"OECD-DAC’s previous efforts of information collection exercises had already shown that it is difficult, if not impossible, to come up with an overall figure of the investment DAC members have made in the field of ICT for development. The recent attempt has not proved different from the previous o
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nes. Its summary outcome on DAC members’ ICT4D programmes and expenditures is included in Annex 2 and detailed information in Annex 3. Because the financial data are not comprehensive and compatible, the aggregate figure of financing cannot be calculated. However, some reported figures (including some non-ODA) should be highlighted:
• Canada estimates a minimum expenditure of US$ 33 million per annum.
• European Commission has € 250 million commitment of multi-year ICT-specific programmes in addition to € 110 million from the European Development Fund and € 750 million from the European Investment Bank (1999-2003).
• France committed about € 40 million (2002-2005) to global programmes over and from above its country programmes and other facilities.
• Germany at present supports ICT applications with an amount of approximately € 180 million.
• Japan launched its Comprehensive Co-operation Package for bridging the digital divide which consists of non-ODA and ODA funding with a total of US$ 15 billion over 5 years (2000-2005).
• Sweden spent approximately US$ 18 million in 2003.
• The United Kingdom committed ICT-specific programmes and projects, amounting to approximately a total of US$ 83 million.
• The United States estimates its spending of ICT for development at more than US$ 200 million in 2003, and through leveraged or matching outside resources a further US$ 240 million was mobilised." (Page 5)
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"Alongside other measures such as funding of public broadcasting services, regulation of relations between broadcasters and producers and the implementation of tax incentive schemes, direct funding is one of the most traditional and important ways in which public authorities support the film and aud
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iovisual industry. Virtually all European States, as well as territorial communities, regions, some municipalities, the European institutions (Council of Europe, European Community) and various intergovernmental organisations have set up direct aid mechanisms that provide around EUR 1,3 billion of funding for the industry each year. The European Audiovisual Observatory's KORDA database, an important source of information for this report, lists more than 170 support bodies and around 600 different aid programmes. Backed up with facts and figures, this study illustrates the enormous diversity of these mechanisms: diversity in terms of legal foundations, the tasks fulfilled by national support bodies, funding, methods of intervention and, in particular, the sums involved. Despite this variety, which results from the history and political and administrative structure of each European state, the support bodies are keen to find common conceptual ground for their policies, based on the notion that film and audiovisual creativity cannot be governed solely by the rules of the market and that funding is justified by the need for cultural diversity. The European Commission does not question this principle, although it does have to ensure that funding does not disrupt the correct functioning of the common market. The report describes how this whole issue has evolved since 1963 up to the recent European Commission Communication of 16 March 2004. The report covers recent events up to spring 2004: reform of Eurimages, new laws in Germany, Italy, Hungary, draft laws in Poland and Portugal, etc. Finally, Olivier Debande, an expert at the European Investment Bank, analyses the role of private investors and intervention by the banking sector in three countries using distinct models (USA, United Kingdom, France)." (Back cover)
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"Although it relies heavily on reliable information and long distance communication, the humanitarian community has never taken the lead in developing technologies that are particularly suited to its needs. Over the last decades it has greatly profited, however, from technological innovations in tel
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ecommunications and information technology. Besides, a number of applications has been developed that are particularly aimed at the humanitarian community. In particular static products that don’t need to be frequently updated, such as maps, training materials et cetera, have been widely disseminated: the development of this kind of products has become an important aspect of disaster preparedness. Recommendation: Under the heading of disaster preparedness humanitarian organisations should continue to develop information products that can easily be used under a variety of field conditions. Donors, including ECHO, should (continue to) provide funding for such projects. The sharing of these IT tools should be encouraged: as a matter of fact, a culture of sharing information and IT among humanitarian organisations should be promoted." (Executive summary, page 3)
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"This handbook draws on multidisciplinary insights and the experiences of academics and campaign practitioners to provide a comprehensive guide and introduction to planning, implementing and measuring public information and communication campaigns. It outlines the basic theoretical approaches and pr
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ovides practical examples from a variety of both national and international information and communication campaigns within and across Europe. Public opinion information and campaign strategies in a recent American state election campaign are used to contrast the different perspectives and experiences in the United States. The handbook concludes by demonstrating how to measure effects, causality and public opinion change to determine what the campaign accomplished. A helpful summary and checklist for the student and practitioner using survey research is provided at the end." (Publisher description)
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"This guide considers the role of media in conflict and crisis areas, examines media projects established to provide information to affected populations in conflict situations, either during crisis or in the post-conflict period. Its four main sections discuss: Designing programmes for populations i
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n crisis; Humanitarian information programmes; Media projects for peace-building; Measuring impact: The difficult field of impact evaluation. Produced with the support of the European Commission Humanitarian Aid Office (ECHO), the guide originated from a conference in 1998 entitled Strengthening Lifeline Media in Regions of Conflict, which brought together media professionals and experts in conflict resolution to examine how media could impact on peace-building in conflict situations." (https://reliefweb.int)
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"Presents the findings of a survey conducted by the European Institute for the Media to provide the factual basis for the experts' meeting on European assistance to the media of developing countri
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es held in Brussels in 1985. Country surveys are presented for the countries of Belgium, Denmark, the Federal Republic of Germany, France, Greece, Ireland, Italy, Luxembourg, the Netherlands, and the UK. In France, Germany, the Netherlands and the UKT there are rather substantial programs of media assistance. The countries' programs of media assistance display distinct national styles and, at least as far as France and the UK are concerned, a geographical distribution reflecting historical and linguistic associations." (commbox)
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"This is the final report of the research commission "toward a Latin Audiovisual Space." The term "Audiovisual Space" marks the emergence of a new diplomatic vocabulary to indicate the rapid new developments of communication and information systems
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, particularly television, which demand new strategies, policies and both national and international projects. "Space" indicates geographic boundaries which in this case includes countries speaking French and Spanish or some variation thereof. The report is in four parts: 1) an analysis of the imbalance of the international flows of culture, information, and communications; 2) a linkage between culture and industry to show the main tendencies in the restructuring of the international economy which condition to a large extent the search for audiovisual space; 3) an evaluation of efforts already undertaken to find potential partners and forms of cooperation not only between countries of the North and South, but also South and South; 4) a discussion of the contradictions of reconciling the conquest of foreign markets with the value of domestic expression of national individuality. In the introduction Nicholas Garnham points out this book's relevance to Anglo Saxon reades. He says, "It deals cogently with two of the central contemporary cultural debates, the future of European audiovisual culture and the New World Information." The authors reject the simplistic view that sees the "South as Good and the North as Bad." The individual histories of each country are considered on the recognition that cultural, like economic imperialism, works through the specificities of the local power structure." (Eleanor Blum, Frances G. Wilhoit: Mass media bibliography. 3rd ed. Urbana: University of Illinois Press, 1990 Nr. 711)
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