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Journal articles on the topic 'Television and politics – Europe'

Author: Grafiati

Published: 10 March 2023

Last updated: 31 July 2025

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1

THOMPSON, MARK. "Television in Europe." Political Quarterly 77, no. 1 (2006): 124–27. http://dx.doi.org/10.1111/j.1467-923x.2006.00738.x.

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CAWSON, ALAN. "HIGH-DEFINITION TELEVISION IN EUROPE." Political Quarterly 66, no. 2 (1995): 157–73. http://dx.doi.org/10.1111/j.1467-923x.1995.tb00460.x.

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3

Wedell, George. "Prospects for Television in Europe." Government and Opposition 29, no. 3 (1994): 315–31. http://dx.doi.org/10.1111/j.1477-7053.1994.tb01224.x.

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The Classical Model for Broadcasting Structures in Europe is one based on national autarchy and linguistic exclusivity. The model derives from the introduction of radio broadcasting in the 1920s. As always in the field of communications, developments art supply-led rather than demand-led. Thus the early radio manufacturers established local radio stations to demonstrate their new equipment at a time when governments had not formulated any policies to deal with the new phenomenon.

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Johnsen, Rosemary Erickson. "Geopolitics, Northern Europe, and Nordic Noir: What Television Series Tell Us about World Politics." Scandinavian Studies 94, no. 4 (2022): 546–48. http://dx.doi.org/10.5406/21638195.94.4.07.

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Garcia, Soledad. "National identity and Europe: the television revolution." International Affairs 70, no. 1 (1994): 138–39. http://dx.doi.org/10.2307/2620751.

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VUSHKO, IRYNA. "Historians at War: History, Politics and Memory in Ukraine." Contemporary European History 27, no. 1 (2017): 112–24. http://dx.doi.org/10.1017/s0960777317000431.

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The on-going military conflict in eastern Ukraine has revitalised historical discussion and history battles in the country rendering history more relevant than ever before. Since 2014 different sides in the conflict have used historical references, specifically to the Second World War, to validate their actions. Moscow most notably claimed to be protecting the population of eastern Ukraine from Ukrainian ‘fascists’: the story of a three-year Russian boy allegedly crucified by Ukrainian nationalists on Russian state television was enhanced by references to atrocities that Ukrainian nationalists

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7

Doyle, Gillian, and Kenny Barr. "After the gold rush: industrial re-configuration in the UK television production sector and content." Media, Culture & Society 41, no. 7 (2019): 939–57. http://dx.doi.org/10.1177/0163443719857640.

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Recent technological and market changes in the television industry appear to have transformed the corporate configurations which conduce to economic success in the production industry. As a result, many leading independent television production companies in the United Kingdom and elsewhere across Europe have become prime targets for corporate activity and many have been subject to takeover, often by the US media groups. Does this matter? Does the concept of ‘national’ television content still have any relevance in the digital era? Drawing on a multiple-case-study-based analysis of several UK-b

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Pilati, Antonio, and Emanuela Poli. "Digital terrestrial television." Modern Italy 6, no. 2 (2001): 195–204. http://dx.doi.org/10.1017/s1353294400011984.

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SummaryIn Italy, as in much of Europe, the beginning of the new century has brought a crucial period of change to the television system. The change affects technology, strategies and regulation of the medium. This article starts by reconstructing the current situation and the emerging trends at a global level. It then analyses the state of the Italian television industry on the eve of the introduction of digital terrestrial broadcasting, setting out the opportunities and potential developments this opens up.

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Vinogradova, Ekaterina. "Latin American TV Series as the Channel for Intercultural Communication with Europe." Contemporary Europe 99, no. 6 (2020): 112–18. http://dx.doi.org/10.15211/soveurope62020112118.

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The study of intercultural communication within large cultures is particularly relevant in the 21st century in an era of globalization. Nowadays, thanks to the development of new information channels, such as social networks, as well as public diplomacy, branding of culture and art, popularization of national cultural traditions has become an integral part of the cultural diplomacy of Latin American countries. Despite globalization that has led to the global hybridization of television production, Latin American television series still retain the characteristics of unique products, introducing

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Gadea, Charlotte. "Spotlighting Eurovision as a political stage: Exploring how Turkey and Ukraine use the ESC to further their political agendas." Australian and New Zealand Journal of European Studies 16, no. 3 (2025): 28–32. https://doi.org/10.30722/anzjes.vol16.iss3.20916.

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Beginning in 1956, The Eurovision Song Contest is the longest running television musical competition (Kivak, 2024). Not only does it showcase the talents of musical artists across Europe, but it is also a celebration of culture and a platform for countries to showcase their unique identities. By framing the contest in this context, it transcends simple entertainment, serving as a powerful tool for nations to further their political agendas. This essay will argue that the ESC can be strategically utilised by countries and individuals in order to promote their political interests and spotlight s

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Kostadinova, Petia. "Media in the New Democracies of Post-Communist Eastern Europe." East European Politics and Societies: and Cultures 29, no. 2 (2015): 453–66. http://dx.doi.org/10.1177/0888325415577863.

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Growing up in Bulgaria during the “transition” years, as a then fifteen-year old, I spent the summer of 1990 queuing up at the neighborhood newsstand waiting for the daily delivery of freshly printed newspapers. Shortages of goods, including food and gasoline, caused long lines in front of many stores, but the crowd waiting at the kiosk was eager to read about the latest political developments, and especially popular were the newspapers published by the newly established opposition parties. While there was no scarcity of political news via television and radio, there was always something speci

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12

Curwen, Peter. "High-Definition Television in Europe: A Rejoinder to Cawson." Political Quarterly 68, no. 1 (1997): 99–101. http://dx.doi.org/10.1111/1467-923x.00072.

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Collins, Richard. "The language of advantage: satellite television in Western Europe." Media, Culture & Society 11, no. 3 (1989): 351–71. http://dx.doi.org/10.1177/016344389011003006.

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14

Donders, Karen, and Caroline Pauwels. "Introduction: Private television in Europe: Connecting to the future." International Journal of Digital Television 5, no. 1 (2014): 31–37. http://dx.doi.org/10.1386/jdtv.5.1.31_7.

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15

Scheible, Jeff. "Expanded Cinema, Recycled Cinema." Feminist Media Histories 8, no. 2 (2022): 180–207. http://dx.doi.org/10.1525/fmh.2022.8.2.180.

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VALIE EXPORT and Agnès Varda both made moving-image installations about ping pong (EXPORT’s 1968 Ping Pong and Varda’s 2006 “Ping Pong, Tong, et Camping”), a subject each returned to on multiple occasions in subsequent works across different media forms. Apprehending ping pong as a cinematic thing and gesture, this essay considers how EXPORT and Varda, each in her own way, unsettle and expand the rules of the game in ways shaped by their distinct, and distinctly feminist, politics. This essay explores these works and the artists’ repeated returns to ping pong by staging a “volley,” alternating

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16

Johnsen, Rosemary Erickson. "Robert A. Saunders.Geopolitics, Northern Europe, and Nordic Noir: What Television Series Tell Us about World Politics." Scandinavian Studies 94, no. 4 (2022): 546–48. http://dx.doi.org/10.3368/sca.94.4.0546.

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Varriano, Valeria. "The Europe in two billion eyes: Images from Chinese television." International Communication Gazette 78, no. 1-2 (2016): 26–38. http://dx.doi.org/10.1177/1748048515618103.

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Tkach, Dmytro, and Maria Burmaka. "THE POLITICS OF FIDESZ-KDNP OF HUNGARY UNDER V. ORBÁN IN WESTERN MEDIA, 2010-2024." Public Administration and Law Review, no. 3(19) (September 30, 2024): 91–101. http://dx.doi.org/10.36690/2674-5216-2024-3-91-101.

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This article offers a comprehensive analysis of Western media coverage of the Hungarian government's political course under Viktor Orban and the FIDESZ-KDNP coalition from 2010 to 2024. The study encompasses a wide range of aspects of Hungary's domestic and foreign policy, tracing the evolution of "Orbanism" perception in international media discourse. The author examines in detail the key themes that dominated Western media regarding Hungary, namely: The transformation of the country's democratic system and discussions around the concept of "illiberal democracy". Systematic conflicts between

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Gyori, Zsolt. "Popular Television in Eastern Europe During and Since Socialism." Slavonica 22, no. 1-2 (2017): 101–6. http://dx.doi.org/10.1080/13617427.2017.1382722.

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Osipov, Evgeny. "Franco-Soviet SECAM: from Ambitious Plans to Reality (Based on the Materials of the French Foreign Ministry Archives)." ISTORIYA 12, no. 11 (109) (2021): 0. http://dx.doi.org/10.18254/s207987840017637-9.

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The article, based on the materials of the archives of the French Ministry of Foreign Affairs, most of which have not yet been introduced into scientific circulation, examines the Soviet-French attempt to create a single color television standard for the whole of Europe on the basis of SECAM. It was the cooperation in the field of color television, according to the plan of Moscow and Paris, that was supposed to confirm that two countries from different military-political blocs could implement an ambitious project in the field of high technologies. Materials from the archives of the French Fore

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Pérez-Sánchez, Javier, and Àlvar Peris-Blanes. "Uncivil Discourses and Polarisation on Prime Time Political Talk Shows." ENCUENTROS. Revista de Ciencias Humanas, Teoría Social y Pensamiento Crítico. 20, Universidad Nacional Experimental Rafael Maria Baralt. (2023): 259–79. https://doi.org/10.5281/zenodo.10060001.

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Political talk shows have been one of the most relevant tools in political communication since they burst onto American television at the end of the 20th century. The proliferation of political talk shows has also flooded Spanish television in recent times. At a time of growing social polarization and the rise of the extreme right in many countries inside and outside Europe, we explore if these political talk shows could have had something to do with it.  To carry out this study, we will delve into the formal aspects of, surely, the most relevant political talk show on television in

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22

Reifová, Irena. "The pleasure of continuity: Re-reading post-socialist nostalgia." International Journal of Cultural Studies 21, no. 6 (2017): 587–602. http://dx.doi.org/10.1177/1367877917741693.

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This article explores uses and modalities of the concept of post-socialist nostalgia in the still emerging field of cultural studies focused on the region of Central and Eastern Europe. It encapsulates both the cultural and socio-political forms of post-socialist nostalgia, defined as tinkering with the remnants of the socialist popular culture, television, fashion or design and reminiscing about social welfare under Communist Party rule. The main aim of this theoretical article is to demonstrate the anti-hegemonic dimension of post-socialist nostalgia, which disturbed the official memory poli

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23

Groth, Alexander J. "East and West: Travel and communication under alternate regimes; a research note." Communist and Post-Communist Studies 39, no. 1 (2006): 121–33. http://dx.doi.org/10.1016/j.postcomstud.2005.09.007.

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Using information supplied to international agencies, communication and transportation patterns of Communist and Post-Communist European states are compared with those of non-communist Europe. East European states under Communist rule tended to emphasize public—more easily “scripted,” observed and controlled media and conveyances—over private ones. This emphasis was substantially grounded in obsessive political security concerns among communist regimes. The performance of Post-Communist states indicates a significant shift toward the patterns of non-communist Western Europe and coincides with

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24

Chalaby, Jean K. "Deconstructing the transnational: a typology of cross-border television channels in Europe." New Media & Society 7, no. 2 (2005): 155–75. http://dx.doi.org/10.1177/1461444805050744.

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25

Doyle, Gillian. "Television production: configuring for sustainability in the digital era." Media, Culture & Society 40, no. 2 (2017): 285–95. http://dx.doi.org/10.1177/0163443717717634.

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Over recent years leading independent television production companies in the United Kingdom and elsewhere in Europe have become prime targets for corporate activity, and many have been subject to takeover, often by US media groups. Why is it that nurturing the development of television production companies which achieve scale but, at the same time, remain independent appears to be so challenging? This article considers which factors are crucial to the success of television production businesses and argues that, besides the ability to make compelling content, two key variables which strongly af

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Amzi-Erdogdular, Leyla. "Ottomania: Televised Histories and Otherness Revisited." Nationalities Papers 47, no. 5 (2019): 879–93. http://dx.doi.org/10.1017/nps.2018.83.

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AbstractThis article discusses the ways in which the spread and the overwhelming popularity of Turkish television series in Southeastern Europe influence the change in perception of Turks and Turkey, as well as how the serials are transforming the image of the Balkans and the Ottoman legacy in Turkey. Television serials significantly contributed to the shifting popular image of the “other,” and initiated interactions unimaginable even a decade ago. These exchanges are both following and encouraging the breakdown of geohistorical boundaries that were set by the nationalist narratives in these r

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Singer, Christine, Jeanette Steemers, and Naomi Sakr. "Representing Childhood and Forced Migration: Narratives of Borders and Belonging in European Screen Content for Children." Jeunesse: Young People, Texts, Cultures 11, no. 2 (2019): 202–24. http://dx.doi.org/10.3138/jeunesse.11.2.202.

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This article explores representations of childhood and forced migration within a selection of European screen content for and about children. Based on the findings of a research project that examined the intersections of children’s media, diversity, and forced migration in Europe (www.euroarabchildrensmedia.org), funded by the UK’s Arts and Humanities Research Council, the article highlights different ways in which ideas of borders and belonging are constructed and deconstructed in a selection of films and television programs that feature children with an immigration background. Drawing on ide

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Feigenbaum, Harvey B. "Hegemony or diversity in film and television? The United States, Europe and Japan." Pacific Review 20, no. 3 (2007): 371–96. http://dx.doi.org/10.1080/09512740701461504.

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29

Oznobishcheva, G. "Russia and Western Europe: When the Ways Diverge?" World Economy and International Relations, no. 5 (2012): 80–92. http://dx.doi.org/10.20542/0131-2227-2012-5-80-92.

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In the Institute of World Economy and International Relations RAS the panel discussion session "European Dialogues" took place. The subject of the meeting was "Russia and the West: When Did the Ways Diverge?" The journal presents the reports of А.B. Zubov, Dr. Sci. (History), Professor of MGIMO-University (Russian Ministry of Foreign Affairs), and N.I. Basovskaya, Dr. Sci. (History), Professor of Russian State University for the Humanities, as well as the discussion that took place. In this discussion the IMEMO staff members participated: A.G. Arbatov, Academician of RAS; V.G. Baranovskii, Aca

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Hutchins, Brett, Bo Li, and David Rowe. "Over-the-top sport: live streaming services, changing coverage rights markets and the growth of media sport portals." Media, Culture & Society 41, no. 7 (2019): 975–94. http://dx.doi.org/10.1177/0163443719857623.

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The growth of over-the-top (OTT) Internet and mobile video streaming services is a major development in the distribution, transmission and consumption of global media sport. Heavily capitalised services such as Tencent Video, DAZN and Amazon Prime Video are intervening in coverage rights markets and changing how live sport is experienced and shared across television, computer, game console, tablet and smartphone screens. This article identifies and analyses six defining characteristics of OTT live sport streaming, and outlines three services (Tencent Video, DAZN and Amazon Prime Video) that op

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Patterson, James M. "The Anti-Nationalist Patriotism of Venerable Archbishop Fulton J. Sheen." Religions 13, no. 9 (2022): 822. http://dx.doi.org/10.3390/rel13090822.

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Scholars today regard Venerable Archbishop Fulton J. Sheen as a supporting player in the American efforts to drum up support for the Cold War; however, this view limits Sheen’s influence to the years he spent on television hosting his program, Life Is Worth Living (1952–1957). Yet, by the time Sheen left his program, he had been part of public discussions of religion and American politics for almost thirty years. Before his 1930 debut as an authoritative Catholic voice in America, Sheen had become a decorated Catholic scholar, both in his home country and in Europe, earning him a papal audienc

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Gil Gascón, Fátima. "Medidas, reformas y austeridad: el tratamiento de la crisis económica en los informativos de Televisión Española (abril-junio 2012)." Tripodos, no. 39 (February 24, 2017): 187–204. https://doi.org/10.51698/tripodos.2016.39.187-204.

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Esta investigación tiene como objetivo analizar la forma en la que Televisión Española informó sobre la situación económica antes del rescate de la economía nacional por la unión Europea en junio de 2012. Para ello se ha procedido al análisis cuantitativo de las noticias dedicadas a la crisis de una muestra aleatoria de una veintena de telediarios con el fin de descubrir cuáles son los planteamientos formales utilizados por la cadena para informar sobre esta cuestión, así como descubrir las temáticas y protagonistas más importantes. El estudio parte de la premisa de que los medios de comuni

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Cawson, Alan, and Peter Holmes. "Technology policy and competition issues in the transition to advanced television services in Europe." Journal of European Public Policy 2, no. 4 (1995): 650–71. http://dx.doi.org/10.1080/13501769508407011.

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de Vreese, Claes H., Susan Banducci, Holli A. Semetko, and Hajo G. Boomgaarden. ""Off-line": The 2004 European parliamentary elections on television news in the enlarged Europe." Information Polity 10, no. 3,4 (2006): 177–88. http://dx.doi.org/10.3233/ip-2005-0074.

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Cunha, Isabel. "Política, Poder y Género en las series de televisión europea Borgen (Dinamarca) y Le Baron Noir (Francia)." RIHC. Revista Internacional de Historia de la Comunicación 1, no. 16 (2021): 250–75. http://dx.doi.org/10.12795/rich.2021.i16.12.

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Nesta exposição, analisa-se como a Política, o Poder e o Género são representados nas séries televisivas europeias Borgen (Dianamarca) e Le Baron Noir (França). Borgen foi exibida entre 2010 e 2013 e tem como protagonista principal, Birgitte Nyborg, uma candidata de um pequeno partido político que se torna, mais tarde, primeira-ministra dinamarquesa. Le Baron Noir é uma série francesa (2016- 2020) que tem como protagonistas principais Philipe Rickwaert e Amélie Dorendeu, militantes destacados do partido socialista francês e candaditos à presidência. As duas obras de fição focam a mediatização

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Sputnitskaya, N. Yu, and M. F. Kazyuchits. "Contemporary Approaches to the Study of Soviet and Post-Soviet Screen Culture. Based on the Material of 53rd ASEEES Congress, USA." Art & Culture Studies, no. 2 (June 2022): 106–37. http://dx.doi.org/10.51678/2226-0072-2022-2-106-137.

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The article is devoted to the study of the works of researchers from the USA, based on the material of the 53rd Association for Slavic, East European, and Eurasian Studies (ASEEES) International Annual Congress, which belong to various branches of humanitarian knowledge, but directly related to the study of Soviet and modern screen culture in Russia or other countries (Eastern Europe, India, Cuba, etc.) that have experienced its direct or indirect influence. The interest in the research of American representatives of the humanities, whose share in the total number of participants in congresses

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Ørmen, Jacob, Rasmus Helles, and Klaus Bruhn Jensen. "The social uses of the Internet: Introduction to the special section." New Media & Society 23, no. 7 (2021): 1739–50. http://dx.doi.org/10.1177/14614448211015978.

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This Special Section takes stock of a shift toward an integrated and global digital media environment with a set of articles comparing and contrasting the social uses of the Internet in China, Europe, and the United States. Departing from James Lull’s typology of the social uses of television, the articles address both general media use patterns and the specific private and public uses to which the Internet is put in these different social and cultural contexts. A concluding commentary by Lull serves to place current communicative practices in historical perspective and to suggest implications

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Bar-On, T. "The Ambiguities of Football, Politics, Culture, and Social Transformation in Latin America." Sociological Research Online 2, no. 4 (1997): 15–31. http://dx.doi.org/10.5153/sro.127.

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In this article, I attempt to highlight the relationships between football (soccer), politics, culture, and social change in Latin American societies. The essential argument of the paper is that football in Latin America has tended to reinforce nationalistic, authoritarian, class-based, and gender-specific notions of identity and culture. The few efforts of Latin American professional football clubs, individual players, and fans to resist these oppressive tendencies and ‘positively’ influence the wider society with public positions on pressing social and political concerns have been issue-orie

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Bell, Martin L. "Digital Television in Europe, edited by Wendy van den Broeck and Jo Pierson (2008)." International Journal of Digital Televison 1, no. 1 (2010): 123–24. http://dx.doi.org/10.1386/jdtv.1.1.123.

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Regourd, Serge. "L’espace audiovisuel européen : quelles régulations contre la dépendance ?" Revue française d'administration publique 49, no. 1 (1989): 121–28. http://dx.doi.org/10.3406/rfap.1989.2176.

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The European Audio-Visual Sector : What are the Policy Options to Counter Dependence ? The audio-visual sector in Europe is an important economic and cultural component of the single European market. It is, however, increasingly dependent on the American audio-visual industry. This process goes hand in hand with moves towards privatization and is based on purely commercial logic. It is necessary to resort to government regulations in order to reduce this dependence. There are two possible options : concerted European action, or the introduction of national policies to support the public servic

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Glenn, Clinton. ""We are the new Lithuania"." lambda nordica 25, no. 3-4 (2021): 54–78. http://dx.doi.org/10.34041/ln.v25.708.

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In the Baltic States, LGBT representation in the media is limited at best. While LGBT activism continues to gain support and visibility, LGBT characters are considerably less common on film and television, and only Lithuania has produced films with openly gay or lesbian characters in main roles. This stands in contrast to the tendency in Baltic media and politics to lay claim to Nordic values and to identify as Northern European rather than Eastern European. In this paper I examine how two Lithuanian films grapple with identity and place in their depictions of gay characters. Porno Melodrama (

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Nonken, Marilyn. "‘LA NOTATION NE PEUT RENDRE COMPTE DU FAIT’: PERFORMING MURAIL'S ‘TERRITOIRES DE L'OUBLI’." Tempo 62, no. 244 (2008): 2–10. http://dx.doi.org/10.1017/s0040298208000089.

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For contemporary music in America and Europe, the 1970s were a time in which the old order was changing, giving place to a new avant-garde. In Germany, the Darmstädter Ferienkurse für Neue Musik was stagnating under the inept leadership of Ernst Thomas, savaged by the press and ridden with inner squabbling and politics. For 25 years a bastion of musical innovation and experimentation, Darmstadt now seemed little more than ‘the crumbling edifice of the avant-garde's chief fortress’. The focus was shifting to Paris, where, in 1977, IRCAM opened beneath the Centre Georges Pompidou. Led by Pierre

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Tyron, T. S., and D. Ajit. "Postmodernism and its emotional impact: The American T.V. Show, ‘Family Guy, as a Politically Incorrect Document." CARDIOMETRY, no. 23 (August 20, 2022): 226–35. http://dx.doi.org/10.18137/cardiometry.2022.23.226235.

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Postmodernism is a movement that grew out of modernism. Movements in art, literature, and cinema focused on a particular stance. The visual artists who created entertainment focused on expressing the creator herself/himself beginning from German expressionism to modernism, surrealism, cubism, etc. These art movements played an important part in what an artist (literature, art, and visual) portrayed to his or her audience. As perspectives played an important part, an understanding of what the artist needed to portray was critical. Modernism dealt with this portrayal, which came about due to the

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Smith, Tyron Tyson, and Ajit Duara. "Postmodernism: The American T.V. Show, 'Family Guy, As a Politically Incorrect Document." Revista Gestão Inovação e Tecnologias 11, no. 4 (2021): 4868–84. http://dx.doi.org/10.47059/revistageintec.v11i4.2510.

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Postmodernism is a movement that grew out of modernism. Movements in art, literature, and cinema focused on a particular stance. The visual artists who created entertainment focused on expressing the creator herself/himself beginning from German expressionism to modernism, surrealism, cubism, etc. These art movements played an important part in what an artist (literature, art, and visual) portrayed to his or her audience. As perspectives played an important part, an understanding of what the artist needed to portray was critical. Modernism dealt with this portrayal, which came about due to the

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Ankarsjö, Magnus, Anna Hellén, Sölve Ohlander, et al. "Reviews and notices." Moderna Språk 98, no. 2 (2004): 210–37. http://dx.doi.org/10.58221/mosp.v98i2.9547.

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Includes the following reviews: p. 210. Magnus Ankarsjö. Frykman, E., Shakespearecitat: i sina sammanhang och med kommentarer. p. 210-211. Anna Hellén. Miller, J. S., Something Completely Different: British Television and American Culture. p. 211-215. Sölve Ohlander. Crystal, D., The language Revolution. p. 215-219. Sölve Ohlander. Seiflhofher, B. Controversies in Applied Linguistics. p. 219-220. Rhonwen Bowen. Thornby, S. Natural Grammar. p. 220-222. Sebastian M. Rasinger & Vybarr Cregan-Reid. Aikmer, K., Olinder, B., Proceedings from the 8th Nordic Con

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Kim, Beomsoo, and Jurak Kim. "The rise of a new tourism destination: How did Vladivostok become the closest Europe for Korean tourists?" Journal of Eurasian Studies 11, no. 2 (2020): 117–32. http://dx.doi.org/10.1177/1879366520920639.

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The purpose of this study was to investigate the emergence of Vladivostok, Russia, as a new tourism destination for Koreans from the perspective of a social construction of space. This study analyzed the process using two axes, one representing the discourse of development as a pull factor and the other representing the discourse of a region as a push factor. Vladivostok established a physical and institutional foundation to evolve into a new destination through investments by the Russian Far East development project beginning in the mid-2000s. Also pivotal were two bilateral agreements betwee

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Rabinowitz, Paula. "It’s Still There." boundary 2 47, no. 1 (2020): 115–43. http://dx.doi.org/10.1215/01903659-7999532.

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Daniel Blaufuks’s video Als Ob/As If formally interrogates the history of Holocaust imagery using a close visual examination of the 1944 “Staged Nazi Film” shot in Thereseinstadt. Layering his footage from present-day Terezín with a number of earlier films and television shows shot at or about the Nazi concentration camp, he contemplates the role of the image, both still and moving, in the creation of memory and history of the Holocaust. His video and phototextual book connect to literary explorations of the Czech concentration camp—by Georges Perec, W. G. Sebald, and Jiří Weil—as well as cine

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BOSWORTH, R. J. B. "THE ITALIAN NOVECENTO AND ITS HISTORIANS." Historical Journal 49, no. 1 (2006): 317–29. http://dx.doi.org/10.1017/s0018246x05005169.

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The politics of Italian national identity. Edited by Gino Bedani and Bruce Haddock. Cardiff: University of Wales Press, 2000. Pp. vii+296. ISBN 0-7083-1622-0. £40.00.Fascist modernities: Italy, 1922–1945. By Ruth Ben-Ghiat. Berkeley, University of California Press, 2001. Pp. x+317. ISBN 0-520-22363-2. £28.50.Le spie del regime. By Mauro Canali. Bologna: Il Mulino, 2004. Pp. 863. ISBN 88-15-09801-1. €70.00.I campi del Duce: l'internamento civile nell'Italia fascista (1940–1943). By Carlo Spartaco Capogreco. Turin: Einaudi, 2004. Pp. xi+319. ISBN 88-06-16781-2. €16.00.The American South and the

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Padovani, Cinzia. "‘Berlusconi's Italy’: the media between structure and agency." Modern Italy 20, no. 1 (2015): 41–57. http://dx.doi.org/10.1080/13532944.2014.988605.

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In this article, I explore the conditions of the media in Italy by taking into consideration a variety of elements: the context of media legislation and media concentration that have favoured the interests of Silvio Berlusconi, and the role of progressive agency (media professionals, citizens' groups) as they worked within those constraints to keep alive the flames of democracy during the ‘Berlusconi era’. This perspective is intended to provide an alternative interpretation to what has become the prevailing view of contemporary Italy: an ‘abnormal’ country; the ‘Sick Man of Europe’; worse yet

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Bradshaw, Alan, and Jacob Ostberg. "Blaming consumers: Ideology and European austerity." Journal of Consumer Culture 19, no. 4 (2019): 448–68. http://dx.doi.org/10.1177/1469540519872065.

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This study analyzes a particular ideology of austerity as it spreads across Europe and reappears across diverse discourses. This ideology mobilizes the figure of the feckless consumer, who has overspent, who must come to regard their consumption as stupid, and therefore will accept austerity; not just as an inevitable outcome of bad decisions, but as holding the potential for moral redemption. We argue that ideology correlates this micro-frame of the feckless consumer with the macro condemnation of government expenditure and therefore is a hinge upon which the dissemination of austerity turns.

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