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Auswahl der wissenschaftlichen Literatur zum Thema „Television“
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Zeitschriftenartikel zum Thema "Television"
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Queiroz, Regina Farias de, und Rafael Ferreira da Silva. „O estereótipo do amante siciliano adaptado para a televisão italiana na série Il giovane Montalbano“. Revista Italiano UERJ 13, Nr. 1 (17.10.2022): 23. http://dx.doi.org/10.12957/italianouerj.2022.70743.
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RESUMO: Este artigo tem como objetivo geral compreender a relação estabelecida entre sociedade e televisão, a partir da análise de trechos da série Il giovane Montalbano (2012). Para tanto, como objetivo específico, pretendemos analisar os processos de construção de identidade do protagonista atrelado ao estereótipo de amante siciliano, baseando-nos em discussões de pesquisadores dos Estudos Culturais e televisivos. Por exemplo, destacamos Menduni (2002), por enxergar a sociedade italiana por meio de sua produção televisiva, e também Casetti e Di Chio (2006), por apresentarem a possibilidade de analisar o texto televisivo pela perspectiva cultural. Os resultados da análise revelaram que a televisão é capaz de reforçar e reafirmar a representação cultural e os estereótipos culturais locais, como a figura do amante siciliano, além de ser responsável também por difundi-los, tanto nacional quanto internacionalmente.Palavras-chave: Il giovane Montalbano. Televisão italiana. Identidade. ABSTRACT: Questo articolo si propone di comprendere il rapporto che si instaura tra società e televisione, dall'analisi di brani tratti dalla serie Il giovane Montalbano (2012). Pertanto, come obiettivo specifico, si intende analizzare i processi di costruzione identitaria del protagonista legati allo stereotipo dell'amante siciliano, sulla base delle discussioni di ricercatori in Studi Culturali e televisivi. Si segnalano ad esempio Menduni (2002), per analizzare la società italiana attraverso la sua produzione televisiva, e anche Casetti e Di Chio (2006), per presentare la possibilità di analizzare il testo televisivo da una prospettiva culturale. Dai risultati dell'analisi è emerso che la televisione è in grado di rafforzare e riaffermare la rappresentazione culturale e gli stereotipi culturali locali, come la figura dell'amante siciliano, oltre ad essere responsabile della loro diffusione, sia a livello nazionale che internazionale.Parole chiave: Il giovane Montalbano. Televisione italiana. Identità. ABSTRACT: This article aims to understand the relationship established between society and television, using, as a starting point, the analysis of certain excerpts from the TV series Il giovane Montalbano (2012). As a specific objective, the hereby article has intended to analyze both the protagonist’s processes of identity construction and his stereotype as a Sicilian lover, on the basis of the discussions made by Cultural and TV Studies researchers. In order to compose the theoretical framework, the highlighted author has been Menduni ([1998] 2002) who sees Italian society through his television production. With regard to the research methodology, the procedures of analysis of the TV text as proposed by Casetti and Di Chio (2006) have been adopted, since they present, among the various possibilities of analysis, the possibility of analyzing the television text from the cultural perspective. The results of the analysis revealed how television is capable of reinforcing and reaffirming a cultural representation along with local cultural stereotypes, such as the character of the Sicilian lover, in addition to being responsible for broadcasting them, both nationally and internationally.Key-words: Il giovane Montalbano. Italian television. Identity.
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Ortiz-Sobrino, Miguel Ángel, José Antonio Ruiz-San-Román und Elba Díaz-Cerveró. „TV Broadcasters and Research on TV and Children“. Comunicar 20, Nr. 40 (01.03.2013): 137–44. http://dx.doi.org/10.3916/c40-2013-03-04.
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This paper describes the main contributions of the TV broadcasters in Spain to the study of the relationships between television and childhood. It is justified by the need of compile and organise these contributions. Quality contents broadcasted for children, children consumption of television and the role of TV channels to transfer a positive image of the childhood have been the mainstays of this text. The information that we report is the result of the study carried out from Observatorio Comunicación y Sociedad. Methodologically, consulting scientific bibliography about television and childhood has made possible to put our study into context. After that, the use of questionnaire to people responsible of contents broadcasted for children by the main Spanish TV channels, and the analysis of the different experiences and work papers prepared by televisions, have allowed to create a setting with the broadcasters’ main contributions to a new paradigm which improves the relationship between minors and television. The conclusion from the analysis and the consultation to experts point that, except in the case of the public state television and some regional televisions, the research and the redesign of the childhood/television relationship is not one of the channels priorities. In fact, only TVE has an important scientific production in this field.Este artículo describe las principales aportaciones de las televisiones españolas al estudio y reformulación de la relación entre televisión e infancia. La necesidad de recabar y organizar a lo largo del tiempo esas contribuciones justifica este trabajo. Los contenidos infantiles de calidad, el consumo infantil de televisión, y el papel de las cadenas televisivas para trasladar a la ciudadanía una imagen positiva de la infancia, han sido los ejes vertebradores sobre los que se ha fundamentado este texto. Los datos aportados son el resultado de un estudio llevado a cabo desde el Observatorio Comunicación y Sociedad. Metodológicamente, la consulta de bibliografía científica sobre la televisión y la infancia ha permitido contextualizar este estudio. Posteriormente, la utilización de una microencuesta a los responsables de contenidos infantiles de las principales cadenas televisivas españolas, y el análisis de las diferentes experiencias y documentos de trabajo elaborados por las televisiones, han permitido construir un escenario con las principales aportaciones de las emisoras a un nuevo paradigma que mejore la relación de los menores con la televisión. Las conclusiones más destacadas extraídas del análisis y de las consultas con los expertos apuntan a que, salvo en el caso de la televisión pública estatal y de algunas televisiones autonómicas, la investigación y reformulación del binomio infancia/televisión no es un objetivo prioritario para las cadenas. De hecho, solo TVE tiene producción científica relevante en la materia.
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Ortiz-Sobrino, Miguel-Ángel. „Television, globalization and social change“. Comunicar 13, Nr. 25 (01.10.2005): 79–85. http://dx.doi.org/10.3916/c25-2005-011.
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XXI Century television is undergoing a process of transformation. New actors, new products and new ways of consuming television are on the lookout. Interactivity will make the traditional concept of television disappear. Television viewers can design their own grids independently of the operator’s schedule. The convergence of television and computer, Internet, telephone and video games bring us a new concept of television. Television faces two big transformations: digital transformation and that of the concept of «general public». The computer, the computer screen, has the calling of turning into a reception screen in which both computer and television functions fuse. Latest generation mobile telephony is integrating itself is this multimedia complex, in connection with television. Future television cannot dissociate from the Internet. La televisión del siglo XXI está en proceso de transformación. Nuevos actores, nuevos productos y nuevas formas de consumir televisión se atisban en el horizonte. La interactividad con la televisión hará desaparecer el concepto de televisión tradicional. El telespectador puede confeccionar sus propias parrillas, independientemente de la programación del operador. La convergencia de la televisión con el ordenador, Internet, el teléfono y los videojuegos nos llevan a un nuevo concepto de la televisión. La televisión se enfrenta a dos grandes transformaciones: la transformación digital y del concepto «público general». La nueva televisión propiciará una nueva forma de ver la televisión, en la que el espectador se olvidará del mundo para dialogar con la máquina e incluso, tomar decisiones que afecten a la programación. El anunciado apagón digital, previsto en España para 2010, va a revolucionar el panorama televisivo español. La oferta se ampliará y se sumará a la oferta del cable, satélite y teléfono. Se ampliarán las ofertas de televisión de pago. Estaremos ante un panorama absolutamente cambiante.
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Rincón, Omar. „New Television Narratives: Entertainment, Telling, Citizenship, Experimental“. Comunicar 18, Nr. 36 (01.03.2011): 43–50. http://dx.doi.org/10.3916/c36-2011-02-04.
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Broadcasting and industrial television is a trip back to the past, to a space devoid of meaning, and to the boredom resulting from its moral conservatism, lack of creativity, thought and entertainment. But television’s monopoly over public screening is over; now, anyone can be a producer, an audiovisual narrator with his or her own screen. New television and other screens are daring to change the way stories are told: a more subjective, testimonial and imagebased journalism; a hyperrealist soap opera that dares to bring melodrama to comedy, documentary and local cultures; a bottom-up media with people in charge of breaking with the thematic and political homogeneity of the media, market and development machines. This essay will argue in favor of television as a space for expression by unstable identities, narrative experiments and unknown possibilities for audiovisual creation…only if «it takes the form» of women, indigenous peoples, African races, the environment, other sexualities…and plays on YouTube and new screens that are community-based and cellular. The most important thing is for television to move away from an obsession with content towards aesthetic and narrative explorations of other identities and into narratives that are more «collaboractive», with the possibility that they become the stories we want them to be.La televisión generalista e industrial es un viaje al pasado, al vacío de sentido y al aburrimiento por su conservadurismo moral, su pereza creativa, su ausencia de pensamiento y su pobre modo de entender el entretenimiento. Pero el monopolio televisivo de la pantalla pública se acabó, pues ahora todo ciudadano puede ser un productor, narrador audiovisual y tener pantalla. Así aparecen nuevas televisiones y otras pantallas que se atreven a contar distinto: un periodismo más subjetivo, testimonial y pensado desde las imágenes; una telenovela hiperrealista que se atreve a intervenir el melodrama desde la comedia, el documental y las culturas locales; unos medios de abajo y con la gente que se hacen para romper con la homogeneidad temática y política de las máquinas mediática, del mercado y del desarrollo. En este ensayo se argumenta a favor de la televisión como lugar de expresión de identidades inestables, experimentos narrativos y posibilidades inéditas para la creación audiovisual… solo si «toma la forma» de mujer, de lo indígena, afro, medio ambiental, otras sexualidades… y juega en nuevas pantallas como Youtube, lo comunitario y el celular. Lo más urgente es que la televisión pase de la obsesión por los contenidos a las exploraciones estéticas y narrativas desde las identidades otras y en narrativas más «colaboractivas» porque existe la posibilidad de ser los relatos que queremos ser.
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Quiroz-Velasco, María Teresa. „Television: Seen, Heard and Read by Peruvian Adolescents“. Comunicar 18, Nr. 36 (01.03.2011): 35–41. http://dx.doi.org/10.3916/c36-2011-02-03.
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This paper analyzes the current relationship between Peruvian teenagers and television. The information accessed from various sources concluded that adolescents are consuming television extensively, especially the poorer within the country. Teens appreciate the cable television as a source of learning, and its variety and ability to relate it with the world. The interest in cartoons, movies and series –fiction genre in general– affirms the value of this media in society as well as the possibility to make them more familiar with their environment. Information about what happens beyond their localities is a source of reference in their perception of the country. Beyond the cultural conflict from which is generally assessed from the effects that television may have on the rural world, television has a positive sign for the visual deterritorialization, which dissolves the natural relationship between culture and territory. In rural areas, parents and teenagers evaluate television positively because it offers more than just the school itself. In the midst of academic and professional criticism on television, adolescents do not distinguish between traditional media and new media, they are all integrated into their daily lives.El presente trabajo analiza la relación actual de los adolescentes peruanos con la pantalla televisiva. La información consultada en diversas fuentes concluye que los adolescentes siguen consumiendo ampliamente la televisión, especialmente los más pobres de ciudades del interior del Perú. Los adolescentes valoran la televisión por cable como una fuente de aprendizaje, así como por su variedad y por la posibilidad de relacionarlos con el mundo. El interés por los dibujos animados y las series y películas y, en general, por la ficción televisiva, reafirma el sentido que tiene la televisión en familiarizarlos con la sociedad y su entorno. La información de lo que acontece más allá de sus localidades es fuente de referencia en su percepción del país y es compartida en familia. Más allá del conflicto cultural, desde el cual generalmente se ha evaluado los efectos de la televisión en el medio rural, ésta tiene para los adolescentes y sus padres un signo positivo porque favorece la desterritorialización visual al disolver la relación natural entre cultura y territorio geográfico. En el medio rural los padres y los jóvenes valoran a la televisión porque les ofrece más que la propia escuela. En medio de la crítica académica y profesional a la televisión, los adolescentes no distinguen entre medios tradicionales y nuevos medios porque todos ellos están integrados a su vida cotidiana.
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Aierbe-Barandiaran, Ana, und Concepción Medrano-Samaniego. „Adolescents’ television viewing habits and its relation with values“. Comunicar 16, Nr. 31 (01.10.2008): 109–14. http://dx.doi.org/10.3916/c31-2008-01-013.
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The aim of this study was to analyze whether television viewing habits themselves contribute to defining the gender significance in a sample of 577 adolescents (270 boys and 307 girls) from the Basque Autonomous Region. Using responses to the CTV (Television Habits Questionnaire), the authors found several groups of people according to various indicators. Results indicate that television reproduces social gender stereotypes and may contribute to their perpetuation. Furthermore, the group most exposed to contents is the adolescent girls, in which an explicit lack of distinction between private and public life, and between more conventional and personal values can be found.En este trabajo se ha tratado de relacionar la dieta televisiva de los adolescentes, recogida a través de diferentes índices con sus valores personales y los valores percibidos en los programas de televisión que más les gustan. Con una muestra de 823 adolescentes del País Vasco, se han empleado instrumentos como un cuestionario de hábitos televisivos, para conocer su dieta y una escala de dominios de valores, para conocer sus valores personales y los valores percibidos en los programas de televisión que más les gustan. Los resultados indican que existen correlaciones entre algunos índices (permanencia, covisionado y preferencias por asistir a determinados programas) y algunos valores personales como poder, benevolencia y tradición. Estos datos, en la misma línea que otras investigaciones internacionales, no nos permiten concluir sobre una relación clara entre la dieta de los adolescentes y sus valores.
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Alcívar Molina, Silvio Alejandro, Manuel Martínez Casanova, María Alejandra Alcívar Guillen und Luis Ernesto Paz Enrique. „LA CULTURA POPULAR TRADICIONAL EN ECUADOR Y LA COMUNICACIÓN EDUCATIVA DESDE LAS TELEVISIONES COMUNITARIAS“. Revista Cognosis. ISSN 2588-0578 2, Nr. 1 (24.02.2017): 73. http://dx.doi.org/10.33936/cognosis.v2i1.280.
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Los procesos de construcción colectiva deben abordarse desde actividades educativas, tanto para aprender las rutinas de la televisión como para comprender la naturaleza de la participación en los medios de comunicación. El reflejo de la cultura popular y tradicional es vital para nutrir los mensajes de las programaciones que se diseñen. Se plantea como objetivos del estudio: identificar las expresiones de la cultura popular y tradicional en los medios de televisión locales del Ecuador y examinar la influencia de la cultura popular y tradicional en el medio televisivo local para el logro de una práctica de comunicación educativa. El estudio que se presenta y clasifica como investigación aplicada. Tiene un aporte teórico al identificar el sustento para lograr una verdadera televisión local educativa a partir del reflejo de la cultura popular y tradicional. Se combinan metodologías con enfoque cualitativo. Se emplean métodos en los niveles teórico y empíricos. Como técnica para la recogida de información se utilizó la revisión bibliográfica. Se concluye que el reflejo de la cultura popular y tradicional en los medios televisivos locales a través de la comunicación educativa favorecería las tradiciones nacionales y familiares del Ecuador.
PALABRAS CLAVE: Cultura popular; Cultura tradicional; Educación sobre medios de comunicación; Ecuador; Televisión educativa
TRADITIONAL POPULAR CULTURE IN ECUADOR AND EDUCATIONAL COMMUNICATION FROM COMMUNITY TELEVISION
ABSTRACT
Collective construction processes must be approached from educational activities, both to learn the routines of television and to understand the nature of participation in the media. The reflection of popular and traditional culture is vital to nurture the messages of the programs that are designed. The objectives of the study are: to identify the expressions of popular and traditional culture in the local television media in Ecuador and to examine the influence of popular and traditional culture in the local television medium for the achievement of an educational communication practice. The study is presented and classified as applied research. It has a theoretical contribution in identifying the support to achieve a true local educational television from the reflection of popular and traditional culture. Methodologies are combined with a qualitative approach. Methods are employed in the theoretical and empirical levels. As a technique for the collection of information was used the bibliographic review. It is concluded that the reflection of popular and traditional culture in the local television media through educational communication would favor the national and family traditions of Ecuador.
KEYWORDS: Popular culture; Traditional cultures; Education for communication; Ecuador; Educational television.
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García-de-Castro, Mario. „Renewal movements in the Spanish television series“. Comunicar 15, Nr. 30 (01.03.2008): 147–53. http://dx.doi.org/10.3916/c30-2008-02-008.
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The present paper analyzes the results of a qualitative investigation developed by the Spanish public television on the values and characteristics of the national television fiction genre, as well as other aspects of its latest evolution. The conclusions of this qualitative analysis and the audience ratings confirm the hegemony of the genre within the generalist television programming. In the same sense, the paper analyzes its latest tendencies and what is called the last renewal of domestic television fiction. El presente trabajo analiza los resultados de una investigación cualitativa desarrollada por la televisión pública de España en torno a los valores y características del género de la ficción televisiva nacional, así como otros aspectos de la evolución última del género. Las conclusiones del análisis cualitativo y los datos de audiencia confirman la hegemonía del género dentro de la programación televisiva generalista de nuestro país. De igual forma se analizan sus tendencias más recientes y lo que llega a calificarse como última renovación de la ficción televisiva doméstica que podría denominarse la del hiperrealismo, por sus características extremas.
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Posada-Álvarez, Alexandra. „Apuntes sobre la violencia en los programas de televisión“. Comunicar 9, Nr. 17 (01.10.2001): 170–75. http://dx.doi.org/10.3916/c17-2001-27.
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The reflection on the possible effects that television violence may have on children watching it is a commonplace in scientific literacy about media education. The author of this paper analyzes some television programmes and comes to the conclusion that it is necessary to provide a critical vision about what television is and means in our societies avoiding prejudices or fears but with responsability and formation. La reflexión sobre las posibles consecuencias que puede tener la violencia de los programas que se transmiten en televisión en horarios en que los niños se encuentran, viéndola es ya un tópico recurrente en la literatura científica de Educación en Medios. La autora de este estudio rescata este tema analizando la programación televisiva más interesante para los educandos, para concluir en la necesidad de promover una visión critica sobre lo que la televisión es y significa en nuestras sociedades, sin tópicos ni miedos alarmistas pero con responsabilidad ante sus efectos, asumiendo de antemano que no es solamente la televisión quien tiene las respuestas.
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Mayugo-i-Majó, Carme. „Towards another model of television system in the global communication age“. Comunicar 13, Nr. 25 (01.10.2005): 91–99. http://dx.doi.org/10.3916/c25-2005-013.
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Television plays a very important role in our societies but, until now, we have not been capable to stress on its social discussion and to promote a deep change of this media. Mostly channels (even public ones) remain closed to citizenship, too much influenced by advertising business and economic outcomes. Opening a big participation process within all social agents involved, it is possible to generate another television model, more open and connected with people. Three different questions are crucial in this process: a huge interaction between television producers and their multiples audiences, the creation of a third audiovisual sector (which the only owner should be community), and media literacy for everybody and everywhere. A qualified society for quality on televisions. Nos encontramos de lleno en la llamada era de la sociedad de la información y el conocimiento, pero no conseguimos generar una concurrencia de visiones e inquietudes entre los distintos agentes sociales que interactúan en el tablero de juego del sistema televisivo actual. En este documento se esboza una triple dinámica de intervención para transformar el medio. En primer lugar, estaría la incorporación de la sociedad como agente activo y decisivo en la conformación de la televisión. Como segunda premisa, cabría quebrar la separación existente entre centros emisores y audiencias, y sustituirla por una verdadera interacción. En tercer lugar, convendría aventurarse en el campo de la educación en comunicación (EC) como espacio para el diseño de políticas y experiencias de base para alfabetizar en los medios a todos los sujetos sociales sin excepción. El sistema comunicativo tiene que ir más allá de la dicotomía entre televisión pública y privada, y apostar por el desarrollo del «tercer sector audiovisual».
Dissertationen zum Thema "Television"
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Ling, Qi. „Televising feminism: the Chinese television industry, female television professionals, and neoliberal empowerment“. Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6179.
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Television drama is a crucial site where notions of gender, as well as other cultural issues, are formed. Since 2010, the Chinese television industry has shown a growing interest in representing feminism-inflected content, most evident in cashing in on serials centering on a strong female character. These women-centric dramas mark a departure from previous constructions of gender, women, and feminism due to their narrative centrality of women, portrayal of strong female leads, expansion of women’s spheres of action, and endorsement of female power and independence. This dissertation explores the phenomenon, examining what feminist discourses are being represented by juxtaposing them with the social context of gender in China and interrogating how they are shaped by industrial practices. The factors at play in the serial production that have surfaced in this study mainly include female television professionals, textual and narrative conventions, considerations of audience profile, and party-state cultural leadership. Based on textual analysis and interviews with professionals associated with several representative women-centric television dramas, this dissertation found that these social and industrial forces collaboratively shaped the feminist discourses into various forms including the post-feminist and neoliberal feminist tendency, a common-ground form of feminism shared by various sections of society, and a vision of gender that combines traditional feminine roles and a powerful presence in the public sphere. The research raises issues about the role of the television industry in cultivating public understandings of feminism and the relationship between televisual forms of feminism and feminist politics.
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SAMPIETRO, SARA. „Teen Television: televisione crossmediale e adolescenti in Italia“. Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1529.
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Obiettivo della ricerca presentata in questa tesi è la comprensione delle pratiche televisive convergenti degli adolescenti, a partire da una ricostruzione dei fattori che possono orientare i differenti atteggiamenti fruitivi. Al di là dell’adesione al mito dei “nativi digitali” come soggetti dotati di competenze e abilità superiori a quelle dei loro genitori appare infatti necessario studiare le esperienze crossplatform, contestualizzandole all’interno del set di opportunità e di vincoli, culturali, sociali e contestuali che strutturano la quotidianità dei ragazzi.
L’importanza data ai molteplici fattori che, a diverso titolo, interagiscono nel modellare i consumi convergenti ha guidato l’intero processo di analisi dei risultati fin verso la definizione di uno sguardo interpretativo situazionale e multifattoriale, volto a interpretare la natura contingente e provvisoria degli equilibri su cui si reggono le differenti esperienze di consumo crossmediale.
I dati descritti e analizzati sono frutto di un processo di ricerca etnografica che ha coinvolto adolescenti iscritti ai primi quattro anni della scuola secondaria di secondo grado e residenti in diverse province italiane.The research presented in this thesis explores convergent television-related consumer practices of teenagers by mapping factors which potentially orient fruition patterns. The myth of “digital natives” as more skilled and resourceful than their parents does not suffice: it is necessary to study actual cross-platform experiences by contextualizing them within the sets of affordances and limitations (cultural, social and contextual) which structure the daily lives of teenagers. The centrality assigned to the many factors shaping convergent consumptions has driven the analysis towards the definition of a situational multi-factor interpretative view able to interpret the contingent and ephemeral nature of the balances underpinning convergent consumption experiences.
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SAMPIETRO, SARA. „Teen Television: televisione crossmediale e adolescenti in Italia“. Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1529.
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Obiettivo della ricerca presentata in questa tesi è la comprensione delle pratiche televisive convergenti degli adolescenti, a partire da una ricostruzione dei fattori che possono orientare i differenti atteggiamenti fruitivi. Al di là dell’adesione al mito dei “nativi digitali” come soggetti dotati di competenze e abilità superiori a quelle dei loro genitori appare infatti necessario studiare le esperienze crossplatform, contestualizzandole all’interno del set di opportunità e di vincoli, culturali, sociali e contestuali che strutturano la quotidianità dei ragazzi.
L’importanza data ai molteplici fattori che, a diverso titolo, interagiscono nel modellare i consumi convergenti ha guidato l’intero processo di analisi dei risultati fin verso la definizione di uno sguardo interpretativo situazionale e multifattoriale, volto a interpretare la natura contingente e provvisoria degli equilibri su cui si reggono le differenti esperienze di consumo crossmediale.
I dati descritti e analizzati sono frutto di un processo di ricerca etnografica che ha coinvolto adolescenti iscritti ai primi quattro anni della scuola secondaria di secondo grado e residenti in diverse province italiane.The research presented in this thesis explores convergent television-related consumer practices of teenagers by mapping factors which potentially orient fruition patterns. The myth of “digital natives” as more skilled and resourceful than their parents does not suffice: it is necessary to study actual cross-platform experiences by contextualizing them within the sets of affordances and limitations (cultural, social and contextual) which structure the daily lives of teenagers. The centrality assigned to the many factors shaping convergent consumptions has driven the analysis towards the definition of a situational multi-factor interpretative view able to interpret the contingent and ephemeral nature of the balances underpinning convergent consumption experiences.
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Neptune, Nordahl Christian. „A televisão pública no Brasil“. [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284400.
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Orientador: Adilson José RuizTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A televisão pública no Brasil constitui o objeto central da Tese. O objetivo é avaliar possíveis alternativas que viabilizem sua sustentabilidade econômica e cultural; modelos de negócio, formas de financiamento e fomento. Um marco histórico para a televisão brasileira foi a criação, em 2007, da EBC - Empresa Brasil de Comunicação, a qual é subordinada a TV Brasil, cuja missão é coordenar, efetivamente, a primeira Rede Nacional de Televisão Pública (RNTP), composta por emissoras do campo público federal, estadual e municipal. Os Decretos e Leis da Constituição Federal, que regem o sistema público de radiodifusão no País são insuficientes e a maioria obsoleta. Além de ampla revisão no marco regulatório do setor, é necessário definir com clareza as regras de gestão, modelos e funções para os três sistemas televisivos: o estatal, o público e o privado. Entre os recursos utilizados na metodologia da pesquisa estão os registros orais (congressos, seminários, palestras, fóruns), os textuais (revisão de literatura, livros, revistas, jornais, anais, teses, dissertações, artigos, decretos, leis e pesquisas a documentos recentes) e os audiovisuais (TV, vídeo e internet)
Abstract: Public Television in Brazil is the central subject of the Thesis. The objective is to evaluate possible alternatives that enable its economic and cultural sustainability; business models, ways of financing and promotion. A milestone in the history of Brazilian television was the creation in 2007, of EBC - Empresa Brasil de Comunicação, witch is subject to TV Brasil, whose mission is to coordinate effectively the first Rede Nacional de Televisão Pública (RNTP), consisting of broadcasting stations at the level of country, state and county. Decrees and Laws of the Federal Constitution, governing the public broadcasting system in the country are insufficiently and the majority obsolete. In addition to extensive revision in the regulatory sector, it is necessary to clearly define the management rules, models and functions for the three television systems: the state, public and private. Among the resources used in the research methodology are the oral (records courses, congress, seminars, lectures, forums, workshops), the textual (e-mails interviews, literature review, books, magazines, journals, annals, theses, dissertations, articles, decrees, laws and searches of recent documents) and the audiovisual (TV, video and internet)
Doutorado
Artes Visuais
Doutor em Artes
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Vidigal, Fernanda Rezende. „A televisão pública no Brasil: um estudo sobre estratégias de manutenção da ordem“. Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-16062008-134113/.
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Partindo do pressuposto de que, nas sociedades contemporâneas, as mídias - e, no Brasil, a televisão - ocupam papel de destaque na produção e difusão de valores e referências identitárias, buscou-se compreender as razões socio-históricas que impediram a construção de um sistema público de televisão brasileiro. A partir de um trabalho comparativo com outros sistemas de radiodifusão, bem como a partir de uma investigação sobre o processo de implantação e consolidação de um mercado nacional de cultura televisiva, foi possível identificar um feixe de condicionamentos de ordem histórica, política e econômica que permitiram a manutenção de estratégias de desregularização do setor.Based on the assumption that in current societies media in general and in Brazil specifically TV, have an outstanding role in the production and dissemination of values and references of identification; we attempted at understanding the reasons that prevented the creation of a national public TV system. The comparison of the Brazilian system to those abroad enabled us to amass a number of historical, political and economical determiners that allowed the maintenance of deregulation policies in the area.
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Önnevall, Elin. „Television Practices : Ethnography, Television and User Practices“. Licentiate thesis, Stockholms universitet, Institutionen för data- och systemvetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-100369.
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This thesis explores television practices in a time when new technology has made it possible to interact with and create your own TV content. The work is focused on how user practices need to be understood in a context of chan- ging technology. The practices studied also show the relevance of ethno- graphic methods, and especially the wide spectrum of these different meth- ods within the field of Human-Computer Interaction. We distinguish be- tween sociologically informed ethnography and anthropological ethnogra- phy. Two questions are addressed: how can new forms of television practices be understood by means of different ethnographic methods, and, on a wider level, what method can we use for analysing methods in ethnographic re- search? Because ethnographic methods are qualitative, we have also chosen to use an open and qualitative approach when analysing them. Through comparing our different methods – their data and findings on one specific topic – we have discovered the differences between the methodological ap- proaches.
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Gallo, Stephen. „Interactive television : advancing television through integrated technology /“. Online version of thesis, 2008. http://hdl.handle.net/1850/9602.
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Cao, Xuenan. „Discourses on urbanism: "Reality televisions" by Jiangsu Satellite Television since 2010“. HKBU Institutional Repository, 2014. https://repository.hkbu.edu.hk/etd_oa/46.
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Since 2004, the Chinese media scene has been dominated by what is called the “pan-reality television” trend. Reality television is capable of synchronizing the effects of all the political, economic, and cultural factors into the participants’ actions and becoming a powerful reconstruction of the social environment from which it emerges. The thesis takes Jiangsu Satellite TV (JSTV)’s golden hour reality televisions as the case to address the question of how they express, reflect and formulate the imaginations and understandings of urban living, focusing on the cultural, social, and political specificities of these reality television shows. The thesis is an attempt to bring into discussions ignored aspects of popular television culture that can be potential source for furthering the understanding of urban conditions in China. The thesis finds that the images, the discursive fields, and the procedures of the games in the reality television shows and the governmental regulations imposed on them are part of the mechanisms to dissemble a set of discourses into the colloquial, the practices of urban lives, and possibly the imaginations of urban lifestyles. Emerging out of this dynamic process is the formulation of a way of life in the context of urban China – specifically, the linear, individual progressivity. The main body of the thesis will empirically show how the linear, individual progressivity is installed and enacted in the shows and political implications of that.
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Wheatley, Helen. „Gothic television“. Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/2837/.
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This thesis examines forms of Gothic fiction on television, and defines the ways in which television produces Gothic drama which is medium-specific (e.g. formally distinct from versions of the genre in other media). This work employs a textual analysis to explore Gothic television, and combines this with archival research and an examination of the changing climate of television production in a range of national and historical contexts. The thesis is organised into four case studies, each dealing with different national industries during different periods: British anthology drama of the 1960s and 70s (e.g. Mystery and Imagination (ABC/Thames, 1966-70), Ghost Story for Christmas (BBC1, 1971-78)); Danish art television in the mid-nineties (Riget (Danmarks Radio/Zentropa, 1994)); British adaptations of female Gothic literature, (e.g. Rebecca (BBC2, 1979), The Wyvern Mystery (BBC1/The Television Production Company, 2000); and big-budget, effects-laden series from North America in the 1990s (e.g. American Gothic, CBS/Renaissance, 1995-96), Millennium (20th Century Fox/10:13, 1996-1999). I argue that Gothic television plays on the genre's inherent fascination with the domestic/familial, to produce television drama with an overt consciousness of the contexts in which the programmes are being viewed, a consciousness which is locatable within the text itself; as such, the thesis defines the Gothic as a genre which is well suited to presentation on television. Furthermore, an examination is offered of the 'model' viewer as presented within the television text, enabling an understanding of the ways in which conceptions of television viewership are inscribed into television drama at the moment of production. I also interrogate the notion that television is an 'uncanny' medium by locating the precise sources of uncanniness with Gothic television, and delineate the ways in which innovations in television production have been showcased through the representation of the supernatural and the uncanny with Gothic Television.
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Cardinaletti, Michelangelo. „Ugo Gregoretti, autore e regista televisione : television, cinema, opera lirica e teatro“. Electronic Thesis or Diss., Nantes Université, 2023. http://www.theses.fr/2023NANU2029.
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La thèse de doctorat représente une enquête approfondie et complète sur la carrière vaste et diversifiée d'Ugo Gregoretti dans les domaines de la télévision, du cinéma, de l'opéra et du théâtre. À travers une approche biographique et une utilisation extensive des sources du Centre d'études Ugo Gregoretti à Pontelandolfo, cette recherche met en lumière la vie et les œuvres d'un artiste éclectique dont la signification a largement été négligée. Les résultats de l'analyse révèlent un profil artistique d'une grande polyvalence, caractérisé par une profonde sensibilité à l'ironie et une inclination marquée à exprimer sa vision artistique à travers divers médias. Gregoretti se présente comme un auteur d'une grande versatilité, capable de couvrir différents genres et modes d'expression tout en maintenant une originalité cohérente dans chacune de ses œuvres. Un aspect fondamental de la recherche est l'absence d'études approfondies dédiées à Gregoretti, malgré son impact significatif sur le paysage artistique et culturel italien. Cette thèse comble cette lacune en fournissant une analyse complète de sa carrière et de sa contribution au développement de l'art et du divertissement en Italie. Ainsi, la recherche dévoile non seulement une figure négligée, mais elle jette également une nouvelle lumière sur les dynamiques culturelles et artistiques du pays, enrichissant la compréhension globale de son évolutionThe doctoral thesis represents an in- depth and comprehensive investigation into Ugo Gregoretti's extensive and diverse career in the fields of television, film, opera, and theater. Through a biographical approach and extensive use of sources from the Ugo Gregoretti Study Center in Pontelandolfo, this research sheds light on the life and works of an eclectic artist whose significance has been largely overlooked. The findings of the analysis reveal an artistically multifaceted profile, characterized by a deep sensitivity to irony and a marked inclination to express his artistic vision through a variety of media. Gregoretti emerges as an author with extraordinary versatility, capable of spanning different genres and modes of expression while maintaining consistent originality in each of his works. A fundamental aspect of the research is the absence of in-depth studies dedicated to Gregoretti, despite his significant impact on the Italian artistic and cultural landscape. This thesis fills this gap, providing a comprehensive analysis of his career and his contribution to the development of art and entertainment in Italy. In this way, the research not only unveils a neglected figure but also sheds new light on the cultural and artistic dynamics of the country, enriching the overall understanding of its evolution
Bücher zum Thema "Television"
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1956-, Goodwin Andrew, und Whannel Garry, Hrsg. Understanding television. London: Routledge, 1990.
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Ovaskainen, Kai. Monimerkityksinen televisio: Television vastaanotossa esiintyvän monitulkintaisuuden syyt. [Tampere]: Tampereen yliopisto, Tiedotusopin laitos, 1990.
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Butler, Jeremy G. Television. Fifth edition. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315181295.
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Foreman, Susannah. Television. Oxford: Heinemann Children's, 1990.
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Blackwell, Amy Hackney. Television. New York: Ferguson, 2010.
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Riehecky, Janet. Television. Tarrytown, N.Y: Benchmark Books, 1996.
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Lacan, Jacques. Television. New York: Norton, 1990.
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Blackwell, Amy Hackney. Television. New York: Ferguson, 2010.
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Jamuna, Carroll, Hrsg. Television. San Diego, Calif: Greenhaven Press, 2006.
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Carlson, Berne Emma, Hrsg. Television. Detroit: Greenhaven Press, 2008.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Television"
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Williams, Michael. „Television“. In Society Today, 213–18. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-08845-4_44.
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O’Shaughnessy, Nicholas J. „Television“. In The Phenomenon of Political Marketing, 46–86. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-10352-2_4.
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Dudo, Anthony. „Television“. In Encyclopedia of Science Education, 1–3. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-6165-0_340-1.
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Watson, John. „Television“. In Mastering Electronics, 207–20. London: Macmillan Education UK, 1996. http://dx.doi.org/10.1007/978-1-349-14210-1_20.
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Verville, Elinor. „Television“. In The Parent’s Preschooler Dictionary, 228–51. Totowa, NJ: Humana Press, 1995. http://dx.doi.org/10.1007/978-1-4612-0239-4_20.
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Weik, Martin H. „television“. In Computer Science and Communications Dictionary, 1757. Boston, MA: Springer US, 2000. http://dx.doi.org/10.1007/1-4020-0613-6_19301.
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Leick, Karen. „Television“. In Parents, Media and Panic through the Years, 41–65. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-98319-6_4.
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Dudo, Anthony. „Television“. In Encyclopedia of Science Education, 1067–68. Dordrecht: Springer Netherlands, 2015. http://dx.doi.org/10.1007/978-94-007-2150-0_340.
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Lax, Stephen. „Television“. In Media and Communications Technologies, 60–85. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-07644-1_4.
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Sorensen, Kristin. „Television“. In Media, Memory, and Human Rights in Chile, 29–55. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230622135_2.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Television"
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Iglesias, Manuel J. Fernandez, Martin Llamas Nistal und Fernando Sanchez Zamora. „Personal television revisited: Concurrent Network Television“. In 2010 International Conference on Electronics and Information Engineering (ICEIE 2010). IEEE, 2010. http://dx.doi.org/10.1109/iceie.2010.5559904.
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Crutchfield, E. B. „Advanced Television Standards“. In SMPTE Television Conference. IEEE, 1988. http://dx.doi.org/10.5594/m00534.
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Bove, V. Michael, und Andrew B. Lippman. „Open Architecture Television“. In SMPTE Television Conference. IEEE, 1991. http://dx.doi.org/10.5594/m00916.
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Jones, Owen Daly, und Rachel Carey. „Interactive television“. In CHI '01 extended abstracts. New York, New York, USA: ACM Press, 2001. http://dx.doi.org/10.1145/634067.634354.
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Jones, Owen Daly, und Rachel Carey. „Interactive television“. In CHI '01 extended abstracts. New York, New York, USA: ACM Press, 2001. http://dx.doi.org/10.1145/634342.634354.
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Gasaway, Mike. „Television monster“. In ACM SIGGRAPH 96 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '96. New York, New York, USA: ACM Press, 1996. http://dx.doi.org/10.1145/253607.254048.
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McCain, Scott, Steve Feller und David Brady. „Gigapixel Television“. In Computational Optical Sensing and Imaging. Washington, D.C.: OSA, 2016. http://dx.doi.org/10.1364/cosi.2016.cth3b.5.
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Teasley, Barbee, Arnold Lund und Raymond Bennett. „Interactive television“. In Conference companion. New York, New York, USA: ACM Press, 1996. http://dx.doi.org/10.1145/257089.257366.
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Nixon, Lyndon, Lora Aroyo, Dan Brickley und Libby Miller. „Future television“. In the 8th international interactive conference. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1809777.1809840.
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Ito, T. „Future television“. In 2010 IEEE Asian Solid-State Circuits Conference (A-SSCC). IEEE, 2010. http://dx.doi.org/10.1109/asscc.2010.5716546.
Der volle Inhalt der QuelleBerichte der Organisationen zum Thema "Television"
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Welter, Taya. Niche Television Content. Portland State University Library, Januar 2016. http://dx.doi.org/10.15760/honors.246.
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González Oñate, Cristina, und Carlos Fanjul Peyró. Television brands. The management of continuity in the Spanish television media. Revista Latina de Comunicación Social, 2009. http://dx.doi.org/10.4185/rlcs-64-2009-869-894-908-en.
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Perschau, Stephen. High Definition Television Standards. Fort Belvoir, VA: Defense Technical Information Center, Dezember 1995. http://dx.doi.org/10.21236/ada324890.
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Waldman, Michael, Sean Nicholson und Nodir Adilov. Does Television Cause Autism? Cambridge, MA: National Bureau of Economic Research, Oktober 2006. http://dx.doi.org/10.3386/w12632.
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Marcum, Deanna. Vanderbilt Television News Archive. New York: Ithaka S+R, August 2015. http://dx.doi.org/10.18665/sr.22672.
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Fox, Brian E. Full color laser television. Office of Scientific and Technical Information (OSTI), Januar 2000. http://dx.doi.org/10.2172/761030.
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Guerrero Pérez, E. Millennials’ abandonment of linear television. Revista Latina de Comunicación Social, Juli 2018. http://dx.doi.org/10.4185/rlcs-2018-1304en.
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Thibadeau, Robert. The Television as Robot Servant. Fort Belvoir, VA: Defense Technical Information Center, August 1993. http://dx.doi.org/10.21236/ada273985.
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Paslavskyi, Ihor. Ukrainian television: problem-content analysis. Ivan Franko National University of Lviv, Februar 2022. http://dx.doi.org/10.30970/vjo.2022.51.11397.
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The article highlights and analyzes the factors influencing the activities of television editorial teams in the period of new political, economic and security circumstances. It is noted that all-Ukrainian influential television channels, which have the highest popularity and high ratings, are oligarchic media with a high level of political involvement. Ukrainian television is widely practicing to narrow the thematic range of programs, reports and programs resulting in unjustified dominance in the television space of entertainment and humorous genres, «ravel journalism», excessive overweight of foreign programs and of obsolete quality film production. In the news programs, some TV companies, including 1 + 1, widely emphasize negative issues that are not typical of Ukrainian society, which often has a petty, urban and secondary status. Instead, a wide range of real, socially important, topical issues and problems remain out of the professional attention of journalists, analysts and experts. Guided only by the criterion of rating programs, programs, stories, topics and problems, TVs lose the most active segment among the audience – critical thinking, knowledgeable, erudite recipient, who, choosing an information resource, increasingly prefers the internet journalism.
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Mehta, Nalin. Contradictory trends in Indian television. East Asian Bureau of Economic Research, August 2012. http://dx.doi.org/10.59425/eabc.1345932017.
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