Media Asia最新文献

{"title":"Masculinity, media, and public image: review of the film An Action Hero","authors":"Payel Pal, Goutam Karmakar","doi":"10.1080/01296612.2023.2170053","DOIUrl":"https://doi.org/10.1080/01296612.2023.2170053","url":null,"abstract":"","PeriodicalId":53411,"journal":{"name":"Media Asia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48178228","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Delinking gendered hierarchies and mediated representations: review of the film Doctor G","authors":"Goutam Karmakar, Payel Pal","doi":"10.1080/01296612.2023.2170038","DOIUrl":"https://doi.org/10.1080/01296612.2023.2170038","url":null,"abstract":"","PeriodicalId":53411,"journal":{"name":"Media Asia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42291106","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Patriarchy and the music industry: review of the film Qala","authors":"Avneesh Kumar, Lakhan Raghuvanshi","doi":"10.1080/01296612.2022.2163548","DOIUrl":"https://doi.org/10.1080/01296612.2022.2163548","url":null,"abstract":"Bollywood movies dominate the Indian film industry. A typical Bollywood movie revolves around comedy, action, song, and dance sequences, as well as over-the-top drama. The “ habituated audience ” has embraced this movie culture that provides entertainment throughout the duration of the film (Srinivas, 1998). In recent years, several experimental filmmakers have strived for challenging this movie culture and the domination of Bollywood-style movies.","PeriodicalId":53411,"journal":{"name":"Media Asia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45476399","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Educated perception","authors":"Danilo Araña Arao","doi":"10.1080/01296612.2022.2162678","DOIUrl":"https://doi.org/10.1080/01296612.2022.2162678","url":null,"abstract":"Given the preponderance of disinformation and denialism, research plays a vital role in truth-telling and shaping public opinion. While opinions have objective and subjective elements, what proves to be crucial in avoiding baseless claims is educated perception. The rightness or wrongness of perceptions may be determined by cognitive (knowledge), conative (actions) and affective (feeling) aspects (Walgito, 2010). In media practice, editorial decisions should be based on the right information coming from reliable sources. This is much easier said than done as “fake news” has become an industry (Ong & Caba~ nes, 2018). Vosoughi et al. (2018) also stressed that lies, misinformation, and disinformation tend to spread faster than the truth. That there are certain groups and individuals who deny basic truths on issues like human rights violations and climate change make the task of truth-telling even more challenging and even frustrating. May we all be armed with the right education and perception in fighting disinformation and denialism.","PeriodicalId":53411,"journal":{"name":"Media Asia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45096091","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Matrilineality and the portrayal of women in Meghalaya cinema","authors":"Avishek Suman, D. S. Poornananda","doi":"10.1080/01296612.2022.2157114","DOIUrl":"https://doi.org/10.1080/01296612.2022.2157114","url":null,"abstract":"Abstract Films from Northeast India, a region that exemplifies diversity in language as well as culture, have gained global recognition over the years and are thriving artistically, yet they remain largely unexplored. Although a lot of studies have been done on gender inequality in Indian mainstream films, regional films, especially films from the northeast, have received very little attention. The current study investigates the representation of women in films from Meghalaya, a region known for its unique matrilineal social structure. The top ten most viewed films from each of the three tribal languages of Meghalaya were selected to examine women’s on-screen presence and the nature of the portrayal. Results indicate that despite Meghalaya society being matrilineal, women are underrepresented and are portrayed more in stereotypical character types. It is indicated that women in Meghalaya’s cinema experience symbolic annihilation through representational absence, condemnation, and trivialization.","PeriodicalId":53411,"journal":{"name":"Media Asia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46820293","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Spousal bereavement and media intervention: review of the film Goodbye","authors":"Debashrita Dey, P. Tripathi","doi":"10.1080/01296612.2022.2161183","DOIUrl":"https://doi.org/10.1080/01296612.2022.2161183","url":null,"abstract":"has poignantly","PeriodicalId":53411,"journal":{"name":"Media Asia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59056116","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ideal feminine beauty according to Korean cosmetic brand’s Instagram profiles","authors":"Doris Treviños-Rodríguez, Paloma Díaz-Soloaga","doi":"10.1080/01296612.2022.2159154","DOIUrl":"https://doi.org/10.1080/01296612.2022.2159154","url":null,"abstract":"Abstract This article seeks to discover the prevalent ideal of feminine beauty proposed by Korean cosmetic brands on their Instagram profiles. Using content analysis, 433 female figures extracted from 320 photos and videos published on their Instagram profiles by five brands Hera, Innisfree, Nature Republic, Missha and The Face Shop were analyzed. The results portray a recurring aesthetic ideal in the form of a young, slim woman with a flawless white complexion, a small V-shaped face, a small nose and almond-shaped eyes with double eyelids. Likewise, it was observed femininity, confidence, composure, a healthy countenance and a neat, genuine and non-sexualized appearance are attributes related to the beauty of the most of the protagonists of images. Finally, although the aesthetic profile is similar in all brands, the beauty ideals proposed by each one present differences, above all depending on the attitudes and attributes of inner beauty that the female figures reflect.","PeriodicalId":53411,"journal":{"name":"Media Asia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45950505","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Contextualizing independent films: review of the book Indian Indies by AI Devasundaram","authors":"Swikrita Dowerah, Adrika Raj","doi":"10.1080/01296612.2022.2153464","DOIUrl":"https://doi.org/10.1080/01296612.2022.2153464","url":null,"abstract":"Indian cinema, since its very beginning, has experimented with many forms, each dominating a specific timeframe in history. While mythological films dominated the early years of Indian cinema, historical films based on the Sultanate era and family dramas that promoted Indian culture, values, and tradition were equally popular. Post-independence, as Jawaharlal Nehru took oath as the first Prime Minister of India, socialist films dominated the cinematic landscape (Bakshi, 1998; Roy, 2017; Sardar, 1998). Although romance and family dramas were an integral part of Indian film culture during this period, they also addressed social issues and mixed entertainment with a cause. The uncertainty and anticipation that marked this transitory phase of the newly independent nation were therefore ingrained in the romance and family dramas of this phase (Virdi, 2003). On the other hand, the 1970s and 1980s saw a series of gangster and action films that were representative of the prevailing social tensions of the decades like the India–Pakistan war, the Indian Emergency and the anti-Sikh riots (Dhar, 2000; Kazmi, 1998). Romance and family dramas that started dominating the scene in the later part of the 1980s carried the vestiges of the old socio-political structure and highlighted re-adjustments with the changes ushered in by globalization in the 1990s (Virdi, 2003; Dowerah, 2019). Between 1970 and 1980, many filmmakers tried new and innovative filmmaking techniques in response to commercial Bollywood cinema to give wings to the Indian New Wave movement. Led by an enthusiastic bunch of Indian filmmakers, these films resisted mainstream Bollywood formula and embarked on exploring the raw realities of Indian society through the medium of cinema (Majumdar, 2021). In the book Indian Indies: A Guide to New Independent Indian Cinema, Ashvin Immanuel Devasundaram traces Indian cinemas’ journey. Organized into six chapters, Devasundaram (2022) asserts that there is a revival of socially driven storylines in many films after 2010. This change has ushered in what he calls the new wave of independent Indian cinema or the new Indian indies (Devasundaram, 2022). The complications in defining the new Indian indies, the challenges they face in the Bollywood-dominated multiplex culture, and the","PeriodicalId":53411,"journal":{"name":"Media Asia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41898429","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Between science, religion, and politics: multi-layered communication responses to maritime disaster in Indonesia","authors":"H. Wahyuni, M. Rum, Theresia Octastefani, Andi Awaluddin Fitrah","doi":"10.1080/01296612.2022.2153462","DOIUrl":"https://doi.org/10.1080/01296612.2022.2153462","url":null,"abstract":"Abstract This article aims to analyze multi-layered communication responses to maritime disasters in Indonesia using two significant cases, namely the tidal flooding in Semarang and the tsunami in Banda Aceh. Reducing the risk of disaster is not only a technical matter but also strongly associated with communication issues. Therefore, there has been much research into disaster communication. However, research on multi-layered communication responses to diverse disasters must still be done. Data were collected through interviews with the people, journalists, and government officials in Semarang and Banda Aceh. These data were complemented by field observations and reviews of local media news and government policies. The results show that communication response in the two regions involved a complex triangle of science, religion, and politics. This means that the community, media, and government of these regions communicated these two types of disasters as involving science, religion, and politics to varying degrees. This article also finds that the local media was unable to optimally play its central role as an intermediary actor in disaster communication in the two regions.","PeriodicalId":53411,"journal":{"name":"Media Asia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44525208","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Media and beauty stereotypes: review of the film Double XL","authors":"Rohit Dey, Neerja Vyas","doi":"10.1080/01296612.2022.2148913","DOIUrl":"https://doi.org/10.1080/01296612.2022.2148913","url":null,"abstract":"Double XL (Satram, 2022) is a film about obese women who are shamed because of their body weight. The lead characters in this film are portrayed by Sonakshi Sinha (as Saira Khanna) and Huma Qureshi (as Rajshree Trivedi). Except for Dum Laga Ke Haisha (Katariya, 2015) which is also referenced in the current film, female body stereotyping in mainstream Hindi Bollywood movies has not been widely discussed until the release of Double XL. In the beginning of the film, the audience get a few glimpses into the lives of these two women and their stories eventually intersect, changing their journeys and outlook about themselves and the world around them. Rajshree Trivedi, a 30-year-old Meerut woman, has always dreamt to be a sports presenter since childhood. She even dreams of dancing with the Indian cricketer Shikhar Dhawan in one scene. Though a graduate from Kanpur University’s mass communication program, she has not been able to realise her dreams. Despite Rajshree’s disinterest, her mother’s main concern is marrying her overweight daughter as she herself has been a victim of body shaming. When Rajshree is shortlisted for an audition to become a sports presenter for a Delhi-based media organization, the media head (Jimmy Shergill) rejects her photographs because she is overweight. In one of the initial scenes, Rajshree mentions having a few thousand social media followers. Though she says this with pride, the statement is ironic. In India, where females creating cringe worthy obscene content can have millions of followers, it is sad that Rajshree could not boast of it since the public might not want to see a female talking sense because she is fat and considered unattractive. The other lead character Saira Khanna is a London-born woman who moved to India with her mother and older brother after her father’s death. She is a Delhi-based fashion designer who finds herself at a standstill after breaking up with her model boyfriend. Without the latter’s help, she is clueless as to how she can make her dream of a fashion shoot come true. The main reason of this split is portrayed as her being obese and her boyfriend cheating on her with a slimmer girl who is considered more beautiful and sexually attractive.","PeriodicalId":53411,"journal":{"name":"Media Asia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46599462","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}