Ukraine Media Landscape 2006: Television, TV Advertising Market, Film Production and Production Facilities by Media Resources Management

Total Page:16

File Type:pdf, Size:1020Kb

Ukraine Media Landscape 2006: Television, TV Advertising Market, Film Production and Production Facilities by Media Resources Management and the Ukrainian League of Public Relations. They create a certain Ukraine, where the system of education in public relations “watershed” for the local PR industry, demarcating the market and leaves much to be desired. The majority of lecturers come from consolidating key market players around the two poles. adjacent areas and lack hands-on PR experience. The key high- er institutions that provide graduates for the scarce PR labour The growing activity of professional community essentially benefits market are Kyiv Mohyla Academy and Taras Shevchenko Kyiv the market development, and 2006 has boomed in PR events, with National University, whereas postgraduate CIPR Certificate the both associations conducting large-scale professional forums. and Diploma courses are available at the International Institute At the beginning of October 2006 the Ukrainian Association of of Business. Public Relations (UAPR) conducted the European PR Congress- 2006 “Strategic PR: from business reputation to country image”. Graduates majoring in social and political sciences, philology The event attracted about 200 PR-practitioners from Ukraine, CIS and marketing staff the PR agencies at an entry level, with further and Western and Central Europe, as well as government represent- professional tuning into PR practitioners. The market is largely atives (including the Ministry of Foreign Affairs of Ukraine), NGOs understaffed, especially by the “narrow specialists” – experts in etc. More than 40 speakers from 10 countries reported on the latest particular markets (pharmaceutics, high tech, finances, etc.) Thus PR industry developments and trends. International Annual Summit international PR agencies are the sought-after environment for “Days of PR in Ukraine” was also held in Kyiv in October 2006 by the professional growth. Ukrainian League of Public Relations and with the support of the Ministry of Foreign Affairs of Ukraine. So, the dynamics of the Ukrainian PR market development shows that the Ukrainian PR as a notion has emerged and, despite the Professional events that bring to the table recognized PR ‘growing pains’ of this fledgling industry, evolves into a strategic professionals from abroad are of great educational value in communications power. 11 Media Ukraine Media Landscape 2006: television, tv Advertising Market, Film Production and Production Facilities by Media Resources Management General Information worth to be mentioned: TRC Ukraine, Tonis, NTN, M1, 5th Channel and Megasport. Together all of the above mentioned channels hold 80% of According to the official data of National Council of Television and Ukrainian TV audience and 90% of TV advertising market. Radio there are 1268 television and radio organizations (TRO) reg- istered in Ukraine, 97 of which are registered as television and radio organizations and 647 are television stations. Advertising If talking about the factors that had a significant influence on the 848 TRO’s are private, 383 belong to city administrations and 37 development of Ukrainian media market, we have to first of all men- are state-owned. tion the growth of advertising market of Ukraine. According to certain sources, 15% TRO’s do not function at all and Volume of advertising market of Ukraine 2001-2006, 60 % are hardly surviving. Thus, only 25% percent of all registered mln. USD, excluding taxes TRO’s might be considered more or less successful. Year 2004 2005 2006 There are three nationwide Free TV channels in Ukraine: UT-1 (state- owned), Inter and Studio 1+1 (both are privately owned). Another Total volume of advertising market 571 835 1373.2 four channels – New Channel, STB, ICTV and TET – are approach- ing status of national by coverage and sometimes are referred to as Growth compared to previous year 36% 46% 64.5% “multiregionals”. According to the rating figures and audience shares Volume of TV advertising market 165 237 390 these channels are to be considered the largest and the leading chan- st nels in Ukraine. Historically Inter has almost always held the 1 place, Growth compared to previous year 27% 43% 59% Studio 1+1 – the 2nd, New Channel – being the 3rd channel, ICTV – the 4th and STB – the 5th. But there is a number of other TV market players Data by Ukrainian Advertising Coalition 196 Country profile ukraine Audience shares of the Free TV channels in Ukraine broadcast TV product should be in Ukrainian language. Starting (first 3 quarters of 2006) from February 1st 2007 the volume of Ukrainian language pro- gramming should reach 75%. RTR PLANET As for the future tendencies of increased volume of Ukrainian lan- TRK KYIV K2 1.34 % 0.43 % 0.11 % guage on TV, the experts’ opinions have split. Some of them are NTN NTV MIR sure that it is already quite clear that Ukrainian language content is 2.04 % 1.38 % M1 K1 5 CHANNEL TONIS 1.15 % 0.35 % currently in high demand in the process of filmmaking and it is still INTER 2.06 % 1.46 % UT1 21.61 % to grow. Their opponents are not so optimistic about a large volume 2.24 % of product to be produced in Ukrainian. The reason for it is very sim- TET 2.66 % ple – the Ukrainian language product will not bring any profit (will CHANNEL 1 Rus not even cover the production cost), since Ukrainian language will 3.79 % limit its export opportunities to Russian speaking markets, whose TRK license fees are quite desirable and high. Thus the primary market UKRAINE 4.37 % for Ukraine made product is Russia that is why all the product is shot in Russian language. STB 6.4 % 1+1 Apart from television Ukrainian language is also entering the the- 18.37 % ICTV atrical market. Quite a few theatrical releases were dubbed to 7.29 % NEW CHANNEL Ukrainian instead of Russian. It is worth mentioning that such a hit 7.49 % as THE CARS generated 30% bigger box office in Ukrainian than in Data provided by GfK Russian (it was released in Ukraine in both language versions). However, on October 17th 2006, the Kiev Economic Court of The advertising market of the country is still stably growing, Appeal has overruled some regulations as for the set restrictions in But the growth in 2006 was mainly caused by political PR cam- dubbing language of theatrical and Home video releases of foreign paigns. The growth of 2006 is appeared to be at the level of movies. 64.5%. As for TV advertising market the process of the slowing down of growth margin increase is due to the oversaturation of the air time by commercial advertisements. However, by no tv channels means the Ukrainian market has used itself up. According to 2006 was marked by a number of significant events in Ukrainian various experts, this field is one of fastest developing ones. In television, namely by a change of owners and management of the particular the stable growth of the markets is fueled by the new leading channels, by World Football Cup, birth of new thematic Western companies entering the Ukrainian market, growing channels (Kino, TV-1 and 24), etc. competition between the groups of goods suppliers, increas- ing interest in regional markets, further growth of advertising The first half of 2006 was rather tough for the Ukrainian TV channels: prices, etc. almost all of them had to go through either change of the owner or the top management. The first quarter of the year was marked by Now, it’s worth telling about some major significant events that the final round of the Parliamentary elections in the country. June shaped the Ukrainian media market over the period of 2006. was all occupied by the World Cup. It is worth mentioning that the management and ownership tv measuring change has caused a rather significant decrease in ratings fig- Over the course of 2006 a few companies participated in the an- ures, however none of the competitor channels has used this nounced tender (held by ITC (Industrial Television Committee) which opportunity to its benefit. The multiregional channels were com- was supposed to determine an official measurer of the television audi- peting against each other, and only STB benefited from it. Studio ence in Ukraine in 2008 – 2012. The company which was chosen (and 1+1 has established its leadership due to the huge success of accordingly its panel) would of course have a great influence both on the telenovela “Do not Be Born Beautiful” (Russian adaptation the market and its players. of Columbian “Ugly Betty”) programmed in weekday prime time. Inter TV Channel succeeded to attract a very structured audience In the end of November, ITC voted for GfK-Ukraine and this com- only during the weekends, in general the situation has stabilized pany would provide TV audience measurements in Ukraine in only by June during the World Cup broadcast. During the week- 2008-2012. day prime time Inter has intentionally avoided the competition, having given up the slot not only to 1+1, but sometimes to New Starting from 2008 a new panel of ratings measuring will be introduced Channel and ICTV. which will cover all the population of Ukraine. Such restructuring of the panel (as well as the operator) will of course have its impact on the The following channels have increased its ratings: “Channel One. ratings of the channels, since the panel will include more of the older Worldwide Net” (satellite version of the Russian Channel One), TET, population and the population with lower income. and TRC Ukraine. “Channel One. Worldwide Net” was especially boosting its numbers during the weekend prime time. Ukrainian Language on tv The total sum of multiregional channels’ figures gives them a The 2006 was marked by increasing volume of Ukrainian language chance to take the leading position as far as it goes for commer- on TV (as opposed to Russian).
Recommended publications
  • Download Thesis
    This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Representations of the Holocaust in Soviet cinema Timoshkina, Alisa Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 25. Sep. 2021 REPRESENTATIONS OF THE HOLOCAUST IN SOVIET CINEMA Alissa Timoshkina PhD in Film Studies 1 ABSTRACT The aim of my doctoral project is to study how the Holocaust has been represented in Soviet cinema from the 1930s to the collapse of the Soviet Union in 1991.
    [Show full text]
  • SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN the LINES by Olga Klimova Specialist Degree, Belarusian State University
    SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES by Olga Klimova Specialist degree, Belarusian State University, 2001 Master of Arts, Brock University, 2005 Master of Arts, University of Pittsburgh, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Olga Klimova It was defended on May 06, 2013 and approved by David J. Birnbaum, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Lucy Fischer, Distinguished Professor, Department of English, University of Pittsburgh Vladimir Padunov, Associate Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Aleksandr Prokhorov, Associate Professor, Department of Modern Languages and Literatures, College of William and Mary, Virginia Dissertation Advisor: Nancy Condee, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh ii Copyright © by Olga Klimova 2013 iii SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES Olga Klimova, PhD University of Pittsburgh, 2013 The central argument of my dissertation emerges from the idea that genre cinema, exemplified by youth films, became a safe outlet for Soviet filmmakers’ creative energy during the period of so-called “developed socialism.” A growing interest in youth culture and cinema at the time was ignited by a need to express dissatisfaction with the political and social order in the country under the condition of intensified censorship. I analyze different visual and narrative strategies developed by the directors of youth cinema during the Brezhnev period as mechanisms for circumventing ideological control over cultural production.
    [Show full text]
  • 9781474437257 Refocus The
    ReFocus: The Films of Andrei Tarkovsky 66616_Toymentsev.indd616_Toymentsev.indd i 112/01/212/01/21 111:211:21 AAMM ReFocus: The International Directors Series Series Editors: Robert Singer, Stefanie Van de Peer, and Gary D. Rhodes Board of advisors: Lizelle Bisschoff (University of Glasgow) Stephanie Hemelryck Donald (University of Lincoln) Anna Misiak (Falmouth University) Des O’Rawe (Queen’s University Belfast) ReFocus is a series of contemporary methodological and theoretical approaches to the interdisciplinary analyses and interpretations of international film directors, from the celebrated to the ignored, in direct relationship to their respective culture—its myths, values, and historical precepts—and the broader parameters of international film history and theory. The series provides a forum for introducing a broad spectrum of directors, working in and establishing movements, trends, cycles, and genres including those historical, currently popular, or emergent, and in need of critical assessment or reassessment. It ignores no director who created a historical space—either in or outside of the studio system—beginning with the origins of cinema and up to the present. ReFocus brings these film directors to a new audience of scholars and general readers of Film Studies. Titles in the series include: ReFocus: The Films of Susanne Bier Edited by Missy Molloy, Mimi Nielsen, and Meryl Shriver-Rice ReFocus: The Films of Francis Veber Keith Corson ReFocus: The Films of Jia Zhangke Maureen Turim and Ying Xiao ReFocus: The Films of Xavier Dolan
    [Show full text]
  • New Russian Cinema
    New Russian Cinema By Christina Stojanova Fall 1998 Issue of KINEMA The transition to market economy and the dismantling of the USSR created an unprecedented crisis in Russian film industry. The awesome All Union Ministry of Cinematography (Goskino) was dismembered. This almost paramilitary institution, whose senior officials were also allegedly senior KGB officers, directed, or rather policed, the Soviet film production process with the stick of censorship, and the carrot of lucrative awards. Understandably, the censorship is not going to be sorely missed. What is missed, however, are the generous state budgets and the firm general line, drawn by the military from the Ministry, in accordance with the ever-changing Kremlin ideological vision. Distribution-wise the situation in Russian cinema followed the pattern characteristic for the other post- communist countries. American films, kept for so long beyond the ideological pale, took over the repertoire, occupying around 75% of the programming time, with a tendency to reach 85% during the next decade. In the Russian Federation, the number of film theatres has dwindled from 3,000 to 1,500, and continues to fall. After the production boom from the early 1990s (300 films for 1991-92 alone), the figure has stabilised around 50-60 per year. To say that the government has entirely ceased to finance Russian cinema will be wrong. But the traditional mismanagement of state funding, the need to support an enormous army of redundant administrators, and pay salaries to non-working, tenured film-makers, renders government funding far from sufficient vis-à-vis runaway inflation and constantly rising costs.
    [Show full text]
  • A Postcolonial View on King Arthur (2004) and Nomad (2005)
    Studia Litteraria Universitatis Iagellonicae Cracoviensis 10 (2015), z. 2, s. 107–120 doi:10.4467/20843933ST.15.010.4101 www.ejournals.eu/Studia-Litteraria CHRISTOPH HOUSWITSCHKA Universität Bamberg e-mail: [email protected] A Postcolonial View on King Arthur (2004) and Nomad (2005) Abstract King Arthur (2004) and Nomad (2005) both choose a medievalist setting aiming for audiences. Both fi lms tell stories of young war lords during periods of political transition which question old allegiances and loyalties redefi ning national and cultural belongings. Arthur brings the Sax- on invasion to a brief halt in the period of Roman retreat and Mansur (alias Ablai Khan) leads Kazakhstan into freedom in the eighteenth century. Both heroes are grappling with alienation from their origins caused by colonial hegemony. Coping with the instabilities of their hybrid identities they choose opposing ways of building new identities. Arthur Fuqua’s king takes on the challenge of merging various cultural heritages founding a civilization that symbolizes the transnational aspirations of contemporary Europe. Sergei Bodrov‘s Mansur annihilates Kazakh colonial past when he unknowingly kills his brother in arms. Erali‘s sacrifi ce ends the endless disputes of the Kazakhs that originate in their hybrid identity thwarting national restoration. Thus both fi lms serve ambiguous ideological purposes by defi ning a hostile other. The Saxon invaders represent racist Nazis who were defeated in order to create modern Europe. The defeat of the Jungar invaders helps constructing an essentialist historical order in which the creation of Kazachstan appears to be the restoration of a pre-modern nation. Both fi lms show the ideo- logical power of mediaevalism off ering multi-layered methods of addressing a diverse global audience.
    [Show full text]
  • Ukraine and NATO: Deadlock Or Re-Start? Ukraineukraine and and NATO: NATO: Ukraine Has Over the Past Ten Years Developed a Very Close Partnership with NATO
    Ukraine and NATO: Deadlock or Re-start? UkraineUkraine and and NATO: NATO: Ukraine has over the past ten years developed a very close partnership with NATO. Key areas of Deadlock or Re-start? consultation and co-operation include, for instance, peacekeeping operations, and defence and Deadlock or Re-start? security sector reform. NATO’s engagement serves two vital purposes for Ukraine. First, it enhan- Jakob Hedenskog ces Ukraine’s long-term security and serves as a guarantee for the independence of the state; and JAKOB HEDENSKOG second, it promotes and encourages democratic institutionalisation and spreading of democratic norms and values in the country. JAKOB HEDENSKOG Ukraine and NATO: Deadlock or Re-start NATO’s door for Ukraine remains open. The future development of the integration depends on Ukraine’s correspondence to the standards of NATO membership, on the determination of its political leadership, and on an effective mobilisation of public opinion on NATO membership. This report shows that Ukraine has made progress in reaching the standards for NATO membership, especially in the spheres of military contribution and interoperability. However the absence of national consensus and lack of political will and strategic management of the government hamper any effective implementation of Ukraine’s Euro-Atlantic integration. It is also crucial to neutralise Russia’s influence, which seriously hampers Ukraine’s Euro-Atlantic course. Leading representati- ves of the current leadership, especially Prime Minister Viktor Yanukovych and his Party of Regions of Ukraine, prefer for the moment continued stable relations with Russia rather than NATO mem- ? bership. Jakob Hedenskog is a security policy analyst at the Swedish Defence Re- search Agency (FOI) specialised on Ukraine.
    [Show full text]
  • ICTV Morozov
    CISCCONTENTONTENT:CONTENRTRREPORTEPORTEPORT CC ReviewОбзорОбзор of новостейaudiovisualновостей рынка content производства production and ии дистрибуциидистрибуции distribution аудиовизуальногоаудиовизуальногоin the CIS countries контента контента Media«»«MediaМ«»ÌЕДИÅÄÈ ResourcesА rÀРesourcesЕСУРСЫÐÅÑÓÐÑÛ МManagement ÌManagementЕНЕДЖМЕНТÅÍÅÄÆÌÅÍÒ» № №2№121(9)№24, №2 13 1April января, April, 1 July April, 30, 20152012 20132011 2012 tion but also be the award winners and nominees of тема номера DEARсловоDear colleagues!COLLEAGUES редакции different international film festivals. Despite large FOCUSFOCUS portion of information on the new movies, shows and УжеWeWe are areв первые happy toto дни present present нового you you the годаthe July Aprilнам, issue issue редакof the of cцtheиIsи: ПервыйLastseries autumn you’ll номер membersalso Contentfind theof Russian detailedReport association выходитreport on ofвthe televiкану re-н- UKRAINEКИНОТЕАТРАЛЬНЫ BECOMESЙ A ContentCIS:content Content Report, report Report сразу where whereстало we tried понятно,we to tried gather toчто thegather в most2011 the inм- Старогоsioncent anddeals movie Нового of international producers года, который chose distributors Red (наконецто) Square with the Screen cI sза-- всеmostteresting мы interesting будем up-to-date усердно up-to-date information и неустанно information about трудиться. rapidlyabout rapidly devel За- вершаетingspartners. as the чередуmost important праздников, industry поэтeventом of theу еще season. раз РЫН О К В УКРАИН Е : HIGH-PROSPECTIVETV MARKETS:
    [Show full text]
  • This Is the Published Version of a Chapter Published in Russische Und Sowjetische Geschichte Im Film
    http://www.diva-portal.org This is the published version of a chapter published in Russische und Sowjetische Geschichte im Film: Von Väterchen Zar, tragischen Helden, russischen Revolutionären und "kalten Krieger"n. Citation for the original published chapter: Kotljarchuk, A. (2016) Invisible Victims: The Cold War and Representation of the Roma Genocide in Soviet Feature Films, Teleplays and Theater Performances. In: Alexander Friedman ; Frank Jacob (ed.), Russische und Sowjetische Geschichte im Film: Von Väterchen Zar, tragischen Helden, russischen Revolutionären und "kalten Krieger"n (pp. 129-150). New York: ALTIJA N.B. When citing this work, cite the original published chapter. Permanent link to this version: http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32100 Powered by TCPDF (www.tcpdf.org) RUSSISCHE UND SOWJETISCHE GESCHICHTE IM FILM Von bolschewistischen Revolutionären, antifaschistischen Widerstandskämpfern, jüdischen Emigranten und „Kalten Kriegern“ Alexander FRIEDMAN und Frank JACOB (Hrsg.) New York Geschichte und Film, Bd. 1 Hrsg. Frank JACOB und Alexander FRIEDMAN Alexander Friedman und Frank Jacob: Russische und Sowjetische Geschichte im Film: Von bolschewistischen Revolu- tionären, antifaschistischen Widerstandskämpfern, jüdischen Emigranten und „Kalten Kriegern“ © ALTIJA, Frank Jacob, New York 2016. Coverdesign: Judith Weber / Smakelig ISBN: 978-1541360853 Inhaltsverzeichnis 1. Kino als „wichtigste aller Künste“: Einleitung Alexander FRIEDMAN und Frank JACOB 5 2. „Das weite Land und die Reichtümer der Rus lockten die Eroberer an“ – Das bedrohte Russland im Film Alexander QUERENGÄSSER 15 3. The Images of Dying and New Jewish Worlds in the Soviet Ci- nema: “The Jews on the Land” versus “Jewish Luck (Menachem Mendel)” Andrei ZAMOISKI 33 4. „Kube, Hitlers Gauleiter in Minsk, war der leibhaftige Teufel“.
    [Show full text]
  • Saqartvelos Inteleqtualuri Sakutrebis Erovnuli Centris Saqpatentis Perioduli Gamocema Saqartvelo Gamodis Sam Tvesiiertxel © Saqpatenti, 2014
    gazafxuli SPRING #7 2014 saqarTvelos inteleqtualuri sakuTrebis erovnuli centris saqpatentis perioduli gamocema saqarTvelo gamodis sam TveSiIerTxel © saqpatenti, 2014 PERIODICAL PUBLICATION OF NATIONAL INTELLECTUAL PROPERTY CENTER OF GEORGIA “SAKPATENTI” GEORGIA PUBLISHED QUARTERLY dabeWdilia saqpatentis poligrafiaSi PRINTED AT SAKPATENTI PUBLISHING HOUSE mis.: 0179, Tbilisi, nino ramiSvilis q. 31 ADDRESS: 0179 TBILISI, NINO RAMISHVILI STR. 31 © SAKPATENTI, 2014 tel.: (+995 32) 291-71-82 TEL.: (+995 32) 291-71-82 www.sakpatenti.org.ge [email protected] Tavmjdomaris sveti CHAIRMAN’S COLUMN Dear Reader, 26 April is the World Intellectual Property Day. The World Intellectual Property Organization (WIPO) celebrates this date since 2001 and every year defines the theme and slogan of the day. This year the World Intellectual Property Day is dedicated to cinematography Zvirfaso mkiTxvelo, and, respectively, to the people working in this field, 26 aprili inteleqtualuri sakuTrebis msoflio who indeed deserve universal admiration by their work. dRea. am dRes inteleqtualuri sakuTrebis msof­ And the slogan Movies – A Global Passion, selected by lio organizacia (ismo) 2001 wlidan aRniSnavs da WIPO for this day, is very accurate. yovelwliurad gansazRvravs masTan dakavSirebul Cinematography has always been a sensitive and re­ Tematikasa da slogans. wels es dRe mieZRvna kine­ levant issue for Georgia. At the Georgian Film Archives matografias da, Sesabamisad, am sferoSi moRvawe ada­ numerous films are preserved which have gained mianebs, romlebic Tavisi SemoqmedebiT marTlac sa­ international recognition as the best directing, acting, yovelTao aRtacebas iwveven. Zalian zustia am dRisTvis SerCeuli sloganic _ „kino _ sayovelTao aRtaceba“. artistic or musical works. It is extremely important that kinematografiis Tema yovelTvis Zalian mgrZno­ this high standard of Georgian cinematography was biare da aqtualuri iyo saqarTvelosTvis.
    [Show full text]
  • Analyzing the Ground Zero. What Western Countries Can Learn from Ukrainian Experience of Combating Russian Disinformation
    Kremlin Watch Report 11.12.2017 Analyzing the Ground Zero. What Western Countries can Learn From Ukrainian Experience of Combating Russian Disinformation Kateryna Kruk Kremlin Watch is a strategic program which aims to expose and confront instruments of Kremlin Watch Special Fellow Russian influence and disinformation operations focused against Western democracies. Analyzing the Ground Zero The report analyses different ways in which Ukraine tried to combat Russian information attacks, covering the period from the annexation of Crimea until the end of 2017. It provides the assessment of the effectiveness of the activities of the state and civil society according to the following response areas: putting hostile disinformation efforts on the foreign and security policy agenda, publicly challenging supporters of the Kremlin-sponsored efforts, disclosing disinformation campaigns substance and vehicles, systematically building resilience within free societies (see the table below). Adoption of the Doctrine of information security was warmly welcomed as an important step to increase information defense capacities. However, so far the implementation of the Doctrine has a limited impact due to the lack of the effective system of efforts coordination among state and civil society actors. Political will to make decisive steps is another important element of the success of disinformation fight. Example of Ukrainian Ministry of Information Policy shows that creating a new government body to fight disinformation only makes sense if there is a sufficient political will and consensus between the leading political actors to ensure that it receives enough staff, budgetary allowances, and proper division of labour with existing institutions. However controversial, opinion polls indicate that the decision to ban Russian TV channels from the Ukrainian media space was correct.
    [Show full text]
  • The Conflict in the Donbas Between Gray and Black: the Importance of Perspective
    The Conflict in the Donbas between Gray and Black: The Importance of Perspective Report to DHS S&T Office of University Programs and DoD Strategic Multilayer Assessment Branch December 2016 National Consortium for the Study of Terrorism and Responses to Terrorism A Department of Homeland Security Science and Technology Center of Excellence Led by the University of Maryland 8400 Baltimore Ave., Suite 250 • College Park, MD 20742 • 301.405.6600 www.start.umd.edu National Consortium for the Study of Terrorism and Responses to Terrorism A Department of Homeland Security Science and Technology Center of Excellence About This Report The author of this report is Evgeny Finkel, PhD, Assistant Professor of Political Science and International Affairs at George Washington University. Questions about this report should be directed to Barnett S. Koven at [email protected]. This report is part of START project, “Shadows of Violence: Empirical Assessments of Threats, Coercion and Gray Zones,” led by Amy Pate. This research was supported by a Centers of Excellence Supplemental award from the Department of Homeland Security’s Science and Technology Directorate’s Office of University Programs, with funding provided by the Strategic Multilayer Assessment (SMA) Branch of the Department of Defense through grand award number 2012ST061CS0001-05 made to the National Consortium for the Study of Terrorism and Responses to Terrorism (START). The views and conclusions contained in this document are those of the authors and should not be interpreted as necessarily representing the official policies, either expressed or implied, of the U.S. Department of Homeland Security, the U.S.
    [Show full text]
  • Khanty Mansiysk Autonomous Region Yugra Russia Siberia Россия
    Россия Сибирь ХантыМансийский автономный округ Югра KhantyMansiysk Autonomous Region Yugra Russia Siberia ДУХ ОГНЯ / НАЙ АНГКИ / SPIRIT OF FIRE / 2007 ОРГКОМИТЕТ ФЕСТИВАЛЯ / ORGANIZING COMMITTEE OF THE FESTIVAL Ìèõàèë Åôèìîâè÷ Øâûäêîé Nail Kashapov Alexey Ovsyannikov Ðóêîâîäèòåëü Ôåäåðàëüíîãî àãåíòñòâà ïî Chief medical officer of the territorial admin- Deputy Chairman of the Government of the êóëüòóðå è êèíåìàòîãðàôèè, ñîïðåäñåäàòåëü istration of Rospotrebnadzor in the Khanty- autonomous district for problems of small îðãêîìèòåòà Mansiysk autonomous district – Yugra nationalities of the North, Director of the Mikhail Shvydkoy Department of the autonomous district for Head of the Federal Agency for Culture and Âÿ÷åñëàâ Ìèõàéëîâè÷ Êîçëîâñêèé problems of small nationalities of the North Cinema, co-chairman of the organizing committee Çàìåñòèòåëü íà÷àëüíèêà Óïðàâëåíèÿ âíóòðåííèõ äåë àâòîíîìíîãî îêðóãà, Çèíàèäà Áîðèñîâíà Ñàõàóòäèíîâà Àëåêñàíäð Âàñèëüåâè÷ Ôèëèïåíêî íà÷àëüíèê ìèëèöèè îáùåñòâåííîé Ïðåäñåäàòåëü Êîìèòåòà ïî âíåøíèì Ãóáåðíàòîð, Ïðåäñåäàòåëü Ïðàâèòåëüñòâà áåçîïàñíîñòè ñâÿçÿì àâòîíîìíîãî îêðóãà àâòîíîìíîãî îêðóãà, ñîïðåäñåäàòåëü îðãêîìèòåòà Vyacheslav Kozlovsky Zinaida Sakhautdinova Alexander Filipenko Deputy Chief of the Department of internal Chairman of the Ñommittee for foreign Governor, Chairman of the Government of affairs of the autonomous district, chief of relations of the autonomous district the Autonomous District, co-chairman police of public safety of the organizing committee Àëåêñàíäð Ïàâëîâè÷ Ñåìåíîâ Àëåêñàíäð Âèòàëüåâè÷
    [Show full text]