Blogs

Up next at IAMCR 2024 are Virpi Salojärvi and Teija Waaramaa, whose interest is in the presence of Finnish legacy media on TikTok. Their move to explore this platform is part of a longer trajectory of journalistic transformation with the growing use of digital and social media technologies; this has also meant a greater incorporation of affective elements into journalistic coverage.

The next speaker in this IAMCR 2024 session is Margaret Ng, whose interest is in the transition of journalists to other platforms following the enshittification of Twitter by Elon Musk.

The second day at IAMCR 2024 starts with Jingxuan Gao, whose interest is in news on Weibo. She describes this as the newsification of social media, as the platform is becoming more important as a source of news for Chinese users. Weibo is broadly similar to Twitter, with some 598 million monthly active users.

The next speaker in this IAMCR 2024 session is Dmitry Romanenko, whose interest is in the media portrayal of Ukraine in New Zealand media following Russia’s full-scale invasion of the country. Western coverage of the war has tended to take a strongly pro-Ukrainian perspective, which is a substantial shift from the far more critical pre-invasion media coverage. Here, the focus is on the use of images in such coverage, which represent dominant narratives and can have a substantial effect on international relations.

The next speaker in this IAMCR 2024 session is Kerry McCallum, whose interest is in the media logics surrounding public inquiries into child abuse, focussing especially on the Royal Commission into Institutionalised Responses to Child Sexual Abuse in Australia, in 2013-17.

The next session at IAMCR 2024 is on media framing, and we start with Henri Mütschele, whose interest is in the German media portrayals of the Fridays for Future and Letzte Generation protest movements in the ‘protest winter’ of 2022/23. Germany has a long tradition of climate protests, but these groups have very different approaches to their protests: from socially acceptable demonstrations to more radical and disruptive blockage actions.

The final speaker in this IAMCR 2024 session on Ukrainian cultural heritage narratives is Dmitry Romanenko, whose focus is on Chinese narratives on the Russian war against Ukraine.It has already been observed in some studies that Chinese media like the Global Times usually take a pro-Russian stance that’s justifies the war in Ukraine; however, an alternative perspective is that China’s public messaging is predominantly designed to promote its own, and not Russia’s, interests, and that it does not explicitly endorse the war.

The third speaker in this IAMCR 2024 session on cultural and heritage narratives surrounding the war on Ukraine is Shalabh Chopra, who begins by highlighting the changes in global power structures; in this the newly multipolar world the Global South is not readily on the side of the west in major conflicts, and may therefore also be less sympathetic towards Ukraine in the current war.

The next speaker in this session at IAMCR 2024 is Mia Angeline, who continues the theme of the arming of Ukrainian cultural heritage from the perspective of Indonesian media. Indonesia is a rising, non-aligned power in the Global South, and has a growing influence in global fora. Its historical experiences have influenced this non-alignment, and its vibrant and diverse cultural heritages may increase its sympathy for the cultural heritage concerns of other countries.

The post-lunch session that I’m attending at IAMCR 2024 is on communication around the war in Ukraine, with a particular focus on cultural heritage; I stars with Natalya Chaban. Russia’s full-scale invasion of Ukraine has presented a new challenge here: a weaponised state is threatening Ukraine’s history and culture, and heritage sites are not simply collateral damage but are being actively targetted by Russia’s unprovoked aggression. Culture itself is thus a driver of conflict.