Панорама российских трансмедиа: опыт картирования мультиплатформенных инициатив
The article investigates the representation of analytical media content through the use of digital computer and online databases (the so-called data journalism, journalism of "big data", or journalism of metadata, as it is defined in the study). The author reveals the unique features of data journalism as a phenomenon and a process and proves that this format of convergent content represents the opportunities of synergy of formal, logical and associative presentation of information in an interactive online format and appears to be a synthesis of the three types of classical journalistic genres. Online data journalism determines fundamentally new opportunities for the strategic development of media content characteristics and functions of modern journalism as an element of open public governance and the development of science about media (medialogy).
The main research question of the article is what specificity Russian transmedia storytelling initiatives present. The goal of the research is to underline the social and cultural contexts in which transmedia storytelling is inserted in the country, reconstructing the panorama of Russian transmedia landscape. In addition, the rationale for the research is to investigate implications of transmedia tools in different spheres, including Entertainment & Gaming, Political Movements, Social Change, Activism, Journalism, and Branding as the main directions of transmedia strategies in Russia. The article highlights the specificities of civic engagement and participatory culture in contemporary Russia and emphasizes transmedia storytelling as implying grassroots initiatives.
Russian television has a common problem: the most active media consumers are abandoning television to binge-watch foreign TV shows on online streaming services or social networks with video content. Transmedia storytelling (TS) could re-invent old-fashioned media by using multiple media platforms, content expansion and audience engagement to add active media consumers to a decreasing television audience.
But will TS really help Russian TV re-invent itself and its audience or will it simply disguise the gap between the different interests of TV audiences and producers? This chapter first gives an overview of recent developments in Russian television, its audience and transmedia storytelling. It then studies the transmedia project “Sasha Sokolov. The Last Russian Writer”, produced by Russia’s leading broadcaster Channel One Russia, using methodology based on Gambarato’s (2013) transmedia analytical model.
The documentary’s subject is a little-known, cult author; it is produced as a detective docudrama and promoted by transmedia strategies, which contributed to its remarkable success, even in an unpopular category. However, the closed character of Russian television and the producers’ choice to limit the participatory opportunities of TS diminished the possibly greater success of the program. This case demonstrates the problems of freedom of expression on Russian TV, which is limited to “safe” topics (such as literature) and allows alternative (and not always argumentative) opinions only from the members of an elite group. Contemporary media technologies and strategies are used to expand the number of viewers, but not to initiate public discussion.
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.