Work in the digital media and entertainment industries

Abstract: In investigative journalism work, there are three general forms of investigative methods, namely, related to the work of investigating documents, as well as investigations of individual subjects related to the problem. This general form of investigative reportage is termed a paper trail, people trail, and money trail. Tempo Magazine is a media that is considered to have competence and credibility for investigative coverage. Tempo magazine is a pioneer of investigative journalism in the period after 1990. In addition, the internet media has opened up information expansion based on a multidimensional network. A number of platforms on the internet have emerged that can attract people's attention. Like it or not, the print media must also adapt their work to the needs of the public. In the end, the print media also experienced convergence. In the world of journalism, online journalism was born. This study aims to determine why and how investigative data search patterns in online media. This study uses a qualitative method with a case study approach. In this case the researcher tried to find out the pattern of investigative data collection in the online media through investigative news entitled Pesta Terakhir Aktivis Ambon conducted by Tempo.co and investigative news entitled Emas Hitam Mahakam dalam Bidikan KPK conducted by Katadata.co.id . The result of this research is that investigative journalism work in online media is basically the same as investigative journalism work in print media. The only difference is that there are more readers in online media. Especially in reporting done on online media, the writer can add digital content that can help explain this information Keyword: Investigative Journalism, Online Media, Investigation Material.

News Consumption through digital media brought disruption for consumption of news .No other media has reached many hands so far in such a Short Span. The political news consumption has become a core element of democratic engagement. 2020 saw demand pattern shift with acceleration in digital media adoption aided by the growth of digital media infrastructure. Digital and online gamings were the only segments which grew aggregate of INR 26 billion consequently their Contribution to the media and entertainment industry (FICCI report 2021).The specific objective of the study is to explore the number of news portal and to find out the content uploaded in such news portal. The study also tries to analyse the space provided in digital media for political news. A researcher used qualitative research method using content analysis as a research tool. Interview was conducted among 5 Journalist in kodagu district to investigate the research problem. Keywords: Digital Platform, Political news, Public Sphere, Kodagu District.

The entire media and entertainment industry are going through unprecedented changes in this age of digital disruption. The rise of the Over-The-Top (OTT) platform has transformed consumer experience and expectations. OTT players (Netflix, Amazon Prime Video, Hulu, Disney+, etc.) offer a wide array of diverse choices of content while enabling consumers to choose their content, watching time, and place independently. OTT platforms and digital media have already seen increasing popularity across locations and demographics. Adding to the momentum, due to the COVID-19 pandemic, social lives have shifted to online, people are restricted to their homes, so inclination towards OTT and digital media has accelerated significantly. Consumer behavior is undergoing profound change as the world adjusts to this new normal. This study aims to understand the changing consumer behavior towards the adaptation of the OTT platform during the COVID-19 pandemic.

Dördüncü Sanayi Devrimi (Endüstri 4.0) sürecinde daha öncekilerden farklı özelliklere sahip yeni bilgi ve iletişim teknolojileri geliştirilmiş ve kullanılmaya başlanmıştır. Bu yeni bilgi ve iletişim teknolojileri tüm sektörlerde olduğu gibi medya sektörünü de hem örgütsel yapısında değişime hem de ekonomik sisteminde dönüşüme zorlamıştır. Bu çalışmanın amacı; medya sektöründe yaşanan büyük değişim ve dönüşümün öncelikle medya çalışanlarının örgüt kültürüne bakış açılarındaki dönüşümü daha sonra da medyanın okuyucu izleyici olan bireyler üzerindeki kültürel etkilerini incelemektir. Çalışmada betimsel araştırma yöntemi ile kurgusal araştırma yöntemleri aynı anda ve birlikte kullanılmıştır. Bu kapsamda Endüstri 4.0 sürecinde, 4.0 faktörlerinin kullanılmasıyla dijital medyanın dijital görsel kültür ile olan etkileşimi analiz edilmeye çalışılmıştır. Çalışma kapsamında gerçekleştirilen araştırma sonucunda; Endüstri 4.0’ süreci ile birlikte geleneksel medya yapılanmasından dijital medya yapılanmasına doğru önemli oranda bir dönüşüm sürecinin başladığı tespit edilmiştir. Buna bağlı olarak da dijital medyaya özgü yeni bir kültürel algı ve yapılanma oluştuğu görülmektedir. Medyada oluşan bu yeni kültürel oluşum hem medya çalışanlarını hem de izleyici/okuyucu bireyleri etkilemektedir. Aynı zamanda medya işletmeleri de medya çalışanları ve izleyici/okuyucu bireylerden etkilenmektedir. Medyadaki bu kültürel değişim ve dönüşümün döngüsel olarak süreklilik arz ettiği tespit edilmektedir.

This study examines the impact of media convergences on the evolution of role-playing games (RPGs) from the early 1970s to the present day. The analytical focus of this research is directed at the dynamics between player community participation and the process of commodification within this genre. In this context, specific phases in the development of RPGs are highlighted, including tabletop role-playing games (TRPGs), classic computer role-playing games (CRPGs), massively multiplayer online role-playing games (MMORPGs), live-action role-playing (LARP), and actual play (AP). This study highlights the similarities and differences between these forms, their mutual convergence, and their convergence with other analog and digital media (such as books, comics, television, film, and podcasts). Special attention is given to the phenomenon of prosumerism within the RPG subculture; that is, the specific interaction between the content offered by the entertainment industry and the efforts of RPG communities to maintain the participative and creative aspects of the genre. This research is based on a diachronic comparison of specific phases in the development of the RPG genre, as well as a secondary analysis of the dominant media content on current trends in the RPG subculture.

Purpose – This research examines the connection between India’s economic development and emerging consumer behaviour, with emphasis on the Indian film landscape and Over-the-Top (OTT) streaming platforms. Design/methodology/approach – A mixed-method approach was utilized, integrating qualitative content analysis with secondary data sourced from academic publications and industry reports. The study investigates market dynamics, digital transformation, and evolving viewer patterns. Findings – The findings reveal that economic advancement and the spread of digital infrastructure have significantly impacted entertainment preferences. OTT services now play a pivotal role in delivering localized and personalized content. Despite these innovations, several ethical concerns—ranging from content moderation to privacy—remain unresolved. Originality/value – This paper contributes to contemporary discussions on digital media by contextualizing India’s consumer evolution in the entertainment industry. It provides insights for media practitioners, regulators, and researchers seeking sustainable and ethical growth strategies. Keywords: Economic growth, Indian film industry, OTT platforms, Consumer behavior, Digital transformation, Media consumption trends, Brand integration

Guest editorial In this era of Netflix and online media that can be accessed anywhere, it is easy to forget that we used to have to work a little harder to get entertained. In the first few years of the new millennium, a typical home movie experience often began with a trip to the local Blockbuster store. There was a bewildering array of plastic movie cases that you had to pick up and investigate before making your final selection. Upon reaching the cashier, the sales associate would retrieve the appropriate disc for your selected movie and put it in the box before sending you on your way. What made this ritual all the more challenging, however, was the fact that there was more than one type of disc format during the period 2006–2008. On one side of the store were the movies available for the HD DVD format, a technology platform led by Toshiba; on the other, movies for Sony’s Blu-ray machines. For the most part, the companies that produced movies had pledged allegiance to one of the formats or the other, but not to both of them. Blockbuster customers during this period were consequently faced with a dilemma. Everyone who had witnessed the drawn-out battle between VHS video tapes and Sony’s Betamax in the previous generation of Blockbuster products suspected that some kind of shakeout in the disc industry would probably happen eventually, and no one wanted to be left holding the bag with a disc player and movie collection tethered to the losing side. Thankfully, however, this problem was solved when Toshiba threw in the towel in 2008, leaving Sony’s platform as the undisputed winner in the movie disc technology war. This episode in the history of the entertainment industry is an important lesson to remember as we think about how to introduce blockchain into the oil and gas industry. Blockchain is essentially “a mathematical structure for storing data in a way that is nearly impossible to fake” (Orcutt, 2018), which makes it a useful way to reliably share all kinds of valuable information (Tapscott and Tapscott, 2016). In the finance sector, blockchain is most famously the technology underlying cryptocurrencies like Bitcoin, but new applications are being discovered all the time—including in the upstream oil and gas industry. Companies in the oil and gas sector have already made inroads into the blockchain domain by using the technology to improve trading (Braga, 2018), guarantee the authenticity of wellbore rock and fluid samples (Whitfield, 2018), and create a shared consensus about the progress of drilling campaigns (Rassenfoss, 2018). In fact, there is so much buzz and energy in the blockchain area these days that several consortia and research initiatives have popped up to figure out new and inventive ways to deliver value with it, including the Enterprise Ethereum Alliance and the Linux Foundation’s Hyperledger project (for both of which Intel was a founding member) or the Oil and Gas Blockchain Consortium.

To Brunswick and Beyond: A Geography of Creative and Social Participation for Marginalised Youth

With the development of media technology, a variety of media platforms appear in the public eye, which also promotes the development of the entertainment industry. It gives fans more channels to follow their favorite idols. This article will explore how the development of the media age affects the degree to which the masses sexualize and objectify idols. The entertainment industry that this article focuses on is the Korean entertainment industry. The results of the study showed that although most fans did not deepen the degree of sexualization and objectification of love beans due to the influence of media development. However, there are still some groups who are influenced by this and sexualize and objectify idols. So there are other factors contributing to the increasing trend of idolization and objectification in the entertainment industry. Among Chinese fan groups, the degree of sexualization and objectification of idols has not been fully affected by the development of the media age.

This study investigates the factors influencing university students’ intentions to pursue careers in the Bangladeshi media industry, concentrating primarily on the socio-economic background, personal attributes, sectoral interests and negative insights of the profession. The study uses a cross-sectional survey to collect data from 340 students of the journalism discipline at 16 public and private universities based on stratified random sampling. Chi-square tests, ordinal regression and the Spearman rank-order correlations were employed to observe the relationships among major variables. The results indicate that students from affluent families exhibit a greater interest in media careers. The academic year was a major factor, with first-year students being more likely to work in media than students in later years. In addition, Students who wanted to work in newsrooms, digital media and news presentation were more likely to make a career in media. On the other hand, negative perceptions, particularly ethical considerations, the job environment and corporate intrusion, were strongly interconnected to lower career goals in media. This study provides a theory-driven explanation of how self-efficacy, structural resources and perceived barriers influence the decisions regarding media careers in the Global South, integrating Human Capital Theory and Social Cognitive Theory into research design and interpreting the findings. These results further underscore the difficulties of making professional decisions in the media industry and highlight the importance of overcoming structural barriers, increasing industry standards, and providing precise support toward a media career.

This paper presents a Framework for understanding the field of teaching artists (also known by other terms such as community artist, participatory artist, social practice artist, civic practice artist, artist-in-residence and more) in the U.S. and around the world. This paper describes the current state of the field, which is disparate and disorganized and suggests that previous ways of describing it have proved unhelpful. This pioneering Framework was developed in partnership with practitioners in many communities over years, and was vetted by practitioners in communities around the world to affirm its validity. This Framework was introduced by the author about a decade ago, categorizing the field according to the purposes for which these artists are hired, which turn out to be seven identifiable threads that contain almost all employment in the U.S. and in other countries. This Framework has proven useful in clarifying and advancing the field in a variety of communities, for administrators, for practitioners, for funders, and for those discovering, entering, and advancing in the field. This paper introduces the Purpose Threads and describes each one, giving community-based examples of organizations that employ teaching artists to achieve their goals, and suggesting ways in which one might evaluate whether each purpose is achieved. This paper acknowledges that the seven purposes do not play out discretely in practice, but naturally overlap, and the author identifies a series of basic teaching artist tools that apply across all threads. The author also discusses teaching artist work in digital media, a reality that has burst into prominence during the Covid pandemic. The author invites readers to apply this material in whatever ways are useful.

Games are woven into webs of cultural meaning, social connection, politics, and economic change. This article builds on previous work in cultural, new media, and game studies to introduce a new approach to productive play, the promise of play. This approach analyzes games as sites of cultural production in times of increased transnational mediation and speaks to the formation of identity across places. The authors ground their explorations in findings from ethnographic research on gaming in urban China. The spread of Internet access and increasing popularity of digital entertainment in China has been used as an indicator of social change and economic progress shaped by global flows. It has also been described as being limited by local forces such as tight information control. As such, gaming technologies in China are ideal to ask broader questions about digital media as sites of production at the intersection of local contingencies and transnational developments.

The article discusses the work of Belarusian local media in the digital environment. The material for the study was the websites of regional mass media of the Republic of Belarus, as well as their accounts in social networks and instant messengers. It has been established that the regional media have accumulated sufficient experience in the development of the Internet space. The main strategies for organizing the work of editorial offices on the Internet are identified. The key indicators that measure the reach and engagement of the digital media audience are considered. The performance indicators of the editorial offices of regional newspapers on the Internet were measured in a comparative aspect. The growth of the influence of social networks, recommendation services, search engines on the regional media landscape are shown. The scientific novelty of the article lies in the study of the growing dominance of global platform companies in the journalism. The author argues that traditional media are forced to resort to multi-platform, as a result of which the dominance of the Big Three social networks market (Instagram, Telegram and TikTok) leads to a blurring of the line between news and entertainment. The results of the survey of chief editors are given. The main models and tools for digital transformation of the Belarusian media space are systematized. The final conclusion of the article is that the main metric of the work of journalists in the digital environment is the involvement of the audience.

Recent years have seen digital game mediums taking conventional amusement, entertainment and leisure industries by storm. They have revolutionized the system to the extent that the industry cannot now even dream to do without this overwhelming reality. The same game mediums that have capitalized on intrinsic leisure aspects have simultaneously focused with equal vigor on other equally, if not more, important collateral objectives. This paper builds on this concept and discusses a work in progress currently being carried out at the University of Malta. It proposes the use of games as a means of distraction therapy for individuals undergoing painful clinical treatment procedures. The creation of an adaptive Virtual Reality (VR) game within an Artificial Intelligence framework will without doubt be of a significantly greater benefit to the community than mere entertainment applications.

The advent of new technologies, such as portative computers and the internet, favoured the formation and development of a new market — digital media market. In the past 15 years technologies have grown exponentially within media and entertainment, fundamentally affecting film, television, publishing, music and video games industries with new competition, innovative business models and new product landscapes. Thus, the digital media market, with its disruptive influence and growth potential, requires the comprehensive explanation and definition. The article raises a problem of digital media market lacking its clear conceptualization in the context of the world economy. The article provides a thorough analysis of existing researches of the digital media market and the overview of its place in the modern industry classifications. The authors enunciate their own up-to-date definition of digital media, which is the following: “Digital media refer to products and services in the digital format, produced by the media and entertainment industry group (according to The Global Industry Classification Standard), which can be created, viewed, distributed, modified and preserved through different digital devices.” The following structure of the modern digital media market was compiled: it consists of 7 segments, namely video-on-demand, video games, e-publishing, digital audio, social media, search engines and digital advertising.