Variability of Cultural Magazines and their Heterogeneous Dispositions NADJA BORER Media act as regimes of knowledge and truth, mediating what "world" or "culture" is or should be. In this sense, television broadcasts and televisual cultural magazines in particular are often considered transparent sources of daily events. From the perspective of media studies, however, cultural television as a medium acts not primarily as a transparent window on the world, but as a mirror, as a multilayered and

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... ongoing historically variable projection screen (cf. Lacan 1998; Silverman 1996) . Cultural magazines provide televisually framed segments of information and entertainment, re-presenting sections and fragments of the cultural reality. Like the "bard" who, according to Fiske and Hartley (2003) , continually interprets the socio-cultural activities and collects, re-combines, and processes the fundamental myths of a society into extensive mythologies, cultural magazines constitute and construct culture by selecting and presenting it. The televisual regimes of gaze in cultural magazines are always historically variable and underlie specific patterns of representation. It is primarily due to the multidimensionality of audiovisual communication and the continually rendering problematic of its own dispositif (Foucault 1977) that television operates as a complementary medium of socio-cultural modernization processes (Hickethier 1994) . Especially because of television's "con-