Media outlets play a pivotal role in fostering the positive and beneficial development of countries in modern society. By properly informing citizens of critical national concerns, the media can help to transform society and promote active participation. Exploring Journalism Practice and Perception in Developing Countries is a crucial reference source for the latest scholarly material on the impacts of development journalism on contemporary nations and the media’s responsibility to inform citizens of government and non-government activities. Highlighting a range of pertinent topics such as media regulation, freedom of expression, and new media technology, this book is ideally designed for researchers, academics, professionals, policy makers, and students interested in the role of journalist endeavors in developing nations.

“The people” famously ousted Ferdinand Marcos from power in the Philippines in 1986. After democratization, though, a fault line appeared that split the people into citizens and the masses. The former were members of the middle class who engaged in civic action against the restored elite-dominated democracy, and viewed themselves as moral citizens in contrast with the masses, who were poor, engaged in illicit activities and backed flawed leaders. The masses supported emerging populist counter-elites who promised to combat inequality, and saw themselves as morally upright in contrast to the arrogant and oppressive actions of the wealthy in arrogating resources to themselves. In 2001, the middle class toppled the populist president Joseph Estrada through an extra-constitutional movement that the masses denounced as illegitimate. Fearing a populist uprising, the middle class supported action against informal settlements and street vendors, and violent clashes erupted between state forces and the poor. Although solidarity of the people re-emerged in opposition to the corrupt presidency of Gloria Macapagal Arroyo and propelled Benigno Aquino III to victory in 2010, inequality and elite rule continue to bedevil Philippine society. Each group considers the other as a threat to democracy, and the prevailing moral antagonism makes it difficult to overcome structural causes of inequality.

This book explores how television series can be understood as a form of literature, bridging the gap between literary and television studies. It goes beyond existing adaptation studies and narratological approaches to television series in both its scope and depth. The respective chapters address literary works, themes, tropes, techniques, values, genres, and movements in relation to a broad variety of television series, while drawing on the theoretical work of a host of scholars from Simone de Beauvoir and Yuri Lotman to Ted Nannicelli and Jason Mittel, and on critical approaches ranging from narratology and semiotics to empirical sociology and phenomenology. The book fosters new ways of understanding television series and literature and lays the groundwork for future scholarship in a number of fields. By questioning the alleged divide between television series and works of literature, it contributes not only to a better understanding of television series and literary texts themselves, but also to the development of interdisciplinary scholarship in the humanities.

Provides multiple viewpoints and pathways of adopting mindful communication methodologies that would promote sustainable development goals.

Grand in its scope, Asian Comics dispels the myth that, outside of Japan, the continent is nearly devoid of comic strips and comic books. Relying on his fifty years of Asian mass communication and comic art research, during which he traveled to Asia at least seventy-eight times and visited many studios and workplaces, John A. Lent shows that nearly every country had a golden age of cartooning and has experienced a recent rejuvenation of the art form. As only Japanese comics output has received close and by now voluminous scrutiny, Asian Comics tells the story of the major comics creators outside of Japan. Lent covers the nations and regions of Bangladesh, Cambodia, China, Hong Kong, India, Indonesia, Korea, Malaysia, Myanmar, Nepal, the Philippines, Singapore, Sri Lanka, Taiwan, Thailand, and Vietnam. Organized by regions of East, Southeast, and South Asia, Asian Comics provides 178 black-and-white illustrations and detailed information on comics of sixteen countries and regions—their histories, key creators, characters, contemporary status, problems, trends, and issues. One chapter harkens back to predecessors of comics in Asia, describing scrolls, paintings, books, and puppetry with humorous tinges, primarily in China, India, Indonesia, and Japan. The first overview of Asian comic books and magazines (both mainstream and alternative), graphic novels, newspaper comic strips and gag panels, plus cartoon/humor magazines, Asian Comics brims with facts, fascinating anecdotes, and interview quotes from many pioneering masters, as well as younger artists.