Das ZDF zeigt eine Dokumentation über die Auswirkungen des Corona-Virus auf das Zweite Deutsche Fernsehen. Abrufbar ist der Film in der ZDF-Mediathek.

Im Begleittext zur Dokumentation heißt es:
"Plötzlich Masken, Plexiglas, Abstandsregeln - wie alle Betriebe, Unternehmen und Privathaushalte im Land wurde auch das ZDF von der Corona-Pandemie überwältigt und zum schnellen Umdenken und Handeln gezwungen.

Im Spagat zwischen Mitarbeitersicherung und Sendeverantwortung erlebte "das Zweite" den Lockdown als journalistische - aber auch als logistische Herausforderung.

Kaum je war das Sammeln und Bündeln verlässlicher Informationen wichtiger - sogar lebenswichtig - und gleichzeitig so schwierig und riskant und zudem so von so vielen Ungewissheiten geprägt.

Wie ZDF-Reporter im In-und Ausland diese Aufgabe angingen, wie Moderatoren plötzlich ohne Publikum arbeiten mussten, wie Filmproduktionen über Nacht zum Stillstand kamen - davon berichtet Autor Gert Anhalt in seiner Dokumentation."

Zur Dokumentation:

https://www.zdf.de/dokumentation/dokumentation-sonstige/das-virus-und-wir-das-zdf-in-der-corona-pandemie-102.html

In the age of media abundance, trust is important in the relationship between media and their audience. However, maintaining a high level of trust is more and more challenging in a world of news overflow and disinformation. Measuring trust is therefore essential for tracking citizens´ perception of the media system in general and a media organization and its output in particular.

The EBU report "TRUST IN MEDIA 2020" explores the persistent 'trust gap' between traditional and online media, and the correlation between press freedom and trust in radio and TV media.

It will also give you insights into how people are turning to PSM news content as an essential trusted source in the current COVID-19 crisis.

EBU Slide Deck: "TRUST IN MEDIA 2020"

Das ZDF hat gemeinsam mit dem Forschungsinstitut "mindline media" eine repräsentative Studie durchgeführt, bei der die "Gesellschaftliche Relevanz des öffentlich-rechtlichen Rundfunks in Corona-Zeiten" bemisst wurde.

Ein Auszug der Ergebnisse:

⊗ 84 Prozent der Befragten halten öffentlich-rechtliche Medien für wichtig oder sehr wichtig für die Allgemeinheit.

⊗ Für 74 Prozent der Befragten hat der öffentlich-rechtliche Rundfunk auch eine persönliche Relevanz.

⊗ Rund 37 Millionen Menschen haben die ZDF-Nachrichten im Fernsehen während der Krise pro Woche erreicht.

⊗ 70 Prozent der Befragten befinden das öffentlich-rechtliche Fernsehen im TV und Netz als "verlässlichen Begleiter durch die Krise".

⊗ 73 Prozent finden die Angebote des öffentlich-rechtlichen Fernsehens hilfreich, um sich "eine eigene Meinung über die Maßnahmen zu bilden".

Zur Studie: Die gesellschaftliche Relevanz des öffentlich-rechtlichen Rundfunks in Corona-Zeiten

Was öffentlich-rechtliche Sender während der Corona-Krise leisten, zeigt sich besonders durch den großen Zuspruch der Gesellschaft. So auch in Deutschland: Einer repräsentativen Studie des ZDF zufolge wird die Relevanz der beitragsfinanzierten Angebote für die Allgemeinheit in der Corona-Krise von 84 Prozent der Befragten als hoch oder sehr hoch bewertet.

Die Public-Value-Koordination der ARD hat das umfassende Engagement der ARD im Zuge der Corona-Krise nun zusammengefasst. So bietet die ARD neben verlässlicher und unabhängiger Berichterstattung auch zahlreiche, weitere Angebote, wie etwa Corona-Podcasts, an.

Mehr dazu im Infopapier der ARD: Public Value der ARD in Corona-Zeiten

In 2017 the European Broadcasting Union (EBU) created a multi-platform campaign, called 'Keep Media Good' to demonstrate the positive impact Public Service Media (PSM) has on its audience. It was the first time broadcasters from all over Europe came together to create this pan-European PSM campaign. In powerful films broadcasters showed their audience's stories about how PSM influenced their lives in a positive way. All stories are available on keepmediagood.com in 7 different languages. "Our aim was to get people across Europe, and in particular young people, to re-appraise the value of their national PSM brand and understand its place within a bigger collective."

The next step is to create a movement for PSM. "We want this to go further. We want the whole EBU community to join in the future in order to make it a true movement, in favor to PSM", says Michelle Roverelli, EBU's Head of Communication.

'Keep Media Good' has now released two new videos about how PSM adapt to the current situation in terms of Education and News reporting ('Education during COVID-19' and 'PSM News during COVID-19').

Watch the videos: http://keepmediagood.com/
EBU - Case Study: https://www.ebu.ch/keep-media-good-case-study

Since the beginning of the crisis, audiences ran straight towards their national public broadcasters for reliable and trustworthy informations. PSM were recently falling into a crisis in audience numbers with sliding trust ratings, when something happened that no one could have foreseen: "It took the combination of an unpredictable and highly infectious disease, a pandemic, governments swimming in uncertainty, loss of personal freedoms and above all, a growing need for the truth to bring back those people we thought we might have lost forever", says Liz Corbin, Debuty Media Director of the EBU.

The last weeks have been quite challenging and demanded the creativity of the journalists: "It has been an extraordinary time for all of us. … This crisis has really been showing public service journalism at its best." Many of the journalists are working from home, key staff has been split up into groups so they won't meet each other and there have been strict hygiene procedures. "TV journalism is team work. People working physically close to each other, on the road, in the edit suite, in the control room, in the studio. Every part of it has had to be reimagined" says Liz Corbin.
"One of the most successful things we've done was to create a WhatsApp group for journalists involved in COVID-19 reporting. This quickly became a virtual room in which to share breaking news, interesting articles and exclusive coverage. Today we have more than 170 participants from more than 25 members and other public service media organizations across the world." Additionally the EBU is hosting a virtual meeting for Editors-in-Chief every week, where Top-Level editors can share their experiences and concerns.

The EBU also responded to the fast rise of fake news: With the Flashlight initiative, a Telegram group, fact-checking teams and the EBU's own Social Newswire can share the stories they've been working on. As a part of the Trusted News Initiative the EBU members are also part of a large group of global news companies which fight fake news.
Liz Corbin says: "Because we want to support all of our Members, including some who are facing financial crisis, we have been able to give temporary access to the News Exchange to organizations under financial sanctions. These are times to be generous, to support each other and it has been a delight to see the impact this has had."

Read the whole article: https://www.ebu.ch/news/2020/05/challenges-and-opportunities-for-the-ebu-and-psm-can-coronavirus-give-us-back-our-audiences

Die Internetplattform "neo.mx3.ch" soll das zeitgenössisches schweizerische Musikschaffen enger vernetzen und im In- und Ausland präsentieren. Erfasst werden neben komponierter und improvisierter Musik, auch transdisziplinäre, performative und multimediale musikalische Formen. Zeitlich erstrecken sich die musikalischen Beiträge von der Nachkriegszeit bis heute.

Realisiert wurde "neo" von der SRG. Eine der treibenden Kräfte hinter dem Projekt war die Programmleiterin von Radio SRF 2 Kultur Barbara Gysi. Als Redakteurin und Kuratorin ist Gabrielle Weber von SRF 2 Kultur verantwortlich. Auch die drei übrigen Radiosender der SRG sind an dem Projekt beteiligt.

Mittlerweile befinden sich über 500 Nutzerprofile und rund 1250 katalogisierte Werke auf der Plattform. Ein besonderes Highlight bildet der "neo-blog" auf dem Barbara Weber im Wechsel mit externen Autor/innen über spannende Veranstaltungen, Musikprojekte, Ensembles und Debatten schreibt.

Weiter zur Plattform: https://neo.mx3.ch/

Durch abgebrochene Dreharbeiten und aufgeschobene Filmprojekte wurde die Filmszene von den Corona-Maßnahmen besonders hart getroffen. Unter dem Titel "Collection Lockdown by Swiss Filmmakers" wurde in der Schweiz nun ein Projekt realisiert, das es den Schweizer Filmschaffenden ermöglichen soll, ihren Blick auf das Thema Corona-Lockdown zu zeigen.

Basierend auf einer Idee des Produzenten Frédéric Gonseth, wurde das Projekt gemeinsam mit Anne-Laure Daboczi, Michael Steiger und Michela Pini in Form eines Wettbewerbs durchgeführt. Aus über 80 Einreichungen konnten mithilfe der Unterstüzung des SRG, des Bundesamtes für Kultur sowie dem Cinéforom 33 Filprojekte realisiert werden. Nur zwei Wochen hatten die Filmemacher/innen Zeit um ihren Kurzfilm fertigzustellen.

«Noch nie wurde ein Projekt in derart kurzer Zeit initiiert und national umgesetzt», sagt Produzent Michael Steiger. «Die Covid Krise hat uns alle näher zusammenrücken lassen. Schnell und unkompliziert haben wir dieses Projekt gemeinsam auf die Beine gestellt und durchgeführt. Es war ein Abenteuer und eine grossartige Erfahrung, die wir nicht mehr missen möchten.»

Die Filme sind seit dem 11. Mai auf den Online Plattformen und sozialen Netzwerken der SRG SSR zu sehen (https://www.srf.ch/play/tv/event/lockdowncollection).

The non-profit organization Academy of Russian Television (ART) has asked the government to include regional TV in the list of industries most affected by the spread of coronavirus. The Academy, which is uniting the interests of Russian broadcasters and television producers, says hat the role of television in providing objective coverage of the current situation is more important than ever fort he Russian regions.

At the same time, state support will help prevent staff cuts in the regions and will give television companies a chance to survive the crisis. The appeal was signed by TV presenter Vladimir Pozner, journalist Kirill Nabutov, GM of Public Television of Russia Anatoly Lysenko, and the heads of regional television companies: Sergey Trubitsin, Rustam Zarafutdinov, Stanislav Belyakov, Pavel Devaykin, Mikhail Mikshis and Mark Minin.

Earlier, the head of the Russian Chamber of Commerce and Industry, Sergey Katyrin, proposed introducing support measures for regional and municipal mass media, which lost up to 90% of advertising revenue due to the pandemic. At the same time, the role of regional media is very significant in the current conditions: they are more influential than the federal ones, as they better take into account territorial features and reflect the consequences of the spread of the epidemic.

In a series of videos CIRCOM Regional, a Professional Association of Regional Public Service Television in Europe, asked reporters and presenters of their member stations how they keep doing their work while remaining safe and how public service media can stay relevant and serve their audience in these though conditions.

Guillaume Kuster, CR Media Expert, spoke to some of his colleagues from several television stations about how the COVID outbreak changed the way they work. "All of a sudden, the world as we knew it changed", emphasises Guillaume. "When the population had to stay inside, journalists across Europe needed to continue to work and report on the events, dramatically changing their habits. We wanted to document that for others, to get inspiration from them." The new workflows include wearing face masks, keeping social distance while reporting on the spot, abiding by strict hygiene and disinfection rules.

CIRCOM Regional wants to examine these new experiences to adapt and develop their new training programme. The short videos can be seen on the CR website or on the CR YouTube channel.


Link to videos: https://www.circom-regional.eu/news1/1121-being-a-tv-journalist-during-the-outbreak

The Office of Communication (Ofcom) has published a research on how children aged 12-15 are acting and receiving on news and information about COVID-19. The research is based on the responses of over 500 children, covering weeks three and four of the lockdown. It shows that

• Almost all 12-15 year olds (96%) said they had access to news and information about COVID-19 in the last weeks.
• 92% of 12-15 year olds are confident their relatives tell them the truth about the virus when speaking to their family members about it. The BBC's reporting on the pandemic is also highly trusted by those children that use it (87%).
• With 49% they are more likely to turn to BBC TV than other broadcasters for news about the outbreak, compared with a third who use ITV (30%) and a fifth who get information from Sky (21%).
• 48% use social media as a source of information about the virus (48%), with YouTube (20%), Facebook or Facebook Messenger (20%) and Instagram (18%), proving most popular.
• 52% agree that they are finding it hard to know what is true or false about COVID-19.
• 83% of them agree that the crisis is showing good things about our country, such as more support for the NHS.

More information: https://www.ofcom.org.uk/__data/assets/pdf_file/0027/195345/covid-19-news-consumption-children-12-15-report.pdf

Matthew Trustram, EBU's Head of Television talks about solidarity in times of crisis and how COVID-19 bore a new EBU programme exchange.

On 19 March 2020 a group of around 50 EBU TV members discussed in "a memorably sombre virtual roundtable meeting" the impact of the lockdown (which took part all over Europe) on TV workflows. "Like many on that call, I was, personally, left almost speechless by the grim realization that the vast majority of TV production was about to become impossible, and that we, collectively, were facing every broadcasting professional's worst nightmare: dead air. And this just at the time when audiences would be needing quality programmes more than ever, to transport themselves out of their isolation, a situation calling almost for the recoining of the word 'tele-vision'", Matthew Trustram reflects.

The need was clear: the EBU had to find a way to make programmes circulate among its Members, and quickly. So Trustram and his colleagues "spent long hours designing the nuts and bolts of a programme selection and distribution system". They contributed an agile and flexible legal framework and colleagues from Technology and Innovation gave vital advice on technical solutions.

"In the first round of the appeal, over 1500 hours of programmes were offered by over 20 Members of all shapes and sizes. In the second round, currently in pre-selection, the numbers are similar, and even more broadcasters have become involved." On 23 April they were able to deliver the frist tranche of programming. Now over 100 hours of programmes are available to the EBU's Active and Associate Members across Europe and the world.

"I can truly say I have never seen anything like it in ten years at the EBU." Trustram points out that it was never the EBU's intention to get involved with programme distribution because "in normal times, there's a well-functioning sector of the broadcasting industry that handles that very well".

It is his aim to carefully analyze what the effects of this initiative once they have addressed the primary needs. "For now, it's consoling to feel that such a positive cultural exchange can emerge from these times of suffering."

More Info: https://www.ebu.ch/news/2020/05/launching-the-ebu-tv-content-appeal-in-just-30-days​

EBUs Director General Noel Curran talks about the impact of COVID-19 on public service media. The editorial was first published in Broadcast in the UK.

"At the start of the year, the future of public service media in many countries was under threat with governments questioning the need for a licence fee. Fast forward a few months and the world has changed in ways we couldn't even imagine. And public service media has been there for every step of the journey, demonstrating the value they provide to citizens day in and day out."

"We knew that public service media (PSM) is often where people turn first for trusted news and information. But the scale of the increase is dramatic and has happened right across the Continent. We've seen audiences for PSM evening news bulletins across Europe up by more than 20% on average and by over 40% among young viewers. The daily reach of PSM online news sites has almost tripled in most key markets."

"Our Members have found a myriad of ways to bring communities together against a virus that seeks to drive us apart. It's what public broadcasters do best - making connections with viewers and listeners, uniting audiences and ultimately making us all feel a little less alone in this world."

"However, the challenges facing the broadcast industry as a whole cannot be underestimated. All media is suffering. This is unprecedented. PSM funding was already under pressure before the crisis. With some economists now predicting the worst recession in the post-war era, the financial forecasts for many public service broadcasters make for grim reading."

"It is our job to ensure governments and authorities understand the essential role PSM has played and will continue to play in times of crisis such as this. Now is also the time for us to reach out to the rest of the European audio-visual sector and find common ground to lobby for support for European production, innovation and employment."

Read the whole statement: https://www.ebu.ch/news/2020/05/bringing-communities-together-against-a-virus-that-seeks-to-drive-us-apart

Public service media are essential businesses. Cinzia Padovani, Associate Professor at the College of Mass Communication and Media Arts at Southern Illinois Universit, tells us what we can learn from Italy.

"In Italy, one of the significant lessons we are learning in this pandemic era is the importance of our crown jewels: our public services, which are crucial in all areas of our economy and society. Besides our excellent public health care system and public education (including higher education), we have our public service media, RAI Radio Televisione Italiana, which has provided information, entertainment and even some comfort in these tragic times."

Founded in 1954, RAI commands an audience over 35% of TV households in Italy. RAI operates free-to-air, as well as subscription channels. Its TV channels compete against two main competitors: Mediaset, owned by Silvio Berlusconi, former prime minister and leader of the opposition party Forza Italia; and La7, previously owned by the telecommunication giant Telecom Italia and in the hands of Cairo Communications since 2013.

"From television to radio, over the air and online, the public media system has been our companion since the lockdown began in early March. During this emergency, the predictable flow of shows, especially in the case of over-the-air television and radio have brought a sense of daily structure to what might otherwise have been an incessant and sometime confusing flow of information coming through our individual news feeds."

RAI has also instituted a Fake News Task Force to support individual newsrooms dealing with the spread of false information about the virus that has fueled various conspiracy theories. In times of mistrust and fear PSM are so important because they can be trusted. "This national and global tragedy has shown us that we need to reassert our priorities and that public media, like other public services, are essential to our lives."

In der Rubrik "Your Coronavirus Stories" sammelt die BBC persönliche Geschichten zum Leben in der Coronakrise. Zuseher/innen können ihre Geschichten, Bilder oder Videos, die sie gerne veröffentlichen würden, per Mail, Whatsapp oder Twitter einsenden. Eine Auswahl davon wird auf der Website veröffentlicht.

https://www.bbc.com/news/have_your_say

In a times of crisis, trust in news is important in the relationship between media and their audience. Measuring trust is therefore essential for tracking citizens' perceptions of the media system in general and a media organization and its output in particular. New results about trust in news and COVID-19 were released by EBU's Media Intelligence Service (MIS). The report is primarily based on survey data from m GlobalWebIndex, Reuters Institute, British regulator Ofcom and EBU member organizations.

Key Findings:

• The trust gap is particularly high for social networks:
Globally, TV news channels are the most-used source of COVID-19 information, and the second most-trusted source after government updates. Social networks have the biggest trust gap: while 47% use it, only 14% rank it as one of the most trustworthy sources.

• TV is considered a trustworthy source for news about the virus:
Besides governement updates, also TV News Bulletins, TV News Channels and Updates from Health Organisations are the most trustworthy source of information.

• News Organisations are more trusted than online plattforms:
A survey shows that citizens from Germany, the UK and Spain rate news organizations as more trustworthy than digital platforms for information about the pandemic.

• Citizens turn to PSM for reliable information. For example:
The BBC is among the most trusted source of crisis news in the UK. 86%of listeners trust BBC radio coverage, 84% of users trust in BBC online coverage, whereas 83% of viewers trust their TV reporting.

• PSM are seen as trustworthy sources of information about the outbreak. For example:
88% of Norwegians trust the COVID-19 coverage of NRK. 90% of Czech Television news viewers consider the crisis coverage of their pubcaster as trustworthy. 68% of French people perceive information about the crisis obtained through PSM TV as trustworthy - the highest figure compared to any other news source.


More Infos (Members Only): https://www.ebu.ch/files/live/sites/ebu/files/Publications/MIS/login_only/market_insights/EBU-MIS-Trust_in_Media_2020.pdf

RedBee, a global creative agency based in London which works with TV and media companies, has gathered 12 observations on how audiences and TV brands have responded in the challenging weeks of the Corona-Crisis that have passed since then:

Perhaps never before has the TV industry been called upon to adapt to such rapidly-changing circumstances with creativity, agility and resilience. 87% of people in the US and 80% in the UK say they're consuming more content, with broadcastTV, online videos and online TV streaming taking the top spots overall. TV's power to inform, educate and unite has rarely been so important. Public service broadcasters have stood shoulder to shoulder in their commitment to societal common good.

1. Navigating the "Infodemic": News was a first responder to the pandemic: in the early days, giving audiences clear information on the rapidly-escalating situation was an absolute priority. Broadcast TV news channels (national and regional) and government updates have emerged as the most trusted sources of information, with social media lagging behind. In the UK 77% of UK households believe PSBs are coping well since the outbreak, and 40% say they rely more heavily on them for news content than before.

2. All together now: TV, media and talent brands have been fundamental in uniting an atomised nation and world. They have been beacons of solidarity, enabling the sharing and active participation in live experiences and opening up new ways of us being together and belonging to somethin bigger. For example: The BBC's radio simulcasts and Gareth Malone got the nation singing together. The One World: Together at Home concert saw over 100 musicians come together as one family with their audience to celebrate front line workers.

3. Direct to Talent: With original productions culled and location shoots impossible, exclusive access to talent (at home) is what can happen right now. New, more intimate connections and relationships have opened up and many audiences are enjoying the honesty and humanity of these no frills productions.

4. The Purpose of Brand Purpose: To mitigate the collateral damage of the pandemic, TV brands were quick to demonstrate social responsibility and solidarity. They have supported individuals, families and the government with mental wellness initiatives. They have helped homeschoolers and reinforced social distancing messages. For example: The BBC's role to serve each of and all of us was reasserted in Bringing Us Closer, with actor Idris Elba powerfully urging the nation 'Don't Quit'.

5. The Warm Bath of Nostalgia: For many, in times of uncertainty, there is a strong desire to escape to something known and certain: the rose-tinted past. We've seen increased daily streaming of pre-loved series, old cartoons, comedy sketches and classic sports matches. Societal experience of past crises suggests that, even as peak anxiety subsides, we'll move gradually through periods of adjustment and re-evaluation, during which audiences will continue to seek the reassurance of content and characters they know and of bygone 'happier and simpler times'.

6. There's more to Sport than Sport: Over the last few weeks the innovation from TV sports brands has rocketed: re-imagining archives, allowing exclusive access to talent, training with athletes and opening up virtual and e-sports to a whole new audience. Missing the chance to show off their skills in competitions, professional athletes, from sports ranging from boxing to snowboarding to gymnastics, are lining up to lead the next workout routines.

7. From Watching to Doing: At this extremely overwhelming time, people have needed to take control of what they can: their home, their kitchen, their shed, their garden. TV channels have adapted their programs. Channel 4's Lockdown Academy includes a stellar line-up: Jamie Oliver sharing inspiring recipes and food hacks, Kirstie Allsopp helping us get crafty and Grayson Perry teaching us art. The BBC's Repair Shop has found a whole new resonance with audiences who, finally, don't have any excuses.

8. Anticipate an Emotional Reunion: Many of our anticipated returning dramas have paused production. When AMC's The Walking Dead Season 10 was cancelled, Jeffrey Dean Morgan delighted fans with his new lockdown show. The ABC soap General Hospital is making its new material go further with editing in flashbacks to the narratives.

9. Get it right for Parents & Kids: Families with children are having a uniquely intense time: juggling home schooling and parenting on top of everything else. As schools were closed, virtual doors were opened and Public Service Media supercharged education. There was also a need to recreate routines and rituals: BBC Bitesize attracted 4.8 million average weekly unique UK visitors, 198% higher than the same week last year.

10. Exploring our Cultural Identity: Arts, history and culture became a critical source of both escape and of understanding humanity and our current context. As galleries, theatre, dance studios and museums have closed, their digital incarnations have become competitors for the audience attention. The BBC launched its unparalleled Culture in Quarantine programme: a vast festival of creativity, curated across all its platforms, which includes opening the doors of shuttered exhibitions, innovative new commissions with new creatives and collaborations with museums #museumfromhome.

11. Access all Areas: This crisis has accelerated digitisation and tech upskilling across all audience segments and ages. New content and platforms are being discovered and accessed. The changes in audience viewing habits that TV brands may have included in their five-year plans have happened in the past five weeks. According to Nielsen's Total Audience Report, TV streaming will spike by 60% because of COVID-19 isolation.

12. A Reconnection with Nature: During our allotted daily exercise, we're noticing that the air is bluer and cleaner, the spring blossom is a whiter shade of white, and the noise of traffic is no longer drowning out the dawn chorus. And when we can't experience the real thing, we're doing so via our screens. YouTube. Viewership of the BBC's Countryfile has surged: early into lockdown viewing hit 6.7 million and now, alongside BBC Earth and others, they continue to help audiences escape into nature #stayinandexplore.

More Infos: https://www.redbeemedia.com/

Since the COVID-19-Outbreak, public broadcasters have stepped up their engagement with audiences across a range of broadcast and online services-and viewers are turning to public media in record numbers for the trusted news and reliable information that is their hallmark.
Seven leaders of major public-service outlets from around the world came together this year to form the Global Task Force (GTF) for Public Media. Its mission is to defend the values and interests of public media: "For all these reasons, we, the members of the Global Task Force, urge policymakers and politicians to support and defend the independence of public media and of journalism more broadly. Truly independent public-service media has never been more precious to democracies around the world. Together, we will get through the current crisis."
"Our employees, our freelancers, our creative industry partners and, of course, our private-media colleagues, have shown unwavering commitment to provide essential services in these difficult times," the GTF said.

Some Initiatives:
• In Australia, audiences are turning to the ABC as their trusted news source, with its unique digital audience up 53 percent in March to 15.2 million. Dedicated content for the crisis includes the daily podcast Coronacast, which answers listeners' questions about COVID-19 and breaks down the latest news and research.

• The BBC introduced its largest-ever education offer, Bitesize Daily, with a 14-week roster of curriculum-based learning for kids throughout the U.K. (Its teaching roll call even includes Sir David Attenborough helping young ones to learn about the oceans.)

• CBC/Radio-Canada has launched several efforts to support the Canadian creative industry amid the coronavirus pandemic, including the Digital Originals funding initiative, which will provide C$1 million in funding to selected applicants to develop, create and share original or adapted works with Canadian audiences online.

• France Télévisions rallied together all of its channels to ensure that children from primary to high school can continue with their schooling thanks to the new educational platform Lumni. To answer questions about the coronavirus, franceinfo launched a new initiative, #OnVousRépond, where franceinfo's digital team responds to questions they receive.

• In New Zealand, RNZ's daily coronavirus podcast features presenter Indira Stewart sharing the latest news on the pandemic and its impact on New Zealanders. The program shares stories from everyday citizens impacted by the virus.

• Sweden's SVT has visualized aspects of COVID-19 in an interactive and easy-to-understand way through data journalism. Topics include the spread of the disease in Sweden and around the world, the economic effects and how social distancing works.

• ZDF in Germany has been adapting its programming continuously, with special broadcasts that include a variety of additional information and interactive offers that can be accessed on the ZDF web portal.

According to new research published by IPI, the COVID-19 pandemic is having a rapid and significant effect on media freedom in the European Union. The briefing paper shows, how in a short space of time, several states have implemented emergency laws and restrictions which challenge the ability of journalists to inform the public and hold those in power to account.
Analyses show many of the most serious violations are in central and Eastern Europe, where some governments have a poor record in protecting media freedoms and risk using the health pandemic to unnecessarily tighten control over the flow of information. As expected, the worst violations have taken place in states where press freedom crackdowns were already well underway, such as Hungary, Serbia and Turkey. Worryingly however, other states have also seen restrictions on journalists, either through limiting access to information or a rise in verbal physical attacks on journalists reporting on the COVID-19 lockdown measures.
The research was coordinated by IPI as part of the new Media Freedom Rapid Response (MFRR) project and produced in cooperation with other press freedom partners. IPI will continue to produce briefings for the EU Commission Members of European Parliament (MEPs) over the coming weeks and months.

More Information: https://ipi.media/media-freedom-violations-in-the-eu-under-covid-19/

Die Corona-Krise hat, laut einer Studie des EBU Media Intelligence Service (EBU MIS), basierend auf Daten von GlobalWebIndex, die Einflüsse der Corona-Krise auf das digitale Mediennutzungsverhalten von Menschen in Frankreich, Deutschland, Italien, Spanien und Großbritannien untersucht.

Untersuchungszeiträume waren:
- Zeitraum 1: 16. - 20. März 2020
- Zeitraum 2: 31. März - 2. April 2020


Ergebnisse:
- Die meisten Internetnutzer gaben an, mehr Zeit damit zu verbringen Nachrichten zu schauen (betrifft alle Medien).
- Die Nutzung digitaler Medien stieg im Vergleich zur Nutzung traditioneller Medien deutlich mehr an. Besonders nahm die Nutzung digitaler Medien unter den 16- bis 24-Jährigen zu.
- Das Streamen von Videos erhielt unter den jungen Menschen (16 bis 24 Jahre) den größten Zuwachs, gefolgt von Online-Videos.
- Einen starken Zuwachs wurde bei der Nutzung von Handys, Laptops und Smart TV/Streaming-Services verzeichnet.
- Es ist zu erwarten, dass das Mediennutzungsverhalten sich nach der Krise wieder normalisiert. Allerdings geben junge Nutzer/innen an, dass sie auch nach der Krise ihr Streaming-Verhalten beibehalten wollen.

Nutzung der Online-Dienste öffentlich-rechtlicher Medien

- Die Interaktionen mit den von öffentlich-rechtlichen Medien auf Facebook und Twitter verbreiteten Nachrichten haben sich im März gegenüber Februar verdoppelt.
- Die YouTube-Kanäle öffentlich-rechtlicher Medien erreichten Mitte März ihren höchsten Zulauf als Bürger/innen sich über das Coronavirus informieren wollten.
- Die von den öffentlich-rechtlichen Medien produzierten Inhalte für Kinder haben im März ebenso einen Zulauf erhalten, egal ob auf YouTube oder dezidierten Webseiten.

Mehr Infos: https://www.ebu.ch/publications/research/membersonly/report/covid-19-crisis-the-impact-on-digital-media-consumption