Why advocate for public service media? Perspectives from organizations for media development

2020 ◽  
Vol 11 (2) ◽  
pp. 261-268
Author(s):  
Minna Aslama Horowitz ◽  
Alessandro D’Arma ◽  
Maria Michalis

In this commentary, we discuss how five prominent media development organizations (BBC Media Action, Council of Europe, DWA, PMA and UNESCO) define public service broadcasting (PSB)/public service media (PSM) and how they envisage its role and functions in their recent projects and reports. In view of the increasing challenges of the current media landscape, international donors are looking at models to provide a path to independent media and journalism and several international organizations support projects and institutional arrangements they label PSB/PSM. However, given the fundamental questions that existing PSBs face, is PSB a meaningful tool for media development? And how do these various advocates for PSB/PSM understand the concept and why do they feel that it is worth supporting? We find that there seems to have been a shift, common to all five organizations, towards defining PSB/PSM in terms of public service ethos, and we explain why this should be seen as a welcome development.

Comunicar ◽  
2005 ◽  
Vol 13 (25) ◽  
Author(s):  
Tomás Pedroso-Herrera

The television has turned into the center of the reflections of the contemporary societies due to its presence and power. The political class from different countries has elaborated a series of documents that offer solutions to the problems raised by the use of the television. The Council of Europe in 1986 suggested in the document «The future of public service broadcasting» that the television had to serve for the democratic and cultural development of the Europeans. The French Senate elaborated another document («L'entrée dans the société of l'information») in 1996 in which it was warned that the television did not have to be ruled only by the market and that it had to be controlled for the state. The Spanish government entrusted a report («Informe para la reforma de los medios de comunicación de titularidad del estado») to several intellectual for the restructuring of the public audio-visual sector. The most important conclusion consists of the fact that the purpose of this sector is the public service that must not be measured up exclusively for the economic profit. La televisión se ha convertido en el gran referente social y cultural de las sociedades contemporáneas. Idolatrada y denostada a partes iguales, ocupa gran parte del tiempo de los ciudadanos de las sociedades avanzadas. No hay clase social o cultural que se sustraiga a la seducción de las imágenes y mediatiza la vida de adultos y jóvenes en la misma medida. Pero, incluso reconociendo todas las virtudes que este avance tecnológico tiene, la televisión se ha convertido en la caja de Pandora a la que todo el mundo culpa de la mayor parte de los males que aquejan a los ciudadanos. Intelectuales, filósofos, comunicólogos, profesores, sociólogos, padres y madres reflexionan sobre el poder de la televisión. Y las conclusiones a las que arriban son bien distintas. En una nueva versión de «apocalípticos» o «integrados» hay una frontera que separa a los que resaltan lo bueno del medio (sus posibilidades de conocer el mundo en directo, sus usos en educación, su capacidad para entretener y divertir…) y los que opinan que el conocimiento superficial, la incultura y el aburrimiento se introducen en el seno de las familias por medio de este ingenio tecnológico cada día más perfeccionado. La reflexión ha llegado hasta el punto de interesar a la clase política que ha percibido que debe dar respuesta a todos los interrogantes que plantean los ciudadanos: ¿Hay manipulación informativa en todas las televisiones (públicas y privadas)? ¿Es realmente necesario que existan televisiones públicas? ¿Cómo deben ser financiadas estas televisiones públicas? ¿Es necesario regular el sector o es preferible dejarlo según las necesidades del mercado? En este sentido ha habido en Europa dos interesantes intentos por regular (o no) la televisión. Así el Senado francés a finales de 2002 emitió un documento que era al mismo tiempo reflexión y advertencia: por un lado se indagaba en el peso que las nueva cultura de la información tenía sobre el ciudadano, haciendo especial hincapié en la televisión, y por otro se concluía que era necesario un cierto control que tuviera como consecuencia una televisión de calidad. De la misma manera en 2004, el gobierno de Rodríguez Zapatero reunió lo que se vino en llamar un «consejo de sabios» para que reflexionara y apuntara soluciones sobre el fenómeno televisivo. Sobre los contenidos de ambos documentos, sobre sus consejos y sobre las soluciones apuntadas trata la presente comunicación.


2013 ◽  
Vol 10 (1) ◽  
pp. 206-223 ◽  
Author(s):  
Stephen Harper

Peter Bowker and Laurie Borg's three-part television drama Occupation (2009) chronicles the experiences of three British soldiers involved in the 2003 invasion of Iraq. By means of an historically situated textual analysis, this article assesses how far the drama succeeds in presenting a progressive critique of the British military involvement in Iraq. It is argued that although Occupation devotes some narrative space to subaltern perspectives on Britain's military involvement in Iraq, the production – in contrast to some other British television dramas about the Iraq war – tends to privilege pro-war perspectives, elide Iraqi experiences of suffering, and, through the discursive strategy of ‘de-agentification’, obfuscate the extent of Western responsibility for the damage the war inflicted on Iraq and its population. Appearing six years after the beginning of a war whose prosecution provoked widespread public dissent, Occupation's political silences perhaps illustrate the BBC's difficulty in creating contestatory drama in what some have argued to be the conservative moment of post-Hutton public service broadcasting.


Author(s):  
Sven Stollfuß

This article investigates how platformisation changes the practices of content production and distribution through the case of the web series, Druck (tr. Pressure (2018–), for the public service content network ‘funk’ (ARD and ZDF). An analysis of the German adaptation of the Norwegian television and web series Skam (tr. Shame) (NRK3, 2015–2017) shows how public service broadcasting (PSB) in Germany is changing due to the influence of social media. To reach a younger audience, PSB has to meet them on third-party platforms. Consequently, PSB must provide content that fits the mobile media environment of social media.


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