| Přispěvatelé: |
Grassmuck, Volker, Boshnakova, Dessislava, Christova, Evelina, Petkov, Stoyko, Dankova, Dessislava, Toms, Justine, Gigova, Boryana, Latronico, Valentina, Ingebretsen Carlson, Jim, Lupiáñez-Villanueva, Francisco, De Sutter, Femke, Biltereyst, Daniël, Van Bauwel, Sofie, Gümüş Ağca, Yasemin, Peschke. Lutz, Dündar, Irmak, Seyfafjehi, Seyedehshahrzad, Papathanassopoulos, Stylianos, Karadimitriou, Achilleas, Archontaki, Ioanna, Vasconcelos, António, Santos, Sofia F., Sepúlveda, Rita, Moreno, José, Andersson, Vilhelm, Hroch, Miloš, Carpentier, Nico |
| Popis: |
The rationale behind WP3-Hegemony: Platformization of Video is that the history of audiovisual production is a rich and dynamic one that has changed significantly over the past century, in close connection with the evolution of European cultural industries. As a matter of fact, the birth of cinema itself has been a watershield in this history, putting the European hegemony over Western world-system to the test of the US challenge. With this respect, audiovisual is somehow in the middle, between the upstream reign of French and British cultural forms, and the downstream American control of electronic and global mass media – or the simple fact, how Jeremy Tunstall used to put it, that "the media are American" [see Tunstall 1977]. Cinema has been a real battlefield, with France, Germany and Denmark taking the center of the stage until the interwar period, and Hollywood taking over the world right after [Sassoon 2006: 965-971]. For this reason, in this deliverable we will make an aggregate use of data coming from both WP1 and WP3, and respectively related to theatrical movie productions and admissions, in the first case; and to video-on-demand and video sharing platforms, in the second case. |
