Download e-book for kindle: American Representations of Post-Communism: Television, by Andaluna Borcila

By Andaluna Borcila

With the televised occasions of 1989, territories of jap and principal Europe that have been marked as impenetrable and inaccessible to the Western gaze exploded into visibility. because the narratives of the chilly conflict crumbled, new narratives emerged and new geographies have been produced on and by means of American tv. utilizing an understudied archive of yankee information proclaims, and tracing their flashes and echoes via go back and forth publications and narratives of go back written by way of jap European-Americans, this e-book explores American methods of seeing and mapping communism’s disintegration and the narratives articulated round post-communist websites and matters.

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Additional info for American Representations of Post-Communism: Television, Travel Sites, and Post-Cold War Narratives (Routledge Research in Cultural and Media Studies)

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A montage that superimposes Greenfield’s commentary onto a replay of commercials follows: images of children knocking on the wall and a shot of a man, a close-up of a hammer and nail and gloved hands hitting on the wall, with the ceremonious “Hallelujah” playing in the background. ” The montage continues: another man and children hitting the wall, one girl removing a piece, an officer putting a rose through a buttonhole, and the face of a smiling girl. The ad voiceover says, “The gift of freedom is the greatest gift of all,” and Greenfield’s voiceover answers the question he had previously asked about the images with this: “No.

While pieces of the Berlin Wall are sold, bought and exchanged as Christmas presents by American television viewers, in a CBS Evening News report on December 8, Richard Schlesinger reports from New York on “Madison Avenue’s use” of the collapse of the Berlin Wall, showing televisual images of the Wall used in television ads by Pepsi and Quintessence. On December 18, following the first reports of the “crackdown” in Romania and before a segment on Poland, CNN Prime News airs the Quintessence commercial, and we get to see how the Berlin Wall becomes incorporated into an American/global capitalist imaginary, how the news participates in this incorporation, and how the Berlin Wall as image in an advertisement functions in mapping Eastern Europe and the televisual geography of global capitalism.

At and around the site of the Berlin Wall, the liminal site at which East meets West, even as the lines between East and West appear to be blurred, the coverage painstakingly distinguishes between Easterners and Westerners. Toward the end of the coverage, Brokaw claims his proximity to and privileged participation in the events. He tells us, “Yes, I have been on top of the wall, and yes, it’s a lot of fun. We have been swimming with the currents of history; come share the waters with us now . ” In its final minutes, the coverage establishes a lapse between the live-ness of the coverage and the event and a distance between news crew and viewers; as it invites viewers to both come and join, to see and listen, it also stages the distancing of those viewers from ‘history happening’ and the privileged proximity of the news reporter and of television to history as it is happening.

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