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ID:
162093
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| Summary/Abstract |
Most observers argued that press freedom in Hong Kong has been declining continually over the past 15 years. This article examines the problem of press freedom from the perspective of the political economy of the media. According to conventional understanding, the Chinese government has exerted indirect influence over the Hong Kong media through co-opting media owners, most of whom were entrepreneurs with ample business interests in the mainland. At the same time, there were internal tensions within the political economic system. The latter opened up a space of resistance for media practitioners and thus helped the media system as a whole to maintain a degree of relative autonomy from the power centre. However, into the 2010s, the media landscape has undergone several significant changes, especially the worsening media business environment and the growth of digital media technologies. These changes have affected the cost-benefit calculations of media ownership and led to the entrance of Chinese capital into the Hong Kong media scene. The digital media arena is also facing the challenge of intrusion by the state.
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| 2 |
ID:
156081
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To investigate how the Chinese government extends its influence to manipulate extra-jurisdictional media, this case study investigates Taiwan’s experience. It suggests that as Taiwanese media companies become embedded in the Chinese capital, advertising, and circulation markets, the Chinese authorities increase their ability to co-opt them with various economic incentives and threats, leading to self-censorship and biased news in favour of China. Using process tracing as the principal method, and archives, interviews, and secondary literature as principal data sources, the study supports the transferability of the “commercialisation of censorship” beyond China. Liberal states around China must design institutions protecting the media from inappropriate intervention by both domestic and foreign political and economic forces.
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| 3 |
ID:
173001
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| Summary/Abstract |
Although the case of “censorship” of Chinese hip-hop in January 2018 has led to extensive news coverage in the international press, it does not account for the multiple forms of musical censorship that exist in contemporary China. This article draws on observations from within the punk rock community to outline how censorship works in practice and which institutions are responsible for overseeing musical productions, from the release of albums to the management of concerts and festivals. This overview of censorship mechanisms in the Chinese music scene – including self-censorship required to release albums domestically – will highlight how to circumvent censorship, as well as the extent to which it is possible for artists to negotiate with the authorities.
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| 4 |
ID:
150491
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| 5 |
ID:
159859
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| Summary/Abstract |
Self-censorship is of great importance in societies involved in intractable conflict. In this context, it blocks information that may contradict the dominant conflict-supporting narratives. Thus, self-censorship often serves as an effective societal mechanism that prevents free flow and transparency of information regarding the conflict and therefore can be seen as a barrier for a peacemaking process. In an attempt to understand the potential effect of different factors on participants’ willingness to self-censor (WSC) conflict-related information, we conducted three experimental studies in the context of the Israeli–Palestinian conflict. Study 1 revealed that perception of distance from potential information recipients and their disseminating capabilities lead to higher WSC. Study 2 replicated these results and also showed that fulfilling different social roles has an effect on the WSC. Finally, study 3 revealed that the type of information has a major effect on WSC.
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