傳統(tǒng)媒體是在新媒體最弱處競爭(編輯修改稿)
2025-06-23 23:42 本頁面
【文章內(nèi)容簡介】 is empirically and presented extensive quantified evidence supporting the model.[8] Communication scholar Robert W. McChesney, inspired in part by the work of Chomsky and Herman, has linked the failures of the mainstream press primarily to corporate ownership, procorporate public policy, and the myth of professional journalism. He has published extensively on the failures of the mainstream press, and advocates scholarship in the study of the political economy of the media, the growth of alternative media, and prehensive media policy reforms.[9] Ben Bagdikian has also written about the takeover of biased media, with particular attention to the giant conglomerates that own them. He argues that because five large conglomerates own the majority of American media, politics and general media influence in America are in jeopardy.[10]Whereas some alternative media theorists (., Chris Atton) propose broad definitions of media alterity, parecon theorist and Z Magazine cofounder Michael Albert incorporates the politicoeconomic critique of mainstream media into his definition of alternative media. In answering the question What makes alternative media alternative? he suggests that alternative media institutions should feature an anticorporate structure, not just alternative media content. Along these lines, Albert has criticized publications such as The Nation and the Village Voice for replicating corporate hierarchies and divisions of labor.[11]While the Propaganda Model resonates in productive ways with the way in which media systems have developed in the United States context, this theory might fall short in describing the situation in nations outside of the American context. The Propaganda Model would have a hard time explaining nations with a weak munications infrastructure (somewhere like Zimbabwe), heavily funded and state sponsored public broadcasting television stations (such as Australia), or with a strong tradition of partisan print and televised journalism.[edit]PressThe alternative press consists of printed publications that provide a different or dissident viewpoint than that provided by major mainstream and corporate newspapers, magazines, and other print media.Factsheet Five publisher Mike Gunderloy described the alternative press as sort of the 39。grownup39。 underground press. Whole Earth, the Boston Phoenix, and Mother Jones are the sorts of things that fall in this classification.[12] In contrast, Gunderloy described the underground press as the real thing, before it gets slick, coopted, and profitable. The underground press es out in small quantities, is often illegible, treads on the thin ice of unmentionable subjects, and never carries ads for designer jeans.[12]An example of alternative media is tactical media, which uses 39。hitandrun39。 tactics to bring attention to an emerging problem. Often tactical media attempts to expose large corporations that control sources of mainstream media.One prominent NGO dedicated to tactical media practices and infoactivism is the Tactical Technology Collective which assists human rights advocates in using technology. They have released several toolkits freely to the global munity, including NGO In A Box South Asia, which assists in the setting up the framework of a selfsustaining NGO, SecurityInABox, a collection of software to keep data secure and safe for NGOs operating in potentially hostile political climates, and their new short form toolkit 10 Tactics, which ... provides original and artful ways for rights advocates to capture attention and municate a cause.[13][edit]Avantgarde mediaThe category of avantgarde media emphasizes the experimental and innovative aspect of a certain kind of alternative media that stands out for its aesthetic qualities and that is usually produced by artists.Examples of avantgarde media can be found in the works of the Situationist International, Dadaism, Surrealism, Punk literature, Epic Theatre, Theatre of the Oppressed, Stencil graffiti. Groups like the Situationist International bring to the table questions of how alternative media can be conceptualized as a form
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