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As a related study describes, Twitter has come to play a crucial role in the way that news functions during events like the Egyptian revolution—like an overloaded newswire filled with everything from breaking news to rumor and everything in between.The evolution of what media theorist Jeff Jarvis and others have called "networked journalism" has made the business of news much more chaotic, since it now consists of thousands of voices instead of just a few prominent ones who happen to have the tools to make themselves heard. If there is a growth area in media, it is in the field of "curated news," where real-time filters verify and redistribute the news that comes in from tens of thousands of sources, and use tools like Storify to present a coherent picture of what is happening on the ground.One of the additional points the study makes is that the personal Twitter accounts belonging to journalists were far more likely to be retweeted or engaged with by others than official accounts for the media outlets they worked for. The point here is one we have tried to make repeatedly: Social media are called social for a reason. They"re about human beings connecting with other human beings around an event, and the more that media outlets try to stifle the human aspect of these tools—through repressive social-media policies, for example—the less likely they will be to benefit from using them.Another benefit of a distributed or networked version of journalism is one sociologist Zeynep Tufekci has made in the course of her research into how Twitter and other social tools affected the events in Tunisia, Egypt, and elsewhere. As she wrote in a recent blog post, one of the realities of mainstream media is what is often called "pack journalism": the kind that sees hundreds of journalists show up for official briefings by government or military sources, but few pursue their own stories outside the official sphere. Tufekci says social media and "citizen journalism" can be a powerful antidote to this kind of process, and that"s fundamentally a positive force for journalism.As we look at the way news and information flows in this new world of social networks, and what Andy Carvin has called "random acts of journalism" by those who may not even see themselves as journalists, it"s easy to get distracted by how chaotic the process seems, and how difficult it is to separate the signal from the noise. But more information is better-even if it requires new skills on the part of journalists when it comes to filtering that information—and journalism, as Jay Rosen has pointed out, tends to get better when more people do it. The word "retweeted" in Para. 3 probably means ______.
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As a related study describes, Twitter has come to play a crucial role in the way that news functions during events like the Egyptian revolution—like an overloaded newswire filled with everything from breaking news to rumor and everything in between.The evolution of what media theorist Jeff Jarvis and others have called "networked journalism" has made the business of news much more chaotic, since it now consists of thousands of voices instead of just a few prominent ones who happen to have the tools to make themselves heard. If there is a growth area in media, it is in the field of "curated news," where real-time filters verify and redistribute the news that comes in from tens of thousands of sources, and use tools like Storify to present a coherent picture of what is happening on the ground.One of the additional points the study makes is that the personal Twitter accounts belonging to journalists were far more likely to be retweeted or engaged with by others than official accounts for the media outlets they worked for. The point here is one we have tried to make repeatedly: Social media are called social for a reason. They"re about human beings connecting with other human beings around an event, and the more that media outlets try to stifle the human aspect of these tools—through repressive social-media policies, for example—the less likely they will be to benefit from using them.Another benefit of a distributed or networked version of journalism is one sociologist Zeynep Tufekci has made in the course of her research into how Twitter and other social tools affected the events in Tunisia, Egypt, and elsewhere. As she wrote in a recent blog post, one of the realities of mainstream media is what is often called "pack journalism": the kind that sees hundreds of journalists show up for official briefings by government or military sources, but few pursue their own stories outside the official sphere. Tufekci says social media and "citizen journalism" can be a powerful antidote to this kind of process, and that"s fundamentally a positive force for journalism.As we look at the way news and information flows in this new world of social networks, and what Andy Carvin has called "random acts of journalism" by those who may not even see themselves as journalists, it"s easy to get distracted by how chaotic the process seems, and how difficult it is to separate the signal from the noise. But more information is better-even if it requires new skills on the part of journalists when it comes to filtering that information—and journalism, as Jay Rosen has pointed out, tends to get better when more people do it. By saying "pack journalism" the author probably means ______.
可以伴随着表的打开而自动打开的索引是______。
The film-awards season, which reaches its tearful climax with the Oscars next week, has long been only loosely related to the film business. Hollywood is dedicated to the art of funneling teenagers past popcorn stands, not art itself. But this year"s awards are less relevant than ever. The true worth of a film is no longer decided by the crowd that assembles in the Kodak Theatre—or, indeed, by any American. It is decided by youngsters in countries such as Russia, China and Brazil.Hollywood has always been an international business, but it is becoming dramatically more so. In the past decade total box-office spending has risen by about one-third in North America while more than doubling elsewhere. Thanks to Harry Potter, Sherlock Holmes and "Inception", Warner Bros made $2.93 billion outside North America last year, smashing the studio"s previous record of $2.24 billion. Falling DVD sales in America, by far the world"s biggest home-entertainment market, mean Hollywood is even more dependent on foreign punters.The rising foreign tide has lifted films that were virtually written off in America, such as "Prince of Persia" and "The Chronicles of Narnia: the Voyage of the Dawn Treader". Despite starring the popular Jack Black, "Gulliver"s Travels" had a disappointing run in North America, taking $42m at the box office so far. But strong turnout in Russia and South Korea helped it reach almost $150m in sales elsewhere. As a result, it should turn a profit, says John Davis, the film"s producer.The growth of the international box office is partly a result of the dollar"s weakness. It was also helped by "Avatar", and eco-fantasy that made a startling $2 billion outside North America. But three things are particularly important: a cinema boom in the emerging world, a concerted effort by the major studios to make films that might play well outside America and a global marketing push to make sure they do.Russia, with its shrinking teenage population, is an unlikely spot for a box-office boom. Yet cinema-building is proceeding apace, and supply has created demand. Last year 160m cinema tickets were sold in Russia—the first time in recent years that sales have exceeded the country"s population. Ticket prices have risen, in part because the new cinemas are superior, with digital projectors that can show 3D films. The big Hollywood studios are muscling domestic film-makers aside. In 2007 American films made almost twice as much at the Russian box office as domestic films—8.3 billion roubles ($325m) compared with 4.5 billion. Last year the imported stuff made some 16.4 billion roubles: more than five times as much as the home-grown product, estimates Movie Research, a Moscow outfit. Earlier this month Vladimir Putin, Russia"s Prime Minister, said the government would spend less money supporting Russian film-makers and more on expanding the number of screens. How much did "Gulliver"s Travels" take at the box office outside North America
The film-awards season, which reaches its tearful climax with the Oscars next week, has long been only loosely related to the film business. Hollywood is dedicated to the art of funneling teenagers past popcorn stands, not art itself. But this year"s awards are less relevant than ever. The true worth of a film is no longer decided by the crowd that assembles in the Kodak Theatre—or, indeed, by any American. It is decided by youngsters in countries such as Russia, China and Brazil.Hollywood has always been an international business, but it is becoming dramatically more so. In the past decade total box-office spending has risen by about one-third in North America while more than doubling elsewhere. Thanks to Harry Potter, Sherlock Holmes and "Inception", Warner Bros made $2.93 billion outside North America last year, smashing the studio"s previous record of $2.24 billion. Falling DVD sales in America, by far the world"s biggest home-entertainment market, mean Hollywood is even more dependent on foreign punters.The rising foreign tide has lifted films that were virtually written off in America, such as "Prince of Persia" and "The Chronicles of Narnia: the Voyage of the Dawn Treader". Despite starring the popular Jack Black, "Gulliver"s Travels" had a disappointing run in North America, taking $42m at the box office so far. But strong turnout in Russia and South Korea helped it reach almost $150m in sales elsewhere. As a result, it should turn a profit, says John Davis, the film"s producer.The growth of the international box office is partly a result of the dollar"s weakness. It was also helped by "Avatar", and eco-fantasy that made a startling $2 billion outside North America. But three things are particularly important: a cinema boom in the emerging world, a concerted effort by the major studios to make films that might play well outside America and a global marketing push to make sure they do.Russia, with its shrinking teenage population, is an unlikely spot for a box-office boom. Yet cinema-building is proceeding apace, and supply has created demand. Last year 160m cinema tickets were sold in Russia—the first time in recent years that sales have exceeded the country"s population. Ticket prices have risen, in part because the new cinemas are superior, with digital projectors that can show 3D films. The big Hollywood studios are muscling domestic film-makers aside. In 2007 American films made almost twice as much at the Russian box office as domestic films—8.3 billion roubles ($325m) compared with 4.5 billion. Last year the imported stuff made some 16.4 billion roubles: more than five times as much as the home-grown product, estimates Movie Research, a Moscow outfit. Earlier this month Vladimir Putin, Russia"s Prime Minister, said the government would spend less money supporting Russian film-makers and more on expanding the number of screens. We can learn from Paragraph 1 that ______.
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