Ekaterina Lapina-Kratasiuk
Ekaterina Lapina-Kratasiuk, received her Ph.D. in Cultural and Media Studies from the Russian State University for the Humanities (Russia) in 2002. In 2016-2018 she took part in the Culture Analytics research program in IPAM UCLA, devoted to digital methods in humanities. Till 2022 she taught in the Department of Media at the Higher School of Economics (Russia), and Public History MA program in the Moscow School of Social and Economic Sciences (Shaninka). After 2022 she worked as a researcher at the University of Tuscia (Italy), and currently she is a researcher in the Leibniz Institute for Regional Geography (Germany). Her research and teaching activities, as well as the topics of her publications, were in the field of theory and history of cinema, history on film, media and digital memory, transmedia storytelling and networked urbanism. She co-edited two monographs, Urban Networks. People. Technologies. Governance in 2021 and The Tuning of Language: The Management of Communication in Post-Soviet Space in 2016.
Internet Projects without Network Effects: How the Russian Military Historical Society Masters Digital Space
The Russian War History Society (RVIO) in modern Russia serves as the main agent of the state policy of history. In an effort to combine the functions of a scientific institute and the role of an "animator" of war-patriotic events, the RVIO not only confines the content of Russian history to the history of wars and the military, told in a specific propaganda version, but also strives for the widest possible dissemination of this version across all media and a total presence in all spheres of public life.
This is why gaining access to the younger generation, by means of, for example, a new history textbook, co-authored by V. Medinsky (Chairman of RVIO), has been a considerable undertaking for this society.
This objective, for one, is achieved in a traditional mass media way: through the use of media consumption formats that are common for the target group. The paper analyzes RVIO's internet projects and outlines hypotheses to explain their low effectiveness: despite ample budgets, the audience reach of the society's internet projects is very low.
In particular, a comparison is to be made between the technological and participatory tools employed by RVIO's internet projects and other digital history projects (Prozhyto, The Oral History, Memorial's internet projects).
This is why gaining access to the younger generation, by means of, for example, a new history textbook, co-authored by V. Medinsky (Chairman of RVIO), has been a considerable undertaking for this society.
This objective, for one, is achieved in a traditional mass media way: through the use of media consumption formats that are common for the target group. The paper analyzes RVIO's internet projects and outlines hypotheses to explain their low effectiveness: despite ample budgets, the audience reach of the society's internet projects is very low.
In particular, a comparison is to be made between the technological and participatory tools employed by RVIO's internet projects and other digital history projects (Prozhyto, The Oral History, Memorial's internet projects).
Ekaterina Lapina-Kratasiuk
Ekaterina Lapina-Kratasiuk, received her Ph.D. in Cultural and Media Studies from the Russian State University for the Humanities (Russia) in 2002. In 2016-2018 she took part in the Culture Analytics research program in IPAM UCLA, devoted to digital methods in humanities. Till 2022 she taught in the Department of Media at the Higher School of Economics (Russia), and Public History MA program in the Moscow School of Social and Economic Sciences (Shaninka). After 2022 she worked as a researcher at the University of Tuscia (Italy), and currently she is a researcher in the Leibniz Institute for Regional Geography (Germany). Her research and teaching activities, as well as the topics of her publications, were in the field of theory and history of cinema, history on film, media and digital memory, transmedia storytelling and networked urbanism. She co-edited two monographs, Urban Networks. People. Technologies. Governance in 2021 and The Tuning of Language: The Management of Communication in Post-Soviet Space in 2016.
Internet Projects without Network Effects: How the Russian Military Historical Society Masters Digital Space
The Russian War History Society (RVIO) in modern Russia serves as the main agent of the state policy of history. In an effort to combine the functions of a scientific institute and the role of an "animator" of war-patriotic events, the RVIO not only confines the content of Russian history to the history of wars and the military, told in a specific propaganda version, but also strives for the widest possible dissemination of this version across all media and a total presence in all spheres of public life.
This is why gaining access to the younger generation, by means of, for example, a new history textbook, co-authored by V. Medinsky (Chairman of RVIO), has been a considerable undertaking for this society.
This objective, for one, is achieved in a traditional mass media way: through the use of media consumption formats that are common for the target group. The paper analyzes RVIO's internet projects and outlines hypotheses to explain their low effectiveness: despite ample budgets, the audience reach of the society's internet projects is very low.
In particular, a comparison is to be made between the technological and participatory tools employed by RVIO's internet projects and other digital history projects (Prozhyto, The Oral History, Memorial's internet projects).
This is why gaining access to the younger generation, by means of, for example, a new history textbook, co-authored by V. Medinsky (Chairman of RVIO), has been a considerable undertaking for this society.
This objective, for one, is achieved in a traditional mass media way: through the use of media consumption formats that are common for the target group. The paper analyzes RVIO's internet projects and outlines hypotheses to explain their low effectiveness: despite ample budgets, the audience reach of the society's internet projects is very low.
In particular, a comparison is to be made between the technological and participatory tools employed by RVIO's internet projects and other digital history projects (Prozhyto, The Oral History, Memorial's internet projects).