Resilience to online disinformation: A framework for cross-national comparative research

 

The International Journal of Press/Politics, volumen 25 issue 3 https://doi.org/10.1177/1940161219900126 

Autor: 

1. Humprecht, Edda; University of Zurich; edda.humprecht@uzh.ch; https://orcid.org/0000-0002-8127-2088
2. Esser, Frank; University of Zurich; frank.esser@uni-mainz.de;  https://orcid.org/0000-0002-1627-1521
3. Van-Aelst, Peter; University of Antwerp, Belgium; vanaelst@uia.ac.be;  https://orcid.org/0000-0002-2548-0309    

Keywords: online disinformation, theoretical framework, resilience, cross-national comparison, cluster analysis. 

Abstract: Online disinformation is considered a major challenge for modern democracies. It is widely understood as misleading content produced to generate profits, pursue political goals, or maliciously deceive. Our starting point is the assumption that some countries are more resilient to online disinformation than others. To understand what conditions influence this resilience we choose a comparative cross-national approach. In the first step, we develop a theoretical framework that presents these country conditions as theoretical dimensions. In the second step, we translate the dimensions into quantifiable indicators that allow us to measure their significance on a comparative cross-country basis. In the third part of the study, we empirically examine 18 Western democracies. A cluster analysis yields three country groups: one group with high resilience to online disinformation (including the Northern European systems, for instance) and two country groups with low resilience (including the polarized Southern European countries and the United States). In the final part, we discuss the heuristic value of the framework for comparative political communication research in the age of information pollution. 

Idioma: inglés. 

Publicación: 24 de enero del 2020 (publicación electrónica) 

Volumen: The International Journal of Press/Politics, volumen 25 issue 3. 

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Evaluating the fake news problem at the scale of the information ecosystem

Science Advances vol 6, issue 14; https://doi.org/10.1126/sciadv.aay3539

Autor:

1. Jennifer Allen; MIT Sloan School of Management, 100 Main St., Cambridge, Massachusetts 021, USA; jnallen@mit.edu; https://orcid.org/0000-0002-9827-9147
2. Baird Howland; Harmony Labs, New York, USA. https://orcid.org/0000-0002-2190-8101
3. Markus Mobius; Microsoft Research New England, 1 Memorial Dr., Cambridge, Massachusetts, USA; mobius@fas.harvard.edu; https://orcid.org/0000-0002-4725-7896
4. David Rothschild; Microsoft Research New York, 641 Avenue of the Americas, 7th Floor, New York, USA; david@researchdmr.com; https://orcid.org/0000-0002-7792-1989
5. Duncan J. Watts; University of Pennsylvania, Philadelphia, Pennsylvania, USA; djw24@columbia.edu; https://orcid.org/0000-0001-5005-4961

Abstract: “Fake news,” broadly defined as false or misleading information masquerading as legitimate news, is frequently asserted to be pervasive online with serious consequences for democracy. Using a unique multimode dataset that comprises a nationally representative sample of mobile, desktop, and television consumption, we refute this conventional wisdom on three levels. First, news consumption of any sort is heavily outweighed by other forms of media consumption, comprising at most 14.2% of Americans’ daily media diets. Second, to the extent that Americans do consume news, it is overwhelmingly from television, which accounts for roughly five times as much as news consumption as online. Third, fake news comprises only 0.15% of Americans’ daily media diet. Our results suggest that the origins of public misinformedness and polarization are more likely to lie in the content of ordinary news or the avoidance of news altogether as they are in overt fakery.

Idioma: Inglés

Publicación: 03 de abril del 2020

Volumen: Science Advances, vol 6 issue 14. 

Enlace Permanente: 

¿Quién va a filmar la Historia? Artificio y heterocronía en El movimiento de Benjamín Naishtat

Dixit. Comunicación, Profesión, Conocimiento vol 36 issue 1, enero-junio 2022. https://doi.org/10.22235/d.v36i1.2790 

Autor: Iván Zgaib, Universidad Nacional de Córdoba, Argentina; jizivan@gmail.com; https://orcid.org/0000-0002-0832-1832 

Keywords: cine argentino, cine latinoamericano, artificio, heterocronía, espacialidad

Abstract: El movimiento (2015) by Benjamín Naishtat is part of a constellation of recent Argentine and Latin American films that deal with the historical past, but far from being based on a plausible representation of the period, it puts the illusionist nature of the classical narrative in crisis. With the aim of thinking about the communicating vessels that El movimiento establishes with the history and present of Argentina, this article not only contemplates the discursive constructions, but especially the material surface of its images and sounds. Naishtat’s film, through a series of formal operations that exacerbate artifice, composes an abstract space and a broken temporality made of anachronisms. It is a procedure of estrangement: it attempts to trace another path, another territory, and other rhythms of time. It confronts a narrative’s form: the celebrations of the Bicentennial and the objectivist visions of certain period cinema to crystallize Argentine history.

Resumen: El movimiento (2015) de Benjamín Naishtat se inscribe en una constelación de películas argentinas y latinoamericanas recientes que aborda el pasado histórico, pero que lejos de basarse en una representación verosímil de la época, pone en crisis el carácter ilusionista de la narración clásica. Con el objetivo de pensar los vasos comunicantes que establece El movimiento  con la Historia y el presente de Argentina, este artículo no solo contempla las construcciones discursivas, sino la superficie material de sus imágenes y sonidos. El filme de Naishtat, a través de una serie de operaciones formales que exacerban el artificio, compone un espacio abstracto y una temporalidad rota hecha de anacronismos. Se trata de un procedimiento de enrarecimiento: intenta trazar otro recorrido, otro territorio y otros ritmos del tiempo. Confronta la forma de un relato: las celebraciones del Bicentenario y las visiones objetivistas de cierto cine de época para cristalizar la historia argentina.

Idioma: español. 

Publicación: 24 de mayo del 2022

Volumen: Dixit. Comunicación, Profesión, Conocimiento vol 36 issue 1, enero-junio 2022. 

Enlace Permanente 

Cuerpo, danza e identidad en el discurso fílmico contemporáneo. Ema (Larraín,2019) y Ya no estoy aquí (Frías, 2019)

Mediaciones Sociales Vol. 21 (2022), https://dx.doi.org/10.5209/meso.80607

Autor: 

1. Hernandez-Espinoza1, Eréndira-Damariz; Universidad de Guadalajara, México; danzamovimiento@gmail.com; https://orcid.org/0000-0001-7218-2809
2. Sedeño-Valdellos, Ana; Facultad de Ciencias de la Comunicación de la Universidad de Málaga, España; valdellos@uma.es; https://orcid.org/0000-0003-3897-2457

Keywords: cine posnarrativo, cine contemporáneo, cuerpo en el cine, danza, cine iberoamericano 

Abstract: Dance  is  a  type  of  artistic  expression  that  is  making  its  way  into  many  of  the  current  cultural  representations:  cinema,  advertising, video clips... In the new logics of film production characterized by the hybridity and the drive of the performative aspect of the image, we can observe how the musical manifestations and its collective performance through dance leads the stories and the characters with an impoverishment of their living conditions. This article analyzes the Latin American films Ema (Pablo Larraín, 2019) and Ya no estoy aquí (Fernando Frías, 2019), focusing on the visual representation of the body and dance as a strategy of resistance, and a mechanism of appropriation of urban space and subjective construction. We use a methodology of semiotic and sociological analysis coupled with textual and discursive analysis.

Resumen: La danza es un tipo de expresión artística presente en muchas de las representaciones culturales actuales: cine, publicidad o videoclips emplean sus modos y lenguajes para encarnar muchas de las problemáticas de la experiencia humana contemporánea...En  las  nuevas  lógicas  de  producción  fílmica  caracterizadas  por  la  hibridez  y  el  empuje  del  aspecto  performativo  de  la  imagen,  se  observan cómo las manifestaciones musicales y su interpretación grupal a través del baile y la danza desembocan en historias donde los personajes sufren un empobrecimiento de sus condiciones de vida. Este artículo analiza las películas latinoamericanas Ema (Pablo Larraín,2019)  y  Ya  no  estoy  aquí  (Fernando  Frías,  2019)  poniendo  el  foco  en  la  representación  visual  del  cuerpo  y  la  danza  como  estrategia de resistencia, como mecanismo de apropiación del espacio urbano, y de construcción subjetiva. Se emplea una metodología de análisis semiótico y sociológico unido al análisis textual y discursivo.

Idioma: español 

Publicación: 09 de enero del 2023. 

Volumen: Mediaciones Sociales Vol. 21 (2022) 

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Reproductive rights, othered women, and the making of feminist documentary in Latin America

Feminist Media Studies 2023, VOL. 23, NO. 4 https://doi.org/10.1080/14680777.2022.2027803

Autor: Cervera-Ferrer, Lorena; Bournemouth Film School, Arts University Bournemouth, Bournemouth, UK; lorena.ferrer.17@ucl.ac.uk; http://orcid.org/0000-0003-2348-0193

Keywords: Cine Mujer Mexico; Cine Mujer Colombia; Latin American Women Filmmakers; film collectives; feminist documentary

Abstract: Cine Mujer was the name of two feminist film collectives, one founded in Mexico (1975–1986) and the other in Colombia (1978– 1999). Sharing the same name but with no ties between each other, these collectives produced films that provided different representations of women, politicized personal experiences and domestic spaces, and promoted processes of consciousness-raising. Broadly, this article looks at the Cine Mujer collectives as part of a larger phenomenon that, although informed by second-wave feminism and the New Latin American Cinema, can be better understood within the singular complexity of Latin American women’s movements. Specifically, it analyses two documentaries, Cosas de mujeres (1978) and Carmen Carrascal (1982), produced by the Cine Mujer collectives in Mexico and Colombia, respectively. Drawing on Laura Marks’ work on hybridity, excess, and haptic visuality, this article explores the relation between modes of production and representation in these films and positions them as emblematic examples of a formative moment in Latin American feminist documentary. By emphasizing the emotional and sensorial appeal of these films, this article also attempts to expand what is understood by political cinema.

Idioma: Inglés 

Publicación: 13 de febrero del 2022

Volumen: Feminist Media Studies 2023, VOL. 23, NO. 4

Enlace Permanente 

NO FUTURE: The Colonial Gaze, Tales of Return in Recent Latin American Film

Humanities Vol 11 N°2, 2022 https://doi.org/10.3390/h11020045

Autor: Miguel L. Rojas-Sotelo; Center for Latin American Studies, Duke University, Durham, California del Norte, USA; mlr34@duke.edu;  https://orcid.org/0000-0001-6129-7782

Keywords: Bolivian cinema, Brazilian cinema, Colombian cinema, indigenous cinema, coloniality, tercer cine, decoloniality, Latin American cinema

Abstract: The past is certain, the future an illusion. Contemporary films such as Ivy Maraey: land without evil (Juan Carlos Valdivia 2013), Embrace of the Serpent (Ciro Guerra 2015), The Fever (Maya Da Rin 2020), and Bacurau are border films, from the genre of contact films. They announce how coloniality maintains a grip on frontier territories in the Americas. These films also present particular indigenous visions that challenge western epistemes and confront audiences with particular ways of being in the world, where the modern subject finds its limit. The article introduces a critical perspective on cinema as a colonial tool, producing forms of capture that are part of the modern archive and the notion of linear time. These films also build on cinematic traditions such as tercer cine and afro-futurism, and are strong on concepts such as cosmopolitanism, resistance, and subalternity. They present forms of adaptation, reaction, return, and redemption while maintaining the status of cinema as a capturing device, entertainment, and capital investment (the triad of destruction in modernity/coloniality).

Idioma: inglés 

Publicación: 18 de marzo del 2022

Volumen: Humanities 2022, Vol 11, N° 2.

Enlace Permanente

Políticas de diversidad cultural en el sector audiovisual de América Latina: posibilidades e incertidumbres en la era de las plataformas de streaming

Palabra Clave, Vol 25 N°2 https://doi.org/10.5294/pacla.2022.25.2.3

Autor: Bárcenas-Curtis, César; Universidad Autónoma de Tamaulipas, México; cbarcenas@docentes.uat.edu.mx; https://orcid.org/0000-0001-6724-6492

Keywords: América Latina, cine, digitalización, diversidad cultural, política de la comunicación

Abstract: The live streaming platforms of large operators such as Netflix have become established amidst the COVID-19 pandemic in Latin America. This scenario gives rise to unequal and inequitable  processes in audiovisual production, distribution, and consumption. This paper intends to vindicate,  recover, and encourage the discussion on audiovisual policy-making based on cultural diversity precepts to protect Latin American cinematographies and regulate the corporate, economic, and commercial power conditions of those companies that dominate the markets worldwide. The analysis strategy was based on a documentary and statistical review that describes how Latin American cinema shows a series of asymmetries, which remain in the analog stage and increase in a digital context. The lines of work proposed from this analysis are based on ten pivotal points to establish public policies for cultural diversity in the Latin American audiovisual sector.

Resumen: Los servicios de las plataformas digitales audiovisuales en directo (streaming) de grandes operadores como Netflix se han consolidado en el contexto de la pandemia de covid 19 en América Latina. Este escenario genera una serie de procesos desiguales e inequitativos en las dimensiones de producción, distribución y consumo audiovisual, por lo que la intención de este trabajo es reivindicar, recuperar e incentivar la discusión sobre el establecimiento de políticas audiovisuales basadas en los preceptos de la diversi-dad cultural, para proteger las cinematografías latinoamericanas y regular las condiciones del poder corporativo, económico y comercial de aquellas empresas que dominan los mercados a nivel mundial. La estrategia de análisis se basó en una revisión documental y estadística que describe cómo el cine latinoamericano presenta una serie de asimetrías que permanecen y continúan desde la etapa analógica y se incrementan en un contexto digital. Las líneas de trabajo propuestas para el establecimiento de estrategias políticas de diversidad cultural en América Latina, que surgen como resultado de este análisis, se fundamentan en 10 ejes para elaborar una propuesta de políticas públicas para la diversidad cultural en el sector audiovisual latinoamericano.

Idioma: español-inglés 

Publicación: 23 de mayo del 2022

Volumen: Palabra Clave, Vol 25 N°2

Enlace Permanente