scholarly journals TV Media Change in the Aspect of Remediation Theory

2021 ◽  
Vol 91 ◽  
pp. 26-40
Author(s):  
Žygintas Pečiulis

The emergence of TV in the first half of the 20th century became one of the media for mass audiovisual communication, technologically extending the tradition of electric telegraph and radio. Initially, TV was considered a media for transmitting current  processes. With the introduction of video technology in the 1960s, TV began to capture live content and re-display videos. TV content production technologies have been radically changed by video editing, which has brought TV closer to the cinema. Technological changes in the analog era have had a greater impact on content production processes, and the digital era  sparked a revolution in content consumption. Technological changes in the pre-digital and digital era can be seen as progress, but at the same time raises the question of media perception, even survival, as the technologies of production and distribution of TV content and audience behavior change from time to time.

2020 ◽  
Vol 2 ◽  
pp. 76-83
Author(s):  
Tanase Tasente

The political media communication system began to develop, in a first phase, in the first two decades after the Second World War, this period being called by Blumler and Kavanagh (1999) as "the golden age of the parties" or as “the age of the newspapers”. In the 1960s, a new stage in the evolution of political communication systems began, when few national televisions put a monopoly on the media market, becoming the dominant medium in which political communication unfolded. This stage was named "the television era" or "the modern period of electoral campaigns". Two new aspects to the previous period of evolution are due to the diminution of the voters' loyalty and trust towards the political parties and the shift from direct communication to prime-time communication. The third phase of the evolution of political communication systems began to take shape at the end of the 20th century and the beginning of the 21st century and was called the "postmodern period" or "digital era". Major changes in this period of political communication development have occurred both in technology, consumer behavior of voters, and in communication strategies. After 1990, for many other democratic countries and after 2000, for other totalitarian countries, political communication has undergone a strong transformation into its three points: (1) changing the communication channel and its characteristics far different from classical means, (2) related to the content of the message and the political discourse and, perhaps, the most important aspect (3) the public's ability to actively participate in government acts or protest actions challenging government acts.


Author(s):  
Michael Ahmed

This paper re-evaluates the significance of Sir Curtis Seretse, a black character from the 1960s television series Department S (ITV 1969-70) which has largely been ignored. While earlier critical and academic discourse of Department S has primarily centred on the flamboyant Jason King, the importance of Seretse’s character has been overlooked. Seretse, as the head of Department S, is in a position of authority and power over the other (white) characters of the show. Furthermore, he represents a highly educated character that converses on equal terms with Prime Ministers and Presidents, a unique representation of a black character on British television at that time. Seretse’s appearance on prime time television, at a period when black performers in the media were invariably confined to little more than token characters, is therefore worthy of further attention. This paper examines how Seretse represents a different type of black character not previously seen on British television, when compared to the representations of racial problems on other television crime dramas.


2021 ◽  
Vol 66 (1) ◽  
pp. 93-117
Author(s):  
Christian Henrich-Franke

Abstract The second half of the 20th century is commonly considered to be a time in which German companies lost their innovative strength, while promising new technologies presented an enormous potential for innovation in the US. The fact that German companies were quite successful in the production of medium data technology and had considerable influence on the development of electronic data processing was neglected by business and media historians alike until now. The article analyses the Siemag Feinmechanische Werke (Eiserfeld) as one of the most important producers of the predecessors to said medium data technologies in the 1950s and 1960s. Two transformation processes regarding the media – from mechanic to semiconductor and from semiconductor to all-electronic technology – are highlighted in particular. It poses the question of how and why a middling family enterprise such as Siemag was able to rise to being the leading provider for medium data processing office computers despite lacking expertise in the field of electrical engineering while also facing difficult location conditions. The article shows that Siemag successfully turned from its roots in heavy industry towards the production of innovative high technology devices. This development stems from the company’s strategic decisions. As long as their products were not mass-produced, a medium-sized family business like Siemag could hold its own on the market through clever decision-making which relied on flexible specialization, targeted license and patent cooperation as well as innovative products, even in the face of adverse conditions. Only in the second half of the 1960s, as profit margins dropped due to increasing sales figures and office machines had finally transformed into office computers, Siemag was forced to enter cooperation with Philips in order to broaden its spectrum and merge the production site in Eiserfeld into a larger business complex.


2021 ◽  
pp. 1329878X2098596
Author(s):  
Anna Cristina Pertierra

Since the late 1980s, Filipino entertainment television has assumed and maintained a dominance in national popular culture, which expanded in the digital era. The media landscape into which digital technologies were launched in the Philippines was largely set in the wake of the 1986 popular movement and change of government referred to as the EDSA revolution: television stations that had been sequestered under martial law were turned over to family-dominated commercial enterprises, and entertainment media proliferated. Building upon the long development of entertainment industries in the Philippines, new social media encounters with entertainment content generate expanded and engaged publics whose formation continues to operate upon a foundation of televisual media. This article considers the particular role that entertainment media plays in the formation of publics in which comedic, melodramatic and celebrity-led content generates networks of followers, users and viewers whose loyalty produces various forms of capital, including in notable cases political capital.


Author(s):  
Sarah Hatchuel ◽  
Nathalie Vienne-Guerrin

This introduction explores the consequences of the digital revolution on the production, distribution, dissemination, and study of Shakespeare on screen. Since the end of the 20th century, the rise (and fall) of the DVD, the digitalisation of sounds and images allowing us to experience and store films on our computers, the spreading of easy filming/editing tools, the live broadcasts of theatre performances in cinemas or on the Internet, the development of online archives and social media, as well as the globalisation of production and distribution have definitely changed the ways Shakespeare on screen is (re)created, consumed, shared, and examined.


2015 ◽  
Vol 8 (1) ◽  
pp. 46-67 ◽  
Author(s):  
David Welch Suggs

Sports reporters depend on access to events and sources as much or more than any other news professional. Over the past few years, some sports organizations have attempted to restrict such access, as well as what reporters can publish via social media. In the digital era, access and publishing autonomy, as institutionalized concepts, are evolving rapidly. Hypotheses tying access and work practices to reporters’ perceptions of the legitimacy they experience are developed and tested via a structural equation model, using responses to a survey of journalists in American intercollegiate athletics and observed dimensions of access and autonomy to measure a latent variable of legitimacy. The model suggests that reporters have mixed views about whether they possess the legitimacy they need to do their jobs.


2021 ◽  
Vol 2 (2) ◽  
pp. 121-127
Author(s):  
Amir Seto Aji

  In this digital era, all information and communication technology emhanched faster all the time. This issue gives a big chance on communication practice become more effective than before. Hence, to full the tight competition on digital era such as online media, the researcher wanted to investigate about applying ethic of journalist code in the online media and in journalist understanding to the ethic journalist code. The researcher used qualitative descriptive method which oriented on the field research and literature. On the other side, the qualitative research also directs into the finding of basic theory which is emphasized the process over the result. It also limits the research with the focus which has criteria on finding the trustwothiness dta. Based on the result on the research about applying ethic of journalist code in the Islamic rubrik OASE at Depok POS.com, online media in Depok POS always apply the ethic of journalist code with colaborate on that ethic such as the way which always used in the field by journalist and the ethic of journalist understanding are the specific detail and detail things which manage about how should the media worker such as journalist, editor, chief of reporter, news achor and every profession which can called a journalist can behave on ethic of journalist code. Further, ethic of journalist code is the basic of journalist thought.


Author(s):  
Angela de Castro Gomes

The first decades of the 21st century brought back to the international arena a family of terms well known in Latin America to designate both styles of politics and the leaders who embodied them: populism and populists. Brazil is seen as a paradigmatic example of this type of experience, called “classic populism,” for two periods of its history, corresponding to its process of transition from a “traditional” society to a “modern” economy and society. The first period ran from the 1930 revolution until 1945, with the fall of the Estado Novo and the removal of its “leader,” Getúlio Vargas. The latter period covered the 1950s, “the golden years of populism,” since, despite the socioeconomic development achieved, democracy did not manage to establish itself in the country. The populist interpretation of this period of Brazilian history was formulated and shared by academia, essentially after the 1964 coup, and was dominant in the 1960s and 1970s. However, it extended these frontiers, using the language of the media, political conflicts, and the common sense of Brazilians. Widely used, the concepts of populism and populist were conflated with the events and characters they name, only being critiqued in the 1980s and 1990s. Since then, the number of scholars seeking other references has grown, whether redrafting the meanings of the original proposal, the case of the “populist political system,” or abandoning it completely, in the example of the “trabalhista pact.” In this dense debate, one constant can be observed: in Brazil populism became a “category of accusation,” translating negative values present in the “other” to whom one is referring. Although many academic studies do not use this pejorative tone, it is so consolidated in Brazilian politics that it has become part of the political culture of parties and trade unions, circulating widely.


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