Media Events

This article examines how Britain, Canada, and Australia managed the political and moral challenges of Hong Kong's impending 1997 handover through migration policy. Drawing on archival sources and recent scholarship, it situates Hong Kong's emigration debates within the broader contexts of decolonization and evolving Commonwealth relations. As Britain negotiated the Sino-British Joint Declaration and faced mounting anxiety among Hong Kong's populationparticularly after the 1989 Tiananmen Square massacreit sought to reassure the colony's residents while avoiding large-scale immigration to Britain. Britain's 1990 Nationality Scheme, which granted citizenship to only 50,000 Hong Kong families, reflected this constrained strategy. To mitigate the risk of mass migration, London turned to its Commonwealth partners, urging Canada and Australia to share responsibility. Yet both governments responded according to national interests: Canada upheld its universalist immigration principles, and Australia exercised selective flexibility to attract skilled migrants. Together, these measures transformed migration into a form of geopolitical management rather than imperial obligation. By tracing these negotiations, the article reveals how post-imperial states used immigration policy as a pragmatic tool to navigate the end of empirenot through sovereignty transfer alone, but through the bureaucracies of migration and belonging.

מראשית דרכה של הציונות פעלה לצד ההנהגה הפוליטית שכבת מנהיגות של אינטלקטואלים והוגי דעות. אולם כיום אנשי הרוח סגורים בהיכלות הדעת ואינם מעורבים באופן ממשי בעשייה הפוליטית. עלינו להשיב להנהגה הפוליטית את הרוח, וכך לאפשר לה להתעלות מעבר ליום־יומי, הדחוף והמיידי גם אל השאלות הערכיות, הרעיוניות והעקרוניות

Though hailing from distant "darkest Peru", Paddington Bear has become a bastion of British identity. His critically-acclaimed films (2014, 2017, 2024), starring icons of British cinema, trade on nostalgic national tropes. This symbolic imbrication peaked in 2022, starring alongside Queen Elizabeth II in her Platinum Jubilee celebrations and later becoming a symbol of collective mourning, materially and digitally, after her death. Paddington-endangered and repeatedly imperilled onscreen-thus became the Establishment's new mor(t)al totem, what Douglas Davies would call a 'paradigmatic' figure 'good to think' in life, and in death. His incongruously cuddly 'Grim Reaper' became a globally recognisable meme. Yet, since symbols are malleable, and film-based memes subversive and satirical, Paddington has proved a provocative meme(nto mori). Analysing social media posts (X, Instagram) and the films, this article explores Paddington Bear the Grim Reaper as politically polysemic. If, following Robert Hertz, society grieves those 'in whom it incarnates itself, and with whom it identifies itself', Paddington's mortal multivocality forces a reckoning. Whose lives-and deaths-are grievable? And which version of Britishness should Paddington embody: the polite, Establishment-aligned "Good Immigrant", or the racialised, once-incarcerated refugee?

En 2025 la televisión pública de Malta (PBS) seleccionó a la cantante Miriana Conte como su representante en el Festival de la Canción Eurovisión con el tema titulado "Kant". Pese a que esta palabra puede remitirnos al apellido del célebre filósofo ilustrado, el título de la canción alude a una cuestión muy distinta. Se corresponde con su estribillo: "Serving Kant", frase que fonéticamente suena similar a la coloquial expresión "serving cunt" ("servir coño"). Este provocador juego de palabras, junto a una interpretación de marcado tono erótico y referencias a la categoría estética de lo "camp", no puede estar más lejos de los planteamientos del autor prusiano, adalid de la refinada "alta cultura"...

This qualitative text analysis examines the journalistic print and online death coverage of six prominent Israeli football managers: Eli Fuchs (1992), Jerry Beit haLevi (1997), Ya'akov Grundman (2004), Itzhak Schneor (2011), Emmanuel Scheffer (2012) and Dror Kashtan (2024). The analysis of the 1992, 1997, and 2004 coverage is primarily based on Hadashot, Ma'ariv, and Yedioth Ahronoth daily newspapers (25 news items). In contrast, the analysis for 2011, 2012, and 2024 includes three daily newspapers (34 articles), 11 news websites (61 articles), and 1,160 reader comments, offering a vivid and emotionally charged perspective. This line of inquiry allows for a comparison between the online and print spheres, the identification of trends and patterns in Israeli sports journalism, and an examination of the managers’ deaths from personal, professional, cultural, national, and media-related perspectives.
The journalistic coverage extended well beyond the professional realm. Following their deaths, the managers were depicted as cultural icons and national heroes. Their image reflected a "Holocaust-to-independence" narrative of resilience and courage, reinforcing the concept of muscular Judaism, as coined by Zionist leader Max Nordau. For online readers and commenters, the managers’ passing provided an opportunity to construct a nostalgic narrative, lamenting that "such a generation will never rise again." Simultaneously, it became a platform for harsh criticism of the current generation of players, managers, and chairpersons, who were perceived as being driven by financial interests, in contrast to the old-fashioned managers who upheld values, demanded discipline and commanded respect.

Сучасне медіаспоживання в умовах війни є фрагментарним, емоційно насиченим і динамічним. У статті проаналізовано дискурс мікроподій війни на основі моделі відкриття дискурсу публічних подій, що виокремлює п'ять фаз: пресупозицію, експлікацію, демонстрацію, дискусію та евалюацію. Емпіричною базою дослідження є база моніторингу обговорення війни в соціальних медіа (Facebook, Telegram, TikTok, YouTube та X), що здійснюється командою CAT-UA 1 з 24 лютого 2022 року (n ≈ 1 млн). Ключові слова: фрагментоване медіаспоживання, дискурс війни, афективна комунікація, соціальні медіа, комунікаційні потреби, подвійна медіатизація. Сучасне медіаспоживання відбувається в умовах радикальної множинності джерел інформації, відсутності чітких просторово-часових меж комунікації та постійної трансформації медіасистем. Інформація більше не засвоюється як цілісний наратив, а постає у вигляді окремих смислових фрагментів, що перевстановлюють зв'язки між елементами повідомлення та змінюють логіку його інтерпретації. Зміст дедалі частіше поступається формі та емоційному впливу, а афективна комунікація заміщує раціональне осмислення фактів. Особливо загострюються ці процеси в ситуації війни. В умовах швидкоплинного розвитку і урізноманітнення медіа відхилення значення повідомлення при його поширенні або руйнування змісту спричиняє відміну або заперечення існування фактів. Стимулами реакцій в медіа більше не є інформація, її заміщають емоції, що конструюються через медіаповідомлення. Зв'язок та поширення інформації забезпечує не зміст, а афективна комунікація 2. Це передбачав Маклюен в своїй «Механічній нареченій»: коли раціональне прийняття рішень блокується емоційним стимулом, особливої ваги при цьому набуває форма

This article critically examines the 2020 Black Lives Matter uprisings in Portland, Oregon, focusing on the strategic and rhetorical deployment of whiteness in support of Black lives in the protest space. It observes that whiteness, as mediated through various news and journalistic texts, assumes a privileged position in this moment as spectacular, exploring the consequences of leveraging whites' exceptional status in support of Black lives. The analysis focuses on two emblematic case studies: Christopher David, a white Navy veteran beaten by federal troops and 'Naked Athena', a white-presenting woman who posed nude in front of advancing police. Each is analyzed to understand how the protesters' actions reveal a heuristic of spectacular whiteness for understanding the significance of Portland-based protests for Black lives. Analysis of media representations of each case reveals the ways whiteness inappropriately informed how the protests were narrativized.

Проблема и цель. Авторы раскрывают следующее противоречие в использовании хэштега в современных образовательных технологиях: современные онлайн-коммуникации оказываются самостоятельной силой, «затаскивающей» молодое поколение в глобальное образовательное пространство, что создает условия дезориентации и сложности в поиске смыслов в многообразии текстов. При этом, сами по себе инструменты онлайн-коммуникации (хэштеги) могут рассматриваться как «качественные точки» в процессе формирования смыслов. Цель исследования -описать значение хэштега в информационных образовательных технологиях и продемонстрировать его потенциал для образовательного процесса. Материалы и методы исследования. На основании семиотической концепции Ч.С. Пирса и теории критического анализа дискурса (Т.А. ван Дейк) предложена методология изучения хэштега. Хэштег рассматривается как виртуальное коммуникативное событие, имеющее семиотическую триадичную структуру -это динамическое единство языковой формы, значения и действия. Авторами описаны принципы функционирования хэштега и закономерности семиотического поведения человека в онлайн-коммуникациях, являющихся основой информационных образовательных технологий. Результаты исследования. Результаты исследования дают возможность выявить потенциал хэштега как знаковой структуры, влияющей на усвоение учебной информации. Авторы описывают способы работы с хэштегом для организации обучения посредством информационных технологий. Заключение. Результаты исследования значимы для теоретической базы исследований в сфере образования и организации учебных процессов.

This article applies notions drawn from Pierre Bourdieu's field theory to explore the Turkish production front of the Eurovision Song Contest (ESC) and to reveal unorthodox imaginations about the entertainment phenomenon. Its findings, based on in-depth interviews with actors who have been involved in the production of Turkey's contribution to the ESC-rather than consuming it via national media channels as the vast majority of the public does-indicate that the actors' views are vastly different from the dominant discourses about the ESC in Turkey. Along with a discussion of the reasons for the discrepancy between aggressive media discourses and producers' approaches to the ESC, this article also highlights national media outlets' key role in shaping the imaginations about communicative phenomena beyond national borders.

No relationship is likely to be more important to Americas security and economic interests in the years ahead than that with China. Nevertheless, a coherent and consistent U.S. policy toward China remains an elusive goal. U.S. policymakers have been unable to achieve consensus on such central issues as the nature of Chinas emerging power, how this power will affect U.S. interests, and how the United States should craft an enduring policy to manage its relationship with this emerging power. Without such agreement, U.S. policy responds overwhelmingly to immediate events and lacks the necessary strategic vision.

The text of the article is a critical scientific contribution to one of the next editions of the scientific publication of our colleagues from Croatia: D. Živić, S. Špoljar Vržina, S. Cvikić, I. Žebec Šilj (editors), Vukovar' 91-Genocid i memoricidna baština Europske Unije, Zagreb: Institut društvenni znanosti Ivo Pilar, 2014. The article aims to shed alternative light on the background of the military-political case of the "Vukovar operation" in 1991 in the context of the brutal disintegration of the former Yugoslavia (SFRY-Socialist Federal Republic of Yugoslavia) both from the outside and from the inside, the historical conflicts between Croats and Serbs, as well as international law and the moral principles of global politics and regional security at the very beginning of the post-Cold War era of international relations in which the peoples and nationalities of the SFRY found themselves in 1991. 1

During the course of this paper we examine publically available social media data that relates to the London 2012 Olympic Games that has been harvested and analysed using the Cardiff Online Social Media ObServatory (COSMOS). Social media has matured sufficiently in terms of user uptake and incorporation into traditional media platforms and outlets that the recent London Olympics has been described as the first social media games. For example, the BBC used the Twitter stream to incorporate and mobilise audience participation into its Olympic coverage. With this in mind, this paper will explore the analysis of social media data in relation to sporting events and social media use. In doing so we identify the ways in which COSMOS can be used to identify hashtag popularity over a specific time period to identify real world events, in this case 'Super Saturday'. The paper reports on indicative evidence that links real-world sporting events to spikes in real time populations' reaction through self-reported social media updates. In turn, the paper provides an analysis of frequency and sentiment of tweets containing the most popular UK hashtag connected to the London 2012 Olympics over a specified time period. This has consequences for conceptualising the relationship between social actors, events and social media and methodological strategies for understanding the dynamic (locomotive) reactions of populations.

מאמר זה בוחן את מבצע "סדר", ההיערכות המשטרתית והצבאית המאסיבית לקראת עצרת המחאה של תנועת חרות נגד הסכם השילומים בתל אביב ב-25 במרץ 1952. בניגוד להפגנת השילומים הראשונה בירושלים (7 בינואר 1952), שנחקרה רבות בשל האלימות שפרצה בה, העצרת בתל אביב לא זכתה לתשומת לב מחקרית, למרות שהייתה גדולה יותר ועל אף ההיערכות הביטחונית החריגה שליוותה אותה. מחקר זה, המבוסס על תיקים ארכיוניים שנחשפו במיוחד, מגלה כי בעצרת השתתפו כוחות בהיקף ובהרכב חריג, כמחצית מהשוטרים במדינה לצד יחידות צבא איכותיות. בנוסף, הפקודות לקראת העצרת כללו הכנות להטיל משטר צבאי בתל אביב, באם המצב יצא מכלל שליטה. אלה מעידים על חששם של מנהיגי המדינה מפני התפרצות אלימה של תומכי האופוזיציה. עם זאת, ההוראות למפקדים מעידות על גם על איפוק ומודעות לזכות האזרחים למחות נגד החלטות הממשלה. בסופו של דבר, העצרת התקיימה בשקט מוחלט, ומעידה על לקחים שהופקו מהאלימות בינואר.

This article examines Operation "Order," the massive police and military deployment in preparation for the Herut movement's protest rally against the reparations agreement in Tel Aviv on March 25, 1952. Unlike the first reparations demonstration in Jerusalem (January 7, 1952), which has been extensively studied due to the violence that erupted there, the Tel Aviv rally has not received scholarly attention, despite being larger and despite the exceptional security preparations that accompanied it. This research, based on archival files specially accessed for this study, reveals that the rally involved forces of unusual scale and composition—nearly half of the country's police officers alongside elite military units. Additionally, the orders issued in preparation for the rally included preparations to impose military rule in Tel Aviv should the situation spiral out of control. These preparations reflect the state leadership's fears of a violent outbreak by opposition supporters. However, the instructions to commanders also demonstrate restraint and awareness of citizens' right to protest against government decisions. In the end, the rally took place in complete quiet, reflecting lessons learned from the January violence.

This study examines how social media platforms reshape Chinese wedding traditions, focusing on the intersection of digital customization, cultural continuity, and commercialization. Using qualitative research methods, including social media content analysis and semi-structured interviews, the study explores how Chinese millennials utilize WeChat for private wedding coordination and Xiaohongshu for public inspiration in wedding planning. Findings reveal that digital media serve as both a tool for personal expression and a medium for reinterpreting traditional rituals. While social media enables greater customization and engagement, it also introduces new pressures to conform to viral trends and idealized aesthetics. The study highlights the hybridization of modern and traditional elements, as rituals such as the crying marriage ceremony are adapted for online audiences. By bridging cultural heritage with contemporary digital practices, social media both preserves and transforms Chinese wedding customs, reinforcing their relevance in an increasingly digital society. These findings contribute to broader discussions on how digital platforms mediate cultural rituals, offering nuanced insights into identity performance, emotional authenticity, and the hybridization of tradition in China's digital age.

The article analyses the visibility of the papal message for the 2021 World Day of Peace (1 st January) on the social media platform Twitter (now: X.com). The authors conclude that the papal message is lost in the flood of content related to the start of the New Year. From a communication point of view, it would therefore make sense to consider changing the date of the Catholic Church's World Day of Peace. The authors suggest merging this celebration with the International Day of Peace celebrated by the United Nations on 21 st September. The article touches upon issues related to scientific disciplines such as communication and media studies, political science and religion and culture studies.

As education and literacy agents, media outlets play a crucial role on constructing how one grasp a given country's history, including children journalism. The 25 April 1974 was the kick-off event to trace the roots of Portugal's liberation from an autocratic regime that lasted more than 40 years. Using Multimodal Critical Discourse Analysis, it was possible to go beyond content and their linguistic resources, within Multimodality, Social Semiotics, and Critical Discourse Studies, in order to depict multimodal semiotic resources (e.g., colour, salience, discursive strategies) under intertextual, media, sociocultural, and historical contexts. This has allowed to better perceive meaning and discourse the cover of April 2024's edition of Visão Júnior magazine and its respective three issue articles produce about the also called 25th April Revolution. Thus, the following research question was designed: what does April 2024's Visão Júnior magazine multimodally and discursively represent about the 25th April Revolution? The carnation and red colour as revolution icons, storytelling, informal, and conversational styles of the issue articles, dichotomies past/present, old/new, worse/better, oppression/freedom, and dictatorship/democracy, photo and illustration recurrence, or participatory forms are among the findings. These expose how Visão Júnior's children journalism warns its readers about pre-April 1974's practices in order to avoid them in the present and future, while intersecting different childhood generations.

Este artigo faz uma reflexao teorica sobre como o jornalismo usa e agencia a memoria em suas praticas narrativas. Trabalhamos com a fenomenologia da memoria, que permite elucidar a evocacao do passado na atualidade, e com o conceito de homem capaz ( Homo Capax ) de Paul Ricoeur (2007, 2014), que possibilita problematizar o sujeito por meio de suas acoes e de sua etica. Retomamos as potencialidades do homem capaz, as aproximamos das competencias desejaveis do jornalista e, finalmente, propomos a definicao de homem capaz do jornalismo, que, em nossa concepcao, deve estar apto a: 1) identificar acontecimentos notaveis; 2) reconhecer e narrar a alteridade; 3) narrar e interpretar os acontecimentos, evidenciar a pluralidade de discursos da sociedade e inscrever o homem em seu tempo; 4) hierarquizar, organizar e disponibilizar informacoes para o futuro, e 5) construir memoria.

Dieser Artikel untersucht die Videoinstallation
„True North“ (2004), in der Julien die Leerstellen
polarer Heldenmythen – die Partizipation von
People of Colour,1 Frauen und Inuit an Expeditionen
– thematisiert und auf ihre koloniale Prägung
befragt. Im Zentrum der Analyse steht die
Arbeit des Künstlers mit Eis, das als eine feste
Bühne für heroische Taten und als ein sich verflüssigendes
Element mit deheroisierender Wirkung
auftritt. In der Videoinstallation dient das
Eis dazu, heroische Gesten zu bewahren, zu
verweigern und zugleich aufzulösen. Dieser Artikel
interpretiert das Eis in Juliens Videoinstallation
als eine Geste des künstlerischen Materials,
also als Äußerung eines nicht-menschlichen und
lebendigen Gegenübers, die zum Nachdenken
über die Gründe und Zusammenhänge gegenwärtiger
Krisen auffordert.

This paper has two aims. To begin, it examines whether the symbolic ethnicity model is relevant to identity negotiation among Croatian Jews. In symbolic ethnicity, individuals are not so much interested in the maintenance of traditional lifestyles as they are with choosing how to ...

Presented research describes the character of message and techniques used in TV political advertising during the 2016 US presidential campaign. The results unambiguously indicate a steady increase in the use of negative ads during political campaign. Television commercials of Hilary Clinton and Donald Trump focused mostly on discrediting their political opponent. In addition, the content of negative ads more frequently referred to image characteristics than to issues. Prezentowane badania opisują styl przekazu i techniki użyte w telewizyjnych reklamach z amerykańskiej kampanii prezydenckiej z 2016 roku. Wyniki jednoznacznie wskazują na postępującą negatywizację przekazu kampanijnego. Zarówno Hilary Clinton, jak i Donald Trump skupili się w spotach głównie na dyskredytowaniu politycznego przeciwnika. Dodatkowo treści zawarte w negatywnych reklamach telewizyjnych częściej odnosiły się do kwestii wizerunkowych (image ads) aniżeli problemowych (issue ads).

A "twice as outstanding" communications scholar, as Jay G. Blumler (2008) nicely emphasized when introducing Elihu Katz's recent guest lecture at the University of Leeds, and author of some of the most influential works in the field of television studies, the sociologist has been concerned since the mid-1990s with the possible demise of broadcast television. In fact, in the same journal whose special issue of September 2009 constitutes the volume reviewed here, Katz (1996) published an essay in which he stated that "television is dead, almost everywhere." The paraphrased title "And deliver us

In this article we consider the live experience of the dual audiences of the Eurovision Song Contest, recently awarded the title of the world's longest running annual music competition. The Contest commands an audience of some two million each year for its broadcast, but there is also a small live audience of between 10 000 and 30 000 spectators. Following recent theoretical debates on liveness, we argue that both audiences can be understood as experiencing the Contest live: despite their lack of spatial co-presence, the temporal connection established by the live broadcast allows both experiences to be understood as live. This argument is supported by thick descriptions gathered on-the-ground (or on-the-dance-floor) at the 2015 Eurovision Song Contest.

In 1670, the revocation sermon (Revocationspredigt) of Georg Friedrich Habel came off the printing press in Leipzig. The text was based on a sermon Habel delivered on 4 January 1670, making it not only a revocation sermon, but also a New Years' sermon (Neues Jahr / oder Revocation-Predigt).* , 1 In it, he explained and justified his decision to leave behind the Catholic Church and to become a Lutheran. The sermon was reprinted six years after its first publication in a slightly altered version, with minor changes in the title and without a dedication. Apparently there was enough demand to merit printing this second version.2 Johann Georg, also called Georgi, one of the most prolific printers in Leipzig at the time, printed both texts. So far as we know, this was the only work by Habel that was printed, and little is known about him aside from the information in his sermon. Habel's sermon had a plain title page, without any illustrations, border decorations or other visual markers (see figure .1). The text was divided into several sections, and key features of the text, like the title of the sermon and Habel's name, were printed in a larger typeface, immediately drawing the reader's eye to them. The title stressed that Habel had left Popery behind and found his way to the only true church -the Lutheran one. The sermon is dedicated to the pastors and consistory of Dresden, who were in charge of ensuring the orthodoxy of Saxon Lutheranism. They also would have been responsible for testing Habel when he first expressed his desire to convert to Lutheranism.

This article examines the media coverage of Henry Kissinger’s death across nine major Israeli news websites, analysing 11 online articles and 837 user comments. Despite warm eulogies from top Israeli politicians that highlighted Kissinger’s contributions to US–Israel relations, the media coverage was markedly more critical and ambivalent. Even more so, the discourse among online readers was overwhelmingly negative, marked by hostility and derision. Despite some voices that presented Kissinger as an elite statesman, Israeli reporters refrained from glorifying him, while Israeli online users emphasised the controversies surrounding his diplomatic decisions and reconstructed his image as anti-Israeli, traitor to the Jewish people and pro-Arab. This coverage suggests a complex and divided perception of Kissinger in the Israeli public, reflecting broader societal tensions regarding his legacy and undissolved issues regarding the 1973 Yom Kippur War and the ongoing Gaza war.

O Vaticano e a Igreja em Portugal consagraram a visita de Bento XVI a Portugal em Maio de 2011 como um evento mediático. Os media corresponderam à temática e ao(s) interveniente(s) com uma mobilização de investimentos financeiros e humanos que resultaram numa cobertura centrada e exaustiva. Os canais televisivos, público e privados, assumiram um papel de destaque na mediação dos acontecimentos, através da apresentação e da avaliação do «homem-papa» e das suas acções. Este facto traduziu-se em emissões monotemáticas, mas, mesmo assim, concorrenciais, atendendo à produção de reportagens contextuais e de directos, destacando-se a construção de palcos e cenários, os convidados-comentadores (leigos e religiosos) e os jornalistas/pivôs encarregados de conduzir as emissões. O presente artigo procura discutir a construção da «festa electrónica» do lado da produção e da recepção.

"As the German ruler Otto von Bismark once said, the Balkans is the powder keg of Europe… and it seems like it will explode once again, in light of new events in world geopolitics....However, Croatia must be at the forefront of our focus, as an EU and NATO country with significant geopolitical significance, alongside being the historic boundary between East and West."

In sixteenth-century conflict culture the boundary between the private and the public was often challenged or shifted as a part of conflict management. In the following discussion, the problem of privacy at the beginning of the early modern period will be examined through the lens of the public and the political as concepts opposed to the private. More precisely, this chapter deals with conflicts of both an ostensibly private or public nature carried out in the public sphere.

El 29 de marzo de 1969 tuvo lugar el XIV Festival de Eurovisión, celebrado por primera y, hasta ahora, única vez en España. No obstante, solo cuatro días antes el país se hallaba bajo estado de excepción, lo cual llevaría a la organización de un media event de tal magnitud a tomar importantes medidas de seguridad. Del mismo modo, este requirió una inversión, capital y simbólica, que consiguiera favorecer un clima de cierta normalidad, hospitalario ante los ojos del mundo. Así, la participación y acogida de dieciséis países supuso un reto para una España aislada internacionalmente y que solo mediante ciertas políticas del desarrollismo –como la promoción del turismo– comenzará a abrir sus fronteras. El Festival de aquel 1969 será entonces una oportunidad de blanquear el Régimen y mostrar a la audiencia internacional una modernidad a la española que incluso haría gala del lema Spain is different en una de las piezas de videoarte proyectadas durante la celebración. Este es, de hecho, el tema que aquí trataremos: la implicación, pionera hasta ese momento, de artistas visuales en el diseño del Festival de Eurovisión. Salvador Dalí creó el cartel, Amadeo Gabino la escultura que presidía la escena, y Javier Aguirre y Luis de Pablo la citada pieza audiovisual. Analizaremos, por consiguiente, desde una perspectiva que combina referentes de la Estética y Teoría de las Artes, los Estudios Culturales, la Historia y la Comunicación, los imaginarios identitarios impulsados por RTVE al servicio de la dictadura. En este caso, desde una fuente hemerográfica y propagandística como es el media event del Festival de Eurovisión: la competición musical internacional más longeva de la historia de la televisión.

En noviembre de 2016 la instalación de una placa para conmemorar a soldados muertos durante la Guerra de Croacia (1991-1995) generó un prolongado debate que involucró a diferentes actores políticos y sociales y que se desarrolló en espacios tanto públicos como institucionales. La inclusión en la placa (como parte del escudo de la organización de veteranos que la colocó) de un lema identificado con el movimiento ustaša (que con apoyo de la Alemania nazi gobernó el llamado Estado Independiente de Croacia -1941 a 1945), y, más aún, el sitio escogido para la misma, la localidad de Jasenovac (donde se encontraba el campo de detención y exterminio más significativo de aquel régimen) visibilizó las tensiones no resueltas entre dos hechos considerados fundacionales para la estatalidad croata actual. Por un lado, la resistencia antifascista durante la Segunda Guerra Mundial (que dio lugar a la “segunda” Yugoslavia) y, por otro, la Guerra en los ’90 (en pos de independizarse de aquella). 
Este trabajo comienza por abordar las tres polémicas de la placa, determinadas por lo que dice, por quiénes la colocaron, y por la ubicación. Luego se analizan los debates suscitados sobre la cuestión. Se pretende señalar cómo comenzaron, en qué espacios se realizaron y quiénes los llevaron a cabo.
La intención es, entonces, explorar cómo se presentan las discusiones sobre estos hechos pasados determinantes en la conformación de una identidad para la Croacia independiente, entendiendo que son también disputas por los proyectos de país a futuro.

The wide-spread and increasing communication via social media causes an entanglement between publicity and privacy. According to the meta-process of today's mediatized communication as described by Krotz, the user-generated content is established as an important channel of social communication today. In this way, a change is currently taking place regarding the question, which personal information should be made publicly available. The outcome of this is a necessity to understand, whether the mediatized communication has an effect on the boundaries between privacy and public. With help of a scientific study with academic participants in Turkey based on George Kelly's personal construct psychology, two groups with different understandings of privacy could be identified. In the constructed world of one group, the digital whoness, as derived from Kant's question of whoness by Capurro et al., is located in the public space. This is an indication that the boundaries between privacy and public are blurred and the relevance patterns of privacy and public are to be thought in new categories, since privacy becomes more and more a mediatized privacy.

In einer Zeit, in der die digitale Revolution nach Social Media und KI die Wissenschaftskommunikation grundlegend verändert, bleibt die Sichtbarkeit von Wissenschaftler*innen in den Medien ein zentrales Thema. Insbesondere die Repräsentation von Wissenschaftlerinnen steht im Fokus von Diskussionen über Geschlechtergerechtigkeit und Chancengleichheit. Der Sammelband "Sichtbar machen: Wissenschaftler*innen in den Medien -Herausforderungen und Chancen in der Wissenschaftskommunikation" zielt darauf ab, diese Themen vertieft zu untersuchen und neue Perspektiven auf die mediale Präsenz von Wissenschaftler*innen zu eröffnen. Der Band verbindet dazu erstmals empirische Ergebnisse aus qualitativen und quantitativen Studien mit den Praxiserfahrungen verschiedener Medienakteur*innen. Der Band strebt an, einen umfassenden Überblick über die Herausforderungen und Chancen zu geben, die mit der Sichtbarkeit von Wissenschaftler*innen in den Medien verbunden sind. Neben der Darstellung aktueller Forschungsergebnisse aus dem Projekt "WIM -Wissenschaftlerinnen in die Medien" (gefördert vom BMBF und unter Leitung von Prof. Dr. Judith Ackermann) möchten wir den Dialog erweitern und laden daher Wissenschaftler*innen und Praktiker*innen aus Medienwissenschaft, Gender Studies und weiteren Disziplinen ein, ihre Erkenntnisse und Erfahrungen in Form von Gastbeiträgen zu teilen. "Sichtbar machen: Wissenschaftler*innen in den Medien -Herausforderungen und Chancen in der Wissenschaftskommunikation" (Arbeitstitel)

Kako dominantni državni narativ utjecu na komemorativne prakse u lokalnim zajednicama u razlicitim povijesnim razdobljima? Ovom pitanju pristupamo provodeci studiju komemoracija Drugoga svjetskog rata u Gospicu u dva razlicita perioda promjene politickog režima. Studija se temelji na dokumentima iz gospickog arhiva, clancima iz lokalnih novina, postojecim znanstvenim radovima o ovom kraju, kao i izvjescima državnih institucija i nevladinih organizacija. Uz to, fotografirali smo ocuvane spomenike i groblja iz Drugoga svjetskog rata ili pak prikupili arhivske snimke i građu onih koji su uklonjeni ili unisteni u promjeru od pedeset kilometara oko Gospica. Clanak pokazuje kako su se narativi, simboli i rituali koji su cinili dio komemoracija nasilja iz Drugoga svjetskog rata promijenili kada su suprotstavljeni politicki akteri pokusali uspostaviti vlastitu politicku legitimaciju ili zadobiti politicku podrsku.

Je sauve donc je suis. Henning Trüper has retraced the 19th century slogan of the rescue society of Boulogne-sur-Mer, that is “the idea that life-saving amounted to an irrefutable justification, and thus foundation, of one’s own being” (Trüper, 2015: 118), as moored in the kairos of colonial empires and the massive expansion of sea travel that accompanied it. In a radical shift from Hans Blumenberg’s account of the classical trope (Shipwreck with Spectator, Blumenberg 1997), the existence of the spectator is no longer grounded on their safe detachment from shipwreck, but from their fearless involvement in it. In this article, I will shift focus once again, from those involved, life-saving spectators of shipwreck to the immediate actors, or rather: the actor-network of sea travel, that includes shipping companies, crews, passengers, and ships. This actor-network, with the sailing crew at its core, has been subsumed to a binding code of behavior in distress ever since the 1852 foundering of the Royal Navy Steam frigate HMS Birkenhead’s at Danger Point, in front of the Western Cape of Africa. The code’s two key imperatives: “Women and children first”, and “captain goes down with the ship”, henceforth known as the Birkenhead Drill (Brierley/Larcher, 2020: 119), have been safely embedded in Victorian morals by popular life guides, such as Samuel Smiles’s self-published Self-Help (1859). Obviously, the chivalresque requirement spelled out here adds a Boratesque twist to our initial slogan. I save therefore I am – not. Saving life is transformed here from the foundation to a dilemma of human existence: In order to survive as a maritime professional, one has to perish as an individual. In the famous verse of the ‘Poet of the Empire’: “To stand and be still / to the Birken’ead Drill / is a damn tough bullet to chew” (Kipling, 1896: 173). Based on this shift of attention, I will look at two different articulations of this dilemma, the ‘Jeddah incident’ of July 1880 (a shipwreck that never happened), and the sinking of the Titanic of April 1912 (a shipwreck that has been happening ever since), and unfold the translation of each case in a modern novel: Joseph Conrad’s Lord Jim for the former, and Franz Kafka’s Der Verschollene (The Man who Disappeared) for the latter. I will pay particular attention to the role of professional ethics as drivers of the narrative in both cases, and I will highlight how the two authors, while using an almost identical plot structure (the Lord Karl script), pursue different strategies of fictionalizing the Birkenhead dilemma.

This article explains the methodological framework created for the ‘Tweeting the Olympics’ project represented in this Journal issue that can be used and adapted by other researchers in their studies of global media events. This project was a case study in the adoption of and adaptation to social media in a global news organisation. It examined the opportunities and challenges that were faced by the BBC World Service during the 2012 London Olympic Games in developing their Twitter strategy, and how audiences responded. The aim of the project was to assess whether and how the BBC World Service engaged audiences via Twitter and fostered intercultural dialogue (or, in the BBC’s terms, a ‘global conversation’). We focused on the uses of Twitter by four different Language Services provided by the BBC World Service: the BBC Arabic Service; BBC.com (the English Language Service targeted at overseas audiences); the BBC Persian Service; and the BBC Russian Service. We adopted a ‘social life ...

The ‘Tweeting the Olympics’ project (the subject of this special section of Participations) must be understood in the context of efforts by host states, the International Olympic Committee (IOC) and other actors involved in the Games to cultivate and communicate a set of meanings to audiences about both the Olympics events and the nations taking part. Olympic Games are not only sporting competitions; they are also exercises in the management of relations between states and publics, at home and overseas, in order to augment the attractiveness and influence or the soft power of the states involved. Soft power is most successful when it goes unnoticed according to its chief proponent Joseph Nye. If so, how can we possibly know whether soft power works? This article reviews the state of the field in thinking about public diplomacy, cultural diplomacy and soft power in the period of this project (2012-14), focusing particularly on how the audiences of soft power projects, like the London...