This handbook critically analyzes cross‐border news production and “transnational journalism cultures” in the evolving field of cross-border journalism. As the era of the internet hasfurther expanded the border‐transcending production, dissemination andreception of news, and with transnational co‐operations like the European Broadcasting Union and BBC World News demonstrating different kinds of cross‐border journalism, the handbook considers the field with a range of international contributions. It explores cross-border journalism from conceptual and empirical angles and includes perspectives on the the systemic contexts of cross‐border journalism, its structures and routines, changes in production processes, and the shifting roles of actors in digital environments. It examines cross-border journalism across regions and concludes with discussions on the future of cross-border journalism, including the influence of automation, algorithmisation, virtual reality and AI.

This open access handbook presents a multidisciplinary and multifaceted perspective on how the ‘digital’ is simultaneously changing Russia and the research methods scholars use to study Russia. It provides a critical update on how Russian society, politics, economy, and culture are reconfigured in the context of ubiquitous connectivity and accounts for the political and societal responses to digitalization. In addition, it answers practical and methodological questions in handling Russian data and a wide array of digital methods. The volume makes a timely intervention in our understanding of the changing field of Russian Studies and is an essential guide for scholars, advanced undergraduate and graduate students studying Russia today.

With existing literature focusing largely on Western perspectives of peace and their applications, a global understanding of peace is much needed. Spurred by more recent debates and discourses that criticize the dominant realist and liberal approaches for crises in contemporary state- and peace-building, the contributors to this handbook emphasize not only the need to solve this eternal conundrum of humanity, but also demand—with the rise of increasingly more violent conflicts in international relations—the development of a global interpretive framework for peace and security. To this end, the present handbook examines conceptual, institutional and normative interpretive approaches for making, building and promoting peace in the context of roles played by state and non-state actors within local, national, regional, and global units of analysis.

The chapters contained in this handbook address key issues concerning the aesthetics, ethics, and politics of violence in film and media. In addition to providing analyses of representations of violence, they also critically discuss the phenomenology of the spectator, images of atrocity in international cinema, affect and documentary, violent video games, digital infrastructures, cruelty in art cinema, and media and state violence, among many other relevant topics. The Palgrave Handbook of Violence in Film and Media updates existing studies dealing with media and violence while vastly expanding the scope of the field. Representations of violence in film and media are ubiquitous but remain relatively understudied. Too often they are relegated to questions of morality, taste, or aesthetics while judgments about violence can themselves be subjected to moral judgment. Some may question whether objectionable images are worthy of serious scholarly attention at all. While investigating key examples, the chapters in this handbook consider both popular and academic discourses to understand how representations of violence are interpreted and discussed. They propose new approaches and raise novel questions for how we might critically think about this urgent issue within contemporary culture.

Containing state-of-the-art contributions on the various domains of European media policies, this Handbook deals with theoretical approaches to European media policy: its historical development; specific policies for film, television, radio and the Internet; and international aspects of the fragmented policy domain.