"Afghanistan once housed tourists from around the world intrigued by the Silk Road stories, the poetic and mystic culture, the majestic landscape and the hospitable people. Their experience in Afghanistan was frequently captured through journalism and photojournalism of the early 1900s. However, Afg
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hanistan’s very own media culture was born during this same time with Seraj-ul-Akhbar being the country’s first newspaper, published on 11 January 1906." (Abstract)
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"Contemporary anthropology is done in a world where social and digital media are playing an increasingly significant role, where anthropological and arts practices are often intertwined in museum and public intervention contexts, and where anthropologists are encouraged to engage with mass media. Be
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cause anthropologists are often expected and inspired to ensure their work engages with public issues, these opportunities to disseminate work in new ways and to new publics simultaneously create challenges as anthropologists move their practice into unfamiliar collaborative domains and expose their research to new forms of scrutiny. In this volume, contributors question whether a fresh public anthropology is emerging through these new practices." (Publisher description)
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"Afghan journalists face threats from all sides: government officials exploiting weak legal protections to intimidate reporters and editors to compel them not to cover controversial topics; the Taliban and other insurgent groups using threats and violence to compel reporting they consider favorable;
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and police and justice officials letting threats, assaults, and even murders go uninvestigated and unprosecuted. Most of the threats come from individuals acting on behalf of powerful government officials or influential local actors, including militia leaders and so-called warlords. Violent attacks on journalists that go uninvestigated and unpunished reflect wider impunity and failure to establish the rule of law in Afghanistan. Afghan journalists often respond to the dangers with self-censorship. Many steer clear of reporting on sensitive issues—including corruption, land grabbing, violence against women, and human rights abuses—as a means to minimize safety risks. Kabul-based editors often avoid assigning stories that could put their reporters at significant risk. Editors and journalists told Human Rights Watch that self-censorship has become a survival mechanism for them. Those outside of the country’s main cities are especially vulnerable to reprisals from powerful individuals and groups because they are more exposed: they lack the protection provided by a larger Afghan media and international presence. The cultural and social conservatism of the provinces also contributes to the difficulty of reporting on controversial issues outside of the capital. The Taliban and other insurgent groups remain a potent source of intimidation and violence against journalists and media outlets. When the insurgency first emerged in 2002, journalists were among its early targets because the insurgents treated journalists as extensions of the Afghan government or Western military forces. However, in recent years, the Taliban and other insurgent groups have used the media as a propaganda platform, and actively court the press in their campaign against the government, including by pressuring reporters to cover their statements or not write articles deemed critical, sometimes with threats of violence. Female journalists in Afghanistan face particularly formidable challenges. In addition to the dangers facing all journalists, they must contend with social and cultural restrictions arising from being Afghan women in the workplace, which limit their mobility in urban as well as rural areas, and increase their vulnerability to sexual violence." (Summary, page 1-2)
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"Since the mid-2000s, an ever-increasing number of Turkish dramas have been exported to several markets and commanded high prices and ratings. To explain the transnationalization of Turkish dramas, this article explores the political economic imperatives as opposed to the commonly cited cultural pro
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ximity thesis. Based on in-depth interviews with television producers, distributors and executives, it analyses the burgeoning of the Turkish production sector, the search for additional revenue streams in foreign markets by Turkish producers, their integration into global networks of television trade, governmental support and the converging local and global dynamics that created favourable export conditions for Turkish dramas." (Abstract)
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"Despite being a heavily-censored society, China has over 560 million active internet users, more than double that of the USA. In this book, social media expert and China-watcher Liz Carter tells the story of how the internet in China is leading to a coming together of activists, ordinary people and
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cultural trendsetters on a scale unknown in modern history. News about protests and natural disasters, or gossip and satirical jokes, are practically uncensorable and spread quickly through Weibo – the Chinese Twitter - and the Chinese internet underground. More than that, a grassroots, foundational shift of assumptions and expectations is taking place, as Chinese men and women cast off the communist era ‘stability at all costs’ mantra and find new forms of selfexpression, creativity and communication with the world." (Publisher description)
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"Clandestine broadcasts are politically-motivated broadcasts produced by groups opposed to the government of the target country. Other target broadcasts can be produced by either governmental or non-governmental organisations and are targetted at zones of regional or local conflict." (Page 508)
"The three case studies depict a range of repressive efforts that are calibrated to achieve particular ends. Sometimes, the authorities choose to co-opt independent voices. In other instances, the regime may create new government-backed versions of media initiatives or civic organizations which mimi
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c the form but not the substance of their authentic counterparts. Some techniques emphasize regulatory controls, while others utilize economic or financial pressure. All three regimes rely on broadly worded laws to punish critics and encourage self-censorship. State-run media remain dominant sources of information for most of the population in each country, and are used by the authorities as a weapon to tarnish and subvert the work of civil society activists and independent journalists." (Introduction, page 8)
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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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"The manual has been structured so as to enable you to understand migrants as a unique and critical audience within your station’s larger listenership. Often, out-migration is seen as desertion by people who stay behind in the villages, and there is a general negative public opinion about internal
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migration in India. This manual lays out a different perspective on the issue of internal migration, which contextualizes and explains the causes and consequences of migration in a non-judgmental way, through a rights-based approach. The manual will guide CR practitioners through a process of thinking about the kind of radio programmes, campaigns and other broadcasts that can be developed to address the myriad issues around migration, particularly reflecting ethical approaches to addressing migrants and their issues. It also examines methods and practices to actively include migrant communities within the CR station's listenership, its programming and outreach. It will thereby help you create a socially inclusive agenda for your CR station with respect to migrants." (Pages 8-9)
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"This research explores the present status of the community radios (CR) in India in the initial sections. But the main focus has been given on the innovative practices of the community radios scattered in nook and corner of the country. Emphasis has also been given to classify the possible innovatio
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ns in the sector and a list of areas on innovation has been identified. This endeavour would open up new paths to create a robust CR environment in the country." (Preface)
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"The overarching philosophy of community radio, acknowledged worldwide, is that it is a tool for social justice and a platform for community voices. Community radio seeks to counter the hegemony of the mainstream media and move away from the commerce-driven negative tendencies of media and journalis
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m such as sensationalism, tabloidization, celebrity-worship, the unrestrained use of hidden cameras and paid news. Ordinary people, through participation in management, content production and organization, produce information relevant to them, choose their own stories, express their voice and define their identity. As India witnesses an endeavour to erect a nationwide network of thousands of autonomous, locally orientated community radio stations, it becomes necessary to build a set of codes of practice for this third tier of broadcasting so that it does not become a clone of mainstream media. This paper looks at some of these principles that the community radio sector in India must hold as sacred in order to strengthen civil society, journalism practices and democracy in India." (Abstract)
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"Community radio is a third tier broadcasting along with public and private radio broadcasting. Community radio is managed, run, controlled and owned by a community for the benefit of the community and serves the needs, interests and aspirations of a community. CR (Community Radio) gives marginalise
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d communities where their voice is not heard an opportunity to express their views where in the mainstream media these voices are not provided any space or time. Voluntary organizations, civic groups, NGOs, Women’s groups/organizations, etc. are now entering into broadcasting to share, express, empower, give voice, to many communities to benefit them with the broadcast. In community radio the public are voluntarily participating and producing programmes for themselves for their own benefit. CR plays an important role in the lives of women as it creates awareness, provides information and education, improves their skills and on the whole it promotes social, cultural, political and economic development or empowerment of women. Many studies have proved that community radio is an instrument of power in changing the lives of women." (Abstract)
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"In many ways what is identified today as "cultural globalization" in Eastern Europe has its roots in the Cold War phenomena of samizdat ("do-it-yourself" underground publishing) and tamizdat (publishing abroad). This volume offers a new understanding of how information flowed between East and West
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during the Cold War, as well as the much broader circulation of cultural products instigated and sustained by these practices. By expanding the definitions of samizdat and tamizdat from explicitly political, print publications to include other forms and genres, this volume investigates the wider cultural sphere of alternative and semi-official texts, broadcast media, reproductions of visual art and music, and, in the post-1989 period, new media. The underground circulation of uncensored texts in the Cold War era serves as a useful foundation for comparison when looking at current examples of censorship, independent media and the use of new media in countries like China, Iran, and the former Yugoslavia." (Book cover)
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