3/10/2024 0 Comments Tina louise net worth 2018![]() ![]() Intriguingly, their fear that TV would make citizens question apartheid, suggests they were already aware that television shows in South Africa would be from around the world, and would represent races living and working together. They used arguments about the cost of infrastructure and the nascent technologies to avoid introducing TV to South Africans. The National Party (NP) apartheid government had been concerned that TV would corrupt its citizens with ideologies and practices that were contrary to their racist ideology of separate development. South Africa was late to the global television party, only launching television broadcasting on the fifth of January 1976. Comparing these situations to my own growing up in South African in the 1970s and 1980s, it occurred to me that South Africa had always been a transnational television audience. Granted, this is probably in line with the public service mandates of these national broadcasters, but I also got the impression that Danes and Norwegians watched mostly Danish or Norwegian content, maybe some shows from the BBC and from the United States, but small screens seemed to have been dominated by local stories and events. The Danish national broadcaster, DR, and the Norwegian national broadcaster, NRK, before the incursion of Netflix, made, commissioned, and screened local content for their respective citizens. What struck me about the presentations was that the national broadcasters in Scandinavia appeared to truly embody the title of national broadcaster. ![]() The economies of transnationalism, identities in transnational shows, the politics of transnationalism, and the impact on national viewing cultures all featured in discussions of Netflix and its current global domination. In contrast, at the Aarhus course, Netflix as a transnational platform dominated presentations and group discussions. My research is focussed on three crime shows on Showmax, a South African SVoD streaming platform, and my thoughts around the transnational nature of streaming have been about Showmax’s positioning in Africa, and its distribution of South African and African content within Africa. Aimed mainly at PhD researchers, whose research is in some way affected by the transnational nature of streaming platforms and television today, the course made me think about the transnational nature of television in South Africa, where I live. I recently attended an online course at Aarhus University titled, “Transnational VoD Cultures”.
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