The New Public DiplomacySoft Power in International Relations

Training for Public Diplomacy: an Evolutionary Perspective

Presented by

Group 5: Sondes Ben Chagra

What are the Two Phenomena in a Contemporary International System?

Training in Transition

Contemporary international system=system in transition 1. A state-centered group of actors operating in a more or less

ordered hierarchy; 2. A more amorphous set of networks between peoples and

institutions co-existing and interpenetrated with the first group.

What is Training in Transition, what are Governments Doing?

Training in Transition

All governments:• are adapting their diplomacy to the change.• have programmes of national self-promotion.• are aware of the power of the media and the internet.• encourage their diplomats to get out into the society of the country to which they are

posted.• train their diplomats to contribute to that essentially national effort. There is an evolutionary path in training for public diplomacy that is defined partly in terms of resources and partly of intellectual and professional approach. There is no correlation between the two.Fewer foreign ministries yet prepare their diplomats to be players in or facilitators of the amorphous transnational networks.

What Could be the Barriers to Training for a Poor State and what are the Consequences of these Barriers on their Public Diplomacy?

Barriers to TrainingPoor States: Obsolescent and Partial Diplomacy

Conveying messages widely and coherently is an important multiplier in competing for development assistance, as well as for international recognition. Governments have to decide whether the opportunity cost of invisibility is greater than the cost of developing an effective public diplomacy. • Lack of resources, both human and financial: small missions, no training,

learning on the job.• Limited communications’ infrastructure, with only intermittent electricity

and overloaded telephone exchanges.• Attitudes can erect effective barriers, no encouragement or training in dealing

with the public and the media. Diplomatic staff hidden behind a defensive wall. It is the easiest way to contain political risk and limit the workload.

Effectiveness can be as much a matter of organization and management as of skill or flair in public relations. It involves practical details, targeting and prioritization, such as making the most of national leaders’ and other experts’ visits to a foreign capital by planning and coordinating the timing and content of their speeches, and ensuring that they are connecting with the right audiences.

Barriers to TrainingDeveloping Countries

States offering diplomatic training, but have not traditionally regarded strategic outreach as a necessary or appropriate part of the diplomat’s task.• Thailand:

• Ancient and distinctive diplomacy;• Does not yet include public diplomacy in its training programme;• Mobilize the culture and beauty of Thailand in pursuit of tourism, trade and investment.

• Turkey: • Have not traditionally placed great emphasis on diplomacy to publics;• A new law on transparency and accessibility the Turkish government is encouraging

greater openness in all ministries, including the foreign service;• The Turkish Diplomatic Academy is actively looking at how to support the strikingly

energetic public diplomacy effort launched by the Turkish government in EU member states.

Changing Attitudes: Flexible Approaches

Any other Examples?

States with traditional concepts of diplomacy. Training includes engaging with domestic publics.• Chile, Mexico and Paraguay:

• Public diplomacy does not appear in the curriculum of the diplomatic academies;

• Workshops at sub-national levels, to convey government ideas on foreign policy and to receive feedback from the locals on foreign policy issues;

• In the case of Chile, each trainee diplomat also has to take part in a group research project on a domestic issue that has international implications, and to establish links with private-sector and non-governmental organizations in developing a policy strategy.

Changing Attitudes: Flexible Approaches

• India: The Indian Foreign Ministry is aware of the transformation of India’s global image since the late 1990s. This has been further reinforced by the growing economic and political influence of the Indian diaspora. Indian diplomats are being equipped to build on this wider affinity for Indian culture and values, consciously connecting with peoples as well as governments. A three-pronged programme that effectively equips Indian diplomats with public diplomacy skills:

• Communication skills, both written and verbal, including presentation and public speaking. • Solid grounding in the work of the media and of parliament. • The third element of the programme is the most interesting.

• Indian culture is an integral part of the diplomatic curriculum, classical Indian dance and music.• Trainees are sent to the Indian Council of Cultural Relations for cultural orientation as well as familiarization with

the administration of cultural exchanges. • History of classical Indian diplomatic thought as contained in the epics and literature so that ‘Indian values’ are

internalized in their diplomacy.

Changing Attitudes: Flexible Approaches

Any other Examples?

• France: Emphasis on cultural relations in diplomacy. One month of the ten-month course offered to foreign diplomats is given to communication – both government-to-government and government-to-publics.

• Germany: Clear distinction between the formal diplomatic work of press and public affairs on the one hand, and cultural relations and education policy on the other. Foreign relations is a federal matter, while the Länder (sixteen states) are responsible for education and culture. State propaganda have channeled the German public diplomacy effort primarily into the cultural and educational sphere.

Changing Attitudes: Flexible Approaches

Any other Examples?

States offering training in public diplomacy as such, mainly still in the service of the national interest.• USA:

• 13 public diplomacy courses ranging in length from one day to eight weeks.• 2 eight-week courses, one for Information Officers and one for Cultural Affairs Officers. Offer a comprehensive

coverage of the tasks of public diplomacy and training in relevant skills: presentation, demonstration, discussion, research projects, visits to other agencies and hands-on practice with computer-based tasks.

• Short courses introducing the concept of public diplomacy, and explaining the respective roles of the four main US government bodies that are responsible for the American programme.

• The formal training of America’s diplomats concentrates on the transmission of policy, on ‘managing the message’.

• Diplomats are trained to manage and make the most of government programmes of educational and cultural exchange, such as the Fulbright and Humphrey Fellowships.

• Individual research on the countries or regions in which they will serve• The balance between equipping diplomats to send rather than to receive is reflected in the fact that only one

presentation hour in 16 weeks is devoted to cultural sensitivity and only two hours to understanding another culture.

Formal Public Diplomacy Training

To which Extent do you Think this training is efficient?

• Canada:• A two-day course in Advocacy:

• Systematic exercise of influence in support of Canadian interests. • Focuses on specific issues in particular socioeconomic contexts.• Designed to support a major public diplomacy campaign. • Includes drafting a real strategy that can then be implemented. • Canada leads the world in e-learning for diplomacy.

• A two-week programme for locally engaged staff serving as public affairs officers at post, promoting Canada through information, education, academic relations, media and cultural means.

• A two one-day pre-posting courses:• How to manage and coordinate public diplomacy programmes abroad. • Promote the idea that public diplomacy is a ‘mission critical’ function at post, and that a high degree of

cooperation is required among the various programmes to deliver on mission objectives. • An internet site offering guidance in mobilizing an integrated public diplomacy programme.

Formal Public Diplomacy Training

The first state to have adopted a government-wide approach to contemporary public diplomacy.• UK:

• Public Diplomacy Strategy Board was created in 2002 to coordinate government policy and practice. The aim is to maximize effectiveness through coherence.

• A Public Diplomacy Policy Department has also been created.• Every post has its own Public Diplomacy Committee, responsible for

developing its own strategy and project programme. • The primary medium and direction of communications have changed from print

to electronic, from push (via publication) to pull (via direct access through continuously updated websites.

Formal Public Diplomacy Training

• UK:• One-quarter of the Foreign and Commonwealth Office (FCO)’s budget is

devoted to public diplomacy.• The bulk given to the BBC World Service (£220 million p.a.) and to the British

Council (£180 million p.a.), which are independent of the FCO, with their own boards of governors and carefully guarded political neutrality.

• BBC and British Council task is to facilitate networks, to ‘connect futures’ especially among the young of all societies. Their objectives are long term, building relationships within the UK but also willy-nilly among individuals, groups and peoples across the world.

Formal Public Diplomacy Training

What Issues Could Derive from this System?

• Two issues are confronted:• First, there is a fine but important line between facilitating the creation of

worthwhile new organs and linkages within civil society, and establishing what in effect would be ‘front’ organizations. Trainee diplomats would need to be alerted to the political dangers of straying into the world and covert mindset of the intelligence agencies.

• Second issue is that long-term network-building is a job already being undertaken, often with real excellence, by governmental international development agencies. In one respect they are all promoters of the national interest, and hence an arm of state diplomacy, simply through their national identity. But they also extend beyond the state into the realm of transnational networks.

Formal Public Diplomacy Training

For both overall policy and training policy, should this work be part of the core task of the professional diplomat?or is it a parallel role to be carried out by professional network-builders, a form of para-diplomacy that builds bridges between cultures, acts as a catalyst for reform and development, and promotes peace and prosperity through interlocking?

• Network diplomacy: addresses the ways in which people are the same, building bridges between those who share the same human goals.

• State-centered diplomacy: facilitates relations between groups of people who by definition see themselves as being distinct.

Public diplomacy as a profession

• The diplomat has to inhabit both dimensions in order to seek to represent effectively the national interest in the complex web of governmental and non-governmental relationships that comprise the contemporary international system.

• The British approach reflects the assumption that the British Foreign Ministry is responsible for both elements. Diplomats acquire an operational understanding of public diplomacy principally on the job, and specialist training is available both in public diplomacy and in the management and budgetary control of projects funded by the FCO.

Public diplomacy as a profession

• The British programme: The all-embracing approach to the public dimension of diplomacy at the strategic level is not quite yet reflected in the training programme of individual British diplomats.

Public diplomacy as a profession

• South Korea:• Programme deals in communication and media skills and promoting the

national interest.• Programme for mid-career and senior diplomats that seeks to understand

how the practice of diplomacy itself is being affected by changes in the international system, how the concept of national interest is changing, and how civil society and international NGOs contribute to transnational relations.

• Conducts sociological analysis of the impact on diplomacy of mass democracy= ‘over-communication syndrome’.

• This seems an appropriate way forward for training in public diplomacy.

The way forward for training?

What is Missing from all these Public Diplomacy Trainings?

• What is clearly missing from almost all of the PD trainings is comprehensive and conscious engagement with the expanding and changing nature of the international environment in which the professional diplomat operates.

• No one yet has developed a core syllabus that confronts the young diplomat with his or her two universes – the state-centered and the network – and that provides them with the twin toolboxes necessary to engage with both universes at the same time and in coherent synergy.

• Middle states are perhaps closest to it: Australia, Canada and South Africa.

The way forward for training?

How does a Diplomat need to be Trained from the National and the International Perspective?

• There is more than enough for any diplomat to do just to fulfil the state-centered part of the job:

• the mundane real world of visas, line management, speechwriting and ministerial deadlines. • Train people rigorously to carry out their traditional tasks well: to observe with alert political

antennae, to analyze dispassionately, to advise from a depth of knowledge, to manage efficiently.

• National perspective: Essential to train for thinking flexibly, imaginatively and strategically about public diplomacy, pulling together all of the tools and resources of formal diplomacy to get key national messages out and understood – a comprehensive approach to ‘winning people over’.

• International perspective: Important for training departments to help raise the eyes of the trainee from the email inbox to the horizon, preparing them to operate effectively in the parallel diplomatic world of transnational civil society, without the skills for which they and their ministries will be progressively left behind.

The way forward for training?

How Might a Public Diplomacy Training Look Like?

• Comprise some of the elements that are there in embryo already: • the analytic approach of the South Koreans to the changing playing field; encouraging trainees to grapple

with the evolving roles of state and non-state entities and to assess the extent to which their own profession (and ministry) is adapting successfully to the changes.

• addressing the nature of contemporary diplomacy, the course would offer insights into the interpenetration of formal diplomacy and public diplomacy.

• Focus on the nature of public diplomacy itself – objectives, targets, tools, strategies and operating principles – giving trainees a comprehensive grasp of the concept and the several roles that public diplomacy plays both in promoting national interest and in connecting people.

• Practical training: personal presentation, media skills, computer and software skills, website management, marketing, project management and budget, research and evaluation. Most of these might be offered most effectively (and cost-effectively) by consultant professionals rather than by foreign service officials, although course design and content need to be focused on the realities of diplomacy rather than drawn from often-irrelevant commercial business experience.

Designing the perfect course

• Focus specifically on training for facilitation. This would entail training young diplomats (by simulation and case study) to work with civil society organizations and manage the foreign ministry’s or embassy’s relations with them; to manage also the interaction with international aid and development agencies, and with the field operations of other ministries in one’s own and other governments.

• Module on cross-cultural communication, supported by studies of country, region, religion and culture, as appropriate to each individual or group. Focusing on the target, thinking about needs, priorities and perceptions in order to understand better, then to be able to communicate more effectively both in transmitting and in receiving messages. Different courses might be offered at intervals, each focusing on a particular region or culture.

Designing the perfect course

Who Should Participate in this Training and what Approach Should be Used?

• Target audiences: trying to get participants in the course from foreign ministry and line ministries, civil society organizations, business and banking, minority groups, and locally engaged staff from posts abroad.

• Methodology: • A mixture of learning activities – passive, active and interactive – would be appropriate. • As much course time as possible might be given to active simulation, engaging participants directly in the

process for which they are being prepared, through exercises approximating real tasks and addressing current issues. Trainees would thus have the dual benefit of learning in some depth about the substance of a live issue in their field, while practicing dealing with it.

• If the course gives trainees enough time to prepare, case studies of successful strategies and operations might be offered. Effective case methodology ideally entails drawing perceptions and conclusions from students, on the basis of their own prior study, rather than simply relating success stories. But any example of best practice would be better than none.

• Taking trainees out to talk to the locals, if possible away from the capital city and up country, offering practice both in explaining national policy and in listening to the ideas and concerns of citizens, including importantly those of minority groups. These conversations should include school and university students, ensuring that trainees have experience of connecting with young people and their generational perspective.

Designing the perfect course

• Goal: • The overall course design will hinge on whether the foreign ministry decides to prepare its diplomats

for essentially traditional diplomacy, for ‘tradition plus’ incorporating strategic outreach to win minds in the wider public, or for ‘wider diplomacy’, including both traditional and network diplomacy.

• Conservative diplomats, especially those in administrative cultures in which authority and the right to speak for the government are still the prerogative of only a few, might welcome cutting public diplomacy loose from the foreign ministry:

• leave the image-making to the admen and the tourist board; • leave the network-building to the cultural and development gurus; • and let the pros in the green eye-shades get on with the hard-nosed, still vital business of managing state-to-state

relations in a still state-centered, even if increasingly multilateral, system. • All three specialisms are clearly integral components of contemporary diplomacy. And all three need

to be drawn together within the embrace of the foreign ministry, whose task it is to coordinate a government’s activities abroad – including that of helping to facilitate non-governmental activities by non-government bodies. All three functions – and the way in which they mutually support each other – need to be fully understood by any young diplomat.

Designing the perfect course

Thank You

Video Production Handbook

Recording and Viewing the Video

Presented by

Group 5: Sharon

Recording the Video

• There are continual developments in the design and format of video and audio recording systems. Some are mainly used for acquisition (shooting original material)

• Traditionally, videotape has been the most popular medium.

• However,with the advent of video capabilities in almost all still digital cameras and cellphone cameras, amateurs are probably using still camera memory sticks more than videotape.

High-definition Television (HDTV or HD)

• High-definition television (HDTV) has many more scan lines than standard definition (SD).

• Generally the lines are between 720 and 1,080, although there is quite a bit of experimentation with more lines.

• Today’s HD has pretty much hit the limits of what normal eyes can discern, going to a higher level of scan lines is not critical.

Videotape

• Videotape is the most popular professional format.•（ reason）• It is readily available.• A large number of tape-based cameras are still manufactured.• The sheer number of tape-based systems already owned by

companies is significant.

Videotapes Come in Many Different Formats and Sizes for Professionals and for Consumers.

Analog and Digital

• The analog system directly records the variations of the video and audio signals.

• The digital system regularly samples the waveforms and converts them into numerical (binary) data.

• This allows many generations of copies to be made without affecting the quality of the image. Digital systems also allow the data to be recorded on media other than tape, such as hard disks or fl ash memory.

Flash Memory

• Flash memory is slowly becoming popular as a medium to record both standard defi nition and high-defi nition video. A signifi cant advantage to the fl ash memory card is that it is easy to transfer files from the card to a nonlinear editor.

• The small size allows the card to be used on compact camcorders. Cameras utilizing flash memory as their medium generally do not have moving parts, which should have less maintenance. Some of the new high-capacity SD cards are as high as 32 GB.

Recordable DVD

• DVD cameras have been primarily aimed at the consumer market.

• DVD cameras automatically fi nd a blank section on the disk for recording, so there’s no need to rewind or fast-forward. Most of them also use an index screen, which makes it easy to search for a particular scene. When the shooting has been completed, the disk can be taken out of the camcorder and slipped into a DVD player or recorder for immediate playback—there’s no need to connect any cables. One of the disadvantages is that disks can be susceptible to scratches.

Video Recording Suggestions• Record at standard speed rather than one of the slower speeds on

videotape. This will provide better sound and video quality.• Use the highest data rate possible on digital media other than tape.

Although you will not be able to record as many minutes on the medium, this data rate will give you a higher-quality image.

• Watch the elapsed time on the camera to make sure that you know how much memory or tape is left and you know the state of the battery.

• Reset the tape counter whenever you change the tape.• Review the end of the takes to check that the recording is satisfactory.• When you remove the medium from the camera, make sure to position the

protection device so that no one accidentally records over the original footage.

• Clearly label all media as well as the media container.

Thank you

Video Production Handbook

Editing

Presented by

Group 5: Icy

• Editing is both an art and a science.• Learn some rules to enhance the ability to edit.• We need to take practice to learn editing.• It is the technique of selecting and arranging shots, choosing their

order and duration and the ways they are to be joined together.

Editing Goals

• To assemble material in a sequential fashion. The shooting order may differ from the running order.

• To correct mistakes by editing them out or by covering them with other footage.

• To create, enhance, embellish, and bring to life images and events that were once captured live. Tools such as visual effects, and music can give the story more drama, thus more impact on the audience.

Shooting Situations

• Sometimes the action is shot from start to finish.• Only sections of the total action may be deliberately

shot, omitting unwanted action.• The action may be repeated so that it can be shot from

various positions.• All of the action at one location may be shot before going

on to the next location, although the script may cut between them.

• A series of similar subjects may be shot that have reached different stages.

Logging

• Saves time • Completed before the editing• Can be done on paper or software• Saves hard drive space• Including time code, location, scene numbers, length of shots and

description or comments

An Overview of the Nonlinear Process

• Step1.digitized the footage into the computer• Step2.trim each video segment , deleting unwanted video frames• Step3.place the clips into the timeline• Step4.add video special effects and transitions• Step5.insert additional audio• Step6.output the final program to the distribution medium

Editing Begins with:

• Selecting the required shots• Deciding on the order and duration of each shot• Deciding on the cutting point• Deciding on the type of transition between shots• Creating good continuity

• Only 1/10 or 1/20 of the total material shot is used in the final edited version so we need to shoot much more before editing.

• In most cases, the shots will be shown in chronological order. If the shorts jump around in time or place, the result can be extremely confusing.

• When series of brief shots are cut together, the fast pace of the program will be exciting, urgent, and confusing. A slow cutting rhythm using shots of longer duration is more gentle, restful, thoughtful, sad…

• https://www.youtube.com/watch?v=GWbzoVOIZas• https://www.youtube.com/watch?v=DmblV8URfrw

Moment chooseif the first shows a man walking up to a door to open it, and the second shot as a close-up of him grasping the handle, the editor usually has to make sure of the following:

• There is no missing time (his arm hasn’t moved yet, but his hand is on the handle in the close-up)

• No time has been duplicated (his hand takes hold of the handle in the first shot then reaches out and grasps it again in the close-up)

• There is no overextended time (his hand takes the handle in the first shot and holds it, and is still seen holding it waiting to turn it in the second shot)

Special Effects• Most nonlinear edit systems include many special

effects that can be used to enhance the project. Use them appropriately, don’t overuse.

• Freeze frame. https://www.youtube.com/watch?v=TTrTQPGkS-E

• Reverse action. https://www.youtube.com/watch?v=qjCJDPN0V7k

• Strobe. https://www.youtube.com/watch?v=66TXvifk2xQ 2:11

• Fast or slow motion. https://www.youtube.com/watch?v=UlC-6AOjTRY

• Picture in picture. https://www.youtube.com/watch?v=5CU2JhYM8tY

• Mosaic. https://www.youtube.com/watch?v=BChPcvsHzNY

• Posterizing. https://www.youtube.com/watch?v=K8ertS6KSI0

• Mirror. https://www.youtube.com/watch?v=fEmsM5jCuWA

• Time lapse. https://www.youtube.com/watch?v=R5ri9JHZgWk&index=2&list=PLGYUJOzRVJa18qbx_jg1-Z1rfOoZy8G3X

Methods of Transition:

• Cut.• Dissolve.• Wipe.• Fade.• https://www.youtube.com/watch?v=iCEdSGeFCCA • https://www.youtube.com/watch?v=VfpDt_UCsig

Continuity error will occur in these situations:

• Shops shooting, moves the camera to another position, and then continues the shoot

• Repeats part of an action; it may be slightly different the second time, so one cannot edit unobtrusively with the original sequence

• Shoots action over a period of time, such as part of it one day, and the rest of the scene on the next day

• Alters how they shoot a scene after part of it was already shot

Good Editing Techniques

Thank you