Download European Television Discourse in Transition by Helen Kelly-Holmes PDF

By Helen Kelly-Holmes

As we input the age of electronic tv with its strength delivering of 5 hundred channels, this quantity addresses the consequences of the speedily altering tv setting: for societies, for teams, for identities, for verbal exchange, for our experience of time, house, position, for schooling, for language, for genres, for our entire lifestyle.

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Even where they use the word 'continent', they mean the European Union. People in Eastern Europe are outside Europe, as defined by Euronews, in other words outside the European Union, that collectivity, which is both constructed and assumed by Euronews. In my opinion, one of the problems of Euronews is that it is not in fact European enough. So, instead of a British-centred newsworthiness, we simply have a European Unioncentred newsworthiness. This is also one of the problems of Deutsche Welle, the German version of the BBC World Service.

Being atemporal and a-spatial or a-geographical prolongs their lifespan considerably and thus makes them more profitable to produce. There is also the issue of scarcity value. If there are a limited number of episodes, we can re-watch these time and again and they become something differentmore like, for example, a painting that we can experience in different ways at different times. The status of these series is therefore changingfrom something that we watched every day on 'real' television to something we can watch at different times and to which we can relate differently on these 'non-real' channels.

In the British context, this is very much the case with Coronation Street in particular. I can accept the point about Scannell's quote being perhaps exaggerated and one test of this, for instance, is the sense of moral obligations, which we don't feel towards characters, but which we do feel towards our family and friends. They have to care about us in the same way we have to care about them, and this is absolutely not the case with Coronation Street characters! I would rather take the temporality of soap operas as part of a range of examples in which the temporal framing of things matters or doesn't matter.

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