The Cowl - v.26 - n.10 - Jan 8, 1964

The Cowl - student newspaper of Providence College. Volume 26, Number 10 - January 8, 1964. 8 pages

Mensch-Maschinen : Computer im Film Teil 5 ; Roboter im Film

Computer spielen im Film zumeist eine Nebenrolle. Dort, wo ihnen die Hauptrolle zugewiesen wird, erfahren wir viel über unsere Visionen und Ängste im Zeitalter der Mikroelektronik. In einer mehrteiligen Textreihe werden Filme der 1970er bis 1990er Jahre darauf hin betrachtet, wie Computer in ihnen dargestellt werden. Dieser Text beschreibt Filme, in denen Computer einen Körper bekommen und als Roboter in die Gesellschaft gelangen

Murnau's Nosferatu

MURNAU'S NOSFERATU: TAMING FLAMES, PITCH BLACK, SLEEPWALKING SERPENTS AND THE WORDS OF ICE THAT CAME FROM WITHIN 1. Ambiguous "Givens" and Texture: The Trace Within Ageless, summoned and raised each nightfall by the beating thirst echoing the eternal search for blood, Count Dracula, the old tyrant, stands at the edge of insanity, at the threshold of his forgotten land, with vigilant eyes staring at the forest, expecting the coming of the messiah of forgiveness and joy. Beyond the veils of reason and the landscapes of logic, as a tradition and symbol of a time gone, of the forlorn black gem buried in the vaults of remembrance, he, the mannequin of shadows, murmurs the silence of trauma. In Murnau's morality play, the vampire's lust for blood is simply a preying of the revulsed grotesque and repressed violence upon innocence and blissful modesty. The story deals, in essence, with the..

Eurosceptics into the Limelight? Eurosceptic Parliamentary Actors and Media Bias in EU Affairs

In the spotlight for some time now, the potential of national parliaments to legitimise EU politics has become even more salient given the growing politicisation and public contestation of EU issues. Their ability to realise this potential depends, however, vitally on citizens being actually aware of parliamentary involvement in EU affairs. Academic as well as political attention has therefore more recently turned to the communication function of parliaments, and here the media play a crucial role. Important is not only whether EU parliamentary affairs are covered in the media, but also who within parliament gets the opportunity to raise European issues in the media. In the context of this thematic issue, the question of media visibility is of particular interest with regard to Eurosceptic parliamentary party groups and their members. Do Eurosceptics in parliament get to dominate parliamentary EU news in the media and thus to take ownership of EU issues—or do the media freeze parliamentary Eurosceptics out of the coverage? Both would seriously undermine the legitimising potential of national parliaments. The article therefore analyses to what extent we can find a visibility bias in the print media coverage of Eurosceptic parliamentary actors and explores the factors that contribute to such bias. For the analysis, it draws on a quantitative dataset of all newspaper articles covering parliamentary EU affairs in six member states (Austria, Finland, France, Germany, Poland and the UK) over a period of four years (2010 to 2013)

Polity or Policies? The European Union in Parliamentary Debates and the Media

It has been well established in the literature that “something like politicization” has occurred with regard to the European Union (EU). The phenomenon has been assessed and confirmed in different venues, including party manifestos, parliamentary debates and the media. However, studies tend to overlook the potential differences between distinct arenas of political discourse and to disregard the fact Europe is a multidimensional political issue. This chapter contributes to the debate on EU politicization by highlighting the differences between some of the arenas of political discourse, namely parliaments and media, and its potential consequences on how the EU is portrayed. Furthermore, the EU is also considered in its multidimensionality, allowing us to disentangle between polity and policy-related European issues. This chapter’s results show that policy-related issues are, in general, more addressed than polity-related ones; that economic- and financial-related matters still dominate the European debate; and that important differences emerge between parliaments and the media. The findings support both the need to consider the EU as a compound issue and how different arenas might picture the EU differently.info:eu-repo/semantics/publishedVersio

In Search of the Audience - Forty Years of German Public Television and Its Audience Driven Commercialization

The long established dichotomy between public and commercial television into elite and mass programming, or commercial and public stations, has been changing in recent years. The divide is narrowing and many public stations, especially in Europe, attract large and devoted audiences and work with the commercial sectors in their respective countries. The changing television marketplace and vast amount of available programming has created niche markets and thus programming designed to attract specific audiences. Public and commercial stations alike have to attract audiences to keep afloat, be it through advertisers or government funding. Within the constraints of its basic assumptions that television is business-oriented and that all audiences are assumed "ideal" audiences within the industry, this study argues that there is an active (symbiotic) relationship between the industry and the "ideal" audience with regards to German television and the ARD series Tatort. Rooted in Mittell's modified circuit-of-culture, this study discusses forty years of German television history via its most established television drama, Tatort (1970- ). In each decade starting in 1970, it becomes evident that the public providers, reacting to competition, altered their programming to reflect not only changes in regulation but also in audience composition and expectations. The conclusion reached is that a) the "ideal" audience does have agency, even if assumed and then executed by the broadcaster, and b) that the audience is a vital part of television production, and is therefore commodified by the networks