This article examines representations of the poor across three genres – the government’s Bulletin on Social Inclusion and Poverty Reduction, online news and online user comments – during the period ...that immediately followed the expiration of the first Serbian Poverty Reduction Strategy (2010–2012). The results show differences in the actors’ representation, and in attribution of causal and treatment responsibility. The Bulletin is characterised by the discourse of social inclusion, activation and responsibilisation of the poor. This discourse does not reach the news, which portrays the poor as passive beneficiaries of the government actions, as individuals in extreme poverty, and as the agentic working poor protesting for wages. In the online user comments, poverty is articulated as the personal experience of the commenters. The news discourse of state responsibility is echoed in the comments sections and further recontextualised into the discourse of political responsibility.
Konvergencija se često navodi kao ključna odlika medija u digitalnom dobu, dok pojam kultura konvergencije nastaje kako bi se načinio otklon od tehnocentričnog poimanja promena koje donosi ...kompjuterska mreža. Cilj ovoga rada je da ponudi analizu kulture konvergencije i odlika koje joj pripisuje Henri Dženkins, te da kritički preispita primenljivosti ovog pojma na celinu kompjuterski posredovanog komuniciranja. Tezu da je kultura konvergencije preovlađujuća ili poželjna kultura u digitalnom okruženju osporavaju gledišta da nisu svi internetski korisnici produktivni i kreativni, da je amaterska proizvodnja internetskih sadržaja u osnovi besplatni rad na kojem profitiraju internetske korporacije i da učešće u digitalnoj kulturi ne proširuje i ne produbljuje participaciju građana u društvenom životu.
In this article, we develop the concept of small acts of engagement (SAOE) in a networked media environment as a conceptual framework to study specific audience practices and as an agenda for ...research on these practices. We define SAOE, such as liking, sharing, and commenting, as productive audience practices that require little investment and are intentionally more casual than the structural and laborious practices examined as types of produsage and convergence culture. We further elaborate on the interpretive and productive aspects of SAOE, which allow us to reconnect the notions of a participatory culture and a culture of everyday agency. Our central argument is that audience studies’ perspective allows viewing SAOE as practices of everyday audience agency, which, on an aggregate level, have the potential to become powerful acts of resistance.
Convergence is often listed as the key characteristics of media in the digital age, while the concept of convergence culture originates from the attempt to avoid techno-centric view on the changes ...brought by the computer network. The aim of this paper is to provide an analysis of convergence culture and the attributes it has according to Henry Jenkins, and to critically examine the applicability of the term to the totality of computer mediated communication. The thesis that convergence culture is prevailing or desired culture in the digital environment is challenged by the views that not all internet users are productive and creative, that amateur production of internet content is in fact free labour capitalized by internet corporations and that participation in digital culture does not expand or deepen citizens’ participation in social life.
U radu analiziramo predstavljanje izbeglica na „Balkanskoj ruti“ u televizijskoj slici i novinskoj fotografiji. Rad ima za cilj da istraži kako se izbeglice predstavljaju u zemlji u kojoj izbeglička ...kriza nije politizovana i da ispita kako se izbeglice predstavljaju u različitim modalitetima - putem statičnih i pokretnih slika. Uzorak od 125 tekstova i televizijskih priloga prikupljen je tokom sedam dana u martu 2016. godine i tokom marta 2017. godine iz onlajn izdanja novina Blica i Politike, i večernjih dnevnika Radio-televizije Srbije i TV N1. Metoda vizuelne analize zasnovana je na Kresovoj i Van Lijuvenovoj vizuelnoj gramatici, i posebno na analizi vizuelnih toposa predstavljanja. U pogledu narativnih obrazaca predstavljanja identifikuje se pet toposa: drama, kretanje, primanje pomoći, higijena i igra. U konceptualnim obrascima pojavljuju se toposi porodice, dece, usamljenosti, žice i simboličke drugosti. Pozitivnije nego u drugim zemljama, ove su vizuelne predstave izbeglica su kontradiktorne – iako pozivaju na saosećaje i dalje konstruišu drugost i razlike između „nas“ i „njih“.
This paper provides an analysis of representations of the refugees on the "Balkan route" in television images and news photographs. The aim of the paper is to identify how the refugees are ...represented in the country in which the refugee crisis is not politicized, and to examine how the refugees are represented in different modalities - static and moving images. The sample, consisting of 125 texts and television news stories, has been collected during seven days in March 2016 and in March 2017 from online editions of daily newspapers Blic and Politika, and from evening newscasts of Radio-television of Serbia and TV N1. The method of visual analysis is based on Kress and Van Leeuwen's visual grammar, and specifically on the analysis of visual topoi of representation. In terms of narrative patterns of representation we identify five topoi: drama, movement, receiving help, hygiene and play. Within conceptual patterns there are topoi of the family, children, loneliness, wire and symbolic otherness. More positive than in other countries, these visual representations are contradictory - although they call for compassion, they still construct otherness and the differences between "us" and "them".
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