Narrative, Mulitmedia editing, Journalism, Photojournalism, Storytelling, Audio and Video editing and digitizing, Television Journalism, Visual Communication

The convenient image of a ‘Oaxaca of dreams’ encouraged by the art market appears naïve when compared with photography, which little by little recovers our sequestered reality. In opposition to the totalitarian vision of political power, the art market and the mass media, photography allows some of the (micro) stories made invisible to emerge, as finally, in the words of Kracauer, “the photograph captures the residuum that history has discharged.”
There are even those who believe that, in such an unstable region (politically and socially convulsed), photography could become its most effective seismograph. But the art of photography can go even further: contemporary images record different spaces and times, representing dissonances, ruptures, but also, challenges.

The origins of modern photojournalism in Germany, during the yeas 1925-1933, is the central object of this dissertation. Checking popular illustrated magazines, such as Berlliner Illustrirte Zeitung, and their contemporary critics, one seeks to know if could understand them with a notion of “aesthetic of transparency”. In order to arrive at the empirical research, some notions about the modern and modernity were delineated, hoping to understand the cultural processes and regimes of visuality of the beginning of 1920s as its unfolding, as well as starting from some reflections of Charles Baudelaire to think the aesthetic experience of modernity and its relation with photography. In addition, it was tried to understand if a dialogue between realism and modernisms could be possible, within the German context. The Weimar Republic was thought of as a democratic space for political, economic and social rearticulation, in which photography would have been articulated by the artistic field such as Neues Sehen (New Vision), by Lászlo Moholy-Nagy, and Neue Sachlichkeit Objectivity), by Albert Renger-Patzsch, exerting on the photographic production in journalism some of its conditions for its modernization. Finally, it was reflected on the modernization of the photojournalism in the Weimar Republic from the illustrated magazines study, based on the use of the photographic series potentially narrating journalistic facts, mainly from some photographs of Erich Salomon and Felix H. Man. This study allowed us to verify that the ripening of photojournalism met a demand of the German reading public for facts, reinforcing a certain professional ideology of objectivity. Having been possible by the coincidence of relations, as photographers willing to produce many images of various aesthetic forms under a diversity of conditions, allied to the freedom of editorial power and its experimentation, besides the rising of photographic agencies that began to order photographic work with the written report.

This course invites students to develop a crossmedia mode of thinking about storytelling in a converged media environment. Students will learn the basics of researching, organizing and telling stories effectively across multiple media platforms (e.g., print, audio, video, and the web) and a variety of social contexts (e.g., public relations, blogging, journalism, speeches, etc.).

Jeg vil i denne opgave omskrive Hanne Vibeke Holsts tekst ”Du er fucking sexistisk, Niarn!”  og ændre genren fra debatindlæg til kronik med det formål at forbedre teksten og styrke Hanne Vibeke Holsts argumenter.
Jeg vil ændre originaltekstens genre med begreber fra ”Genreanalyse i 5 trin”  fra Ole Togebys bog ”Bland blot genrerne – ikke tekstarterne!”.
Jeg vil bruge begreber fra Kenneth Lynggaards tekst ”Dokumentanalyse”  fra bogen ”Kvalitative metoder – grundbog” til at forklare, hvorfor Hanne Vibeke Holsts valg af debatindlæg som genre koster hende troværdighed.
Dette involverer også en genrebestemmelse af originalteksten.
I debatindlægget kommer Hanne Vibeke Holst selv til at fremstå sexistisk, og det vil jeg undgå ved at omskrive debatindlægget til en kronik, der med sin objektive tekstanalytiske tilgang kan opnå et netop analytisk funderet argument i højere grad end et meningspræget debatindlæg.
Jeg vil skrive kronikken, som om Hanne Vibeke Holst havde forfattet den, for at vise, at det er muligt at adressere en anden person direkte og samtidig forholde sig objektivt til en sag.
Jeg vil i min omskrivning til en kronik nuancere sexisme-diskursen, således at det fremgår, at det er Niarn der er sexistisk, men samtidig sørge for, at Hanne Vibeke Holst ikke fremstår sexistisk, ved at være analyserende, reflekterende og objektiv fremfor anklagende, postulerende og generaliserende.
Jeg er fundamentalt enig i Hanne Vibeke Holsts argumenter omkring sexismen i musikken, men fremstillingsformerne udnyttes ikke optimalt.
Kronikken vil indeholde en redegørelse for og analyse af hvorfor musikken er sexistisk (og dermed forholde sig objektivt til emnet), ligesom jeg også vil justere fremstillingsformerne og via den analytiske tilgang bringe evidens for den sexisme-diskurs, hun argumenterer for – målet med dette er at undgå, at Hanne Vibeke Holst selv fremstår sexistisk.
I analysen af hvad der transformeres i kronikken og hvorfor vil jeg fokusere på ideen med at nuancere sexisme-diskursen for at opnå større troværdighed hos afsenderen, Hanne Vibeke Holst.

A narrativa transmídia é a forma de entretenimento contemporâneo por excelência. O seu planejamento estratégico ganhou uma maior importância, principalmente com a disseminação em larga escala de conteúdo audiovisual sob demanda, que se estende por múltiplas plataformas. Ao proporcionar o compartilhamento de experiências e imersão nos mundos de histórias criados, as narrativas transmídia atendem as demandas da 'cultura da conexão' – na qual a diversidade conteúdos audiovisuais favorece a concentração de redes discursivas horizontais, que estimulam a participação dos usuários. Neste cenário, a produção audiovisual sofre o impacto das incertezas, justificadas por mudanças que alteram a rotina de trabalho e os sistemas de produção. A flexibilização da produção audiovisual e o incremento de novas plataformas de distribuição e exibição, geram demandas por novos conteúdos e programações. A pressão para a criação de conteúdo transmidiático nasce na elaboração da bíblia de produção, visando à criação de um ecossistema de negócios para exploração da propriedade intelectual (IP-Intelectual Property) e pela evolução tecnológica, que devido aos avanços constantes, induz a uma maior produção de conteúdo multiplataforma. Outra fonte de pressão, estratégica para o futuro do entretenimento transmídia, consiste em atender os desejos das novas audiências por histórias mais longas, com maior número de personagens e que possuam universos narrativos mais complexos. Neste sentido, a prática de roteirização de projetos transmídia consiste na criação de um mundo de história, desdobrado em diferentes plataformas. Neste modelo de roteirização, as audiências interagem por meio das múltiplas telas, de forma integrada, experienciando a imersão em realidades ficcionais. Deste modo, os conteúdos circulados em diferentes mídias e plataformas cativam as audiências e geram receitas. Neste processo, o mundo da história é desenvolvido de forma independente da mídia ou do formato, mas é testada com audiências reais nas mídias e plataformas sociais. Para o produtor e roteirista transmídia português, Nuno Bernardo, um dos maiores equívocos da indústria do entretenimento talvez seja considerar " que as pessoas compram conteúdo quando, na verdade, nós compramos experiências. Nós compramos o contexto " (BERNARDO, 2014, 48%). As novas estratégias de roteirização consideram a participação das audiências e levam em consideração a capacidade dos usuários de produzir e distribuir conteúdo, além de interagirem em tempo real. Nesta perspectiva, a produção de bíblias transmídia é na maioria dos casos o planejamento estratégico do mundo da história, levando em consideração a audiência, com o objetivo de recompensar as demandas de uma mídia em especifico. Neste caso, o usuário vai se sentir recompensado e encorajado a fazer novos investimentos, seguindo os desdobramentos da história em diferentes mídias com o objetivo de aumentar o seu repertório de conhecimentos. Neste contexto, a produção de bíblias transmídia se tornou um objeto de estudos recente para os pesquisadores. Este capítulo procura analisar as características que se destacam no processo de roteirização de projetos transmídias, a partir dos estudos sobre a dramaturgia audiovisual seriada. O estudo será realizado considerando os métodos de roteirização para mídias convencionais, com o objetivo de analisar a experiência de imersão no mundo de história e os espaços criados para a participação dos usuários. 2. Dramaturgia audiovisual seriada As narrativas transmídia estabelecem relações estruturais com as formas seriadas de longa duração (a forma épica), pois representam possibilidades para a exploração de novos territórios narrativos. As narrativas seriadas de longa duração incentivam novos modos de engajamento das audiências e fazem da cultura participativa um dos componentes centrais do mundo da história. O compartilhamento de narrativas serializadas reconfigura o ecossistema audiovisual, cria novas formas de envolvimento que renovam as práticas de produção e consumo do produto audiovisual. Neste processo, a mobilidade da mídia central ganha destaque e estimula a geração de conteúdo pelos usuários, intensificando o trânsito de conteúdos entre filmes, séries e webséries, jogos digitais e dispositivos móveis, entre outras mídias. Os manuais de roteiro para formatos convencionais definem a narrativa seriada como uma estrutura episódica, protagonizada por uma personagem ou centralizada em torno de um tema, que progride ao longo do tempo, segundo a lógica de acumulação de capítulos. Neste sentido, a estrutura do episódio " tem começo, meio e fim, como o unitário, mas está inserido num conjunto maior, que lhe dá sentido total " (PALLOTTINI, 1998, p. 45), apresentado núcleos dramáticos independentes e simultâneos que se entrelaçam no desenrolar da narrativa. A estrutura episódica

Straipsnyje apžvelgiamos šiuolaikinės naratyvo konstravimo tendencijos, glaustai pristatomi dramos naratyvinių
epizodų tipai, laiko ir erdvės ypatumai, pjesės naratoriaus ir struktūros pokyčiai.

The article is analysing the new drama narrative design tools, briefly representing the types of narrative
episodes in drama, time and space features, changes of the play narrator status and general
structure. Even though narratology as a science has more than a halfcentury tradition, the biggest
attention was paid to literature, considering drama as an art with too simple narrative strategies,
directly telling the story on stage through action.

Five pieces by Mark Twain on the art of telling a story, with some examples. He makes an interesting distinction between the British approach to a humorous story and the radically different American technique, which he himself, James Whitcomb Riley, Joel Chandler Harris, Washington Irving and others use in their fiction. Edited by Sasha Newborn

En este capítulo se analiza todo el trabajo de campo sobre imágenes y sus relaciones con el cuerpo, en búsqueda de entender nuevos dispositivos mediológicos, intentando en 1996 entrever las consecuencias mediológicas que luego se han visto desarrolladas casi 20 años después

Video journalism, the process by which one person shoots, writes, and edits video for broadcast or the web, is a form of newsgathering taking hold in newsrooms of all kinds, by professionals and would-be citizen journalists around the world. Some proponents have celebrated it as an improved narrative form, one that uses more intimate, emotional documentary filmmaking technique than conventional television.  Its detractors consider it simply a cheaper way to make news.This project weighs in on the controversy while addressing two overall concerns: First, What is video journalism, exactly?  And secondly, how do the stories created by video journalists compare with other forms of news? This book presents more than two years of ethnographic research in a wide variety of contexts in both the U.S and the U.K, including local newspapers, The New York Times¸ local television stations, the BBC, and the Voice of America radio network, and several professional photographic workshops.  The book also takes an approach somewhat unusual for a news ethnography, in that the author observed VJs at work in the field, not just in newsrooms, on stories ranging from an urban shooting to a presidential campaign visit. 

http://www.peterlang.com/index.cfm?event=cmp.ccc.seitenstruktur.detailseiten&seitentyp=produkt&pk=68551&concordeid=311454

Family narratives and reminisces can be effectively used by parents as a tool to help children develop self-concept. Family narratives are the way through which children and adolescents connect across generations to create self-identity. By anchoring oneself in family history, one develops a sense of place and security that may facilitate self-confidence and self-competence. In the modern world where nuclear family is the norm, parents need to ensure that family narratives are used effectively in helping children navigate through challenges of life. Parents and grandparents have to pay careful attention to family history and narratives; and put in efforts in developing strong family narratives to be shared with children. Also, parents need to be careful while sharing those reminisces and narratives by avoiding individual comparison of their children with others in the past. Celebrating certain occasions as a day for showing gratitude towards grandparents and older generations can also generate curiosity and interest among children about family narratives. The current study looks into family narratives practices, challenges and how parents can develop strong family narratives to be shared with their children.

Moving from the cross-medial nature of the graphic novel, we will analyse two works – "Mū. La città perduta" by Hugo Pratt (1988) and "Gli ultimi giorni di Pompeo" by Andrea Pazienza (1987) – in order to demonstrate the agency of image and its dynamic nature. According to this idea, the graphic novel becomes a multiple support: a hypertext and a place of exchange.

This 121 page document is the collection of TEN resources having to do with audiovisual lexicon, both film and TV.

Some have been vastly restructured and updated, others were only reformatted for easy use.

This document is a pedagogical tool when working or learning within the field of audiovisual art or technology. The choice has been mostly collected and edited as a monolingual data bank, apart from the eighth resource that I personally only upgraded and that is bilingual.

I also integrated the technical credit list of one film in order to provide a real and closed set of terms corresponding to all the professions and jobs intervening in the production of a major film.

Apart from the editing, upgrading and reformatting I did for all resources, my main contribution has been the collecting and bringing together of various resources freely available when I did that work.

Character design is one of significant element and process in making stories, such as narrative text, picture book, comic, even animation. A good character can be measured on how a character influences the audience through the story told.

This research will observe and analyze characters from Pocoyo animation. Pocoyo is production of Zinkia Entertainment Studio in Spain, and awarded as Best Character in El Chupete 2006 festival. This paper will discuss on uniqueness and special feature on Pocoyo’s characters through the study of character design.

Keywords: illustration, character, character design, animation

Lo storytelling digitale, già rivelatosi una delle discipline più in voga nella comunicazione culturale, ha dimostrato la sua utilità anche nell’ambito della didattica del patrimonio culturale. In questo paper, dopo una introduzione sull’impatto che le nuove tecnologie e soprattutto i social media hanno causato nell’ambito della democratizzazione culturale, si vogliono inquadrare lo storytelling digitale e le sue funzioni in ambito culturale, come strumento didattico di disseminazione culturale anche attraverso processi partecipativi e co-creativi.

Dans cette douzième partie du séminaire consacré à l'ingénierie de projets de communication, nous abordons la problématique de la communication audiovisuelle et celle de l'analyse sémiotique et comparative du spot ou d'un corpus de spots publicitaires. La troisième partie du séminaire est consacrée à la définition et au montage d'un projet d'audit (d'expertise) d'un spot (d'un corpus de spots) publicitaire(s).

Imagine booking in to your Las Vegas hotel. You make your way to your room and begin to unpack but – horror! You forgot to bring your favourite going-outshoes. You bought them on the internet so you jump online to see if you can get another pair delivered to the hotel. But they’re no longer on the site. Worried, you call the retailer’s concierge service. Unfortunately they don’t stock the shoes any longer and, dejected, you assume that’s the end of the story. It’s not. The company’s headquarters are just outside Las Vegas. The team immediately tracks down a pair of the shoes at a rival store in a local mall. They then drive downtown, purchase the shoes and hand-deliver them to your hotel, without charging a penny. Imagine if that kind of service existed. It does. This tale about one woman’s service from Zappos has been making the rounds since 2011. Zappos is still held up today as a company that treats its customers right. They’ve sent flowers to a sick customer and rescued a best man whose wedding shoes got lost in the mail. In these moments of connection, Zappos gained lifelong customers and – crucially – contributed to a narrative about the company. A narrative that fits their vision of providing the best customer service on the planet.

"For nearly 40 years as a professional journalist, found in my career numerous political figures and of the business world who have tried to influence the way their image or interests are presented in the media, either by threat, persuasion of the strength of their power position, or by offering material rewards.
Case specific of this study, the 2006 exposed scandal of journalists of El Nuevo Herald, Spanish version of The Miami Herald and other media in Florida moonlighting of the Voice of America (VOA) service, Radio and TV Martí. We intend to show how for decades the federal Government has paid Hispanic journalists in Florida directly or indirectly through different budgets for non-profit organizations and financed publications with the pretext of patriotism and the fight against communism.
This case cost their work to ten journalists of El Nuevo Herald, a sports writer from the Hispanic television network Univisión, as well as the Director of The Miami Herald and its Spanish twin, El Nuevo Herald, current in these institutions practice to lay off or push for a res-ignation of journalists and editors, when scandals like this arise.
Based on the Herman and Chomsky’s 1988 five-filter propaganda model, the evidence of collaboration between mainstream media and governmental institutions or special interest organizations arise. The case of the New York Times coverage of the build-up towards the U.S. invasion of Iraq in 2003, the issue of weapons of mass destruction in general, focus us towards an extension of six-filter model that recent studies consider."

Many directors used controversial characters in a film to show how the moral values in the society are not always black and white. The editing should be done in a way that makes the main protagonist stand out in the film. Despite Liko’s character’s crime and morally grey actions throughout the movie, the audience finds themselves wanting to support the main character in his fight against the portrayed antagonists – the police.

I will use this piece to research and experiment with different editing approaches that relate to the use of the content of shots, rhythm, transitions and different type of edits. Edits can be used to make the narrative structure of shots and the characters in the story influence the audience in a positive way, so that they can “be transported somewhere else, to relate to or even care about other “people”” (Bowen and Thomson 2013, p. 220).

Il nuovo giornalista sarà sempre di più un content producer: dovrà essere in grado di intercettare l’informazione, di analizzarla, valutarla, e ridiffonderla, possibilmente in diversi formati. È questo l’identikit del professionista nell’era digitale disegnato da Marco Marsili nel libro “La rivoluzione dell'informazione digitale in Rete. Come Internet sta cambiando il modo di fare giornalismo” (Odoya, Bologna, 2009; prefazione Gianpiero Gamaleri, postfazione Massimo Esposti).

Selezionare nella marea di informazione del web sta diventando il vero valore aggiunto della professione. Trovare news davvero utili e favorirne la diffusione è una delle sfide più difficili per chi vuole esercitare questa professione in un momento storico di grandi cambiamenti: le barriere di accesso, tanto per cominciare, sono sempre più basse e chiunque può fare informazione attraverso il suo blog o caricare un servizio video. La crisi attuale di molte imprese editoriali e la dilagante sfiducia dei lettori verso la stampa sono altri segnali evidenti di un settore al bivio.

È vero che la rivoluzione digitale apre nuovi scenari molto interessanti: la lenta erosione del potere di una casta, lo spirito di collaborazione e condivisione delle notizie, la partecipazione dei lettori e il boom del citizen journalism, gli straordinari sviluppi delle tecnologie di connessione (si parla già di web 3.0!) e il sempre più facile accesso ai servizi. Non ultimo la prospettiva di nuove figure professionali. Ma la rete pone anche delle
problematiche di non facile soluzione: quanto è neutrale il web? Chi controlla l’accesso? Chi garantisce la sicurezza? Come combattere il digital divide?

Problematiche che Marco Marsili, docente di Teorie e tecniche del linguaggio giornalistico presso l’Università degli Studi dell’Insubria,
direttore responsabile de "La Voce d’Italia" (uno dei più importanti quotidiani indipendente on line), prospetta già nelle prime pagine di introduzione, per poi affrontare in ogni capitolo tutti i diversi aspetti del giornalismo di oggi. Giornalismo inteso come processo, come lavoro e come industria. Ne esce un vero manuale non solo per chi fa questa professione o vi aspira, ma utile per coloro che vogliono capire di più dell’ecosistema delle telecomunicazioni, dei modelli di produzione e fruizione delle news, dei rapporti tra politica e informazione, degli interessi nascosti, delle distorsioni degli aiuti statali, delle problematiche aperte e delle false ideologie che circolano nell’era del web 2.0.

Ogni capitolo presenta in genere qualche elemento storico che rende più completa la lettura del presente e meno azzardata – anzi, sempre circostanziata e molto argomentata - di qualche ipotesi di sviluppo futuro. Si comincia dalla stampa: un focus sul panorama editoriale italiano e internazionale, il passaggio dalla carta al web, lo stato di salute dei giornali (non certamente buono), i rapporti tra informazione e politica. La chiarezza sulle dinamiche di potere presenti dietro i giornali non serve a innescare una sterile polemica, piuttosto aiuta a capire perché una
testata fa determinate scelte e non altre, e quali sono le conseguenze di avere in Italia solo editori il cui core business non è mai l’impresa editoriale: costruzioni, motori, moda, tutto ma non i giornali.

L’approccio è lo stesso anche per gli altri capitoli sulla pubblicità on line, le reti dell’informazione e del sapere (documentatissima la sezione dedicata alla banda larga), il giornalismo on line in tutte le sue articolazioni (tecnogiornalismo, tv su web, cellulari, peer to peer, video, social network…), la proprietà intellettuale e la privacy fino al funzionamento dei motori di ricerca. Tanti i nodi che via via emergono, a partire dalla crisi della stampa, la mancanza di indipendenza e pluralismo, la partita del digitale terrestre, il freno del monopolio allo sviluppo delle infrastrutture per la connessione veloce a Internet, il problema del rispetto della privacy da parte delle piattaforme di behavoural targeting.

Pagina dopo pagina il lettore si sente così più accorto e consapevole delle straordinarie opportunità che la rete offre per fare informazione ma anche dei suoi problemi, delle questioni chiave che bisognerebbe affrontare per realizzare un sistema editoriale più solido, capace di produrre informazione di qualità. “Collaborazione, organizzazione e innovazione costituiscono i presupposti irrinunciabili sui quali deve essere fondata
qualsiasi iniziativa che voglia avere una qualche possibilità di successo”, dice in sintesi l’autore. Come agire in questa direzione, però, non è di così semplice evidenza.

Proprio di fronte a un quadro così completo sembra ancora più difficile rispondere a quelle domande iniziali poste dall'autore: come sta cambiando il giornalismo con la rete? Chi sopravviverà a questa rivoluzione digitale? E soprattutto quali forme sta assumendo il giornalismo in un mondo di contenuti gratuiti dove il problema è disporre di un budget sufficiente a garantire la ricerca di fonti attendibili, l’accuratezza dei contenuti, il giusto compenso del collaboratore, la sopravvivenza di una testata?

Certamente Marsili offre “una messe rilevante di dati e di chiavi interpretative”, spiega Gamaleri nella prefazione, aiutandoci a formare “le griglie mentali che ci consentono di cogliere il cambiamento”, perché la più grande sfida per l’uomo è sempre stata quella di “padroneggiare la trasformazione che egli stesso ha messo in movimento”.

This is an age of new literature, where we have diverged from the traditional culture of literacy and entered into a space where no combination seems odd. It is an age where we whole heartedly accept contrasts over mainstream combinations. Likewise, with the advent of areas like film studies and science fiction, the traditional borders of literacy have met an immense expansion. Though, anything new often faces resistance and criticism, especially if it becomes a part of the popular culture; similar was the reception in case of graphic novels. The welding of words and pictures in this medium creates a deeper impression upon the mind and other senses of the readers. Reading and appropriate understanding of this genre requires basic skill of interpretations and imagination on the part of the readers as well. The present need is to move beyond the monological order of practice and entrench into the world of cross curriculum and multiple literacies. Literature of the twenty first century has adopted the new culture of interdisciplinary practices, borrowing from the other fields such as psychology, arts, philosophy, biology, etc. Graphic novels are an outcome of one such practice, where the unique combination of words and images together contribute in providing meaning to the text. This paper traces the coherence of the genre in the light of visual narrative theory and exploring its pedagogical relevance. With the sad demise of R. K. Laxman came the death of the " Common Man " on January 26, 2015. It marked yet another irreplaceable loss to the field of Arts in India which couldn't stop the people of the nation from expressing their immense grief and remorse through all channels, print and web. This reveals the presentness and fondness of 'cartoon' as an essential part of our daily curriculum, existing somewhere at the conscious or unconscious level in our minds. The debate and confusion over the similarities and dissimilarities between comics and graphic novels seem to be an unresolvable issue as both of them uses sequential art for storytelling. Some people consider both as the same form with different nomenclatures; others believe that graphic novel is an extended and a much serious version of comic books. What is more important in this regard

A perplexed analysis of three picturesque movies by which this paper’s author has had her vision restored. Apart from the multiple time layer shifts and twists in the deconstructed editing, illustration of poetic autobiographies, Mise-en-scène and surrealism, this report will also shed faded light on film genres, dreams and Remixability of images in the Lebanese movie industry.

Digital transformation of the media ecology perceived as a paradigm shift has unleashed huge challenges for Public Service Broadcasting(PSB) worldwide with far reaching implications for its traditional mission of three-pronged Reithian aims to; educate, entertain and inform since its inception.

All broadcasters including subscription television channels are facing a decline with disappearing audience and revenue. The plight of PSB providers is relatively more critical due to financial dependencies on government grants, unprecedented competition from international television channels, emerging online video, live video streaming, IPTV and mobile television. 

This proposal paper investigates (1) the impact of digital technology and the new media on PSB, (2) its survival strategy for transformation into Public Service Media (PSM) and to reposition itself with an enlarged and dynamic future mission as a participatory and interactive media player, (3) how it solves the problem of reflecting an avalanche of user-generated-content created in the social media by massive younger audience while devising engaging plans to drive them back to the fold.