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This paper aims to attempt to provide an overview of the copyright legal framework for audiovisual resources in Europe and Greece, how Audiovisual (AV) content is currently licensed by Greek providers and how licenses or copyright exceptions enable its reuse. The motivation for this work was the development of an aggregation service for audiovisual resources in Greece, the Open AudioVisual Archives (OAVA) platform.

Copyright licenses and exceptions in the European Union and in Greek Legislation have been thoroughly reviewed along with the reuse of content, based on the terms of Fair Use, Rights Statements and Creative Commons. Licensing issues for the most well-known aggregation services, such as Europeana, Digital Public Library of America, Trove, Digital New Zealand and the National Digital Library of India, have also been studied and considered. Audiovisual content providers in Greece have been recorded, and their licensing preferences have been analyzed. Pearson’s chi-square test was applied to test the relationship between the provider’s type, resources’ genre and licenses used.

Despite the abundance of copyright legislation in the European Union and in Greece, audiovisual content providers in Greece seem to ignore it or find it difficult to choose the right license. More than half of them choose to publish their resources on popular audiovisual platforms using the default licensing option provided. Creative Commons licenses are preferred for audiovisual content that falls into the following categories: open courses (almost exclusively) and interviews and digital collection/research projects (about half of the content).

This paper examines audiovisual content aggregation, in the EU and Greece, from a legal point of view. To the best of the authors’ knowledge, it is the first attempt to record and analyze the licensing preferences of Greek AV content providers.

This paper aims to discern the potential dimensions amid the duality of heritage tourism and peace. Reflecting on the phases of destruction and rebuilding of Seated Buddha of Jahanabad, this study used the content analysis of 40 news sources, to unravel the resultant avenues of heritage tourism and peace.

Following the qualitative research strategy, the interface of NVivo 12 has been used to transcribe the textual and visual content of media news. The media news aired on the incident of destruction phase in 2007, and rebuilding drive in 2012–2016 were the two sets of collected data. A hierarchy of thematic analysis was adopted to identify nodes, subthemes and themes.

Findings of this study highlighted six themes: peaceful imagery, PI; heritage dissonance, HD, vs interfaith harmony, IH; peace allegory through restoration, PAR; precursor of heritage sustainability, PHS; community heritage consonance, CHC; and heritage touristic valuation, HTV.

This study lacks statistical data of the quantitative research domain. Aimed at a single heritage site, it analyzed limited number of news sources.

This study offers implications for industrial, theoretical, managerial and governmental stakeholders in their respective domains. Moreover, it also provides takeouts for common readers.

This study contends a significant research issue and analyzes the destruction and rebuilding of a heritage site in a developing country. Primarily in the sociogeographic context of the research issue, the resultant dimensions are novel and demanding.

In this chapter, we analyse the role of women in armed Basque nationalist and separatist terrorist group Euskadi Ta Askatasuna (ETA) from a gender perspective. ETA women were essential agents in the armed conflict, but their image in the mass media and society has been very different from that of their male colleagues (Rodríguez Lara, 2017). Also, their role in the terrorist gang has described a sexually based functional specialisation. In addition, this chapter seeks to contribute to the area of feminist studies on women and political violence. Women's role in one of the most important armed nationalist groups in Europe, ETA, stands as a suitable case study to understand how the mass media (press, journalism), audiovisual content, and social representations of ETA have portrayed these women. The final conclusion of this chapter is that women were not portrayed in the same way as their male colleagues. Women of ETA were doubly penalised because they were women and because they were terrorists.

With the widespread use of online communications, users are extremely vulnerable to a myriad of deception attempts. This study aims to extend the literature on deception in computer-mediated communication by investigating whether the manner in which popularity information (PI) is presented and media richness affects users’ judgments.

This study developed a randomized, within and 2 × 3 between-subject experimental design. This study analyzed the main effects of PI and media richness on the imitation magnitude of veracity judges and the effect of the interaction between PI and media richness on the imitation magnitude of veracity judges.

The manner in which PI is presented to people affects their tendency to imitate others. Media richness also has a main effect; text-only messages resulted in greater imitation magnitude than those viewed in full audiovisual format. The findings showed an interaction effect between PI and media richness.

The findings of this study contribute to the information systems literature by introducing the notion of herd behavior to judgments of truthfulness and deception. Also, the medium over which PI was presented significantly impacted the magnitude of imitation tendency: PI delivered through text-only medium led to a greater extent of imitation than when delivered in full audiovisual format. This suggests that media richness alters the degree of imitating others’ decisions such that the leaner the medium, the greater the expected extent of imitation.

Cultural criminologists have long been interested in the politics of crime and deviance, whether that be in relation to youth subculture resistance or the social reaction to transgression evident in the media construction of folk devils and moral panics. While contemporary ‘new’ cultural criminology continues to be focused on the situated experience of deviant ‘edgeworkers’, this chapter argues cultural criminology’s concern with the crime-media nexus provides particularly fertile ground for exploring insights provided by activists, academics, professional journalists and citizen journalists around informal interventions on formal criminal justice processes using social media and digital technologies. Drawing on examples from a burgeoning body of crime-media research, the chapter makes a case for ‘cultural criminology activism’, which, like activist criminology, is consciously disengaged from mainstream criminology’s alignment with the neoliberal-carceral state and its reformist agenda.

The purpose of this study is to clarify the role of various levels of modality richness [text-visual, audiovisual and augmented reality interactive technology (ARIT)] on vivid memories (visual sensory detailed, emotionally intense, first-person perspective and coherent) and exploratory behavior. To clarify which modality richness online retailers use is more appropriate to create a virtual reality simulation experience to fill a significant gap in the sensory interactive marketing paradigm.

A task-based laboratory study was conducted to provide users with private try-on space. A total of 429 valid questionnaires were collected, and partial least squares path modeling was adopted to test hypotheses.

The results indicate that various levels of modality richness (text-visual, audiovisual and ARIT) positively affect vivid memories (visual sensory detailed, emotionally intense, first-person perspective and coherent), and vivid memories successfully induce exploratory behavior.

The study results could also help retailers and brands with clear guidance in designing and creating simulation experience services and choosing the best way to present products. With the results of this research, retailers will also be able to grasp better the critical points of introducing innovative technology into the service experience and then create the benefits of digital economic growth.

Exploring which digital interactive technology online retailers use is more appropriate to create a virtual reality shopping experience to fill a significant gap in the sensory interactive marketing paradigm. Exploring the antecedents of vivid memories in a digital sensory interactive experience contributes to the body schema literature and the script theory. We draw from construal level theory (CLT) to clarify the impact of various levels of modality richness on driving the difference in sensory simulation schema to break through the limited findings of previous studies, namely using CLT to interpret psychological distance.

This chapter offers feminist perspectives on the violence exercised by female avengers in popular audiovisual products about narcotrafficking from Mexico and Colombia. Through the case studies of the narcotelenovela Rosario Tijeras (RCN Televisión, 2010) and the B movie Sanguinarios del M1 (Alonso Ortiz Lara, 2011), we explore how recent Latin American narco-narratives rearticulate the ‘rape-revenge’ film. Following Valencia's conceptualisation of necroempowerment (2012), we argue that female characters respond to rape with ruthless methods in an effort to regain agency. We combine existing literature in feminist film studies with postcolonial readings of the specificities of rape-revenge in the narco-universe where the violence these heroines use as retaliation is already the norm for their male counterparts. A close reading of revenge sequences underscores how vengeance can constitute a cathartic outlet for enraged female characters, challenging stereotypes of feminine passiveness and subverting gender hierarchies. However, it also perpetuates a patriarchal order based on toxic ideals of individual power achieved through bloody methods. We examine how empowerment can entrap female protagonists and serve to differentiate the types of violence that each gender has access to, and we discuss the problematic representation of rape as a transformative moment necessary for women to later become powerful.

This paper aims to analyze the “crafts” of governance within social and solidarity economy (SSE) cultural organizations, considering formal and informal rules, to support their project of democratization of arts and culture and more generally of cultural democracy. The hypothesis is that it is through participatory and democratic governance that SSE can have a transformative role.

This paper builds upon a qualitative, multiple case study of three SSE organizations in the performing arts and audiovisual production in France. Although different in age, size and legal form, they all experiment a more participative governance system, not without tensions, to face deep institutional changes in their environment.

The results show that legal forms from the SSE are necessary safeguards but not sufficient to effectively implement a democratic governance beyond the “one member, one vote” principle. Democratic governance is supported by both formal and informal rules. By experimenting with innovative participative and democratic governance rules, these organizations contribute to the transformation of practices in the cultural field (democratization of art and culture) but also in society at large by fostering cultural democracy.

Building upon three case studies, this exploratory work stresses important issues that are worth to explore on a larger scale to understand by which levers SSE can play a transformative role in the cultural field.

This paper contributes to the literature on SSE and on governance by enlarging the analysis beyond the board of directors and the statutory rules. Applying the approach of collective action and reasonable values developed by Commons to SSE, it shows that participatory governance cannot be based on an ideal or a choice of preestablished values and principles but must leave room for creativity and representations of stakeholders not only to support transformation of practices within the cultural field but also externally by increasing cultural democracy.