The proportion of the language of hate in Slovenske novice is considerably higher and deeper than in Delo. 9 The only exception is Jalušič (1996).

The production of the 'enjoying subject' is hence in itself a kind of regulation of subjectivity, since power relations lie at the very core of the subject's enjoyment.

Entertainment film production

The production of stereotyped media images of homosexuality, therefore, takes place within the cognitive framework of a social gender schema based on a dualistic and hierarchical model of the biological determination of sexes.

Advertising film production

Since the production and purchase of good programs mean higher costs, Tracey (1998: 31) points out that dependence on commercial or state funds prevents broadcasters from implementing this principle.

The production of disciplined femininity, in such a way that the disciplining of the body coincides with enjoyment and autonomy, is hence the most refined mechanism of power which implies the most economic form of control over and regulation of femininity - through a woman who enjoys her self-control and self-regulation.

Propaganda film production

Information film production

Entertainment video - tape production

Advertising video - tape production

Propaganda video - tape production

Information video - tape production

Training - film and video - tape production

Entertainment film and video - tape production

Motion - picture and video - tape production and related services

Advertising, propaganda and information film and video - tape production

film production

audio-visual programme

a production schedule of the cinematographic work;

(e) encourage the conclusion of co-production and co-distribution agreements.

(i) creating and strengthening cultural production and distribution capacities in developing countries;

ii to apply existing measures for financial assistance also to audiovisual productions in the regional or minority languages;

d to encourage and/or facilitate the production and distribution of audio and audiovisual works in the regional or minority languages;

The total contribution of the co-producers who are not established in the Parties to the Convention may not, however, exceed 30% of the total cost of the production.

e “European audiovisual works“ means creative works, the production or co-production of which is controlled by European natural or legal persons;

the term ` co-producers` shall mean cinematographic production companies or producers established in the Parties to this Convention and bound by a co production contract;

In the case of multilateral co-production, the minimum contribution may not be less than 10% and the maximum contribution may not exceed 70% of the total production cost of the cinematographic work.

Similarly, each Party shall permit the temporary import and re-export of equipment necessary to the production and distribution of cinematographic works falling within the scope of this Convention.

When the minimum contribution is less than 20%, the Party concerned may take steps to reduce or bar access to national production support schemes.

include one or more minority contributions which may be financial only, in accordance with the co-production contract, provided that each national share is neither less than 10% nor more than 25% of the production costs;

Resolved to achieve this cultural objective thanks to a common effort to increase production and define the rules which adapt themselves to European multilateral cinematographic co-productions as a whole;

Determined to develop these principles and recalling the recommendations of the Committee of Ministers on the cinema and the audiovisual field, and particularly Recommendation No. R (86) 3 on the promotion of audiovisual production in Europe;

2 When this Convention takes the place of a bilateral agreement between two Parties under the provisions of Article 2, paragraph 4, the minimum contribution may not be less than 20% and the largest contribution may not exceed 80% of the total production cost of the cinematographic work.

g) transport for non-commercial purposes of properties, accessories and animals to or from theatrical, musical, film, sports or circus performances and fairs, and those intended for radio recordings, or for film or television production;

g “Sponsorship“ means the participation of a natural or legal person, who is not engaged in broadcasting activities or in the production of audiovisual works, in the direct or indirect financing of a programme with a view to promoting the name, trademark or image of that person.

Being desirous to develop the principles embodied in the existing Council of Europe recommendations on principles on television advertising, on equality between women and men in the media, on the use of satellite capacity for television and sound radio, and on the promotion of audiovisual production in Europe,

g) Transport for non-commercial purposes of properties, accessories and animals to or from theatrical, musical, film, sports or circus performances, fairs or fetes, and those intended for radio recordings, or for film or television production.

h) Transport for non-commercial purposes of properties, accessories and animals to or from theatrical, musical, film, sports or circus performances, fairs or fetes, and those intended for radio recordings, or for film or television production.

9) Transport for non-commercial purposes of properties, accessories and animals to or from theatrical, musical, film, sports or circus performances, fairs or fetes, and the equipment urgently required for radio recordings, film or television production.

The Parties, in the spirit of co-operation and mutual assistance which underlies this Convention, shall endeavour to avoid that programme services transmitted or retransmitted by entities or by technical means within their jurisdiction, within the meaning of Article 3, endanger the pluralism of the press and the development of the cinema industries.

The Parties undertake to look together for the most appropriate instruments and procedures to support, without discrimination between broadcasters, the activity and development of European production, particularly in countries with a low audiovisual production capacity or restricted language area.

With regard to cultural activities and facilities - especially libraries, video libraries, cultural centres, museums, archives, academies, theatres and cinemas, as well as literary work and film production, vernacular forms of cultural expression, festivals and the culture industries, including inter alia the use of new technologies - the Parties undertake, within the territory in which such languages are used and to the extent that the public authorities are competent, have power or play a role in this field:

They must take care that their in-house production constitutes the major part of their output.

However, the continual production and reproduction of the above-mentioned images has wide consequences.

Before the latest amendments, Article 6 of the rtv Slovenia Act specified that rtv Slovenia's in-house news and information, cultural, educational and entertainment programs combined with co-produced and commissioned programs, must account for at least 50% of the total output of rtv Slovenia, or at least two hours a day of a national minority radio program or 30 minutes a day of a national minority television program.

It must encourage local production and take care that its output includes independent producers' programs.

The plan also clearly showed that the proportion of programs produced by rtv Slovenia was to be reduced from 51% in the previous year to 49% (in contravention of Article 6 of the rtv Slovenia Act valid at that time).

Owing to the absence of some formal institutional authority vested with power, which would carry out directives or implement sanctions, an impression is being created that this type of production of femininity is completely voluntary or even natural.

On the commercial POP TV, the production of celebrities/public personalities out of newsreaders has been systematic and deliberate, while on the Slovene public service television channel it was the spontaneous result of the 'mythological partnership' between tabloids and celebrities of all kinds, including those from local journalism.