Week 10: Global Crises and Global News (Pacific Calling Partnership)

http://socialjournalism.com.au/the-time-to-act-is-now-climate-change-and-global-warming/

It seems to becoming the age old question ‘is climate change actually occurring?’ People right across the world from the major cities of New York and Sydney, to the small islands in the pacific region including Kiribati have mixed opinions. For the people in the major cities their opinions may be built from the media’s coverage where climate change is based around the political and financial side and for the people in the Pacific regions their opinions are produced from first hand experiences where they have had to move their homes 30 meters inland to avoid sleeping with the fishes.

With climate change being such a hot topic it is no surprise everyone wants their voice to be heard and be exposed to a number of ideas and opinions. Unfortunately this is not the case, by looking at the two quotes ‘rethink balance and false balance’ and ‘voice for the voiceless, he states that there is a false balance in the media when it comes to raising awareness of global crises, in particular climate change (Ward 2010). Although the media tends to make you think that they are giving equal opportunity to different points of view, we have seen first-hand in Australia that more media coverage has focused on carbon taxes and less focus on people in the Torres Strait who are seeing and feeling the effects of climate change as we speak. We might ask ourselves makes in this situation “what is most important, where do we focus our attention.”

http://www.roninfilms.com.au/feature/5989/hungry-tide.html

One group that focuses their attention on the people of the Torres Strait region is the Pacific Calling Partnership who helps to give a “voice for the voiceless” (Ward 2010). One way that they did this was when Tom Zubrycki in 2011 created a documentary called ‘The Hungry Tide”, focusing on the people of the pacific island areas getting their opinion on climate change. The group also claims to ‘recognise Australia’s ecological debt to Kiribati, Tuvalu, parts of the Torres Strait and other low-lying Pacific Island neighbours’ (Dreher 2014).

Although climate change is only one of many global crises occurring, it is notable in all cases that the media are still properly reporting on certain sections of the story ensuring that the voiceless remain without a voice and causing the audience to forget about balance and taking the media’s opinion and side.

References:

Dreher, T 2014, ’Week 10: Global Crises and Global News (Pacific Calling Partnership)’ recorded lecture, BCM 111, University of Wollongong, viewed via Echo360,10 October 2014, <https://esplay.uow.edu.au/ess/echo/presentation/f951295d-40eb-4a49-8964-60e914216cd5?ec=true>.

Ward, B 2009, ‘Journalism ethics and climate change reporting in a period of intense media uncertainty’, Ethics in Science and Environmental Politics, vol. 9, p.13-15.

Week 9: Who counts in global media? (News values)

http://1.bp.blogspot.com/-3DUfUjAa7Qk/T58eaFIhUdI/AAAAAAAAAGE/ZdLYC9JY-ig/s200/Big-News.jpg

Everyday right across the world there is countless events that take place bearing the characteristics of becoming a great news story. Politics, celebrities, sport stars, death and war, these are all perfect examples of what can be put in a newspaper or pop-up in the 6pm news bulletin. Although these topics are all worthy of being put on the news, we are only shown what the media wants us to see. With the media constantly trying to grab the audience’s attention, we have seen the media create a group of ‘news values’, ones that dictate what we do and don’t see based on what will most likely get our attention.

A perfect example of this would be the media’s coverage of the Arab Spring revolutions in 2011. The major sections of the American and European news networks failed to report on the event in its entirety and instead only reported on the incidents when big revelations were taking place (Lee-Wright 2012). This type of reporting is based on the news feature of transient reporting (Khorana 2014), which is referring to reporting on the big news because it’s relevant even though it may be forgotten about by the end of the week. This type of reporting is strong in the media’s news values, as it helps to engage and attract their audience.

With a large majority of news outlets conforming to a set of ‘news values’, we are seeing the growing development of a trend where “people are migrating to twitter feeds and other news aggregators that supply the news they want” (Lee-Wright 2012, p.15). Most news outlets only cater for the mainstream events and if you are not interested in what is being shown to you, it only makes sense that you must go out and find the news you want.

References:

Khorana, S 2014, ‘ Week 9: Who counts in global media? (News values)’ recorded lecture, BCM 111, University of Wollongong, viewed 10 October 2014 <https://esplay.uow.edu.au/ess/echo/presentation/1a54fa35-4246-49da-b526-f3ef1419a93d?ec=true>.

Lee-Wright, P 2012, ‘News Values: An Assessment of News Priorities Through a Comparative Analysis of Arab Spring Anniversary Coverage’, Journalism, Media and Cultural Studies, Goldsmiths College, University of London, pp. 1-19.

Week 8: Television in Translation (Drama Focus)

Over the many years of television programmes we have seen some very successful T.V. shows (‘Home and Away’ or ‘The Simpsons’) as well as some very unsuccessful ones (‘Being Lara Bingle’). With the success of television shows being dictated by the way in which an audience can relate to characters, setting and experiences, we have also seen some T.V. drama shows with similar storylines become popular and successful in two very different geographic and cultural settings. A perfect example of this would be the American show ‘Elementary’ (2012-present) and the British show ‘Sherlock’ (2010-present), both based on Arthur Conan Doyle’s character Sherlock Holmes, who is a prominent detective figure in both American and English fiction (Khorana 2014).

http://nerdgeistdotcom.files.wordpress.com/2014/02/elementary_banner.jpg?w=829

Although both programmes are similar, they also have significant differences that help to ensure its success depending on either the American or English culture. We see that in the American adaptation ‘Elementary’, in order to resonate with the American audience they have set the show in modern New York City making them feel secure and knowledgeable. However, this is just one minor way that helps to draw viewers in. With America holding certain traits of political correctness, we have seen that the original cast has slightly changed with Watson being played by an Asian woman (previously a white Englishman) and the inclusion of an African-American man playing the role of a sympathetic police officer (Khorana 2014). These minor details help the audience to relate to the show but at the same time enjoy the creativity and not complain about racism and gender stereotypes.

http://www.scmp.com/sites/default/files/styles/486×302/public/2014/01/02/sherlock-bbc.jpg?itok=mAJM5erR

Similarly, the English version ‘Sherlock’, takes a similar approach in that it is set in iconic locations of England that help it to be more relatable. More importantly, ‘Sherlock’ has been able to keep their audience in two main ways; firstly, by following the original stories of Arthur Conon Doyle’s Sherlock. Secondly, by listening to their audience and taking into account their opinion and their ideas. With “Fan fiction being nothing new” (Penny 2014) and die-hard fans always wanting to give their input, if their voices aren’t heard, there is no doubt that viewers will decline. The inclusion and acknowledgement of the fan response can be seen as a very British cultural trope (Khorana 2014) and helps to sustain the longevity and success of their T.V. programmes.

“At the end of the day, both shows are attempting to depict a very similar man by highlighting how he might fit into a social circle of very different people” (Asher-Perrin 2014), however, if certain cultural characteristics aren’t modified when disseminating to different audiences, human emotions and feelings including empathy, humor and compassion will be lost and result in failing television programmes.

References:

Asher-Perrin, E 2014, Battling Super Sleuths: The Awkward Case of Elementary, Sherlock, and Building the Better Adaption, TOR.com, weblog post, 24 February 2014, viewed 10 October 2014, <http://www.tor.com/blogs/2014/02/battling-super-sleuths-the-awkward-case-of-elementary-sherlock-and-building-the-better-adaptation>.

Khorana, S 2014,‘Week8: Television in Translation (Drama Focus)’, recorded lecture, BCM 111, University of Wollongong, viewed via Echo360, 9 October 2014, <https://esplay.uow.edu.au/ess/echo/presentation/9673c018-eb7e-421b-8557-effef20a9ae0?ec=true>.

Penny, L 2014, Laurie Penny on Sherlock: The Adventure of the Overzealous Fanbase, Laurie Penny, weblog post, 12 January 2014, viewed 10 October 2014, <http://www.newstatesman.com/culture/2014/01/sherlock-and-adventure-overzealous-fanbase>.

Week7: Local Television in a global context

For many Australians, we all like to have a laugh, sometimes at ourselves and sometimes at others. The stereotypical ‘laid-back’ and ‘care-free’ Australian culture seems to allow one another to crack a joke or two regardless of its content. Although we Australians find some jokes hilarious, we have seen that sometimes when Australian jokes are taken beyond the borders of Australia the content and meaning of the joke is lost, therefore no longer making it funny. Two Australian television programs which help to highlight this point are ‘Jonah from Tonga’ (2014) and the beloved ‘Kath and Kim’ (2002-7).

http://i.dailymail.co.uk/i/pix/2014/04/25/article-2612715-1D548ED600000578-898_634x943.jpg

With ‘Jonah from Tonga’ constantly pushing the boundaries of misogyny, misrepresentation and just down-right rude content, the Australian audience due to their ‘laid-back’ and ‘care-free’ manor were able to see the funny side of the comedy. However, when this comedy was shown to the American people, they took the content at face value and slammed the show e.g. “It’s not just that Lilley is in brown face, topped with a curly wig, but that his portrayal of the 13-year-old Jonah is akin to minstrelsy.” and “What are you thinking, HBO? This is not cutting edge.” (Turnbull 2014).

Although the content within ‘Jonah from Tonga’ is quite offensive is this the reason to why the American culture didn’t find it funny, or is there another reason? By taking into account this statement ‘Humor, and thus comedy formats, most drama, relying as it does on some unavoidable specificities of character and place, and of course the vast bulk of news and current affairs, remain stubbornly resistant to exploitation in a multiplicity of markets’ (Cunningham and Jacka 1996), maybe it is the clash of cultural context that does not allow for certain jokes to disseminate across a number of cultures.

http://images.theage.com.au/ftage/ffximage/2008/10/11/ent_kathkim_wideweb__470x313,0.jpg

Take Australia’s version of ‘Kath and Kim’, it is filled with many jokes that either resonate with the Australian audience or are so far fetch that the audience can laugh at the ridiculousness of the situation. However when ‘Kath and Kim’ was shown to the American audience they didn’t find the content as funny as what Australian’s did. By look at Susan Purdie’s comedy theory we can see how there was a level of misunderstanding when the jokes are delivered. Purdie states ‘Comedy depends on the breaking of rules of language and behavior, our laughter signals that we have recognised the break, but first we have to know what the rules are.”(Turnbull 2014) It is evident in this case as well as many others that the joke in one culture was not found funny in another due to their level of knowledge and understanding of certain situations in external cultural contexts.

References:

Cunningham, S & Jacka, E 1996, ‘Australian Television and International Mediascapes’, Cambridge University Press, Cambridge.

Turnbull, S 2014, ‘Week 7: Local television in a global context’, recorded lecture, BCM 111, University of Wollongong, viewed via Echo360, 8 October 2014, <https://esplay.uow.edu.au/ess/echo/presentation/7fac5ac6-cdcf-4f9b-a0fa-5e2ffc2135b7?ec=true>

Week 6: Television and the Emergence of New ‘Media Capitals’

When it comes to discussing media capitals, we should look at this statement; “Media capitals, then, are sites of mediation, locations where complex forces and flows interact. They are neither bounded not self-contained entities. Rather, we should understand them in the manner that geographers like Doreen Massey (1992) and Kevin Robins (1991) understand cities, as meeting places where local specificity arises out of migration, interaction and exchange…Media capitals are places where things come together and, consequently, where the generation and circulation of new mass culture forms become possible” (Curtin 2003).

Having Curtain’s definition in mind, we can look at the emergence of television in Hong Kong and its rise as a ‘new’ media capital. Since 1967 when broadcast TV was first introduced in Hong Kong, its dominance as a media capital has had much to do with the influence of cultural migration culture, the rise of creative talent as well as the emergence and interest in crime dramas and Cantopop.

http://upload.wikimedia.org/wikipedia/commons/b/bb/Andylau_in_concert_4.30.2011-02.jpg

With the people of Hong Kong shifting their interests, we have seen a change from where their attention has strayed away from film and more towards television, which has allowed for a rise in advertisement and a way for business’ to sell and market their products.

By taking a closer look at the influence of Cantopop, we are able to easier see how these changes in interests help to create Hong Kong as a ‘new’ media capital. Cantopop refers to popular Cantonese music (Khorana 2014) which draws influence from Western pop, electronic and hip hop music. By Hong Kong branching out and adopting aspects of other cultures from around the world, they themselves are able to be more appealing whilst still maintaining and incorporating some sense of their own culture. However it can be noted that as Hong Kong continues to grow as a media capital and is enable to adapt other cultures into is community, it has in a way almost stopped developing its own cultural aspects to adopt others (Khorana 2014).

References:

Curtin, M 2003, ‘Media Capital: Towards the Study of Spatial Flows’, International Journal of Cultural Studies, vol.6, no.2, p.202-228.

Khorana, S 2014, ‘Week 6: Television and the emergence of new media capitals’, recorded lecture, BCM 111, University of Wollongong, viewed via Echo360 19 September 2014, <https://esplay.uow.edu.au/ess/echo/presentation/c38972fd-10cf-4f61-9cd4-a7e5b5fa3732?ec=true>

Week 5: Global Film: Towards Crossovers

http://www.powerfm.com.au/sa/entertainment/movie-news/44683-avatar-on-stage

Imagine if all the film industries in the world were only influenced by the people and the culture in which they are located. For a small percentage of film industries this would have minimal effect, but for most of them, their film industry lives and thrives off other industries around the world, resulting in cultural crossovers and crossover cinema/ transnational cinema. To highlight the influence of crossover cinema, one only has to look at the Hollywood blockbuster movie ‘Avatar’ (2008) to see how cultural elements beyond America and Hollywood have allowed for the creation and success of the movie. One must also think about the way in which culture is interpreted through film and the effects it can have in building a positive or negative view. This can be explored through the Arabic movie ‘The Closed Doors’ (1999).

With crossover cinema referring to the emergence of cinema crossing cultural boarders at the stage of conceptualisation and production creating a hybrid cinematic grammar (Khorana 2013) we can put this statement into relation with ‘Avatar’ (2008). With the movie containing traditional Hindu cultural elements being; Making characters blue, depicting the religious avatars Rama and Krishna and the use of bow and arrows used by Rama and his followers (Karan and Schaefer 2010), we see here that by adopting external cultural elements from beyond America, ‘Avatar’ director James Cameron has been able to create an engaging film through the use of cross cultural elements.

Although there is a worrying level that transnational cinema will lead to one culture portraying another culture wrongly or traditional cultures conveyed in another country will lead to a prejudice view, we must all remember that often cinema conveys only certain elements and if we take what we see or hear at face value, we will most likely be wrongly led astray. This is evident in the film ‘The Closed Doors’, with the film eventuating to a stage where a boy (A Muslim radical) believes he is doing what is right by killing his mother and her new lover, the movie shows one particular case of extreme Muslim culture. With other cultures around the world such as Australia not knowing a great deal about Muslim culture, Australians may see this film and build a prejudice opinion of Muslim culture just from this one source.

http://www.imdb.com/title/tt0209885/

The statement ‘Such a cinema can be defined as transnational in the sense that it brings into question how fixed ideas of a national film culture are constantly being transformed by the presence of protagonists (and indeed film-makers)’ (Higbee and Hwee Lim 2010). This tells the audience that with the increasing number of films that have cultural crossovers or conveying a culture, we must be careful in how we interpret and think critically in order to not build an educated understanding of a culture.

References:

Higbee, W & Hwee Lim, S 2010, ‘Concepts of transnational cinema: towards a critical transnationalism in film studies’, Transnational Cinemas, vol. 1:1, pp. 7-21.

Karan, K and Schaefer, DJ 2010 ‘Problematizing Chindia: Hybridity and Bollywoodization of popular Indian cinema in global film flows’, Global Media and Communication, Vol 6: 3, pp. 309-316.

Khorana, S 2013, ‘Crossover Cinema: Cross-cultural Film from Production to Reception’,Producing a Hybrid Grammar, vol. 1, pp. 1-18.

Week 4: Global Film Beyond Hollywood: Industry Focus

http://www.vogue.it/en/people-are-talking-about/vogue-arts/2013/01/hollywood-bollywood-nollywood

If someone out of the blue asked “What is your favourite Hollywood, Bollywood and Nollywood movie”, your answer may be something like “Transformers, Slumdog Millionaire and who or what is Nollywood!” Although many people are familiar with extremely high budget Hollywood movies filled with special effects, many people are unfamiliar with or are uneducated when it comes to Bollywood and Nollywood films. You may not be familiar with these terms, but through the shifting direction of cultural influence via ‘contra-flows’ and ‘hybridisation’ (Karan and Schaefer 2010), it is more than likely that you are familiar with their cultural content via Hollywood movies.

Take Slumdog Millionaire as an example, you would think that a movie that is set in the slums of India with a cast of Indian looking people and Indian names must be the product of Bollywood (India’s movie industry). This is not the case however and as ‘hybridised’ content spreads, ‘contra-flows’ emerge, shifting the direction of cultural influence and blurring ‘the boundaries between the modern and the traditional, the high and low culture, and the national and the global culture’ (Karan and Schaefer 2010). In this example the ‘hybridised’ content is merging the Indian cultural themes and putting them in a way that Western communities can relate to and engage with. This movie has been able to achieve this by using the standard three-act narrative structure, 120-minute running time, and avoidance of interruptive song-and-dance sequences (Karan and Schafer 2010) almost the exact opposite structure of Bollywood type where there is lots of singing and dancing, a huge star cast and a running time of at least three hours (Khorana 2014).

Although ‘hybridisation’ and ‘contra-flows’ have linked together Hollywood and Bollywood in the same neck of the woods, we have not yet seen the same effect occur in Nollywood, the Nigerian film industry. With Nollywood being the 3^rd largest film industry in the world when it comes to movie output (Khorana 2014) you would think that Hollywood and or Bollywood would be looking to broaden their audience through ‘hybridisation’ of Nollywood films and cross as many cultural boundaries as possible. With movies being made in 10 days or less in Nollywood and having more of a focus on sense of realism, reflecting, raising awareness and questioning current issues, it makes it hard for Hollywood to engage with and make a profit on, hence the reason they are not seen in Western societies.

http://www.jaguda.com/2013/06/14/top-8-nollywood-no-nos/

Cultural content is often shown in many Hollywood, Bollywood and Nollywood movies through ‘contra-flows’ and ‘hybridisation’, but it can sometimes be hard to clearly see if the culture has been changed to adopt the movie or has the movie been change to adopt the culture. It is through this stage of confusion that people are unsure if they are watching a Hollywood, Bollywood or Nollywood movie.

References:

Karan, K and Schaefer, DJ 2010 ‘Problematizing Chindia: Hybridity and Bollywoodization of popular Indian cinema in global film flows’, Global Media and Communication, Vol 6: 3, pp. 309-316.

Khorana, S 2014 ‘Week 4: Global Film Beyond Hollywood: Industry Focus’, recorded lecture, BCM 111, University of Wollongong, viewed via Echo360 28 August 2014, <https://esplay.uow.edu.au/ess/echo/presentation/f951295d-40eb-4a49-8964-60e914216cd5?ec=true>

Week 3: Internationalising education: cosmopolitanism and cultural competence

80% of our International students are from Asia (Marginson 2012) and with Asian countries operating in a different manor to Australia meaning relationship building between Asian international students and Australian domestic students can often be quite hard. By engaging with the two key concepts of multiplicity and hybridity (Marginson 2012), students are able to break the traditional barriers of language and culture to build strong relationships and oppose Marginson’s statement that ‘International education is not the rich intercultural experience it could be.’

http://www.swfc.edu/admissions/international-students

Although it is hard for someone to fit into an entirely different country and culture, if the Asian students engage with multiplicity, meaning the students become more than one person living more than one life (Marginson 2012) and act differently in different settings in order to fit in, their experience will be a lot more enjoyable. By using multiplicity the students will be able to create a wider range of relationships and not feel intimidated when they are placed in environments that would traditionally cause anxiety. This may include using Australian slang when they are in conversations with Australians or even eating Western type food instead traditional Asian dishes. These minor changes may be hard for Asian students to adapt to at first but it will help them to experience more and feel a greater level of acceptance.

Like multiplicity, hybridity helps students to have awareness and cultural relativism (Margionson 2012) to help them have a greater understanding of themselves and the environment around them to feel accepted. Hybridity involves International students combining different cultural and relational elements to create a newly formed self (Marginson 2012). That’s not to say that the Asian students have to entirely learn all of Australia’s culture or change their way of living, it is just stating that the students should be willing to adopt Australian cultural aspects into their own way of living to help them to fit in and make their day to day living a little easier. An example of adopting elements of the Australian culture may include going to the pub to have a few drinks.

By engaging with the concepts of multiplicity and hybridity International students will be able to have a greater experience in Australia, however it is not entirely up to the Asian student to take control of their future, it is a two way street and the Australian students must also engage with these concepts, if both parties are able to adapt to each other and compensate for cultural and language barriers all students will be able to have a rich intercultural experience through international education.

References:

Marginson, S 2012, ‘Morphing a profit-making business into an intercultural experience’, International education as self-formation, Vol.1, pp. 1-11.

Men and Women should be =!!!

http://www.joneric.net/blog/male-female-equality/

Since the day men and women started to roam on this planet gender equality has been a major problem. To this day, men and women have not been placed on the same rung of the ladder with men being referred to as the ‘superior gender’. Although there has been slight changes over the years to achieve gender equality, such as giving women the right to vote and with Australia recently having Julia Gillard as its first female Prime Minister, gender equality is still a major concern.

The initiative of Wikistorming in 2013 helped to bring about gender equality on the Wikipedia with five projects FemTechNet (who work help promote feminism) engaged with. These projects include; (FemTechNet 2014)

• Adding feminist scholarship to already existing content on Wikipedia
• Creating and expanding articles on women who played and are playing important roles in history and current events
• Making Wikipedia readers and editors more aware of the systemic gender bias inherent in the encyclopedia’s structure
• Encouraging feminists, academics, and activists to contribute to Wikipedia and help revolutionize its culture
• Participating in Wikipedia’s processes (FemTechNet 2014)

http://femtechnet.newschool.edu/wikistorming/

All of these projects help to ensure that documents that are uploaded to Wikipedia are not portrayed with a bias male view as well as help promote and encourage females to add to this vast network of information that can be benefited from their participation and engagement.

Although this initiative is only relatively small, its importance plays a massive role in helping to promote gender equality. Some people may see these projects as a waste of time and believe that change will not come from a small initiative. However, with so many feminist groups starting to emerge such as; The Feminist Majority Foundation(Feminist Majority Foundation 2014) and The Sydney Feminists, with campaigns including ‘Real men wear pink’ (The Sydney Feminists 2014), maybe, just maybe, the strength of these groups will come together and make men and women =.

References:

Feminist Majority Foundation 2014, About Us, Feminist Majority Foundation, viewed 15 May 2014, <http://www.feminist.org/welcome/index.html>

FemTechNet 2014, Wikistorming, FemTechNet, viewed 15 May 2014, <http://femtechnet.newschool.edu/wikistorming/>

FemTechNet 2014, About FemTechNet, FemTechNet, viewed 15 May 2014, <http://femtechnet.newschool.edu/the-network/>

The Sydney Feminists 2014, Campaigns, The Sydney Feminists, viewed 15 May 2014, <http://sydneyfeminists.webs.com/campaigns>

What grinds your gears???

Yes! I do care about the environment. Yes! I do believe global warming is becoming an increasing problem.

“Have you done anything about preventing it???” Um, argh, well, no, no I haven’t.

No matter who you are, there will always be one thing that really grinds your gears, but unfortunately 99 times out of 100 proactive steps will not be taken to resolve the issue that ‘grinds your gears’.

http://www.clicktivist.org/what-is-clicktivism/

That is until the recent trend of ‘Clicktivism’ “the use of social media and other online methods to promote a cause.” (Clicktivist 2014) Although this concept of ‘Clicktivism’ helps to promote a cause, it still doesn’t help to resolve the problem.

Yes ‘Clicktivism’ is a great concept to engage a wide range of people on a concerning topic through the one format, but people often get complacent  and believe that by pressing a ‘like’ or ‘share’ button they have done their bit in helping to eradicate the problem.

http://justiceinconflict.org/2012/03/17/kony-2012-how-100-million-clicks-went-to-waste/

However, in the case of the human rights organization ‘Invisible Children’, the influence they had on the general public when releasing Kony 2012, a 30 minute video on child soldiering in Uganda, not only drew  100 million viewers in the first week, it also unified people all around the world to participate in promoting and eradicating the problem od child soldering in Uganda. (Jenkins 2012)

Due to the intense support, social activism was starting to emerge through the creation of many grass-root groups and organisations, thus resulting in ‘participatory politics’. This meant that proactive steps were being taken and real change was going to come about in the form of marches and door knocking, instead of just the traditional laziness of clicking ‘like’ on Facebook to show support in the form of ‘slacktivism’.

With this problem ‘grinding the gears’ of so many people, support for the Invisible Children was overwhelming. However, it can still be noted that although clicktivism is a great initiative for promotion through the online and digital world, real change will not occur until physical changes in the real world take place.

References:

Clicktisism 2014, What is Clicktivism?, Clicktivism, viewed 14 May 2014, <http://www.clicktivist.org/what-is-clicktivism/>

Jenkins 2012, The new political commons, options politiques, p. 1-4, viewed 14 May 2014