"Of the 939 identified main media literacy stakeholders, over a third were categorised as “civil society” (305), followed by “public authorities” (175) and “academia” (161). Over two-thirds of them do not have a statutory responsibility in this area and base their involvement on a differ
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ent motivation. 189 networks were identified and the vast majority of them (135) are operating at national level. Since the level of activity differs a lot between countries, of the maximum of 580 projects (20 possible projects for each of the 29 respondents, but not all of them were able to detect 20), only 547 were identified. The most common project type is “resources” (173); the second is “end-user engagement” (107). These two together account for more than half of all analysed projects, showing that providing frontline support to citizens is a priority. As to the a ddressed media literacy skills, “critical thinking” was the clear winner, being dealt with by 403 of the 547 projects, followed by “media use” (385). This trend is also confirmed by the case study analysis of the most significant 145 projects, which also feature projects on “intercultural dialogue” (46 of 145), including skills around challenging radicalisation and hate speech online." (Executive summary, page 3-4)
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"International trade in creative industries showed sustained growth in the last decade. The global market for traded creative goods and services totaled a record $547billion in 2012, as compared to $302 billion in 2003. Exports from developing countries, led by Asian countries, were growing faster t
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han exports from developed countries. Among developed country regions, Europe is the largest exporter of creative goods. In 2012, the top 5 creative goods exporters included Germany, France, Switzerland, the Netherlands and Belgium. Exports of creative goods from developed economies grew during the period 2003 to 2012, with export earnings rising from $134 billion to $197 billion. Among developing countries, China is the largest exporter of creative goods. In 2012, the top 5 exporters were China, Hong Kong, China, India, Turkey and South Korea. Exports of creative goods from developing economies grew during the period 2003 to 2012, with export earnings rising from $87 billion to $272 billion. Developing countries are playing an increasingly important role in international trade in creative industries." (Executive summary)
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"Media concentration has been an issue around the world. To some observers the power of large corporations has never been higher. To others, the Internet has brought openness and diversity. What perspective is correct? The answer has significant implications for politics, business, culture, regulati
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on, and innovation. It addresses a highly contentious subject of public debate in many countries around the world. In this discussion, one side fears the emergence of media empires that can sway public opinion and endanger democracy. The other side believes the Internet has opened media to unprecedented diversity and worries about excessive regulation by government. Strong opinions and policy advocates abound on each side, yet a lack of quantitative research across time, media industries, and countries undermines these positions. This book moves beyond the rhetoric of free media and free markets to provide a dispassionate and data-driven analysis of global media ownership trends and their drivers. The book covers thirteen media industries, including television, newspapers, book publishing, film, search engines, ISPs, wireless telecommunication, and others across a 10- to 25-year period in thirty countries. After examining these countries, this book offers comparisons and analysis across industries, regions, companies, and development levels. It calculates overall national concentration trends beyond specific media industries, the market share of individual companies in the overall national media sector, and the size and trends of transnational companies in overall global media." (Publisher description)
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"The report examines what role the internet plays in trafficking in human beings for labour exploitation. It considers in particular methods of online job recruitment and looks at cases studies from several EU Member States – Czech Republic, UK, Ireland, and Romania – and discusses to what exten
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t the internet plays a role and if so, how significant the role of the internet is in facilitating human trafficking. The report provides examples of potential solutions." (Introduction)
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"Video games have become a global industry, and their history spans dozens of national industries where foreign imports compete with domestic productions, legitimate industry contends with piracy, and national identity faces the global marketplace. This volume describes video game history and cultur
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e across every continent, with essays covering areas as disparate and far-flung as Argentina and Thailand, Hungary and Indonesia, Iran and Ireland. Most of the essays are written by natives of the countries they discuss, many of them game designers and founders of game companies, offering distinctively firsthand perspectives. Some of these national histories appear for the first time in English, and some for the first time in any language." (Back cover)
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"We see the smartphone more clearly as the defining device for digital news with a disruptive impact on consumption, formats, and business models. Our data suggest it provides an environment dominated by a few successful brands, with others struggling to reach a wider audience, both via apps and bro
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wsers. The move to online video, new visual formats, and social media coincides in many countries with a fall in audiences for traditional TV bulletins. The trend is most pronounced amongst the under 35s. We see a strengthening in the role played by Facebook in finding, discussing and sharing news. Facebook-owned Instagram and WhatsApp are playing a big role amongst younger groups." (Executive summary)
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This report is based on a quantitative study of 3500 children, aged from 9 to 16 years in seven countries, and a qualitative study with 327 children and 230 adults (parents, teachers and educators) in nine European countries (Belgium, Denmark, Germany, Great Britain, Ireland, Italy, Portugal, Spain
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and Romania).
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"This collection of essays, the first book-length treatment of its kind, explicates the concept of «media interventions», which are herein defined as activities and projects that secure, exercise, challenge or acquire media power for tactical and strategic action. Drawing on insights from media, c
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ommunication and cultural studies, contributors offer penetrating analyses of media interventions in a variety of social, political, and cultural settings from culture jamming and DIY media to public relations campaigns and reality television shows. In doing so, the volume develops an analytical framework for examining the complex and contradictory operation of media power in contemporary society." (Publisher description)
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"Whether at a local, national, or international level, radio has played and continues to play a key role in nurturing or denying—even destroying—people’s sense of collective identity. The essays in this volume provide a historical and contemporary overview of radio in small nations. A number o
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f representative small nations are featured: some grappling with new postcolonial identities and others still operating under repressive regimes; some struggling to find a new common purpose in the postindustrial age and others unifying previously ignored ethnic or language groups. As a whole, the collection strives to present diverse voices commenting on the influential and essential place of radio within these countries." (Publisher description)
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"This research project was undertaken with the purpose of exploring the ways in which government mandated programme production schemes may contribute to the capacities and sustainability of the community radio sector. The study involved a critical policy analysis of the Irish Sound and Vision Scheme
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as well as an international comparative analysis of funding schemes as organised in five other jurisdictions [...] The five jurisdictions that were selected for comparison were Austria, Canada, Denmark, France and New Zealand. The choice of schemes was shaped by the ‘method of agreement’ principle, which allows for the selection of varied national contexts (political culture and longevity of scheme, etc.) combined with the relative comparative nature of the policy under consideration. It is important to note the structural differences between the funding schemes. In Denmark, France and Canada the schemes were initiated as dedicated community media/radio production funds and legislation and policy evolved accordingly. In Austria the scheme was legislated for and developed as a dedicated community broadcasting production fund alongside a dedicated fund for the commercial broadcasting sector. In New Zealand the scheme was legislated for as a generic ‘local content’ production fund (open to community, commercial and public television and radio broadcasters) and adapted to enable a dedicated funding policy for access/community radio production within the wider scheme. In Ireland the scheme originated from legislation for a ‘national content’ production fund, open to broadcasters (community, commercial and public) and independent producers. The scheme is ‘generic’ and open to all of these sectors and is thus not a dedicated community media scheme, nor does it contain a separate scheme for community media production funding." (Executive summary, pages v-vi)
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"An engaging and original study of current research on television audiences and the concept of emotion, this book offers a unique approach to key issues within television studies. Topics discussed include: television branding; emotional qualities in television texts; audience reception models; fan c
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ultures; 'quality' television; television aesthetics; reality television; individualism and its links to television consumption. The book is divided into two sections: the first covers theoretical work on the audience, fan cultures, global television, theorising emotion and affect in feminist theory and film and television studies. The second half offers a series of case studies on television programmes in order to explore how emotion is fashioned, constructed and valued in televisual texts. The final chapter features original material from interviews with industry professionals in the UK and Irish Soap industries along with advice for students on how to conduct their own small-scale ethnographic projects." (Publisher description)
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"Covering 23 countries, the volume highlights and explains key issues of debate and current tendencies in media policy and provides basic statistics relating to each case study. The chapters are written by an expert from the country concerned. Most of these are members of the Euromedia Research Grou
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p, a research collective that has been active for more than 20 years and has produced a series of assessments of media policy developments in Europe." (Publisher description)
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"What follows from the analysis of the surveyed cases is a high level of variety of public television activity on the regional level. This clearly depends on the size and population of different countries, on the central and local administrative organization, on the level of linguistic homogeneity a
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nd from a series of historical, political and cultural factors. For this reason is difficult to talk of variable models of public regional television. In reality, however, there is an important factor of comparison, which allows us to subdivide the surveyed cases in two large categories how we did in the first step report: the statute of regional television centres in terms of independence or organic dependence on the national television companies. In Bosnia, Denmark, Greece, Netherland, Portugal, Russia and Serbia there are public regional television centres independent from national television companies. In Albania, Czech Republic, Finland, Hungary, Ireland and Slovenia there are regional centres, which constitute an organic and integrated part of the national television companies. Where regional public televisions are independent in some cases they broadcast only to the regional population as in Denmark, Portugal, Netherland, Finland, Russia, in other cases they broadcast at national level as in Belgium and Greece. Where regional public televisions are local branch of national companies in some case they produce only for regional transmissions as in Albania and Finland, in other cases they produce also for national public television channels as in Czech Republic and Sweden. In the case of Portugal, regional television centres are independent companies, owned in part by national public television, and they produce programs also for the international public channel to reach the “diaspora” of regional population. A second factor of comparison concerns the relationship between the regional television centres and the regional political, cultural, and social context. In some cases the relationship is important as in Bosnia, Portugal, Belgium, Russia, Serbia in other are not evident as in Ireland, Netherlands, Sweden, Finland. A third factor of comparison concern the extension of regional broadcasting activities. In some cases the regional activity is limited to some daily news broadcasted in a window inside the national programs as in Finland and Ireland, in other cases it concern a more or less wide range of programs of various genres as in Netherlands, Denmark, Russia, Portugal. In correspondence to that dimension there are differences of the economic resources at disposal of each regional television." (Introduction, page 2-3)
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