Croatian Public Television – Lost in Transformation
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Women and Media
Analysis of the Media Treatment of Gender Violence in Croatia in Programmes of Three National TV Broadcasters WOMEN AND MEDIA Analysis of the Media Treatment of Gender Violence in Croatia 1 Analysis of the Media Treatment of Gender Violence in Croatia in Programmes of Three National TV Broadcasters CONTENTS 1. INTRODUCTION ............................................................................................................5 2. VIOLENCE AS DISCRIMINATION AND A VIOLATION OF HUMAN RIGHTS OF WOMEN ..............................................6 3. VIOLENCE AGAINST WOMEN IN CROATIA .......................................................8 4. THE CURRENT REGULATORY FRAMEWORK FOR MEDIA REPORTING........................................................................................ 10 5. ANALITICAL FRAMEWORK AND METHODOLOGY .................................... 16 6. RESULTS OF THE RESEARCH ............................................................................... 19 6.1. Number of brodcasts, programme items and duration .............. 20 6.2. The importance of news through positioning and headlines... 24 6.3. Topics ................................................................................................................ 25 6.4. Sources and speaking time ...................................................................... 27 6.5. Dramatization and spectacularization ............................................... 29 6.6. Use of concepts ............................................................................................ -
Croatia 07/2018
Monitoring Implementation of the Council of Europe Recommendation to the member states on measures to combat discrimination on grounds of sexual orientation or gender identity CM/Rec(2010)5 DOCUMENTATION REPORT ON THE REPUBLIC OF CROATIA 07/2018 Prepared by ZAGREB PRIDE web: www.zagreb-pride.net email: [email protected] ++385(0)1 580 65 60 Skype: zagrebpride Social media: @zagrebpride _________ TABLE OF CONTENT INTRODUCTION 4 About Zagreb Pride 4 About the Report 4 Political System and Demographics 4 Executive Summary 5 Methodology 8 Acknowledgements 9 RECOMMENDATIONS 10 Section 1 – Implementation of the Recommendation 18 Section 2 – Implementation of the specific provisions in the Appendix 21 2.1. Right to life, security and protection from violence 21 2.1.A. “Hate crimes” and other hate-motivated incidents 21 2.1.A.1 Hate crime legislation 21 2.1.A.2 Underreporting of homophobic and transphobic hate crimes 22 2.1.A.3 Documenting and reporting hate crimes 24 2.1.A.4. Zagreb Pride’s compiled data on hate crimes 25 2.1.A.5. Hate crimes – case studies 27 2.1.B. “Hate speech” 31 2.1.B.1. Hate speech – case studies 33 2.2. Freedom of association 38 2.3. Freedom of expression and peaceful assembly 41 2.4. Right to respect for private and family life 46 2.4.1. Legal gender recognition 46 2.4.2. Legal recognition of same sex couples 47 2.4.3. Institutional and political discrimination of same-sex life partners 48 2.4.4. Discrimination of informal same-sex life partners – case studies 50 2.4.5. -
Editorial by Nicolás Smirnoff
WWW.PRENSARIO.TV WWW.PRENSARIO.TV //// EDITORIAL BY NICOLÁS SMIRNOFF CEE: ups & downs at the new digital era Central & Eastern Europe is going forward through the new digital era with its own tips. The region has suffered a deep crisis from 2008 to 2017- 2018, with many economies Prensario just standing up. This has International meant rare investment pow- er and long-term plans, but at the same time the change ©2018 EDITORIAL PRENSARIO SRL PAYMENTS TO THE ORDER OF moves fast and comparing to EDITORIAL PRENSARIO SRL other territories, CEE shows OR BY CREDIT CARD. REGISTRO NACIONAL DE DERECHO strong digital poles and de- DE AUTOR Nº 10878 velopment appeals. Argentina: In favor, most of the biggest broadcast- OTT platforms? It is what main broadcasters Las Casas 3535 ers are group of channels that include many of the world are doing, to compete better in CP: 1238 the new converged market and to generate Buenos Aires, Argentina countries, so it is easier to set up cross region- Tel: (+54-11) 4924-7908 al plans and to generate high-scale moves. proper synergies. If content business moves Fax: (+54-11) 4925-2507 On the opposite, there are many different to franchise management, it is important to USA: languages and audiences, so it is difficult to be flexible enough to any formula. 12307 SW 133 Court - Suite #1432 spread solutions that work to every context. This Natpe Budapest? It promises to be bet- Miami, Florida 33186-USA Phone: (305) 890-1813 Russia is a big Internet pole and now it is ter than last ones, with the region going up Email: [email protected] also a big production hub for international and the need of pushing more and more col- Website: www.prensario.tv companies setting up studios or coproduc- laborations. -
Programme Diversity of the Most Influential TV
PROGRAMME DIVERSITY OF THE MOST INFLUENTIAL TV-CHANNELS IN MACEDONIA, CROATIA AND SLOVENIA Programme Diversity of the Most Influential TV-Channels in Macedonia, Croatia and Slovenia COMPARATIVE ANALYSIS OF THE COMMERCIAL TERRESTRIAL TV-CHANNELS ON NATIONAL LEVEL PROGRAMME DIVERSITY OF THE MOST INFLUENTIAL TV-CHANNELS IN MACEDONIA, CROATIA AND SLOVENIA Authors: Vesna Nikodinoska, Marina Tuneva and Slavco Milenkovski 1. INTRODUCTION The largest commercial terrestrial TV-channels on national level in Macedonia continue to represent a dominant source of information for the audience; hence, they continue to exert the greatest influence on the public opinion. Therefore, on one hand, it imposes expectations that the programme they offer to the viewers should reflect quality and diversity of content, and at the same time, it should set high standards for practitioners working in TV-channels, but on the other hand, they should promote democratic values and professional principles,1 so as to advance the development of the broadcasting industry. The quality of the media content is not an obligation explicitly regulated by law; however, the national commercial TV- channels, as the most viewed and the most influential, are expected to show a sense of social responsibility and work for the public interest, since they themselves are users of public resources. Under free market conditions, the competition with quality content should serve as additional stimulation to the rivalry in the broadcasting area and as “bait” for attracting advertisers. That is -
The Producing Process 3
03-Schultz.qxd 6/29/2004 12:34 PM Page 37 The Producing Process 3 y now, you have a pretty good idea of what a producer does to get B a newscast on the air. So far, we have only talked about these duties in the abstract sense. It is now time to take a closer look at the step-by-step process of putting a show together. Story Ideas and News Value A newscast starts with a series of story ideas, which are nothing more than potential ideas that could eventually end up in the show. Story ideas come from a variety of sources, and the good producer will often come to work with several story ideas already formulated. These may come from other media, be follow-ups from stories done the previous day, or be a consequence of personal observation (see Table 3.1 for examples). Producers like their reporters to come to work with story ideas, and reporters should have some concrete suggestions for stories, even if these ideas never pan out. Too many reporters show up with the expectation that producers will have a story already assigned to them. This can waste a lot of precious news time as reporters scramble to try and set up a story or contact news sources. Producers and reporters will suggest their story ideas at the editorial meeting, where they and the news director will discuss events going on in the area. The purpose of the meeting is to consider all possible story ideas and narrow them down to a list of stories that will go in the newscast. -
THE NATIONAL ACADEMY of TELEVISION ARTS & SCIENCES ANNOUNCES the 43Rd ANNUAL DAYTIME EMMY® AWARD NOMINATIONS
THE NATIONAL ACADEMY OF TELEVISION ARTS & SCIENCES ANNOUNCES The 43rd ANNUAL DAYTIME EMMY® AWARD NOMINATIONS Daytime Emmy Awards To be held at the Westin Bonaventure Hotel and Suites on May 1st Daytime Creative Arts Emmy® Awards Gala on April 29th Individual Achievement in Animation Honorees Announced New York – March 24th, 2016 – The National Academy of Television Arts & Sciences (NATAS) today announced the nominees for the 43rd Annual Daytime Emmy® Awards. The awards ceremony will be held at the Westin Bonaventure Hotel and Suites on Sunday, May 1st. The Daytime Creative Arts Emmy Awards will also be held at the Bonaventure on Friday, April 29th, 2016. The 43rd Annual Daytime Emmy Award Nominations were revealed today on the Emmy-winning show, “The Talk,” on CBS. “After last year’s critically successful Daytime telecast, it is with great disappointment that The National Academy of Television Arts & Sciences (NATAS) announces that there will not be a broadcast of the 43rd Annual Daytime Emmy ® Awards,” said Bob Mauro, President. “After months of negotiations to find show sponsorship, the NATAS Executive Board has decided that the current climate for awards shows prohibits the possibility of a telecast this year. With that said, we will be putting on a world-class awards celebration honoring the best and brightest of Daytime television and look forward to an exciting show. All efforts regarding returning the annual gala to television in 2017 are underway.” “We are especially grateful for our passionate Daytime fans and are looking forward to producing a grand gala that honors the talents and artistries of all the professionals that represent Daytime television,” said David Michaels, SVP, Daytime Emmy Awards. -
50Th Annual NORTHERN CALIFORNIA AREA EMMY® AWARD RECIPIENTS ANNOUNCED
1 50th Annual NORTHERN CALIFORNIA AREA EMMY® AWARD RECIPIENTS ANNOUNCED The 50th Annual Northern California Area EMMY® Awards were presented Saturday evening, June 5th for the second time via webcast only. The EMMY® Award is presented for outstanding achievement in television by The National Academy of Television Arts & Sciences (NATAS). San Francisco/ Northern California is one of the nineteen chapters awarding regional Emmy® statues. Northern California is composed of media companies and individuals from Visalia to the Oregon border and includes Hawaii and Reno, Nevada. Entries aired during the 2020 calendar year. A total of 912 entries were received, 765 English and 195 Spanish in 68 English Categories and 34 Spanish Categories. Nominations were announced on May 5th with 195 English and 76 Spanish. Electronic ballots were submitted by a minimum of seven peer judges from other NATAS chapters and were sent directly to our accountant. The Spanish and English awards are judged and scored separately and then presented at the ceremony. 353 Emmy® statues were handed out to 263 individuals. The top two recipients were Maikel D'Agostino, Photograpoher/Editor, KUVS Unvision 19, Sacramento with ten, and Jonathan Bloom, Video Journalist, KNTV NBC Bay Area, with Six. The Emmy® is awarded to individuals but there is a lot of interest in the station counts: KNTV NBC Bay Area took home 16 for the English contest and KUVS Univision 19 with 12 for the Spanish contest. The overall Excellence Emmy® awards went to KNTV NBC Bay Area, English and KUVS Univision 19, Spanish. The prestigious Governors’ Award, the highest honor a regional chapter can award was presented to Wayne Freedman, Reporter, KGO ABC 7, San Francisco. -
Traffic Connectivity in Croatia in the Past: the Dubrovnik Region Case
Athens Journal of History - Volume 1, Issue 3 – Pages 195-204 Traffic Connectivity in Croatia in the Past: The Dubrovnik Region Case By Marija Benić Penava This paper analyses the development of traffic routes in the far south of Croatia during the 19th and 20th century. Poor traffic connectivity was the consequence of traffic policy which was subordinated to the interests of Vienna in the Austro- Hungarian Monarchy, and after World War I, to Belgrade. Since the Dubrovnik region was oriented towards the sea, and since traditionally it had strong entrepreneurship and sea traffic that enabled great economic prosperity of Dubrovnik in the past centuries. Ships flying the flag of Sveti Vlaho (Saint Blaise, the patron saint of the city) were present in the Mediterranean and the world’s oceans, yet the service industry which Dubrovnik provided was completed by tourism only in the Kingdom of Yugoslavia. The perception of Dubrovnik as a world tourist destination was established in the first half of the 20th century and that could only be maintained by quality traffic routes. Therefore it was extremely important for the prosperity of the far south of Croatia to have and retain the best connectivity by railway as well as sea, land and air traffic. Introduction The transition from the eighteenth to the nineteenth century was a period of great economic change in Europe. The discovery of the Watt’s steam engine (1764) enabled mechanical transport, which neither the working animals nor the natural power, on which transportation was dependent previously, could not contest. The steam engine passed the milestone in the field of transport connection. -
The Producer Written by Ivo Burum
The Producer written by Ivo Burum There are various producer titles each relating to a role in the development, production, delivery and marketing cycle of a film, video, or online media project. Figure 1 Shows a hierarchical order of producing for a magazine and a current affairs show.: Executive Producer or EP credits in television are received by individual(s) who report to the networks, studios, or companies funding and distributing the series/show. The Executive Producer (Showrunner) has final responsibility for the creative and business aspects of producing a series. S/he will have direct authority over a majority of the producing functions throughout all phases of series production. The Executive Producer is often responsible for the creation of the series, including the concept, format and other production elements. Over the course of production, the Executive Producer is expected to serve as the primary point-of-contact with the network, studio, and/or production company regarding the development, production, post-production and marketing of the series. During development of the pilot and/or series, the Executive Producer will supervise or participate in story or script meetings, approve all storylines, and supervise the creation of the series "bible.” The Executive Producer will select or approve the hiring of all series directors, as well as the casting of all on camera talent including hosts and journalists. S/he will similarly select or approve of the hiring of key members of the producing team, such as the production manager, director of photography, and composer. The Executive Producer must supervise or approve the series budget and production schedule. -
A Pillar of Democracy on Shaky Ground
Media Programme SEE A Pillar of Democracy on Shaky Ground Public Service Media in South East Europe RECONNECTING WITH DATA CITIZENS TO BIG VALUES – FROM A Pillar of Democracy of Shaky on Ground A Pillar www.kas.de www.kas.dewww.kas.de Media Programme SEE A Pillar of Democracy on Shaky Ground Public Service Media in South East Europe www.kas.de Imprint Copyright © 2019 by Konrad-Adenauer-Stiftung Media Programme South East Europe Publisher Konrad-Adenauer-Stiftung e.V. Authors Viktorija Car, Nadine Gogu, Liana Ionescu, Ilda Londo, Driton Qeriqi, Miroljub Radojković, Nataša Ružić, Dragan Sekulovski, Orlin Spassov, Romina Surugiu, Lejla Turčilo, Daphne Wolter Editors Darija Fabijanić, Hendrik Sittig Proofreading Boryana Desheva, Louisa Spencer Translation (Bulgarian, German, Montenegrin) Boryana Desheva, KERN AG, Tanja Luburić Opinion Poll Ipsos (Ivica Sokolovski), KAS Media Programme South East Europe (Darija Fabijanić) Layout and Design Velin Saramov Cover Illustration Dineta Saramova ISBN 978-3-95721-596-3 Disclaimer All rights reserved. Requests for review copies and other enquiries concerning this publication are to be sent to the publisher. The responsibility for facts, opinions and cross references to external sources in this publication rests exclusively with the contributors and their interpretations do not necessarily reflect the views or policies of the Konrad-Adenauer-Stiftung. Table of Content Preface v Public Service Media and Its Future: Legitimacy in the Digital Age (the German case) 1 Survey on the Perception of Public Service -
Social Media Activity in the Context of Free-To-Air Broadcast Television
FACULTY OF HUMANITIES AND SOCIAL SCIENCES Beatrice Züll SOCIAL MEDIA ACTIVITY IN THE CONTEXT OF FREE-TO-AIR BROADCAST TELEVISION DOCTORAL DISSERTATION Zagreb, 2017 FACULTY OF HUMANITIES AND SOCIAL SCIENCES Beatrice Züll SOCIAL MEDIA ACTIVITY IN THE CONTEXT OF FREE-TO-AIR BROADCAST TELEVISION DOCTORAL DISSERTATION Zagreb, 2017 FILOSOFSKI FAKULTET Beatrice Züll ULOGA DRUŠTVENIH MEDIJA U MJERENJU TV GLEDANOSTI DOKTORSKI RAD Zagreb, 2017. FACULTY OF HUMANITIES AND SOCIAL SCIENCES Beatrice Züll SOCIAL MEDIA ACTIVITY IN THE CONTEXT OF FREE-TO-AIR BROADCAST TELEVISION DOCTORAL DISSERTATION Mentor: MiHaela Banek Zorica, PH.D. Zagreb, 2017 FILOSOFSKI FAKULTET Beatrice Züll ULOGA DRUŠTVENIH MEDIJA U MJERENJU TV GLEDANOSTI DOKTORSKI RAD Mentor: izv. prof. dr. sc. MiHaela Banek Zorica Zagreb, 2017. Acknowledgements This doctoral thesis was supported by the members and colleagues of the Faculty of Information and Communication Sciences of the University of Zagreb who provided insight and expertise and greatly assisted the research. I would like to express my sincere gratitude to my supervisor Mihaela Banek Zorica, Ph.D., for her guidance, encouragement and expertise. Thanks to my advisor Stephan Malović, Ph.D., for his encouragement and great support. Alida Zorz Miketek from Nielsen supported this research work as an expert in television audience research. Guillaume Antoine Rabi and his team at RTL Televizija Hrvatska endured the challenges of the empirical part of this project by giving advice and insights into empirical data. Poslovna Inteligencija, Dražen Oreščanin and his team supported this project with staff and server capacity. Fremantle Production and Ana Habajec provided insights into the strategic approach of television production companies to integrating social media in their daily work and building up social media audiences. -
The Book Art in Croatia Exhibition Catalogue
Book Art in Croatia BOOK ART IN CROATIA National and University Library in Zagreb, Zagreb, 2018 Contents Foreword / 4 Centuries of Book Art in Croatia / 5 Catalogue / 21 Foreword The National and University Library in Croatia, with the aim to present and promote the Croatian cultural heritage has prepared the exhibition Book Art in Croatia. The exhibition gives a historical view of book preparation and design in Croatia from the Middle Ages to the present day. It includes manuscript and printed books on different topics and themes, from mediaeval evangelistaries and missals to contemporary illustrated editions, print portfolios and artists’ books. Featured are the items that represent the best samples of artistic book design in Croatia with regard to their graphic design and harmonious relationship between the visual and graphic layout and content. The author of the exhibition is art historian Milan Pelc, who selected 60 items for presentation on panels. In addition to the introductory essay, the publication contains the catalogue of items with short descriptions. 4 Milan Pelc CENTURIES OF BOOK ART IN CROATIA Introduction Book art, a constituent part of written culture and Croatian cultural heritage as a whole, is ex- ceptionally rich and diverse. This essay does not pretend to describe it in its entirety. Its goal is to shed light on some (key) moments in its complex historical development and point to its most important specificities. The essay does not pertain to entire Croatian literary heritage, but only to the part created on the historical Croatian territory and created by the Croats. Namely, with regard to its origins, the Croatian literary heritage can be divided into three big groups.