Göran Bolin

Visions of Europe : Cultural technologies of nation-states

With the expansion of the European Union eastwards, nations have adopted various strategies for being included in the European community. This article discusses examples of cultural technologies used by post-communist countries in aligning with Western Europe. It is argued that the phenomenon is in fact not new, as the marketing of nations has occurred since at least the World’s Fairs of the 19th century. However, while the World’s Fairs addressed the nation-states of high industrialism, cultural technologies are the features used in a post-industrialized context, where it is more important to impress with abilities of symbolic production rather than with traditional industrial production. In terms of modernization processes, it can be argued that the increased emphasis on symbolic production indicates a shift from techno-industrial modernization to techno-cultural modernization.

THE LABOUR OF MEDIA USE

The ‘active audience’ has theoretically been conceptualized from two perspectives: in political economy, it is suggested that television audiences work for the networks while watching and that they contribute to the valorization process with their labour. Although contested, it has survived among media scholars, also feeding into the discussion on web surveillance techniques. The other conceptualization comes from reception theory, media ethnography and cultural studies, where the interpretive work by audiences is seen as productive and resulting in identities, taste cultures and social difference. This article relates these perspectives by considering audiences as involved in two production–consumptions circuits: (1) the viewer activities produce social difference (identities and cultural meaning) in a social and cultural economy, which is then (2) made the object of productive consumption as part of the activities of the media industries, the end product being economic profit. This article argues for the relevance of analysing these as separate circuits, with different kinds of labour at their centre, and that recent debates on the active audience often misrecognize the difference.

Digitization, Multiplatform Texts, and Audience Reception

This article reflects on the consequences of digitization for multiplatform television/media production, the ways in which it affects textual expressions, and how this might have a bearing on changing audience roles. It takes its departure empirically from two Swedish examples of multiplatform production: The Truth About Marika and Labyrint, produced by SVT and TV4, respectively. It is argued that multiplatform media texts challenge our conceptions of categories such as work, text, program, etc., and, following from that, also challenge our notions of audience activity and engagement.

SYMBOLIC PRODUCTION AND VALUE IN MEDIA INDUSTRIES

This article discusses value creation within the fields of cultural production. It departs from Bourdieus field model, and seeks to develop it to fit unrestricted cultural production, for example television production. Bourdieu for the most part discussed the production of value (or forms of capital) in relation to fields of restricted cultural production, that is, within the fine arts (e.g. art, literature). Although one of his best known works dealt with television, one cannot say that he used the possibilities inherent in his own theory thoroughly enough to analyse this field of mass production. This article builds on recent discussions on the role of field theory in media studies, and seeks to contribute to the development of a theory of value production in fields of large-scale or unrestricted cultural production. It is argued that the conflation of commercial value with other kinds of value is more intense in the subfield of unrestricted cultural production, as production in this part of the field needs to obey outer demand in a way that production at the pole of restricted production does not.

The Value of Being Public Service: the Shifting of Power Relations in Swedish Television Production

The value of being public service : The shifting of power relations in Swedish television production

Notes From Inside the Factory: The Production and Consumption of Signs and Sign Value in Media Industries

This article aims at giving some theoretical reflections and possible clarifications to theories on production and consumption of symbolic goods and commodities. It is argued that the production of sign commodities generate various kinds of values, which also differ from those produced in material commodity production. With the example of the television audience this article puts forth the idea of the audience as a pure sign commodity, a commodity solely made up of sign structures, produced by semiotic labour.

Institution, Technology, World : Relationships between the Media, Culture and Society

In this chapter three approaches to mediatization are discussed: the institutional, the technological, and the media as world. Each of these has a different ontological and epistemological backgrou ...

Heuristics of the algorithm: Big Data, user interpretation and institutional translation:

Intelligence on mass media audiences was founded on representative statistical samples, analysed by statisticians at the market departments of media corporations. The techniques for aggregating user data in the age of pervasive and ubiquitous personal media (e.g. laptops, smartphones, credit cards/swipe cards and radio-frequency identification) build on large aggregates of information (Big Data) analysed by algorithms that transform data into commodities. While the former technologies were built on socio-economic variables such as age, gender, ethnicity, education, media preferences (i.e. categories recognisable to media users and industry representatives alike), Big Data technologies register consumer choice, geographical position, web movement, and behavioural information in technologically complex ways that for most lay people are too abstract to appreciate the full consequences of. The data mined for pattern recognition privileges relational rather than demographic qualities. We argue that the agency of interpretation at the bottom of market decisions within media companies nevertheless introduces a ‘heuristics of the algorithm’, where the data inevitably becomes translated into social categories. In the paper we argue that although the promise of algorithmically generated data is often implemented in automated systems where human agency gets increasingly distanced from the data collected (it is our technological gadgets that are being surveyed, rather than us as social beings), one can observe a felt need among media users and among industry actors to ‘translate back’ the algorithmically produced relational statistics into ‘traditional’ social parameters. The tenacious social structures within the advertising industries work against the techno-economically driven tendencies within the Big Data economy.

Having a soul or choosing a face? Nation branding, identity and cosmopolitan imagination

ABSTRACT If nation branding is about constructing and promoting national identity, what kind of ‘identity’ could it possibly be? This article analyses how the branded nation qualitatively differs from earlier forms of imagined communities by focusing on the tension between inward- and outward-directed dimensions of nation branding. A particular focus is placed on the concept of ‘identity’, which, it is argued, is insufficiently problematized in previous research. The discussion takes its departure in a case study of Ukraine, where all nation branding attempts came to an abrupt halt when political unrest broke out in late 2013. The political unrest led to a rapid shift in forms of concern over Ukraine, since nation branding can only be conducted in times of relative social harmony. The case further illustrates the argument that collective identity is not a main issue when branding a nation, and it is argued that a perspective of cosmopolitanism can bring new insights to the phenomenon.

Passion and nostalgia in generational media experiences

One component in the generational experience strongly related to media is the intimate and often passionate relation that is developed towards media technologies and content from one’s formative youth period: musical genres and stars, as well as reproduction technologies such as the vinyl record, music cassette tapes, comics and other now dead media forms. Passion, however, is a dialectic concept that not only refers to the joyful desire and intense emotional engagement of cherished objects but also includes its dialectic opposite in the form of pain and suffering. This passion, it is argued in the article, is activated by the nostalgic relationships to past media experiences, the bittersweet remembrances of media habits connected to earlier life phases of one’s own. Taking its point of departure in generational theory of Mannheim and others, this article analyses a series of focus group interviews with Swedish and Estonian media users tentatively belonging to four different generations. Based on the analysis of these interviews, it is suggested that passion and nostalgia are produced, first, in relation to old technologies, second, in relation to childhood memories and, third, at the limits of shared intergenerational experience, that is, at the moment when one realises that one’s own experiences of past media forms cannot be shared by younger generations, and especially one’s own children.