1,720,979 research outputs found
See Jane entertain: Exploring a conceptual model of the effects of (semi)fictional entertainment on attitude towards female politicians
Full text linkIn political campaigns, candidates and parties frequently use biographical films based on politicians’ life stories to attract voters during election years. However, little academic attention is paid to investigating the cognitive and affective influences of biographical political movies on viewers’ attitudes. This study explores the psychological processes underlying these influences, which might change audiences’ attitudes towards political protagonists in the movies. Specifically, this study focuses on the mediating role of narrative transportation and enjoyment as psychological influences affecting viewers’ attitudes towards female politicians in the biographical films. Using data from 331 participants in an experimental study, a conceptual model was tested, which yielded significant results. The study found that enjoyment and narrative transportation experienced during exposure to biographical films positively influenced viewers’ attitude towards the lead character depicted as a female politician. These findings contribute to and provide important clarification to the existing literature and have both methodological and practical implications
Social Responsibility, Journalistic Values, and Ethics of Conflict Coverage: A Critical Analysis of the Coverage of the Mumbai Attacks in Indian and Pakistani Elite Press
No full textSouth Asia is a conflict zone where media have been very influential in generating mutually hostile perceptions. Many analysts of Indo-Pakistan relations believe that jingoistic attitude of media in the subcontinent obstruct all peace moves in the region. Media have been responsible to increase the level of tension between both countries and resultantly incapacitate the governments\u27 abilities to take concrete steps toward peace. This article is a case study of the performance of media in the realm of conflict management in South Asia. The study focuses on the coverage of escalating tension between India and Pakistan after the Mumbai attacks in 2008 by major media companies of both countries. Four leading English newspapers, two each from India and Pakistan, have been selected and their editorial treatment of the Mumbai attacks during November 2008 to November 2009 is analyzed
Between the Family and the deep Political sea: Female Politicians as media objects in Bollywood Films
No full textThrough the lens of feminist political economy, this article deals with the question of representation of female politicians in Bollywood movies by focusing on whether or not women politicians are portrayed as political subjects or media objects (Motion, 1996). In fact, female politicians have conventionally been excluded from participating in politics since times immemorial. Jamieson (1988) skillfully captures how women could not achieve fame through public speech and their voices have been silenced by imposing strict restrictions on their right to express themselves in the public sphere. Throughout the intellectual history of mankind (not womankind), political philosophers have advocated exclusion of women from politics because women belong to private sphere and being psychologically emotional creatures responsible for reproduction and family care, women are considered to be incapable of running the affairs of the state (Okin, 1979; Motion, 1996; Van Zoonen, 2005). Fraser (1998) argues that a woman politician's family plays a pivotal role in building her image as a public figure and historically, important women politicians in different societies were either unmarried or widowed because politics and family are considered an oxymoron in case of female politicians. Even in literary tradition, women are instructed to abstain from entering into the political and diplomatic domains, and "nice girls" are advised to stay out of the dirty political games (Van Zoonen, 2005).Despite social, cultural, political, and intellectual discrimination, women have been active in politics for a long time and women voters and politicians are important actors in political systems across the globe. However, women have to go a long way as discrimination and disparity in media still persists and women politicians are stereotyped and often offered negative coverage by the mass media. Hillary Clinton's case is a glaring example of sexism and discrimination against women in mainstream media that affects voting behavior of the people (Horwitz & Swyers, 2009). Irrespective of the sexism and stereotyping, mass media finds female politicians as attractive content producers, which guarantee colossal profits as readers/audiences are interested in knowing about the family life of married and love affairs of single female politicians (Van Zoonen 2005). Media has a tendency to treat male and female politicians differently which means that women are clearly distinguished from male politicians for their feminine style. A female politician's physical appearance, dress, and performance are critically evaluated by the media compared to their male counterparts (Van Zoonen, 2005). As Horwitz and Swyers (2009) argue that popular media portrayals of the politicians body are considered a "sign of leadership, advancing particular ideals of carriage and physical bearing as evidence of ability and skill" (p. 116). The patriarchal traditions are pervasive and people in most societies consider male figures as protective and capable of administering the affairs of the state. The popularity of the West Wing (1999-2006) bears a testimony to the fact that a fatherly figure such as Josiah Bartlet possesses the potential to deal with intricate situations faced by the American nation at domestic and international fronts (ParryGiles & Parry-Giles, 2002). On the other hand, a women politician is depicted in hackneyed images drawn from traditional pop culture representations of femininity and related Hollywood conventions (Van Zoonen, 2005). MacDonald (1995) has divided these representations into different categories describing femininity as unfathomable and threatening, nurturing and loving, body performance and sexuality. Almost everywhere, powerful women celebrities would be constructed under these representational myths leading to their cinematic portrayals as "a focus of visual pleasure for an apparently masculine spectator, the epitome of the male fetish" (Gledhill, 1991, p. xv). Thus, female politicians are still treated as a minority in mass media, which focuses on their appearance, body, family and other feminine characteristics and actively distorts their image as gifted leaders capable of steering their country out of woods. For the last few decades, scholars (Bina, 2008; Gledhill, 1991; Goren, 2009; Humm, 1997; Meehan, 2002; Tasker, 1998; Van Zoonen, 2005) have paid attention to the gender portrayals in Hollywood and other popular media in various Western societies; however, representation of gender in general and women politicians in particular in Bollywood - the largest film industry in the world - has remained an under-researched area.Deviating from the traditional media effects approach, this article applies feminist political economy as a feminist epistemology to analyze exposé of women politicians as sex objects in three Bollywood chick flicks featuring lead characters in important political positions. Feminist political economy is different from mainstream socialist feminism and political economy perspectives as it brings to light micro-level processes that affect and shape everyday activities of women. It is analyzes oppression of females and focuses not only at macro-level operations of capitalist media but also commonplace cultural and communication practices that define the status of women in a society (Meehan, 2002). Feminist political economy is suitable to analyze Bollywood chick flicks as the approach not only discusses portrayal of female politicians in popular movies, but also discusses it implications on the lives of ordinary women. Chick flicks are the movies centered on attractive female lead characters and marketed to women (Goren, 2009). This paper concludes that Bollywood movies position women politicians by their sex and body for a male gaze to sell the product in a male-dominated market and help perpetuate patriarchal ideology in which women are passive homemakers "subject to rituals of exclusion when the private or domestic sphere and the body intrude on the public sphere" (Motion, 1996, p. 114). A critical analysis of the three Bollywood movies (Rajneeti, 2010; Satta, 2003; and Badshah, 1999) selected for this research indicates that women politicians are treated as commodities mainly sold to the female Bollywood fans, which constitute almost half of the Indian cinema market. These chick flicks are chiefly marketed to females and endorse all conformist myths related to the role of a woman in a traditional family. Since politics is a field reserved for men, women could only enter into the restricted domain of politics if male family members sanction their entry (Motion, 1996). Through these movies, sympathy is generated for the continuation and survival of political dynasties by using the innocent housewives who were forced to challenge the ruthless political opponents bent upon annihilating their families. History reveals that this formula to perpetuate ideological control and domination of patriarchy never fails in South Asia (Bina, 2008). Thus, by analyzing women politicians' mundane experiences and the oppressive practices of the power structures, feminist political economy adequately helps explain the incessant exploitation of women by the market forces who sell women's physical, social and mental ordeals to other women and uphold patriarchal value system in which women are socialized to sacrifice their lives and careers for the family.Entre la famille et de la deep sea politique: les femmes politiques comme des objets médias dans Films Bollywood À travers le prisme de l'économie politique féministe, cet article traite de la question de la représentation des femmes politiques dans les films de Bollywood en se concentrant sur si oui ou non les femmes politiques sont dépeints comme des sujets politiques ou des objets médias (Motion, 1996). En fait, les femmes politiques ont été traditionnellement exclus de la participation à la vie politique depuis des temps immémoriaux. Jamieson (1988) capte habilement comment les femmes ne pouvaient pas atteindre la célébrité à travers le discours public et leurs voix ont été réduites au silence en imposant des restrictions strictes sur leur droit à s'exprimer dans la sphère publique. Tout au long de l'histoire intellectuelle de l'humanité (non féminité), les philosophes politiques ont préconisé l'exclusion des femmes de la politique parce que les femmes appartiennent à la sphère privée et d'être psychologiquement créatures émotionnelles responsable de la reproduction et les soins de la famille, les femmes sont considérées comme incapable de gérer les affaires de la Etat (Okin, 1979; Motion, 1996; Van Zoonen, 2005). Fraser (1998) soutient que la famille d'un politicien de la femme joue un rôle pivot dans la construction de son image comme un personnage public et historiquement, importe les femmes politiques dans les différentes sociétés étaient soit célibataires ou veuves, car la politique et la famille sont considérés comme un oxymore dans le cas des femmes politiques. Même dans la tradition littéraire, les femmes ont pour instruction de s'abstenir d'entrer dans les domaines politique et diplomatique, et "jolies filles" sont priés de rester à l'écart des jeux politiques sales (Van Zoonen, 2005).Malgré la discrimination sociale, culturelle, politique et intellectuelle, les femmes ont été actives en politique depuis longtemps et les électeurs les femmes et les hommes politiques sont des acteurs importants dans les systèmes politiques à travers le globe.Toutefois, les femmes doivent aller un long chemin que la discrimination et la disparité dans les médias persiste et les femmes politiques sont stéréotypés et souvent offert une couverture négative par les médias de masse. Le cas d'Hillary Clinton est un exemple flagrant de sexisme et la discrimination contre les femmes dans les médias traditionnels qui affecte le comportement de vote du peuple (Horwitz & Swyers, 2009).Indépendamment du sexisme et des stéréotypes, les médias de masse trouve les femmes politiques en tant que producteurs de contenu attractif, ce qui garantie que les lecteurs profits colossaux / auditoires sont intéressés à connaître la vie familiale des affaires de mariage et l'amour de simples femmes politiques (Van Zoonen 2005). Les médias ont tendance à traiter hommes et femmes politiques différemment, ce qui signifie que les femmes sont clairement distingués des hommes politiques pour leur style féminin.L'apparence physique une femme politique, la robe, et les performances sont évaluées de manière critique par les médias par rapport à leurs homologues masculins (Van Zoonen, 2005). Comme Horwitz et Swyers (2009) affirment que les médias populaires représentations du corps des politiciens sont considérés comme un "signe de leadership, de faire progresser les idéaux particuliers de transport et portant physiques comme preuve de capacité et de compétence" (p. 116). Les traditions patriarcales sont omniprésents et les gens dans la plupart des sociétés considèrent que des personnages masculins de protection et capables d'administrer les affaires de l'Etat. La popularité de l'Aile Ouest (1999-2006) est un témoignage du fait que la figure paternelle Josiah Bartlet tels que possède le potentiel pour faire face aux situations complexes rencontrées par la nation américaine aux fronts intérieur et international (Parry-Giles & Parry- Giles, 2002).D'autre part, un politicien femmes est illustrée par des images tirées de galvaudé traditionnelle représentations pop culture de la féminité et les conventions relatives à Hollywood (Van Zoonen, 2005). MacDonald (1995) a divisé ces représentations dans différentes catégories décrivant la féminité comme insondable et menaçant, nourrir et d'aimer, les performances du corps et la sexualité. Presque partout, puissant célébrités les femmes seraient construits en vertu de ces mythes de représentation conduit à leur représentations cinématographiques comme "un accent de plaisir visuel pour un spectateur, apparemment masculin, la quintessence du fétiche masculin" (Gledhill, 1991, p. xv). Ainsi, les femmes politiques sont encore traités comme une minorité dans les médias de masse, qui se concentre sur leur apparence, leur corps, la famille et d'autres caractéristiques féminines et déforme activement leur image de leaders talentueux capable de diriger leur pays de bois. Pour les dernières décennies, les savants (Bina, 2008; Gledhill, 1991; Goren, 2009; Humm, 1997; Meehan, 2002; Tasker, 1998; Van Zoonen, 2005) ont prêté attention à la représentation des sexes à Hollywood et d'autres médias populaires dans diverses sociétés occidentales, cependant, la représentation des sexes en général et les femmes politiques en particulier dans Bollywood - la plus grande industrie cinématographique au monde - est restée un domaine sous-étudié.S'écartant de l'approche traditionnelle effets des médias, cet article s'applique économie politique féministe comme une épistémologie féministe pour analyser exposé des femmes politiques comme des objets sexuels dans les trois Chick Flicks Bollywood en vedette des personnages de premier plan dans les positions politiques importantes.L'économie politique féministe est différent du féminisme socialiste traditionnels et les perspectives d'économie politique en tant qu'elle apporte à la lumière micro-niveau des processus qui affectent la forme et les activités quotidiennes des femmes. C'est analyses oppression des femmes et ne se concentre pas uniquement au niveau macro-économique des opérations des médias capitalistes, mais aussi monnaie courante pratiques culturelles et de communication qui définissent le statut des femmes dans une société (Meehan, 2002). L'économie politique féministe est adapté pour analyser Bollywood Chick Flicks que l'approche non seulement aborde la représentation des femmes politiques dans les films populaires, mais il discute aussi des implications sur la vie des femmes ordinaires. Chick Flicks sont les films centrés sur des personnages attrayants premier rôle féminin et commercialisés pour les femmes (Goren, 2009). Ce document conclut que les films de Bollywood position des femmes politiques par leur sexe et le corps pour un regard masculin pour vendre le produit dans un marché dominé par les hommes et contribuent à perpétuer l'idéologie patriarcale où les femmes sont femmes au foyer passive "soumis à des rituels d'exclusion lorsque le privé ou domestique sphère et le corps intrusion dans la sphère publique "(La motion, 1996, p. 114). Une analyse critique des films de Bollywood trois (Rajneeti, 2010; Satta, 2003, et Badshah, 1999) sélectionnées pour cette recherche indique que les femmes politiques sont traités comme des marchandises principalement vendus aux fans de Bollywood femmes, qui constituent presque la moitié du cinéma indien du marché. Ces films sont principalement commercialisés chiches aux femelles et d'approuver tous les mythes conformistes liées au rôle d'une femme dans une famille traditionnelle. Puisque la politique est un domaine réservé aux hommes, les femmes ne pouvaient entrer dans le domaine restreint de la politique, si les membres masculins de la famille sanctionner leur entrée (Motion, 1996).Grâce à ces films, la sympathie est généré pour la continuation et la survie des dynasties politiques en utilisant les ménagères innocents qui ont été contraints de contester les adversaires impitoyables politiques résolus à anéantir leurs familles. L'histoire révèle que cette formule pour perpétuer le contrôle idéologique et la domination du patriarcat ne manque jamais en Asie du Sud (Bina, 2008). Ainsi, en analysant les femmes des expériences politiciens banals et les pratiques oppressives des structures du pouvoir, l'économie politique féministe permet d'expliquer adéquatement l'exploitation incessante des femmes par les forces du marché qui vendent des épreuves féminines physique, mental et social à d'autres femmes et de défendre le système de valeurs patriarcalesdans lequel les femmes sont socialisées à sacrifier leurs vies et leurs carrières pour la famille
FILTERED VIOLENCE: PROPAGANDA MODEL AND POLITICAL ECONOMY OF THE INDIAN FILM INDUSTRY
No full textProduction, distribution, and consumption of cinematic violence raises several questions of academic import. Despite a plethora of research studies exploring the nature of screen violence and its effects on viewers, a serious debate on the influence of state machinery on the production of sanitized violence in movies is still wanting. Likewise, Bollywoods role in advancing the Indian governments agenda in war and peace times has been paid petite attention in academic discourses dealing with media-state interconnection. This article explores the relevance of Herman and Chomskys propaganda model as a framework for analysis and analyzes Bollywoods movies based on stories of violence in war and peace times. The article discusses the connections with the Indian state apparatus that influences production processes in the Indian film industry by providing financial assistance and applying multifarious political, social, economic, and ideological pressures (filters). The findings suggest that the Bollywood movies support diplomatic initiatives of the Indian government through cinematic narratives of sanitized violence
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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