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Rumour must be included in the idea of the media system if we are to be able to Participate through traditional oral communication, one vital aspect of which is The nature of thatĮngagement also affects the protagonist in specific ways. The moral story determines its dissemination and duration. A scandal derives its momentum from the audiences, whose engagement in Such as gossip and rumours, and traditional news media in the course of a The fusion between interpersonal communication that takes place face to face, The analysis also contributes new perspectives on To routines, trust, and self-confidence? How does it change the basic settings
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The protagonist in a media scandal affect a person’s everyday life? What happens The questions raised andĪnswered in this book include the following: How does the experience of being The existential level of that experience is highlighted by means of theĪpplication of ethnological and phenomenological perspectives to extensiveĮmpirical material drawn from a Swedish context. This book illuminates the personal experience of being at the centre of a media As these examples suggest, creative treatments can render the material such as to elicit a shock of new insight rather than merely shock for the sake of shock. Given the nature of the younger, more affluent target-market demographic, there is room furthermore for products which set out to shock. Niche marketing opportunities today allow bold companies to aim to attract primary audiences with distinctive product and only subsequently to seek to build bigger audiences by new means of secondary distribution. In the past, commercial companies were thought to be chasing large audiences to please advertisers in a context where a disposition to bland product to achieve ratings held sway. Three chosen examples of ‘edgy’ television, QaF, comes out of a small independent company in the UK, whilst SatC and Carnivale are produced by a substantial, and even more independent, subscription channel in the USA. This chapter explores a risky, ‘edgy’ television which flouts the historic tendency for small-screen fictions to be conservative, particularly in the USA where a Least Objectionable Programming (LOP) strategy dominated the ‘network era’.