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Journal articles on the topic 'Border mediascape'

Author: Grafiati
Published: 3 June 2025
Last updated: 31 July 2025

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1

Zucconi, Francesco. "Hot and Cold Borders: Sketches for a Geopolitics of Environmental Media." Diacritics 50, no. 4 (2022): 48–70. http://dx.doi.org/10.1353/dia.2022.a916402.

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Abstract: In recent years, the concept of the border has undergone profound transformations and become central to a broad debate investigating the complexity of its political and social practices. The centrality of the border topic in public debate has contributed to the development of something akin to a “frontier cinema” or, better, a propensity for “filming at the border.” This essay investigates political borders as media environments and seeks to develop the idea of the “border mediascape” as a new framework at the crossroads of multiple disciplines. A documentary film shot on the island
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2

Kief, I. Jonathan. "Reading Seoul in Pyongyang: Cross-Border Mediascapes in Early Cold War North Korea." Journal of Korean Studies 26, no. 2 (2021): 325–48. http://dx.doi.org/10.1215/07311613-9155220.

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Abstract This article argues that the North Korean mediascape of the 1950s and 1960s must be understood in relationship to its interaction with publications from the South. To do so, it makes three methodological interventions. First, it demonstrates how North Korean writers’ own practices of citation can be used to outline the extensive and expanding body of South Korean texts available in the North during this period. Second, it shows how a focus on such references and their changing character allows us to see a shift in the late 1950s and early 1960s: one that enabled a selection of South K
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3

Jeon, Ahrum. "Care as a Border‐Crossing Language: The Webtoon Reader Discussion Forum as Mediascape." Journal of Adolescent & Adult Literacy 64, no. 6 (2021): 657–64. http://dx.doi.org/10.1002/jaal.1147.

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4

Smith, Paul Julian. "Screenings." Film Quarterly 72, no. 2 (2018): 77–80. http://dx.doi.org/10.1525/fq.2018.72.2.77.

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The border-based dramedy Run, Coyote, Run (FOX Networks Group Latin America, 2017) ended its first season with the highest rating of any drama on Mexican TV. This column sketches the rapidly changing industrial mediascape that enables such novel productions in Mexico. Asking whether the new platforms made available by changing technology can facilitate content with new creative characteristics, the column explores industrial practice, professional profiles, and textual analysis to argue for Run, Coyote, Run as an example of a marquee series that incorporates the global/local nexus into the fab
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5

Zucconi, Francesco. "Mediazione radicale, coscienza impersonale: "Qu'ils reposent en révolte" di Sylvain George." Fata Morgana 31 (June 1, 2017): 245–52. https://doi.org/10.5281/zenodo.822632.

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Sylvain George realized two documentaries and several short films within the refugee camps of Calais, commonly called “The Jungle”. Examining one of the key scenes of <em>Qu’ils reposent en revolte</em> (2010) the article analyses his ability to investigate and restore visibility to the everyday gestures and tactics through which refugees avoid surveillance and make the environment of the border area habitable. Rethinking the concepts of “consciousness” and “mediation” in light of this film, the article concludes by arguing that George’s cinema constitutes an attempt to generate a visual frame
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6

Yecies, Brian, Michael Keane, and Terry Flew. "East Asian audio-visual collaboration and the global expansion of Chinese media." Media International Australia 159, no. 1 (2016): 7–12. http://dx.doi.org/10.1177/1329878x16640105.

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This article investigates the significant re-orientation of audio-visual production in East Asia over the last few years brought about by the rise of China, beginning with the proposition that unprecedented change is occurring in East Asian media production. While the ‘Sinophone world’ has been the locus of critical analysis in the past, all eyes are now focused on China. Flows of knowledge, expertise and content are becoming significant in this mediascape, yet this dimension has been overlooked by most scholarship in the field. Conceptual and theoretical frameworks based on cross-border consu
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7

Cheung, Carlos K. F. "Trans-border televisual musicscape: Regionalizing reality TV I am a Singer in China and Hong Kong." Global Media and China 2, no. 1 (2017): 90–108. http://dx.doi.org/10.1177/2059436417695815.

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This article focuses on the regionalization of reality TV I am a Singer from China to Hong Kong. It explores the features of a successful flow of a reality singing contest with the concepts of mediascape, televisuality and cultural memory of pop music. The three research questions: what format structures of televisuality are being integrated in I am a Singer; how locals in China and Hong Kong interpret and appropriate I am a Singer to their experience of cultural identities and how trans-border televisual musicscape facilitates regionalization of television programme, are answered by textual a
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8

Zaleski, Marek. "Mediascape’s Drifter." Open Cultural Studies 2, no. 1 (2018): 574–80. http://dx.doi.org/10.1515/culture-2018-0052.

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Abstract Today, mediascapes (see Appadurai) play a predominant role in the construction of modes of human existence. How do they determine our agency? How do they form screens for our emotions, how do they build non-negligible spaces in which our dramas play out? Do they support us or, on the contrary, do they limit us? I pose these questions in relation to Holy Motors (2012), a film by the French director Leos Carax. His film presents man’s postmodern condition as well as state of the art nowadays. The hero of Holy Motors is the absolute actor, a set of his avatars, the postmodern Proteus doo
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9

Paneru, Narendra Raj, and Bhuban Bahadur Bohara. "Globalization, Language, and Culture: Reflections on Appadurai’s Perspectives." Spandan 13, no. 1 (2023): 60–67. https://doi.org/10.3126/spandan.v13i1.75513.

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Globalization, as a multifaceted phenomenon, influences culture, language, and human interaction on a global scale. This article reflects on Appadurai's theoretical perspectives on globalization, particularly his concepts of disjuncture and 'scapes.' Appadurai critiques the homogenization narrative, emphasizing how global cultural flows like ethnoscapes, technoscapes, mediascapes, financescapes, and ideoscapes shape 'imagined worlds' and cultural identities. These 'scapes' depict the interconnected yet disjunctive realities of globalization, fostering cultural hybridization and deterritorializ
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10

Alexander, Vera. "Digging for sanctuary: The garden as a contact sphere." Journal of European Studies 49, no. 3-4 (2019): 470–87. http://dx.doi.org/10.1177/0047244119859153.

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The European ideal of connectivity across national borders is haunted by a dissolving of boundaries and categories. Public crises are carried into private spaces, generating an almost omnipresent anxiety exacerbated by various media. Almost omnipresent? Yes: for one space, the garden, tenaciously resists the maelstrom of late modernity, or appears to do so in reassuring ways. This article analyses how the multiple European crises are addressed in and by recent mediatisations of gardening. Drawing on selected Anglophone gardening programmes, I argue that the mediascape of gardening represents a
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11

Schulz, Markus S. "Values and the conditions of global communication." Current Sociology 59, no. 2 (2011): 238–51. http://dx.doi.org/10.1177/0011392110391160.

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This article examines the role of values in the shaping of futures from the perspective of global communication. It argues that the prospects for a democratic world society depend on the creation of global deliberative publics as a necessary, albeit not sufficient, condition. It explores how the new media that facilitate globalization of trade and production can also provide technical infrastructures for grassroots dialogue across borders. The contrast between alternative trajectories is used to indicate the stakes and available value choices. Rejecting resilient notions of technological deter
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12

Hoechsmann, Michael. "Audience Incorporated (Inc.): Youth Cultural Production and the New Media." Journal of Curriculum Theorizing 30, no. 3 (2008): 60–70. https://doi.org/10.63997/jct.v30i3.8.

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Changes in access to technology have facilitated new conditions for young people to shoot, cut, and mix multimodal texts, and the emergence of the Internet as a "home theatre" for a global audience has enabled youth to communicate across borders and across the street. Alongside the outpouring of youth expression, a newly empowered youth audience has emerged as the newest actor in the mediasphere, helping to determine and create content and seemingly balance out increasing corporate control, the other major development in our mediascapes. In this article, I argue that differing conceptions of
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13

Davydova-Minguet, Olga, Tiina Sotkasiira, Teemu Oivo, and Janne Riiheläinen. "Mediated Mobility and Mobile Media: Transnational Media Use among Russian-Speakers in Finland." Journal of Finnish Studies 22, no. 1-2 (2019): 265–82. http://dx.doi.org/10.5406/28315081.22.1.2.14.

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Abstract Systems of communication and media are an important area of mobilities research. Because of the digitalization of media and changes in other social institutions, mobility and migration are not only stimulated by the media, but also people who are on the move and who settle in new locations are affected by transnational and overlapping digital spheres, which relate them both socially and emotionally. Transnational media use produces communities, belongings, and ideascapes that transcend national borders. This article focuses on the intersection of migration and media use in contemporar
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14

Zuberi, Nabeel. "Is This The Future? Black Music and Technology Discourse." Science Fiction Studies 34, Part 2 (2007): 283–300. https://doi.org/10.1525/sfs.34.2.283.

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As a dispersed assemblage of ideas and aesthetics, sonic Afrofuturism operates across the porous borders between and among music, sf, the academy, journalism, and the blogosphere. In this article I am interested in the value of these rhetorics for media studies. In particular, how can writing that focuses on the materiality of music inform our understanding of the technological changes associated with digitization? I will argue that music forms, commodities, and practices provide ample evidence of the continuities as well as discontinuities in the mediascape. Today’s popular music culture is m
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15

Notícias, Transfer. "Noticias." Transfer 11, no. 1-2 (2021): 309–20. http://dx.doi.org/10.1344/transfer.2016.11.309-320.

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NOTICIAS / NEWS (“Transfer”, 2016) 1) CONGRESOS / CONFERENCES: 1. Languages &amp; the Media – Agile Mediascapes: Personalising the Future, Hotel Radisson Blu, Berlín, 2-4 Nov. 2016 www.languages-media.com 2. Third Chinese Drama Translation Colloquium Newcastle University, UK, 28-19 Junio 2016. www.ncl.ac.uk/sml/about/events/item/drama-translation-colloquium 3. 16th Annual Portsmouth Translation Conference – Translation &amp; Interpreting: Learning beyond the Comfort Zone, University of Portsmouth, UK, 5 Nov. 2016. www.port.ac.uk/translation/events/conference 4. 3rd International Conference on
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16

Young, Sherman. "Beyond the Flickering Screen: Re-situating e-books." M/C Journal 11, no. 4 (2008). http://dx.doi.org/10.5204/mcj.61.

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The move from analog distribution to online digital delivery is common in the contemporary mediascape. Music is in the midst of an ipod driven paradigm shift (Levy), television and movie delivery is being reconfigured (Johnson), and newspaper and magazines are confronting the reality of the world wide web and what it means for business models and ideas of journalism (Beecher). In the midst of this change, the book publishing industry remains defiant. While embracing digital production technologies, the vast majority of book content is still delivered in material form, printed and shipped the o
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