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Political Comedy as Fuel for Populist Rhetoric?

Representations of Politicians and Institutions in the German TV Shows “Eichwald MdB” and “Ellerbeck”

Niko Switek

this gap with a focus on Germany and draws on the two tv productions Eichwald MdB (2015) and Ellerbeck (2015) to explore this relationship. Both shows are produced and screened by the German public broadcaster zdf (tying them even more to

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Culture, Entertainment and Listening Habits in The West German Discourse on Radio During the 1950s

Benno Nietzel

This article examines the intellectual discourse in West Germany on the role of entertainment in radio programs during the 1950s. Although accounting for most of the airtime and being an assigned mission of public broadcasters, many radio officials and experts continued to be suspicious of entertainment. Strongly adhering to the classical tradition of highbrow culture, these humanistic intellectuals had difficulties accepting entertainment as an integral component of broadcasting. The only discursive path for them to adopt entertainment as a legitimate concept was to discuss its specific contribution in the context of Bildung and Kultur. The article thus provides insight into how members of the cultural elites came-to-terms with the rise of popular culture during the 1950s.

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Licht aus–Spot an

How Schlager (ZDF 1969–1984) Beat Disco (ZDF 1971–1982)

Sunka Simon

today.” 16 The public broadcast era structure of Disco was no longer sustainable after deregulation, whereas Hitparade’s niche-approach, integrating ndw in the early 80s and English language titles later on, but never straying too far from its one

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Using Popular Culture to Trace and Assess Political Change

Niko Switek

commercial television channel challenged established public broadcasters in their traditional position of providing critical information adds to the notion that investigative journalism on television fails to make a meaningful impact on the broader public

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(Re)sounding Histories

On the Temporalities of the Media Event

Penelope Papailias

representation. Briefly, this includes taking into account the production of event-spaces and author-effects, the transformation of private moments into public broadcasts, the bringing together and dispersing of disparate temporalities and spatialities, as well

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The Party without Qualities?

Explaining the Left Party's Electoral Disaster in the 2021 German Federal Election

Jonathan Olsen and Michael A. Hansen

. Explanations for the Left Party's Election Result in 2021 What explains Die Linke's election result in 2021? Uwe Hahn from the public broadcaster ard has given a number of explanations, 9 some of which have been reflected in the early emerging political

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Educational Films: A Historical Review of Media Innovation in Schools

Eckhardt Fuchs, Anne Bruch, and Michael Annegarn-Gläß

Translator : Nicola Watson

-‘Sponsored’ Film Production and the Construction of a ‘Global Village’, 1948–1953,” The Velvet Light Trap 75 (2015): 88–106. 27 Television for Schools was also introduced in the 1960s as part of a regular schedule offered by public broadcasters. 28 An English

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In Government and Scientists We Trust

Compliance during the COVID-19 Pandemic in the Federal Republic of Germany

Ross Campbell

public broadcasts to explain aspects of the pandemic. 34 John T. Scholz and Mark Lubell, “Trust and Taxpaying: Testing the Heuristic Approach to Collective Action,” American Journal of Political Science 42, no. 2 (1998): 398–417,

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Fifty Years of Drama on Israeli Children’s Television

From Teaching to Competing

Yuval Gozansky

, which broadcast mainly entertainment. They were joined by two veteran public broadcasters that aired children’s programs for only part of the day. Also available were two video on demand (VOD) channels for children and youth on cable or satellite. 5 In

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Book Reviews

Gianni Barchiesi, Laura T. Di Summa, Joseph G. Kickasola, and Peter Verstraten

documentaries produced by the Norwegian public broadcaster, NRK: Bergensbanen: Minutt for Minutt ( The Bergen Train: Minute by Minute ) (Thomas Hellum, 2009) and Nasjonal Vedkveld ( National Wood Night ) (NRK, 2013). Both qualify as examples of “slow