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Topic: Counter-narratives: What international media stories need countering? New



Topic:Counter-narratives: What international media stories need countering?Newsarticle: https://www.bbc.com/news/world-asia-china-55744860This essay will be focusing on thecounternarrative of western media reporting Chines feminism. The western media described“yang li” as a punchlinequeen but infect she is using the hot topic of “Chinese feminism” as a way toget famous. In reality there are equal rights between men and women feminism in China,but there is a majority of some Chinese feminism is that asking equality between men and women,but asking men to bear the main responsibility and pursue the maximization ofwomen’s benefit under the pretext of women’s rights. That part of feminismgenerally refers to a kind of “unilateral and egoistic” feminism,which runs counter to the goal of realizing equal rights between men and women.Yang li is an example of this kind of feminism. One of her popular jokes isthat making fun of a normal male shouldnot have confidence. But anyways.Use The WeCanstructure (deconstruct a master narrative/create a counternarrative) in tandemwith ACF ingredients guide (purpose, audience, values, framing, emotionallycompelling stories, and language) and, where appropriate, input from Lueg &Wolff Lundholt (2021) are elements supporting your counternarrativewriting that will ‘absorb’ word count.WeCan’s (2017)four-step counternarratives guide, to first find an oppressive narrative aboutthe Global south that I want to counter. After I need to analyze the mainelements, distribution, target groups and dynamics of the oppressive narrative[also known as a master narrative], what I should do next is similar to a campaign designYourguide to counternarrative storytellingReadings·deLatour, A., Perger, N., Salag, R., Tocchi, C., & Otero, P. V. (2017). Wecan!: Taking Action against Hate Speech through Counter and AlternativeNarratives (revised edition). Council of Europe. 174pp. Available at: https://rm.coe.int/wecan-eng-final-23052017-web/Extract: Doing it yourself,pp115-138·AustralianConservation Foundation (2017). How to tell compelling stories that move peopleto action. Carlton, Victoria: Australian Conservation Foundation. 53pp.Available at: https://www.acf.org.au/narrative_handbookExtract: Story, pp67-79·Rehnberg,H. S., & Grafström, M. (2021). Using counter-narrative to defend a masternarrative: Discursive struggles reorganizing the media landscape. In RoutledgeHandbook of Counter-Narratives (pp. 209-221). Routledge.1.Deconstructing a master-narrative (aka ‘the oppressivenarrative you want to counter’).According to WeCan(2017), developing effective counter narratives starts with an in-depthunderstanding of the oppressive narrative. In other words, you need toelaborately analyse the oppressive narrative you want to counter.What are the issues at stake?What topics are mentioned?Which concepts seem to be central, repeated or debated about?What is the content, structure and tone?What is thetextual evidence which help you describe the master-narrative?,What are the mostrepresentative or illustrative texts, symbols or images?See pp. 117-127 ofExtract: Doing it yourself,pp115-1381.Key elements needed to create a counternarrativeAccording to WeCan(2017), after detailed assessment of the oppressive narrative, design your owncounter narrative. In other words, this is the phase where you strategicallyuse the outcomes from your assessment and, based on those outcomes, you designyour own counter narrative.What narrative should replace the master or oppressive narrative?What knowledge, values, attitudes or perspectives will the counternarrativepromote?What is the story you want to tell?What is the objective of the counternarrative – for example, increasedinternational mediavisibility of G-South realities, more inclusive global media dialogues,advocacy for the right tocultural autonomy and cognitive justice?What is your target audience?How will you define the content and tone of your counternarrative?What type of (media) audience do you want to engage?See pp. 129-138 ofExtract: Doing it yourself,pp115-1381.The role of emotion and personal experience instory-tellingAccording to ACF(2017), emotions are one of the most potent sources of motivation that driveshuman behaviour. It suggests that themes which resonate with us emotionallycome from the heats of out evolutionary history, such as survival,reproduction, connection to family and kin, and connection to others. So,instead of storytelling providing lists of facts and lecturing about them, ACFrecommends we need to move people using images, stories, emotions, values,analogies, moral sentiments, and moving oratory. Logic – that is, facts,figures and policies – plays a supporting role. This doesn’t mean dumbingthings down. It means appealing to fundamental values, morals and concernsusing relatable storytelling.See how to include facts in storiesSee how to give people something to believe inSee how to tell stories with characters (you or others)See how to integrate characters into the story’s plotSee how to tell stories that move people to actionSee how to tell stories of self, us, and nowSee how to structure a story to include challenge, choice and outcomeSee Extract: Story, pp67-791.How to engage audiences in narrative struggles.In a transformingmedia landscape, discursive struggles can be found everywhere. Discursivestruggles emerge when advocates of different perspectives engage with advocateswho challenge or disagree with those perspectives. In discursive struggles,narratives might intersect , relate to, challenge or reinforce each other. Forexample, competition from new digital start-up may provoke legacy journalistsinto discursive struggle over definitions of journalistic autonomy, norms andvalues, and social role.See Rehnberg, H.S., & Grafström, M. (2020).

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