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Summary

Today’s viewers are increasingly consuming audiovisual content via online services, which are better equipped, compared with traditional cinema or linear TV, to respond to their demand for immediate access to any content, anywhere, on any user interface. At the same time, consumers – particularly linguistic and cultural minorities, short-term and long-term migrants, exchange students, and those keen on a foreign language and culture – are also interested in content which is offered by online services abroad.1 The European digital market is, however, divided by virtual barriers that block consumers from cross-border access to audiovisual content based on the user’s location in a particular Member State.

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14 - The White Elephant in the Room:

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Mediale Zwischenwelten: Audiovisuelle Kunst in der Tschechoslowakei (1919-1939). By Sarah Houtermans. Osteuropa Medial, no. 5. Cologne: Böhlau, 2012. 160 pp. Notes. Bibliography. Glossary. €29.90, hard bound.

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14 - The White Elephant in the Room:

Summary

Mediale Zwischenwelten: Audiovisuelle Kunst in der Tschechoslowakei (1919-1939). By Sarah Houtermans. Osteuropa Medial, no. 5. Cologne: Böhlau, 2012. 160 pp. Notes. Bibliography. Glossary. €29.90, hard bound.