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This chapter looks at one well-known format in reality television– Big Brother (Bigg Boss in India) – in order to shed light on the complicated relationship between the forces of globalization, national and local cultural formations and the dictates of commercially driven entertainment. It analyses the essential features of format television to argue that the very mode of its constitution as an economic and aesthetic object inclines it towards the global. The chapter elucidates the reality behind global cultural formations by discussing the two main theoretical approaches to the question of global culture – cultural imperialism and cultural globalization. It also offers some speculations about how reality television embodies global form and thus functions as a sort of “Bigg Boss” that dictates contemporary modes of meaningful behaviour.
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This chapter critically evaluates changing definitions of ‘public’ in Indian television in relation to discourses of globalization and media privatization. It examines the debate over the nationalist agenda of public broadcasting in India in relation to the demands for alternative models of broadcasting, and the rise of private commercial satellite channels since the 1990s. It also discusses how representations of traditionally private desires of sexuality and intimacy in soap operas, reality TV shows and music television are redefining the public in India. It outlines the ways in which private desire is made visible — and thus made public — through the convergence of the television screen, the cinematic screen, the computer screen, and the mobile screen. It argues that binaries of ‘public’ versus ‘private’ force us into either/or debates even though such category systems are always-already hybrid in postcolonial societies such as India.
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Beneath many instances of ’sweeping’ change, both structural and representational, in the market-dominant, liberalized and privatized Indian televisual scenario there lies a hidden transcript of continuity insofar as the encoding of development issues, images and messages is concerned. In the periods of Doordarshan and later corporate channels, though with markedly different historical contexts, reference points, contents and styles — the encoding of ’development’ leaves little autonomy to the audiences. In a political slant indicating how the two televisual periods converge in contracting the space for public debate and civic engagement the essay seeks to make a departure from the dominant view which puts them in binary positions.
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A unique confluence of technological, political and economic factors in the 1990s drove the transformative process that led to the battering down of the government’s monopoly over television. By the end of the 1990s, the growing strength of Indian capitalism after the liberalization of the Indian economy and the forces of what Thomas Friedman has called ‘Globalisation 3.0’ allowed Indian entrepreneurs to level the playing field. The Indian state, having embarked on economic liberalization, was forced to adapt to satellite television as an agent of global capitalism it certainly did not give up control over television easily or voluntarily. Operating at the junction of public culture, capitalism and globalization, satellite news networks have had profound implications for the state, politics, democracy and identity formation. Despite all their shortcomings and sensationalism, the emergence of satellite television news networks has enhanced and strengthened deliberative Indian democracy.
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This chapter looks, in particular, at issues surrounding the trial of Mohammad Afzal Guru in 2006–7, but also with reference to the terrible Mumbai attacks of November 2008. Whilst tragic in multiple ways, these events are also made spectacular, emotive, and divisive, according to interpretation by television. The framing of television news in India could be several, but is often not. Pantomime terrors, extravagant formatting, phone-in trial reports seem to be the order of the day. The station ident, newsreader-presenter and video confession all contest for screen attention in the trial of Mohamed Afzal, and the ground for this was prepared long ago. This short history of a 24 hour news channel ends with ‘The Big Fight’ - a staged and theatrical mode of ‘infotainment’ that sacrifices intelligent reporting for ideological fit.
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With special reference to the current scenario in West Bengal, this chapter argues that the rise and popularity of Bangla news channels like Star Ananda, 24 Ghanta, Kolkata TV, and Tara News have resulted in the emergence of a vernacular style of news broadcasting which is quite distinct from that of global or national news media. One major point in this chapter is how the vernacular news channels encourage particular forms of address — the emotional, the intimate and the melodramatic — and how close-ups and sound bites create particular kinds of telegenic political leaders who can use these formal characteristics to their advantage. This chapter explores the ways in which a distinctive kind of vernacular is reconfiguring the nature of political participation itself and hence the notion of citizenship and perhaps even the nature and functioning of the nation-state in India.
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The exponential growth of television news in India – from one state controlled network until 1991 to more than 100 news channels in 2012 – has transformed broadcast journalism in the country. This proliferation of news networks has intensified competition for audience and advertising revenue, leading to excessive marketization of news, which increasingly veers toward infotainment. The chapter examines the challenges faced by Indian television news – focusing on economic and political dimensions of television news - and its implications for the world’s largest democracy.
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