"This is an evaluation of the project “Promoting Professionalism, Independence and Accountability in Sri Lanka” under the Sri Lanka Press Institute, SLPI. SLPI has two major departments: the Press Complaints Commission of Sri Lanka, PCCSL, and the Sri Lanka College of Journalism, SLCJ. PCCSL is
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a self-regulatory body for press ethics, while SLCJ is running a one-year diploma course in journalism and a number of short term mid-career courses for working journalists. The major funding of the SLPI has come from Sida and Norad for the period 2003–2006. This has been supplemented by funding from DANIDA towards the end of this period. The Institute for Further Education of Journalists, Fojo, has been the Swedish partner to SLPI to support institutional capacity building [...] During a short duration of less than three years SLPI has achieved a lot. The institute is up and running. Most of the practical aspects of setting up an institute have been achieved. In addition, a whole new section for the training of TV and radio journalists which was not on the original plan has been established. Most journalists we met agreed about the concept of self-regulation and commended the SLPI for pioneering the concept. The courses conducted by the College and Fojo have acceptance within the media industry. Despite these achievements, SLPI has been going through a certain degree of turmoil in recent times, mainly linked to management issues. Hence the organisation has entered a period where it needs to sort out these issues and consolidate itself." (Executive summary)
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"Media monitoring found a low incidence of HIV/AIDS stories across most media in the six countries. Researchers variously described the incidence of HIV stories during the media monitoring as “small” (Cambodia and the Philippines), “miniscule” (South Africa), and “infrequent” (India). In
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Nigeria, the researcher noted that cartoonists in particular had “gone to sleep on HIV/AIDS”. When they appeared in Asian media, HIV stories were generally given a moderate to high prominence, although researchers in all three Asian countries felt this was related to World AIDS Day (which occurred during the monitoring period in Asia). Researchers in African countries found that prominence varied and that many stories were event-based and buried. All researchers reported that, overall, the number of HIV/AIDS stories in print and broadcast media was low compared to other stories during the two monitoring periods. In Zambia and Nigeria especially, television coverage was extremely low, a particular problem given the low literacy rates in these countries. In Zambia, the research found that HIV/AIDS stories accounted for only 20.5 minutes of the 700 news minutes (just under 3%) broadcast on television and radio combined over the two week monitoring period. Similarly, in Cambodia, even including World AIDS Day, stories that mentioned or featured HIV/AIDS accounted for less than 3% of all the total news stories of the outlets monitored." (Executive summary, page 4)
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"The experience of establishing community stations in Afghanistan provides four distinct, but interrelated lessons [...] The project has demonstrated that international organizations can promote community stations in impoverished, war-tron societies that have had no experience of independent or comm
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ercial media. Second, community radio can provide not only news but also a stimulus for grassroots democracy and social networks [...] Third, the Afghanistan example also suggests that community radio stations can raise modest resources locally [...] Fourth, in a politically and economically fragile environment, most community stations may require long-term financial support." (Lessons and recommendations, page 270-271)
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"The purpose of this book is to provide a first step for anyone interested in discovering popular culture in India today. The chapters cover cinema, television, and radio; newspapers and magazines; music, theater, and literature; and sport, providing an explanation of the critical developments in ea
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ch of these fields. The book also explores the changing lifestyles in India, particularly in the areas of shopping, eating, and other forms of consumerism. Each chapter has its own list of the books, academic papers, and articles in the popular press that I found useful in the compilation of the book." (Preface)
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"With chapters on Indonesia, Malaysia, Singapore, Vietnam, Thailand, the Philippines, India, Sri Lanka, Bangladesh, Korea, Mainland China, Taiwan, Hong Kong and Japan, the book presents the most authoritative assessment of contemporary Asian cinema available. Each chapter describes the cultural aspe
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cts of popular film production, analyzing key films in the context of the national, the regional and the global. Topics covered include: film theory and Asian cinema, popular film genres, major industry figures, the "art film", connections between the state and commercial interests, cultural policies, representations of national identity, trends in international co-production, transnational and diasporic dimensions of Asian filmmaking and viewing, the politics of language choice, the impact of emerging technologies on filmmaking practice, and modes of exhibition." (Publisher description)
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"This book is a collection of articles based on first-hand experiences in news media by eminent Indian media personalities. It is a comprehensive collection, exploring different kinds of news reporting across TV, print, and radio as also across different genres like sports, business, entertainment,
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war. Each essay is written as a primer yet with important tips from the foremost practitioners, which makes the business of reporting and news both a science and an art. Additionally, it also has essays on production and the news process. It is easily the first of a kind volume available within an Indian context. The volume illustrates how TV news reporting differs from the print, the importance of radio, the specific experiences in reporting business, crime, political, war stories. It also talks about the advantages of using the media for social marketing and many more engaging examples." (Publisher description)
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"Increasingly, Pentecostal, Buddhist, Muslim, Jewish, Hindu, and indigenous movements all over the world make use of a great variety of modern mass media, both print and electronic. Through religious booklets, radio broadcasts, cassette tapes, television talk-shows, soap operas, and documentary film
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these movements address multiple publics and offer alternative forms of belonging, often in competition with the postcolonial nation-state. How have new practices of religious mediation transformed the public sphere? How has the adoption of new media impinged on religious experiences and notions of religious authority? Has neo-liberalism engendered a blurring of the boundaries between religion and entertainment? The vivid essays in this interdisciplinary volume combine rich empirical detail with theoretical reflection, offering new perspectives on a variety of media, genres, and religions." (Publisher description)
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"The tsunami demonstrated that modern journalists can do more than just bring unfolding stories to the world. One of the biggest lessons of the tsunami that is unravelling is that the modern journalist can also help to heal communities, rebuild lives, keep families intact and raise funds. The media
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should also keep an eye on government and relief agencies, helping to ensure that aid gets to the people who need it, and that those who deliver the goods remain accountable to the donors and practice ethical standards of aid delivery. The question of media freedoms is also an important part of this equation. Beyond what journalists can do, there is also the matter of what authorities will allow them to do. In other words, the question of how much a responsible media will be allowed to do its job. It is in the rehabilitation or healing process that the media face the most challenging task. In this endeavour, democracy and freedom to gather and disseminate information may not be enough. In many parts of Asia and beyond, the mainstream media has been excessively commercialised. The tsunami became such a hot media issue around the world, because the dramatic pictures available were very attractive revenue making material for commercial broadcasters, but the rebuilding and healing process does not provide such pictures. It is in such an environment, that this book examines the challenge journalists face in reporting a process that may not provide dramatic pictures, but still needs to grab the audience/readers attention. Focusing more on the print media, many interesting issues dealing with the reconstruction and rehabilitation process are explored, with analysis and commentary on why some stories are not given the exposure they deserve and how these issues may be made newsworthy." (Publisher description)
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"1979: Im Iran wird der Schah gestürzt, die islamische Republik entsteht; parallel eskaliert mit dem sowjetischen Einmarsch der Bürgerkrieg in Afghanistan. Bilder über Afghanistan waren seither zumeist Bilder der Zerstörung. Diesen Außenansichten setzt ›Kabul/ Teheran 1979 ff‹ Perspektiven
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aus Kabul entgegen. Nachrevolutionäre Filme aus dem Iran gewinnen Preise auf internationalen Festivals; zugleich steht Kino im Iran selbst für Modernität. Die iranische Filmszene unterstützt und beeinflusst die wieder entstehende afghanische Filmproduktion. Auch die vielen afghanischen Flüchtlinge, die im Iran leben, verbinden beide Länder. So wurde der Bauboom in der Megastadt Teheran maßgeblich von AfghanInnen bewerkstelligt. ›Kabul/Teheran 1979 ff‹ zeigt Geschichte(n), erzählt von iranischen und afghanischen FilmemacherInnen von 1979 bis heute, versammelt Beiträge vom Alltag der beiden Millionenstädte und aus den Flüchtlingslagern im Grenzgebiet der benachbarten Länder." (https://www.bbooks.de/verlag/kabul-teheran-1979ff)
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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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