Media Arts

Cultural Diversity on Media

Context of the measure: 
EMERGING TRANSVERSAL ISSUES: Resolution 5.CP 9b
b. Objetivos clave de la medida: 

1. Media Education
▪ Media Education at School
▪ Media Education for the Public
▪ Infrastructure for Media Education

1. First, the media education at school refers to the activities to support schools in teaching students to develop as well as apply in practice a sensible understanding of media. The project emphasizes the cultivation of creative talents with “data-processing” and “communication” skills. Second, media education for the public supports teaching and learning about media outside schools for diverse age groups and classes. Particularly, it aims to improve “information welfare” for the information alienated and enhance literacy for each stage of the life cycle. Third, the infrastructure program is to expand the foundation of media education both at school and in society so that media education can continue to develop. To this end, it provides training for instructors, develops high-quality learning materials, and establishes a database of education materials.

c.1. the scope of the measure: 
Local
Regional
National
c.2. the nature of the measure: 
institutional
c.3. Característica principal de la medida: 

1.
▪ The media education at school supports media literacy classes and provides a training program for teachers tailored to each country or to the free semester system. It also conducts research on media literacy curriculum and designs class primarily based on teachers’ field experience. 
▪ The media education for the public provides the community childcare centers, community welfare centers, libraries, etc. with instructors and curriculum to meet each institution’s needs while providing educational content specific to each class and age group. Also, it operates a journalism experience program for teenagers and the Newspaper in Education program for both children and parents.
▪ The infrastructure program produces specialized instructors and strengthens their capacities. It also distributes materials for media education as well as developing and providing educational content. In addition, it hosts media education forums and contests. 

e. What are the results expected through the implementation of the measure?: 

1. In a knowledge-based society, it is important to create added value through the production, circulation and utilization of knowledge and information. This is why fostering abilities to access and sensibly use select information from diverse media is of increasing importance. This program also improves critical understanding of news and its social context. It instills a sense of citizenship and responsibility as prosumer (a compound of producer and consumer). 

f.2. Recursos financieros asignados para implementar la medida: 

120,859 dollar (as of 2016)
- The current subsidies of the government are spent for employing instructors, organizing national conference, and administering lifelong classes for media education, with the operators of the educational program selected via public contests.

Schemes to Ensure Media Diversity

Context of the measure: 
EMERGING TRANSVERSAL ISSUES: Resolution 5.CP 9b
b. Objetivos clave de la medida: 

1. Schemes to Ensure Media Diversity
▪ Limits on Audience Share
▪ Compulsory Programming of Independent Producers’ Programs
▪ Foreign Program Quota 

1.The limits on audience share are to prevent a particular broadcaster from forming and dictating public opinion. The compulsory programming ensures the diversity of producers of the broadcasting programs. The foreign program quota is to accommodate diverse foreign cultures. 

c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
regulatory
c.3. Característica principal de la medida: 

1.The limits on audience share restrict the share of a single broadcasting service provider (and its affiliates) to 30%. The compulsory programming requires the broadcasting service providers to air programs produced by independent producers at a certain percentage of the total programming (and 35% at a maximum). The foreign program quota prohibits broadcasting service providers from programming more than 80% of their foreign programs with any content (e.g., film, animation, pop music, etc.) produced by any single country. All these regulations are applied to the supply side (broadcasting service providers).

e. What are the results expected through the implementation of the measure?: 

It is expected that no single broadcasting service provider will occupy more than 30% of the audience. The programs produced by independent producers will be aired mandatorily. No content (e.g., film, animation, pop music, etc.) from any single country is expected to exceed 80% of the total foreign programs.

f.2. Recursos financieros asignados para implementar la medida: 

▪ No financing is required for the institutional measure.

Cultural ODA Project of KOICA (Korea International Cooperation Agency)

Context of the measure: 
PREFERENTIAL TREATMENT
b. Objetivos clave de la medida: 

ODA project for arts and cultural education

By assisting the arts and cultural education in the developing countries, the project contributes to educational and social development of local communities. 
▪It instills the value of arts and cultural education among the government officials and educators in the recipient countries and assists in establishing a sustainable system of arts and cultural education. 

c.1. the scope of the measure: 
International
c.2. the nature of the measure: 
financial
c.3. Característica principal de la medida: 

▪The ODA project for arts and cultural education by Korea Arts and Culture Education Service was implemented in the Lao Cai Province (Sa Pa district and Bac Ha district) in 2013 and administered for five years jointly with KOICA. 
▪The project was divided into five categories: elementary and middle school education, club activities, training for educational mediators and presentation of achievement.
▪Each program provided education mediated by photography, choreography and plays, with elementary and middle school students representing the local culture with photos. 
▪ One program of education on visual arts was implemented. 
▪During 2013-14, the education administered only in the Sa Pa district was extended to the Bac Ha district, with artistic genres diversified from visual arts to modern choreography and play. The number of students increased from 1,200 in the first year of the ODA project to 1,780 in 2015 and to 2,000 in 2016. Starting in 2018, the project is scheduled to expand as to provide arts and cultural education for students and teachers at the boarding school set up by KOICA. 

e. What are the results expected through the implementation of the measure?: 

▪ Increase in demand for arts and cultural education and pedagogy 
▪ It encouraged the participation of local residents in the programs and enhanced their understanding of arts and cultural education by holding a presentation session at the “cultural center for minority people.”  

Enhancing the diversity of media

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Objetivos clave de la medida: 

1. Media Diversity Monitoring
2.Indie film: Support for the organization of independent film festivals, production of independent films and screening of the films on cultural diversity
3.Development of webtoon (web-comics) sources: Projects to develop web-comics promoting cultural diversity 
4. Indie music: Support for the indie music sector

1. The media diversity monitoring project is aimed at analyzing the level of diversity of the Korean broadcasting service (platform, channel and content), while providing data needed to formulate policies promoting diversity of local media. It also provides the industrial, academic and public sectors with information about the institutional measures to promote diversity of local media.
2. The indie films project includes support for the organization of indie film festivals, production of indie films and screening of cultural diversity films. All of these three programs seek to promote diversity of films by supporting production of indie and art films, and the screening of them. 
3. Web-comics development project pursues diversity of comics with support for the production of children’s comics about cultural diversity and the national tradition of Korea to raise awareness of its historical value.
4. The support for indie music provides the opportunities to produce music content of diverse genres. It also discovers talented new musicians, thus strengthening the ecosystem and foundation of the music industry.

c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
legislative
financial
institutional
c.3. Característica principal de la medida: 

1. The project includes analysis of the characters in broadcasting programs (in terms of sex, sexual orientation, age, occupation, language, foreign language, disability, marriage,          child care, etc); of the diversity of genres in program planning; of the diversity in producers of programs; of the diversity of channels on paid media platform; of the diversity of ownership of channels; and publication and distribution of the analysis results.
2. The project is divided into support for the organization of indie film festivals, the production of indie films and the screening of them. The state-financed Korean Film Council and the Association of Korean Independent Film & Video jointly organize the nation’s largest indie film festival. The support for indie films is allotted to 50 live-action movies both in feature length and short length, distributed on film or DVD format, with a budget of less than 400 million won. The films on cultural diversity are entitled to state subsidies for marketing expenses which ensures fair screening opportunities and distribution of Korean films of different formats.
3. The project is to publish and distribute children's comics, hold an international cartoonist contest, and produce and distribute comics of public brand.
4. The project is to support promising new talents, including indie or non-mainstream musicians, while assisting the organization of pop music concerts and festivals as well as the Golden Disk Award and other pop music awards.

e. What are the results expected through the implementation of the measure?: 

1.It raises public awareness about the diversity of media by distributing (through news reports and public announcement) the monitoring results to policymakers, broadcasting service operators and the general public. It has also established cooperative relations with major foreign regulators and institutions concerned with media diversity (The International Conference on Promotion of Media Pluralism and Diversity in Seoul, November, 2017). 
2. It contributes to the production of a virtuous circle by creating a stable filmmaking environment with support for the production of films diverse in content and format and with on-line and off-line distribution of them. It enhances the competitiveness and profile of Korean films as well as providing opportunities for the Korean audience to enjoy a variety of movies. 
3. It is expected to expand diversity of comics’ ecosystem. The promotion of comics on cultural diversity provides the opportunities to create cartoons of diverse content and more jobs.  
4. The diversity in the genres of popular music strengthens the competitiveness of music content while broadening and solidifying the basis for creativity.

f.2. Recursos financieros asignados para implementar la medida: 

1. 170,098 dollar (as of 2017)
2. 1,604,297 dollar (as of 2016)
3. 447,628 dollar (as of 2016)
4. Music: 7,251,567 dollar (as of 2016)

CINEMA ET IMAGE ANIMEE : Promotion de la diversité de la création dans les secteurs du cinéma et de l’image animée en France et encouragement de la diversité de la création dans les échanges internationaux

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Objetivos clave de la medida: 

- Permettre une production nationale des oeuvres cinématographiques, audiovisuelles et de l'image animée, garante de diversité culturelle, grâce à une intervention publique. Conformément à l’article 7, alinéa 1, a) de la Convention de l’UNESCO, le centre national du cinéma et de l'image animée (CNC) soutient depuis sa création en 1946 la production et la diffusion d’œuvres cinématographiques et audiovisuelles en France.  Depuis 2009, ses missions ont été élargies au-delà du seul cinéma (audiovisuel, vidéo, multimédia, jeu vidéo...).
- Mettre en place un véritable soutien public, rendu indispensable par la structuration du marché mondial de l’audiovisuel et de l'image animée largement dominé par les productions d’un seul pays, afin de maintenir une diversité de la production cinématographique et audiovisuelle. 

c.1. the scope of the measure: 
Local
Regional
National
International
c.3. Característica principal de la medida: 

Au niveau national, le CNC soutient toutes les étapes de la création et de la diffusion d’œuvres cinématographiques, audiovisuelles et plus généralement d’œuvres s’inscrivant dans le champ de l’image animée.
1/Grâce à des crédits d'impôt (cinéma et audiovisuel) et des aides directes (avances sur recettes) à toutes les étapes de la création (scénario, production, distribution, exploitation), le CNC soutient la production française cinématographique (longs-métrages et courts-métrages) et audiovisuelle.
2/ Le CNC soutient également les projets nouveaux médias grâce à plusieurs instruments : 
- le fonds d'aide aux projets pour les nouveaux médias, qui accompagne les auteurs et des producteurs qui souhaitent intégrer les spécificités de l'Internet et/ou des écrans mobiles dans leur démarche artistique et de diffusion ;
- le fonds Images de la diversité, géré conjointement par le CNC et l'agence nationale pour la cohésion sociale et l'égalité des chances (Acsé). 
3/ Dans le secteur du jeu vidéo, deux mesures soutiennent la création : 
- le fonds d'aide au jeu vidéo, mis en place en 2008, qui a permis le financement de 60 projets ;
- le crédit d'impôt jeu vidéo, mis en place en 2007, qui a permis de financer près de 130 projets.

Au niveau international, le CNC encourage les échanges internationaux dans le secteur du cinéma, de l’audiovisuel et des nouveaux médias.
4/ Le CNC négocie des accords ou conventions de coopération qui intègrent des actions liées à la formation (séminaires,  ateliers organisés pour les réalisateurs étrangers et stages pour les scénaristes étrangers tels que les « résidences à Cannes »). Le CNC soutient également la promotion de festivals dédiés aux films étrangers avec notamment une aide sélective du CNC à la distribution ouverte aux cinématographies peu diffusées.
5/ Le CNC dispose de fonds de soutien destinés aux productions ou coproductions étrangères : le Fonds Sud cinéma, crée en 1984, qui était géré en partenariat avec le ministère des Affaires étrangères et européennes, s’adressait à plus de 80 pays (Afrique, Asie, Caraïbes, Océan Indien, Proche et Moyen-Orient, Amérique du Sud, PECO).  Réformé en 2012 pour devenir l'Aide aux cinémas du monde, il bénéficie de compétences et de moyens élargis, et intègre notamment l’Aide aux Films en Langue Étrangère (AFLE). Il est cogéré par l'Institut français, qui a également pour mission de diffuser le patrimoine cinématographique français à l'étranger (en complémentarité avec Unifrance) : 
• soutien de rétrospectives et programmes thématiques organisés par le réseau culturel à l’étranger ;
• mise en place d’une plate-forme numérique d’aide à la diffusion : IFCinema (cinéma, 160 films, jusqu’à 140  sous-titres); 
• partenariats et conventions  (INA, TV5 Monde…).

Défis identifiés dans la mise en oeuvre de cette politique / mesure:

- En France, cette politique reçoit une large approbation du public et des professionnels. Crée par la loi du 25 octobre 1946, le CNC est né en effet des suites de la concertation entre les pouvoirs publics et les professionnels du cinéma. Le succès du cinéma et de l'audiovisuel français ces dernières années est la manifestation de l'approbation générale de ces mesures.
- Au niveau international, certaines résistances s'expriment, notamment de la part des  Etats-Unis  car les aides publiques à la création, la production et à la diffusion sont perçues comme des entraves au libre-échange des biens et services.

e. What are the results expected through the implementation of the measure?: 
f.2. Recursos financieros asignados para implementar la medida: 

Cultural entrepeneurship and Industries

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Objetivos clave de la medida: 

The purpose of the Undersecretaryship of Cultural Entrepreneurship is to promote the development of cultural industries in the editorial, phonographic applied arts, multimedia, audiovisual and cinematic fields. Much like in all of the other areas of the Ministry of Culture, this division has the task to create public policies in each one of the fields through a process of investigation, debate and citizen participation. The goal is to create sustainable public policy that responds to the needs and demands of the population in culture. 

c.1. the scope of the measure: 
Local
Regional
International
c.3. Característica principal de la medida: 

Each one of the directions in this Undersecretaryship is going through a process of investigation and debate for the creation of public policies. 

Additionally, there are a number of programs and activities that are carried out, including: 

- The Editorial Fund of the Ministry works to promote reading through the publication of books that reflect on the many cultural expressions in Ecuador, and to support talented writers and artists in their efforts to promote knowledge, study and the valorization of the national cultural legacy. Their efforts are concentrated toward the publication of books that promote cultural rights and to help artists overcome some of the challenges they face in a non-inclusive editorial world. Since 2007, the Editorial Fund has published over 200 books in many fields, including painting, historical characters, academic works, poetry, cultural history, photography, mythological characters, etc. 

- Public Contests for funds- The Ministry of Culture has allocated funds for the use of public contests as a tool for the support of artists and initiatives in all areas. 

- Cultural Information System- The Ministry of Culture has recognized the need to create a an information system that can, in its stating phase, measure the weight that culture has in the national economy. This measure is imperative, not only to measure the resources that are invested in this area, but also so that national and international actors can truly understand the importance of culture in the sustainable development of every nation. In other words, measuring the impact of culture in the national economy will position it in the central political debate. 

Some of the results of the work that has been achieved are reflected in the annex section of this report. 
In addition to the work that the Ministry of Culture has led, this institution participated in an interinstitutional effort to create indicators and cultural information. This was a UNESCO initiative, and it achieved important results for the collection of information in the area of Culture. It is expected for this information to be published by UNESCO, and the results used in a comparative manner with other countries.  

e. What are the results expected through the implementation of the measure?: 
f.2. Recursos financieros asignados para implementar la medida: 

US  $4,178,810.42 

Increasing the supply of cultural originals

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Objetivos clave de la medida: 

To increase the supply of cultural original works, in August 2002, the Ministry of Culture in conjunction with the Ministry of Finance formulated the National Implementation Plan for Artistic Excellence on the Stage. The first phase of this project was the five years from 2002-2007, during which 50 outstanding plays of different theatrical types were staged. The central government has invested 40 million Yuan in this project annually. With a view to invigorating and spurring the development of traditional music, the Ministry of Culture has implemented the “Developing and Supporting Project for Chinese Traditional Music” since 2010. This involves an annual allocation of 6 million Yuan from state coffers which is employed in a variety of ways to create a thriving traditional music scene. To enrich China’s arts collection, the Ministries of Culture and Finance established a special fund in 2004 for both the collection of excellent artworks and their donation and award. So far 150 million Yuan has been thus invested and over ten thousand artistic pieces collected by the state.

China has also rendered assistance and relief, in policy and capital terms, to relatively weak cultural industries such as animation industry. In 2006, the State Council circulated Several Opinions on Propelling the Development of China’s Animation Industry formulated by the Ministry of Finance in conjunction with 9 other government departments. In August 2008, the Ministry of Culture promulgated Several Opinions on Supporting the Development of China’s Animation Industry. With guidance via relevant policies, Chinese production of cartoons and animations reached a total of 220,000 minutes in 2010, 30% more than 2009; the market volume of online games was 34.9 billion Yuan, an increase of 35.3% over 2009.

c.3. Característica principal de la medida: 
e. What are the results expected through the implementation of the measure?: 
f.2. Recursos financieros asignados para implementar la medida: 

Télécommunications - Médias

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Objetivos clave de la medida: 

Radio et Télévision

Pour ce qui relève de ce secteur on peut citer d’abord l’existence d’un service publique, géré per une entreprise (publique) la RAI-Radiotelevisione italiana, soutenu par le payement d’une redevance obligatoire pour les possesseurs d’un appareil récepteur (montant pour l’année 2012, € 112 ; le 67% des foyers payants, année 2009, v.Annexe 2.Statistique, Tab.2.2/suite). La fourniture des services est réglée par une Convention de concession exclusive, approuvée par arrêté du Président de la République et par un contrat de service triennal entre le Ministère du développement économique (Département de la Communication) et la RAI, dont le dernier a été signé en avril 2011 et expirera le 31 décembre 2012. Dans la Convention et dans le Contrat de service sont prévues des clauses relatives à la protection et la promotion de la diversité des expressions culturelles, comme dans la réglementation générale du secteur de la radiotélévision (D.Lgs.15.3.2010, n.44), qui a récemment intégré les normes européennes en la matière (Directive 2007/65/CE, voir aussi Report de l’UE).
Le but du service public tient à garantir la plus ample gamme d’informations et d’émissions programmées, un offre de programmes équilibré et varié afin de satisfaire, en rapport avec le contexte national et européen, les exigences démocratiques, culturelles et sociales de la collectivité, tout en assurant la qualité des émissions et le pluralisme, y inclus la diversité culturelle et linguistique. Dans l’application du principe de subsidiarité horizontale et dans la mission du service publique l’on peut aussi évoquer l’obligation de valoriser les expertises provenant de la société civile.
Dans ce contexte on peut citer une série d’émissions et d’activités concernant différents champs d’intérêt, tels que :

  • Rai Med, canal satellitaire bilingue (italien et arabe) ;
  • Crash – Contatto, Impatto, Convivenza (Contact, Impact, Vie en commun, RAITRE, RAISTORIA et dans le site web RAI.it) émission télé entièrement dédiée au sujet de l’immigration ;
  • In Italia (RAIUNO, RAISTORIA et dans le site web RAI.it) “L’Italia e l’Italiano per stranieri (L’Italie et l’Italien pour les étrangers)”, un projet-pilote pour l’apprentissage de l’italien de la part des étrangers ;
  • Cantieri d’Italia (Chantiers d’Italie - RAIUNO,RAIDUE, RAISCUOLA et dans le site web RAI.it) le premier cours basique d’italien (niveau L2) réalisé par le service publique télé, utilisable sans la médiation des enseignants ;
  • Estovest sguardo a Levante (Est-Ouest, regard vers l’orient, RAI TRE et dans le site web RAI.it), est une émission d’information hebdomadaire dédiée à l’élargissement de l’Europe avec les pays de l’Est ;
  • Area di Servizio (Aire de service, RADIO UNO et dans le site web RAI.it), est un programme radio dédié aux thèmes sociaux, en particulier au sujet de l’immigration et de l’intégration sociale ;
  • Cultural Shock, projet cross médial avec un but pédagogique, adressé aux jeunes ;
  • Les émissions radio et télé réalisées en langue, dans les régions où résident les communautés minoritaires ont été 1.136, pendant l’année 2009 (voir aussi § 2.1.2 et Annexe 2.Statistique, Tab.2.2/suite, c.15).

Par le biais de ces émissions l’on peut apprécier non seulement l’attention institutionnelle vers les civilisations minoritaires, les immigrés et la valeur économique du phénomène, ainsi que aussi l’importance de la connaissance des usages et des traditions de ces civilisations.

La Rai est présente dans le dossier de la protection et la promotion de la diversité des expressions culturelles avec des projets et des initiatives au sein des associations internationales telles que la European Broadcasting Union (EBU) et la Conférence Permanente de l'Audiovisuel Méditerranéen (COPEAM).

La RAI est engagée dans le respect des normes contre la discrimination des personnes handicapées selon la Convention ONU du 13 décembre 2006 (ratifiée par l’Italie avec Loi 3 mars 2009, n.18) et le Forum Européen de Madrid de 2002 ainsi que l’art.22 du Traité d’Amsterdam (année 1997), en essayant d’éliminer toute discrimination dans les programmes et en facilitant la jouissance des émissions. Au sein de l’Institut Supérieur des Communications et des technologies de l’information (Département des Communications du Ministère du développement économique) a été créé en 2003 un Groupe de travail (INCOM), ayant pour but d’analyser les difficultés rencontrées par les handicapés dans l’usage et l’accès des services radio-télé.

Il est important de citer, aussi, l’existence et le travail de l’AGCOM, l’Agence (publique) de Garantie des Communications5 dont un des buts principaux est de contrôler le respect des clauses du contrat de service public à ce sujet. L’Autorité publie chaque année un rapport d’activités avec les données concernant ces arguments. On peut également mentionner l’existence d’un Projet d’Observatoire des médias explicitement dédié au monitorage de l’image des minorités.

c.3. Característica principal de la medida: 
e. What are the results expected through the implementation of the measure?: 
f.2. Recursos financieros asignados para implementar la medida: 

Traditional and new media, radio and television, the Internet

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Objetivos clave de la medida: 

The state creates the conditions, at multiple levels, that guarantee the freedom and quality of the media, the public’s access to it, and diversity of opinion. In Germany, responsibility for media affairs lies principally with the Länder. The Federal Government, however, has legislative powers in specific areas such as telecommunications and copyright. The “Federal Government Report on Media and Communications”3 (2008) summarizes the Germany’s federal media policy. Broadcast media serve to protect cultural identity as well as diversity and freedom of opinion. The Interstate Broadcasting Agreement of the Länder requires that both private and public broadcasting companies represent diversity through informational, cultural and educational programming. Public broadcasting companies have a particular responsibility for safeguarding cultural identity and cultural memory. Cultural and educational programming is a mainstay of public broadcasters. Statutory rules governing broadcasting and tele-media must be developed further in light of the new digital possibilities and in accordance with EU guidelines.

Protection of the Diversity of Cultural Expressions

Context of the measure: 
INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT INTERNATIONAL LEVEL
b. Objetivos clave de la medida: 

In the UK, the Government is committed to the protection and promotion of cultural diversity, and the provisions of the Convention are reflected in both its policies and its legislation. In relation to Articles 2 & 5 of the Convention, the UK is a party to the International Covenants on Civil and Political Rights, and on Economic, Social and Cultural Rights, which implemented the provisions of the Universal Declaration of Human Rights. The UK is also party to the European Convention on Human Rights, which is incorporated into domestic law by the Human Rights Act 1998.

The Government undertakes significant work in providing information on the various grant making bodies which are available to assist the creative industries, and
sponsoring bodies in culture and the arts. Cultural diversity is recognised as a significant factor in the cultural life of the United Kingdom, and it is Government
policy to ensure that subsidised artistic activity reflects the full range of that diversity.

In doing so, it meets the commitments under Article 7 of the Convention. Other UK legislation contributing to a legal framework in which the diversity of
cultural expression is protected includes the Copyright, Designs, and Patents Act 1988, which protects the rights of authors, publishers, directors and performers: and the Equality Act 2010, which provides for equal access to goods, facilities, and services, and imposes a new duty on public authorities to have regard to the need to eliminate discrimination and promote equal opportunities when exercising their functions.

Responsibility for the international dimension to the Convention is vested in the UK’s Department for International Development (DFID), one of the world’s leading
development ministries, which fosters the achievement of the Millenium Development Goals in countries across the world. At the heart of the DFID approach to development is an understanding of the socio-economic and cultural context in which its work takes place. 

c.3. Característica principal de la medida: 
e. What are the results expected through the implementation of the measure?: 
f.2. Recursos financieros asignados para implementar la medida: