Abstract

This article examines the persistence of television in a media environment increasingly defined by digital computation. It argues that television cannot be understood simply as a visual medium in continuity with cinema but must be situated within a specific video-electronic regime grounded in real-time transmission. Through a genealogical comparison of photochemical, video-electronic, and digital image regimes, the article analyzes how different technical configurations organize the relation between image, time, signal, and experience. It then considers historical and theoretical moments in which these regimes enter into tension, from early reconstructed actualities to live television, videotape, transmedia storytelling, and contemporary digital interfaces. Drawing on media archaeology and media theory, the article suggests that what persists under the name of television today is not necessarily the medium in its strict technical sense but a residual mode of engagement shaped by inherited perceptual and cultural habits. The article concludes that the apparent continuity of television in the digital mediascape should be read less as simple adaptation than as a symptom of a deeper rupture between technical regimes and lived experience.

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