DOCSLIB.ORG

Forty Years of German Public Television and Its Audience Driven Commercialization

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Forty Years of German Public Television and Its Audience Driven Commercialization “In Search of the Audience” Forty Years of German Public Television and its Audience Driven Commercialization By ©2011 Bärbel Göbel Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Dr. Tamara Falicov ________________________________ Dr. Michael Baskett ________________________________ Dr. William Keel ________________________________ Dr. Catherine Preston ________________________________ Dr. John Tibbetts Date Defended: March 31, 20 The Dissertation Committee for Bärbel Göbel certifies that this is the approved version of the following dissertation: “In Search of the Audience” Forty Years of German Public Television and its Audience Driven Commercialization ________________________________ Chairperson Dr. Tamara Falicov Date approved: March 31, 2011 ii Abstract The long established dichotomy between public and commercial television into elite and mass programming, or commercial and public stations, has been changing in recent years. The divide is narrowing and many public stations, especially in Europe, attract large and devoted audiences and work with the commercial sectors in their respective countries. The changing television marketplace and vast amount of available programming has created niche markets and thus programming designed to attract specific audiences. Public and commercial stations alike have to attract audiences to keep afloat, be it through advertisers or government funding. Within the constraints of its basic assumptions that television is business-oriented and that all audiences are assumed “ideal” audiences within the industry, this study argues that there is an active (symbiotic) relationship between the industry and the “ideal” audience with regards to German television and the ARD series Tatort. Rooted in Mittell’s modified circuit-of-culture, this study discusses forty years of German television history via its most established television drama, Tatort (1970- ). In each decade starting in 1970, it becomes evident that the public providers, reacting to competition, altered their programming to reflect not only changes in regulation but also in audience composition and expectations. The conclusion reached is that a) the “ideal” audience does have agency, even if assumed and then executed by the broadcaster, and b) that the audience is a vital part of television production, and is therefore commodified by the networks. iii Acknowledgments It is a pleasure to thank those who made this work possible, especially my advisor Dr. Tamara Falicov, my editor, teacher and friend Dr. Ron Wilson, and the Professors who agreed to work with me on this dissertation, Dr. Baskett, Dr. Preston, Dr. Tibbetts and Dr. Keel. I found many helpful people and interview partners at the local German television Stations NDR, SWR, WDR, and the RBB. I would like to especially thank Doris Heinze, and the Tatort producers Mende and Ramcke at Studio Hamburg, Melanie Wolber and Ulrich Herman, Dr. Gebhard Henke, Dr. Schröder-Zebralla, and Gregor Winkowski at Ziegler Film in Berlin. This dissertation would not have been possible if it were not for the help, and extensive knowledge and willingness to share that knowledge, of Francois Werner, creator and administrator of www.tatort-fundus.de. His insights and help were unequalled and I owe my deepest gratitude. It is an honor for me to thank my friends Anja Frey and Sanja Ludwig who have helped me to overcome technical difficulties and have been extraordinary in their efforts to collate data for me. Silvia Prickler deserves a special acknowledgment for making the access to over 700 episodes look non-problematic. I am indebted to many of my friends and roommates for their patience, willingness to listen and encouragement during this process. Mona, Brian and Julius, you rocked my grad-school world. I am grateful for my parents and their help in bringing German television just a little closer to the US. Thank you for believing in my work. iv Table of Contents Glossary…………………………………………………………………………………viii Introduction: Producing Entertainment and Serving Public Interest……………………...1 The German Television Industry………………………………………………...12 Technology and Textual Form…………………………………………………...16 Democratic Regulation/Everyday Life…………………………………………..19 Cultural Representation………………………………………………………….21 Literature Review………………………………………………………………..22 Dissertation Outline……………………………………………………………...28 Chapter 1: Leading the Way and First Competition……………………………..............31 A Young Industry………………………………………………………………..34 Union in a Struggle………………………………………………………………37 The First “Ideal” Audience………………………………………………………39 A Love-to-See-Evil Relationship………………………………………………...42 Curtain Call for Reality…………………………………………………………..46 For Crying out Loud – The Democratic Audience………………………………53 The Poison Locker……………………………………………………………….57 Chapter 2: Let the Battle Begin - Introducing Commercial Television, TV II (a)…..…..63 Industry Changes – ARD and ZDF Face the Free Market in Competition……...67 Changing the Rules and Adapting the Format Bible – Tatort Meets the Challenge………………………………………………………………………...74 When Cultures Clash – Tatort changes Faces…………………………………...77 Justifying Public TV – Audiences and Tatort……………………………………86 v Chapter 3: A New Germany, A New Audience, and the Explosion of Domestic Production………………………………………………………………………..91 Industry…………………………………………………………………………..93 Programming……………………………………………………………………..96 Tatort………………………………………………………………………….....98 The New Detectives…………………………………………………………….100 Gender Texts……………………………………………………………………101 Trends…………………………………………………………………………..104 Technology……………………………………………………………………..108 Region…………………………………………………………………………..110 Trasnsitioning into Maintained Excellence…………………………………….113 Chapter 4: The Revolution is Over; The New Media Age Begins – Tatort Adapts to the TVIII Era………………………………………………………………………..116 Programming to Win Audiences………………………………………………..119 Long Form Narrative…………………………………………………………...123 Genre-Hybrid…………………………………………………………………...131 Audiences Share Their Voices………………………………………………….134 Cultural Representations………………………………………………………..138 Industry/New Technologies in TVIII…………………………………………...140 Internet Advances………………………………………………………………142 Conclusion: An End…Is not in Sight…………………………………………………..148 Decade Number Five…………………………………………………………...153 Appendix………………………………………………………………………………..154 vi Appendix 1: Broadcast Penetration/Separation/Regionality…………………...154 Appendix 2: Tatort Format Bible………………………………………………157 Appendix 3: Broadcast Services State Treaty (Introduction & Excerpts)……...160 Appendix 4: Ratings……………………………………………………………162 Notes……………………………………………………………………………………166 Bibliography……………………………………………………………………………170 vii Glossary ARD (German Public TV Network) Arbeitsgemeinschaft der öffentlich-rechtlichen Consortium of public-law broadcasting institutions Rundfunkanstalten der Bundesrepublik Deutschland of the Federal Republic of Germany BR Regional Pubcaster (4th largest income) Bayerischer Rundfunk Bavarian Broadcasting BRD FRG Bundesrepublik Deutschland Federal Republic of Germany CDU Christian Democratic Union (political party) CSU Christian Social Union of Bavaria (political party) DMB Digital Multimedia Broadcasting DDR GDR Deutsche Demokratische Republik German Democratic Republic Die Degeto Film GMBH (Degeto) ARD and its subsidiaries are the proprietors of Film purchasing arm of the ARD and its Degeto – subsidiaries Degeto is a commercial company GEZ Gebühreneinzugszentrale des öffentlich-rechtlichen The German agency for broadcasting fee Fernsehens der BRD administration HR Regional Broadcaster- Hessischer Rundfunk Hesse Broadcasting MDR Regional Broadcaster- Middle German Mitteldeutscher Rundfunk Broadcasting Saxony, Saxony-Anhalt, Thuringia NDR Regional Pubcaster (3rd largest income) Norddeutscher Rundfunk North German Broadcaster Lower Saxony, Hamburg, Schleswig-Holstein, Mecklenburg-Vorpommern viii PRO7 Commercial Network PBS Public Broadcast Service (USA) PSB Public Service Broadcaster(s) RB Regional Pubcaster (lowest income) Radio Bremen Radio Bremen RBB Regional Pubcaster Rundfunk Berlin-Brandenburg Broadcast Berlin-Brandenburg RTL Commercial Network Radio Télévision Luxembourg SAT1 Commercial Network SPD Social Democratic Party of Germany (political party) SR Regional Pubcaster (2nd lowest income) Saarländischer Rundfunk Saarland Broadcasting SWR Regional Pubcaster (2nd largest income) Südwestrundfunk South West Broadcasting Baden-Württemberg and Rhineland-Palatinate WDR Regional Pubcaster (largest income) Westdeutscher Rundfunk West German Broadcasting North Rhine-Westphalia ZDF (German Public TV Station) Zweites Deutsches Fernsehen Second German Television ix Introduction Producing Entertainment and Serving The Public Interest 1 Introduction The long established dichotomy between public and commercial television into elite and mass programming, or commercial and public stations, has been changing in recent years. The divide is narrowing and many public stations, especially in Europe, attract large and devoted audiences and work with the commercial sectors in their respective countries. Much has been written on transformations in informative public programming, but little attention has been devoted to the entertainment programming of public stations and their effort to establish themselves in the commercial market. The changing television marketplace and vast amount
Load more

Recommended publications
  • Art Directors Guild Film Society and American Cinematheque Salute Production Designer Rolf Zehetbauer with “Das Boot” (1981) Screening / Panel
    Art Directors Guild Film Society and American Cinematheque Salute Production Designer Rolf Zehetbauer With “Das Boot” (1981) Screening / Panel August 21, 5:30 p.m. Egyptian Theatre LOS ANGELES, August 8th, 2011 — The Art Directors Guild (ADG) Film Society and American Cinematheque will spotlight Das Boot AKA The Boat (1981) with a special 30th anniversary screening of the remastered director’s cut on Sunday, August 21 at 5:30 p.m. at the Egyptian Theatre (6712 Hollywood Boulevard, Hollywood). The film, designed by Award winning Production Designer Rolf Zehetbauer (Cabaret, The NeverEnding Story ) is the fourth in this year’s series highlighting the work of renowned Production Designers and their creative colleagues. A discussion will follow, enlightening the audience about the unique challenges of filming Das Boot, a wartime action film, nearly all of which takes place inside the claustrophobic interior of a German U-Boat, or WW2 submarine. Production Designer John Muto will host a panel that will include an expert on submarine warfare provided by the U.S. Navy. For information: http://www.americancinemathequecalendar.com/content/das-boot-0 Possibly one of the best-known German films of all time, Das Boot (1981), directed by Wolfgang Petersen, is based on the novel by Lothar Günther Buccheim and carries a strong anti-war message, drawn from the experiences of Second World War veterans in one of Germany’s infamous U-boat submarines. Nominated for six Oscars, the film stars Jürgen Prochnow, Herbert Grönemeyer and Klaus Wennermann in the fictional story of a U-96 and its crew patrolling the waters during World War II.
    [Show full text]
  • Facts and Figures 2020 ZDF German Television | Facts and Figures 2020
    Facts and Figures 2020 ZDF German Television | Facts and Figures 2020 Facts about ZDF ZDF (Zweites Deutsches Fern­ German channels PHOENIX and sehen) is Germany’s national KiKA, and the European chan­ public television. It is run as an nels 3sat and ARTE. independent non­profit corpo­ ration under the authority of The corporation has a permanent the Länder, the sixteen states staff of 3,600 plus a similar number that constitute the Federal of freelancers. Since March 2012, Republic of Germany. ZDF has been headed by Direc­ tor­General Thomas Bellut. He The nationwide channel ZDF was elected by the 60­member has been broadcasting since governing body, the ZDF Tele­ 1st April 1963 and remains one vision Council, which represents of the country’s leading sources the interests of the general pub­ of information. Today, ZDF lic. Part of its role is to establish also operates the two thematic and monitor programme stand­ channels ZDFneo and ZDFinfo. ards. Responsibility for corporate In partnership with other pub­ guide lines and budget control lic media, ZDF jointly operates lies with the 14­member ZDF the internet­only offer funk, the Administrative Council. ZDF’s head office in Mainz near Frankfurt on the Main with its studio complex including the digital news studio and facilities for live events. Seite 2 ZDF German Television | Facts and Figures 2020 Facts about ZDF ZDF is based in Mainz, but also ZDF offers full­range generalist maintains permanent bureaus in programming with a mix of the 16 Länder capitals as well information, education, arts, as special editorial and production entertainment and sports.
    [Show full text]
  • Transition from Analogue to Digital TV in Germany Transition From
    Transition from analogue to digital TV in Germany BMWA Federal Ministry of Economics and Labour Jörg Hachmeyer General Frequency matters 1 Transition from analogue to digital TV in Germany Why going digital now? aBroadcasting will become a full part of modern integrated media systems aNew possibilities for value creation aMore efficient use of scarce frequency resources 2 Transition from analogue to digital TV in Germany Steps to reach the goal aResolution of Federal Cabinet of 17 December 1997 `Start of "Digital Broadcasting" Initiative `Mandate to develope a common strategy with relevant organisations/bodies 3 Transition from analogue to digital TV in Germany aResolution of Federal Cabinet of 24 August 1998 `Approval of the strategy `Mandate for further action by Federal Ministry of Economics and Technology (Labour): Continuation of the initiative and implementation of the strategy aLaunch Scenario 2000 `Presented during World Exhibition 2000 in Hannover 4 Transition from analogue to digital TV in Germany Achieved results aConsensus between parties on objectives `Digitalisation as quickly as possible, 2010 at the latest `Separate scenarios for satellite, cable and terrestrial transmission 5 6 7 Transition from analogue to digital TV in Germany Situation of terrestrial television in Germany aTerrestrial broadcasting facing problems `high costs `unattractive (too few channels, no new services) `declining audience aanalogue terrestrial broadcasting has no future aDigitalisation will bring it into line with developments in other areas 8
    [Show full text]
  • Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 Plus New Additions to the Catalogue
    CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CATALOGUE 2018 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany CEO: Jan Mojto Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: February 2018 © UNITEL 2018 All rights reserved Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music.
    [Show full text]
  • Ard-Leitlinien-2018-2019-102.Pdf
    BERICHT 2017/18 UND LEITLINIEN 2019/20 FÜR DAS ERSTE Das Erste Bericht 2017/2018 Leitlinien 2019/2020 1 BERICHT 2017/18 UND LEITLINIEN 2019/20 FÜR DAS ERSTE Bericht der ARD über die Erfüllung ihres Auftrags, über die Qualität und Quantität ihrer Angebote und Programme sowie über die geplanten Schwerpunkte (§ 11e Rundfunkstaatsvertrag) inhalt Das Erste – ein Programm der Verlässlichkeit, Integration und Innovation Einführung von Volker Herres, Programmdirektor Erstes Deutsches Fernsehen . Seite 3 Das Erste bewegt – Leitbild für das Programm . Seite 6 Allgemeine Qualitätskriterien . Seite 8 1 . Information . Seite 9 2 . Kultur . Seite 29 3 .Bildung, Wissen und Beratung . Seite 46 4 . Unterhaltung . Seite 55 5 .Kinder und Familie . Seite 68 6 .Teilhabe und Teilnahme – öffentlich-rechtlicher Mehrwert für alle .. Seite 76 7 . Digitale Perspektiven . Seite 87 2 BERICHT 2017/18 UND LEITLINIEN 2019/20 FÜR DAS ERSTE das erste – ein programm der verlässlichkeit, integration und innovation Einführung von Volker Herres, Programmdirektor Erstes Deutsches Fernsehen Es ist nicht zu übersehen: Selten war die Gesellschaft in Deutschland so gespalten, die Stimmung so aufgeheizt, die Sprache so entfesselt . Ein Verlust von Zugehörigkeitsgefühl, ein fehlender Konsens über das, was uns als Gemeinschaft ausmacht und definiert, ist aller Orten zu spüren . Damit einher gehen Unzufriedenheit, Misstrauen, Anfeindungen und ein Vertrauensdefizit gerade auch in die Institutionen, die über viele Jahrzehnte für den inneren Zusammenhalt gesorgt haben . Die ARD und ihr Flagg- schiffprogramm Das Erste bleiben von dieser Stimmung nicht unberührt, auch wenn wir in allen Umfragen bei der großen Mehr- heit der Bevölkerung unverändert Vertrauen genießen . Der verfassungsmäßige Auftrag einer unabhängigen, öffentlich-rechtli- chen Grundversorgung wird gleichwohl zunehmend in Frage gestellt .
    [Show full text]
  • Homer's Iliad Via the Movie Troy (2004)
    23 November 2017 Homer’s Iliad via the Movie Troy (2004) PROFESSOR EDITH HALL One of the most successful movies of 2004 was Troy, directed by Wolfgang Petersen and starring Brad Pitt as Achilles. Troy made more than $497 million worldwide and was the 8th- highest-grossing film of 2004. The rolling credits proudly claim that the movie is inspired by the ancient Greek Homeric epic, the Iliad. This was, for classical scholars, an exciting claim. There have been blockbuster movies telling the story of Troy before, notably the 1956 glamorous blockbuster Helen of Troy starring Rossana Podestà, and a television two-episode miniseries which came out in 2003, directed by John Kent Harrison. But there has never been a feature film announcing such a close relationship to the Iliad, the greatest classical heroic action epic. The movie eagerly anticipated by those of us who teach Homer for a living because Petersen is a respected director. He has made some serious and important films. These range from Die Konsequenz (The Consequence), a radical story of homosexual love (1977), to In the Line of Fire (1993) and Air Force One (1997), political thrillers starring Clint Eastwood and Harrison Ford respectively. The Perfect Storm (2000) showed that cataclysmic natural disaster and special effects spectacle were also part of Petersen’s repertoire. His most celebrated film has probably been Das Boot (The Boat) of 1981, the story of the crew of a German U- boat during the Battle of the Atlantic in 1941. The finely judged and politically impartial portrayal of ordinary men, caught up in the terror and tedium of war, suggested that Petersen, if anyone, might be able to do some justice to the Homeric depiction of the Trojan War in the Iliad.
    [Show full text]
  • Welcome Guide for Researchers Getting Started in Dresden‘S Research Landscape
    WELCOME GUIDE FOR RESEARCHERS Getting started in Dresden‘s research landscape 1 INDEX Rector´s statement..................................................................................4 Before arrival Visa and entry..........................................................................................5 Travel health insurance and important documents..............................6 Family After arrival Dual Career Service ...................................................................30 Local registration .....................................................................................8 Childcare.................................................................................... 31 Residence and work permit .......................................................................9 School system........................................................................... 33 Funding...........................................................................................................10 School registration..................................................................... 34 Social security system.............................................................................12 Benefits for families...................................................................35 Health insurance.....................................................................................13 Having a baby............................................................................. 37 General information on housing................................................................14
    [Show full text]
  • A Tear in the Iron Curtain: the Impact of Western Television on Consumption Behavior
    A Tear in the Iron Curtain: The Impact of Western Television on Consumption Behavior Leonardo Bursztyn and Davide Cantoni∗ August 2014 Abstract This paper examines the impact of exposure to foreign media on the economic behavior of agents in a totalitarian regime. We study private consumption choices focusing on former East Germany, where differential access to Western television was determined by geographic features. Using data collected after the transition to a market economy, we find no evidence of a significant impact of previous exposure to Western television on aggregate consumption lev- els. However, exposure to Western broadcasts affects the composition of consumption, biasing choices in favor of categories of goods with high intensity of pre-reunification advertisement. The effects vanish by 1998. Keywords: Consumption, Media, Television, Advertising, East Germany, Communism JEL Classification: D12, E21, Z10 ∗Bursztyn: UCLA Anderson School of Management. Email: [email protected]. Cantoni: University of Mu- nich, CEPR, and CESifo. Email: [email protected]. Previous drafts of this paper have been circulated under the title “Clueless? The Impact of Television on Consumption Behavior.” We are grateful to Philippe Aghion, Alberto Alesina, Stefano DellaVigna, Nicola Fuchs-Schundeln,¨ Matthew Gentzkow, Larry Katz, David Laibson, Yona Rubinstein, Andrei Shleifer, Nico Voigtlander,¨ Romain Wacziarg, and Noam Yuchtman for helpful comments, as well as seminar audiences at the EEA Annual Meeting, the NBER summer institute, and at Harvard, Heidelberg, HU Berlin, Linz, LSE, UCLA, U Penn, and UPF. We thank Tobias Hauck and Maximilian W. Muller¨ for excellent research assistance; Hans-R. Gunther¨ for letting us access the archives of the IM Leipzig; Jeff Blossom for sharing his GIS expertise with us; and Patrick Rothe for professional support with the German income and expenditure survey data.
    [Show full text]
  • Jahresbericht 2011
    Jahresbericht 2011 Inhalt Vorworte 4 Rechtliche Verhältnisse im Berichtszeitraum 8 Gesetz über den Hessischen Rundfunk 9 Satzung des Hessischen Rundfunks 16 Die Organe des Hessischen Rundfunks 22 Ausschüsse des Rundfunkrats 27 Ausschuss des Verwaltungsrats 29 Redaktioneller Teil Der hr kurz und knapp 30 Jahresbericht Fernsehen 2011 32 Jahresbericht Hörfunk 2011 48 Jahresbericht Multimedia 2011 62 Preise und Auszeichnungen 70 Lagebericht und Jahresabschluss Lagebericht 72 Vermögensrechnung 82 Ertrags- und Aufwandsrechnung 84 Anhang 85 Beteiligungen 93 Anlagenspiegel 94 Abrechnung des Finanzplans 96 Abrechnung des Ertrags- und Aufwandsplans 98 3 2011 war ein erfolgreiches Jahr für den hr Wir gehen in das letzte Jahr der alten, geräte- bezogenen Rundfunkgebühr. Alle 16 Landtage haben 2011 den Rundfunkänderungsstaats- vertrag ratifiziert, der neue Rundfunkbeitrag kommt im Jahr 2013. Es gilt dann die einfache Regel: eine Wohnung, ein Beitrag. Das neue Finanzierungssystem umfasst alle Verbrei- tungswege wie TV, Radio, Computer und Smartphone, das Gerät spielt also keine Rolle mehr. Für die Akzeptanz des neuen Rundfunk- beitrags ist auch die Akzeptanz bei den Menschen von entscheidender Bedeutung. In dieser Hinsicht stehen wir als hr gut da. Unser Programmerfolg beim hessischen Publikum wächst seit drei Jahren stetig. Wenn man in Hessen die Frage stellt, wer in den vergange- nen 14 Tagen ein Angebot des hr genutzt hat, bekommt man von 86 Prozent der Hessen die Antwort: „Ich!“ 4,7 Millionen Menschen haben in den letzten zwei Wochen ein Radiopro- gramm des hr gehört, hr-fernsehen geschaut oder waren auf einer unserer Online- oder Videotextseiten. Das hr-fernsehen setzte seinen Erfolgskurs fort. Das Rekordergebnis von 2010 beim Jahres-Marktanteil von 6,5 Prozent wurde wieder erreicht.
    [Show full text]
  • 1961 3 Politmagazine | 1 Nachrichten ● Die Rote Optik (1959) ● Der Schwarze Kanal ● Panorama ● SFB-Abendschau (Alle 13
    17 TV- und Filmbeiträge insgesamt. Phase I: 1956 – 1961 3 Politmagazine | 1 Nachrichten ● Die rote Optik (1959) ● Der schwarze Kanal ● Panorama ● SFB-Abendschau (alle 13. August 1961) Politische TV-Magazine stehen im Mittelpunkt dieser zeitlichen Anfangsphase beider deutscher Staaten. Am Beispiel von drei Politmagazinen und einer Nachrichtensendung betrachten wir die Berichterstattung von jenem Tag, der Berlin und Deutschland in zwei Teile trennte. Der 13. August 1961 aus Sicht von Ost und West – Ein Meilenstein der Geschichte. Phase II: 1962 – 1976 3 Filme | Fiktion ● Polizeiruf (1972) ● Blaulicht (1965) – Die fünfte Kolonne (1976) In den 70er Jahren setzte man verstärkt auf Unterhaltungssendungen, in Ost wie West. Eine besondere Rolle spielte dabei die Entwicklung des „Tatort“ (BRD) und des „Polizeiruf“ (DDR), den die DDR als Gegenstück zum westdeutschen Krimi-Format einsetzte. Besonders brisant: Im allerersten „Tatort – Taxi nach Leipzig“ wurde ausgerechnet ein DDR-Schauplatz in Szene gesetzt. Bei „Blaulicht“ und „Die fünfte Kolonne“ bezichtigen sich Ost und West gegenseitig der Spionage. – Spannende Gegensätze in der TV-Unterhaltung. Phase III: 1976 – 1982 4 Magazine | 2 Nachrichten ● Der schwarze Kanal (1976) – ZDF-Magazin (1976) ● Prisma (1970) – Kennzeichen D (1979) ● Aktuelle Kamera (1976) – Tagesschau (1976) Im Mittelpunkt dieses Zeitabschnittes stehen zwei konkurrierende politische Magazine aus Ost und West: „Der schwarze Kanal“ und das „ZDF-Magazin“. Die beiden Nachrichtensendungen „Aktuelle Kamera“ und „Tagesschau“ behandeln die unterschiedliche Darstellung der Ausbürgerung des kritischen DDR-Liedermachers Wolf Biermann. Phase IV: 1983 – 1989 2 Politmagazine | 2 Nachrichten ● Objektiv (1989) – Kontraste (1989) ● Aktuelle Kamera (1989) – Tagesschau (1989) Nachrichten und ihre Verbreitung stehen im Mittelpunkt dieses Themenbereichs. Wie entwickelten sich Informationssendungen in West und Ost.
    [Show full text]
  • Jahresbericht 2013
    Jahresbericht 2013 Inhalt Vorworte 4 Rechtliche Verhältnisse im Berichtszeitraum 8 Gesetz über den Hessischen Rundfunk 9 Satzung des Hessischen Rundfunks 16 Die Organe des Hessischen Rundfunks 22 Ausschüsse des Rundfunkrats 27 Ausschuss des Verwaltungsrats 29 Redaktioneller Teil Der hr kurz und knapp 30 Umfrage Unternehmensimage 32 Jahresbericht Fernsehen 2013 33 Jahresbericht Hörfunk 2013 45 Jahresbericht Multimedia 2013 61 Preise und Auszeichnungen 70 Lagebericht und Jahresabschluss Lagebericht 72 Vermögensrechnung 84 Ertrags- und Aufwandsrechnung 86 Anhang 87 Beteiligungen 95 Anlagenspiegel 96 Abrechnung des Finanzplans 98 Abrechnung des Ertrags- und Aufwandsplans 100 Impressum 102 3 Erfolg des Programms Das Jahr 2013 war das erste Jahr nach der Umstellung von der Rundfunkgebühr auf den Rundfunkbeitrag. Der Beitrag wird nun nicht mehr gerätebezogen erhoben, sondern pro Haushalt. Das ist sinnvoll und zukunftssicher, denn in der digitalisierten Medienwelt ist eine Erhebung nach Gerät längst anachronistisch geworden. Das neue Modell ist einfacher und gerechter: Jeder Haushalt zahlt einen Beitrag, unabhän- gig davon, wie viele Menschen in dem Haushalt leben und wie viele und welche „Empfangsge- räte“ betrieben werden. Das erste Jahr mit dem neuen Beitrag hat gezeigt: Die Umstellung ist erfolgreich. Seit 2009 waren die Gebühreneinnahmen im hr Jahr für Jahr um zwei Millionen Euro zurück- gegangen. Diese fortschreitende Erosion der Gebühreneinnahmen konnte gestoppt werden. Ja, die Einnahmen sind im Jahr 2013 sogar leicht gestiegen. Allerdings noch nicht so stark, wie es die veröffentlichten Prognosen für die gesamten vier Jahr vorhersagen. Nun ist es so, dass die öffentlich-rechtlichen Rundfunkanstalten der ARD, so auch der Hessische Rundfunk, die Mehreinnahmen aus Wegen der Einführung des Systems des dem Beitrag nicht behalten dürfen.
    [Show full text]
  • The Salzgitter Archives: West Germany's Answer to East Germany's Human Rights Violations
    Denver Journal of International Law & Policy Volume 5 Number 1 Spring Symposium - International Business Article 25 Transactions- Tax and Non-Tax Aspects May 2020 The Salzgitter Archives: West Germany's Answer to East Germany's Human Rights Violations Elizabeth A. Lippitt Follow this and additional works at: https://digitalcommons.du.edu/djilp Recommended Citation Elizabeth A. Lippitt, The Salzgitter Archives: West Germany's Answer to East Germany's Human Rights Violations, 15 Denv. J. Int'l L. & Pol'y 147 (1986). This Note is brought to you for free and open access by the University of Denver Sturm College of Law at Digital Commons @ DU. It has been accepted for inclusion in Denver Journal of International Law & Policy by an authorized editor of Digital Commons @ DU. For more information, please contact [email protected],dig- [email protected]. NOTE The Salzgitter Archives: West Germany's Answer to East Germany's Human Rights Violations ELIZABETH A. LIPP=I* INTRODUCTION Since the end of World War II, ties and conflicts between the two Germanies, the German Democratic Republic (GDR) and the Federal Re- public of Germany (FRG), have served as an important barometer of the larger relationship between the Soviet Union and the United States.' While a clearly discernible improvement in the political, economic and cultural climates can be observed in recent years, three major points of contention remain as a basis of conflict between the two countries:, 1) the insistence on the part of the GDR that the West Germans recognize East German citizenship and nationhood;' 2) the demand by the GDR that the 100 kilometer Elbe River border (between the cities of Lauenburg and Schnakenburg) be relocated to the middle of the river, instead of being entirely within the Federal Republic of Germany;4 and 3) the GDR re- quest for the dissolution of the Zentrale Erfassungsstelle der Landesjus- tizverwaltungen in Salzgitter5 (Salzgitter Archives), a West German * Elizabeth A.
    [Show full text]