排序方式： 共有4条查询结果，搜索用时 0 毫秒
1
1.
【目的/意义】研究新媒体环境下企业微博信息行为特征,通过对比分析五家同类型企业微博信息行为过程,提出建议,从而提高企业与用户信息交互的效果,提高企业核心竞争力。【方法/过程】本文通过网络爬虫采集五家汽车企业近三年来的全部微博数据及粉丝数据,采用知识图谱分析方法,将企业微博在线活动特征可视化,分析企业在线活动的时间特征,在线内容挖掘及热点分析,共同关注者的网络可视化及差异比较。【结果/结论】本文基于知识图谱构建的新媒体环境下企业微博信息行为模型可以作为企业在线信息活动分析的研究框架;数据分析结果表明企业可以利用新媒体平台进行在线活动,提升企业与用户的信息交互效果。 相似文献
2.
ABSTRACTThis essay examines #SayHerName as a case study to analyze how circulation of the hashtag both challenged women’s erasure from #BlackLivesMatter discourse and motivated activists to center the stories of Black women killed in police interactions. We introduce the term rhetorical stratification to discern why the #SayHerName hashtag came to matter, and how it remained relevant in the national discourse about police brutality. To do so, we analyze how the #SayHerName movement evolved from the discursive to the material through policy briefs, social media circulation, and citizen journalism, which influenced news framing and initiated greater deliberation about this issue in both the networked public sphere and in local communities. We conclude that this hashtag invitation to digital activists engaged more nuanced perspectives about police brutality and policy reform, influenced the way Black women victims of police violence are covered in the news, and motivated community-based policy proposals addressing necessary changes in local policing. 相似文献
3.
ABSTRACTIn October 2017, #metoo 2.0 reinforces the gendered sexual violence in the creative sector [Marghitu, 2018. “It’s Just art: Auteur Apologism in the Post-Weinstein era”, Feminist Media Studies, 18(93): 491–494] Building on this movement, on 11 November that year, 2912 women “testified about the situation in the Swedish music industry”, signing an open letter condemning sexual violence [Nyheter, 2017. “2192 Women in the Swedish Music Industry Behind Appeal Against Sexism.” Dagens Nyheter, November 17. https://www.dn.se/kultur-noje/2192-women-in-the-swedish-music-industry-behind-appeal-against-sexism/]. After the Swedish initiative, on 12 December 2017, the #meNOmore hashtag was established by 1000 women who signed an open letter to the Australian music industry speaking out against similar behaviour [Whyte, 2017a. “Artists Speak Out Against Sexual Harassment in the Music Industry.” AM – ABC Radio, December 13. https://www.abc.net.au/radio/programs/am/sexual-harassment-in-the-music-industry/9253956]. Using a content analysis framework, this study examines the media framing of 26 stories about #meNOmore by the Western press from 22 November 2017 (height of the Swedish campaign) to 21 December 2017 (a week after the hashtag surfaced in Australia). Research from journalism studies and musicology highlights that sexual violence is historically engrained in the media and music industries. However, findings from our study of the first month’s coverage of the #meNOmore content analysis in 2017 reveal that media reports about women and sexual violence were framed around addressing gender inequality and systemic structural issues in the music industry. This raises the question, has the media has turned a corner when covering sexual violence in the post #metoo era? 相似文献
4.
Nancy Worthington 《The Communication Review》2020,23(1):46-65
ABSTRACTIn January 2018, a feminist blog, babe, detailed an anonymous woman’s date with comedian Aziz Ansari, ending with her accusation that he had sexually assaulted her by escalating his sexual advances despite her verbal and nonverbal objections. Online reaction to the babe article was swift and plentiful, including a New York Times editorial written by conservative provocateur Bari Weiss entitled, “Aziz Ansari is Guilty. Of Not Being a Mind Reader.” Weiss’ piece drew 2953 online responses before the comment section closed the next day, with wide-ranging views addressing the respective behaviors and motivations of Ansari, “Grace,” and Weiss. The responses provide an opportunity to explore how commenters negotiate the boundaries of the #MeToo movement in the venue that had ignited the movement’s resurgence with the story of movie mogul Harvey Weinstein’s longstanding sexual abuse of women working in the film industry. This study applies quantitative and qualitative analysis to comment discourse and elicits three major themes: (1) expectations for seeking or conveying consent, (2) criteria for publicizing the private, and (3) demarcations between insensitivity and abuse. Justifications frequently offered for the positions articulated were based on references to personal experience, cultural expectations, the #MeToo movement, and feminism. 相似文献
1