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Seeking Offense: Censorship and the Constitution of Democratic Politics in India
SEEKING OFFENSE: CENSORSHIP AND THE CONSTITUTION OF DEMOCRATIC POLITICS IN INDIA A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Ameya Shivdas Balsekar August 2009 © 2009 Ameya Shivdas Balsekar SEEKING OFFENSE: CENSORSHIP AND THE CONSTITUTION OF DEMOCRATIC POLITICS IN INDIA Ameya Shivdas Balsekar, Ph. D. Cornell University 2009 Commentators have frequently suggested that India is going through an “age of intolerance” as writers, artists, filmmakers, scholars and journalists among others have been targeted by institutions of the state as well as political parties and interest groups for hurting the sentiments of some section of Indian society. However, this age of intolerance has coincided with a period that has also been characterized by the “deepening” of Indian democracy, as previously subordinated groups have begun to participate more actively and substantively in democratic politics. This project is an attempt to understand the reasons for the persistence of illiberalism in Indian politics, particularly as manifest in censorship practices. It argues that one of the reasons why censorship has persisted in India is that having the “right to censor” has come be established in the Indian constitutional order’s negotiation of multiculturalism as a symbol of a cultural group’s substantive political empowerment. This feature of the Indian constitutional order has made the strategy of “seeking offense” readily available to India’s politicians, who understand it to be an efficacious way to discredit their competitors’ claims of group representativeness within the context of democratic identity politics. -
Facts and Figures 2020 ZDF German Television | Facts and Figures 2020
Facts and Figures 2020 ZDF German Television | Facts and Figures 2020 Facts about ZDF ZDF (Zweites Deutsches Fern German channels PHOENIX and sehen) is Germany’s national KiKA, and the European chan public television. It is run as an nels 3sat and ARTE. independent nonprofit corpo ration under the authority of The corporation has a permanent the Länder, the sixteen states staff of 3,600 plus a similar number that constitute the Federal of freelancers. Since March 2012, Republic of Germany. ZDF has been headed by Direc torGeneral Thomas Bellut. He The nationwide channel ZDF was elected by the 60member has been broadcasting since governing body, the ZDF Tele 1st April 1963 and remains one vision Council, which represents of the country’s leading sources the interests of the general pub of information. Today, ZDF lic. Part of its role is to establish also operates the two thematic and monitor programme stand channels ZDFneo and ZDFinfo. ards. Responsibility for corporate In partnership with other pub guide lines and budget control lic media, ZDF jointly operates lies with the 14member ZDF the internetonly offer funk, the Administrative Council. ZDF’s head office in Mainz near Frankfurt on the Main with its studio complex including the digital news studio and facilities for live events. Seite 2 ZDF German Television | Facts and Figures 2020 Facts about ZDF ZDF is based in Mainz, but also ZDF offers fullrange generalist maintains permanent bureaus in programming with a mix of the 16 Länder capitals as well information, education, arts, as special editorial and production entertainment and sports. -
COMMISSION CF the EUROPEAN Communitle'
COMMISSION CF THE EUROPEAN COMMUNITlE' COM(84) 300 fihal BrusseLs, 14th June 1984 TELEVISION WITHOUT FRONTIERS GREEN PAPER ON THE ESTABLISHMENT OF THE COMMON MARKET FOR BROADCASTING, ESPECIALLY BY SATELLITE AND CABLE (Communi cation from the Commission to the Counci Part Five Pages 105-208 COM(84) 300 finaL " . " . - 105 - PART FIVE FREEDOM TO PROVIDE SERVICES Free movement in broadcasting Services " (Paragraphs 1 and 2 of ArticLe 60) The EEC Treaty does not just cover goods but aLso services. devotes a whoLe chapter , Chapter 3 , to " Services , from ArticLe 59 to 66 of Part Two of the Treaty entitled " Foundations of the Community Paragraph 1 of Arti cLe 60 of the Treaty defines the concept of services " as follows: "services shaLL be considered to be services " within the meaning of the Treaty where they are normaLLy provided for remuneration , in so far as they are not governed by the provisions reLating to freedom of movement of goods and pe rsons , capitaL Two questions have to be answered in the Light of this definition; is broadcast i ng a good or a servi ce? I f it is a servi ce a service provided for remuneration? , is it Good or servi ce? In the Sacchi case, the Latter argued 1 that a television signal was a good , both as a form of energy (simi Lar to electrical energy) and as the product of inteLLectuaL activity (intangible It had monetary vaLue and couLd be the object of trade.asset). of advertisements was an accessory to the broadcast productsTransmission and promoted their marketing. -
Press Release Potsdam Declaration
Press Release Potsdam 19.10.2018 Potsdam Declaration signed by 21 public broadcasters from Europe “In times such as ours, with increased polarization, populism and fixed positions, public broadcasters have a vital role to play across Europe.” A joint statement, emphasizing the inclusive rather than divisive mission of public broadcasting, will be signed on Friday 19th October 2018 in Potsdam. Cilla Benkö, Director General of Sveriges Radio and President of PRIX EUROPA, and representatives from 20 other European broadcasters are making their appeal: “The time to stand up for media freedom and strong public service media is now. Our countries need good quality journalism and the audiences need strong collective platforms”. The act of signing is taking place just before the Awards Ceremony of this year’s PRIX EUROPA, hosted by rbb in Berlin and Potsdam from 13-19 October under the slogan “Reflecting all voices”. The joint declaration was initiated by the Steering Committee of PRIX EUROPA, which unites the 21 broadcasters. Potsdam Declaration, 19 October 2018 (full wording) by the 21 broadcasters from the PRIX EUROPA Steering Committee: In times such as ours, with increased polarization, populism and fixed positions, public broadcasters have a vital role to play across Europe. It has never been more important to carry on offering audiences a wide variety of voices and opinions and to look at complex processes from different angles. Impartial news and information that everyone can trust, content that reaches all audiences, that offers all views and brings communities together. Equally important: Public broadcasters make the joys of culture and learning available to everyone, regardless of income or background. -
Zeitreise Mit Professor Van Dusen
#06 Das JUNI 2021 Magazin Auf der Suche nach dem „Wir“ Ein Essay von Wolfgang Thierse Lesen nonstop Klagenfurt feiert die Literatur Zeitreise mit Professor van Dusen Die Krimiklassiker als Hörspielpodcast Gedruckt oder digital? Das Magazin erscheint nicht nur als gedrucktes Heft, sondern auch in digitaler Version auf deutschlandradio.de/magazin Wie lesen Sie das Magazin am liebsten? Anzeige Beileger_A4_CMYK_RZ.indd 1 20.04.21 15:55 Editorial Veranstaltungen #06 Liebe Abonnentinnen und Abonnenten, wir BERLIN möchten Sie auch in Zukunft gerne über unsere Programme informieren – in Form des gedruckten Magazins oder alternativ online. Daher fragen wir in diesem Monat Ihr Interesse an der Fortführung Ihres Abonnements ab. Mo., 14.6., 20.03 UHR RAUM DRESDEN VON DEUTSCHLANDRADIO, FUNKHAUS BERLIN In Concert Funkhauskonzert mit Peter Licht und Band Live-Übertragung in Deutschlandfunk Kultur Ob in Papierform oder digital – mit dem Magazin KÖLN sind Sie immer Bis 5.9. gut informiert RAUTENSTRAUCH- JOEST-MUSEUM Ausstellung: RESIST! Die Kunst des Widerstands und Denkfabrik-Denkraum mit ausgewählten Hörstücken zum Thema der Denkfabrik 2020 „Eine Welt 2.0 – Neulich fiel mir beim Aufräumen ein 20-bändiger Brockhaus in die Hände, den ich ‚Dekolonisiert Euch!‘“ Ende der 80er-Jahre zu meiner Konfirmation geschenkt bekommen habe. Das war museenkoeln/rauten- damals ein wirklich großes Geschenk, welches mir bei vielen Recherchen gute strauch-joest-museum Dienste geleistet hat. Inzwischen ist es lange her, dass ich eine Information in einem Ausgewählte Veranstal- gedruckten Lexikon nachgeschlagen habe, zu praktisch ist der schnelle Blick ins tungen und Konzerte Internet. werden bei Deutsch- landradio ohne Publikum aufgezeichnet. Diese Überhaupt haben sich Nutzungsgewohnheiten grundlegend verändert. -
Bericht Des Intendanten Juni Bis September 2017 PROGRAMM Dlf
Bericht des Intendanten Juni bis September 2017 PROGRAMM Dlf Audiothek Einen großen Schritt vorwärts haben die Bereiche IT und Online in den vergangenen Monaten gemacht. Mit großem Erfolg und bester Resonanz haben sie am 15. August die neue Dlf Audiothek in die App-„Stores“ gebracht. Die App bietet nicht nur einen Livestream von Deutschlandfunk, Deutschlandfunk Kultur und Deutschlandfunk Nova, sondern Zugriff auf nahezu alle Audioinhalte der letzten sechs Monate. Die App kann sich jede und jeder individuell passend einstellen: Mit der Funktion „Mein Radio“ können sich die User App ihr eigenes Radioprogramm zusammenstellen. Die Dlf Audiothek ergänzt die Nachrichten-App Dlf24, die aktuelle Informationen bündelt und dafür auch einen Push-Mitteilungsdienst bietet. Der Menüpunkt „Entdecken“ eröffnet fünf zentrale Themenbereiche mit empfohlenen Beiträgen der Redaktion. Unter „Mein Radio“ können User nach Themen oder Sendungen auswählen, Beiträge mit Freunden teilen oder zu ihrer persönlichen Sammlung hinzufügen und anschließend die erstellte Playlist abspielen. Darüber hinaus steht die von den Deutschlandradio-Webseiten bekannte Suchfunktion zur Verfügung. „eins:30“ - neues Trailer-Format im Deutschlandfunk Eine sehr innovative Idee steuert in diesen Tagen auch die Trailer-Redaktion des Deutschlandfunks zum Programm bei. Sie hat mit „eins:30“ ein neues Trailer-Format entwickelt. In 90 Sekunden erlauben die Trailer Einblicke in die Hintergründe von Radioproduktionen. Sie geben Antworten auf Fragen wie diese: Wie recherchiert man in einem Krisengebiet wie der Ukraine? Welche Idee steckt hinter der Reihe „Hörerwelten“? Wie entsteht eine Konzertreihe wie „Grundton D“? Hinter vielen Sendungen des Deutschlandfunks steckt eine eigene Geschichte. In „eins:30“ erzählen Radiomenschen von einer ausgewählten Sendung – warum sie gerade dieses Thema wichtig finden, wie sie recherchiert, Gesprächspartner gefunden und Stimmungen aufgespürt haben. -
European Public Service Broadcasting Online
UNIVERSITY OF HELSINKI, COMMUNICATIONS RESEARCH CENTRE (CRC) European Public Service Broadcasting Online Services and Regulation JockumHildén,M.Soc.Sci. 30November2013 ThisstudyiscommissionedbytheFinnishBroadcastingCompanyǡYle.Theresearch wascarriedoutfromAugusttoNovember2013. Table of Contents PublicServiceBroadcasters.......................................................................................1 ListofAbbreviations.....................................................................................................3 Foreword..........................................................................................................................4 Executivesummary.......................................................................................................5 ͳIntroduction...............................................................................................................11 ʹPre-evaluationofnewservices.............................................................................15 2.1TheCommission’sexantetest...................................................................................16 2.2Legalbasisofthepublicvaluetest...........................................................................18 2.3Institutionalresponsibility.........................................................................................24 2.4Themarketimpactassessment.................................................................................31 2.5Thequestionofnewservices.....................................................................................36 -
An Introspection of Film Censorship in India
Corpus Juris ISSN: 2582-2918 The Law Journal website: www.corpusjuris.co.in AN INTROSPECTION OF FILM CENSORSHIP IN INDIA -SUBARNO BANERJEE1 AND RITOJIT DASGUPTA2 ABSTRACT Cinema has been considered to be one of the most potent instrument of expression over a considerable amount of period. It is often considered to be a magnificent medium to communicate with people and impart knowledge and awareness. A traditional theatre system existed much before screen cinema could assert its authority in India and is said to have played a major role in nurturing emotions of freedom struggle through its plays in the pre-independence era. It was in 1913 India produced its first full-length feature film Raja Harishchandra. Cinema gradually became a powerful medium and went on to impact the lives of people, thoughts and even their political views. The medium has been witnessed to gain huge popularity and at present has become an integral part of common man’s leisure. Various statistics claim that India constitutes one of the largest film industries in the world in terms of number of films produced every year. Freedom of speech and expression is one of the most sacrosanct rights and is regarded as an integral concept in modern liberal democracies3. Society can develop only by free exchange of ideas4. However, since the drafting of the Constitution in 1947, freedom of speech and expression was considered controversial and received periodical dissent. According to Article 19(1) (a) of Part III of the Constitution of India, citizens shall have a right to freedom and expression. Films enjoy the same status and right so far as constitutional freedom relating to expression of ideas and spreading of ideas and messages are concerned but at the same time it places certain necessary restrictions on the content, with a view towards maintaining integrity of the state, public order, decency and morality and also communal and religious harmony, given the history of communal tension in the nation. -
Licence Fee for Citizens Simple and Modern
Licence Fee for Citizens Simple and modern We have long been able to watch television programmes on a tablet and listen to radio on a smart phone. Technical equipment offers an increasing number of functions and changes in the way we use media content. Device-independent licence fees are modern and open to technological progress. For €17.50* per month the licence fee covers all public service broadcasting programmes over all means of distributions. It also ensures that there will be a varied and freely avialable programme for all citizens in the future. Public service broadcasting Independence Public service broadcasting in Germany is an essential part of a modern, democratic society: its programmes play a considerable part in forming of opinion. This solidarity-based funding through the licence fee ensures that everyone has free access to information and enables reporting independent from economic and political interests. Quality ARD, ZDF and Deutschlandradio offer high-quality-services that inform, educate and entertain: news programmes provide up-to-date and comprehensive information, whilst TV magazines and political talk shows provide background and analyses. Public service broadcasting also represents a unique range of entertainment, such as films, radio plays, TV series, sport and shows. Quality and ratings are not a contradiction, quite the opposite as several media awards show. Variety The programmes on TV, radio and the Internet are as wide-ranging as the interests of those who use them - a large part of the programmes are therefore barrier-free. Public service broadcasting also offers more than just the main channels: such as on ARD’s regional channels, 3sat, ARTE and PHOENIX, and KI.KA as well as on the additional digital channels. -
Programmtabelle TV/Hörfunk Für Glasfaseranschlüsse
Programmtabelle TV/Hörfunk für Glasfaseranschlüsse HD-Sender SD-Sender 001 Das Erste HD 301 Das Erste 411 QVC Style 002 ZDF HD 302 ZDF 412 HSE24 Trend 009 3sat HD 303 RTL 413 QVC 010 ARTE HD 304 SAT.1 420 DMAX 020 WDR HD Köln 305 ProSieben 421 ZDFinfo 021 WDR HD Bielefeld 306 VOX 422 TLC 022 WDR HD Dortmund 307 kabel eins 423 kabel eins Doku 023 WDR HD Düsseldorf 308 RTLZWEI 424 N24 DOKU 024 WDR HD Essen 309 3sat 425 ARD-alpha 025 WDR HD Münster 310 ARTE 426 Bibel TV 026 WDR HD Siegen 311 ServusTV 455 RTL Regional NRW (ab 18 Uhr) 031 hr-fernsehen HD 320 WDR Köln 456 SAT.1 Regional NRW (ab 18 Uhr) 032 BR Fernsehen Süd HD 321 WDR Bielefeld 460 Comedy Central 033 BR Fernsehen Nord HD 322 WDR Dortmund 461 DELUXE MUSIC 034 MDR S-Anhalt HD 323 WDR Düsseldorf 462 Deutsches Musik Fernsehen 035 MDR Sachsen HD 324 WDR Essen 481 SUPER RTL 036 MDR Thüringen HD 325 WDR Münster 482 KiKA 037 NDR FS NDS HD 326 WDR Siegen 483 NICK/MTV+ 038 NDR FS HH HD 331 hr-fernsehen 484 TOGGO plus 039 NDR FS SH HD 332 BR Fernsehen Süd 492 Disney Channel 040 NDR FS MV HD 333 BR Fernsehen Nord 501 zdf_neo 041 rbb Brandenburg HD 334 MDR Sachsen 502 NITRO 042 rbb Berlin HD 335 MDR S-Anhalt 503 Sat.1 Gold 043 SR Fernsehen HD 336 MDR Thüringen 504 TELE 5 044 Radio Bremen TV HD 337 NDR FS NDS 505 sixx 045 SWR RP HD 338 NDR FS HH 506 ProSieben MAXX 046 SWR BW HD 339 NDR FS SH 507 RTLup 107 Channel21 HD 340 NDR FS MV 508 ONE 121 ZDFinfo HD 341 rbb Brandenburg 510 ANIXE 125 ARD-alpha HD 342 rbb Berlin 540 SPORT1 182 KiKA HD 343 SR Fernsehen 541 Eurosport 1 201 ZDFneo HD 344 -
GLOBAL CENSORSHIP Shifting Modes, Persisting Paradigms
ACCESS TO KNOWLEDGE RESEARCH GLOBAL CENSORSHIP Shifting Modes, Persisting Paradigms edited by Pranesh Prakash Nagla Rizk Carlos Affonso Souza GLOBAL CENSORSHIP Shifting Modes, Persisting Paradigms edited by Pranesh Pra ash Nag!a Ri" Car!os Affonso So$"a ACCESS %O KNO'LE(GE RESEARCH SERIES COPYRIGHT PAGE © 2015 Information Society Project, Yale Law School; Access to Knowle !e for "e#elo$ment %entre, American Uni#ersity, %airo; an Instituto de Technolo!ia & Socie a e do Rio+ (his wor, is $'-lishe s'-ject to a %reati#e %ommons Attri-'tion./on%ommercial 0%%.1Y./%2 3+0 In. ternational P'-lic Licence+ %o$yri!ht in each cha$ter of this -oo, -elon!s to its res$ecti#e a'thor0s2+ Yo' are enco'ra!e to re$ro 'ce, share, an a a$t this wor,, in whole or in part, incl' in! in the form of creat . in! translations, as lon! as yo' attri-'te the wor, an the a$$ro$riate a'thor0s2, or, if for the whole -oo,, the e itors+ Te4t of the licence is a#aila-le at <https677creati#ecommons+or!7licenses7-y.nc73+07le!alco e8+ 9or $ermission to $'-lish commercial #ersions of s'ch cha$ter on a stan .alone -asis, $lease contact the a'thor, or the Information Society Project at Yale Law School for assistance in contactin! the a'thor+ 9ront co#er ima!e6 :"oc'ments sei;e from the U+S+ <m-assy in (ehran=, a $'-lic omain wor, create by em$loyees of the Central Intelli!ence A!ency / em-assy of the &nite States of America in Tehran, de$ict. -
Can Platforms Cancel Politicians?
MARTIN FERTMANN AND MATTHIAS C. KETTEMANN (EDS.) Can Platforms Cancel Politicians? How States and Platforms Deal with Private Power over Public and Political Actors: an Exploratory Study of 15 Countries GDHRNET WORKING PAPER SERIES #3 | 2021 „All human beings are born free and equal in dignity and rights.“ Art. 1, sentence 1, Universal Declaration of Human Rights (1948), GDHRNet Working Paper #3 2 EU COST Action – CA19143 – Global Digital Human Rights Can Platforms Cancel Politicians? How States and Platforms Deal with Private Power over Public and Political Actors: an Exploratory Study of 15 Countries edited by Martin Fertmann and Matthias C. Kettemann (LEIBNIZ INSTITUTE FOR MEDIA RESEARCH | HANS-BREDOW-INSTITUT, HAMBURG, GERMANY) Cite as: Martin Fertmann and Matthias C. Kettemann (eds.), Can Platforms Cancel Politicians? How States and Platforms Deal with Private Power over Political Actors: an Exploratory Study of 15 Countries (Hamburg: Verlag Hans- Bredow-Institut, 2021) This is GDHRNet Working Paper #3 in a series of publications in the framework of GDHRNet edited by Mart Susi and Matthias C. Kettemann. GDHRNet is funded as EU COST Action – CA19143 – by the European Union. All working papers can be downloaded from leibniz-hbi.de/GDHRNet and GDHRNet.eu CC BY SA 4.0 Publisher: Leibniz Institut für Medienforschung | Hans-Bredow-Institut (HBI) Rothenbaumchaussee 36, 20148 Hamburg Tel. (+49 40) 45 02 17-0, [email protected], www.leibniz-hbi.de Executive Summary - Terms-of-service based actions against political and state actors as both key subjects and objects of political opinion formation have become a focal point of the ongoing debates over who should set and enforce the rules for speech on online platforms.