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Teorija uokvirjanja se je kot posebno raziskovalno področje znotraj sociologije začela razvijati v sedemdesetih letih prejšnjega stoletja, nedavno pa se je kot teoretično bogat pristop za razumevanje, proučevanje in pojasnjevanje družbenih procesov komuniciranja uveljavila tudi na področju odnosov z javnostmi. Uokvirjanje je opredeljeno kot proces, ki v osnovi vsebuje tako vključevanje in izključevanje, kot tudi poudarjanje določenih vidikov družbene realnosti, s pomočjo katerih je dogodkom p...
The centrality of data in modern society has prompted a need to examine the increasingly powerful role of data brokers and their efforts to quantify the world. Practices and methods such as surveillance, biometrics, automation, data creeping, or profiling consumer behaviour, all offer opportunities and challenges to news reporting. Nonetheless, as most professional journalists display a degree of hesitancy towards numbers and computational literacy, there are only limited means to investigate...
The work practices of the professional photojournalist are currently undergoing rapid change in the digital era. New technologies, new platforms and new methods of visual storytelling are exerting a range of pressures and influences that require photojournalists to adapt and respond in different ways. The changes provoke a number of questions that are critical to the future of professional photojournalism: What are the new risks being faced by photojournalists? How are the transformations in ...
The chapter analyses the historical mediatization of the FIFA World Cup focusing on the rhetoric of technological advancement in the televised coverage of the competition as the premier single-sport global mega-event. The chapter also critically analyses the view that televised sport is being undermined by the rise of the Internet and social media, rather arguing that television remains central to the new media digital ecology. This analysis is supported by recent evidence in the coverage of ...
Lindsay Anderson directed David Storey's plays In Celebration (1969) and Home (1970) on the Royal Court stage, London. He later directed the first of these for the American Film Theatre, and the second for National Educational Television, New York. This chapter compares the stage productions with their successors on large and small screen respectively.
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