Introduction
After the Bardic Era: German Television since 1984
Bibliographic Data
| ID | 4071272 |
|---|---|
| Authors | Michael Geisler, Michelle Mattson |
| Year | 1999 |
| Issue | 78 |
| Pages | 3 |
| Publication date | 1999-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | New German Critique (JOURNAL) |
| Journal identifiers | ISSN: 0094-033X • E-ISSN: 1558-1462 |
| Publisher | JSTOR (PUBLISHER) |
| DOI | 10.2307/488451 |
| OpenAlex | W2315408644 |
| Language | EN |
| Citations received | 1 |
Only 18 years ago, in 1981, British media critics Richard Collins and Vincent Porter wrote in their monograph on the WDR Arbeiterfilm: West German broadcasting has a plausible claim to being the most successful instance of public service broadcasting in the world.' Even then, this statement would probably have raised a few eyebrows not only among American television executives, but among American media critics as well. Yet, at the time, it was defensible as a critical position. Politically, socially, and aesthetically, German television, in what, to historicize a famous term coined by John Fiske and John Hartley, could be called its Bardic Era2 was without a doubt among the most lively and innovative broadcasting structures in the world.3 If the
Archaeology · Art · Broadcasting (networking) · German · Literature · Media studies · Political science · Position (finance) · Public broadcasting · Service (business) · Sociology · Statement (logic) · Classics · Computer Science · European history and politics · German Colonialism and Identity Studies · German History and Society · History · Law
| Unique citing works | 1 |
|---|---|
| Citations per year | 0,33 |
| Citation span | 2023 - 2023 (1) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 1 |