Log in
University of East London (UEL) research on media policies has contributed to policy submissions made to the UK government, Leveson Inquiry, politicians and regulators, and to supranational organisations such as the European Commission. The research has particularly informed the development of policies adopted by civil society organisations and has influenced regulatory outcomes, policies and policy debates, especially where these relate to product placement, cross- media promotion, and media ownership and pluralism. Proposals on media plurality have informed UK policy debate, particularly via their reference in oral evidence provided by Dr. Jonathan Hardy to the 2013 House of Lords Select Committee on Communications. These policies on media ownership have also influenced Labour Party policy debate and formulation, and have been adopted by the TUC and other organisations.
Our research on the way Arab media laws and policies translate into multiple layers of censorship and self-censorship in Arab journalism and media production has informed and influenced international policy debate about Arab media development. It has provided evidence and argument for awareness-raising reports issued by UN agencies and a Euro-Mediterranean intergovernmental body, for the international outreach activities of two non-governmental organisations (NGOs) and for planning and evaluation at the government-funded Danish body, International Media Support.
Kafka's Wound', a response to Kafka's short story `A Country Doctor' (1919), was created as part of the `Re-imagining the Literary Essay for the Digital Age' (RILEDA) project. The essay is available at www.thespace.lrb.co.uk.
Commissioned from the London Review of Books (LRB), an independent literary publisher, RILEDA was supported by £45k from ACE who invested £3.5m in 51 commissions. The work was `located' in the Space, an experimental digital arts service, itself a major project within Arts Council England's creative media policy and its Public Value Partnership with the BBC.
Headed by Will Self, novelist and professor of contemporary thought at Brunel University, RILEDA involved over 70 collaborators drawn from the School of Arts and many other departments (especially Computing, Engineering and Design) in a collaborative, interdisciplinary, practice- based, research project. Institutional contributors included the BBC Radiophonic Workshop, the Imperial War Museum, and the National Centre for Jewish Film. The research was carried out between March and July 2012 and the essay was `published' in August 2012.
Highly innovative and of high artistic quality, RILEDA has impacted diverse audiences worldwide, evolving the multi-media digital literary essay while encouraging innovative approaches to digital arts and supporting the case for future public digital arts services. It raises important issues about the nature of authorship, collaboration, and co-design in digital forms which frame broader questions about the nature of creativity, intellectual property rights, and the processes and experience of reading.
The high artistic quality and innovative user interface engaged a significant worldwide audience with 49,208 visits in 12 months, 57% from outside the UK.
University of Glasgow research into public relations, sport and journalism has directly shaped the professional development programme run by UEFA (Union of European Football Associations) and the Swiss Graduate School of Public Administration at the University of Lausanne. The Diploma in Football Management is aimed at managers working in the 54 member nation football associations across Europe. The research underpins the Public Relations and Media Operations module delivered through this blended e-learning programme that helps participants enhance and increase their knowledge of the organisational management of public and media relations in the football industry.
University of Reading-led research projects on the histories of British post-1955 television drama have had a major impact on television producers, directors, performers and cultural institutions responsible for policy, production and the preservation of television heritage, not only through dissemination of research findings, but also through actively involving them in project interviews, seminars, conferences and contributions to published outputs. Through this collaborative approach, the researchers have influenced the professional development and practice of leading television drama producers, and policy and programmes for the public dissemination of audio-visual heritage, as well as providing specialist advice relating to television copyright and commercial marketing.
The switch of the nation's televisions to receive digital signals is widely acknowledged as the biggest government-enforced change in British life since 1971's decimalisation. Jonathan Freeman's research on the human factors of digital switchover is recognised as an essential source of information to government, industry, and consumer groups (including charities such as RNIB) and therefore as a key foundation in the success of the switchover. In particular, his research influenced the design of easy-to-use TV equipment, and communications about switchover to different types of viewer, improving the experiences of millions of TV viewers in the UK and beyond.
Research at UWE Bristol in new media and games has engaged business and policy communities. The resulting knowledge exchange has underpinned the AHRC Creative Economy Hub REACT (Research and Enterprise for Arts and Creative Technologies) which has stimulated £200k value of new business for SMEs in its first year of operation. The research has enabled start-ups, micro businesses and SMEs in the digital economy to use our critical and creative methods to improve their products and services. It has also made a significant contribution to the development of policy on games for young people.
Research from the Creative Futures Institute (CFi) has generated original understandings of how social media has triggered change within the practice of journalism. The evidence shows how findings from 3 inter-related projects were a catalyst for skills development and generated new contributions to civil society and the creative community. Impact is demonstrated across 15 organisations where new community media collectives were developed around the Vancouver 2010 Olympics (W2 Centre & True North Media House) and London 2012 Olympics (#media2012 & #CitizenRelay). UWS research led these organisations to invest £115,000 additional funds and implement these findings in their current work.
We have worked as media and cultural historians, archive experts and media producers, and collaborated with a variety of public institutions and communities of interest, to draw attention to neglected histories, to respond to the opportunities afforded by new digital technologies, to disseminate archived material, and to interpret it for wide audiences. Through our work we have contributed to an improvement in the understanding and practice of media history, in particular the exploration and archiving of, and engagement with, the popular cultural artefacts which index its lived experience. Most noteworthy has been our contributions to the development of online and offline communities of interest by integrating processes of knowledge exchange into our research, in order to promote co-curation, and discussion about cultural value, memory and collecting. Our impact is measured in the development of popular practices of preservation, in the circulation of media products we have created from archive material, and in our engagements in public projects and with cultural institutions, audiences and policy makers. This work has regional, national and international reach.
The impact generated by the project outlined in this case study — a Knowledge Transfer Partnership (KTP) project between Aberystwyth University and Boomerang+ (now Boom Pictures) — relates specifically to issues of economic prosperity and cultural life in Wales, in the context of the media industries (especially television production) and the artefacts/texts they create for specific target audiences.
The project, which focused on 7- to 13-year-old (`tween') Welsh children's media preferences and practices, helped to inform and shape the company's outputs by adding `authority' to decision-making processes and enabling `smarter' ways to tender for future contracts with their main client, S4C, the nation's Welsh-language broadcaster. This proved crucial for the company in economic terms, in a climate of significant budget-cuts and intensifying competition across the sector. S4C also took an active interest in the research findings.