Featured during this issue:
Occupy strategies from Oakland to NYC
Tarek El Diwany and his conversion to Islamic Economics
Sean Devlin writes approximately resistance within the Philippines
Walkout fallout at Harvard
Mongolia’s progressive lumpenproletariat
China wrestles with 1.3 billion desires
Nadim Fetaih explores Canada’s unrecognizable future
Planting for the worldwide Spring …
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Extra resources for Adbusters, Issue 101: Regime Change
STRUCTURE AND THE LIMITS OF AGENCY Controls over access to the means of media production reinforce the power held by those in the position of dominance. Unlike television, however, emerging practices such as Web series do not yet take place in a completely controlled space of distribution. Control over what is broadcast on television is tightly connected to government regulation, private ownership, censorship and community feedback to determine what is aired. In the current media landscape, controlled existing structures such as the television broadcast spectrum compete against new and online media practices.
Barthes, R. (1977). Image music text. New York: Noonday Press Edition. Benjamin, W. (2008). The work of art in the age of mechanical reproduction and other writings on media. London: The Belknap Press of Harvard University Press. Cassidy, W. P. (2006). Gatekeeping, similar for online, print journalists. Newspaper Research Journal, 27(2), 6–23. Chandler, D. (2000). Marxist media theory: The Frankfurt school. html. Derrida, J. (2007). Writing and difference. London: Routledge. Deutscher, I. (1965).
The Internet is a site of current power struggles: emerging media practices do have the potential to reshape the power structure of media; however, my experience and analysis shows that this is extremely difﬁcult to do as existing media structures reinforce the position of the dominant media players. Nevertheless, unlike broadcast television, the Internet is not regulated and controlled in a top-down manner with prominent gatekeepers blocking the participation of audiences in production. Certainly, emerging from the online practices of audiences and media consumers are varying discourses regarding the notion of their participation in the production of cultural texts.