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Thematische Bibliographien / Chinese Central Television / Zeitschriftenartikel

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Zeitschriftenartikel zum Thema „Chinese Central Television“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 13. Februar 2022

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1

Varela Monterroso, Lucía. "Estructura mediática china: una aproximación al caso de China Central Television (CCTV)." Ámbitos. Revista Internacional de Comunicación, no. 51 (2021): 115–30. http://dx.doi.org/10.12795/ambitos.2021.i51.09.

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China’s Emerging superpower has become a key piece on the global information board in recent years. This study aims to delve into the Chinese media structure, paying special attention on the public television group China Central Television. From a diacritical perspective, one seeks to understand the crossroads underlying it; a descriptive methodological approach focused on content analysis will take an in-depth look at how the media and the administration that control them will be controlled. In 2018, the Chinese government carried out a “State institutional reform plan and the Deepening Party

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Wang, Zhenzi, Zhi-Qiang Liu, and Steve Fore. "Facing the Challenge: Chinese Television in the New Media Era." Media International Australia 114, no. 1 (2005): 135–46. http://dx.doi.org/10.1177/1329878x0511400115.

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In this paper we examine current developments in new media and Chinese television. In particular, we present a case study of the Spring Festival Eve Gala 2002, sponsored by China Central Television Station (CCTV). Despite the rapid development of digital technology and new media in recent years, Chinese television is unlikely to be transformed quickly. We propose that coevolution and convergence with new media offer the most effective strategy for the future development of Chinese television. The case study indicates that the current progress in media and communications technologies has set th

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3

Zeng, Wenna, and Colin Sparks. "Production and politics in Chinese television." Media, Culture & Society 41, no. 1 (2018): 54–69. http://dx.doi.org/10.1177/0163443718764785.

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Political pressure and censorship are unavoidable conditions for producing an entertainment show in Chinese TV. The relationships between a production team and the government are, however, extremely complex. Based on participant observation in a TV channel and in-depth interviews with related television professionals, this article analyses the tensions between production and politics in Chinese television. The article argues that a centralized and top-down model fails to capture all the aspects of power relations in television production. A more productive starting point is that television pro

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Zhong, Yong. "The other Edge of Commercialisation: Enhancing CCTV's Propaganda." Media International Australia 100, no. 1 (2001): 167–79. http://dx.doi.org/10.1177/1329878x0110000115.

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This article re-examines the political economics of current Chinese television through three case studies into the operation of China Central Television Station (CCTV). It precedes the case studies with a review of a number of perspectives of Chinese television regarding its relation to businesses and its function as a propaganda instrument. The first case study presents an example to demonstrate the nature of the relationship between CCTV and its business partners. The second case study shows that CCTV is becoming a huge official-profiteering monopoly. The third case study leads to the argume

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Ma, Shu-Yun. "The Role of Power Struggle and Economic Changes in the ‘Heshang phenomnon’ in China." Modern Asian Studies 30, no. 1 (1996): 29–50. http://dx.doi.org/10.1017/s0026749x00014074.

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One of the most talked-about topics among Chinese intellectuals and Western China observers in the past few years has been the six-part television seriesHeshang(River Elegy). After its first broadcast in June 1988 through the national television network Zhongyang dianshitai (China Central Television, or CCTV in short), the film caused immediate shockwaves throughout China, marking the climax of the so-called ‘wenhua re’ (cultural fever). It was re-played through the CCTV in August, and some local stations aired it even more than twice. twice. Videotapes of the series have been circulating wide

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Zhong, Yong. "Competition is Getting Real in Chinese TV: A Moment of Confrontation between Cctv and Hstv." Media International Australia 124, no. 1 (2007): 68–81. http://dx.doi.org/10.1177/1329878x0712400107.

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China Central Television (CCTV) and Hunan Satellite Television (HST) have engaged in a moment of confrontation. The two networks have great stakes in that confrontation, and each has a lot to gain or to lose, including access to television utilities, reach to national audiences and share of the advertising market, not to mention the right to represent the viewers. I attempt to document that moment of confrontation in this paper. I begin with a brief review of existing knowledge about Chinese television, moving away from a propaganda monolith. I continue with a discussion of regional satellite

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Stockmann, Daniela. "Greasing the Reels: Advertising as a Means of Campaigning on Chinese Television." China Quarterly 208 (December 2011): 851–69. http://dx.doi.org/10.1017/s0305741011001032.

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AbstractThis article examines a major change in campaigning through the means of mass media during the reform era. As the media commercialized and partially privatized, the state has tried increasingly to involve societal actors in the production of public service advertisements (PSAs) on television. Today, PSA campaigns are initiated by state and Party units, but their funding, production and broadcasting is made possible by a collaborative effort between broadcasters, advertising companies and commercial enterprises who voluntarily support their further development. I conducted 27 in-depth i

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Li, Meng. "Staging a social drama: Ritualized framing of the spring festival homecoming in Chinese state media." Journalism 19, no. 9-10 (2017): 1417–34. http://dx.doi.org/10.1177/1464884917704090.

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The transformation of Chinese media from the propaganda organ of the Party-state to its central means of hegemony has given rise to typified news practices that vary in formality but cohere in functionality. Integrating theories of media ritual and framing, this study explores how Chinese state media ritualistically manufacture a public consensus on the interpretation of the annual Spring Festival homecoming, a chronic social problem that exposes socioeconomic inequalities and policy deficiencies. An analysis of the 2014 homecoming coverage on China Central Television (CCTV) reveals that state

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Lin, Xiaoqing Diana. "Playing with history and tradition: television educational programs in contemporary China." Media, Culture & Society 42, no. 6 (2019): 823–37. http://dx.doi.org/10.1177/0163443719876623.

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TV educational programs mushroomed in China in the 1990s and beyond. They combined education and entertainment, and for the first time in Communist Chinese history, used TV ratings to determine the continued existence of these programs. This article addresses the predominant focus on history and traditional learning in the lectures at the most famous of these programs, China Central Television’s Lecture Room (baijiajiangtan) since its inception in 2001. Borrowing Pierre Bourdieu’s concept of habitus, it studies how a confluence of state policies, TV station decisions, market imperatives, and e

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Lynch, Daniel C. "Dilemmas of “Thought Work” in Fin-de-Siècle China." China Quarterly 157 (March 1999): 173–201. http://dx.doi.org/10.1017/s0305741000040248.

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Since the summer of 1993, the Chinese central party-state has been engaged in a vigorous campaign to reassert control over “thought work,” or the flow of communications messages into and through Chinese society. The chief features of this sustained, omnidirectional crackdown – much more ambitious in scope than earlier, episodic crackdowns such as the 1983–84 “Campaign Against Spiritual Pollution” and 1987 “Campaign Against Bourgeois Liberalization” – include limitations on access to foreign Internet websites; restrictions on satellite television reception; efforts to suppress the surging tide

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Gagliardone, Iginio, and Nyíri Pál. "Freer but not free enough? Chinese journalists finding their feet in Africa." Journalism 18, no. 8 (2016): 1049–63. http://dx.doi.org/10.1177/1464884916636171.

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The high-profile appearance of Chinese media organizations in Africa has attracted considerable attention. How Chinese correspondents in Africa actually go about their work is, however, little understood. A posting in Africa gives journalists at Xinhua News Agency or China Central Television a degree of freedom not experienced in China combined with greater local visibility than a posting in the West and more market opportunities. At the same time, it carries the rather heavy responsibility to act as a pioneer of a new, distinctive global voice for China envisaged by the Chinese government. Ba

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Hsueh, Yeh, Zongkui Zhou, Guimin Su, June Lee, and Katherine Kitzmann. "Science learning in early years: Effects of the Chinese television series Big Bird Looks at the World." Global Media and China 2, no. 2 (2017): 183–96. http://dx.doi.org/10.1177/2059436417717072.

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Big Bird Looks at the World, a Chinese co-production with Sesame Workshop, the producer of Sesame Street, uses science as a vehicle to promote curiosity, observation, and hands-on investigation among 3- to 7-year-old children. This study assessed the educational impact of Big Bird Looks at the World in a sample of 1860 children. Preschool and Grade 1–2 classrooms in Central and Southwestern China were randomized within schools to the experimental group (watched 42 11-minute episodes of Big Bird Looks at the World over a 7-week period) or the control group (engaged in normal class activities).

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Jiang, Fei, and Kuo Huang. "Hero is Back- The rising of Chinese audiences: The demonstration of SHI in popularizing a Chinese animation." Global Media and China 2, no. 2 (2017): 122–37. http://dx.doi.org/10.1177/2059436417730893.

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This article studies how Chinese audiences’ participation contributes to a new all-time animation box-office champ, “Monkey King: Hero is Back,” and how such participation may contribute to facilitating a richer and more varied cultural life in China in the future. This made-in-China animation film snatched the throne from DreamWorks Animation’s “Kung Fu Panda 2” by breaking the latter’s 4-year record (617 million RMB) after announcing its box-office sale had exceeded 800 million RMB on 4 August. The significance of the animation is approved by a seminar held by the Publicity Department of the

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Zhang, Xiaobing, Haigang Gong, Xili Dai, Fan Yang, Nianbo Liu, and Ming Liu. "Understanding Pictograph with Facial Features: End-to-End Sentence-Level Lip Reading of Chinese." Proceedings of the AAAI Conference on Artificial Intelligence 33 (July 17, 2019): 9211–18. http://dx.doi.org/10.1609/aaai.v33i01.33019211.

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With the breakthrough of deep learning, lip reading technologies are under extraordinarily rapid progress. It is well-known that Chinese is the most widely spoken language in the world. Unlike alphabetic languages, it involves more than 1,000 pronunciations as Pinyin, and nearly 90,000 pictographic characters as Hanzi, which makes lip reading of Chinese very challenging. In this paper, we implement visual-only Chinese lip reading of unconstrained sentences in a two-step end-to-end architecture (LipCH-Net), in which two deep neural network models are employed to perform the recognition of Pictu

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Edwards, Louise. "Transformations of The Woman Warrior Hua Mulan: From Defender of The Family To Servant of The State." NAN NÜ 12, no. 2 (2010): 175–214. http://dx.doi.org/10.1163/156852610x545840.

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AbstractFor over 1500 years the Hua Mulan story has remained a popular source of inspiration for writers of plays, poems, and novels as well as films and television dramas. The sustained interest in Mulan rests in part with her daring cross-dressing and the humour that this challenge to gender norms provokes. This article shows that the various versions of the Mulan story also reveal the gendered nature of a key tension within the Chinese social and moral universe—how individuals manage the competing demands from their families and the central state. The article traces the transformations of h

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Xiang, Yu, and Xiaoxing Zhang. "CCTV in Africa: Constructive approach to manufacturing consent." Journal of African Media Studies 12, no. 2 (2020): 171–88. http://dx.doi.org/10.1386/jams_00018_1.

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China Central Television (CCTV) launched its first media centre in Nairobi, Kenya, in 2012 and is one of the main actors in the ‘China’s media go global’ campaign. CCTV-Africa’s reporting style has previously been engaged by media practitioners and academics in terms of its discursive practices. In 2014, a new paradigm studying the journalistic practice of Chinese media in Africa emerged. It has been argued that the journalistic approach deployed by Chinese media in Africa, especially CCTV-Africa, is more constructive than simply positive. This article aims to provide a structural analysis on

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Cheuk, Michael Ka-chi. "Literary celebrities as counterpublics: A comparative study of Gao Xingjian and Toni Morrison." Journal of Applied Journalism & Media Studies 10, no. 2 (2021): 153–67. http://dx.doi.org/10.1386/ajms_00054_1.

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Despite its universal importance, the Nobel Prize in literature, which is based in Sweden and administered by the Swedish Academy, is a central European literary prize. And the prestige which the Nobel Prize bestows upon its winners is fuelled by a central-European type of fetishization of intellectual achievement, in which Nobel laureates are more known than they are read. Rather than being publicly recognized for their literary achievements, Nobel Prize-winning authors become literary celebrities who represent various kinds of Nobel-related capitals, including political capital, cultural cap

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Flew, Terry. "Entertainment media, cultural power, and post-globalization: The case of China’s international media expansion and the discourse of soft power." Global Media and China 1, no. 4 (2016): 278–94. http://dx.doi.org/10.1177/2059436416662037.

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The concept of soft power has been highly influential in recent years, both as a concept to inform understanding of the cultural dimensions of international relations and as providing a practical guide to state investment in the international expansion of both news and entertainment media. One of the places where it has been most influential has been China, where is has been used to support the international expansion of China Central Television and the growth of Chinese entertainment media conglomerates. It is argued in this article, however, that the concept rests upon a weak understanding o

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Gorfinkel, Lauren, Sandy Joffe, Cobus Van Staden, and Yu-Shan Wu. "CCTV's Global Outreach: Examining the Audiences of China's ‘New Voice’ on Africa." Media International Australia 151, no. 1 (2014): 81–88. http://dx.doi.org/10.1177/1329878x1415100111.

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This scoping article introduces key issues surrounding the globalisation of China Central Television (CCTV), focusing on its African operations, content and reception, specifically in Kenya and South Africa. At a time when the Chinese government is seeking to enhance positive perceptions of China and China–Africa relations, and its associated media outlets are seeking to compete with other major global players like CNN and the BBC, this article takes steps towards understanding the extent to which CCTV may be succeeding in these missions. Some of the challenges identified for CCTV-Africa in ou

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Sun, Wanning. "Consumption Plus Love: Inequality, Domestic Utopia, and China’s New Politics of the Future." Modern China 46, no. 1 (2019): 49–78. http://dx.doi.org/10.1177/0097700419837929.

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With hundreds of millions of rural migrant workers now dominating the labor market in China’s fastest growing regions, this group embodies that nation’s most intractable problems of inequality. Young, single, socially disenfranchised rural migrants, particularly men, reportedly experience widespread difficulty in finding a marriage partner, largely because they cannot afford to buy a home. The resulting potential social instability is of pressing concern to the Chinese Communist Party. How do discourses of governmentality reconcile/manage class inequality? How do they construct the future and

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Baobin, Zhao, Richard Arridge, Liu Dailin, and Fang Muzhen. "A CREATIVE PARTNERSHIP AND AN INNOVATIVE AND EFFECTIVE MULTIMEDIA ENGLISH LANGUAGE LEARNING AND TEACHING WEBSITE." Asian Association of Open Universities Journal 3, no. 1 (2008): 44–54. http://dx.doi.org/10.1108/aaouj-03-01-2008-b004.

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"in2english" as an innovative and effective multimedia English language learning and teaching website came about through a creative partnership between the British Council (BC), the British Broadcasting Corporation (BBC), China Central Radio and Television University (CCRTVU) and CRTVU-Online Distance Educational Technology Limited (CRTVU-Online). As a cooperative endeavor it combines British expertise in English teaching and development of online materials with CCRTVU's knowledge and experience of the English learning environment in China as well as expertise in ICT and development of online

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Yan, Yang. "The activities of the Chinese orchestras of the traditional instruments of the new type in the 1960s - 1970s." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 198–211. http://dx.doi.org/10.34064/khnum2-49.14.

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Background. The article discusses one of the most complex and controversial periods in the development of the Chinese orchestra of traditional instruments of the new type – the 1960–70s. Since 1966, with the beginning of the Cultural Revolution, all conservatories were closed, and Western instruments and teaching materials were destroyed. Chinese musicians, unable to play classical music, were forced to work with folk songs and folklore in remote provinces. The objective assessment of this historical phenomenon makes it possible to evaluate it not only as a dead end on China’s path to modern p

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Zhang, Guangqian. "Composer Zhang Zhao: a look at the development of modern Chinese piano music." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (2019): 85–100. http://dx.doi.org/10.34064/khnum1-52.06.

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Background. The article is devoted to the creative activity of the outstanding Chinese composer, pianist, teacher and public figure Zhang Zhao (born in 1964). The musical heritage of Zhang Zhao covers a wide range of genres and includes symphonic, piano music, instrumental compositions, works for Chinese traditional instruments, vocal, chamber music, ballets, music of cinema and television programs, and music for large social events. Despite his notoriety in China, the United States, Canada and many European countries, Zhang Zhao is little known in Ukraine. Thus, Ukrainian musicians to date ha

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Xu, Qingru, Andrew Billings, Hua Wang, Rui Jin, Sitong Guo, and Mingming Xu. "Women, men, and five Olympic rings: An examination of Chinese Central Television’s broadcast of the 2018 PyeongChang Winter Olympics." International Review for the Sociology of Sport 55, no. 6 (2019): 747–66. http://dx.doi.org/10.1177/1012690219849950.

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This study conducts a content analysis on Chinese Central Television’s broadcasting of figure skating, short track speed skating, and freestyle skiing—the three most popular winter sports in the People’s Republic of China—at the 2018 PyeongChang Winter Olympics from the perspective of biological sex. A full examination of 100% (over 37 h) of Chinese Central Television’s broadcast coverage was analyzed in terms of clock-time, name-mentions, and descriptors. In each sport examined, female athletes received less clock-time and fewer name-mentions compared to their male counterparts. However, in t

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Xu, Qingru, Andrew Billings, and Minghui Fan. "When Women Fail to “Hold Up More Than Half the Sky”." Communication & Sport 6, no. 2 (2017): 154–74. http://dx.doi.org/10.1177/2167479517695542.

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Communist beliefs on gender equality and Chinese female athletes’ consistent ability to win national glory have lead to female athletes in Chinese sports media being primarily portrayed as legitimate athletes akin to levels of male athletes. This study examines such assumptions within Chinese Central Television’s (CCTV) 2016 Olympic telecast of gymnastics, a sport in which Chinese female athletes failed to attain national expectations, exploring potential variations of gendered frames in Chinese sports culture. A full examination of 100% (over 14 hr) of CCTV’s broadcast coverage revealed that

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Yuan, Yan. "Casting an ‘Outsider’ in the ritual centre: Two decades of performances of ‘Rural Migrants’ in CCTV’s Spring Festival Gala." Global Media and China 2, no. 2 (2017): 169–82. http://dx.doi.org/10.1177/2059436417707325.

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Recent years have seen the rise of the ‘processual approach’ in media ritual studies, which focuses on the making of media rituals through various ‘ritualised actions’ rather than assuming them as isolated events distinctive to ordinary broadcasting. This article advances this line of argument by shedding light on a previously less-discussed form of ritualised action: the ritualised casting. It examines how the character of ‘rural migrant’ has been staged in the 28-year history of China Central Television’s Spring Festival Gala and how the casting of this ‘social outsider’ served as a dynamica

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Zheng, Shiyu. "A Multi-methods Approach in Communication Studies. Autoethnography meets qualitative interviews and netnography." Communication & Methods 1, no. 2 (2019): 196–208. http://dx.doi.org/10.35951/v1i2.43.

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This article developed a multi-methods approach in the particular branch of Communication Studies (fandom studies) to understand the transcultural fans' engagement. It has creatively deployed three research methods to unpack the Chinese fans of a British TV series- Sherlock. Research methods of autoethnography, netnography and qualitative interviews have been largely employed to test the loyalty of the author as an acafan, Chinese fans' online activity and fans' self-disclosure as a self-claimed fan. The multi-methods worked effectively to help draw the conclusion that the self-claimed fans we

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Nyíri, Pál. "Reporting for China: Cosmopolitan Attitudes and the “Chinese Perspective” among Chinese Correspondents Abroad." New Global Studies 8, no. 3 (2014). http://dx.doi.org/10.1515/ngs-2014-0028.

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AbstractWestern scholars’ and policy analysts’ attention to the expansion of China’s media abroad has focused on the state’s strategy of soft power behind the global spread of institutions such as Xinhua and China Central Television, on the propagandistic image of China that these institutions seek to project in their foreign-language programming, and on the potential damage to media freedom in Africa and elsewhere. No attention has been paid to the reverse: how the emergence of a global network of Chinese correspondents impacts dominant Chinese views of the world and China’s place in it. The

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Zhao, Weijie. "New archeological marvels of ancient Shu civilization." National Science Review 8, no. 7 (2021). http://dx.doi.org/10.1093/nsr/nwab071.

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Abstract China Central Television broadcasted live reports on the latest archaeological excavation at the Sanxingdui site over four consecutive days, from 20–23 March 2021. Exquisite large golden mask fragments, as well as numerous bronze, jade, pottery and ivory artefacts, were unearthed in six newly discovered pits at the site. Following the public presentation of these ancient cultural relics, along with the contemporary archaeological excavation technologies, the mysterious Sanxingdui civilization has become a hot topic within the Chinese media and scientific community.

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"Secretary Min Weifang's Face-to-Face Interview with Chinese Central Television on the Subject of Beijing University's Personnel Reform." Chinese Education & Society 37, no. 6 (2004): 38–47. http://dx.doi.org/10.1080/10611932.2004.11031667.

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Tsai, Wen-Hsuan, and Xingmiu Liao. "A Mechanism of Coded Communication: Xinwen Lianbo and CCP Politics." Modern China, June 8, 2020, 009770042092020. http://dx.doi.org/10.1177/0097700420920204.

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Studies of the official media of the Chinese Communist Party (CCP) have long focused on interpretations of political propaganda. In this article, we propose another model—the “secret code communication” model. We find that the main audience for some of the official media consists not of members of the public but rather cadres. The China Central Television (CCTV) program Xinwen Lianbo is a typical example. The program operates according to a very obscure political code. By watching and decoding Xinwen Lianbo, cadres can see that Xi Jinping is firmly in power. They can also gain insight into the

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Zhang, Weiyuan, Guozhen Jiang, and Jian Niu. "Web-Based Education at Conventional Universities in China: A Case Study." International Review of Research in Open and Distributed Learning 2, no. 2 (2002). http://dx.doi.org/10.19173/irrodl.v2i2.63.

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With advances in information and communication technology (ICT), Web-based education has become an increasingly popular instructional mode all over the world. In recent years, the Chinese government has authorized a total of 45 universities to offer Web-based educational programs. One is China Central Radio and Television University, the Open University in China. The other 44 universities are all leading conventional universities. This case study is intended to provide a descriptive analysis of Web-based educational practices at the 44 leading conventional universities, by focusing on the curr

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Pugsley, Peter. "At Home in Singaporean Sitcoms." M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2695.

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   The use of the family home as a setting for television sitcoms (situation comedies) has long been recognised for its ability to provide audiences with an identifiable site of ontological security (much discussed by Giddens, Scannell, Saunders and others). From the beginnings of American sitcoms with such programs as Leave it to Beaver, and through the trail of The Brady Bunch, The Cosby Show, Roseanne, The Fresh Prince of Bel Air, and on to Home Improvement, That 70s Show and How I Met Your Mother, the US has led the way with screenwriters and producers capitalising on the

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Guo, Sitong, and Qingru Xu. "Home Nation First, but to What Degree?: Nationalism in Chinese Central Television’s Broadcasts of the 2018 Winter Olympics." Communication & Sport, September 8, 2021, 216747952110441. http://dx.doi.org/10.1177/21674795211044188.

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The aim of this study was to analyze China Central Television’s (CCTV) broadcasts of the 2018 Winter Olympics and how their various narratives presented home and foreign athletes. The findings indicate that CCTV devoted more name mentions to home athletes even though their medal achievements were inferior to foreign athletes and that home athletes held at least 40% of the top 10 mentions in the three examined sports. In terms of word-by-word descriptors, broadcasters were more likely to attribute the success of Chinese athletes to subjective factors (e.g., concentration, composure, committee,

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Nijhawan, Amita. "Mindy Calling: Size, Beauty, Race in The Mindy Project." M/C Journal 18, no. 3 (2015). http://dx.doi.org/10.5204/mcj.938.

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When characters in the Fox Television sitcom The Mindy Project call Mindy Lahiri fat, Mindy sees it as a case of misidentification. She reminds the character that she is a “petite Asian woman,” that she has large, beautiful breasts, that she has nothing in common with fat people, and the terms “chubbster” and “BBW – Big Beautiful Woman” are offensive and do not apply to her. Mindy spends some of each episode on her love for food and more food, and her hatred of fitness regimes, while repeatedly falling for meticulously fit men. She dates, has a string of failed relationships, adventurous sexua

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West, Patrick Leslie, and Cher Coad. "The CCTV Headquarters—Horizontal Skyscraper or Vertical Courtyard? Anomalies of Beijing Architecture, Urbanism, and Globalisation." M/C Journal 23, no. 5 (2020). http://dx.doi.org/10.5204/mcj.1680.

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I have decided to launch a campaign against the skyscraper, that hideous, mediocre form of architecture…. Today we only have an empty version of it, only competing in height.— Rem Koolhaas, “Kool Enough for Beijing?”Figure 1: The CCTV Headquarters—A Courtyard in the Air. Cher Coad, 2020.Introduction: An Anomaly within an Anomaly Construction of Beijing’s China Central Television Headquarters (henceforth CCTV Headquarters) began in 2004 and the building was officially completed in 2012. It is a project by the Office for Metropolitan Architecture (OMA) headed by Rem Koolhaas (1944-), who has bee

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Brien, Donna Lee. "A Taste of Singapore: Singapore Food Writing and Culinary Tourism." M/C Journal 17, no. 1 (2014). http://dx.doi.org/10.5204/mcj.767.

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Introduction Many destinations promote culinary encounters. Foods and beverages, and especially how these will taste in situ, are being marketed as niche travel motivators and used in destination brand building across the globe. While initial usage of the term culinary tourism focused on experiencing exotic cultures of foreign destinations by sampling unfamiliar food and drinks, the term has expanded to embrace a range of leisure travel experiences where the aim is to locate and taste local specialities as part of a pleasurable, and hopefully notable, culinary encounter (Wolf). Long’s foundati

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Gorman-Murray, Andrew, and Robyn Dowling. "Home." M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2679.

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   Previously limited and somewhat neglected as a focus of academic scrutiny, interest in home and domesticity is now growing apace across the humanities and social sciences (Mallett; Blunt, “Cultural Geographies of Home”; Blunt and Dowling). This is evidenced in the recent publication of a range of books on home from various disciplines (Chapman and Hockey; Cieraad; Miller; Chapman; Pink; Blunt and Dowling), the advent in 2004 of a new journal, Home Cultures, focused specifically on the subject of home and domesticity, as well as similar recent special issues in several othe

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Wessell, Adele. "Making a Pig of the Humanities: Re-centering the Historical Narrative." M/C Journal 13, no. 5 (2010). http://dx.doi.org/10.5204/mcj.289.

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As the name suggests, the humanities is largely a study of the human condition, in which history sits as a discipline concerned with the past. Environmental history is a new field that brings together scholars from a range of disciplines to consider the changing relationships between humans and the environment over time. Critiques of anthropocentrism that place humans at the centre of the universe or make assessments through an exclusive human perspective provide a challenge to scholars to rethink our traditional biases against the nonhuman world. The movement towards nonhumanism or posthumani

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Brien, Donna Lee. "“Concern and sympathy in a pyrex bowl”: Cookbooks and Funeral Foods." M/C Journal 16, no. 3 (2013). http://dx.doi.org/10.5204/mcj.655.

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Introduction Special occasion cookery has been a staple of the cookbook writing in the English speaking Western world for decades. This includes providing catering for personal milestones as well as religious and secular festivals. Yet, in an era when the culinary publishing sector is undergoing considerable expansion and market segmentation, narratives of foods marking of one of life’s central and inescapable rites—death—are extremely rare. This discussion investigates examples of food writing related to death and funeral rites in contemporary cookbooks. Funeral feasts held in honour of the d

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Lobato, Ramon, and James Meese. "Kittens All the Way Down: Cute in Context." M/C Journal 17, no. 2 (2014). http://dx.doi.org/10.5204/mcj.807.

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This issue of M/C Journal is devoted to all things cute – Internet animals and stuffed toys, cartoon characters and branded bears. In what follows our nine contributors scrutinise a diverse range of media objects, discussing everything from the economics of Grumpy Cat and the aesthetics of Furbys to Reddit’s intellectual property dramas and the ethics of kitten memes. The articles range across diverse sites, from China to Canada, and equally diverse disciplines, including cultural studies, evolutionary economics, media anthropology, film studies and socio-legal studies. But they share a common

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Brien, Donna Lee, and Adele Wessell. "Pig: A Scholarly View." M/C Journal 13, no. 5 (2010). http://dx.doi.org/10.5204/mcj.317.

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In George Orwell’s Animal Farm, the pigs infamously changed the law to read: “some animals are more equal than others” (108). From Charlotte’s Web to Babe, there are a plethora of contemporary cultural references, as well as expressions of their intelligence and worth, which would seem to support the pigs’ cause. However, simultaneously, the term “pig” is also synonymous with negative attributes—greed, dirtiness, disarray, brutality and chauvinism. Pigs are also used to name those out of favour, including police officers, the obese, capitalists and male chauvinists. Yet, the animal’s name is a

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Brien, Donna Lee. "“Porky Times”: A Brief Gastrobiography of New York’s The Spotted Pig." M/C Journal 13, no. 5 (2010). http://dx.doi.org/10.5204/mcj.290.

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Introduction With a deluge of mouthwatering pre-publicity, the opening of The Spotted Pig, the USA’s first self-identified British-styled gastropub, in Manhattan in February 2004 was much anticipated. The late Australian chef, food writer and restauranteur Mietta O’Donnell has noted how “taking over a building or business which has a long established reputation can be a mixed blessing” because of the way that memories “can enrich the experience of being in a place or they can just make people nostalgic”. Bistro Le Zoo, the previous eatery on the site, had been very popular when it opened almos

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Soares, Felipe, and Raquel Recuero. "How the Mainstream Media Help to Spread Disinformation about Covid-19." M/C Journal 24, no. 1 (2021). http://dx.doi.org/10.5204/mcj.2735.

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Introduction In this article, we hypothesise how mainstream media coverage can promote the spread of disinformation about Covid-19. Mainstream media are often discussed as opposed to disinformation (Glasser; Benkler et al.). While the disinformation phenomenon is related to the intentional production and spread of misleading and false information to influence public opinion (Fallis; Benkler et al.), mainstream media news is expected to be based on facts and investigation and focussed on values such as authenticity, accountability, and autonomy (Hayes et al.). However, journalists might contrib

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Brien, Donna Lee. "From Waste to Superbrand: The Uneasy Relationship between Vegemite and Its Origins." M/C Journal 13, no. 4 (2010). http://dx.doi.org/10.5204/mcj.245.

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This article investigates the possibilities for understanding waste as a resource, with a particular focus on understanding food waste as a food resource. It considers the popular yeast spread Vegemite within this frame. The spread’s origins in waste product, and how it has achieved and sustained its status as a popular symbol of Australia despite half a century of Australian gastro-multiculturalism and a marked public resistance to other recycling and reuse of food products, have not yet been a focus of study. The process of producing Vegemite from waste would seem to align with contemporary

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Leurs, Koen, and Sandra Ponzanesi. "Mediated Crossroads: Youthful Digital Diasporas." M/C Journal 14, no. 2 (2010). http://dx.doi.org/10.5204/mcj.324.

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What strikes me about the habits of the people who spend so much time on the Net—well, it’s so new that we don't know what will come next—is in fact precisely how niche in character it is. You ask people what nets they are on, and they’re all so specialised! The Argentines on the Argentine Net and so forth. And it’s particularly the Argentines who are not in Argentina. (Anderson, in Gower, par. 5) The preceding quotation, taken from his 1996 interview with Eric Gower, sees Benedict Anderson reflecting on the formation of imagined, transnational communities on the Internet. Anderson is, of cour

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Brien, Donna Lee. "Fat in Contemporary Autobiographical Writing and Publishing." M/C Journal 18, no. 3 (2015). http://dx.doi.org/10.5204/mcj.965.

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At a time when almost every human transgression, illness, profession and other personal aspect of life has been chronicled in autobiographical writing (Rak)—in 1998 Zinsser called ours “the age of memoir” (3)—writing about fat is one of the most recent subjects to be addressed in this way. This article surveys a range of contemporary autobiographical texts that are titled with, or revolve around, that powerful and most evocative word, “fat”. Following a number of cultural studies of fat in society (Critser; Gilman, Fat Boys; Fat: A Cultural History; Stearns), this discussion views fat in socio

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