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In an age of digitalization and information overflow, it is of particular importance to offer students strategies to read and navigate the world they live in. The Information and Media Literacy project at the University of Passau intends to enable future teachers to become literate in the digital age by empowering pre-service teachers to collect, sort, critically evaluate, and subsequently produce and distribute information. Additionally, the awareness of and the reflection on the role of the media is just as essential, and thus, media-literacy education is a crucial part in this endeavor. This article discusses what information and media-literacy education can look like in practice. In one of our interdisciplinary and co-taught seminars, we investigated how documentaries can shape the perception of history by looking at the Black Power Movement in the US.

__Abstract__ As a result of declining government support, performing arts organisations (PAOs) face increased challenges and difficulties in the sector. They attempt to develop new ways of generating income and seek new models of organising the production and presentation of performing arts. Hereby, we can think of collaboration and integration as horizontal and vertical within the production chain of performing arts. There are various reasons for cultural organisations to decide upon collaboration, such as increasing organisational capacity, engaging new audience and building organisational networks (Ostrower, 2005). Other reasons for deciding upon collaboration are economies of scale and stronger profiling of the performing arts organisation. Collaboration intensifies knowledge, thus the performing arts market becomes more dynamic and there is more room for experimentation. The issue or threat, however, is that not all collaboration processes are successful. According to Kottler and Scheff (1996), the organisation needs to meet several conditions in order to build an efficient collaboration: one has to set a goal-building consensus, build trust, communicate, design leadership and involvement structures, and commit adequate resources. These are the fundamental conditions but during the process of collaboration there are other issues that need to be considered. A frequent threat is that parties often have different motives to collaborate. For example, for commercial organisations the motive could be generating more profit whereas for non-profit art organisations, especially in these times, collaboration means survival. A related issue is whether collaboration aimed at surviving is a good motive for collaboration formation. Moreover, fear may exist of losing an organisation's identity or artistic autonomy, employees may become anxious, the coordination costs might increase and parties may need additional resources and time to establish such a project. Backer (2003) summarises this dilemma in the following question: 'How can parties control the collaboration in an efficient way while at the same time meeting their main objectives and guarding their own artistic identity?'

Cover -- Half Title -- Series Page -- Title Page -- Copyright Page -- Table of Contents -- List of Tables -- Acknowledgements -- Chapter 1: Introduction -- 1.1 Research context: media and cultural work in protest cultures -- 1.2 Protest cultures and constitutive media and cultural work -- 1.3 Imperatives guiding media and cultural production and organisation in protest cultures -- 1.4 Structure of the book -- Notes -- Chapter 2: Key theoretical paradigms -- 2.1 Introduction -- 2.2 The political economy of communication tradition -- 2.2.1 Other critical and complementary theoretical approaches -- 2.2.2 Dynamics of media and cultural organisations in protest cultures -- 2.3 The sociology of news production -- 2.4 The sociology of cultural production -- 2.5 Conclusion -- Notes -- Chapter 3: Protest cultures and regulatory contexts -- 3.1 Introduction -- 3.2 Media policy and protest cultures -- 3.3 Cultural policy and protest cultures -- 3.4 Conclusion -- Notes -- Chapter 4: Ethnographic immersion in media and cultural work in protest cultures -- 4.1 Introduction -- 4.2 Research design -- 4.2.1 Research purpose -- 4.2.2 Research questions -- 4.2.3 The preparatory phase -- 4.2.4 Introducing the media and cultural producers under study -- 4.3 Data collection -- 4.3.1 Semi-structured qualitative interviews -- 4.3.2 Participant observation -- 4.3.3 Studying documents and artefacts -- 4.4 Data analysis -- 4.5 Ethical issues, considerations and reflections -- Notes -- Chapter 5: Changing imperatives in journalism/news production in protest cultures -- 5.1 Introduction -- 5.2 Historical development of journalism/news production in protest cultures -- 5.3 Profiling selected journalistic and/or news production actors in protest cultures -- 5.4 Journalistic and/or news production and organisational processes in protest cultures -- 5.4.1 AsiaNet

Diese Publikation dokumentiert das gleichnamige Kunstfestival der Universität für angewandte Kunst Wien in einer multimedialen Gesamtschau. Im Mittelpunkt dieses Hybrids aus Buch und digitalen Medium steht ein Datenträger mit Kurzfilmen und Interviews der teilnehmenden PerformancekünstlerInnen. Die Dokumentation vergangener Interventionen im öffentlichen Raum wird so in eine permanente Ausstellung transformiert.

Phetmixay Means Fighter is a short documentary film that seeks to explore Lao American refugee resiliency narratives through the life of my father, Phoutone Phetmixay. As the central character, Phoutone's poetic remembrances of his commitment to the Lao Royal army, displacement from Laos, and resettlement in the United States all serve to consider the complex history of Lao Americans in the geopolitical context of U.S. invention and the socialist Lao government. The film is invested in creating a space to validate a part of my own family's history by way of mourning, healing, and building community amongst other Lao American refugee families.

As a subset of food media meant to tantalize palates, food documentaries typically sensationalize the impoverished state of the entire food supply. This essay focuses on the food documentaries Hybrid (2000), King Corn (2007), Sunú (2015), and OMG OMG (2013), which variously treat "industrial food" as not an object of scorn but a useful category of resistance and engagement. When read through queer ecocritical and feminist materialist lenses, such films create an opening for ways of accounting for and living with the monstrosities of nature that typically arrest the gaze of sensationalism. These food films consider the family and the household not merely as units of passive consumption but as sites of considered provisioning that struggle to account for issues of food justice, food sovereignty, and ecological awareness in a world of ongoing environmental degradation.

This article is a critical analysis of the biographical-political documentary entitled Nelson Mandela: The Living Legend (1918-2013), published by the British Broadcasting Corporation as part of its multi-dimensional global media projects. The two-part series narratively outlines an illustrious, albeit significant historic, political and transformative period spanning about 67 years embodied in Mandela's persona as a symbol of the dialectic of resistance and transformation in South Africa. The article employs qualitative content analysis to highlight the producers' use of specific filmic excerpts that frame Mandela as the symbolic figure and transformative leader who reconfigured South Africa's political stalemate to democracy. This is augmented by an ideological analysis of the socio-economic and political milieu premised within the institutional context represented in the documentary. Despite the functional agenda setting role that the film packaging process espouses, the producers' application of Western constructive ideological framing as the epicentre upon which the legendary qualities of Mandela are pivoted is evident. This eventually yields into the focalisation of Mandela's transformative model to highlight as well as demonstrate the benefits of reconciliatory-inclusive politics in facilitating change as opposed to the antics of violence and confrontational conquest often associated with individualist paradigms and politics of patronage. Thus, beyond purveying the protagonist as a symbol of both political influence and moral integrity, particularly during the transition period, the documentary is a vivid mise-en scene that showcases Mandela's charismatic leadership as the prototype befitting the qualities of iconic international statesmanship.

First published in 1981. The overthrow of the "gang of four" in October 1976 had profound effects in all areas of Chinese society, and probably nowhere can this be more clearly seen than in the performing arts. Jiang Qing, Mao Zedong's widow, was strongly interested in the performing arts and exercised great influence over them. This book describes her influence and the effects its removal had on the arts. Although the period covered is mainly that since the death of Mao, the author also explores the years following the Cultural Revolution.

This volume of Who's Who in Research series offers a useful guide for current researchers in Intellect's subject area of Performing Arts. The directory holds the names, institutions, biographies and current research interests of hundreds of leading international academics as well as references to the researchers' principal articles in Intellect journals