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Media power plays a role in determining which news is told, who is listened to and how subject matter is treated, resulting in some stories being reported in depth while others remain cursory and opaque. This chapter examines how domestic violence and abuse (DVA) is reported in mainstream and social media encompassing newspapers, television and digital platforms. In the United Kingdom, newspapers have freedom to convey particular views on subjects such as DVA as, unlike radio and television broadcasting, they are not required to be impartial (Reeves, 2015).

The gendered way DVA is represented in the UK media has been a long-standing concern. Previous research into newspaper representations of DVA, including our own (Lloyd & Ramon, 2017), found evidence of victim blaming and sexualising violence against women. This current study assesses whether there is continuity with earlier research regarding how victims of DVA, predominantly women, are portrayed as provoking their own abuse and, in cases of femicide, their characters denigrated by some in the media with impunity (Soothill & Walby, 1991). The chapter examines how certain narratives on DVA are constructed and privileged in sections of the media while others are marginalised or silenced. With the rise in digital media, the chapter analyses the changing patterns of news media consumption in the UK and how social media users are responding to DVA cases reported in the news. Through discourse analysis of language and images, the potential messages projected to media consumers are considered, together with consumer dialogue and interaction articulated via online and social media platforms.

Project management techniques for digital initiatives must shift with the transformation of content from analog to digital, from singular projects to mass-digitization and large-scale digital preservation. How are project management methods employed across digital practices, from digitization, to online access, to preservation? How can project management methods evolve to create a collaborative workflow across collection and service areas of librarianship, centered on digital stewardship?

Solutions for these questions are illustrated in an explanation of the workflows implemented at the University of Maryland, College Park Libraries and reflected upon in a case study of a recent digital initiative.

Centered on the efforts of two departments in the Libraries’ Digital Systems and Stewardship division, this chapter outlines the origins, techniques, and integration of digital project management with a focus on Waterfall and Agile project management. Furthermore, the integration and transition of project management methodologies and tools between groups is emphasized, mirroring the transformation of analog media to digital formats and the requisite shifts in thinking such projects require.

These case studies are based on research across the profession and implementation at the University of Maryland, College Park Libraries. The local application of two established project management techniques, Waterfall and Agile, are summarized and compared. Though regularly employed in application development, applying Agile project management in libraries is a relatively new practice and has not been widely documented in library literature.

Digital media platforms in Uganda experimented with subscription-based models as an alternative to the traditional advertising model and as a recovery plan from the effects of COVID-19. Drawing from the theory of the political economy of the media, this study focusses on the critical success factors for subscription-based models in digital media platforms, audience consumption habits vis-á-vis payment for content, the effect of paywalls on the company financials and finally, establish the barriers to subscription uptake in Uganda. Media started charging users subscription fees for content in the 1990s (Chyi, 2005). Technological advances changed audience consumption habits from consuming hardcopy newspapers to accessing content on the go through their smartphones, tablets, and computers (Berger, Matt, Steininger, & Hess, 2015). Whilst some consumers pay for content, several audience surveys in East Africa indicated a lack of consistency among the paying audiences (KARF, 2019). Most consumers never purchased subscription and were avert to paywalls. The study used a mixed-method approach to find that the increase in internet penetration in Uganda and smartphone usage were the most significant enablers of paid-content consumption in Uganda. The quality of content, poor packaging, and unfair prices by publishers were the biggest barriers to consumption of paid news content.

This chapter interrogates the economic impact of the COVID-19 pandemic on print newspaper industry in Zimbabwe. COVID-19 affected the global economy due to various lockdowns and travel restrictions imposed by governments in attempt to stop the spread of the virus. This severely affected media houses, especially newspaper companies that depended on sales as their potential customers stayed home. The pandemic came against the backdrop of constant changes affecting the print media industry. Digitalisation and the resultant fragmentation of the audiences affect the way audiences consume media products. Against this milieu, this chapter investigates how these changes affected or shielded media houses from the economic impact of the COVID-19 pandemic. Two leading newspaper companies in Zimbabwe, Alpha Media Holdings and Zimbabwe Newspapers Group (1980) Ltd are used as case studies. The chapter deploys both the critical tradition to the study of media economics (political economy of the media) and the theory of the firm to argue that the traditional economic model of depending on casual sales for survival is outdated. The chapter documents the adverse effects of the pandemic on journalism practice highlighting how the impact was more pronounced in the privately owned newspaper companies than in government-controlled ones.