OTT platforms as heterotopic media environments. Cultural implications of the disempowerment of audiences

Stock Images, Filler Content and the Ambiguous Corporate Message

In the current hypermedia age, the borders of information are increasingly indistinguishable. There now exist few, if any, limits to how far, fast, and wide messages may travel. Across the globe--from the growth of community internet in rural Europe and the Middle East, (1) to the expansion of cell phone technology in India (2) and Africa, our media-saturated world is shrinking. At the same time, the convergence of media platforms has enabled access to information on a global scale. New media technologies have allowed for wide and unfettered consumption of information in many parts of the world. (3) Such progress has brought the world closer together. From recent public health scares, to the economic recession, and continuing efforts to combat climate change, we can no longer ignore the need to understand the role of information in defining issues globally. Beyond specific issues, the global expansion of media has allowed for new understandings of culture. Nations that are increasingly dependent on one another for economic, political, and social stability must, often cultivate public awareness of such relationships through media. This entails an understanding of cultures and communities far removed from physical and geographic familiarity. The current global media environment as a result, will continue to have significant effects on how individuals, societies, and nations view and interact with one another. Within this new landscape exists the opportunity for a new type of global citizenship: one that hinges on preparing future citizens for lives of inclusive and active participation in global dialogue. Writes UNESCO's Benito Opertti: The challenge is not just to provide criteria and instruments so the child or youth can critically face off to the media, but also to understand that the media contextualize and often determine the ways that people exercise their rights culturally, politically, economically, and socially. (4) What are the best practices for enabling new understanding of global culture through media? In the present, cultivating media literacy education for global audiences must embrace much needed educational responses to an increasingly borderless and open media environment. It is no longer an option to ignore the media's increasingly central role in framing identity. Media literacy can enable future generations to recognize both the power and potential of media to bridge cultural and ideological divides. DEVELOPING MEDIA LITERACY FOR GLOBAL AUDIENCES Media literacy, commonly defined in the United States as the ability to access, evaluate, analyze, and produce all types of communication, (5) has been expanding worldwide. Across all levels of education, media literacy is increasingly seen as a core component in preparing the future public for active and engaged citizenship. While media literacy programs continue to grow within nations, few initiatives have collectively pursued curricular efforts that address media literacy on a global scale. Global media literacy, as developed in the context of the Salzburg Academy on Media and Global Change, not only seeks to enhance students' media analysis skills, but also their critical understanding of media's larger political, cultural, and ideological implications. (6) In this way, the Academy's approach to media literacy is based not on specific content, but rather on the application of content to specific cultural contexts. By shifting the focus from content to context, the dialogue initiated during the three-week program in Salzburg, Austria, approaches media from a cultural perspective. In a global setting finding common ways to discuss media is challenging because of its many diverse voices. The experiences of the Salzburg Academy have shown that attempting to analyze a specific message--whether about health, conflict, economy, or politics-- in a global context fails if it is not understood first in terms of where it originated, who created it, in what context it was created, and what values are associated with the message. …

In recent years, Korean TV entertainment programs have increasingly incorporated shamanism as a central theme, creating new forms of shamanistic expression within popular culture. This study analyzes how shamanic content is represented in three representative programs—Buchaedosah, Knee-Drop Guru, and Ask the Bodhisattvas—and examines their narrative structures and cultural implications. Despite their differences in format, subject matter, cast composition, and spatial settings, these programs form a kind of genealogy that reflects the characteristics of their respective media environments and time periods. What unites these programs is their common appropriation of the core shamanic structure of “problem and resolution.” In doing so, they transcend shamanism as mere custom or spectacle, instead functioning as platforms for emotional resonance and practical advice. The cast composition also mirrors the hierarchical relationship between shaman and believer, consistently deploying the image of the possessed shaman (gangshinmu). The use of props and settings evocative of shamanic shrines further enhances the multi-dimensional representation of shamanism. These programs visualize Korean folk identity by situating shamanism at the intersection of traditional culture and K-content, serving not only as a means of cultural localization but also as a point of engagement with global K-culture and digital sovereignty. By investigating how shamanism is normalized and transformed into entertainment within the television medium, this study sheds light on the contemporary reappropriation of shamanic practices and their dynamic interaction with popular media.

Part 1 The media Environment: The media industry - into the Millennium British public service broadcasting British Film Policy European Union media policy Mass media theory Media and its cultural implications Part 2 Management theories and applications to the media industry: The growth of business in the audiovisual industry Behaviour in media organisations and organisational behaviour Strategic management Introduction to media law Principles of media law Media ethics Part 3 Media management in action Production Production project management in practice Glossary Bibliography Media timeline

Social media has become a primary arena for shaping public opinion and individual reputations, particularly within algorithm-driven platforms such as TikTok. One prominent phenomenon emerging from this environment is digital victimization, in which individuals become targets of negative framing through emotionally charged social media narratives. While previous studies have largely examined media effects on public perception or focused on Western contexts, this study offers a novel contribution by analyzing the framing of a viral personal conflict on TikTok within the Indonesian context, interpreted through global communication frameworks.This study employs a qualitative, interpretative framing analysis to examine how TikTok content shapes public perception of the Yai Mim–Sahara case. The research analyzes nine videos produced by three influential TikTok accounts—@lambe_turah, @intensinvestigasi, and @detik.com. These were analyzed using a qualitative framing analysis approach, supported by agenda-setting and image repair perspectives. The findings reveal that infotainment-oriented accounts such as @lambe_turah and @intensinvestigasi predominantly employ frames based on emotional dramatization and moral judgment, contributing to public polarization, online shaming, and the reproduction of digital stigma. In contrast, the professional media account @detik.com applies a more informative and corrective framing strategy, emphasizing contextualization, clarification, and verification. Furthermore, TikTok’s algorithmic logic amplifies emotionally charged content, thereby intensifying the risk of digital victimization. Theoretically, this study advances the understanding of how framing, agenda setting, and image repair intersect within algorithmic social media environments. Practically, it highlights the importance of digital literacy, ethical communication, and reputation management strategies in mitigating the harmful effects of viral framing. This research contributes to a deeper understanding of social media framing dynamics and their implications for reputation formation and public communication culture in the digital era.

This paper intends to explore the social and cultural implications of convergence media, based on Goffman's situational approach. The situational segregation of regions makes us to re-interpret the current private and public spheres and helps us to reveal the principle and structure hidden in the new middle region. An environment of convergence media is nullifying the separation of private and public spheres, while letting a new middle region appear.

Introduction: Korean media in a digital cosmopolitan world