This paper illuminates the integral role of set design in children’s theatre, specifically exploring the infusion of colour from a child’s viewpoint to enrich their theatrical encounters. Informed by Schonmann’s and Weincek’s insights into children’s theatre and set design, and grounded in the experiential value of artistic methodology, this study employs a representational art concept to craft set designs that resonate with the sensibilities of young audiences. Through a focus group discussion with Ghanaian children aged eight to thirteen, a preference for polychromatic colour schemes emerged. Harnessing these preferences, the research develops a set design tailored to elevate the overall theatrical experience for children. Employing a formalistic approach, the study describes the incorporation of elements in the design and interprets the significance of colours. By understanding children’s colour perspectives, this research aims to convey their ideas, express emotions, and facilitate effective communication. Ultimately, the study empowers children as active participants in the theatrical experience, fostering interpretation, interaction, and questioning on their own terms.
This article examines the portrayal of identity, struggles, and resilience through theatrical monologues, focusing on Sizwe Bansi is Dead by Athol Fugard and Fences by August Wilson. Both plays present socio-political and socio-cultural challenges faced by black individuals in apartheid South Africa and segregated America, respectively. Through detailed analysis of selected monologues, the study explores how acting techniques are employed to convey these themes and resonate with contemporary audiences. The findings reveal that the systemic discrimination, hardships, and resilience depicted in the monologues remain relevant today, as issues such as racial injustice and inequality continue to affect black communities globally. The analysis also highlights how acting can powerfully communicate these experiences, shaping audience perceptions and encouraging social reflection. The paper concludes that theatrical acting is a potent tool for social change, allowing actors to embody and reflect the struggles and triumphs of their communities. The study underscores the need for actors to immerse themselves fully in character roles to effectively convey these complex narratives. The recommendations include encouraging actors to deepen their training through rigorous script analysis, accent mastery, and exploration of diverse acting techniques. Additionally, it suggests that future studies should continue to explore the role of theatre in addressing identity and socio-political issues, with a focus on how contemporary performances can inspire social change and personal reflection.
This article investigates the use and pragmatic functions of the swear word fuck in the “BoJack Horseman” produced by Netflix and bridges the gap in the linguistic research on this particular TV show. Incorporating corpus linguistics tools, the BoJack Horseman Corpus was compiled and the lemma fuck has been investigated and analysed from the multimodal perspective. It occurs six times, just once per every season of the show, every time when the interlocutor expresses strong emotions, usually towards the eponymous character. The use of a swear word provides a vent for anger, disappointment, or surprise and creates an extralinguistic narrative frame, due to its economic use by the writers of the show.
The goal of this study was to investigate the experiences of five undergraduates majoring in communications media at a medium-sized university as they created their own computer games. To analyze the data, I utilized the constant comparison method. After a thorough analysis of the phenomenon of user design, I identified three themes through qualitative analysis: User design fosters creativity and empowerment, User design can be challenging and serve as a design tool, and User design provides a rewarding learning experience.
The study piece that is being presented focuses on Gyanendra, the final ruler of the Shah dynasty, and how the Nepali press helped shape public opinion in favor of the republic. King Prithvi Narayan Shah established the Shah Dynasty, which governed Nepal for ten years. Under the reign of Gyanendra, who reigned twice despite not being a royal heir by birth, the monarchy came to an end. Before King Birendra's reign, the average Nepali could not have imagined a nation without a monarchy. The king was acting in a constitutional monarchy capacity in accordance with the settlement agreed with the people in 1990. King Birendra of the Shah dynasty was a learned man who had obtained.
This article outlines a first attempt at analysing counter-media publishing through the lens of remix theory. We concentrate on two key concepts—appropriation and authorship—which have a permanent standing in the remix research literature. To support our theoretical analysis, we investigate the coverage of two cases in the Finnish right-wing counter-media online publication MV-lehti. Our findings enable new readings on the nature of both counter-media work and remix culture. In fact, counter-media publishing leans more in the direction of remix culture—which is based on the act of using pre-existing materials to produce something new—than towards traditional journalistic convention, with its rules and ethical guidelines. MV-lehti’s practice of combining and layering different material is discernibly political, often resembling media activism. Our study provides the argument that counter to the utopian democratising assumptions of remix culture, the proliferation of remix practices has also given antidemocratic actors the means to challenge collectively and institutionally supported ideas of knowledge and justice. Counter-media publishing is perhaps democratising in that it offers the means to participate, but these antagonistic actors also remix news to undermine liberal-democratic ideals and social justice. Evidently, remix practices can be co-opted for a reactionary agenda.
Este portfólio apresenta uma ação de Fazemos, incubadora de economia solidária de “Enquanto Viver, Luto!” A ação foi realizada nas ruas ao lado da Estação da Luz, conhecidas em São Paulo por local de trabalho de profissionais do sexo, no dia 24 de junho de 2021, véspera do Dia Internacional da Mulher Negra Latino-Americana e Caribenha e o Dia Nacional de Tereza de Benguela.
Los álbumes sin palabras se caracterizan por una concepción visual y multimodal en el contexto de la complejidad de la literatura infantil posmoderna. Su lectura desafía a los lectores infantiles y supone un reto para los mediadores en el desarrollo de la alfabetización visual y la educación artística en contextos educativos. El estudio que se presenta pretende aportar unas orientaciones para la lectura a partir del análisis de una selección de obras que abordan el fenómeno migratorio desde la experiencia del viaje. Estos libros suelen ser analizados desde enfoques sociales e ideológicos a los que se desea sumar una nueva perspectiva, con el objetivo de propiciar lecturas multirreferenciales, críticas y reflexivas. El análisis muestra cómo el discurso no ficcional se encuentra latente bajo un relato aparentemente ficcional. Este discurso se manifiesta como estrategia constructiva a través de personajes colectivos, lugares comunes, voces de autoría o símbolos que abstraen una mirada universal y colectiva de la experiencia migratoria, lo que explicaría, en parte, la imagen homogénea que se tiende a transmitir de las personas inmigrantes o refugiadas en estas obras. El resultado son álbumes próximos al género documental en los que la ficción es un soporte que implica al lector.
Christopher D. Wirz, Michael A. Xenos, D. Brossard
et al.
Using the Zika outbreak as a context of inquiry, this study examines how assigning blame on social media relates to the social amplification of risk framework (SARF). Past research has discussed the relationship between the SARF and traditional mass media, but the role of social media platforms in amplification or attenuation of risk perceptions remains understudied. Moreover, the communication and perceptions of Zika‐related risk are not limited to discussions in English. To capture conversations in languages spoken by affected countries, this study combines data in English, Spanish, and Portuguese. To better understand the assignment of blame and perceptions of risk in new media environments, we looked at three different facets of conversations surrounding Zika on Facebook and Twitter: the prominence of blame in each language, how specific groups were discussed throughout the Zika outbreak, and the sentiment expressed about genetically engineered (GE) mosquitoes. We combined machine learning with human coding to analyze public discourse in all three languages. We found differences between languages and platforms in the amount of blame assigned to different groups. We also found more negative sentiments expressed about GE mosquitoes on Facebook than on Twitter. These meaningful differences only emerge from analyses across the three different languages and platforms, pointing to the importance of multilingual approaches for risk communication research. Specific recommendations for outbreak and risk communication practitioners are also discussed.
Post-Truth is a novice concept and it has developed as a radical ideology of post modernization. Post truth has emphasized on political, economic, social, cultural and technological aspects of power holders and its hegemony toward the poor nation. Power holders are misusing all forms of media including social media. Facebook, Twitter/Instagram/ Youtube/Whatsapp etc are especially misused to extend the power of regime. Post-truth prioritizes on disinformation for manipulating the perceptions of the people throughout the world. Social media has accused of misusing secret information. Accuracy, Balance and Credibility are no more in information. Social Media cannot play the role of watchdog of society. It cannot fulfill its duty as a gatekeeper. Media has to promote as a mirror of society but in post-truth ideology, it may not be acceptable in all conditions. In fact, it will destroy the professional standard.
Com o surgimento da internet, houve um deslocamento no processo de veiculação musical, antes restrita ao universo radiofônico e televisivo. Propomos uma reflexão acerca dessa descentralização possibilitada pelas Redes Sociais de Informação (RSI). Objetivamos identificar o papel delas no lançamento de novos artistas e na veiculação e recepção musical. Trabalhamos com pesquisa bibliográfica a fim de responder à questão: qual a relação das RSI com a veiculação e recepção musical no cenário brasileiro atual? Chegamos à conclusão de que as RSI revolucionaram o mercado musical, desde o momento da concepção da canção, até o processo de retroalimentação do compositor, proporcionado pela reação dos usuários.
Tekst jest analizą i interpretacją dokumentalnych filmów found footage: A Song Of Air Merilee Bennett (1988) i Sea In The Blood Richarda Funga (2000), które zostały skonstruowane z rodzinnych materiałów filmowych pochodzących z archiwów ich twórców. Tekst jest próbą ukazania potencjału found footage jako techniki twórczej opartej na montażu w konstruowaniu narracji czasu przeszłego tożsamości. Autorki tekstu odwołują się m.in. do rozpoznań Williama C. Weesa w pracy Recycled Images: The Art and Politics of Found Footage Films czy Jamie Baron w książce The Archive Effect: Found Footage and the Audiovisual Experience of History. Sięgają do kategorii tożsamości konstruowanej, przedstawionej w pracy Katarzyny Rosner Narracja, tożsamość i czas oraz do koncepcji Davida Carra, aby położyć nacisk na to, w jaki sposób wykorzystanie materiałów home movies pozwala opowiedzieć twórcom filmów będących przedmiotem pracy jednostkowe doświadczenia i włączyć przewartościowane relacje rodzinne w narracyjną opowieść o charakterze tożsamościowym.
In The Reality of the Mass Media, Luhmann extends his theory of social systems-applied in his earlier works to the economy, the political system, art, religion, the sciences, and law-to an examination of the role of mass media in the construction of social reality. Luhmann argues that the system of mass media is a set of recursive, self-referential programs of communication, whose functions are not determined by the external values of truthfulness, objectivity, or knowledge, nor by specific social interests or political directives. Rather, he contends that the system of mass media is regulated by the internal code information/noninformation, which enables the system to select its information (news) from its own environment and to communicate this information in accordance with its own reflexive criteria. Despite its self-referential quality, Luhmann describes the mass media as one of the key cognitive systems of modern society, by means of which society constructs the illusion of its own reality. The reality of mass media, he argues, allows societies to process information without destabilizing social roles or overburdening social actors. It forms a broad reservoir (memory) of options for the future coordination of action, and it provides parameters for the stabilization of political reproduction of society, as it produces a continuous self-description of the world around which modern society can orient itself. In his discussion of mass media, Luhmann elaborates a theory of communication in which communication is seen not as the act of a particular consciousness, nor the medium of integrative social norms, but merely the technical codes through which systemic operations arrange and perpetuate themselves.
Este artigo analisa a construção da imagem de marcas sustentáveis de açúcar a partir das informações e representações imagéticas utilizadas nas embalagens para o consumidor. A representação da consciência socioambiental diverge entre as empresas avaliadas: União, Native e Guarani, que se baseiam em estratégias diferentes de agendamento dos comportamentos dos consumidores, e só as duas primeiras fundamentam sua imagem em selos e certificados de instituições que avaliam a gestão sustentável dos produtos.
Communication. Mass media, Social sciences (General)
This article presents a critical discussion of Jodi Dean’s (2016) book “Crowds and Party”. I pay particular attention to her discussion of crowds that is influenced by psychoanalysis. Dean has put forward an important argument for the affectivity within crowds that may be transformed into a Communist Party that is characterised by a similar affective infrastructure. I suggest that Dean’s discussion of affect is slightly vague at times and may be supplemented with Sigmund Freud’s work on affect. In contrast to Dean, who stresses the collectivity and deindividuation of the crowd, I argue that the crowd needs to be thought of as a place where individuality and collectivity come together and remain in tension.
Communication. Mass media, Communities. Classes. Races