These ethical dilemmas extend to the monetization of citizen journalism as well. As platforms like YouTube and Instagram enable users to profit from their content, the line between genuine reporting and content creation for financial gain becomes blurred.
Adam Harder came up with the idea for InPress last year; among other media jobs, he was a broadcast journalist for the U.S. Air Force for several years. He’s currently self-funding the application and has a team of seven part-time staffers, but nobody is being paid.
While the current infrastructure for deepfake detection is being pressure tested in India right now, the reporting strategies being carved out by journalists during the election offer a preview into the challenges that lie ahead for other newsrooms around the world.
Microsoft’s major marketing push in gaming has been Xbox Game Pass: a subscription service that gives users access to a rotating library of hundreds of games. For simplicity’s sake, think Netflix for gaming. One of the biggest appeals of Game Pass is a monthly price lower than the cost of buying a single one of the games on offer.
Many Americans live in a version of the world remarkably close to the one Michael Schudson pondered in 1995—because either they lack access to news or they choose to ignore journalism in favor of other, more sensational content. By exploring how journalism is increasingly absent from many of our lives, we can identify false paths and promising routes to its reinvention.
To argue that art is inseparable from its creator would make it impossible to consume art simply from the perspective that not all people are perfectly moral. However, the biggest misstep here is if one assumes that most art can be tied back to one person only.
In response to the demand for an effective ratings system, multiple popular game creators, such as Sega and Nintendo among others, formed what would become the Entertainment Software Associationthat crafted an ES Ratings Board, which is still in place today. Videogames are not legally required to have an ESRB rating, but most console manufacturers and physical and online retailers require it for the games they offer.
Countless videogames, films, and television series utilize this shorthand. Think of almost any piece of media set in World War II; the countless zombie films, games and TV shows. Demons are admittedly less utilized outside of games; however, trade them in for generic “aliens” in Hollywood and you have a pretty close match. We are then allowed to be happy to kill these “enemies,” and see them die in horrific ways because they are morally bankrupt.
Highbrow Magazine Contributing Writer Barbara Noe Kennedy is an award-winning writer and editor, who specializes in travel writing. She worked for more than 20 years for the National Geographic Book Division, and she has also written for the Washington Post, National Geographic Traveler, the Los Angeles Times, and Fodor's -- in addition to penning a few books. She is a recent Lowell Thomas travel journalism award winner. Barbara has traveled extensively around the world and, along with her husband, is actively involved in helping Zambian students achieve their education and career goals. She writes travel articles and film reviews for Highbrow Magazine.
Despite the sizable content budgets of streaming video on demand (SVOD) services, consumers are growing more frustrated with SVOD content discovery and subscription fees. SVOD services often require consumers to juggle multiple subscriptions at increasing costs. But on social media platforms, content discovers the user, offering free passive and interactive experiences with near-infinite streams of personalized content that are continuously refined.
Wandering the urban streets of New York City, then later in her adopted city of Chicago, her chosen subjects appear as anonymous as she attempted to make herself. Ordinary, yes, banal, yes, but we can see, as Maier did, something extraordinary.
This new Caligula, re-edited by Thomas Negovan using 96 hours of recently discovered footage, remains a bizarre mix of pretension, melodrama, historic liberties and pornography, punctuated by memorable (yet mostly poor) performances.
