Methods: As a general conceptual framework of the research authors used the theory of mediation of society and culture is being developed by F. Krotz, A. Hepp, N. Couldry, K. Lundby, S. Hjarvard, S. Livingstone, and others. Such empirical methods as in-depth interviews, expert interviews, observation of the online practices, discourse analysis of the media content, visual analysis, secondary data analysis were used. Methods of comparison, typology and classification were also implemented. The research is based on a qualitative approach.
Empirical base of the research: the project unites several subtopics; each research case has its own empirical base (excluded the theoretical parts). In common the research project is based on the analysis of the in-depth and expert interviews, the data of the online observations, the monitoring of the open Internet resources, and also on the discourse analysis of the media content.
Results. The authors came to the following conclusions:
a) The directions of the further development of the classical theory of media events in the conditions of "deep" mediatization are indicated. In particular, the concept of transformative media events, in the production of which the public is actively using digital technologies as tools of social transformations and protests, is emphasized and rethought. It was noted that the total mediatization of social life in the nearest future would significantly change the nature of media events and the theoretical approaches of their understanding, as well as call into question the distinction between media events and non-media events.
b) Russian digital projects of private memory are able to form alternative of the official ideas about the past and in the production of knowledge about it. A model for the analysis of private digital archives is proposed, which includes a number of parameters: the theme and purposes of the projects, the technology of the (re)construction of the past, peculiarities of the projects’ financing, the role of professional historians in their creation and functioning, the possibility of audience participation in their work. Although Russian commemorative media projects are isolated and more often initiated by professional researchers, they expand our understanding of the past, formats of history and memory, as well as opportunities for personal participation in the formation of humanitarian knowledge.
c) It has been proven that MOOC technologies which were emerged in the process of mediatization of education can be viewed from the perspective of critical media studies. Massive open online courses are an industrialized media product of a participative culture; MOOC has all the properties of commercial online media content. The industrialization of online education, fueled by “creative mythology,” raises a number of problems: globalization and blurring of national borders, positivistic perception of digital technologies, ‘prekariat’ and shifting public welfare care from social institutions to self-employed individuals, dictating platforms over educational formats.
d) While studying the mediatization of local communities, it was revealed that digital technologies contribute to the formation of local identity among residents of metropolitan areas. The following functions of the “digital neighborhood” are defined: household assistance, information, support for small business, social control, development of civic awareness, local government, a function of local media, consolidation of historical memory. Another study (in two small Russian cities) clarified the interaction between city public and local authorities: it largely copies the model that has developed for traditional media, but in the absence of opportunities for economic and legal control, it is based on an understanding of the informal rules of the game.
e) The importance of researching the mediatization of space through the prism of the concept of “astroculture” is revealed. The concept of “astromedia” was introduced for the first time, implying a complex of thematic media related to space issues: “cosmological media”, “cosmic science community”, “science fiction and cosmo art”. The role of astromedia in the popularization of astronomy and cosmonautics, the formation of the space agenda, as well as the astropolitics of national states is shown. The significance of science fiction films offering artistic representations of space and encouraging the general public to support space programs is articulated.