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Journal articles on the topic 'Justin tv'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Mikos, Lothar. "Albert Moran (mit Justin Malbon): Understanding the global TV format." Publizistik 52, no. 2 (2007): 262. http://dx.doi.org/10.1007/s11616-007-0120-0.

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2

Bacci, Francesco. "Black Lives Matter: Police Brutality, Media and Injustice in "The Hate U Give," "Dear White People," and "On the Other Side of Freedom"." REDEN. Revista Española de Estudios Norteamericanos 2, no. 1 (2020): 7–22. http://dx.doi.org/10.37536/reden.2020.2.1378.

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This paper aims to explore the connection between activism and the use of social media in contemporary stories, belonging to different genres. The study scrutinizes two literary works, Angie Thomas’ novel The Hate U Give (2017), DeRay McKesson’s memoir On the Other Side of Freedom (2018), and a TV series directed and written by Justin Simien–Dear White People (2017). With a methodological approach constituted by works of sociology, history, and cultural studies, this text-focused analysis exposes the intersection of activism, literature, and television. Different genres address the same issues

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3

Zaki*, Marquos, Ali Alquraini**, and Tarek Sheltami. "Home Automation using EMOTIV: Controlling TV by Brainwaves." Journal of Ubiquitous Systems and Pervasive Networks 10, no. 1 (2018): 27–32. http://dx.doi.org/10.5383/juspn.10.01.004.

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4

Machado, Sátira Pereira, Rosane Rosa, and Liliane Dutra Brignol. "Representações de negritude e de branquitude na produção audiovisual “Dear White People”: tensões e negociações entre identidade e diferença." Revista Contracampo 38, no. 2 (2019). http://dx.doi.org/10.22409/contracampo.v38i2.28254.

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Investigamos as representações midiáticas da negritude e da branquitude na produção audiovisual Dear White People, de Justin Simien, distribuída por plataformas de reprodução de TV. A perspectiva dos estudos culturais britânicos e latino-americanos fundamentam a reflexão sobre questões identitárias, em diálogo com estudos sobre as relações étnico-raciais em interface com a mídia. Buscamos compreender a obra a partir do protocolo analítico metodológico de circuito cultural de Richard Johnson. Os resultados apontam para novas tendências de distribuição de representações e de discursos midiáticos

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5

Machura, Stefan, and Annette Kammertöns. "Recht im Schulunterricht, Medieneinflüsse und die Attraktivität von Rechtsberufen / Legal Education in School, Media Influences and the Attraction of Legal Careers." Zeitschrift für Rechtssoziologie 30, no. 2 (2009). http://dx.doi.org/10.1515/zfrs-2009-0206.

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ZusammenfassungRecht, Rechtsberufe und Rechtsinstitutionen werden in den Medien stark behandelt, an deutschen Schulen dagegen kaum. Eine Umfrage an Gymnasien und Berufsschulen ging Medienkonsum und Unterricht nach. Im Ergebnis findet sich wenig rechtsbezogener Unterricht und Schüler selbst befürworten ein Mehr an Rechtsunterricht. Schüler selbst hielten sich für durch Presse, TV und Filme stärker über Recht informiert als durch den Unterricht. Allgemein hatten die Schüler ein eher positives Bild von der Justiz und den Rechtsberufen.

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Glover, Bridgette. "Alternative Pathway to Television: Negotiating Female Representation in Broad City’s Transition from YouTube to Cable." M/C Journal 20, no. 1 (2017). http://dx.doi.org/10.5204/mcj.1208.

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IntroductionFor both consumers and creators, Web series have been viewed for some time as an appealing alternative to television series. As Alice explains, creating content for the Web was once seen as “a last resort” for projects that were unable to secure funding for television production (59). However, the Web has, in recent years, become a “legitimized” space, allowing Web series to be considered a media platform capable of presenting narratives of various genres (Alice 59). Moreover, due to the lack of restrictions and overheads placed on Web producers, it is argued that there is more cap

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Champion, Katherine M. "A Risky Business? The Role of Incentives and Runaway Production in Securing a Screen Industries Production Base in Scotland." M/C Journal 19, no. 3 (2016). http://dx.doi.org/10.5204/mcj.1101.

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IntroductionDespite claims that the importance of distance has been reduced due to technological and communications improvements (Cairncross; Friedman; O’Brien), the ‘power of place’ still resonates, often intensifying the role of geography (Christopherson et al.; Morgan; Pratt; Scott and Storper). Within the film industry, there has been a decentralisation of production from Hollywood, but there remains a spatial logic which has preferenced particular centres, such as Toronto, Vancouver, Sydney and Prague often led by a combination of incentives (Christopherson and Storper; Goldsmith and O’Re

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Nitsch, Cordula. "Actors/characters (Fiction)." DOCA - Database of Variables for Content Analysis, March 26, 2021. http://dx.doi.org/10.34778/3a.

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A crucial variable in the analysis of fictional entertainment formats is the actor/character. The actors/characters that are analyzed vary according to the research interest (e.g., certain occupations, men/women, minorities). Studies often code (mostly on the level of the episode or movie) whether the character has a major or minor/supporting role in the TV-series or movie (e.g., Gerbner et al., 1980; Gietzen et al, 2017). If coding is done on the level of scenes, studies often differentiate between active characters (i.e., fictional characters that do or say something) and characters who are

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9

Usmar, Patrick. "Born To Die: Lana Del Rey, Beauty Queen or Gothic Princess?" M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.856.

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Closer examination of contemporary art forms including music videos in addition to the Gothic’s literature legacy is essential, “as it is virtually impossible to ignore the relationship the Gothic holds to popular culture” (Piatti-Farnell ii). This article critically examines how Gothic themes and modes are used in the music videos of Lana Del Rey; particularly the “ways in which Gothic is dispersed through contemporary non-literary media” (Spooner and McEvoy 2). This work follows the argument laid down by Edwards and Monnet who describe Gothic’s assimilation into popular culture —Pop Gothic—

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10

Kolff, Louise Moana. "New Nordic Mythologies." M/C Journal 20, no. 6 (2017). http://dx.doi.org/10.5204/mcj.1328.

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IntroductionNordic mythology, also known as Norse mythology, is a term used to describe Medieval creation myths and tales of Gods and otherworldly realms, told and retold by Northern Germanic and Scandinavian tribes of the ninth century AD (see for example Gaiman).I discuss a new type of Nordic mythology that is being created through popular culture, social media, books, and television shows. I am interested in how contemporary portrayals of the Nordic countries has created a kind of mythological place called Scandinavia, where things, people, and ideas are better than in other places.Whereas

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11

Ettler, Justine. "When I Met Kathy Acker." M/C Journal 21, no. 5 (2018). http://dx.doi.org/10.5204/mcj.1483.

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I wake up early, questions buzzing through my mind. While I sip my morning cup of tea and read The Guardian online, the writer, restless because I’m ignoring her, walks around firing questions.“Expecting the patriarchy to want to share its enormous wealth and power with women is extremely naïve.”I nod. Outside the window pieces of sky are framed by trees, fluffy white clouds alternate with bright patches of blue. The sweet, heady first wafts of lavender and citrus drift in through the open window. Spring has come to Hvar. Time to get to work.The more I understand about narcissism, the more I u

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Burwell, Catherine. "New(s) Readers: Multimodal Meaning-Making in AJ+ Captioned Video." M/C Journal 20, no. 3 (2017). http://dx.doi.org/10.5204/mcj.1241.

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IntroductionIn 2013, Facebook introduced autoplay video into its newsfeed. In order not to produce sound disruptive to hearing users, videos were muted until a user clicked on them to enable audio. This move, recognised as a competitive response to the popularity of video-sharing sites like YouTube, has generated significant changes to the aesthetics, form, and modalities of online video. Many video producers have incorporated captions into their videos as a means of attracting and maintaining user attention. Of course, captions are not simply a replacement or translation of sound, but have in

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13

Solis, Randy Jay C. "Texting Love." M/C Journal 10, no. 1 (2007). http://dx.doi.org/10.5204/mcj.2600.

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   The mobile phone found its way to the Philippines when the first generation of Global Systems for Mobile Communication or GSM handsets was introduced in the country in 1994. This GSM protocol eventually developed to introduce a faster and more efficient means of storing, manipulating, and transmitting data by allowing data to be translated into a series of ones and zeroes. Digital technology furthered the mobile phone’s potentials from being a mere “talking device on the move” (Leung and Wei 316) to a more dynamic participant in the new information age. The capacity to mer

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14

Mercieca, Paul Dominic. "‘Southern’ Northern Soul: Changing Senses of Direction, Place, Space, Identity and Time." M/C Journal 20, no. 6 (2017). http://dx.doi.org/10.5204/mcj.1361.

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Music from Another Time – One Perth Night in 2009The following extract is taken from fieldwork notes from research into the enduring Northern Soul dance scene in Perth, Western Australia.It’s 9.30 and I’m walking towards the Hyde Park Hotel on a warm May night. I stop to talk to Jenny, from London, who tells me about her 1970s trip to India and teenage visits to soul clubs in Soho. I enter a cavernous low-ceilinged hall, which used to be a jazz venue and will be a Dan Murphy’s bottle shop before the year ends. South West Soul organiser Tommy, wearing 34-inch baggy trousers, gives me a Northern

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15

Thompson, Bill. "Evoking terror in film scores." M/C Journal 5, no. 1 (2002). http://dx.doi.org/10.5204/mcj.1939.

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It is peculiar that we so urgently seek out the emotion of fear in film. We have a thirst for fear, and we go to elaborate means to experience it. It would be convenient if we could invoke the experience of fear without the apparatus of a cinema, but such intermediaries are necessary. We cannot will ourselves to be afraid. To evoke an emotion, we must organize our environment -- or invoke mental images of such an environment -- which then triggers the emotion. One of the great discoveries of the 20th century was the powerful effect of combining film with musical representations of emotion. It

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16

Thompson, Jay Daniel. "Porn Sucks: The Transformation of Germaine Greer?" M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1107.

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Introduction In a 1984 New York Times interview, Germaine Greer discussed the quite different views that have surrounded her supposed attitude towards sex. As she put it, “People seem to think I'm Hugh Hefner and that the reason women started having sex is because I told them to” (qtd. in De Lacy). This view had, however, shifted by the 1980s. As she told reporter Justine De Lacy, “Now they are saying that I'm against sex.” In this article, I tease out Greer’s remarks about the supposed transformation of her political persona. I do so with reference to her work on Suck Magazine, which was bill

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17

O'Meara, Radha, and Alex Bevan. "Transmedia Theory’s Author Discourse and Its Limitations." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1366.

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As a scholarly discourse, transmedia storytelling relies heavily on conservative constructions of authorship that laud corporate architects and patriarchs such as George Lucas and J.J. Abrams as exemplars of “the creator.” This piece argues that transmedia theory works to construct patriarchal ideals of individual authorship to the detriment of alternative conceptions of transmediality, storyworlds, and authorship. The genesis for this piece was our struggle to find a transmedia storyworld that we were both familiar with, that also qualifies as “legitimate” transmedia in the eyes of our prospe

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18

Pavlidis, Adele, and David Rowe. "The Sporting Bubble as Gilded Cage." M/C Journal 24, no. 1 (2021). http://dx.doi.org/10.5204/mcj.2736.

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Introduction: Bubbles and Sport The ephemeral materiality of bubbles – beautiful, spectacular, and distracting but ultimately fragile – when applied to protect or conserve in the interests of sport-media profit, creates conditions that exacerbate existing inequalities in sport and society. Bubbles are usually something to watch, admire, and chase after in their brief yet shiny lives. There is supposed to be, technically, nothing inside them other than one or more gasses, and yet we constantly refer to people and objects being inside bubbles. The metaphor of the bubble has been used to describe

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