Media Law Handbook for Eastern Africa VOLUME 2
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The Media Self-Regulation Guidebook
The Media Self-Regulation Guidebook All questions and answers The Representative on Organization for Security and Co-operation in Europe Freedom of the Media The OSCE Representative on Freedom of the Media wishes to thank the Governments of France, Germany and Ireland for their generous support to this publication. We would also like to extend our gratitude to Robert Pinker, Peter Stuber and the AIPCE members for their invaluable contributions to this project. The views expressed by the authors in this publication are their own and do not necessarily reflect the views of the OSCE Representative on Freedom of the Media. Published by Miklós Haraszti, the OSCE Representative on Freedom of the Media Edited by Adeline Hulin and Jon Smith © 2008 Office of the Representative on Freedom of the Media Organization for Security and Co-operation in Europe (OSCE) Wallnerstrasse 6 A-1010 Vienna, Austria Tel.: +43-1 514 36 68 00 Fax: +43-1 514 36 6802 E-mail: [email protected] http://www.osce.org/fom Design & Layout: Phoenix Design Aid, Denmark ISBN 3-9501995-7-2 The Media Self-Regulation Guidebook All questions and answers The OSCE Representative on Freedom of the Media Miklós Haraszti Vienna 2008 CONTENTS Contents 7 Miklós Haraszti Foreword 9 I. The merits of media self-regulation Balancing rights and responsibilities By Miklós Haraszti 10 1. The nature of media self-regulation 13 2. Media self-regulation versus regulating the media 18 3. The promotion of mutual respect and cultural understanding 21 II. Setting up a journalistic code of ethics The core of media self-regulation By Yavuz Baydar 22 1. -
The Rise of Controversial Content in Film
The Climb of Controversial Film Content by Ashley Haygood Submitted to the Department of Communication Studies in partial fulfillment of the requirements for the degree of Masters of Arts in Communication at Liberty University May 2007 Film Content ii Abstract This study looks at the change in controversial content in films during the 20th century. Original films made prior to 1968 and their remakes produced after were compared in the content areas of profanity, nudity, sexual content, alcohol and drug use, and violence. The advent of television, post-war effects and a proposed “Hollywood elite” are discussed as possible causes for the increase in controversial content. Commentary from industry professionals on the change in content is presented, along with an overview of American culture and the history of the film industry. Key words: film content, controversial content, film history, Hollywood, film industry, film remakes i. Film Content iii Acknowledgements I would like to thank my family for their unwavering support during the last three years. Without their help and encouragement, I would not have made it through this program. I would also like to thank the professors of the Communications Department from whom I have learned skills and information that I will take with me into a life-long career in communications. Lastly, I would like to thank my wonderful Thesis committee, especially Dr. Kelly who has shown me great patience during this process. I have only grown as a scholar from this experience. ii. Film Content iv Table of Contents ii. Abstract iii. Acknowledgements I. Introduction ……………………………………………………………………1 II. Review of the Literature……………………………………………………….8 a. -
We Are All Rwandans”
UNIVERSITY OF CALIFORNIA Los Angeles “We are all Rwandans”: Imagining the Post-Genocidal Nation Across Media A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Film and Television by Andrew Phillip Young 2016 ABSTRACT OF DISSERTATION “We are all Rwandans”: Imagining the Post-Genocidal Nation Across Media by Andrew Phillip Young Doctor of Philosophy in Film and Television University of California, Los Angeles, 2016 Professor Chon A. Noriega, Chair There is little doubt of the fundamental impact of the 1994 Rwanda genocide on the country's social structure and cultural production, but the form that these changes have taken remains ignored by contemporary media scholars. Since this time, the need to identify the the particular industrial structure, political economy, and discursive slant of Rwandan “post- genocidal” media has become vital. The Rwandan government has gone to great lengths to construct and promote reconciliatory discourse to maintain order over a country divided along ethnic lines. Such a task, though, relies on far more than the simple state control of media message systems (particularly in the current period of media deregulation). Instead, it requires a more complex engagement with issues of self-censorship, speech law, public/private industrial regulation, national/transnational production/consumption paradigms, and post-traumatic media theory. This project examines the interrelationships between radio, television, newspapers, the ii Internet, and film in the contemporary Rwandan mediascape (which all merge through their relationships with governmental, regulatory, and funding agencies, such as the Rwanda Media High Council - RMHC) to investigate how they endorse national reconciliatory discourse. -
The First Amendment and Film Censorship from 1915-1952, 41 Hastings Const
Hastings Constitutional Law Quarterly Volume 41 Article 4 Number 2 Winter 2014 1-1-2014 From Spectacle to Speech: The irsF t Amendment and Film Censorship from 1915-1952 Jessica J. Hwang Follow this and additional works at: https://repository.uchastings.edu/ hastings_constitutional_law_quaterly Part of the Constitutional Law Commons Recommended Citation Jessica J. Hwang, From Spectacle to Speech: The First Amendment and Film Censorship from 1915-1952, 41 Hastings Const. L.Q. 381 (2014). Available at: https://repository.uchastings.edu/hastings_constitutional_law_quaterly/vol41/iss2/4 This Note is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Constitutional Law Quarterly by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. From Spectacle to Speech: The First Amendment and Film Censorship from 1915-1952 by JESSICA J. HWANG* Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances. - U.S. CONST. amend. I Introduction The First Amendment, often hailed as the great protector of free expression and speech, has not always meant what it means to us today. Though it boldly prohibits Congress from enacting any law "abridging the freedom of speech," the exact meaning of that phrase has changed over time. The modern First Amendment grants "special protection" to "speech on matters of public concern."' And though the United States Supreme Court recently referred to the First Amendment as "the essence of self-government,"2 such a view * J.D. -
MADE in HOLLYWOOD, CENSORED by BEIJING the U.S
MADE IN HOLLYWOOD, CENSORED BY BEIJING The U.S. Film Industry and Chinese Government Influence Made in Hollywood, Censored by Beijing: The U.S. Film Industry and Chinese Government Influence 1 MADE IN HOLLYWOOD, CENSORED BY BEIJING The U.S. Film Industry and Chinese Government Influence TABLE OF CONTENTS EXECUTIVE SUMMARY I. INTRODUCTION 1 REPORT METHODOLOGY 5 PART I: HOW (AND WHY) BEIJING IS 6 ABLE TO INFLUENCE HOLLYWOOD PART II: THE WAY THIS INFLUENCE PLAYS OUT 20 PART III: ENTERING THE CHINESE MARKET 33 PART IV: LOOKING TOWARD SOLUTIONS 43 RECOMMENDATIONS 47 ACKNOWLEDGEMENTS 53 ENDNOTES 54 Made in Hollywood, Censored by Beijing: The U.S. Film Industry and Chinese Government Influence MADE IN HOLLYWOOD, CENSORED BY BEIJING EXECUTIVE SUMMARY ade in Hollywood, Censored by Beijing system is inconsistent with international norms of Mdescribes the ways in which the Chinese artistic freedom. government and its ruling Chinese Communist There are countless stories to be told about China, Party successfully influence Hollywood films, and those that are non-controversial from Beijing’s warns how this type of influence has increasingly perspective are no less valid. But there are also become normalized in Hollywood, and explains stories to be told about the ongoing crimes against the implications of this influence on freedom of humanity in Xinjiang, the ongoing struggle of Tibetans expression and on the types of stories that global to maintain their language and culture in the face of audiences are exposed to on the big screen. both societal changes and government policy, the Hollywood is one of the world’s most significant prodemocracy movement in Hong Kong, and honest, storytelling centers, a cinematic powerhouse whose everyday stories about how government policies movies are watched by millions across the globe. -
How China's Censorship and Influence Affect Films Worldwide
October 28, 2015 Directed by Hollywood, Edited by China: How China’s Censorship and Influence Affect Films Worldwide Sean O’Connor, Research Fellow, Economics and Trade and Nicholas Armstrong, Esq., Research Fellow Disclaimer: This paper is the product of professional research performed by staff of the U.S.-China Economic and Security Review Commission, and was prepared at the request of the Commission to support its deliberations. Posting of the report to the Commission’s website is intended to promote greater public understanding of the issues addressed by the Commission in its ongoing assessment of U.S.- China economic relations and their implications for U.S. security, as mandated by Public Law 106-398 and Public Law 108-7. However, the public release of this document does not necessarily imply an endorsement by the Commission, any individual Commissioner, or the Commission’s other professional staff, of the views or conclusions expressed in this staff research report. Table of Contents Abstract ......................................................................................................................................................................3 Background ................................................................................................................................................................4 China’s Growing Film Market ...................................................................................................................................5 China’s Film Industry Development ......................................................................................................................6 -
Film Censorship As a Good Business in Colonial Korea: Profiteering Rf Om Hollywood's First Golden Age, 1926-36
University of Wollongong Research Online Faculty of Arts - Papers (Archive) Faculty of Arts, Social Sciences & Humanities June 2006 Film Censorship as a Good Business in Colonial Korea: Profiteering rF om Hollywood's First Golden Age, 1926-36 Brian M. Yecies University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/artspapers Part of the Arts and Humanities Commons, and the Social and Behavioral Sciences Commons Recommended Citation Yecies, Brian M., Film Censorship as a Good Business in Colonial Korea: Profiteering rF om Hollywood's First Golden Age, 1926-36 2006. https://ro.uow.edu.au/artspapers/103 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] “Film Censorship as a Good Business in Colonial Korea: Profiteering From Hollywood's First Golden Age, 1926–1936” Brian Yecies, University of Wollongong, Australia Abstract Between 1926 and 1936, cinema in colonial Korea was a vibrant business, involving the production of domestic films and the distribution and exhibition of American, British, Chinese, French, German, Italian, and Russian films. During this decade, the first golden age of American cinema in Korea, Hollywood films overwhelmingly dominated the Korean market. Korea was an important territory that Hollywood used in its overall global expansion campaign. Amid this globalization operation, the Government-General of Chōsen’s film censorship apparatus was a financially self-sustaining operation. It paid for its operation by profiteering from the application of more than 6,700 American and 630 other countries’ feature and non-feature films, a vast majority of which were approved with minor, if any, censorship changes. -
Issues and Consequences of Newspaper Framing on Ethnic Conflict: a Qualitative Study of Ethnic Group Leaders’ Conflict Frames
Jurnal Komunikasi Malaysian Journal of Communication Jilid 32 (2) 2016: 294-316 ______________________________________________________________________________ ISSUES AND CONSEQUENCES OF NEWSPAPER FRAMING ON ETHNIC CONFLICT: A QUALITATIVE STUDY OF ETHNIC GROUP LEADERS’ CONFLICT FRAMES RASAQ MUHAMMED ADISA UNIVERSITY OF ILORIN, NIGERIA ROSLI BIN MOHAMMED MOHD. KHAIRIE AHMAD UNIVERSITI UTARA MALAYSIA Abstract This paper attempts to explore the waves of media frames on ethnic group leaders’ conflict frames. In general, the effects of what media frame as news on public behaviours to politics have been discussed extensively in scholarly works. However, the extent that newspapers framing stimulate conflict frame (behaviours) in ethnic leaders who rheostat the hearts and minds of ethnic groups, are still underexplored. Specifically, this study seeks to understand the extent that media frames about ethnic issues have become the driving force behind volatile ethnic groups in Nigeria. Therefore, series of in-depth interviews on 26 ethnic group leaders were conducted and data were analyzed thematically using NVIVO 10 software. The study found that the unswerving newspapers framing on ethnic issues, especially on interethnic relations and politics, culminated to inciting, double standard, name calling, all of which stemmed from the ownership interest, are some of the major factors that widen ethnic differences and eventually stimulated ethnic groups into conflict. Based on the lived experiences of the ethnic group leaders, newspapers are culpable -
Colorado February Issues Survey
In your own words, please describe the reasons why you agree that more government regulation and oversight of social media companies is needed. Region/Sex Age Marital College Party Response There just needs to be agreement to ethics. A pledge they agree to in order to have access to S Town Fem Old Boom Married 4+ Yr Dem. adds or some sort of quid pro quo S Town Fem Old Boom Married 4+ Yr Dem. has become a sounding board for too many anonymous bullies Sub. Male Old Boom Married 4+ Yr Dem. Either social media controls itself or it needs to be controlled To extent possible we need to balance free speech with the proliferation of lies & Urb. Fem Old Boom Married 4+ Yr Dem. misinformation that is potentially harmful. Urb. Fem Old Boom Married 4+ Yr Dem. To get accurate news and the correct information Urb. Fem Old Boom Married 4+ Yr Dem. Unregulated & out of control. S Town Fem Old Gen X Married 4+ Yr Dem. Because its all spewing of disinformation and stupid people believe it. Regulation of incorrect and potentially degrading comments, fueling ideas like the capital Sub. Fem Old Gen X Married 4+ Yr Dem. insurrection. The media that has been around for the last decade is fine; its the newer conspiracy theory FOX type of news who ironically started the idea of fakenews when they are of course the Sub. Fem Old Gen X Married 4+ Yr Dem. fake news. Scary what normally intelligent people will believe. Rur. Fem Old Mill. Married 4+ Yr Dem. -
Media, Protest and Resistance in Authoritarian Contexts Media, Protest and Resistance in Authoritarian Contexts
APSA 2020 WORKING CONFERENCE PAPER Hashemi – Media, Protest and Resistance in Authoritarian Contexts Media, Protest and Resistance in Authoritarian Contexts Layla M. Hashemi, Ph.D. Public Policy George Mason University, 2020 [email protected] laymay.com Abstract Information communication technologies (ICTs) facilitate transnational connection, coordination and collaboration, which are essential for new social movements. At the same time, issues of access and censorship hinder social movement use of social media for mobilization. This paper examines how internet technology is used by social movements to discuss issues of identity, dignity and justice and to contest gender-based discriminatory laws. Through subtle everyday acts of protests, women contest state narratives by documenting their presence in both physical and virtual public spaces. Iranian women practice the art of presence, demonstrating social media activism’s ability to circumvent censorship and facilitate public discourse regarding controversial issues under repressive contexts. This study collects and analyzes data from Twitter and other social networking platforms to investigate the evolution of digital campaigns and relates these cases to the long-standing tradition of Iranian women’s voices with a focus on the critical role of the camera and user generated content in art and daily life. Keywords: social movements; social media; internet studies; information communication technology; computational social science; Iran; gender; human rights DRAFT WORKING PAPER Prepared for the Annual Meeting of the American Political Science Association, September 2020 1 “Where there is power there is resistance” - Michel Foucault Information communication technologies (ICTs) facilitate transnational connection, coordination and collaboration, which are essential for new social movements. At the same time, issues of access and censorship hinder social movement use of social media for mobilization. -
The Alt-Right: a Discourse Analysis/Deplatforming and the Role of Social Media in the Regulation of Speech
St. Cloud State University theRepository at St. Cloud State Culminating Projects in English Department of English 3-2020 The Alt-Right: A Discourse Analysis/Deplatforming and the Role of Social Media in the Regulation of Speech Michael Fry Follow this and additional works at: https://repository.stcloudstate.edu/engl_etds Recommended Citation Fry, Michael, "The Alt-Right: A Discourse Analysis/Deplatforming and the Role of Social Media in the Regulation of Speech" (2020). Culminating Projects in English. 156. https://repository.stcloudstate.edu/engl_etds/156 This Starred Paper is brought to you for free and open access by the Department of English at theRepository at St. Cloud State. It has been accepted for inclusion in Culminating Projects in English by an authorized administrator of theRepository at St. Cloud State. For more information, please contact [email protected]. The Alt-Right: A Discourse Analysis ***************************************** Deplatforming and the Role of Social Media in the Regulation of Speech by Michael Fry A Starred Paper Submitted to the Graduate Faculty of St. Cloud State University in Partial Fulfillment of the Requirements for the Degree of Master of Arts in English: Rhetoric and Writing March, 2020 Starred Paper Committee: Matthew Barton, Chairperson Michael Dando Debra Japp The Alt-Right: A Discourse Analysis by Michael Fry A Starred Paper Submitted to the Graduate Faculty of St. Cloud State University in Partial Fulfillment of the Requirements for the Degree of Master of Arts in English: Rhetoric -
The Constitutionality of Official Censorship of Motion Pictures
THE CONSTITUTIONALITY OF OFFICIAL CEN- SORSHIP OF MOTION PICTURES* MELVILLE B. NimaR TOWARD the turn of the century, the great English legal scholar, Sir Frederic Maitland, wrote: "Our increasing mastery over the physical world is always amplifying the province of law, for it is always com- plicating the relationships which exist between human beings."' This observa- tion, the truth of which has become increasingly apparent with the passage of time, seems to be particularly applicable to the motion picture industry. The profound effect of this industry upon human relationships has long been recognized. As the impact of this phenomenon has become felt, the "province of law" has, in turn, reflected its development in many areas. 2 This paper 3 is concerned with one such area-that of official censorship. I The constitutionality of official censorship was first considered by the United States Supreme Court in 1915, when the motion picture industry * This paper was written pursuant to a grant from The Fund for the Republic. The author wishes to acknowledge the valuable research assistance of Richard Sinsheimer. t M~ember, Beverly Hills, California Bar; author of numerous law review articles dealing with copyright and related matters. I The Maitland Reader 86 (1957). 2 E.g., anti-trust: United States v. Paramount Pictures, Inc., 334 U.S. 131 (1948); copy- right: Kalem Co. v. Harper Brothers, 222 U.S. 55 (1911); right of privacy: Melvin v. Reid, 112 Cal.App. 285, 297 Pac. 91 (1931). 3 The term "official censorship" is here used to describe censorship by legally constituted instrumentalities of state or local government, as distinguished from censorship by private groups.