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The aim of the paper is to compare television cultures of Yugoslav republics during socialism. The paper is drawing on the recent comparative studies of socialist television in South and East Europe (Perško et al. 2021; Mihelj and Huxtable 2018; Imre 2016). Following the categories developed by Mihelj and Huxtable (2018) and Imre (2016), Yugoslav television cultures are here analysed in terms of a) generic composition and share of program modes, b) the level of transnationalism, c) the level of openness of television to social critique (semi-publicness), c) focus of television on private life (privatization), d) the gendering patterns, e) temporal orientation, f) characteristics of factual, humorous and history genres. Analysis is based on the data collected for the recently published book by Peruško, Vozab and Čuvalo (2021) and original content analysis of the JRT 79 Television Programme booklet, with a short description and basic info about the program that was shared within the JRT network. The result discerns differences between republic televisions (especially TV Ljubljana, TV Zagreb and TV Novi Sad) in program development toward neo-television, such as the differences in transnational orientation, temporal orientation, gendering patterns.

This article builds a theoretical model for comparative analysis of media culture based on the notion of genre, and applies it to a comparative analysis of television as a cultural form in socialist and post-socialist Croatia. The paper explores how the shares and generic composition of programme modes of information, entertainment and fiction change in time, and how the contribution of different genres to programme flow and modes varies with the changes of political, economic and technological context. Longitudinal trends in television flows are comparatively evaluated in relation to trends in genre developments in Europe and their relationship to the changes in the cultural role of television. The results show a decrease in the information and an increase in the fiction mode between socialism and democracy, with some similarities of the Croatian and western television culture in relation to genre and mode composition and flow, albeit with a belated introduction of neo television genres. Notwithstanding the limited freedom of expression and ideological content, which necessarily influenced socialist media culture, television as a cultural form in Croatia developed in concert with the global programme flows. The article is based on original content analysis of television schedules where the unit of analysis is a television programme listing. The analogue television universe is represented by longitudinal data for 1959, 1969, 1979, 1989, 1999, and 2009. The stratified systematic sample (N=3934) for each chosen year consists of two constructed weeks from a universe of all listed programmes broadcast on all free to air television channels with a national reach license.

This article builds a theoretical model for comparative analysis of media culture based on the notion of genre, and applies it to a comparative analysis of television as a cultural form in socialist and post-socialist Croatia. The paper explores how the shares and generic composition of programme modes of information, entertainment and fiction change in time, and how the contribution of different genres to programme flow and modes varies with the changes of political, economic and technological context. Longitudinal trends in television flows are comparatively evaluated in relation to trends in genre developments in Europe and their relationship to the changes in the cultural role of television. The results show a decrease in the information and an increase in the fiction mode between socialism and democracy, with some similarities of the Croatian and western television culture in relation to genre and mode composition and flow, albeit with a belated introduction of neo television genres. Notwithstanding the limited freedom of expression and ideological content, which necessarily influenced socialist media culture, television as a cultural form in Croatia developed in concert with the global programme flows. The article is based on original content analysis of television schedules where the unit of analysis is a television programme listing. The analogue television universe is represented by longitudinal data for 1959, 1969, 1979, 1989, 1999, and 2009. The stratified systematic sample (N=3934) for each chosen year consists of two constructed weeks from a universe of all listed programmes broadcast on all free to air television channels with a national reach license.

Cover -- Half Title -- Series -- Title -- Copyright -- Contents -- List of figures -- List of tables -- Foreword -- Preface -- 1 Introduction -- Three approaches to comparing the media systems of CEE countries -- The media systems of CEE countries cluster with those of Western European countries -- The impact of socialism on media systems -- Plan of the book -- 2 Explaining the transformations of post-socialist media systems -- The problem of studying media change -- Change in communication research -- Social theories on change -- Social change as evolution -- The processual approach to social change -- Change or continuity? The role of culture -- The problem of periodization: critical junctures and path dependencies in media systems change -- The first juncture: modernization -- The second juncture: socialism -- The third juncture: post-socialist democratizations -- The communication juncture -- The problem of comparison -- A set theoretic research approach: fuzzy set qualitative comparative analysis (fsQCA) -- Conditions shaping outcomes in media systems -- The political field -- The socio-economic field -- The cultural and symbolic field -- 3 Prelude to modernity -- Transformations of the political field -- Habsburg and Ottoman Empires -- Kingdom of Serbs, Croats, and Slovenes/Kingdom of Yugoslavia -- Transformations of the economic field -- Transformations of the cultural field -- States' evolving relationships with the media -- Habsburg and Ottoman Empires -- Kingdom of SHS/Yugoslavia -- Development of media markets -- Differences in the spread of printing -- Newspapers and the political public sphere -- Habsburg and Ottoman Empires -- Kingdom of SHS/Yugoslavia -- Radio -- Political parallelism -- Habsburg and Ottoman Empires -- Kingdom of SHS/Yugoslavia -- Journalistic professionalism and autonomy -- Globalization and communication flows.

Iako je sudbina neprofitnih medija u posljednje vrijeme vruća tema, ne znamo skoro ništa o publikama neprofitnih medija u Hrvatskoj ili o njihovom odnosu prema demokratskoj politici i političkim institucijama. Nakon rasprave o očekivanoj ulozi neprofitnih medija u demokraciji, u radu se empirijski istražuje opseg i karakter publika neprofitnih medija u Hrvatskoj te njihov politički interes, informiranje, povjerenje u medije, osjećaj političke djelotvornosti te politička participacija u odnosu na publike matičnih (mainstream) medija. Analiza je provedena na podacima prikupljenim anketnim istraživanjem na reprezentativnom uzorku korisnika interneta u Hrvatskoj (N=1208). Deskriptivna, regresijska i latentna klasna analiza pokazale su da četvrtina korisnika interneta u Hrvatskoj prati neprofitne medije i da publike neprofitnih medija imaju jači politički interes, osjećaj unutarnje političke djelotvornosti, informiranije su i više politički participiraju od publika matičnih medija. Publike neprofitnih i matičnih medija ne razlikuju se značajno u ukupnom korištenju medija, stupnju povjerenja u medijski sustav te u osjećaju vanjske djelotvornosti. Rezultati idu u prilog pozitivnom doprinosu neprofitnih medija demokratskom potencijalu medijskih publika, a daju naznake i o mogućem obliku polarizacije online medijskih publika. ; Although non-profit or third-sector media are recently a contentious and widely discussed issue in Croatia, there is hardly any knowledge about the audiences of non-profit media and their relationship towards democratic politics. Theoretical framing of the normative role of non-profit media in democracy preceeds the empirical analysis of its role for the audiences in Croatia. The size and characteristics of non-profit media audiences are described and these audiences are compared to mainstream media audiences in terms of political interest, political information consumption, trust in the media, political efficacy and political participation. Analysis is based on data gathered through survey of a representative sample of Internet users in Croatia (N=1208). Descriptive, regression, and latent class analysis showed that 26% of Internet users follow non-profit media and that non-profit media audiences in Croatia have higher political interest, political efficacy, inform themselves more and engage more in politics. Audiences of non-profit media do not differ significantly in overall media consumption and trust in the media in comparison with the mainstream media audiences. The results have implications about the democratic potential of third-sector media in Croatia, and provide insights into a possible shape of polarization of online audiences.