The economic logic of right-wing populism in the culture industry: The case of Russell Brand’s online content

This paper contextualizes and analyses the policy proposals of new “left populisms” (Mouffe 2018) for the regulation and reform of the “platform capitalism” (Srnicek 2017) that increasingly organizes digital communication. The era of the 2008 crash and subsequent recession saw the emergence in North America and Europe of new left-wing electoral initiatives, either as new parties or fractions within older parties. These include, in the USA, Bernie Sanders and Alexandria Ocasio-Cortez Democrats; in the UK, Jeremy Corbyn’s Labour Party; in Spain, Podemos; in Germany, Die Linke; in France, La France Insoumise. While many of these groupings might be described as socialist, or democratic socialist, they often also distinguish themselves from older socialist or social democratic formations; so, for lack of a better term, we call them left populisms. Left populisms are connected in contradictory ways to the appearance of platform capitalism, a corporate model exemplified by Google, Facebook, Apple, Amazon and Uber, deploying proprietorial software as a launch-point for user activities accessing commodified or advertising-driven goods and services. The rise of left populism correlates with the ascent of platform capitalists. Left populist parties emerged from the anti-austerity movements (Occupy in the USA, the Indignados in Spain, student campus occupations in the UK) organized with the help of social media platforms. However, it is also the failures and scandals of platform capitalism have been important to left populism. Edward Snowden’s revelations of ubiquitous surveillance and the Facebook-Cambridge Analytica-Russian hacker imbroglio around the 2016 US election have fuelled a “techlash” against giant digital corporations that is now an important component of left populist sentiment. Drawing on policy documents, manifestos, speeches, position paper, this paper analyses the policy platforms in which left populist parties confront platform capitalism around issues of content regulation; concentration of ownership; the rights of digital workers; alternative ownership models; and proposals for a high-tech driven transition to “postcapitalism” (Mason 2016). It considers the similarities and difference between and within left populist parties on these issues; the extent of their departure from neoliberal policies; and their differences, and occasional erratic similarities, with right-wing populisms, such as that of Trump. It then reviews critiques of left populism made from Marxist and ecological anti-capitalist positions, with particular reference to technological issues. The paper concludes with a summary of the opportunities and problems for a left wing “data populism” (Morozov 2016) in the current political conjuncture.

Research on the Development of Intangible Cultural Heritage from the Network Perspective

In general to find out verbal abuse in Jozeph Paul Zhang's youtube content. And specifically to find out about verbal violence against the Islamic religion in Jozeph Paul Zhang's Youtube Content. The research method uses a qualitative approach to content analysis with the research subject, namely Jozeph Paul Zhang's YouTube content, data collection techniques using coding sheets. Data analysis techniques use content analysis using the Roland Barthers method. The results of the research are: 1. The contents of Jozeph Paul Zhang's youtube content are hate speech (Head Speech). 2. As for verbal violence in Joseph Paul Zhang's youtube content, it can be found in videos that aired in April 2021 and February 2023 with verbal abuse sayings including: "Speaking of a prophetic voice because there are many injustices against minorities", "He said God is thirsty blood killed one thousand two hundred people", "Islamic Allah punishes his own people", "Muslims are repeatedly punished by Allah SWT, he says it's a trial" and "Muslims who are bastards and cant believe in gebleg teachings". The aims of this study are: 1. To find out the contents of Jozeph Paul Zhang's YouTube content. 2. To find out verbal violence against Islam in Jozeph Paul Zhang's YouTube content.

Interplay between industrial print advertising and culture

This chapter presents a critical account of “diversity” as mobilized by both corporate media and popular anti-racist movements. “Diversity” is the dominant mode in which racial inequalities are made sense of and tackled in the cultural industries. The chapter demonstrates how diversity is the response of the dominant culture to critiques of its institutional Whiteness. In this context, diversity both describes how cultural industries feel threatened by but also attempts to capitalize upon racial difference. Yet, a relatively neglected consideration in discussions of diversity is how it is mobilized by popular anti-racism. Building on Sarah Banet-Weiser’s notion of “popular feminism,” popular anti-racism refers to a version of anti-racism that identifies visibility and representation in media as an important political goal and is both a product of and enabled by platform capitalism. The mode of anti-racist activism is limited on the grounds that it feeds rather than challenges the commodification of race upon which cultural industries profit. The chapter calls for a more radical approach to solving racial inequalities in media that replaces benign notions of diversity with the idea of reparative justice, including both political economic and grassroots interventions.

The purpose of the article is to reveal the features of digital inclusion in modern cultural industries of Ukraine and to outline promising strategies for overcoming the digital divide. Research methodology. The analytical method, the method of analysis and synthesis, the dialogical method, the typological method, the systematic method, the method of comparative analysis and the method of scientific generalisation are applied. Scientific novelty. The problem of digital inclusion in the cultural industry has been studied; the theory of digital inclusion in foreign scientific works is considered; the peculiarities of digital inclusion in modern cultural industries of Ukraine were revealed; promising measures on which the strategy for overcoming the digital divide should be based are outlined. Conclusions. The strategy of digital inclusion of cultural industries in Ukraine should be based on a set of measures aimed at overcoming the digital divide, which includes, first of all: providing high-speed Internet to as large a part of the population as possible; all kinds of assistance in the process of improving the digital literacy of potential consumers of a cultural product / service; provision of high-quality technical support; creation of specialised applications and online content, according to the specifics of the activities covered by each cultural industry. Potential forward-looking steps include providing ongoing support to users, reducing professional jargon and offering interpretive resources, and ensuring that technology and training are offered to all users on an equal basis, not just those confident enough to seek help. The study revealed that at the current stage in Ukraine, only libraries not only offer the Internet, but also provide a range of training services from basic digital literacy to the skills needed to use certain services (audio/video streaming service, file sharing services, online platforms), devices and applications that are currently actively used in the system of cultural industries (for example, applications of augmented reality in museum, exhibition activities, performing arts).

The name Galunggung is very well known to the people of Indonesia as the name of the mountain and the name of an Old Sundanese Manuscript. The ancient manuscript of Amanat Galunggung is a manuscript written in the 16th century and contains the teachings of life or local genius of the Sukapura or Tasikmalaya people. Mount Galunggung has experienced several eruptions from 1822 to 1983. The eruption of Mount Galunggung has had a catastrophic impact on the community and provided long term benefits for improving the soil fertility around the Mount Galunggung site such as the Indihiang site. Various disasters that have occurred due to volcanic eruptions in various regions have become a source of learning for the community to mitigate disasters from an early age. This research uses qualitative methods and digital augmented reality techniques. Augmented Reality can be used in visualizing and simulating mountain sites or other cultural heritage sites. The results of this study recommend the application of Augmented Realty technology in the conservation of cultural heritage sites and disaster mitigation as well as the planning program for the nomination of mountain sites in Indonesia for UNESCO’s world cultural heritage by the Indonesian government. Various efforts to develop site conservation with digital 4.0 technology and assistance for local communities involving universities, local governments, museum communities and the cultural arts tourism industry. The use of Augmented Reality can be useful for increasing understanding and learning experiences about cultural sites and heritage in tertiary, primary and secondary education.

The name Galunggung is very well known to the people of Indonesia as the name of the mountain and the name of an Old Sundanese Manuscript. The ancient manuscript of Amanat Galunggung is a manuscript written in the 16th century and contains the teachings of life or local genius of the Sukapura or Tasikmalaya people. Mount Galunggung has experienced several eruptions from 1822 to 1983. The eruption of Mount Galunggung has had a catastrophic impact on the community and provided long term benefits for improving the soil fertility around the Mount Galunggung site such as the Indihiang site. Various disasters that have occurred due to volcanic eruptions in various regions have become a source of learning for the community to mitigate disasters from an early age. This research uses qualitative methods and digital augmented reality techniques. Augmented Reality can be used in visualizing and simulating mountain sites or other cultural heritage sites. The results of this study recommend the application of Augmented Realty technology in the conservation of cultural heritage sites and disaster mitigation as well as the planning program for the nomination of mountain sites in Indonesia for UNESCO’s world cultural heritage by the Indonesian government. Various efforts to develop site conservation with digital 4.0 technology and assistance for local communities involving universities, local governments, museum communities and the cultural arts tourism industry. The use of Augmented Reality can be useful for increasing understanding and learning experiences about cultural sites and heritage in tertiary, primary and secondary education.

In the midst of various problems of environmental damage, the responsibility to care for the environment is still something that needs to be given a special portion. In addition, the development of communication technology is also increasingly advanced and sophisticated. Youtube as an online platform is a place for catechesis in caring for the environment. The purpose of this research is to find out how the analysis of the youtube content for Social and Social Affairs of the Jakarta Archdiocese (KAJ) in the World Environment Day Shepherd's Greeting series invites people to care for the environment. This research uses content analysis method. The analysis of the content is the delivery of teachings from Cardinal Suharyo in the form of a faith catechesis about caring for the earth. Through his explanatory narration, the Cardinal invites people to take care of the earth as our common home. The results of this study indicate that Cardinal Ignatius Suharyo's greeting in the KAJ Komsos youtube content has become a catechesis for preaching faith to the people in the context of protecting and preserving the environment.

YouTube challenges the media monopoly by providing spaces for everyone to produce including the cultural industry products like podcasts. Deddy Corbuzier took advantage of this opportunity by opening a channel on YouTube. At first, Deddy criticised the ‘garbage’ broadcast on television, but then he invited Dinar Candy and managed to become a top view the worst video he has ever made. This study looks at the commodification of two Deddy Corbuzier’s YouTube content with Dinar Candy and Siti Fadilah Supari and sees it from Adorno’s critical point of view of the cultural industry. This research uses multimodality analysis and critical discourse analysis. The result is Deddy Corbuzier, who was first known as a YouTuber with critical content and used YouTube to resist media monopoly. However, he compromised his integrity, followed capitalism’s flow, and created content for profit by repeating his success for popular and uncritical videos.

Visioning for cultural industries: CLA inspired scenario method

<p>El presente artículo tiene como objetivo examinar a tres autores que desde sus propios campos disciplinarios académicos aportaron para el desarrollo de un saber educativo en América latina en los temas de cultura, comunicación y educación. Para ello y en su un primer momento, se entregará una reflexión histórica sobre la importancia que ha jugado la Industria Cultural en América Latina a partir de los aportes académico de Andrés Bello, cuyo accionar intelectual estuvo enfocado a cohesionar la unidad nacional de los recientes estados latinoamericanos del siglo XIX. Será a través del lenguaje escrito y oral, proveniente de la llamada cultura ilustrada, y con el apoyo de los medios de comunicación de la época en que el proyecto bellista se convertirá en la primera estrategia comunicativa y educativa que buscó plasmar las nuevas y variadas dimensiones de la naciente Cultura Sudamericana.</p><p>De igual manera, y en el mismo sentido, revisaremos las posiciones de los escritores y periodistas José Martí y Rubén Darío, quienes se ven confrontados con una Modernidad que comienza a reemplazar a la Cultura Ilustrada por la Cultura de Masas. Sus poemas y escritos en los periódicos de la época instalaron por vez primera, una impronta académica ligada a la crítica y la educación como es el cuestionamiento a la industria cultural y sus narrativas mediáticas que opera a fines del siglo XIX desde los diversos medios de comunicación.</p><p>Finalmente, se analizará cómo surge la crítica comunicativa en Latinoamérica frente a los procesos de dominación, que no solo provienen desde lo económico, sino también, desde las llamadas industrias culturales que emergen con mucha fuerza a mediados del siglo XX. Dichos medios de comunicación proyectan los procesos culturales como un producto mercantil, diluyendo con esta acción comunicativa y mediática, las auténticas dimensiones de la cultura.</p>

This paper explains the relationship between the development of cultural tourism industry and the protection and utilization of cultural sites, and the significance of the two to the high-quality development of the region. This paper analyzes the existing problems such as the reduction of the number of tourists and the limited reception. Aiming at the coordinated development of cultural tourism industry and the protection and utilization of cultural sites, this paper puts forward some important suggestions and development countermeasures, such as promoting the organic integration of regional cultural sites and tourism, constructing the site characteristic cultural space, promoting the construction of information and emergency management system, and creating characteristic cultural tourism products.

The provision of academic language and literacy (ALL) support is increasingly shaped by the digital university and the commercialisation of higher education. This article undertakes a multimodal discourse analysis of YouTube content about ALL, turning critical attention to digital videos created by ALL practitioners and university students. Using an academic literacies framework and a schema of YouTube presenter and hosting styles, this article considers the discursive features that shape the digital videos’ messages, the multimodal features that shape their visual organisation, and the external factors that appear to influence their creation. While the ‘unbundled university’ refers to the disaggregation of higher education into its different components, usually by for-profit educational companies, this emerging concept may be equally relevant to publicly available YouTube content about ALL. This study’s findings raise questions about the degree to which YouTube content seeking to support students’ ALL development represents an extension of the unbundled university.

Culture is one of the most important aspects of being human alongside education. A very interesting way of approaching the issue of culture is understanding the importance of the art in everyday life. Alan Peacock, one the first pioneers of the term cultural economy, was a man of the arts who understood the importance of culture, not only in life, but in economy. Many writers in the 1960s identified some opportunities in engaging in the cultural and arts industries. As we know, cultural goods have an economic value and an artistic value. The evaluation of artistic goods or products is made only after it is consumed by clients or customers. The world of cultural services is large and forgiving with non-professionals. The use of cultural policies in today’s European Union, United States of America and Asia is very important because of the positive spillover it causes. Creating cultural policies and dedicating funds specifically for this started in the 1980s with the implication of UNESCO. Cultural policies not only help preserve cultural sites and heritage, but offers a broader strategy that envelops both cultural goods and cultural services. The cultural marketing concept refers to the art of using marketing tactics and strategies in order to promote and develop the cultural and artistic industries or sectors. The same instruments are used but the way in which they are used is very different. The performing arts sector is ever changing and it needs a new marketing mix approach to connect to new audiences. Artists need to work closely with business and management professionals in order to have the best representation off stage.