily Sun reporting on Covid-19 provided readers with access to information and a focus on the micro aspects of the pandemic versus broader political issues and the views of political or scientific elites. [ABSTRACT FROM AUTHOR]

The algorithmic imaginary as a theoretical concept has received increasing attention in recent years as it aims at users' appropriation of algorithmic processes operating in opacity. But the concept originally only starts from the users' point of view, while the processes on the platforms' side are largely left out. In contrast, this paper argues that what is true for users is also valid for algorithmic processes and the designers behind. On the one hand, the algorithm imagines users' future behavior via machine learning, which is supposed to predict all their future actions. On the other hand, the designers anticipate different actions that could potentially performed by users with every new implementation of features such as social media feeds. In order to bring into view this permanently reciprocal interplay coupled to the imaginary, in which not only the users are involved, I will argue for a more comprehensive and theoretically precise algorithmic imaginary referring to the theory of Cornelius Castoriadis. In such a perspective, an important contribution can be formulated for a theory of social media platforms that goes beyond praxeocentrism or structural determinism. [ABSTRACT FROM AUTHOR]