In 1896 Svante Arhenius discovered that fossil fuels are a source of carbon dioxide. In 1965 the US Presidents science advisory panel reported that pollution is a major threat to society. In the 1970s atmospheric scientists Manabe, Wetherald and Sawyer confirmed that human activities are contributing factors to climate change. Richard Maxwell and Toby Miller explored the environmental impact of media technology in 2012. Kääpä explored sustainability in media in 2018, yet in 2022 sustainability in Film, TV and Media is still in its infancy, while other sectors are taking strong measures to reduce their carbon footprint. This report synthesis Elkington’s’ triple bottom line with Porters’ value chain in Film, TV, and media production as framework to teach sustainability. Research highlights the importance of Small Medium Enterprises (SMEs) in the sector and underscores Green Production strategies that reduce the carbon footprint. Research reveals that the sector has the unique potential to change the way audiences perceive sustainability using Green Content strategies and highlights the sustainability problem in distribution. Results suggest that educational institutions in Film, TV, and Media must do more to integrate sustainability into their curricula to unleash the full potential beyond sector boundaries.
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This book is for the newcomer to the industry, the curious individual who loves storytelling. If you want to learn how to produce a complex short film project and all the people connected to it, then this guide is for you.The Creative Producer normally does not make the biggest headlines. Fame is more often than not, claimed by the Actor and Director of the film. But it is the Creative Producer who puts together the deals, finds the best possible talent for a project and facilitates an environment that allows the creative minds of cast crew to unfold.This is the true skill of the Creative Producer – find the story, get the best possible people involved and make sure they have everything they need to do their best
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This book is for the newcomer to the industry, the curious individual who loves storytelling. If you want to learn how to produce a complex short film project and all the people connected to it, then this guide is for you.The Creative Producer normally does not make the biggest headlines. Fame is more often than not, claimed by the Actor and Director of the film. But it is the Creative Producer who puts together the deals, finds the best possible talent for a project and facilitates an environment that allows the creative minds of cast crew to unfold.This is the true skill of the Creative Producer – find the story, get the best possible people involved and make sure they have everything they need to do their best
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Sustainable consumption is interlinked with sustainable production. This chapter will introduce the closed-loop production, the circular economy, the steady state economy, and Cradle to Cradle (C2C) models of production. It will reflect on the key blockages to a meaningful sustainable production and how these could be overcome, particularly in the context of business education. The case study of the course for bachelor’s students within International Business Management Studies (IBMS) program at three Universities of Applied Science (vocational schools), and at Leiden University College in The Netherlands will be discussed. Student teams from these schools were given the assignment to make a business plan for a selected sponsor company in order to advise them how to make a transition from a linear to circular economy model. These case studies will illustrate the opportunities as well as potential pitfalls of the closed loop production models. The results of case studies’ analysis show that there was a mismatch between expectations of the sponsor companies and those of students on the one hand and a mismatch between theory and practice on the other hand. The former mismatch is explained by the fact that the sponsor companies have experienced a number of practical constraints when confronted with the need for the radical overhaul of established practices within the entire supply chain and students have rarely considered the financial viability of the "ideal scenarios" of linear-circular transitions. The latter mismatch applies to what students had learned about macro-economic theory and the application through micro-economic scenarios in small companies. https://www.springer.com/gp/book/9783319656076 LinkedIn: https://www.linkedin.com/in/helenkopnina/
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This chapter will introduce the circular economy (CE) and Cradle to Cradle (C2C) models of sustainable production. It will reflect on the key blockages to a meaningful sustainable production and how these could be overcome, particularly in the context of business education. The case study of the course for bachelor’s students within International Business Management Studies (IBMS), and at University College in The Netherlands will be discussed. These case studies will illustrate the opportunities as well as potential pitfalls of the closed loop production models. The results of case studies’ analysis show that there was a mismatch between expectations of the sponsor companies and those of students on the one hand and a mismatch between theory and practice on the other hand. Helpful directions for future research and teaching practice are outlined. https://www.springer.com/gp/book/9783319713113#aboutBook https://www.linkedin.com/in/helenkopnina/
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In media audience research we tend to assume that media are engaged with when they are used, however ‘light’ such engagement might be. Once ‘passive media use’ was banned as a reference to media use, being a media audience member became synonymous with being a meaning producer. In audience research however I find that media are not always the object of meaning making in daily life and that media texts can be hardly meaningful. Thinking about media and engagement, there is a threefold challenge in relation to audience research. The coming into being of platform media and hence of new forms of media production on a micro level that come out of and are woven into practices of media use, suggests that we need to redraft the repertoire of terms used in audience research (and maybe start calling it something else). Material and immaterial media production, the unpaid labour on the part of otherwise audience members should for instance be taken into account. Then, secondly, there is the continuing challenge to further develop heuristically strong ways of linking media use and meaning making, and most of all to do justice, thirdly, to those moments and ways in which audiences truly engage with media texts without identifying them with those texts.
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According to the critics of conventional sustainability models, particularly within the business context, it is questionable whether the objective of balancing the social, economic and environmental triad is feasible, and whether human equality and prosperity (as well as population growth) can be achieved with the present rate of natural degradation (Rees 2009). The current scale of human economic activity on Earth is already excessive; finding itself in a state of unsustainable ‘overshoot’ where consumption and dissipation of energy and material resources exceed the regenerative and assimilative capacity of supportive ecosystems (Rees 2012). Conceptualizing the current ‘politics of unsustainability’, reflected in mainstream sustainability debates, Blühdorn (2011) explores the paradox of wanting to ‘sustain the unsustainable, noting that the socio-cultural norms underpinning unsustainability support denial of the gravity of our planetary crises. This denial concerns anything from the imminence of mass extinctions to climate change. As Foster (2014) has phrased it: ‘There was a brief window of opportunity when the sustainability agenda might, at least in principle, have averted it’. That agenda, however, has failed. Not might fail, nor even is likely to fail – but has already failed. Yet, instead of acknowledging this failure and moving on from the realization of the catastrophe to the required radical measures, the optimists of sustainable development and ecological modernization continue to celebrate the purported ‘balance' between people, profit and planet. This is an Accepted Manuscript of a book chapter published by Routledge/CRC Press in "A Future Beyond Growth: Towards a Steady State Economy" on 4/14/16 ,available online: https://doi.org/10.4324/9781315667515 LinkedIn: https://www.linkedin.com/in/helenkopnina/
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Business innovation is a multidisciplinary area of expertise that bridges the gap between traditional areas of study such as business administration, organizational studies, marketing, design, engineering and entrepreneurship. Business innovation focuses on creating, accelerating and managing new and sustainable business models through innovation (Crossan and Apaydin, 2010; Keeley, Walters, Pikkel, and Quinn, 2013).
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Het proefschrift gaat in op de werkwijze, het belang en het gedrag van muziekuitgevers, de pioniers van de muziekindustrie. Sinds de uitvinding van de boekdrukkunst geven muziekuitgevers composities uit op bladmuziek of licenseren zij deze. Door het succes van de grammofoonplaat werden de uitgevers een eeuw geleden uit het centrum van de macht van de muziekindustrie verdreven door de platenmaatschappijen die de geluidsopnames van muziek gingen exploiteren. De verborgenheid van de muziekuitgeversbranche komt enerzijds voort uit de onduidelijke positie van de muziekuitgevers in de culturele waardeketen van de muziekindustrie en anderzijds door de historische wirwar aan rechten. Opvallend genoeg is er weinig wetenschappelijke aandacht geweest voor deze industrie zeker in tegenstelling tot de aandacht voor de platenmaatschappijen, dit onderzoek hoopt daar verandering in te brengen. Machtige positie door digitalisering van muziek Het proefschrift van Wierda is een longitudinale studie die een periode van honderd jaar omvat. Muziekuitgevers verwerven een deel van het auteursrecht van een liedje, indien de componist muziek wenst uit te geven. Door deze wijze komt de uitgever voor de componist op zodat ze beide inkomen uit het intellectueel eigendom vergaren als of het liedje op plaat verschijnt of live ten gehore wordt gebracht. Muziekuitgevers wensen mede ten behoeve van de componist, inkomen te vergaren. Waar ook maar muziek geconsumeerd wordt eisen zij het recht van gebruik op. Dit kan zijn bij live entertainment, televisie, internet en games. Het bijzondere volgens het proefschrift is dat door de digitalisering na honderd jaar dynamiek de uitgevers weer in belang toenemen, doordat de handel in de fysieke geluidsdragers van de platenmaatschappijen tanende is. De muziekindustrie neigt naar een ‘rights industry’ waarin qua werkwijze de uitgevers al eeuwen in gespecialiseerd zijn. De huidige uitgevers kenmerken zich dan ook als ondernemers die weer dichter tegen de componist aankruipen en zich op deze wijze dynamisch profileren in de nieuwe tijd.
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This article will discuss the role of environmentalism in environmental education (EE) and education for sustainable development (ESD) in the context of ecopedagogy. Ecopedagogy calls for the remaking of capitalist practices and seeks to re-engage democracy to include multispecies interests in the face of our current global ecological crisis. In this article, the written reports by international business students on the documentary film If a Tree Falls about a radical environmental movement will be discussed. The aim of this article is to reflect upon the question of whether confrontational questions posed by radical environmentalism can move students to re-examine certain central assumptions within their own society and education. The analysis of students’ individual writing assignments after viewing the film is placed in the context of the discussion about the aims of education in relation to environmental advocacy. This case study seeks to provide an example of how environmental advocacy and the objective of pluralistic education can be combined as mutually supportive means of achieving both democratic learning and learning for environmental sustainability. https://doi.org/10.1177/0973408215569119 https://www.linkedin.com/in/helenkopnina/
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