Media Criticism. Issue 1

Author: Jiang Yuanlun, Zhang Ning
Publisher:
Publish Date: 2005-01-01
Features: Media culture is an important component of social and cultural life. In a sense, contemporary people live in the midst of mass media. Media Criticism aims to critique current mass culture and fashion from the perspective of media studies, examining the interactive relationship between media and sociocultural dynamics, and providing analytical methods. The Media Criticism series is published biannually, offering critical practices from the perspective of media studies on culture, exploring the interactive relationship between media and sociocultural dynamics, and providing analytical methods. Today, mass media are transforming our lives more rapidly than ever before. It is not an exaggeration to say that media culture is an important component of social and cultural life. In a sense, contemporary people live in the midst of mass media. The establishment of the Media Criticism series aims to critique current mass culture and fashion, to clearly recognize the relationship between media culture and contemporary social life, and to reveal the specific pathways between them. The moment we open our eyes, "information" floods us. The media that carry this excessive information are ubiquitous—utility poles, bus stop signs, walls along major roads, city streets, neon boxes, overpasses, restrooms, cultural T-shirts, the bodies of women, and more. There are also dominant media—hundreds of official television stations broadcasting entertainment shows, interviews, dramas, and quizzes day and night; thousands of official newspapers with increasingly expanded pages; hundreds of thousands of official and private websites overwhelming us with information; and so on. We indeed have a sense of being besieged by media and information. Media forms are constantly evolving, and there is a trend toward everything being mediated. The type of media determines the type of media criticism. "Everything is mediated" means that the self-sufficiency of meaning in things is lost; they merely become media or tools for other things, an "other." Television and newspapers, as media, are indeed objects of media criticism. When a city is considered a medium, it becomes an object of media criticism. When a person's (such as a model's) body becomes a medium, it is also an object of media criticism. The method of critique is not aesthetic or formalist (though this method can also be used under certain conditions), but rather semiotic, or "semiotic political economy." An important task of the study and critique of media semiotics is to conduct semiotic analysis of the production, dissemination, and consumption patterns of the state's super media factories, including critiques of the internal structures and production models of state super media. It must also conduct semiotic research and critique of another super medium—the city. Everything in the city (including the details of the human body, their hairstyles, fashion, nails, posture, expressions, and various cultural symbols, etc.) is being mediated. They are not only objects of contemporary cultural semiotics but also objects of microsociology, or "close reading of texts." The research subject of this issue is the semiotic secrets of the sound systems and programmatic structures in various communication forms within mainstream media, or the semiotic political economic secrets of these systems. This is merely a beginning.