فصلنامه رسانه
سال سی و دوم شماره 1 (پیاپی 122، بهار 1400)

Typology, alongside media developments, has always been taken into consideration. The advent of the Internet, and in particular the formation of social media, has paved the way for paying further attention to new forms. Given that one of the potentials of social media is to create a platform for dissemination of news and information, both true and false, this paper is an effort to take a step to classify the false artifacts published on social media from a typological perspective. The questions brought up in this writing are whether a collection of false artifacts published on social media can create a particular species? What are the characteristics if such a species is formed? Is it possible to identify such "subspecies" as well? To answer these questions, the research data, which were false (text-video) content published on social media during the period of 2016-19 and confirmed by the WikiHooks authentication website, were analyzed, using rhetorical critique. Findings of this analysis suggest a new species called "unreality" with stylistic and intrinsic characteristics. The stylistic characteristics of this species, based on the sample of research, broadly speaking are shortness, intermediate narration of the event, have a separate text and video with the interrelationship and intrinsic characteristics of this species, lack of accuracy despite their apparent correctness, lack of validation technique at the first encounter. Also, four sub-types of unreality, Unreal news, Unreal entertaining, Unreal art and Unreal transcendent have been identified for this main species.

Today, the social media have dramatically changed the way people communicate with each other. Study of various aspects of this change and its effects, has been the subject of numerous studies both in Iran and the world. Instagram is one of the most popular photo and video sharing platforms around the world including Iran, about which a lot of research has kas carried out in Iran. Most of these studies have focused on the impact of Instagram on different users and the role it plays in changing the attitudes and behavior of Iranian users, rather than on the lived experiences and the meaning, that these users have of their activities in Instagram environment and which they attribute them to this social media. This research, with its exploratory nature, seeks to examine the lived experience and the meanings derived from the mental world of a small number of users who are referred in this research work as young adults. The research work is based ob descriptive phenomenology, because this method was consistent with the objectives and questions brought up in this research and its position on new technologies and provides a suitable basis for analytical descriptions of the themes of the statements made by the participants. In the present study, unlike previous studies that have ignored the contexts and conditions affecting the lived experiences of Instagram users, as well as the "essence" of their experience of this phenomenon, special attention has been paid to these two issues. The results of the research showed that the Instagram experience is, above all, a new way of seeing and being seen; A personal medium that gives everyone the opportunity to be seen as they please. The related conditions that allow this "being seen" to appear in an intensified manner. Large number of people are being seen on Instagram, where everyone is somehow floating. Their overall assessment of the consequences of using Instagram showed feelings that fluctuated between contentment and dissatisfaction. This finding suggests that their feelings about Instagram are neither entirely negative nor entirely positive, but fluctuate between positive and negative, and this may stem from the paradoxical nature of the technology itself, which is both attractive and repulsive.

The aim of this study is to investigate the factors related to body representation in virtual networks (Case study: Iranian Instagram users) and to identify the role of people using Instagram social network in their social, displaying and aesthetic body representation, which the researchers intend to achieve the intented goals by testing four research hypotheses.  In the present study, the research method was integrated and two qualitative type with content analysis and interview techniques and quantitative method (survey) with questionnaire technique. According to the objectives and characteristics of the research, in the qualitative part of the statistical sample of the research, there are 20 Instagram users with more than 1000 followers (they show themselves at least three times during the day), of which 60 photos from their page are were analyzed. Also, the sample size in a small portion of 384 citizens residing in Tehran in 2019. For sampling in quantitative and qualitative methods, cluster sampling method and saturation method have been used, respectively. The results indicate that there is a significant relationship between the number of people using the Instagram social network and the extent of representation of the social, displaying and aesthetic body. Researchers also found in the analysis of the representation of photos on the Instagram social network, in terms of representation techniques used, in the social body type, the disclosure and concealment techniques, in the body display model, the techniques of experience and seduction, and finally in the body aesthetic model, th aesthetic and artificial beauty techniques are used.

Going through elementary experiences and early cinema, led filmmakers to pay attention to how the story is portrayed in the film in order to attract the audience. Silent cinema and sound cinema have tried and experienced different methods of narration in the periods of classical, modern and postmodern cinema in various forms of artistic cinema, movements and cinematic styles; each of which has its unique features. Early cinema, due to its inability to use sound, considered silent stories in its productions, but contemporary cinema, and especially the art of animation, uses silent structure, taking into account the visual values and linguistic features. Silent cinema is a conscious form that can produce various narrative dominances in a visual and pictural way and attract audiences of different age and mindset to this type of cinema. This applied research, while reviewing the background of narrative methods in cinema, tries to address the issue of how contemporary animated films use visual functions and techniques in the narration of silent works. The present qualitative research method, with a formalistic approach and using the study of library resources and audio-visual archives, has analyzed the” Bear Story” animation as a purposeful selection of silent animations (1990-2017). Findings of the study show that in silent animations, the influx and accumulation of visual and audio elements have a great effect on conveying narrative i.

The purpose of this article is to enumerate the role of promoting the interaction between music and social development, through the mediation of radio, by investigating aspecific periods of Iranian history and since establishment of radio.  In line with this goal, and by employing a sociological approach, the multifaceted capabilities of radio in exchanging potentials of music and social development in enhancing each other's position were identified. We have also employed, historical analysis method in our research work. By purposefully searching reliable sources, real examples of episodes of interaction between music and various aspects of Iranian social evelopment were extracted through the mediation of radio. Findings of this research work showed that Iranian music and social subsystem with the active mediation of radio have played a role in promoting adaptability and control, targeting and mobilization of potentials and capabilities, connection finding and linking social actors together and strengthening preservation of professional and social identity. Radio, in turn, has benefited from the potentials of the art of music and the social system in terms of identity, promotion of usage, ompetition in messaging, and the expansion of its institutional potenyials.

The reputation of a news source in the media outlets is very important, and news agencies are in constant competition for good reputation. But so far, no specific model has been proposed to measure the brand value of news agencies. The purpose of this study is to provide a model for evaluating the brand equity of Iranian news agencies. We considered the David Aaker’s Brand Equity model as the basis for the development of this model and used the qualitative content analysis method to measure the value of news agencies. Data were collected using semi-structured interviews with 18 experts in the field of branding, news agencies and media branding, and were coded and interpreted using two inductive and deductive approaches using MaxQDA software. Findings of the study showed new measures such as "difficulty of access", "financial cost of access", "time cost" and "recommending others to use", "emotional relationship with the brand" and "reusing". To strengthen its brand, Iran must consider the factors affecting the brand equity and increase its bargaining power in the business market.