By Andaluna Borcila
With the televised occasions of 1989, territories of jap and imperative Europe that have been marked as impenetrable and inaccessible to the Western gaze exploded into visibility. because the narratives of the chilly conflict crumbled, new narratives emerged and new geographies have been produced on and through American tv. utilizing an understudied archive of yank information proclaims, and tracing their flashes and echoes via trip courses and narratives of go back written by way of jap European-Americans, this e-book explores American methods of seeing and mapping communism’s disintegration and the narratives articulated round post-communist websites and topics.
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Extra resources for American Representations of Post-Communism: Television, Travel Sites, and Post-Cold War Narratives (Routledge Research in Cultural and Media Studies)
Television news. ” It is precisely this role that I want to continue to emphasize. It is important to pull apart the claim that the coverage is recording a historical event that we can somehow disentangle from the coverage; the fall of the Wall becomes an event, and it becomes meaningful for American viewers through the storyline(s) that the news made happen/ produced5 and the sites that it produced. In effect, the coverage produces the Berlin Wall as a de-contextualized site of history happening at the meeting point of the Western camera (gaze) and the desiring gaze of the Easterners (which the coverage attempts to uncover and present us with); it stages a continuity between American viewers and ‘the people’ through differentiating between the ‘people’s gaze’ and the political gaze; it re-articulates a spatial boundary within a temporal one; it produces a regime of affect and seeing within which history should be seen and ‘witnessed’; and it attaches itself inextricably to the event that it is supposedly recording.
In its continuous disintegration, the Berlin Wall offered an ideal projection/ ending of what the countries where communism was disintegrating were or should be moving toward, and it offered American viewers ways to see themselves and others in a global post–Cold War imaginary. As the disintegrating site of the Berlin Wall circulates from news to ads and back to news, television news, reporting on the value of the Berlin Wall in American capitalist exchanges, performs the incorporation of the Berlin Wall into an American global imaginary.
What we can see is that he is standing in front of a wall— the Wall—people surround him, and the atmosphere is one of joy and celebration. The images are familiar since on the previous day NBC had already taken us live to Berlin, and Brokaw himself refers to the fact that he is covering a party/celebration that has been going on for 30 hours. We are invited to see this space and this news report as a site of not only a historical event, but as ‘history happening,’ portrayed as an ongoing celebration, a celebration that we as television viewers can access live, assumedly, a celebration our reporter is in the midst of.