ROME: Italy’s competition authority on Wednesday fined global tech giant Meta $3.8 million (€3.5 million) for a lack of transparency in its use of data and management of Instagram and Facebook accounts.
The AGCM watchdog said the fine was for “unfair commercial practices.”
“Meta failed... to immediately inform users registered to Instagram via the web of the use of their personal data for commercial purposes,” it said in a statement.
It also said Meta “did not accurately manage” the suspension of users’ Facebook and Instagram accounts.
“In particular, Meta did not indicate how it decided to suspend Facebook accounts, whether as a result of an automated or ‘human’ review,” the watchdog said.
And Meta “did not provide Facebook and Instagram users with information on the possibility of contesting the suspension,” including using an out-of-court dispute resolution body or a judge, it said.
In addition, it said, Meta set a short deadline of just 30 days for consumers to challenge the suspension.
The Italian watchdog said that since it had started investigating, Meta had changed its practices.
In a statement, Meta said it disagreed with the decision and “are assessing our options.”
“Since August 2023, we have implemented several changes for Italian users that address the (authority’s) concerns,” it said.
This includes “increased transparency on how we use data to show advertising on Instagram and provided enhanced information and options on how users can appeal account suspensions,” it said.
“We welcome the (authority’s) acknowledgement of the effectiveness of our tools to help users regain access to their accounts.”
Italy fines Meta $3.8 million over data use, account transparency
https://arab.news/2dwqz
Italy fines Meta $3.8 million over data use, account transparency
- Italy’s competition authority said the fine was for ‘unfair commercial practices’
To infinity and beyond: Grendizer’s 50 years of inspiring Arabs
- 50 years after its creation, the Grendizer anime series continues to capture Arab imagination
- Arab News Japan speaks to creator Go Nagai, Middle Eastern fans and retells the story behind the UFO Robot tasked with protecting our planet
LONDON: Few cultural imports have crossed borders as unexpectedly, or as powerfully, as Grendizer, the Japanese giant robot that half a century ago became a childhood hero across the Arab world, nowhere more so than in Saudi Arabia.
Created in Japan in the mid-1970s by manga artist Go Nagai, Grendizer was part of the “mecha” tradition of giant robots. The genre was shaped by Japan’s experience during the Second World War, and explored themes of invasion, resistance and loss through the medium of science fiction.
But while the series enjoyed moderate success in Japan, its true legacy was established thousands of kilometers away in the Middle East.
The anime “UFO Robot Grendizer” arrived on television in the region in 1979, dubbed into Arabic and initially broadcast in Lebanon during the Lebanese civil war. The story it told of the heroic Duke Fleed, a displaced prince whose planet had been destroyed by alien invaders, struck a chord with children growing up amid regional conflict and occupation by Israel.
Its themes of defending one’s homeland, standing up to aggression and protecting the innocent were painfully relevant in the region, transforming the series from mere entertainment into a kind of emotional refuge.
Much of the show’s impact came from its successful Arabization. The powerful Arabic dubbing and emotionally charged voice-acting, especially by Lebanese actor Jihad El-Atrash as Duke Fleed, lent the show a moral gravity unmatched by other cartoons of the era.
The theme song for the series, performed by Sami Clark, became an anthem that the Lebanese singer continued to perform at concerts and festivals right up until his death in 2022.
By the early 1980s, “Grendizer” had spread across the Middle East, inspiring fandoms in Saudi Arabia, Kuwait, Iraq and beyond. For many, it was not only their first exposure to anime, it also delivered lessons on values such as justice and honor.
Grendizer was so influential in the region that it became the subject of scholarly research, which in addition to recognizing the ways in which the plight of the show’s characters resonated with the audience in the Middle East, also linked the show’s popularity to generational memories of displacement, particularly the Palestinian Nakba.
Half a century later, “Grendizer” remains culturally alive and relevant in the region. In Saudi Arabia, which embraced the original version of the show wholeheartedly, Manga Productions is now introducing a new generation of fans to a modernized version of the character, through a video game, The Feast of The Wolves, which is available in Arabic and eight other languages on platforms including PlayStation, Xbox and Nintendo Switch, and a new Arabic-language anime series, “Grendizer U,” which was broadcast last year.
Fifty years after the debut of the show, “Grendizer” is back — although to a generation of fans of the original series, their shelves still full of merchandise and memorabilia, it never really went away.
