Page 20 - Comparing Media Systems THREE MODELS OF MEDIA AND POLITICS
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                                                    Comparing Media Systems


                                                WHY COMPARATIVE ANALYSIS?
                                It is worth dwelling for a moment on one of the most basic insights of
                                Siebert, Peterson, and Schramm: the idea that if we want to address a
                                question such as “Why is the press as it is?” we must turn to comparative
                                analysis. The role of comparative analysis in social theory can be under-
                                stood in terms of two basic functions: its role in concept formation and
                                clarification and its role in causal inference. 2
                                   Comparative analysis is valuable in social investigation, in the first
                                place, because it sensitizes us to variation and to similarity, and this can
                                contribute powerfully to concept formation and to the refinement of
                                our conceptual apparatus. Most of the literature on the media is highly
                                ethnocentric, in the sense that it refers only to the experience of a single
                                country, yet is written in general terms, as though the model that pre-
                                vailedinthatcountrywereuniversal.This,atleast,istrueinthecountries
                                with the most-developed media scholarship, including the United States,
                                Britain,France,andGermany.Incountrieswithlessdevelopedtraditions
                                of media research, another pattern often emerges: a tendency to borrow
                                the literature of other countries – usually the Anglo-American or the
                                French literature – and to treat that borrowed literature as though it
                                could be applied unproblematically anywhere. We believe this style of
                                research has often held media researchers back from even posing the
                                question, “Why are the media as they are?” Important aspects of media
                                systems are assumed to be “natural,” or in some cases are so familiar
                                that they are not perceived at all. Because it “denaturalizes” a media
                                system that is so familiar to us, comparison forces us to conceptualize
                                more clearly what aspects of that system actually require explanation.
                                In that sense comparative analysis, as Blumler and Gurevitch (1975: 76)
                                say, has the “capacity to render the invisible visible,” to draw our atten-
                                tion to aspects of any media system, including our own, that “may be
                                taken for granted and difficult to detect when the focus is on only one
                                national case.” Our own comparative work began with the experience
                                of exactly this type of insight. Comparing U.S. and Italian TV news in
                                the early 1980s, familiar patterns of news construction, which we had
                                to some extent assumed were the natural form of TV news, were re-
                                vealed to us as products of a particular system. We were thus forced to
                                notice and to try to account for many things we had passed over, for

                                2
                                  Basic works on the comparative method, beyond those cited in the text, include Marsh
                                  (1964), Przeworski and Teune (1970), Tilly (1984), Dogan and Pelassy (1990), and
                                  Collier (1993).

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