The concept of empowerment has become increasingly widespread in recent years. Its use is still, however, somewhat controversial and diverse, particularly when referring to young people. This article presents a systematic analysis of how empowerment has been conceptualized over the past 15 years and has been applied to young people. A systematic search of the major databases filtered by relevance provided 297 bibliographical references. The results confirm the ambiguous nature of the concept and the imprecision with which it is used, although they do link its use to three common concepts: power, participation and education. The concept of youth empowerment needs to be defined in order to highlight any nuances that distinguish it from the generic use of the term. The main dimensions associated with youth empowerment have been identified as: (a) that of growth and well-being; (b) relational; (c) educational; (d) political; (e) transformative; and, finally, (d) emancipativ

We live in a time of pressing planetary challenges, many of which threaten catastrophic change to the natural environment and require massive and novel coordinated scientific and societal efforts on an unprecedented scale. Universities and other academic institutions have the opportunity and responsibility to assume a leading role in an era when the destiny of the planet is precisely in the hands of human beings. Drawing on the Planetary Health project promoted by the Rockefeller Foundation and The Lancet, Pompeu Fabra University launched in 2018 the Planetary Wellbeing Initiative, a long-term institutional strategy also animated by the United Nations Sustainable Development Goals (SDGs). Planetary Wellbeing might be defined as the highest attainable standard of wellbeing for human and non-human beings and their social and natural systems. Developing the potential of these new concepts involves a substantial theoretical and empirical effort in many different fields, all of them interrelated by the crosscutting challenges of global complexity, interdisciplinarity, and urgency. Close collaboration of science, humanities, and culture is more desperately needed now than ever before in the history of humankind.

The present paper is the result of a research project (EDU2013-42979-R) which investigated youth empowerment from different perspectives. The initial question was where, when and how youth empowerment takes place. The aim was to build an educational model that could serve as guidance for the organization and study of these spaces, moments and processes. The starting point was a previous extensive documentary analysis that formulated an initial conceptualization of youth empowerment. It was based on the review of 297 bibliographical references from the year 2000 onwards that addressed youth empowerment from a socio-educational perspective. The methodology consisted in the reflective analysis of the abovementioned documentary sources and the subsequent systematization of the data obtained, in order to build a reasoned and well-argued theoretical proposal. This paper provides its own definition of youth empowerment by focusing on previous studies carried out by the research team and on M. Nussbaum's capabilities approach. A general pattern was constructed in the form of an pedagogical model intended to offer a benchmark to describe, explain and interpret youth empowerment, as well as to plan and guide interventions intended to optimize it. We conclude with some final reflections on some possible-but undesirable-ways to understand and exploit these empowerment processes.

Research on media sustainability has a long tradition of criticising climate change and environmental issues, mainly through content, and while it is important to do so, it seems that the sector is oblivious to the impact that it itself generates. Moreover, sustainability is often (and wrongly) only related to environmental impact, and very little research exists on how the audio-visual sector can be sustainable not only from an environmental standpoint, but also from a socio-cultural and economic one. This article constitutes a relatively new area that has emerged from the notion of Green Shooting, a term used to describe all the practices ranging from the pre-production, production and post-production to the publicising of an audio-visual product: Documentary, television series (including those of streaming platforms), videogame, film, festival or an advertisement. There has been little previous evidence of an academic article that brings together all the practices that several companies and initiatives worldwide have already implemented as emerging solutions to mitigate their impact, including new roles such as eco-assistant. The authors aim to develop an overarching theoretical framework of what already exists in the practical field, and make it available to the academic community.

Screen culture and conglomerates are starting to echo the green shooting phenomena; roles such as sustainability director, eco-manager, eco-consultant, and eco-assistant are taking a more prominent space in the entertainment and cultural industry to achieve the goal of creating sustainable productions. In this current context, there seems to be a need for an agent to catch the attention of the audience to make a claim about green policies and contribute to a green literacy fabric. This opinion article recognizes that there are two types of voices, internal (scholars and practitioners) and external (celebrities and audiences), that have arisen in the audiovisual industry from different perspectives. Hence, through a theoretical approach, it tackles the particularities, typologies, and the role celebrities play as hot spots to push both viewers and creators into better decision-making models. The results show two main typologies: celebrification, in which a person becomes famous due to their sustainable actions, provoking a metonymic effect, and recelebrification, when famous people or well-known figures redefine their status by acting sustainable, producing a synecdoche effect. In conclusion, it is difficult to define what goes before and what goes after: whether it is the celebrity who passes the attributes onto production or whether it is the production that, by its characteristics, passes its attributes onto the celebrity.