"In this Reuters Institute Report, we review how a range of different newsrooms across Europe and North America use analytics. On the basis of more than 30 interviews, we find the following: Leading digital news organisations are developing distinct forms of editorial analytics tailored to help them
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pursue their particular goals. These forms of editorial analytics differ from more rudimentary and generic approaches (1) in being aligned with the editorial priorities and organisational imperatives (whether commercial, non-profit, or public service) of specific news organisations, (2) in informing both short-term day-to-day decisions and longer-term strategic development, and (3) in continually evolving to keep pace with a changing media environment." (Executive summary)
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"A Companion to Russian Cinema provides an exhaustive and carefully organised guide to the cinema of pre-Revolutionary Russia, of the Soviet era, as well as post-Soviet Russian cinema, edited by one of the most established and knowledgeable scholars in Russian cinema studies. The most up-to-date and
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thorough coverage of Russian, Soviet and post-Soviet cinema, which also effectively fills gaps in the existing scholarship in the field. This is the first volume on Russian cinema to explore specifically the history of movie theatres, studios, and educational institutions. The editor is one of the most established and knowledgeable scholars in Russian cinema studies, and contributions come from leading experts in the field of Russian Studies, Film Studies and Visual Culture. Chapters consider the arts of scriptwriting, sound, production design, costumes and cinematography. Provides five portraits of key figures in Soviet and Russia film history, whose works have been somewhat neglecte." (Publisher description)
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"The three countries that this year experienced a decrease in overall score—Belarus, Azerbaijan, and Kazakhstan—were ones last year that had showed small but unexpected increases. Last year’s Executive Summary indicated that such increases were unlikely to be part of a larger upward trend; pan
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elists’ scores this year for all three ended up placing the three more or less where they stood in 2014. A similar phenomenon occurred this year with Tajikistan. Panelists there gave scores that increase the overall score in the country by 0.18 despite the fact that many serious threats to the media sector exist, including government pressure and harassment of critical voices, concentration of media control, poor quality reporting, and difficulty for independent media in raising revenue. Except for Objective 3, Plurality of News, all objectives received higher scores. Reading the chapter text, however, one does not get the impression that much positive is happening to improve the ability of Tajik media to serve as the Fourth Estate." (Executive summary)
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"The independence and pluralism of Bulgaria’s media has eroded steadily over the past decade. The downward spiral in media freedom that threatens to drown public debate on important policy issues is unrestrained since 2006, when the country was ranked 35th on the Reporters Without Borders Index. N
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ine years later, Bulgaria has fallen to 106th place [...] Bulgarian authorities are increasingly employing tools of “soft censorship” to dominate the country’s media and narrow public access to information and informed policy debate. This analysis defines official “soft censorship” or indirect censorship as any of an array of official actions intended to influence media output, short of legal or extra-legal bans, direct censorship of specific content, or physical attacks on media outlets or media practitioners. These indirect forms of censorship include selective media subsidies and partisan allocation of advertising, as well as biased application of regulatory and licensing powers that can influence editorial content and affect media outlets’ viability." (Executive summary)
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"Albanian journalists believe their most important professional role is reporting things as they are, being detached observers and providing the kind of news that attracts the largest audience. These functions contrast with the dominant perceived role of journalists in the early 1990s as missionarie
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s and educators of the audience (see Table 1). Journalists in Albania tend to be audience-oriented, report uninvolved according to the audience’s taste and demand and attempt to educate them remotely through entertainment and recreation. Journalists’ other attributes as “advocates for social change”, “educators of the audience” and “promoters of tolerance and cultural diversity” find broad support as well. As for critical journalism, only a few journalists think it is important to set the political agenda, to monitor and scrutinize business and political leaders." (Journalistic roles, page 2)
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"Kathrin Nieder-Steinheuer hat ein Modell entwickelt, mit dem sich die kommunikative Verfasstheit der Kategorie des Christlichen im Unterhaltungsformat analysieren lässt. Grundlegend dafür ist der in den untersuchten Formaten festgestellte Zusammenhang zwischen kirchlichen Räumen und geographisch
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en Konzepten einerseits und religiöser Normativität und statistisch-normalistischen Konzepten andererseits. Die bisherige theologisch dominierte Religiotainment-Forschung wird somit durch ein nicht normatives Analyseinstrument für die kulturelle Gegenwart des Christlichen im Unterhaltungsformat ergänzt." (Verlagsbeschreibung)
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"Das Fazit der Beiträge in diesem Heft bringt Snežana Milivojevic nüchtern auf den Punkt: „Der Glaube, dass ein freier Markt gleichbedeutend mit freien Medien ist, hat sich in den Transformationsländern als Illusion erwiesen.“ Die größte Gefahr für unabhängigen Journalismus liegt dort ni
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cht vor allem darin – wie es derzeit laut Olga Tokariuk in der Ukraine der Fall ist –, Gewalt, Entführung und Morddrohungen ausgesetzt zu sein, sondern vor allem in der Abhängigkeit von Finanzquellen: Zwar entsprechen die gesetzlichen Rahmenbedingungen für Medien mittlerweile internationalen Standards, doch als viel schädlicher, so schreibt Sanela Hodžic im Fall Bosnien-Herzegowinas, gilt der Zugriff geschäftlicher Netzwerke und politischer Interessengruppen auf die Medien. Besonders deutlich wird das auch in den Beiträgen zu Bulgarien, Serbien, Albanien und Ungarn. Zudem stellen Péter Techet in Ungarn wie auch Remzi Lani in Albanien fest, dass Journalisten meist schreiben können, was sie wollen, aber niemand darauf regiert: „Gleichgültigkeit gegenüber Kritik führt zur Abwertung des freien Wortes.“ Deshalb warnt auch Christian Mihr von „Reporter ohne Grenzen“: „Freiheit, um die nicht gerungen wird, stirbt.“ Es gibt aber auch Lichtblicke: In der Ukraine legen mehrere unabhängige Sender Wert auf professionellen Journalismus und finanzieren sich durch Crowdfunding. Die Slowakei findet sich auf der Rangliste von „Reporter ohne Grenzen“ auf Platz 14 (Deutschland steht auf Platz 12, die Schweiz auf Platz 20). Nicht zuletzt zeugen auch die Autoren und Autorinnen dieser Ausgabe von den bestehenden Oasen für qualitätsbewussten Journalismus in Osteuropa." (Editorial)
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"O fomento à produção cinematográfica em regime de coprodução tem sido uma saída para os países latinoamericanos que pressionados em sua cadeia produtiva pela hegemônica indústria cinematográfica norte americana têm dificuldades em desenvolver suas cinematografias. Desde da década de 19
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90, essa modalidade de realização fílmica tem sido sistematizada de forma mais consistente entre esses países, Portugal e Espanha através do Programa Ibermedia. Ao que pesem as controvérsias, este programa tem tentado cumprir o papel de promover um espaço de interação audiovisual na chamada Iberoamérica. Esse artigo tem por objetivo apresentar minha proposta de pesquisa de doutorado, que buscará avaliar a relação investimento/retorno das coproduções realizadas pelo Ibermedia nos seus últimos dez anos (2003-3013), tomando para estudo de caso 32 coproduções brasileiras realizadas com apoio do fundo, durante esse período." (Resumo)
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"The transparency of media market in Albania continues to be low, including both commercial operations and the state funding, despite of the existing databases. The involvement of new actors, such as advertising agencies, and sister companies of media outlets, makes it even more difficult to track s
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tate funding for the media, given in the form of advertising or funding to organise cultural events or public awareness campaigns. The fact that there is no central body to oversee and monitor the distribution of state advertising does not help. Furthermore, the absence of data from public companies that are not part of the state authorities makes it difficult to have a complete picture of the true extent of public funds allocated to the media." (Conclusions)
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"For this assessment more than 390 surveys were made in Albania, Bosnia and Herzegovina, Kosovo, the former Yugoslav Republic of Macedonia, Montenegro, Serbia and Turkey [...] In addition to the survey a further 150 in-depth interviews were held, complemented by a Focus Group in each country, which
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provided useful background and analytical information for the narrative parts of this report. The baseline assessment focused on the 4 objectives of the Guidelines: 1. Enabling environment and resulting responsibilities of main actors, 2. Advancing media to a modern level of internal governance, 3. Qualitative and trustworthy investigative journalism available to citizens and 4. Increasing capacity and representativeness of journalist professional organisations. In respect of the enabling environment the survey findings show that most countries have made reasonable or good progress in the field of establishing legislation and most have sufficient provisions to guarantee freedom of expression. However, there remains a serious problem in the proper implementation of the legislation ..." (Page 10)
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"Seit jeher beuten Menschen andere Menschen aus. Die Geschichte der Sklaverei – lange Zeit als Eigentum an einer anderen Person definiert – endete jedoch nicht mit ihrer rechtlichen Abschaffung. Spätestens mit der Allgemeinen Erklärung der Menschenrechte von 1948 ist das Verbot von Sklaverei z
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war eine international akzeptierte Norm, faktisch aber werden Menschen noch immer versklavt und unter schlimmsten Bedingungen ausgebeutet. Da heute nicht mehr Eigentum, sondern die tatsächliche Verfügungsgewalt über eine Person als die entscheidende Kategorie gilt, werden Fälle von Menschenhandel, Zwangsarbeit, Leibeigenschaft oder Schuldknechtschaft oft auch als „moderne Sklaverei“ bezeichnet. Je nach Definition und Erhebungsmethode sind die Zahlen über das Ausmaß moderner Sklaverei sehr unterschiedlich. Die Internationale Arbeitsorganisation (ILO) schätzt, dass weltweit derzeit knapp 21 Millionen Menschen Zwangsarbeit leisten müssen, wozu auch Menschenhandel mit dem Ziel der Arbeits- oder sexuellen Ausbeutung zählt. Andere Schätzungen liegen deutlich höher. Zwar gibt es Formen moderner Sklaverei auch in reichen Ländern wie Deutschland. Das größte Risiko, in Versklavung zu geraten, stellt jedoch Armut dar, weshalb die regionalen Schwerpunkte vor allem außerhalb Europas liegen. Zudem sind Frauen häufiger betroffen als Männer. Dass Deutschland in vielfacher Hinsicht auch in die „alte Sklaverei“ verstrickt war, also in die Wirtschafts- und Plantagensklaverei sowie den transatlantischen „Dreieckshandel“ des 17. bis 19. Jahrhunderts, dringt erst langsam ins breitere öffentliche Bewusstsein." (Editorial)
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"Mediated Communities brings together a diverse, global cohort of academics and professional communicators to assess the current state of democratic mobilizing around the world and the ways in which protest movements are being transformed in the midst of a communication revolution. The volume’s co
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ntributors draw on a variety of international settings—from Greece to Lebanon, China to Argentina—to demonstrate the ways in which community organizing in the digital age relies increasingly on digital media to communicate, help participants find common ground, and fight for change. The contributors acknowledge the challenges that lie ahead for creating real and lasting democratic change but at the same time are able to draw attention to the potential that digital media hold for strengthening citizen voices around the globe." (Back cover)
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"At once both guide book and provocation, this is an indispensable companion for students and practitioners of applied theatre. It addresses all key aspects: principles, origins, politics and aesthetics in a concise and accessible style designed to appeal both to those who have recently discovered t
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his sub-discipline and to experienced practitioners and academics. Part 1 is divided into two chapters. The first introduces the sub-discipline of Theatre for Development, covering its origins, principles and history, and providing an overview of theatre for development in Western contexts as well as in Africa, Asia, the Indian Subcontinent and Latin America. The second focuses upon theoretical and philosophical issues confronting the discipline and its relationship to contemporary politics, as well as considering its future role. Part 2 consists of seven chapters contributed by leading figures and current practitioners from around the world and covering a diverse range of themes, methodologies and aesthetic approaches. One chapter offers a series of case studies concerned with sexual health education and HIV prevention, drawn from practitioners working in Vietnam, Papua New Guinea, Southern Africa, and China. Other chapters include studies of intercultural theatre in the Peruvian Amazon; a programme of applied theatre conducted in schools in Canterbury, New Zealand, following the 2010 earthquake; an attempt to reinvigorate a community theatre group in South Brazil; and an exchange between a Guatemalan arts collective and a Dutch youth theatre company, besides others." (Publisher description)
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