Audiovisual Media

The animated music videos of Radiohead, Chris Hopewell and Gastón Viñas are entwined by intertextual threads that refer to each other in a reciprocal and generative way. As a graphic artist and applied fan of the band Radiohead, Viñas has borrowed extensively from Radiohead's music videos and associated world components in order to build new storyworlds in which his own music videos and artwork live in constant dialogue with their intertextual counterparts. Through an analysis of music videos created by Viñas, Radiohead and Hopewell, this chapter draws on the concepts of intertextuality and dialogism to argue that fan-made music video can play a significant role within a broader process of what is termed 'dialogic world-building'. This 'world-building' process gradually becomes apparent across the chapter, as a complex web of woven threads emerges from interconnected analyses of music videos, thereby demonstrating that a transmedial and transauthorial approach can enable a holistic impression of the establishment, appropriation and regeneration of 'storyworlds'. This chapter appears in The Bloomsbury Handbook of Popular Music Video Analysis, edited by Lori Burns and Stan Hawkins (2019).

Within the broad historical context in which transmedia has been practiced and studied, David Bowie and Floria Sigismondi are instructive for their transformative approaches toward creating art across media, and for their alchemical process. As a collaborative team, their process is driven by an engagement with surrealist strategies of estrangement and analogical composition and a propensity for play. Their distinctive signature styles traverse mediums, space and time; in ways that move through and beyond narrative. Through an analysis of selected music videos, this chapter examines the transmediality of Bowie and Sigismondi’s oeuvres. By firstly exploring Bowie’s conception of himself as a medium, along with his persistent threads of ‘loose continuity’ across media and time, the author then examines the intersection of Bowie’s transmedial process with Sigismondi’s treatment of time as a medium. Drawing on the tenets of surrealism, along with the concepts of dialogic world-building, hauntology and ‘Gesamtkunstwerk’, the author proposes that for artists such as Bowie and Sigismondi, ‘transmedia surrealism’ may provide a more appropriate conceptual lens than the currently popular lens of transmedia storytelling.

This research addresses a recent period of the trajectory of Brazilian audiovisual production and its relationship with contemporary platforms of distribution and consumption of video on demand, VoD. National production of films, soap operas, series and other audiovisual consumer goods, prior to digital technologies, remained in closed and limited models. The advent of the internet and streaming technologies have enhanced the opening of the market to new forms of business, untying the productions of these limits. The objective of this work was to verify, through analytical data provided by companies, data obtained from qualitative research and content from personal interviews with market professionals, in addition to the referenced bibliography, as this new market for online distribution of videos implied expansion of the Brazilian market, especially when we focus on production. This trajectory has shown us that VoD has effectively become another window of opportunity for the dissem...

The chapter discusses the characteristics of audiovisual (AV) media sectors in the Baltic Sea region. Therein it focuses on the specifics of media indus- tries in small countries in the region as they are challenged in ways notably different from large countries with large domestic markets for media con- tent. It discusses the differences between the AV media industries in the Nordic and Baltic countries and suggests that while in the first case long- term welfare society policies and conscious policy-driven system building have conditioned growth and international success then also in the second case innovation policy rationales have facilitated recent growth and dynam- ics. It then discusses the specific challenges, especially platformisation to small media industries in contemporary globalising media markets, and suggests that opportunities to resist these challenges may be in local inter- sectoral cooperation, that is, in building cross-innovation systems.

This research addresses a recent period of the trajectory of Brazilian audiovisual production and its relationship with contemporary platforms of distribution and consumption of video on demand, VoD. National production of films, soap operas, series and other audiovisual consumer goods, prior to digital technologies, remained in closed and limited models. The advent of the internet and streaming technologies have enhanced the opening of the market to new forms of business, untying the productions of these limits. The objective of this work was to verify, through analytical data provided by companies, data obtained from qualitative research and content from personal interviews with market professionals, in addition to the referenced bibliography, as this new market for online distribution of videos implied expansion of the Brazilian market, especially when we focus on production. This trajectory has shown us that VoD has effectively become another window of opportunity for the dissem...

En este capítulo se analiza el papel que desempeñan hoy en día los medios de comunicación audiovisuales como herramienta pedagógica indispensable en el aula de español como segunda lengua (L2). En el primer apartado se considera el lugar que ocupan los medios audiovisuales en la enseñanza de la lengua de acuerdo con las directrices de las principales hojas de ruta curriculares y documentos de referencia. En el segundo apartado, se aborda cómo integrar los textos multimodales audiovisuales en el diseño curricular desde diferentes perspectivas: como un recurso que puede ayudar a mejorar la competencia lingüística; como un instrumento que fomenta la creatividad, el pensamiento crítico y la comunicación intercultural; y como una herramienta que puede impulsar el aprendizaje permanente de lenguas. En el último apartado, se proporcionan las directrices necesarias para el uso adecuado de los medios audiovisuales en el aula, incluida la creación de imágenes en movimiento, junto con una orientación sobre posibles estrategias que faciliten la labor de aquellos profesores y futuros docentes que se inicien en este campo.

In this chapter, the role of audiovisual media as an indispensable tool for teaching Spanish as a second language (L2) is examined. First, the place of audiovisual media in L2 Spanish teaching according to the main curricular documents and reference frameworks is discussed. Then, in the second section, a discussion is presented on how audiovisual multimodal texts can be integrated into curriculum design from different perspectives: as a resource to improve language skills; as an instrument to foster creativity, critical thinking and intercultural communication; and as a potential tool for developing lifelong language learning. Practical guidelines for the appropriate use of audiovisual media in the teaching of Spanish are offered in the final section, including the creation of making moving images, together with guidance on strategies to facilitate the work of teachers (current and future) intending to work in this field.

Abstrak Pembelajaran bahasa Arab merupakan pembelajaran bahasa Asing yang sampai saat ini masih dianggap sulit. Oleh karena itu, untuk membantu dalam memudahkan dalam pembelajaran bahasa Arab salah satunya dengan menggunakan media. Desain media yang digunakan dalam pembelajaran bahasa Arab harus mampu menyesuaikan dengan perkembangan zaman yang semakin mendunia. Pembelajaran bahasa Arab di sekolah-sekolah masih banyak yang menggunakan metode klasik yang membosankan dan menjenuhkan bagi para peserta didik. Dengan arus kehidupan yang semakin mendunia, diharapkan para guru mampu memanfaatkan media dengan sebaik mungkin. Agar dalam proses pembelajaran tercipta susasana yang menyenangkan dan jauh dari kata bosan dan jenuh. Media audiovisual merupakan cara yang dapat dimanfaatkan oleh seorang guru dalam memudahkan pembelajaran bahasa Arab. Alasannya dengan media audiovisual dapat menghasilkan gambar dan suara sekaligus. Media ini dapat dimanfaatkan untuk pembelajaran berbagai macam topik materi bahasa Arab, karena selain dapat diprogram secara fleksibel, juga dapat menampilkan gambar dan suara yang jelas sehingga penjelasan guru dapat tertuang di dalamnya. Media ini juga cocok untuk semua jenis modalitas, dan semua usia peserta didik. Kata Kunci: Media Audiovisual, Pembelajaran bahasa Arab. PENDAHULUAN Pembelajaran merupakan aktifitas antara guru dan peserta didik dalam dunia pendidikan yang membutuhkan berbagai komponen belajar mengajar yang meliputi: tujuan pembelajaran, materi, kegiatan pembelajaran, metode, alat, sumber pembelajaran, evaluasi, serta media pembelajaran.1 Komponen media dalam pembelajaran merupakan komponen yang penting karena dengan adanya media pembelajaran maka materi pelajaran akan mudah tersampaikan, lebih dimengerti dan dipahami oleh peserta didik. Tercapai atau tidaknya tujuan pembelajaran, efektif atau tidaknya pembelajaran juga dapat dipengaruhi oleh faktor media yang digunakan dalam pembelajaran. Salah satunya adalah dengan menggunakan media audiovisual. Media 1 Zainal Mustakim, Strategi dan Metode Pembelajaran, (Pekalongan: Matagraf Yogyakarta), hlm.47-50.

Abstrak Media merupakan salah satu bagian terpenting dari sumber belajar dalam pendidikan, begitu juga dalam pendidikan bahasa Arab. Ada 3 macam media yaitu visual, audio visual dan auditif. Akan tetapi, dalam tulisan ini lebih menekankan pada pembahasan mengenai media audiovisual sebagai sumber belajar dalam pendidikan bahasa Arab. Media audiovisual memiliki berbagai macam jenis seperti film,tv,inteenet dan sebagainya. Seorang guru dalam memilih dan menerapkan media yang digunakan saat proses pembelajaran harus sesuai dengan materi yang akan disampaikan serta menyesuaikan dengan daya tangkap siswa itu sendiri. Begitupun dalam menerapkan media audio visual, seorang guru harus menyesuaikan dengan materi, maharah dan daya tangkap siswa itu sendiri, sehingga proses pembelajaran dan pendidikan bahasa Arab dapat berjalan dengan maksimal, serta dapat mencapai tujuan yang diinginkan. Kata Kunci : Media pembelajaran, sumber belajar, media audiovisual dalam pembelajaran bahasa Arab PENDAHULUAN Pendidikan merupakan proses pendewasaan bagi peserta didik dalam mengembangkan bakat, potensi, keterampilan yang di miliki siswa dalam menjalani kehidupan., maka pendidikan harus didesain agar dapat memberikan 1

Στις μέρες μας, τα Οπτικοακουστικά Μέσα διαδραματίζουν σημαντικό ρόλο στην Εκπαίδευση Ενηλίκων, και είναι ο λόγος για τον επαναπροσδιορισμό τους στη Μεθοδολογία της Διδασκαλίας. Τα Οπτικοακουστικά Μέσα είναι κομμάτι του τριπτύχου Τεχνολογίες Πληροφορίας και Επικοινωνίας (ΤΠΕ), τα οποία ενσωματώνουν πληροφοριακά και επικοινωνιακά συστήματα, καθώς και νέα τεχνολογικά συστήματα. Η συγκεκριμένη θεωρητική μελέτη επιχειρεί να συνοψίσει, μέσα από βιβλιογραφική επισκόπηση, τους ποικίλους παράγοντες που φαίνεται να έχει η χρήση των Οπτικοακουστικών Μέσων στην Εκπαίδευση Ενηλίκων. Τα Οπτικοακουστικά Μέσα, όπως αντανακλάται στη βιβλιογραφία, φαίνεται να προϋποθέτουν έναν νέο τρόπο προσέγγισης για μια αποτελεσματική διδασκαλία, η οποία απαιτεί πολλές νέες δεξιότητες και ικανότητες.

This book combines economic studies of innovation systems with studies of mediatisation, media convergence, trans- and cross-media and with other approaches within media and culture studies. It elaborates on a new concept, cross-innovation, referring to co-innovation and convergence processes taking place between different sectors of digital service economies. The proposition is that digitisation and mediatisation processes are conditioning new inter-sector dialogues and the emergence of new cross-innovation systems at the borderlines of formerly distinct industries. 

The case study industries presented are, on the one hand, audiovisual media (film, television, videogames, etc.) and health care, education or tourism, on the other hand. The book builds on 2 years of empirical work across Nordic and Baltic countries, putting a special emphasis on the opportunities and challenges for small countries as they build the cross-innovation systems in the era of media globalisation and platformisation of services. The empirical research of 144 interviews with stakeholders (policy makers, entrepreneurs, managers, professionals) from all four sectors and of secondary data and documentary analysis. The findings tell of complex stories how global platformisation of tourism undermines the emergence of related cross-innovation systems in small countries; how fragmentation of local education and health care markets does not enable the scalability of innovations, but protects local innovation systems for being overtaken by global platform giants. The book has stories of successful facilitation of cross-innovation as well as failures to do so.

Η απόκτηση επικοινωνιακών δεξιοτήτων είναι ο ασφαλής τρόπος για να μπορέσουμε να κατανοήσουμε όλους τους κανόνες της επικοινωνίας. Η απόκτηση τέτοιων δεξιοτήτων μάς επιτρέπει να χρησιμοποιούμε αποτελεσματικά τις τεχνικές της επικοινωνίας στον πραγματικό αλλά και στον εικονικό (ψηφιακό) κόσμο. Η εργασία αυτή παρουσιάζει δεδομένα, μέσω της επαναλαμβανόμενης χρήσης των οιονεί πειραμάτων σε Κύπρο και Ελλάδα, τα οποία συμβάλλουν κυρίως στην ποιότητα της εκπαίδευσης, και συγκεκριμένα στην εκπαίδευση ενηλίκων. Το πλαίσιο στο οποίο επικεντρώνεται είναι η χρήση των οπτικοακουστικών μέσων και του οπτικοακουστικού περιεχομένου ως εργαλείου για μια αποτελεσματική διδασκαλία. Πρωταρχικός στόχος της έρευνας αυτής ήταν πρωτίστως οι συμμετέχοντες στο δείγμα να κατανοήσουν επικοινωνιακές έννοιες και δευτερευόντως να αποκτήσουν δεξιότητες αποτελεσματικής διαπροσωπικής και ομαδικής επικοινωνίας.

This paper deals with the main legislative instrument of the EU audiovisual policy, the Television without Frontiers Directive, and focuses on critical examination of its cultural goals. After a brief review of the evolvement of culturally oriented objectives in the European broadcasting legislation, the paper turns to the presentation of existing results of the program quota policy across Europe. The main part of the paper is devoted to the empirical case study of the implementation of the TWF Directive into the Czech media legislation, focusing on how the Czech TV stations comply with the quotas on European and independent works. These statistics are further confronted with Czech TV audience ratings, enabling for a more qualified evaluation of the Directive’s outcomes.

Using children’s literature to support mathematics instruction has been connected to positive academic outcomes and learning dispositions; however, less is known about the use of audiovisual based narrative mediums to support student mathematical learning experiences. The current exploratory, qualitative study involved teaching three lessons based on challenging, problem solving tasks to two classes of Australian Year (Grade) 5 students (10 and 11 year olds). These tasks were developed from various narratives, each portrayed through a different medium (movie clip, short film, picture story book). Post lesson interviews were undertaken with 24 students inviting them to compare and contrast this lesson sequence with their usual mathematics instruction. Drawing on a self-determination theory lens, our analysis revealed that these lessons were experienced by students as both highly enjoyable and mathematically challenging. More specifically, it was found that presenting mathematics task...

Purpose The purpose of this paper is to provide a discussion on whether more traditional documents like a film of the classical silent era can be discussed as an unbounded document. Design/methodology/approach By taking Gérard Genette’s concept of the paratext as point of departure and focussing on the exhibition of Nanook of the North during the silent era, the paper discusses elements neglected in most of the academic writings about the film, thereby illustrating the highly problematic notion of film as one original or authentic document that comes as a repeatable unit with clear borders. Findings More a “one-time performance” (Hansen, 1991, p. 93) than identical repetition of the film is one argument for talking about a document unbounded. Genette’s concept of the paratext provides a tool to handle the fluid character of these performances and makes us conscious about the complexity of elements both outside and inside the document and on the border between the inside and the outs...

This research addresses a recent period of the trajectory of Brazilian audiovisual production and its relationship with contemporary platforms of distribution and consumption of video on demand, VoD. National production of films, soap operas, series and other audiovisual consumer goods, prior to digital technologies, remained in closed and limited models. The advent of the internet and streaming technologies have enhanced the opening of the market to new forms of business, untying the productions of these limits. The objective of this work was to verify, through analytical data provided by companies, data obtained from qualitative research and content from personal interviews with market professionals, in addition to the referenced bibliography, as this new market for online distribution of videos implied expansion of the Brazilian market, especially when we focus on production. This trajectory has shown us that VoD has effectively become another window of opportunity for the dissem...

The article analyzes the comments on Twitter during the central TV debate at the end of the regional election campaign 2016 in Rhineland-Palatinate (Germany). It reveals that Social TV is here more an instrument of mobilization by political parties than a possibility for deliberation and discussion among citizens.

Bilder in Film und Fernsehen werden häufig von Musik begleitet. Bei Videoclips sowie Konzert- und Opernverfilmungen dagegen steht die Musik eindeutig im Vordergrund. Durch vielfältige Möglichkeiten des Zusammenspiels von Bild und Musik ergeben sich jeweils unterschiedliche Wirkungen, die für Wissenschaftler unterschiedlicher Richtungen (Medienwissenschaft, Psychologie, Soziologie, Pädagogik) interessant sind. Der Umgang mit audiovisuellen Medien und ihren speziellen Konventionen muss erst erlernt werden und unterliegt soziokulturellen Einflüssen sowie historischem Wandel. Für die Einschätzung der Wirkungen von musikunterstützten Medieninhalten sind neben speziellen Eigenschaften der Musik auch Charakteristika der Zuhörer zu berücksichtigen. Entgegen früheren Vermutungen und Befürchtungen, sind solche Wirkungen häufig weniger ausgeprägt als erwartet.

In this article, the quality of media studies education through effective teaching utilizing audiovisual media technologies and audiovisual content (audiovisual media communications) to budding journalists as adult learners (18 years and older) is researched, with results primarily intended for application in radio lessons at all educational levels and disciplines (including adult education). Nowadays, audiovisual media communications play an important role in the modern and visual-centric way of our life, while they require all of us to possess multiple-multimodal skills to have a successful professional practice and career, and especially those who study media studies, such as tomorrow’s new journalists. Data were collected after three interactive teachings with emphasis on educational effectiveness in technology-enhanced learning, through a specially designed written questionnaire with a qualitative and quantitative form (evaluation form), as case study experiments that applied q...

In addition to infodemic, during the Coronavirus pandemic (especially in its early stages) in Italy there was a real epidemic of images, an iconodemic in which Italian popular music and song-form also played a leading role, both in amateur and professional fields. In fact, a series of short audiovisual objects have spread in the mediascape, in which the songs were played by different types of performances, live or recorded: these products have not only witnessed a series of songwriting practices involving many Italian citizens, but also collaborated in the medial re-semantization of some spaces that had lost their daily value (houses, balconies, cities), ensuring the social positioning of users and renewing, thanks to their reuse by medial newspapers, the invitation to maintain social distancing.
Through the analysis of the different songs and performative practices that have alternated in this phase (remote songs, pop flash mobs, urban performances, songs as self-writing, social positioning), the role played by Italian popular music within the great national pandemic media narrative will be investigated in this paper by using an interdisciplinary approach (in dialogue with media, film, sociosemiotic, geographic, performing and popular music studies), reflecting on the modalities with which music and images have helped to create and feed the pandemic imaginary.
The song-form within this narrative has managed to renegotiate the relationship between places, environments, images and national identity thanks to relocation and atomization processes, transforming every space into a stage through the mediatization of performances; moreover, the singing practices have been used by media as cohesive factors thanks to the use of the soundscape, which guarantees the distance (unlike the physical one), considered necessary to face the virus. The pandemic demonstrates how once again the song-form, in particular thanks to its shift towards the audiovisual format and thanks to its visibility practices, manages to be central within Italians' cultural practices.

The European Union’s (EU) liberalisation of media policies and its content quality bias towards economic efficiency has resulted in a situation where, in some small markets like Estonia, the audience is divided into two parts. e Russian-speaking audience in Estonia mainly follows Russian state TV channels, and the Estonian-speaking audience watches Estonian television channels. is has happened even though the EU media policy should ensure freedom of information, diversity of opinion and media pluralism. Findings from the Estonian case study show that despite the noble aim of the EU media policy, Estonia has two radically different information fields: Estonian-language media promotes European values, and Russian state media, enjoying high popularity among the Russian speakers, promotes ‘Putin’s values’.

The question is whether the EU legal instrument — Audiovisual Me- dia Service Directive (AVMSD) — is an efficient tool when disinformation from third countries is disseminated with the aim of gaining a political influence over the EU member states’ citizens. e recommendation is that the AVMSD should be revised in a way that prevents unfair competition directed from third countries and tools should be developed to compensate for market failures.

The European Union’s (EU) liberalisation of media policies and its content quality bias towards economic efficiency has resulted in a situation where, in some small markets like Estonia, the audience is divided into two parts. The Russian-speaking audience in Estonia mainly follows Russian state TV channels, and the Estonian-speaking audience watches Estonian television channels. This has happened even though the EU media policy should ensure freedom of information, diversity of opinion and media pluralism. Findings from the Estonian case study show that despite the noble aim of the EU media policy, Estonia has two radically different information fields: Estonian-language media promotes European values, and Russian state media, enjoying high popularity among the Russian speakers, promotes ‘Putin’s values’.The question is whether the EU legal instrument — Audiovisual Me­dia Service Directive (AVMSD) — is an efficient tool when disinformation from third countries is disseminated with ...

This research addresses a recent period of the trajectory of Brazilian audiovisual production and its relationship with contemporary platforms of distribution and consumption of video on demand, VoD. National production of films, soap operas, series and other audiovisual consumer goods, prior to digital technologies, remained in closed and limited models. The advent of the internet and streaming technologies have enhanced the opening of the market to new forms of business, untying the productions of these limits. The objective of this work was to verify, through analytical data provided by companies, data obtained from qualitative research and content from personal interviews with market professionals, in addition to the referenced bibliography, as this new market for online distribution of videos implied expansion of the Brazilian market, especially when we focus on production. This trajectory has shown us that VoD has effectively become another window of opportunity for the dissemination of national productions alongside public investment policies for the script development phase.

https://www.smt-v.org/archives/volume7.html#music-appreciation-through-animation-percy-scholess-audiographic-piano-rolls

From 1925-30, British music educator Percy A. Scholes spearheaded an initiative for music appreciation by means of the player piano. The series “AudioGraphic Music” featured select works from the musical canon on the Aeolian Company’s piano rolls. In addition to their function as sound recordings, Scholes prepared the rolls as visual artefacts with introductory texts, pictures, and analytical commentary. This video article explores the analytical and pedagogical potential of these rolls as tools for music listeners and highlights how they foreshadowed recent innovation in musical animation.

El diseño y desarrollo de un material audiovisual didáctico permite en los docentes cumplir entre muchas funciones la de convertirse en productor de medios y materiales de enseñanza adaptados al contexto en el cual labora de manera tal que establece nuevos ambientes de aprendizajes. El objetivo de este estudio fue el diseño, desarrollo y evaluación de un material didáctico para la enseñanza y aprendizaje de la unidad didáctica: naturaleza de la estadística. Una investigación del tipo mixta (cualitativa y cuantitativa). En la opinión de los tres sectores involucrados a nivel visual y auditivo facilita rápidamente la comprensión del tema.
The design and development of an educational audiovisual material allows teachers carry out many functions like to become a producer of media and teaching materials adapted to the context in which works in such manner that establishes new environments of learning. The objective of this study is the design, development and evaluation of a teaching material for teaching and learning structural unit: and nature of statistics. An investigation of the mixed type: qualitative and quantitative. According to the opinion of the three sectors involved visually and auditory for giving quickly facilitates to the subject understanding.

El presente artículo trata de subrayar la importancia del análisis fílmico como actividad
esencial para la formación de ciudadanos críticos, y como «background»  imprescindible para abordar el estudio y análisis de otros medios de comunicación audiovisuales, con cuyas formas de expresión y narración mantiene una estrecha relación epistemológica. Para ello se analizan algunas causas del rechazo del análisis fílmico, el propio concepto y se presenta como propuesta de trabajo concreta la colección de ensayos «Guías para ver y analizar cine».
This paper tries to stress the relevance of film analysis as an essential activity for critical citizens´education, and as a necessary background to study and analyse other audiovisual media, related with cinema in expressive and narrative forms. We analyse some reasons to explain why film ananalysis is rejected, the nature of this concept.  And, finally, we present an essays collection «Film analysis and watching guide».

The third volume in the ‘Roman lessons’ trilogy, edited by Silvia Leonzi and authored by Professor of Sociology in Audiovisual Media Pierre Sorlin, Memoria Narrazione Audiovisivo/Memory Narrative Audiovisual Media, is dedicated to Sorlin’s ‘Roman Days’ as visiting professor at Rome’s University ‘La Sapienza’. In ‘Per una sociologia dell’audiovisivo’/‘For a Sociology of the Audiovisual’, Leonzi introduces us to the important role that Sorlin images play in the history of audio-visual media, especially in the construction of memory – the territory where social, cultural and political interests form, and which is central to the hermeneutic approach of sociologists and historians in their study of media communication.

In diesem Buch wird erstmals der Stellenwert der audiovisuellen Medien für die Herstellung und Popularisierung von Wissen aufgezeigt. Der historische Rahmen der Studie erstreckt sich dabei von den kinematographischen Bewegungsstudien in Psychiatrie und Physiologie Ende des 19. Jahrhunderts bis zum Einsatz von Video in den sozialpsychologischen Experimenten der 1970er Jahre. Mit dem Gebrauch von Bewegtbildern zu Zwecken der Kontrolle, Aufzeichnung und Demonstration veränderte sich die gesamte Experimentalkultur der Wissenschaft. Vor dem Hintergrund flexibler medienkultureller Kontexte transformiert sich das Labor zusehends in ein Filmstudio des Wissens, in welchem die Versuchsanordnung am Storyboard entworfen, die epistemischen Gegenstände in Szene gesetzt und die Probanden gecastet werden.

This study investigates the satisfaction of distance education university students (DEUS) with the use of audio media as a medium of instruction. Studying students’ satisfaction is vital because it shows whether learners are comfortable with a certain instructional strategy or not. Although previous studies have investigated the use of audio media, the satisfaction of students with studies that combine radio teaching and podcasts as an independent instructional strategy has not been fully investigated. In this study, all lectures were delivered through the radio and students had no direct contact with their instructors. No modules or any other material in form of text were given to the students. They instead, revised the taught content by listening to podcasts saved on their mobile electronic gadgets. Prior to data collection, DEUS received orientation through workshops on how to use audio media in distance education. To achieve objectives of the study, a survey, naturalistic observations and face-to-face interviews were used to collect data from a sample of 211 undergraduate and graduate students. Findings indicate that there was no statistically significant difference in the levels of satisfaction between male and female students. The results from post hoc analysis show that there is a statistically significant difference in the levels of satisfaction regarding the use of audio media between Diploma and graduate students. Diploma students are more satisfied compared to their graduate counterparts. T-tests results reveal that there was no statistically significant difference in the general satisfaction with audio media between rural and urban-based students. And ANOVA results indicate that there is no statistically significant difference in the levels of satisfaction with the use of audio media across age groups. Furthermore, results from observations and interviews reveal that DEUS found learning using audio media a pleasurable medium of instruction. This is an indication that audio media can be considered as an instructional strategy on its own merit. Generally, from the findings of this study, the conclusion is that apart from educational levels, other students’ characteristics are not critical regarding their satisfaction with audio media in distance teaching.

The article analyzes the comments on Twitter during the central TV debate at the end of the regional election campaign 2016 in Rhineland-Palatinate (Germany). It reveals that Social TV is here more an instrument of mobilization by political parties than a possibility for deliberation and discussion among citizens.

El sexo, el porno y los videojuegos son elementos culturales que gozan de gran importancia y consumo. Asimismo, en los últimos años ha surgido una corriente crítica y artística denominada postpornografía que reivindica nuevas formas de experimentar el placer sexual y busca crear un porno no- normativo que visibilice y empodere tanto a mujeres como a minorías sexuales. El presente artículo pretende explorar la intersección existente entre sexo, porno y videojuegos, terrenos históricamente concebidos para el disfrute masculino. Para alcanzar dicho fin, se expone en rasgos generales la representación del sexo y se analiza si existen ejemplos de material calificable como postpornográfico en los videojuegos. Se llega a la conclusión de que la presentación del sexo en este medio es aún cisheterocéntrica y centrada en la mirada masculina, pero que la existencia de algunas prácticas postpornográficas es ilustrativa del potencial que tienen los videojuegos para ayudar a derribar estereotipos sexuales y de género.

The chapter concludes the section on cross-innovation and convergence processes between audiovisual media industries and the education sector. It addresses, first, that these processes are not driven by any specific technol- ogy, but by two broad and interdependent processes
individualisation that makes people in insecure careers search for personalised learning opportunities and the experience economy that produces expectations for learning experiences to be pleasurable and fun, that is, gamified. The chap- ter demonstrates the emergence of EdTech as a new dialogic subsector oper- ating between the publicly operating education sector and the private media and information and communication technology industries. It demonstrates the inherent institutional diversity in and around this subsector and discusses the nature of the dialogues constituting it. It, lastly, addresses the risks deriving from global platformisation to the education sector and demonstrates how Estonia’s governme...

In this article, the quality of media studies education through effective teaching utilizing audiovisual media technologies and audiovisual content (audiovisual media communications) to budding journalists as adult learners (18 years and older) is researched, with results primarily intended for application in radio lessons at all educational levels and disciplines (including adult education). Nowadays, audiovisual media communications play an important role in the modern and visual-centric way of our life, while they require all of us to possess multiple-multimodal skills to have a successful professional practice and career, and especially those who study media studies, such as tomorrow’s new journalists. Data were collected after three interactive teachings with emphasis on educational effectiveness in technology-enhanced learning, through a specially designed written questionnaire with a qualitative and quantitative form (evaluation form), as case study experiments that applied q...

In this article, the quality of media studies education through effective teaching utilizing audiovisual media technologies and audiovisual content (audiovisual media communications) to budding journalists as adult learners (18 years and older) is researched, with results primarily intended for application in radio lessons at all educational levels and disciplines (including adult education). Nowadays, audiovisual media communications play an important role in the modern and visual-centric way of our life, while they require all of us to possess multiple-multimodal skills to have a successful professional practice and career, and especially those who study media studies, such as tomorrow’s new journalists. Data were collected after three interactive teachings with emphasis on educational effectiveness in technology-enhanced learning, through a specially designed written questionnaire with a qualitative and quantitative form (evaluation form), as case study experiments that applied q...