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3 results on '"Matsumoto, Mitsuko"'

1. Chapter 2 Studying the Media Education Practices of Young Children at Home

Author

Chaudron, Stephane, Di Gioia, Rosanna, Aliagas Marin, Cristina, Kotrla Topić, Marina, Letnes, Mari-Ann, Lobe, Bojana, Matsumoto, Mitsuko, Mifsud, Charles L., Poveda, David, and VELICU, ANCA

Subjects
Media education, media literacy, media theory, research methods, bic Book Industry Communication::J Society & social sciences::JF Society & culture: general::JFD Media studies
Abstract

This chapter introduces the idea of a postformalist aesthetic theory of reconstructing remote artefacts aesthetic statuses. The case is immune to the misgivings about aesthetic enquiry prevalent in the humanities and social sciences, since it does not assume that recovering such statuses involves experiencing the artefacts potential to provide an intrinsically rewarding gratification of the senses, of the intellect, or of both together. Postformalist aesthetics sees itself as part of a broad investigation into the nature of evaluative attitudes towards visually conspicuous artefacts. Such a broad investigation represents a necessary step towards establishing whether an object was meant to merit aesthetic attention.

Published
2024
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2. Children’s digital practices and family dynamics during the COVID-19 lockdown: contrasting children’s and parents’ perspectives.

Author

Matsumoto, Mitsuko, Vilaboa, Clara, Aliagas Marin, Cristina, Correro Iglesias, Cristina, and Espallargas Carvajal, Loreto Alejandra

Subjects
*COVID-19 pandemic, *FAMILY relations, *SPANIARDS, *SCHOOL children, *MEDICAL screening
Abstract

Since 2020, research has continued to grow on children’s digital practices during the COVID-19 lockdown, but the child’s perspective has commonly been ignored. This article aims to depict how the COVID-19 lockdown altered family dynamics regarding the use of technology, focusing on screen media. In particular, it illustrates how parents and children acted upon these changes, managing and negotiating children’s digital practices during the circumstances. As part of a larger European study, we have carried out online interviews with 10 Spanish families with children between 6 and 12 years of age. We conducted interviews both with children and adults, complementing and dynamizing them with other instruments (questionnaires and activity sheets). The study demonstrates that both children and parents are active agents in the family dynamics around the use of technology. Children have their own perspectives and expectations about technology, which do not necessarily coincide with their parents’. Furthermore, this study shows the diversity of strategies devised by the families to manage children’s digital practices, as well as to deal with the tensions that arose through the differences in perspectives and expectations during the COVID-19 pandemic. [ABSTRACT FROM AUTHOR]

Published
2024
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3. Digitalization of cultural industries: Evidence from the official Spider-Man movie TikTok account

Author

Hernando Velasco, Alicia, Matsumoto, Mitsuko, Domínguez-Santos, Susana, Lacasa, Pilar, Hernando Velasco, Alicia, Matsumoto, Mitsuko, Domínguez-Santos, Susana, and Lacasa, Pilar

Abstract

The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: This research has been carried out with funds from The International University of La Rioja (Spain) Reference CITEI B24-004. Referencias bibliográficas • Abidin C (2015) Communicative intimacies: influencers and percieved interconnectedness. Ada: A Journal of Gender, New Media, and Technology (8): 1–16. doi: 10.7264/N3MW2FFG • Abidin C (2016) Visibility labour: engaging with Influencers fashion brands and #OOTD advertorial campaigns on Instagram. Media International Australia 161(1): 86–100. https://doi-org.bucm.idm.oclc.org/10.1177/1329878X16665177 • Abidin C (2021) Mapping internet celebrity on TikTok: exploring attention economies and visibility labours. Cultural Science Journal 12(1): 77–103. DOI: 10.5334/csci.140. • Adorno T Horkheimer M (2002) The Culture Industry: Enlightenment as Mass Deception. Dialectic of Enlightenment: Philosophical Fragments. Stanford: Stanford University Press, 94–136. • Alejandro A (2020) Reflexive discourse analysis: a methodology for the practice of reflexivity. European Journal of International Relations 27(1): 150–174. DOI: 10.1177/1354066120969789. • Alejandro A Zhao L (2023) Multi-method qualitative text and discourse analysis: a methodological framework. Qualitative Inquiry. doi: 10.1177/10778004231184421 • Arriagada A Siles I (2023) The mutual configuration of affordances and technological frames: content creators in the Chilean influencer industry. Convergence: The International Journal of Research Into New Media Technologies 30: 572–587. DOI: 10.1177/13548565231157364. • Bacon J (2021) Marvel TikTok: an inside look at the best place to be an MCU fan. Welcome to MarvelTok. Inverse. https://bit.ly/3YjG6mw • Baer A (2001) Consuming history and memory through mass media products. European Journal of Cultural Studies 4(4): 491–501. • Batcho KI (2020) Nostalgia: the paradoxical bittersweet emotion. I, The digitalization of culture and creative industries has presented both challenges and opportunities. To effectively engage audiences and ensure their constant interest, these industries must continually adapt their circulation strategies. The objectives of this study are threefold: 1) analyze the strategies employed by the Marvel Cinematic Universe (MCU) to engage with the fan community; 2) examine the interplay between fiction and reality based on the relationships between characters and actors, as shown in social network posts; and 3) determine how the discourse in the film ‘Spider-Man: No Way Home’ is reconstructed on TikTok, leveraging its particular ‘affordances’ (Gibson, 1979). A mixed methodology approach was utilized, combining the use of Analisa.io software to provide a comprehensive view of the Spider-Man official account’s activities and user engagement with a detailed analysis of the thematic, multimodal, and discursive aspects of TikTok videos published by the account. The findings reveal that the MCU employs TikTok as a marketing tool for the new movie, utilizing three main strategies that align with the characteristics of transmedia storytelling and enhanced audience engagement: 1) strategic selection of publication moments for the growth of follower engagement; 2) extensive use of teasers; and 3) leveraging the presence of actors as a key element to facilitate fan identification., Universidad Internacional de La Rioja (España), Depto. de Didáctica de las Lenguas, Artes y Educación Física, Fac. de Educación, TRUE, pub

Published
2024

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