European television Research Papers - Academia.edu (original) (raw)

2025

Accidents always get a lot of public attention. Journalists appear at the site of an accident, taking pictures and making interviews with professionals and eyewitnesses. With the emergence of smartphones, online-media, and social media platforms such as Twitter, Facebook, Instagram, etc. everyone became a journalist. It is no longer only accidents catching public attention but also near misses, small irregularities, or even normal business if spectacular pictures or video clips are involved. This information is spread via social media platform and often taken and published completely unfiltered by online newspapers. In our thesis, we examine the impact this development has had on high-risk organizations with Skyguide, the Swiss air navigation service provider as a case study. By means of semi- structured interviews with three Skyguide senior managers and two Swiss journalists, we identified changes in the media landscape and their impact on Skyguide. From our research, we will show ...

2025, Images

Tous droits réservés © 24/30 I/S, 2012 Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de

2025, Robin Jacob

What needs to change at the BBC

2025

While analyzing Lithuanian television production (generic diversity and TV news output on public service and commercial stations), discussion here moves on several levels of analysis. More specifically, this paper addresses economic and journalistic cultural parameters as key factors affecting contemporary media changes in Lithuania and other small Baltic nations. As media practice reveals, liberalization of the media, its gradual transition from the state-funded to the market-driven model and changing conditions of professional journalism has made the media in the three Baltic countries very sensitive to market mechanisms. On the one hand, small size of media market, shrinking possibilities of media advertising and growing competitiveness among media players set up favorable conditions for commercialization and popularization of media content. On the other hand, the cultural 1 factor is of no less importance when assessing TV production particularities in the countries of young democracy. Based on empirical evidence (generic analysis of TV production on different channels), the authors observe increasing emphasis on entertainment and soft programming rather than informational and analytical programs on public service and commercial television. At the same

2024

State censorship of the press and media is forbidden in democracies, but internal censorship within individual newspapers, TV channels and radios, through their owners and editors-in-chief, may further stifle the freedom of opinion of individual journalists and reporters, so please list authors who have generally analyzed such internal censorship of the mass media and press, and describe their works in detail!
In addition to the official ban on state censorship, internal, ownership and editorial influence of media companies in Western democracies is a widely researched phenomenon. Many media researchers, sociologists, communication theorists and publicists have addressed the question of how media owners, editors-in-chief and managers controlled by them, guide the content production process of editorial offices, thereby shaping or restricting journalists' freedom of expression.

2024

Deliverable 5.2 Cultural mobility through narrative media production in the European cultural space Edited by Stefano Baschiera (QUB) Markus Schleich (QUB) WP number and title: WP4-Creative Industries: Media production and location marketing strategies for a transcultural European space Task number and title: 4.5-"Studying cultural mobility through narrative media production in the European cultural space"

2024, El Profesional de la Información

This article is a result of the research project From hegemony to competition: transformations in the program strategies of European public televisions in the last 30 years (UE5) (PGC2018-094863-B-100, MCIU-Feder).

2024, Screen Encounters with Britain - Interim Report Netherlands: What do young Europeans make of Britain and its digital screen culture?

Screen Encounters with Britain (SEB) is an AHRC-funded research project that explores how transnational video-on-demand services like Netflix and YouTube affect the nature and extent of European audiences' digital encounters with the UK.... more

2024, Critical Studies in Television: The International Journal of Television Studies

2024, International Journal of Management Trends: Key Concepts and Research

Topics related to the media, journalism, the transformation of journalism, the transition from traditional to new media, inevitably lead us to the analysis of the current media situation. The issue of tabloids and tabloidization is essential for understanding the reconstruction of new media. It is a fact that tabloids do not respect the principles of journalistic code and ethics, that tabloid content is in opposition to quality, investigative, analytical journalism, but they still lead us to think about the causes of such phenomena. In this paper, we will deal with the topic of journalism, journalistic code, ethical dilemmas, tabloids and tabloidization.

2024, Baltic screen media review

2024, Baltic Screen Media Review

The article discusses the evolution of conventions for TV-journalism based on the early history of Estonian Television (ETV) news. ETV was launched in 1955, its founding was coordinated by the Soviet authorities in Moscow. Although one of the initial motivations for founding the station was to produce ideological programming directed to Finnish audience, the Estonian team within the institution used the new medium to develop a new nationally oriented media organization. Over time this new journalistic institution became increasingly established and standardized both in terms of its practices as well as its use of textual formats. As the authorities lacked a clear understanding of television’s specific journalistic means and affordances the governance of ETV became an object of a rather multilayered control system. The article analyses this complex system of institutional power distribution and discusses its effects on the evolution of “cognitive modalities” expressed in specific pro...

2024

The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.

2024, International Journal of Sciences: Basic and Applied Research

Corruption is a global threat to state efficiency which is common to both developed and developing countries alike. However corruption is more evident in developing countries such as; Sudan and its ravaging effects are particularly apparent in Sudan. However, the media contributes largely to the success of democracy in today’s world. They carry a large database of information, along with their content and analyses, which could be a useful source for law makers to legislate laws and policies and for voters to choose their governments. As such, this paper set out to address the issue of corruption in Sudan within the context of Sudanese press by focusing on how media ownership and access to information influence the Sudanese press frames the coverage of issues of corruption in Sudan. This study therefore proposes a content analysis of Sudanese newspaper on their coverage of the issues of corruption. As with every other research, the limitation of this study is that, it is a conceptual...

2024, International Journal of Digital Television

This article investigates the relationship between television formats, cultural security and China’s ‘going out’ policy. Cultural security is a term used within Chinese policy circles to advocate the strengthening of media and cultural pursuits with a view to making them effective instruments of national ‘soft power’, a term coined by Joseph Nye (1990). Whereas ‘going out’ refers to Chinese business expansion internationally, in this article it describes media and cultural industries. We argue that these three elements constitute a new soft power coalition. Building on the existing demand, particularly among diasporic communities for historical dramas, formatting of talent and reality shows allow Chinese cultural identity to be reformed, remade, re-presented and modernized. The article provides background to the emergence of television formats, showing which kinds of programming passes both government scrutiny and the audience test. In the final section it looks at three examples of...

2024, Cuadernos.info

El siguiente texto busca revisar los diferentes sistemas que hoy pueblan el paisaje audiovisual europeo-tradicionalmente sustentado en la noción de servicio público-, en relación a las transformaciones sociales de las últimas décadas y a las tipologías abstractas que han intentado dar cuenta de sus divergencias. Con esto, se pretende calibrar la influencia de las doctrinas europeas y sus sesgos, así como abrir las interrogantes que los sistemas nacionales reformados y las armonizaciones parciales plantean respecto a los desafíos de la Era Digital 1. Palabras claves: Televisión europea, servicio público, era digital. This article reviews current European audiovisual systems-which are traditionally sustained in the notion of public service-with respect to the social transformations of recent decades and the abstract typologies that have attempted to reveal its divergences. It aims to measure the influence and biases of European doctrines and question the suggestions made by the reformed national systems and the partial synchronizations with respect to the challenges of the Digital Age.

2024, Media Transformations

Mediatized participation and forms of media use and multiple meaning making: The Baltic perspective

2024, Observatorio (OBS*)

Czech newspaper editors still face a persistent dilemma after the transformation of the Czech media system at the end of the last century. They are confronted with a significantly accelerated process of commercialization in the entire media sector. Coping with this process is not easy for many of them. The presented paper is based upon the research project-"Czech newspaper editors" which was undertaken between June-August 2007. The main objective of this study was to show how Czech newspaper editors changed their editorial strategy after the collapse of the former media system in the 1990s and to what extent they have adapted to the pressure of economic rationalization and the commercialization of the media sector. The second objective was to describe criteria that editors instinctively use to evaluate what readers want to consume.

2024, Communication Today

Czech newspaper editors feel a strong inner professional confl ict concerning following professional dilemma: to be a moral agent focused on serious problems of society or a craftsman who has generally given up on higher standards of journalistic work and tries to conform to popular standard of general audience. The presented paper is based upon the research project-"Czech newspaper editors" which was undertaken between June-August 2007. The main objective of this study was to show how Czech newspaper editors changed their editorial strategy after the collapse of the former media system in the 1990s and to what extent they have adapted to the pressure of economic rationalization and the commercialization of the media sector. The second objective was to describe criteria that editors instinctively use to evaluate what readers want to consume.

2023, Télévision

Le cinéma, depuis ses débuts, a acquis des techniques dont on pourrait dire qu’elles ont sans cesse réduit la part de la performance pour transformer le film en un système de notation dont le numérique représente l’aboutissement. Durant tout le vingtième siècle, les variations de l’œuvre sont du côté de l’auteur ou de l’exécution de l’œuvre. Avec le numérique, le spectateur peut agir à la fois sur la matérialité du film et sur le récit, ce qui amène à définir le cinéma comme un cinéma de l’interaction, post-cinéma qu’on peine à distinguer de la post-télévision, comme le montre cet article à partir de l’analyse de Bandersnacht, dernière manifestation de la série Black Mirror. Que devient le spectateur dans ce contexte ? Les termes de « spectacteur » ou d’« interacteur » ont été avancé. Ils laissent dans l’ombre la relation avec le concepteur-programmateur ou ce qu’il faut bien appeler l’auteur. En s’appuyant sur l’étude précise et détaillée des choix proposés à l’usager et des parcours narratifs qu’il peut accomplir en interagissant avec Bandersnacht, on met en lumière les limites de sa liberté, qui s’apparente finalement à celle de l’interprète d’œuvres musicales contemporaines comme celle de Boulez.

2023

In recent years Pakistani media have been seen the contesting an alarming situation for the practical journalism in Pakistan. This study examined the root causes of that contestation. Interviews of working journalists were conducted and Grounded Theory (GT) methodology was used to analyze those interviews. Qualitative analysis techniques of Grounded Theory were used to generate codes and themes. Results of this research show that the main cause of conflict lies in business interests along with other lack of understanding of healthy competition in Journalism, emergence of immature and untrained workforce in it. These steps would help media organizations to avoid fights and move towards mature journalism.

2023

Youth Culture- a matter of taste Media consumption and style in Estonia and Sweden

2023, Le Temps des Médias

Cet article propose une analyse critique du « discours de la fin » d’un média 1. Je sug- gère que les «discours de la fin» (qu’il s’agisse d’une fin souhaitable ou redoutée) affectent certains médias plus que d’autres, et dans des tonalités différentes, pour des raisons qui n’ont pas grand-chose à voir avec une réelle possibilité d’identifier la fin précise d’une technologie donnée. Pour le dire sans détour, parler de la fin d’un média relève en grande partie de l’idéologie et non de l’histoire. Ce sont des idéologies que je tente de débusquer. La télévision est un média idéal pour un tel exercice.

2023, Zenodo (CERN European Organization for Nuclear Research)

2023, Profesional De La Informacion

Es la coordinadora del Master oficial en Contenidos de comunicación audiovisual y publicidad. Fue directora del Departamento entre 2009 y 2012. Es investigadora senior del grupo de investigación consolidado Griss de la UAB. Ha participado en proyectos de investigación financiados por el gobierno español y actualmente es la IP de un proyecto sobre la televisión social en Europa (CSO2015-65350-R). Su labor como investigadora se centra principalmente en los estudios televisivos.

2023, Profesional De La Informacion

2023, Estudios Sobre El Mensaje Periodistico

Recibido: 13 de febrero de 2020 / Aceptado: 2 de abril de 2020 Resumen. El objetivo principal de esta investigación se centra en la interacción de la industria televisiva en abierto con su audiencia social a través de Twitter. Con este propósito, presentamos los resultados del análisis de contenido de las cuentas oficiales de los programas de mayor audiencia de un total de 26 canales generalistas en abierto en los cinco mayores mercados europeos (Alemania, Italia, UK, Francia y España). Los tuits publicados en las cuentas de dichos programas televisivos han sido recopilados a través del API y software específico. Los objetivos del estudio se concretan en el conocimiento de las formas, contenido, estrategias de activación de la audiencia social y tipologías de las publicaciones en las cuentas de estos programas pertenecientes a los tres principales pilares de la programación televisiva (ficción, info-show e información) y también en las divergencias y similitudes que existen entre las televisiones generalistas en función del país, la titularidad de las cadenas y el género programático. De nuestros resultados se desprende un interés bajo, aunque desigual entre países, por parte de los programas más populares por interactuar con su audiencia social en Twitter.

2023, Zenodo (CERN European Organization for Nuclear Research)

2023, Springer VS

Wie haben Fernsehschaffende die sogenannte Qualitätsserie seit dem Jahr 2015 bis zur Gegenwart ausgehandelt? Das Buch untersucht diese Frage und zeichnet so ein umfassendes Bild des Fernsehens in Deutschland und seiner aktuellen Veränderungen. Die Praktiker*innen, so wird als zentrale Hypothese formuliert, adaptieren die Qualitätsserie in einen nationalen Kontext und setzen sich über dieses Konzept mit umfassenderen Transformationen des Fernsehens und der hiesigen TV-Branche auseinander.

2023, Informacijos mokslai

Straipsnio tikslas – trumpai apžvelgti Latvijos žiniasklaidos privatizacijos ir koncentracijos procesus, sąlygotus užsienio investicijų. Straipsnyje nagrinėjama Skandinavijos, daugiausia Švedijos, kapitalo įtaka redakciniam autonomiškumui, naujų redakcinių instrumentų įdiegimui, siekiant žurnalistikos kokybės ir profesionalumo, o taip pat tokioms žurnalistikos struktūroms, kaip: profesinės sąjungos, žurnalistų rengimas ir mokymas bei žiniasklaidos tyrimai.Straipsnyje teigiama, jog pastarųjų metų Latvijos žiniasklaidos raidą atitinka Šiaurės/Vidurio Europos arba demokratinis-korporacinis žiniasklaidos sistemos modelis, suformuluotas mokslininkų Daniel C. Hallin ir Paolo Mancini trijų žiniasklaidos modelių ir politikos koncepcijoje.The role of Scandinavian investments for the re-integration of Latvian media in the North/Central European model of media systemAinārs Dimants SummaryThe aim of the paper is to give a brief overview about the development and concentration of Latvian media o...

2023, Global Media Journal

This paper discusses how television professionals in Germany negotiate the transnational potential as well as the regional, national and local particularities of German quality drama. The central hypothesis is that the practitioners' current industry discourse on quality TV drama bears clear "glocal" traits, as their debates on transnationalisation focus on national or local specificities as well. Drawing on the theoretical concept of glocalisation, the analysis is based on 12 expert interviews with 15 producers, scriptwriters, commissioning editors and directors of recent quality TV drama projects from Germany. First, the article outlines key concepts and methods for the analysis. Subsequently, it describes transnationalism and regionalism in the German-speaking television landscape and among public broadcasters, which are the most important commissioners of German TV fiction. Further, the article deals with industry discourses on foreign sales and transnational distribution. Finally, it discusses the transnationalisation of project networks and individual practitioners on a micro level.

2023, Interactions: Studies in Communication & Culture

With an international debate under way about how to resolve the financial and political crisis affecting independent media everywhere, can international efforts enhance the prospects for promoting the principles of public service media (PSM) in national contexts where they have never been applied? Informed by discussions that contributed to a CAMRI Policy Brief published in March 2020, recommending incremental, non-media-centric approaches to laying the groundwork for PSM in challenging environments, this article considers how internal and external interests mesh in underpinning mechanisms to foster PSM values. It shows how regional and international mechanisms, including for example the UN’s Sustainable Development Goal 16, along with proposals for an International Fund for Public Interest Media and Social Media Councils, rely for their credibility and effectiveness on national institutions and national representatives working with them towards the principles that underlie PSM.

2023, Illuminace. The Journal of Film Theory, History, and Aesthetics

Based on interviews with production members and trade magazine articles, the paper discusses how the German comedy drama Drinnen-Im Internet sind alle gleich (2020) dealt with COVID-19 in its production. Th e series-whose title translates to "Inside-On the Internet All Are Equal"-is obviously about the pandemic: it tells the story of Charlotte, who is planning to quit her job and leave her marriage when she suddenly has to self-isolate and communicate with others only online. Not only Charlotte's fi ctional life but also the show's real-life production was very much aff ected by the COVID-19 pandemic. All crew members worked from home, due to Germany's contact restrictions in early 2020. For a fi ctional production, Drinnen was developed and shot in an extremely fast way-even more so when one considers its public-service context, usually accompanied by complicated bureaucratic structures. Th e speed and fl exibility of the project-based making of Drinnen points to wider changes within its broadcaster, the public-service ZDF-Zweites Deutsches Fernsehen (Second German Television), as well as in German drama production in general. Already before the emergence of COVID-19, attempts had been made to produce serial fi ction more quickly, fl exibly, and cheaply; under the pandemic, these approaches intensifi ed. While Drinnen is oft en regarded as an innovative role model in this context, such "instant" drama productions also require critical examination. For the practitioners involved in producing Drinnen, the race to quickly fi ctionalize the COVID-19 pandemic meant immense pressure.

2023, … sobre la ficción televisiva en la Tercera …

El título completo de State of Play es State of Play, series 1. No hay una "series 2". El 8 de mayo, cuando todavía no se había estrenado la serie, la BBC propuso a su creador, el guionista Paul Abbott, una nueva entrega (Deans, 2003a). Hasta la fecha, dicho proyecto no se ha llevado a cabo, lo que nos dice mucho de lo coyuntural de su gestación. De la misma manera, cabe preguntarse por qué la BBC tenía tanto interés en renovar un producto que todavía no se había presentado en público. Cuando lo hizo, su éxito fue bastante relativo. El día de su estreno, la noche del 18 de mayo de 2003, State of Play obtuvo 5,2 millones de espectadores, frente a los 8,4 millones del líder de esa noche, la serie criminal Blue Murder, en ITV1 (Deans, 2003b). En su desenlace, el 22 de junio, logró 5 millones de espectadores y un share del 23%, derrotada, en esta ocasión, por la reposición del filme de la franquicia Bond El mañana nunca muere, en ITV1, con 6,8 millones y un share del 35% (Deans, 2003c). Sin embargo, su segundo capítulo, emitido en adelanto por el canal de Freeview (el equivalente a nuestra TDT) BBC4, sí que tuvo una audiencia más que notable: 500.000 espectadores decidieron seguir la miniserie en la plataforma digital, la mayor hasta la fecha desde que BBC4 inició sus emisiones en marzo de 2002. Una cifra más que considerable si se tiene en cuenta que hasta entonces, los programas estrella de dicha cadena, como Horizons o Great Britons, apenas sí llegaban a los 30.0000 espectadores (Deans, 2003b). Muy diferente fue la recepción de una crítica que, en su mayoría, se mostró entusiasmada con la miniserie. Así, Gareth McLean en The Guardian afirmaba al respecto: "si puedes contar las buenas series de los últimos años con los dedos de ambas manos, es el momento de que te crezca un nuevo dedo"; Paul Hoggart, en The Times, resaltaba: "posee un turbulento dinamismo creíble y adictivo"; y James Walton, de The Daily Telegraph, aunque mostraba sus reparos acerca del "lado doméstico y humano", reconocía que "es suficientemente buena como para esperar que no caiga [en ese defecto] y estad seguros de que la próxima semana estaré frente al televisor para comprobarlo" (Deans, 2003b). Curiosamente, en todas las críticas se hace hincapié en el trabajo como guionista de Paul Abbott, siguiendo así la tradición británica de análisis televisivo centrada en el guionista como autor. A este respecto, no conviene olvidar que el director de la serie fue David Yates, célebre hoy por haberse ocupado de la franquicia más rentable de la historia: Harry Potter. Yates se hizo cargo de la adaptación de Rowling en Harry Potter y la Orden del Fénix (2007) quinta entrega de la saga, y desde entonces ha filmado El misterio del príncipe (2009) y las dos aventuras finales Las reliquias de la muerte. Parte 1 y Parte 2 (2010 y 2011, respectivamente). El prestigio también llegó de la mano de diferentes galardones. La lista es una heterogénea mezcla que demuestra el aprecio tanto por el fondo como por la forma. En el mercado doméstico, fue nominada a 7 premios BAFTA, y se alzó con tres de ellos: Actor (Bill Nighy, por su papel como

2023, Transnational Screens

2023, José A. Fonseca Delgado

Este artículo plantea como objeto de estudio la programación televisiva en Puerto Rico en la franja de mayor audiencia a través de un análisis de la oferta de contenidos emitida por las cadenas en abierto: Telemundo (Puerto Rico), Televicentro, TuTV/PRTV y Univision (Puerto Rico). Se seleccionaron las cadenas, años y la franja de horario del prime time con el objetivo de destacar los cambios más significativos que se produjeron antes y después de la implementación de la televisión digital terrestre en Puerto Rico. Se destacan en los resultados; la estructura general de la oferta televisiva, producción de contenidos, origen de los contenidos e idioma de emisión de los programas en la TV puertorriqueña antes y después del apagón analógico en la franja del prime time.

2023, Vista

The advent of streaming platforms established new demands and paradigms, generating a necessary reconfiguration of the creation and production processes oftelevision content and formats. A recurring category of traditional television, the transnational remake starts to manifest itself with other contours, submitted to a new order of practices and meanings. What is gained and lost in translation from the local to the global exhibition? From the proposal of a systematisation of the strategies employed by the streaming industry in the production and exhibition of transnational remakes, this article organises a path supported by the analysis of some transnational franchises of serialised fiction from the broadcasting era (The Office and Bron/Broen [The Bridge]) and the streaming era (Dix Pour Cent [Ten Percent] and La Casa de Papel [Money Heist]) , recognising the leading role of Netflix in the industry. Structured chronologically in "movements", such systematisation draws on the analogy created by Erwin Panofsky (1978) between film and the medieval cathedral and moves alongside the historical timeline of Netflix's business models, as convened by Laura Osur (2016). Hopefully, the conclusions obtained offer relevant inputs for the debate on transnational remakes in television, highlighting their contribution to the processes of cultural affirmation and the identity construction of the realities they represent.

2023

The mass media play diverse roles in society and people have come to rely on them for information, enlightenment and relaxation. The audience of the mass media are however, many and varied –scattered over time and space, and so cannot come together to take collective action. This places them at a disadvantaged position where so much influences and forces are exerted on them. One of such forces is advertising, as advertisers have long discovered the power of the media and the masses’ overdependence on them to meet certain needs. While the masses seek to get information from the media on what is happening around them, how to live their lives and how to release tension, advertisers are constantly devising means of packaging persuasive messages that will effectively win the hearts of the audience, and get them to buy their ideas, products and services. This article reflects on the relationship between the media, society and the audience, and how advertisers use the media to exploit the ...

2023

The electronic version of this book is freely available under CC BY-SA 4.0 licence, thanks to the support of libraries working with Knowledge Unlatched (KU). KU is a collaborative initiative designed to make high quality books Open Access for the public good. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org.

2023, MIYAZAWA, AKARI

Netflix is one of the biggest streaming platforms. It is a company that offers streaming services with a wide variety of award-winning TV shows, movies, and documentaries. This study aimed to determine the correlation between Netflix's quarterly revenues and the number of shows added. The researchers used the correlational descriptive research design and observational methods in order to investigate and understand the relationship between Netflix's quarterly production of films and its sales. The figures showed no significant relationship between Netflix's quarterly sales and number of shows added. Despite the fluctuations of the number of added shows from Q1 2020 to Q3 2021, the revenues increased constantly. While Netflix may benefit from adding more shows, it does not guarantee higher revenue.

2023, Le Temps des Médias

Comparant de façon systématique trois dimensions de la communication à distance : la désincarnation (versus la présence physique), le délai (versus l’instantanéité), et la dissémination (versus le dialogue privé), l’article montre les continuités qui unissent les réseaux sociaux numériques aux technologies précédentes, principalement l’épistolaire. L’histoire n’est pas linéaire, ne suggère ni progrès de la communication, ni perte d’authenticité. Les attitudes par rapport à la présence médiatisée ont été, d’emblée, profondément ambivalentes.
Proposing a systematic comparison of three dimensions of interpersonal communication at a distance : disembodiment (versus physical presence), delay (versus instantaneity) and dissemination (versus private dialogue), the article focuses on the continuities between social digital networks and former communication technology, mainly the epistolary. Suggesting neither progress and better communication, nor a loss of authenticity, our history does not appear as linear. Attitudes vis-à-vis mediated presence have been, from the start, deeply ambivalent.

2023

2023, Political Communication Division …

C. Ann Hollifield Department of Telecommunications Grady College of Journalism & Mass Communication University of Georgia Athens, GA 30602 USA annholli@uga.edu ... Lee B. Becker James M. Cox Jr. Center for International Mass Communication... more