Abstract

The authors begin by providing the historical and social background of Korean media education, which has its roots in civil participation activities in the 1980s. Then, they discuss the legal and governmental policies on media education, focusing on the Broadcasting Act and the diverse programs provided by governmental organizations, particularly those under the Ministry of Culture, Sports and Tourism. They also provide good examples of media education practices by groups of teachers, civil society associations and the media industry, in addition to introducing the recent changes in the newly reformed National Curriculum, which includes some elements of media literacy. They conclude by pointing out the need for a more consistent policy on media literacy and a forum to activate discussion on the topic.

Abstract

In this review and analysis article we try to describe which is the polyhedral scenario the media industry, and most specially the legacy media, are facing to try to solve the crisis provoked by the digital disruption. Media are in a hybrid system where some other actors and platforms are competing to attract users’ attention and to achieve the revenues generated by news reporting activity. Journalism, as we knew it, was the industrial society’s son. The new social and economic model is bringing major changes to media companies, an industry that opted for a rather conservative strategy of taking a position in the World Wide Web, a shy development and adaptation to the possibilities of the digital language. New media are giving their contents mainly for free, a phenomenon that only recently seems to be reverted in some way. In this article we analyze those movements, the nature of news, first a commodity and now maybe a utility, and its value in the digital market. Also, we discuss the business models that the media companies are intending to implement decidedly in the next future, the lobbying activity of that industry in order to modify legal structures such as intellectual property and copyright, and the position that journalists adopt in this complex scenario.

Abstract

Assessing women’s role in the audiovisual industry provides us with negative data regarding the number of women in the industry, which are also confirmed when factors such as their prominence or leadership in these audiovisual projects are considered. A quantitative and qualitative analysis was thus undertaken based on the need to examine this problem in depth to determine what is happening in the documentary or nonfiction genre, which has exhibited significant growth thanks to the demand for content from subscription video-on-demand (SVoD) streaming platforms. This research analyzes data on the number, prominence, and leadership of women through a review of the 35 Spanish productions in this genre that were produced and/or distributed exclusively on the three leading platforms in Spain between 2016 and 2021. Accordingly, the 2,099 jobs created by these productions have been evaluated, providing data on the occupations and level of responsibility that women had. The research findings confirm the overall data. In addition, they allow us to determine why, although the documentary genre has been associated with greater opportunities for women, this has not held true within the streaming market, where this genre has achieved a greater impact. This underrepresentation of women is especially prominent in the area of leadership.