DOCSLIB.ORG

Kristoffer Gansing Transversal Media Practices

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Kristoffer Gansing Transversal Media Practices Kristoffer Gansin Kristoffer DISSERTATION KRISTOFFER GansinG : transversal media n ew G m PRACtiCes edia, P edia, Media Archaeology, Art and Technological Development U bli C How do media technologies develop over time? This is a basic proble- s P matic of technological development. In this context, the dissertation ex of forms and heres, Transversal Media Practices does not provide any easy answers but offers the reader a set of tools that points to the imaginary, residual and renewable dimensions of media in our contemporary network culture. The study unfolds through two case-studies. In the first, The World’s Last Television Studio, artists and activists are negotiating the socio- TRANSVERSAL cultural and material changes of the “old” and institutionalised mass P medium of Television. In the second case study, The Art of the Over- ression head, another old medium is engaged: the overhead projector, a quint- media essential 20th century institutional medium here presented as a device for “reverse-remediation” – of rethinking the new through the old. P RA The dissertation follows a methodology of integrated theory and C ti practice where Media archaeology is deployed as an interventionist, C es transversal discipline for cultural analysis and production that investi- gates the problematic of technological development. 978-91-7104-481-5 (print) 978-91-7104-482-2 (pdf) malmö U malmö n iversity2013 malmö UNIVERSITY 205 06 malmö, sweden www.mah.se TRANSVERSAL MEDIA PRACTICES Doctoral dissertation in Media and communications studies Dissertation series: New Media, Public Spheres, and Forms of Expression Faculty: Culture and Society Department: School of Arts and Communication, K3 Malmö University Information about time and place of public defense, and electronic version of dissertation: http://hdl.handle.net/2043/15246 CC* Kristoffer Gansing, 2013 Cover Design by Linda Hilfling based on the patents: “Method for making pictures for projection upon screens” by D.J. Williams, 1919. “Method of and means for transmitting signals” by J.L. Baird, 1934. “Transcoding between different dct-based image compression standards” by Jungwoo Lee, 2001. Printed by Service Point Holmbergs, Malmö 2013 Supported by grants from The National Dissertation Council and The Doctoral Foundation. Isbn 978-91-7104-481-5 (print) Isbn 978-91-7104-482-2 (pdf) *This work is licensed under a Creative Commons Attribution-NonCommercial 3.0 Unported License. KRISTOFFER GANSING TRANSVERSAL MEDIA PRACTICES Media Archaeology, Art and Technological Development Malmö University 2013 Till Sonia och Wilbur (det gamla och det nya) TAbLE of CoNTENT s ACKNOWLEDGEMENTS ................................................. 9 2005: AN INTRODUCTION ........................................... 11 Dissertation Year 0 ...............................................................11 1 CONCERNS, QUESTIONS, AIMS ................................ 15 Structure of the Dissertation ....................................................23 2 MEDIA THEORY AND MEDIA ARCHAEOLOGY: HISTORY, MATERIALITY, PRACTICE .............................. 27 Medium/Media Theory: A dispute over materiality? .................32 The Materiality of Network Culture .........................................41 The Historical Turn of (New) Media Theory ..............................53 Laws of Media .................................................................54 Transitions between the old and the new .............................56 Media archaeology ..............................................................60 The New, the Old and the Dead ........................................60 Deep Time and Topoi of Media .........................................61 From Dead to Undead ......................................................63 Archives: Discursive and Technical .....................................65 Media Archaeology and Technological Development ...........67 From Negative to Transversal Ontology ...................................77 3 CONTEXTS AND METHODS........................................ 85 The Alternative Media Context ...............................................85 The Media Art Context ..........................................................88 A Practice-based Approach ...................................................90 Practice-based and Artistic-Research ...................................92 Media- and Communications Research at the Crossroads ..........98 Cultural Production and Practice-based Research ....................102 4 THE WORLD’S LAST TELEVISION STUDIO .....................109 Introduction to Case Study I .................................................110 Structure of the case-study chapter ...................................112 Case methodology .........................................................114 Excavation .........................................................................116 TV-Stop .........................................................................121 Institutionalised and Dissolutionised Dissent .......................124 “Everyone can make tv- tv” – a manifesto and its (counter-) publics ............................................................127 From The World’s Last to the World’s Largest: Everyone Can Make TV (About Bush) and Four More Years .. 137 What is to be done? Dilemmas of a TV Station ..................149 Discussion: The Vanishing Point of tv-tv .............................157 Intervention: TV-Hacknight - Eventualising analogue Switch-Offs and Digital Turn-Ons ..........................................164 Smart encoders and dumb decoders ................................166 “Adieu monde analogue, et Bonjour Monde Digitale!” .......172 Convergence from Below: From The to Your New TV-Signal .. 179 5 THE ART OF THE OVERHEAD .....................................195 Do’s and Don’ts : An Introduction to Case Study II ..................196 Case Methodology ........................................................199 Excavation: Uses and Counter-Uses - A Geneaology of The Overhead Projector ...................................................201 Uses: From Standardisation to Institutionalisation ...............205 Counter-uses: Light-Shows and Expanded Cinema ..............220 Intervention: The Art of the Overhead Festival ........................231 Call for Overheads! .......................................................234 Works produced within and/or presented at The Art of the Overhead 2005-09 ...................................243 Coda to The Art of the Overhead: Imaginary, Residual, Renewable ...........................................258 6 THE MEDIA ARCHAEOLOGICAL GENERIC? ..................265 To Take Some Distance of it All ........................................265 Cybernetics and the doing and un-doing of History ............268 From Generic to Generative ............................................273 7 TRANSVERSAL MEDIA PRACTICES: EMERGING CONCEPTS ............................................277 Excavation: Imaginary, Residual, Renewable .....................279 Intervention: Eventualisation and Reverse-Remediation ........287 8 CHANGING THE CHANGES: A SUMMARY AND SET OF TOOLS ..........................................................295 SAMMANFATTNING ....................................................303 Ansats ...............................................................................303 Kapitel 1: ”Sammanhang, Frågor, Syften” .............................304 Kapitel 2: ”Medieteori och Mediearkeologi: Historia, Materialitet, Praktik” ..............................................305 Kapitel 3: ”Sammanhang och Metoder” ................................308 Kapitel 4: “The World’s Last Television Studio” .......................310 Kapitel 5: “The Art of the Overhead” ....................................312 Kapitel 6: “Mediearkeologins ‘generiskhet’?”.........................314 Kapitel 7 och 8: ”Tvärgående mediepraktiker: Framträdande koncept” och ”Förändring av förändringarna: Sammanfattning och en samling verktyg” ..............................315 REFERENCES ..............................................................319 ACKNOWLEDGEMENTS It is customary to name “the first” last, but I will cut to the chase and name the single most important person to this work here at the very beginning: Linda Hilfling. More than a contributor, Linda has been the most important driving force behind the activities and ideas laid out here and I cannot stress enough how much I owe the joys of my work, life and love to her. This dissertation was written at different locations over a period of seven years. The institutional base has of course always been Malmö University and its School of Arts and Communication a.k.a. K3 (from its Swedish name Konst, Kultur och Kommuni– kation). To say that K3 has played an important role in my personal and professional development would be an understate- ment. I cannot emphasise enough the tremendous support, freedom and challenges that this institution has presented me with during the past 14 years. Among the early supporters and mentors of my work are prof. em. Carl-Henrik Svenstedt who held the (now non- existing) position of artistic director at K3. Svenstedt created the E.A.T. Sweden network that importantly supported the first edition of The Art of the Overhead project. Kathrine Winkelhorn has also been a key person, always offering challenging and thoughtful advice and who provided me with some of my first job opportunities. My main supervisor Bo Reimer has been supportive and engaged throughout and
Load more

Recommended publications
  • Making a Game Character Move
    Piia Brusi MAKING A GAME CHARACTER MOVE Animation and motion capture for video games Bachelor’s thesis Degree programme in Game Design 2021 Author (authors) Degree title Time Piia Brusi Bachelor of Culture May 2021 and Arts Thesis title 69 pages Making a game character move Animation and motion capture for video games Commissioned by South Eastern Finland University of Applied Sciences Supervisor Marko Siitonen Abstract The purpose of this thesis was to serve as an introduction and overview of video game animation; how the interactive nature of games differentiates game animation from cinematic animation, what the process of producing game animations is like, what goes into making good game animations and what animation methods and tools are available. The thesis briefly covered other game design principles most relevant to game animators: game design, character design, modelling and rigging and how they relate to game animation. The text mainly focused on animation theory and practices based on commentary and viewpoints provided by industry professionals. Additionally, the thesis described various 3D animation and motion capture systems and software in detail, including how motion capture footage is shot and processed for games. The thesis ended on a step-by-step description of the author’s motion capture cleanup project, where a jog loop was created out of raw motion capture data. As the topic of game animation is vast, the thesis could not cover topics such as facial motion capture and procedural animation in detail. Technologies such as motion matching, machine learning and range imaging were also suggested as topics worth covering in the future.
    [Show full text]
  • A Guide to Harvard Academics
    The 49 A Guide to Harvard Academics 2016-2017 This guide is not the College’s advising resource of record. For the most accurate and up-to-date information on concentration and secondary field requirements, please consult the undergraduate Handbook for Students. Table of Contents Welcome to Harvard .........................................................................................................................4 Fields of Concentration and the 49 Book.......................................................................................5 How to Read the Fields of Concentration in the Handbook for Students.................................6 Academic Advising at Harvard........................................................................................................7 The Advising Relationship ...............................................................................................................8 Building Your Board of Advisors ...................................................................................................9 First-Year Advising ............................................................................................................................10 Sophomore Advising .........................................................................................................................11 Concentration Advising ....................................................................................................................12 Additional Advising Resources .......................................................................................................13
    [Show full text]
  • The World on Television Market-Driven, Public Service News
    10.1515/nor-2017-0128 Nordicom Review 31 (2010) 2, pp. 31-45 The World on Television Market-driven, Public Service News Øyvind Ihlen, Sigurd Allern, Kjersti Thorbjørnsrud, & Ragnar Waldahl Abstract How does television cover foreign news? What is covered and how? The present article reports on a comparative study of a license-financed public broadcaster and an advertising- financed channel in Norway – the NRK and TV2, respectively. Both channels give priority to international news. While the NRK devotes more time to foreign news (both in absolute and relative numbers) than TV2 does, other aspects of the coverage are strikingly similar: The news is event oriented, there is heavy use of eyewitness footage, and certain regions are hardly visible. At least three explanations can be used to understand these findings: the technological platform (what footage is available, etc.) and the existence of a common news culture that is based on ratings and similar views on what is considered “good television”. A third factor is that both channels still have public service obligations. Keywords: foreign news, television news, public service Introduction The media direct attention toward events and occurrences in the world, and help to shape our thinking as well as our understanding of these events. The potentially greatest influ- ence can be expected to occur with regard to matters of which we have little or no direct experience. Foreign news is a prime example of an area where most of us are reliant on what the media report. Studies of foreign news have a long tradition (i.e., Galtung & Ruge 1965) and there is a vast body of literature focusing on the criteria for what becomes news (e.g., Harcup & O’Neill 2001; Hjarvard 1995, 1999; Shoemaker & Cohen 2006).
    [Show full text]
  • Texture Builder Plugin for Cambam
    Texture Builder Plugin for CamBam [Version 1.0.1] Purpose Textured surfaces are commonly used in CNC machining to create interesting or contrasting backgrounds on carved items. Essentially a textured surface suitable for CNC machining is a 2.5D surface with a Z (depth) varying over an X-Y plane. This plugin is built on the following premises: That the surface to be textured is a tessellation of a series of 2.5D tiles. Each tile can be repeated over the surface using some combination of: o Copying o Translating o Scaling o Repeating on an X-Y grid, or around a circular arc in the X-Y plane. The tile element must be predefined (using some other tool) as: o a height cloud (a set of X,Y,Z coordinate points) in a CSV file, o an STL model (Sterolithographic file, in ASCII or Binary formats), o a RAW file (sets of X,Y,Z point triplets defining each surface triangular surface patch, as defined for CamBam, in ASCII format), or o an image file (BMP. GIF, JPG, PNG or TIFF formatted) where the grey scale values are to be interpreted as a height map (in the range 0 to 255). Once the scene is constructed, the complete scene surface can be saved as a XYZ height cloud, an STL file or a RAW file, for input into CamBam, or other CAM modellers. Related Tools and Potential Contributions To build a tile element to form the required texture various support tools can be used to help, each performing a particular task in the process.
    [Show full text]
  • The Business Model Innovation Process Henrik Jensen
    The Business Model Innovation Process Three studies on advertisers, media agencies, and TV broadcasters Industrial PhD dissertation submitted by Henrik Jensen Department of Social Sciences and Business Academic supervisor: associate professor Kristian Sund Business supervisor: commercial director Kasper Kryger ISSN no. 0909-9174 Foreword This dissertation is about business model innovation and the business model innovation process. After an English and Danish abstract of the findings, the dissertation is divided into two separate parts: synopsis and papers. The latter consist of three academic studies or scientific articles, of which two have been published as of November 2018. The synopsis is a summary of the relationship between the three studies and their contribution to the entire PhD dissertation. Furthermore, it provides additional information about and discussions of the background, methods, and results that are not presented in the scientific articles. The journey for this dissertation started in April 2013, when I, a former executive from the media industry, read an article in a Danish business newspaper in which a professor in media management claimed that media organizations were facing significant business challenges and would benefit from applying industrial PhD candidates. Several actors deserve thanks for making this journey happen: Discovery Networks, undertaking a PhD project for the first time ever globally, and, from Roskilde University, my supervisor, Kristian Sund, and, for his initial support, Søren Jagd. However, my biggest thanks are due to my fantastic wife, Lone, who supported the journey all the way! After more than three years of studies, I am confident that the phenomenon of business model innovation provides some key answers to the question of how firms can survive in both the short and the long term.
    [Show full text]
  • Making TELEVISION ACCESSIBLE REPORT NOVEMBER 2011 Making a TELEV CCESS DIGITAL INCLUSION Telecommunication Developmentsector NOVEMBER 2011 Report I
    DIGITAL INCLUSION International Telecommunication Union Telecommunication Development Bureau OVEMBER 2011 N Place des Nations CH-1211 Geneva 20 Making Switzerland www.itu.int TELEVISION ACCESSIBLE Report REPORT BLE I CCESS A N O I S I NOVEMBER 2011 Printed in Switzerland MAKING TELEV Telecommunication Development Sector Geneva, 2011 11/2011 Making Television Accessible November 2011 This report is published in cooperation with G3ict – The Global Initiative for Inclusive Information and Communication Technologies, whose mission is to promote the ICT accessibility dispositions of the Convention on the Rights of Persons with Disabilities www.g3ict.org. ITU and G3ict also co-produce the e-accessibility Policy Toolkit for Persons with Disabilities www.e-accessibilitytoolkit.org and jointly organize awareness raising and capacity building programmes for policy makers and stakeholders involved in accessibility issues around the world. This report has been prepared by Peter Olaf Looms, Chairman ITU-T Focus Group on Audiovisual Media Accessibility. ITU 2011 All rights reserved. No part of this publication may be reproduced, by any means whatsoever, without the prior written permission of ITU. Making Television Accessible Foreword Ensuring that all of the world’s population has access to television services is one of the targets set by world leaders in the World Summit on the Information Society. Television is important for enhancing national identity, providing an outlet for domestic media content and getting news and information to the public, which is especially critical in times of emergencies. Television programmes are also a principal source of news and information for illiterate segments of the population, some of whom are persons with disabilities.
    [Show full text]
  • DVD-Ofimática 2014-07
    (continuación 2) Calizo 0.2.5 - CamStudio 2.7.316 - CamStudio Codec 1.5 - CDex 1.70 - CDisplayEx 1.9.09 - cdrTools FrontEnd 1.5.2 - Classic Shell 3.6.8 - Clavier+ 10.6.7 - Clementine 1.2.1 - Cobian Backup 8.4.0.202 - Comical 0.8 - ComiX 0.2.1.24 - CoolReader 3.0.56.42 - CubicExplorer 0.95.1 - Daphne 2.03 - Data Crow 3.12.5 - DejaVu Fonts 2.34 - DeltaCopy 1.4 - DVD-Ofimática Deluge 1.3.6 - DeSmuME 0.9.10 - Dia 0.97.2.2 - Diashapes 0.2.2 - digiKam 4.1.0 - Disk Imager 1.4 - DiskCryptor 1.1.836 - Ditto 3.19.24.0 - DjVuLibre 3.5.25.4 - DocFetcher 1.1.11 - DoISO 2.0.0.6 - DOSBox 0.74 - DosZip Commander 3.21 - Double Commander 0.5.10 beta - DrawPile 2014-07 0.9.1 - DVD Flick 1.3.0.7 - DVDStyler 2.7.2 - Eagle Mode 0.85.0 - EasyTAG 2.2.3 - Ekiga 4.0.1 2013.08.20 - Electric Sheep 2.7.b35 - eLibrary 2.5.13 - emesene 2.12.9 2012.09.13 - eMule 0.50.a - Eraser 6.0.10 - eSpeak 1.48.04 - Eudora OSE 1.0 - eViacam 1.7.2 - Exodus 0.10.0.0 - Explore2fs 1.08 beta9 - Ext2Fsd 0.52 - FBReader 0.12.10 - ffDiaporama 2.1 - FileBot 4.1 - FileVerifier++ 0.6.3 DVD-Ofimática es una recopilación de programas libres para Windows - FileZilla 3.8.1 - Firefox 30.0 - FLAC 1.2.1.b - FocusWriter 1.5.1 - Folder Size 2.6 - fre:ac 1.0.21.a dirigidos a la ofimática en general (ofimática, sonido, gráficos y vídeo, - Free Download Manager 3.9.4.1472 - Free Manga Downloader 0.8.2.325 - Free1x2 0.70.2 - Internet y utilidades).
    [Show full text]
  • Cour Art of Illusion
    © Club Informatique Pénitentiaire avril 2016 Initiation au dessin 3D avec "Art Of Illusion" Sommaire OBJECTIFS ET MOYENS. ..................................................... 2 LES MATERIAUX. ................................................................ 30 PRESENTATION GENERALE DE LA 3D.......................... 2 Les matériaux uniformes ..................................... 30 La 3D dans la vie quotidienne. .............................. 2 Les matériaux procéduraux................................. 30 Les Outils disponibles. ........................................... 2 LES LUMIERES..................................................................... 31 PRESENTATION GENERALE DE "ART OF ILLUSION"3 Les lumières ponctuelles. .................................... 31 L'aide. ................................................................... 3 Les lumières directionnelles ................................ 32 L'interface. ............................................................ 4 Les lumières de type "spot"................................. 32 Le système de coordonnées................................... 6 Exemples de lumières.......................................... 33 LES OBJETS ............................................................................. 9 LES CAMERAS. ..................................................................... 34 Les primitives. ....................................................... 9 Les filtres sur les caméras.................................... 35 Manipulation des objets. ...................................
    [Show full text]
  • Review of the Communication from the Commission on the Application of State Aid Rules to Public Service Broadcasting
    REVIEW OF THE COMMUNICATION FROM THE COMMISSION ON THE APPLICATION OF STATE AID RULES TO PUBLIC SERVICE BROADCASTING. THE REPLY OF THE DANISH BROADCASTING CORPORATION (DR) 1. GENERAL 1.1. A number of significant legal developments have taken place in the public broadcasting area since 2001, namely the adoption of the Audiovisual Media Services Directive, the adoption of the Decision and Framework on compensation payments as well as Commission decision-making practice. Do you think that the Broadcasting Communication should be up-dated in light of these developments? Alternatively, do you consider that these developments do not justify the adoption of a new text? The Danish Broadcasting Corporation (DR) welcomes the opportunity to comment on the issues regarding the application of state aid rules to public service broadcasting – as it can be fundamental to the future existence of public service broadcasting. In this regard, it is essential for DR to stress the importance of every Member States right to preserve the sovereignty to define the national public service remit and provide for the funding. Otherwise, it can be impossible to carry out the obligation to promote the cultural, democratic and social activities which is at heart of public service broadcasting. We emphasize the importance of the cultural, democratic and social nature of public service broadcasting Considering the changes in the broadcasting sector which are increasingly relevant as well as the political statements for example in the Lisbon conclusions, DR finds a revision of the current communication relevant if it takes into account and acknowledges the particular aspects of public service broadcasters (PSB).
    [Show full text]
  • Desarrollo De Un Modelo Estadístico Para El Estudio De Los Sectores
    LOS RETOS DE LA TELEVISIÓN PÚBLICA EN ESPAÑA ANTE EL MERCADO ÚNICO DIGITAL EUROPEO: ESTRATEGIAS MULTIPANTALLA, INNOVACIÓN Y RENOVACIÓN DE LOS MANDATOS DEL SERVICIO PÚBLICO* Objetivo 1. Comparativa europea. Caso DR (Dinamarca) Autora: Lola López-Muñoz, doctoranda del proyecto CSO2017-82277-R, Los retos de la televisión pública en España ante el Mercado Único Digital europeo: estrategias multipantalla, innovación y renovación de los mandatos del servicio público, LOCALCOM-UAB, [email protected] Supervisado por Dra. Carmina Crusafon. Noviembre, 2020 http://centresderecerca.uab.cat/oic https://ddd.uab.cat/collection/localcom http://www.ciencia.gob.es/ *Proyecto CSO2017-82277-R, Los retos de la televisión pública en España ante el Mercado Único Digital europeo: estrategias multipantalla, innovación y renovación de los mandatos del servicio público (IP Carmina Crusafon), financiado por el Ministerio de Ciencia, Innovación y Universidades. LOS RETOS DE LA TELEVISIÓN PÚBLICA EN ESPAÑA ANTE EL MERCADO ÚNICO DIGITAL EUROPEO CONTENIDO 1. Las corporaciones audiovisuales de servicio público en el nuevo escenario digital: el caso DR (Dinamarca) ................................................................................................................................................ 3 a) Cuadro resumen ................................................................................................................................. 4 Datos contextuales mercado audiovisual danés ................................................................................
    [Show full text]
  • Danish Public Service Broadcasting in Transition
    Danish Public Service Broadcasting in transition: From monopoly to a digital media environment – a shift in paradigms Poul Erik Nielsen UNIVERSITY OF AARHUS, DENMARK ABSTRACT: Danish Public Service Broadcasting has gone through two consecutive transitions. Th e fi rst in the late 1980s and early 1990s was a transition from a paternalistic public service monopoly, Danmarks Radio, to a so-called Danish model with two dominating non-profi t public service stations in a competitive television system. Th e second is an ongoing transition from public service broadcast- ing in an increasingly politicised and competitive television system to public service media in a com- plex digital media environment. Th e article analyses the transition processes in a media system and media policy approach with focus on political, juridical, economic, and institutional perspectives. Th e article presents two main arguments. Firstly, the institution Danmarks Radio, the politicians, and most of the national cultural elite experienced the fi rst transition as revolutionary, and in respect to agenda setting, mode of address, and institutional changes the transition was revolutionary, but the ‘real’ revolutionary transition is the current transition to a digital media environment where the original idea of broadcasting is challenged by fundamental changes in the relation between media institutions and media users. Hence the whole concept of public service has to be reconsidered, and the public service institutions will have to reinvent new positions for themselves. Secondly, Danish media policy in general and public service broadcasting in particular has historically been dominated by a national cultural and political paradigm, but in the current situation are (national) cultural issues marginalised and the media policy is governed within international economic and legal paradigms.
    [Show full text]
  • Journalism Journalism
    CULTURAL JOURNALISM CULTURAL In an era when culture itself has become central to political debates, when boundaries between hard news and soft news, facts and opinion are dissolving, cultural journalism contributes to democratic discourse on vital issues of our time. Cultural journalism is furthermore indicative of journalistic autonomy and specialisation within media organisations, and of the intertwined relationship between the cultural and political public spheres. Nordic cultural journalism in Countries in the Nordic the mainstream media covers more subjects today than ever before, from fine arts to gam- ing, media industries, and lifestyle issues. At the same time, it harbours debates and reflec- tion on freedom of expression, ethnicity and national identity. This book contributes to an emerging international research agenda on cultural journalism at a time when digitalisation, convergence and globalisation are influencing the character of journalism in multiple ways. | “Cultural journalism matters, and it matters differently by location. This nuanced and (eds.) & Kristina Riegert Kristensen Nørgaard Nete CULTURAL thoughtful portrayal of cultural journalism in the Nordic countries performs a double elevation CULTURAL of what has been missing for too long from journalism’s discussion: its stylistic and geographic variety. This book offers a strong set of studies that highlight what cultural journalism in the JOURNALISMJOURNALISM Nordic countries forces us to consider about all journalism everywhere.” BARBIE ZELIZER Raymond Williams Professor of Communication, inin thethe NordicNordic CountriesCountries Annenberg School for Communication, University of Pennsylvania NORDICOM University of Gothenburg Box 713, SE 405 30 Göteborg, Sweden Telephone +46 31 786 00 00 • Fax + 46 31 786 46 55 Nete Nørgaard Kristensen 4 7 E-mail [email protected] & Kristina Riegert (eds.) NORDICOM 5 7 5 www.nordicom.gu.se 9 7 Nørgaard Kristensen, Nete & Riegert, Kristina (2017).
    [Show full text]