"This report—which complements MIF’s in-person and online convenings throughout the year—aims to highlight trends in environmental media grantmaking, impact studies and examples of promising media projects, and insights from funders in the space. This report focuses on U.S. funders who give in
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the U.S. and globally, with funding data covering 2009–2019. Some grantmakers are newer to the field of environmental media philanthropy, and other earlier funders have shifted priorities to non-environmental media work. The big picture shows that while some funders have changed focus, overall funding is going up. We compiled graphics to highlight the top five media projects by four key environmental areas: wildlife, conservation, climate change and oceans. According to our grants data map, between 2009 and 2019, U.S.-based funders have made: $12 million in media grants for wildlife, $56 million in media grants for conservation, $81 million in media grants for climate change, $18 million in media grants for ocean-related efforts. The variety of media projects being supported—from geographic information systems to film and video—is significant, and targeted at a wide range of issues including land conservation, documenting and reporting on the impacts of climate change, wildlife protection and restoration of the ocean environment." (Executive summary)
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"Kenya’s digital ecosystem has significant strengths not yet fully leveraged:
• Political interest in digital technology at national and county level: The Government of Kenya’s
(GoK) digital economy blueprint, ICT Masterplan, and eCitizen (government service platform for
Kenyan citizens and re
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sidents) are only a few of many digital initiatives undertaken to transform Kenya
into a thriving middle-income country by 2030. County-level programming such as County Data Desks
have demonstrated great initiative by county leadership in embracing digital tools to ensure a more
transparent and efficient process.
• Relatively strong digital infrastructure: Kenya’s expanding ICT infrastructure and GoK’s pursuit
of innovations driving connectivity (e.g., Google Loon pilots) demonstrates an investment in Kenya’s
inclusive future.
• Strong private sector engagement in digital innovation: From large mobile network operators and
multinational tech companies to startups and aspiring entrepreneurs, Kenya’s rich innovation culture is
an undervalued and underleveraged national resource." (Executive summary, page 3)
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"The study calls for the formal recognition of faith-based media in Senegal and Niger. It also suggests to the different stakeholders such as the Government, regulatory bodies and the civil society, women's rights organizations, to take a series of measures and actions to strengthen the regulation o
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f religious discourse, for more social harmony but especially for a more gendered media environment." (Publisher description)
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"En général, l’étude plaide la reconnaissance formelle des médias confessionnels au Sénégal et au Niger. Elle suggère également aux différents acteurs que sont l’Etat et les organes de régulation et à la société civile notamment aux organisations de défense des droits des femmes, l
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’adoption de certaines mesures et actions pour renforcer la régulation du discours religieux, pour plus de cohésion sociale mais surtout pour un environnement médiatique plus genré." (http://panosmedia.org)
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"This book examines transformations in the production and domestic and international reception of Iranian cinema between 2000 and 2013 through the intersection of the political markers - the presidential terms of Reformist president Mohammad Khatami and his successor, the conservative Mahmoud Ahmadi
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nejad - and filmic markers, particularly Jafar Panahi's The Circle (2000) and Asghar Farhadi's About Elly (2009). Through extensive field and media research, the book considers the interaction of a range of factors including government policy, Iranian national cinema genres and categories, intended audience, funding source, and domestic and international reception, to demonstrate the interplay between filmmakers and the government over these two successive presidencies. While the impact of politics on Iranian filmmaking has been widely examined, this work argues for a more nuanced understanding of politics in and of the Iranian cinema than has generally been previously acknowledged." (Publisher description)
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