Abstract: On media, television commercials (TVCs) play a significant role in shaping societal perceptions of gender roles. This study examines gender depictions in Indian TVCs, focusing on key dimensions such as gender ratio in primary characters, voiceovers, settings (home, outdoor, workplace), and product categories. A content analysis of 120 TVCs from Indian brands (2011–2020) was conducted, with coding performed by the researcher. Findings reveal that men were primary characters in 54.6% of the advertisements, while women featured in 45.4%. Male voiceovers dominated at 70.1%, compared to 29.9% for females. Women were portrayed in home settings in 66.7% of TVCs, while men appeared in 33.3%. Outdoor settings showed no significant gender difference, contrary to expectations. In workplace settings, men exclusively appeared (100%), with no representation of women. Product categories linked women predominantly to household and healthcare products, while men dominated categories like banking, technology, and transportation. This study bridges gaps in research on gender representation in media within the diverse cultural context of India. Findings are contextualized using Social Learning Theory and highlighting the potential societal impacts of stereotypical gender portrayals in advertisements.

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This article examines the cinephilia of film downloaders between the end of the Napster era (the first P2P network shut down by US authorities in 2001) and that of MegaUpload, shut down in 2012 by New Zealand authorities. This decade has been characterized by the gradual disappearance of the technological barriers that have long hampered the downloading of large files, in tandem with the spread of ADSL and the rise of streaming[1] . Few studies, however, have looked at downloading and streaming from the perspective of the sociology of consumption, considering these content appropriation practices as a means of determining a trend in cinephiles' taste for the cinema object. On the basis of a qualitative survey, we look at the motivations behind downloading and streaming, relating them to the emergence of new cinephilic behaviours ("niche" and "rarity" cinephilias). Today, these indicators converge to suggest that downloading films is a way of appropriating images that has become commonplace, with few differences from other uses of cinephilia consumed on the big screen.

Abstract: This paper discusses the transformative role Artificial Intelligence (AI) is anticipated to play in the film industry, specifically concerning its capacity to enhance and redefine the parameters of cinematic realism. As the integration of AI in the cinematic field gains momentum, an exploration of its implications on the perceived realism in film is essential. The paper first outlines the historical trajectory of realism in cinema, mapping its evolution and its core principles with respect to technological advances; we then introduce AI as a disruptive technology poised to reshape this trajectory. The focus of the paper lies in examining how AI, through its advanced image recognition and synthesis, data analysis, and deep learning capabilities, has the potential to revolutionise traditional methods of film production, post-production, and distribution, significantly impacting the authenticity of cinematic narratives. The paper then discusses potential drawbacks, such as the risk of over-reliance on technology and the ethical implications of AI utilisation, offering a balanced perspective on this emergent phenomenon. The paper aims to inform film scholars, industry professionals, and enthusiasts about the profound transformations AI is set to bring, propelling the discussion towards the future of film in the era of artificial intelligence.

Abstract: In the last few decades, we have witnessed an unprecedented transformation in the way information is created, disseminated, and consumed. The advent of the digital age has revolutionized not only our access to information but also the very fabric of our social, political, and cultural lives. Digital media, a term encompassing everything from online news portals and social media platforms to streaming services and mobile applications, now forms an integral part of the daily lives of billions of individuals worldwide.

Abstract: Instagram is a popular social media platform among youth, with over a billion active users worldwide. The platform allows users to share photos, videos, and stories and connect with friends and followers. Instagram has become a significant part of youth culture, with many young people spending a considerable amount of time on the app. According to Enterprise (2012:02), Instagram is a community shared among one member with other members from all over the world. This study examines the impact of Instagram on the physical and mental well-being of Indian youth. With the rapid proliferation of social media platforms in India, Instagram has emerged as a prominent influence on the lives and perceptions of young individuals. Studies have shown that using Instagram among youth can have positive and negative effects. On the positive side, Instagram can be a way for young people to express themselves, connect with others, and discover new interests. However, excessive use of the platform can also lead to negative outcomes, such as social comparison, anxiety, and low self-esteem. Instagram addiction among youth is a growing concern. Some young people may feel compelled to check their accounts frequently and may experience negative emotions if they are unable to do so. In extreme cases, excessive use of the platform can interfere with daily activities and relationships, leading to a negative impact on mental health. Parents and educators can play a role in helping young people manage their Instagram use. This can include setting limits on screen time, encouraging healthy online habits, and promoting offline activities and social interaction. Additionally, mental health professionals can offer support to young people who are struggling with addiction or other negative effects of Instagram use. This study explores the prevalence of Instagram dependency among Indian youth.

Abstract: The Nigerian media have traversed through all manners of leadership— military, democratic—finally settling into democratic governance. Experience from previous regimes exposed them to the vagaries of power and how to cope with them. The coming of the internet with its social media handles threw the journalists of these media into confusion as the citizens have taken the reigns of news/information peddling from under them, turning them into agents of confirmation and authenticity of information. The objective is to interrogate how online media/information/news streaming has taken the audience away from the traditional media by being on the ‘spot’ at all hours with their avalanche of “Breaking News.” Deploying survey method (opinion poll, OPL), and relying on purposive sampling technique, the authors purposively selected WhatsApp Group Platforms (WGP), as the most suitable of the new/social media with access to all manners of news sources. Findings reveal that audiences currently resort to the traditional media to confirm the authenticity of news and information carried online in a sort-of-when-in-doubt-watch-the television; listen to radio or read the newspaper/magazine. It concludes that online news streaming has become the coveted bride of present day information and news seekers albeit a most unreliable one at that.

Abstract: The advent of the digital age has brought about significant transformations in the entertainment industry, challenging traditional paradigms and redefining the ways in which content is created, distributed, and consumed. This research paper critically reviews the paradigm shift occurring in the entertainment industry, focusing on the implications of digital technologies, the rise of online platforms, changing consumer behavior, and the impact on various stakeholders. By analyzing relevant literature, industry reports, and case studies, this paper aims to comprehensively understand the challenges and opportunities presented by the digital age and assess its impact on the entertainment industry.

Abstract: The risk of the emergence and reemergence of zoonoses is high in regions that are under anthropogenic actions, as they contribute to the risk of vector disease transmission. Yellow fever (YF) is among the main pathogenic arboviral disease in the world, and the Culicidae Aedes albopictus has been proposed to have the potential to transmit yellow fever virus (YFV). This mosquito inhabits both urban and wild environments, and under experimental conditions, it has been shown to be susceptible to infection by YFV. In this study, the vector competence of the mosquito Ae. albopictus for the YFV was investigated. Female Ae. albopictus were exposed to non-human primates (NHP) of the genus Callithrix infected with YFV for blood meal. Subsequently, on the 14th and 21st days post infection, the legs, heads, thorax/abdomen and saliva of the arthropods were collected and analyzed by viral isolation and molecular analysis techniques to verify the infection, dissemination and transmission. The presence of YFV was detected in saliva samples through viral isolation and in the head, thorax/abdomen and legs both by viral isolation and by molecular detection. The susceptibility of Ae. Albopictus to YFV confers a potential risk of reemergence of urban YF in Brazil.

Abstract: The Western ‘discovery’ of Japanese cinema in the 1950s prompted scholars to articulate essentialist visions understanding its singularities as a result of its isolation from the rest of the World and its close links to local aesthetic and philosophical traditions. Recent approaches however, have evidenced the limitations of this paradigm of ‘national cinema’. Higson (1989) opened a critical discussion on the existing consumption, text andproduction-based approaches to this concept. This article draws on Higson´s contribution and calls into question traditional theorising of Japanese film as a national cinema. Contradictions are illustrated by assessing the other side of the ‘discovery’ of Japanese cinema: certain gendaigeki works that succeeded at the domestic box office while jidaigeki burst into European film festivals. The Taiyōzoku and subsequent Mukokuseki Action created a new postwar iconography by adapting codes of representation from Hollywood youth and western films. This article does not attempt to deny the uniqueness of this film culture, but rather seeks to highlight the need to reformulate the paradigm of national cinema in the Japanese case, and illustrate the sense in which it was created from outside, failing to recognise its reach transnational intertextuality.

Abstract: This article responds to an identified and significant gap in the existing scholarly canon to consider the extent to which cinematic representations construct heroin users—the ‘junkie’—as a criminalised ‘Other’ which confer legitimacy on the notion that such are criminogenic and deviant. Positioned within the disciplinary bounds of cultural criminology, this article focuses on five films - Sid and Nancy (1986); The Basketball Diaries (1995); Trainspotting (1996); Requiem for a Dream (2000); and, T2 Trainspotting (2017). Drawing together Hall’s (1997) theories of representation and Hjelm’s (2014) theories of social constructionism, the findings from a narrative analysis of each of the films—individually and comparatively—explores the following themes, junkies: as criminogenic; as dangerous underclass; as embodying decay and depravity; and in relation to female junkies, as junkie whores. In doing so, this article elucidates new thinking and ideas about cinematic representations of junkies and how this shapes and influences social norms and mores.