Abstract
Technological innovation strongly impacts the lives of citizens as a whole and is followed by serious consequences on national public policies and on the sector directly concerned. The dynamics of change in the national audio-visual landscape with the public service television engaged in the digital switch-over process is indeed the core of this study. It reveals how innovation has impelled policy-makers to develop a comprehensive strategy, leading to objectives and decisions to completely reshape the national audio-visual landscape with regard to legal, institutional, infrastructural, economic and cultural aspects; and, specifically, public television in its organization, functioning, mission as well as in its uses.
Highlights
As a major tool in the production of meaning in daily mediation imposed on producers and consumers of its services, television has quickly established itself as a pillar of contemporary culture during the last century
According to a study by the consultancy firm Analysys Mason/FTPA/Osiris Intelligence Stratégique (2014), the Cameroon government consultant for the legal, economic, financial and content-related aspects within the framework of the Digital Terrestrial Television (DTT) switchover process, digital switch-over may help to improve by about 25% the contribution of the telecoms, media and ICT sector to the Cameroon Gross Domestic Product (GDP)
In addition Analysys Mason/FTPA/Osiris Intelligence Stratégique (2014), asserts that digital switch-over may help to improve by about 25% the contribution of the telecoms, media and ICT sector to the Gross Domestic Product (GDP) of the State
Summary
As a major tool in the production of meaning in daily mediation imposed on producers and consumers of its services, television has quickly established itself as a pillar of contemporary culture during the last century. Wakata Bolvine 2 relationship using fictions, games as well as talk-shows (Maigret, 2007) This vision which is based on the ownership theory is in sharp contrast to Marxist analyses and the theory of mass culture so dear to the Frankfurt School that fit this relationship in a confrontational relationship where content producers are driven by a desire to dominate, and which include public authorities (is television not, according to Louis Althusser (1976), an ideological tool for the State?) and producers of wealth, holders of assets, eager to organise society to their advantage, mass media being managed like industries, constantly appealing due to the fact that they “make you feel better, entertain you, make you dream and hope.
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