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communication research on how we understand the role of the media in modern societies. Siebert, Peterson and Schramm 1956 , Hallin and Mancini 2004 Thus, there are many reasons to study the complicated relations between the Cold War and the media in a country. I have chosen the Norwegian media as an example in the following discussion. We begin with an overview of the media development in Norway at the time – as the first of three steps. PART ONE: Norwegian MediaHistory in the Cold War Era From the standard text book on Norwegian mediahistory, we can summarize the periods
In this article, I examine change and continuity in conceptions of parental agency in public debates about children’s media consumption in Scandinavia, 1945-1975. During this period, public debates about the various kinds of media products children consumed were dominated by different groups of professionals: first, by teachers and librarians in the mid-fifties and, then, by intellectuals and performing artists in the late sixties. With a radically changed professional hegemony and a shifting media landscape, the role of media in children’s lives was described very differently during the period. However, a strong continuity in the debates was the negative influence parents were seen as having on children’s media consumption due to their lack of insight and interest in the topic. Drawing upon recent works on children’s media, consumption and enculturation, I analyse why the negative description of parents as co-consumers prevailed despite radical changes in views on children’s media consumption. In particular, I examine the shared inter-Scandinavian socio-cultural contexts that structured the changing professional and political groups’ pressure on parents to perform according to their norms and values.
This paper deals with Parmenides of Elea’s way of inquiry about reality and the opposition emerging from it. In more detail, it analyses how Parmenides’ concepts of logos and doxa present some analogies with Bergson’s thoughts about duration and Time and how these theories influenced the understanding of visual media, especially the cinematographic camera. This survey will allow us to demonstrate that some scientific theories about space that accompanied the development of the cinematographic camera progressively allowed for the birth of a new understanding of this device. In the last section of this study, we will then focus on the way through which the film camera - understood as an intelligent device - passes from the sphere of doxa to the sphere of logos.
The alluring traits of ‘new media’ have spurred new research interests. This article discusses the discourse of ‘new media’ from the vantage point of critically reviewing three emissions from MIT Press during the years 1999-2003 within the series Media in Transition, as to the fundamental concepts used and introduced in these works. It cautions against any reductionist perspective on new media forms, and while highlighting the many merits of writing new media histories, the article shows that this discussion, also nascent within an interdisciplinary Swedish research environment, also carries other important features with implications for the relationships between communication and (time)space. It concludes that it is not enough to acknowledge that ‘new media’ call for a deep awareness of the historicity of the technological imaginary; deeper understandings of transitions in media also call for thoroughly expounding the socio-spatial ramifications of communication.