scholarly journals Is it Friday yet? Mothers talking about sex online

2014 ◽  
Vol 8 (2) ◽  
Author(s):  
Sarah Pedersen
Keyword(s):  
Sexual Behaviour ◽  
Health Professionals ◽  
The Internet ◽  
Mainstream Media ◽  
The Media ◽  
The Uk

Inspired by the media furore over ‘penis beaker gate’ (October 2013), this article investigates the discussion of sex on the UK parenting website Mumsnet. It asks why there was such shock at finding mothers discussing sexual matters online, what types of discussion related to sex can actually be found on Mumsnet and why women use Mumsnet to discuss these matters. It suggests that the Internet in general offers a new place for women to discuss and discover their sexuality and that Mumsnet in particular offers an interactive and anonymous forum for women whose needs in this area are not met by the mainstream media. On Mumsnet women seek advice and support from others in similar situations, attempt to establish ‘norms’ relating to sexual behaviour, and supplement information given by health professionals.

scholarly journals Virtual Junk Food Playgrounds in Europe: Advergames in the UK and Hungary

1970 ◽  
Vol 3 (2) ◽  
Author(s):  
Arhlene A. Flowers ◽  
Katalin Lustyik ◽  
Emese Gulyás
Keyword(s):  
Childhood Obesity ◽  
Online Advertising ◽  
Food Advertising ◽  
The Internet ◽  
Communist Country ◽  
Junk Food ◽  
Obesity Epidemic ◽  
Number Of Children ◽  
The Media ◽  
The Uk

Unhealthy foods and drinks are among the top products advertised to young children. Considering the growing childhood obesity epidemic and the soaring number of children accessing the Internet, even online junk food advertising has come under increasing scrutiny. Many countries are in the process of expanding and revising existing regulation to account for the realities of the digital age and to respond to health and other social concerns. This paper focuses on two European countries in particular to examine and compare these processes through the lens of junk food advergames aimed at children. Our questions are: 1) Given the differences in the media landscapes of the UK and Hungary, what types of junk food advergames target children?; and 2) In light of the growing childhood obesity problem faced by both nations, how have government bodies, advocacy groups, and advertisers approached junk food advertising targeting children in general and online advertising including advergames in particular? The United Kingdom represents a country with the highest Internet usage by children and the most developed online advertising market in Europe, while Hungary, a post-communist country, represents an emerging media market where young people have less access to the Internet and buying power but constitute a crucial “entry point” for food advertisers.

scholarly journals One issue, different stories: The construction of GMO issues on Chinese, American and British mainstream media portals

2019 ◽  
Vol 2 (4) ◽  
pp. 255-275
Author(s):  
Yiqin Ruan ◽  
Jing Yang ◽  
Jianbin Jin
Keyword(s):  
New York ◽  
Media Coverage ◽  
Genetically Modified Organisms ◽  
Scientific Information ◽  
New York Times ◽  
The Public ◽  
Mainstream Media ◽  
The Us ◽  
The Media ◽  
The Uk

Biotechnology, as an emerging technology, has drawn much attention from the public and elicited hot debates in countries around the world and among various stakeholders. Due to the public's limited access to front-line scientific information and scientists, as well as the difficulty of processing complex scientific knowledge, the media have become one of the most important channels for the public to get news about scientific issues such as genetically modified organisms (GMOs). According to framing theory, how the media portray GMO issues may influence audiences’ perceptions of those issues. Moreover, different countries and societies have various GMO regulations, policies and public opinion, which also affect the way media cover GMO issues. Thus, it is necessary to investigate how GMO issues are covered in different media outlets across different countries. We conducted a comparative content analysis of media coverage of GMO issues in China, the US and the UK. One mainstream news portal in each of the three countries was chosen ( People's Daily for China, The New York Times for the US, and The Guardian for the UK). We collected coverage over eight years, from 2008 to 2015, which yielded 749 pieces of news in total. We examined the sentiments expressed and the generic frames used in coverage of GMO issues. We found that the factual, human interest, conflict and regulation frames were the most common frames used on the three portals, while the sentiments expressed under those frames varied across the media outlets, indicating differences in the state of GMO development, promotion and regulation among the three countries.

Police and the News Media

2019 ◽  
Author(s):  
Ted Gest
Keyword(s):  
Law Enforcement ◽  
News Media ◽  
Raw Material ◽  
The Internet ◽  
Investigative Reporting ◽  
The Public ◽  
Mainstream Media ◽  
Close Relationship ◽  
The Media ◽  
The Relationship

Police and the media have had a close relationship but it has become an increasingly uneasy one. For more than a century, the mainstream United States media—mainly newspapers, radio, television and magazines—have depended on the police for raw material for a steady diet of crime stories. For its part, law enforcement regards the media as something of an adversary. The relationship has changed because of the growth of investigative reporting and of the Internet. Both developments have increased the volume of material critical of the police. At the same time, law enforcement has used social media as a means to bypass the mainstream media to try getting its message directly to the public. However, the news media in all of its forms remains a powerful interpreter of how law enforcement does its job.

scholarly journals Disruption of the Broadcast

Media-N ◽  
2018 ◽  
Vol 13 (1) ◽  
Author(s):  
Randall Packer
Keyword(s):  
News Media ◽  
The Internet ◽  
Daily News ◽  
Cable News ◽  
Broadcast Media ◽  
Mainstream Media ◽  
Reality Show ◽  
The Us ◽  
The Media ◽  
The Individual

While the mainstream media largely dominate the discourse and narrative of the daily news cycle, we have, since the dawning of the Web some twenty-five years ago, seen this tight grip of control loosening at an increasing rate. The emergence of citizen-journalism via the blogosphere in the early 2000s, followed by the explosive and ubiquitous presence of social media in the late 2000s, has empowered the individual in the act of distributing their own view of events as they unfold.The key question raised here is the following: how might the artist engage rogue tactics of journalism via the Internet to directly challenge the dominance and status quo of the broadcast media? For the past 15 years, through networked art projects that include the US Department of Art & Technology (2001-2005), Media Deconstruction Kit (2003-2004), and The Post Reality Show (2012-), I have used techniques of media to appropriate, transform, and rebroadcast live cable news media via the Internet to amplify and distorts its contents: allowing us to view the broadcast in a new way, revealing its hidden mechanisms of control, a détournement that jolts us out of the sensationalism of media and its seductive hold on our gaze. In contrast to the citizen journalist who brings unreported events to the light of day, the artist's reportage here takes shape as a disruption of the media broadcast, attempting to expose its effects of disinformation by shocking the viewer out of obedient assimilation of its contamination.

scholarly journals Igorots in the Blogosphere: Claiming Spaces, Re-constructing Identities

2009 ◽  
Vol 2 (1) ◽  
Author(s):  
Liezel C. Longboan
Keyword(s):  
Ethnic Identity ◽  
Indigenous Peoples ◽  
Total Population ◽  
Indigenous Communities ◽  
The Philippines ◽  
The Internet ◽  
Mainstream Media ◽  
Indigenous Groups ◽  
The Media

Indigenous peoples in the Philippines have rarely been covered by the mainstream media, despite comprising 20 percent of the country’s total population. Lacking access to the media due to various constraints, they have had limited opportunities to create content themselves. But the emergence of the Internet, particularly blogs, is now providing members of indigenous communities with the much-needed space for self-expression. More particularly, several indigenous groups in North Luzon, collectively known as Igorots, are using blogs more extensively to re-construct and re-present their ethnic identity in cyberspace. For this paper, I shall describe how a group of Igorot bloggers protested about a controversial Igorot statue and how this eventually led to its removal.

scholarly journals The Len Brown Affair: The roles of new and old media in a New Zealand political sex scandal

2016 ◽  
Vol 22 (2) ◽  
pp. 160
Author(s):  
Grant Hannis
Keyword(s):  
New Zealand ◽  
Local Government ◽  
17Th Century ◽  
The Internet ◽  
Online Media ◽  
The Public ◽  
Mainstream Media ◽  
High Profile ◽  
Sex Scandals ◽  
The Media

The power of online media to influence New Zealand local government politics was made clear in 2013 when a blogger revealed that Len Brown, the popular mayor of Auckland, had conducted a two-year, extramarital affair. The mainstream media picked up the story, Brown’s popularity collapsed and in late 2015 he announced he would not stand again for mayor. This media scandal was, in part, driven by the fact that Brown was a celebrity. Unlike several high-profile sex scandals involving politicians overseas, Brown’s career did not survive the controversy, perhaps because the public came to regard him as a practised liar. The media itself engaged in self-serving scandalous activity during the controversy. Today’s shock bloggers are similar to the proto-journalists of the 17th century. Members of new and old media researching the scandal treated their secret sources very differently. The existence of the internet means such scandals can now exist in perpetuity. If the Len Brown Affair was an example of the media fulfilling its watchdog role - by exposing a lying politician - it was also an example of journalists furthering their own ends - political and commercial - by appealing to their audiences’ purient interests.

scholarly journals ‘Well grubbed, old mole!’: The press, the Institute of Economic Affairs and the propagation of neo-liberalism in the UK

Journalism ◽  
2021 ◽  
pp. 146488492110158
Author(s):  
Julian Petley
Keyword(s):  
Free Market ◽  
Think Tank ◽  
Political Class ◽  
Mainstream Media ◽  
Before And After ◽  
The Media ◽  
The 2008 Financial Crisis ◽  
Post War ◽  
The Times ◽  
The Uk

This article considers how before and after the Tories came to power in 1979, The Times and the Daily and Sunday Telegraph consistently propagated ideas emanating from the free-market think-tank the Institute of Economic Affairs. It argues that this was part of a wider process in which the post-war Keynesian consensus came under fire from sections of both the media and the political class, and heralded an era in which neo-liberal ideas would come to constitute a new form of economic ‘common sense’. Given the dominance of this perspective, most of the mainstream media failed to anticipate the 2008 financial crisis and have repeatedly endorsed austerity as the only means of reducing the ensuing deficit.

Napster and the press: Framing music technology

First Monday ◽  
2014 ◽  
Author(s):  
Andrea L. Guzman ◽  
Steve Jones
Keyword(s):  
College Students ◽  
Textual Analysis ◽  
New Technologies ◽  
File Sharing ◽  
Music Technology ◽  
The Internet ◽  
Mainstream Media ◽  
The Press ◽  
The Media ◽  
The Impact

Fifteen years ago, a new file-sharing technology called Napster provided college students and adults alike with a novel way of engaging with both the Internet and popular music. In this paper, we examine how the media framed Napster for an audience that largely was not Internet savvy at a time when listening to music was still tied to physical media. We conducted a textual analysis of stories regarding Napster appearing in both the specialized music press and the general mainstream media. We found that the mainstream media devoted considerable coverage to Napster and the file-sharing issues surrounding it while the music press barely mentioned the technology. Multiple themes emerged, some familiar to our ongoing conversation regarding the impact of new technologies, that place Napster at the nexus of cultural struggles over technology and power.

scholarly journals Local Media Going Global: Assessing Online Media Efficiency By Nigerian Audience Abroad

2018 ◽  
Vol 20 (1) ◽  
pp. 15-26
Author(s):  
Lateef Adekunle Adelakun
Keyword(s):  
News Media ◽  
Information Needs ◽  
The Internet ◽  
Online Media ◽  
Online Questionnaire ◽  
Media Audiences ◽  
Mainstream Media ◽  
The Us ◽  
International Audience ◽  
The Media

The internet connectivity is projecting the opportunities upon which local mainstream news media (newspaper, radio and television) are reached globally. Even outside the comfort zones of the newspaper circulation as well as radio and Television spectrums, the internet makes a point of contact between the media and the audiences across borders. Assessing the purpose for media going global, which transcends reaching the audience outside the border-bound but accommodates the effort to meet up with the information needs of the international audience, constitutes the major objective of this study. A survey of the diaspora audience of Nigerian online media in Malaysia, UK, South Africa, and the US was conducted through online questionnaire. Sampling the opinions of the media audiences across frontier on whether the media globalisation enhances the quality and structure of media output, this study found out that despite the fact that the general audience assessment of the media was lamentable, the audience appraised newspapers for moving closer to the global prospect ahead TV and Radio. The audience rating of the online media efficiency was discussed on the tenet of media usage based on the information needs that compel gratification. The online access to mainstream media according to the audience remains a laudable innovation that upturns the media questionable outputs and narrows the wide gaps between the media and the audience as well as among the audiences.

scholarly journals Towards public broadcast 2.0.: BBC Creative Archive

Comunicar ◽  
2005 ◽  
Vol 13 (25) ◽  
Author(s):  
Daniel Villar-Onrubia
Keyword(s):  
Digital Technologies ◽  
Legal Framework ◽  
The Internet ◽  
The Public ◽  
Creative Commons ◽  
The Past ◽  
The Media ◽  
The Uk ◽  
Substantial Change

This work reflects on the substantial change that has ocurred on the communicative models that were used in the past to establish the relationships between the media and the audience. These changes have to do with the development of the digital technologies and the consolidation of the Internet as a space of communication. In this sense, we explain the Creative Archive, a BBC project that has redefined the idea of «service» offered by the public televisions. This project aims to facilitate the access to «the archive» to the citizens of the UK through the Internet, everything under a proper legal framework based on the Creative Commons License. Los esquemas comunicativos sobre los que se construían hasta hace relativamente poco tiempo las relaciones entre los medios y sus audiencias, han sufrido una serie de transformaciones sustanciales que tienen que ver con la evolución de las tecnologías digitales y con la consolidación de Internet como espacio para la comunicación. En este contexto es posible llevar a cabo una redefinición de la idea de servicio ofrecido por las televisiones públicas. Y es en estas nuevas posibilidades, en las que se ha inspirado un proyecto piloto impulsado por la BBC bajo el nombre de Creative Archive. El objetivo de este archivo es facilitar el acceso a los ciudadanos del Reino Unido a todo este material a través de Internet; sin embargo, este proyecto redefine los límites de la noción de acceso y extiende ésta más allá de la mera posibilidad de poder visionar las obras en cualquier momento. El Creative Archive no define la relación de los telespectadores con los contenidos a partir de un consumo pasivo, sino que contempla la posibilidad de que éstos construyan nuevas obras a partir de estos materiales. En este sentido, el espectador se entiende como usuario más que como consumidor, ya que no sólo adopta un papel activo en lo que respecta a la elección de los contenidos que desea ver y al momento en que desea hacerlo, sino que tiene además la capacidad de crear a partir de dicho material, integrándolo en trabajos personales y desarrollando obras derivadas, siempre y cuando no esté motivado por un ánimo lucrativo. Esta amplia noción de acceso queda resumida con gran claridad en el lema del proyecto: «Find it, rip it, mix it, share it. Come and get it» (Encuéntralo, cópialo, mézclalo, compártelo. Ven y consíguelo). No obstante, para hacer realidad este proyecto no es sólo necesario disponer de un desarrollo tecnológico determinado, sino que es imprescindible contar con el marco legal apropiado. Para ello se ha desarrollado la Creative Archive License, una licencia propia que toma como punto de referencia las Creative Commons. Frente al «all rights reserved» (todos los derechos reservados) del copyright, la Creative Archive License establece un marco bastante más flexible, en el que se especifica qué se puede y qué no se puede hacer con el material contenido en el archivo. Algunas de las cláusulas más representativas de esta licencia establecen que es necesario citar siempre al titular de los derechos de una obra que se difunda tal cual, o de cualquier obra derivada a partir de ésta; queda prohibido cualquier uso de este archivo que no sea de carácter personal o educativo, es decir, no puede emplearse con usos comerciales; cualquier obra derivada debe distribuirse bajo la misma licencia; únicamente puede hacerse uso de este archivo en el Reino Unido. Como indicaba Dyke en el discurso de presentación del proyecto, los contenidos de este archivo no son de la BBC: «...este contenido no es en realidad nuestro, los ciudadanos de Gran Bretaña han pagado por él, y nuestra obligación es ayudarlos a que lo usen».

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