International Media Assistance in Albania
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How Public Service Broadcasters in the Western Balkans Interact with Their Audiences
Public services without a public? How Public Service Broadcasters in the Western Balkans interact wiTh their audiences ¿Servicios Públicos sin público? Cómo los PSB interactúan con sus audiencias en los Países Balcánicos Occidentales Davor Marko (Analitika, Centre for Social Research, Sarajevo, Bosnia-Herzegovina) [[email protected]] http://dx.doi.org/10.12795/IC.2017.i01.08 E-ISSN: 2173-1071 IC – Revista Científica de Información y Comunicación 2017, 14, pp. 217 - 242 Abstract Struggling to cope with structural societal changes, digitalized news production, and the modified habits of fragmented media publics, public service broadcasters are expected to redefine the logic of their operations in order to regain the trust of citizens and engage them. This paper looks at how public service broadcasters in seven countries of the Western Balkans have embraced new approaches, technologies, and online channels to foster interaction with their audiences. This includes the analysis of their structures, the popularity of offline programmes, and the use of online channels to reach the public, on the basis of evidence, experiences and specific findings collected during the period 2014-2016, as part of the project implemented by the University of Fribourg (Switzerland) and the Centre for Social Research Analitika (Sarajevo, Bosnia-Herzegovina). Resumen Habitamos un contexto complejo en que los medios requieren (1) abordar cambios sociales significativos en las sociedades, (2) la digitalización de la producción de noticias y (3) las modificaciones en los hábitos de los fragmentarios públicos. En este entorno los medios de servicio público han de redefinir la lógica de su proceder de cara a la recuperación de la confianza entre la ciudadanía, restaurando los vínculos. -
Public Service Broadcasting Resists the Search for Independence in Brazil and Eastern Europe Octavio Penna Pieranti OCTAVIO PENNA PIERANTI
Public Service Broadcasting Resists The search for independence in Brazil and Eastern Europe Octavio Penna Pieranti OCTAVIO PENNA PIERANTI PUBLIC SERVICE BROADCASTING RESISTS The search for independence in Brazil and Eastern Europe Sofia, 2020 Copyright © Author Octavio Penna Pieranti Translation Lee Sharp Publisher Foundation Media Democracy Cover (design) Rafiza Varão Cover (photo) Octavio Penna Pieranti ISBN 978-619-90423-3-5 A first edition of this book was published in Portuguese in 2018 (“A radiodifusão pública resiste: a busca por independência no Brasil e no Leste Europeu”, Ed. FAC/UnB). This edition includes a new and final chapter in which the author updates the situation of Public Service Broadcasting in Brazil. To the (still) young Octavio, who will one day realize that communication goes beyond his favorite “episodes”, heroes and villains Table of Contents The late construction of public communication: two cases ............. 9 Tereza Cruvinel Thoughts on public service broadcasting: the importance of comparative studies ............................................................................ 13 Valentina Marinescu QUESTIONS AND ANSWERS .......................................................... 19 I ........................................................................................................... 21 THE END .............................................................................................. 43 II ........................................................................................................ -
Quick Guide to the Eurovision Song Contest 2018
The 100% Unofficial Quick Guide to the Eurovision Song Contest 2018 O Guia Rápido 100% Não-Oficial do Eurovision Song Contest 2018 for Commentators Broadcasters Media & Fans Compiled by Lisa-Jayne Lewis & Samantha Ross Compilado por Lisa-Jayne Lewis e Samantha Ross with Eleanor Chalkley & Rachel Humphrey 2018 Host City: Lisbon Since the Neolithic period, people have been making their homes where the Tagus meets the Atlantic. The sheltered harbour conditions have made Lisbon a major port for two millennia, and as a result of the maritime exploits of the Age of Discoveries Lisbon became the centre of an imperial Portugal. Modern Lisbon is a diverse, exciting, creative city where the ancient and modern mix, and adventure hides around every corner. 2018 Venue: The Altice Arena Sitting like a beautiful UFO on the banks of the River Tagus, the Altice Arena has hosted events as diverse as technology forum Web Summit, the 2002 World Fencing Championships and Kylie Minogue’s Portuguese debut concert. With a maximum capacity of 20000 people and an innovative wooden internal structure intended to invoke the form of Portuguese carrack, the arena was constructed specially for Expo ‘98 and very well served by the Lisbon public transport system. 2018 Hosts: Sílvia Alberto, Filomena Cautela, Catarina Furtado, Daniela Ruah Sílvia Alberto is a graduate of both Lisbon Film and Theatre School and RTP’s Clube Disney. She has hosted Portugal’s edition of Dancing With The Stars and since 2008 has been the face of Festival da Cançao. Filomena Cautela is the funniest person on Portuguese TV. -
Lesbian Camp 02/07
SQS Bespectacular and over the top. On the genealogy of lesbian camp 02/07 Annamari Vänskä 66 In May 2007, the foundations of the queer Eurovision world seemed to shake once again as Serbia’s representative, Queer Mirror: Perspectives Marija Šerifović inspired people all over Europe vote for her and her song “Molitva”, “Prayer”. The song was praised, the singer, daughter of a famous Serbian singer, was hailed, and the whole song contest was by many seen in a new light: removed from its flamboyantly campy gay aesthetics which seems to have become one of the main signifiers of the whole contest in recent decades. As the contest had al- ready lost the Danish drag performer DQ in the semi finals, the victory of Serbia’s subtle hymn-like invocation placed the whole contest in a much more serious ballpark. With “Molitva” the contest seemed to shrug off its prominent gay appeal restoring the contest to its roots, to the idea of a Grand Prix of European Song, where the aim has been Marija Šerifović’s performance was said to lack camp and restore the to find the best European pop song in a contest between contest to its roots, to the idea of a Grand Prix of European Song. different European nations. The serious singer posed in masculine attire: tuxedo, white riosity was appeased: not only was Šerifović identified as shirt, loosely hanging bow tie and white sneakers, and was a lesbian but also as a Romany person.1 Šerifović seemed surrounded by a chorus of five femininely coded women. -
The Cultural Politics of Eurovision: a Case Study of Ukraine’S Invasion in 2014 Against Their Eurovision Win in 2016
Claremont-UC Undergraduate Research Conference on the European Union Volume 2017 Article 6 9-12-2017 The ulturC al Politics of Eurovision: A Case Study of Ukraine’s Invasion in 2014 Against Their Eurovision Win in 2016 Jordana L. Cashman Brigham Young University Follow this and additional works at: http://scholarship.claremont.edu/urceu Part of the European Languages and Societies Commons, International and Area Studies Commons, International Relations Commons, and the Slavic Languages and Societies Commons Recommended Citation Cashman, Jordana L. (2017) "The ulturC al Politics of Eurovision: A Case Study of Ukraine’s Invasion in 2014 Against Their Eurovision Win in 2016," Claremont-UC Undergraduate Research Conference on the European Union: Vol. 2017, Article 6. DOI: 10.5642/urceu.201701.06 Available at: http://scholarship.claremont.edu/urceu/vol2017/iss1/6 This Chapter is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Claremont-UC Undergraduate Research Conference on the European Union by an authorized editor of Scholarship @ Claremont. For more information, please contact [email protected]. Claremont–UC Undergraduate Research Conference on the European Union 45 4 The Cultural Politics of Eurovision: A Case Study of Ukraine’s Invasion in 2014 Against Their Eurovision Win in 2016 Jordana L. Cashman Brigham Young University Abstract Politics is officially banned from Eurovision, and songs that are too political can be prevented from being performed. However, the complete separation of culture and politics is impossible, and cultural performances often carry both indirect and explicit political mes- sages. -
Gender and Geopolitics in the Eurovision Song Contest Introduction
Gender and Geopolitics in the Eurovision Song Contest Introduction Catherine Baker Lecturer, University of Hull [email protected] http://www.suedosteuropa.uni-graz.at/cse/en/baker Contemporary Southeastern Europe, 2015, 2(1), 74-93 Contemporary Southeastern Europe is an online, peer-reviewed, multidisciplinary journal that publishes original, scholarly, and policy-oriented research on issues relevant to societies in Southeastern Europe. For more information, please contact us at [email protected] or visit our website at www.contemporarysee.org Introduction: Gender and Geopolitics in the Eurovision Song Contest Catherine Baker* Introduction From the vantage point of the early 1990s, when the end of the Cold War not only inspired the discourses of many Eurovision performances but created opportunities for the map of Eurovision participation itself to significantly expand in a short space of time, neither the scale of the contemporary Eurovision Song Contest (ESC) nor the extent to which a field of “Eurovision research” has developed in cultural studies and its related disciplines would have been recognisable. In 1993, when former Warsaw Pact states began to participate in Eurovision for the first time and Yugoslav successor states started to compete in their own right, the contest remained a one-night-per- year theatrical presentation staged in venues that accommodated, at most, a couple of thousand spectators and with points awarded by expert juries from each participating country. Between 1998 and 2004, Eurovision’s organisers, the European Broadcasting Union (EBU), and the national broadcasters responsible for hosting each edition of the contest expanded it into an ever grander spectacle: hosted in arenas before live audiences of 10,000 or more, with (from 2004) a semi-final system enabling every eligible country and broadcaster to participate each year, and with (between 1998 and 2008) points awarded almost entirely on the basis of telephone voting by audiences in each participating state. -
Diplomski Rad
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Juraj Dobrila University of Pula Digital Repository Sveučilište Jurja Dobrile u Puli Filozofski fakultet KATARINA POKRAJAC POPULARNA KULTURA U HRVATSKOJ 1970-IH I 1980-IH Diplomski rad Pula, 2018. Sveučilište Jurja Dobrile u Puli Filozofski fakultet KATARINA POKRAJAC POPULARNA KULTURA U HRVATSKOJ 1970-IH I 1980-IH Diplomski rad JMBAG: 0303030797, redoviti student Studijski smjer: Hrvatski jezik i književnost - Povijest Predmet: Hrvatska svakodnevica u socijalizmu Znanstveno područje: humanističke znanosti Znanstveno polje: povijest Znanstvena grana: hrvatska i svjetska moderna i suvremena povijest Mentor: izv. prof. dr. sc. Igor Duda Pula, srpanj 2018. IZJAVA O AKADEMSKOJ ČESTITOSTI Ja, dolje potpisana Katarina Pokrajac, kandidtkinja za magistru hrvatskog jezika i knjiţevnosti i povijesti ovime izjavljujem da je ovaj diplomski rad rezultat isključivo mojega vlastitog rada, da se temelji na mojim istraţivanjima te da se oslanja na objavljenu literaturu kao što to pokazuju korištene bilješke i bibliografija. Izjavljujem da niti jedan dio diplomskog rada nije napisan na nedozvoljen način, odnosno da je prepisan iz kojega necitiranog rada, te da ikoji dio rada krši bilo čija autorska prava. Izjavljujem, takoĎer, da nijedan dio rada nije iskorišten za koji drugi rad pri bilo kojoj drugoj visokoškolskoj, znanstvenoj ili radnoj ustanovi. U Puli, 28. lipnja 2018. Studentica ______________________ IZJAVA o korištenju autorskog djela Ja, Katarina Pokrajac -
Roma and Egyptians in Albania Public Disclosure Authorized from Social Exclusion to Social Inclusion
Public Disclosure Authorized Public Disclosure Authorized Public Disclosure Authorized Public Disclosure Authorized Ilir Gedeshi Sabine Beddies Hermine De Soto From Social Exclusion to Social Inclusion Roma and Egyptians in Albania THE WORLD BANK WORLD BANK WORKING PAPER NO. WORLD 53 BANK WORKING PAPER WORLD BANK WORKING PAPER NO. 53 Roma and Egyptians in Albania From Social Exclusion to Social Inclusion Hermine G. De Soto Sabine Beddies Ilir Gedeshi THE WORLD BANK Washington, D.C. Copyright © 2005 The International Bank for Reconstruction and Development / The World Bank 1818 H Street, N.W. Washington, D.C. 20433, U.S.A. All rights reserved Manufactured in the United States of America First Printing: March 2005 printed on recycled paper 12345070605 World Bank Working Papers are published to communicate the results of the Bank’s work to the development community with the least possible delay. The manuscript of this paper there- fore has not been prepared in accordance with the procedures appropriate to formally-edited texts. Some sources cited in this paper may be informal documents that are not readily available. The findings, interpretations, and conclusions expressed herein are those of the author(s) and do not necessarily reflect the views of the International Bank for Reconstruction and Development/The World Bank and its affiliated organizations, or those of the Executive Directors of The World Bank or the governments they represent. The World Bank does not guarantee the accuracy of the data included in this work. The boundaries, colors, denominations, and other information shown on any map in this work do not imply and judgment on the part of The World Bank of the legal status of any territory or the endorsement or acceptance of such boundaries. -
A Croácia E Sua Participação No Eurovisão: Do Apelo Pacifista Ao Reconhecimento Cultural De Uma Tradição
A Croácia e sua participação no Eurovisão: do apelo pacifista ao reconhecimento cultural de uma tradição Mauro Neves Resumo: A Croácia, juntamente com a Bósnia-Herzegovina e a Eslovênia, foi um dos primeiros países balcânicos a participar do Festival Eurovisão da Canção (Eurovisão) após a desintegração da Iugoslávia, país este que havia sido o único país do leste europeu a ter tomado parte no certame musical europeu até 1992. A entrada no Eurovisão em 1993 dessas três novas nações balcânicas, oriundas da desintegração iugoslava iniciada em 1991, deu-se em meio à Guerra da Bósnia (1992-1995), e por isso mesmo, representou a introdução de um novo imaginário dos Balcãs dentro desse programa musical de grande audiência e de longa história, de certa maneira procurando aproximar os países nascidos dessa desintegração à comunidade europeia. Após uma breve síntese histórica do Eurovisão como um todo e das participações da Iugoslávia, 27 participações entre 1961 e 1992, passaremos a analisar as 21 participações da Croácia entre 1993 e 2013, discutindo o que estas representaram não só como forma de procurar integrar o país na Europa, como também como forma de tentar criar um novo imaginário sobre o país para os próprios croatas. Palavras-chave: Eurovisão. Música popular. Imaginário nacional. Integração europeia. Abstract: Croatia in the eurovision song contest: from an antiwar message to the recognition of a cultural tradition. Croatia, together with Bosnia-Herzegovina and Slovenia, was one of the first Balkan countries to join the Eurovision Song Contest (ESC) after the Yugoslavian Wars that lead to the disintegration of Yugoslavia, the only country from East Europe to have taken part at the Festival up to 1992. -
OGAE Contest Rulebook Table of Contents
CONTEST RULEBOOK accepted by presidents on 18/03/2020 OGAE Contest Rulebook Table of Contents Table of Contents About ............................................................................................................................................................3 Contest Responsibilities .....................................................................................................................3 New Contests ........................................................................................................................................3 Contest Coordinator ................................................................................................................................4 Contest Rules .........................................................................................................................................4 Timetable ................................................................................................................................................5 OGAE Second Chance Contest ............................................................................................................6 General Rules .........................................................................................................................................6 Special Rules ..........................................................................................................................................8 Procedures ..............................................................................................................................................8 -
Must-Carry Rules, and Access to Free-DTT
Access to TV platforms: must-carry rules, and access to free-DTT European Audiovisual Observatory for the European Commission - DG COMM Deirdre Kevin and Agnes Schneeberger European Audiovisual Observatory December 2015 1 | Page Table of Contents Introduction and context of study 7 Executive Summary 9 1 Must-carry 14 1.1 Universal Services Directive 14 1.2 Platforms referred to in must-carry rules 16 1.3 Must-carry channels and services 19 1.4 Other content access rules 28 1.5 Issues of cost in relation to must-carry 30 2 Digital Terrestrial Television 34 2.1 DTT licensing and obstacles to access 34 2.2 Public service broadcasters MUXs 37 2.3 Must-carry rules and digital terrestrial television 37 2.4 DTT across Europe 38 2.5 Channels on Free DTT services 45 Recent legal developments 50 Country Reports 52 3 AL - ALBANIA 53 3.1 Must-carry rules 53 3.2 Other access rules 54 3.3 DTT networks and platform operators 54 3.4 Summary and conclusion 54 4 AT – AUSTRIA 55 4.1 Must-carry rules 55 4.2 Other access rules 58 4.3 Access to free DTT 59 4.4 Conclusion and summary 60 5 BA – BOSNIA AND HERZEGOVINA 61 5.1 Must-carry rules 61 5.2 Other access rules 62 5.3 DTT development 62 5.4 Summary and conclusion 62 6 BE – BELGIUM 63 6.1 Must-carry rules 63 6.2 Other access rules 70 6.3 Access to free DTT 72 6.4 Conclusion and summary 73 7 BG – BULGARIA 75 2 | Page 7.1 Must-carry rules 75 7.2 Must offer 75 7.3 Access to free DTT 76 7.4 Summary and conclusion 76 8 CH – SWITZERLAND 77 8.1 Must-carry rules 77 8.2 Other access rules 79 8.3 Access to free DTT -
Television Across Europe
media-incovers-0902.qxp 9/3/2005 12:44 PM Page 4 OPEN SOCIETY INSTITUTE EU MONITORING AND ADVOCACY PROGRAM NETWORK MEDIA PROGRAM ALBANIA BOSNIA AND HERZEGOVINA BULGARIA Television CROATIA across Europe: CZECH REPUBLIC ESTONIA FRANCE regulation, policy GERMANY HUNGARY and independence ITALY LATVIA LITHUANIA Summary POLAND REPUBLIC OF MACEDONIA ROMANIA SERBIA SLOVAKIA SLOVENIA TURKEY UNITED KINGDOM Monitoring Reports 2005 Published by OPEN SOCIETY INSTITUTE Október 6. u. 12. H-1051 Budapest Hungary 400 West 59th Street New York, NY 10019 USA © OSI/EU Monitoring and Advocacy Program, 2005 All rights reserved. TM and Copyright © 2005 Open Society Institute EU MONITORING AND ADVOCACY PROGRAM Október 6. u. 12. H-1051 Budapest Hungary Website <www.eumap.org> ISBN: 1-891385-35-6 Library of Congress Cataloging-in-Publication Data. A CIP catalog record for this book is available upon request. Copies of the book can be ordered from the EU Monitoring and Advocacy Program <[email protected]> Printed in Gyoma, Hungary, 2005 Design & Layout by Q.E.D. Publishing TABLE OF CONTENTS Table of Contents Acknowledgements ........................................................ 5 Preface ........................................................................... 9 Foreword ..................................................................... 11 Overview ..................................................................... 13 Albania ............................................................... 185 Bosnia and Herzegovina ...................................... 193