"This paper examines how banks can translate the potential of mobile phones into greater financial access for poor people. Although mobile phone operators have been able to use the mobile phone for mobile remittance and bill payment services in several countries, banks have had little success in usi
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ng mobile phones as part of a growth or outreach strategy. This paper focuses on smaller banks or microfinance institutions (MFIs) that face a much higher cost-of-service delivery because of the smaller transaction values they handle and the likely more remote and dispersed location of at least some of their customers. The opportunity seems particularly great for them, but implementation challenges also loom larger because of their small scale. This discussion assumes these banks and MFIs have adequate back office and transaction switching capability and sufficient internal controls, whether managed in-house or outsourced." (Page 1)
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"Jóvenes con discapacidad de tres países de América Latina debaten sobre cuándo y de qué manera retratan su realidad los medios de comunicación, especialmente en el caso de la televisión. Las opiniones documentadas dan pistas sobre cómo se construye una disociación en el ámbito discapacida
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d y adolescencia, por lo menos en la pequeña pantalla." (Resumen ejecutivo)
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"Die Autorinnen dieses Fachhefts liefern zunächst einen historischen Abriss zur Geschichte des Drogenfilms und stellen im Anschluss daran 20 Kinoproduktionen (aus den Jahren 1995 bis 2005) vor, bei denen Drogen, Drogensucht und Drogenhandel zentraler Bestandteil der Haupthandlung sind beziehungswei
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se den Motor für die Haupthandlung bilden. Wichtige Voraussetzung für die Auswahl war zudem die Verfügbarkeit der Filme in Videotheken oder Stadtbibliotheken. Zu den ausgewählten Filmen gehören u.a.: Jim Carroll, Trainspotting, Gridlock’d, Clockers, Dealer, Traffic, Blow, Grasgeflüster, Lammbock, Maria voll der Gnade, Knallhart, Candy, Walk the Line, Human Traffic sowie Groove - 130 bpm. Bei der Besprechung der Filme werden sowohl inhaltliche und thematische Aspekte als auch zentrale filmische Mittel berücksichtigt. Inhaltliche Aspekte sind u.a. die Funktionen, die Drogen im Leben der Protagonisten übernehmen, die dargestellten Auswirkungen und Wirkungsweisen der Drogen sowie Motive, Verlauf der Abhängigkeit, gegebenenfalls Ausstieg, oder aber Drogenkonsum als selbst gewählter Lebensstil. Zentrale Frage ist dabei, welche Bilder die jeweiligen Filme zum Thema „illegale Drogen“ entwerfen und welche Grundhaltung gegenüber Drogen den Produktionen vorzugsweise entnommen werden kann. Da Drogenfilme vor allem dann ein präventives Potenzial entwickeln und Änderungen in Einstellungen und Verhalten anstoßen können, wenn sie in begleitende Aktionen (Diskussionen, Gespräche, handlungsorientierte Angebote) eingebunden werden, geben die Autorinnen abschließend Anregungen und praktische Tipps zur Nachbearbeitung von Spielfilmen zum Thema „illegale Drogen“. Hierzu haben sie sieben Filme für unterschiedliche Zielgruppen ausgewählt: Jim Carroll, Traffic, Groove, Grasgeflüster, Maria voll der Gnade, Candy und Knallhart." (https://bzga.de)
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"This manual is intended to help you train non-governmental organizations working in HIV-related fields and People Living with HIV (PLHIV) Networks on how to work effectively with the media. The manual is based on Internews Network’s Local Voices Training Curriculum that was developed by the Kenya
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Local Voices Program in 2003-2005. This curriculum has also been implemented and adjusted where appropriate by the Internews Local Voices Programs in Nigeria, Ethiopia and India. The manual consists of a five day step-by-step training agenda. It is possible to modify this program for a four-day training by slightly shortening all the sessions. A workshop based on this training model that is shorter than four days would not be as effective, because there are several issues being addressed in the different modules that can’t be left out, as they all relate to one another. It works well to start the workshop on a Monday and end it on a Thursday or Friday. Local Voices workshops accommodate about ten participants per training. The training modules are practical and aimed at getting participants to apply their newly acquired skills during the workshop. Participants are required to organize an actual media event for the last day of their training. This event allows participants to gain real life experience organizing a media event. It also serves as an opportunity for participants to interact socially and to develop relationships with participating journalists so they can begin trusting each other and working together to produce accurate and compelling coverage." (Introduction)
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"Stock taking of organisational forms, methodologies, intentions, themes and aesthetic form of Theatre for Development in Tanzania 1980 to 2002. In spite of the widely criticized dependency on funding organisations, Theatre for Development is still a vibrant form of theatre in Tanzania. The aestheti
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c forms of expression and dramaturgical characteristic make it a genuine artistic genre of its own, while the inherent contradictions of ideal form and pragmatics form part of its dynamic." (Publisher description)
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"This study attempts to explore entertainment-education (E-E) radio drama audience responses/reactions, their motivating factors in writing letters to the drama and the relationship between audience responses and over all program goals of the drama, Menta Menged (Crossroads), in Ethiopia. Because en
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tertainment-education mass media programs which aim at promoting pro-social behavior attract huge audiences both in listening and participating due to their entertainment and educational functions, this study explores these audiences’ feedback with the aim to understand the kind of relationship that exists between audiences and the radio drama. The data was collected through a textual or qualitative content analysis of audience letters, and focus group discussions with audience members; and it was qualitatively analyzed and discussed. The data showed that audiences typically have four kinds of reactions: commentaries, appreciations, associations and reflections with the drama, characters and actors. Furthermore, a number of motivating factors, in addition to the drama (both the messages and model characters), influenced audiences to respond to the drama and involved in the writing of letters. Interestingly, their reactions are mixed when compared to the program’s intended outcomes on audience behaviors." (Abstract)
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"Theatre has become a prominent tool in the extensive struggle to address social problems in Africa, and it is fairly logical that puppets - as part of the traditional forms of dramatic expression of many African countries - would surface in theatre for social change. A variety of reasons are given
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by theatre practitioners for their choosing puppetry to do this. This paper analyses the reasons given by some of the most prominent practitioners in Africa as a developing continent and the puppet's abilities to act as an efficient code to represent and transmit messages directed toward social change." (Page 1)
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"This manual is, firstly, about Interviewing (Section Two). This is the art and skill of getting the information you need from someone. Information may be facts – perhaps those needed to register a new client - or you might want to go further, looking perhaps for an understanding of the new contac
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t’s emotional situation. The second half of the manual is about Counselling (Section Three), which is the art and skill of helping someone to make their own good choices. Guidance is a word for a similar process, when people offer informal ideas and solutions to others, as advice concerning the life challenges they are facing. But this manual uses the word counselling. It suggests finding solutions together, rather than one person offering solutions and the other person accepting them." (Page 3)
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