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The Alternative Media Handbook ‘Alternative media’ are media produced by the socially, culturally and politically e xcluded: they are always independently run and often community-focused, ranging from pirate radio to activist publications, from digital video experiments to ra dical work on the Web. The Alternative Media Handbook explores the many and dive rse media forms that these non-mainstream media take. The Alternative Media Hand book gives brief histories of alternative radio, video and lm, press and activity on the Web, then offers an overview of global alternative media work through nu merous case studies, before moving on to provide practical information about alt ernative media production and how to get involved in it. The Alternative Media H andbook includes both theoretical and practical approaches and information, incl uding sections on: • • • • • • • • successful fundraising podcasting blogging publishing pitch g a project radio production culture jamming access to broadcasting. Kate Coyer is an independent radio producer, media activist and post-doctoral re search fellow with the Annenberg School for Communication at the University of P ennsylvania and Central European University in Budapest. Tony Dowmunt has been i nvolved in alternative video and television production since 1975 and is now cou rse tutor on the MA in Screen Documentary at Goldsmiths, University of London. A lan Fountain is currently Chief Executive of European Audiovisual Entrepreneurs (EAVE), a professional development programme for lm and television producers. He was the rst Commissioning Editor for Independent Film and TV at Channel Four, 198 1–94. Media Practice Edited by James Curran, Goldsmiths, University of London The Media Practice hand books are comprehensive resource books for students of media and journalism, and for anyone planning a career as a media professional. -
The Enabling Environment for Free and Independent Media: Contribution to Transparent and Accountable Governance
University of Pennsylvania ScholarlyCommons Departmental Papers (ASC) Annenberg School for Communication January 2002 The Enabling Environment for Free and Independent Media: Contribution to Transparent and Accountable Governance Monroe Price University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/asc_papers Recommended Citation Price, M. (2002). The Enabling Environment for Free and Independent Media: Contribution to Transparent and Accountable Governance. USAID Office of Democracy and Governance Occasional Papers Series, Retrieved from https://repository.upenn.edu/asc_papers/65 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/asc_papers/65 For more information, please contact [email protected]. The Enabling Environment for Free and Independent Media: Contribution to Transparent and Accountable Governance Abstract Throughout the world, there is a vast remapping of media laws and policies. This important moment for building more democratic media is attributable to rapid-fire geo-political changes. These include a growing zest for information, the general move towards democratization, numerous pressures from the international community, and the inexorable impact of new media technologies. Whatever the mix in any specific state, media law and policy is increasingly a subject of intense debate. Shaping an effective democratic society requires many steps. The formation of media law and media institutions is one of the most important. Too often, this process of building media that advances democracy is undertaken without a sufficient understanding of the many factors involved. This study is designed to improve such understanding, provide guidance for those who participate in the process of constructing such media, and indicate areas for further study. -
Reports and Financial Statements As at 31 December 2017
Separate Financial Consolidated Financial Introduction Statements Statements I Reports and Financial Statements as at 31 December 2017 Reports and Financial Statements as at 31 December 2017 This document has been translated into English for the convenience of the readers. In the event of discrepancy, the Italian language version prevails. Contents Introduction 5 Separate Financial Statements as at 31 December 2017 15 Consolidated Financial Statements as at 31 December 2017 249 Corporate Directory 352 Introduction Corporate Offcers 6 Organisational Framework 7 Letter to the Shareholders 8 Financial Highlights 12 Separate Financial Consolidated Financial Introduction 6 Statements Statements Corporate Offcers Board of Directors Chairperson Monica Maggioni Directors Rita Borioni Arturo Diaconale Marco Fortis Carlo Freccero Guelfo Guelf Giancarlo Mazzuca Paolo Messa until 1 June 2017 Franco Siddi until 6 September 2017 as of 6 September 2017 Board Secretary Nicola Claudio Anna Rita Fortuna Board of Statutory Auditors Chairperson Biagio Mazzotta Standing Auditors Anna Maria Magro Roberto de Martino Alternate Auditors Pietro Floriddia M.M. Assunta Protopapa General Manager until 6 June 2017 as of 9 June 2017 Antonio Campo Dall’Orto Mario Orfeo External Auditor PricewaterhouseCoopers Separate Financial Consolidated Financial Introduction Statements Statements 7 Organisational Framework (short form) Chairperson Board of Directors of the Board Supervisory Internal Board Audit Head Offce(1) Editorial Area (2) Chief Digital Offcer (3) Chief Technology (4) Offcer Chief Financial Offcer (5) Finance & Planning Chief Operations Offcer Corporate TV Production e Support (6) Subsidiaries Rai Cinema Rai Com Rai Pubblicità Rai Way (1) Includes, inter alia, Governance and the Corporate Secretariat, covering the General Manager’s Staff and the Board & Corporate Secretary. -
Artist Name Work Title Description Year Duration Language Subtitles Disc # Contribution Of
Artist Name Work Title Description Year Duration Language Subtitles Disc # Contribution of Goren, Amit Control A documentary film about the work of the Israeli painter David Reeb and Israeli 2003 49'31'' 36 Digital Art Lab photographer Miki Kartzman. Atay, Fikret Rebels of the Dance This is a video piece that takes place in an ATM booth. Two children get into the 2003 10'55'' None 39 Digital Art Lab booth; they are singing, but the lyrics and the language are not comprehensible. The melodic verse is pleasant to listen to, but it lacks any coherent wording. In spite of this, the synchronization and polyphony (vocal coordination) between them proves their ability to communicate by means of a code. Ligna Group Radioballet - Dispensed In Summer 2003 in Leipzig, a few hundred people met up in a space temporarily 2003 12'31'' None 42 Digital Art Lab Public arranged for the project Radioballett Leipzig. Participants gathered with small radios, or rented them from the organizers, and tuned them to the local independent radio station. At around 6pm, the radio broadcast switched from playing music to a directive, go to the train station. So the group crossed the street to the station and went inside. Directives for behavior were broadcast, interspersed with music. Following the cues, the crowd simultaneously waved, bent over to tie their shoes and danced. Zen Group Derdimi Anla (Understand 2003 6'04'' Hebrew 43 Digital Art Lab Me) Gal, Dani Putter 2004 47 Digital Art Lab Birger, Irina Keeper 2004 None 49 Digital Art Lab Birger, Irina Headache 2004 -
Programming for TV, Radio, and the Internet: Strategy, Development, and Evaluation
Programming for TV, Radio, and the Internet: Strategy, Development, and Evaluation Philippe Perebinossoff Brian Gross Lynne S. Gross ELSEVIER Programming for TV, Radio, and the Internet Programming for TV, Radio, and the Internet Strategy, Development, and Evaluation Philippe Perebinossoff California State University, Fullerton Brian Gross EF Education, Jakarta, Indonesia Lynne S. Gross California State University, Fullerton AMSTERDAM · BOSTON · HEIDELBERG · LONDON NEW YORK · OXFORD · PARIS · SAN DIEGO SAN FRANCISCO · SINGAPORE · SYDNEY · TOKYO Focal Press is an imprint of Elsevier Acquisition Editor: Amy Jollymore Project Manager: Bonnie Falk Editorial Assistant: Cara Anderson Marketing Manager: Christine Degon Cover Design: Dardani Gasc Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK Copyright © 2005, Elsevier Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (+44) 1865 843830, fax: (+44) 1865 853333, e-mail: [email protected] may also complete your request on-line via the Elsevier homepage (http://elsevier.com), by selecting “Customer Support” and then “Obtaining Permissions.” Recognizing the importance of preserving what has been written, Elsevier prints its books on acid-free paper whenever possible. Library of Congress Cataloging-in-Publication Data British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. -
Creative Networks in the Rear- View Mirror of Eastern European History
RASA SMITE CREATIVE NETWORKS IN THE REAR- VIEW MIRROR OF EASTERN EUROPEAN HISTORY A SERIES OF READERS PUBLISHED BY THE INSTITUTE OF NETWORK CULTURES ISSUE NO.: 11 RASA SMITE CREATIVE NETWORKS IN THE REAR- VIEW MIRROR OF EASTERN EUROPEAN HISTORY Theory on Demand #11 Creative Networks, in the Rearview Mirror of Eastern European History Author: Rasa Smite Translation (in English): Linda Vebere Copy editing: Miriam Rasch Design: Katja van Stiphout DTP: Margreet Riphagen Printer: ‘Print on Demand’ Publisher: Institute of Network Cultures, Amsterdam 2012 ISBN: 978-90-818575-0-5 The book is based on a dissertation by Rasa Smite, with the title “Creative Network Communities” and was defended in Riga Stradins University, February 2011. The book was first published in Latvian in Riga: RIXC and Liepaja: LiepU MPLab, 2011 (ISBN 978-9934-8229-0-2) Contact Institute of Network Cultures phone: +3120 5951866 email: [email protected] web: http://www.networkcultures.org This publication is available through various print on demand services. For more information, and a freely downloadable pdf: http://networkcultures.org/theoryondemand. This publication is licensed under the Creative Commons Attribution Noncommercial No Derivative Works 3.0 Netherlands License. No article in this book may be reproduced in any form by any electronic or mechanical means without permission in writing from the author. CREATIVE NETWORKS 3 Contents Abstract 6 Acknowledgements 6 Introduction 7 Network Theories and Context Interpretations 15 Castells’s ‘Space of Flows’ and -
Precedential United States Court of Appeals for The
PRECEDENTIAL UNITED STATES COURT OF APPEALS FOR THE THIRD CIRCUIT Nos. 03-3388, 03-3577, 03-3578, 03-3579, 03-3580, 03-3581, 03-3582, 03-3651, 03-3665, 03-3675, 03-3708, 03-3894, 03-3950, 03-3951, 03-4072, 03-4073 & 04-1956 PROMETHEUS RADIO PROJECT vs. FEDERAL COMMUNICATIONS COMMISSION; UNITED STATES OF AMERICA Prometheus Radio Project, Petitioner in No. 03-3388 Media General, Inc., Petitioner in No. 03-3577 National Association of Broadcasters, Petitioner in No. 03-3578 Network Affiliated Stations Alliance, ABC Television Affiliates Association, CBS Television Affiliates Association and NBC Television Affiliates, Petitioners in No. 03-3579 Fox Entertainment Group, Inc. and Fox Television Stations, Inc., Petitioners in No. 03-3580 Viacom Inc., Petitioner in No. 03-3581 National Broadcasting Company, Inc., and Telemundo Communications Group, Inc., Petitioners in No. 03-3582 Sinclair Broadcast Group, Inc., Petitioner in No. 03-3651 Media Alliance, Petitioner in No. 03-3665 Paxson Communications Corporation, Petitioner in No. 03-3675 National Council of the Churches of Christ in the United States, Petitioner in No. 03-3708 Tribune Company, Petitioner in No. 03-3894 Paxson Communications Corporation, Petitioner in No. 03-3950 Emmis Communications Corporation, Petitioner in No. 03-3951 Center for Digital Democracy and Fairness & Accuracy in Reporting, Petitioners in No. 03-4072 Clear Channel Communications, Petitioner in No. 03-4073 American Hispanic Owned Radio Association, Civil Rights Forum on Communications Policy, League of United Latin -
Indie Rock Subculture: Hamilton As Microcosm Indie Rock Subculture: Hamilton As Microcosm
INDIE ROCK SUBCULTURE: HAMILTON AS MICROCOSM INDIE ROCK SUBCULTURE: HAMILTON AS MICROCOSM By KATHLEEN DAVIES, B.A. A Thesis Submitted to the School of Graduate Studies In Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University © Copyright by Kathleen Davies, April 2006 MASTER OF ARTS (2006) McMaster University (Music Criticism) Hamilton, Ontario TITLE: Indie Rock Subculture: Hamilton as Microcosm AUTHOR: Kathleen Davies, B.A. (McMaster University) NUMBER OF PAGES: v, 123 11 ABSTRACT In recent years, interest in the indie rock subculture has exploded, both in the popular press and among popular music scholars and culture theorists. This is an ethnographic study of the indie rock scene in Hamilton, Ontario. Hamilton represents a microcosm of what is happening in other local indie scenes. The geographical, historical and cultural locality of Hamilton creates a sense of shared identity among individuals connected by the common interest in indie rock. This study focuses on how independent rock's network of social practices and economic institutions works to locate subjects within Hamilton's local network while connecting them to the larger framework of interlocal scenes. Aspects of the local and interlocal are explored through narratives of indie aesthetics, style, fashion, institutions, cultural practices, authenticity and investment. Cultural practices, including the production and consumption of indie rock are examined through the lens of Bourdieu' s concept of cultural capital, which exposes constructions and configurations of class, generation, ethnicity, and gender. 111 ACKNOWLEDGEMENTS Thank you to: Dr. Susan Fast for her encouragement to pursue my Masters degree. Dr. Christina Baade. As my supervisor of research, her guidance and encouragement helped ensure this project came to fruition. -
1980S Tv and Radio
1980s Tv And Radio It is the flagship television station of Cox Enterprises and is co-owned alongside the Atlanta Journal-Constitution and the WSB radio stations (although all three entities are operated independently of each other). With the lifting of advertising rules that governed radio some months ago, a Boston station put on commercials for vodka. Radio S TV. With the Fall TV season just getting underway, we combed the Hot 100 to find the last 30 years. KCBS is often regarded as the very first commercial radio station in the country, but there are others that produced regular radio programming and other services around the same decade. Today, those old radio programs are classified as "juvenile adventure" shows, and are frequently 15- or 30- minute serialized episodes, where the hero is left in a precarious predicament at the end of. Instead of the 1980s shows, entire shows from the 1970s were made available for radio stations to air. Radio S1 ti omogućava da slušaš više pesama koje voliš gde god da se nalaziš. So, he had staked out a good spot just beyond the player. So, he had staked out a good spot just beyond the player. Coming Up - Paul McCartney 8. RTÉ Home Page - RTÉ Ireland's National Television and Radio Broadcaster. Television and Radio. from their original launch. Valerie Harper left "Valerie" due to contract issues and Joan Rivers was removed from her late night gig due to poor ratings. Even the Stones went disco and dabbled with rap. Jeff Davis broadcasting live from Old Chicago (which would close it's doors just months later in March 1980). -
GAO-10-369 Media Programming: Factors Influencing the Availability
United States Government Accountability Office Report to Congressional Requesters GAO March 2010 MEDIA PROGRAMMING Factors Influencing the Availability of Independent Programming in Television and Programming Decisions in Radio GAO-10-369 March 2010 MEDIA PROGRAMMING Accountability Integrity Reliability Factors Influencing the Availability of Independent Highlights Programming in Television and Programming Highlights of GAO-10-369, a report to Decisions in Radio congressional requesters Why GAO Did This Study What GAO Found The media industry plays a vital The sources of broadcast and basic cable television programming have role in informing and entertaining changed little in recent years. As a source of programming for prime time the public. Media ownership and television, major broadcasters (ABC, CBS, Fox, and NBC) and their affiliated the availability of diverse studios produced the majority of programming in each of the selected years programming have been a long- that GAO analyzed. In particular, GAO found major broadcasters produced standing concern of Congress. Despite numerous programming about 76 to 84 percent of prime time programming hours. The remaining choices in television and radio programming came from independent producers, which are not affiliated with available to the public, some the major broadcasters. Since basic cable networks are also a source of studies have reported that television programming, GAO analyzed the ownership of those networks as an independently produced indicator of which entities control the television programming. On the basis of programming—that is, GAO analysis of ownership in the 20 most widely distributed basic cable programming not affiliated with networks, major broadcasters and companies affiliated with both major broadcast networks or cable broadcasters and cable operators have owned half or more of the top 20 cable operators—has decreased through networks for each year reviewed. -
Empowering Independent Media: U.S
EMPOWERING U.S. Efforts to Foster INDEPENDENT Free and Independent News Around the World MeDIA INAUGURAL REPORT: 2008 EMPOWERING U.S. Efforts to Foster INDEPENDENT Free and Independent News Around the World MeDIA INAUGURAL REPORT: 2008 Empowering Independent Media: U.S. Efforts to Foster Free and Independent News Around the World Copyright © 2008 by National Endowment for Democracy Center for International Media Assistance National Endowment for Democracy 1025 F Street, N.W., Suite 800 Washington, D.C. 20004 Phone: (202) 378-9700 Fax: (202) 378-9407 E-mail: [email protected] www.ned.org/cima/cima.html Executive editor: Marguerite H. Sullivan Managing editor and principal writer: David E. Kaplan Principal research and reporting team: Angela Stephens, Spencer Hayne, and Eleeza V. Agopian Additional assistance: Anahit Khachatryan, Ann McFeatters, Shannon Maguire, and Alicia Dolan Design and layout: Free Range Studios Printer: Harris Lithographics, Inc. Acknowledgement: This publication was made possible through support provided by the U.S. Department of State’s Bureau of Democracy, Human Rights, and Labor under Grant No. S-LMAQM-06-GR-177. Notice of Rights: Permission is granted to display, copy, and distribute this report in whole or in part, provided that (1) the materials are used with the acknowledgement “The report Empowering Independent Media: U.S. Efforts to Foster Free and Independent News Around the World is a product of the Center for International Media Assistance at the National Endowment for Democracy;” (2) the report is used solely for personal, noncommercial, or informational use; and (3) no modifications of the report are made. ISBN 978-0-9818254-0-3 Cover Photo: An Egyptian student participates in a hands-on training for producing documentary films in Cairo, Egypt sponsored by the International Center for Journalists. -
How Open Is Future
How Open is the Future? Marleen Wynants & Jan Cornelis (Eds) How Open is the Future? Economic, Social & Cultural Scenarios inspired by Free & Open-Source Software The contents of this book do not reflect the views of the VUB, VUBPRESS or the editors, and are entirely the responsibility of the authors alone. Cover design: Dani Elskens Book design: Boudewijn Bardyn Printed in Belgium by Schaubroeck, Nazareth 2005 VUB Brussels University Press Waversesteenweg 1077, 1160 Brussels, Belgium Fax + 32 2 6292694 e-mail: [email protected] www.vubpress.be ISBN 90-5487-378-7 NUR 740 D / 2005 / 1885 / 01 This work is licensed under the Creative Commons Attribution-NonCommercial- NoDerivs License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/2.0/be/ or send a letter to Creative Commons, 559 Nathan Abbott Way, Stanford, California 94305, USA. There is a human-readable summary of the Legal Code (the full license) available at http://creativecommons.org/licenses/by-nc-nd/2.0/be/legalcode.nl. Foreword & Acknowledgements This volume offers a series of articles ranging from the origins of free and open-source software to future social, economic and cultural perspectives inspired by the free and open-source spirit. A complete version of How Open is the Future? is available under a Creative Commons licence at http://crosstalks.vub.ac.be. How Open is the Future? is also available as printed matter, as you can experience at this moment. The topic of free and open-source software emerged from the initiative by Professor Dirk Vermeir of the Computer Science Department of the VUB – Vrije Universiteit Brussel – to award Richard Stallman an honorary doctorate from the VUB.