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Traditional norms and social roles still apply during mosheng ren communication. Momo can be used both for interpersonal and hyperpersonal communication.

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Through online and offline interviews with Momo users living in two metropolises, this study used a cultural discourse analysis approach to understand how users engage in CMC through Momo. Momo can also be used as an anonymous and physically isolated connected platform. On Momo, CMC still possesses attributes that are consistent with the findings of early research into this subject. This study specifically focuses on an app known as Momo, a social discovery and dating application (app) that is widely used in China.Įarly studies in computer-mediated communication (CMC) suggested that CMC does not naturally promote equality however, it can encourage discrimination.

The usual English translation for mosheng ren is ‘stranger’. This paper discusses a concept that has become popular in mainland China in recent years: mosheng ren communication. Hence, the paper questions empathy as a universal way to better the world and diverges from the celebration of humanitarian VR film as a universal empathy machine. The global citizen as a feeling self becomes caught in interpersonal affective textures, which obscure geopolitical causes of humanitarian crises. The paper concludes that humanitarian VR films simulate an engagement with global problems when, in fact, they are catering to the emotional needs of people engaging with those problems. Thereby, we focus specifically on the simulation of particular locales, intimate encounters with the suffering Other, and gratification of viewer needs. Through analysis of humanitarian VR films, the use of character, narrative, and formal VR film devices, we show how empathy is created. We call attention to how humanitarian VR films are techniques that promote emotional styles like empathy through the script of suffering and hope. This paper questions these transformative assumptions about VR film. Filmmakers and producers have claimed that VR film’s immersive qualities can amplify empathy for victims of humanitarian crises and move the viewer to support humanitarian aid organizations. Virtual Reality (VR) film has been described as an empathy machine. It calls on scholars, political decision-makers, and NGOs to reflect on who defines the concept, drives its implementation, and understand the impact of imported interaction values on local populations.

The paper argues that Global Citizenship is a vision choreographed by donor countries with moral and ideological implications. These ways of communicating are not only different from but also sometimes conflict with sociocultural and political ways of acting and relating in particular locales. For example, the NGO promotes self-expression and participatory decision- making to its client populations, practices which are grounded in individualistic notions of relating. The paper illustrates how the NGO promotes Global Citizenship values and communication practices, which are taken to be universally applicable. Specifically, the paper traces the logics of one transnational NGO, Save the Children, as it teaches communication practices and values related to children's rights in developing countries. This paper engages with the concept of Global Citizenship and the role of transnational non-governmental organizations (NGOs) in teaching awareness about global issues like health, education, and poverty.