European Cinemas in the Television Age is a radical attempt to rethink the post-war history of European cinemas. The authors approach the subject from the perspective of television's impact on the culture of cinema's production, distribution, consumption and reception. Thus they indicate a new direction for the debate about the future of cinema in Europe. In every European country television has transformed economic, technological and aesthetic terms in which the process of cinema production had been conducted. Television's growing popularity has drastically reshaped cinema's audiences and forced governments to introduce policies to regulate the interaction between cinema and television in the changing and dynamic audio-visual environment. It is cinematic criticism, which was slowest in coming to terms with the presence of television and therefore most instrumental in perpetuating the view of cinema as an isolated object of aesthetic, critical and academic inquiry. The recognition of the impact of television upon European cinemas offers a more authentic and richer picture of cinemas in Europe, which are part of the complex audiovisual matrix including television and new media.
This book is the final product of the research project ``Populist political communication: political messages, media coverage and audience feedback''. It focuses on three categories of participants in populist political communication, that is political actors, media, and citizens. In particular, this study offers an insight into reasons behind the choice by Polish politicians and journalists to use populist messages, as well as factors fostering populist sentiments among Polish citizens. Its multi-dimensional approach utilizes communication, media and political science theories to make sense of production, dissemination, reception, and impact of populist political messages. This publication combines several aspects of research on populism. On the one hand, it is a continuation of theoretical and interpretative discussions present in both Polish and foreign literature. The correlation between Polish and foreign research is important, as it allows for comparison of the results obtained in different research contexts, as well as for further theoretical discussions on the methods of researching and describing the discussed phenomena. On the other hand, it attempts to capture a specificity of the Polish populist political communication in recent years (2015-2017).
European Cinemas in the Television Age is a radical attempt to rethink the post-war history of European cinemas. The authors approach the subject from the perspective of television's impact on the culture of cinema's production, distribution, consumption and reception. Thus they indicate a new direction for the debate about the future of cinema in Europe. In every European country television has transformed economic, technological and aesthetic terms in which the process of cinema production had been conducted. Television's growing popularity has drastically reshaped cinema's audiences and forced governments to introduce policies to regulate the interaction between cinema and television in the changing and dynamic audio-visual environment. It is cinematic criticism, which was slowest in coming to terms with the presence of television and therefore most instrumental in perpetuating the view of cinema as an isolated object of aesthetic, critical and academic inquiry. The recognition of the impact of television upon European cinemas offers a more authentic and richer picture of cinemas in Europe, which are part of the complex audiovisual matrix including television and new media.
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