In the midst of the COVID-19 pandemic, journalists have the challenging task of gathering and distributing accurate information. Journalists exist as a part of an ecology in which their work influences and is influenced by the environment that surrounds it. Using the framework of disaster communication ecology, this study explores the discursive construction of journalism during the COVID-19 crisis. To understand this process in the field of journalism, we unpacked discourses concerning the coronavirus pandemic collected from interviews with journalists during the pandemic and from the U.S. journalism trade press using the Discourses of Journalism Database. Through discourse analysis, we discovered that during COVID-19 journalists discursively placed themselves in a responsible but vulnerable position within the communication ecology—not solely as a result of the pandemic but also from environmental conditions that long preceded it. Journalists found their reporting difficult during the pandemic and sought to mitigate the forces challenging their work as they sought to reverse the flow of misinformation.

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As immigration turns into the scapegoat of political and social tensions all over the world and politicians that seem to be talking about migration flows communicate instead their conception of the world and where it should head, this study investigates the refugee crisis of 2015 as represented in the two global television channels RT and BBCW. Widely studied for the depiction the press gives of the refugees, for the first time the refugee crisis is analyzed as an arena where competing understandings of international relations are constructed, in a media ecology where a myriad of actors have a chance to foreground their truth and where wars are fought, and possibly won, through the weapons of values, culture and the attraction they exercise (Nye Jr. 1990, 2013). Borrowing the concept of strategic narratives from international relations (Miskimmon et al. 2013) and applying it to textual analysis, the study employs framing analysis to operationalize it and explores a sample of 144 news items (74 from RT and 70 from BBCW) broadcast in August and September 2015 to retrace the narratives of the two channels. It finds out that, although conflicting with each other, both RT’s and BBCW’s narratives are strategic and aim at constructing a past, present and future of international relations that can influence what we expect, consider acceptable or conceivable on the international theater. The channels’ narratives are about the destiny of Europe and countries, depicting a reality that still responds to old Cold War dividing lines. An analysis of the actors allowed to speak and represented as acting confirms that in RT and BBCW political elites and the nations they represent have a greater chance, compared to other actors, to define international politics and shape shared understandings of how international relations works and where it is heading.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-12-02T12:38:49Z No. of bitstreams: 1 Maria Eliane de Souza.pdf: 947004 bytes, checksum: 4a68ef611e70f4a832b423479186d55d (MD5) / Made available in DSpace on 2016-12-02T12:38:49Z (GMT). No. of bitstreams: 1 Maria Eliane de Souza.pdf: 947004 bytes, checksum: 4a68ef611e70f4a832b423479186d55d (MD5) Previous issue date: 2016-09-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The objective of this research was to investigate the pedagogical use of Information and Communication Digital Technologies (TDIC), teachers and students from public schools in the city of São Paulo Education (RME). We conducted a qualitative study we applied questionnaires to RME's students and teachers of. Established categories of analysis that emerged from the interpretation of the data. This research has the theoretical framework in studies of Postman (1970; 2000) and McLuhan (1969, 2010), who study very properly ecology media. Castells (2003), which analyzes the knowledge society by stating that it is a society of multiple learning opportunities and for the first time the human mind is a direct productive force. Basbaum (2005) and his studies on the reorganization of the senses through technologies. Alegretti (2012) helps to analyze the extended school through mobile technologies. We read and Di Felice (2014), dealing with very domain, the contemporary cultural context reticular structured in media networks that enable the network dialog. Coll (2013), which proposes the concept of a new ecology of learning arising from digital technologies of information and communication. We found that the objectives of this study were achieved by identifying the inherent technological artifacts of the new media ecology, which are in use by students and public school teachers of RME of São Paulo and the TDIC mediation potential for effective integration and transformation of the school curriculum / O objetivo dessa pesquisa foi investigar o uso pedagógico das Tecnologias Digitais de Informação e Comunicação (TDIC), por professores e alunos de escolas públicas da Rede Municipal de Ensino de São Paulo (RME). Realizamos um estudo qualitativo em que aplicamos questionários para alunos e professores da RME de São Paulo. Estabelecemos categorias de análises que emergiram da interpretação dos dados obtidos. A presente pesquisa tem como marco teórico os estudos de Postman (1970; 2000) e McLuhan (1969; 2010), que estudam com muita propriedade a ecologia dos meios. Castells (2003) que analisa a sociedade do conhecimento ao afirmar que é uma sociedade de múltiplas oportunidades de aprendizagem e que pela primeira vez a mente humana é uma força produtiva direta. Basbaum (2005) e seus estudos sobre a reorganização dos sentidos por meio das tecnologias. Alegretti (2012) contribui ao analisar a escola estendida por meio das tecnologias móveis. Lemos e Di Felice (2014), abordam com muito domínio, o contexto cultural contemporâneo reticular estruturado nas redes midiáticas que viabilizam o diálogo em rede. Coll (2013), que propõe o conceito de uma nova ecologia da aprendizagem decorrente das tecnologias digitais da informação e comunicação. Constatamos que os objetivos dessa pesquisa foram atingidos ao identificarmos os artefatos tecnológicos inerentes da nova ecologia midiática, que estão em uso por alunos e professores de escolas públicas da RME de São Paulo e o potencial de mediação das TDIC para efetiva integração e transformação do currículo escolar

The new “Joker” movie, directed by Todd Phillips, was released in 2019 and brought a range of fervent and controversial discussion both in critics and audiences. Nevertheless, the “Joker” persona is tightly associated with comics and the superhero movie genre, and usually depicted in a particular way. However, the new movie differs in vital points. This study aims to explore the differences that lie between the “Joker”, and his depiction in the superhero genre. In order to investigate this inquiry, we conducted an exploratory research, and used latent content analysis. From our results, we extrapolate that the new movie constructs a more humane and approachable image of the “Joker”, as opposed to the “nameless” and “cold-blooded” villain. Simultaneously, we concluded that the movie adopts a more realistic and less entertaining approach towards violence, a prominent characteristic in superhero movies

This master’s thesis offers a contribution to the ongoing debate on the utilization of social media by a world leader. It focuses on the role of president Zelensky as a political leader and his online communication in relation to the Russian invasion of Ukraine. This study investigates the role of a diplomatic practice in an online environment. An abductive content analysis is used for this research. President Zelensky’s Twitter communication is divided into the categories of Political communication, Anti-Russia discourse and Leadership communication. Tweets of president Zelensky between February 24, 2022, and February 24, 2023, have been used as an empirical material employing the Twitter advanced search. The theoretical perspectives of Diplomacy and Media Ecology are therefore utilized to create an understanding of Zelensky’s communication. The results of the study reveal that president Zelensky incorporates in his Twitter communication different diplomatic concepts that are affected by the current Media Ecology, while traditional diplomatic negotiations are only reported on through his Twitter account, other aspects of modern diplomatic practices, namely Track II Diplomacy and Public Diplomacy are highlighted throughout the tweets.

The print newspaper has been a fundamental part of liberal democracies since their inception. Its origin lies in the invention of the moveable-type printing press by Gutenberg in the mid-15th century but, as other technological communication tools were developed, especially in the 20th century, it gradually lost its share in the media landscape. This master’s thesis explores the materiality of the newspaper as it is being replaced by digital counterparts. What does this shift entail from an Interaction Design perspective? A literature review, semi-structured interviews, and a material-centred interaction design process are used to delve into this question. The result is a Speculative Design artefact made of wood veneers that vindicates Slow Technology Design as an approach for a meaningful news-reading experience. Additionally, it is suggested the consideration of a holistic approach from the humanities and Media Ecology to enrich the critical approach of Interaction Design towards technology.

This book is about the participatory aesthetics of the fantastic. In it, the author argues that the definition of the fantastic presented by Tzvetan Todorov in 1970 can be used, provided it is first adapted to a media-ecological framework, to theorize the role of aesthetic participation in the creation of secondary worlds. Working within a hermeneutical tradition, Todorov understands reader participation as interpretation, in which the creative ambiguities of the literary object are primarily epistemological. However, it is here argued that the aesthetic object of the fantastic is also characterized by material ambiguity. The purpose of this dissertation is then to present a conceptual framework with which to theorize the relation between the material and the epistemological ambiguity of the fantastic. It is argued that such a framework can be found in an ecological understanding of aesthetic participation. This, in turn, entails understanding human subjectivity as a process always already embodied in a material environment. To this extent, the proposed theoretical framework questions the clear and oppositional distinction between form and matter, as well as that between mind and body, nature and culture, and human and non-human, on which a modern and humanist notion of subjectivity is based. And in this sense, the basic ecological assumptions of this dissertation are posthumanist, or non-humanist. From this position, it is argued that an ecological understanding of participation offers a means to reformulate the function of a number of concepts central to studying the aesthetics of the fantastic, most notably the concepts of media, genre and text. As the fantastic focuses on the creation of other worlds, it is an aesthetics of coming into being, of ontogenesis. Accordingly, it will be argued that the participatory aesthetics of the fantastic operationalizes the ontogenesis of media, genres and texts. By mapping the ontogenesis of three distinct media ecologies – the media ecology of fantasy and J. R. R. Tolkien’s secondary world Middle-earth; the media ecology of the American comic book superhero Miracleman; and the media ecology of William Blake – this book argues that the ecological imagination generates world. Per Israelson has been a doctoral candidate in the Research School of Studies in Cultural History at the department of Culture and Aesthetics, Stockholm University. Ecologies of the Imagination is his dissertation.

The study researches the media habits and attitude of the Swedish youths toward the Swedish film industry. By using official sources and literature about the Swedish film industry and media statistics it becomes clear that Swedish film attracts a minority of the Swedish cinema attenders, and that the media habits of the Swedish youths favors foreign movies. It becomes clear that youths have a relatively negative attitude towards Swedish movies, which is seen as dull in comparison to foreign movies.

Made available in DSpace on 2016-04-29T14:23:38Z (GMT). No. of bitstreams: 1 Clayton Policarpo Barbosa Vicente.pdf: 12052423 bytes, checksum: 41d80125cbcf32362131b71fa31cde00 (MD5) Previous issue date: 2015-09-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In every step in ways of producing language, we started to live in new communicative and cultural ecologies, that present themselves in an increased semiodiversity (Santaella, 2010, p. 63). New environments are configured, leaving sometimes to the art the role of mediating and reach new limits that broaden the understanding of the generated changes by the emerging possibilities. In order to trace reflections and propose a theoretical and methodological basis concerning the creation of the artistic narratives on digital platforms, this paper seeks, from monitoring the several steps of a developed network project, the Global Strike (globalstrike.net), to prepare a critical repertoire for analysis and creation of aesthetic manifestations that use hypermedia languages. We start from an ecological perspective, when different agents tend to be articulated in interactive processes and produce a reticular and flat organized flows. Definitions are traced that we hope to strengthen the understanding about works that are limited in such model. To clarify terms like communication s ecology and interstitial narratives, we seek to restructure concepts like author, work and observer. By the time we identify a political dimension in such experiences, as these constitute temporary practice and through heterogeneous associations / A cada avanço nos modos de produzir linguagem, passamos a habitar novas ecologias comunicacionais e culturais que se apresentam em uma semiodiversidade cada vez maior (Santaella, 2010, p. 63). Novos ambientes se configuram, cabendo por vezes à arte o papel de mediar e alçar novos limites que ampliem a compreensão das alterações geradas pelas possibilidades que emergem. Com o intuito de traçar reflexões e propor uma base teórica e metodológica acerca do modo de produção de narrativas artísticas em plataformas digitais, o presente trabalho busca, a partir do acompanhamento das diversas etapas de um projeto desenvolvido em rede, o Global Strike (globalstrike.net), elaborar um repertório crítico para análise e criação de manifestações estéticas que utilizam linguagens hipermidiáticas. Partimos de uma perspectiva ecológica, em que diferentes agentes tendem a se articular em processos interacionais e produzir fluxos reticulares e horizontalmente organizados. São traçadas definições que esperamos que fortaleçam a compreensão de obras que se circunscrevem em tal modelo. Ao elucidar termos como ecologia da comunicação e narrativas intersticiais, buscamos reestruturar conceitos como autor, obra e observador. Ao tempo que identificamos uma dimensão política em tais experiências, visto que estas se constituem provisórias e por meio de associações heterogêneas