![]() ![]() It is free, with a limit of 302 participants. This platform is designed for online work collaboration and meetings. It is free for both “streamers” and viewers. This is one of China’s most popular video sharing sites. Fees are based on the number of participants. This streaming platform has no limit for participants, and allows for up to nine presenters. This platform has no limit for participants, and allows for 16 presenters. This platform has a limit of 500 participants, with fees based on the number of participants. This platform charges per participant, with no limit on the number. Yearly contracts are available, with different price ranges for different numbers of participants. This platform allows for up to 20,000 participants and four speakers. The English interface is “not ideal.” Vzan There is also a yearly contract with unlimited participants. Charges are based on the number of participants and the length of time. ![]() This platform allows for up to 1000 participants, with three speakers for a per-event fee. Each individual or organization seeking to host or participate in online events with friends and colleagues in China will need to do further research to determine which platform is most suitable. With one exception, we at ChinaSource do not have personal knowledge of these platforms, nor is their inclusion here either a recommendation or an endorsement. Churches, schools, and other activities also migrated online.Ī mainland Chinese friend of ChinaSource recently shared with us a list of online Chinese and foreign platforms that are commonly used in China for streaming, learning, and convening. There was already a robust online delivery system in place before the coronavirus. If you’re anything like me, you are probably getting tired of all of the above while at the same time marveling at and being grateful for the technology that allows us to do all of the above.Ĭhina set the precedent for “locking down” society, so people there are no strangers to online living. No “contactless” meal or grocery deliveries. The argument of the latter will be guided by van Leeuwen’s method of social practice analysis and borne out by a comparison of the recontextualisation of audiovisual translation on Bilibili in the form of danmaku subtitling with the prevailing fansubbing practice.As the world ground to a halt this year due to the COVID pandemic, have you wondered what it would have been like to get through this without the internet? No working from home. Proceeding from the two-pronged model combining a semiotic resource perspective and a social practice perspective proposed by Djonov and van Leeuwen for analysing social media as semiotic technology, this article uses, the most popular danmaku video website in China, as a case study and analyses the danmaku interface firstly as semiotic technology, exploring the interface design and the meaning-making it predetermines through the semiotic realisations of built-in technological features and semiotic resources it makes available to users, and secondly as a platform which supports and potentially transforms social practices. The danmaku interface is a unique feature of video-sharing websites in Asia which allows “live” comments to be directly overlaid onto the video immediately upon being entered. ![]()
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