The purpose of this study was to expand on current research about ways in which race and ethnicity are socially constructed through popular media culture. In this article we explore to what extent broadcast commentary of televised soccer in the Netherlands reproduces and challenges hegemonic discourses about race/ethnicity and is congruent with findings of similar research in other contexts. We used a layered approach toward race/ethnicity instead of the frequently used Black/White dichotomy in research on sports commentary. Our findings suggest that current Dutch soccer commentary displays a number of dominant racialized/ethnicized themes that at times resonate with colonial discourses, are in part congruent with racialized/ethnicized sport media representations found in other contexts and also challenge popular Dutch discourses about ethnicity. We place these findings in a broader historical and internationally comparative perspective.

Opinions about and attitudes towards the constructs of race and ethnicity in contemporary Western society are not only influenced by institutions such as those of academic institutions, politics, education, family or paid labour, but also by the media. Popular forms of media culture, varying from news broadcasts and talk shows to soap operas and music videos, can be highly influential in structuring ideas about race and ethnicity. Entman contended that the media 'call attention to some aspects of reality while obscuring other elements ' (1993: 55). The media create dominant interpretations of reality that appeal to a desired or anticipated audience. According to Hall (1995Hall ( , 1997, the media are not only a powerful source of dominant ideas about race and ethnicity, but should also be considered as sites of constantly shifting meanings and struggles over meaning. This is evident in the way that the media on the one hand celebrate successful African-Americans like Oprah Winfrey and Michael Jordan, while also confirming and reinforcing racist stereotypes. According to Jessica Rhodes, a scholar in ethnic studies and mass communication, racist stereotypes have been embedded in the US mass media since the 18th century, whether it be 'the benign and happy slave figure', 'the black brute who rapes white women' or the 'promiscuous black woman ' (1995: 36-7). This stereotypical and one-dimensional framing of

This article starts out from the European research project Children in Communication about Migration (CHICAM). It addresses questions about intercultural communication via the internet and about media production as a vehicle for personal expression and identity formation among excluded youth groups. The article starts out from a cultural theoretical perspective linked to an empirical analysis, which is based on a series of selected productions made by 12 to 14-year-old refugees. The productions represent various programme genres and formats. The use of visual language such as representational conventions are highlighted in order to find out how identities are (re)created in the process of media production. The article touches upon these productions as they reflect not only experiences in dealing with cultural tensions between the 'old' and the 'new' world, but also their views on their future life and on the conditions that they find crucial in developing themselves

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Increasingly television heritage is being digitized and made accessible to non- industry user, enabling ‘the archival turn’: the study of online archives so as to revisit the dominant discourses in television historiography. This article discusses both conceptual and practical perspectives on online television heritage within a broader European frame- work. It starts from the notion of connectivity, pointing to the development of the archive as a network of connections and continues to address the dynamics involved in the trans- formation of the television archive into an online presentation including the most relevant actors. With the help of examples from Dutch and European television heritage projects the article discusses how the new archive is capable of mediating between the past and present, between history and memory, between curatorial perspectives and popular uses. It concludes on the challenges that (European) online television heritage offers in the field of television historiography and theory.