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The incident, shown live during the midday newscast, was a rare off-script moment for China’s tightly controlled state media. Beijing regards media as propaganda tools and regularly issues directives about topics that are off-limits for coverage.
Foreign journalists are also often followed by plain-clothes police, especially when reporting from areas considered sensitive by the Chinese government, such as the western region of Xinjiang.
Ministry of Truth
originally posted by: 727Sky
Many legacy news agencies push the lies the government wants you to believe....IE the Hunter Biden lap top is just Russian propaganda among something they pushed for over a year not to mention two years of Russia Russia every time Trump was mentioned by the Democrats...
There are some truth speakers but not like there used to be IMO especially with MSN.
He says it better than me: youtu.be...
Could you elaborate on why you think it's rare and unusual? Or unseen? Cause I keep seeing it.
originally posted by: PsiOPs
a reply to: whereislogic
The more technical term would be malinformation.
Wake up before free press is extinct.
Take back the free press and media.
Especially multi media.
Where is this "free press and media" though? I do see the other thing a lot (control over the information that reaches the people and what won't)
Four recent books discuss the relationship between capitalism and the media with a different emphasis. Artz places this emphasis on the entertainment industry, Fuchs and Mosco examine the political economy of the media, while Mirrlees discusses the US culture industry and Syvertsen outlines media resistance. Lee Artz’s Global Entertainment Media: A Critical Introduction is a provocative albeit thoughtful and critical book. It contains insightful elucidations of often rather difficult concepts about the success of the global media industry in keeping capitalism running. The book investigates the crucial role the worldwide entertainment media is playing in global capitalism. It also examines the influence of this industry on how we perceive ideas (e.g. ideologies) and how all this sustains and supports global consumer capitalism. Overall, the book provides a critical framework for media-based “world culture” – though such a “world culture” is skilfully mixed with traces of local culture and sold to us under the heading of “cultural diversity”. Under global media, world culture no longer evolves out of a local culture. Instead, much of our “culture” is shaped by corporate mass media which Artz calls TNMCs – Transnational Media Corporations.
These TNMCs are increasingly capable of shaping and even defining global class relations while simultaneously making them invisible. Beyond that, media practices around the world make even the poor believe that they are part of a global “classless consumer society”. Artz has selected one of the dominant forms of global entertainment – action movies – as the key signifier of the entertainment industry’s ideological power. Beyond that the book also illustrates how corporate mass media shape the relations between government policies, media structures, public access to media, media content, and how human beings are made to play a supportive part inside these arrangements.[...]