No abstract

Though news representations of protest have been studied extensively, little is known about how media audiences critique such representations. Focusing on TikTok as a space for media criticism, this article examines how users employ the app to respond to representations of protest in mainstream news media. Content collected in the spring of 2021 illuminated two very distinct foci of discussion about news representations of protest: the Black Lives Matter movement and the Capitol riot. Our qualitative content analysis of TikTok videos and their related comments demonstrates how users employed TikTok’s creative affordances to dissect specific news representations, critique the media apparatus, and expand news narratives. These findings shed light on the complex role of TikTok as a platform for media criticism—one that can be used for both democratic and non-democratic ends.

This article explores new forms of ethnic humor as emergent in a salient arena of contemporary culture: our electronic mailboxes. We argue that two processes underpin the manifestations of ethnic humor as it ‘goes online’: the global turn and the turn to genre plurality. We examine the implications of these processes through (1) content analysis of 1000 Israeli humorous ‘forwards’ and (2) a grounded analysis of 130 texts representing ethnic groups with varying degrees of proximity to Israeli culture. Regarding the global turn, we found that non-local ethnicities are ‘imported’ to the local symbolic sphere via new forms of humor. Regarding the turn to genre plurality, results indicate that while old forms of ethnic humor typically include explicit stereotyping, new forms introduce a wider variety of stances towards ethnic stereotypes, ranging from their reproduction in visual language to a polysemic stance, and finally to their neutralization.

Parody is so pervasive in participatory culture that it is described as a central component of Internet vernacular. Valuable insight has accumulated about parodies as artifacts, however, little is known about their creators. Drawing on the sociology of culture, this article explores YouTube music video parodies as a field of cultural production. Through interviews with 22 YouTubers recruited from a sample of top-ranked parodies, it examines the relationship between practitioner characteristics and their evaluation of parody. Contrary to other studies of participatory culture, the field was predominantly male in its participation and norms. It presented a divide between ‘strategic’ and ‘passionate’ practitioners who used parody to different ends. Nevertheless, interviewees valued similar attributes of parody, often diverging from scholarly definitions of the genre as critical commentary. This dynamic and the genre’s popularity are explained by the hybrid qualities of the field, which encourage diverse uses of parody.

Subdisciplines in communication studies have developed competing and self-contained theories of meaning multiplicity. Arguing that this fragmented scholarship falls short of grasping the full scope of the phenomenon, this article offers Decoding Convergence–Divergence (DCD) as an interdisciplinary analytical and conceptual framework. Synthesizing principles from cognitive, cultural, and speaker-centered approaches to meaning multiplicity, this framework was applied in a study that examined news coverage of a CEO’s initiative to address income inequality and its reception by different segments of the American audience. The study’s results provide a novel demonstration of the joint contribution of opposing theories to the understanding of meaning multiplicity. Specifically, it found that textual polysemy, partisan selective perception, and the use of strategic ambiguity coalesced in the interpretive dynamics of this story. Based on these results, the article discusses the contribution of DCD to bridging competing approaches and the potential applications of the framework.