Download American Representations of Post-Communism: Television, by Andaluna Borcila PDF

By Andaluna Borcila

With the televised occasions of 1989, territories of japanese and principal Europe that were marked as impenetrable and inaccessible to the Western gaze exploded into visibility. because the narratives of the chilly struggle crumbled, new narratives emerged and new geographies have been produced on and via American tv. utilizing an understudied archive of yankee information publicizes, and tracing their flashes and echoes via go back and forth publications and narratives of go back written via japanese European-Americans, this ebook explores American methods of seeing and mapping communism’s disintegration and the narratives articulated round post-communist websites and matters.

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Additional info for American Representations of Post-Communism: Television, Travel Sites, and Post-Cold War Narratives (Routledge Research in Cultural and Media Studies)

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In fact, the ceremonial/reverential tone of the commercials is noteworthy insofar as it reproduces the ceremonial register of the news coverage. The repetitive disintegration of the Wall in the news coverage is recaptured/ remembered/reenacted as a pleasurable event for an American audience, a solemnly happy event that recaptures the happiness on the faces of the Easterners and the music and spirit of the celebration in front of the Wall.

The montage continues: another man and children hitting the wall, one girl removing a piece, an officer putting a rose through a buttonhole, and the face of a smiling girl. The ad voiceover says, “The gift of freedom is the greatest gift of all,” and Greenfield’s voiceover answers the question he had previously asked about the images with this: “No. From a Pepsi commercial ” as the logo “peace on earth” with the Pepsi brand appears on the screen. More ads follow, for AT&T and for Drixoral, and they are commented on by Greenfield in a similar fashion.

We move back to the Wall, where, as Brokaw tells us, we can see “only a small part of what’s going on tonight,” and we move again to another reported tape, yet another border scene. The Berlin Wall is established in a metonymic relation to “what else is going on tonight,” as the one site that captures the joy and ‘essence’ of all these different border crossings. We are aware of a number of movements: the coverage moves from West to East (the position of the cameras in ‘live transmission’ at the Gate, where Brokaw is “live” in the West, and we are positioned to see him from the West) to filmed footage from/of the East and back.

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