Articoli di riviste sul tema "Television broadcasting of news – economic aspects"

Introduction. Research on live broadcasting television and interactive projects is an important contribution not only to the history and theory of social communications, but also a promising field for further research of this type of broadcasting that can be also applied to the investigation of the Internet. Generalization and distinguishing features of this type of broadcasting are less common in the scientific community. During the research the following methods were used: historical and historical-comparative to analyze and organize data concerning ways of live broadcasting and interactive programs formation; systematization, classification, and clustering methods were used to get generalizations. A comparative method was implemented to distinguish common and diverse features of different types of broadcasting which are used in broadcast journalism. The content analysis method was applied for the organization of data concerning the development of programs, which use the interaction with the viewer as a certain communicative technology. The purpose of our study is to formulate a certain concept of genre features that are typical for interactive and live television broadcasting. We set out the following tasks: to distinguish the features of interactive and live broadcasting; outline their particularities in the different types of broadcasting and offer promising directions for using that type of broadcasting. This allowed us to distinguish the difference between live and interactive broadcasting, to focus on time and duration of interaction, to trace the use of different genres in these types of programs, to distinguish their specific features, to generalize and classify them, to identify promising directions of research. Results and conclusions. Live interactive television is characterized by a genre-themed variety. Language-communication and an improvisational script are mainly used in live broadcasting that motivates the audience to engage, provides lasting interest, trust, and positive changes in the image of the channel. News uses live broadcasting as the main way of organization of information (using «live» or stream of momentous events broadcasting), the use of interactivity in this type of broadcasting is indirect and is more oriented to further communication using individual touchpoints. Analytical programs are represented by various conversations in-studio and telemarathon. Viewer interaction is limited to the «viewer as one of the audience» type. Entertainment broadcasting is presented in such formats as Life-Show, Reality-Show (one of its varieties is Talent-Show), and Intelligence-Show, where interaction with the viewer is one of the formative factors. We see the benefits of this type of television among other forms of broadcasting in economic, dramatic, ideological, and communication aspects. Keywords: interactive television, communication, media audience, live television, television content.

At the beginning of the work, a brief review of the articles of the current thematic issue of the «Journal of Political Research», devoted to political aspects and problems of the worldview phenomenon, is presented. At the same time, the main goal of the article is to study the features of the construction of digital ecumene on the example of the Russian and Chinese states-civilizations. The methodological optics of this article is the principles of comparative analysis, based on the comparison of the same order, similar political phenomena, processes and phenomena. The methodological optics of this article is the principles of comparative analysis, based on the comparison of the same order, similar political phenomena, processes and phenomena. These were the state-civilizations, their civilizational features, as well as the methods of constructing their digital ecumene (state policy of foreign broadcasting; strategic regulatory documents related to the information sphere; digital diplomacy). The features of the state-civilization as a specific form of polity are compared and clarified. Also, an attempt was made to conceptualize the phenomenon of the digital ecumene – a system of news agencies, corporations, Internet resources, radio, television, leading media activity in other countries to position and protect the interests, value-civilizational, political, economic agenda of the states that created it. Such a conceptualization is based on the reception of Antiquity and correlates with the understanding of the ecumene as a sphere of influence of the state through digital technologies and communications. Such a reception also presupposes the preservation of the civilizational meaning of the ecumene. It is concluded that civilizational states have sufficient resources to maintain digital ecumene as new fields of technological and cultural strategic actions that can protect the integrity of their own civilizational cores. It has been suggested that the civilizational uncompromisingness of the West, its strategy of divide et impera, will most likely contribute to the strengthening of such a form of polity as a state-civilization. In the conditions of the existing geopolitical turbulence, the states-civilizations can focus on building a new, more just system of international relations based on the settlement of political, religious and ethnic conflicts, rather than their escalation and conservation.

With the progress of the era and the development of society, China's broadcast television industry has entered the era of all media. The industry level and technology have achieved a qualitative leap, which has placed higher demands on the professional capabilities of broadcasters and hosts. Language communication ability and emotional expression skills are an important part of the professional capabilities of frontline news broadcasters and hosts. Only by aligning news standards with emotional expression can news broadcasters and hosts convey the connotation and viewpoints of news accurately and vividly to the audience on the basis of standard news reporting, thereby achieving the optimal efficiency of news broadcasting.This study first clarifies the basic principles that television news broadcasting emotional expression should follow and the influencing factors of emotional expression in news television broadcasting language. Then, it explores specific pathways to enhance the ability of emotional expression in television news broadcasting language from aspects such as making good use of language and culture, switching to appropriate rhythms, revealing personal emotions, and enhancing details of life. This aims to provide references for research and practice related to news anchor reporting, discourse expression, and the teaching of broadcasting and hosting disciplines.

This research aims to explore the watching patterns of the people of Indonesia with a specific focus on how they consume news programs on television. Indonesian democracy condition is draining much information energy every year. The war for information among broadcasting institutions has stirred worry among the general public regarding the quality of the content broadcast by national television stations. Virtually no medium is safe from the touch of politics, and news programs, in particular, are often highly political. Due to the urgency of this research to measure the quality of programs, not the number of viewers, the informants of this study are industry experts and academics. Their knowledge, experience, and insight into the television industry make them exceptionally qualified to assess television programs' quality critically. The results of the evaluation and deepening of the experts can be concluded by several aspects of the quality of news programs: The intervention of media owners is still evident and even conspicuous in the balance of news in an industry where broadcasting institutions are explicitly manipulating news content, especially when it concerns political issues. Concerning critical power, several news programs fail to arouse a critical rationale. News is delivered from one perspective only. The supervision aspect is still deficient because the shocking and horrible are intrinsically appealing. Subjectiveness in the news is widespread, especially in the selection of titles and narratives that simply justify the reporters' words.

This research aimed to analyze the implementation of news coverage on the digitalization of broadcasting and explore the online media reporting model for the digitalization of broadcasting in Indonesia. The online media reporting model encourages people to migrate from analogue to digital television platforms. This research employed a descriptive qualitative method to analyze news from the online media www.Detikcom edition November 1, 2022 to November 16, 2022. Additionally, it utilized Nvivo 12+ software for the data analysis. Detikcom was selected as the data source because it had been ranked as one of the top five online news media most accessed by the public, reaching 320.3 million visits. Most smartphone users, approximately 98%, have visited this site. Based on the researchers' analysis, ten media contents of Detikcom reported the transition from analogue to digital television. The research findings suggested that there is a configuration model for online media reporting on broadcast digitalization. In addition, the online media reporting model identifies the dynamics of the shift from analogue to digital television. The dynamic shift is influenced by economic, juridical, technical, and political views. These findings are expected to provide valuable insights for future researchers studying the digital broadcasting ecosystem in Indonesia post-ASO (Analogue Switch-Off) or post-digitalization.

This paper aims to explain the contestation among news programs in deal with a television media business. This research appropriated the Media Economic Theory derived from Vincent Moscow and the Theory of Media. The research uses a postpositivism paradigm. This paper follows a descriptive-qualitative approach. Findings: the contestation among news programs has a good and quality competition of television media business. And also, this research explains how broadcastiong station strategy can produce a program to reach an success and beyond a rivality in similar program that propose by the other broadcasting station.

The remit of public service broadcasting includes the obligation of universal programming, which covers all kinds of programmes such as culture, news, entertainment and sport. Several European Union documents stress the special role of Public Service Broadcasting (PSB) in society and acknowledge a far-reaching autonomy of Member States to define and finance their national system of public service broadcasting. All European countries have defined remits for their public service broadcasters. The definition of the mission of PSB in Poland is only related to the activity of the public radio and television. Also the way PSB gives account for its programme activities, and the control of the way PSB fulfils its remit. Theme channels are part of the remit of public service broadcasting. These channels are considered as important and almost self-evident activities of PSB. Nevertheless there is a need for such provisions to define the mission of PSB in Poland. This is necessary to further specify the criteria used to determine whether a service of theme channels which are transmitted by the public television is of an economic or a non-economic nature. This is the most important because of the requirements of state financing of public service broadcasters. These transparency requirements are internal accounts corresponding to different activities – public service and non-public service activities must be separated.

The remit of public service broadcasting includes the obligation of universal programming, which covers all kinds of programmes such as culture, news, entertainment and sport. Several European Union documents stress the special role of Public Service Broadcasting (PSB) in society and acknowledge a far-reaching autonomy of Member States to define and finance their national system of public service broadcasting. All European countries have defined remits for their public service broadcasters. The definition of the mission of PSB in Poland is only related to the activity of the public radio and television. Also the way PSB gives account for its programme activities, and the control of the way PSB fulfils its remit. Theme channels are part of the remit of public service broadcasting. These channels are considered as important and almost self-evident activities of PSB. Nevertheless there is a need for such provisions to define the mission of PSB in Poland. This is necessary to further specify the criteria used to determine whether a service of theme channels which are transmitted by the public television is of an economic or a non-economic nature. This is the most important because of the requirements of state financing of public service broadcasters. These transparency requirements are internal accounts corresponding to different activities – public service and non-public service activities must be separated.

Since the TV broadcasting was established in Arab countries until the 1990s, broadcasting during this specific time was based on a government control model, which derived from the view of broadcasting as an instrument of state advance that must be under the control from government. This kind of TVs, limits the broadcasting to highlight the government issue (1). In these kind of TVs, they focus with the leader’s opinion more than the Palestinian problem. By the way, the theme in Arab media determined to highlight the leader’s opinion who claims the right to speak on behalf of Palestinians. In September 1991, the first private TV in the Arab world was established when MBC went on the air from London. More private TVs followed after that like: Orbit in 1994 and ART in 1995, both based in Italy owned by Saudi businessmen, Future Television and LBC, both Lebanese based in Beirut, in 1995, and Al-Jazeera based in Qatar in 1996. In 2002 the number of the Arab TV stations was expanded to more than 150 TVS as government or privately owned, with capability of reaching the Arab people in any place in the world. This paper focuses on the media coverage of the conflict between two parties Palestine and Israel. The preview studies show that, in a conflict the media has an influential role and has responsibility for increasing violence or contributing to the resolution of conflict and mitigation of violence (2). This study examined 61 news coverage and framing of the Israel and Palestine conflict, known as the 50 days’ war from 8 July – 26 August 2014 by Ma’an News Agency, which delivers news to Ma’an TV (Palestinian satellite television station). A quantitative content analysis was employed to examine the news published during the war using five generic frames developed by (3). Holsti Inter-coder reliability and validity test value is 0.988 or 98% agreement. The results showed that conflict and human-interest frames were significantly visible compared to other frames in Ma’an news coverage. Portrayal of images of civilian killing, children and women killed in their homes and suffrage news coverage, in this war. Responsibility frame stressed on hospitals bombing and embargo of medications which reduced chances for Palestinian of immediate medical help. The economic frame highlighted the economic and financial losses of Palestinians as consequences of 50 days’ war. Most of them lost their income, businesses, agriculture land and homes and became refugees.

Since the TV broadcasting was established in Arab countries until the 1990s, broadcasting during this specific time was based on a government control model, which derived from the view of broadcasting as an instrument of state advance that must be under the control from government. This kind of TVs, limits the broadcasting to highlight the government issue (1). In these kind of TVs, they focus with the leader’s opinion more than the Palestinian problem. By the way, the theme in Arab media determined to highlight the leader’s opinion who claims the right to speak on behalf of Palestinians. In September 1991, the first private TV in the Arab world was established when MBC went on the air from London. More private TVs followed after that like: Orbit in 1994 and ART in 1995, both based in Italy owned by Saudi businessmen, Future Television and LBC, both Lebanese based in Beirut, in 1995, and Al-Jazeera based in Qatar in 1996. In 2002 the number of the Arab TV stations was expanded to more than 150 TVS as government or privately owned, with capability of reaching the Arab people in any place in the world. This paper focuses on the media coverage of the conflict between two parties Palestine and Israel. The preview studies show that, in a conflict the media has an influential role and has responsibility for increasing violence or contributing to the resolution of conflict and mitigation of violence (2). This study examined 61 news coverage and framing of the Israel and Palestine conflict, known as the 50 days’ war from 8 July – 26 August 2014 by Ma’an News Agency, which delivers news to Ma’an TV (Palestinian satellite television station). A quantitative content analysis was employed to examine the news published during the war using five generic frames developed by (3). Holsti Inter-coder reliability and validity test value is 0.988 or 98% agreement. The results showed that conflict and human-interest frames were significantly visible compared to other frames in Ma’an news coverage. Portrayal of images of civilian killing, children and women killed in their homes and suffrage news coverage, in this war. Responsibility frame stressed on hospitals bombing and embargo of medications which reduced chances for Palestinian of immediate medical help. The economic frame highlighted the economic and financial losses of Palestinians as consequences of 50 days’ war. Most of them lost their income, businesses, agriculture land and homes and became refugees.

<span>&lt;div style=’text-align:</span><span>center</span><span>;’&gt;</span>The writing of this paper analyzes the legal position contained in the Law relating to public health broadcast programs. Further review of the legal aspects of public health broadcast programs that researchers do are not limited to understanding the legal construction that applies in the positivism perspective, but researchers conduct legal reconstruction of public health broadcast programs on television broadcasting institutions with a post-positivism perspective approach namely conceptualizing the law as a set of rules of enactment are influenced by economic, political and social cultural factors. Then there is a need for regulative efforts in the context of the spectrum of balancing laws relating to market regulation and state regulation. The results of the discussion found the following conclusions: First, there was no harmonization in the legal spectrum relating to public health service broadcast programs on television which were dominated in the form of promotions, commercial advertisements, and publications relating to drugs. Second, the laws and regulations governing public health service broadcast programs in broadcasting institutions have not encouraged strong public awareness about the highest degree of health. Third, the public health service broadcast program has a social impact on the interests of the community that is in the form of community self-awareness but also has an economic impact especially for the drug industry and hospitals. However in regulative, it has not provided a framework for social and economic impacts. <span>&lt;/div&gt;</span>

Продолжение мемуарного очерка посвящено первому этапу становления республиканского телевещания Ингушетии. Автор рассказывает о причинах, по которым при разделе двух республик ей пришлось некоторое время продолжить работу на должности главного директора программной дирекции вещания Грозненского ТВ. Только с весны 1993 г. Т. Х. Мальсагова официально возглавила ГТРК «Ингушетия» как президент телерадиокомпании (1993–1995). Выделены ранее не освещавшиеся производственно-управленческие аспекты деятельности и охарактеризованы ключевые моменты медиаполитики телевидения Ингушетии в первой половине 1990-х гг. Детализированы структурные преобразования и непростая организационная работа переходного периода. Показаны особенности действий центральных и местных СМИ в ситуации военного конфликта. Подчеркивается вклад в производство военных новостей и корреспонденций, сделанный коллективом только что созданной ГТРК в условиях, максимально приближенных к военно-полевым и требовавших полной самоотдачи. The presented material is the end of the memoir essay by Tamara Malsagova, the beginning of which was published in the previous issue of the journal (No. 3, 2022). The author dedicated the first part of her memoirs (“People, Destinies, Connection of Generations: To the Thirtieth Anniversary of the Television of the Republic of Ingushetia”) to the fates and professional activities of her colleagues in the Ingush editorial office of Groznensky TV in the period from the late 1950s to the early 1990s. The part of the essay published here – “Remembering the Beginning” – corresponds to a relatively short, about three years, period of time (1992-1994), which, in terms of the intensity and fateful significance of events, surpassed the decades of peaceful life. The birth of a new republic – Ingushetia – was accompanied by a number of important geopolitical decisions, and it was impossible to implement them without creating a television and radio broadcasting platform in the regional media space capable of countering terrorism, working to create and de-escalate an armed conflict. Such a platform was the new branch of the federal television and radio company Russia – the State Television and Radio Broadcasting Company Ingushetia. The author tells why, during the division of the two republics, she had to continue working for some time as the Chief Director of the Program Directorate of Broadcasting of Grozny TV. Only in the spring of 1993 did Tamara Malsagova officially head the State Television and Radio Broadcasting Company Ingushetia as president of the television and radio company (1993–1995). The author highlights the previously uncovered production and management aspects of the work of the television and radio company, characterizes the key points of the media policy of television in the Republic of Ingushetia in the first half of the 1990s, details the structural transformations and difficult organizational work of the transition period, shows the features of the actions of the central and local media in a situation of military conflict are shown. The author emphasizes the contribution to the production of military news and correspondence, which was made by the staff of the novel, newly-created television and radio company in conditions that were as close as possible to military field conditions and required complete dedication. The author notes that television workers’ activities in Ingushetia in these difficult years included direct work on the air, the creation of dozens of reports from “hot spots”, assistance to journalists of central Russian and foreign media, support for television broadcasting from Nazran on RTR, NTV, REN TV channels, as well as in leading foreign companies (BBC, Associated Press, France Presse, CNN, Reuters, CBS News, etc.).

INTRODUCTION. The study examines the history, development, licensing features, and financial problems of the South Korean broadcasting corporation KBS. The relevance of the topic is due to insufficient knowledge of the influence of the Korean wave and South Korean media companies on the global media market. The goal is to show the features of KBS’s development strategy.MATERIALS AND METHODS. Aspects of the Korean wave, the history of the formation of KBS, its development trends in 2023 and 2024, and broadcasting directions in 2024 are studied. The media products of the South Korean international radio station KBS World Radio, broadcasting in Russian, are considered. The reasons for the occurrence and ways to solve the financial difficulties of KBS are analyzed. Conclusions about KBS development trends are made on the basis of media materials published on the company’s websites, as well as South Korean media news covering changes in the features of paying for the KBS television license. The works of researchers on the features of the Korean wave and KBS’s strategy to combat advertising addiction are considered.RESULT AND DISCUSSION. KBS’s activities are aimed at creating a healthy broadcasting culture and objective news programs and promoting Korean culture. KBS officials announced their broadcast policy for 2024, focusing on ensuring impartiality and promoting innovative content across various media platforms to expand their audience reach. Media company KBS is expected to face significant challenges in 2024. Domestic and international competition for content, changes in the media landscape and KBS’s license fee collection have caused financial problems.CONCLUSION. KBS influences the global media market by promoting the Korean Wave. The radio station KBS World Radio creates content for the Russian audience. The experience of South Korean entertainment media can be used for the activities of leading Russian television and radio broadcasting corporations. The results of the study can be used to increase the quality of Russian analogues of Korean media products. The findings add to the consideration of methods for promoting national culture among young people around the world.

Publicly funded broadcasters with a track record in science programming would appear ideally placed to represent climate change to the lay public. Free from the constraints of vested interests and the economic imperative, public service providers are better equipped to represent the scientific, social and economic aspects of climate change than commercial media, where ownership conglomeration, corporate lobbyists and online competition have driven increasingly tabloid coverage with an emphasis on controversy. This prime-time snapshot of the Australian Broadcasting Corporation’s main television channel explores how the structural/rhetorical conventions of three established public service genres – a science programme, a documentary and a live public affairs talk show – impact on the representation of anthropogenic climate change. The study findings note implications for public trust, and discuss possibilities for innovation in the interests of better public understanding of climate change.

The purpose of the research is to analyze and investigate television journalism, the peculiarities of filming in the context of a full-scale Russian invasion of Ukraine; to reveal the specifics of conducting interviews with people affected by the actions of Russian military personnel, namely psychological aspects; to prove the importance of journalistic control over news content in information warfare. Research methodology.. During conducting the research, the following research methods have been used: analysis and synthesis (the work of television journalists in war zones, interviewing people affected by russian aggression, as well as the rules for controlling Russian propaganda content in the news have been analyzed), comparative method (parallels of the work in live broadcasting, shooting stories, writing and creating news content), generalization (specific conclusions have been formed on the basis of the studied collection of literature and video materials); systematization (all information that has been collected during scientific research is appropriately systematized). The scientific novelty of the results obtained is a detailed analysis of television journalism under martial law, particularly, the specifics of the work of television channels, information sites and social networks during Russia’s full-scale invasion of Ukraine. The author reveals the correct interaction of the media with the viewer and the correctness of coverage and presentation of operational and relevant information in the mass media. Conclusions. The features of video filming in the context of the full-scale Russian invasion of Ukraine have been studied, as well as the work of TV channels, information sites, social networks, and the interaction of the media with the viewer during martial law. The authors have analyzed interviews with victims of the Russian occupiers, in particular, psychological aspects; the importance of journalistic control of news content in the context of information warfare has been proven.

The article describes the peculiarities of infotainment penetration into news journalism of TV channels: «1+1», «STB», «ICTV» (on the example of programs: «TSN», «Vikna-nowyny», «Facty. Informaciynyi vypusk»). Infotainment as a multifaceted means of filling the television air, a multifunctional aspect of mass and interpersonal communication is considered. Efficiency is achieved by working on certain schemes, as shown in this paper. The author draws attention to the fact that in Ukraine the active introduction of the infotainment method on television began after the collapse of the Soviet Union. During the economic crisis, the media faced financial difficulties and needed large advertisers, so to attract audiences, TV editors began to provide political and social information through the entertainment aspect, following the example of Western colleagues. The reasons and peculiarities of the infotainment genre in Ukrainian TV news are determined, the ways of presenting information on specific TV channels are analyzed, the role of a journalist and presenter in news broadcasting is revealed. In the process of analyzing issues of programs «TSN», «Vikna-nowyny», «Facty. Informaciynyi vypusk» it was found out that in their work correspondents from all creative «tools «of infotainment most often use structural and compositional techniques: visual design, elements of artistic montage, lives. Common techniques in news broadcasting are also: «journalist as an actor» and «topic as the core of content», meaningful components. Correspondents and presenters often use language play, emotionality and irony in the stories, thanks to which it is easy to present information, a person understands well what the presenter is talking about. One way to achieve the availability and attractiveness of information is a language game. Its essence is the transformation of stable phrases, proverbs, aphorisms etc. Currently, Ukrainian infotainment in news and information programs on domestic television is in its infancy. Its distribution in the TV content of all-Ukrainian channels promotes the development of the media themselves, because interesting news attracts advertisers, so, in our opinion, this genre is the future.

ABSTRACTThe proliferation of infotainment shows on television media for current decades is considered quite disturbing for broadcasting stakeholders in this country. The mass media through its four functions should be able to perform these functions in sequence and the four should run proporsonally, either the functions of educating, providing information, entertaining and influencing. But along with the disowning of conscience by media owners who are very oriented to the political economic of the liberal media, the main purpose of broadcasting is merely pursuing for ratings to be able to reap a lot of advertisements, with the reason people as the owner of the sovereign broadcasting like it. The orientation of media owners through infotainment shows that sold well consumed by society, on one hand, potentially damage the morality of the society into an opportunistic, apathy and hedonist nation. The situation of upheaval domestic political is also considered to foster infotainment shows in the midst of people's worries about the increasingly uncertain political situation, especially the corruption news that has filled the labyrinth of society, more saturated, so that people seek entertainment on television through infotainment shows.The lack of favor towards the conscience and the morality of society, thereby crashing into the corridor of mass media function, encourages media owners to tend to display something of added value in society, by denying the educational function, providing useful information and influencing the society with more cosmopolitan thinking. This is the serious problem faced by this nation, and has not obtained law enforcement as regulated in legislation. In this case, the Indonesian Broadcasting Commission which has repeatedly reprimanded and gave strong warnings against television stations that broadcast infotainment shows inappropriately, merely to rebuke and commemorate, without being able to bring it into the realm of justice. The inherent strength of capital accompanied by the social political power of the media owners, have made all violations and crimes in the mass media unfolded without ever being touched by the law. Keywords: People behavior, media ethics and infotainment shows on television

Nowadays media has developed broadly and it consists of several television networks, press, radio, etc. On the one side, such media development has positive impact, but on the other side, it has negative impact which affects education and formation of new generations. As a basketballer and trainer of young ages I will focus in the role of media in the education of children from the sports point of view. Technological and economic development after the ‘90s brought with it a new approach: - unequal broadcasting of television programmes for all the sports disciplines, because in our country, for economic interests, only football is covered and such abuse goes to the point of using the term “sports news” and the only news is about football, or even Albanian sports newspaper in which the only information is about football. Wouldn’t it be better to say “Albanian football” instead?! The contrary one finds in the “Albanian sports” which pages cover all sports. Moreover, such phenomenon has negative impact on the education of generations that increasing are dreaming about football, spend money about football, avoid other alternatives thinking that football is the only way to have a luxury living, being rich and famous.

This article presents television news as a rhetorical act. Television news is understood as an account of an event usually comprising of a short introduction and a few minutes of film footage (sometimes referred to as the editorial), created as a result of the work of reporters, broadcast on television, usually as one of the elements in the structure of a news magazine, but also as an element of the programme blocks of news television channels. Television news functions in the media as one of the elements of the strategic actions of media broadcasters, focused on specific purposes, including image-building and political and economic goals. News is created as a response to specific events, it fulfils the need for information, but also serves the creation of a certain image of the world, focusing attention on certain aspects of reality, evaluating it, persuading viewers of the importance or unimportance of certain events. It plays an informative, creative, conceptual, stimulating, evaluative and ultimately aesthetic role. In order to achieve these objectives it is appropriately constructed, taking into account the characteristics and needs of the recipient and the ethos of the broadcaster. In this sense, it is therefore a “rhetorical” act – intentional, deliberate, constituting a response to a specific situation (it is historically, socially and politically conditioned) and addressed to specific recipients.

AbstractIn an Arab region entangled in global political, economic, social, and technological transformations, it seems natural to see traditionally paternalistic state broadcasting systems going through transitions. It has been noted that in Arab countries where social and political reforms are highly visible, radio and television services have been most cognizant of the need to adapt to surrounding change. Yet, in the long run, if government broadcasters are perceived to evolve along a path most compatible with envisioned democratization trends, it is public service rather than commercial broadcasting that holds the promise for that democratic vision. State broadcasters share significant features with their public service counterparts when it comes to service universality, funding, social and cultural empowerment, and public interest orientations. It is true that state broad casters in Arab countries with a progressive democratic history have demonstrated a propensity to be more inclusive and pluralistic in addressing national political and cultural issues. But all in all, their institutional affiliation with the state has been highly inhibitive for the pursuit of independence in news and current affairs, documentaries, and religious and cultural content. To bring themselves into closer alignment with the PSB model, state broadcasters need to harness ongoing social and political reforms to address four central issues arising out of their relation ship with government: editorial independence, institutional autonomy, non-state broadcast competition, and program enhancement. The writer notes that those issues have been occasionally addressed in the contexts of new audio-visual laws, broadcast restructurings, state-commercial broadcasting co-existence, and professional and technological development. The writer concludes that only an institution of genuine democratic political, social, and economic reforms in the region would secure state broadcasters' transition into the PSB model.

Purpose: This research aims to analyze the implementation of the regulation of the board of directors of the TVRI public broadcasting institution regarding non-civil servants (Study at the Indonesian Television Public Broadcasting Institute (TVRI), East Nusa Tenggara Station. Research methodology: In this study, the authors used an interpretive research paradigm. The interpretive approach aims to understand the "world of human experience". In this study, the total population was 110 people consisting of 27 non-civil servants and 83 civil servants. Furthermore, purposively, the researcher selected 11 people as informants with details of 1 Head of the Office as Key Informants and 10 non-civil servants as Ordinary Informants Results: The conclusions of this study can be grouped into four aspects, namely actors, organizations, procedures, and techniques. Limitations: this research only analyzes the implementation of policies on the development of Indonesian migrant workers' families in the field of economic empowerment in Kupang city. Contribution: This research becomes scientific information for public administration science. Keywords: Regulations, Implementation, Broadcasting agency, Non-Civil Servant

The article discusses the methodology for calculating the amount of material damage that is inflicted on the owners of related rights to distribute television programs (television companies and individuals who have acquired exclusive and non-exclusive property rights to distribute television programs). The legislative framework for economic examinations in the field of intellectual property is analyzed. The main cases of calculating the amount of damages depending on the category of the owner of related rights to broadcast TV channels are given. The calculation of the amount of material damage for the violation of related property rights to broadcast television channels is carried out for the period proven, as part of investigative actions, the time of violation. Usually, economic expertise in the field of intellectual property is preceded by a number of technical examinations, which are carried out by experts in the field of telecommunications in order to confirm the fact of illegal broadcasting of TV channels. According to paragraph 26 of the National Standard № 4 «Evaluation of Intellectual Property Rights», the amount of damages for illegal use of an object of intellectual property rights is determined as of the valuation date using the valuation procedure for accumulating profit (income) that the subject of the intellectual property right did not receive and / or the licensee, as a result of the illegal use of the object of intellectual property rights and, based on the volume of production and / or sale of counterfeit products. Now, in the field of broadcasting, the main media groups enter into licensing agreements for broadcasting with legal entities that represent their interests and conclude sublicensing agreements on their own behalf. They are of two types – with the transfer of an exclusive license to distribute programs using DVB-C / MITPIC / MMDS / TELESELO / analog network, IPTV, OTT and DTH and a non-exclusive license to distribute programs using DVB-C / MITPIC / MMDS / TELESELO / analog network, IPTV, OTT and DTH. In the case of the transfer of exclusive property rights to calculate the amount of material damage, the author considers it expedient to obtain information from the investigation (by sending a corresponding petition) under similar sub-licensing agreements with other providers, which are “similar” to the so-called company-violator. Consequently, the amount of material damage caused to the owner of related property rights, as a result of an illegal broadcast, is calculated as an arithmetic average of the amounts of similar sublicensing contracts, that is, using the procedure of income accumulation. If a legal entity applies to law enforcement agencies that owns non-exclusive proprietary rights to distribute programs using DVB-C / MITPIC / MMDS / TELESELO / analog network, IPTV, OTT and DTH, then Art. 1108 of the Civil Code of Ukraine “A non-exclusive license does not exclude the possibility for the licensor to use an object of intellectual property rights in an area that is limited by this license and to issue licenses to others to use this object in this area” So, according to the author, a legal entity that owns non-exclusive property rights does not bear material damage. Key words: exclusive license, nonexclusive license, material damage.

The main aim of this study was to investigate the strategic employment of narrative methods and presentational techniques in Ukrainian television news from 2004 to 2020. This study sought to evaluate their impact on the construction of narratives and public discourse. A mixed-methods approach was employed to analyze 531 news releases from three Ukrainian television channels: “1+1”, “Ukraina”, and “Inter”. The application of statistical methods for data processing was employed for the quantitative analysis, while the qualitative analysis comprised a rhetorical investigation of narratives and framing techniques. This approach enabled a comprehensive examination of how news narratives are structured, presented, and perceived, offering insights into the underlying mechanisms of news layouts and editorial strategies. The study’s findings demonstrated a significant reliance on conflict framing, economic consequence framing, and character-driven narratives to increase viewer engagement and comprehension. Hierarchical structuring and modular design were identified as key presentation methods that reflect adaptability to real-time broadcasting requirements and audience preferences. This investigation concludes that narrative strategies and presentation techniques play a crucial role in shaping public perception, thereby affecting the construction of media narratives and societal views. The study’s findings are significant for media practitioners and policymakers, as they emphasize the importance of narrative realism and ethical considerations in news production. The research results also offer a foundation for future studies on the effects of digital transformation on news narrative structures.

Previous studies that looked at the quality of media cultures that emerged in the process of democratisation in Central and Eastern Europe (CEE) have largely missed the role these cultures play in maintaining gender and age inequalities in the media. This ethnography fills this gap. Through the example of one public service broadcaster, Telewizja Polska (TVP), the quality of the post-communist media culture is examined. The article argues that television work in Poland is carried out under the combined pressure from political actors, economic forces and patriarchal ideology, resulting in a weak media autonomy that characterises the CEE region overall. The theoretical framework of field theory is used to demonstrate this link.

Journalists combining several creative specializations in the regions are Russian reality. The article analyzes the objective and subjective reasons for this professional characteristic of regional TV men. Moreover, local TV has taken the road of modernization. In the era of transition to digital broadcasting the creative activity of the media needs to be considered. There is a need to analyze modern specifics of regional television and to characterize the production process at the stage of modernization of local broadcasters. The author, as a practicing journalist, used her own empirical experience to conduct research, applied observational methods, described the content of the information program "News: Primorye". Analysis of the activities of the regional company showed that the trend towards universality in local journalism has taken a steady form: the news program presenter combines their activities with those ones of a reporter. Moreover, a new specific feature of the regional press begins to appear in the editorial offices: combining the functions of the editor and the news presenter. The increasing involvement of the regional journalistic corps in universality is explained by objective (economic) and subjective (creative) reasons.

Whether justified or not foresters are being criticized for inadequate and inappropriate forest management strategies. To address these criticisms and foster strong political and economic support for forestry a process called Teleforestry has been developed by a working party of the International Union of Societies of Foresters.In recognizing the tremendous impact that the television medium has on public opinion and for technology transfer, Teleforestry was designed as a dual process for developing television awareness among foresters and forestry awareness among television broadcasters.This article gives a brief introduction to the television news medium and some guidelines on how foresters can gain access to it and use it effectively. The potential of other aspects of television is discussed including drama, documentary drama and educational television. A plan for a World Teleforestry Conference, as a major media event, is outlined, including video teleconferencing, production of a forestry documentary, a forestry television awards festival, and supporting promotions and publications.

The article contains up-to-date information on the history of the formation of the media market covering inter-ethnic relations in Kyrgyzstan. During the period of recent history, an information field has been formed in the republic, which has a clear position in the submission of information for its key audience. The media around the world play a key important role in stabilizing inter-ethnic relations in a multi-ethnic state, Kyrgyzstan is no exception. Kyrgyzstan allows representatives of ethnic groups currently residing in the Republic to have access to information in their mother tongue. Along with traditional print media, television and radio stations, Internet publications, news agencies, social media pages and messengers are actively pursuing information policy. In addition to domestic Kyrgyz-language media, the media broadcasting in Russian, Uzbek, Kazakh, Chinese, Turkish, Korean, Dungan are actively working in the republic. Each of them is a local or foreign mass media funded from abroad. All these forms of broadcasting and coverage of the political, economic and socio-cultural life of the republic form public opinion both at home and abroad.

This article analyzes Russian television news accounts of the December 2010 Manezhnaia riots that followed an ethnic Russian football fan's murder by a group of men from the North Caucasus. It focuses on the narrative struggle to reconcile official nation-building rhetoric with grassroots realities and broadcasters' own assumptions. Using the tools of media discourse analysis, Stephen Hutchings and Vera Tolz demonstrate that national television's conceptual apparatus consists of a multifaceted amalgam in which interpretations of the Soviet period are modified through the influences of late imperial Russian intellectual traditions and western interpretations of societal diversity. Hutchings and Tolz show how the essentialization of ethnic boundaries within this apparatus leads both to the overinterpretation of interethnic aspects of the crisis, and to their occlusion. Rather than submitting to a univocal state machine, post-Manezhnaia broadcasting reveals fault lines whose partial convergence around a single narrative reflects the restricted logic of the conceptual apparatus and a perceived need to reflect the public mood.

This paper contributes to the existing body of knowledge regarding the relationship between media and diasporic identity formation by moving beyond the notion of Muslim women as a uniform group and questioning the dichotomy of the West versus Islam. To investigate the (versatility of the) relationship between media, culture and (re)created collective identities, focus group interviews were carried out with Muslim women with Turkish, Moroccan and Flemish roots, all living in Flanders. They were shown a number of news items representative of public service broadcasting and commercial television newscasts that were analyzed for the representation of ethnic minorities, followed by focus group discussions. The results demonstrate the diversity and hybridity within the Muslim women’s identities—with religious, ethnic and cultural aspects mediating the reception of these media texts resulting in a ‘polyphony’ of Muslim identities.

The purpose of the article is to analyze the main aspects of interaction between the main and auxiliary creative staff in the process of preparing a television programme, and also to explore the history of the creation of morning programmes on the basis of the Ukrainian information and entertainment television show Breakfast with 1+1; to analyze the professional tasks of specialists; to identify how this format has changed over more than half a century; to clarify the job responsibilities of the team and its impact on the quality of the broadcast; to compare morning news in peacetime and wartime based on the work of colleagues during this period; to study the history of the 1+1 TV channel’s morning programme and its changes over 25 years. Research methodology. The following methods were used: theoretical – to compare foreign morning projects of the 50s of the 20th century; empirical – to observe the work of the team off-screen, to analyse the work of the morning show staff, and their impact on the air; comparative – to consider the peculiarities of work in pre-war and wartime. Scientific novelty. For the first time, the author analyses the aspects of interaction between the main and auxiliary creative staff in the process of preparing a television programme, based on the analysis, reveals the work of the morning broadcasting team in wartime, describes the job responsibilities of employees in emergency circumstances, provides examples of new headings, draws parallels between foreign and domestic morning shows, and summarizes the history of the creation of this format on foreign and Ukrainian television. Conclusions. On the basis of the Ukrainian information and entertainment television show Breakfast with 1+1, the article has studied in detail the history of the morning programmes’ creation; it has analysed the professional tasks of specialists, in particular those who work behind the scenes; it has compared the morning news in peacetime and wartime based on the work of colleagues during this period; it has studied the history of the creation of the morning programme of the 1+1 TV channel, as well as its changes over the past 25 years.

Formation of information society and increasing of the role of information for the different aspects of a social life, decline of an attitudinal influence of religious organizations and religious leaders in some European countries and increasing of the role of religion in other countries are important factors to predict an increasing of conflicts between states and different types of information conductors. So researching of a practice of the European Court of human rights concerning application of an Article 10 of European convention on human rights in a sphere of creative industries is an actual and important task. An author elaborates on Court’s assessing of licensing in a sphere of television and radio broadcasting and some aspects of activity of TV-companies, restrictions in an advertisement sphere. Court finds that countries have a right to state a model of broadcasting on their territories through system of the licensing in this sphere. The licensing can depend on such conditions as nature and objectives of a proposed station, its potential audience at national, regional or local level, the rights and needs of a specific audience and the obligations deriving from international legal instruments. The licensing process must provide sufficient guarantees against arbitrariness, including the proper reasoning by the licensing authority of its decisions denying a broadcasting license. The law must indicate with sufficient clarity the scope of any discretion and the manner of its exercise. EUCHR underlines a special social responsibility of TV-monopolists in broadcasting of an advertisement concerning important social discussion. An approach of EUCHR in assessing of interference with the right to freedom of expression on practice of the creative sector of the economy concerning a balance between this freedom and social interest in ensuring of morality and rights of believers is investigated separately. The author has analyzed most important cases of this type including such as “Sekmadienis Ltd. v. Lithuania” (2018), “Gachechiladze v. Georgia” (2021). The author concluded that a main argument for Court’s decision was a form of a bringing of the information. Using not gross forms of expression of views in commercial practice concerning religious symbols and leaders, addressing them in some humorous, not satirical manner is a permissible form of expression of views.

The article examines the problem of reflecting the socio-political life of Great Britain in an audiovisual product. The example for the analysis was the television programme produced by the British Broadcasting Corporation "BBC" "Not the Nine O'Clock News", which covers the time period of the 70s and 80s of the XX century. The results of the study have established that the main means of achieving the communicative goal between the authors of the TV programme and the viewer in reproducing the problems of life of ordinary Britons in a specific socio-political situation is to analyse the social and political processes in British society through the ironic and sarcastic reflection of the British political beau monde. In addition, it has been determined that the main object of ridicule was such aspects of life as taxation and the inconsistency of political parties' election programmes with the expectations of the electorate.

The media participates in the creation and reinforcement of mental models, through which people interpret social realities, especially those that are distant and unknown. News making involves the use of certain frames that highlight some aspects of the information and downplay or silence other elements. In this context, the objective of this article is to analyse how China is portrayed on the Spanish news, and identify the organising ideas and value judgments that are used in the frames used in this process. Based on the application of the content analysis technique, the results show that the portrayal of China, its institutions and citizens, on television is carried out through four main frames: “Capacity, potential, development;” “Gloom, shadow and darkness;” “Dangerous environment” and “Exotic organisation.” From the Western perspective, Chinese economic growth is accepted, but at the same time China is presented as a problematic country in which natural disasters, accidents, and criminal acts abound, highlighting its systemic political deficiencies and systemic deficiencies. This mostly negative image of China does not correspond with its current and historical relationship with Spain, nor with the relevant position that this emerging power has reached on a global scale.

The media participates in the creation and reinforcement of mental models, through which people interpret social realities, especially those that are distant and unknown. News making involves the use of certain frames that highlight some aspects of the information and downplay or silence other elements. In this context, the objective of this article is to analyse how China is portrayed on the Spanish news, and identify the organising ideas and value judgments that are used in the frames used in this process. Based on the application of the content analysis technique, the results show that the portrayal of China, its institutions and citizens, on television is carried out through four main frames: “Capacity, potential, development;” “Gloom, shadow and darkness;” “Dangerous environment” and “Exotic organisation.” From the Western perspective, Chinese economic growth is accepted, but at the same time China is presented as a problematic country in which natural disasters, accidents, and criminal acts abound, highlighting its systemic political deficiencies and systemic deficiencies. This mostly negative image of China does not correspond with its current and historical relationship with Spain, nor with the relevant position that this emerging power has reached on a global scale.

Migration from analog to digital technology, requires a lot of preparation, both from the side of the device, the regulation of the broadcasting industry, and the society. This study refers to the Diffusion of Innovations theory (the theory of Diffusion of Innovation) (Rogers, 1986) that try to explain how an innovation (technology) can be accepted into the community, through a process of decision. The aim of the research is to find out the relationship between socio-economic characteristics of the innovation and decision-making broadcast of digital television. This research uses a quantitative approach with descriptive methods aim to find out the relationship between socio-economic characteristics of the innovation and decision-making broadcast of digital television. The research was carried out in seven counties/cities in West Java Province and Banten Province. The selection of samples is carried out by Multistage Random Cluster Sampling. The number of samples as many as 813 people assigned by Proportional Sampling techniques, with the character category of respondents age 15 years until 64 years. Significance test results with the method at the rate of 5% Pearson pointed out that, the relationship between innovation decision-making variables with socio-economic characteristics on three aspects, namely, education, income, and spending is weak and insignificant, while on access to information, the value of relationships and significant. This suggests the necessity of strengthening the capacity of absorption of community efforts in the face of digital broadcast television, can be done by fixing the value of any existing components on the operational level. As a priority, is how the effort to improve the economy of society, especially in terms of education, income, and expenditure permonth.

This paper uses the framing analysis method, especially from the content approach, ideology and media economy which not only analyzes literary discourse but also describes the analytical and interpretative aspects of writing related to the existence and business of national private media in Indonesia. The results of the study provide an explanation of the meaning of media existence, media freedom raises the problem of the concentration of ownership of media companies (conglomerates), which changes the face of media freedom and the need for public information to become the freedom to control the media market. In terms of ideological attachment, the progress of television media cannot be separated from the ideological thoughts and interests of its media crews. Economically, the press is recognized as an economic institution, although its purpose is limited to the welfare of employees (Article 3 Paragraph 2 of the 1999 Press Law). The content of the Television Broadcasting Program, shows more packages and contents that are set according to the political and economic interests of the media owners and according to the ideological framework of the media crews. Meanwhile, from the organizational side, the media is more tied to the structure and hierarchy of power (which is built for the interests of the authority of the media owners) itself. Furthermore, from the culturalist side, the media has entered into the global industrial era, and there are structural boundaries that make not all the idealistic values ​​of the press can be realized

Abstract This article examines five South Korean TV programs, The Age of Global Success, Love in Asia, Asia Hunter, KOICA’s Dream, and Saving Mrs. Go Bongshil, all of which belong to varied and hybrid genres such as news magazine, serialized documentary, reality show, and television drama. Due to its partially elevated status as a middlebrow medium and its ability to combine multiple functions such as entertainment, information, education, and social engineering, South Korean television is a more socially influential popular medium than its Western counterparts. I argue that South Korean popular culture, as represented by these television programs, produces, circulates, and promotes the meanings of respective nation-states (e.g., South Korea, Vietnam, Sri Lanka) and of Asia as a bloc in relation to the region’s ongoing economic and cultural globalization. The following five aspects of South Korea’s relationship to the less developed parts of Asia emerge in the popular culture of the television medium: Southeast Asian and other Asian migrant/immigrant/off-shore labor for South Korea, and the distinct ways in which some are made visible and others invisible; popular cultural imaginings of a pan-Korean regional-global network; popular cultural production of a pan-Asian imaginary; South Korean humanitarianism and its subimperializing dimensions; and dissemination of popular culture within and outside South Korea—that is, the emergence of popular culture as a significant instrument of imaging South Korea as a subempire. I conclude by offering a couple of broad speculations on the changing and varied meanings of subempire for contemporary South Korea.

The article deals with the management of social communications. Exploring the issues of organizing cooperation and interaction between journalists from a regional television company and the local community, the authors focus on understanding new approaches to managing social communications that are in demand in the difficult conditions of today. The article focuses on the need to consolidate modern Russian society, which today is becoming extremely relevant in the course of our country's entry into new socio-economic conditions and in the context of a special military operation. The article attempts to analyze the capabilities of a regional television company in uniting the civilian population of a municipality, when federal television channels cannot cover the entire volume of topics of interest to the regional audience, do not provide the proper opportunity to be involved in the process of discussing and solving problems, in contrast to regional channels representing local color and features. The authors identify the means (TV projects “Honorary Citizens of Troitsk” and “Stories about Troitsk”) that allow you to feel your involvement in the history of the country and form pride in its heroes, both of past years and those who “write” its history today. Analyzing the editorial policy of the TV channel, based on coverage of various aspects of the life of Troitsk and its residents, the authors note that the TV channel's programs cover a wide range of issues relevant to the townspeople: in addition to daily news, the TV channel broadcasts meetings with government officials, heads of enterprises and organizations; indicate that with a certain frequency, activists of local public organizations appear in the programs. The authors substantiate the expediency of wide use of the possibilities of regional television as an affordable and effective tool for consolidating the local community.

Au tournant du XXIe siècle, les télédiffuseurs canadiens ont programmé plus de documentaires. Les points communs entre l’information et certains documentaires ont aidé à leur rapprochement en télévision. Ce changement s’est produit sur un fond règlementaire où l’encadrement étatique canadien initialement distinct entre les activités cinématographiques et télévisuelles est devenu interdépendant en raison de plusieurs changements politiques et économiques. Depuis 1968, le Conseil de la radiodiffusion et des télécommunications canadiennes (CRTC) est responsable, entre autres, de la législation, de la mise en application des règlements et de la surveillance de toutes les parties impliquées en radiodiffusion. Parmi les activités organisées par le CRTC, il y a la tenue de consultations publiques où les intervenants du secteur de la radiodiffusion et le public peuvent commenter, à l’écrit et en audience publique, les différents enjeux de la radiodiffusion. Ce texte analyse une consultation publique organisée en 1999 dans laquelle le CRTC proposait une définition du documentaire à titre d’émission canadienne prioritaire et de catégorie générale d’émissions. Dans cette analyse préliminaire, nous nous attardons sur les commentaires des intervenants sur cette proposition de définition, leur résonance avec le journalisme et leur influence sur l’amendement de la définition. Enfin, nous considérons les répercussions possibles de cette nouvelle définition sur l’intégration des documentaires dans la programmation et plus particulièrement, dans la filière information, chasse gardée du journalisme télévisuel. At the turn of the twenty-first century, Canadian broadcasters programmed more documentaries. Common elements between the news and some documentaries helped bridge them in television. This change occurred within a statutory context which saw the initially distinct Canadian state supervision of film and television became interdependent as a result of several political and economic changes. Since 1968, the Canadian Radio-televison Telecommunications Commission (CRTC) has been responsible, among other things, for the legislation, the application of the regulations, and the supervision of all parties involved in broadcasting. Among the activities organized by the CRTC are public consultations which allows participants of the broadcasting sector and the larger public to comment, in writing and in public hearings, on various issues at stake in broadcasting. This study analyzes a public consultation organized in 1999 in which the CRTC proposed a definition of the documentary as priority Canadian programming and general category of programs. In this preliminary analysis, we linger on the comments of the participants on the definition proposed for the documentary, their resonance with journalism, and their ulterior influence on the amendment of the definition. Finally, we consider the possible repercussions of this new definition on the integration of documentaries in programming; more particularly in that of the news sector - traditional preserve of television journalism. Na virada para o século XXI, os veículos de televisão canadenses programaram a exibição de mais documentários. Os pontos comuns entre a produçãi de informação e certos formatos de documentários facilitaram sua aproximação com a televisão. Essa mudança se produziu sob uma base regulatória, pela qual o enquadramento estatal canadense, que inicialmente era dividido entre as atividades cinematográficas e televisuais, tornou-se interdependente por causa de várias mudanças políticas e econômicas. Desde 1968, o Conseil de la radiodiffusion et des télécommunications canadiennes (Conselho da Radiodifusão e das Telecomunicações Canadenses - CRTC) é responsável, dentre outras coisas, pela legislação, pela aplicação dos regulamentos e pela fiscalização de todos os atores envolvidos na radiodifusão. Dentre as atividades organizadas pelo CRTC, há a realização de consultas públicas, em que interlocutores do setor de radiodifusão e o público podem comentar, por escrito e em audiência pública, sobre as diferentes abordagens em radiodifusão. Este texto analisa uma consulta pública realizada em 1999, na qual o CRTC propunha uma definição de documentário como uma transmissão canadense prioritária e inserida em uma categoria geral de transmissões. Nesta análise preliminar, nos restringimos aos comentários dos interlocutores acerca da proposição desta definição, sua ressonância em relação ao jornalismo e sua influência sobre a alteração da definição. Enfim, consideramos as possíveis repercussões dessa nova definição na integração dos documentários na programação e, mais particularmente, no setor da informação, privativa ao telejornalismo.

The pandemic Covid-19 has an effect on the media so that the framing effect is one way of making decisions by producers and their teams to continue to look for interesting television program presentation and creativity concepts. The framing effect aims to test whether the influence of program packaging, celebrities/guest stars, presenters and artistic arrangements on viewing interest (Case Study of Broadcasting Department Students at Taruna Bhakti Vocational High School Depok). The method uses which is then processed using SPSS. Framing theory proposed by Entman is the rationale for all research with the influence of the framing effect and Education-Entertainment (E-E) is a media study other than psychology on the interests, thoughts, attitudes, and behavior of individuals or viewers. The results of this study indicate that program packaging, celebrities, presenters and the artistic arrangement of the Indonesian idol program greatly affect viewing interest in terms of viewing interest indicators. Before the Indonesian idol program was broadcast, the audience looked for information on what songs to bring, who were the performers. When the Indonesian idol program was broadcast, the audience really liked the gimmick and performances of the performers. The audience also always watches, participates in voting and sends whatsapp to support Indonesian idol program participants. The author finds novelty in the research that the author takes by taking the framing theory, which is usually used for research on news programs and politics with agenda setting theory. Meanwhile, this study uses Framing theory with supporting anchovies for Entertainmente-Education (E-E) by selecting several aspects of reality in the Grand Final of the Indonesian Idol Special Season A New Chapter Program.Keyword : framing effect, Entertainmente-Education (E-E), interest in watching, Indonesian idol

The analysis of the draft law On Media No. 2693, submitted for consideration by the Verkhovna Rada of Ukraine in December 2019. The official reason for its development was the lack of working mechanisms to ensure information security and protection of the national media space of Ukraine in a hybrid war. The main task of our study is an attempt to determine the place of the bill in the reformed system of legal regulation of the media in Ukraine, from a position neutral to the process of the scientific community. (The following draft law On Misinformation, which is also under consideration by the Verkhovna Rada, speaks in favor of a systematic policy of reforms in the media sector of Ukraine). To this end, a detailed content analysis was conducted, which showed that the potentially ambiguous wording of the adopted document at the stage of its enforcement leaves the regulatory authorities free to interpret them depending on the interests of the parties, rather than on the letter of the law. The key to understanding the risks associated with its entry into force is the section on the National Television and Radio Broadcasting Council of Ukraine, which will have jurisdiction over all aspects of the country's media structures, including economic ones. Thus, the proposed material may be of interest and be considered as a contribution to the development of criteria for a comprehensive scientific analysis of the legislation governing media structures, while the need for the participation of the scientific community in the development of such documents and public discussion at the stage of their preparation is obvious.

Dirung Koram Village is part of Kapuas Regency, located in Kapuas Hulu District, Central Kalimantan. Dirung Koram was previously a hamlet part of the Tangirang village area. However, due to development and population growth, Dirung Koram was formed. Judging from the geographical conditions, Dirung Koram village is a village that can be said to have been left behind in several aspects, such as in terms of information technology so that important news from outside can not be obtained so quickly by the community, both from newspapers, television, and the internet. As a result, people have very little information, especially about the Covid-19 disease. Moreover, the village's location is quite far from other villages, and also from the socio-economic situation this village is still classified as very low which has an impact on the health of children. So, efforts were made to prevent the spread of Covid-19 by socializing the application of health protocols, stunting socialization, the Karhutla program (Forest and Land Fires), and installing banners to adopt new habits in Dirung Koram village. Through this method, it is hoped that the public can understand and be critical of the problems that are currently happening.

The article clarifies the EU population's perception of the war in Ukraine and identifies its cross-cultural features. The findings are based on the data of the survey “EU's response to the war in Ukraine”, conducted in April 2022 by Ipsos European Public Affairs at the request of the European Commission. The target population of the study is the citizens of the European Union member countries, aged 15 years and over (N = 26053). In the perception of the Russian-Ukrainian war, informational and activity-related aspects were distinguished. The first one included indicators of informational involvement (frequency of following and discussing news about the war in Ukraine) and trust in various sources of information (national authorities, European authorities, NGOs, journalists, and social media). The second one consisted of indicators of approval of measures announced by the EU (economic sanctions against Russia and Russian oligarchs, financial support to Ukraine, military and humanitarian aid, the ban on broadcasting in the EU of state-owned Russian media, welcoming in EU people feeling the war) and satisfaction with reactions of main actors (national authorities, the EU, NATO, UN, USA, citizens of own country). For cross-cultural comparison of various aspects of Russian-Ukrainian war perception, several macro indicators have been constructed. Common characteristics of the war perception in EU countries were a high frequency of following news and discussing it with friends and relatives, approval of main EU measures aimed at supporting Ukraine; great satisfaction with the reaction of the main actors to the events in Ukraine. People do not equally trust various sources of information and the ranking of sources according to their credibility has cross-cultural differences. The most reliable sources were national and EU authorities and fewer people trust NGOs and journalists. Social media were widely untrusted. At the same time, there are two main patterns of trust in various sources. The first one is a combination of distrust in social media with high trust in other sources. The second one is distrust in most or even all sources of information.

"COVID19 a new appeared virus determined a major impact worldwide on economic and social aspects and also on the mental state level. All countries are confronting with different behaviors of coping mechanism in particular buying excessive amounts of food, being more suspicious even with the family members, explained by an exacerbated surviving instinct, making stocks of unnecessary disinfectant sanitary products, even a chase for protective masks in some cases. Some of these aspects can be considered the effect of a mass psychosis, people being misinformed by television news, such as the concept of fake news having the intention of manipulation; others misinterpret the clear message, with severe consequences over the state of calm. During this crisis, all psychiatrists are facing new challenges such as sustaining the well-being of healthcare personnel, looking over the need of patient’s mental well-being, taking care of the psychological impact of quarantine, self-isolation and social stigma associated with COVID 19. An important aspect in Romania is represented by different cultural beliefs that are not usually present in other cultures but are characteristic in our population and can influence the outcome of the virus evolution. Protection from God, believing that spirituality and religiosity can become a fence in the confrontation with the virus, and these convictions could become a real impediment in understating and respecting the protocols and the rules of prevention. The ethical issue for psychiatrists is how to take into account patients’ beliefs in time of restrictive measures imposed by COVID19 pandemic? All in all, the COVID19 pandemic spread represents a real challenge for all employees in the medical system, but especially to psychiatrists, who should deal with patients whose capacity to understand the real/whole picture is deteriorated. "

The history of the development of international legislation and the conclusion of international treaties regarding the protection of intellectual property, starting with the Berne Convention on the Protection of Literary and Artistic Works, was considered. The World Convention on Copyright, the Agreement on Trade Aspects of Intellectual Property Rights, and the Copyright Agreement of the World Intellectual Property Organization were analyzed. An attempt to sign an Anti-Counterfeiting Trade Agreement was tracked. The history of the adoption of laws on the protection of intellectual property in the USA “On Combating Online Piracy” (SOPA) and “On Prevention of Real Network Threats to Economic Creativity and Theft of Intellectual Property” (PIPA) was studied. The legal framework of the EU regarding the protection of intellectual property rights on the Internet, in particular Directive No. 2019/789 of the European Parliament and the Council dated April 17, 2019, which establishes the application of the provisions of copyright and related rights to individual online broadcasts of broadcasting organizations and retransmissions of radio and television programs, and Directive No. 2019/790 of the European Parliament and the Council dated April 17, 2019 on copyright and related rights in the single digital market were concidered. The legislative framework of Ukraine aimed at protecting intellectual property rights and preventing illegal distribution of media content was analyzed, in particular the Laws of Ukraine “On Copyright and Related Rights” and “On State Support of Cinematography”. Forms of illegal distribution of media content are defined. An analysis of telecommunication means on the Internet identification methods during forensic telecommunications examination was carried out. The methods used now were considered, and their main shortcomings were described. Alternative methods of identification were proposed.

Abstract The changes in the audiovisual media services market that have taken place in recent years have resulted in quite intensive work in the European Union (starting in 2015) on the revision of certain directives concerning this economic area. One of the pieces of EU law that was decided to be updated was the Audiovisual Media Services Directive. This is because it was pointed out that since the last amendment of this directive, there had been a significant and rapid development of the audiovisual media services market due to the progressive convergence of television and internet services. The advancement of technology has allowed the emergence of new types of services and new ways of using them. In addition, it has been stressed that viewing habits have changed considerably, especially among younger viewers. New types of messaging, such as short forms of video and user-generated content, have grown in importance, and new entrants, including video-on-demand providers and video-sharing platform providers, have already established their position. This media convergence has called for an updated legal framework in the EU to take account of market developments and to strike a balance in access to content in online services, as well as to ensure consumer protection and competitiveness. Directive 2018/1808 was to be implemented by the EU Member States by 19 September 2020 but Poland did not meet this deadline; it was not until 11 August 2021 that the relevant amendments to the Broadcasting Act and the Cinematography Act were enacted. Most of its provisions came into force on 1 November 2021, while others entered into force on 1 January 2022. Considering the way in which most of the provisions of Directive 2018/1808 have been implemented into Polish law, one can defend the view that it was done rationally from the perspective of Polish media service providers. The liberalisation of quantitative advertising limits may contribute to raising more funds in the advertising market by broadcasters. It has been pointed out that leaving the existing regulations unchanged would place broadcasters under Polish jurisdiction in an unfavourable competitive position in relation to broadcasters of programmes available in Poland who are under the jurisdiction of other EU Member States. The intention to put providers of on-demand media services on an equal footing with providers of video-sharing platforms also seems reasonable, as the main objective of Directive 2018/1808 is to ensure proper competition between different categories of entities competing in the electronic media sector.

Aim. The presented study aims to investigate the features of strategic personnel management in media organizations in the context of weakening economic security at all levels of the Russian economy caused by the ongoing sanctions confrontation between Russia and the ‘collective West’.Tasks. The authors explore the essence of strategic personnel management in a media organization; analyze the types of human resources strategies and identify specific features of their implementation; conduct a PEST analysis of Russian media organizations and assess the impact of new political and economic factors on personnel management in them.Methods. This study uses the methods of generalization, graphical data interpretation, strategic and situational analysis, and expert assessments.Results. Due to the aggravation of the sanctions confrontation with the ‘collective West’, the external environment of Russian business organizations has changed recently. These changes are industry specific. For example, in the media industry, the impact of changes in the external environment is most clearly manifested in personnel management processes. In this regard, human resources strategies of media organizations need to be updated, revised, and transformed into combined strategies that would make allowance for the specific features of a particular organization and its personnel. It is established that the decisive factor for successfully changing the human resources strategy of a media organization is its internal ability to change quickly under the influence of surrounding events and circumstances without sacrificing management efficiency. The described approach makes it possible to ensure the economic security of a media organization.Conclusions. The potential decrease in employee loyalty and efficiency associated with concerns about wages and loss of income sources in the changing business environment can be compensated by actively involving employees in the assessment of the current situation and development of operational management measures. Due to the dynamic ongoing changes in the macro environment, the traditional office environment is being replaced by other forms of work that companies consider acceptable. This will not only improve the physical safety and psychological health of creative media personnel, but will also make it possible to promptly inform clients of news portals and television channels, quickly respond to provocations from opponents on social media, maintain equipment in working order on a 24-hour basis, etc. Managers of media organizations should cultivate the skill of managerial influence. Managerial skills developed by department heads as well as employees create an efficient working environment and form a sense of belonging among employees. The changing external environment makes it necessary to improve the strategy and personnel policy of the media organization by introducing a personalized approach to personnel management. Bearing in mind the rapid technological development of the media industry, retraining and advanced training of employees remains an important strategic aspect of human capital development in a media organization. This aspect requires increased attention from managers.

“Key issue” describes the main issue or perspective an article focuses on when reporting on a news topic. There might be different key issues for the same topic: When reporting on terrorism, articles can for example concentrate on the incident itself, the perpetrator behind it, victims and/or political reactions to terrorism. Field of application/theoretical foundation: Key issues share similarities with other variables such as news “frames”, “issue salience” or “issue ownership” that also try to identify different perspectives for the same or different news topics. Therefore, studies based on “Framing” (Entman, 1993) work with similar variables to analyze what issues journalists focus on and many studies cited here use the concept of framing to identify key issues, for example Li (2007) or Zhang & Hellmüller (2016). References/combination with other methods of data collection: Studies for example combine content analysis and interviews with journalists to shed more light on dynamics and structures of terrorism coverage, including key issues (Larsen, 2019). Example studies: Li (2007); Matthews (2016) Information on Li, 2007 Authors: Li (2007) Research question: How did television outlets frame 9/11 during the first 24 hours of coverage and how did this framing change over time? Object of analysis: News coverage by five TV outlets (ABC, CBS, NBC, CNN, and FOX news) Time frame of analysis: 24 hours after attacks on September 9 2001 occurred Info about variables Variable name/definition: Coverage frame: “The coverage frame is defined as the aspects of a perceived reality identified through a story that makes these aspects more salient in the news coverage” (Li, 2007, p. 676). Level of analysis: News story (TV) Variables and values: Political coverage frame, economic coverage frame, criminal coverage frame, environment coverage frame, safety coverage frame, human interest coverage frame, religion coverage frame, disaster coverage frame, other coverage frame Reliability: Scott’s pi: .8 Information on Matthews, 2016 Authors: Matthews (2016) Research question: How did newspapers react in the immediate aftermath of the London bombings 2005? Object of analysis: News coverage by nine UK newspapers and their Sunday equivalents (The Star, The Sun, Daily Mail, Daily Mirror, Daily Express, The Times, The Telegraph, The Guardian and The Independent) Time frame of analysis: July 8 2005 to July 15 2005 Info about variables Variable name/definition: Story themes Level of analysis: News article Variables and values: Reconstruction and reaction, bombers’ identities, police investigation, victims/the missing, heroism and survivors, London’s reaction Table 1. Measurement of “Key Issue” in terrorism coverage. Author(s) Sample Manifestations Reliability Codebook An et al. (2018) Articles from terrorist websites 31 different key issues, ranging from terrorist attacks to their political consequences Average Holsti value for all pairwise comparisons: .66 Available Du & Li (2017) Online news articles 6 different key issues, including “description and updates of the incident itself”, “causes of the incident”, “consequences of the incident”, “conflicting viewpoint related to the incident”, “condemn the terrorist behavior and discuss the punishment/reprisal”, and “background/history knowledge of the incident areas” Scott’s pi for all variables in study: between .798 and 1 Available Haußecker & Jirschitzka, 2010; Jirschitzka et al., 2010 Broadcasting programs 11 different key issues, ranging from war against terror to communication of terrorists Average Holsti value for all pairwise comparisons with five coders and one main coder: .66 Available Larsen (2019) Broadcasting programs and online news articles 3 different key issues, including “threat of terrorism”, “countering and prevention”, and ”terrorism as phenomenon” Cohen’s kappa: .782 Available Li (2007) Broadcasting programs 9 different key issues, including “political”, “economic”, “criminal”, “environment”, “safety”, “human interest”, “religion”, “disaster”, and “other” coverage frame Scott’s pi: .8 Not available Li & Izard (2003) Broadcasting programs and news articles 10 different key issues, including “business”, “World Trade Center”, “Pentagon”, “safety (concerning future attacks)”, “government and U.S. president, “criminal activity and terrorism,” “personal story”, “American public”, “U.S. Arab community”, and “past events” Scott’s pi for all nominal variables in study: between .78 and .96 Not available Matthews (2016) Newspaper articles 6 different key issues, including “reconstruction and reaction”, “bombers’ identities”, “police investigation”, “victims/the missing”, “heroism and survivors”, and “London’s reaction” Not reported Not available Zhang & Hellmüller (2016) Online news articles 8 key issues, sorted in the overarching categories “geopolitics” (consisting of “failing state”, “political opportunism”, “strategic game”, “geopolitical alignment”) and “existential threat” (consisting of “ISIS prowess”, “human rights crisis”, “economic consequences”, and “ISIS propaganda”) Krippendorf’s alpha: .73 Available References An, Y., Mejía, N. A., Arizi, A., Villalobos, M. M, & Rothenberger, L. (2018). Perpetrators’ strategic communication: Framing and identity building on ethno-nationalist terrorists’ websites. Communications, 43(2), 133–171. doi:10.1515/commun-2017-0057 Du, Y. R., & Li, L. (2017). When press freedom meets national interest: How terrorist attacks are framed in the news in China and the US. Global Media and China, 2(3–4), 284–302. doi:10.1177/2059436418755761 Entman, R. M. (1993). Framing: Toward clarification of a fractured paradigm. Journal of Communication, 43(4), 51-58. doi:10.1111/j.1460-2466.1993.tb01304.x Haußecker, N., & Jirschitzka, J. (2010). Mediale Konstruktion I: Methodisches Vorgehen—Inhaltsanalyse der Terrorberichterstattung in deutschen Fernsehnachrichten [Media construction I: Methods – content analysis of terrorism coverage in German TV news]. In W. Frindte & N. Haußecker (Eds.), Inszenierter Terrorismus [Staged terrorism] (pp. 67–89). VS Verlag für Sozialwissenschaften. Jirschitzka, J., Haußecker, N., & Frindte, W. (2010). Mediale Konstruktion II: Die Konstruktion des Terrorismus im deutschen Fernsehen – Ergebnisdarstellung und Interpretation. [Media construction II: the construction of terrorism in German TV - results and interpretation]. In W. Frindte & N. Haußecker (Eds.), Inszenierter Terrorismus [Staged terrorism] (pp. 81–119). Wiesbaden: VS Verlag für Sozialwissenschaften. Larsen, A. G. (2019). Threatening criminals and marginalized individuals: Frames and news conventions in reporting of radicalization and violent extremism. Media, War & Conflict, 12(3), 299–316. doi:10.1177/1750635218769331 Li, X. (2007). Stages of a crisis and media frames and functions: U.S. television coverage of the 9/11 incident during the first 24 hours. Journal of Broadcasting & Electronic Media, 51(4), 670–687. doi:10.1080/08838150701626578 Li, X., & Izard, R. (2003). 9/11 Attack coverage reveals similarities, differences. Newspaper Research Journal, 24(1), 204–219. oi:10.1177/073953290302400123 Matthews, J. (2016). Media performance in the aftermath of terror: Reporting templates, political ritual and the UK press coverage of the London Bombings, 2005. Journalism, 17(2), 173–189. doi:10.1177/1464884914554175 Zhang, X., & Hellmüller, L. (2016). Transnational media coverage of the ISIS threat: A global perspective? International Journal of Communication, 10, 766–785.

Jambi TV is a television station that plays a vital role in the broadcasting media in the Jambi Province, Indonesia. Various aspects of Jambi TV include different elements that influence its operations and contributions in providing information, entertainment, and services to the people of Jambi. This writing will discuss several key aspects related to Jambi TV, including the station's profile, flagship programs, contributions in broadcasting news and information, as well as its social impact on the local community. Additionally, this report will also address the trends and challenges faced by Jambi TV in the current era of Industry 5.0, and its strategic role in meeting the audience's needs in the Jambi region. By gaining a deeper understanding of the general aspects of Jambi TV, we can appreciate its important role in regional broadcasting and its impact on the local community.

“We have made Italy, now we must make Italians,” in the (probably apocryphal) words of the Prime Minister, sometime after the unification of the nation in 1860. Perhaps in French, if it was said at all. (The quotation is typically attributed to Massimo D’Azeglio, the prime minister of Piedmont and predecessor of the first Italian prime minister Camillo Cavour. Many have suggested that the phrase was misquoted and misunderstood (see Doyle.) D’Azeglio spoke in Italian when he addressed the newly-formed Italian parliament, but my reference to French is meant to indicate the fragility of the national language in early Italy where much of the ruling class spoke French while the majority of the people in the peninsula still spoke regional dialects.) It was television – more than print media or even radio – that would have the biggest impact in terms of ‘making Italians.’ Writing about Italy in the 1950s, a well-known media critic suggested that television, a game show actually, “was able to succeed where The Divine Comedy failed … it gave Italy a national language” (qtd. in Foot). But these are yesterday’s problems. We have Italy and Italians. Moreover, the emergence of global ways of being and belonging are evidence of the ways in which the present transcends forms of belonging rooted in the old practices and older institutions of the nation-state. But, then again, maybe not. “A country that allows you to vote in its elections must be able to provide you with information about those elections” (Magliaro). This was 2002. The country is still Italy, but this time the Italians are anywhere but Italy. The speaker is referring to the extension of the vote to Italian citizens abroad, represented directly by 18 members of parliament, and the right to information guaranteed the newly enfranchised electorate. What, then, is the relationship between citizenship, the state and global television today? What are the modalities of involvement and participation involved in these transformations of the nation-state into a globally-articulated network of institutions? I want to think through these questions in relation to two ways that RAI International, the ‘global’ network of the Italian public broadcaster, has viewed Italians around the world at different moments in its history: mega-events and return information. Mega-Events Eighteen months after its creation in 1995, RAI International was re-launched. This decision was partially due to a change in government (which also meant a change in the executive and staff), but it was also a response to the perceived failure of RAI International to garner an adequate international audience (Morrione, Testimony [1997]). This re-launch involved a re-conceptualisation of the network’s mandate to include both information services for Italians abroad (the traditional ‘public service’ mandate for Italy’s international broadcasting) as well as programming that would increase the profile of Italian media in the global market. The mandate outlined for Roberto Morrione – appointed president as part of the re-launch – read: The necessity of strategic and operative certainties in the international positioning of the company, both with regard to programming for our co-nationals abroad and for other markets…are at the centre of the new role of RAI International. This involves bringing together in the best way the informative function of the public service, which is oriented to our community in the world in order to enrich its cultural patrimony and national identity, with an active presence in evolving markets. (Morrione, Testimony [1998]) The most significant change in the executive of the network was the appointment of Renzo Arbore, a well-known singer and bandleader, to the position of artistic director. At the time of Arbore’s appointment, the responsibilities of the artistic director at the network were ill defined, but he very quickly transformed the position into the ‘face’ of RAI International. In an interview from 1998, Arbore explained his role at the network as follows: “I’m the artistic director, which means I’m in charge of the programs that have any kind of artistic content. Also, I’m the so called “testimonial”, which is to say I do propaganda for the network, I’m the soul of RAI International” (Affatato). The most often discussed aspect of the programming on RAI International during Arbore’s tenure as artistic director was the energy and resources dedicated to events that put the spotlight on the global reach of the service itself and the possibilities that satellite distribution gave for simultaneous exchange between locations around the world. It was these ‘mega-events’ (Garofalo), in spite of constituting only a small portion of the programming schedule, that were often seen as defining RAI’s “new way” of creating international programming (Milana). La Giostra [The Merry Go Round], broadcast live on New Year’s Eve 1996, is often cited as the launch of the network’s new approach to its mission. Lasting 20 hours in total, the program was hosted by Arbore. As Morrione described it recently, The ‘mother of live shows’ was the Giostra of New Year’s ’97 where Arbore was live in the studio for 20 consecutive hours, with many guests and segments from the Pole, Peking, Moscow, Berlin, Jerusalem, San Paolo, Buenos Aires, New York and Los Angeles. It was a memorable enterprise without precedent and never to be duplicated. (Morrione, RAI International) The presentation of television as a global medium in La Giostra draws upon the relationship between live broadcasting, satellite television and conceptions of globality that has developed since the 1960s as part of what Lisa Parks describes as ‘global presence’ (Parks). However, in keeping with the dual mandate of RAI International, the audience that La Giostra is intended to constitute was not entirely homogenous in nature. The lines between the ‘national’ audience, which is to say Italians abroad, and the international audience involving a broader spectrum of viewers are often blurred, but still apparent. This can be seen in the locations to which La Giostra travelled, locations that might be seen as a mirror of the places to which the broadcast might be received. On the one hand, there are segments from a series of location that speak to a global audience, many of which are framed by the symbols of the cold war and the ensuing triumph of global capitalism. The South Pole, Moscow, Beijing and a reunified Berlin can be seen as representing this understanding of the globe. These cities highlighted the scope of the network, reaching cities previously cut off from Italy behind the iron curtain (or, in the case of the Pole, the extreme of geographic isolation.) The presence of Jerusalem contributed to this mapping of the planet with an ecclesiastical, but ecumenical accent to this theme. On the other hand, Sao Paolo, Buenos Aires, and Melbourne (not mentioned by Morrione, but the first international segment in the program) also mapped the world of Italian communities around the world. The map of the globe offered by La Giostra is similar to the description of the prospective audience for RAI International that Morrione gave in November 1996 upon his appointment as director. After having outlined the network’s reception in the Americas and Australia, where there are large communities of Italians who need to be served, he goes on to note the importance of Asia: “China, India, Japan, and Korea, where there aren’t large communities of Italians, but where “made in Italy,” the image of Italy, the culture and art that separate us from others, are highly respected resources” (Morrione, “Gli Italiani”). La Giostra served as a container that held together a vision of the globe that is centered around Italy (particularly Rome, caput mundi) through the presentation on screen of the various geopolitical alliances as well as the economic and migratory connections which link Italy to the world. These two mappings of the globe brought together within the frame of the 20-hour broadcast and statements about the network’s prospective audiences suggest that two different ways of watching RAI International were often overlaid over each other. On the one hand, the segments spanning the planet stood as a sign of RAI International’s ability to produce programs at a global scale. On the other hand, there was an attempt to speak directly to communities of Italians abroad. The first vision of the planet offered by the program suggests a mode of watching more common among disinterested, cosmopolitan viewers belonging to a relatively homogenous global media market. While the second vision of the planet was explicitly rooted in the international family of Italians constituted through the broadcast. La Giostra, like the ‘dual mandate’ of the network, can be seen as an attempt to bring together the national mission of network with its attempts to improve its position in global media markets. It was an attempt to unify what seemed two very different kinds of audiences: Italians abroad and non-Italians, those who spoke some Italian and those who speak no Italian at all. It was also an attempt to unify two very different ways of understanding global broadcasting: public service on the one hand and the profit-oriented goals of building a global brand. Given this orientation in the network’s programming philosophy, it is not surprising that Arbore, speaking of his activities as Artistic director, stated that his goals were to produce shows that would be accessible both to those that spoke very little Italian as well as those that were highly cultured (Arbore). In its attempt to bring these divergent practices and imagined audiences together, La Giostra can be seen as part of vision of globalisation rooted in the euphoria of the early nineties in which distance and cultural differences were reconciled through communications technology and “virtuous” transformation of ethnicity into niche markets. However, this approach to programming started to fracture and fail after a short period. The particular balance between the ethnic and the economically ecumenical mappings of the globe present in La Giostra proved to be as short lived as the ‘dual mandate’ at RAI International that underwrote its conception. Return Information The mega-events that Arbore organised came under increasing criticism from the parliamentary committees overseeing RAI’s activities as well as the RAI executive who saw them both extremely expensive to produce and of questionable value in the fulfillment of RAI’s mission as a public broadcaster (GRTV). They were sometimes described as misfatti televisivi [broadcasting misdeeds] (Arbore). The model of the televisual mega-event was increasingly targeted towards speaking to Italians abroad, dropping broader notions of the audience. This was not an overnight change, but part of a process through which the goals of the network were refocused towards ‘public service.’ Morrione, speaking before the parliamentary committee overseeing RAI’s activities, describes an evening dedicated to a celebration of the Italian flag which exemplifies this trend: The minister of Foreign Affairs asked us to prepare a Tricolore (the Italian flag) evening – that would go on air in the month of January – that we would call White, Red and Green (not the most imaginative name, but effective enough.) It would include international connections with Argentina, where there exists one of the oldest case d’italiani [Italian community centers], built shortly after the events of our Risorgimento and where they have an ancient Tricolore. We would also connect with Reggio Emilia, where the Tricolore was born and where they are celebrating the anniversary this year. Segments would also take us to the Vittoriano Museum in Rome for a series of testimonies. (Morrione, Testimony [1997]) Similar to La Giostra, the global reach of RAI International was used to create a sense of simultaneity among the dispersed communities of Italians around the world (including the population of Italy itself). The festival of the Italian flag was similarly deeply implicated in the rituals and patterns that bring together an audience and, at another level, a people. However, in the celebration of the Italian flag, the notion that such a spectacle might be of interest to those outside of a global “Italian” community has disappeared. Like La Giostra, programs of this kind are intended to be constitutive of an audience, a collectivity that would not exist were it not for the common space provided through television spectatorship. The celebration of the Italian flag is part of an attempt to produce a sense of global community organised by a shared sense of ethnic identity as expressed through the common temporality of a live broadcast. Italians around the world were part of the same Italian community not because of their shared history (even when this was the stated subject of the program as was the case with Red, White and Green), but because they co-existed by means of their experience of the mediated event. Through these events, the shared national history is produced out of the simultaneity of the common present and not, as the discourse around Italian identity presented in these programs would have it (for example, the narratives around the origin around the flag), the other way around. However, this connection between the global television event that was broadcast live and national belonging raised questions about the kind of participation they facilitated. This became a particularly salient issue with the election of the second Berlusconi government and the successful campaign to grant Italians citizens living abroad the vote, a campaign that was lead by formerly fascist (but centre-moving) Alleanza Nazionale. With the appoint of Massimo Magliaro, a longtime member of Alleanza Nazionale, to the head of the network in 2000, the concept of informazione di ritorno [return information] became increasingly prominent in descriptions of the service. The phrase was frequently used, along with tv di ritorno (Tremaglia), by the Minister for Italiani nel Mondo during the second Berlusconi administration, Mirko Tremaglia, and became a central theme in the projects envisioned for the service. (The concept had circulated previously, but it was not given the same emphasis that it would gain after Magliaro’s appointment. In an interview from 1996, Morrione is asked about his commitment to the policy of “so-called” return information. He answers the question by commenting in support of producing a ‘return image’ (immagine di ritorno), but never uses the phrase (Morrione, “Gli Italiani”). Similarly, Arbore, in an interview from 1998, is also asked about ‘so-called’ return information, but also never uses the term himself (Affatato). This suggests that its circulation was limited up until the late 1990s.) The concept of ‘return information’ – not quite a neologism in Italian, but certainly an uncommon expression – was a two-pronged, and never fully implemented, initiative. Primarily it was a policy that sought to further integrate RAI International into the system of RAI’s national television networks. This involved both improving the ability of RAI International to distribute information about Italy to communities of Italians abroad as well as developing strategies for the eventual use of programming produced by RAI International on the main national networks as a way of raising the awareness of Italians in Italy about the lives and beliefs of Italians abroad. (The programming produced by RAI International was never successfully integrated into the schedules of the other national networks. This issue remained an issue that had yet to be resolved as recently as the negotiations between the Prime Minister’s office and RAI to establish a new agreement governing RAI’s international service in 2007.) This is not to say that there was a dramatic shift in the kind of programming on the network. There had always been elements of these new goals in the programming produced exclusively for RAI International. The longest running program on the network, Sportello Italia [Information Desk Italy], provided information to Italians abroad about changes in Italian law that effected Italians abroad as well as changes in bureaucratic practice generally. It often focused on issues such as the voting rights of Italians abroad, questions about receiving pensions and similar issues. It was joined by a series of in-house productions that primarily consisted of news and information programming whose roots were in the new division in charge of radio and television broadcasts since the sixties. The primary change was the elimination of large-scale programs, aside from those relating to the Italian national soccer team and the Pope, due to budget restrictions. This was part of a larger shift in the way that the service was envisioned and its repositioning as the primary conduit between Italy and Italians abroad. Speaking in 2000, Magliaro explained this as a change in the network’s priorities from ‘entertainment’ to ‘information’: There will be a larger dose of information and less space for entertainment. Informational programming will be the privileged product in which we will invest the majority of our financial and human resources, both on radio and on television. Providing information means both telling Italians abroad about Italy and allowing public opinion in our country to find out about Italians around the world. (Morgia) Magliaro’s statement suggests that there is a direct connection between the changing way of conceiving of ‘global’ Italian television and the mandate of RAI International. The spectacles of the mid-nineties, implicitly characterised by Magliaro as ‘entertainment,’ were as much about gaining the attention of those who did not speak Italian or watch Italian television as speaking to Italians abroad. The kind of participation in the nation that these events solicited were limited in that they did not move beyond a relatively passive experience of that nation as community brought together through the diffuse and distracted experience of ‘entertainment’. The rise of informazione di ritorno was a discourse that offered a particular conception of Italians abroad who were more directly involved in the affairs of the nation. However, this was more than an increased interest in the participation of audiences. Return information as developed under Magliaro’s watch posited a different kind of viewer, a viewer whose actions were explicitly and intimately linked to their rights as citizens. It is not surprising that Magliaro prefaced his comments about the transformation of RAI’s mandate and programming priorities by acknowledging that the extension of the vote to Italians abroad demands a different kind of broadcaster. The new editorial policy of RAI International is motivated from the incontrovertible fact that Italians abroad will have the right to vote in a few months … . In terms of the product that we are developing, aimed at adequately responding to the new demands created by the vote… (Morgia) The granting of the vote to Italians abroad meant that the forms of symbolic communion that produced through the mega-events needed to be supplanted by a policy that allowed for a more direct link between the ritual aspects of global media to the institutions of the Italian state. The evolution of RAI International cannot be separated from the articulation of an increasingly ethno-centric conception of citizenship and the transformation of the Italian state over the course of the 1990s and early 2000s towards. The transition between these two approaches to global television in Italy is important for understanding the events that unfolded around RAI International’s role in the development of a global Italian citizenry. A development that should not be separated from the development of increasingly stern immigration policies whose effect is to identify and export undesirable outsiders. The electoral defeat of Berlusconi in 2006 and the ongoing political instability surrounding the centre-left government in power since then has meant that the future development of RAI International and the long-term effects of the right-wing government on the cultural and political fabric of Italy remain unclear at present. The current need for a reformed electoral system and talk about the need for greater efficiency from the new executive at RAI make the evolution of the global Italian citizenry an important context for understanding the role of media in the globalised nation-state in the years to come. References Affatato, M. “I ‘Segreti’ di RAI International.” GRTV.it, 17 Feb. 1998. Arbore, R. “‘Il mio sogno? Un Programma con gli italiani all’estero.’” GRTV.it, 18 June 1999. Foot, J. Milan since the Miracle: City, Culture, and Identity. Oxford: Berg, 2001. Garofalo, R. “Understanding Mega-Events: If We Are the World, Then How Do We Change It? In C. Penley and A. Ross, eds., Technoculture. Minneapolis, University of Minnesota Press, 1991. 247-270. Magliaro, M. “Speech to Second Annual Conference.” Comites Canada, 2002. Milana, A. RAI International: 40 anni, una storia. Rome: RAI, 2003. Morgia, G. La Rai del Duemila per gli italiani nel mondo: Intervista con Massimo Magliaro. 2001. Morrione, R. “Gli Italiani all’estero ‘azionisti di riferimento.’” Interview with Roberto Morrione. GRTV.it, 15 Nov. 1996. Morrione, R. Testimony of Roberto Morrione to Commitato Bicamerale per la Vigilanza RAI, 12 December 1997. Rome, 1997. 824-841. Morrione, R. Testimony of Roberto Morrione to Commitato Bicamerale per la Vigilanza RAI, 17 November 1998. Rome, 1998. 1307-1316. Morrione, R. “Tre anni memorabili.” RAI International: 40 anni, una storia. Rome: RAI, 2003. 129-137. Parks, L. Cultures in Orbit: Satellites and the Televisual. Durham, NC: Duke UP, 2005.