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Intro -- Preface -- Acknowledgments -- Contents -- List of Figures -- List of Tables -- Chapter 1: Introduction: Media and Conflict Studies in the Social Media Age -- 1.1 Mediatization of Conflict -- 1.2 Actor-Network Theory (ANT) -- 1.3 Proposing a New Analytical Model -- 1.4 Significance and Research Questions -- 1.5 Research Methods -- 1.6 The Chapters -- References -- Chapter 2: China's Social Media Platforms: Weibo -- 2.1 China's Social Media Ecology -- 2.2 Weibo's Origin and Transformation -- 2.3 Weibo's Technical Features and Usability -- 2.4 Weibo's User and Comment Culture -- 2.5 Weibo's Censorship Practices -- 2.6 Weibo's Political and Social Impacts -- 2.7 News, Mainstream Media and Weibo -- 2.8 Conclusion -- References -- Chapter 3: Sino-Indian Border Crisis in 2017 -- 3.1 A Brief Historic Overview of Sino-Indian Border Crisis -- 3.2 Analysis of Global Times Posts -- 3.3 Analysis of Web Users' Comments and Replies -- 3.4 Analysis of Macro-Structural Factors -- 3.5 Conclusion -- References -- Chapter 4: Diaoyu/Senkaku Islands Dispute in 2017-2018 -- 4.1 A Brief Historic Overview of Diaoyu/Senkaku Islands Dispute -- 4.2 Analysis of Global Times Posts -- 4.3 Analysis of Web Users' Comments and Replies -- 4.4 Analysis of Macro-Structural Factors -- 4.5 Conclusion -- References -- Chapter 5: South China Sea Dispute in 2018 -- 5.1 A Brief Historic Overview of SCS Disputes -- 5.2 Analysis of Global Times Posts -- 5.3 Analysis of Web Users' Comments and Replies -- 5.4 Analysis of Macro-Structural Factors -- 5.5 Conclusion -- References -- Chapter 6: North Korea Nuclear Crisis in 2018 -- 6.1 A Brief Historic Overview of North Korea Nuclear Crisis -- 6.2 Analysis of Global Times Posts -- 6.3 Analysis of Web Users' Comments and Replies -- 6.4 Analysis of Macro-Structural Factors -- 6.5 Conclusion -- References -- Chapter 7: Conclusion.

This book engages with the Chinese mediation of wars and conflicts in the global environment. Proposing a new cascading media and conflict model, it applies this to the study of war correspondents from six levels: media-policy relations, journalistic objectivity, role perceptions, news framing and peace/war journalism, news practices, and audience. Based on interviews with 23 Chinese journalists and case study analysis of the Libyan War, Syrian War, Afghanistan War and Palestinian-Israelis Conflict, the book demonstrates that a new breed of Chinese war correspondents has emerged today. Neither traditionally Chinese in their approach nor western in their perceptions, they are uniquely pragmatic in negotiating their roles in a complex web of internal and external actors and factors. The core ideology seems to be anti-West in defiance of the US hegemony and the bias of global media as well as neutral-Muslims. Exploring the role perceptions, values, norms and practices of contemporary Chinese war correspondents who go outside China to bring the 'distant culture' back home, this text is key reading for scholars and students in international journalism, international communication, war and peace studies, international relations and Chinese studies

Since the 1990s, China, as a new global power, has played an increasing role in international affairs. Chinese journalists have travelled to war and conflict zones overseas to report and file news coverage back home. This article surveys the historical development of Chinese war photography. It also critically examines the ideology and practices of four young Chinese photojournalists who work at a Chinese state news agency through semi-structured interviews and analysis of the photographs they took in conflict zones. The author argues that contemporary Chinese war photojournalists take realism as their main aesthetic and ideological doctrine in a sense to provide visual evidences and to stress the naturalism and symbolic power of war images. The visual representations of civilians' sufferings and hope for peace correspond with China's peaceful diplomatic policy and non-intervention principles. The war images elicit sympathetic public emotions and collective memory in China. Chinese photojournalists' depictions of wars and conflicts are influenced by internal political, organizational and individual constraints as well as the changing nature of contemporary wars.

China plays an increasing role in the wars and conflicts around the world with its expanding political and economic interests overseas, and its diplomatic role in international affairs. More and more Chinese journalists go to the frontlines overseas to cover distant conflicts for domestic audiences. Based on semi-structured in-depth interviews with sixteen Chinese correspondents who have covered conflicts outside China, this study examines Chinese journalists' perceptions and reflections on objectivity in the war zones. The author adopts a term of Chinese-style pragmatic objectivity to mean that objectivity is a convenient approach for Chinese journalists to do war journalism in the field. At the level of objectivity-as-a- value, objectivity is defined as a pragmatic value and a practical ritual for Chinese journalists to do news within the scope they can reach, to protect themselves from criticisms, and to justify their version of the truth. It promotes allegiance and patriotism. At the level of objectivity-as-a-practice, objectivity in war coverage is compromised by China's foreign policies, military constraints, the press's political orientations and editorial polices, and journalists' personal experiences and values. Chinese journalists use Chinese-style objectivity to negotiate their roles in the power struggle with the state, foreign militaries, the newsroom and journalists.

The reporting of international news in China has changed significantly in recent years. Since the late 1990s, driven by the demands of the domestic market, the growing financial strengths of national and metropolitan news organizations, the availability of digital technology, and the state's strategy of enhancing soft power and making China's voice heard in the global arena, more and more Chinese correspondents travel to war and conflict zones abroad to report and file news coverage back home – a rare occurrence in the past. This study examines a new breed of Chinese war correspondents arising from this very new journalistic environment – how they negotiate their changing and challenging roles by questioning their identities, motivations and perceptions, and how they reflect on their roles, and the use and impact of digital technologies such as micro-blogging. This article uses semi-structured in-depth interviews with 16 Chinese correspondents who have been posted abroad to cover war zones. The author finds that this new breed is neither traditionally Chinese in their approach nor western in their perceptions but uniquely pragmatic in negotiating a complex mix of identities, motivations, corporate influences and state interests.

While Western foreign correspondence is retreating, Chinese central media and correspondents, resourced by the government's financial backing for media's role in public diplomacy, are taking the opportunities to expand overseas bureaus, hire experienced local employees, enhance the quantity and quality of international news reporting, use digital technologies in newsgathering and dissemination, and receive Western-style trainings. Against this backdrop, this paper studies the identities, media cultures, and journalistic practices of Chinese foreign correspondents, as well as the international news output, and media–audience and media–foreign policy relationships. In doing so, we propose a new six-level theoretical model: (1) journalists' identities; (2) cultures; (3) practices; (4) news output; (5) news dissemination, reception, and audiences' interactions; and (6) the impacts of international news coverage. Based on semi-structured interviews with Chinese resident journalists over eight years, we argue that the media–audience and media–foreign policy relationships in China have become more interactive, dynamic, and complex.

"This book focuses on China's media diplomacy and its interplay with a range of international conflicts. It assesses the representation and framing of China, as well as the perception and reception of China's media communication in relation to various crises and conflicts. Including detailed analyses of many cases, it highlights the complex, fluid and dynamic relationship between media and conflict, and discusses how this both exemplifies and also affects China's relations with the outside world. In addition, in contrast to most existing studies of mediatized conflict in the digital age, it provides a very valuable non-Western perspective"--

This research elucidates the power dynamics of framing at the nexus of state, news media and netizens during international conflicts in China. The authors explore how three actors or stakeholders – namely, foreign policy apparatuses, the news media, and netizens – frame NATO in the context of the ongoing war in Ukraine. Employing Entman's cascading activation framing model, they discover that the dominant frames adopted by the government, the news media and the public vary significantly between these actors. Specifically, the government predominantly uses a morality frame, whereas both the news media and netizens mainly employ a conflict frame. Additionally, our findings suggest that a new 'peace' frame has emerged in Chinese international conflict discourse. This study sheds new light on the applicability and expediency of the activation framing theory, particularly in addressing the specificities of framing through the non-Western lens in the social media age.