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Media production by indigenous peoples includes journalism, radio, film, video, cable television and the world wide web and can be considered an important means of political and cultural empowerment that counters long-standing practices of othering indigeneity or rendering it invisible in Western mediascapes. A powerful ideologeme of indigenous communication – as compared with other kinds of ethnic media – is the Western imaginary’s view of indigenous culture as belonging to a primordial state of temporal otherness, a view which is either romantic and idealized or racialized and primitivizing. The historical struggle of indigenous peoples to overcome marginalization in Western mediascapes goes back to a time when the hegemonic culture was predominantly a culture of writing and print media. Turner’s studies of Kayapo media culture also show that the tribe’s understanding of media communication differs considerably from Western media use when it comes to video production.

Objective High-quality chest compressions during cardiopulmonary resuscitation (CPR) play a significant role in surviving cardiac arrest. Chest-compression quality can be measured and corrected by real-time CPR feedback devices, which are not yet commonly used. This article looks at the acceptance of such systems in comparison of equipped and unequipped personnel. Design Two groups of emergency medical services' (EMS) personnel were interviewed using standardized questionnaires. Setting The survey was conducted in the German cities Dortmund and Munster. Participants Overall, 205 persons participated in the survey: 103 paramedics and emergency physicians from the Dortmund fire service and 102 personnel from the Munster service. Intervention The staff of the Dortmund service were not equipped with real-time feedback systems. The test group of equipped personnel of the ambulance service of Munster Fire brigade uses real-time feedback systems since 2007. Main outcome measure What is the acceptance level of real-time feedback systems? Are there differences between equipped and unequipped personnel? Results The total sample is receptive towards real-time feedback systems. More than 80% deem the system useful. However, this study revealed concerns and prejudices by unequipped personnel. Negative ratings are significantly lower at the Munster site that is experienced with the use of the real-time feedback system in contrast to the Dortmund site where no such experience exists-the system's use in daily routine results in better evaluation than the expectations of unequipped personnel. Conclusions Real-time feedback systems receive overall positive ratings. Prejudices and concerns seem to decrease with continued use of the system.

O documentário Belo Monte, anúncio de uma guerra (2012) de André D’Elia tem como foco a luta dos povos da Amazônia contra a construção da usina hidrelétrica Belo Monte e suas consequências socioambientais. Representativo do ativismo midíatico denominado cinema socioambiental, o longa-metragem tem de lidar com um desafio estético-político o qual consiste em: tornar visível um projeto megalomaníaco e sua dimensão catastrófica invisível até o momento da filmagem. Ademais, tem de interpelar ideologicamente um espectador urbano imerso num espaço midiático saturado de novidades e assolado por problemas que o atingem de forma mais direta. A fim de construir um discurso contravisual (como propõe a teoria visual de Mirzroeff) o filme tem de lidar com a ambiguidade da imagem, em particular, dos motivos aquáticos, que provém de um contexto da visualidade hegemônica. Propomos aqui, portanto, uma análise da contravisualidade do ativismo midiático, cotejando-o com os discursos hegemônicos difundidos pela grande mídia.

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