"Research on the effect of suicide stories in the media on suicide in the real world has been marked by much debate and inconsistent findings. Recent narrative reviews have suggested that research based on nonfictional models is more apt to uncover imitative effects than research based on fictional
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models. There is, however, substantial variation in media effects within the research restricted to nonfictional accounts of suicide. The present analysis provides some explanations of the variation in findings in the work on nonfictional media. Logistic regression techniques applied to 419 findings from 55 studies determined that: (1) studies measuring the presence of either an entertainment or political celebrity were 5.27 times more likely to find a copycat effect, (2) studies focusing on stories that stressed negative definitions of suicide were 99% less likely to report a copycat effect, (3) research based on television stories (which receive less coverage than print stories) were 79% less likely to find a copycat effect, and (4) studies focusing on female suicide were 4.89 times more likely to report a copycat effect than other studies. The full logistic regression model correctly classified 77.3% of the findings from the 55 studies. Methodological differences among studies are associated with discrepancies in their results." (Abstract)
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"This book is the first to offer a global perspective on the unique contemporary media phenomenon of transnational television channels. It is also the first to compare their impact in different regions of the globe. Revealing great richness and diversity across some of the world’s main geocultural
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regions (Europe, the Middle East, Africa, South Asia, Greater China and Latin America), international contributors with in-depth industry knowledge examine the place of these channels in the process of globalization, their impact on the nation-state and on regional culture and politics. The book also considers audiences and geocultural TV markets, providing new ways of thinking about the emerging transnational media order." (Publsiher)
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"Die aufgeklärte Öffentlichkeit im Westen hat neue Helden: die Journalisten und Macher des arabischen Nachrichtensenders Al-Dschasira. Ganz offensichtlich lassen sie sich weder von Anzeigenboykotten aus der arabischen Welt noch von Anfeindungen der amerkanischen Führung davon abbringen, ihnen zug
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ängliche Nachrichten ohne jedwede Rücksichten zu verbreiten. Weltweites Aufsehen erregte Al Dschasira, als man nach dem 11. September ein Tonband Osama Bin Ladens abspielte. Seitdem steht der Sender im Verdacht, mit Al Quaida zu konspirieren. In den Verdacht, auch vom israelischen Geheimdienst oder der CIA finanziert zu sein, kam er, als er zu Beginn der zweiten Intifada in seiner berühmten Talkshow 'The Opposite Direction' auch Israelis zu Wort kommen ließ. Mit dieser Politik folgt Al-Dschasira – nach Auskunft der Verantwortlichen – 'nur' seinem Motto 'Meinung und Gegenmeinung'. Ob damit die tatsächlichen Motive des Senders richtig charakterisiert sind, ist auch Thema dieser Reportage. Der Journalist Hugh Miles sprach mit den Schlüsselfiguren des Senders. Er berichtet über die Hintergründe und die Stationen des meteoritengleichen Aufstiegs eines Fernsehsenders, der demnächst auch in englischer Sprache senden wird, um so weltweit zu agieren. Möglicherweise, so meint Hugh Miles selbstkritisch, habe er nur deswegen – sozusagen als PR im englischsprachigen Raum – die bisher einmalige Gelegenheit erhalten, hinter die Kulissen zu sehen." (Verlagsbeschreibung)
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"Der Vietnamkrieg (1960 - 1975) gilt auch heute noch als einer der bedeutendesten kriegerischen Konflikte der Nachkriegszeit. Beharrlich wird im aktuellen Irakkrieg der warnende Vergleich mit dem amerikanischen Trauma in Südostasien gewagt, ohne vielleicht genau zu wissen, welche Wirkungszusammenh
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nge zwischen Politik, Presse und öffentlicher Meinung bestehen und bestanden haben. Jan Wölfl bedient sich des interdisziplinären Ansatzes der Staatswissenschaften, um die Beziehungen zwischen der Presse- und Informationspolitik der US-Administrationen und der Berichterstattung der Medien zu analysieren." (Verlagsbeschreibung)
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"The Department of State and the U.S. Agency for International Development obligated at least $40 million in fiscal year 2004 for the development of independent media, including activities such as journalism and business management training and support for legal and regulatory frameworks. About 60 p
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ercent of the fiscal year 2004 USAID and State obligations we identified supported independent media development projects in Europe and Eurasia. However, precise funding levels are difficult to identify due to a lack of agencywide budget codes to track media development obligations, differing definitions of independent media development, and complex funding patterns. State and USAID face challenges in designing performance indicators and accurately measuring and reporting results directly tied to the performance of U.S. independent media efforts. The tools most frequently used by State and USAID as performance indicators—Freedom House’s Freedom of the Press survey and the IREX Media Sustainability Index—are useful for determining the status of the media in selected countries but are of limited utility in measuring the specific contributions of U.S.-sponsored programs and activities toward developing independent media in countries when used alone. Several country-specific and programmatic challenges can impede the implementation of media development efforts, including a changing political condition, sustainability of local media outlets, and coordination between donors and providers. Specifically, a country’s changing political condition or lack of adequate civic and legal institutions can create challenges for a mission to plan, implement, and measure the results of its efforts. The sustainability of program recipients can also impede the overall success of efforts or specific activities at the country level. In addition, when coordination of activities is unstructured or informal, redundancies and confusion of responsibilities can impact project implementation." (Summary)
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"Wie kein Krieg zuvor war der Irak-Krieg von 2003/04 ein »Bilderkrieg«, in dem die Kriegsparteien Bilder als Waffen einsetzten und via Bild kommunizierten. Im Anschluß an seine große Studie »Bilder des Krieges - Krieg der Bilder« (2004) untersucht der Flensburger Historiker und Sozialwissensch
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aftler Gerhard Paul erstmals und umfassend die visuelle Rüstungsspirale des Irak-Krieges, die in den Hinrichtungsvideos und den Horrorbildern aus Abu Ghraib und Falludscha ihren Gipfelpunkt erreichte. Er rekonstruiert die Planung und die Inszenierung des Angriffs als sauberen »Blitzkrieg«, die symbolische Politik der Besetzung und Unterwerfung sowie die fotografischen Ikonen, die der Krieg produzierte. Paul untersucht die unterschiedlichen Perspektiven der Akteure - angefangen von den Militärs, über die »embedded correspondents« bis hin zu den Freelance-Reportern - auf das Geschehen und die vielfältigen »Bildstörungen« in Gestalt von Weblogs und Warblogs, die das gewünschte Kriegsbild immer wieder unterliefen." (Verlagsbeschreibung)
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"The purpose of the final evaluation was to provide the Office of Transition Initiatives (OTI) and the U.S. Agency for International Development with an assessment of the relevance, effectiveness, and lessons learned from OTI’s mega-program in Afghanistan. Since evaluations of the media program ha
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d been undertaken and a study of management issues was planned, this evaluation addressed the following fundamental questions: 1. Was OTI strategic? 2. Did OTI promote government legitimacy? 3. Did OTI’s use of participatory democratic processes increase citizen’s connections to each other and to local authorities?" (Executive summary, page 6)
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"In the past decade, the mass media discovered disability. Spurred by the box-office appeal of superstars such as the late Christopher Reeve, Michael J. Fox, Stephen Hawking, and others, and given momentum by the success of Oscar-winning movies, popular television shows, best-selling books, and prof
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itable websites, major media corporations have reversed their earlier course of hiding disability, bringing it instead to center stage. Yet depictions of disability have remained largely unchanged since the 1920s. Focusing almost exclusively on the medical aspect of injury or illness, the disability profile in fact and fiction leads inevitably to an inspiring moment of “overcoming.” According to Riley, this cliché plays well with a general audience, but such narratives, driven by prejudice and pity, highlight the importance of “fixing” the disability and rendering the “sufferer” as normal as possible. These stories are deeply offensive to persons with disabilities. Equally important, misguided coverage has adverse effects on crucial aspects of public policy, such as employment, social services, and health care. Powerful and influential, the media is complicit in this distortion of disability issues that has proven to be a factor in the economic and social repression of one in five Americans. Newspapers and magazines continue to consign disability stories to the “back of the book” health or human-interest sections, using offensive language that has long been proscribed by activists. Filmmakers compound the problem by featuring angry misfits or poignant heroes of melodramas that pair love and redemption. Publishers churn out self-help titles and memoirs that milk the disability theme for pathos. As Riley points out, all branches of the media are guilty of the same crude distillation of the story to serve their own, usually fiscal, ends. Riley’s lively inside investigation illuminates the extent of the problem while pinpointing how writers, editors, directors, producers, filmmakers, advertisers and the executives who give their marching orders go wrong, or occasionally get it right. Through a close analysis of the technical means of representation, in conjunction with the commentary of leading voices in the disability community, Riley guides future coverage to a more fair and accurate way of putting the disability story on screen or paper. He argues that with the “discovery” by Madison Avenue that the disabled community is a major consumer niche, the economic rationale for more sophisticated coverage is at hand. It is time, says Riley, to cut through the accumulated stereotypes and find an adequate vocabulary that will finally represent the disability community in all its vibrant and fascinating diversity." (Publisher description)
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"Une presse indépendante est essentielle pour un développement économique équitable : elle contribue à donner la parole aux personnes pauvres et privées de droit. Des médias autonomes participent également à l’édification de bases solides pour une société libre et transparente. Les aut
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eurs, parmi lesquels figurent quelques Prix Nobel, comme Joseph Stiglitz, ancien économiste en chef de la Banque Mondiale et le célèbre Gabriel García Márquez, étudient le rôle des médias comme garde-fous des secteurs publics et privés et la politique en matière de liberté de la presse. Ils jugent également les effets nuisibles que peut causer un journalisme irresponsable et contraire à l’éthique. Un ouvrage de réflexion pour les étudiants, les professeurs et les chercheurs en communication et pour ceux qui s'intéressent au pouvoir et à l'impact des médias." (Description de la maison d'édition)
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"In Shooting the Family, twelve authors investigate the transfigured role of the family in a transnational world in which intercultural values are negotiated through mass media like film and television, as well as through particularistic media like home movies and videos. "Shooting the Family" has a
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double meaning. On the one hand, this book claims that the family is under pressure from the forces of globalization and migration; it is the family that risks being shot to pieces. On the other hand, family matters of all kinds, including family values, are increasingly being constructed and refigured in a mediated form. The audiovisual family has become an important medium for intercultural affairs - this is a family that is being re-established as a place of security and comfort in times of upheaval; it is the family shot by cameras that register and simultaneously create new family values." (Publisher description)
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"This volume grew out of the Why We Write conference held at Columbia University in the spring of 2003. The conference was the second part of a series of conferences organized by graduate students in the history department that explored issues related to history, social change, and the politics of w
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riting. The proceedings from the first conference were published as Taking Back the Academy: History of Activism, History as Activism (Routledge, 2004). The Why We Write conference drew participants from across disciplines and academic fields and also included, among others, filmmakers, journalists, playwrights, novelists, and poets from in and beyond the United States. The focus of the conference was to examine writing, broadly defined. As such the panels ranged from historical discussions on print culture and the use of theory in U.S. history to roundtable discussions on gender and sexuality to workshops on teaching writing and publishing one’s research." (Acknowledgements, page vii)
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"Die aktualisierte und überarbeitete Neuausgabe dieses 1999 erstmals erschienenen Standardwerks entschlüsselt das komplexe System hinter den Bildschirmen und stellt dabei den Zusammenhang zwischen den verschiedenen Arbeits- und Themenbereichen innerhalb eines Senders her. Das "Praxishandbuch Ferns
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ehen" erklärt die juristischen Feinheiten und betriebswirtschaftlichen Besonderheiten der Organisationen, beschreibt die Medienpolitik der Parteien und Konzerne, untersucht das Umfeld des Marktes und der Werbung und betrachtet aus der Perspektive der Macher die verschiedenen Programm-Genres und die kreativen Prozesse bei der Programm-Arbeit." (Verlagsbeschreibung)
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