Download Broadcasting and New Media Policies in Western Europe by Kenneth Dyson, Peter Humphreys, Ralph Negrine PDF

By Kenneth Dyson, Peter Humphreys, Ralph Negrine

Murdoch, Maxwell, Hersant, Berlusconi, Bertelsmann, Springer and Turner ... within the Nineteen Eighties new actors emerged to take advantage of the possibilities in eu broadcasting, supplied via the recent applied sciences of satellite tv for pc and cable. Dramatic political, financial and cultural effects have been promised and are already being addressed by means of public coverage. This e-book analyses and translates the advance of regulatory rules in Western Europe according to those new phenomena.

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Quite apart from the fact that RTL television was already a major and ambitious player in continental television—for instance, responsible for a near complete domination of the French-speaking Belgian advertising market (see later) —Luxembourg was now centrally placed to pose a ‘threat’ even to the major ‘media powers’ on its borders, notably France and West Germany. Luxembourg, a tiny state with a population of only 365,000 and a total workforce of a mere 100,000, had been heavily hit by the world recession of the 1970s and 80s.

Thorn-EMI had important stakes in two other new cable franchises and launched several new channels, notably Music Box, which was financed by advertising, offered predominantly video clips of pop groups, and was distributed across Europe’s cable systems by satellite, and also the Children’s Channel. Like Murdoch and Maxwell Thorn-EMI seemed determined to strengthen its media prospects by adopting a transatlantic strategy. It approached Columbia, Twentieth-Century Fox and Warner Brothers, as well as the British film company Goldcrest, in order to establish a movie channel called Premiere.

The two worlds of film and television were also moving closer and closer together, in response to the challenge of the new media. Television companies were interested in improving the quality of their programming; their image as programme producers could be decisively important in their relations with regulatory authorities like the IBA in Britain. Also, they saw new commercial markets opening up for ‘software’ producers and perceived a need to learn from the film industry in order to handle the new media.

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