"Media Systems and Communication Policies in Latin America proposes, tests and analyses the liberal captured model. It explores to what extent to which globalisation, marketization, commercialism, regional bodies and the nation State redefine the media's role in Latin American societies." (Publisher
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description)
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"This is the first collection to de-Westernize the scholarship on women, politics and media by: 1) highlighting the latest research on countries and regions that have not been ‘the usual suspects’; 2) featuring a diverse group of scholars, many of non-Western origin; 3) giving voice through pers
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onal interviews to politically active women, thus providing the reader with a rare insight into women's agency in the political structures of emerging democracies. Each chapter examines the complex women, politics and media dynamic in a particular nation-state, taking into consideration the specific political, historic and social context. With 23 case studies and interviews from Latin America, sub-Saharan Africa, the Middle East and North Africa, Central and Eastern Europe, Asia, Russia and the former Soviet republics, this volume will be of interest to students, media scholars and policy makers from developed and emerging democracies." (Publisher description)
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"Objetivos de este manual: Facilitar herramientas prácticas que aporten a mejorar la gestión y la sostenibilidad de proyectos de comunicación popular a través de medios (especialmente radio, pero también gráfica y TV); Aportar y poner en debate ideas, nociones, conceptos y miradas diversas sob
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re la gestión y sostenibilidad de medios comunitarios en la actualidad y en distintas etapas históricas; Poner en contexto la situación de los medios comunitarios en el escenario más general del sistema de medios argentino, en relación con otras formas de propiedad y de gestión: medios públicos estatales (escolares, universitarios, municipales, provinciales, nacionales), medios públicos no estatales (iglesia católica y pueblos originarios) y privado-empresariales." (Página 4)
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"Our project used video as a tool for enabling two Indigenous Mapuche communities in Chile, and particularly their youth, to approach and analyze local development issues and bring local perspectives to the forefront of debates on biocultural diversity conservation and equitable development. The pro
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ject brought together Canadian and Mapuche research, cultural, and Indigenous organizations using an approach that breaks down disciplinary boundaries and the hierarchies that often separate Western science from Indigenous expertise, while emphasizing co-learning and the co-production and sharing of knowledge. The project had three major activity components: 1) The Mapuche School of Filmmaking and Communication offered intensive training in digital filmmaking to Mapuche youth. This training created a space for youth to explore and analyze the challenges faced by their communities, providing them the skills to represent these through short films that meet high technical and artistic standards. Youth became knowledge collectors, interpreters, and communicators, appropriating new ICTs while rooting their films in Indigenous ways of knowing and communicating, such as storytelling and conversation with Elders. The films produced are compiled as an educational tool for the promotion of biocultural diversity. 2) Collaborative research about territory, carried out by Mapuche researchers in coordination with the Canadian team, aims at restructuring existing knowledge about the geographical, social, and cultural elements of the Lake Budi territory. Information shared by traditional knowledge holders is systematized in audiovisual and written formats. 3) Indigenous youth from Chile and Québec shared videos through an online platform, creating new knowledge through co-learning, analysis of shared challenges, and intercultural exchange." (Abstract)
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"Los autores revisan las distintas escuelas y enfoques acerca de la libertad de expresiön, se preguntan si el rol del Estado es solo abstenerse de censurar o si le corresponde además garantizar condiciones de equidad en la comunicación social, exponen los vaivenes de la censura desde una perspect
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iva histórica que les permite reconocer tanto la censura estatal como la empresarial, destacan los avances en la despenalización de las voces críticas que afectan a funcionarios públicos, y exploran los dilemas de la concentración de la propiedad de los medios y la necesidad de concebir leyes antimonopólicas. Además, retoman cruciales asignaturas pendientes, como una ley de acceso a la información pública." (Contratapa)
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"The structure of this Yearbook is divided in three parts. The first part is an introduction chapter that makes a comparative synthesis of fiction in Obitel countries. This comparison is made from a quantitative and qualitative perspective that allows us to observe fiction development in each countr
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y, pointing out its main products as well as the topic of the year: transmedia production strategies in television fiction. The second part includes 12 chapters (one for each country) with an internal structure in which sections of the Yearbook are usually constant, although some are more specific than others." (Pages 19-20)
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"Fernando Birri wurde als Nachkomme italienischer Auswanderer am 13.3.1925 in Santa Fe de la Vera Cruz (Argentinien) geboren. Er ist nicht nur (Dokumentarfilm-) Regisseur, sondern auch Theoretiker, Dichter und Puppenspieler. Birri studierte Film am Centro Sperimentale di Cinematografia in Rom; schon
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vor dem Abschluss (1952) entstand der kurze Dokumentarfilm Selinunte (1951), kurz danach Alfabeto Notturno (über eine Abendschule im sizilianischen Toretta, in der Analphabeten lesen lernen). Zusammen mit dem renommierten Regisseur Mario Verdone, der als Professor am Centro Sperimentale arbeitete, führte er bei Immagini popolari siciliane sacre e profane Regie (1953). Mitwirkungen an Filmen von Carlo Lizzani und Vittorio de Sica folgten ebenso wie Kleinauftritte als Schauspieler und Arbeiten als Drehbuchautor. Birri kehrte 1956 nach Argentinien zurück und gründete in seiner Geburtsstadt das Instituto de Cinematogrfía de la Universidad del Litoral, die erste Filmschule Lateinamerikas. Zusammen mit seinen Studenten drehte er von 1956 bis 1958 den sozialkritischen Dokumentarfilm Tire dié (Gib’ den Groschen; aka: Einen Groschen!); der Film war gleichzeitig ein erster Beitrag zu der Vorstellung einer kollektiven Produktionsweise des Films, eine Programmatik, die Birri in einer ganzen Reihe von Manifesten niederlegte (vor allem in: „Manifest für ein nationales realistisches, kritisches und populäres Kino” [aka „Manifiesto de Los inundados”], 1962). Birri wurde schnell zu einer der Gründungsfiguren des Neuen Lateinamerikanischen Kinos (explizit auf dem Ersten Festival des Neuen Lateinamerikanischen Kinos in Havanna [1979] als solche nominiert [1]). Diesen Ruf festigte er durch den Spielfilm Los inundados (Die Überfluteten, 1961), der bei den Filmfestspielen von Venedig uraufgeführt und beim Festival in Karlovy Vary präsentiert und ausgezeichnet wurde; der Film erzählt die Geschichte einer Familie, die nach einer Überschwemmung Quartier in einem Eisenbahnwaggon nimmt, nicht wissend, dass dieser an einen Zug angekoppelt ist – aber sie trifft auf ihren Irrfahrten überall auf freundliche Helfer; erst die Behörden beenden das glückliche Leben im Waggon. La Pampa gringa (1963) erzählt von argentinischen Einwanderern. 1964 folgt das Buch La Escuela Documental de Santa Fe, das Birris Arbeit als Lehrer und die in seiner Schule entstandenen Projekte dokumentiert. Die Unruhen 1965 und der Militärputsch 1966 zwangen ihn dazu, Argentinien zu verlassen. Seine Filme wurden verboten, die Schule geschlossen [...] (Seite 1)
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"En una minuciosa investigación, se realiza un recorrido a través de la comunicación de gobierno de los últimos tres mandatos presidenciales y se indaga en las particularidades de un aparato comunicacional sin precedentes en la historia de la República Argentina, en el que los gobiernos de Nés
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tor Kirchner y Cristina Fernández de Kirchner se han servido, entre otras cosas, de los medios del Estado para montar una maquinaria mediática cuyo presupuesto “supera la facturación del principal multimedios del país”." (Prólogo, página 7)
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"This volume addresses the tension between loud and often spectacular histories and those forgotten pasts we strain to hear. Employing social and cultural analysis, the essays within examine mnemonic technologies both new and old, and cover subjects as diverse as U.S. internment camps for Japanese A
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mericans in WWII, the Canadian Indian Residential School system, Israeli memorial videos, and thedesaparecidosin Argentina. Through these cases, the contributors argue for a re-interpretation of Guy Debord's notion of the spectacle as a conceptual apparatus through which to examine the contemporary landscape of social memory, arguing that the concept of spectacle might be developed in an age seen as dissatisfied with the present, nervous about the future, and obsessed with the past. Perhaps now "spectacle" can be thought of not as a tool of distraction employed solely by hegemonic powers, but instead as a device used to answer Walter Benjamin's plea to "explode the continuum of history" and bring our attention to now-time." (Publisher description)
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"Since1993 to the present, a group of Mapuche activists hasaired the bilingual radio shot Wixage anai! in Santiago, Chile; on the other side of the Andes, another Mapuche collective, the Equipo de Comunicación Mapurbe, produced and broadcast a series of brief radio programs between 2003 and 2005 in
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Bariloche, southern Argentina. In this article, I argue that these radio programs constitute an exercise of Mapuche agency that challenges what I call the acoustic colonialism of corporate and criollo mass media in both countries. This article illustrates how Mapuche activists creatively use radio as a connective medium among Mapuche communities and a space for the public audibility of their own voices, sounds, and modes of speech. I analyze the history, cultural politics, and performative features of these two initiatives,engaging theoretical and critical views on sound media, state cultural policies, and politics of indigenous agency." (Abstract)
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"Uruguay tiene un sistema de medios de comunicación que está concentrado en unas pocas empresas y personas. Un oligopolio formado por tres grupos económicos controla el mercado de la TV abierta y de abonados, dominando la audiencia, la facturación de la publicidad e instalando una única agenda
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informativa en todo el país desde Montevideo. A menor escala, pero con fuerte poder de incidencia local, la concentración también se reproduce en los departamentos con empresarios y grupos familiares que concentran multimedios a través de autorizaciones para operar señales de TV abierta, brindar servicios de TV para abonados y contar con una o más radios. Garantizar que haya un sistema de medios plural y diverso, para que exista un pleno ejercicio de la libertad de expresión y de información es una recomendación central de todos los organismos internacionales de protección y promoción de la libertad de expresión. Sin democratizar los medios no se puede democratizar la sociedad, y es ésta una tarea aún pendiente en nuestro país. Y no hay mejor forma de comenzar a democratizar que mediante una reforma legal aprobada por un Parlamento elegido democráticamente. Con ese objetivo el Frente Amplio para el periodo 2010-2015 planteó claramente su compromiso con la «Democratización de los medios de comunicación y de la información fortaleciendo los medios de comunicación públicos, generando en el sector privado una efectiva libre competencia y participación de la sociedad civil en la definición de las políticas públicas de comunicación.» Para colaborar con el debate público y parlamentario se ha preparado esta breve guía con los temas claves de la iniciativa legal y sus fundamentos." (Presentación)
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"Libraries, telecenters, and cybercafés play a critical role in extending the benefits of information and communication technologies (ICTs) to a diverse range of people worldwide. However, their ability to contribute to development agendas has come into question in recent times. The Global Impact S
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tudy was designed to address this debate by generating evidence about the scale, character, and impacts of public access ICTs in eight countries: Bangladesh, Botswana, Brazil, Chile, Ghana, Lithuania, the Philippines, and South Africa. This report summarizes the study’s key findings, situating public access in the context of national development, discussing some disputed issues, and providing recommendations for policymakers, public access practitioners and researchers. The results show that a central impact of public access is the promotion of digital inclusion through technology access, information access, and development of ICT skills. Both users and non-users report positive impacts in various social and economic areas of their lives." (Abstract)
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"John Sinclair and Joseph D. Straubhaar provide a comprehensive account of television production, distribution and reception in Spanish- and Portuguese-speaking Latin American countries, showing how Mexican and Brazilian programmes have dominated in the region, and placing regional output in the con
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text of the global television industry." (Publisher description)
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"The first part, “Fiction in the Ibero-American Space”, presents a comparative synthesis of fiction in the Obitel countries. This comparison is made from a quantitative and qualitative perspective that allows to observe the development of fiction in each country, highlighting their main producti
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ons, as well as the topic of the year, herein, “Social Memory and Television Fiction”. The second part, “Fiction in the Obitel Countries”, is composed by twelve chapters (one for each country), with a structure of fixed sections, though some are more specific than others [...] The third part is an “Appendix”, where are collected the top ten TV fictions in the Obitel countries with basic and necessary information about these productions." (Pages 19-20)
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