30% Quota – A Trouble-Making “Guardian” of EU Content

Zlatitsa Dimitrova, Consuelo Naranjo, Diandra Velica, Bo Pan, Juliane Henn, Özge Akman, Santiago Otalora, Alorila Murataj, Jiaqi Nie

The European Parliament and the Council of Europe have approved an update in the Audiovisual Media Services Directive (AVMSD) The revised AVMSD officially entered into force on 19th December 2018 and aims to guarantee a 30% share of European works on subscription video on demand (SVoD) platforms. The European Parliament declared: “In order to support the cultural diversity of the European audiovisual sector, MEPs ensured that 30% of content in the video-on-demand platforms’ catalogues should be European.” This change is expected to support cultural diversity and promote European production. It could help to fix the existing uneven relationship not only with the American content, but also within Europe itself. As a significant instrument to support European content against American superiority, the 30% quota along with the revised AVSMD will be implemented obligatorily by the member states before the end of 2020. The consequences of it have aroused pervasive debate.

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Platformization: the Challenges and Opportunities for Traditional European Media

Gabriel Rosa, Valerio Spinosi, Vesë Latifi, Yangyang Yang, Abdirahman Mohamed Issa, Ali Nishikawa, Ágnes Modrovich, Xiaochen Zhang, & Xuwen Zheng

An Epochal Change: Can Traditional Media Survive in the Era of Platforms?

Platforms are doing to traditional European media what the press did to the spiritual influence of the Catholic Church, which had the complete power on communication and information in the 15th century. It happened once in a blue moon in history that such strong organizations lost their communication and political supremacies towards something totally new without having the possibility to win their authority back and without having to change their traditional structures and mode of action.1

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Losing My Attention? Journalism’s Renewed Interest in Content and Membership Models

Janneke Aerssens, Spriha Dhanuka, Katharina Beck, Rosanna Fanni, Ana Sofia Madrid Vargas, Sameer Padania, Giordano Zambelli, Mehmet Solmaz

Attention has always been a finite resource, even more so in an era of superabundance of information. Having the power to attract and manage it has been a struggle from the moment citizens had a say in what happens in society. Attention merchants were already there, before the internet and the so-called information society. Why then is attention now such a hot topic? Has the attention economy trapped the news industry? Is there a fire exit?

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Political Polarization and Media Fragmentation – A Threat to the Swedish Socialist Haven?

Michela Zabaglia, Johannes Sternberger, Annika Hoffmann, Constantin Blaschke, Daniela Floris, Melina Johanne Tasiovasilis, Viktoria Hammerschmid, Paulina Grzegorzewska, Lucia Albo

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Scandinavian democracies have long been acknowledged to be the “moral superpowers” of European societies, states Christine Ingebritsen, Professor of Scandinavian Studies at the University of Washington. Stable welfare systems, consensus-oriented governments and a strong sense of solidarity within national communities characterized an image of the Scandinavian countries where social democratic center-left dominance has long been the norm. Media fragmentation and political polarization in combination with the rise of the Sweden Democrats threaten that particular image.

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Rise and Shine Europe – an Insider’s Look into the Creative Market

Francisco Abadia, Eirini Digka, Elena Kutsarova, Carlos Magalhães, Zsofia Meszaros, Valeriia Panova, Savvinna Sinopidou, Maria Trofimova

Interview with Elena Lai

For the past 20 years, technological developments have had a significant impact on the audiovisual landscape, changing competition practices and reshaping the structure of the audiovisual services market. The European Union (EU) faces several challenges to safeguard the viable production of native audiovisual content and boost competitiveness. With the ever-rising digitalization of the audiovisual industry and the emergence of a few dominant players, the European Council have adopted initiatives such as the Audiovisual Media Services Directive (AVMSD) and the Creative Europe program. Both are designed to promote cultural diversity and stimulate European audiovisual production and distribution.

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Journalism in the Digital Storm

Bianca Manelli, Chantal Cocherová, Georgios Evgenidis, Jiahuan He, Lara Corrado, Suhasni      Midha, Yuliia Hladka, Zeynep Atilgan Ozgenc

What is news? What makes somebody a journalist? In the era of social media and blogs, the answers to these questions are not as clear as they were 10 years ago. With professional journalism still struggling to work through the digitalization of media, the rise of citizen journalism challenges the definition of both news and journalist.

Citizen smartphone journalism

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Media Owners Never Hit the Headlines. How Come?

Panagiota Sdoukou, Lina Dahbour, Camilla Falsetti, Lucas Moore, María Migallón, Evelina Nõmme, Louis Toussaint, Yavuz S. Ugurtas

Transparency over media ownership: What is the status quo in Europe?

“Access Info Europe has carried out a research across Europe and we proved that it is impossible to know who is behind the media” says Helen Darbshire, Excecutive Director, Access Info Europe.

According to the Center for Media Pluralism and Freedom “Media ownership concentration remains one of the most significant risks to media pluralism and is seen as creating barriers to diversity of information and viewpoints.”

Unfortunately, there is no generic answer to the question “what is the state of media ownership transparency in Europe”. Over the past years, there were extreme cases of media manipulation unveiled in Europe, which have sparked a debate on media freedom and media ownership.

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