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1

Yoedtadi, Moehammad Gafar, Riris Loisa, Genep Sukendro, Roswita Oktavianti, and Lusia Savitri Setyo Utami. "ANALISIS KOMODIFIKASI KONTRIBUTOR DALAM PRODUKSI BERITA TELEVISI." Jurnal Muara Ilmu Sosial, Humaniora, dan Seni 5, no. 1 (2021): 213. http://dx.doi.org/10.24912/jmishumsen.v5i1.9777.2021.

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The pattern of news production in the Indonesian television broadcasting industry generally uses two human resources, namely permanent journalists and temporary journalists. Regular journalists are organic employees of television companies. Meanwhile, journalists who are not permanent or contributors only work under a news sale and purchase contract. They are not the organic employees of the television company. They only get honorarium when the news airs. As a result of such a working relationship, the contributors' bargaining position is very weak in front of the television station management
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Horeck, Tanya. "The affective labour of One Born Every Minute in its UK and US formats." Critical Studies in Television: The International Journal of Television Studies 11, no. 2 (2016): 164–76. http://dx.doi.org/10.1177/1749602016642917.

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This article examines the relationship between the British and American versions of the hit reality television birthing show One Born Every Minute ( OBEM) in order to consider how the representation of different national childbirth practices invites a different kind of affective labour from the spectator. It argues that OBEM UK attempts to position the spectator in an ethical relation of care towards the subjects depicted. By contrast, on the US version, any such intimacy is forestalled by the use of distancing techniques, including an external voice-over and a heavy-handed dramatic shaping of
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Keogh, Brendan, and Ingrid Richardson. "Waiting to play: The labour of background games." European Journal of Cultural Studies 21, no. 1 (2017): 13–25. http://dx.doi.org/10.1177/1367549417705603.

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Mobile smartphone devices have seen the rise and proliferation of a variety of new modes of digital play. In particular, the short and sporadic modes of engagement that define mobile screen practices have seen the smartphone become home to a range of ‘casual’ game genres that promote quick and flexible engagements, in stark contrast to the enduring and committed engagements demanded by home consoles and desktop computer games. People frequently play mobile games while doing other things – waiting at the bus stop, lying in bed and watching television. This has seen the increasing popularity of
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Christopherson, Susan. "Project Work in Context: Regulatory Change and the New Geography of Media." Environment and Planning A: Economy and Space 34, no. 11 (2002): 2003–15. http://dx.doi.org/10.1068/a34182.

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Like all forms of work, project work is constructed within the rules that govern labor and capital markets. In this paper, I examine how project work and the project workforce in ‘old’ media (motion pictures and television) and ‘new’ media (multimedia or Internet-based information, entertainment, and infotainment) have been affected by changes in the regulatory regime governing entertainment and information-intensive industries in the United States. Of particular significance is the role that collective bargaining institutions play in industry governance. In the case of old media, the regulato
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Coronel, Juan. "Disponibilidad de infraestructura y recursos tecnológicos en el sistema escolar de educación básica del Distrito Metropolitano de Quito." Enfoque UTE 2, no. 1 (2011): 39–76. http://dx.doi.org/10.29019/enfoqueute.v2n1.10.

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Español:La combinación curricular de los medios tecnológicos (informáticos, audiovisuales y de la comunicaciónen general) y el aprovechamiento de las ventajas didácticas no resulta una labor sencilla. Eldocente necesita determinadas destrezas e ideas técnicas, ha de estar enterado sobre los materialesdisponibles y sobre cómo usarlos didácticamente, y precisa recursos e infraestructura para desarrollarlas actividades educativas con sus estudiantes. También es necesario tiempo para: preparar todasestas actividades, planificar, evaluar su uso, etc.El problema que presume el uso de los medios info
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Rocavert, Carla. "Aspiring to the Creative Class: Reality Television and the Role of the Mentor." M/C Journal 19, no. 2 (2016). http://dx.doi.org/10.5204/mcj.1086.

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Introduction Mentors play a role in real life, just as they do in fiction. They also feature in reality television, which sits somewhere between the two. In fiction, mentors contribute to the narrative arc by providing guidance and assistance (Vogler 12) to a mentee in his or her life or professional pursuits. These exchanges are usually characterized by reciprocity, the need for mutual recognition (Gadamer 353) and involve some kind of moral question. They dramatise the possibilities of mentoring in reality, to provide us with a greater understanding of the world, and our human interaction wi
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Nairn, Angelique. "Chasing Dreams, Finding Nightmares: Exploring the Creative Limits of the Music Career." M/C Journal 23, no. 1 (2020). http://dx.doi.org/10.5204/mcj.1624.

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In the 2019 documentary Chasing Happiness, recording artist/musician Joe Jonas tells audiences that the band was “living the dream”. Similarly, in the 2012 documentary Artifact, lead singer Jared Leto remarks that at the height of Thirty Seconds to Mars’s success, they “were living the dream”. However, for both the Jonas Brothers and Thirty Seconds to Mars, their experiences of the music industry (much like other commercially successful recording artists) soon transformed into nightmares. Similar to other commercially successful recording artists, the Jonas Brothers and Thirty Seconds to Mars,
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Ford, Jessica. "Rebooting Roseanne: Feminist Voice across Decades." M/C Journal 21, no. 5 (2018). http://dx.doi.org/10.5204/mcj.1472.

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In recent years, the US television landscape has been flooded with reboots, remakes, and revivals of “classic” nineties television series, such as Full/er House (1987-1995, 2016-present), Will & Grace (1998-2006, 2017-present), Roseanne (1988-1977, 2018), and Charmed (1998-2006, 2018-present). The term “reboot” is often used as a catchall for different kinds of revivals and remakes. “Remakes” are derivations or reimaginings of known properties with new characters, cast, and stories (Loock; Lavigne). “Revivals” bring back an existing property in the form of a continuation with the same cast
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Grandinetti, Justin Joseph. "A Question of Time: HQ Trivia and Mobile Streaming Temporality." M/C Journal 22, no. 6 (2019). http://dx.doi.org/10.5204/mcj.1601.

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One of the commonplace and myopic reactions to the rise of televisual time-shifting via video-on-demand, DVD rental services, illegal downloads, and streaming media was to decree “the death of the communal television experience”. For many, new forms of watching television unconstrained by time-bound, regularly scheduled programming meant the demise of the predominant form of media liveness that existed commercially since the 1950s. Nevertheless, as time-shifting practices evolved, so have attendant notions of televisual temporality—including changing forms of liveness, shared experience, and t
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Bachmann, Goetz, and Andreas Wittel. "Enthusiasm as Affective Labour: On the Productivity of Enthusiasm in the Media Industry." M/C Journal 12, no. 2 (2009). http://dx.doi.org/10.5204/mcj.147.

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Longing on a large scale is what makes history.Don DeLillo, UnderworldIntroductionWhile the media industries have been rather thoroughly dissected for their capacity to generate enthusiasm through well-honed practices of marketing and patterns of consumerism, any analysis of the shift underway to capture and modulate the ‘enthusiastic’ and affective labour of media industry practitioners themselves may still have much to learn by reaching back to the long tradition in Western philosophy: a tradition, starting with the Greeks that has almost always contrasted enthusiasm with reason (Heyd). To q
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Kellner, Douglas. "Engaging Media Spectacle." M/C Journal 6, no. 3 (2003). http://dx.doi.org/10.5204/mcj.2202.

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In the contemporary era, media spectacle organizes and mobilizes economic life, political conflict, social interactions, culture, and everyday life. My recently published book Media Spectacle explores a profusion of developments in hi-tech culture, media-driven society, and spectacle politics. Spectacle culture involves everything from film and broadcasting to Internet cyberculture and encompasses phenomena ranging from elections to terrorism and to the media dramas of the moment. For ‘Logo’, I am accordingly sketching out briefly a terrain I probe in detail in the book from which these exampl
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Rossiter, Ned. "Creative Industries and the Limits of Critique from." M/C Journal 6, no. 3 (2003). http://dx.doi.org/10.5204/mcj.2208.

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‘Every space has become ad space’. Steve Hayden, Wired Magazine, May 2003. Marshall McLuhan’s (1964) dictum that media technologies constitute a sensory extension of the body shares a conceptual affinity with Ernst Jünger’s notion of ‘“organic construction” [which] indicates [a] synergy between man and machine’ and Walter Benjamin’s exploration of the mimetic correspondence between the organic and the inorganic, between human and non-human forms (Bolz, 2002: 19). The logo or brand is co-extensive with various media of communication – billboards, TV advertisements, fashion labels, book spines,
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Howley, Kevin. "Always Famous." M/C Journal 7, no. 5 (2004). http://dx.doi.org/10.5204/mcj.2452.

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Introduction A snapshot, not unlike countless photographs likely to be found in any number of family albums, shows two figures sitting on a park bench: an elderly and amiable looking man grins beneath the rim of a golf cap; a young boy of twelve smiles wide for the camera — a rather banal scene, captured on film. And yet, this seemingly innocent and unexceptional photograph was the site of a remarkable and wide ranging discourse — encompassing American conservatism, celebrity politics, and the end of the Cold War — as the image circulated around the globe during the weeklong state funeral of R
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Marotta, Steve, Austin Cummings, and Charles Heying. "Where Is Portland Made? The Complex Relationship between Social Media and Place in the Artisan Economy of Portland, Oregon (USA)." M/C Journal 19, no. 3 (2016). http://dx.doi.org/10.5204/mcj.1083.

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ExpositionPortland, Oregon (USA) has become known for an artisanal or ‘maker’ economy that relies on a resurgence of place specificity (Heying), primarily expressed and exported to a global audience in the notion of ‘Portland Made’ (Roy). Portland Made reveals a tension immanent in the notion of ‘place’: place is both here and not here, both real and imaginary. What emerges is a complicated picture of how place conceptually captures various intersections of materiality and mythology, aesthetics and economics. On the one hand, Portland Made represents the collective brand-identity used by Portl
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Otsuki, Grant Jun. "Augmenting Japan’s Bodies and Futures: The Politics of Human-Technology Encounters in Japanese Idol Pop." M/C Journal 16, no. 6 (2013). http://dx.doi.org/10.5204/mcj.738.

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Perfume is a Japanese “techno-pop” idol trio formed in 2000 consisting of three women–Ayano Omoto, Yuka Kashino, and Ayaka Nishiwaki. Since 2007, when one of their songs was selected for a recycling awareness campaign by Japan's national public broadcaster, Perfume has been a consistent fixture in the Japanese pop music charts. They have been involved in the full gamut of typical idol activities, from television and radio shows to commercials for clothing brands, candy, and drinks. Their success reflects Japanese pop culture's long-standing obsession with pop idols, who once breaking into the
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Seaton, Beth. "Feeling the Heat." M/C Journal 8, no. 6 (2005). http://dx.doi.org/10.5204/mcj.2457.

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 Was it seven or eight summers ago, when the sun first became our enemy and set our skin on fire? We find it now in the normality of strange weather and the telescoping of the seasons; wherein it’s 27 degrees and there are no leaves yet on the trees, a hot August day in April. We watch the media spectacles of monster storms and mud slides that arrive with increasing force and frequency. And we despair over the death of the Polar bears, starving because the Arctic sea-ice upon which they catch seals can no longer bear their weight. Up there, we hear, the permafrost is meltin
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Brien, Donna Lee, Leonie Rutherford, and Rosemary Williamson. "Hearth and Hotmail." M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2696.

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 Introduction It has frequently been noted that ICTs and social networking applications have blurred the once-clear boundary between work, leisure and entertainment, just as they have collapsed the distinction between public and private space. While each individual has a sense of what “home” means, both in terms of personal experience and more conceptually, the following three examples of online interaction (based on participants’ interest, or involvement, in activities traditionally associated with the home: pet care, craft and cooking) suggest that the utilisation of onli
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Heurich, Angelika. "Women in Australian Politics: Maintaining the Rage against the Political Machine." M/C Journal 22, no. 1 (2019). http://dx.doi.org/10.5204/mcj.1498.

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Women in federal politics are under-represented today and always have been. At no time in the history of the federal parliament have women achieved equal representation with men. There have never been an equal number of women in any federal cabinet. Women have never held an equitable number of executive positions of the Australian Labor Party (ALP) or the Liberal Party. Australia has had only one female Prime Minister, Julia Gillard, and she was the recipient of sexist treatment in the parliament and the media. A 2019 report by Plan International found that girls and women, were “reluctant to
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Brien, Donna Lee. "Climate Change and the Contemporary Evolution of Foodways." M/C Journal 12, no. 4 (2009). http://dx.doi.org/10.5204/mcj.177.

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Introduction Eating is one of the most quintessential activities of human life. Because of this primacy, eating is, as food anthropologist Sidney Mintz has observed, “not merely a biological activity, but a vibrantly cultural activity as well” (48). This article posits that the current awareness of climate change in the Western world is animating such cultural activity as the Slow Food movement and is, as a result, stimulating what could be seen as an evolutionary change in popular foodways. Moreover, this paper suggests that, in line with modelling provided by the Slow Food example, an increa
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Lord, Catherine M. "Serial Nuns: Michelle Williams Gamaker’s The Fruit Is There to Be Eaten as Serial and Trans-Serial." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1370.

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Introduction: Serial Space“It feels …like the edge of the world; far more remote than it actually is, perhaps because it looks at such immensity” (Godden “Black,” 38). This is the priest’s warning to Sister Clodagh in Rumer Godden’s 1939 novel Black Narcissus. The young, inexperienced Clodagh leads a group of British nuns through the Indian Himalayas and onto a remote mountain top above Mopu. Michael Powell and Emeric Pressburger adapted Godden’s novel into the celebrated feature film, Black Narcissus (1947). Following the novel, the film narrates the nuns’ mission to establish a convent, scho
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Wagman, Ira. "Wasteaminute.com: Notes on Office Work and Digital Distraction." M/C Journal 13, no. 4 (2010). http://dx.doi.org/10.5204/mcj.243.

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For those seeking a diversion from the drudgery of work there are a number of websites offering to take you away. Consider the case of wasteaminute.com. On the site there is everything from flash video games, soft-core pornography and animated nudity, to puzzles and parlour games like poker. In addition, the site offers links to video clips grouped in categories such as “funny,” “accidents,” or “strange.” With its bright yellow bubble letters and elementary design, wasteaminute will never win any Webby awards. It is also unlikely to be part of a lucrative initial public offering for its owner,
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Abidin, Crystal. "Micro­microcelebrity: Branding Babies on the Internet." M/C Journal 18, no. 5 (2015). http://dx.doi.org/10.5204/mcj.1022.

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Babies and toddlers are amassing huge followings on social media, achieving microcelebrity status, and raking in five figure sums. In East Asia, many of these lucrative “micro­-microcelebrities” rise to fame by inheriting exposure and proximate microcelebrification from their social media Influencer mothers. Through self-branding techniques, Influencer mothers’ portrayals of their young’ children’s lives “as lived” are the canvas on which (baby) products and services are marketed to readers as “advertorials”. In turning to investigate this budding phenomenon, I draw on ethnographic case studie
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Antonio, Amy Brooke. "Writing Women: The Virtual Cookbook and Pinterest." M/C Journal 16, no. 3 (2013). http://dx.doi.org/10.5204/mcj.644.

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This article aims to throw new light on the representation of women who cook as necessarily perpetuating a domestic ideology in which women are confined to the home. Traditionally, cookbooks written by women have disseminated both cooking information and rules and practices for running an effective household, which have contributed to the ideologies that underpin female domestic practice. However, the evolution of social media platforms, such as Pinterest, which enable the user to actively select and visually display culinary masterpieces on a digital pinboard, have provided a forum for women’
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Bartlett, Alison. "Business Suit, Briefcase, and Handkerchief: The Material Culture of Retro Masculinity in The Intern." M/C Journal 19, no. 1 (2016). http://dx.doi.org/10.5204/mcj.1057.

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IntroductionIn Nancy Meyers’s 2015 film The Intern a particular kind of masculinity is celebrated through the material accoutrements of Ben Whittaker (Robert De Niro). A retired 70-year-old manager, Ben takes up a position as a “senior” Intern in an online clothing distribution company run by Jules Ostin (Anne Hathaway). Jules’s company, All About Fit, is the embodiment of the Gen Y creative workplace operating in an old Brooklyn warehouse. Ben’s presence in this environment is anachronistic and yet also stylishly retro in an industry where “vintage” is a mode of dress but also offers alternat
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Bauer, Kathy Anne. "How Does Taste In Educational Settings Influence Parent Decision Making Regarding Enrolment?" M/C Journal 17, no. 1 (2014). http://dx.doi.org/10.5204/mcj.765.

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Introduction Historically in Australia, there has been a growing movement behind the development of quality Early Childhood Education and Care Centres (termed ‘centres’ for this article). These centres are designed to provide care and education outside of the home for children from birth to five years old. In the mid 1980s, the then Labor Government of Australia promoted and funded the establishment of many centres to provide women who were at home with children the opportunity to move into the workplace. Centre fees were heavily subsidised to make this option viable in the hope that more wome
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Flew, Terry. "Right to the City, Desire for the Suburb?" M/C Journal 14, no. 4 (2011). http://dx.doi.org/10.5204/mcj.368.

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The 2000s have been a lively decade for cities. The Worldwatch Institute estimated that 2007 was the first year in human history that more people worldwide lived in cities than the countryside. Globalisation and new digital media technologies have generated the seemingly paradoxical outcome that spatial location came to be more rather than less important, as combinations of firms, industries, cultural activities and creative talents have increasingly clustered around a select node of what have been termed “creative cities,” that are in turn highly networked into global circuits of economic cap
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Losh, Elizabeth. "Artificial Intelligence." M/C Journal 10, no. 5 (2007). http://dx.doi.org/10.5204/mcj.2710.

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 On the morning of Thursday, 4 May 2006, the United States House Permanent Select Committee on Intelligence held an open hearing entitled “Terrorist Use of the Internet.” The Intelligence committee meeting was scheduled to take place in Room 1302 of the Longworth Office Building, a Depression-era structure with a neoclassical façade. Because of a dysfunctional elevator, some of the congressional representatives were late to the meeting. During the testimony about the newest political applications for cutting-edge digital technology, the microphones periodically malfunctione
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Kanai, Akane. "WhatShouldWeCallMe? Self-Branding, Individuality and Belonging in Youthful Femininities on Tumblr." M/C Journal 18, no. 1 (2015). http://dx.doi.org/10.5204/mcj.936.

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As the use of social networks becomes increasingly commonplace, scholars have observed that associated requirements arise relating to how one’s digital self is practised, worked on, and disseminated (Cover; Miller; Papacharissi). Since the earliest forms of online interaction, scholars have tracked the importance of the question of “realness” in identity and social groupings (Burkhalter; Donath; O’Brien). More recently, as people become more connected, connect-able and subject to peer (as well as corporate and government surveillance) (van Zoonen), digital media cultures have increasingly dema
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Green, Lelia, Richard Morrison, Andrew Ewing, and Cathy Henkel. "Ways of Depicting: The Presentation of One’s Self as a Brand." M/C Journal 20, no. 4 (2017). http://dx.doi.org/10.5204/mcj.1257.

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Ways of Seeing"Images … define our experiences more precisely in areas where words are inadequate." (Berger 33)"Different skins, you know, different ways of seeing the world." (Morrison)The research question animating this article is: 'How does an individual creative worker re-present themselves as a contemporary - and evolving - brand?' Berger notes that the "principal aim has been to start a process of questioning" (5), and the raw material energising this exploration is the life's work of Richard Morrison, the creative director and artist who is the key moving force behind The Morrison Stud
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Alberto, Maria. "The Prosthetic Impulse Revisited in A.I. Artificial Intelligence." M/C Journal 22, no. 5 (2019). http://dx.doi.org/10.5204/mcj.1591.

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As a genre, science fiction deals with possible futures, imagining places and technologies that typically do not exist in audiences’ own lives. Science fiction film takes this directive a step further by creating visual representations of these futures and possibilities, presenting audiences with imagined ideas of what new technologies or unfamiliar places might look like. Thus, although any science fiction text can describe sociocultural and technological futures, science fiction film goes a step further by providing images that viewers do not have to envision for themselves. This difference
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O'Meara, Radha. "Do Cats Know They Rule YouTube? Surveillance and the Pleasures of Cat Videos." M/C Journal 17, no. 2 (2014). http://dx.doi.org/10.5204/mcj.794.

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Did you see the videos where the cat jumps in the box, attacks the printer or tries to leap from the snowy car? As the availability and popularity of watching videos on the Internet has risen rapidly in the last decade, so has the prevalence of cat videos. Although the cuteness of YouTube videos of cats might make them appear frivolous, in fact there is a significant irony at their heart: online cat videos enable corporate surveillance of viewers, yet viewers seem just as oblivious to this as the cats featured in the videos. Towards this end, I consider the distinguishing features of contempor
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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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Rogers, Ian Keith. "Without a True North: Tactical Approaches to Self-Published Fiction." M/C Journal 20, no. 6 (2017). http://dx.doi.org/10.5204/mcj.1320.

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IntroductionOver three days in November 2017, 400 people gathered for a conference at the Sam’s Town Hotel and Gambling Hall in Las Vegas, Nevada. The majority of attendees were fiction authors but the conference program looked like no ordinary writer’s festival; there were no in-conversation interviews with celebrity authors, no panels on the politics of the book industry and no books launched or promoted. Instead, this was a gathering called 20Books2017, a self-publishing conference about the business of fiction ebooks and there was expertise in the room.Among those attending, 50 reportedly
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Hackett, Lisa J. "Dreaming of Yesterday: Fashioning Liminal Spaces in 1950s Nostalgia." M/C Journal 23, no. 1 (2020). http://dx.doi.org/10.5204/mcj.1631.

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The 1950s era appears to hold a nostalgic place in contemporary memories and current cultural practices. While the 1950s is a period that can signify a time from the late 1940s to the early 1960s (Guffey, 100), the era is often represented as a liminal space or dream world, mediated to reflect current desires. It is a dream-like world, situated half way between the mediated vision of the 1950s and today. Modern participants of 1950s culture need to negotiate what is authentic and what is not, because as Piatti-Farnell and Carpenter remind us ‘history is what we want it to be’ (their emphasis).
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