"Cette publication présente l’histoire de 18 journalistes centrafricains, tous victimes de diverses menaces, bastonnades et intimidations, pendant qu’ils effectuaient leur travail de reportage sur le conflit qui a déchiré leur pays entre 2012 et 2014 [...] Les témoignages dans cette publicat
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ion illustrent le fait que beaucoup devrait être fait dans le sens d’équiper les journalistes locaux avec les outils pour mieux gérer les situations de conflits, aussi bien en ce qui concerne leur sécurité physique personnelle, que la manière de rendre compte des histoires relatives aux conflits. Bien que ces outils ne soient pas suffisants pour atténuer les dangers que courent les journalistes en couvrant les conflits, ils pourraient, à certains égards, les aider à s’en sortir av ant, pendant et après les conflits." (Avant-propos, page 6-7)
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"Although in the decade 1995 to 2005 there was a slow but steady increase in women’s visibility in the news, the decade 2005 to 2015 has been one of stagnation. At 24% of the total, there has been no change in women’s share of news-making roles in the traditional media (newspapers, radio, televi
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sion) since 2010, and indeed almost none since 2005 when women were 23% of newsmakers. The new digital media (Internet and Twitter news) offer little comfort. Here too, women were only 26% of people in the news in 2015. Across all media, women were the central focus of just 10% of news stories – exactly the same figure as in 2000. Since 2005 the percentage of stories reported by women has been static at 37%, and there has been almost no movement in the proportion of news that challenges gender stereotypes – just 4% of the total in 2015." (Foreword, page 1)
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"La bipolarisation de la crise centrafricaine en conflit "chrétiens versus musulmans" détourne l'attention du monde sur les origines, la vraie nature et les auteurs instigateurs de ce drame. Cet ouvrage allume les projecteurs sur tous ceux qui ont joué une partition non négligeable dans ce mélo
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drame. Autant d'éléments qui permettront au lecteur d'avoir une vision panoramique de la guerre en Centrafrique. Cet ouvrage, c'est aussi la guerre racontée par les témoins oculaires et le regard d'un journaliste sur le traitement de l'information en période de conflit." (Page d'accueil L'Harmattan)
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"Préparer une émission de radio, rechercher l’info pertinente, savoir la traiter et la mettre en forme dans le respect des règles de la profession, afin d’attirer l’attention de son auditoire et de l’informer au plus près de sa réalité : tout un art qui s’apprend certes dans les éco
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les de journalisme, mais surtout sur le terrain, sur le tas, auprès de journalistes engagés plus avant dans le métier. C’est un peu ce rôle de « grand frère » qu’ambitionne de jouer cet ouvrage. Écrit par un journaliste expérimenté, formateur dans de nombreux pays africains, il entend contribuer à renforcer les capacités de tous ceux qui œuvrent dans les radios associatives et/ou communautaires, et qu’on surnomme affectueusement en Afrique les « radioteurs ». Largement documenté auprès des écrits des confrères et illustré de nombreux exemples concrets, ce guide apporte des notions essentielles pour tout journaliste radio. Outre les recommandations sur les techniques spécifiques à ce métier de l’oralité, il attire également l’attention sur l’éthique et la déontologie des médias dans le contexte africain." (Dos de couverture)
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"Adopting a truly global, theoretical and multidisciplinary perspective, Media Pluralism and Diversity intends to advance our understanding of media pluralism across the globe. It compares metrics that have been developed in different parts of the world to assess levels of, or threats to, media plur
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alism." (Publisher description)
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"Talvez este seja o momento de voltarmos os nossos olhos para a cinematografia em Cabo Verde, país que conta com apenas duas salas de cinema, pois, mesmo olhando de longe, eu venho observando desde o Brasil, há algumas tantas ações que demonstram um esforço para implantação e consolidação d
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a sétima arte no país, e todos sabemos o enorme esforço necessário para, às vezes, conquistar pequenos resultados. De qualquer forma vale ressaltar algumas destas iniciativas, tanto oficiais, quanto particulares: festivais, associações, escolas de cinema, entre outros." (Resumo)
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"A produção cinematográfica em Moçambique depende de um sistema de produção muito frágil ancorado em apoios externos. A deficiente rede de distribuição e de difusão, e a escassez de salas, não permitem que o cinema moçambicano tenha grande visibilidade. Fora dos circuitos dos festivais,
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dos congressos e das universidades, este cinema é praticamente desconhecido. Divulgar o trabalho dos cineastas moçambicanos, compreender o contexto e as condições em que filmam, e refletir acerca do olhar destes sobre o mundo que os rodeia, são os principais objetivos desta apresentação. Neste sentido, pretende-se, por isso, fazer uma leitura transversal da história do cinema contemporâneo em Moçambique, convocando para a discussão os realizadores Licínio Azevedo, Sol de Carvalho, José Cardoso, João Ribeiro, Pipas Forjaz e Mikey Fonseca." (Resumo)
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"This study compared social media (new media) and newspapers’ framing of the January 2012 #Occupy Nigeria Protest. Authors employed content analysis to investigate similarities and differences in the frames adopted by social media (Facebook page, blogs, conversations in Nairaland and Twitter) and
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three national newspapers (the Nigerian Tribune, The Guardian and The Punch) during the protest. Findings show that the old media fared better than the social media in their framing of the motivation, diagnosis and prognosis of the protest. This study established that representatives of the old media were better contributors to the prosecution and/or discourse of the Occupy Nigeria Protests than the social media." (Abstract)
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"This Uganda national communication strategy for malaria prevention and control has been developed to facilitate the implementation of the Uganda Malaria Reduction Strategy (UMRS) 2014-2020. The strategy will offer a framework where every stakeholder shall take recommended actions to fund, prevent,
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diagnose, treat, control, and eventually eliminate malaria." (Acknowledments, page 4)
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"This report presents the findings of the Mid-Term Performance Evaluation of the Mozambique Media Strengthening Program (MSP), funded by the United States Agency for International Development (USAID). The MSP project, with a period of performance of June 10, 2012-June 11, 2017 and a budget of $9,978
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,124 million, is being implemented by the International Research and Exchange Board (IREX). The MSP is the largest activity in USAID/Mozambique’s Democracy, Human Rights, and Governance (DRG) portfolio. Launched by IREX in June 2012, its goal is “[a] free, open, diverse, and self-sustaining Mozambican media sector providing high-quality information to citizens that promotes debate, accountability, and transparency.” The MSP contributes to USAID broader objective of strengthening democratic governance of Mozambican institutions and second- and third-order aims of more effective civil society participation in governance processes and citizens becoming better informed of their rights and responsibilities. This evaluation of the MSP seeks to achieve two purposes. First, the assessment attempts to validate interventions that are valued by stakeholders and that contribute to desired results, and second, the study aims to generate evidence-based recommendations for improved implementation of MSP over its final two years." (Executive summary)
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"The influence of globalisation and its attendant modern technologies has reconfigured the manner in which orality functions in the contemporary African context. Confronted with the powerful presence of media technologies that threaten to supplant its central role in many African societies, orality
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has been compelled to reinvent itself by means of appropriating the same media for its survival. The result has been a process that seeks to recontextualise imported technologies in locally relevant ways. This article focuses on how video technology adapts to local Kenyan cultural contexts. Arguing that vernacular video films form part of contemporary cultural productions in Kenya, the article demonstrates how strategies of remediation, such as subtitling, re-oralisation, repurposing and immediacy, contribute to the reactivation of orality. It emerges from the analyses that local knowledge cultures actively engage modern technologies in a way that debunks any simple linear perceptions of the impact of mediatisation on African epistemologies. Through local agency, communities actualise their aspirations for a domesticated modernity that is simultaneously fresh and familiar, and therefore less culturally alienating." (Abstract)
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