Russian Media in Teleological Perspective As a Methodological Challenge: Reconstructing Goals for Understanding Effects
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Organisational Structure, Programme Production and Audience
OBSERVATOIRE EUROPÉEN DE L'AUDIOVISUEL EUROPEAN AUDIOVISUAL OBSERVATORY EUROPÄISCHE AUDIOVISUELLE INFORMATIONSSTELLE http://www.obs.coe.int TELEVISION IN THE RUSSIAN FEDERATION: ORGANISATIONAL STRUCTURE, PROGRAMME PRODUCTION AND AUDIENCE March 2006 This report was prepared by Internews Russia for the European Audiovisual Observatory based on sources current as of December 2005. Authors: Anna Kachkaeva Ilya Kiriya Grigory Libergal Edited by Manana Aslamazyan and Gillian McCormack Media Law Consultant: Andrei Richter The analyses expressed in this report are the authors’ own opinions and cannot in any way be considered as representing the point of view of the European Audiovisual Observatory, its members and the Council of Europe. CONTENT INTRODUCTION ...........................................................................................................................................6 1. INSTITUTIONAL FRAMEWORK........................................................................................................13 1.1. LEGISLATION ....................................................................................................................................13 1.1.1. Key Media Legislation and Its Problems .......................................................................... 13 1.1.2. Advertising ....................................................................................................................... 22 1.1.3. Copyright and Related Rights ......................................................................................... -
U.S. Department of Justice FARA
:U.S. Department of Justice National Securify Division Coun1,rinl1lligt"" om E.xpQrt Control & cliO/'I WasM~on, DC 2QSJO August 17, 2017 BY FEDEX Mikhail Solodovnikov General Manager T &R Productions 1325 G Stre~t, NW, Suite 250 Washington, DC. 20005 Re: Obligation ofT&R Productions, LLC, lo Register Under the Foreign Agents Registration Act Dear Mr. Solodovnikov: Based upon infonnation known to this Qffice, we have determined that T &R Productions, LLC ("T&R"), has an obligation to register pursuant to the Foreign Agents Registration Act of 1938, as amended, 22 ·u.s.C. §§ 611-621 (1995) ("FARA" or the "Act''). T&R' s obligalion to register arises from its political activities in the United States on behalf of RT and TV-Novosti, both foreign principals under the Act and proxies o f the Russian Government, and its related work within the United States as a publicity agent and infonnation-service employee of TV Novosti. FARA The purpose of FARA is to inform the American public of the activities of agents working for foreign principals to influence U.S. Government officials and/or the American public with reference to the domestic or foreign policies of the United States, or with reference to the political or public interests, policies, or relations of a foreign country or foreign political party. The term "foreign principal" includes "a government of a foreign country" and "a partnership, association, corporation, organization, or other comhination of persons organized under the Jaws of or having its principal place of business in a foreign country." 22 U.S.C. -
(Stop a Douchebag) Vigilantes in Russia
© Laboratorium: Russian Review of Social Research. 2019. 11(3):16–45 16 DOI: 10.25285/2078-1938-2019-11-3-16-45 EROES OR HOOLIGANS? HMEDIA PORTRAYAL OF STOPXAM (STOP A DOUCHEBAG) VIGILANTES IN RUSSIA Rashid Gabdulhakov Rashid Gabdulhakov, Department of Media and Communication, Erasmus University Rotterdam. Address for correspondence: Erasmus University Rotterdam, Postbus 1738, 3000 DR Rotterdam, Netherlands. [email protected]. The author expresses sincere gratitude to the informants for their contributions, as well as to peer reviewers and editors of this special issue for their valuable feed- back. This work was supported by the Dutch Research Council (NWO) project num- ber 276-45-004. Several state-supported digital vigilante groups emerged in Russia at the downturn of the pro-Kremlin youth group Nashi (Ours), when its former commissars formed issue- specific movements to counter perceived legal and moral offences through exposure of targets on social media. One of such groups is StopXam (Stop a Douchebag), specializ- ing in road-traffic and parking violations. StopXam participants confront the drivers and retaliate by placing stickers that read “I spit on everyone I drive where I want” on the targets’ windshields. The retaliation is often accompanied by verbal and physical fighting; the process is filmed, edited, and shared on YouTube, receiving millions of views. While digital media made such practices possible, traditional broadcasters maintain significance in rendering meaning to the phenomenon of vigilantism and in framing vigilantes, their targets, police, and other actors. As the existing literature on digital vigilantism is predominantly focused on digital media affordances, this article aims to address this gap through a qualitative analysis of traditional media coverage of StopXam. -
Censorship Among Russian Media Personalities and Reporters in the 2010S Elisabeth Schimpfossl the University of Liverpool Ilya Yablokov the University of Manchester
COERCION OR CONFORMISM? CENSORSHIP AND SELF- CENSORSHIP AMONG RUSSIAN MEDIA PERSONALITIES AND REPORTERS IN THE 2010S ELISABETH SCHIMPFOSSL THE UNIVERSITY OF LIVERPOOL ILYA YABLOKOV THE UNIVERSITY OF MANCHESTER Abstract: This article examines questions of censorship, self-censorship and conformism on Russia’s federal television networks during Putin’s third presidential term. It challenges the idea that the political views and images broadcast by federal television are imposed coercively upon reporters, presenters and anchors. Based on an analysis of interviews with famous media personalities as well as rank-and-file reporters, this article argues that media governance in contemporary Russia does not need to resort to coercive methods, or the exertion of self-censorship among its staff, to support government views. Quite the contrary: reporters enjoy relatively large leeway to develop their creativity, which is crucial for state-aligned television networks to keep audience ratings up. Those pundits, anchors and reporters who are involved in the direct promotion of Kremlin positions usually have consciously and deliberately chosen to do so. The more famous they are, the more they partake in the production of political discourses. Elisabeth Schimpfossl, Ph.D., teaches history at The University of Liverpool, 12 Abercromby Square, Liverpool, L69 7WZ, UK, email: [email protected]; Ilya Yablokov is a Ph.D. candidate in Russian and East European Studies, School of Arts, Languages and Cultures, The University of Manchester, Oxford Road, Manchester, -
Covering Conflict – Reporting on Conflicts in the North Caucasus in the Russian Media – ARTICLE 19, London, 2008 – Index Number: EUROPE/2008/05
CO VERIN G CO N FLICT Reporting on Conflicts in the N orth Caucasus in the Russian M edia N M AY 2008 ARTICLE 19, 6-8 Am w ell Street, London EC1R 1U Q , U nited Kingdom Tel +44 20 7278 9292 · Fax +44 20 7278 7660 · info@ article19.org · http://w w w .article19.org ARTICLE 19 GLOBAL CAMPAIGN FOR FREE EXPRESSION Covering Conflict – Reporting on Conflicts in the North Caucasus in the Russian Media – ARTICLE 19, London, 2008 – Index Number: EUROPE/2008/05 i ARTICLE 19 GLOBAL CAMPAIGN FOR FREE EXPRESSION Covering Conflict Reporting on Conflicts in the North Caucasus in the Russian Media May 2008 © ARTICLE 19 ISBN 978-1-906586-01-0 Covering Conflict – Reporting on Conflicts in the North Caucasus in the Russian Media – ARTICLE 19, London, 2008 – Index Number: EUROPE/2008/05 i i ARTICLE 19 GLOBAL CAMPAIGN FOR FREE EXPRESSION Covering Conflict – Reporting on Conflicts in the North Caucasus in the Russian Media – ARTICLE 19, London, 2008 – Index Number: EUROPE/2008/05 ii i ARTICLE 19 GLOBAL CAMPAIGN FOR FREE EXPRESSION A CKN O W LED G EM EN TS This report was researched and written by the Europe Programme of ARTICLE 19. Chapter 6, on ‘International Standards of Freedom of Expression and Conflict Reporting’ was written by Toby Mendel, Director of ARTICLE 19’s Law Programme. Chapter 5, ‘Reporting Conflict: Media Monitoring Results’ was compiled by Natalia Mirimanova, independent conflict resolution and media consultant. The analysis of media monitoring data was carried out by Natalia Mirimanova and Luitgard Hammerer, (formerly) ARTICLE 19 Regional Representative - Europe, CIS. -
TV News Channels in Europe: Offer, Establishment and Ownership European Audiovisual Observatory (Council of Europe), Strasbourg, 2018
TV news channels in Europe: Offer, establishment and ownership TV news channels in Europe: Offer, establishment and ownership European Audiovisual Observatory (Council of Europe), Strasbourg, 2018 Director of publication Susanne Nikoltchev, Executive Director Editorial supervision Gilles Fontaine, Head of Department for Market Information Author Laura Ene, Analyst European Television and On-demand Audiovisual Market European Audiovisual Observatory Proofreading Anthony A. Mills Translations Sonja Schmidt, Marco Polo Sarl Press and Public Relations – Alison Hindhaugh, [email protected] European Audiovisual Observatory Publisher European Audiovisual Observatory 76 Allée de la Robertsau, 67000 Strasbourg, France Tel.: +33 (0)3 90 21 60 00 Fax. : +33 (0)3 90 21 60 19 [email protected] http://www.obs.coe.int Cover layout – ALTRAN, Neuilly-sur-Seine, France Please quote this publication as Ene L., TV news channels in Europe: Offer, establishment and ownership, European Audiovisual Observatory, Strasbourg, 2018 © European Audiovisual Observatory (Council of Europe), Strasbourg, July 2018 If you wish to reproduce tables or graphs contained in this publication please contact the European Audiovisual Observatory for prior approval. Opinions expressed in this publication are personal and do not necessarily represent the view of the European Audiovisual Observatory, its members or the Council of Europe. TV news channels in Europe: Offer, establishment and ownership Laura Ene Table of contents 1. Key findings ...................................................................................................................... -
Re-Evaluating the Public Sphere in Russia: Case Studies of Two Ngos
Re-Evaluating the Public Sphere in Russia: Case Studies of Two NGOs THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Alex Gregory Radsky Graduate Program in Slavic and East European Studies The Ohio State University 2013 Master's Examination Committee: Morgan Liu, Advisor Nick Breyfogle Copyright by Alex Radsky 2013 Abstract This thesis explores two Russian non-governmental organizations (NGOs), the Union of Committees of Soldiers’ Mothers (UCSMR) and the Interregional Association of Human Rights Organizations AGORA (Agora). These two case studies apply the public sphere as a theoretical lens in an innovative way in order to rethink Russian civil society. The interactions of these two NGOs with state institutions show that Russia’s NGOs are important social actors who are actively negotiating and contesting the borders between civil and political action. Operating on the border of state and society, these two NGOs’ depicts a blurry boundary between social actors and a non-unitary state. In order to challenge the boundaries between the political and the civic, Agora and UCSMR’s negotiate through a process of creating public spheres, or pluralizing the voices contesting a certain institution or idea. In these cases, the UCSMR has brought the discourse of human rights to the military and Agora has done the same within the legal system. This contested negotiation occurs in an overlapping field of state institutions, individuals, and social organizations through both cooperation and contestation. These public spheres encompass multiple layers of the state, and play an important role in negotiating the boundaries of political action in Russian society. -
Computational Propaganda in Russia: the Origins of Digital Misinformation
Working Paper No. 2017.3 Computational Propaganda in Russia: The Origins of Digital Misinformation Sergey Sanovich, New York University 1 Table of Contents Abstract ............................................................................................................................................................... 3 Introduction.......................................................................................................................................................... 3 Domestic Origins of Russian Foreign Digital Propaganda ......................................................................... 5 Identifying Russian Bots on Twitter .............................................................................................................. 13 Conclusion ......................................................................................................................................................... 15 Author Acknowledgements ............................................................................................................................ 17 About the Author ............................................................................................................................................. 17 References ........................................................................................................................................................ 18 Citation ............................................................................................................................................................ -
Operating Expenses
CTC Media, Inc. Investor Presentation Fourth Quarter 2011 and Full Year 2011 Results A Leading Independent Broadcaster in Russia Doctor Zaytseva’s Diary – new sitcom, CTC Network (Doctor’s Dairy format) 2 We Fully Capture the Value Chain by Being a Vertically Integrated TV Broadcaster CTC – target audience All 6-54 Domashny – target audience Females 25-59 FREE-TO-AIR (RUSSIA) Peretz* – target audience All 25-59 Kazakhstan Channel 31 FREE-TO-AIR (CIS) Moldova СTС/TV Dixi channel CONTENT PRODUCTION Story First Production AD-SALES Internal advertising sales house Everest CTC-INTERNATIONAL (PAY-TV) International version of CTC channel Various digital projects NEW MEDIA Social TV Network Videomore.ru Women’s portal Note: (*) DTV Network operates under Peretz brand name & logo starting from October 2011 3 Group Highlights for the FY 2011 GROUP FINANCIAL HIGHLIGHTS . Consolidated revenues up 13% to $766.4 million . Adjusted OIBDA* of $246.7 million with margin of 32.2% . Adjusted net income* of $152.6 million, adjusted fully diluted EPS of $0.97 . Payment of $130 million of cash dividends in 2011 . Board of Directors intends to pay an aggregate cash dividend of $80 million in 2012 . Net cash position of $112.6 million at Dec 31, 2011 GROUP OPERATIONAL HIGHLIGHTS . Successful relauch of DTV Network under the “Peretz” brand name and logo in October . Significant increases in technical penetration of all Russian networks, acquisition of 14 regional TV stations in 12 Russian cities . Establishment of new unified content production company Story First Production (merge Costafilm and Soho Media platforms) . Launch of CTC-international in Germany, Baltics and North America . -
Sergey Shanovich
SERGEY SHANOVICH ARTIST GRAPHIC DESIGNER DIRECTOR PRODUCER FOUNDER AND CREATIVE DIRECTOR OF SHANDESIGN STUDIO AUTHOR OF THE ORIGINAL FONTS AND CYRILLIC VERSIONS OF LATIN TYPEFACES The Academician of the Russian Television Academy The Chairman of the Board of Television Designers and Promoters Eurasian Guild The Member of the International Association of TV designers and promoters «PromaxBda» The Member of the Documentary Film Guild The Curator of the Moscow International Biennale of Graphic Design «Golden Bee» The General partner of the International Typography Video Festival «TYPOMANIA» The Curator of TV design course at British Higher School of Art and Design THE HEAD OF THE CREATIVE TEAM WORKING CREATIVE DIRECTOR OF TV PROJECTS: ON THE CREATION OF FOLLOWING CAMPAIGNS: Eurovision Song Contest Baku (EBU) 2012 Elections of the President of the Russian Federation *advertising campaign 2008 Dance show (TNT) 2014 Advertising campaigns for Gazprom OJSC: The Power of Siberia, National Treasure; Lukoil; THE HEAD OF THE CREATIVE TEAM, PRODUCER Rosneft; Transaero; Rusnano; Troika Dialog; SBERBANK; AND DIRECTOR WORKING ON THE CREATION Azerbaijan*state branding OF SPORTS PROMOTIONAL CAMPAIGNS: SPORT EVENTS MEDIA BRANDING Battle of champions (REN TV / RUSSIA 2) 2006 - 2011 An advertising campaign and branding for MATCH, TNT, NTV, CTC, DOMASHNIY, TVC, REN TV, World Combat Games Saint Petersburg 2013, media holding BRIDGE MEDIA and many others Opening Ceremony 2013 Fight Nights (REN TV / DTV / RUSSIA 2) 2010 - 2015 PRODUCER AND DIRECTOR OF TV PROJECTS: -
1.Russian Information Weapons; 2.Baltic Department of Defense, Or the US Defenses (Estonia, Latvia, Lithuania) Against Government
Sponsor: USEUCOM Contract No.: W56KGU-17-C-0010 Project No.: 0719S120 The views expressed in this document are those of the author Three Discussions of Russian Concepts: and do not reflect the official policy or position of MITRE, the 1.Russian Information Weapons; 2.Baltic Department of Defense, or the US Defenses (Estonia, Latvia, Lithuania) against government. Russian Propaganda; and 3.Russia’s Development of Non-Lethal Weapons Author: Timothy Thomas March 2020 Approved for Public Release: Distribution Unlimited. Case Numbers 20-0235; 20-0050; 20-0051; 19-3194; and 20-0145. ©2020 The MITRE Corporation. All rights reserved. McClean, VA 1 FOREWORD Russia has long been captivated by the power of information as a weapon, most notably in a historical sense using propaganda to influence and persuade audiences. With the onset of the information age, the concept’s development and application increased dramatically. The power of information-technologies when applied to weaponry increased the latter’s capabilities due to increased reconnaissance and precision applications. The power of social media was used to influence populations both at home and abroad. Both developments fit perfectly into Russia’s information warfare concept, whose two aspects are information-technical and information-psychological capabilities. Information’s universality, covertness, variety of software and hardware forms and implementation, efficiency of use when choosing a time and place of employment, and, finally, cost effectiveness make it a formidable commodity when assessed as weaponry. Russian efforts to define and use IWes are well documented. In the 1990s there were efforts to define information weapons (IWes) at the United Nations, efforts that failed. -
«My Favourite TV Program»
«My Favourite TV Program» student: Kurdina Anna Grade 6 "L" class teacher Kokurina Elena Olegovna Dubna, 2017 Preface It's not a secret that most people of all ages today can't live without TV. Children, their parents,teachers and other people watch TV every day. But not all of them watch everything that is on. Despite the fact that in Russia there are hundreds of TV channels, most of viewers watch the TOP 50 channels. More than 34% of the audience prefer the first three channels "the First channel" "Russia 1" and NTV. The TOP 10 includes TNT, TV-3, STS, Home, Ren TV, Channel Five and TV Center. In my family my parents and I prefer different channels. Sometimes we even argue what to watch. And I wondered whether my classmates and teachers have similar problems at home. So I began to ask them about their preferences. And today I'd like to tell you about it because it turned out to be rather interesting. Main part 1. Why do we watch TV? Some people use TV as a background Others switch on the TV sets just to waste time. We can watch TV to learn something new. .We watch TV for entertainment 2. A variety of TV channels. As I have already mentioned today we have a lot of TV channels. Almost every channel specialise on different genres Genre Name of TV channels Entertainment CTC, TNT , Friday Scientific Animal planet ,Russia Culture Cartoon Cartoon TV, Disney , Cartoon Network Everyday First channel, Russia1 Sitcom Russian Novel, Home News Russia 24 Sport Match TV, EuroSport 3.