"Staatliche Medienförderung gilt als Instrument der Medienpolitik und bedeutet in der Regel die fortwährende finanzielle Unterstützung von Medieninhabern zur Produktion und dem Vertrieb von Medieninhalten und -projekten. Staatliche Medienförderung kann viele Formen annehmen, meint aber vorwiegen
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d direkte Finanzbeihilfen und Steuervergünstigungen. Bei einer Förderung, die über den klassischen Printmedienbereich (Tages- und Wochenzeitungen) hinausgeht, spricht man im Allgemeinen von Medienförderung (Film, Hörfunk und Fernsehen, aber auch Buch, Spiele, Internet, und Konvergenzmedien). Es wird im vorliegenden Beitrag argumentiert, dass die staatliche Förderung von Medien eine demokratie- und kulturpolitische Pflicht des Staates ist, um Medien- und Meinungsvielfalt zu stärken, die Produktion eines qualitativ anspruchsvollen Angebots anzuregen und dessen Konsum zu unterstützen. Die Debatten zu Medienförderung sind allerdings vielfältig, kontrovers und wertstrittig geführt. Die angebotenen Systeme werden gerne als ineffizient und wenig innovativ wahrgenommen. Demgegenüber stehen Argumente, die positive Effekte von staatlicher Medienförderung wie Erhalt und Erweiterung des Marktangebots und Vielfaltsicherung im Interesse des Konsums hervorheben. Der vorliegende Beitrag gelangt auf Basis von Analysen ausgewählter Förderpraxen in der DACH-Region [Deutschland, Österreich, deutschsprachige Schweiz] zum Ergebnis, dass das Phänomen Medienförderung mit dem wissenschaftlichen Instrumentarium der Medienökonomie plausibel begründbar ist. Die aktuellen Förderpraxen sind in Richtung einer „integralen Medienförderung“ auszubauen." (Zusammenfassung)
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"There are still opposing and restraining forces to globalization processes taking place in media, and the global mediascape comprises international, regional and local markets, and global and local players, which in recent years have evolved at an uneven pace. By analyzing similarities and differen
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ces in a landscape where driving forces of globalization meet locally situated audiences and institutions, this volume unveils a complex, contested space comprising global and local players, whose success is determined by both their national and international dimensions. It guides its readers to the geographical and intellectual exploration of the international media landscape, analyzing the global and local media players and their modus operandi." (Publisher description)
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"The book contains 85 chapters written by persons who have been on those frontlines of communication and development [...] A variety of case studies appear in the book. For example, Kriss Barker and Fatou Jah – in a chapter titled “Entertainment-Education in Radio: Three Case Studies from Africa
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” – explore in detail projects in Nigeria, Burundi and Burkina Faso that used a communication intervention approach advanced by the Population Media Center. Other chapters in the Handbook take the reader to Spain, Kenya, South Africa, Kazakhstan, and beyond. Song Shi examines “ICTs and Modernization in China,” revealing that assumptions and theories of the modernization paradigm have significantly influenced the policies and projects on ICT4D in contemporary China. And, Song Shi writes, discussion on the potential of other approaches in ICT4D in China has also emerged among scholars. Hina Ayaz discusses the “Multiplicity Approach in Participatory Communication” in Pakistan – wherein the country adopted the Global Polio Eradication Initiative – only to run into negative perceptions and banning of polio vaccinations. However, a shift to a more successful approach, grounded in UNICEF’s social mobilization and communityinvolvement communication strategy, brought significant success. While many of the Handbook case studies incorporate participation as a significant development factor, they also address a wide range of social and political issues including, for example, civic engagement, sexual harassment, empowerment, and community voices. In addition to an abundance of case studies from around the world, the Handbook delves into various research methods that are being used to understand and design communication for development and social change interventions [...] Handbook editor Jan Servaes' own chapter (with Rico Lie), “Key Concepts, Disciplines, and Fields in Communication for Development and Social Change ” identifies five clusters of concepts and practices that are evident in the field today and which determine the activities and approaches in communication for sustainable development and social change interventions: The clusters are (1) a normative cluster of concepts; (2) a cluster of concepts that sets an important context for communication activities for development; (3) a cluster of strategic and methodological concepts; (4) a cluster of concepts that relate to methods, techniques, and tools; and (5) a cluster of concepts that addresses the practices of advocacy, (participatory) monitoring and evaluation, and impact assessment. The authors extend their discussion into three subdivisions: (1) health communication, (2) agricultural extension and rural communication, and (3) environmental communication (including climate change communication). This leads the reader into issues related to (1) right to communicate; (2) education and learning; (3) innovation, science, and technology; (4) natural resource management; (5) food security; (6) poverty reduction; (7) peace and conflict; (8) children and youth, women, and senior citizens; and (9) tourism. Some of the forerunners of development communication have not been forgotten. In “Daniel Lerner and the Origins of Development Communication”, Hemant Shah links Lerner’s 1958 book Passing of Traditional Society to today’s modernization and faith in technology to solve social problems. Also contributing to the foundation of this field is Paulo Freire who contributed much to idea that participation should be a vital part of the development dialogue. Ana Fernández-Aballí Altamirano’s chapter on "The Importance of Paulo Freire to Communication for Development and Social Change" highlights his main work Pedagogy of the Oppressed as a "before-and-after" in the fields of education, research, and communication, initially in Latin America and later in both North and South. Particularly in the case of development communication and communication for social change, the author stresses, Freire’s work had a definitive impact ..." (Review by Royal Donald Colle, Journal of Development Communication, vol. 30 (2), page 92-94)
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"This book is an analysis of the specificities of public film funding on an international scale. It shows how public funding schemes add value to film-making and other audio-visual productions and provides a comprehensive analysis of today’s global challenges in the film industry such as industry
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change, digital transformation, and shifting audience tastes. Based on insights from fields such as cultural economics, media economics, media management and media governance studies, the authors illustrate how public spending shapes the financial fitness of national and international film industries." (Introduction)
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"A crowdfunding platform for movies is an alternative way of refunding movie production costs. Usually, such platform combines several types of funding, including sourcing the Internet community to gather small private donations, that is, a revenue stream which is typically named “crowdfunding”.
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In this chapter, we apply the framework of business model analysis to review this crowdfunding mechanism. We describe the business model characteristics of several industry cases. Next, we decide whether such a crowdfunding platform can sustain itself and whether it is able to collect sufficient funds for the production of movies. We argue that the platform could obtain enough funds from the general public for smaller-budget productions such as short films or documentaries. A movie crowdfunding platform could also collect enough income from advertising to make itself sustainable. Charging a premium membership fee to movie producers would yield negligible revenues and is hence not advisable. Further, we find that the platform will never amass the needed production budget in a small market, especially for the production of long feature films. However, a crowdfunding platform could be more valuable when combined with other means of financing smaller movie formats and could perform a marketing purpose alongside its central crowdfunding role." (Abstract)
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