Comunicar 43: Media Prosumers. Participatory Culture of Audiences and Media Responsability

Total Page:16

File Type:pdf, Size:1020Kb

Comunicar 43: Media Prosumers. Participatory Culture of Audiences and Media Responsability © COMUNICAR, 43; XXII MEDIA EDUCATION RESEARCH JOURNAL ISSN: 1134-3478 / DL: H-189-93 / e-ISSN: 1988-3293 Andalusia (Spain), n. 43; vol. XXII 2nd semester, 01 July 2014 INDEXED INTERNATIONAL RESEARCH JOURNAL INTERNATIONAL DATABASES LIBRARY CATALOGUES • JOURNAL CITATION REPORTS (JCR) (Thomson Reuters)® • WORLDCAT • SOCIAL SCIENCES CITATION INDEX / SOCIAL SCISEARCH (Thomson Reuters) • REBIUN/CRUE • SCOPUS® • SUMARIS (CBUC) • ERIH (European Science Foundation) • NEW-JOUR • FRANCIS (Centre National de la Recherche Scientifique de Francia) • ELEKTRONISCHE ZEITSCHRIFTENBIBLIOTHEK (Electronic Journals Library) • SOCIOLOGICAL ABSTRACTS (ProQuest-CSA) • THE COLORADO ALLIANCE OF RESEARCH LIBRARIES • COMMUNICATION & MASS MEDIA COMPLETE • INTUTE (University of Manchester) • ERA (Educational Research Abstract) • ELECTRONICS RESOURCES HKU LIBRARIES (Hong Kong University, HKU) • IBZ (Internat. Bibliography of Periodical Literature in the Social Sciences) • BIBLIOTECA DIGITAL (University of Belgrano) • IBR (International Bibliography of Book Reviews in the Social Sciences) BIBLIOGRAPHICAL DATABASES • SOCIAL SERVICES ABSTRACTS • DIALNET (Alertas de Literatura Científica Hispana) • ACADEMIC SEARCH COMPLETE (EBSCO) • PSICODOC • MLA (Modern International Bibliography) • REDINED (Ministerio de Educación de Spain) • COMMUNICATION ABSTRACTS (EBSCO) • CEDAL (Instituto Latinoamericano de Comunicación Educativa: ILCE) • EDUCATION INDEX/Abstracts, OmniFile Full Text Megs/Select (Wilson) • OEI (Centro de Recursos de la Organización de Estados Iberoamericanos) • FUENTE ACADÉMICA PREMIER (EBSCO) • DOCE (Documentos en Educación) • IRESIE (Índice Revistas de Educación Superior e Investigación de México) • ISOC (CINDOC del Consejo Superior de Investigaciones Científicas) SELECTIVE JOURNAL ARCHIVES • REDALYC (Red de Revistas Científicas de América Latina de Ciencias Sociales) • ACADEMIC ONEFILE / INFORME ACADÉMICO (Cengage Gale) • RED IBEROAMERICANA DE REVISTAS COMUNICACIÓN Y CULTURA • EDUCATOR’S REFERENCE COMPLETE / EXPANDED ACADEMIC ASAP • RERCE (Red de Revistas Científicas de Educación JCR/RECYT) JOURNAL RANKING PLATFORMS • REC (Red de Revistas Científicas Españolas de Comunicación) • RESH (Revistas Españolas de Ciencias Sociales del CINDOC/CSIC) • RECYT (Fundación Española de Ciencia y Tecnología) SPECIALIZED WEBSITES • CIRC (Clasificación Integrada de Revistas) (Ec3, IEDCYT, UCIII) • SCREENSITE • IN-RECS (Índice Impacto de Revistas Españolas de Ciencias Sociales) • PORTAL IBEROAMERICANO DE COMUNICACIÓN • DICE (Difusión y Calidad Editorial de Revistas) • ERCE (Evaluación Revistas Científicas Españolas de Ciencias Sociales) • MIAR (Matriz para Evaluación de Revistas) • UNIVERSIA, QUADERNS DIGITALS, PORTAL DE LA COMUNICACIÓN UAB • ANPED (Associação de Pesquisa en Educação de Brasil) • POWER SEARCH PLUS (Cengage Gale) • CARHUS PLUS+ (AGAUR, Generalitat de Catalunya) OPEN ACCESS SEARCHERS • SCIMAGO Journal & Country Rank (Scopus) • DOAJ, SCIENTIFIC COMMONS SELECTIVE DIRECTORIES • GOOGLE SCHOLAR, GOOGLE BOOKS • ULRICH’S PERIODICALS (CSA) • OAISTER, THE LIBRARY OF CONGRESS • LATINDEX. Catálogo Selectivo • SCIRUS PUBLISHED BY: GRUPO COMUNICAR INTERNATIONAL CO-EDITIONS • www.comunicarjournal.com • www.grupocomunicar.com • ECUADOR: Technical University of Loja • Administration: [email protected] • CHILE: Diego Portales University. Santiago de Chile • Staff: [email protected] • UNITED KINGDOM: University of Chester • Mail box 527. 21080 Huelva (Spain) DISTRIBUTED BY: • COMUNICAR is a member of CEDRO (Spanish Centre for Reprographic Rights). EUROPE & AMERICA: Casalini (Florencia-Italia); Digitalia (New York-USA); ILCE (México DF- • COMUNICAR is a cultural publication published half-yearly, in México y América Central); Centro La Crujía (Buenos Aires-Argentina); January and July. Publiciencias Distribuciones (Pasto-Colombia); E-papers Editora (Brasil); Pátio de Letras (Portugal); Minerva Distribuciones (Coimbra-Portugal) • COMUNICAR journal accepts and promotes institutional exchanges with other scientific magazines. SPAIN: Centro Andaluz del Libro (Andalucía); Almario de Libros (Madrid y centro); © COMUNICAR is a patented trademark registered at the Spanish Grialibros (Galicia); Manuel Cano Distribuciones (Valencia); Publidisa Patents and Trademarks Office, n. 1806709, (Internet); Arce: www.quioscocultural.com (Internet) © Reproduction of any text in COMUNICAR requires authorization from CEDRO. PRINTED BY: Bonanza Impresores. Huelva (Spain) Comunicar© MEDIA EDUCATION RESEARCH JOURNAL EDITOR Dr. J. Ignacio Aguaded XXII, University of Huelva (Spain) 43 GUEST-EDITED SPECIAL ISSUE • Dr. Carmen García-Galera, Rey Juan Carlos University (Madrid) • Dr. Angharad Valdivia, University of Illinois (USA) EDITORIAL BOARD ASSISTANT EDITORS • Dr. Enrique Martínez-Salanova, Grupo Comunicar, Almeria • Dr. Joan Ferrés-i-Prats, Pompeu Fabra University, Barcelona • Dr. Mª Carmen Fonseca-Mora, University of Huelva • Dr. Agustín García-Matilla, University of Valladolid • Dr. Ángel Hernando-Gómez, University of Huelva • Dr. Miguel de-Aguilera, University of Malaga • Dr. Rafael Repiso, UNIR / EC3, University of Granada • Dr. Manuel Ángel Vázquez-Medel, University of Sevilla • Dr. Mª Amor Pérez-Rodríguez, University of Huelva • Dr. Javier Marzal, Jaume I University, Castellón • Dr. Francisco García-García, Complutense University, Madrid INTERNATIONAL COEDITORS • Dr. Concepción Medrano, University of Pais Vasco • Ecuador: Dr. Diana Rivera, University of Loja (UTPL) • Dr. Manuel Cebrián-de-la-Serna, University of Malaga • United Kingdom: Dr. Mark Gant, University of Chester (UK) • Dr. Ana García-Valcárcel, University of Salamanca • Chile: Mgter. Andrés Scherman, Diego Portales University • Dr. Julio Cabero-Almenara, University of Sevilla • Dr. Manuel Lorenzo, University of Granada ADVISORY BOARD • Dr. Donaciano Bartolomé, Complutense University, Madrid • Dr. Ismar de-Oliveira, Universidade de São Paulo, Brazil • Dr. Javier Tejedor-Tejedor, University of Salamanca • Dr. Guillermo Orozco, University of Guadalajara, Mexico • Dr. Gloria Camarero, University Carlos III, Madrid • Dr. Cecilia Von-Feilitzen, Nordicom, Suecia • Dr. Pere Marquès, Autonomous University, Barcelona • Dr. Geniève Jacquinot, University Paris VIII, Paris, France • Dr. Domingo Gallego, UNED, Madrid • Dr. Pier Cesare Rivoltella, Catholic University of Milano, Italia • Dr. Manuel Area, University of La Laguna, Tenerife • Dr. Alberto Parola, MED, University of Torino, Italia • Dr. Elea Giménez-Toledo, CSIC, Madrid • Dr. Teresa Quiroz, University of Lima, Perú • Dr. Ramón Reig, University of Sevilla • Dr. Claudio Avendaño, Diego Portales University, Chile • Dr. Xosé Soengas, University of Santiago • Dr. Mar Fontcuberta, Catholic University, Chile • Dr. J. Manuel Pérez-Tornero, Autonomous University, Barcelona • Dr. Jacques Piette, University of Sherbrooke, Québec, Canada • Dr. Rosa García-Ruiz, University of Cantabria • Dr. Jesús Arroyave, University of North, Colombia • Dr. Juan de Pablos-Pons, University of Sevilla • Dr. Samy Tayie, University of Cairo, Mentor Association, Egipto • Dr. Manuel Fandos-Igado, International University of La Rioja • Dr. Vítor Reia, University of Algarve, Faro, Portugal • Dr. Juan Antonio García-Galindo, University of Malaga • Dr. Sara Pereira, University of Minho, Braga, Portugal • Dr. Begoña Gutiérrez, University of Salamanca • Dr. Armanda Pinto, University of Coimbra, Portugal • Dr. Ramón Pérez-Pérez, University of Oviedo • Dr. Jorge Mora, University of Cuenca, Ecuador • Dr. Carmen Echazarreta, University of Girona • Dr. Patrick Verniers, IHECS, Belgium • Dr. Jesús Valverde, University of Extremadura • Dr. Graça Targino, University UESPI/UFPB, Brazil • Dr. Victoria Tur, University of Alicante • Dr. Tania Esperon, Federal University of Pelotas, Brazil • Dr. José María Morillas, University of Huelva • Dr. Vania Quintão, University of Brasilia, Brazil • Dr. Felicísimo Valbuena, Complutense University, Madrid • Dr. Gustavo Hernández, ININCO, Central University, Venezuela BOARD OF MANAGEMENT • Dr. Gerardo Borroto, CUJAE, La Habana, Cuba • Dr. Ciro Novelli, University of Cuyo, Mendoza, Argentina • Dr. Inmaculada Berlanga, International University of La Rioja • Dr. Jorge Cortés-Montalvo, UACH/REDECA, Mexico • Dr. Mar Rodríguez-Rosell, UCAM, Murcia • Dr. Patricia Cortez, Catholic University of Cochabamba, Bolivia • Dr. Vicent Gozálvez, University of Valencia • Dr. Silvia Contín, University of Patagonia, Argentina • Dr. Paloma Contreras, University of Huelva • Dr. Karina P. Valarezo, University Téc. Part. Loja, Ecuador • Mr. Francisco Casado-Mestre, University of Huelva • Dr. Carlos Muñiz, Autonomous University of Nuevo León, Mexico • Dr. Isidro Marín-Gutiérrez, University of Huelva /UTPL (Ecuador) • Dr. Evgeny Pashentsev, Lomonosov Moscow University, Rusia • Dr. Jacqueline Sánchez-Carrero, University of Huelva • Dr. Fahriye Altinay, Near East University, Turkey • Ms. Águeda Delgado-Ponce, University of Huelva • Mr. Paolo Celot, EAVI, Bruxelles, Belgium • Dr. Margarita García-Candeira, University of Huelva • Mr. Jordi Torrent, ONU, Alliance of Civilizations, NY, USA • Ms. Kathleen Tyner, University of Texas, Austin, USA • TRANSLATIONS: Mr. Noel Byde • Ms. Marieli Rowe, National Telemedia Council, Madison, USA • DESIGNED BY (Cover): Mr. Enrique Martínez-Salanova • Ms. Yamile Sandoval, University of Santiago, Cali, Colombia • COMMERCIAL MANAGER: Mr. Alejandro Ruiz © ISSN: 1134-3478 • e-ISSN: 1988-3293 4 C O N T E N T S Comunicar, 43, XXII, 2014 XXII, 2014 Media prosumers. Participatory
Recommended publications
  • 6Th Lily Supplement
    The International Lily Register & Checklist (2007) Sixth Supplement © 2019 The Royal Horticultural Society 80 Vincent Square, London SW1P 2PE, United Kingdom www.rhs.org.uk Charity registration number 222879 / SC038262 International Registrar: Duncan Donald E-mail: [email protected] All rights reserved. No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright holder ISBN 9781907057960 Printed and bound in the UK by Page Bros, Norwich (MRU) The previous supplement (Fifth Supplement) was published on 13th February 2017 Cover: Lilium ‘Willcrovidii’; drawing of Award of Merit plant by Winifred Walker, 1932. Image courtesy of RHS Herbarium, Wisley The International Lily Register and Checklist 2007 Sixth Supplement Introduction page 1 Notes on the entries page 2 Horticultural Classification page 4 Register and Checklist page 6 List of registrants page 116 The lily epithets listed here were registered between 1 September 2014 and 31 August 2016. Details of lilies with unregistered names are published also, as a Checklist, as are significant amendments to existing registrations. Epithets which conformed to the Articles (and, ideally, Recommendations) of the 2009 edition of the International Code of Nomenclature for Cultivated Plants (ICNCP) were deemed acceptable for registration [though entries have subsequently been updated to the 2016 edition, including the new use of adopted epithets]. Although registration is a voluntary procedure and does not confer any legal protection on the plant, the Royal Horticultural Society – as International Cultivar Registration Authority for Lilium – urges all hybridizers, raisers and introducers to register their lily names, to minimize potential confusion caused by new epithets the same as, or very similar to, existing names.
    [Show full text]
  • Franquicia Televisiva En Formato Talent Show Infantil Y La Gestualidad En La Performance Del Canto1
    Correspondencias & Análisis, 10, julio-diciembre 2019 Esta obra está bajo una Licencia Creative Commons Atribución- NoComercial-CompartirIgual 4.0 Internacional ISSN 2304-2265 (CC BY-NC-SA 4.0). Franquicia televisiva en formato talent show infantil y la gestualidad en la performance del canto1 Recibido: 07/08/2019 Maria Thaís Firmino da Silva Aceptado: 29/10/2019 [email protected] Publicado: 05/12/2019 Universidade Federal do Ceará (Brasil) Maria Érica de Oliveira Lima [email protected] Universidade Federal do Ceará (Brasil) Resumen: Considerando la proliferación de formatos televisivos globales, esta investigación analizó la relación específica entre los medios de comuni- cación y la música en el programa “The Voice Brasil Kids 2018”. El propó- sito fue entender cómo la gestualidad evidenciada genera una brecha entre las características infantiles del talent show y los significados implementa- dos en performances previamente determinadas. Este estudio cualitativo (con investigación bibliográfica, análisis de contenido, análisis estructural) pre- senta argumentos sobre aspectos que implican producciones en formatos y se establece por el sesgo de análisis que reconoce el gesto como elemento de comunicación con significativo impacto en la performance mediatizada técnicamente. Por último, esta investigación señala que la brecha entre la es- pecificidad infantil del programa y la gestualidad (implementada en actuacio- nes previamente determinadas) se apoya en el uso de gestos con significados orientados a la esfera adulta y que el repertorio también puede reforzar esta perspectiva. 1. Este artículo forma parte del resultado presentado en la tesis de maestría en comunicación, titulada “Franquia televisiva em formato talent show infantil e a gestualidade na performance do canto”, defendida por Firmino da Silva (2019) en la Universidade Federal de Ceará (Brasil).
    [Show full text]
  • Gratifications About Reality Television “The Voice of China” Among Chinese Audience
    GRATIFICATIONS ABOUT REALITY TELEVISION “THE VOICE OF CHINA” AMONG CHINESE AUDIENCE GRATIFICATIONS ABOUT REALITY TELEVISION “THE VOICE OF CHINA” AMONG CHINESE AUDIENCE Xin Zhao This Independent Study Manuscript Presented to The Graduate School of Bangkok University in Partial Fulfillment of the Requirements for the Degree Master of Communication Arts 2014 ©2014 Xin Zhao AllRight Reserved Xin Zhao, Master of Communication, July 2014, Graduate School, Bangkok University. Gratifications about Reality Television “The Voice of China” among Chinese Audience (66 pp.) Advisor : Assoc. Prof. Boonlert Supadhiloke, Ph. D. ABSTRACT The main objective of this study is to apply the uses and gratifications approach to investigate “The Voice of China”, the most successful talent show in china for past two years. The research examines the motives for watching and satisfaction of audience through comparing the gratifications sought and gratifications obtained. A quantitative survey is be used to collect data. The samples are selected by convenience sampling method and all of the samples are 231. The mean and standard deviation are tabulated and analyzed by using paired sample t-test. The finding suggests that the primary motives for watching “The Voice of China” among Chinese audiences are social interaction, entertainment and relaxing, but not vicarious participation or perceived reality. And the gratifications are well obtained indicates high audience satisfaction for the program content. v ACKNOWLEDGMENT My experience as a graduate student has been an exciting and challenging journey. I would like to acknowledge all of my committee members for their helpful suggestions and comments. First, I would like to thank Dr. Boonlert Supadhiloke, for his direction on this IS paper.
    [Show full text]
  • The Voice of Holland: Allograph Production in Written Dutch Past Tense Inflection De Bree, E.; Van Der Ven, S.; Van Der Maas, H
    UvA-DARE (Digital Academic Repository) The Voice of Holland: Allograph Production in Written Dutch Past Tense Inflection de Bree, E.; van der Ven, S.; van der Maas, H. DOI 10.1080/15475441.2016.1217777 Publication date 2017 Document Version Final published version Published in Language Learning and Development License CC BY-NC-ND Link to publication Citation for published version (APA): de Bree, E., van der Ven, S., & van der Maas, H. (2017). The Voice of Holland: Allograph Production in Written Dutch Past Tense Inflection. Language Learning and Development, 13(3), 215-240. https://doi.org/10.1080/15475441.2016.1217777 General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:24 Sep 2021 LANGUAGE LEARNING AND DEVELOPMENT 2017, VOL.
    [Show full text]
  • The Voice Est Une Émission De Télévision De Télé-Crochet Musical Créée En Hollande
    The Voice est une émission de télévision de télé-crochet musical créée en Hollande. The Voice of Holland a eu un très gros succès, ce qui a très vite intéressé les États- Unis et ensuite les pays de l’Europe. En ce moment, elle est l’émission de télé- crochet la plus regardée en Europe. En France The Voice, la plus belle voix est arrivée en France le 25 février 2012 et a réuni 8 millions de téléspectateurs. Quatre saisons ont déjà été diffusées à la télévision. L'émission est présentée par Nikos Aliagas et les quatre coachs sont Jenifer, Garou, Louis Bertignac et Florent Pagny. Les auditions à l’aveugle C’est un mélange d'émissions qui ont déjà fait leurs preuves, comme Super Idol, Nouvelle Star, Star Académie et The X Factor. The Voice a un petit truc en plus, qui fait la différence : les talents sont d'abord sélectionnés à l'aveugle. Les quatre coachs sont assis dans de fauteuils et tournent le dos aux aspirantes pop stars. Les candidats sont ainsi jugés uniquement sur le son de leur voix. Quand un candidat plait à un coach, ce dernier presse un bouton, ce qui fait tourner son fauteuil. Si plusieurs jurés décident de faire face au candidat, celui-ci peut choisir lequel sera son coach personnel. Si aucun des jurés ne se retourne, le candidat repart tout simplement. Les Batailles Les candidats sélectionnés sont partagés en équipes et sont coachés par l'un des membres du jury, à la manière de The X Factor. S'en suive l'épreuve des "Battles" où les candidats s'affrontent sur scène La scène est aménagée comme un ring, ce qui augmente le stress et l'émotion.
    [Show full text]
  • Pauta Oficial Argentina – México: Un Análisis Comparativo
    Universidad de San Andrés Departamento de Ciencias Sociales Licenciatura en Comunicación Pauta Oficial Argentina – México: Un análisis comparativo Autor: Dillon, Patricio Legajo: 26060 Mentor: Marino, Santiago Buenos Aires, 30/07/18 Agradecimientos A mi mentor, por brindarme el conocimiento necesario para planear esta investigación, por servir de guía al llevarla a cabo, y principalmente por presentarme, mediante sus clases, el tema que luego se convertiría en el eje de esta investigación. A mi familia y amigos, por su apoyo incondicional durante los meses que este trabajo demandó. Y, por último, a esta casa de estudios, la Universidad de San Andrés. Por proveerme de un espacio donde los alumnos no reciben trabas, sino herramientas, para enfrentarse a esta clase de desafíos. 2 Índice • . Introducción ........................................................................................................... Pág. 4 • Antecedentes o Por qué estudiar la comunicación política................................................. Pág. 6 o La pauta oficial .......................................................................................... Pág. 7 o Los estudios de la pauta oficial ................................................................. Pág. 9 • Metodología ........................................................................................................... Pág. 17 o Sistemas de medios ................................................................................... Pág. 18 o Legislación ...............................................................................................
    [Show full text]
  • Participatiecultuur Van Live Talentenshows “The Audience Seems to Be Everywhere”
    Participatiecultuur van live talentenshows “the audience seems to be everywhere” Ellemijn Willemse 3462862 BA eindwerkstuk Thema: Live Televisie – blok 2 2011/2012 Docent: Judith Keilbach 20 januari 2012 Inhoudsopgave 1. Inleiding p. 3 2. Casus p. 5 3. Participatie(cultuur) van 1956 tot nu p. 7 4. Conclusie p. 16 5. Literatuur p. 18 2 Inleiding “In reality TV, ‘the audience’ seems to be everywhere, more visible than ever. We are hailed directly to have ‘our say’ by voting, imaged as an excitable and boisterous crowd onscreen, constantly discussed by participants when they speculate about how they are being represented and received, solicited to call/text/email our opinions on the shows, and beckoned to step into the television space to traverse the boundary between living room and screen.”1 Holmes’ en Müllers visie op ‘participation’ Televisie is een medium dat sinds zijn ontstaan in de jaren 30 van de twintigste eeuw, continu aan verandering onderhevig is geweest. Technologische ontwikkelingen maakten het mogelijk het ‘televisie kijken’ steeds weer in een nieuwe vorm te gieten. In zijn beginjaren was live-televisie de standaard, omdat de techniek van het opnemen nog in ontwikkeling was. Tegenwoordig wordt live-televisie ingezet om de kijker bij een programma te laten participeren. Met het ontstaan van de mobiele telefoon werd participatie via bellen en sms eind jaren negentig van de twintigste eeuw een heuse hype, zoals in het programma Big Brother2. Met de opkomst van nieuwe media kan de kijker van de eenentwintigste eeuw deelnemen aan televisieprogramma’s via sociale platformen als Twitter en Facebook. Bovenstaand citaat van Sue Holmes omschrijft exact het karakter van de hedendaagse participatiecultuur van live-televisie: “the audience seems to be everywhere.” De vraag is echter of dit echt iets van het digitale tijdperk is.
    [Show full text]
  • What Makes the SQ2 Drum System Special? It Is Not Only the Variety of Choices
    Your pulse. Your expression. Your performance. Express yourself in a unique way. With instruments that are as unique as you are. Do not compromise. Choose the tools that enhance your musical “Whether he’s melding drums and explosions for an all-out aural assault or laying the foundation in the studio, Christoph Schneider’s drumming has provided the backbone for Rammstein’s rise as the identity. That allow for variety and depth, for sensitivity and response. Experience the SQ2 Drum System and discover the ultimate in custom drums. most successful German-language band of all time. His pounding beats slam home at an almost primal level, yet they have an undeniable groove and a song-oriented structure that is often absent in such aggressive music.”* * © Modern Drummer Magazine Photo: Rossi Rossberg Photo: Rossi YOUR SIGNATU RE IN SOUND SCHNEIDER - RAMMSTEIN CHRISTOPH FROM OUR HANDS TO YOURS We at Sonor share a certain dedication to detail when making drums. It is a We hand select the finest wood from environmental friendly sources for SQ2 The Sonor shell making process is the result of decades of research and CLTF stands for Cross Laminated Tension Free – a process that gives each shell Each shell is created to OSM Optimum Shell Measurements for optimized contact Sonor drum shells feature a 45° bearing edge, designed and introduced by us drum shells and veneers. experience and unique in it’s kind. superior stability and acoustic quality and requires no internal pressure on the shell. of the drum head, giving excellent tone and ease of tuning. already in 1975, for maximum resonance and sustain.
    [Show full text]
  • Participatie Van De Kijker in the VOICE of HOLLAND
    Participatie van de kijker in THE VOICE OF HOLLAND Masterscriptie Film- en Televisiewetenschap Tessa van Woudenberg 3370542 Begeleider: Clara Pafort-Overduin Tweede corrector: Eggo Müller 26 augustus 2014 Samenvatting In deze scriptie wordt onderzocht op welke manier in het programma THE VOICE OF HOLLAND vorm wordt gegeven aan participatie van en interactie met de kijker. In het theoretisch kader is ingegaan op de vraag in hoeverre de hedendaagse televisiekijker daadwerkelijk interactief kan deelnemen aan televisieprogramma’s. Zo stellen Pyungho Kim en Harmeet Sawhney dat om echt te kunnen spreken van interactiviteit er sprake moet zijn van tweerichtingsverkeer waarbij de kijker kan reageren op en participeren aan wat hij ziet op televisie. Evgeny Morozov, Eggo Müller en Mark Hayward zijn zeer kritisch over de manier waarop televisiemakers de groter wordende rol van de kijker gebruiken, omdat zij van mening zijn dat participatie niet wordt ingezet voor meer zeggenschap van de kijker, maar vooral wordt gebruikt om geld aan de kijker te verdienen. Met behulp van het analyseprogramma Cinemetrics heb ik de stijl van THE VOICE OF HOLLAND in kaart gebracht. Ik heb gekeken naar camerastandpunt en camerabeweging. Daarnaast heb ik ook gekeken wat er precies in beeld komt en hoe lang. Op die manier heb ik de social media en de interactieve mogelijkheden voor de kijker onderzocht. De belangrijkste conclusie voortgekomen uit mijn onderzoek, is dat er vanuit THE VOICE op verschillende manieren geprobeerd wordt de kijker over te halen mee te doen en geld uit te geven aan het programma. Zo maakt THE VOICE veelvuldig gebruik van ‘para- social interaction’, waarbij de presentatoren de kijker direct aanspreken door recht in de camera te kijken.
    [Show full text]
  • María Paula Cannova Director De Tesis: Dr
    0 Doctorado en Artes Facultad de Bellas Artes Universidad Nacional de La Plata Tesis elaborada por la doctoranda: María Paula Cannova Director de Tesis: Dr. Daniel H. Belinche TEMA: APARIENCIA DE LA VERDAD ¿QUÉ NOS MUESTRA LA TELEVISIÓN LATINOAMERICANA DE LA MÚSICA POPULAR DE NUESTRA AMÉRICA? ESTUDIO SOBRE CONCEPTOS OPERATORIOS DE LA MÚSICA POPULAR LATINOAMERICANA ABORDADOS EN SERIES DOCUMENTALES TELEVISIVAS ESPECIALIZADAS PRODUCIDAS EN AMÉRICA LATINA. La Plata, Argentina. Febrero de 2017 1 A la palabra valiente. Que es testigo, que muestra verdad, que permite justicia, que espera identidad, que abraza de blanco pañal las cabezas en ronda. Que siendo HIJOS parió a los padres. Que siendo albañil construyó memoria. Que en su escucha, agradecidos, encontramos nuestra libertad. Para Agustín y Martín. Por todo lo que ellos son, por nuestro amor. 2 Agradecimientos A Martín R. Eckmeyer por su generoso amor. Por el apoyo, la ayuda y el saber compartido. Por su coherencia, sinceridad y entrega. Por su música. Por construir una familia conmigo. A Agustín Eckmeyer, por su alegre vida libre y noble. Por su sabio amor interesado, incondicional. Al Dr. Daniel H. Belinche por su confianza y sus enseñanzas, tan apreciadas. Por las oportunidades. Por su orientación respetuosa y paciente. Por su dedicado compromiso con la Facultad de Bellas Artes/UNLP. A la Prof. Ma. Elena Larrégle por su apoyo y amistad. Por la valentía de su amor tenaz. A la Facultad de Bellas Artes, a sus actuales autoridades. Por la formación académica y ético profesional, por la mirada siempre atenta a las necesidades educativas, por practicar y enseñar el arte como un campo de conocimiento para todos.
    [Show full text]
  • SONOR SQ2 2018 Web.Pdf2 MB
    YOUR SIGNATU YOUR RE IN SOUND JOST NICKEL - JAN DELAY Photo: Marco Hammer Your pulse. Your expression. Your performance. Express yourself in a unique way. With instruments that are as unique as you are. Do not compromise. Choose the tools that enhance your musical identity. That allow for variety and depth, for sensitivity and response. MIKKEY DEE - SCORPIONS / MOTÖRHEAD Experience the SQ2 Drum System and discover the ultimate in custom drums. Photo: Diana Seifert Lidschlag Photography YOUR SIGNATU RE IN SOUND We hand select the finest wood from environmental friendly sources for SQ2 The Sonor shell making process is the result of decades of research and CLTF stands for Cross Laminated Tension Free – a process that gives each shell drum shells and veneers. experience and unique in it’s kind. superior stability and acoustic quality and requires no internal pressure on the shell. We work with meticulous care in checking each individual shell, ensuring perfect Precision lacquering is applied to protect the exclusive natural wood finishes or Hand polishing ensures a perfect finish of each drum shell and the outstanding roundness and consistency. the multiple layers of high quality colour finishes. looks that are a hallmark of Sonor instruments. FROM OUR HANDS TO YOURS We at Sonor share a certain dedication to detail when making drums. It is a Each shell is created to OSM Optimum Shell Measurements for optimized contact Sonor drum shells feature a 45° bearing edge, designed and introduced by us of the drum head, giving excellent tone and ease of tuning. already in 1975, for maximum resonance and sustain.
    [Show full text]
  • OP BEZOEK BIJ Martijn Krabbé
    11 tv-presentator OP BEZOEK BIJ Martijn Krabbé e eerste keer dat DDArjen Huf- fels zijn schaar in het haar van Mar- tijn Krabbé zette, noemt de presen- tator „de allerfijn- ste knipbeurt ooit”. Elf jaar later is Huffels nog altijd de vaste kapper van Krabbé. „Nie- mand anders komt meer aan mijn haar.” ’Wax mag niet van dochters’ door ANNEMARIE MOERMAN foto’s: WILBERTO VAN DEN BOOGAARD Martijn Krabbé (43) is mis- schien wel drukker dan ooit. Met vier kinderen, tv-programma’s als X Factor, Uitstel van Execu- tie, The Voice of Holland, zijn werkzaamheden voor de Postco- de Loterij en de presentatie van de Coiffure Award blijft er wei- nig tijd over voor de presentator • „Ooit liet ik het blonderen omdat ik iets tegendraads wilde doen”, aldus Martijn Krabbé terwijl Arjen Huffels zijn haar onder handen neemt. zelf. Het is dus geen overbodige luxe dat zijn kapper aan huis komt. Want zijn haar moet wel goed zitten. Als je naar foto’s van vroeger kijkt, denk je dan wel eens: ’EIGEN KAPPER EN jeetje, wat zag ik eruit? „Altijd. Mijn haar zat nooit goed. Ik heb heel veel verschil- lende kappers geprobeerd, maar was nooit echt tevreden. Toen kwam ik Arjen tegen. Sindsdien NIEMAND ANDERS’ heeft mijn haar nooit meer slecht gezeten. Ik zie Arjen als „Ik weet niet of het zo werkt. een beetje natuurlijk uitziet.” tract dat je je haar niet mag mijn haar afschuwelijk zit, te een soort beeldhouwer, hij volgt Soms lijken mensen te denken veranderen? lang is en ik er niets mee kan de contouren van mijn hoofd en dat je je haar verandert en je Jouw kapper komt bij je thuis, „In principe maakt het niet doen.
    [Show full text]