"The use of smartphones and tablets has jumped significantly in the past year, with fewer people using their computers for news. More than a third of online news users across all countries (39%) use two or more digital devices each week for news and a fifth (20%) now say their mobile phone is their
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primary access point. The number of people paying for digital news has remained stable over the past 12 months, although we have seen a significant switch to more valuable ongoing digital subscription in most countries. Our new (and unique) social media index for news shows Facebook is by far the most important network for news everywhere. Although Twitter is widely used in the US, Spain, and the UK, it is far less influential in many other European countries. Google+ is emerging as increasingly important for news, along with messaging application WhatsApp. European respondents remain strongly committed to news that tries to be neutral (or impartial) but Americans are more interested in hearing from brands and reporters that are open about their own views and biases." (Key findings, page 8)
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"Using the Israeli-Palestinian conflict as a natural laboratory for studying possibilities and limitations of constructive conflict coverage, the present book combines a longitudinal retrospective look at the coverage of the Israeli-Palestinian conflict with experimental research on audience reactio
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ns and theoretical questions of conflict, war and peace coverage.
The editors aimed at utilizing these materials to learn about changes in media framing and representation of issues, actors, and leaders; to focus on problems of war coverage and peace journalism, such as the persistence of a war orientation in media culture and performance, and the extent to which the media have “matured” so as to change this normative orientation in favor of an increased contribution to peacemaking and peacekeeping; and to study and criticize peace journalism thought, research and action after some twenty years since its emergence." (Publisher description)
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"Mexico ranks as one of the most violent countries in the world for journalists, and especially for those who work on the country’s periphery such as its northern border. Given the dire situation for Mexican reporters covering the northern part of the country, and the continued responsibility of U
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S journalists to report on the area just south of the border, this qualitative study addresses the overarching research question that examines how Mexican and US journalists who cover northern Mexico are using social media, given the heightened levels of violence in the region. The authors utilize a modified version of the conceptual framework of scale-shifting to investigate how journalists in a specific transnational environment of conflict are using social media. The study is based on a qualitative analysis of 41 interviews gathered in fall 2011 in 18 cities with news media outlets along the United States–Mexico border. Findings describe the innovative ways that journalists are circumventing online security risks (what the authors call scale-shifting) and how social media are used to build cross-border relationships." (Abstract)
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"Global Journalism Practice and New Media Performance provides an overview of new and traditional media in their political, economic and cultural contexts while exploring the role of journalism practice and media education. The authors examine media systems in 16 countries, including China, Russia a
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nd the United States." (Publisher description)
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"Tracking the ways in which journalism and memory mutually support, undermine, repair and challenge each other, this fascinating collection brings together leading scholars in journalism and memory studies to investigate the complicated role that journalism plays in relation to the past." (Publisher
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description)
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"This book is about public diplomacy as it is practiced by American diplomats at US embassies around the world. The focus is intentionally on field operations, since that is an aspect of public diplomacy that has been neglected in the literature. The book shows how American diplomats cope with the c
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hallenges of criticism—and correct misunderstandings— that foreign publics have about US foreign policy and American society and culture. It discusses the techniques they use to engage in a dialogue with people from different cultures. Some of these techniques are new, designed to cope with new technologies, and some are older and have been tested over time. The book it takes the reader inside American embassies to show how public diplomacy specialists work with ambassadors and other American officials as part of a team representing the United States. This book is based on extensive original field research into actual cases of public diplomacy operations as conducted abroad in the twenty-first century. Much of the research has never been published before. The book uses empirical evidence to formulate written and unwritten rules that have been followed by experts and it highlights their best practices. It is also informed by the author’s personal experience of thirty-one years in the Foreign Service, including two ambassadorships and several tours as public affairs officer (PAO) or assistant PAO." (Introduction)
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"Visual images have been a central component of propaganda for as long as propaganda has been produced. But recent developments in communication and information technologies have given terrorist and extremist groups options and abilities they never would have been able to come close to even 5 or 10
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years ago. There are terrorist groups who, with very little initial investment, are making videos that are coming so close to the quality of BBC [British Broadcasting Corporation] or CNN [Cable News Network] broadcasts that the difference is meaningless, and with access to the web they have instantaneous access to a global audience. Given the broad social science consensus on the power of visual images relative to that of words, the strategic implications of these groups' sophistication in the use of images in the online environment is carefully considered in a variety of contexts by the authors in this collection." (Publisher description)
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"Today, DIY- do-it-yourself - describes more than self-taught carpentry. Social media enables DIY citizens to organize and protest in new ways (as in Egypt's "Twitter revolution" of 2011) and to repurpose corporate content (or create new user-generated content) in order to offer political counternar
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ratives. This book examines the usefulness and limits of DIY citizenship, exploring the diverse forms of political participation and "critical making" that have emerged in recent years. The authors and artists in this collection describe DIY citizens whose activities range from activist fan blogging and video production to knitting and the creation of community gardens. Contributors examine DIY activism, describing new modes of civic engagement that include Harry Potter fan activism and the activities of the Yes Men. They consider DIY making in learning, culture, hacking, and the arts, including do-it-yourself media production and collaborative documentary making." (Back cover)
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"Führen Globalisierung und Digitalisierung bei Journalisten zu einer weltweit einheitlichen Rollenvorstellung (= Illusio)? Rund 70 Leitfaden-Interviews mit Online-Journalisten zeigen das Fortbestehen nationaler und internationaler Unterschiede - aber auch eine klare Tendenz: Auf der Suche nach mög
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lichst vielen Klicks verlieren die Journalisten den Glauben an die klassische Gatekeeper-Rolle; sie werden "Gatepusher'." (Verlagsbeschreibung)
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"Media Literacy Education in Action brings together the field’s leading scholars and advocates to present a snapshot of the theoretical and conceptual development of media literacy education—what has influenced it, current trends, and ideas about its future. Featuring a mix of perspectives, it e
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xplores the divergent ways in which media literacy is connected to educational communities and academic areas in both local and global contexts. The volume is structured around seven themes: Media Literacy: Past and Present; Digital Media and Learning; Global Perspectives; Public Spaces; Civic Activism; Policy and Digital Citizenship; Future Connections. Compelling, well-organized, and authoritative, this one-stop resource for understanding more about media literacy education across disciplines, cultures, and divides offers the fresh outlook that is needed at this point in time. Globally, as more and more states and countries call for media literacy education more explicitly in their curriculum guidelines, educators are being required to teach media literacy in both elementary and secondary education contexts." (Publisher description)
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"Examining experiences at a wide variety of community papers – from a 7,000-circulation weekly in West Virginia to a 50,000-circulation daily in California and a 150,000-circulation Spanish-language weekly in the heart of Chicago – "Saving Community Journalism" is designed to help journalists an
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d media-industry managers create and implement new strategies that will allow them to prosper in the twenty-first century. Abernathy's findings will interest everyone with a stake in the health and survival of local media." (Publisher description)
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"Der Autor porträtiert 23 Länder aus sechs Weltregionen. Anschließend bildet er mittels des pragmatischen Differenz-Ansatzes sechs Modelle heraus: Das liberale Modell, das Public-Service-Modell, das Klientel-Modell, das Schock-Modell, das Patrioten-Modell und das Kommando-Modell. Dabei zeigt sich
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: In Ländern wie China, Syrien, dem Iran oder auch Weißrussland fungieren die Medien als Lautsprecher der Herrschenden. In den USA, Brasilien oder auch Deutschland und Frankreich sind sie eher Widersprecher. Doch auch dazwischen gibt es ein breites Feld von Ländern wie Russland, Libanon oder Italien, in denen eine Ambivalenz zwischen Lautsprechern und Widersprechern besteht, deren Kräfteverhältnis sich immer wieder verschieben kann." (Verlagsbeschreibung)
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"War Reporters Under Threat describes the threat of violence facing war reporters from the United States government and some of its closest allies. Chris Paterson argues that what should have been the lesson for the press following the invasion of Iraq - that they will be treated instrumentally by t
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he US government - has been mostly ignored. As a result, even nominally democratic states cannot be counted upon to protect journalists in conflict, and urgent reform of legal protections for journalists is required. War Reporters Under Threat combines critical scholarship with original investigation to assess the impact of the US government's obsession with information control and protection of its own troops. While the press-military relationship has been well researched, this book is the first to elaborate the US government threat to journalists." (Abstract)
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"The structure of this Yearbook is divided in three parts. The first part is an introduction chapter that makes a comparative synthesis of fiction in Obitel countries. This comparison is made from a quantitative and qualitative perspective that allows us to observe fiction development in each countr
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y, pointing out its main products as well as the topic of the year: transmedia production strategies in television fiction. The second part includes 12 chapters (one for each country) with an internal structure in which sections of the Yearbook are usually constant, although some are more specific than others." (Pages 19-20)
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"The first decade of the 21st century has seen a proliferation of North American and European films that focus on African politics and society. While once the continent was the setting for narratives of heroic ascendancy over self (The African Queen, 1951; The Snows of Kilimanjaro, 1952), military o
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dds (Zulu, 1964; Khartoum, 1966) and nature (Mogambo, 1953; Hatari!,1962; Born Free, 1966; The Last Safari, 1967), this new wave of films portrays a continent blighted by transnational corruption (The Constant Gardener, 2005), genocide (Hotel Rwanda, 2004; Shooting Dogs, 2006), ‘failed states’ (Black Hawk Down, 2001), illicit transnational commerce (Blood Diamond, 2006) and the unfulfilled promises of decolonization (The Last King of Scotland, 2006). Conversely, where once Apartheid South Africa was a brutal foil for the romance of East Africa (Cry Freedom, 1987; A Dry White Season, 1989), South Africa now serves as a redeemed contrast to the rest of the continent (Red Dust, 2004; Invictus, 2009). Writing from the perspective of long-term engagement with the contexts in which the films are set, anthropologists and historians reflect on these films and assess the contemporary place Africa holds in the North American and European cinematic imagination." (Publisher description)
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