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Abstract
Whether in the form of Google searches, interactive games, or responsive textual environments, the reassuring subject-object binary so fundamental to the modern era's representation systems is fast slipping away. In its place, a recursive epistemological order that actively parses the subject and shapes the textual world is fast emerging, posing challenges to established notions of agency and to narrative as a cultural operating system. Assessments of the terms and implications of this shift will benefit from the distinctive analytic perspective that distinguishes the Nordic from many of its Anglo-American and European peers.

Programming scarcity that characterized the broadcast era, or what this article refers to as constraint , served very different goals. Often intertwined, these goals ranged from the formation of an ideologically coherent national public, to the protection of economic self-interest, to the explicit promotion of products and messages. They were deployed rather differently in the commercial American and state/public European spaces of television. The article explores a number of assumptions regarding the institution and medium of television that have persisted from the broadcast era into our own and that might well, given the very different structures of contemporary television, be repositioned. It outlines the contours of that repositioning, sketching the implications for some of our theoretical and methodological defaults.

Programming scarcity that characterized the broadcast era, or what this article refers to as constraint, served very different goals. Often intertwined, these goals ranged from the formation of an ideologically coherent national public, to the protection of economic self-interest, to the explicit promotion of products and messages. They were deployed rather differently in the commercial American and state/public European spaces of television. The article explores a number of assumptions regarding the institution and medium of television that have persisted from the broadcast era into our own and that might well, given the very different structures of contemporary television, be repositioned. It outlines the contours of that repositioning, sketching the implications for some of our theoretical and methodological defaults. [Reprinted by permission of Sage Publications Inc., copyright The American Academy of Political and Social Science.]

In times of war and peace alike, the government uses the media to inform the population with more or less objective news or propaganda. In his article, William Uricchio considers media technology as a weapon in the government's hands. How can the media almost literally be used as a weapons system? --- In tijden van oorlog — en ook daarbuiten — gebruiken overheden de media om de bevolking te informeren. Met meer of minder objectief nieuws of met propaganda. William Uricchio beschouwt in onderstaand artikel de mediatechnologie als een wapen in handen van de overheid. Hoe kunnen media bijna letterlijk fungeren als een wapensysteem?

Frontmatter -- CONTENTS -- INTRODUCTION -- I. INDUSTRY, PROGRAMS, AND PRODUCTION CONTEXTS -- Convergence Television: Aggregating Form and Repurposing Content in the Culture of Conglomeration -- Lifestyling Britain: The 8–9 Slot on British Television -- What If ?: Charting Television's New Textual Boundaries -- Interactive Television and Advertising Form in Contemporary U.S. Television -- Flexible Microcastting: Gender, Generation, and Television-Internet Convergence -- II. TECHNOLOGY, SOCIETY, AND CULTURAL FORM -- Television's Next Generation: Technology/ Interface Culture/Flow -- The Rhythms of the Reception Area: Crisis, Capitalism, and the Waiting Room tv -- Broadcast Television: The Chances of Its Survival in a Digital Age -- Double Click: The Million Woman March on Television and the Internet -- III. ELECTRONIC NATIONS, THEN AND NOW -- One Commercial Week: Television in Sweden Prior to Public Service -- Media Capitals: Cultural Geographies of Global tv -- At Home with Television -- Pocho.com: Reimaging Television on the Internet -- IV. TELEVISION TEACHERS -- Television, the Housewife, and the Museum of Modern Art -- From Republic of Letters to Television Republic? Citizen Readers in the Era of Broadcast Television -- Cultural Studies, Television Studies, and the Crisis in the Humanities -- Contributors -- Index

Frontmatter -- Contents -- Acknowledgments -- I. introduction -- The Culture That Sticks to Your Skin: A Manifesto for a New Cultural Studies -- Defining Popular Culture -- II. self -- Daytime Utopias: If You Lived in Pine Valley, You'd Be Home -- Cardboard Patriarchy: Adult Baseball Card Collecting and the Nostalgia for a Presexual Past -- Virgins for Jesus: The Gender Politics of Therapeutic Christian Fundamentalist Media -- "Do We Look Like Ferengi Capitalists to You?" Star Trek's Klingons as Emergent Virtual American Ethnics -- The Empress's New Clothing? Public Intellectualism and Popular Culture -- "My Beautiful Wickedness": The Wizard of Oz as Lesbian Fantasy -- III. Maker -- "Ceci N'est Pas une Jeune Fille": Videocams, Representation, and "Othering" in the Worlds of Teenage Girls -- "No Matter How Small": The Democratic Imagination of Dr. Seuss -- An Auteur in the Age of the Internet: JMS, Babylon 5, and the Net -- "I'm a Loser Baby": Zines and the Creation of Underground Identity -- IV. Performance -- "Anyone Can Do It": Forging a Participatory Culture in Karaoke Bars -- Watching Wrestling / Writing Performance -- Mae West's Maids: Race, "Authenticity," and the Discourse of Camp -- "They Dig Her Message": Opera, Television, and the Black Diva -- How to Become a Camp Icon in Five Easy Lessons: Fetishism—and Tallulah Bankhead's Phallus -- V. Taste -- "It Will Get a Terrific Laugh": On the Problematic Pleasures and Politics of Holocaust Humor -- The Sound of Disaffection -- Corruption, Criminality, and the Nickelodeon -- "Racial Cross-Dressing" in the Jazz Age: Cultural Therapy and Its Discontents in Cabaret Nightlife -- The Invisible Burlesque Body of La Guardia's New York -- Quarantined! A Case Study of Boston's Combat Zone -- VI. Change -- On Thrifting -- Shopping Sense: Fanny Fern and Jennie June on Consumer Culture in the Nineteenth Century -- Navigating Myst-y Landscapes: Killer Applications and Hybrid Criticism -- The Rules of the Game: Evil Dead II . . . Meet Thy Doom -- Seeing in Black and White: Gender and Racial Visibility from Gone with the Wind to Scarlett -- VII. Home -- "The Last Truly British People You Will Ever Know": Skinheads, Pakis, and Morrissey -- Finding One's Way Home: I Dream of Jeannie and Diasporic Identity -- As Canadian as Possible . . . : Anglo-Canadian Popular Culture and the American Other -- Wheels of Fortune: Nation, Culture, and the Tour de France -- Narrativizing Cyber-Travel: CD-ROM Travel Games and the Art of Historical Recovery -- Hotting, Twocking, and Indigenous Shipping: A Vehicular Theory of Knowledge in Cultural Studies -- VIII. emotion -- "Ain't I de One Everybody Come to See?!" Popular Memories of Uncle Tom's Cabin -- Stress Management Ideology and the Other Spaces of Women's Power -- "Have You Seen This Child?" From Milk Carton to Mise-en-Abıˆme -- Introducing Horror -- About the Contributors -- Name Index