Arts and Humanities Commons^™

Television In Ireland Before Irish Television: Nationalist Rhetoric And International Programming, Edward Brennan

Conference Papers

Typical of an international tendency, the history of television in Ireland has been framed by national boundaries. This paper argues that viewing the history of television solely through institutional sources and a nation state-bound perspective obscures transnational influences and homogenises diverse audience experiences. Moreover, such histories may serve to reproduce a limited range of types of nationalist rhetoric. The research presented here explores the history of television in Ireland through life story interviews. This reveals views of the nation, its global context and processes of social change quite different to those discussed in orthodox histories. Arguably, this shift in historical …

Rationalising Public Service: Scheduling As A Tool Of Management In Rté Television, Ann-Marie Murray

Doctoral

Developments in the media industry, notably the increasing commercialisation of broadcasting and deregulation, have combined to create a television system that is now driven primarily by ratings. Public broadcast organisations must adopt novel strategies to survive and compete in this new environment, where they need to combine public service with popularity. In this context, scheduling has emerged as the central management tool, organising production and controlling budgets, and is now the driving force in television. Located within Weber’s theoretical framework of rationalisation, this study analyses the rise of scheduling as part of a wider organisational response to political and economic …

Not Seeing The Joke: The Overlooked Role Of Humour In Researching Television Production, Edward Brennan

Articles

This article argues that humour can provide researchers with a unique access point into the professional cultures of media producers. By reconsidering an earlier case study, and reviewing relevant literature, it illustrates how humour can fulfil several functions in media production. Importantly, humour is a central means of performing the ‘emotional labour’ that increasingly precarious media work demands. For production research, the everyday joking and banter of media workers can provide an important and, heretofore, overlooked means of accessing culture, meaning, consensus and conflict in media organizations. The article argues that humour’s organizational role should be considered as a sensitizing …

Voice, Listening And Social Justice: A Multimediated Engagement With New Immigrant Communities And Publics In Ireland, Alan Grossman

Conference Papers

No abstract provided.

Restauration Und Ambivalenz: Maskulinitaet Im Deutschsprachigen Film Nach 1990 Im Lichte Des Neuen Deutschen Films, Sascha Harris

Articles

Restoration and Ambiguity: The Male in Post-Wall German Film

As the programmatic, if diverse tenets of the Neuer Deutscher Film began to lose their hold on German film-making in the eighties, filmic narratives and cinematography emerged which on the one hand draw on this tradition, especially in seemingly postmodern narratives of subversion, minority and subjectivity, but on the other combine these with conventional, even restorative film language and narrative construction. Reunification has set a development in motion which to a remarkable extent echoes the cultural metanarrative of the post-war period. The role and representation of male characters in a significant …

Media Effects In Context, Brian O'Neill

Books/Book chapters

The media effects tradition occupies a hugely influential and dominant role within mainstream communications research. It is unquestionably the longest running tradition within the field of audience studies, spanning nearly its entire history, yet it continues to divide opinion, both methodologically and with regard to its fundamental approach towards the study of media audiences. Its influence extends well beyond the academy, and the powerful influence exerted by its research agenda on public and political understanding of the impact of media is perhaps one of its most significant achievements.

Migration And Intercultural Cinema In Ireland: A New Contemporary Movement?, Agnes Kakasi

Books/Book chapters

Migration and Intercultural Cinema in Ireland: A New Contemporary Movement?

‘Accented cinema’ (Naficy, 2001) is a transnational cinematic genre shaped by the personal exilic and diasporic experience of the filmmaker, and the thematic and stylistic aesthetics of the film. Much as Third Cinema, it subverts the practices of classical (Hollywood) cinema and auteur (European) cinema by depicting the interstitial positionality of the exiled/diasporic/migrant/ethnic film, filmmaker, and production practice. In places where filmmaking belongs to a quasi-homogeneous privileged circle, representations of the ‘accented’ subject can be highly indicative of national ideologies, power relations, and cross-cultural interactions. This paper will introduce the …