~<.ift~\JI ... : wt:f ti~lq .... ~ (1) ~i4'111, ti:qli( 3~ '1'1)~\11'11

< 2 > Cf) (.ill. R4 a '11 an-~ an m•ft Cf)i( u 1

(3) ~ fttf. ~ Q~

(1) 'qi4"11. ~ ~ st"t)~\JI"f

~WRI-"fl1ll\JJI -q ~ d¢4'1$1 McrrfWn 3TI ~ ~· urr ecr~'l~\J1'1 &?r Q)) >rmfcffi CfR

~~I I~ 41~lll' -;f ~ ~,-;n3TI cf> Xll~ ~~~I ufr Pt~8!d.

>fij~ &Rl (!Cb*iSil'i ~i'll'<l 3tR ~reAl CfjJ \>4'{"11\{0II Pt~ll ~ ~ cf> ~I ~

W t Q)) ~ ~ cft.t I~~ \9" ~ M> '<i,iHiti 4§i'11-l cBT ~ cf> m

*ilffill ~ ~ ctfr ~ ~~I 41~lll ~~ltl$11 s:~'lcb*i'< ~ ~CbCf'1~C1

~ ~ FP ~~ Sil~lll' cBT ~Rnl ~ ~ CllfCltPid ~i'll'<l Q)) ClJCffi ~ cBT

l>41ffillr ~ ~~~ 3tR ,~, cf.l xirn3TI Q)) ~ ~ ~ ~ c=rm ~ cf>

~~ cf> ~ ~ Q)) "dt? ~ t I* ~ ~ ~ "# dCb"ilCbl cf>

ITIC11'1 ';f \34:!'16 !>4*11'<01 cf> x=n~-·XTI~ t'le)(!i'f (DTH) 3tR ~FGicct ~ &m ~

~ tfGT cBT ~ I mt-mt ·~ ~ Q)) ~ m~!Tt Cbd I fl1c;r;l "C'f"1fi t I ~

ecr~l~\J1'1 -lcqc5 ~ ~ \9" 6Jli~, 1Wcr. cf> ~ ~ "#, ~ ~ dC'fl~l~ ~

~ I Xll~ 1ft ecl) ~\J1 '1 cf> '5: i *1 11"1 f-~' ~ -;f ~ *iSi li'll '< ~ ~ fClRl ~ I ~

. ctr ~ ~ ~ "# f!Sili'll'< cf> w~-x=n~ ii.;l~\J1'1 ~ ~ ~· Cbl4wSO!'i cpr

'«1'{')4 ~ ~ t I

fiSOJii'll'< ctr 1>4X1Rl "# frr«Tnm 3tR fila=rr cf> m->mR 1R 061" ~ ~ \JfR

~ m "\J1ff 1Wcr cf> ~ ~ 1f (30 cf> Gffi) "#) !>4fll'<or f.11Jl1 ~ ~ ~ 1

<1 f.11Tl1 ~ G~TCb'i Q)) ''ii~IRCb· ~ ~ ~ I ~flfc;t(! ~ ~ "# <:ffi ~. m \iiTffi t fcl> '<i,-q'11ti ~~ ~:, mx, TficT ~ cf> ~ 1>4*11Rd m 1 ~ tr4T

'ii~IRCb'i Q)) ~· IDl<l m I ~ref> ~4-{)d Si"il~\Jl'i ~ ~ crrc;rr Clllqfii~Cb '

ee1'l~\J1'1 &5r G~TCb'i Q)) '~Cfffi' lfRffi W ~I ~ R1fc;tll+=fi ~ CJ?I4wSOJ

*"The possibilities for new media that are now emerging do not only alter the forms of

. individual expression and representation. They also potentially challange the

dominance of existing social contexts and relationships by their capacity to overcome

limits of space and time .... The old rules governing access to channels of

communication are also being broken."

(162)

!>Nii'<OI cp) Gl ~ '-q' (A) 3fR #r'(B) lf ~ ~ s-q ~ ~ fcl> '-q' >rCPR

"* ~m Cf>l4wB -;:r ~ \JfFfmfr cGr ~tTRUTT -qx ~ m-a- ~ ~ 3lT11

\JFffil cGr ~ 'PT '41 t11R ~ ~ I* '#r' >rCPR ~ Ji'il~\J1Cf> Cf>l4wJi cgt9 G~l¢l cGr

<14Rffi~ld ~ ·'PT ~ ~ s-q ~ Na ~I fcl~ll~ ~~ifcbd ~ ~ fcl> ~

~ e<>11Rl\J1'i 1f Cf>l4wl1'i cGr fctffcmT cGr ~ tl~lcHili M ~ ~ ~ (R"g

~ Fcl$114'1 ~ ~ 1f ~-~ -;:fflT I ~ 3ii\J1Cf><.>1 f!Jilill'< 3lR Ji'il~\J1Cf>

Cf>l4wJi "GT'iT tr Rl$114'1 ~ g1 ~ ~ 1 Cf>l4wl1'i cp) ~ 1f ~ ~

~ ~Jilli ~ c>rfi ~I ~% '41 ·~· ID TfliT ·~I Ji'il~\J1Cf>-f!Jili41'<

ecilfcl\11'1 ~ ~· f!Jilill'< m ~· ~ 1 "4RT "'i"nR cer ~ 'G" -iJiflcp' fft-iJiltlx'i 1f

l>IG~td fclR1 ~ "fl" ~ e<>i"Jfcl,rp:r ~ ~~~4i cpJ ~ f!Jilill'< 61'1¢'<, ~ ~

3TW ~ m~, ~ M x5r 1 ft~ ~ ~ cgu tr ~ ~ ·~ fctG CJRUJ' 1f

PI 4~1 Cf> "4RT "'i"nR 3lR ~ o~ ~ "fiT~ "ifClt !>! fll Rd ~ 1 ~ >rCPR cft1rr ~

cGr ·~· ~ 3ilf1Cf>'< 'iiJiiCf>'i cfi GRA, ~ ~. TI~ ~ "ijlG (.l14lldl'< G)

ffldl5 dCf> ~ ~ f!Jilill'< * -aR -qx ~~~-1'i 1f ~~Ill I \JfTffi ~ 3lR m~

tr q'it1tl~ c# 'crrcp G" CfCl>' 1f ~rn ~ ~ m~ "ifClt l>lfiiRd ~I~ 'f.=r:~'

~ fft-iJiltlx'i 1f l>IG~t'i "fl" ~ ;:tJq'iq'i3i1~4'tq'i -;i -qcp ~ ·~ m· 3ill!'tfG1d

fclR:rr FGif!~ fii~IRCf>l ~ -;) -;:r ·ffirt· 'tCftll't lf ~ 3lflim~ ~ "fi" ~

~~~WCP Xl1l ~n41<.>1 ~ \il~~ GJ"R1f ~~~ ~~ ~ ~~~~

·~ 3lR 'tCftll't 1f ~ ~Trm "fl" !>!RIIffilllli ~ ~ 1 ~: Ji'il~\Ji'i, ti~rill'<

'PT 3fR fl Ji I i4 I'<, Ji 'il ~ \J1 'i 'PT ~:fiT ID "Cf>X ~ s-q I

* "What can be discerned, indeed, is not only a general distinction between

"cultural' and Commercial' programes- of the kind roughly indicated by type A

and type B programming- but also an equally significant cultural set in each type

of programming. Thus type A is based not only assumptions about education

and the learning process bu·: also on characteristic definitions of public and gen­

eral interest.. .. In type B there are evident assumptions of entertaiment and dis-

traction .... "2

(163)

'-;:p) 41~lll' ";l ~ 'til~~'< ~· Cf5l fc1¢1'H fcnm. \J-ffiT ~ 3fR 'fiiilifl'<

PI~ ax \34('1(fl m ~ .~ 1 til~~'< fc1~ltt$11 Cf>: ~ ~ frl> ~ ·m· ti~rFGt¢ &R

'<1\ii·iH"tl¢ 6T~ ~. :!Cffi ~ 13 m~ tl '-;:p) 1~' -;l &1Fckllll 3iR uTe: fi~Gill'i cp)

~ fc1ifl'<l ~ m1R ~ ~ ~~fil~c ~coT~ q;rr ~~I ~ ~~fil~c "tR

~ ~. J)cl)Jl, fiiHili ~. ~ ~r tijGill C1cP <n ~ fctill'<l ~ fi5~d

&1Fcklll'i (JCJ), ~fiiRct CR ~~I il1f'KPra-~ "tR ~~ cpy ~ ~~d "fitl

1f '4) ~ ~ 1 ~ ~ 41~lll "tR ~11j~RP1 ·~I* -;:p) +Jl~lll -;l '11~1R¢/

~· cp) "fCl<l ~-~ qfr x=q.:rr ~ "Xlalll ~ 3iR "fCl<l m Cffi ~em

~-~ ~ (>flTf I Cffi, ~-~ lR ~ ~3TI. il)~lll, "d~ ~~d

~ Cf5l Wll. ~ fi ¢dl ~ I q') ~lll cp) tit\i1" CR mPill ~ I RcJt~'\5 GtR ~ CR

fiCfJdl ~ I ~ WPN ~ lR fctaRct ~ 1:f0, ~. ~ q"l~lll ~ ~ (~

~td~IC1 ~ crrR CZJfcffi) IDXT fiRftRcr '4) m ~ ~I ~ '¢1ClGf'"'fi' 1f ~

~. ~ "d~ ~~ct ~ ~I"G!c:c;r ~ 1f 4RClRlct ~ FctctRct m-ff ~ 1

~ 1\ fc) ;1 ct ~ ~FG1 ft \ I V . 1 1 ·~I \i11cCl ~'l·cC1 s:JUIIC1 cpr \34lll~l CR 3l"f-1 ~ fi~lill'<, J1R

~~an·, "d~ '3TA" ~ fiil1tli' -~ CfRT x% ~ 1 ~ m ·~ CBtfk~l.

·fc)~l!'i ~· d~ ·~ ~· ~ s:lfii'<Uf ~ em ~ ~ CR ~

~-~ cB1 x=i'l"flcHtli ~ ~ ~ 1 ~m d¢'1"1¢ ~ ~ d61~l~ll'i -;l ~-~.

~. Lf)l~~'< 3llf?c<Ni "d~ xlcc>tl~c ~~ lffUfl1 ~ Clffcffi co) 3ja'<T~ll ~-fcp:ffl

~ s:Jfsblll lf f%MGI'< ~ ~I Cf>T<~ ~ SOl«!~ cpy d~¢1 ~ TfliT ~ "d~

~ ~ ~ fl'<il11 ~ ~ m~ ~~ ~.'1<l m 1f ~ 3iR c>rfi ~ 1

~ 3tR fi~lillx'i ~ ·~ -gg, fuCf ~ lf, ~ ~ ~ ~ illTf ~~ti,~d cpy ~ ~ ~ ~ 1 ·mc;r m 1f ~~~~ 1f ~ ~ ~ ~3TI ~

* "We consume film and television and radio broadcasts, all of which are products

that the entertainment industry prepares for us and over which we have only the

most indirect forms of contro , through audiance ratings, for example. These

products are perceptual expe iences: film and television make very sparing use

of textual representation, and radio of course can make none." 4

(164)

~ ~aTUT 1f -qm -=qc;rr fcn ~ ~ ~ -~ ~ ti41d'il ~ ~ ~61til~c lR

"\Jlffi ~ Cfl!Trcn ~ ~ ~ cr ~m ~ ~cp 161 <il \TlffGT c=r~ q-< cp atR- q)11

S:HilclGI'< ~ ~ 1'5 ttJilill'<l ~ ·~ ~ct" ~ ~ W~ 5£ ttJilillxl cp) ~ ~ ~

\34¢xul 4RqmC1 m ~. ~ 1 ttJilill'<l ~ ~'«!fct "¢1 '«l'<i>4 ~ ~ W ~I 3lf.:l

~ tiJilill'<l lf ~ ~ ~ -~~ q ~ lf ~ ~ \JITC1l t ~ticB

LJ>&I'«l'<i>4 ~ 5I" ttJilill'< ~ lR "¢~~~¢lUI·~~~ I~~~ "LJ>Tifc

-;) ~<1"1fcl\J1'1lR >RgC1 6)-;) ~ mtx'T "¢1 ~-m ~ ~ ~ 1 ~ fr ttJ:tlill'<

lR ~ tlqiGGIC1131T cr fclilt~!?l'i ~ Wdffi>lii.Q cr ~~¢lUI >RgC1 ~ ~ 1 w~ fr ~

tiJ:tlili'< ~ 1f ~ Gffil~u:t, 11Fm, ~fq>¢, 3ll~l~q ~ ~ ~~~~61 fcl><l

"\Jlffi ~ (C11~¢1) 1 cw41-cw41 ~r ~fct51R:IiP ~ ~ 3lliPf~q ~ ~ w~

>RgC1 6)-;) C1lffi ~ I ~ ~'d ~?I ctft 'rfffi11 ~ ~ fiJi I ill'< 3TR ~ ~ ·~

ti Ji ll(l 6)-;) ~ ~ I Gf;:IT lf 3Rrx CIR "4T'1T ~ ID \JITC1l ~ I*

~~~ll'i Rll&t€1\Jl ~ ~H ~~I lf ~11Ji61161 ~~d ~ fcn, II~~

~ R &til x=tfl ~ ffitt 161 x) ~ -:q rf%-q, "BPn il c~ 1 ~ G 1 x, fc)T.fR ~ 3iR ~ 6)-;)

~ crrfcp "4"l"OcP <Tf ~ "¢1 .J:f'i" ~ ~ I 3iR 31 ~ 611 '< <n ¢ IGfwii ~ ~ cB f"G141 lf

~~6Rl~"7

21~ "fiCft "¢1 ~<1"1fcl\J1-- ~ 4Rqct'1¢1~ ~ ~ ~ 1f ~ w ~ 1 ~

~ lfR1 ~ ~ w~-w~ -q;:i~J:t~ti ~ ~ ~ ~ 1 51(1" ~ ~ 1f \Jl~¢1 ~

c=r~ ruliG~T4'l ~ iiliic>ll ij ~ti~Ji~ti ~ wnq -;) ~ ~ tix¢1'<, ~ 3iR

!HIIti'i ~ ~ ~ ~ X1£11~ 3lFf "\J1"'1C1T "¢1 ~ WPC ~ lf ~ ~ ~ I

* "The award-winnin~ CNN.com report on the conflict in Colombia presents-a

collection of objects, hcluding interactive maps, official and unofficial documents,

statistics, articles frc'm correspondents, expert's analyses, and links to off-site

sources, as well as interaction with and among readers. Other news organizations

are developing similar web-based special reports, unavailable in print."6

(165)

~'<i~Ji~'<i ~~"CPT~ §ll'5CblfR"Tr fcl~~~, 'P1 m Tflff ~ 1 ~ 3l6f ~ ijcp<flcp

fclc:pffm CJR w ~ ~ ~ ~~ IDXT ~ '41 Ji"i~ ~ \J1 c:p ~ cB1 ¢61·-1'1

3lLA ~. ~ ~ ~ 1 <r5 ·m~ e:c1"1fcl\J1~· 6Pn 1.ftrbr cB- ~'<ilxDii$f1t cr

·~ eRe ~·. iTcfi 3tR ~rc Cf>1 ·urR -q "ffl" CJR, ~ ~ C"1Cbrf1Cb cB1

~311 1R cpp:f cpx -w ~ 18

~ -q e:c1"1fcl\J1~. ~c'<~c ~~ctCblcl ~ ~ 1 ~ fcl~~~l "CPT~~ 1

fclfclllli ~'51c>45 "CPT~~ fcll ci~ ~ Cf>1 ~ ~ 3tR 41~4RCb e:c1'lfcl\J1~

{q~cll~l ~) C"1Cb·-i'lc61 fclCbl'<i ctl ~ -ij ~ "'<6 ~ 19 ~ ~ ~c'<~c

1R '61~f4l'5' ~ IDXJ ~ t\cft" CbllfwJi \34<?1&:1 m ~I ~ \Y1 collfws:Jl

Cf>1 3N4l p ~ ~ ~·rr 1 ttccll~c ~ ~ 6T ~c'<~c. tlcft" Cbllfws:J'i cB­

fclCixol "CPT lffUr1 6Pn 1 ~")41 -~ ~c:CJ¢-;) "~~~c: 61\£f1CJI~CJ")' crm ·~·

~ ("'~coRlll tli'<ICJiffico ~ 1R f<sRT ~ cB- ~~~~ "CPT cl5ti<?1r fclR:rr ~ 110 ~

-q Ji"i~~\Jtco col4wll ·~ ~· ~~ Jiltl!Ji ~ \34<?1&:1 ~ cB1 ~ ~ 3TI x6T

~I ·~ ~· Wi Fi (Cllll'<~fi ~5~). fl c1~cocl ~ ~cCJ¢ ~ ~ CTR ~

crm §11'5~~\S IDXJ tlcft" cR1ll ~r ~Ji4l~~-4(MPEG-4) ~~ccl -ij cstGcl~ cB" ~

\34Cbxul ~ \Jff W ~. "\J1l ircft" collfws:J'i Cf>1 ~ (PC) 1R ~~~i'i~~ I

~ ~c'<~c tlcft" "W.rr ~ ABC (3!~Rc:p~ i\ll'5colf"k~l ~~) IDXJ

1994 -q ~ ~ ~ 117.102006"ffCP ~. ~. \J1141~. ~ ~ -q '41 <r5 ~

~ "61 ~ I '<iiJil'""ll tlcft" 1R ~ ~ ~ <) collfwJi ·~·. 'fcl~\Q~ 3if.:T ~Jii'5'

cB" ~ -ij 1fmT (PC) 1R '41 ~~ \Jff ~~I ~ WPR ~c'<~c e,c1lfcl\J1-~ ~ m

~ \34<?1&:1 "61 '<icB~II- ·~~ 'IPTV' (Internet Protocol Television)', 'q"lcll~r

Vlog (Video web logging) (fm 'CJ1'5coltc' (Vedio on demand)

e:CA)<?11\J11 cB- af?r -# wrfcr ~ ~ cB- -;:pl -mtR fclc:prfm 5ffr w ~ crm ~

~ ~ ~ tfGT 5ldr x6T ~ 1 csrd<7e ~. ~. ~ 1R 3lLA Ji~l~'< ~

'<; ~ ~ ~ ~4~c''F 3JlLp Cb~cB~I~' (The Radio as an apparatus of

communication)-# ~r ~ fcll \j"f6f ~ ~ -;:p) lffUr1 cB- ~-# 3ITliT ill <r5

~~lsi'il, ~. col~tie 3TT:~ "CPT ~~~14..-.=t ~ C1lTT lfTR <r5 C!cod'<Lf>l m 1 ~

(166)

. ·~ -qcp 3lmT cf?r ID ~ ~ \JJ6r ~ ~RUJ !>jOIJcll ~~d'\!451 ~ Cpf ~ ~

~I* hSFG!cct ~, qlhSll~ 3TR hSJOJi\S ·cr~ G~ict>'i ~ qfiqJOJqti 3ijf>nl41 ;1

~ xl~ ~ R~llll ~ 3tR ~ q Ji"i~~\JFf ~ af?r-# ~ xl'+fi<F11ti ~ 3lR

~ ~ 1 <t>l4w~'i en)~ <i7l "xl ~ -q;B ~ ~ cnT, JilhSlll fcl~~~$1 ~

-qq>. (~ fcl~ctfcl'i!lctll), -qcp '~cffl~F1' &HT -w ~ ~12:-

~-# ~ ct<t>'il<t> (f~ 61§~'i(l1 elf~ ;1 e:~lfcl\J1'1 ~ ~ ~ Cpf '«?141ct

' FPm ~I~~ e~lfcl\J1'1 ~ CpJ ·~:r ~11m~ I~ Cffi C"'~¢~1'1 lR ~

1'f4 <t>l4iliJi cnT ~ \J1.1lGl 'CffiG ClRd"T ·~I ~ 61Gctlct '~ blcffi' (~-2) ~

<t>l4w~1 ~ !>lfilxol ~ wm ~ tT ~· '\J1'R WIT ~ FG!t1~ t4"!1cllffi<t> CpJ WI

qfGti~\S ~ lR fG:>c>iillll11m ~ I~~ Jil~~lfi ~ ~ (~, R:iJIIgx ~

. ~ ('\iffifi 'GRIT~~) d"~ ~lllc6 ·~ c>1'1¢~1'1 ~ ~ 'fflRllc>1'i "# ~ '\J1'R

'ctTr I Ji"1~~\J1<t> <t>l4w~'i ~ "ffl~-"ffl~ ~tJOflill"! ~ ~ m '41 C"'l¢~1'1 3il~

~ <¥r 1 ~ q'it1e1~ CpJ ~ ~Rl~c #cr ~ 3l5ffi 'B ~ £3ill -B)q1q1~

Cpf m gxR ~ ~ !>lfiiRct £3ill -;:ffl ~~3m ~Jie~11, ~ "fiT~ tT qi!~e'Jq"i

HDTV ~· d"~ '~~~~A~ '\J1'R ~ <t>l4w~'i cr Rl$114"1'i ~

xi'+! I q 11 ti ~ 3fR ~ ~ I '+!I"! cflll ~ fl fcl \J11 cnT fcl $11 q 'il ~ 31m xl ct J II ct I"! 'C'1TB

51 W ~I ~~~ ofi4RJil\Sl41' (Zenith Optimedia) '\J1l ~ ~ ~ fct$114'1'1 lR ~

~ ~I ~ ~ fct> 3lR ~ ~ if '41 '+!I"! dlll e.~~, fcl \J1 '1 lR fcl $11 q .. , &R1 31m

~ ~, '\J1l 21 !>lfd~lct !>lfdq~ q3t 'GX xl ~ ~ 113 ~3ffl(Yf, ~ ct<t>41<t> ~

* " It is purely an apparatus fof distribul.ion, for mere sharing out. So here is a positive

suggestion: change this apparatm. over from distribution to communication. The

radio would be the finest possible communication apparatus in public life, a vast

network of pipes. That is to say, it would be if it knew how to receive as well as to

transmit, how to let the listner speak as well as hear, how to bring him in relationship

instead of isolating him.11

(167)

Slfflxui¢C1f, Fcl$114'1i;IC11 a~ ~~ ~ ~ ~ ~ ~· tlGT ~ ~ fcn .. ¢1llw11'i

~ ~ 1f 61i;cliC4 cli"Jsfl "ID TfliT ~~ 1 ~ ~ Sll'{i)4\i cp) ~ ~ ~ ~ ~ 3l6r

· ~sot a cl61 ~ "ID ~ ~ 1 -mft "Cp"RU] ~ fcn "Gil ~ 31lR q; lllmSi'i 1f 611; cll C4 "cl"A 1f

fclt:Pc;r ~ ~ ~ ~ ~ 1f '41 alftlf>cl ~ ~ llFR "Gil ~ C1¢"il¢ 3iR ~ ~

cp) flsot~d ~ ~. ~ ~311 c~ sot~'i\JJ( "'11) ID"fi1T ffi ~~I ~"181~1 -;:fcfi, ~

. <.~l4'?1 3iR ~ trt ~ PlsotfC11 PlCf~l¢ e(."j"II"Cl\Jl'i ~· c:RLP ~~~I <&'<{~;~f'1

'41 "'11) ~;~f¢'i ~ ~ ~ ~ "Jf~ ~ lR flsotl'qlx cr ¢14wsot SlfiiRC1 ~ ~

{ll \JH I lR cpp:f -cpx W ~ JlR -~ ~ ~ S1l611 ~ cl ~ '41 611 \Jl_l I\! lf 3lT Tflll

~ 114 ~1xcl)~ ~eT ~ ~1RR (~) ~ ~ ~ifl4i-sx=i cp) ~ ~~Rffi~ll(."!"r

~ .. ~ 1f ~ ~ CJ>l m ~a~ ~-sFcl-s~ Cf>T "ffER ~~fun

1f cpp:f -cpx w ~ 1 ~ {ll\Jl'il '~ Lf>cl«t'{i)4, 'Jllxct"i~ ~. ~ 1f ~ ~ cr

~ ~ -q iTcfr ~J"icl ~ 311ffl"il ~ ID"C{f CfR ~Tr 115

~ -q ecMrcli\Jll ~fq;) ~ W<; Cf21r FciC1xOI Sj011(.>1l ~ Cf514wl1'i cpr

·tf>lllc· Cflf ~ 3lR ~'14l1e..-1fc (Wfll 3lR sot'11~\J1'1) ~ "'11) ID"fjq "ffT1f'l 3lffi

~I ~ Fclfcl~+fl ~ ~ ~ fcn e(."!"rfci\J1'1 ~ eCH'rcli\Jll cpr 311Fcltiblx fctRfi

~ ~ ffi sot I cl ~ ~ -;:fflT s3ll ~ l11R '{i) 4 ~~I 6Rdf x1fr 3ifx Cf5 14wsot ~ mel

~ 1 ~ ~ ~ eCH1cl1~ -q '{i)qi~Ra IDTI ~I* ~ ~ ~ rA~ xttrr ~ ~ f.1~=qa ~ fcn ~ ~ ~f 1f ~ ~ cpr 3lltTR ~~ccl, C41~x~fl a~

~cx-ic 5Pn 1

* "There is a complicatecl interaction between the technology of television and

the received forms of otner kinds of cultural and social activity. Many people

have said that television is essentially a combination and development of earlier

forms ..... Yet it is clearly not only a question of combination and development.

The adaptation of received forms to the new technology has led in a number of

cases to significant changes."16

(168)

di~Cf)l

!'ifii'{UJ ~ 9-4-2007

~fii'!OJ Wfl!": 20:00 ~ 20: 30

• ~ ~ ~ ~ fc1Ji Hl -$1 3wm=f

~

-m fc1Jil--1'i ~ 41~ll1 ·~~ ~

3TicR

Lf>T;:fi ~O:C'<ClJ.: ~3TR3TI ~lR ~

(~3TR3TI -$1 3llCIT\Jl ~ 'If~ ~

·~cpr ~)

• \1m ~ ~ ('+fl\JfCIT ~ lN

~ ~ cpr ttflc>tl c~)

CfmCll - ~ fftf4 C1 (Cf nm)

CfmCll-~ t=m (\JPT ~rm)

CfmCll - ~ cgl1R (~1ll)

• ~ Tfitfi -$1 ~

-m -m cpf ct1 ~ll'l

(169)

~til'! OJ Wfl!": 21:00 ~ 22:00

• ~ ~ fc1JiHl ~ 3wm=f ~

~~lll- (m \J161G;Il ~ me q

rgt9 ~ fc1Jil'"11 ~ cfl~lll Cf.m ~

3WR)

~- >rcrm1 (3ffiUT 3RRT)

~- WlmT (4)f14))

- <rP-fi cpf CfmCll (3Wmf ~

"Cl8 fcr:rR xl ..... )

-~ llitfi cpr ~~r

-~-m~ 3Rl~

• 6R11TI ~ Ji Ill I qc1'r cf.· ~tfl ~

~

qR~l\1111 cpr ~IC"'I;:;[JI R

\3(\t:IIC'""l tiJil'<l5 Cl>T cll~lll

-'>Jt4 11si ?1<)1 ~ ~tfl ~ ~·

(~am~ -rmT fiJil'ill'<. ~

cll~~'t ~)

~~~'t ~ ~ ~ 7fMT ~ c;.;

~ lR ~ tlqiGGidl ~ ~

~I ('14) ('1 CfR() ~ I (~ lR GFIT ~

<t~ ~cp"fi"T~T ·~c-WT-;::r' ~

l=fTtll+l ~ ~~Ill I \Jffiff % I

crmm-~'JcptN ~

crmm-~ ~ ~ 5;Cf>I1GI'< Cl>T

crmm-~ :r<n

-~ lR ~ ftl ('1 tcRc (f4 \J1 <4)

ctT cplfi Cflll ?)

~~~l ~ ~ ~· tlqiGGidl c;.;

~ ~Giq'<¢'< ~ ~ ~ld=cftd

CfR() ~I

-f1Jilxl5 Cl>T cll~~'t d"2ll ~ 3ITcR • "\3m ~· ~ (~1\1141 ctT ~)

• RP<:bc ~l'til'<ll ~ o~ +frfbT crmm-~.~. 3H~qtuft

• am +l ~ fl Ji 1'611 '< crmm-~ fft 561 C'1

. • "C'1)cp \9qJ ~ (x=rcft~an ~) -tlqiGGidl 4<."61CJ<)I ~ Cl>T fq~~ttul

• ~ ('<t~ll ~ f1trRur) • WP/rq~t41

• ~ (Wiilul ·~ ~l\1111) • ~ ~ ~ j{,cl!si-.:ft 31JiRG'< ftffi

• J:t11di\J1 (fiJil'ill'<) lR ';tt:CI'ill'< Cf)T ~

• "G) fqJ:tl'il ctT 3Jlqffi ~ Cfmm-"!rcPm ftffi ~

• 'Bm Cf)T ~- ~'1fCI" ~ Cf)T -ti cHC~ G I dl ~ ~ Cf)T fq ~<71 tt 01

q}f1C'11 CC'1T • fq~l41

(170)

ql~ll'l TI~ ~ ~

CfffiClf-~ Rt&lc>t (¢i~ti)

CfffiClf-cTT. tft. ftfg (~ +=JTqf)

CfffiClf-~ cglfR (fRM)

CfffiClT '< fchHil ~ ftffi" (~)

Rtfle-< (~mii\Jl1tt t$)~ *m ~ ~ ~ \Jll'i¢1~ ~ sq .

• ~ 7litfi q)J. ~ "WCfR (cftfsm

TI~~~)

• SilliiCI81 ~ ~ ~ lN ~ xtm ~om)

• m 1f tRr ~ 4Rli'I\J1'11 (i~

TI~~3llcR")

• ~ 1f;fi· ¢1 5lC1"Cf ~ (<rffiS<:IT

TI~~~)

• cgt9 3Rl tiSilill'< -qcp ~· -q (fcfflcp

~) ~ cl)~l!l TI~ ~ 3lTcR

~ +JT~ ~

-~ ¢~1-Jl'< lf xRT ¢1 s:ft'{G~fl1f

cn4l

-~efix ~ "¢) ~

-qti~Gl\5 al?f lf 3WT

61~1~1~ lf 3i4Rc61 ~ ~ f.i~?lol

~"iffi"~~

• ~!?114'1

• Cll~fl'11 ~ 41liC1cl cpl ~ ~

~ fcr:rr;:r ~ ¢1 3ijSi Rt

-~ -=cfrtp ~ ~ M q)f

• 61~1~1~ lf 3i4Rc61 ~ ~ f.i~?IOI

~ "iJR ~

-~ 3il¢l~q ~ ~ x=n~ cl)~l!l

TI~~ 3lTcR • ftp~ c-"ij)""fft"fft 311 i qfr

~TI_.A,...~. _,.;,; ~ • ~!?114'1 +m c · ' ''<5I C"JII \5 q 1 cp clJTCH""II ~ CJ>

~tFTI -qx~q

• wrn ~ IDl{J (q "iRR) . ~(~~~) (171)

-CJ>R ¢1 ~~f!m3TI lN ~ (R41e-<

¢1 3l1CfT\Jf TI~ cfl ~ lll)

-af?fm f.i ~~I¢ "CJ>T CfffiClT

(172)

-~ Cf)1l 'fl~lill'<· (f>l?$c cpr q')~~'t

Cf~·~·3WR)

61lftl~~ cpj ~ (~~~~ "$ • ~ PI~ GFt cpr crmm)

-tTCliGidl ~~CliJ1ll "fu6 ~q cpr

fcl~cl~UI

• Fcl$114'1

• ~ ~ "$ (>'ll Cf) Rill 6f\Jfi

-q') ~i!'t Cf~ ~ 3WR

-N\Jfi cpr crmm

• ~G'<Ii511G +f :qcp cgffi cpr ~ (4J~l!l

Cf~~3WR)

• ~ +1 ~ ~Rl><t> ~

~- ~Rl><t> Cf)~~"i'< (~)

• ~ '<I~~ Cl (~ ~ "<t>l ·<:JTlT

~'{Slid sq

crmm-~ '<I~~Cl

• ~ 3l1lP G" ~ (3Wfffi cm-rr ~ Fcl~l"il ~ 41 ~\Ql)

(173)

• Fcl$114<"1

• li-il~\J1cp tililill'< (~-9) ~ ~

~q)J~

-ffiR~I ~ ~ ~ q3J 3ffiUT

~ ~ 'fiT~ w<fi q>J fclcrrG ("Wfi

q3) ~ \34(>1&:1 ~ ~ ~ ~

481¢1 -;f 20 "c>1"ruJ ~ ~)

-wfi ~ ~?I/48ICblan ~ m

-"\Jil~ q)J cllf\5~1

-~ LR fC;t~t~-eCfflc:

-tililx'n:: ~ ~ l'IRI~'Ifi'lfll cf>

cllf\541 -q flRr ~~. flRr ~

crc;:t a~ Pitf ~ f\S lll-'tf.i <n1 .

~llf?llll ~. ~ll'eflll ~. "Cflfqftq) ~. Tf'lfR ~ ~~f{I;Q'j ~~ ~?145(11

-q 3ll1l ~<.4) fcl\JF"I ~ ~ -;:ffit ~ I Cflfifcl> ~ \i"fFf>l 61 5(YIId -;:ffit I ~ ~

~ ~ '¢(Yq'< ~ w fil\J)4t: (Culture as show business) -q ~'8ld ~ fcl>

~ WPR ctT ~~Rill I 3Tf11 (1)TIT cp) \3? 611 \3? wffiT ~ I* ~II SO! (11 (1 I 61 G (Yid ~~ RS lll q)f

~· -q ~'8l21 ~- '<:f5l=ffi"GJ ~<lPT -;:ffit ~ fcl> m ~ * ~ '41 '8l61Rlll ~

* 1ffil ~llf?llll ~ tR ~ il514wSOI -;:ffit;'19 Cflfifcl> 45'<l'$l G~fc:p'j WP ~ * ~ ~(>jlfct\JFI ~ il31RQT cit \T[Tr -q ~ "'<5Cl ~I ~llf?l"lll ~ 31~ ~11-enll

~- q)f 4514wSOI CfliT il3lf'<1f: ~ "f145dl ~? ~?1451'< ~. ·~~~ll~ fctur-:r· "[ff

·~ ~H(YI t)(;RT 31T1:f> ~ 3Tfi' CR ~ ~ 4514wSOI cgt9 fTr";l-~ (1)TIT ~ tf ~ I

~ C&'<G~l~ ~~~I C&'<G~l~ ~ 3ffi ~ cpf ~ ~l'<dlll 4514wSOI '41 ~ .

CJROT ~I &lfch~ Cffi" ~ cgt9 ijPiGI G~fc:p'j * ~ tf iffiT ~I ~"f"l~"! ~-~ * 6llG ~ XTif -q ~"f"IIRd W ~I~ 3ljl'61~ ctl G'<5 I ~ WWTR -q ~ G~fc:p'j

* 'til~¢ 3fTTCT q)f m ~mrr ~ I ~ Rt4~d ~ G~fc:p'j * ~ ~ c>~'l¢~'4 ~ cm4w~'i"Jf ~45 '41 1fq tR 3lT ~ x:i'+fTClf ~~"fiT~~ wffi

~ 1 ~ Si'il~\J145 4514m~'i"Jf ~ ~ ~-~ x=cR \J1l~t~l ~JE:fUit~l ~ ~~

~ 1fT1T ~ ~ I ~ 4514wP 3W1 cfrriT ~ ~ ~ ~ "\J1l e(1"1Rt\Jl~ * Plllf?ld

~ 6Til ~I ~. ~ (f~ q)~;Q'j ctl ~3il cp) -qrx CfRC) S"!" ~ qRcHR45

SOI-il~\Jl~ ~ CfRCl ~I Cfl1TFcP ~ ~~RI~ll ~. ~'5¢"1(11 ~ 3iR -8rnm ctl

1WAT >f6IC>f ~~I <T5 '-?Jti' G~fc:p'j cp) 6fi'C) m ~I ~ 6R3JCfff ~ll'eilll. ~

* "Show business is amusement, faintly culpable, whereas a lecture a Beethovan

Symphony, a philsc phical discussion are boring experences and therefore

serious. Another chctracteristic of the 'serious' cultural event is that the audiance

must not participate. It sits and listens, or watches; in this sense a spectacle (or

what was once a spectacle in the 'bad' sense) can become 'serious' when the

public takes no active part but simply attends passively."18

(174)

c$ <t>l4wJi 1f ~ ~ ~ ~ 3TR ~ c$ ~ ~ cp) ~ ·~-we· 1f

~~ l_d 1 ~ d"~ 1 c-ll<t>l-< ~ ~Pi Cllfcl:ct c$ ~ ·~ -we· q ·cnc:· ~ ~ F>f">lll xl

~ G~lhil~l

~ ~ ecl'!Rl\Ji'i ~: ~ \Jl""R ~ (Yil<t>i5lll "¥l <t>lllwii'i cp) ~ c$

m ~~I~~ m~ c$ l=ffUP1 xl1WT cfffi ~ 3TR ~al ~

~ tgfft Cl>T ~C"4i <t>'i CfR"ffi ~ I* ~ <t> Ill¢ Jil lf cH 'R1 fCl Cb C11 3fR Cb c>4 'i I c$ ~ ~

fcRTcq ~ ~ tfGT ~ "\.JfRfi ~g 1=f1R GtCb cp) ell 'R1 fCl Cb \JPlCf ~ ~ ~ ~

'41 ~ \ifldT ~ 1 ~ "¥l ar·tnfffl Cblllst>Ji ~ 3iltil'1l xl ~ "GfTC) ~ '*If¢

~llf?llll ~ -cp) tiJi$1~ c$ f~ \Fi c$ -qyff 5ffi ~311 (4C11<t>l, 814C11Cbl), -:qw

(<t>~), ~...:.~ (co~), ~ Cl>T ~ ~ 3ilq~l1Cb ~I ~ "¥l, G~l<"Pl ~

ti Ji til Ji ttl <t>C11 xl '41 ~ -;:ffit ~ I ~ ti ~ ~ ~ "¥l· ~til'< o I +nurn xl \RT1GT 1f=cl

~ ~G~TC11?R" c$ ~ tr ~;~~I**~~ c>~lCb~ll ~ ~-~ ~ en '~ k' ~ Cblllwii'i 1f 3Wf. ~ "¥l cpffi ~ 3lfl (YJ1) I ~ 1f xl

(Yil Cb ~ l1 <t> cll Cb I'< ~ erR 3Ti "\J1"TC) . ~ 3fR ~ ft1 f% c$ fffiR cp) ~ "\J1"TC) ~ I

·~ sot1KSlll' ~ ~~cr~'"f.i<t> +n~ xl ~~<t>cll cp) ~ ~ ~ ~F>f">£11 cp)

~ fcm:rr ~I~ FP en~ ~\Jil~'i ~ ~ ~ '"G "CfC6 3iTq) 3ffi ~ "G ~

3iTq) 4$~<t>cl ~l>ll~Cf~l'i' (The work of Art in the age of Mechanical Reproduc­

tion) 1f ftmn ~ FP ~ ~~ ~ tr g'i'{t)Ctli~C1 ~ xtf ~ I*** ~ tr 51

ffi ~ ~ KSI"Uiccl ~T ~ ~ ~ffi>lll ~ ~ 3TR ~ ~ eft :g I

*

**

***

"In both sport and jance the relationship of performer to spectator is

blurred; sometimes the spectator participates in the ritual by proxy, sometimes

s/he is asked to sit back and evaluate objectively." 20

"The elaborated codes of Indian hand-dance, or of classicla ballet, require

an audiance experienced in decoding them, a subculture oftaste defined

by its decoding ability, that will be more homogeneous and specific than

that typically reached by a broadcast medium."21

" In principle a wo1·k of art has always been reproduceable. Man-made

artifacts could alwa~rs be imitated by man. Replicas were made by pupils in

practice of their craft, by masters for diffusing their works, and, finally, by

(175)

I

e""i'ifclG1'1 lR .3W1 "dR ~. CP<11 Fcl~i!'il m ¢(111¢1-<'i ~ 'QRI~'i lR ¢14w+i ~

~ ~. lflR ~ ¢C'11'QRI m 'f)cll¢1'< ~ fclcrrG 1f 3lT ~ ffi ~ \Ff ff+ilill'<'i

cp) R~1~ ~ ~ ~ 1 ~ m ~ 1jUil lR -mo ~ ~ m FclcliRa ¥ &m

'ti'ift.-ft ~ ctl ~ ~ I -q11. -qq>. ~ ID ~ ~ "ffi ID m 3A ~

¢ cll ¢I'< fr CfliT "'1" ID +i ¢ 'ti ~ fcl ell~ I~~ ·~· cp) '11 cc61 ll 3lGrGf 1f >RWf CR'1T

men ~ I c>lfclH, ~· ~ <UCI\J!\G, RSfticcl JilhSlll -;f cp(l11 cp) ~ ~cCic5ft lR

~G~Ta fcnm ~I ~il'til~c "RSu:11~1( ¢C'11'QRI~'i cp) \Ff G~T<t>'i CfCP ~ ~ ~ "Gil \

cfttrt3TI 1f ~· "G1l "QTI) ~ I ~ ~. fir~¢ I'< ~ "ffi~ ~ ~ 1fTUfll ~ 6ffd" ~ ~ I*

~ ~ ~ 1f fcli!l'<l ~ ~->JGR ~ "ff1iiCI'11li 3iR ~lfr I tcl~'i !'ll~llcf

(Stain Grogaard) ~ ~ cp) ·~ Ji"lhSll+i Cf)t'J~I'i' (Post-Medium condition}'

~ ~ 124 .~ dil~ld1 -;f ~.xA" ~ g'1f."f+il'1 ~ 'lfi ~ ~ "ctl ~ I "'1" ~

~ ¢cli'QRI~'i "¢1 g'if."f+irur £3ll ~ ~ ~il¢1'<'i, RS~I~'i'<l cr ¢cll¢1'<l cp) ~

x-cA1 ~~~~~I ~3WJ ~. ~ m111, ~ 3TTfG 1f ~ "¢1 >r+ffUT

~ WTT ~I RSfticcl lfif.S<:rr ~·~ 1f >RWf ~ WTT ~I**

~. ec1"1fclG1'1 Cf)) ~: +i"it~G1'1 "¢1 tr x:rrCCR 11ACfT w ~ 3tR ~311

Cf)) ftRT ~ ~ CR'1T "ifl5W ~ 1 ~ 'tl 1 +1 ~ ¢ ~ lR ~ 'ti 1 Ra -=crqf3fr "¢1 'lfi

'«ll~la £3TT ~ 1 ~ ~~Rtd 1f ~a<t>'i 3tR fcl{..c;Qia Clffcffi~'i -;f 3TT~ fm:R-ccrm

*

**

third parties in the pursuit of gain. Mechanical reproduction of work of art, however,

represents somethin~t new"22

"The art of digital wi11 not just be producing aesthetic objects ... These objects

will, so the speak, objectify interaction."23

"Digital media, which have yet to become an art form, have turned everything

in art around. The pull is felt everywhere, and for this expanding ontology no

substitution seems radical enough. This concerns not only practice but the object

form ..... The state of the arts sweeps the floor of art. In line with the 1960's

dematecialization of the art object, todays web design amplifies the aesthetics

of earlier conceptua art. "25

(176)

em l>f Rl f4 ~ d fcpm ~ I 6l"C1i frO fCI 'ill '<l ctft ~I tN I~ em Clli<Ni I~ if> ~ c1l fCI \J1 '1 $rc;r

~ ~ ~ ~ 1=JlR ('fl<f>flcll s:tfti'<OI &RT ~, filf%,ll, ~, Fci$1H ~

~ ~ trx <t>l4ws:t ~~ ~ ~ 1 ~ ~ (Raymond Snoddy)~ ~ frO

~ ·\jvq ~ ~ Cff(fr '~ -=crciT cl'i<'Pfl en l>f tt 1 '< u1 51 ~ "CPX fi <t>o 1 ~ I*

3l~cdl~fl<f>'<01 ~ 611~1'< qft ~lfctctl!l ~ ~ '41 ~ ~ !>1\Jlld:;t)\Q l>ff¢l'>lll it

s:t6tcl~0f ~ ~ t ~ml ~ '<is:tflli1('1Cf) Cf)l4ws:t ~ ~ ctft ~ "611 '

~si;sc>~"ICJ)'!OI ~ "Tf 1) ~RKIT cpf ~ "Cf)1l ~ £3ll ~ ~fiR;jl;! '41 cllCJ)flql

l>ffil'<ul ctft ~'{t)'<o ~~.~I ~ R;j~a ~frO '*f ~it mR lfffi liiR-$wr

RSfulccl \34Cf)'<OI m-Tr ~ '41 fclFclmrr ~ \jvq "fffi ctft Pt~'ilool ~ ~ cllCJ)flql

l>ffil'<01 qft ~'{i)'<d ~I** <1lCJ)flql l>ffii'<OI (61l61lfll) qft ~ x=l~~ cBl 3lR

~ qmf ~-& ~ '4ll1Frir ~frO 3laxf~ll ~ q)f W1fCl ~ 11lR m~ 51

cWr ~ ~ ~ ~ ~ ~ ~ PttalqH ~ 128 ~ ~ \J1"1!;!'<il;!ii

GSM (Global System ofMobile Communication) "flcrr "fl" ~~I~~

~61fil~c ~ 1"fffr "fl" ~ (>fl) H 1 olo'<I~\Q ~c>~lFci\Jl'i fis:tlxl6 it~~-;)~

~it "fi""41C ~frO WciJil~\QI --erR~~-~ ctft 3lR ~ XID ~­

~, m q ~ ctft ~f a~ ~I ~ it <n5f --erR ~ Ji"I~\QI em Pt~81a ~I***

*

**

***

There is as yet no substitute for public service broadcasting, when properly

done, in providing a civilized national discourse, in a tone of voice that respects

shared expectations and culture, and retains a core role in the democratic proc-

ess, above all by having the freedom to produce 'Problematic programmes"26

'When we all have multi-<~hannel digital divices, I be live there will still be a need

for public service broadcasting to ensure diversity and quality."27

"The four languages ha'o e emerged as the leading forces in the world for the

foreseable future. If you am competing in the global media business these forces

are irrestible and one ignores them at great peril." 29

(177)

~ ~.cp') ~T ~ ~ \9" ~q,la~ -;l ec11Rl\JF1 em~~~.~

4RCJRla fcmn ~ r ~ wm ~ ~. ~~ ~'f<PCJ~, tJ.;l~\J11 d"~ 3RT

~ ~ ~c;qqj ~ "fClm3l) ll ¢14mtJ ~{11RC1 CfR" ~~I il ¢14mtJ, ~'fil'<ol

~ffi>lll cp') Xia+r ~. eC'11fCl,;p; ~; ~ w~ ¥. Xl\J11kt~¢ ¢14¢af31T d~

~c;qqj ~· cp') ~-~ft ~l\J1113TI ~ ~. ~ ~-~ ~ ~ ~

~ I ~ Rlaxol -ij 'eRFk317r' ~cc>ll~c d"~ ~, ~C1¢'< ~ tJ5CCICiof ~

~ ~ ~ 1 ~ ~ -;l "\Jffii C1l ¢ru ll ttf<ttRI ~ 1RlR cp'l ~ ~ ~ cffl1

~ ~ CliCJ{lll! ~ ~ 3FfRX tfGr ~~I ~ 31~ Rl$114'1l 1N ~

~I aft~'jR'fcp'<ot -;l ~~~¢1R=c:H 4l~lll (\1fT' ¢'<GIC11 ~ \:FJ \9" OTtAT ~ \34C1&l

~ ~) ~ ~ '41 ~mt ~ CfR" eft ~ I C'&'<G~l1 -;l 80 ~ ~ ll,

·"ff)-q-~· fclm em~ fcmn 1 ~ \iFl Rl$1t4'1'i cp') 3ll"<l \9" ~ ~

~~~11"Gia-cq,'<iCJtf5¢ ~ sq ~n Pil"l{ot ¢4Pl~\i (Ri~Fcttct, ~tC1t\J1l ~, ~

~) 1N ¢14mB\i cp') ~ cf> ~ ~ 5f.:rr ~ I ~ il P!IOJTOI ~ ~

¢4Pilli ~ ~ 3tR cgt9 ~ ~0wr '41 "'Cf(11 "W ~ I ~ ~ Cl>T tRrr ~

~ ~ 1 ~{i~~ ~RttGm ~ 1~ 1 ~ ~ ~ -q ~ m ~ em '41

j11451 ~c>1a1 ~ 1 "fJ'4l ~ -;~-~ ~l\J11t.Q ~ ~ ~ "dltcP Rl$114'1'i am 3ll"<l

6f~cft x-g 1 "l!'~ "CJ)TXUT ~ f<}) t~fcr\JJ'l 1R ·~., 1Ahn+r - fcr~nlR

(In-programme commercial) ~t ~31ffi ~ ~ 1 il cqi'<ICJIF5Cb'i 3tR {li"Jiill'<\i 1l

~ "C1ll ~I ~ {it! I ill'< R4lc!'l! cfle1f11 (Piece to camera)~ "fflffl ~· 3lcrr\JJ 1l

~ ~ ~ fcf> '~ IDwf' Rl$1141 Cl>T ~ ~ ~j'81C11 \9", ~'811~ ~ "W ~I~

II'<ICJif5Cb'i ll '41 ~ ~ Cl>T ~ ~'8lld ~. ~ Cl>T 'llll, m ~

'<jtGte ~ \9" ~'811~ ~~I WT-CTR, tllR 311¢~C1 ~ cnc;ft {11{i.;l~~ ~

cfil CR5 w ~ "C1ll ~ 1 <r5 fctHT4'1 3tR ~ 4 ?I¢ 1 Rat Cl>T tT G6fTCf ~ fcf>

~"J..ft~\Ji"""~ 3tR IOJ'i\1~\J11 \9" ~ ~~ em 1)~~¢dl ~ c>f1ft ~ 1 Rl~CJ¢4 c5

~ ~{11'<01 "$ ~ e&'<G~l'i d"~ ~~ ~-~ "$ ~ ~ ~ "'Cf(111 ctlM"¢

ffi><:bc: ~ {1 l'<ol "$ ctR"R Rl $1144i xl ~ 31m ~ cfil x:f'BWIT ~ ~ I

(178)

ec>~lfcl\il'i ~ ~ ~ ~f;:f(;f egg~ ~ qm) sq, ~cqf¥7J l'lf>nlll lf,

G~iq,'j ~"fiT~~ ctft ¢)~1~1 -ir t I ~fl~~ 3llFfi ~~fll~cl 1R 3il'1(11~'1 qloi(l114

aRT~ 4>14w+i'i lf, G~iq,'j ctft ~ ~ ~, d~<:i"lc>~l ~ ~ ~ ~ ~ t I

~ ~ <ffi ~ IDaT ~ fcp 3fR c~ ~ l{ ec>~lfcl\il'i ~ "G~ ~ Clll41x ~

fclmon ttft fllf)(1ol 1R 1ft ~ ~ 1 31cf: ~ 1f 3114>~4> 111f¥~~~ ~ ~~q'1G

m e c1l fcl \i1 '1 fclmon cpr "Tf1~ ~ til!) \i1 '1 IDaT ~ I

(179)

{3) ~ fitir. ~ f:II'(OII

e cl) fcl \iF1 gfclq'j Cf>T ~~ ~ I ·~ ~ ~ ~on cl) ll t:rC"1lan cp1 ~

~ Cf>T ~ 3lWf a{l¢1 2lT 1:1'~ <3ct1fchJF1 <l ~ ~ wJOJ61~ol cp1 m~~¢ol I

~ ~ ~ fclR1lls:tt <l ~ ''{f)qq'""fi' 31~ ~ wJi61~ ~an ~ ~x-gRt

11fll* I ectlfcl\J1'1 -.f ~ cp1 ~)(*f ~ ~1Rtfcl~1'1 ~ 611CI\Jl~ ~ f.i~'ild m ~

m tR1 1l R~llll 1 ~ 3lfi~ ¢14wJOJ, "\J1l Pt~o'< gfclq'j ~ ~ 1l ~ 61cl,

3fffi ll ~ "GfR ~I ~ Cf>T <ffi ·~· ~ ll ~ 3lWf ~ Cf>T ~ tfcrr ~ C'fTl1 I fcl fC;t ll s:tt, ~ ll, ~ cl) fcl \J1 '1 lR ~ ~ ~ cp1 fcl $11 q <il ~ ·~·

d2ll ~ ~ ~ ~--3fm ~ -~~ ~ ~ ~ cp1 ·~ &R ~an Cf)J ~

~o'<ct161 Wfffi' ~~I**<)~: wJOJ61~ t:rC"1131T Cf>T ~ ~ ~ 611'1\Jl~ d"2ll ~

~ ~ ~ ~ 6Til ~ 1fr ~ ctR xi ~ R~dl ~ 1 ~ ~ ll,

dlfCf>IR1¢ol ~ gfclq'j ll ~ "f 4'1\J1'1 tfcrr ~ ~ d"2ll ~ fcl~lt'C fl'«llfd ~

~~~~~

m ~1\'h'il (NickBrowne)<l, 1984ll, 'XJ4xeCRC'32 ~tTRUTTCf>T ~Rt41<;'1

. fcnm I fcl fC;t ll JOtf "\JffiT ·m-r.rr·' f~~fTF~ ~ cpl t§ fclq'j ~ ~ Cf)J f5ffiT 1lRC) ~ cffiT

~IG'>--1"1 ~ 'filll\J1'1 1l ~l4i5'<, ~i ~ d"2ll ~ -m=r ~ ¢14wSi'i ~ ~ fi'<'il'il

1fr ~~I 5Tffi f.iCI¢l+i>l (Hora:;e Newcomb) efC;tfcl\J1'1lR ~ iR.Cfffi ~

CT ~ cp1 'fclcrl ~· (Viwewirg strip) cpgc) ~ 133 ~ 3IT\Jf ~ RS~c(>J ~ 1l

*

**

"The difference in broadcasting is not only that these events, or events

resembling them, are availab e inside the home, by the operation of a switch. It

is that the real programme that is offered is a sequence or set of alternative

sequences of these and other similar events, which are then available in a single

dimension and in a single operation"30

"One night in "Miami, still dazed from a week on an Atlantic liner, I began watching

a film and at first had some di1ficulty in adjusting to much greater frequency of

commmercial "breaks'. Yet thi:; was

(180)

~' ~' ~S~~C1 >lfii'<!UI, &)~~l ~ ~s:ti~ a~ ~C'<~C ~ ";f ~ ~ >rcfffi

. cp) ~ ~ ~ ~I ~ ~ ll ~cct<t>T ~ wsot~~ >lfll'< 0 1 ~ ~ ~ I ~

~ ct>l4ws:t ~l\J1~1 '~s:tf4:41' (Hamm)cking) ~ ~ "GlfcP, ~ ~ ~~Tct>'i il, ~

ct>l4ws:t ~ >~x=gRI -m ~ cllct>rull ct>l4w'i ~ ~ m "fiCf> 1 '~tif4:4 1' cm 1fffif ~

~~~A 3i4~1llll ~ ·~ICl\JiG ct>l4w~'i a~~ 'CPT >rcn5 ~~lct>l ~

~ ~~4~~ tR ~ ~ 'C1lll ~ 1 ~!fiR1"! ~ ~ 1fffif ~ ~ fWcr il ct>l4wti

>~x=gRI ~ lll\J1~1aTI il ii4~C11CIJ~ "\Jl"R 'C1lll ~I*~ ~ ~~tct>'i '(fCf> 3fCAl ~

~ ~ ~. ~ "frfi ~ '~11' cp) ~ ~ ~ ~I ~ ~ '~P;54J' ~

~ ~ 4Rill~IC¥1ct> ~ 'CPT >rcn5 ~ ~ ~ I '~%ct~' tR ~, ~. ~·

~ ~ R~1~ ~~en 'x=cR' ~ ·~ tR ~~m ~1cc61ll ~ ~ >~x=gRilli

M ~I~~ ~l\J1~1 lf ~ ~ 'fll~ ~'CPT '41 fllsotlQl ~ 'C1lll ~I ~

~, Ell'<lctlf%ct>; fll?(rlillfu:f ~'reP flltilftlct> cr Cllf<l~PII:'l ~ ~~Cf>l 0 1

>JGR CJ)X ~ ~ I ~ Cf>RUT ct>l4wtir ~ g~f.lJiTOI ~ ~ 6fctT ~ I ~l'<lctlf%ct>

'ct>4il'"G' m ~ ~ CJ)X ~ m ~61 ~I ~ ~. ~ctloi~ a~ '<I\J1Cf>ll'< ~

~ ~ m ~ R~1~ ~ ~t ~ 1 ~ fll?c41 lfu:f Rfl:!Cffi 5lCfR ~ ql~lll

~ ~ il, Rift:tct> ~ tR, ~1 "\Jlffi' ~ 1 ~ ct>l4wti 3ilct>T~ct fllti£11, ~.

~'ct~?l ~ ~ ~41\Ji~ ~ ~ 3WFR lf >lfiiRI:'l ~~I¥ 41R1~1 ~ Rl$114~ * ~ ~4R;t~ ~ gfCI~'j 'CPT ~K>f men ~ I ~ ct>l4w~'i * ~ * ~, ee1"1RI\J1~ $=rc>r, ~ -qr?1l (l:fRT 3t'r~ ~q~lfl) -em fltil$1~~ ~ il >RWl ~ ~

**

minor problem compared to what eventually happened. Two other films, which

were due to be shown on the s 3me channel on other nights, began to be inserted

as trailors ..... I can still not bB sure what I took from the whole flow. I be live I

registered some incidents as happening in the wrong film, and some characters

in the commercials as involved in the film episodes, in what came to seem- for

all the occasional bizarre disparities- a single irresponsible flow of images and

feelings."31

" Programming strategies have shifted from notions of network program 'flows'

to tactics of audiance, 'user f ows"'34

(181)

~ ~ ~ ~ ~ 31T.Cf CJR"Rf. ~I ~ g'i~JiTOI lf \Jfl t"Pfcllli ~ ~ ~

. 'fiJi4)1(1l'i e(11Rl\J1'1 ~ ffim cpf ~ Pl~ild ~ ~ 1

\Jil;:r ~ (John Fiske) fcl(§ld ~· FP 'fiJi4)1(1l'i e(1"tfcl\J1'1 ~~ ~ ~

3lT TfliT t 135 "GX~. ~:',(>f fclo"!OI !:1011(1l ~ X"i«Jtfctl!l ~ ~ diGifR:I·~

CfR"'iT ~ -FcPm t 1 e(>i"tfcl,rr-1. Ji--!l~\J1'1 ~ x:rr~-x=rr~ ~ ~ lR ~ ~ ~·

c;rrn t fti'i~ ~ ~ <PT 'fi'<l(l)l'< t 1 ~ ~ ~~q;'Jon d"~ fclill'<'i ~

ti~ttOI ~ ~~ -m 1WTI t 1 Cll""G-fcicrrG 3tR ~~ Cf>T. Ji'il~\J1q) ~ ~. ~

~ ~ ~ l:l'fil'<ul cp) ~~ ecl1Fci\J1'i (Tabloid Television) '41 Cf)5l Tfm t ~ ~ filii I ft1 Cl) /'<I \J1--1l fct Cl) "'CJ ~ <1'1 Cl)filll tTRUTT ~ ~ ~ I ~ <'1'1 Cl)Ji d &m

~ cp) fiTX:....mx ·~ <lTG fctill<n \jffffi t FP ~ Cf>t9 3141 ~ ~ ID XID t I . v

~ ·3fJ41Pill'i ~· &m f.iflfu" ~ \:!Jilfdlq) wm ~ 1 ~ ffim -q 111~ fcl~ql'fi

6T2i" ~ '41 'fi I Ji I ft1 Cl) <T~~ <tl 3lN ~ 5Rfi t I

~ CNe ~ ~ ~ >I frl><:rr lf 3i I <'1l il '1 I c-Ji Cl) \J11 '1 Cl) I{\ ~ "'i1'C ~ · cpr ~

\J1.Iffi'< fclRn ~ 136 ~ fcl~ ~ ~ 3i'iq'<d SHii'<OI ~ 611CI'1\~ ~ 3W

Rl~1te <"P14w~'i cBI 3lN 3il¢fijd ~ (11) ~ 1 3i'd: ~ Cl)l4wti X"il!l\J1'1 3tR

·~~~~ ~ ~ fclm~ cBl ~~IICI'ilfi ~ <fr ~I ~fif{;j~ ffim 3fR ~ cnT Pl~d'<

·m· ~ ~ ~ Cll fckp I j m f.1f1ffi CRill ffifT t I* <rrf.1 e (1l fCI \J1 '1 ~ -qit lR

~ ~ cnc1r ~lfdlc-Ji(l) -e-c:x:c. G~l¢l &m. ~ fclm~ ~ 3lcrrffi ~ ~ t I

0:(1lRl\J1'1 cBI \:l'fil'< 0. ~ cp) \jf6f ~ld'<Lf)l ~ ~ 1'1~ffi <fr ill ~

fclm~ ~ ~ ~ ~ (11) 1 3jo'<T~ll ~RS<$0:-s ~ Cl)l4w~'i cnr ~I'<C1lll4)'<01 m Tfm I ~ ·~ CII'""C'fi ~ f?i~'13N' (Who wants to be millionaire) cpr ~

~ xi'8P'< 01 ·~ ~ cn{l'$4Fd' ~ ~ l>ltiiRo ~ c;rrn 1 ~ Cl)l4wti ~

~ l!l\J1'11, ~. d"~ 1~ cBI l:ltgfct ~ Cl)l4w~'i ~ ~&egC1 ~ ~·1

"Flow may survive as 3 name for the endless stream of sounds and images .....

from which each of us can compose our individual sub-flows"37

(182)

~ f& ~

~ ~ .lli.·

~ i t 1&

-·t

.lli ~ ! 1&

!& .~ ~

1& ! ~~ i: ~

~

1&1Fl~t:~~~!!i!il~ ~~i

lii'-! -~ ~ t i

f t ~ 1 ~ i ~

1r ~

. . ~ ~. . t

. ~ ~

. -.

to-1& )~ f i

~ ,. .. '!<

.

. •

~ 1& ~ 1 ~ lr& -~ ~ ~ ~ ~

. ~

f ~ t

~ : ~ .

. . ~t~~~~~l!f•lti

iw~~~.~~~~

~ ~ 1 [ i, ; t ~ ~ i ! ~ ~

~. ~ ~ i ~ t ~ -~ J ~ ! ~ i ~

~ I&

Ar

.. . I&

1& ·-

.!; ~ ~-1& ~ ~

i );-~ 1¥

& ~ .. J ·~

. ~ .~ 1t" ~

Jg: I~ ~. ~ l ~ ~ 1 .i

i ~ :~ !-! 1

r i ·ff -~ ~ i ~

i, ~. ~ ~ -~· .

. tflo~~~f~~~~~ *~

11W ~ i

: ~ ~ f ! • ~ l ~ ~ t i .! .! i i ~ ~ i l ~

'ilcfi: G" ~ qlcgC"''< 3l"li' (TV: The most popular Art) lf 5lffi Pl!:~¢lftil

~~21 ~ fcp -.=rrc:cP ("fW.r) ~ ~ qRo11s:t cCr 3TR ~ ~ ~ ~ ~ 1 ~ ~

1f ~ ~aTUJT· M ~ 1 ~ti~q ~·COT~ ~ Fchll'<l. tl¢c~<FII 3tR 'ilccCI\!:1

tis:t'fl!l31l ~ llTUFf ~ ~ s:tl'icft\!:1 ~tit cBT ~ ~ .~ 142

e;(>ft Fcl\Jt'i -.f ~ ~3lt ~ ·m ~ fclm31l "Cf)) ~ ~ ~ FGt'ictl

Xif'il "'""~<) 3l~ 'PI tl~f!OI ~~I ~ ~ ~~~d ~ IDXT &1'1¢~\!:1 tl'Mtffi ~

¢14ws:t (Rlcct>ls:t, x=W.r, ~ ~~<:'11~) "d2ll ~ ~ ~ ~ ~ ~ 1 'Rlc¢1s:t'

· ~ ~,.j)¢~£1 ·~ ~ ~ tils:tlfGtct> fCl~~'i131l"Cf)) ~ ~ 1f m ~ ~ 1

·~ ~ ~· .'\Jf61Ff ~ ~·. ·~ \T[· ~ rtiG~fl·. ~ ~ Rlcct>ls:t 'Cf>c>il'<C"'

~ \S'«ff' IDXT ~ ~ ill ffi \!:1 i ~ \Jil x=c.r '11 c-s:t Cf> q d ¢ 'il c6) ct> l ~I C'1 o2il ~'til f1l Cf> Cl

~til'<ol ~3# ~ 4'<ttl'< ~tTI 1R f.li[x ~I ~ C'1JIIdl'< Pis:tfol 3iR Pis:tfol cBT

xl1WFIT31l "~ ~ cnx ~ ~ fcp ~~ lf Trr m, ~. Rlc¢ls:t, xW.r ~. e.c11Rbc>il, ~ ~ Cf>lllws:t, ~ Cf>l4w~f. tis:tlill'< m, "'""~<) ~l'{t)4llf >f~ ~ xtrr o2il ~ ct>l4wSOJ1 'PI~ tlcft-~i -;:ffiT ~ ~ (l<:f ~ 16lffi Pl~:~ct>lftil

~ ~ -ij ~~d ~ fcp e,c1"1Fci\J1'1 ~'iT~ 'tii*<ttffiCf> >r2i1'43 ~I 3l0: e.c-nfci\Jt'i,

cllCf>~\!:1 tl'Mtffi ~ "'{t)ll -ij G~lct>'i ~ fcr~ &11:161'< 3iR lf'""IT~ -cp) ~ Cl5Xffi

~ o2il ~ e.CH'IC'11\Jfl ~ w~-w~~ G~Tct>l cB1 WG"-'il4tlG ~ ~ 'PI

"'{t)ll-3ll'ffi ~~I

· 1. Denis McQuail, 'New Ho1·izons for communication Theory' in

(A companion to Media Studies edited by Angharad N. Valdivia) Blackwell

Publishing, USA, 2003, Page-44.

2. Raymond Williams, 'Television Technology and Cultural Form', Routledge,

London, 1975 (Reprint 2003) pages 85-86.

3. Jay David Bolter, 'Theory and Practice in New Media Studies', in (Digital

Media Revisited edited by Gunnar Liestlol, Andrew Morrison & Terje

Rasmussen) Massachusetl:; Institute of Technology Press, Cambridge, (184)

2003, Page-23.

4. Ibid- Page-27 ·

5. J:tPiCbf "i4l4\SI, 'f>ncBc ~ m T!lff >JWf ~em·, f%'"'1)'«11'1, 3Nc1 8, 2007

~0 8.

6. Diana M. Lewis, 'Online News a new genre?' in (New Media language ,•

edited by Jean Aitchison and Jiana M. Lewis) Routledge, London, 2003,

page-98.

7. ~lltt(YIIC1, ;~~~~ R~C1ti\J) ~~ ~ ~ ~· ~ 3iiRd ~ (<51GC1d

. 4'1~~1 Cf>T ~) f%'"'1)'«11~. 26-2-2007.

8. ~ xl >JTCG tiJilill'< f%'"'1)'«111" 1f ~Cbl~ld, 10-1-2007.

9. John Markoff, (TV in future: Click online), New York Times reproduced in

Asian age-8-1-2006.

10. Reuters News report from NE:W York/ Atlanta published in Times of India on

12-4-2006.

11. Bertolt Brecht, 'The Radio ciS an apparatus of Communication' in (New

Media' edited by Anna Everett and John T. Caldwell) Routledge, London,

2003, page-29.

12. Anders Fagerjord, Rhetror:cal convergence in (Digital Media Revisited

edited by Gunnar Liesto~. Andrew Morrison & Terje Rasmuseen)

Massachusetts Institute of Technology Press; Cambridge, 2003, page-

315.

13. Vikas Bajaj, Focus, A write up by arrangement with The New York Times,

published in Asian Age-18-2-2007.

14. filC!~C!~ 3ii~61"IC!~ tiJ:flill'< (~ ~) 2130 l:R, 8-4-2004.

15. tiJilill'<-ftqlt, ffi'"'1)'«11'1, S-1-2006.

16. Raymond Williams, 'Televi~;ion Technology and Cultureal form' Routledge,

London 1975 (Reprint 2003), page-39.

(185)

17. <;;\'<~~T'1 "G~ 'ftl'{'1'{'1~~ '<iJili!lx 8:00 ~. 8:15 ~ "G~ 9 ~.

9-4-2007.

18. Umberto Eco, Essay: 'Culture as shown business' in (Travels in Hyper

Reality), Picador, 1987, pag~~ 152.

19. ~IIJicllcl (~: ~~cld ~fT cpf ~) ·~~ll'1 RliC'12:'1~ ~ .~ ~

~· -B ficp~d ~ ~.~-B ~cpl~ld, 26.2.2007.

20. John Fiske and John Hartley, 'Reading Television', Routledge, London,

2003, Page 102.

21. .Ibid, Page-109.

22. Walter Benjamin, Essay: 'The work of Art in the Age of Mechanical

Reporduction' in (ILLUMINATIONS) Fontana/Collins, 1982, page 220.

23. Stian Grogaard, Eassay: 'Low tech-High concept- Digital Media, Art, and .

the state of the Arts' in (Digital Media Revisited edited by Gunnar Liestol,

Andrew Morrison and Te:rje Rasmuseen) Massachustts Institute of

Technology Press, Cambridge, 2003, page-275.

24. Ibid- Page 276.

25. Ibid-Page 285.

26. Raymond Snolddy, Essay: 'Modem Media Myths', in (New Media Language

edited by Jean Aitchison and Diana M. Lewis) Routledge, London, 2003,

page-23.

27. Ibid- Page-26.

28. lbid-page-25.

29. James Murdoch, Speaking at the 2000 International Television Festival

(Edinburgh), quoted by Haymond Snoddy in 'Modern Media Myths'.

30. Raymond Williams-'Television Technology and Cultural form', Routledge,

London, 1975 (Reprint-2003), page-87.

31" Ibid, page-92

(186)

32. JOHN T. CHLDWELL, Essay : "Second shift Media Aesthetics" in 'New

Media' Routledge, London, 2003, Page-133.

33. GARY R. EDGERTON ancl BRIAN G. ROSE, (Introduction) 'Thinking

outside the Box, The univerfity press of Kentucky, USA, 2005, page-5.

34. JOHN. T. CALDWELL, "Second Shift Media Aesthetics" in 'New Media',

Routledge, London, 2003, Page-136.

35. John Fiske and John Hartley, 'Reading Television', Routledge, London

(Second Edition), 2003; page 159.

36. _ Jostein Gripsrud, Essay: 'Television, Broadcasting, Flow: Key Metaphors

in, TV Theory', in (The Televi~;ion Studies Book', Editors-Christine Geraghty

& David Lusted) Arnold; London, 1998, Page-29.

37. Ibid, Page-31.

38. Shanti Kumar, Essay: 'Innovation, Imitation, and Hybridity' in (Thinking

Outside the Box) The university Press of Kentucky, USA, 2005, page-

323.

39. lim O'Sullivan, Essay: 'Nostalgia, Revelation and Intimacy' in (The Television

Studies Book', Editors-Chl·istine Geraghty and David Lusted) Arnold,

London, 1998, page-206.

40. Armand Mattlelart, Essay : 'l~eal Politik and Utopias of Universal Bonds' in

('A companion to Media studies, Editor-Angharad N. Valdivia), Blackwell,

UK, 2003, Page 552.

41. Ibid- Page 557.

42. Horace Newcomb, Essay 'Reflections on TV : The Most popular Art' in ·

('Thinking outside the Box') The university press of Kentucky, USA, 2005,

Page-22.

43. Ibid, page-35.

(187)