Jelena Kleut | Faculty of Philosophy Novi Sad (original) (raw)

Books by Jelena Kleut

Ja ni(sam) bot: komentari čitalaca kao žanr participacije u digitalnom prostoru, 2020

by Bojana Romic, David Mathieu, Jelena Kleut, Niklas Alexander Chimirri, Ana Jorge, Lucia Vesnic-Alujevic, Sander De Ridder, Ike Picone, Frederik Dhaenens, Gilda Seddighi, Juliane Finger, Maria Francesca Murru, Maria José Brites, Rafal Zaborowski, and Tereza Pavlickova

Edited by Ranjana Das and Brita Ytre-Arne, with contribution from the CEDAR network. This repor... more Edited by Ranjana Das and Brita Ytre-Arne, with contribution from the CEDAR network.

This report brings together the work done by CEDAR - Consortium of Emerging Directions in Audience Research, an Arts & Humanities Research Council funded consortium of early-career European audience researchers. CEDAR came together to map trends, gaps and priorities emerging over the past decade in the field of audience studies.

Book Reviews by Jelena Kleut

CM: Communication and Media Journal, 2014

CM-časopis za upravljanje komuniciranjem, Jan 1, 2011

Journal articles by Jelena Kleut

International Journal of Communication, 2021

This research examines the “protest paradigm” in the digital news environment of a politically po... more This research examines the “protest paradigm” in the digital news environment of a politically polarized media system by considering relations between news and online readers’ comments about the Serbian protest Against Dictatorship, which was held in 2017. Applying content analysis to news and comments from two news websites, our study indicates the need to account for opposing framing of the protest (violence/peacefulness, de/legitimizing and un/democratic) in a polarized environment. The results show that the distribution of opposing frames is guided by the media relations with the government. Online readers’ comments generally enhance this polarized pattern of frame distribution, with the exception of the performance frame, which remains prolific in the media, but absent from readers’ comments.

Sociologija, 2020

Starting from the observation that the COVID-19 pandemic is a socio-cultural and health phenomeno... more Starting from the observation that the COVID-19 pandemic is a socio-cultural and health phenomenon, in this paper we analyse the tabloid news framing of the pandemic in Serbia. Our study examines a month-long period following the first identified case, during which the government introduced preventative measures deemed to be some of the strictest in the world. Applying a news framing analysis to front page news of the three tabloid newspapers Alo, Informer, and Kurir (N = 387), our study identifies nine frames employed in the media reporting about the pandemic. Supplementing the framing analysis with an examination of the narrative roles of heroes, victims and villains in which different social actors are placed, we add to the nuanced understanding of the socio-cultural frames of reference in pandemic reporting. Our analysis establishes that the most prominent frames in the tabloid news stories on COVID-19 in Serbia are prevention and human-interest frames. It shows that the attribution of responsibility frame is used to present citizens as villains who undermine successful state measures, while China and Russia are portrayed as the heroes in the fight against are virus.

Discourse & Society, 2020

This article examines representations of the poor across three genres – the government’s Bulletin... more This article examines representations of the poor across three genres – the government’s Bulletin on Social Inclusion and Poverty Reduction, online news and online user comments – during the period that immediately followed the expiration of the first Serbian Poverty Reduction Strategy (2010–2012). The results show differences in the actors’ representation, and in attribution of causal and treatment responsibility. The Bulletin is characterised by the discourse of social inclusion, activation and responsibilisation of the poor. This discourse does not reach the news, which portrays the poor as passive beneficiaries of the government actions, as individuals in extreme poverty, and as the agentic working poor protesting for wages. In the online user comments, poverty is articulated as the personal experience of the commenters. The news discourse of state responsibility is echoed in the comments sections and further recontextualised into the discourse of political responsibility.

Годишњак Филозофског факултета у Новом Саду, Књига XLII-2 (2017) Annual Review of the Faculty of Philosophy, 2017

U radu analiziramo predstavljanje izbeglica na "Balkanskoj ruti" u televizijskoj slici i novinsko... more U radu analiziramo predstavljanje izbeglica na "Balkanskoj ruti" u televizijskoj slici i novinskoj fotografiji. Rad ima za cilj da istraži kako se izbeglice predstavljaju u zemlji u kojoj izbeglička kriza nije politizovana i da ispita kako se izbeglice predstavljaju u različitim modalitetima-putem statičnih i pokretnih slika. Uzorak od 125 tekstova i televizijskih priloga prikupljen je tokom sedam dana u martu 2016. godine i tokom marta 2017. godine iz onlajn izdanja novina Blica i Politike, i večernjih dnevnika Radio-televizije Srbije i TV N1. Metoda vizuelne analize zasnovana je na Kresovoj i Van Lijuvenovoj vizuelnoj gramatici, i posebno na analizi vizuelnih toposa predstavljanja. U pogledu narativnih obrazaca predstavljanja identifikuje se pet toposa: drama, kretanje, primanje pomoći, higijena i igra. U konceptualnim obrascima pojavljuju se toposi porodice, dece, usamljenosti, žice i simboličke drugosti. Pozitivnije nego u drugim zemljama, ove su vizuelne predstave izbeglica su kontradiktorne-iako pozivaju na saosećaje i dalje konstruišu drugost i razlike između "nas" i "njih". Ključne reči: kritička analiza diskursa, multimodalnost, novinska fotografija, televizijska slika, izbeglice, Srbija UVOD Srbija uz Grčku, Makedoniju i Hrvatsku postaje tokom 2015. godine delom najvažnijeg kopnenog tranzitnog puta prema Zapadnoj Evropi velikog broja izbeglica i migranata uglavnom iz Azije i Afrike, koji u političkom i medijskom * jelena.kleut@ff.uns.ac.rs ** brankica.draskovic@ff.uns.ac.rs. *** Rad je nastao u okviru projekta III 47020 "Digitalne medijske tehnologije i društveno-obrazovne promene", koji se realizuje uz podršku Ministarstva prosvete, nauke i tehnološkog razvoja Republike Srbije i projekta "Kulturno nasleđe i identitet u kontekstu modernizacijskih procesa i sociokulturnih i tehnoloških promena" koji je finansiran od strane Pokrajinskog sekretarijata za nauku i tehnološki razvoj (br. 114-451-2790/2016-01). Ranija verzija ovog rada predstavljena na konferenciji "Vjerodostojnost medija" koja je organizovana maja 2016. godine na Fakultetu političkih nauka u Zagrebu.

CM: Communication and Media, 2018

Sažetak: U radu se polazi od teorije uokvirivanja i unutar nje formulisane para-digme o medijskom... more Sažetak: U radu se polazi od teorije uokvirivanja i unutar nje formulisane para-digme o medijskom izveštavanju o protestima. Protesti se posmatraju kao višedimenzio-nalni fenomeni u kojima je vizuelni izraz važan kako tokom protesta, tako i u njegovoj kasnijoj masmedijskoj obradi. Cilj ovog rada je da doprinese razumevanju vizuelnog medijskog uokvirivanja protesta, na osnovu studije slučaja protesta Protiv diktature koji je organizovan u Srbiji posle predsedničkih izbora 2017. godine. Analizom je obuhvaćeno izveštavanje televizija RTS 1, B92, Pink i N1, štampanih izdanja Kurira, Informera, Večernjih novosti, Politike i Danasa, i sajtova Blic.rs, Telegraf.rs. Metodom analize sadržaja ispitana je zastupljenost vizuelnih okvira nasilja, performativnosti, legitimisanja i delegitimisanja, a iz ugla socijalne semiotike kvalitativno je analiziran sadržaj ovih okvira. Rezultati pokazuju da je medijska scena podeljena između medija koji proteste prikazuju pozitivno i onih koji frekventno koriste negativne okvire nasilja i delegitimisanja. Za vizuelni performativni okvir može se reći da više od ostalih odslika-va rutinu rada redakcija i stavlja u fokus vizuelnu atraktivnost događaja, dok se okvir legitimisanja i delegitimisanja pre mogu pripisati političkoj pristrasnosti i uređivačkoj politici određenih medija. Ključne reči: protest, medijski okviri, vizuelno uokvirivanje, paradigma o protesti-ma, protest Protiv diktature, Srbija 1 Rad je jednim delom nastao u okviru naučno-istraživačkog projekta Univerziteta u Beogradu-Fakulteta političkih nauka, "Politički identitet Srbije u regionalnom i globalnom kontekstu" (179076), a drugim delom u okviru naučno-istraživačkog projekta Filozofskog fakulteta Univerziteta u Novom Sadu "Digitalne medijske tehnologije i društveno-obrazovne promene" (III 47020), koje finansira Ministarstvo prosvete, nauke i tehnološkog razvoja Republike Srbije. 2 Kontakt

Revista Comunicar, Oct 1, 2013

El objetivo de este artículo es trazar las investigaciones alrededor del concepto de la interacti... more El objetivo de este artículo es trazar las investigaciones alrededor del concepto de la interactividad e indicar las tendencias dominantes y las áreas poco investigadas. Está basado en el análisis del contenido de los métodos utilizados en los artículos publicados en las cinco revistas de comunicación más importantes por ranking durante un periodo de cinco años (200610). La evaluación de los métodos aplicados en la investigación de la interactividad se basa en la diferencia entre la interactividad social, la interactividad textual y la interactividad técnica. Se desarrolla esta clasificación de forma más profunda al añadir la categoría de los niveles de interactividad (baja, media y alta), lo cual permite una clasificación adicional de las varias prácticas medidas. Todo esto conduce a una especificación de nueve subconjuntos teoréticos de la interactividad como las categorías principales del análisis de los artículos evaluados para esta investigación. Dentro de esta matriz, hemos situado varios métodos que responden a unos tipos y niveles de interactividad del público/usuarios que son conceptualmente diferentes. El análisis demuestra que los investigadores se centran en las prácticas de la interactividad textual baja y la interactividad social alta, mientras que la interactividad técnica alta y la interactividad textual alta suscitan poco interés entre los académicos. Las investigaciones de las relaciones del público/usuario con los textos se orientan principalmente hacia el análisis del contenido y las encuestas. La investigación de la interacción social alta está reactivando la aplicación de los métodos etnográficos, mientras que las posibilidades de la interactividad técnica se aceptan no como un objeto de estudio sino como una herramienta de investigación.

Годишњак Филозофског факултета у Новом Саду, Књига XLII-2 (2017) Annual Review of the Faculty of Philosophy, 2017

Godišnjak Filozofskog fakulteta u Novom Sadu, 2017

Konvergencija se često navodi kao ključna odlika medija u digitalnom dobu, dok pojam kultura konv... more Konvergencija se često navodi kao ključna odlika medija u digitalnom dobu, dok pojam kultura konvergencije nastaje kako bi se načinio otklon od tehnocentričnog poimanja promena koje donosi kompjuterska mreža. Cilj ovoga rada je da ponudi analizu kulture konvergencije i odlika koje joj pripisuje Henri Dženkins, te da kritički preispita primenljivosti ovog pojma na celinu kompjuterski posredovanog komuniciranja. Tezu da je kultura konvergencije preovlađujuća ili poželjna kultura u digitalnom okruženju osporavaju gledišta da nisu svi internetski korisnici produktivni i kreativni, da je amaterska proizvodnja internetskih sadržaja u osnovi besplatni rad na kojem profitiraju internetske korporacije i da učešće u digitalnoj kulturi ne proširuje i ne produbljuje participaciju građana u društvenom životu.

Godinjak Filozofskog fakulteta, Novi Sad, Jan 1, 2010

This paper provides the analysis of different uses of the semiotic term&#x27;code&amp... more This paper provides the analysis of different uses of the semiotic term&#x27;code&#x27;in the reception theories of mass communication, with the focus on Stuart Hall&#x27;s encoding and decoding model. The author discusses the conceptualization of professional codes, media specific ...

Ja ni(sam) bot: komentari čitalaca kao žanr participacije u digitalnom prostoru, 2020

Edited by Ranjana Das and Brita Ytre-Arne, with contribution from the CEDAR network. This repor... more Edited by Ranjana Das and Brita Ytre-Arne, with contribution from the CEDAR network.

CM: Communication and Media Journal, 2014

CM-časopis za upravljanje komuniciranjem, Jan 1, 2011

International Journal of Communication, 2021

Sociologija, 2020

Discourse & Society, 2020

Годишњак Филозофског факултета у Новом Саду, Књига XLII-2 (2017) Annual Review of the Faculty of Philosophy, 2017

CM: Communication and Media, 2018

Revista Comunicar, Oct 1, 2013

Годишњак Филозофског факултета у Новом Саду, Књига XLII-2 (2017) Annual Review of the Faculty of Philosophy, 2017

Godišnjak Filozofskog fakulteta u Novom Sadu, 2017

Godinjak Filozofskog fakulteta, Novi Sad, Jan 1, 2010

Godinjak Filozofskog fakulteta, Novi Sad, Jan 1, 2008

Media reporting on the European Union Enlargement in 2004 and 2007 is being analyzed using the an... more Media reporting on the European Union Enlargement in 2004 and 2007 is being analyzed using the analysis of frames set by media. Using deductive approach to media frames analysis, it is concluded that the Enlargement is presented in valenced media frames, as ...

ČASOPIS ZA UPRAVLJANJE KOMUNICIRANJEM …

Comunicar, Jun 20, 2012

The aim of this paper is to map out the research around the concept of interactivity, as well as ... more The aim of this paper is to map out the research around the concept of interactivity, as well as to point out the dominant streams and under-researched areas. It is based upon the content analysis of methods employed in articles published in five top ranking communication journals over five year period (200610). The review of methods applied in research of interactivity is based upon distinction between social interactivity, textual interactivity and technical interactivity. This classification is further developed by adding the category of levels of interactivity (low, medium and high) which allows further classification of different mediated practices. This leads to specification of nine theoretical subsets of interactivity as the main categories of the analysis of research articles. Within this matrix we have situated diverse methods that respond to conceptually different types and levels of audience/users interactivity. The analysis shows that scholarly focus lies within the low textual and the high social interactive practices, whereas the high technical and high textual interactivity are under-researched areas. Investigations into the audience/users relations with texts are mainly orientated towards content analyses and surveys. High social interaction research is reviving the application of ethnographic methods, while the possibilities of technical interactivity are embraced not as an object but as a tool for research.

CM - casopis za upravljanje komuniciranjem, 2015

Kulturno nasleđe, kultura sećanja i tradicionalizam, 2019

Kulturno nasleđe, modernizacija i kultura , 2018

Aspekti kulturnog nasleđa, 2018

Kulturno nasleđe: teorija, percepcija i participacija, 2017

Polazeći od demokratizacije, komercijalizacije i digitalizacije kao procesa koji sve više usmerav... more Polazeći od demokratizacije, komercijalizacije i digitalizacije kao procesa koji sve više usmeravaju muzeje i srodne ustanove ka građanima, u ovom radu uvodimo različite konceptualizacije publike u razmatranje kulturnog nasleđa. Povezujemo teoriju kulturne participacije sa komunikološkim razumevanjem publike kao mase, kao javnosti i kao tržišta, a potom i sa gledištem da ne postoji publika već "publičnost" – proces stvaranja značenja i zadovoljstava u susretu sa tekstom. Podudarnost koja se uočava između muzeoloških i komunikoloških pristupa publici predstavlja osnovu da se utvrde četiri moguće pozicije publike u odnosu na to da li se ona javlja u privatnoj ili javnoj sferi, kao element strukture ili fenomen sveta života. U radu se zaključuje da internetsko komuniciranje donosi poroznije granice između različitih pozicija publike.

VERODOSTOJNOST MEDIJA DOMETI MEDIJSkE …, 2011

Mesto i značaj medijskih studija za međuregionalnu saradnju, 2010

Media Discourse of Poverty and Social Exclusion, 2011

Vjerodostojnost medija: izazovi globalizacije i specifičnosti regiona, 2012

ŠESTI MEĐUNARODNI INTERDISCIPLINARNI SIMPOZIJUM SUSRET KULTURA, Zbornik radova, Knjiga I , 2013

Zbornik radova sa naučnog skupa „Menadžment dramskih umetnosti i medija – izazovi XXI veka , 2014

Digitalne medijske tehnologije i društveno-obrazovne promene : medijska istraživanja: zbornik radova III , 2014

Southeastern Europe, Jul 28, 2023

This article examines the transformation of the Serbian media landscape over the last two decades... more This article examines the transformation of the Serbian media landscape over the last two decades, by applying four analytical categories developed for identifying levels of media capture in different national contexts (Dragomir 2019). Implementation of diachronic document analysis provides rich descriptions of the media regulatory capture, grip over public service broadcasters, misuse of state advertising and project-based financing of media content, as well as endurance of state media ownership. Therefore, this study identifies some of the reasons behind recent decline of media freedoms in Serbia, adds elements for finding the right place for Serbia on the map of Central and Eastern European post-communist media transformations, and contributes to the growing literature aimed at understanding media capture in its many forms and variations across the globe.

Participations : Journal of Audience & Reception Studies, 2016

With the advent of software-based digital media, aspects of materiality have come to the fore in ... more With the advent of software-based digital media, aspects of materiality have come to the fore in media-related strands of research. The leading question for our analysis lies on how the materiality of design, platforms and interfaces is being discussed theoretically and researched empirically in contemporary audience studies. We portray materiality as a perspective on audience intersections with digital media and ground it within classical approaches, such as those of Marshall McLuhan and Raymond Williams, and within more contemporary approaches from actor-network theory (ANT) to software studies. Our analysis then shows three understandings of user-audiences in studies on the design of software, platforms and interfaces: the appropriating, implied and embedded user-audiences. Although we specifically focus on materiality, we do not lose our focus on people's relationship with digital media. On the contrary, our approach helps us to acknowledge the dynamics of the variously contested fields in which media technologies emerge as relevant to people's everyday lives. Finally, we take up recent critiques about the ongoing hesitance to cross disciplinary boundaries. We aim to demonstrate the relevance of audience research in a cross-disciplinary area of research.

Routledge eBooks, Nov 3, 2022

The Future of Audiences, 2018

This paper builds on the framing theory and its paradigm related to media coverage of protests. P... more This paper builds on the framing theory and its paradigm related to media coverage of protests. Protests are considered as multidimensional phenomena with important visual manifestations both at the time they take place and in later treatment in the media. The aim of this research was to contribute to understanding of visual framing of protests in Serbian media. For that purpose, we analyzed "Against the Dictatorship" protest held after presidential elections in 2017. Our analysis was focused on TV news aired on RTS1, B92, Pink and N1, photographs published in print outlets Kurir, Informer, Vecernje novosti, Politika and Danas, and photos from Web sites blic.rs and telegraf.rs. The method of content analysis was used to examine the representation of visual frames of violence, performance, legitimization and delegitimization, and social semiotics to analyze the content of frames. Results of our study show that the mediascape in Serbia is divided between outlets which positi...

The Future of Audiences, 2018

This chapter builds upon central findings arising from consultations with stakeholders about audi... more This chapter builds upon central findings arising from consultations with stakeholders about audiences’ engagement in the content flows, defined as an ever evolving ecology of online and offline content produced by a number of more and less institutionalised content producers, ranging from news organisations to YouTubers. First, we note that increasing use of audience analytics tends to fragment the monolithic audience into tangible sub-communities. Second, we discuss how production routines of legacy media change in response to small acts of engagement via digital interfaces. Third, audience creativity enters economic relations and amateur production struggles with a tension between being creative and economic logic of production. Fourth, we look at transformations related to (dis)trust as a mutual dynamic that not only concerns audiences’ trust or mistrust in legacy media, but which is increasingly significant in regard to media’s trust in content produced by audiences as well, making it more difficult for audiences to engage with the content produced by media institutions.

Годишњак Филозофског факултета у Новом Саду, 2018

U radu analiziramo predstavljanje izbeglica na „Balkanskoj ruti“ u televizijskoj slici i novinsko... more U radu analiziramo predstavljanje izbeglica na „Balkanskoj ruti“ u televizijskoj slici i novinskoj fotografiji. Rad ima za cilj da istraži kako se izbeglice predstavljaju u zemlji u kojoj izbeglička kriza nije politizovana i da ispita kako se izbeglice predstavljaju u različitim modalitetima - putem statičnih i pokretnih slika. Uzorak od 125 tekstova i televizijskih priloga prikupljen je tokom sedam dana u martu 2016. godine i tokom marta 2017. godine iz onlajn izdanja novina Blica i Politike, i večernjih dnevnika Radio-televizije Srbije i TV N1. Metoda vizuelne analize zasnovana je na Kresovoj i Van Lijuvenovoj vizuelnoj gramatici, i posebno na analizi vizuelnih toposa predstavljanja. U pogledu narativnih obrazaca predstavljanja identifikuje se pet toposa: drama, kretanje, primanje pomoći, higijena i igra. U konceptualnim obrascima pojavljuju se toposi porodice, dece, usamljenosti, žice i simboličke drugosti. Pozitivnije nego u drugim zemljama, ove su vizuelne predstave izbeglica s...

Discourse & Society

This report has been produced by the CEDAR network which was funded by the Arts and Humanities Re... more This report has been produced by the CEDAR network which was funded by the Arts and Humanities Research Council, to run between 2015-2018.

Sociologija

Users’ comments posted on the news websites of traditional media organisations still pertain to a... more Users’ comments posted on the news websites of traditional media organisations still pertain to asymmetric relations between producers of mainstream news and interactive audiences. Yet, when structurally positioned on a website interface to immediately follow the news, users’ comments are user-generated content most directly linked to journalists’ stories and they constitute discursive space in which mass media representations of the world are legitimised, negotiated and contested. The aim of this study is to examine these relations between mainstream news discourses and the discourses of users’ comments about the specific societal issue – poverty. By adopting methods of critical discourse analysis performed on 121 news stories about poverty and corresponding users’ comments posted on the two most popular news websites in Serbia B92.net and Blic.rs, the article reveals how the two media construct poverty and social exclusion, and how users in the comments contest these discursive co...

Sociologija

Within wider approaches to defining audience in communication studies, this article aims to provi... more Within wider approaches to defining audience in communication studies, this article aims to provide critical analysis of the terms which describe new relations that appear between individuals and respective digital communication centres. On the basis of the explicit and implicit understanding of the agency of internet users, we identify several approaches and terms characteristic of them. The first group includes concepts where power is relatively equally distributed among the actors of digital communication, with the terms such are user generated content and citizen journalism at the forefront. Terms convergence culture and produsage belong to the second group, and they see the networked individuals as empowered challengers of the linear communication flows. The third group, defines users as abstract sets of big social data without the individual agency. The fourth group, with the terms such are small acts of engagement, locates user agency in the practices of sense-making and ever...

Medijska Istraživanja, Dec 19, 2013

Teme-Časopis za Društvene Nauke, 2012

The expectations that the society and its different segments have from the university are influen... more The expectations that the society and its different segments have from the university are influenced by historical circumstances and social, economic, political and cultural environment as the widest context within which the university interacts with its surroundings. Having this in mind, this paper aims to identify and analyze the explicit and implicit needs articulated by different social actors towards Serbian universities. This is done with an understanding that these needs arise in the context of comprehensive and deep social ( ...

CM: Communication and Media