Российские медиа: проблемы вражды, агрессии, насилия [Электронный ресурс]
Souvent considéré comme une activité des plus nuisibles, le piratage des contenus audiovisuels n’en constitue pas moins, depuis des décennies, pour de nombreuses populations aux quatre coins du monde, un moyen majeur d’accéder aux produits des industries culturelles. Nourri d’enquêtes de terrain, cet ouvrage explore les enjeux que recèle ce phénomène complexe. Cette étude inédite analyse les stratégies globales de lutte contre le piratage, évalue les politiques des autorités nationales, décrit les usages que font les publics des contenus audiovisuels piratés, retrace les chemins qu’empruntent ces derniers et s’intéresse à ceux qui font le commerce de ces produits, de même qu’aux mutations engendrées par internet en la matière.
Late in life, William F. Buckley made a confession to Corey Robin. Capitalism is "boring," said the founding father of the American right. "Devoting your life to it," as conservatives do, "is horrifying if only because it's so repetitious. It's like sex." With this unlikely conversation began Robin's decade-long foray into the conservative mind. What is conservatism, and what's truly at stake for its proponents? If capitalism bores them, what excites them? Tracing conservatism back to its roots in the reaction against the French Revolution, Robin argues that the right is fundamentally inspired by a hostility to emancipating the lower orders. Some conservatives endorse the free market, others oppose it. Some criticize the state, others celebrate it. Underlying these differences is the impulse to defend power and privilege against movements demanding freedom and equality. Despite their opposition to these movements, conservatives favor a dynamic conception of politics and society--one that involves self-transformation, violence, and war. They are also highly adaptive to new challenges and circumstances. This partiality to violence and capacity for reinvention has been critical to their success. Written by a keen, highly regarded observer of the contemporary political scene, The Reactionary Mind ranges widely, from Edmund Burke to Antonin Scalia, from John C. Calhoun to Ayn Rand. It advances the notion that all rightwing ideologies, from the eighteenth century through today, are historical improvisations on a theme: the felt experience of having power, seeing it threatened, and trying to win it back.
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.
This study proposes the interventionist and the detached orientations to watchdog journalism through the conceptual lens of journalistic role performance. Based on a content analysis of 33,640 news stories from sixty-four media outlets in eighteen countries, we measure and compare both orientations across different countries using three performative aspects of monitoring: intensity of scrutiny, voice of the scrutiny, and source of the event. Our findings show that the interventionist approach of watchdog journalism is more likely to be found in democracies with traditionally partisan and opinion-oriented journalistic cultures or experiencing sociopolitical crises. In turn, the detached orientation predominates in democracies with journalistic traditions associated to objectivity. Although both orientations have a lower presence in transitional democracies, the detached watchdog prevails, while in non-democratic countries the watchdog role is almost absent. Our results also reveal that structural contexts of undemocratic political regimes and restricted press freedom are key definers of watchdog role performance overall. However, the type of political regime is actually more important—and in fact the most important predictor—for detached than for interventionist reporting.
The author teaches to awaken creativity in oneself, using emotions as a factor of motivation, explains the concept of critical thinking, gives the reader tools to add / edit publications to increase the clarity and rationality of their own judgments, and also shows where a particular theory is applicable
This paper analyzes one of the most apparent characteristics of modern global media, namely an increased share of media content highlighting various entertainments: sporting events, royal weddings, rescue actions, beauty contests and the like. The audience for such shows amounts to billions of viewers actively involved in what they see on the screen. Another characteristic of our time is that the social and media space has been flooded with games of all kinds. The scale of these processes gets one thinking about the causes of these events, the possible scenarios for development and the models of attitude to them. Drawing on the theoretical analysis of the existing approaches, the author presents his own concept of carnival culture, examines the characteristics of the carnivalization of reality in an era of globalization and mediatization. The paper concludes that the growing transformation of modern society generates in people increasing existential anxiety about their place in the changing world. A lack of answers to basic questions leads to an urge to lose oneself in a mass ecstatic experience. The author predicts that the further information and technological development of mankind will be accompanied by mass unemployment and, subsequently, an increase of free time in citizens living on social security. It might be reasonably suggested that they will focus on playing games. These games are likely to model the world of bright life, rich in sex and aggression, wherein people will find an opportunity to destroy robots and monsters and to assume any carnival shape without being responsible for their actions, especially when hidden behind a masquerade mask.
TV series have become one of the main types of modern leisure. However, "quality television" modifies the very form of the series. Expensive serial production to justify the costs of the creators and maintain the interest of the audience with the need becomes included in the functioning patterns of new media. The article shows that in the world of cultural overproduction successful TV series must be transformed into transmedia phenomena in order to exist. Their traditional form, which is usually compared with the classic bourgeois novels of the XIX century, is uncompetitive outside the inclusion of content consumers in advertising production. Thus, the modern TV series market becomes a part of digital capitalism. If the classical critical theory raised the question of the possibility of autonomy of a work of art, then in the critical theory of the Internet this problem should be clarified. The author on the material of the series "Game of Thrones" demonstrates what features have determined the possibility of involvement in the advertising campaign of consumers, and how the capitalist logic of digital capitalism has changed the artistic content of the work. The final season of the series demonstrates the loss of autonomy of the creators over their work, on the one hand, due to external capitalist reasons. However, the consumer himself, involved in the production of not only the accompanying content for the series, but, ultimately, increasingly forming the demand for plot twists, changes the final product in such a way that it cannot match the originally set standards of quality and innovation.