"On average across Asia and the Pacific, women make up 28.6 percent of the media workforce. The proportions are lower in decision-making roles in media organizations where women make up 17.9 percent of executive roles, 19.5 percent of senior editorial and 22.6 percent of mid-level editorial position
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s. There is a clear gender pay gap, with women on average earning US$436 per month, compared with men earning US$506 per month. In Malaysia, the pay gap is the smallest with women earning much higher money and at more equitable levels than the regional average. In contrast, Cambodia and Pakistan had the widest gender pay gap with men earning much higher salaries. Arguably, in Cambodia this could be due to more women journalists recently joining the profession. Women continue to be restricted by stereotypical beats, and face more job insecurity, lower wages and gender discrimination but they are multi-skilled and usually working across more beats than men." (Executive summary)
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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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"If the focus of peace journalism is to press for quality journalism during conflict reporting which will ultimately contribute to peace, then the findings of this study show that the available reporting on the Balochistan conflict passes the litmus test. The coverage is pro-people, and the reporter
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s are aware of their responsibility to society. Despite acute security problems, the journalists have been able to bring the conflict onto the public agenda. A majority of Pakistanis now agree that the people of Balochistan have been maltreated by both politicians and the army, and the time has come to grant them the rights for which they have been fighting for decades, sacrificed thousands of lives and endured great suffering." (Abstract)
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"Television remains the most popular medium in all provinces surveyed and among the different groups of respondents. It is also the most preferred source of information, followed by Radio. A great majority of the population watches TV on a daily basis. More than half of the population spends between
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1-2 hours a day in front of a television. Women are more likely to watch television on a daily basis, while men are more likely to spend more time in front of a television at one time. The use of internet is increasingly becoming popular in Afghanistan. It is a close second to television, but internet users are spending fewer hours a day online. Women politicians are found to be the most frequent users of internet. With television and internet dominating media use habits, radio is found to be falling in popularity among the population [...] When respondents were asked to rank the most important issue that women face in Afghanistan, discrimination (70%), male dominance (70%) and gender abuse (65%) were among the top five. While there was no differences among respondents on the importance of security; access to education (80%) and lack of family support (64%) ranked among the top five most important issues for women." (Executive summary)
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"This synthesis of evidence suggests that BBC Media Action interventions have an important role to play in assisting people affected by crisis, and is consistent with other literature that highlights the role of media in providing accurate and reliable information in crisis. It highlights that, as w
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ith other forms of humanitarian assistance, mass media cannot fully meet people’s needs, and it works best alongside other interventions and actors, particularly locally based media broadcasters and other actors who can provide follow-up on issues raised and address locally specific issues and concerns." (Conclusion, page 56)
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"In 2014, competition in the Afghan media sector has increased in order to attract diminishing advertising revenue. This has led to increased professionalization and a certain degree of segmentation with the introduction of specialist, niche channels. The pace of development of new outlets has slowe
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d, reflecting the challenging environment, and increasing competition: There is now an average of three TV channels created each year as opposed to the average of nine in 2010. The programming scene looks much like that of 2010, filled with news programming, drama series, entertainment programs and political debate, with the exception of the introduction of a significant level of sports programming. Production remains split between national production of a number of key genres, with a high level of internationally procured series, and movies, done so by a variety of means, largely illegal. Whilst there is an increasing desire for internal production, financial, social and political constraints continue to make this difficult. Among media users in the sample, 62% turn their TV on, and 32% turn their radio on at some point during the day, compared to 63% and 39% respectively last year." (Executive summary)
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"This study explores the spatial politics of Othering and whether women are marginalized in political conversations online in India. It's methodology consists of an analysis of 23,350 tweets over an eight-day period. It shows a significant underrepresentation of women in Twitter's political conversa
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tions, which mirrors a real-world marginalization of women in India's political processes." (Abstract)
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"This collection of essays and interviews offers perspectives on traumatic experience from the social and public side of the equation. Like other books in the Palgrave Macmillan Memory Studies Series, it is concerned with redressing the balance of public memory through a focus on what has been negle
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cted or excluded, but traumatic memory poses special problems in this regard. Andrew Hoskins and John Sutton, the series editors, suggest that the question of how we remember has become central to historical enquiry, but the question itself is fraught with complexity. Generational change and new technologies of memory are reshaping the ways in which memory works, and the influence of trauma narratives is a factor in this. They pose another question: ‘What is “memory” under such conditions?’ Here, we focus on the distance between traumatic narratives in the public domain, and the experience of traumatic recall in the mind of a person who has been directly affected by extreme events." (Introduction, page 1)
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"Through an ethnography of English and Kannada print news media in Bangalore, this ambitious and innovative new study reveals how the expanding private news culture played a critical role in shaping urban transformation in India, when the allegedly public profession of journalism became both an obje
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ct and agent of global urbanization. Building on extensive fieldwork carried out with the Times of India group, the largest media house in India, between 2008-2012, Sahana Udupa argues that the class project of the 'global city' news discourse came into striking conflict with the cultural logics of regional language and caste practices." (Publisher description)
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"This report surveys the changing patterns of media consumption in 65 countries across the world, and forecasts how the amount of time people allocate to different media will change between 2014 and 2017. It measures the amount of time spent reading newspapers and magazines, watching television, lis
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tening to the radio, visiting the cinema, using the internet, and viewing outdoor advertising while out of the home. Note that the extent of information available varies considerably from market to market. For some countries we have a full breakdown of consumption figures across all media, with separate figures for desktop and mobile internet, with historical figures back to 2010 and forecasts to 2014, plus monthly breakdowns for consumption across the year, and hourly breakdowns for consumption across the day. For a few countries there is very little research on media consumption trends, so we are able to present only a limited set of figures. We expect the scope of the report to expand in future editions, both by adding new countries and by providing more details for countries where information is currently sparse." (Introduction)
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"The Institutionalizing Social Accountability of Community Radio in Nepal project sought to strengthen the institutional capacity of community radios to promote social accountability and represent the interests of their constituencies. Its intended outcomes were to: 1) improve internal governance, o
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versight, financial and operational management of 100 community radios; and 2) have community radios across Nepal actively promote transparency, equity and social accountability [...] Project impact is difficult to assess. ACORAB made good efforts to collect output and some results-level data, such as the pre and post training tests and the post-workshop check to see how many stations had improved their policies. It also undertook the CR status review which served as a project baseline. But this was not repeated, nor was any data collected on what the stations then achieved with their updated policies, trained staff and public hearings. There is no market research on CR programming so no data is available on the size and nature of their audience or on the impact of their efforts. From the anecdotal information gathered, however it is likely that this project resulted in an increased number of public hearings with a broader range of stakeholders than would have otherwise been the case and that these hearings resulted in improvements to their communities and residents." (Executive summary, page 1-2)
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"Lisa Marie Gadatsch liefert mit dieser Künstlermonographie eine erste umfassende Studie des filmischen Gesamtwerks der indisch-amerikanischen Regisseurin Mira Nair. Nairs Filme changieren zwischen Arthousekino, Hollywood und Weltkino und reflektieren den vielschichtigen kulturellen Hintergrund der
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Ausnahmeregisseurin. Die Autorin stellt die kulturellen Kontraste, Referenzen und Ambivalenzen als integralen Bestandteil Nairs postkolonialer Filmkunst heraus und erkennt in ihrem Kino eine transkulturelle Filmpoesie, die paradigmatisch für eine Generation junger und global inspirierter Filmschaffender ist." (Verlagsbeschreibung)
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