The study deals with culture, acting principles and media productions. From this aspect, the authors argue for the premise of their correlation, applying interdisciplinary approaches to the analysis of sources and applying hermeneutic, phenomenological-reductive and causal approaches. In the study, they highlight the penetration of game elements into culture, the influence of game elements on human behaviour and identify them in people’s everyday activities. They recognise game elements in the various social roles of individuals that determine their social behaviour and actions as well as their game actions. They deal with game principles and related game rituals, forming an integral symbolic part of socio-culture and artistic culture. They conceive the theoretical starting points mainly in relation to the game principle of mimicry. They reflect the dimensions of games in the interface of their purpose, utility, creativity and aesthetic qualities. They point to the audience’s capacity for narrative immersion in the context of their fascination with games and media content. In this context, they define and conceptualise the term “narrative audience introspection” and point to the spectacularity of games and media productions.
The authors deal with the issue of transformations and the establishment of news journalism genres in the online media environment, with a focus on extended multimedia news reports. They emphasise that the technical and technological platform of online media creates fertile ground for the modification of genres sourced from conventional media. According to them, the multi-platform essence of online media and the hybridisation trend in genre-based approaches are a suitable foundation for the formation of extended multi-platform news. They raise the question of whether it is possible at the end of the second decade of the new millennium to formulate a premise under which an extended multimedia news report has specific typological characteristics and established creative procedures. They reach a clear conclusion based on qualitative analysis completed on a selection of extended multimedia news reports from the portals sme.sk and pravda.sk. They state that it is appropriate to talk about a stable structure as well as established procedures in the creation of extended multimedia news reports.
The media fulfil various functions in society. For the audience and for society, the priority of these functions may be different. In terms of importance for society, their socialisation function is also important. Socialisation through the media assumes its dominance when there is a dysfunction of primary socialisation or at certain stages of human development. From a societal perspective, their influence as a potential shaper of society’s culture in the context of secondary socialisation is relevant. At present, audio-visual production in particular is dominant. It is attractive to all generations, as it provides both information and entertainment in a way that is convenient for the audience. Television offers different types of programmes with higher or lower value and quality of media content. Reality shows have a relatively significant presence in the programming structure. This television format on the border of non-fiction and fiction brings in different values, formulas and elements. The authors of the study analyse the various positive and controversial elements of reality shows. They focus on trash reality shows, which are more prominently represented in the autumn programming structure. In their interpretation, they not only draw on current findings, but also use their years of experience and knowledge from research in this field. The emphasis is on the potential impact on the socialisation of sensitive audience groups as well as on the culture of society as a whole.
The intention of the study is to highlight the interrelationships between the operation of gaming principles and contemporary media culture. The authors analyze game principles as defined and conceptualized by R. Caillois in his work. They formulate a premise according to which individual game principles can also be identified in contemporary media production, especially in cinema and digital games. They are present in the choice of preferred media topics and in the discourse of creative approaches of media creators. Gaming principles are based on fundamental human qualities that dominate during play. That is, they are an anthropological issue and have had a culture-making function. Although mimicry is the most dominant gaming principle within media production, other gaming principles, namely agon, alea, and illinx, are also found in particular genres and formats. The authors argue that contemporary media culture is shaped by the coordinates of game principles as well as by the mental settings of the people existing in the contemporary Euro-Atlantic civilizational circle. This environment creates a person craving for entertaining media genres. These provide them with enormous emotional excitement and transitions into another dimension of life, into a playful media reality.
The first twenty years of the 21st century have been marked by intense internalization and digitization, which have significantly influenced the communication processes throughout society and work in many professions. Communication has accelerated significantly, the amount of information we need to perceive, select and process has increased several times, and its credibility has become questionable. These and other technological changes, as well as other factors associated with political or social processes, have also marked the culture of society. Journalists are required to have much more skills and an immediate ability to deal dynamically and flexibly with the demands of these times. The set processes of media production and stereotypes of its perception were significantly changed by another relevant milestone of the 21st century, the Covid-19 pandemic. It closed people in their households, prevented direct contacts, restricted work and changed communication processes. It also significantly marked the work of television creators, their media outlets, as well as the entire television culture. In this paper, the authors analyse the situation that the creators of the main news programs had to deal with during the Covid-19 coronavirus pandemic, formulate what changes in their work have occurred due to the pandemic, how the media content has changed and, finally, define how it all has affected the methods of media creation and the media product that we see on TV screens today.
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