(12043) Natural disasters, which strikes without warning and leaves limited scope of preparedness, is a potentially traumatic event that is collectively experienced with severe consequences. With its high news values, natural disasters gains attention of the media, and therefore is given foremost and extensive coverage, particularly on news sites which allow readers to access to the updates anytime anywhere (Houston, Pfefferbaum & Rosenholtz, 2012; McFarlane & Norris, 2006). Natural disaster coverage is always of great concern for people as it involves massive deaths, human suffering and brings huge impact to the life aftermath of the victims (Dhiraj Murthy, 2012; Hanusch, 2012). Debates were going on that media depicted natural disaster from different perspectives, especially between the Asian media and the Western media, due to the geographical, cultural, political interest and ideological divergences (“The CARMA Report, 2006; Kalai Natarajan & Hao, 2003; McFarlane & Norris, 2006). Therefore, by taking Typhoon Haiyan news coverage as case study, this research aims to investigate the differences of news frame featured in the Asian local media, Philippine Inquirer and Western media, The Wall Street Journal news sites. The findings indicated the news framing of Typhoon Haiyan disaster showed resemblance in primary news source and theme coded for both Philippine Inquirer and The Wall Street Journal. Both local and international news media “mediated” disaster which has gone beyond national spectrum of interest. The proliferation of new media, irrespective of Western or Asian media, has transformed the world of disaster into global context.
(19327) Comic could be a means to represent certain values. The reality is described through the storyline, setting and characterization which are packed in comic rubric. In comic, the whole symbols in the text will give certain meanings. They are including characters, dialogues, words written in word balloons, figure characters, and setting. This combination formed certain meanings which will determine how the reality will be framed by the media.
Ketopraktoon is a comic strip which consistently reviews the socio-political issues and serves as a semi-comic in Kompas daily editorial. The strength of ketopraktoon in its social critics is built of figure’s characters which are presented in straightforward way with the support of storyline which fitted to the actual and factual condition in accordance with the dynamics of general election in Indonesia.
This study aimed to discover how the election campaign during the Reform Era is represented in Ketopraktoon comic. This study used a qualitative approach with data analysis techniques semiotics of Barthes.
The results showed (1) General Election campaign is purely contained of slogans and political rhetoric; (2) Pragmatism political parties and constituency campaign; (3) Irrationality behavior of political parties and constituency campaign; (4) Political branding refers to a materialistic tradition to gain popularity and power; (5) primitive and traditional culture in the election campaign.
(6678) In October 23, 2002, forty two Chechen Terrorists attacked the Dubrovka theatre in Moscow and took 850 people hostage during the performance of the Russian Musical Nordost. The terrorists commando included 22 women, the so-called “black widows”, i.e. women whose husbands had been killed during the Chechen war. The siege lasted 57 hours. To put an end to it, the Russian army gassed the theatre. 132 hostages died as a result of the gas. Most of the male terrorists escaped, while the black widows were left behind and died in the theatre. To this day the full nature of the gas that was utilized remains undisclosed. This paper wishes to examine this event in the light of several international sources, including a documentary and two theatre productions.
The goal of this presentation is to show how power, it being the legitimate Russian government or the terrorist cell, acts in spite of the common perception of human rights and regardless of the people. In particular, when it comes to women. The paper will include clips from interviews, from one of the latest productions of Nordost, a play by the German playwright Torsten Bucksteiner and from the Catalan group La Fura Dels Baus’ production of Boris Godunov. The paper will be accompanied by a power point presentation.
(20826) This research explores the representation of gender roles in the Canadian prime-time television series Bomb Girls, which depicts the lives of women working at a munitions factory in Toronto during the Second World War. The historical drama, which aired from 2012 to 2013, is set in a period that challenged gendered dynamics of power in the public and private spheres. Women’s participation in the workforce more than doubled during the war, reaching 1.2 million by late 1943. Women worked alongside men and in place of those fighting overseas, assuming (or at least sharing) the traditionally-male role of ‘breadwinner.’ This blurred gendered divisions of labour and challenged stereotypical conceptions of ‘womanhood.’ Life changed and, with that, so did women. Bomb Girls sought to tell the stories of a diverse group of female munitions factory workers ‘liberated’ from the home and the social restrictions that accompany a traditional division of labour. Through a content analysis of the television series, this study considers whether and, if so, how the series depicted these shifting power dynamics by analyzing—through a feminist media studies theoretical framework—the characters’ personal characteristics, professional positioning, and attitudes towards their own employment. In the end, the paper argues that Bomb Girls challenges traditional representations of gender prominent in mass media and, instead, captures the shift in women’s public-private roles and, with that, the nuances of a more grassroots shift within women toward personal, professional and social empowerment.