noted as the reasons for daily drama’s suitability for the late-multichannel and digital media age. First, the daily drama format enabled linear television to create a ‘televisual event’. It supported the creation of ‘must-see TV’, what Rosemarie Truglio
From Teaching to Competing
tween girls enacted friendship in the private space of a friend’s home during post-television viewing hangouts. Tween Networks Tweens embed children’s television networks, such as Nickelodeon and Disney, in their social cultures because these networks
Reproducción de lógicas individualistas y de consumo
Alejandro Agudelo Calle
Este estudio aporta a la comprensión de los procesos comunicativos de la televisión y, específicamente, evidencia el rol del medio audiovisual en la educación para la salud y en la formación política de los televidentes. 1 Para este propósito
Intended to provoke contemplation and discussion about collective
identity in unified Germany, the Denk ich an Deutschland (When I think
about Germany) television film series was commissioned by Bayerischer
Rundfunk (Bavarian Broadcasting, BR) and Westdeutscher Rundfunk
(West German Broadcasting, WDR) and was produced from 1997 to 2004
by megaherz gmbh. The complete series consists of twelve documentary
films ranging from forty-five to sixty minutes1 with the first five (see
Table 2) having been launched on BR and WDR as a set in October 1998.
The 2006 Lebanon War
Amnon Cavari and Itay Gabay
Local television news is the most-watched news source in America, yet we know very little about how local channels cover foreign events. In this article, we examine and compare the news coverage of the 2006 Lebanon War on local and network news channels in the United States. Applying Entman's framing functions, we find that the local news coverage of this war was significantly more supportive of the Israeli position compared to the coverage of the same event on network news. We suggest that this difference is due to features of the local newsroom, including economic and institutional constraints, as well as newsroom routines that result in the tendency of the local media to comply with the positions of the US authorities.
Kibbutz Yakum as a Case Study
Amir Har-Gil and Inbal Ben-Asher Gitler
Architecture and landscape constitute key aspects of fictional realistic drama in film and television. In fictional films whose plots take place on Israeli kibbutzim, on-site cinematography is a central means of achieving a realistic and dramatic portrayal of the communal settlement and its social space. In this article, we investigate five productions filmed on location at Kibbutz Yakum. We argue that these filmic representations of architecture and landscape reify the image of the kibbutz as an introverted society that denies individuals their privacy and upholds the centrality and presence of community. By comparing the actual sites with their presentation in films, we show that the physical space of the kibbutz was filmed selectively in a manner that immortalizes its communal, 'classical' image, which in reality no longer exists. The kibbutz's transformation from a communal to a privatized society is purposely veiled in these films, preserving the kibbutz's established image.
Robert Blanchet and Margrethe Bruun Vaage
As the frequent use of metaphors like friendship or relationship in academic and colloquial discourse on serial television suggests, long-term narratives seem to add something to the spectator's engagement with fictional characters that is not fully captured by terms such as empathy and sympathy. Drawing on philosophical accounts of friendship and psychological theories on the formation of close relationships, this article clarifies in what respect the friendship metaphor is warranted. The article proposes several hypotheses that will enhance cognitive theories of character engagement. Spectators tend to like what they have been exposed to more, and the feeling of familiarity is pleasurable. Familiar characters are powerful tools to get the spectator hooked. Furthermore, by generating an impression of a shared history, television series activate mental mechanisms similar to those activated by friendship in real life. These factors, and several others, create a bond with characters in television series that tends to be described in everyday language as a sort of friendship.
Claudia Lenz and Kirsten Heinsohn
Building on the assumption that cultural representations of the past contribute to the establishment and regulation of gendered power relations, this article investigates the representations of female participation in the Nazi regime in the German television series Hitlers Frauen. Stuart Hall's concept of decoding is used for a critical media analysis, asking how men and women are positioned as historical agents or passive objects in the series. In fact, the series plays on the gendered symbols and representations associated with the Third Reich. It reproduces traditional ideas regarding the (non)relation between femininity and politics and evokes a sexualized imaginary where women are seduced by a powerful, charismatic leader. Women are represented as dependent-materially, physically, and emotionally. In this way, the television series contributes to the continuation of traditional gender regimes. Even when the series apparently reacts to ongoing debates about women's role within the Nazi system, it disappoints those who hoped to learn about the reasons, interests, and possibilities of women between 1933 and 1945.
This article provides an interpretation of Josef Vilsmaier's two-part television feature film, Die Gustloff (2008), which depicts the sinking of that ship in January 1945. It argues that Vilsmaier, at the expense of historical fact, pins blame for the fateful decisions that led to the ship being vulnerable to attack on the Navy, while simultaneously seeking to exculpate and even glorify the Merchant Navy representatives on board. Die Gustloff seeks to distinguish between a “bad” captain and a “good” one, between hard-hearted military indifference and uncorrupted civilian decency in the face of the plight of German refugees. Generally, in its portrayal of the civilian as a realm untainted by Nazism, it seeks to resist trends in contemporary historiography that show such distinctions to be untenable. It is thus deeply revisionist in character, and, in many ways, represents the nadir of the “Germans as victims” trend in contemporary German culture.
This article challenges the common presentation of the medieval street as a mud- and muck-filled cesspit. Using the television episode “Medieval London” of the Filthy Cities series aired by BBC Two in 2011 as a springboard, I discuss the realities of medieval waste management and modern conceptions of it. Through an examination of historical records from London, I show that the early fourteenth-century medieval street was not nearly as filthy as portrayed in Filthy Cities. Rather than being based on medieval evidence, our notion of the dirty medieval city is built on modern ideas of civility and scientific progress. Interpretations like that in Filthy Cities reflect more on our modern condition than the medieval one. The constructed dichotomy of medieval filth versus modern cleanliness obscures our contemporary waste problems and reinforces a physical and mental distance from our own waste.