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Disinformation, and Influence Campaigns on Twitter 'Fake News'
Disinformation, ‘Fake News’ and Influence Campaigns on Twitter OCTOBER 2018 Matthew Hindman Vlad Barash George Washington University Graphika Contents Executive Summary . 3 Introduction . 7 A Problem Both Old and New . 9 Defining Fake News Outlets . 13 Bots, Trolls and ‘Cyborgs’ on Twitter . 16 Map Methodology . 19 Election Data and Maps . 22 Election Core Map Election Periphery Map Postelection Map Fake Accounts From Russia’s Most Prominent Troll Farm . 33 Disinformation Campaigns on Twitter: Chronotopes . 34 #NoDAPL #WikiLeaks #SpiritCooking #SyriaHoax #SethRich Conclusion . 43 Bibliography . 45 Notes . 55 2 EXECUTIVE SUMMARY This study is one of the largest analyses to date on how fake news spread on Twitter both during and after the 2016 election campaign. Using tools and mapping methods from Graphika, a social media intelligence firm, we study more than 10 million tweets from 700,000 Twitter accounts that linked to more than 600 fake and conspiracy news outlets. Crucially, we study fake and con- spiracy news both before and after the election, allowing us to measure how the fake news ecosystem has evolved since November 2016. Much fake news and disinformation is still being spread on Twitter. Consistent with other research, we find more than 6.6 million tweets linking to fake and conspiracy news publishers in the month before the 2016 election. Yet disinformation continues to be a substantial problem postelection, with 4.0 million tweets linking to fake and conspiracy news publishers found in a 30-day period from mid-March to mid-April 2017. Contrary to claims that fake news is a game of “whack-a-mole,” more than 80 percent of the disinformation accounts in our election maps are still active as this report goes to press. -
We'll Have a Gay Ol'time: Trangressive Sexulaity and Sexual Taboo In
We’ll have a gay ol’ time: transgressive sexuality and sexual taboo in adult television animation By Adam de Beer Thesis Presented for the Degree of DOCTOR OF PHILOSOPHY in Film Studies in the Faculty of Humanities and the Centre for Film and Media Studies UNIVERSITY OF CAPE TOWN UniversityFebruary of 2014Cape Town Supervisor: Associate Professor Martin P. Botha The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town Declaration I declare that this thesis is my own unaided work. It is submitted for the degree of Doctor of Philosophy at the University of Cape Town. It has not been submitted before for any other degree or examination at any other university. Adam de Beer February 2014 ii Abstract This thesis develops an understanding of animation as transgression based on the work of Christopher Jenks. The research focuses on adult animation, specifically North American primetime television series, as manifestations of a social need to violate and thereby interrogate aspects of contemporary hetero-normative conformity in terms of identity and representation. A thematic analysis of four animated television series, namely Family Guy, Queer Duck, Drawn Together, and Rick & Steve, focuses on the texts themselves and various metatexts that surround these series. The analysis focuses specifically on expressions and manifestations of gay sexuality and sexual taboos and how these are articulated within the animated diegesis. -
Master Class with Andrea Martin: Selected Filmography 1 the Higher
Master Class with Andrea Martin: Selected Filmography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. Films and Television Series mentioned or discussed during the Master Class 8½. Dir. Federico Fellini, 1963, Italy and France. 138 mins. Production Co.: Cineriz / Francinex. American Dad! (2005-2012). 7 seasons, 133 episodes. Creators: Seth MacFarlane, Mike Barker, and Matt Weitzman. U.S.A. Originally aired on Fox. 20th Century Fox Television / Atlantic Creative / Fuzzy Door Productions / Underdog Productions. Auntie Mame. Dir. Morton DaCosta, 1958, U.S.A. 143 mins. Production Co.: Warner Bros. Pictures. Breaking Upwards. Dir. Daryl Wein, 2009, U.S.A. 88mins. Production Co.: Daryl Wein Films. Bridesmaids. Dir. Paul Feig, 2011, U.S.A. 125 mins. Production Co.: Universal Pictures / Relativity Media / Apatow Productions. Cannibal Girls. Dir. Ivan Reitman, 1973, Canada. 84 mins. Production Co.: Scary Pictures Productions. The Cleveland Show (2009-2012). 3 seasons, 65 episodes. Creators: Richard Appel, Seth MacFarlane, and Mike Henry. U.S.A. Originally aired on Fox. Production Co.: Persons Unknown Productions / Happy Jack Productions / Fuzzy Door Productions / 20th Century Fox Television. Club Paradise. Dir. Harold Ramis, 1986, U.S.A. -
Nomination Press Release
Brian Boyle, Supervising Producer Outstanding Voice-Over Nahnatchka Khan, Supervising Producer Performance Kara Vallow, Producer American Masters • Jerome Robbins: Diana Ritchey, Animation Producer Something To Dance About • PBS • Caleb Meurer, Director Thirteen/WNET American Masters Ron Hughart, Supervising Director Ron Rifkin as Narrator Anthony Lioi, Supervising Director Family Guy • I Dream of Jesus • FOX • Fox Mike Mayfield, Assistant Director/Timer Television Animation Seth MacFarlane as Peter Griffin Robot Chicken • Robot Chicken: Star Wars Episode II • Cartoon Network • Robot Chicken • Robot Chicken: Star Wars ShadowMachine Episode II • Cartoon Network • Seth Green, Executive Producer/Written ShadowMachine by/Directed by Seth Green as Robot Chicken Nerd, Bob Matthew Senreich, Executive Producer/Written by Goldstein, Ponda Baba, Anakin Skywalker, Keith Crofford, Executive Producer Imperial Officer Mike Lazzo, Executive Producer The Simpsons • Eeny Teeny Maya, Moe • Alex Bulkley, Producer FOX • Gracie Films in Association with 20th Corey Campodonico, Producer Century Fox Television Hank Azaria as Moe Syzlak Ollie Green, Producer Douglas Goldstein, Head Writer The Simpsons • The Burns And The Bees • Tom Root, Head Writer FOX • Gracie Films in Association with 20th Hugh Davidson, Written by Century Fox Television Harry Shearer as Mr. Burns, Smithers, Kent Mike Fasolo, Written by Brockman, Lenny Breckin Meyer, Written by Dan Milano, Written by The Simpsons • Father Knows Worst • FOX • Gracie Films in Association with 20th Kevin Shinick, -
Chapter 1: Introduction to Social Media: an Art and Science
INTRODUCTION TO SOCIAL MEDIA 1 An Art and Science Learning Objectives LEARNING OBJECTIVES Humans of Social Media Introduction After reading this chapter, you will be How Do We Define Social Media? able to How Has Social Media Evolved? The Current State of Social Media •• Define social media Who “Owns” Social Media? •• Differentiate between social Using Social Media Strategically media platforms Which Social Media Platforms Should I Use? distribute •• Explain the evolution of social Working in Social Media media over time Bridging the Science and Practice of Social Media •• Identify the main considerations What Can Science Tell Us About Social Media? or for using social media How Is Social Media Like a Practice? strategically How Can We Bridge Science and Art •• Identify the key characteristics Effectively? of the science and art of social Chapter Summary media Thought Questions Exercises post, References HUMANS OF SOCIAL MEDIA DEIRDRE BREAKENRIDGE, AUTHOR, PROFESSOR, AND CEO OF PURE PERFORMANCE Introduction copy, Putting the Public Back in Public Relations: How Social Media Is Reinventing the Aging Business I’ve been working in public relations and mar- of PR (with Brian Solis, 2009), and PR 2.0: New keting for 25-plus years. Although I started my Media, New Tools, New Audiences (2008). My sixth career focused on media relations and publicity, book, Answers for Modern Communicators, was todaynot I’m a chief relationship agent (CRA) and a published by Routledge in October 2017. I also communications problem solver to help organi- moved my authoring to a new platform when I zations tackle their relationship challenges and was asked to become a Lynda.com video author in build credibility and trust with the public. -
Platform Power Politics Facebook's Live Moment Vox's Platform Wrangler
Spring 2016 A quarterly magazine on the future of media from Digiday FRENEMY Platform Facebook’s Vox’s Power Live Platform Politics Moment Wrangler P. 16 P. 22 P. 48 OPENING SHOT THIS Welcome to Pulse. he modern publisher is expertise. There's a pair of profiles of facing fast-changing and this new breed of platform experts, challenging times. The rise one about Vox Media's Choire Sicha AD of platform giants like Face- and another on a day in the life of book offer unprecedented Complex Media's chief content offi- ability to reach new audienc- cer. While Justin Smith, global CEO of PULSE POINT Tes, but content distribution and mon- Bloomberg Media, told the audience wwt etization is often outside publishers’ at DPS that publishers shouldn’t rush control. It’s enough to make you want in when it comes to platforms, Mic’s to crank up the printing presses. Cory Haik argues that publishers While Digiday is at its core a digital who build there quickly will be the media company, we thought the winners. We also wade into ad-tech's printed format was ideal for exploring midlife crisis, and why Facebook live IS FOR these critical issues in a thoughtful video is such a big deal. way. Pulse is our way of periodically At Digiday, we are optimistic checking the vital signs of the media realists. The shift to platforms is industry. neither good nor bad. In fact, the jury At the recent Digiday Publishing is still out about whether platforms Summit in Vail, Digiday brought to- will benefit the media industry in the gether leading publishers to discuss long run. -
IS PROGRAMMATIC? Table of Contents
SPONSORED BY WTF IS PROGRAMMATIC? Table of Contents 3 Introduction 14 What’s new in 2016? 15 Global programmatic 4 Programmatic advertising in 16 Programmatic tv 6 easy steps 17 Header bidding 18 Automated guaranteed 5 3 (Lingering) programmatic problems A message from Marin software 6 Viewability 19 Beyond RTB: a programmatic 7 Ad fraud primer 8 Transparency Glossary 9 Programmatic’s graduating 23 Class 10 Premium programmatic 11 Programmatic creative 12 Programmatic native 13 Programmatic video 3 / WTF IS PROGRAMMATIC? Introduction It seems like only yesterday that programmatic was an upstart technology, a novelty, and a way to dispense with remnant inventory. Today, advertisers and publishers are locked in an arms race that began with digital display and has escalated to the once unbreachable linear TV. Programmatic is everywhere, from the TV Upfronts to the in-house trading desks of big name brands, but it’s still a source of confusion. The programmatic landscape is fast changing enough to confuse professional media journeyman and entry-level apprentices alike. Don’t go alone...take this guide to all things programmatic. What’s on the horizon, what’s standing in the way, what the heck is header bidding and how is it different than automated guaranteed? DIGIDAY 4 / WTF IS PROGRAMMATIC? Programmatic advertising Programmatic advertising is a bit like an osmotic in 6 easy steps membrane: Inventory and audience data, insertion orders and digital ads flow back and forth fluidly. In 6 fact, the IAB says programmatic allows for digital ad inventory to be offered, bid on and fulfilled faster than you can blink your eyes. -
Outstanding Animated Program (For Programming Less Than One Hour)
Keith Crofford, Executive Producer Outstanding Animated Program (For Corey Campodonico, Producer Programming Less Than One Hour) Alex Bulkley, Producer Douglas Goldstein, Head Writer Creature Comforts America • Don’t Choke To Death, Tom Root, Head Writer Please • CBS • Aardman Animations production in association with The Gotham Group Jordan Allen-Dutton, Writer Mike Fasolo, Writer Kit Boss, Executive Producer Charles Horn, Writer Miles Bullough, Executive Producer Breckin Meyer, Writer Ellen Goldsmith-Vein, Executive Producer Hugh Sterbakov, Writer Peter Lord, Executive Producer Erik Weiner, Writer Nick Park, Executive Producer Mark Caballero, Animation Director David Sproxton, Executive Producer Peter McHugh, Co-Executive Producer The Simpsons • Eternal Moonshine of the Simpson Mind • Jacqueline White, Supervising Producer FOX • Gracie Films in association with 20th Century Fox Kenny Micka, Producer James L. Brooks, Executive Producer Gareth Owen, Producer Matt Groening, Executive Producer Merlin Crossingham, Director Al Jean, Executive Producer Dave Osmand, Director Ian Maxtone-Graham, Executive Producer Richard Goleszowski, Supervising Director Matt Selman, Executive Producer Tim Long, Executive Producer King Of The Hill • Death Picks Cotton • FOX • 20th Century Fox Television in association with 3 Arts John Frink, Co-Executive Producer Entertainment, Deedle-Dee Productions & Judgemental Kevin Curran, Co-Executive Producer Films Michael Price, Co-Executive Producer Bill Odenkirk, Co-Executive Producer Mike Judge, Executive Producer Marc Wilmore, Co-Executive Producer Greg Daniels, Executive Producer Joel H. Cohen, Co-Executive Producer John Altschuler, Executive Producer/Writer Ron Hauge, Co-Executive Producer Dave Krinsky, Executive Producer Rob Lazebnik, Co-Executive Producer Jim Dauterive, Executive Producer Laurie Biernacki, Animation Producer Garland Testa, Executive Producer Rick Polizzi, Animation Producer Tony Gama-Lobo, Supervising Producer J. -
It's Not You, It's the Internet: Navigating the Changing Landscape
It’s Not You, It’s the Internet: Navigating the changing landscape of communications and organizing Interviews Astolfi, Maggie. (2016, August 23). Phone interview. Bhargava, Deepak. (2016, June). Personal interview. Borgos, Seth. (2016, June). Phone interview. Carter, Allie. (2016, July). Phone interview. Dehlendorf, Andrea. (2016, July). Phone interview. Lake, Celinda. (2016, July 26). Phone interview. Gilchrist, Garlin. (2016, July). Phone interview. Goodstein, Scott. (2016, September 9). Phone interview by Ellie Klerlein at Spitfire Strategies. Mak, Cayden. (2016, September 29). Phone interview. May, Emily. (2016, October 19). Phone interview. Mogus, Jason. (2016, September 16). Phone interview by Ellie Klerlein at Spitfire Strategies. Mulvey, Julian. (2016, July 7). Phone interview. Mushovic, Ineke. (2016, July). Phone interview. Rosenblatt, Alan. (2016, July). Phone interview. Silberman, Michael. (2016, September 22). Phone interview by Ellie Klerlein at Spitfire Strategies. Shenker-Osorio, Anat. (2016, September 9). Personal interview. Snook, Michael. (2016, September 15). Phone interview by Ellie Klerlein at Spitfire Strategies. Sweeney, Tim. (2016, August 5). Phone interview. Trybus, John. (2016, July). Personal interview. Warren, Dorian. (2016, July). Phone interview. Wells, Chris. (2016, September 8). Phone interview. Wolfson, Evan. (2016, August 11). Phone interview. Index of Sources Parker, Emily. 2016. “#BlackLivesMatter and the Power and Limits of Social Media.” Medium. December 2. https://medium.com/@emilydparker/how-blacklivesmatter-resembles-activism-in-the-authoritarian- world-24d1200864f6#.xnyq3fo27. 1 “3 Best Ways for Nonprofits to Use Data.” 2013. Nonprofit Hub. June 19. http://nonprofithub.org/nonprofit-marketing-plan/best-ways-for-nonprofits-to-use-data/. “5 Online Video Trends to Inform Your 2017 Media Plan.” 2016. Think with Google. -
Here’S Simply No Better Way to Put It: Our Grand Prix Winners Killed It
Introduction This year’s Digiday Content Marketing Awards honor a wide variety of brands, agencies and studios. Honorees tackled countless social channels and content formats, ranging from live streaming to documentaries to experiential activations and even graphic novels. Successful content marketing has always found itself inextricably connected to the ideals and concerns of audiences. And the stellar efforts of this year’s awardees make one thing clear: In today’s era, those ideals revolve around social consciousness, and are rooted in a desire for a brighter future. A vital trend: winners seized on urgent subjects ranging from climate change to justice and equality. The 2020 Digiday Content Marketing Awards winners envisioned what that future could be, and showed it to us. Use this guide to explore all the winners of the 2020 Content Marketing Awards. In each section you’ll find a quick rundown of the campaigns, along with insights into why they won and what we can learn from them. Put these ideas to work, and we hope to see your campaigns among the honorees in future Content Marketing Awards. Campaigns The year’s best campaigns mastered several approaches to successful content marketing. First: If you have a great product, don’t pitch it — showcase it. On a deeper level, these campaigns also shared common threads. Specific resonance with an audience — whether personal or cultural — drove engagement for these winners. Authenticity and expertise, often encountered together, proved powerful tools for the campaigns. And, if an advertiser’s audience has a great story to tell, campaigns thrive when they provide a place for UGC to tell that story. -
Understanding Video-Sharing Platforms Under UK Jurisdiction
Understanding video-sharing platforms under UK jurisdiction A report for the Department for Digital, Culture, Media & Sport December 2019 Yi Shen Chan, Sam Wood, Stephen Adshead plumconsulting.co.uk About Plum Plum is an independent consulting firm, focused on the telecommunications, media, technology, and adjacent sectors. We apply extensive industry knowledge, consulting experience, and rigorous analysis to address challenges and opportunities across regulatory, radio spectrum, economic, commercial, and technology domains. About this study This is a study for the Department for Digital, Culture, Media and Sport on video-sharing platforms. The research objectives are to understand the number and characteristics of video-sharing platforms under UK jurisdiction and the extent to which these platforms are compliant with the terms of the new regulations of the updated Audiovisual Media Services Directive. Plum Consulting 10 Fitzroy Square London W1T 5HP T +44 20 7047 1919 E [email protected] Video-sharing platforms in the UK Contents Executive summary 4 1 Study objectives 9 1.1 Background to the study 9 1.2 DCMS objectives 9 2 Defining a video-sharing platform 11 3 Identifying VSPs under UK jurisdiction 12 3.1 Data sources 12 3.2 Approach 13 3.3 Results of assessment 19 4 The size and scope of VSPs under UK jurisdiction 21 4.1 The scope of the identified VSPs 21 4.2 The scale of the identified VSPs 23 4.3 Elements of the AVMSD which apply to video-sharing platforms 25 5 Assessment of compliance 27 5.1 The requirements of the AVMSD 27 5.2 Preliminary assessment 27 Appendix A Key themes from research 29 A.1 Gaps in data available 30 Appendix B Requirements of the AVMSD 32 © 2020 Plum Consulting 3 Video-sharing platforms in the UK Executive summary Background and research objectives The Audiovisual Media Services Directive (AVMSD) is the regulatory framework underpinning the audiovisual services single market in the European Union and currently applies to television broadcasts and on-demand services. -
June 2020 Communique
June 2020 City of Carbondale, Illinois www.explorecarbondale.com City of Carbondale To Assist Bars and Mayor’s Corner Restaurants With Outdoor Seating A Message Amid National Unrest People of all races came together to unite over a common interest, and to grieve. Our residents, like us, appreciate living in a diverse community where we can deepen our The day outdoor dining was allowed, Pita Alley posted this picture on Facebook. understanding of other Carbondale Mayor Mike Henry signed through the City to expand outdoor Mayor John M. Henry an Executive Order on May 28, outlining seating to public parking areas, public races and cultures, how local businesses should proceed with sidewalks, and other public spaces. To broadening our outdoor seating. apply, visit our website. perspectives, and allowing Many businesses in Carbondale did Glass and metal beverage containers will Dear Carbondale, not have outdoor seating and needed help not be allowed in areas designated for us to see greater Once again, our community with space. The Mayor’s Executive Order outdoor dining. Restaurants and bars will possibilities in each other expanded the options for all bars and be required to discontinue the outdoor and nation mourn over the and the world. restaurants in Carbondale to apply for seating service at 10:00 p.m. senseless loss of life of a permits, at no charge, to expand outdoor It is also noted in the Executive Order that person of color. Although We are blessed to have so seating during the duration of Phase 3 of businesses that utilize public spaces for the Restore Illinois Plan.