Проблемы возрастной маркировки на российских телеканалах
The article presents the results of an empirical study conducted in January-February 2018, aimed to reveal how Russian television channels are implementing the requirements of the law “On Protection of Children against Information Detrimental to Their Health and Development”. We conducted a review of more than 45,000 broadcasting elements (TV programs, movies, serials, cartoons, etc.), which were aired in early 2018. It turned out that more than half of them did not have any age rating information; also TV channels often used the “16+” mark, although broadcasting elements with it in the interval from 7 AM to 21 PM is a violation of the law; while broadcasting programs rated as “18+” was without any violations. The obtained results allow us to draw a conclusion that this law needs to be improved and the professional training should be held for its competent use in the broadcasting.
This article uses case studies of visual art installations to elaborate an alternative view of the way art is experienced by museum and gallery visitors. In particular, it is argued that the orthodox and influential decoding perspective in the sociology of art overlooks the situated and experiential nature of art, especially when art takes the form of installations. In order to study experiences of art installations, this article draws on recent developments in cultural sociology and the sociology of music to reintroduce the idea of mediation into thinking about and with art. A focus on processes of mediation allows me to address the communications and interactions which emerged at the particular art installation under consideration here, a piece called PharmaConcert by Evgeniy Chertoplyasov that was displayed at the Winzavod Art Centre in Moscow in 2011. Detailed analysis of the forms of interactions at this exhibition shows that as audience members perceive artworks, they transform abstract expectations of artworks into a series of specific and situated actions. Simultaneously, other mediation processes reassemble the audiences through shared experience of contested meanings of an artwork. The paper challenges the orthodox sociological notion of what an ‘audience’ is and instead sees audiences as an emerging form of communication and interaction specific to a particular artwork / installation.
The paper deals with the theory of collective trauma, which is built within the framework of the “strong program” in cultural sociology by Jeffrey Alexander. The theory highlights the importance of the trauma in the shaping of contemporary Western collective identities. The central message of the theory is the avoidance of the “naturalism fallacy”, i.e. of such a vision of the trauma, which doesn’t differ seriously the fact of collective perception from the objective event. Following Alexander, sociologically valid way to explain collective trauma should focus on the symbolic mechanisms of the creating trauma, and is driven by such a notions as code, master narrative, drama, ritual, etc. The power of developed explanation is illustrated by numerous historical cases.
Social Media as part of the digital arena has become an integral part of our everyday life. The process of interaction between the company and the client varies depending on the platform (for example, the social network VKontakte and video hosting Youtube) and the objectives set by the company. Currently, social media is a way to interact and engage in dialogue with a new audience, for example, a small local museum can be opened to any audience around the world.
This paper represents a synthesis of few working papers of the author, published in various mostly foreign publications. In the paper the author examines social consequences and social prerequisites for specific role that Russian state and Russian audiences are playing in the media. In our opinion the situation in Russian media cannot to be perceived outside the context of social structure of the Russian society and the role of the state in this society.
The article is devoted to the problem of communicative features of the constructive structure of the font identity in the city branding sphere. This problem is considered in the framework of the nonlinearity of visual communication based on typology, comparative and structural analysis of the font identity of the world's cities. The article analyzes the brand identity of the city of Murmansk (2015) with the use of qualitative research methods: an expert interview with the designer of Murmansk identity.
This paper explores, mainly from a legal perspective, the extent to which the Russian regulations of traditional TV and online audiovisual media policies have been consistent with the Council of Europe (hereinafter CoE) standards. The study compares between the CoE and Russian approaches to specific aspects of audiovisual regulation including licensing, media ownership, public service media, digitalization, and national production. The paper first studies the CoE perspective through examining its conventional provisions related to audiovisual media, the case law of the European Court of Human Rights as well as the CoE non-binding documents. The paper then considers Russian national legislation governing audiovisual media and the Russian general jurisdiction courts’ practice on broadcast licensing. The paper suggests that the Russian audiovisual regulations are insufficiently compatible with the CoE standards and more in line with the Soviet regulatory traditions.
Systems Thinking in Museums explores systems thinking and the practical implication of it using real-life museum examples to illuminate various entry points and stages of implementation and their challenges and opportunities. Its premise is that museums can be better off when they operate as open, dynamic, and learning systems as a whole as opposed to closed, stagnant, and status quo systems that are compartmentalized and hierarchical. This book also suggests ways to incorporate systems thinking based on reflective questions and steps with hopes to encourage museum professionals to employ systems thinking in their own museum. Few books explore theory in practice in meaningful and applicable ways; this book offers to unravel complex theories as applied in everyday practice through examples from national and international museums.