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Session Overview
Session
RN18_07a_IC_RT_1: ROUNDTABLE: Media Narratives - Social Realities
Time:
Thursday, 31/Aug/2017:
4:00pm - 5:30pm

Session Chair: Romina Surugiu, University of Bucharest, Faculty of Journalism and Communication Studies
Location: Intercontinental - Aphrodite II
Athenaeum Intercontinental Hotel Syngrou Avenue 89-93 Athens, Greece Floor: Lobby Level

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Presentations

Greeks of the Prime Time Television Serials in Turkey

Serife Cam

Ankara University, Turkey

This study elaborates the images of Greek characters of the prime time television serials in Turkey which are produced after 2000. In this context, this study explores the construction of Greek identity, which stands as one of the main categories of national difference situated across Turkish identity, within the relations of sexuality, class, religion and cultural differences. Firstly under the theme of “sexuality of national difference in serial narrative”, this study attempts to reveal how the concept of difference is marked as feminine and how this marking operation is visualized on women Greek characters in serial narratives. As a second issue this study deals with how serial narratives define, name or describe cultural and historical cases and traumas experienced by Greek minority once lived or still living in Turkey. Thirdly this study discusses how economic and class differences are especially crucial in the production Greek stereotype that depends on “undeserved gain” in serial narratives. Finally this study deals how serial narrative emphasizes and frames principal role of religious difference which may be the first thing that comes to mind when the issue is the difference between Greeks and Turks. Referring to these four main issues this study will express multicellular and sometimes contradictory characteristic of Greek images. However these characteristics are not an obstacle in the consistent image production of cultural texts.


Technology and Science as Fiction Narratives and its social politics issues

Christiane Wagner

UNICAMP, Brazil

Keywords: Civilisation, Image, Artificial Intelligence, Evolution, Mortality.

While technological development is an important representative of forms, it is observed that the structure, i.e., the sense of building a narrative through images deals with the condition of the artificer or artist in the ability to develop and perform with the idea of transforming or improving.

Besides the attraction of images, which was always emphasised in the communication process and language development, the world and Weltanschauung are changing as a result of scientific and technological advances. This was posited in Jürgen Habermas's work titled Technik und Wissenschaft als "Ideologie" (Technology and Science as Ideology, 1968). Nowadays, among them is "dehumanization," which has become the universal use of the word to treat individual aspects shaped and structured to fit the new society and its political and economic issues. This term has to name an almost widespread impression in the face of the accelerating technical progress and its social and political effects. Sometimes, these effects were interpreted as "problematic" in life as human has become dependent on functional purposes. Moreover, were added to the discussion the notions of progress, the social impact of automation, and the role of intellectuals and scientists as builders of the "invention," generating "the artificer," who had to overcome its evolution, creating techniques to emerge as humans from the narratives. The visual narratives increase the focus on socially and politically engaging work through new technologies and artificial intelligence towards forming a collective imaginary. For instance, the American science fiction television series created by Jonathan Nolan and Lisa Joy, intitled Westworld, will be analyzed concerning the politics of technological development and its social effects in Europe.


From Robin Hood to Mr. Robot: popular cultural narratives of protest on television

Alexa Robertson

Stockholm University, Sweden

Contemporary protest is often theatrical and intertextual. Protesters in Hong Kong raised their voices in 2014 not just to call for democracy, but also to sing an anthem from Les Misérables, and the historical Guy Fawkes figure has been at demonstrations the world over ever since the allegorically masked revolutionary was first seen masterminding a mobilization against a fascist British state in V for Vendetta. The uprising represented as spectator sport is a trope that runs through popular culture from Spartacus to The Hunger Games. The screen is a common denominator in all such accounts, with films like these ending up on television, disseminated in the same flow as news reports, in entanglements of commemoration and remembering. With this phenomenon as its point of departure, the paper argues that the study of representations of protest in television drama can provide insights into how well television has met the challenge of representing the people who feel that political representation and professional journalism has failed them - the protesters who take to the streets, and screens, of the world. The characterization and narrative settings of film and television series provide tools for understanding complex political situations that news representations of protest cannot, it is argued. Evidence is presented to support the view that there striking symbolic similarities between the figures of Spartacus, Robin Hood, Katniss Everdeen and Elliot Alderson and the decadent capitals threatened by their outrage, and that the narratives in which they are embedded comprise powerful ideological frameworks in which contemporary protest can be understood and bolstered.


Cyber-Optimism and the Realities of Digitalizing Communications: The Predicament of Digital Civil Society

Yury Asochakov

St.Petersburg State University, Russian Federation

This paper aims at analyzing the prospects of interaction and confrontation between digitalizing communications in civil society and the state.

Information globalization produces special effect on the overall social and political transformation. “Digital fever of the 90s” created cyber-utopianism – a hopeful faith in the emancipating nature of the online communications, the belief that technological stimulation of political participation, the revival of community-based social structures, and broad intensification of social life, will lead to the creation of a new and the most effective civil society with the framework opposed to post/industrial hierarchies and based upon the network structure ensuring equality of its digital citizens. Social developments of the new millennium show that the tendency of the civil society’s relocation to the virtual space of the Internet, where the opposition and the protest movements are also transferred to, breeds the variety of forms of informational falsification and disruption and political “slacktivism”. This paper examines these phenomena as not mere unfavorable side-effects but as unavoidable authentic elements of the virtualization of social life with the increased level of uncertainty.

Political connotations of cyber-utopianism are generally used by political institutions in the context of liberal ideology as an indicator of the information freedom and a marker of liberal allegiance. This paper analyzes how in response to the increase of informational freedom in civil society, modern states (both liberal and authoritarian) use symmetrical technological countermeasures which can not only undermine the chances of digital liberalization, but also increase the risks and possibilities of upgrading traditional forms of political repression.



 
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