CMC Brownbag presents Prof. Christine Cox

CMC Brownbag presents Prof. Christine CoxDigital Vigilantes: Online Shaming and Surveillance Culture in Top Gear Philippines’ Facebook Page
1:00 – 2:30 pm, April 26, 2016 at the CMC Auditorium

A franchise of the highly popular motoring magazine based in the United Kingdom, Top Gear Philippines (TGP) is the number one source when it comes to two or more-wheeled vehicles. Launched in September 2004, the TGP Facebook page aimed to complement the motoring reviews and stories from the magazine, and provide an online venue for its avid followers. The page has since then evolved into a ‘Sumbungan Ng Bayan‘ where ‘errant parking maneuvers and wayward traffic enforcers get a dose of Social Media Flogging’ (Gonzalez, 2014). Ordinary citizens can post photos of motorists who park illegally or foolishly, upload road rage videos or rant about run-ins with the law and corrupt government practices. Many of these posts have gone viral in social media, where they are fair game to commenters and trolls in the Filipino community.

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CMC Brownbag presents Ms. Jeannica Mae Rosario

CMC Brownbag presents Ms. Jeannica Mae RosarioFamily Picture: A Study on the Influence of News Media on the Voting Public’s Perceived Image of Political Dynasties in the Province of Nueva Ecija
3:00 – 4:00 pm on April 26, 2016 at the CMC Auditorium

This study aims to discover how the news media contribute to the voting public’s formation of their perceived image regarding political dynasties. Results of the study show that although the news media agenda is not the same with the voters’ perceived image of political dynasties, the news media can still influence the public’s perception of the issue through the amount of saliency it allots to political dynasty news.

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Submission of papers for publication consideration to the Plaridel Journal Special Issue is extended to 16 January 2015.

The unprecedented success of Japanese and Korean horror on international markets in the early 2000s increased the demand for the genre from the region, but also set a new standard against which these productions were judged. Encouraged by the enthusiastic reception of (the problematically labeled but widely accepted category) “Asian Horror” by commentators and the global fan community, Southeast Asian national cinemas began to revitalize their local horror genres, and distributors eventually turned to Southeast Asian horror as well.

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