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The story of Czechoslovak television is in many respects typical of the cultural and political developments in Central Europe, behind the Iron Curtain. Martin Štoll, with unprecedented access to the Military Historical Archives in Prague, provides contextual insights into the issues of introducing television in the whole Socialist Bloc (save China, Mongolia and Cuba), from the introduction of television broadcasting in Czechoslovakia in 1921 through to the 1968 occupation and the Velvet revolution in 1989 – encapsulating an important point in media history within two totalitarian states. Television and Totalitarianism in Czechoslovakia examines the variability of political interests as reflected on television in interwar Czechoslovakia, including Nazi research on television technology in the Czech borderlands (Sudetenland), the quarrel over the outcomes of this research as war booty with the Red Army, the beginning of the Czechoslovak technological journey, and, finally, the institutionalized foundation of Czechoslovak television, including the first years of its broadcasting as a manifestation of Communist propaganda. Revised and expanded from the Czech to include broader contexts for an English-speaking audience, Štoll expertly elucidates the historical, cultural, social, political, and technological frameworks to provide the first comprehensive study of the subject.
The story of Czechoslovak television is in many respects typical of the cultural and political developments in Central Europe, behind the Iron Curtain. Martin Štoll, with unprecedented access to the Military Historical Archives in Prague, provides contextual insights into the issues of introducing television in the whole Socialist Bloc (save China, Mongolia and Cuba), from the introduction of television broadcasting in Czechoslovakia in 1921 through to the 1968 occupation and the Velvet revolution in 1989 – encapsulating an important point in media history within two totalitarian states. Television and Totalitarianism in Czechoslovakia examines the variability of political interests as reflected on television in interwar Czechoslovakia, including Nazi research on television technology in the Czech borderlands (Sudetenland), the quarrel over the outcomes of this research as war booty with the Red Army, the beginning of the Czechoslovak technological journey, and, finally, the institutionalized foundation of Czechoslovak television, including the first years of its broadcasting as a manifestation of Communist propaganda. Revised and expanded from the Czech to include broader contexts for an English-speaking audience, Štoll expertly elucidates the historical, cultural, social, political, and technological frameworks to provide the first comprehensive study of the subject.
The 1968 Soviet invasion of Czechoslovakia brought an end to the Prague Spring and its promise of "socialism with a human face." Before the invasion, Czech reformers had made unexpected use of television to advance political and social change. In its aftermath, Communist Party leaders employed the medium to achieve "normalization," pitching television stars against political dissidents in a televised spectacle that defined the times. The Greengrocer and His TV offers a new cultural history of communism from the Prague Spring to the Velvet Revolution that reveals how state-endorsed ideologies were played out on television, particularly through soap opera-like serials. In focusing on the small screen, Paulina Bren looks to the "normal" of normalization, to the everyday experience of late communism. The figure central to this book is the greengrocer who, in a seminal essay by Václav Havel, symbolized the ordinary citizen who acquiesced to the communist regime out of fear. Bren challenges simplistic dichotomies of fearful acquiescence and courageous dissent to dramatically reconfigure what we know, or think we know, about everyday life under communism in the 1970s and 1980s. Deftly moving between the small screen, the street, and the Central Committee (and imaginatively drawing on a wide range of sources that include television shows, TV viewers' letters, newspapers, radio programs, the underground press, and the Communist Party archives), Bren shows how Havel's greengrocer actually experienced "normalization" and the ways in which popular television serials framed this experience. Now back by popular demand, socialist-era serials, such as The Woman Behind the Counter and The Thirty Adventures of Major Zeman, provide, Bren contends, a way of seeing—literally and figuratively—Czechoslovakia's normalization and Eastern Europe's real socialism.
This international bestseller plumbs recently opened archives in the former Soviet bloc to reveal the accomplishments of communism around the world. The book is the first attempt to catalogue and analyse the crimes of communism over 70 years.
The Magic Lantern is one of those rare books that capture history in the making, written by an author who was witness to some of the most remarkable moments that marked the collapse of Communism in Eastern Europe. Timothy Garton Ash was there in Warsaw, on 4 June, when the communist government was humiliated by Solidarity in the first semi-free elections since the Second World War. He was there in Budapest, twelve days later, when Imre Nagy - thirty-one years after his execution - was finally given his proper funeral. He was there in Berlin, as the Wall opened. And most remarkable of all, he was there in Prague, in the back rooms of the Magic Lantern theatre, with Václav Havel and the members of Civic Forum, as they made their 'Velvet Revolution'.
Music and Democracy explores music as a resource for societal transformation processes. This book provides recent insights into how individuals and groups used and still use music to achieve social, cultural, and political participation and bring about social change. The contributors present outstanding perspectives on the topic: From the promise and myth of democratization through music technology to the use of music in imposing authoritarian, neoliberal or even fascist political ideas in the past and present up to music's impact on political systems, governmental representation, and socio-political realities. The volume further features approaches in the fields of gender, migration, disability, and digitalization.
Like its companion volume, Telecommunications in Europe, this book deals with the evolution of powerful monopoly institutions in the communications field--the public broadcasters--and the dramatic changes that took place in the late 1980s throughout Europe, and transformed the media landscape. It provides a comprehensive view of European broadcasting systems, using the perspective of economics and policy analysis. The introductory part offers a framework for understanding media and the forces of change affecting them. The main section is a unique series of chapters covering the broadcast and cable television systems of almost thirty European countries.
Winner of the Europe Book Prize One of Europe’s most preeminent investigative journalists travels to the Czech Republic—the Czech half of the former Czechoslovakia, the land that brought us Kafka—to explore the surreal fictions and the extraordinary reality of its twentieth century. For example, there’s the story of the small businessman who adopted Henry Ford’s ideas on productivity to create the world’s largest shoe company—and hired modernist giants such as Le Corbusier to design his company towns (which were also the birthplaces of Ivana Trump and Tom Stoppard). Or the story of Kafka’s niece, who loaned her name to writers blacklisted under the Communist regime so they could keep publishing. Or the story of the singer Karel Gott, winner of the country’s Best Male Vocalist Award thirty-six years in a row, whose summer home, Gottland, is the Czech Dollywood. Based on meticulous research and hundreds of interviews with everyone from filmmakers to writers to pop stars to ordinary citizens, Gottland is a kaleidoscopic portrait of a resilient people living through difficult and often bizarre times—equally funny, disturbing, stirring and absurd . . . in a word, Kafkaesque. From the Hardcover edition.
Books of great political insight and novelty always outlive their time of birth and this reissued work, initially published in 1985, is no exception. Written shortly after the formation of Charter 77, the essays in this collection are among the most original and compelling pieces of political writing to have emerged from central and Eastern Europe during the whole of the post-war period. Václav Havel’s essay provides the title for the book. It was read by all the contributors who in turn responded to the many questions which Havel raises about the potential power of the powerless. The essays explain the anti-democratic features and limits of Soviet-type totalitarian systems of power. They discuss such concepts as ideology, democracy, civil liberty, law and the state from a perspective which is radically different from that of people living in liberal western democracies. The authors also discuss the prospects for democratic change under totalitarian conditions. Steven Lukes’ introduction provides an invaluable political and historical context for these writings. The authors represent a very broad spectrum of democratic opinion, including liberal, conservative and socialist.
Proposes an original framework for comparative media research, and uses it to provide fascinating insights into television under communist rule.