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Zeitschriftenartikel zum Thema "Television program genres – united states"
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Morney, Elisabeth, und Hanna Vilkka. „Lajityypit ylittävä laatu televisio-ohjelmissa“. Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 34, Nr. 4 (20.12.2021): 40–56. http://dx.doi.org/10.23994/lk.112963.
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Artikkelin tavoitteena on kuvata televisioalan tekijöiden näkemyksiä laatukriteereistä sekä sitä, millaisia lajityypit ylittäviä laatukriteereitä löytyy audiovisuaalisella alalla. Aineisto on koottu Yhdysvalloissa ja Suomessa haastattelemalla alan ammattilaisia, jotka toimivat tuottajina, ohjaajina, kouluttajina tai johtavissa asemissa palkintojärjestöissä.Analyysi on toteutettu fenomenografisesti. Laatukeskustelun ja televisio-ohjelmien keskinäisen vertailun tuloksena nousi esiin kolme lajityypit ylittävää laatukriteeriryhmää. Nämä ryhmät ovat 1) ammattitaito, 2) vaikutus ja 3) suosio.Avainsanat: laatu, televisiotuotanto, televisiotutkimus, lajityyppi, fenomenografiaQuality in Television Across Genres: Views on Criteria of Quality Amongst Television ProfessionalsThe aim of this article is to explore criteria of quality in the views of professionals in the field of television and what kind of criteria of quality across genre can be found in the audiovisual field. Data has been compiled in the United States and Finland by interviewing professionals in the field of television, who act as producers, directors, educators or in leading positions in award organizations, such as Peabody- and Emmy Awards.The analysis has been carried out phenomenographically. As a result of the quality discussion and the mutual comparison of television programs, three groups of quality criteria exceeding the genres emerged. These groups are 1) professionalism, 2) impact, and 3) popularity.Keywords: quality, genre, television production, television research, phenomenography
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Chepornyuk, Anastasiya. „Infotainment as media communication neo-genre: functional and stylistic analysis“. Actual issues of Ukrainian linguistics: theory and practice, Nr. 37 (2018): 124–40. http://dx.doi.org/10.17721/apultp.2018.37.124-140.
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The article is devoted to the functional-stylistic analysis of the new genre of Ukrainian television news – infotainment. The author emphasizes that this genre is currently actively developing in the field of national television. In addition, it has a number of specific features inherent only to it. On the example of the TV program "Абзац!" on the New Channel and "M1 News" on the M1 channel the author provides an analysis of the broadcasting media specifics in the television programs of the infotainment genre. Infotainment – literally "infotainment = information + entertainment" – is a diffuse genre, which emerged as functional mix of two genres – informational and entertainment. The essence of the infotainment news is laying in the presentation of official news in an amusement way. The history of infotainment establishment is related not only to the globalization of television, but also to the change in information space paradigm in general. This genre emerged in the American mediaspace in the 80's of the 20th century and, with the help of the globalization process, gradually expanded its borders therefore it became popular outside the United States. In addition, the infotainment changed its format to the needs of the Ukrainian viewer that gave it the unique features that distinguish this genre not only among other types of news, but also among similar foreign prototypes. Among such features the author distinguish: conversational style of speech, the use of a large number of stylistic trails, the irony of discourse, emotional and expressive presentation of the material, versatility of the video and the free choice of thematic content. Due to these features, the Ukrainian infotainment as neo-genre is gaining popularity among recipients. As a result, it was proved that the infotainment exists on the Ukrainian television and has its own linguistic and stylistic features that require attention not only from journalists, but also by linguists, in particular medialinguists. The bright example of studied programs shows that such a genre enriches not only the content of the television media space, but also the language of the recipients by the innovative lexical units.
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Arcimowicz, Krzysztof. „Determinants of the Content and Creation of Modern Television Series. Selected Issues“. Creativity. Theories – Research - Applications 3, Nr. 1 (01.06.2016): 104–17. http://dx.doi.org/10.1515/ctra-2016-0008.
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AbstractThe aim of this article is to present the most important factors affecting the creation and content of two different genres of television series–Polish television sagas and American post-soap operas. The analysis which I have carried out in the field allows the formulation of several conclusions. The creation of the two genres is similar. In both cases the most important people are the producers and scriptwriters and the most important criteria used for the assessment of a production are audience ratings and economic factors. Polish television sagas and American post-soaps are often very different with regard to their content and the ways they present social issues. The reasons for the differences include: genre convention, expectations of viewers, social and cultural context, and the emergence of commercial subscription television in the United States. At the turn of the 21st century HBO, an American pay television provider, followed by other stations began to produce shows which, even though they have originated from older television forms, break the ties with their antecedents. Makers of post-soaps address sensitive social issues and create their characters in an original and often controversial way.
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Lozano, Jose Carlos. „From Parochialism to Cosmopolitanism in the American Audiovisual Supply? Netflix’s New Releases of Television Fiction in the United States and their Geographical Diversity“. Anagramas Rumbos y Sentidos de la Comunicación 20, Nr. 40 (19.05.2022): 200–223. http://dx.doi.org/10.22395/angr.v20n40a9.
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The supply of films and TV series in the United States has been historically dominated by national programming produced by its powerful media conglomerates, significantly limiting the diversity and plurality of choices for their American viewers. Netflix and other video-on-demandplatforms are changing this situation, significantly increasing the availability in the United States of fiction produced in different regions of the world, potentially exposing their subscribers to new narrative styles, scenarios, ethnicities, nationalities, languages, and cultural features. This study, based on the methodology of content analysis, analyzes the geographical origin and production type of new Netflix scripted television releases in the United States from January 2017 to June 2018 and discusses their potential relevance in broadening the degree of geographical diversity among American subscribers to the platform. The paper concludes that while Netflix USA substantially increased the supply of foreign television series in its catalog during that period, a sizeable part of the imports came from countries with high degrees of “cultural proximity” with the United States. The article concludes by discussing the possible “Americanization” of foreign audiovisual productions, formats, and genres bought or produced by Netflix.
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Kunz, William M. „Prime-Time Island: Television Program and Format Importation into the United States“. Television & New Media 11, Nr. 4 (10.05.2010): 308–24. http://dx.doi.org/10.1177/1527476410365709.
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Casey, Gretchen L. „Courts React“. Texas A&M Journal of Property Law 5, Nr. 3 (April 2019): 601–13. http://dx.doi.org/10.37419/jpl.v5.i3.6.
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Over the past few years, the rise in popularity of a genre of You- Tube videos known as “reaction videos” has resulted in controversy for various reasons. The United States District Court in Hosseinzadeh v. Klein, a landmark case for the genre, described the “reaction videos” as “a large genre of YouTube videos . . . [that] vary widely in terms of purpose, structure, and the extent to which they rely on potentially copyrighted material.” According to the Hosseinzadeh opinion, “[s]ome reaction videos. . .intersperse short segments of another’s work with criticism and commentary, while others are more akin to a group viewing session without commentary.” Essentially, reaction videos are exactly what the name suggests: a video showing a person or group of people reacting to the work of another, which by nature requires the incorporation of the work being reacted to for the viewer’s reference. The first time that controversy arose out of the “reaction” genre was in 2015 when the Fine Brothers, the creators of a popular YouTube channel known for its “Kids React” series along with several other “reaction video” series, applied to trademark the term “react.” The brothers did so with the intention to create a program called “React World,” through which they would license out the “reaction video” format to other video creators. This endeavor came not long after the Fine Brothers criticized Ellen DeGeneres for allegedly using their “re- action” format in a segment on her television show, suggesting the brothers’ belief that they were the sole owners of what is, in reality, a widely-used format. As a result, YouTube viewers became distrustful of the Fine Brothers’ intentions in trademarking the format, and viewers criticized them to the point that they issued a public apology in February of 2016 in which they announced their decision to “[r]escind all. . .‘React’ trademarks and applications” and “[d]iscontinue the React World program.” Later in 2016, reaction videos would again become the subject of controversy when Ethan and Hila Klein, the husband-and-wife creators of the popular YouTube comedy channel H3H3 Productions, were sued by Matt Hosseinzadeh of the decidedly less popular You- Tube channel, Matt Hoss Zone, for copyright infringement. Hosseinzadeh alleged copyright infringement for the use of segments of his video, “Bold Guy vs. Parkour Girl,” in a humorous reaction video made by the Kleins.8 What resulted was the aforementioned Hosseinzadeh v. Klein opinion, which set a precedent that will hopefully allow future reaction video creators to produce and share content without their creativity being stifled by the looming risk of copyright infringement lawsuits. Hosseinzadeh alleged that a video, which was part of a series of videos, starring himself as “Bold Guy,” “in which the Bold Guy flirts with a woman and chases her through various sequences” was infringement. Hosseinzadeh alleged that the Kleins’ video entitled “The Big, The BOLD, The Beautiful,” infringed upon “Bold Guy vs. Parkour Girl,” as it featured the couple “comment[ing] on and criticiz[ing] [his] video, playing portions of it in the process.” Accepting the Kleins’ motion for summary judgment, which pleaded the fair use defense, the court held that its “review of the. . .videos makes it clear that [the claim] in which plaintiff alleges that defendants in- fringed plaintiff’s copyrights, must be decided in defendants’ favor.”
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Galvin, Kristen. „‘Those Were the Days’: The live televisual revival of the musical and retro family sitcom in the post-network era“. Australasian Journal of Popular Culture 9, Nr. 2 (01.09.2020): 231–46. http://dx.doi.org/10.1386/ajpc_00029_1.
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Television is historically a generative site for examining media nostalgias. Within the ever-widening landscape of reboots, remakes and revivals across genres and platforms in the post-network era in the United States, an impulse to ‘redo’ live programming on network television has also emerged in the on-going battle for consumer attention. Steadily gaining momentum over the past decade, this article questions the roles that nostalgia plays in structuring the surprising return of fictional event-based television. The evolution of this phenomenon is traced by first examining the wave of live network musical productions (2013–19), followed by the restaging of Norman Lear’s classic sitcoms in Live In Front of a Studio Audience (ABC 2019). Nostalgia’s connection to positive emotion is a powerful marketing tool that is manipulated across industries, and specifically leveraged through airing reperformances of these popular and identifiably nostalgic texts. However, despite reaching new levels of nostalgic indulgence, the live televisual remake opens-up new opportunities for collectivity and critical reflection for viewers in the digital age.
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Krauss, Ellis S. „Changing Television News in Japan“. Journal of Asian Studies 57, Nr. 3 (August 1998): 663–92. http://dx.doi.org/10.2307/2658737.
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In the industrialized democratic world, broadcasting news monopolies and oligopolies have all but disappeared. Whereas public broadcasters in Western Europe in the earlier postwar period had a monopoly or duopoly on televised news, today there is a more diverse market with competition from other public and commercial broadcasters, often carried by new technology such as satellites. In the United States, the oligopoly of the three networks in news has been broken by both CNN on cable and, to a lesser extent, PBS in its program “News Hour.” Thus the new competition introduced into broadcasting systems has been the result of either changed government policy or new technological mediums, or in certain instances both.
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Steemers, Jeanette. „No Longer ‘The Best in the World’: The Challenge of Exporting British Television Drama“. Media International Australia 115, Nr. 1 (Mai 2005): 33–47. http://dx.doi.org/10.1177/1329878x0511500105.
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Within the broader context of globalisation and the transformation of world television markets, this article sets out to address the extent of British drama's international presence, and the factors which either promote or inhibit that presence in Britain's major television export markets in the United States, Western Europe and Australasia. Alongside an examination of recent policy debates, which raised concerns about the exportability of British drama series, this article pinpoints and assesses the culturally specific factors that affect overseas acceptance of British drama. These include the continuing decline of traditional public service channels, the different needs of distinctive nationally based television ecologies, and the growing demand for more locally originated programming. Sales of British drama are stagnant or declining, but alternative export strategies, including coproduction and the export of scripted formats, have had only limited success. Increasingly, Britain's export successes are dominated by programming genres (children's, factual) and entertainment formats, which can be indigenised and adapted by the receiving culture, and in their more ‘universal’ appeal are quite different from the identifiably British detective series, historical and literary-based drama on which Britain's international success was judged in the past.
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Jayalath, H. A. K. A. M. „A Study of the Dynamics and Trends of Reality Television Program Format and the Relationship of Such Programs with Social Media“. Vidyodaya Journal of Humanities and Social Sciences 07, Nr. 02 (15.10.2022): 203–17. http://dx.doi.org/10.31357/fhss/vjhss.v07i02.15.
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In giving the home audience an experience that combines both images and sound, surpassing the potential of the traditional mediums of print and radio, the audience rallying around the television increased by the day. Reality shows originated as a result of the introducing new programme models to the television. Attempts were made to portray real life forms of people in a more realistic way through the reality format. A majority of the audience were inclined towards watching reality programmes and the trend was to see the rise of modern social media activism. Thus, the research problem herein was to analyse whether the strategic use of social media, causes reality television programs to become more popular. The purpose of this study was to determine whether the close association of reality television programs with social media directly influenced the increase in popularity of reality television programs due to recent dynamics and trends in the reality program format. The study was conducted by analytically studying books written on reality shows, research-related information that has been published far and utilizing data on the present context. The use of new technology, especially in reality shows, has changed the face of the realist model. Various data showed that different cultural changes were taking place in each of the social systems in an attempt to attract more audiences apart from reality. The study also establishes that reality themes that originated in the United States may have spread to other parts of the world. The data also reflect that many countries are imitating reality shows produced in the United States. With the rise of social media in the modern Internet age, all television channels have used social media to promote their programs. Due to the large number of young individuals watching TV shows on social media, reality shows were also broadcasted live on social media and television stations released episodes considered to have the best reach on social media. Accordingly, this study highlights that there is currently no single existence for reality shows without social media activism.
Dissertationen zum Thema "Television program genres – united states"
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Millard, Mary J. (Mary Jennifer). „A Comparative Study of the Trends of Comedy and Non-Comedy Television Genres and the Public's Attitudes Toward Economic Well-Being, According to a Survey of Gallup Polls, During a Thirty-Year Period from 1955- 1984“. Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500781/.
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This study is concerned with the problem of whether the public's attitudes toward economic well-being could be compared with the types of television programs made popular over a thirty-year period. Two measures were used to determine the public's attitudes toward economic well-being: 1) answers to questions of an economic nature; and 2) answers to questions that asked what was the most important problem. All data were compiled from Gallup polls administered during 1955 through 1984. The television genre data were compiled from sources by Brooks and Marsh, McNeil and Norback and Broadcasting magazine. No association existed among the three measures.
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Simonds, Cheri J. (Cheri Jo). „A Rhetorical Analysis of Jimmy Swaggart's 1988-89 Program for Defense“. Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc501213/.
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This study seeks to determine the extent to which Jimmy Swaggart's program for defense in 1988 complies with the expectations of the apologia genre. Three discourse media are examined for evidence of denial, bolstering, differentiation, and transcendence. Swaggart's defense is classified as "justificative" in that it seeks approval of actions. Swaggart's motivating drive force is defined as the need to assure the financial success of his ministry. Swaggart's defense is then compared with the past apologies of Nixon, Truman, and Kennedy. It was determined that certain apologies cannot serve as a reference standard if the contextual factors are not similar. There are some rhetorical resources available to religious figures that are not available to politicians.
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Sung, Chit-cheung Matthew, und 宋哲彰. „Representing gender and workplace discourse on reality TV: The Apprentice“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B41508786.
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Waters, Leah E. „The Persuasive Power of Ridicule: A Critical Rhetorical Analysis of Gender and Humor in U.S. Sitcoms“. Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984248/.
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The serious investigation of humor's function in society is an emerging area of research in critical humor studies, a "negative" subsect of the extensive and "positive" research that assumes humor's goodness. Using Michael Billig's theory of ridicule as a framework, this study explored how humor operated to discipline characters who broke social norms or allowed characters to rebel against those norms. Layering this with gender performative theory, the study also investigated how different male and female characters used ridicule and were subject to it themselves. After examining ridicule in The Big Bang Theory, 2 Broke Girls, and The Odd Couple using a critical rhetorical analysis, the findings revealed that disciplinary ridicule was used more overtly throughout all three programs, while potentially rebellious ridicule emerged in only a few scenes. In addition, men were overwhelmingly the subjects of disciplinary ridicule, although women found themselves as subjects throughout all three programs as well. The discursive ridiculing of non-normative bodies constructed and maintained social norms about gender and sexuality, thereby uninviting these bodies from participating in society.
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Lowry, Alicia C. „Women on television : a content analysis of female relationships on Sex and the City“. Scholarly Commons, 2005. https://scholarlycommons.pacific.edu/uop_etds/604.
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This study sought to provide more up to date information on the way women are depicted on television. Over the last sixty-five years women have played characters that centered around the children, home, and their husband, always in a supportive role to a man such as a wife, girlfriend, or as an assistant such as a secretary. These roles have begun to shift and represent the actual positions that women hold in reality. It has taken decades for this pattern to shift and allow women to be viewed as more than just an accessory to men.
Content from the popular show Sex and the City was analyzed using the monologue from the voice overs of the program to determine ifthe focus of the show was on men, women, or men and women as well as if they were shown in a positive, negative or neutral light and to determine if men were dominant, females were dominant or if men and women were shown to be equal. The implications from the study showed that men are a main focus of the show and that both men and women are shown negatively. Women were also found to be dominant figures. Overall the data showed that there have been small changes with the depiction of women on television.
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Harper, Sandra S. „A Content Analysis of Public Broadcasting Service Television Programming“. Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc330669/.
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The problem with which this investigation is concerned is the description of the social map that is presented to the viewers of public television. Using content analysis methodology, the study describes how different genders, racial groups, and age groups are being portrayed on PBS programming. The sample consisted of one week of PBS 1984 fall programming broadcast on KERA-TV, the PBS station in Dallas-Ft. Worth, Texas. Research questions addressing proportions of groups, types of roles, length of scenes, occupational variation, conversational behaviors, conflict management modes, and cultural norms were answered. All coding was accomplished by the principal investigator. Upon completion of the coding sub-totals for the variables under study by program types and a grand total for the entire sample were then tabulated. After this extensive content analysis, the report concludes that females are still extremely underrepresented in PBS programming, accounting for only 32.7% of the total participants. Blacks and Hispanics are also underrepresented except in children's programming. Occupational variation for white males is evident for all types of PBS programming. Occupational variation for white females is evident in children's programming and informational/documentary programming. Minorities with delineated occupations are extremely limited in all types of programming except for children's programming. The exchange of information is the major conversational behavior that occurs on PBS programming with minority characters receiving orders considerably more than their white counterparts. Verbal aggression is the conflict management mode chosen most frequently on PBS programming. Explicit messages regarding racial and sexual equality and prosocial behavior occur on PBS programming. Implicit messages such as frequency of appearances, number of major roles, and prevalence of power cues suggest a white male domination of television programming on PBS. The findings of the study reveal that major inroads have been made by women and minorities in children's programming. This comprehensive analysis confirms, however, the virtual exclusion of minorities in major segments of PBS programming.
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Stearns, Susan 1965. „Making Meaning out of Difference: A Cultural Studies Analysis of the Struggle over the Meaning of Gayness in "Ellen" and Time Magazine“. Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935679/.
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On April 30, 1997, for the first time in television history, an actress on a popular television sitcom announced to the world that both se and the character she played were lesbians. This study offers an interpretation of the significance of Ellen DeGeneres' coming through a cultural studies analysis of the April 14, 1997 Time magazine article in which DeGeneres comes out and the April 30, 1997 "Ellen" television episode in which DeGeneres brings her character, Ellen Morgan, out. The study revealed sites of ideological differences between the two texts that could point to a struggle over the meaning of gayness in modern American society. The results suggest that mainstream attitudes and beliefs could be in the process of shifting toward a more normalized view of homosexuality.
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Ding, Yunxue. „A critical comparison of American idol and Super girl a cross-cultural communication analysis of American and Chinese cultures /“. Muncie, Ind. : Ball State University, 2008. http://cardinalscholar.bsu.edu/377.
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Murphy, Kari A. „Greek : the impact of media on the stereotyping of social fraternities and sororities“. Scholarly Commons, 2008. https://scholarlycommons.pacific.edu/uop_etds/686.
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This study examines stereotypes of fraternities and sororities in the media. Recently the media, particularly movies and television, has produced numerous portrayals of fraternal organi zations. Through thi s study a content analysis of the television show GREEK from ABC Family was conducted. The first seven episodes were analyzed answer the following questions: Were stereotypes of fratern ities and sororities pmirayed through these episodes? If so, what were the stereotypes? Five stereotypes were studied for fraternities and six for sororities. Definitions of the chosen stereotypes are identified in the literature and recorded. Tally markers were used to tabulate each portrayal of stereotypes. An average of the three viewings was then calculated to help maximize the reliability of this study. The results were further manipulated to determine the frequency of both the fraternity and sorority stereotypes individually as well as together. Stereotypes were found throughout the television series. Fraternity stereotypes were recorded more often than sorority stereotypes. This study allows us to better understand the portrayals of fraternity and sorority life as shown in GREEK.
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Oliveira, Campoy Juliana de. „Framing the presidency : presidential depictions on Fox's fictional drama 24“. Thesis, 2014. http://hdl.handle.net/1805/5754.
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Indiana University-Purdue University Indianapolis (IUPUI)Framing theory is one of the most used theories in the discussion of media effects on how people make sense of issues, especially in the political environment. Although it is majorly used for the discussion of news media, framing theory can also be applied in other areas surrounding media production. This thesis uses this theory to discuss how presidents are framed in fiction and implications of race and gender in the assessment of presidential characters by analyzing Fox’s fictional drama 24. Although at first the show seems to bring new options for the presidency, the analysis points Presidents Palmer and Taylor as unfit for office and President Logan as unethical and power-hungry. Following Entman’s (1993) process for analyzing frames in media, embedded white male hegemony was identified in the show. As the show presented a postfeminist and postracial world, it continued to frame femininity and blackness as the opposite to effective executive leadership. Further, white masculinity was associated with power, ambition and ultimately corruption. As other races and gender were pointed as unfit, the status quo was questioned as being corrupt. The show both increases the cynicism that people may develop against politics and damages a more proper consideration of women and people of color to be elected president.
Bücher zum Thema "Television program genres – united states"
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H, Mahan Jeffrey, Hrsg. American television genres. Chicago: Nelson-Hall, 1985.
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Pollet, Alison. The Real world: Hawaii, true confessions. New York: Pocket Books, 1999.
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Solomon, James. In the house: MTV's the Real world-- Seattle. New York, N.Y: MTV Books, 1998.
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Solomon, James. In the house: MTV's the Real world-- Seattle. New York, N.Y: MTV Books, 1998.
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Patane, Joe. Livin' in Joe's world: Unauthorized, uncut, and unreal : the memoirs of Joe Patane from the Miami cast of MTV's The real world. New York, NY: HarperPerennial, 1998.
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Nancy, Rommelmann, Hrsg. The real Real world. New York, NY: MTV Books/Pocket Books/Melcher Media, 1995.
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Jeremy, Wisnewski, Hrsg. The office and philosophy: Scenes from the unexamined life. Malden, MA: Blackwell Pub., 2008.
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Tracy, Kathleen. Jerry Seinfeld: The entire domain. Secaucus, NJ: Carol Pub. Group, 1998.
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Terrace, Vincent. Radio program openings and closings, 1931-1972. Jefferson, NC: McFarland & Co., 2004.
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Denis, Leary, und Tolan Peter, Hrsg. Rescue me uncensored: The official companion. New York: Newmarket Press, 2007.
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Götz, Maya, Diana Iulia Nastasia und J. J. Johnson. „Girls Building Androids and Robots“. In Advances in Computational Intelligence and Robotics, 35–64. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-2973-6.ch002.
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There is still a considerable degree of catching up to do in regards to fostering gender equality within areas of STEM (Science, Technology, Engineering, and Math). Children's leading medium, television, could offer role models of girls with competence in STEM areas, but unfortunately television programs often miss this chance. The children's television series Annedroids is a notable exception. This chapter provides insight into how children can be educated about gender equality in STEM with the aid of gender-sensitive media programs such as Annedroids. The chapter examines data from a reception study which was conducted under the leadership of the International Central Institute for Youth and Educational Television (IZI) with 6- to 12-year-old children in the United States and Canada (N = 301). The research is enhanced by a conversation between Dr. Maya Götz, Head of IZI; Dr. Diana Nastasia, a contributor to the IZI research; and J. J. Johnson, the program's creator.
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Mickiewicz, Ellen. „Soviet Television Rulers and Their Empire“. In Changing Channels, 23–51. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195101638.003.0002.
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Abstract Monday, June 12, 1995, was Russian Independence Day, a day at the dacha or for tending to personal chores or watching television. There were no big parades or pageants; those had been done the month before when Russia celebrated the fiftieth anniversary of the end of the war with Germany. On state television’s Channel One that evening a television program hosted by the bicontinental, bilingual Vladimir Pozner came on. Like the old shows he used to do in the Soviet Union and with Phil Donahue in the United States, Pozner chatted with people in the studio.
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Allen, Craig. „Univision and Telemundo“. In Univision, Telemundo, and the Rise of Spanish-Language Television in the United States, 153–81. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401643.003.0008.
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Period: 1987–1992. A turbulent period begins when Univision and Telemundo launch. Telemundo’s founders are Wall Street “raiders” Saul Steinberg and Harry Silverman. Directed by Carlos Barba, Telemundo at first excels. Formerly SIN, Univision now is controlled by Hallmark, its head Irvine Hockaday. Directed by Joaquin Blaya, Univision counters Televisa’s high fees with two classic U.S.-produced Spanish-language shows: Sábado Gigante and Christina. However, the two networks divide audiences and suffer financially. At Telemundo, near bankruptcy, Steinberg ousts Silverman. Hallmark defaults on Univision’s debt. The first Hispanic Nielsen ratings, needed to attract advertisers, raise hopes for large revenues. However, Univision falls in the ratings when Blaya eliminates Televisa programs and initiates “domestic production.” Preferring foreign content, viewers reject further U.S.-produced shows. Hallmark sells Univision to Hollywood mogul Jerry Perenchio. He names Azcárraga part owner. Both eager to reinstate Televisa programs, largely telenovelas, in the U.S., Perenchio compels Azcárraga to sign a Program Licensing Agreement (PLA) by which Univision will pay Televisa a pittance for programs until 2017. Blaya is outraged. He resigns, becomes president of Telemundo, and stages a mutiny of Univision’s personnel.
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Nygaard, Taylor, und Jorie Lagerwey. „Conclusion“. In Horrible White People, 197–220. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479885459.003.0006.
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Because so much of the book focuses on niche-marketed programming or shows with a very specific politicized, classed, and racialized address, in summing up the arguments and impacts of this precarious whiteness, the conclusion offers a mass-market counterpoint to some of the relatively obscure programs discussed in the rest of the book. This chapter analyzes racial protests in US sports leagues, primarily the national anthem protests in the National Football League spearheaded by the former San Francisco 49ers quarterback Colin Kaepernick. The NFL is the most-watched programming in the United States, and similar TV industrial shifts to those described earlier in the book have spurred the league and platforms with television rights to the games to push American football into the UK market as well. This chapter returns for a final time to the historical conjuncture of recession, changing TV technologies and business practices, and the heightened visibility of racial and gender inequality to think through what happens beyond the tiny target audiences of Horrible White People shows as the cycle draws to an end and to insist that the cultural discourses of white supremacy that feed Horrible White People shows are visible everywhere.
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Ames, Melissa. „Screening Terror“. In Small Screen, Big Feels, 21–41. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813180069.003.0002.
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Chapter One analyzes how television not only responded to 9/11 immediately after the tragedy, but also how it responded (and continues to respond) to it years later through fictionalized dramas. By studying the presence of post-9/11 motifs (e.g. salvation, justice, fear, conspiracy) in 21st century fictional television narratives -- through quantitative data on programming trends and a close reading of one particular program -- this essay argues that such programs are important sites where the terrorist attack (and the cultural climate it sparked) is emotionally worked through. However, this chapter also suggests that television's reluctance to revise its post-9/11 narrative in order to reflect contemporary geopolitical realities may also contribute to the perpetual fear cycle shaping national discourse in the United States.
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Galpin, Vashti. „Women in Technology in Sub-Saharan Africa“. In Global Information Technologies, 1681–88. IGI Global, 2008. http://dx.doi.org/10.4018/978-1-59904-939-7.ch122.
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International research has shown that in most countries, there are few women studying towards information technology (IT) careers (Galpin, 2002), and there is much research, particularly in the United States (U.S.), United Kingdom (UK) and Australia into why this is the case (Gürer & Camp, 2002). This article considers the situation in sub-Saharan Africa and focuses on women’s involvement in the generation and creation of information and communication technologies (ICTs) in sub-Saharan Africa, as opposed to ICT use in sub-Saharan Africa, which is considered elsewhere in this volume. There are a number of aspects to the generation and creation of ICTs: how women are involved in this process as IT professionals and how they are educated for these careers, as well how technology can be used appropriately within the specific conditions of sub-Saharan Africa. ICTs will be considered in the broadest sense of the word, covering all electronic technologies, from computers and networking to radio and television. Women’s participation is important: The World Summit on the Information Society (WSIS) Gender Caucus (www.genderwsis.org) has identified women’s involvement in the design and development of technology as well as technology management policy, as key principles for the information society. Marcelle (2001) emphasizes the necessity for African women to become involved in technological and scientific areas, including “computer science, software engineering, network design, network management and related disciplines” (Marcelle, 2001, para. 15) to create an information society appropriate for African women. The diversity of those involved in design leads to higher-quality and more appropriate technological solutions (Borg, 2002; Lazowska, 2002). Background Sub-Saharan Africa has a population of 641 million, young (almost half under 15) and rural (35% urban). Significant problems are undernourishment, poverty and HIV/AIDS (United Nations Development Programme (UNDP), 2004). All the countries in sub-Saharan Africa are classified as developing countries. Some countries are relatively wealthy, such as Mauritius, South Africa, and Nigeria, but have large wealth disparities within their populations. Women in sub-Saharan Africa are expected to focus on the home, they have less access to education and health, and their contribution to family and community is not valued (Huyer, 1997).
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Copeland, Jack. „Baby“. In The Turing Guide. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198747826.003.0029.
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The modern computer age began on 21 June 1948, when the first electronic universal stored-program computer successfully ran its first program. Built in Manchester, this ancestral computer was the world’s first universal Turing machine in hardware. Fittingly, it was called simply ‘Baby’. The story of Turing’s involvement with Baby and with its successors at Manchester is a tangled one. The world’s first electronic stored-program digital computer ran its first program in the summer of 1948 (Fig. 20.1). ‘A small electronic digital computing machine has been operating successfully for some weeks in the Royal Society Computing Machine Laboratory’, wrote Baby’s designers, Freddie Williams and Tom Kilburn, in the letter to the scientific periodical Nature that announced their success to the world. Williams, a native of the Manchester area, had spent his war years working on radar in rural Worcestershire. Kilburn, his assistant, was a bluntspeaking Yorkshireman. By the end of the fighting there wasn’t much that, between them, they didn’t know about the state of the art in electronics. In December 1945 the two friends returned to the north of England to pioneer the modern computer. Baby was a classic case of a small-scale university pilot project that led to successful commercial development by an external company. The Manchester engineering firm Ferranti built its Ferranti Mark I computer to Williams’s and Kilburn’s design: this was the earliest commercially available electronic digital computer. The first Ferranti rolled out of the factory in February 1951. UNIVAC I, the earliest computer to go on the market in the United States, came a close second: the first one was delivered a few weeks later, in March 1951. Williams and Kilburn developed a high-speed memory for Baby that went on to become a mainstay of computing worldwide. It consisted of cathode-ray tubes resembling small television tubes. Data (zeros and ones) were stored as a scatter of dots on each tube’s screen: a small focused dot represented ‘1’ and a larger blurry dot represented ‘0’. The Williams tube memory, as the invention was soon called, was also used in Baby’s immediate successors, built at Manchester University and by Ferranti Ltd.
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Smith, Gary. „Intelligent or obedient?“ In The AI Delusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824305.003.0003.
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Jeopardy! is a popular game show that, in various incarnations, has been on television for more than 50 years. The show is a test of general knowledge with the twist that the clues are answers and the contestants respond with questions that fit the answers. For example, the clue, “16th President of the United States,” would be answered correctly with “Who is Abraham Lincoln?” There are three contestants, and the first person to push his or her button is given the first chance to answer the question orally (with the exception of the Final Jeopardy clue, when all three contestants are given 30 seconds to write down their answers). In many ways, the show is ideally suited for computers because computers can store and retrieve vast amounts of information without error. (At a teen Jeopardy tournament, a boy lost the championship because he wrote “Who Is Annie Frank?” instead of “Who is Anne Frank.”A computer would not make such an error.) On the other hand, the clues are not always straightforward, and sometimes obscure. One clue was “Sink it and you’ve scratched.” It is difficult for a computer that is nothing more than an encyclopedia of facts to come up with the correct answer: “What is the cue ball?” Another challenging clue was, “When translated, the full name of this major league baseball team gets you a double redundancy.” (Answer: “What is the Los Angeles Angels?”) In 2005 a team of 15 IBM engineers set out to design a computer that could compete with the best Jeopardy players. They named it Watson, after IBM’s first CEO, Thomas J. Watson, who expanded IBM from 1,300 employees and less than $5 million in revenue in 1914 to 72,500 employees and $900 million in revenue when he died in 1956. The Watson program stored the equivalent of 200 million pages of information and could process the equivalent of a million books per second. Beyond its massive memory and processing speed, Watson can understand natural spoken language and use synthesized speech to communicate. Unlike search engines that provide a list of relevant documents or web sites, Watson was programmed to find specific answers to clues. Watson used hundreds of software programs to identify the keywords and phrases in a clue, match these to keywords and phrases in its massive data base, and then formulate possible responses.