12,251 research outputs found
'One media â three screens' â Convergence and interactivity at its full potential? ARTE: French-German experiments in 'crossing the borders'
This contribution is aimed at discussing different current policies of convergence as well as questioning whether these exploit the opportunities of digital media to their full potential, especially with regard to transmedia storytelling, interactivity, participation and networking.Taking the portfolio of the âEuropean Culture Channelâ ARTE as an example, I draw a sketch of existing and emerging industrial strategies as well as of new formats and user practices. In the second part of the article, I examine one specific genre within this context I look at the collaborative, networked transmedia documentary Prison Valley to consider transformations at both the macro and the micro level. Last but not least, I question whether ARTE fulfils its promise to be the first â100% bi-medial channelâ (according to ARTEâs mission statement), or whether it promotes an âextended side-by sidenessâ of devices and practices, which would constitute the first steps towards the synergetic potential of media convergence
Media Industries, Work and Life
Convergence culture, as a concept, articulates a shift in the way global media industries operate, and how people as audiences interact with them. It recognizes contemporary media culture as a primarily participatory culture. In turn, this assumption renders notions of production and consumption of (mass, mediated) culture not just theoretically problematic â as has been established earlier in disciplines as varied as communication studies, cultural geography, and media anthropology â but also less than useful on a practical level when making sense of the role media play in peopleâs everyday lives. This paper explores the practical applications of convergence culture from the perspectives of media workers, suggesting not so much the use of ânewâ categories, but rather an alignment of production, mediation and consumption as constituent practices in all experience of (in) media life
Designed and user-generated activity in the mobile age
The paper addresses the question of how to design for learning taking place on mobile and wireless devices. The authors argue that learning activity designers need to consider the characteristics of mobile learning; at the same time, it is vital to realise that learners are already creating mobile learning experiences for themselves. Profound changes in computer usage brought about by social networking and user-generated content are challenging the idea that educators are in charge of designing learning. The authors make a distinction between designed activity, carefully crafted in advance, and user-generated activity arising from learnersâ own spontaneous requirements. The paper illustrates what each approach has to offer and it draws out what they have in common, the opportunities and constraints they represent. The paper concludes that user-generated mobile activity will not replace designed activity but it will influence the ways in which designed activity develops
Evidence-informed regulatory practice: an adaptive response, 2005â15
Overview: In this occasional paper, the ACMA reflects on its regulatory practice over the past 10 years; specifically, the role of research in evidence-informed decision-making and regulation. It looks at how the ACMA has used research in an environment of ongoing change to document and build evidence, inform public debate about regulation, and build capability among our stakeholders to make communications and media work in Australiaâs national interest
Playing with Play: Machinima in the Classroom
âSo, machinima is really a genre, and not a medium?â
The students in my Digital Media and Rhetoric course are grappling with both how to define machinima and how to evaluate whether one is âgoodâ or not. I frustrate them by refusing to provide a definitive answer to this and other similar questions they have asked about the form. This intentional frustration continues as, after watching a few examples they ask me what grade I would give those machinima, if they were turned in for this assignment. Rather than providing a simple answer I redirect, asking them what criteria they would use to evaluate machinima and how the examples weâve seen in class stand up to this scrutiny. At the beginning of this particular unit, when I announced that we wouldnât be writing another research paper, they were exuberant. Now, however, the complexity of the task before them is slowly unveiling itself. While a majority of these students are gamers, few of them have experience in video production. None of them have previously looked at fan culture as a source of meaning and knowledge production. We are in unfamiliar territory, and they are getting restless
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