Business TV in Deutschland: Volkswagen TV - Analyse einer Sendung (German Edition)

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Ethnic minority listeners were addressed as part of the city, but as a culturally distinct part expected to provide culturally specific perspectives on urban life. Attracting advertising is not just key to the economic survival of the station, advertisements also form a crucial part of its broadcasting appeal that holds out the promise of participating in popular consumer culture.

This is of course anything but a special feature of Metropol FM — it is rather a hallmark of cultural industries in late capitalist social formations where social relations are economically and symbolically mediated through markets. According to surveys carried out by the Centre for Turkey Studies, already in , almost one third of Turkish households in Germany were living below the official poverty line. Another thirty-five percent were living dangerously close above it Telekom, Volkswagen, Deutsche Bank and others developing special advertising campaigns and placements to reach out to Turkish-speaking customers Despite the decline in buying power, the general trend towards niche marketing and the overall growth of the postmigrant population with roots in Turkey still renders Turkish Germans an interesting target group; interesting enough to fuel and subsidize a range of commercial media projects from Metropol FM to internet platforms such as turkdunya.

What unites all of these projects despite being based on quite different media technologies is their low-budget approach and their targeting of fragmented audience segments, with production costs significantly lower than those of their old-school public-service or state-sponsored radio and television equivalents, and profits that can be made from relatively small audiences.

Ratings have come to be understood as a kind of popular plebiscite that can be linked not only to advertising revenues but also to the dwindling legitimacy of spending public money on relatively high-cost productions. Migrant-oriented public-service programming like Radio MultiKulti , with its high word-content and ambitious profile, have slowly but surely lost the political support that had brought them into existence at a time of right-wing anti-immigrant violence and concerns over integration failures in the newly united Germany of the early s.

These cultural differences are no longer the basis for forms of political recognition that need a stable social referent, i.

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Instead, they are linked to changing consumption proclivities, some of which might have an ethno-cultural base or can be linked to specific dimensions of transnational lifestyles, such as cellphone-flatrates for calls to Turkey or cable-TV package deals that deliver an assortment of channels from Turkey via German cable networks.

It is crucial to understand the new market-driven valorizations of diversity and dynamics of broadcasting in order to make sense of the changing politics of representation in relation to migrant and ethnic minority media. While the developments described above show that the latter have been caught up in and shaped by forces of commercialization and deregulation that threaten their discursive-political function as arenas of public deliberation, it is worth coming back to the critique of the public sphere concept in order to examine how public imaginings and public formations are shaped by them beyond the story of decline.

For even though the shift towards profit-driven mass media production has decreased the potential for mass media to function as arenas of public deliberation, they might still provide an impetus for significant publics in a different sense of the term. The sense of belonging among audiences relates not necessarily to feeling part of an ethnic minority community, but rather to feeling part of the city as an essentially public social location, one in which an ethnic minority can be imagined not as a community but as an urban public.

Their appeal is also associated with the co-presence of strangers and the possibilities for encounter or anonymity that go along with it. This at first sight quite different understanding of public formations is important to consider when trying to link the imaginings of mass-mediated publics to the experience of urban publics that involve possibilities of face-to-face encounters.

Public arenas are those that have no pre-defined participation, and they bring together potential strangers who might share particular categorical belongings and expectations with regard to commonalities and norms of engagement, but will not usually know each other personally. This social imaginary of stranger-relationality that is central to publics can but must not be discursively grounded in the sense of being oriented towards debate.


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The celebratory outdoor gatherings that followed the two title decisions in Berlin created public scenes in the double sense both of temporary, ephemeral social formations and of somewhat transgressive, theatrical disruptions of the everyday street routines that mark both locations. This is not just due to them having had access to the television transmission of the game from Turkey, and thus having been addressed as part of a territorially unbound Turkish audience.

Significantly, it also had to do with their reasonable expectation that in the district of Kreuzberg, they could expect for their celebrations to be understood and joined by others, turning their expressions of joy into a public performance that partially dissolved the borders between performers and audiences. Much less attention is paid to the variety of social practices and identifications that involve these mostly urban residents in much more fleeting social formations, formations that have been described as central to contemporary urban life Blum, , yet not for ethnic minorities.

Migrant and ethnic minority publics have been explored in relation to media use and production, but almost never in relation to urban environments. Yet, as media technologies and practices cross national boundaries and help to foster geographically dispersed audiences, they also affect the practices and imaginings of community and sociality in face-to-face urban settings.

What is more, these settings are not simply home to ethnic or migrant communities, the placeholder concept mobilized to stand in for any social formation that refers to ethnic minorities or immigrants as social groups Alleyne, Post migrants are also involved in social practices and social imaginings that involve urban publics as temporary formations of stranger relationality. The participatory face-to-face context which it offers is instead one that the urban researcher Alan Blum describes as practices of seeing and being seen, in fleeting performative activities that involve participants in acts of mutual recognition rather than just voyeurism Blum, The social dimensions of such urban publics do not resemble the collectivity of community, even if they might involve the imagining of a sort of community, as for example that of a transnationally celebrating fan collective.

As in any public social formation, they thrive on the co-presence of strangers — a presence that is anything but accidental and deliberately sought out by participants. What rendered the football celebrations public was not only that they took place on public streets, but that they involved a conscious, voluntary stranger-relationality centered around a shared activity.

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It was not simply the location of this activity and its participants that rendered it public, rather, the kinds of social encounters with strangers that participants engaged in transformed the location into a public space. With the historically assumed shift from the quintessentially urban scene of the agora at the centre of the ancient Greek city state — site for the powerful myth of origin for the proto-democratic public sphere — to forms of mass-mediated public deliberation, the spatial dimensions of public participation have received little attention.

To give a concrete example related to migrant media production, the continued broadcasting of Kurdish-nationalist satellite TV channels based in Western Europe has been based upon the diasporic dispersal of Kurdish-nationalist activists across different national-territorial spaces, despite the efforts of the Turkish government to suppress it. Shifting studio locations, transponder rentals and license permits between these spaces, broadcasters were able to repeatedly escape the pressures exerted by successive Turkish governments to shut down their operations.

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