Good Practice in EU Public Service Media and Contemporary Practice in Jordan: A Comparative Analysis

UNESCO Amman Office Foreword: UNESCO Amman office is pleased to publish a comparative analysis between good Public Service Media (PSM) practices in Europe and the contemporary practice in Jordan. The study is part of the Support to Media in Jordan project, funded by the European Union, aiming to increase media freedom, media independence and journalistic professionalism in Jordan. The state owned broadcaster, Jordan Radio and Television (JRTV), has informed, entertained and educated Jordanians for decades. JRTV reaches almost every corner of the Kingdom and has the potential to serve all Jordanians with balanced, impartial and accurate news and programmes relevant to their day-to-day lives.Based on this potential there has been a long standing ambition to transform the JRTV from a state broadcaster to a public service broadcaster; from a TV and radio that predominately serves the state, to a broadcaster that serves the public and is independent from the Government of the day. This ambition is expressed also in the Support to Media in Jordan project, agreed between the Government an the EU, under which UNESCO has been asked to produce two studies: The comparative PSM analysis and a broader media landscape assessment based on UNESCO’s Media Development Indicators (MDI’s). The Jordanian MDI assessment was carried out by a team of national and international researchers during the first six months of 2015, and builds on the rich flora of recent studies on the Jordanian media landscape, as well as on original research. The study is available in Arabic and English. Professor Naomi Sakr carried out the comparative PSM analysis parallel to the MDI study, and in close cooperation with the MDI research team and UNESCO Amman office.

Transformative realism: reflections of reality in political avant-garde and contemporary fine art film - Spanish Labyrinth, south from Granada

A turn towards documentary modes of practice amongst contemporary fine art video and filmmakers towards the end of the 20th Century, led to moving image works that represent current social realities. This drew some comparisons of these forms of art to journalism and industrial documentary. The practical research is embodied in a single screen film that responds to recent political and ecological realities in Spain. These include the mass demonstrations that led to the occupation of Madrid’s Plaza del Sol and Spain’s in 2011 and largest recorded forest fires that spread through Andalusia in August of the following year. The film, titled Spanish Labyrinth, South from Granada, is a response to these events and also relates to political avant-garde film of the 1930’s by re-tracing a journey undertaken by three revolutionary filmmakers, Yves Allegret, René Naville and Eli Lotar, in 1931. The theoretical research for this project establishes an historical root of artists’ film that responds to current social realities, in contrast to news media, in the Soviet and European avant-garde movements of the 1920s and 1930s. The main aim of this method is to argue the status of the works that I identify, both avant-garde and contemporary, as a form of art that preceded a Griersonian definition of documentary film.

Resonances: Noise and Contemporary Music

Noise seems to stand for a lack of aesthetic grace, to alienate or distract rather than enrapture. And yet the drones of psychedelia, the racket of garage rock and punk, the thudding of rave, the feedback of shoegaze and post-rock, the bombast of thrash and metal, the clatter of jungle and the stuttering of electronica, together with notable examples of avant-garde noise art, have all found a place in the history of contemporary musics, and are recognised as representing key evolutionary moments. Noise therefore is the untold story of contemporary popular music, and in a critical exploration of noise lies the possibility of a new narrative – one that is wide-ranging, connects the popular to the underground and avant-garde, fully posits the studio as a musical instrument, and demands new critical and theoretical paradigms of those seeking to write about music. Resonances is a compelling collection of new essays by scholars, writers and musicians – all seeking to explore and enlighten this field of study.