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Television’s undoing of social distancing

At this critical moment in time, April 2020, when we are living with the cataclysmic event of Covid-19, television – a medium declared almost dead at the beginning of this millennium – has become a vital resource for solace, daydreaming, social ritual, knowledge and storytelling. In conditions of lockdown, we turn towards television, not away from it (Ellis, 2020; Negra, 2020). We are checking news on national channels, and tuning to live broadcasting for campaigns to help the health services and communities in need, such as with the globally broadcast One World: Together At Home special. We are curling up on the sofa to engage with gripping drama, like Ozark streaming on Netflix, re-watching favourite series from the beginning, such as Buffy or Breaking Bad, and taking part in television quiz shows like Pointless, even watching repeats, to recreate a pub quiz atmosphere in the living room. On a darker note, we are also overloaded with corona news; the ritual evening news bulletin can be a source of anxiety and a cause of sleeplessness. Television infrastructure can break down, from broken satellite dishes to lost remote controls, which are tricky to fix when technicians are not so readily available to help; and television can be an economic burden. The cost of streaming Breaking Bad can push the limits of monthly contracts and data packages. Television both lightens and darkens the mood of domestic spaces and social relations in lockdown culture.

Beroepsproduct

Dit verslag omvat een marketingcommunicatieplan en ter onderbouwing hiervan een verantwoordingsdocument

Jolinda maakt slutshaming bespreekbaar en hoopt zo dit taboe te doorbreken

Misschien heb je het zelf van dichtbij meegemaakt of heb je er via via wel eens van gehoord. Anonieme Instagram-accounts waarop pikante foto’s of video’s van vrouwen worden gedeeld, zonder dat zij daar toestemming voor hebben gegeven. Of privé-foto’s die rondgaan in whatsapp-groepen met de boodschap dat de dame in kwestie een ‘hoer’ of ‘slet’ is. Slutshaming en exposing kan grote invloed hebben op de levens van de slachtoffers.

Sustainability and green filmmaking in film and media schools.

Revisiting the ‘fallacy of meaningfulness’

In media audience research we tend to assume that media are engaged with when they are used, however ‘light’ such engagement might be. Once ‘passive media use’ was banned as a reference to media use, being a media audience member became synonymous with being a meaning producer. In audience research however I find that media are not always the object of meaning making in daily life and that media texts can be hardly meaningful. Thinking about media and engagement, there is a threefold challenge in relation to audience research. The coming into being of platform media and hence of new forms of media production on a micro level that come out of and are woven into practices of media use, suggests that we need to redraft the repertoire of terms used in audience research (and maybe start calling it something else). Material and immaterial media production, the unpaid labour on the part of otherwise audience members should for instance be taken into account. Then, secondly, there is the continuing challenge to further develop heuristically strong ways of linking media use and meaning making, and most of all to do justice, thirdly, to those moments and ways in which audiences truly engage with media texts without identifying them with those texts.

“Zonder wrijving geen glans”

Op het FIAR Congres 2024 sprak Jeske Nederstigt, onderzoeker Sociale Innovatie en Gedragsverandering en auteur van het boek Consumentengedrag. Haar presentatie richtte zich op de evolutie van consumentengedrag in relatie tot veranderende maatschappelijke omstandigheden. Haar blik hierop bood inzicht in de psychologische aspecten die ten grondslag liggen aan de veranderingen in het consumentengedrag. Dit verslag geeft een inkijkje in de belangrijkste punten uit haar presentatie.