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censorship</title> <meta name="description" content="Search results for: censorship"> <meta name="keywords" content="censorship"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler 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id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="censorship"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 44</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: censorship</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">44</span> An Investigation of Suppression in Mid-19th Century Japan: Case Study of the 1855 Catfish Prints as a Product of Censorship</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Vasanth%20Narayanan">Vasanth Narayanan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The mid-nineteenth century saw the Japanese elite and townsfolk alike undergo the now-infamous Ansei Edo earthquakes. The quakes decimated Japan in the final decades of the Tokugawa Era and, perhaps more consequentially, birthed a new genre of politically inspired artwork, the most notable of which are the namazu-e. This essay advocates an understanding of the 1855 Catfish Prints (namazu-e) that prioritizes the function of iconography and anthropomorphic deity in shaping the namazu-e into a wholly political experience that makes the censorship of the time part of its argument. The visual program is defined as the creation of a politically profitable experience, crafted through the union of explicit religion, highly masked commentary, and the impositions of censorship. The strategies by which the works are designed, in the face of censorship, to engage a less educated, pedestrian audience with its theme, including considerations of iconography, depictions of the working class, anthropomorphism, and the relationship between textual and visual elements, are discussed herein. The essay then takes up the question of the role of tense Japan–United States relations in fostering censorship and as a driver of the production of namazu-e. It is ultimately understood that the marriage of hefty censorship protocol, the explicitly religious medium, and inimical sentiment towards United States efforts at diplomacy renders the production of namazu-e an offspring of the censorship and deeply held frustrations of the time, cementing its status as a primitive form of peaceful protest against a seemingly apathetic government. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Japan" title="Japan">Japan</a>, <a href="https://publications.waset.org/abstracts/search?q=Ansei%20Earthquake" title=" Ansei Earthquake"> Ansei Earthquake</a>, <a href="https://publications.waset.org/abstracts/search?q=Namazu" title=" Namazu"> Namazu</a>, <a href="https://publications.waset.org/abstracts/search?q=prints" title=" prints"> prints</a>, <a href="https://publications.waset.org/abstracts/search?q=censorship" title=" censorship"> censorship</a>, <a href="https://publications.waset.org/abstracts/search?q=religion" title=" religion"> religion</a> </p> <a href="https://publications.waset.org/abstracts/137381/an-investigation-of-suppression-in-mid-19th-century-japan-case-study-of-the-1855-catfish-prints-as-a-product-of-censorship" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/137381.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">131</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">43</span> Unspoken Delights: Creative Strategies for Bypass Censorship System and Depicting Male-Female Relationships in Iranian Cinema</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Parsa%20Naji">Parsa Naji</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Following the Iran Islamic Revolution in 1979 and the subsequent formation of a theocratic regime, the new regime implemented stringent regulations and a complicated censorship system in the film industry. Thereupon, the screening of films showing the relationships between males and females encountered numerous limitations. Not only did these limits encompass the physical portrayal of the relationship between males and females, but also the dialogues containing explicit sexual or even passionate romantic themes, resulting in a film being permanently consigned to archival storage. However, despite these limitations, Iranian filmmakers persevered in creating their interesting cinematic works. Throughout the years after the revolution, Iranian directors have navigated a series of challenges and obstacles, employing innovative and unconventional methods to bypass the rigorous censorship system imposed by the government, ensuring the screening of their films. This study aims to analyze the creative approaches employed by Iranian filmmakers to circumvent governmental censorship regulations. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=censorship" title="censorship">censorship</a>, <a href="https://publications.waset.org/abstracts/search?q=Iranian%20cinema" title=" Iranian cinema"> Iranian cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=Islamic%20revolution" title=" Islamic revolution"> Islamic revolution</a>, <a href="https://publications.waset.org/abstracts/search?q=male-female%20relationship" title=" male-female relationship"> male-female relationship</a> </p> <a href="https://publications.waset.org/abstracts/186926/unspoken-delights-creative-strategies-for-bypass-censorship-system-and-depicting-male-female-relationships-in-iranian-cinema" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186926.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">47</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">42</span> The Relationship between Self-Censorship and Satisfaction of Iran Newspaper's Readers, Case Study: Iran Newspaper</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Elham%20Taghizade%20Sigarodi">Elham Taghizade Sigarodi</a>, <a href="https://publications.waset.org/abstracts/search?q=Ani%20Mirzakhanian"> Ani Mirzakhanian</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Journalism atmosphere in present era is highly competitive so that what matters the most is “the speed of news broadcasting”. The first newspaper that lets out the news is therefore of higher validity. The value of the news is in fact in its truthfulness. Expressing the facts and reality is an accepted norm in professional media arena and it is as well considered the acceptable and trustworthy language for journalism. However, different conditions generate self-censorship. The present study seeks to explore the relationship between self-censorship and satisfaction of Iran newspaper’s readers. Thus, the statistical population including journalists of Iran newspaper for Tehran’s readers was estimated 384 persons based on Morgan table. Through cluster sampling, 50 journalists were selected so that totally the sample size was 434 persons and questionnaire was applied for data analysis and based on Alpha Chronbache, it was supported. Through Pierson correlation, the main and all subsidiary hypotheses were supported except the forth one. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=newspaper" title="newspaper">newspaper</a>, <a href="https://publications.waset.org/abstracts/search?q=satisfaction%20of%20audiences" title=" satisfaction of audiences"> satisfaction of audiences</a>, <a href="https://publications.waset.org/abstracts/search?q=self-censorship" title=" self-censorship"> self-censorship</a>, <a href="https://publications.waset.org/abstracts/search?q=journalists" title=" journalists"> journalists</a> </p> <a href="https://publications.waset.org/abstracts/60430/the-relationship-between-self-censorship-and-satisfaction-of-iran-newspapers-readers-case-study-iran-newspaper" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/60430.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">259</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">41</span> A Sociolinguistic Approach to the Translation of Children’s Literature: Exploring Identity Issues in the American English Translation of Manolito Gafotas</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Owen%20Harrington-Fernandez">Owen Harrington-Fernandez</a>, <a href="https://publications.waset.org/abstracts/search?q=Pilar%20Alderete-Diez"> Pilar Alderete-Diez</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Up until recently, translation studies treated children’s literature as something of a marginal preoccupation, but the recent attention that this text type has attracted suggests that it may be fertile ground for research. This paper contributes to this new research avenue by applying a sociolinguistic theoretical framework to explore issues around the intersubjective co-construction of identity in the American English translation of the Spanish children’s story, Manolito Gafotas. The application of Bucholtz and Hall’s framework achieves two objectives: (1) it identifies shifts in the translation of the main character’s behaviour as culturally and morally motivated manipulations, and (2) it demonstrates how the context of translation becomes the very censorship machine that delegitimises the identity of the main character, and, concomitantly, the identity of the implied reader(s). If we take identity to be an intersubjective phenomenon, then it logicall follows that expurgating the identity of the main character necessarily shifts the identity of the implied reader(s) also. It is a double censorship of identity carried out under the auspices of an intellectual colonisation of a Spanish text. After reporting on the results of the analysis, the paper ends by raising the question of censorship in translation, and, more specifically, in children’s literature, in order to promote debate around this topic. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=censorship" title="censorship">censorship</a>, <a href="https://publications.waset.org/abstracts/search?q=identity" title=" identity"> identity</a>, <a href="https://publications.waset.org/abstracts/search?q=sociolinguistics" title=" sociolinguistics"> sociolinguistics</a>, <a href="https://publications.waset.org/abstracts/search?q=translation" title=" translation"> translation</a> </p> <a href="https://publications.waset.org/abstracts/105272/a-sociolinguistic-approach-to-the-translation-of-childrens-literature-exploring-identity-issues-in-the-american-english-translation-of-manolito-gafotas" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/105272.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">261</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">40</span> Critical Analysis of Media Discourse and the Politics of Self-Censorship in Afghanistan</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Abdul%20Wahab%20Rahimi">Abdul Wahab Rahimi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research examines the role of discursive strategies in the politics of self-censorship in Afghanistan, where political pressure, press freedom, and independent media work together, and language plays a vital role in implementing these strategies. Critical Discourse Analysis was conducted to describe the connection between language usage and the exercise of power by analyzing news stories related to women’s rights. This research focuses on 11 months of chronologically collected data from two mainstream television channels in Afghanistan: Tolo News and Ariana News. The findings show that Tolo News sustains and justifies juxtaposition and political critics’ discursive strategies to address women’s rights issues, criticize government policies, and deal with political pressure. At the same time, Ariana News follows the factual narrative strategy, practices self-censorship, and skips or partially focuses on the objective reporting of sensitive issues. The research concludes that the domestic media in Afghanistan follows the media policy of the Islamic Emirate of Afghanistan by covering sensitive issues and marginalizing women's rights issues in the media discourse. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=discursive%20strategies" title="discursive strategies">discursive strategies</a>, <a href="https://publications.waset.org/abstracts/search?q=Taliban" title=" Taliban"> Taliban</a>, <a href="https://publications.waset.org/abstracts/search?q=TV%20Channel" title=" TV Channel"> TV Channel</a>, <a href="https://publications.waset.org/abstracts/search?q=news%20stories" title=" news stories"> news stories</a>, <a href="https://publications.waset.org/abstracts/search?q=self-censorship" title=" self-censorship"> self-censorship</a>, <a href="https://publications.waset.org/abstracts/search?q=women%27s%20rights." title=" women's rights."> women's rights.</a> </p> <a href="https://publications.waset.org/abstracts/193581/critical-analysis-of-media-discourse-and-the-politics-of-self-censorship-in-afghanistan" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/193581.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">12</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">39</span> Analyzing Use of Figurativeness, Visual Elements, Allegory, Scenic Imagery as Support System in Punjabi Contemporary Theatre for Escaping Censorship</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shazia%20Anwer">Shazia Anwer</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper has discussed the unusual form of resistance in theatre against censorship board in Pakistan. The atypical approach of dramaturgy created massive space for performers and audiences to integrate and communicate. The social and religious absolutes creates suffocation in Pakistani society, strict control over all Fine and Performing Art has made art political, contemporary dramatics has started an amalgamated theatre to avoid censorship. Contemporary Punjabi theatre techniques are directly dependent on human cognition. The idea of indirect thought processing is not unique but dependent on spectators. The paper has provided an account of these techniques and their specific use for conveying specific messages across the audiences. For the Dramaturge of today, theatre space is an expression representing a linguistic formulation that includes qualities of experimental and non-traditional use of classical theatrical space in the context of fulfilling the concept of open theatre. Paper has explained the transformation of the theatrical experience into an event where the actor and the audience are co-existing and co-experiencing the dramatical experience. The denial of the existence of the 4th -Wall made two-way communication possible. This paper has elaborated that the previously marginalized genres such as naach, jugat, miras, are extensively included to counter the censorship board. Figurativeness, visual elements, allegory, scenic imagery are basic support system for contemporary Punjabi theatre. The body of the actor is used as a source for non-verbal communication, and for an escape from traditional theatrical space which by every means has every element that could be controlled and reprimanded by the controlling authority. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=communication" title="communication">communication</a>, <a href="https://publications.waset.org/abstracts/search?q=Punjabi%20theatre" title=" Punjabi theatre"> Punjabi theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=figurativeness" title=" figurativeness"> figurativeness</a>, <a href="https://publications.waset.org/abstracts/search?q=censorship" title=" censorship"> censorship</a> </p> <a href="https://publications.waset.org/abstracts/138497/analyzing-use-of-figurativeness-visual-elements-allegory-scenic-imagery-as-support-system-in-punjabi-contemporary-theatre-for-escaping-censorship" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/138497.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">134</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">38</span> Cultural Identity and Self-Censorship in Social Media: A Qualitative Case Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nastaran%20Khoshsabk">Nastaran Khoshsabk</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The evolution of communication through the Internet has influenced shaping and reshaping the self-presentation of social media users. Online communities both connect people and give voice to the voiceless allowing them to present themselves nationally and globally. People all around the world are experiencing censorship in different aspects of their life. Censorship can be externally imposed because of the political situations, or it can be self-imposed. Social media users choose the content they want to share and decide about the online audiences with whom they want to share this content. Most social media networks, such as Facebook, enable their users to be selective about the shared content and its availability to other people. However, sometimes instead of targeting a specific audience, users self-censor themselves or decide not to share various forms of information. These decisions are of particular importance in countries such as Iran where Internet is not the arena of free self-presentation and people are encouraged to stay away from political participation in the country and acting against the Islamic values. Facebook and some other social media tools are blocked in countries such as Iran. This project investigates the importance of social media in the life of Iranians to explore how they present themselves and construct their digital selves. The notion of cultural identity is applied in this research to explore the educational and informative role of social media in the identity formation and cultural representation of Facebook users. This study explores the self-censorship of Iranian adult Facebook users through their online self-representation and communication on the Internet. The data in this qualitative multiple case study have been collected through individual synchronous online interviews with the researcher’s Facebook friends and through the analysis of the participants’ Facebook profiles and activities over a period of six months. The data is analysed with an emphasis on the identity formation of participants through the recognition of the underlying themes. The exploration of online interviews is on the basis of participants’ personal accounts of self-censorship and cultural understanding through using social media. The driven codes and themes have been categorised considering censorship and place of culture on representation of self. Participants were asked to explain their views about censorship and conservatism through using social media. They reported their thoughts about deciding which content to share on Facebook and which to self-censor and their reasons behind these decisions. The codes and themes have been categorised considering censorship and its role in representation of idealised self. The ‘actual self’ showed to be hidden by an individual for different reasons such as its influence on their social status, academic achievements and job opportunities. It is hoped that this research will have implications for education contexts in countries that are experiencing social media filtering by offering an increased understanding of the importance of online communities; which can provide an educational environment to talk and learn about social taboos and constructing adults’ identity in virtual environment and through cultural self-presentation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20identity" title="cultural identity">cultural identity</a>, <a href="https://publications.waset.org/abstracts/search?q=identity%20formation" title=" identity formation"> identity formation</a>, <a href="https://publications.waset.org/abstracts/search?q=online%20communities" title=" online communities"> online communities</a>, <a href="https://publications.waset.org/abstracts/search?q=self-censorship" title=" self-censorship"> self-censorship</a> </p> <a href="https://publications.waset.org/abstracts/56621/cultural-identity-and-self-censorship-in-social-media-a-qualitative-case-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/56621.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">237</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">37</span> Film Censorship and Female Chastity: Exploring State's Discourses and Patriarchal Values in Reconstructing Chinese Film Stardom of Tang Wei</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Xinchen%20Zhu">Xinchen Zhu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The rapid fame of the renowned female film star Tang Wei has made her a typical subject (or object) entangled with sensitive issues involving the official ideology, sexuality, and patriarchal values of contemporary China. In 2008, Tang Wei’s official ban has triggered the wave of debates concerning state power and censorship, actor’s rights, sexual ethics, and feminism in the public sphere. Her ban implies that Chinese film censorship acts as a key factor in reconstructing Chinese film stardom. Following the ban, as sensational media texts are re-interpreting the official discourses, the texts also functioned as a crucial vehicle in reconstructing Tang's female image. Therefore, the case study of Tang's film stardom allows us to further explore how female stardom has been entangled with the issues involving official ideology, female sexual ethics, and patriarchal values in contemporary China. This paper argues that Chinese female film stars shoulder the responsibility of film acting which would conform to the official male-dominated values. However, with the development of the Internet, the state no longer remains an absolute control over the new venues. The netizens’ discussion about her ban reshaped Tang’s image as a victim and scapegoat under the unfair oppression of the official authority. Additionally, this paper argues that similar to State’s discourse, netizens’ discourse did not reject patriarchal values, and in turn emphasized Tang Wei’s female chastity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film%20censorship" title="film censorship">film censorship</a>, <a href="https://publications.waset.org/abstracts/search?q=Chinese%20female%20film%20stardom" title=" Chinese female film stardom"> Chinese female film stardom</a>, <a href="https://publications.waset.org/abstracts/search?q=party-state%E2%80%99s%20power" title=" party-state’s power"> party-state’s power</a>, <a href="https://publications.waset.org/abstracts/search?q=national%20discourses" title=" national discourses"> national discourses</a>, <a href="https://publications.waset.org/abstracts/search?q=Tang%20Wei" title=" Tang Wei"> Tang Wei</a> </p> <a href="https://publications.waset.org/abstracts/108422/film-censorship-and-female-chastity-exploring-states-discourses-and-patriarchal-values-in-reconstructing-chinese-film-stardom-of-tang-wei" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/108422.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">170</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">36</span> ‘Undressed Star’, Sexual Scenes and Discourses in Mass Media: Exploring 1980s Taiwan Female Film Stars’ Onscreen Erotic Acting</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Xinchen%20Zhu">Xinchen Zhu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the history of Chinese-language film, female stars’ acting is connected with issues of national ideology, consumerism, and sexual politics. In the 1980s, Taiwan entered a period of ‘soft authoritarianism’ in which the economy prospered politics became more democratic, and mass culture became more diverse. Film censorship was more flexible and sexual scenes were increasingly shown on screen. Female stars’ bodies were eroticized and commercialized through sexual and nude scenes and, by challenging conservative film censorship and social taboos, became the focus of mass media. This article will explore how discourses in mass media constructed the erotic images of female stars and, conversely, impacted film censorship, filmmakers and film actresses in 1980s’ Taiwan. This article will regard the eroticized female film stars’ acting as a ‘field’ of internal interaction and continuous reproduction, where the ideology of male dominance and voices of female film stars conflict with each other. Based on textual analysis of female stars’ sexual acting and the debate in mass media, the argument is that the eroticized female bodies were gazed upon on and off the screen. In the discourses of mass media, the artistry of actresses’ erotic acting was not only ignored, devalued and delegitimized, these stars were also labelled as ‘undressed star’ or ‘nude star’ and construed as victims of the film industry. However, the female stars were able to speak through mass media platforms, emphasizing their efforts in erotic acting and highlighting modern female subjectivity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=sexual%20scenes" title="sexual scenes">sexual scenes</a>, <a href="https://publications.waset.org/abstracts/search?q=Taiwan%20female%20stars" title=" Taiwan female stars"> Taiwan female stars</a>, <a href="https://publications.waset.org/abstracts/search?q=erotic%20acting" title=" erotic acting"> erotic acting</a>, <a href="https://publications.waset.org/abstracts/search?q=discourses%20in%20mass%20media" title=" discourses in mass media"> discourses in mass media</a>, <a href="https://publications.waset.org/abstracts/search?q=female%20subjectivity" title=" female subjectivity"> female subjectivity</a> </p> <a href="https://publications.waset.org/abstracts/108431/undressed-star-sexual-scenes-and-discourses-in-mass-media-exploring-1980s-taiwan-female-film-stars-onscreen-erotic-acting" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/108431.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">202</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">35</span> What Lies Beneath: Kanti Shah’s Children of Midnight</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Vibhushan%20Subba">Vibhushan Subba</a> </p> <p class="card-text"><strong>Abstract:</strong></p> B-movies are almost always ‘glanced over’, ‘swept beneath’, ‘hidden from’ and ‘locked away’ to live a secret life; a life that exists but enjoys only a mummified existence behind layers of protective covering. They are more often than not discarded as ‘trash’, ‘sleaze’, ‘porn’ and put down for their ‘bad taste’ or at least that has been the case in India. With the art film entering the realm of high art, the popular and the mainstream has been increasingly equated with the A grade Bollywood film. This leaves the B-movie to survive as a degraded cultural artifact on the fringes of the mainstream. Kanti Shah’s films are part of a secret, traversing the libidinal circuits of the B and C grade through history. His films still circulate like a corporeal reminder of the forbidden and that which is taboo, like a hidden fracture that threatens to split open bourgeois respectability. Seeking to find answers to an aesthetic that has been rejected and hidden, this paper looks at three films of Kanti Shah to see how the notion of taboo, censorship and the unseen coincide, how they operate in the domain of his cinema and try and understand a form that draws our attention to the subterranean forces at work. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=B-movies" title="B-movies">B-movies</a>, <a href="https://publications.waset.org/abstracts/search?q=trash" title=" trash"> trash</a>, <a href="https://publications.waset.org/abstracts/search?q=taboo" title=" taboo"> taboo</a>, <a href="https://publications.waset.org/abstracts/search?q=censorship" title=" censorship"> censorship</a> </p> <a href="https://publications.waset.org/abstracts/8522/what-lies-beneath-kanti-shahs-children-of-midnight" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/8522.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">461</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">34</span> Translation and Ideology: New Perspectives</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hamza%20Salih">Hamza Salih</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Since translation is no longer viewed as a mere replacement of linguistic codes from one language to another, it has increasingly been considered, especially with the advent of the cultural turn in the late 70's, in relation to the broader external context in which it takes place. According to scholars in the field, the translation process is determined by the political, economic and cultural values which exert external pressures on the translator. Correspondingly, the relationship between translation as an act of re-writing the original text and ideology has already been established. This paper addresses the issue of how ideology comes into play in the translational process and what strategies the translator adopts to foreground or circumvent ideological constraints. Along with this, the paper will touch upon the notions of censorship, manipulation, subversion and domestication which are deemed of relevance to this very topic. In fact, after the domination of the empirically-oriented linguistic approaches in translation studies, the relationship between translation and ideology has to be foregrounded to draw attention to the fact that the translation process is not a mere text-to-text linguistic transfer, but, on the contrary, takes place in the midst of economic, political, cultural and religious variables, which some scholars subsume under the category ideology. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=translation" title="translation">translation</a>, <a href="https://publications.waset.org/abstracts/search?q=language" title=" language"> language</a>, <a href="https://publications.waset.org/abstracts/search?q=ideology" title=" ideology"> ideology</a>, <a href="https://publications.waset.org/abstracts/search?q=subversion" title=" subversion"> subversion</a>, <a href="https://publications.waset.org/abstracts/search?q=censorship%20and%20manipulation" title=" censorship and manipulation"> censorship and manipulation</a> </p> <a href="https://publications.waset.org/abstracts/39480/translation-and-ideology-new-perspectives" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/39480.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">249</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">33</span> The Policia Internacional e de Defesa do Estado 1933–1969 and Valtiollinen Poliisi 1939–1948 on Screen: Comparing and Contrasting the Images of the Political Police in Portuguese and Finnish Films between the 1930s and the 1960s</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Riikka%20Elina%20Kallio">Riikka Elina Kallio</a> </p> <p class="card-text"><strong>Abstract:</strong></p> “The walls have ears” phrase is defining the era of dictatorship in Portugal (1926–1974) and political unrest decades in Finland (1917–1948). The phrase is referring to the policing of the political, secret police, PIDE (Policia Internacional e de Defesa do Estado 1933–1969) in Portugal and VALPO (Valtiollinen Poliisi 1939–1948) in Finland. Free speech at any public space and even in private events could be fatal. The members of the PIDE/VALPO or informers/collaborators could be listening. Strict censorship under the Salazar´s regime was controlling media for example newspapers, music, and the film industry. Similarly, the politically affected censorship influenced the media in Finland in those unrest decades. This article examines the similarities and the differences in the images of the political police in Finland and Portugal, by analyzing Finnish and Portuguese films from the nineteen-thirties to nineteensixties. The text addresses two main research questions: what are the common and different features in the representations of the Finnish and Portuguese political police in films between the 1930s and 1960s, and how did the national censorship affect these representations? This study approach is interdisciplinary, and it combines film studies and criminology. Close reading is a practical qualitative method for analyzing films and in this study, close reading emphasizes the features of the police officer. Criminology provides the methodological tools for analysis of the police universal features and European common policies. The characterization of the police in this study is based on Robert Reiner´s 1980s and Timo Korander´s 2010s definitions of the police officer. The research material consisted of the Portuguese films from online film archives and Finnish films from Movie Making Finland -project´s metadata which offered suitable material by data mining the keywords such as poliisi, poliisipäällikkö and konstaapeli (police, police chief, police constable). The findings of this study suggest that even though there are common features of the images of the political police in Finland and Portugal, there are still national and cultural differences in the representations of the political police and policing. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=censorship" title="censorship">censorship</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20studies" title=" film studies"> film studies</a>, <a href="https://publications.waset.org/abstracts/search?q=images" title=" images"> images</a>, <a href="https://publications.waset.org/abstracts/search?q=PIDE" title=" PIDE"> PIDE</a>, <a href="https://publications.waset.org/abstracts/search?q=political%20police" title=" political police"> political police</a>, <a href="https://publications.waset.org/abstracts/search?q=VALPO" title=" VALPO"> VALPO</a> </p> <a href="https://publications.waset.org/abstracts/166416/the-policia-internacional-e-de-defesa-do-estado-1933-1969-and-valtiollinen-poliisi-1939-1948-on-screen-comparing-and-contrasting-the-images-of-the-political-police-in-portuguese-and-finnish-films-between-the-1930s-and-the-1960s" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/166416.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">71</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">32</span> An Inductive Study of Pop Culture Versus Visual Art: Redefined from the Lens of Censorship in Bangladesh</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ahmed%20Tahsin%20Shams">Ahmed Tahsin Shams</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The right to dissent through any form of art has been facing challenges through various strict legal measures, particularly since 2018 when the Government of Bangladesh passed the Digital Security Act 2018 (DSA). Therefore, the references to ‘popular’ culture mostly include mainstream religious and national festivals and exclude critical intellectual representation of specific political allusions in any form of storytelling: whether wall art or fiction writing, since the post-DSA period in Bangladesh. Through inductive quantitative and qualitative methodological approaches, this paper aims to study the pattern of censorship, detention or custodial tortures against artists and the banning approach by the Bangladeshi government in the last five years, specifically against static visual arts, i.e., cartoon and wall art. The pattern drawn from these data attempts to redefine the popular notion of ‘pop culture’ as an unorganized folk or mass culture. The results also hypothesize how the post-DSA period forcefully constructs ‘pop culture’ as a very organized repetitive deception of enlightenment or entertainment. Thus the argument theorizes that this censoring trend is a fascist approach making the artists subaltern. So, in this socio-political context, these two similar and overlapping elements: culture and art, are vastly separated in two streams: the former being appreciated by the power, and the latter is a fearful concern for the power. Therefore, the purpose of art also shifts from entertainment to an act of rebellion, adding more layers to the new postmodern definition of ‘pop culture.’ <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=popular%20culture" title="popular culture">popular culture</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20arts" title=" visual arts"> visual arts</a>, <a href="https://publications.waset.org/abstracts/search?q=censoring%20trend" title=" censoring trend"> censoring trend</a>, <a href="https://publications.waset.org/abstracts/search?q=fascist%20approach" title=" fascist approach"> fascist approach</a>, <a href="https://publications.waset.org/abstracts/search?q=subaltern" title=" subaltern"> subaltern</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20security%20act" title=" digital security act"> digital security act</a> </p> <a href="https://publications.waset.org/abstracts/165448/an-inductive-study-of-pop-culture-versus-visual-art-redefined-from-the-lens-of-censorship-in-bangladesh" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/165448.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">77</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">31</span> Traits and Dilemma: Feminism and Multiple Demands in Young Chinese Female-Directed Films</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Deng%20Qiaoshan">Deng Qiaoshan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> With the rise of feminism in the global film industry, feminist expressions in Chinese films have also evolved, reflecting societal focus on gender issues. This article focuses on young Chinese female directors such as Yang Lina, Teng Congcong, and Yang Mingming. Their films now present richer female perspectives and consciously incorporate unique female life experiences. They highlight women's real-life struggles, portraying ’struggling’ female identities—characters facing professional failures and desire identity issues, ultimately returning to family roles. These films commonly explore the ‘mother-daughter relationship’, with some using genre storytelling for commercial appeal and others deconstructing the ‘myth of motherhood’ to reflect reality, rewriting traditional maternal roles. The ‘struggling’ female identity in these directors' films shows an aesthetic of ‘pseudo-reality’, blending realistic situations with poetic, lyrical elements, reflecting their creative traits and internal conflicts. These contradictions are closely related to the unique creative context of Chinese cinema in which they operate. Emerging under China's strict film censorship system, film industrialization, consumerist culture, and internet environment, new-generation directors face multiple demands. How to ‘survive’ amidst complex commercial requirements while creating films with a clear feminist consciousness is the fundamental dilemma faced by young Chinese female directors. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=female%20directors" title="female directors">female directors</a>, <a href="https://publications.waset.org/abstracts/search?q=feminism%20film" title=" feminism film"> feminism film</a>, <a href="https://publications.waset.org/abstracts/search?q=female%20dilemma" title=" female dilemma"> female dilemma</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20censorship%20system" title=" film censorship system"> film censorship system</a> </p> <a href="https://publications.waset.org/abstracts/187326/traits-and-dilemma-feminism-and-multiple-demands-in-young-chinese-female-directed-films" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/187326.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">41</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">30</span> The Role and Challenges of Media in the Transformation of Contemporary Nigeria Democracies</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Henry%20Okechukwu%20Onyeiwu">Henry Okechukwu Onyeiwu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The role of media in the transformation of contemporary Nigeria's democracies is multifaceted and profoundly impactful. As Nigeria navigates its complex socio-political landscape, media serves as both a catalyst for democratic engagement and a platform for public discourse. This paper explores the various dimensions through which media influences democracy in Nigeria, including its role in informing citizens, shaping public opinion, and providing a forum for diverse voices. The increasing penetration of social media has revolutionized the political sphere, empowering citizens to participate in governance and hold leaders accountable. However, challenges such as misinformation, censorship, and media bias continue to pose significant threats to democratic integrity. This study critically analyzes the interplay between traditional and new media, highlighting their contributions to electoral processes, civic education, and advocacy for human rights. Ultimately, the findings illustrate that while media is a crucial agent for democratic transformation, its potential can only be realized through a commitment to journalistic integrity and the promotion of media literacy among the Nigerian populace. The media plays a critical role in shaping public democracies in Nigeria, yet it faces a myriad of challenges that hinder its effectiveness. This paper examines the various obstacles confronting media broadcasting in Nigeria, which range from political interference and censorship to issues of professionalism and the proliferation of fake news. Political interference is particularly pronounced, as government entities and political actors often attempt to control narratives, compromising the independence of media outlets. This control often manifests in the form of censorship, where journalists face threats and harassment for reporting on sensitive topics related to governance, corruption, and human rights abuses. Moreover, the rapid rise of social media has introduced a dual challenge; while it offers a platform for citizen engagement and diverse viewpoints, it also facilitates the spread of misinformation and propaganda. The lack of media literacy among the populace exacerbates this issue, as citizens often struggle to discern credible information from false narratives. Additionally, economic constraints deeply affect the sustainability and independence of many broadcasting organizations. Advertisers may unduly influence content, leading to sensationalism over substantive reporting. This paper argues that for media to effectively contribute to Nigerian public democracies, there needs to be a concerted effort to address these challenges. Strengthening journalistic ethics, enhancing regulatory frameworks, and promoting media literacy among citizens are essential steps in fostering a more vibrant and accountable media landscape. Ultimately, this research underscores the necessity of a resilient media ecosystem that can truly support democratic processes, empower citizens, and hold power to account in contemporary Nigeria. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=media" title="media">media</a>, <a href="https://publications.waset.org/abstracts/search?q=democracy" title=" democracy"> democracy</a>, <a href="https://publications.waset.org/abstracts/search?q=socio-political" title=" socio-political"> socio-political</a>, <a href="https://publications.waset.org/abstracts/search?q=governance" title=" governance"> governance</a> </p> <a href="https://publications.waset.org/abstracts/190124/the-role-and-challenges-of-media-in-the-transformation-of-contemporary-nigeria-democracies" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/190124.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">20</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">29</span> The Works of Ibrahim Eissa: A Controversy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Malak%20Khaled%20Hosny">Malak Khaled Hosny</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The paper inspects Ibrahim Eissa, a famous Egyptian writer and TV persona, and his literary and film works. Having faced threats of persecution and assassination, Eissa is a controversial figure in Egyptian media, and his works always pose a trigger of outrage and conversation. His book The Preacher, his movie The Guest, and his TV show Faten Amal Harby all led to some controversy unfolding in Egyptian society, and all led to conversations erupting in Egyptian households and on social media platforms. Through a close reading of his written work and an analytic watch of his work on-screen, the paper delves into the details of the intentions behind and the repercussions of Ibrahim Eissa's work. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=censorship" title="censorship">censorship</a>, <a href="https://publications.waset.org/abstracts/search?q=film" title=" film"> film</a>, <a href="https://publications.waset.org/abstracts/search?q=literature" title=" literature"> literature</a>, <a href="https://publications.waset.org/abstracts/search?q=religion" title=" religion"> religion</a> </p> <a href="https://publications.waset.org/abstracts/175686/the-works-of-ibrahim-eissa-a-controversy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/175686.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">106</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">28</span> Exploring De-Fi through 3 Case Studies: Transparency, Social Impact, and Regulation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dhaksha%20Vivekanandan">Dhaksha Vivekanandan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> DeFi is a network that avoids reliance on financial intermediaries through its peer-to-peer financial network. DeFi operates outside of government control; hence it is important for us to understand its impacts. This study employs a literature review to understand DeFi and its emergence, as well as its implications on transparency, social impact, and regulation. Further, 3 case studies are analysed within the context of these categories. DeFi’s provision of increased transparency poses environmental and storage costs and can lead to user privacy being endangered. DeFi allows for the provision of entrepreneurial incentives and protection against monetary censorship and capital control. Despite DeFi's transparency issues and volatility costs, it has huge potential to reduce poverty; however, regulation surrounding DeFi still requires further tightening by governments. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=DeFi" title="DeFi">DeFi</a>, <a href="https://publications.waset.org/abstracts/search?q=transparency" title=" transparency"> transparency</a>, <a href="https://publications.waset.org/abstracts/search?q=regulation" title=" regulation"> regulation</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20impact" title=" social impact"> social impact</a> </p> <a href="https://publications.waset.org/abstracts/153280/exploring-de-fi-through-3-case-studies-transparency-social-impact-and-regulation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/153280.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">83</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">27</span> A Novel Image Steganography Scheme Based on Mandelbrot Fractal </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Adnan%20H.%20M.%20Al-Helali">Adnan H. M. Al-Helali</a>, <a href="https://publications.waset.org/abstracts/search?q=Hamza%20A.%20Ali"> Hamza A. Ali</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Growth of censorship and pervasive monitoring on the Internet, Steganography arises as a new means of achieving secret communication. Steganography is the art and science of embedding information within electronic media used by common applications and systems. Generally, hiding information of multimedia within images will change some of their properties that may introduce few degradation or unusual characteristics. This paper presents a new image steganography approach for hiding information of multimedia (images, text, and audio) using generated Mandelbrot Fractal image as a cover. The proposed technique has been extensively tested with different images. The results show that the method is a very secure means of hiding and retrieving steganographic information. Experimental results demonstrate that an effective improvement in the values of the Peak Signal to Noise Ratio (PSNR), Mean Square Error (MSE), Normalized Cross Correlation (NCC) and Image Fidelity (IF) over the previous techniques. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=fractal%20image" title="fractal image">fractal image</a>, <a href="https://publications.waset.org/abstracts/search?q=information%20hiding" title=" information hiding"> information hiding</a>, <a href="https://publications.waset.org/abstracts/search?q=Mandelbrot%20et%20fractal" title=" Mandelbrot et fractal"> Mandelbrot et fractal</a>, <a href="https://publications.waset.org/abstracts/search?q=steganography" title=" steganography"> steganography</a> </p> <a href="https://publications.waset.org/abstracts/21666/a-novel-image-steganography-scheme-based-on-mandelbrot-fractal" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/21666.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">539</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">26</span> A Novel Image Steganography Method Based on Mandelbrot Fractal </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Adnan%20H.%20M.%20Al-Helali">Adnan H. M. Al-Helali</a>, <a href="https://publications.waset.org/abstracts/search?q=Hamza%20A.%20Ali"> Hamza A. Ali </a> </p> <p class="card-text"><strong>Abstract:</strong></p> The growth of censorship and pervasive monitoring on the Internet, Steganography arises as a new means of achieving secret communication. Steganography is the art and science of embedding information within electronic media used by common applications and systems. Generally, hiding information of multimedia within images will change some of their properties that may introduce few degradation or unusual characteristics. This paper presents a new image steganography approach for hiding information of multimedia (images, text, and audio) using generated Mandelbrot Fractal image as a cover. The proposed technique has been extensively tested with different images. The results show that the method is a very secure means of hiding and retrieving steganographic information. Experimental results demonstrate that an effective improvement in the values of the Peak Signal to Noise Ratio (PSNR), Mean Square Error (MSE), Normalized Cross Correlation (NCC), and Image Fidelity (IF) over the pervious techniques. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=fractal%20image" title="fractal image">fractal image</a>, <a href="https://publications.waset.org/abstracts/search?q=information%20hiding" title=" information hiding"> information hiding</a>, <a href="https://publications.waset.org/abstracts/search?q=Mandelbrot%20set%20fractal" title=" Mandelbrot set fractal"> Mandelbrot set fractal</a>, <a href="https://publications.waset.org/abstracts/search?q=steganography" title=" steganography"> steganography</a> </p> <a href="https://publications.waset.org/abstracts/21625/a-novel-image-steganography-method-based-on-mandelbrot-fractal" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/21625.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">618</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">25</span> Freedom with Limitations: The Nature of Free Expression in the European Case-Law</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Laszlo%20Vari">Laszlo Vari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the digital age, the spread of the mobile world and the nature of the cyberspace, offers many new opportunities for the prevalence of the fundamental right to free expression, and therefore, for free speech and freedom of the press; however, these new information communication technologies carry many new challenges. Defamation, censorship, fake news, misleading information, hate speech, breach of copyright etc., are only some of the violations, all of which can be derived from the harmful exercise of freedom of expression, all which become more salient in the internet. Here raises the question: how can we eliminate these problems, and practice our fundamental freedom rightfully? To answer this question, we should understand the elements and the characteristic of the nature of freedom of expression, and the role of the actors whose duties and responsibilities are crucial in the prevalence of this fundamental freedom. To achieve this goal, this paper will explore the European practice to understand instructions found in the case-law of the European Court of Human rights for the rightful exercise of freedom of expression. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=collision%20of%20rights" title="collision of rights">collision of rights</a>, <a href="https://publications.waset.org/abstracts/search?q=European%20case-law" title=" European case-law"> European case-law</a>, <a href="https://publications.waset.org/abstracts/search?q=freedom%20opinion%20and%20expression" title=" freedom opinion and expression"> freedom opinion and expression</a>, <a href="https://publications.waset.org/abstracts/search?q=media%20law" title=" media law"> media law</a>, <a href="https://publications.waset.org/abstracts/search?q=freedom%20of%20information" title=" freedom of information"> freedom of information</a>, <a href="https://publications.waset.org/abstracts/search?q=online%20expression" title=" online expression"> online expression</a> </p> <a href="https://publications.waset.org/abstracts/104514/freedom-with-limitations-the-nature-of-free-expression-in-the-european-case-law" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/104514.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">139</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">24</span> Law as a Means to Address Conflict</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Tim%20Bakken">Tim Bakken</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The paper will discuss to what extent political polarization contributes to censorship, lack of civil discourse, and even violence. Most researchers have been unable to identify precisely what factors or processes contribute significantly to conflict. Absent such recognition, we have been unable to select effective remedies to address conflict. Through this paper, it will consider whether legal remedies can help to reduce conflict and polarization. My sense is that many current conflicts cannot be remedied primarily by law. But, there is little research on this hypothesis. Absent research and findings, nations may be looking to law for relief when, in fact, they should be looking at conditions underlying the formation of law or the absence of a more precise and effective legal remedy. It is hypothesized that the underlying reasons for conflict include sub-groups’ separation from the larger democratic society; misplaced loyalty to members of sub-groups; a culture of silence when recognizing wrongdoing; and retaliation against people who speak up. In sum, the greater distance citizens or institutions place between themselves and democratic norms, the more likely the members of a sub-group or institution will be to adopt conflict, even violence, as a method to obtain personal goals. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=constitutional%20law" title="constitutional law">constitutional law</a>, <a href="https://publications.waset.org/abstracts/search?q=conflict" title=" conflict"> conflict</a>, <a href="https://publications.waset.org/abstracts/search?q=criminal%20law" title=" criminal law"> criminal law</a>, <a href="https://publications.waset.org/abstracts/search?q=polarization" title=" polarization"> polarization</a> </p> <a href="https://publications.waset.org/abstracts/174381/law-as-a-means-to-address-conflict" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/174381.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">76</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">23</span> Filmmaking with a Smartphone and National Cinema of Pakistan</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ahmad%20Bilal">Ahmad Bilal</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Digital and convergent media can be helpful in terms of acquiring film production skills and knowledge, and it has also reduced the cost of production. Thus, allowing filmmakers greater opportunities and access to the medium of film. Both these dimensions of new and convergent media have been challenging the established cinema of Pakistan, as traditionally, it has been controlled by the authorities through censorship policies. The use of the smartphone as a movie camera, editing machine, and a transmitter can further challenge the control in a postcolonial society. To explore the impact of new and convergent media on the art of filmmaking, a film 'Sohni Dharti: An untrue story' is produced. It is shot both on a smartphone and a Digital Single Lens Reflex Camera (DSLR), with almost zero budgets. It is distributed through Vimeo from Pakistan. This process reveals how the technologies that are available today, and the increased knowledge of film production that they bring, allow a more inclusive experience of the film production and distribution. At the same time, however, it also discloses the limitations that accompany new technologies within the context of a postcolonial society. This paper will investigate the role of technology to bring filmmaking at a level of pencil and paper. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=convergent%20media" title="convergent media">convergent media</a>, <a href="https://publications.waset.org/abstracts/search?q=filmmaking" title=" filmmaking"> filmmaking</a>, <a href="https://publications.waset.org/abstracts/search?q=smartphone" title=" smartphone"> smartphone</a>, <a href="https://publications.waset.org/abstracts/search?q=Pakistan" title=" Pakistan"> Pakistan</a> </p> <a href="https://publications.waset.org/abstracts/33142/filmmaking-with-a-smartphone-and-national-cinema-of-pakistan" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/33142.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">280</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">22</span> Fashion Magazines in Spain: History and Evolution </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ana%20Mar%C3%ADa%20Velasco%20Molpeceres">Ana María Velasco Molpeceres</a> </p> <p class="card-text"><strong>Abstract:</strong></p> With this work, we try to offer a complete digest of female fashion magazines edited in Spain from the XVIII century to today. During the XIX century Spain developed an important journalistic industry and the feminine press was very popular. In addition, a lot of women wrote and directed fashion magazines which tried to improve women’s status and education. In the XX century, fashion magazines reflected the ideological conflicts and the history of Spain. Before the Civil War (1936-1939), women get many rights and the modernization was clear. In the Franco’s dictatorship, fashion magazines portrayed ideals of a conservative femininity. But, in the sixties, the media helped to connect Spain with the rest of the world, being at the same time under the censorship of the regime. After the dictatorship, fashion was a very important part of the Transition’s culture and the ‘Movida’ (reflected in Almodovar’s films) contributed and expressed the new ideals of citizenship for men and women. Fashion magazines showed the changes of the society. In the XXI century, today, these magazines are a part of a global culture and Vogue or Elle live with Spanish magazines as Telva or Hola. The objective of this research is to study the history, meaning and evolution of the fashion magazines in Spain. And, of course, the ideal of women reflected on them. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=fashion" title="fashion">fashion</a>, <a href="https://publications.waset.org/abstracts/search?q=Spain" title=" Spain"> Spain</a>, <a href="https://publications.waset.org/abstracts/search?q=magazines" title=" magazines"> magazines</a>, <a href="https://publications.waset.org/abstracts/search?q=women" title=" women"> women</a> </p> <a href="https://publications.waset.org/abstracts/85298/fashion-magazines-in-spain-history-and-evolution" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/85298.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">325</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">21</span> Regulation of Cultural Relationship between Russia and Ukraine after Crimea’s Annexation: A Comparative Socio-Legal Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Elena%20Sherstoboeva">Elena Sherstoboeva</a>, <a href="https://publications.waset.org/abstracts/search?q=Elena%20Karzanova"> Elena Karzanova</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper explores the impact of the annexation of Crimea on the regulation of live performances and tour management of Russian pop music performers in Ukraine and of Ukrainian performers in Russia. Without a doubt, the cultural relationship between Russia and Ukraine is not limited to this issue. Yet concert markets tend to respond particularly rapidly to political, economic, and social changes, especially in Russia and Ukraine, where the high level of digital piracy means that the music businesses mainly depend upon income from performances rather than from digital rights sales. This paper argues that the rules formed in both countries after Russia’s annexation of Crimea in 2014 have contributed to the separation of a single cultural space that had existed in Soviet and Post-Soviet Russia and Ukraine before the annexation. These rules have also facilitated performers’ self-censorship and increased the politicisation of the music businesses in the two neighbouring countries. This study applies a comparative socio-legal approach to study Russian and Ukrainian live events and tour regulation. A qualitative analysis of Russian and Ukrainian national and intergovernmental legal frameworks is applied to examine formal regulations. Soviet and early post-Soviet laws and policies are also studied, but only to the extent that they help to track the changes in the Russian–Ukrainian cultural relationship. To identify and analyse the current informal rules, the study design includes in-depth semi-structured interviews with 30 live event or tour managers working in Russia and Ukraine. A case study is used to examine how the Eurovision Song Contest, an annual international competition, has played out within the Russian–Ukrainian conflict. The study suggests that modern Russian and Ukrainian frameworks for live events and tours have developed Soviet regulatory traditions when cultural policies served as a means of ideological control. At the same time, contemporary regulations mark a considerable perspective shift, as the previous rules have been aimed at maintaining close cultural connections between the Russian and Ukrainian nations. Instead of collaboration, their current frameworks mostly serve as forms of repression, implying that performers must choose only one national market in which to work. The regulatory instruments vary and often impose limitations that typically exist in non-democratic regimes to restrict foreign journalism, such as visa barriers or bans on entry. The more unexpected finding is that, in comparison with Russian law, Ukrainian regulations have created more obstacles to the organisation of live tours and performances by Russian artists in Ukraine. Yet this stems from commercial rather than political factors. This study predicts that the more economic challenges the Russian or Ukrainian music businesses face, the harsher the regulations will be regarding the organisation of live events or tours in the other country. This study recommends that international human rights organisations and non-governmental organisations develop and promote specific standards for artistic rights and freedoms, given the negative effects of the increasing politicisation of the entertainment business and cultural spheres to freedom of expression and cultural rights and pluralism. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=annexation%20of%20Crimea" title="annexation of Crimea">annexation of Crimea</a>, <a href="https://publications.waset.org/abstracts/search?q=artistic%20freedom" title=" artistic freedom"> artistic freedom</a>, <a href="https://publications.waset.org/abstracts/search?q=censorship" title=" censorship"> censorship</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20policy" title=" cultural policy"> cultural policy</a> </p> <a href="https://publications.waset.org/abstracts/116385/regulation-of-cultural-relationship-between-russia-and-ukraine-after-crimeas-annexation-a-comparative-socio-legal-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/116385.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">118</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">20</span> Anthropology of Women and War (1979-1988) in Iran: The Role of Islamic Republic Media</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mina%20Dousti">Mina Dousti</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Like many women worldwide, and especially those living in the Middle East, Iranian women are struggling to have equal rights as men. The Islamic Republic regime, established in 1979, made this path even more difficult for Iranian women. Media and the Islamic Republic's powerful propaganda are the main factors and advertisers in omitting women's social rights and civic activities. Also, the hijab (veil), which became obligatory immediately after the revolution based on the Qur'an and religious Hadiths, was another way of suppressing women. Since the Islamic Republic Revolution and the following Iran-Iraq war (1980-1988), the Iranian female community has been experiencing different social and legal challenges. Aside from the Islamic regime's role in ignoring women, their families have also contributed to this limitation via unreasonable zeals and religious prejudices. Subsequently, all these factors led to pushing Iranian women to the corner and public dormancy. During the eight-year war, many Iranian women directly participated in the war front line. Although they became martyred, the regime intentionally ignored their public presence employing Islamic justifications and Sharia as an excuse. The government did these actions to justify censorship and unfairness toward women. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Iranian%20women" title="Iranian women">Iranian women</a>, <a href="https://publications.waset.org/abstracts/search?q=Islamic%20Republic%20Regime" title=" Islamic Republic Regime"> Islamic Republic Regime</a>, <a href="https://publications.waset.org/abstracts/search?q=hijab" title=" hijab"> hijab</a>, <a href="https://publications.waset.org/abstracts/search?q=revolution" title=" revolution"> revolution</a>, <a href="https://publications.waset.org/abstracts/search?q=Iran-Iraq%20war" title=" Iran-Iraq war"> Iran-Iraq war</a>, <a href="https://publications.waset.org/abstracts/search?q=Martyr" title=" Martyr"> Martyr</a> </p> <a href="https://publications.waset.org/abstracts/136549/anthropology-of-women-and-war-1979-1988-in-iran-the-role-of-islamic-republic-media" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/136549.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">146</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">19</span> Analytical Study of Infidelity in Translation with Reference to Literary Texts</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ruqaya%20Sabeeh%20Al-Taie">Ruqaya Sabeeh Al-Taie</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The present study strives to answer the question if translation is sometimes betrayal of the original or not. Such a question emanates from the Italian phrase traduttore-traditore – ‘translator, traitor’ or betrayer, which constitutes a problem for all translators since the lexical words, linguistic structures and cultural terms sometimes do not have literal equivalents in diverse languages. To answer the debated question of fidelity and infidelity in translation, and ascertain the implication of the above Italian phrase, the researcher has collected different kinds of parallel texts which are analyzed to examine the reasons behind the translator’s infidelity in translation in general, and in translating literary texts in particular, and how infidelity can be intended and/or unintended by the translator. It has been found that there are four reasons behind intended infidelity: deliberate adaptation to fit the original, modification for specific purposes, translator’s desire, and unethical translation in favor of government or interest group monopolization; whereas there are also four different motives behind unintended infidelity: translator’s misunderstanding, translator’s sectarianism, intralingual translation, and censorship for political, social and religious purposes. As a result, the investable linguistic and cultural dissimilarities between languages, for instance, between English and Arabic, make absolute fidelity impossible, and infidelity in its two kinds, i.e. intended and unintended, unavoidable. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=deliberate%20adaptation" title="deliberate adaptation">deliberate adaptation</a>, <a href="https://publications.waset.org/abstracts/search?q=intended%20infidelity" title=" intended infidelity"> intended infidelity</a>, <a href="https://publications.waset.org/abstracts/search?q=literary%20translation" title=" literary translation"> literary translation</a>, <a href="https://publications.waset.org/abstracts/search?q=unintended%20infidelity" title=" unintended infidelity"> unintended infidelity</a> </p> <a href="https://publications.waset.org/abstracts/35581/analytical-study-of-infidelity-in-translation-with-reference-to-literary-texts" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/35581.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">438</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">18</span> Translation Quality Assessment in Fansubbed English-Chinese Swearwords: A Corpus-Based Study of the Big Bang Theory</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Qihang%20Jiang">Qihang Jiang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Fansubbing, the combination of fan and subtitling, is one of the main branches of Audiovisual Translation (AVT) having kindled more and more interest of researchers into the AVT field in recent decades. In particular, the quality of so-called non-professional translation seems questionable due to the non-transparent qualification of subtitlers in a huge community network. This paper attempts to figure out how YYeTs aka 'ZiMuZu', the largest fansubbing group in China, translates swearwords from English to Chinese for its fans of the prevalent American sitcom The Big Bang Theory, taking cultural, social and political elements into account in the context of China. By building a bilingual corpus containing both the source and target texts, this paper found that most of the original swearwords were translated in a toned-down manner, probably due to Chinese audiences’ cultural and social network features as well as the strict censorship under the Chinese government. Additionally, House (2015)’s newly revised model of Translation Quality Assessment (TQA) was applied and examined. Results revealed that most of the subtitled swearwords achieved their pragmatic functions and exerted a communicative effect for audiences. In conclusion, this paper enriches the empirical research concerning House’s new TQA model, gives a full picture of the subtitling of swearwords in AVT field and provides a practical guide for the practitioners in their career of subtitling. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=corpus-based%20approach" title="corpus-based approach">corpus-based approach</a>, <a href="https://publications.waset.org/abstracts/search?q=fansubbing" title=" fansubbing"> fansubbing</a>, <a href="https://publications.waset.org/abstracts/search?q=pragmatic%20functions" title=" pragmatic functions"> pragmatic functions</a>, <a href="https://publications.waset.org/abstracts/search?q=swearwords" title=" swearwords"> swearwords</a>, <a href="https://publications.waset.org/abstracts/search?q=translation%20quality%20assessment" title=" translation quality assessment"> translation quality assessment</a> </p> <a href="https://publications.waset.org/abstracts/110190/translation-quality-assessment-in-fansubbed-english-chinese-swearwords-a-corpus-based-study-of-the-big-bang-theory" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/110190.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">142</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">17</span> The Impact of Political Satire on the Balance of Political Powers in Egypt: The Case of El-Bernameg in Egypt </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sally%20Barsoum">Sally Barsoum</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper is providing a significant insight into the role of satire in Egyptian politics and how it has been received from the government and viewer’s point of view. It mainly sets out to test whether Bassem Youssef’s satirical program has played a significant role in Egypt recent politics and to investigate what is the nature and extent of this role. In order to test this hypothesis, the researcher chose to critically analyze one episode of Bassem Youssef’s satirical show, El Bernameg. This paper goes further to highlight that the aims of satire is to invite citizens to analyze, criticize and question people in power and the realm of politics rather than remain as untouched subjects by combining humor with critique in order to enhance citizens’ political awareness and perhaps even political engagement. Moreover it identifies that Bassem Youssef’s satire is to use laughter as a medium to communicate his political message. By first informing the public and secondly engaging them through laughter, satire plays a very constructive political role, which have been argued finally that Bassem Youssef has indeed played an important part in the Egyptian political scene of today and this can be measured by the degree of censorship that he has been subject to and the level of international and domestic reaction towards his satirical show. At the end, this paper is suggesting that the measure of a strong government is its ability not only to accommodate satire but also to learn from it. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=political%20satirist" title="political satirist">political satirist</a>, <a href="https://publications.waset.org/abstracts/search?q=Bassem%20Youssef" title=" Bassem Youssef"> Bassem Youssef</a>, <a href="https://publications.waset.org/abstracts/search?q=capital%20broadcasting%20center" title=" capital broadcasting center"> capital broadcasting center</a>, <a href="https://publications.waset.org/abstracts/search?q=TV%20channel" title=" TV channel"> TV channel</a>, <a href="https://publications.waset.org/abstracts/search?q=muslims%20brotherhood%20regime" title=" muslims brotherhood regime"> muslims brotherhood regime</a>, <a href="https://publications.waset.org/abstracts/search?q=ONTV%20Egyptian%20TV%20channel" title=" ONTV Egyptian TV channel"> ONTV Egyptian TV channel</a> </p> <a href="https://publications.waset.org/abstracts/59872/the-impact-of-political-satire-on-the-balance-of-political-powers-in-egypt-the-case-of-el-bernameg-in-egypt" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/59872.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">322</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">16</span> Fashion and Soft War: Analysis of Iran's Regulatory Measures for Fashion Industry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Leili%20Nekounazar">Leili Nekounazar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Since 2009, when the Green movement, Iran’s most significant political uprising in post-Islamic revolution materialized, the term 'soft war' has become an integral part of the Iranian regime’s lexicon when addressing the media propaganda waged by the west and the regime’s so-called 'enemies'. Iran’s authorities describe soft war as a western campaign aiming at undermining the revolutionary values by covert activities, deploying cultural tools and purposeful dissemination of information. With this respect, Internet and in particular, the social media networks, and oppositional radio-television broadcasts have been considered as the west’s soft war conduits. With the rising of the underground fashion industry in the past couple of years that does not conform to the compulsory dress codes prescribed by the state, the Islamic regime expands the soft war narrative to include any undesired fashion-related activities and frames the rising fashion industry as a cultural war intoxicating the Iranian-Islamic identity. Accordingly, fashion products created by the Iranian fashion intermediators have been attributed to the westerners and outsiders and are regarded as the matter of national security. This study examines the reactive and proactive measures deployed by the Iranian regime to control the rise of fashion industry. It further puts under the scrutiny how the state as a part of its proactive measure shapes the narrative of 'soft war' in relation to fashion in Iran and explores how the notion of soft war has been articulated in relation to the modeling and fashion in the state’s political rhetoric. Through conducting a content analysis of the authorities’ statements, it describes how the narrative of soft war assists the state policing the fashion industry. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=censorship" title="censorship">censorship</a>, <a href="https://publications.waset.org/abstracts/search?q=fashion" title=" fashion"> fashion</a>, <a href="https://publications.waset.org/abstracts/search?q=Iran" title=" Iran"> Iran</a>, <a href="https://publications.waset.org/abstracts/search?q=soft%20war" title=" soft war"> soft war</a> </p> <a href="https://publications.waset.org/abstracts/85760/fashion-and-soft-war-analysis-of-irans-regulatory-measures-for-fashion-industry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/85760.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">344</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15</span> Groupthink: The Dark Side of Team Cohesion</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Farhad%20Eizakshiri">Farhad Eizakshiri</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The potential for groupthink to explain the issues contributing to deterioration of decision-making ability within the unitary team and so to cause poor outcomes attracted a great deal of attention from a variety of disciplines, including psychology, social and organizational studies, political science, and others. Yet what remains unclear is how and why the team members’ strivings for unanimity and cohesion override their motivation to realistically appraise alternative courses of action. In this paper, the findings of a sequential explanatory mixed-methods research containing an experiment with thirty groups of three persons each and interviews with all experimental groups to investigate this issue is reported. The experiment sought to examine how individuals aggregate their views in order to reach a consensual group decision concerning the completion time of a task. The results indicated that groups made better estimates when they had no interaction between members in comparison with the situation that groups collectively agreed on time estimates. To understand the reasons, the qualitative data and informal observations collected during the task were analyzed through conversation analysis, thus leading to four reasons that caused teams to neglect divergent viewpoints and reduce the number of ideas being considered. Reasons found were the concurrence-seeking tendency, pressure on dissenters, self-censorship, and the illusion of invulnerability. It is suggested that understanding the dynamics behind the aforementioned reasons of groupthink will help project teams to avoid making premature group decisions by enhancing careful evaluation of available information and analysis of available decision alternatives and choices. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=groupthink" title="groupthink">groupthink</a>, <a href="https://publications.waset.org/abstracts/search?q=group%20decision" title=" group decision"> group decision</a>, <a href="https://publications.waset.org/abstracts/search?q=cohesiveness" title=" cohesiveness"> cohesiveness</a>, <a href="https://publications.waset.org/abstracts/search?q=project%20teams" title=" project teams"> project teams</a>, <a href="https://publications.waset.org/abstracts/search?q=mixed-methods%20research" title=" mixed-methods research "> mixed-methods research </a> </p> <a href="https://publications.waset.org/abstracts/22963/groupthink-the-dark-side-of-team-cohesion" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/22963.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">396</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=censorship&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=censorship&page=2" rel="next">&rsaquo;</a></li> </ul> </div> </main> <footer> <div id="infolinks" class="pt-3 pb-2"> <div class="container"> <div style="background-color:#f5f5f5;" class="p-3"> <div class="row"> 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