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The future of public service broadcasting (PSB), and its role for democracy and culture in an age of globalization and digitalization, is a disputed issue among communication scholars, journalists, the general public and politicians. The PSB institutions are dependent on political support for their survival, and they have to live up to cultural policy obligations. The focus of this analysis is on the rhetoric employed in the white papers on PSB and overall cultural policy, produced between 2005 and 2007 in Norway and Sweden. The analysis shows that both countries emphasize the need to secure an inclusive public sphere, a vivid democracy and a national culture. The rhetoric differs in the sense that the Norwegian focus is on PSB as a tool for achieving cultural policy goals, while the Swedish focus is more on why the idea of PSB is important in itself.
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Modern audiences engage with representations of the past in a particular way via the medium of television, negotiating a shared understanding of the past. This is evidenced by the increasing popularity of reboots, newly developed history and documentary programming, re-use of archival footage and nostalgia content. This article takes a closer look at television’s abilities to circulate and contextualize the past in the current era of convergence through narrowcasting or niche programming on digital television platforms, specifically via nostalgia programming. Such platforms exemplify the multifaceted way of looking at and gaining access to television programming through a variety of connected platforms and screens in the current multi-platform era. Since the way in which television professionals (producers, schedulers, commissioners, researchers) act as moderators in this process needs to be further analysed, the article places an emphasis on how meaningful connections via previously broadcast history and nostalgia programming are also curated, principally through scheduling and production practices for niche programming – key elements in television’s creative process that have received less academic attention. Furthermore, the article discusses to what extent media policy in the Netherlands is attuned to the (re-)circulation of previously broadcast content and programming about past events, and reflects on television’s possibilities for “re-screening” references to the past in the contemporary media landscape. The analysis is based on a combination of textual analysis of audio-visual archival content and a production studies approach of interviews with key professionals, to gain insight into the creators’ strategies in relation to nostalgia programming and scheduling. Subsequently, the article demonstrates how national collective memory, as understood by television professionals in the Netherlands, informs the scheduling and circulation of “living history” on the digital thematic channel – collective cultural memory hence functioning as a TV guide.
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