Televisual Culture After the break

Samenvatting

After the Break - 2[-]TELEVISUAL CULTURE - 3[-]Table of Contents - 6[-]After the Break, Television Theory Today - 8[-]1. Questioning the crisis - 12[-]2. New paradigms - 14[-]3. New concepts - 15[-]4. Concluding thoughts - 16[-]References - 16[-]Part I: Questioning the crisis - 20[-]\'Unreading\' contemporary television - 22[-]1. Analyzing quality television=and why it is redundant - 24[-]2. The complexities of television as medium - 26[-]3. Unreading television - 28[-]4. Conclusion - 31[-]References - 32[-]Caught, Critical versus everyday perspectives on television - 36[-]1. Media 2.0 and the cultural studies perspective on television - 38[-]2. The mass communication paradigm in its protoprofessionalized version - 40[-]3. Conclusion - 47[-]Notes - 48[-]References - 49[-]The persistence ... of national TV, Language and cultural proximity in Flemish fiction - 52[-]1. National television in a global era - 52[-]2. National viewing - 55[-]3. The Flemish case - 57[-]4. Conclusion - 61[-]Notes - 62[-]References - 62[-]Constructing television, Thirty years that froze an otherwise dynamic medium - 66[-]1. An era of constraint - 68[-]2. The public and the nation: lessons from the Third Reich - 70[-]3. A television freeze and a Cold War - 72[-]4. Contextualizing constraint - 74[-]Notes - 78[-]References - 78[-]When old media never stopped being new, Television\'s history as an ongoing experiment - 80[-]1. Always already new: the ongoing transformation of television - 81[-]2. Experimental systems - 83[-]3. Experiments in television - 85[-]4. Experimental moments of broadcast/network television - 88[-]5. Broadcast/network television as an ongoing experiment - 91[-]6. Post-network experiments - 92[-]7. Closing remark on television studies - 94[-]Notes - 95[-]References - 96[-]Part II: New paradigms - 100[-]Unblackboxing production, What media studies can learn from actor-network theory - 102[-]1. ANT - a very short introduction - 103[-]2. A mechanics of power - 105[-]3. Media from an ANT perspective - 106[-]4. The media\'s mechanics of power - 108[-]5. A teaching moment - 110[-]6. Conclusion - 113[-]Notes - 114[-]References - 114[-]Convergence thinking, information theory and labour in \'end of television\' studies - 118[-]1. Introduction - 118[-]2. The empirical tendency and information theory - 120[-]3. Convergence thinking - 124[-]4. Conclusion - 127[-]Notes - 129[-]References - 129[-]Television memory after the end of television history? - 132[-]1. Television memory and television history - 133[-]2. Television memory and audience research - 134[-]3. The complexity of the concept of television memory - 136[-]4. Representations of the past on television: television as memory maker - 137[-]5. Towards a new participative television memory - 140[-]6. Conclusion - 142[-]Notes - 143[-]References - 143[-]Part III: New concepts - 146[-]YouTube beyond technology and cultural form - 148[-]1. Introduction - 148[-]2. YouTube as technology: homecasting - 149[-]3. YouTube as social practice: video-sharing - 151[-]4. YouTube as cultural form: snippets - 154[-]5. Conclusion - 157[-]Notes - 158[-]References - 159[-]Move along folks, just move along, there\'s nothing to see, Transience, televisuality and the paradox of anamorphosis - 162[-]Notes - 175[-]References - 175[-]Barry Chappell\'s Fine Art Showcase. Apparitional TV, aesthetic value, and the art market - 180[-]1. The value of art on TV - 180[-]2. The art of selling the work of art - 183[-]3. Apparitional television - 185[-]4. Conclusion - 190[-]Notes - 191[-]References - 191[-]About the authors - 194[-]Index - 198[-]