“A STUDY OF DEVELOPMENT AND ANALYSIS OF PLASMA AND LCD TV INDUSTRY AND IT’S IMPACT ON GENERAL CTV MARKET:-
WITH SPECIAL REFERENCE TO MUMBAI REGION”
History and development of audiovisual medium:
Perception is the frame of mind of a customer about a particular product or service which customer would like to avail. It is the way a customer look at anything. In short it is the process of perceiving about anything. Customer perception about any product or service is an important parameter in the whole marketing scenario and global economy as well. It contributes to the social, cultural, environmental, political and economic growth of the nation. Post-war mass communication and media studies have had two periods of radical change, the late 1960s-early 1970s and the1980s, of which the former was characterized by the rise of Marxism and the latter by its decline. These transformations did not take place simultaneously in all countries, but as a generalization this seems to hold true. For instance, Frands Mortensen (1994) recalls the year 1977 as the turning point when critical vocabulary in his work began, for the time being at least, to fade out. Mortensen’s fate was shared by many of the turn-of-the-seventies generation throughout Europe, the soixante-huitards or ’68ers’ as the French call them. As a result, some avoided radical thought altogether, denouncing their Marxist past; others changed to postmodernism, while a few still adhered to the Marxist project by trying to reshape it. However, they all had to keep abreast of the new 1980s generation– a generation more in tune with economies of deregulation, individualist policies and cultural anti-modernism. The 20th century has witnessed at least three periods during which the nature and status of moving images have been at the centre of more or less comprehensive cultural-theoretical concerns: one in the 1920s with the stabilization of the feature film and film art; one in the 1950s and 1960s with the emergence of full-blown television; and one from the 1980s to the present with the transformation of television, combined with the introduction of video and computer- based media. One of the underlying assumptions during this 70-year-debate boils down to the idea that if there is one thing that characterizes 20th-century culture, at least its latter half, then it is audiovisuality.It is this view that unites 1920s avant-gardists and cinéaste-critics (e.g. Balázs 1982), 1950s and 1960s filmologists in France and Italy (e.g. Cohen-Séat 1961)who receded but were, unfortunately, overshadowed by Marshall McLuhan, and the 1980s postmodernists (e.g. Kroker &Cook 1986). In the following discussion, I will, on the basis of this continuing debate, assume the centrality of image and sound media to our century. One of the key issues in audiovisual media theory, then, is concerned with accounting for this centrality of moving images in contemporary life. It is here, I argue, that the Frankfurt School may still prove helpful. In what sense is the 20th century the “age of the image” (Gance 1927) as well as that of the society of spectacle, entertainment and interaction? Or, how are the increasing audiovisual and aesthetic components of 20th century civilization interconnected? To answer these questions, media theory has to account for four major empirical phenomena and historical periods (for another synoptically view of the audiovisual 20th century, cf. Zielinski 1989): the birth and beginnings of film (The Age of Early Cinema, 1895-1915), the heyday of the standard feature film (The Age of the Classical Hollywood Film, 1920-1960), the replacement of cinema films by television as the major audiovisual medium (The Age of Paleo-television, 1960-1980) and the transformation of television in the new audiovisual landscape of, inter alia, video and multimedia (The Age of Neo-television, 1980-; the terms ‘paleo-’ and ‘neo-television’,coming...