This study looks into communicative processes and media practices among members of a subaltern social movement. The aim is to gain an understanding of how these processes and practices contribute to symbolic cohesion in the movement, how they develop and are socialized into practices, and how these processes and practices help challenge hegemonic groups in society. These questions are explored through a qualitative study, based on fieldwork and interviews, of a subaltern social movement. The empirical object of the study is the Brazilian Landless Workers Movement (MST), which was founded in 1984 to promote agrarian reform and defend the rights of rural workers in Brazil.   At the macro-level, the discussion addresses social realities marked by the meta-processes of globalisation, neo-liberalisation, and mediatisation. Against this background, the experiences of MST militants and of the movement as a whole help us to understand how different communicative processes play a role in the ways people experience globalisation, neo-liberalisation, and mediatisation in their daily lives. Departing from an understanding of communication as a process that structures practices (mediated and non-mediated), this study questions the media-centric understanding of communication, arguing that media practices are created through appropriation processes.   The results show that communicative processes are crucial to reinforcing values and symbologies associated with the rural worker identity. There is also a high level of reflexivity about media practices and an understanding that they must serve the principles of the collective. As a consequence, the movement seeks to maintain control over media, routinely discussing and evaluating the adoption and use of media. The interviews show ambivalence towards the alleged dialogic and organisational potential of digital media and to the adaptability of these media to the MST’s organisational processes. Through observation, it is possible to conclude that media have an instrumental function, as opposed to a structural function, in the processes of social transformation engendered by the MST. / This study looks into communicative processes and media practices among members of a subaltern social movement. The aim is to gain an understanding of how these processes and practices contribute to symbolic cohesion in the movement, how they develop and are socialized into practices, and how these processes and practices help challenge hegemonic groups in society. These questions are explored through a qualitative study, based on fieldwork and interviews, of a subaltern social movement. The empirical object of the study is the Brazilian Landless Workers Movement (MST), which was founded in 1984 to promote agrarian reform and defend the rights of rural workers in Brazil. The results show that communicative processes are crucial to reinforcing values and symbologies associated with the rural worker identity. There is also a high level of reflexivity about media practices and an understanding that they must serve the principles of the collective. As a consequence, the movement seeks to maintain control over media, routinely discussing and evaluating the adoption and use of media. The interviews show ambivalence towards the alleged dialogic and organisational potential of digital media and to the adaptability of these media to the MST’s organisational processes.

Este trabalho tem como objetivo principal posicionar o conceito de desenho de escuta. Para tal, articula-se uma composição teórica situada na convergência entre estudos do som, etnografia de mídias, pesquisa em criação artística, e filosofias críticas da representação. Neste início de século XXI, a escuta é empregada explicitamente como um bem material e imaterial distribuído entre mercantilização de audiências, pesquisa em arte e debate ético. Para situar a noção de desenho de escuta como um operador conceitual que responde a este contexto, o trabalho divide-se em duas grandes partes: a primeira parte posiciona o problema geral da tese mediante a descrição de dispositivos de poder que formam políticas majoritárias da auralidade; a segunda parte desdobra o conceito de desenho de escuta como um operador e um designador de variações do agenciamento aural. Na primeira parte, descreve-se uma variedade de situações materiais de consumo de áudio no contexto do complexo militar-entretenimento, particularmente no ambiente de consumo fonográfico online. Neste contexto, analisa-se um dispositivo paradigmático de racionalização instrumental da escuta, e apresenta-se a necessidade teórica de se pensar uma áudio virologia. Na segunda parte, aprecia-se uma transformação epistêmica em curso no âmbito da pesquisa em música no Brasil; e descreve-se a noção de otografia, núcleo conceitual da produção artística que desenvolvi ao longo desta pesquisa de doutorado. A metodologia analítica permite constatar, na primeira parte, a transição de um regime de regulação moral da escuta musical baseado na disciplina para um regime baseado no controle; Na segunda parte, o assunto principal é uma diversidade de pesquisas artísticas que ativam o particular e o local como dimensões a serem recontextualizadas no âmbito da pesquisa em arte. O pressuposto básico desta tese é o de que a escuta é uma prática a ser pensada primordialmente em termos de agenciamento de desejo. Tal pressuposto conduz o trabalho a eleger a esquizoanálise como o seu principal aliado teórico, o que lhe permite esquivar-se de uma série de binarismos usualmente pressupostos pela discursividade acadêmica, tais como natureza e cultura, local e global, musical e extramusical. O desenho de escuta é necessariamente uma prática e um conceito: uma prática de consolidação de territórios existenciais específicos em função dos meios materiais agenciados; e um operador de linguagem, mediante o qual se pode elaborar um saber enunciado a partir do corpo, de ações particularmente significativas, de devires. / This thesis aims to position the concept of listening design. For this, it articulates a theoretical composition situated in the convergence between sound studies, media ethnography, practice-based research, and philosophies critical to representation. At the beginning of the twenty-first century, listening is explicitly used as a material and immaterial good distributed among audience commoditification, art and ethical debate. In order to situate the notion of listening design as a conceptual operator responding to this context, this work is divided into two main parts: the first part poses the general problem of the thesis by describing a set of power apparatuses that form majoritary policies of aurality; the second part unfolds the concept of listening design as both an operator and designator for practices transforming aural assemblages. In the first part, I describe a variety of material situations of audio consumption in the context of the military-entertainment complex, mainly the environment of online audio consumption. In this context, I analyze a paradigmatic apparatus for instrumental rationalization of the listening activity, and I assess the theoretical need to think in terms of an audio virology. In the second part, I discuss an ongoing epistemic transformation in the field of music research in Brazil; followed by a description of notion of otography, which is the conceptual nucleus of the artistic production that I developed throughout this doctoral research. The analytical methodology carried out here allows us to verify, in the first part, the transition from an economic-political regime of musical listening based on the discipline to a regime of regulation based on control; In the second part, the focus is on instances of artistic research that activates the particular and the local as dimensions to be recontextualized in the scope of academic art research. The core of this thesis is based on the argument that listening is a practice to be thought primarily in terms of assemblage of desire. This presupposition leads the work to take schizoanalysis as its main theoretical ally, which allows it to dodge a series of binarisms usually presupposed by academic discursiveness, such as nature and culture, local and global, musical and extramusical. Listening design is necessarily a practice and a concept: a practice of consolidation of specific existential territories in function of assembled material media; and a language operator through which one can elaborate a particular knowledge enunciated from the body, from particularly meaningful actions, from becomings.

Este trabalho tem como objetivo principal posicionar o conceito de desenho de escuta. Para tal, articula-se uma composição teórica situada na convergência entre estudos do som, etnografia de mídias, pesquisa em criação artística, e filosofias críticas da representação. Neste início de século XXI, a escuta é empregada explicitamente como um bem material e imaterial distribuído entre mercantilização de audiências, pesquisa em arte e debate ético. Para situar a noção de desenho de escuta como um operador conceitual que responde a este contexto, o trabalho divide-se em duas grandes partes: a primeira parte posiciona o problema geral da tese mediante a descrição de dispositivos de poder que formam políticas majoritárias da auralidade; a segunda parte desdobra o conceito de desenho de escuta como um operador e um designador de variações do agenciamento aural. Na primeira parte, descreve-se uma variedade de situações materiais de consumo de áudio no contexto do complexo militar-entretenimento, particularmente no ambiente de consumo fonográfico online. Neste contexto, analisa-se um dispositivo paradigmático de racionalização instrumental da escuta, e apresenta-se a necessidade teórica de se pensar uma áudio virologia. Na segunda parte, aprecia-se uma transformação epistêmica em curso no âmbito da pesquisa em música no Brasil; e descreve-se a noção de otografia, núcleo conceitual da produção artística que desenvolvi ao longo desta pesquisa de doutorado. A metodologia analítica permite constatar, na primeira parte, a transição de um regime de regulação moral da escuta musical baseado na disciplina para um regime baseado no controle; Na segunda parte, o assunto principal é uma diversidade de pesquisas artísticas que ativam o particular e o local como dimensões a serem recontextualizadas no âmbito da pesquisa em arte. O pressuposto básico desta tese é o de que a escuta é uma prática a ser pensada primordialmente em termos de agenciamento de desejo. Tal pressuposto conduz o trabalho a eleger a esquizoanálise como o seu principal aliado teórico, o que lhe permite esquivar-se de uma série de binarismos usualmente pressupostos pela discursividade acadêmica, tais como natureza e cultura, local e global, musical e extramusical. O desenho de escuta é necessariamente uma prática e um conceito: uma prática de consolidação de territórios existenciais específicos em função dos meios materiais agenciados; e um operador de linguagem, mediante o qual se pode elaborar um saber enunciado a partir do corpo, de ações particularmente significativas, de devires. / This thesis aims to position the concept of listening design. For this, it articulates a theoretical composition situated in the convergence between sound studies, media ethnography, practice-based research, and philosophies critical to representation. At the beginning of the twenty-first century, listening is explicitly used as a material and immaterial good distributed among audience commoditification, art and ethical debate. In order to situate the notion of listening design as a conceptual operator responding to this context, this work is divided into two main parts: the first part poses the general problem of the thesis by describing a set of power apparatuses that form majoritary policies of aurality; the second part unfolds the concept of listening design as both an operator and designator for practices transforming aural assemblages. In the first part, I describe a variety of material situations of audio consumption in the context of the military-entertainment complex, mainly the environment of online audio consumption. In this context, I analyze a paradigmatic apparatus for instrumental rationalization of the listening activity, and I assess the theoretical need to think in terms of an audio virology. In the second part, I discuss an ongoing epistemic transformation in the field of music research in Brazil; followed by a description of notion of otography, which is the conceptual nucleus of the artistic production that I developed throughout this doctoral research. The analytical methodology carried out here allows us to verify, in the first part, the transition from an economic-political regime of musical listening based on the discipline to a regime of regulation based on control; In the second part, the focus is on instances of artistic research that activates the particular and the local as dimensions to be recontextualized in the scope of academic art research. The core of this thesis is based on the argument that listening is a practice to be thought primarily in terms of assemblage of desire. This presupposition leads the work to take schizoanalysis as its main theoretical ally, which allows it to dodge a series of binarisms usually presupposed by academic discursiveness, such as nature and culture, local and global, musical and extramusical. Listening design is necessarily a practice and a concept: a practice of consolidation of specific existential territories in function of assembled material media; and a language operator through which one can elaborate a particular knowledge enunciated from the body, from particularly meaningful actions, from becomings.

The objective of this study is to examine historically the policies of theDirectorate of Documentary Programs (DDP) of the Turkish Radio Television Corporation (TRT). Since there is very little research about particular sphere of the public service broadcasting in Turkey it is aimed to contribute to this area of study. In the course of the study, historical conditions, structural factors, broadcasting policies, the conditions of public broadcasting of a country, and the role of individuals and the research methods applied in media studies were taken into consideration. Furthermore, governmental, military, lawful, economic, cultural policies, and policies emerging from the institutional mechanisms, and practices of individuals are illustrated regarding the different time periods. In this study, documentary research, observation, interview, and internet research were used as data gathering methods. Literature analysis, historical analysis and interpretative analysis were employed as methods of analysis. It is mentioned that the role of individuals in the analysis of media studies is not paid much attention, additionally, especially in Turkey, research conducted about media generally ignores the methods of ethnography, field research and interpretative analysis. In analyzing the policies of DDP, it is asserted that except for the structural effects, individuals/actors have also roles in shaping these policies. Furthermore, to examine the media, particularly television policies, it is maintained that there is a need to carry out analysis at the individual level by the help of conducting field research, applying methods of ethnography, and interpretative analysis in Turkey. Finally, it is claimed that to a large extend DDP have been under the effects of public broadcasting notion of Turkey, and there is a need for improving the institutional policies for the DDP to serve the public interest.

This project investigates non-cisgender people’s use of media from outside of their own cultural location in processes of gender identity formation. I explored questions of which transcultural texts were important to non-cisgender audiences, what they thought about gender representation in media that originated both within and outside of their own cultural sphere, and how these representations mattered to them as they negotiated their own gender variant identities, through a case study along the U.S.-Japan axis of media exchange. I conducted in-depth, semi-structured interviews with 44 participants, 21 from the U.S. and 23 from Japan, between June and September of 2022. Both U.S. and Japanese informants said that transcultural media played an important role in their discovery, understanding, and ongoing negotiation of their gender identities, but their interpretations of the same texts diverged significantly. While U.S. informants praised Japanese media for its transgressive representations of gender fluidity, Japanese informants called Japanese media stereotypical and regressive, and actively avoided media from their own local context. My findings point to the ongoing influence of global power dynamics in which the U.S. is positioned at the “forefront” of global discourses on gender and equality, and also to the significant role of the Internet and streaming media in processes of gender globalization. I utilize the concept of imaginative resources—images and ideas, transmitted through media, that audiences use to (re)imagine themselves and the world around them—to help explain informants’ negotiation of gender in an increasingly globalized and mediatized world. Drawing from hybridity theory, I argue that transcultural media helps audiences access imaginative resources by means of—not in spite of—the cultural distance between production and reception. Cultural distance enables greater polysemy and invites audiences to perform alternative readings of media texts, creating imaginative resources that they can deploy to trouble existing hegemonies. / Media & Communication

No description available.

This dissertation examines a community of men who write online parenting blogs—known as “dad bloggers.” The emergence of dad bloggers in North America is nascent, under-researched, and a result of recent shifts in work-family arrangements, gender expectations, and the proliferation of social media technologies. Accordingly, this dissertation is designed to provide three distinct, yet interrelated, contributions to the literature on: families and parenthood; gender and masculinities; and media communications and communities. Taking a cyber-ethnographic approach, this is the first study of dad bloggers to collect online and offline data in order to investigate personal, interpersonal, and public meaning-making practices. The entire dataset consists of 1,430 blog posts written by 45 bloggers, approximately 50 hours of fieldwork conducted at The Dad 2.0 Summit conferences from 2016 to 2018, and 5 in-depth interviews. In three substantive chapters, I address: (1) the collective actions and goals that shape dad bloggers’ group culture and public engagement; (2) the creation and dissemination of meanings for fatherhood in an online context; and (3) the negotiation of gendered family roles and articulation of masculinity discourses by fathers. Collectively, this research provides new empirical and theoretical insights about the social construction of fatherhood in the contemporary digital age. / Dissertation / Doctor of Philosophy (PhD)

Il presente lavoro di tesi si propone di ricostruire le “logiche mediali” dell’editoria promossa dalle minoranze etniche attraverso un approccio etnografico. Nella prima parte si ricostruisce lo scenario mediale, culturale, istituzionale entro il quale si dipanano le attività editoriali, con particolare attenzione alle profonde trasformazioni indotte dalle dinamiche globali e dalle migrazioni internazionali. Nella seconda parte, si ricostruisce il dibattito sulle culture mediali etnico-minoritarie a partire dall'analisi dei contributi più significativi, con un approfondimento meta-teorico sugli approcci metodologici più ricorrenti e, infine, la descrizione della realtà editoriale italiana. Nella terza parte, si indaga il significato del processo di framing in relazione alla capacità dell’istituzione giornalistica di fornire definizioni della situazione sociale e, al contempo, produrre un allargamento delle forme di cittadinanza. Nella quarta e ultima parte, si espongono i risultati di una ricerca etnografica che ha coinvolto un campione composto da sei redazioni impegnate nella produzione di contenuti televisivi. Dall’indagine qualitativa emerge una panoplia di culture produttive, in cui la professionalità e l’etnicità del soggetto vengono ri-negoziate sulla base delle peculiarità di ciascun assetto produttivo. Nondimeno, le culture mediali etnico-minoritarie rappresentano un punto d’osservazione privilegiato dal quale cogliere le complesse dinamiche che investono il mediascape contemporaneo nell’epoca della convergenza. / The dissertation is an attempt to reconstruct ethnic minority publishing media logic through an ethnographic approach. The first part is a depiction of the media, cultural, institutional scenario, where publishing practices unfold, with a specific focus on meaningful transformations provoked by both global dynamics and international migrations. The second part is a reconstruction of the debate upon ethnic media culture, or rather, an analysis of the most salient approaches and a meta-theoretical examination of the most recurring methodologies. The third part provides an insight on the process of framing with relation to the journalism, and the possibility to offer a definition of the social situation and to produce an enlargement of the concept of citizenship. The fourth part is a presentation of the ethnographic results of a research upon a sample compounded by six newsroom. Qualitative outcomes reveals a huge range of productive cultures, in which both professionalism and ethnicity are negotiated in base of the specific features of each organization. Nevertheless, ethnic minority media culture represents a privileged viewpoint from where to observe the complex dynamics affecting the contemporary mediascape in the convergence era.

No description available.

India experienced huge media coverage from all over the world associated with the Nirbhaya-case in 2012, when a young middleclass girl was brutally raped in a bus by five men in Delhi. After this horrifying incident a lot of demonstrations followed all over India. Women in the urban areas was arguing for the same rights as men and was standing up for a more equal society where everybody is able to live as freely as someone else, no matter what gender you was born with. This study aim to examine what experiences, perceptions and opinions Indian journalists in English written press have of their reality from a gender perspective. We wanted to know how and when Indian journalist represent women and if there is a certain way of thinking about representation of women in the media content. In interviews with a total of eleven journalists and ethnographic observations in two of India’s largest cities we tried to examine the structures and perceptions that influenced the journalist’s worldview and thus also the messages that appears in the news. By using the theory of structuration, agenda setting, performativity and intersectionality we examined what structures that the journalists live and operates within and how this is affecting the media content.