"Most past studies of entertainment-education programs have not provided an adequate theoretical explanation of the process through which community members enact system-level changes as a result of exposure to entertainment-education media message. Here we study the effects of an entertainment-educa
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tion radio soap opera by means of an observational case study in one Indian village. We investigate the paradoxes, contradictions, and audience members' struggles in the process of media-stimulated change, a process involving parasocial interaction, peer communication, and collective efficacy." (Abstract)
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"This yearbook compiles research findings on children and youth and media violence from the perspective of the United Nations Convention on the Rights of the Child. The thematic focus of this yearbook is on what is being done to combat gratuitous media violence. It presents information on media educ
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ation and children's media participation. Section 1 of the yearbook, "Children's Access to Media and Media Use," presents research on media access and use for children in Europe and worldwide. Section 2, "The Image of the Child in the Media," details how children are presented in news and entertainment media, and in advertising, in various countries. Section 3, "Media Education," provides information on media education programs in Canada, South Africa, Australia, the Nordic countries, the UK, India, and Latin America. Section 4, "Children's Participation in the Media," includes articles describing programs from various countries in which children and youth participate in media production, such as videotapes, television, radio, the Internet, and magazines. Section 5 contains several international declarations and resolutions concerning children and the media. Section 6 provides information on organizations worldwide concerned with children and the media, and a compilation of Internet addresses by and for children." (https://files.eric.ed.gov)
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"This volume examines the influence of audio-visual media in cultural change in India. The essays focus on: the dynamics of network change; the relationships between image and viewer; and the journey of images between points of reading in contemporary India that are mediated through television, cine
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ma, video and the internet." (Publisher description)
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"Most of the facts in this book are gleaned from available sources, representing the most reliable ones we could find for each of India’s cinemas (the sources are listed below). Many of these are what we earlier called, somewhat dismissively, ‘official’. Given the nature of the Indian film ind
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ustry, however, there were compelling reasons for drawing on this material alongside other, not always less ‘reliable’ sources. The editors of this book, quite deliberately and as a matter of policy, have refused to accept any single ‘authoritative’ source on any of India’s cinemas. On the contrary, we have endeavoured to produce a book providing the ‘most likely’ truth on the basis of often deeply conflicting sources. In this respect, what we offer here is not an authoritative source either (although these things are relative: we believe ours to be more authoritative than others simply because we were able to stand on the shoulders, so to speak, of the scholars who went before, even though none ever ventured to encompass as wide a field as we do in this project). Although this book will inevitably bear the scars inflicted by the unreliability of the sources used, we should like to believe that in consistently mapping India’s film histories on to a national canvas, we also present several new discoveries, such as the sheer contiguity of historical processes nationwide that most Indian regions persist in viewing as unique, the influences of film-makers from one region onto another, or even the trajectories of individual careers that transgressed boundaries sometimes decades before these boundaries came to be asserted." (Introduction, page 11)
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"The influence of efficacy, both self and collective, in the adoption of prosocial behaviors has not been examined in the context of large-scale communication campaigns that use mass media interventions. Our purpose is to identify efficacious dimensions in letter-writers' communication to an enterta
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inment-education radio drama serial in India. An entertainment-education program can influence audience members' sense of efficacy, an effect that can lead them to reconsider their values and behavior. We argue that audience letters represent a possible approach to measuring efficacy. Letters written by listeners can help us understand how they know what they hear and with what psychosocial consequences." (Abstract)
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"From outbreaks of the flesh eating viruses Ebola and Strep A, to death camps in Bosnia and massacres in Rwanda, the media seem to careen from one trauma to another, in a breathless tour of poverty, disease and death. First we're horrified, but each time they turn up the pitch, show us one image mor
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e hideous than the next, it gets harder and harder to feel. Meet compassion fatigue--a modern syndrome, Susan Moeller argues, that results from formulaic media coverage, sensationalized language and overly Americanized metaphors. In her impassioned new book, Compassion Fatigue, Moeller warns that the American media threatens our ability to understand the world around us. Why do the media cover the world in the way that they do? Are they simply following the marketplace demand for tabloid-style international news? Or are they creating an audience that as seen too much--or too little--to care? Through a series of case studies of the Four Horsemen of the Apocalypse--disease, famine, death and war--Moeller investigates how newspapers, newsmagazines and television have covered international crises over the last two decades, identifying the ruts into which the media have fallen and revealing why. Throughout, we hear from industry insiders who tell of the chilling effect of the mega- media mergers, the tyranny of the bottom-line hunt for profits, and the decline of the American attention span as they struggle to both tell and sell a story. But Moeller is insistent that the media need not, and should not, be run like any other business. The media have a special responsibility to the public, and when they abdicate this responsibility and the public lapses into a compassion fatigue stupor, we become a public at great danger to ourselves." (Publisher description)
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