Journal articles on the topic 'Dr Who television series'
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BRITTON, P. D. G. "Dress and the Fabric of the Television Series: The Costume Designer as Author in Dr. Who." Journal of Design History 12, no. 4 (January 1, 1999): 345–56. http://dx.doi.org/10.1093/jdh/12.4.345.
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Segal, Nancy L. "Twins Living Apart: Behavioral Insights/Twin Study Reviews: Managing Monochorionic-Diamniotic Twin Pregnancies; Paternity Testing in Multiple Pregnancies; Twin Research on Resilience; Trisomies in Twin Pregnancies/Human Interest: Reunited Brazilian Twins; Website for Twins with Disabled Co-Twins; Twins Separated in Secret of the Nile Series; Mengele: Unmasking the Angel of Death; Twins Helping Others." Twin Research and Human Genetics 23, no. 5 (October 2020): 300–305. http://dx.doi.org/10.1017/thg.2020.71.
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AbstractA brief review of research findings regarding twins living apart is presented. This review is followed by a look into the lives of a pair of monozygotic male twins who have lived in different continents for many years, but who stay closely connected. The reasons behind their decision and its impact on their behavioral resemblance and social relationship quality are examined. The next section summarizes recent studies that address the management of monochorionic-diamniotic twin pregnancies, paternity testing in multiple pregnancies, trisomies in twin pregnancies and the roots of resilience. The final portion of this article presents human-interest stories involving reunited Brazilian twins, a new resource for twins with disabled co-twins, twins separated in the Secret of the Nile television series, a new book about Dr Josef Mengele and his horrific twin experiments conducted at the Auschwitz–Birkenau concentration camp, and a pair of twins dedicated to helping others.
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McAndrew, Michael. "Television Series Review." Language and Psychoanalysis 10, no. 1 (June 19, 2021): 53–54. http://dx.doi.org/10.7565/landp.v10i1.5705.
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Showtime’s Couples Therapy (2019-2021) has done something very few shows have done well-showcase real therapeutic treatment on television. The advent of “prestige tv” has led to a proliferation of programs which show the therapeutic relationship in hi definition between protagonists and their therapists, such as HBO’s The Sopranos (1999-2007), and the recently revived In Treatment (2008-2010, 2021). Prior to this the “real” therapy seen on television was limited to the so-called “reality television” trend that gave us the wildly popular Intervention on A&E (2005-ongoing) and the seedier Celebrity Rehab with Dr. Drew (2008-2012).
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Saunders, Robert A., and Joel Vessels. "Televisual diplomacy: I am the Ambassador and Danish nation branding at home and abroad." Politics 39, no. 4 (October 18, 2018): 430–47. http://dx.doi.org/10.1177/0263395718805403.
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In a time when the current US president came to office via a career in reality television, it seems unnecessary to argue that popular culture and International Relations intersect in meaningful and dramatic ways. Operating from this premise, mass-mediating the act of diplomacy via a television series presents a fecund object of analysis that questions many of the myths surrounding what we call the ‘diplomatic community’. Consequently, this article is interested in the geopolitical interposition of Danish Broadcasting Corporation (DR) via the popular culture form of reality television. We achieve this through a close reading of the DR series I am the Ambassador/Jeg er ambassadøren fra Amerika (2014–2016), ‘starring’ the real US ambassador to Denmark. We situate Ambassador within the evolving space of ‘new diplomacy’ through an evaluation of how it imagines, popularises, and expands ‘everyday’ sites of diplomacy via mass-mediation. However, as we argue, the series – when viewed holistically – says more about the Danish state and its people than it does about the role of the US ambassador, thus functioning as a tool of nation branding as much at home as abroad.
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Kesirli Unur, Ayşegül. "‘Aesthetic Proximity’ and Transnational TV Series." VIEW Journal of European Television History and Culture 10, no. 19 (June 24, 2021): 99. http://dx.doi.org/10.18146/view.197.
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This article focuses on the short lived Turkish police procedural TV series, Cinayet (The Murder, Akbel Film and Adam Film, 2014) which is a scripted format adaptation of the celebrated Danish crime drama Forbrydelsen (DR, 2007-2012). By making a comparative textual analysis of the series, the article intends to emphasize the significance of ‘aesthetic proximity’ as a concept in discussing the global flow of television content and to reveal the challenges of adapting a scripted format which is stylistically different than the local stylistic conventions.
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El-Shall, Maryam. "Therapeutic Solutions, Disciplinary Ethics and Medical Truth on Self-Help TV." Culture Unbound 6, no. 4 (October 1, 2014): 837–55. http://dx.doi.org/10.3384/cu.2000.1525.146837.
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This article will consider the use of therapy television – specifically the self-help television program The Dr. Phil Show – as a locus of government. Specifically, I will examine the ways in which ethics are addressed as biopolitical problems of the self through the often disciplinary instruction of the therapist. In this respect The Dr. Phil Show is representative of a shift in the talk show genre away from the tabloid model to a pedagogical model. Self-help talk shows are increasingly concerned with the cultivation of the soul, the production of truth and the discipline of the body. I demonstrate this by analyzing a series of Dr. Phil Show episodes centered on the confession and obesity, respectively. I emphasize the connection between TV expertise – here embodied in the discourse of the expert/therapist Dr. Phil McGraw – and neo-liberal goals requiring subjects to both care, and take responsibility, for themselves.
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Shuster, Martin. "Rewatching, Film, and New Television." Open Philosophy 5, no. 1 (December 14, 2021): 17–30. http://dx.doi.org/10.1515/opphil-2020-0163.
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Abstract Those of us who are captivated by new television (the sort of serialized television that began largely in the early 1990s), often find ourselves rewatching episodes or whole series. Why? What is the philosophical significance of the phenomenon of rewatching? In what follows, I engage with the ontology of television series in order to think about these questions around rewatching. I conclude by reflecting on what the entire discussion might suggest about the medium of new television, about ourselves, and also about our world and the possibilities of art in it.
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Vinson, Emily. "Just Say No: Dr Richard I. Evans Efforts to Influence Juvenile Behaviour through US Public Health Programming." VIEW Journal of European Television History and Culture 9, no. 18 (December 24, 2020): 7. http://dx.doi.org/10.18146/view.221.
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Television as a means of distributing public health information and influencing health behaviours was recognized even in the earliest days of broadcasting, a natural extension of health messaging on radio and film. This paper examines the place health-focused programming held in the United States’ educational television landscape and the role of Dr Richard I. Evans, social-psychology researcher, who sought to use television to influence the behaviours of youths engaging in “risky” activities.
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Sella Inbar, Anat. "The hermeneutics of casting." Critical Studies in Television: The International Journal of Television Studies 13, no. 3 (August 21, 2018): 333–51. http://dx.doi.org/10.1177/1749602018783172.
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This article offers a close reading of the casting in the Israeli drama series BeTipul (the original series for the HBO adaption In Treatment). My analysis views casting as a key mechanism of meaning-making in television series and explores its heightened cultural and social significance in recent Israeli television dramas. I explore, in particular, how through the casting of well-known actors, who have previously portrayed key mythological figures, old national myths are challenged in an almost iconoclastic manner that adds symbolic layers to the series, layers that might be overlooked by viewers who are unfamiliar with the specific cultural background.
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Sawtell, Louise, Stayci Taylor, and Helen Jacey. "An interview with Helen Jacey." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 10, no. 2 (June 14, 2017): 14–18. http://dx.doi.org/10.31165/nk.2017.102.503.
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Dr Helen Jacey is a screenwriter and script consultant, and teaches scriptwriting at Bournemouth University, UK. Her research interests include creative and critical approaches to screenwriting, screenwriting and gender, and screenwriting genre theory. Her book The Woman in the Story: Writing Memorable Female Characters (2010) was the first screenwriting guide for writers developing female driven projects. As a professional writer, she has written numerous film, television and radio projects for UK, US and European production companies and is currently developing a series of crime fiction novels, Elvira Slate Investigations. She is a story consultant for international filmmakers and film agencies.Editors Louise Sawtell and Dr Stayci Taylor asked Dr Jacey a series of questions relating specifically to the themes explored by the special issue: gendered practices, processes and perspectives in screenwriting. The following are the insights generously offered by this leader in the field.
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Sullivan, John L. "Transporting Television in Space and Time: The Export ofDoctor Whoto the United States in the 1970s and 1980s." Journal of British Cinema and Television 12, no. 3 (July 2015): 342–63. http://dx.doi.org/10.3366/jbctv.2015.0269.
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The revival of the BBC series Doctor Who in 2005 heralded the successful rebirth of a defunct science fiction series that had been cancelled in 1989. While the 2005 incarnation was designed as a slick, high-budget media product with cross-national appeal, the initial series, which was broadcast regularly from 1963 to 1989, was quite different – quirky, low-budget and distinctly British. In fact, the roll-out of Doctor Who on American television screens in the late 1970s was marred by missteps thanks in part to structural differences between the US and British broadcasting systems. This essay explores the initial expansion of Doctor Who into the United States beginning in the late 1960s, first via syndication to commercial stations with Time Life Television and later to Public Broadcasting Service (PBS) stations nationwide through the BBC's US distribution arm, Lionheart Television. The attempt to internationalise the Doctor Who audience in its first two decades is examined through the larger lens of shared British and American broadcasting history and policy before and during the Thatcher era. Ironically, while the BBC scrapped Doctor Who in the 1980s due to market pressures and personal rivalries, it attracted an engaged and loyal fan base in the United States, ultimately boosting the fortunes of American public television.
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Gumbert, Heather. "The Deutschland Series: Cold War Nostalgia for Transnational Audiences." Central European History 54, no. 2 (June 2021): 352–60. http://dx.doi.org/10.1017/s0008938921000480.
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How do you explain the Cold War to a generation who did not live through it? For Jörg and Anna Winger, co-creators and showrunners of the Deutschland series, you bring it to life on television. Part pop culture reference, part spy thriller, and part existential crisis, the Wingers’ Cold War is a fun, fast-paced story, “sunny and slick and full of twenty-something eye candy.” A coproduction of Germany's UFA Fiction and Sundance TV in the United States, the show premiered at the 2015 Berlinale before appearing on American and German television screens later that year. Especially popular in the United Kingdom, it sold widely on the transnational market. It has been touted as a game-changer for the German television industry for breaking new ground for the German television industry abroad and expanding the possibilities of dramatic storytelling in Germany, and is credited with unleashing a new wave of German (historical) dramas including Babylon Berlin, Dark, and a new production of Das Boot.
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Mulcahy, Sean Alexander, and Sean Mulcahy. "Acting Law | Law Acting: A Conversation with Dr Felix Nobis and Professor Gary Watt." Exchanges: The Interdisciplinary Research Journal 4, no. 2 (April 30, 2017): 189–200. http://dx.doi.org/10.31273/eirj.v4i2.158.
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Dr Felix Nobis is a senior lecturer with the Centre for Theatre and Performance at Monash University. He has worked as a professional actor for many years. He previously played an assistant to the Crown Prosecutor in the Australian television series, Janus, which was set in Melbourne, Victoria and based on the true story of a criminal family allegedly responsible for police shootings. He also played an advisor to a medical defence firm in the Australian television series MDA. He is a writer and professional storyteller. He has toured his one-person adaptation of Beowulf (2004) and one-person show Once Upon a Barstool (2006) internationally and has written on these experiences. His most recent work Boy Out of the Country (2016) is written in an Australian verse style and has just completed a tour of regional Victoria. Professor Gary Watt is an academic in the School of Law at the University of Warwick where his teaching includes advocacy and mooting. He also regularly leads rhetoric workshops at the Royal Shakespeare Company. He is the author of Dress, Law and Naked Truth (2013) and, most recently, Shakespeare’s Acts of Will: Law, Testament and Properties of Performance (2016), which explores rhetoric in law and theatre. He also co-wrote A Strange Eventful History, which he performed with Australian choral ensemble, The Song Company, to mark the 400th anniversary of Shakespeare’s death.
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Higueras-Ruiz, María-José, Francisco-Javier Gómez-Pérez, and Jordi Alberich-Pascual. "Revisión histórica y conceptual de la autoría y sus implicaciones en el medio televisivo: El concepto de autor en series de televisión contemporáneas estadounidenses." Doxa Comunicación. Revista interdisciplinar de estudios de comunicación y ciencias sociales, no. 28 (June 2019): 79–96. http://dx.doi.org/10.31921/doxacom.n28a04.
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This paper aims to conduct a historical and conceptual review of authorship in television production, taking auteur theory applied to the television media as a reference. For this purpose, the qualitative methodology has been used to carry out a bibliographic and documentary analysis of the author concept in the film and television industry. Despite the collaborative nature of television production, the results obtained suggest the importance of the TV series executive producer’s individual authorship during this process, who is also known as the “showrunner”. They are ultimately responsible for the project’s production, applying a creative and personal style to their entire work. The authorship, influenced by the television channel and the audience, promotes the consideration of fiction TV series as a quality cultural product, which affects its promotional strategies.
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Downing, Taylor. "A Personal View." Journal of British Cinema and Television 10, no. 1 (January 2013): 93–105. http://dx.doi.org/10.3366/jbctv.2013.0123.
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The following article is a personal reminiscence of the planning and making of the 24-part television documentary series Cold War (CNN, 1998–9). It reveals the vision of TV mogul Ted Turner in getting a series made on what many felt to be an unpopular subject, the influence of the award-winning British television documentary series The World at War (1973–4), and the contribution of the producer Jeremy Issacs, who was behind both series. Cold War was able to take advantage of recent access to former Eastern bloc archives and drew on the expertise and authority of young Cold War historians. The article considers the initial broadcasting of the series and its impact.
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Houwen, Janna. "Identifying with Dexter." American, British and Canadian Studies Journal 24, no. 1 (June 1, 2015): 24–43. http://dx.doi.org/10.1515/abcsj-2015-0002.
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Abstract Many contemporary high quality TV series tend to enable identification with protagonists who engage in morally dubious or outright abject acts. This essay takes Showtime’s series Dexter as a pre-eminent and extreme example of this tendency, and explores how the viewer’s identification with the serial-killing protagonist of the show is constructed and altered throughout several seasons of the series. In order to analyze the specific relation between Dexter and its audience, this essay first examines the more general possibility television series to produce firm identification of viewers with protagonists by comparing the format of the television series to two media that can be understood as its predecessors: literature and film.
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Noonan, Caitriona, and Amy Genders. "Breaking the generic mould? Grayson Perry, Channel 4 and the production of British arts television." Critical Studies in Television: The International Journal of Television Studies 13, no. 1 (February 25, 2018): 79–95. http://dx.doi.org/10.1177/1749602017746355.
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This article examines Channel 4’s critically acclaimed series, Grayson Perry: Who Are You? (2014). Using interviews with those involved in making the series and textual analysis, we argue that the elements that contributed to the success of the series are inherently difficult to replicate due to the political economy of contemporary television production, thereby threatening the sustainability of the genre. However, while arts television rarely constitutes a commercial success in a traditional ratings sense, we outline the strategic value of the genre in contributing to Channel 4’s identity as Britain’s alternative public service broadcaster.
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Mueller, Michelle. "Escaping the Perils of Sensationalist Television Reduction." Nova Religio 22, no. 3 (February 1, 2019): 60–83. http://dx.doi.org/10.1525/nr.2019.22.3.60.
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Mormon polygamy has become a popular subject for contemporary reality television shows. TLC’s polygamy reality shows center around Mormon polygamist families from the families’ points of view. In contrast from these, Lifetime/A&E Networks’ Escaping Polygamy (2014–) centers around three twenty-something ex-members of a Mormon fundamentalist sect known as the Kingston group. The show depicts the ex-members as heroines who rescue other young adults as they are leaving Mormon polygamist sects. In this article, Escaping Polygamy is interpreted as an “atrocity tale” that relies on a history of moral panic around Mormon polygamy and perpetuates reductive stereotypes about Mormon fundamentalist groups. After an evaluation depending on content analysis of the series and informal interviews with key individuals represented on the series, this article explores the possible damage Escaping Polygamy causes for Mormon polygamist sects and even the young adults shown leaving the groups.
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Haddad, Peter. "The ‘evil’ psychiatrist and modern cinema." Psychiatric Bulletin 15, no. 10 (October 1991): 652–53. http://dx.doi.org/10.1192/pb.15.10.652.
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Celluloid psychiatrists tend to fall into a limited number of stereotypes (Schneider, 1987). ‘Dr Evil’ is the unscrupulous psychiatrist who harms others, often his patients. Although common throughout cinema history, this stereotype appears to be becoming more extreme. Recent examples from mainstream cinema, many of which have been shown on British television, and possible clinical implications are discussed.
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Sexton, Max, and Dominic Lees. "Fargo: Seeing the significance of style in television poetics?" Critical Studies in Television: The International Journal of Television Studies 14, no. 3 (August 12, 2019): 343–61. http://dx.doi.org/10.1177/1749602019853792.
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This article explores the adaptation of the original film to television and how a strain of art or independent cinema contributed to the development of the first series of Fargo (2014–present). By making this comparison, the transition to television of the storyworld established by the Coen brothers raises questions about who is talking in the TV drama – the Coens or makers of the series. At the same time, Fargo can be more easily explained and understood as a strategy by writers, directors and producers that further complicate ideas to do with Noah Hawley, as its showrunner and the show’s single-author status. In Fargo, fidelity to the Coen brothers as a testament to the memory of the original film is set against questions about the reliability of storytelling using complex imagery. By alternating between different levels of narration signified by its stylistic tonal qualities, Fargo succeeds in producing multiple meanings, representations and effects that call attention to textual pleasures in the complex television series.
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Andersen, Mads Møller, and Vilde Schanke Sundet. "Producing Online Youth Fiction in a Nordic Public Service Context." Public Service Broadcasting in the Digital Age 8, no. 16 (December 19, 2019): 110. http://dx.doi.org/10.18146/2213-0969.2019.jethc179.
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This article investigates the conditions for making online youth fiction in a public service context at a time when young people increasingly are abandoning both legacy mass media and linear flow television to consume and share content online. The article’s starting point is the production of online youth fiction in two Nordic public service institutions, the Norwegian NRK and the Danish DR, and it discusses how digitisation and new competitors present both challenges and opportunities for institutions such as these. Furthermore, the article discusses the organisation of online youth fiction in both institutions and investigates how organisational strategies and production cultures come into play in each of these broadcasters’ early signature youth series: the widely popular online teen drama SKAM (NRK, 2015-2017) and the far less known youth series Anton 90 (DR, 2015). Our findings show that it was the pressure imposed by digitisation and new competitors that led these institutions to take new risks with their youth fiction production, changing their production patterns to make short-form drama series tailored to online streaming, and ultimately treating online youth fiction as a distinctly different task than “regular” fiction.
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Elder, Catriona. "Framing stories of national belonging: the case of an historical adventure-romance television series." Media International Australia 174, no. 1 (October 19, 2019): 72–85. http://dx.doi.org/10.1177/1329878x19882021.
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This article explores the role of Australian 1970s and 1980s ‘quality’ historical television series and miniseries in engaging national audiences in discussions about their national history. These programmes – which had a corollary in the United States in the same period – were ‘blockbusters’. But the historical miniseries of this period were not designed just to make money for the television networks, rather they had ‘designs’ on their viewers. What this set of programmes have in common is a sense of their important contribution to debates about what, who and why of nations and citizens. The producers of these programmes, in a period of significant social change and the emergence of identity politics, sought to engage citizens with the complexities of national histories. This article focuses on one series, Luke’s Kingdom, and explores why and how it was possible for this television genre to reinvigorate and rethink ideas of national belonging.
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Hay, Jonathan. "“Can I use the toilet?”: Watching Steven Moffat’s Doctor Who (2010-2017) as Posthuman Television." Journal of Posthumanism 2, no. 3 (October 31, 2022): 193–204. http://dx.doi.org/10.33182/joph.v2i3.1285.
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Interpreting the modern television series Doctor Who as an extended metaphor of everyday posthuman life, this article explicates the postphenomenological qualities of the six series released during Steven Moffat’s tenure as showrunner. By explicating precisely how the show’s televisual format amplifies and intersects with its overtly technology-centred narrative content, I develop a posthumanistic conception of Doctor Who’s intra-active rhetorical strategies. This era of the show illustrates the vital role played by the cultural imaginaries of our contemporary lifeworlds upon the realisation of the posthuman future, by vicariously implicating viewers in its mundane discourse. Additionally, its narrative penchant for frequent timeline resets is symptomatic of the intra-active engagements formed between viewers and the technological apparatus of the series itself. By closely analysing a representative sample of episodes, I demonstrate that by watching Doctor Who, viewers are interpellated to recognise their agential capacity to inform our species’ posthuman potential.
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Martinez, Miranda J. "Aspiration and the Violence of Gentrification in Marvel’s Luke Cage." Cultural Studies ↔ Critical Methodologies 22, no. 2 (December 15, 2021): 163–72. http://dx.doi.org/10.1177/15327086211059575.
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This article analyzes the cultural politics of gentrification as they are deployed in the Netflix series Marvel’s Luke Cage. Based on the comic book character, Luke Cage, who was created in response to the popularity of the 1970s blaxploitation films, and the Black Power movement, the television series portrays a Black superhero who defends contemporary Harlem and its people from crime and exploitation. Critically recognized and widely watched during its first airing from 2016 to 2018, Luke Cage was a breakthrough television series that not only centered a Black superhero but directed itself to Black experience and public dialogue during the time of Black Life Matters. The Harlem portrayed in Luke Cage is both a specific community, and a virtual invocation of Black community aspiration, and the structural violence of gentrification. The violent emotions and displacement of gentrification that are presented in the series represent a form of intramural dialogue between the Black creatives working on the show and the broader Black public that is engaging with the long-time debates around the meaning and future of Harlem.
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Đorđević, Ana. "“The soundtrack of their lives”: The Music of Crno-bijeli svijet." AM Journal of Art and Media Studies, no. 17 (October 16, 2018): 25. http://dx.doi.org/10.25038/am.v0i17.267.
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Crno-bijeli svijet [Black-White World, HRT, 2015–] is an on-going Croatian television series set in the early 1980s depicting the then-current pop music scene in Zagreb. The storyline follows several characters whose lives are intertwined by complex family relations, while also following the beginnings of new wave/punk rock bands and artists, and their influence on the Yugoslav youth who almost religiously listened to their music, like some of the series’ characters do.The role of music in television series is a complicated question that caught the attention of film music scholars in recent years. The significance – and, at the same time, the complexity – that music produces or can produce, as the bearer of cultural, social and/or political meanings in television series brings its own set of difficulties in setting out possible frameworks of research. In the case of Crno-bijeli svijet that is even more challenging considering that it revolves around popular music that is actively involved in, not just the series soundtrack, but several aspects of different narrative elements.Jon Burlingame calls the music of American television “The soundtrack of our lives”, and I find this quote is appropriate for this occasion as well. The quote summarizes and expresses the creators’ personal note that is evident in the use of music in this television series and myriad ways music is connected to other narrative and extra-narrative elements, and in a way, grasps the complicity of the problem I will address. Article received: March 31, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Original scholarly paper How to cite this article: Đorđević, Ana. “'The soundtrack of their lives': The Music of Crno-bijeli svijet." AM Journal of Art and Media Studies 17 (2018): 25−36. doi: 10.25038/am.v0i17.267
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KISLOVA, Larisa S., and Maria A. VETOSHKINA. "TV SERIES AS A SOCIAL PROJECT IN MODERN MASS DISCOURSE: NATIONAL SPECIFICATIONS." Tyumen State University Herald. Humanities Research. Humanitates 7, no. 1 (2021): 80–105. http://dx.doi.org/10.21684/2411-197x-2021-7-1-80-105.
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The article is devoted to the analysis of such a phenomenon as a television series in the modern mass discourse. Popular culture invariably defends conservative and therefore popular values in society and operates with a number of elementary moral attitudes. Perceiving a work of mass culture, it is possible to imagine what is love, society, history and everyday life. TV series in a modern format, allow visual content to supplant verbal content and are able to construct this or that reality. TV series is a specific cultural model, transformation and functioning of which is the result of a special attitude of the audience to television. The hero of telemelodrama is an emotionally impressionable person, touched by virtue and horrified by evil, since at the center of any television series there are elements of sentimentalism — a direction that appeals to feelings a person who unconditionally idealizes virtue, clearly distinguishes between good and evil, goodies and bad guys. The aim of the study is to consider friction of the television series as one of the most successful projects in modern mass discourse. In the text of the article, on the basis of a typological approach, the corpus of temporary television series, the transformation of the series adapted to the original. The theoretical and methodological basis of the work was made up of works Jose Ortega y Gasseta, Umberto Eco, M. A. Chernyak, M. A. Litovskaya, N. A. Kupina, N. A. Nikolina, V. M. Mikhalkovich and other researchers of the phenomenon of mass culture. In this article the nature of this phenomenon is formulated for the first time, it is created on the basis of national material, and features popular Latin American, Turkish, Russian content. TV series recreate the national picture of the world, broadcast revealing national specifics and introducing the viewer to the peculiarities of human life in a particular geographic space. According to the logic of the creators, the series should immerse the viewer in a state of catharsis, forcing empathy, crying and even to have a feeling of fear. As a rule, the series creates more eventful reality, it is not just organically built into the living space, but becomes its integral part. Thus, the television series is a promising social project, claiming to be one of the dominant positions in the modern cultural context.
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Wright, David C. "Marvel’s Agent Carter." Science Fiction Film & Television 15, no. 3 (October 1, 2022): 315–35. http://dx.doi.org/10.3828/sfftv.2022.24.
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Marvel’s Agent Carter was the first woman-led comics-based Marvel television show. The two-season series features Peggy Carter, a strong woman and leader who not only combated agents that endangered late 1940s America but also the sexism and racism of the period. Her most powerful opponent in each season is a similarly strong woman, in each case a version of the femme fatale of 1940s film noir. The show underlines that while both Carter and the women who oppose her seek empowerment, their goals differ. The series shows that women’s choices were constrained and sexual harassment was commonplace in this era, with links to ongoing struggle for equality in the present. One reason provided for male behavior towards women during this time is a feeling of threatened masculinity in the wake of the Second World War. Eventually, the show’s social critique is expanded to highlight the racism of the era as well, whereas Carter is shown to value people based on their character and capability, not other factors. The series also reveals the disparity between women’s lived reality and the media portrayals of the time. Critical assessments of media themes of female representation and empowerment, such as in this series, have differed: negative appraisals have criticized such narratives for not pointing to how systemic change can and needs to occur, while positive assessment can be drawn from observing changes that have resulted from “negotiations” taking place between those making the television shows and films and the audiences upon who their success depends. As a result of this ongoing process, a growing number of Marvel television shows and films are being made with strong women in leading roles. Agent Carter, an intelligent, resilient woman who is an able leader, therefore turned out to be the prototypical heroine for later Marvel Cinematic Universe (MCU) productions with women in leading roles.
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Lenz, Claudia, and Kirsten Heinsohn. "De-coding the Gendered Order of Memory in 'Hitlers Frauen'." German Politics and Society 26, no. 4 (December 1, 2008): 134–49. http://dx.doi.org/10.3167/gps.2008.260408.
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Building on the assumption that cultural representations of the past contribute to the establishment and regulation of gendered power relations, this article investigates the representations of female participation in the Nazi regime in the German television series Hitlers Frauen. Stuart Hall's concept of decoding is used for a critical media analysis, asking how men and women are positioned as historical agents or passive objects in the series. In fact, the series plays on the gendered symbols and representations associated with the Third Reich. It reproduces traditional ideas regarding the (non)relation between femininity and politics and evokes a sexualized imaginary where women are seduced by a powerful, charismatic leader. Women are represented as dependent-materially, physically, and emotionally. In this way, the television series contributes to the continuation of traditional gender regimes. Even when the series apparently reacts to ongoing debates about women's role within the Nazi system, it disappoints those who hoped to learn about the reasons, interests, and possibilities of women between 1933 and 1945.
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Kaya, Şehriban. "Gender and violence: Rape as a spectacle on prime-time television." Social Science Information 58, no. 4 (October 29, 2019): 681–700. http://dx.doi.org/10.1177/0539018419883831.
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This article focuses on the representation of rape on prime-time Turkish television and its context, where the industry, marketing and politics intersect, to investigate how the representation of rape on television serials functions. Since 2010, the prime-time episodic television of Turkey has used images of beautiful young girls and women who have been raped as a motif. A large number of TV serials have featured male violence against women as a central narrative concern, while there has been a rising trend featuring female characters as victims of rape. Often an episode in a television serial that features the act of rape is the most-viewed one in the series. The eroticization of violence against women through rape and gang rape scenes demonstrates that media, especially television, plays a key role in the construction of a violent masculinity that works according to the motto ‘I hurt therefore I am’. However, the television serial that give rape a central place in their narrative open a new space for public discussion about rape and other issues related to violence against women, and could encourage public outcry and defeat the government’s proposals based on traditional norms unfavorable to victims of sexual violence. While this article accepts the potential of television serials in bringing about social change, it does not forget the function of television series as entertainment and their active role in strengthening hegemonic masculinity. This article aims to shed light on the complex relations between gender, violence and television, as well as how gender relations are reproduced at a time when politics, media and economy interact and interlace.
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Budiman, Hary Ganjar. "REPRESENTASI TENTARA DAN RELASI SIPIL-MILITER DALAM SERIAL PATRIOT." Patanjala : Jurnal Penelitian Sejarah dan Budaya 10, no. 1 (March 4, 2018): 115. http://dx.doi.org/10.30959/patanjala.v10i1.332.
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Penelitian ini mencoba membedah muatan ideologis yang terdapat dalam serial televise Patriot. Selain itu, penelitian ini juga membaca representasi tentara dan hubungan sipil-militer yang terlihat dalam serial tersebut. Serial Patriot dinilai penting karena menjadi serial televisi pertama yang mengangkat kisah militer sejak jatuhnya Orde Baru pada 1998. Serial Patriot dalam penelitian ini dilihat sebagai media massa yang merefleksikan nilai atau norma dalam masyarakat. Penelitian ini menggunakan pendekatatan kualitatif dengan memakai konsep codes of television yang dikemukakan oleh John Fiske. Ia menyatakan bahwa kode dalam televisi memiliki tiga tingkatan: reality, representation, dan ideology. Melalui penelitian ini dapat diketahui bahwa serial Patriot memiliki pesan ideologis yang tersirat, antara lain: nasionalisme, patriotisme, didaktisme, dan menempatkan tentara sebagai penjaga nilai moral. Hubungan sipil-militer dalam Patriot terlihat lebih didominasi oleh pihak militer. Peran pemimpin sipil tidak nampak dalam Patriot. Pihak sipil digambarkan bergantung kepada pemimpin yang memiliki latar belakang tentara. This research tries to analyze the ideological contents that exist in the television series Patriot. In addition, this study also review the representation of soldiers and civil-military relations in the series. The Patriot series is important because it became the first television series to raise the military stories since the fall of the New Order Regime in 1998. The Patriot series in this study is seen as a mass media that reflects the value or norm in the society. This study uses a qualitative approach using the concept of codes of television proposed by John Fiske. He stated that is the code in television has three levels: reality, representation, and ideology. From this research, it can be seen that the Patriot series has an implied ideological message, among others: nationalism, patriotism, didactism, and placing the army as a guardian of moral values. The civil-military relationship in the patriot appears to be more dominated by the military. The role of civilian leaders is not seen in the Patriot. The civilian side is depicted depending on the leader who has a military background.
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Aktaş, Gül. "Toplumsal Cinsiyet Rollerinin Televizyon Dizilerine Yansıması Üzerine Sosyolojik Bir Değerlendirme." Sosyolojik Bağlam Dergisi 1, no. 1 (December 28, 2020): 1–12. http://dx.doi.org/10.52108/2757-5942.1.1.1.
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Television is an easily accessible communication tool and has a significant visual impact. Even though the audience has a heterogeneous structure and unknown defining characteristics, television has the power to transform the semantic world of individuals with its programs. Therewithal, the power to attract the audience with its programs that will allure individuals from all social groups is the most noteworthy feature that distinguishes television from other traditional media types. Particularly, the ability to reach every section with different techniques makes television appealing considering the existence of individuals who are illiterate, hearing, or visually impaired. While the news, TV series, education, or entertainment oriented programs are offered to the taste of the audience, they are affected by the changes in economic, social, and cultural fields. These changes also affect the individual’s worldview, their ability to analyze and interpret cases, and their expectations and perception about the future at different levels. In recent years, it has been noticed that the perception of “the ideal body” is mostly presented through actresses in prime-time Turkish TV series. Besides, scenes about physical appearance and vanity are more salient than the scenes about the forms of domination of men over women in the family and social life, power struggles among women, gender-based roles and responsibilities, dialog, and relationships towards understanding. Through this perspective, this study aims to critically analyze from which points Turkish series, which are presented with similar subject contents on television in recent years, mirror the cultural representations of gender in a sociological context. In this study, while the themes of gender roles in Turkish series are investigated, dialogues emphasizing gender inequality, spatial appearances locating women and men in public and private areas, and visual presentations highlighting aesthetics and physical appearance are inquired through critical discourse.
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Kisielewska, Alicja. "Crime and Punishment: The Selected Tenets of the Decalogue in the Polish Television Series Ojciec Mateusz [Fr. Matthew]." Rocznik Teologii Katolickiej 20 (2021): 213–24. http://dx.doi.org/10.15290/rtk.2021.20.13.
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This article considers whether the popular Polish drama-crime television series Ojciec Mateusz [Father Matthew], which is directed by Maciej Dejczer and has been broadcast on TVP1 since 2008, prompts viewers to reflect on Christian moral norms. This research includes the fields of cultural studies and moral theology. From the point of view of moral theology, the theme of Ojciec Mateusz is the battle between good and evil, the basis of which is the tenets of the Decalogue. This study attempts to answer the questions: Is the religiosity hidden in this series, which does not assume the religiosity of the series’ viewers, evoke religious sentiments among those who believe? And, does the series affect the moral formation of those who do not believe?
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Redvall, Eva Novrup, and Katrine Bouschinger Christensen. "Co-creating content with children to avoid ‘Uncle Swag’: Strategies for producing public service television drama for tweens and teens at the Danish children’s channel DR Ultra." Critical Studies in Television: The International Journal of Television Studies 16, no. 2 (June 2021): 163–80. http://dx.doi.org/10.1177/17496020211005999.
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This article explores the strategies for fictional content of the Danish children’s channel DR Ultra through a qualitative case study of the production framework behind its successful series Klassen (2016–now). Building on studies of television production and theories of co-creation, the analysis investigates the use of co-creative initiatives during the development and writing as well as the production of programmes. The analysis highlights the value of involving children more closely in content targeting them, not only to ensure that what is told and how it is told is relevant and appealing, but also to create a sense of participation and co-creation.
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Baviskar, Pravin A., C. P. Labhane, and H. R. Nikam. "Impact of violent television serial on aggression among adolescents: psychosocial study." International Journal Of Community Medicine And Public Health 8, no. 4 (March 25, 2021): 1773. http://dx.doi.org/10.18203/2394-6040.ijcmph20211232.
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Background: Now days, just about any time you are turn on the TV you are seen with a barrage of violent scene and images including aggressive behavior, explosions, war casualties and suicide bombings. Many social psychologist conducted research about television violence and aggression among adolescents. American adolescents watching average of between four and five hours of television shows daily. As the conclusions, television violence and adolescents has become a violent serials and shows. Studies show extensive watching of television violence may cause adolescents to become more aggressive behavior and anxious.Methods: The study was community based cross-sectional with psychosocial designed and was carried out in an urban area of Jalgaon. The population of the research was chosen from secondary school students from the different public school of Jalgaon city.Results: The research sample consists of 640 students (320 boys and 320 girls). Purposive sampling method of sampling was used for selection of data. The investigator was used Aggression questionnaire developed by Dr. Buss and Perry to collect the necessary data.Conclusions: This study concluded that adolescents who watch violent TV serials are more aggressive than the adolescents who watch Non-violent TV serials. Second, Government school adolescents are aggressive than private school adolescents. Third is Male are aggressive than female adolescents. Then, Rural area adolescents are aggressive than urban area adolescents.
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Donnelly, Debra J., and Emma L. Shaw. "Docudrama as ‘Histotainment’: Repackaging Family History in the Digital Age." Public History Review 27 (August 27, 2020): 48–68. http://dx.doi.org/10.5130/phrj.v27i0.6971.
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Ways of accessing and understanding history have shifted in contemporary society with history being repackaged for public consumption in a vast array of digital technologies. These technologies present historical narratives which aim to simultaneously entertain and educate. This research project introduces the term ‘histotainment’ for this fusing of history and entertainment. Docudramas are a strong example of the popularity of this form of histotainment. This article explores how family history docudramas are presented as prime time TV entertainment and examines the factors that contribute to their success. Using a qualitative content analysis approach, this research analyses two recent Australian docudramas, Who Do You Think You Are? (2019) and Back in Time for Dinner (2018), and presents a model to explain this melding of history with digital media.
[i] Who Do You Think You Are?, television program series and DVD, SBS, Australia, April 30, 2019.
[ii] Back in Time for Dinner, television program series, ABC, Sydney, May 4, 2018.
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FitzGerald, Michael. "American Masculinity in Crisis: Cordell Walker and the Indianized White Hero." American Indian Culture and Research Journal 38, no. 2 (January 1, 2014): 67–88. http://dx.doi.org/10.17953/aicr.38.2.l453620377880254.
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American Indian stereotypes have varied according to each era's ideological necessities: Anglo-Americans made images of Natives into what they needed at the time. After Anglo-Americans broke from England, they needed a new identity to differentiate themselves from Europeans. The solution was to borrow attributes of American Indians to create an amalgam called "the New Man." This study examines the final (or current) stage in this amalgamation: the white man who can become native at will. Cordell Walker of the television series Walker: Texas Ranger is a half-Cherokee lawman. His "Indianness" is a secret identity that emerges whenever superhuman or spiritual qualities are needed. In addition, the series reflects issues of "American" masculinity: Walker appeared during a period when patriarchy faced cultural and political challenges from the women's movement. The reactionary political and religious ramifications of the television series are also examined.
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Gómez-Puertas, Lorena, and Reinald Besaú Casademont. "Femininity and neoliberalism in popular Spanish television series during economic recession (2008-2015)." Comunicación y Sociedad 2022 (October 26, 2022): 1–24. http://dx.doi.org/10.32870/cys.v2022.8312.
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This paper evaluates the models of female subjectivity in the most viewed Spanish TV series during the period of economic recession, as interpretive accounts of the ideological tensions underlying a context that rethinks the role of women. The qualitative analysis applied to ten coprotagonists of these fictions, shows female characters lacking leadership and proactivity in the public sphere, whose natural competencies are limited to resilience to adapt to the austerity that has occurred, and who act as a moral contrast to the male entrepreneur by updating gender stereotypes in the neoliberal imaginary.
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Schama, Simon. "Fine-Cutting Clio." Public Historian 25, no. 3 (2003): 15–25. http://dx.doi.org/10.1525/tph.2003.25.3.15.
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If you want to produce an epic fifteen-part series that moves television history into the common culture, dare you do it with a single scriptwriter who also appears on camera as "presenter" and with no other talking heads? Can plural consensus on television be traded in for the immediacy of a single interpreter? Simon Schama did this for the BBC and The History Channel in his A History of Britain and beat the ratings for The Simpsons. He narrates the story of this challenge in "Fine Cutting Clio."
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Miller, Claudia S. "White Paper: Chemical Sensitivity: History and Phenomenology." Toxicology and Industrial Health 10, no. 4-5 (July 1994): 253–76. http://dx.doi.org/10.1177/074823379401000501.
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Nearly everyone has heard something about chemical sensitivity, either from personal experience with someone who has the condition or from the media. The television series Northern Exposure recently featured a chemically sensitive attorney who lived in a geodesic dome in Alaska, and L.A. Law depicted the struggles of a Persian Gulf veteran with chemical sensitivities who lost his case against the Veterans Administration, but may appeal later in the season. Television news programs and the printed media have showcased patients living spartan existences in remote areas or in aluminum foil-lined rooms. Our views of the illness no doubt are colored by our own personal experiences of it. While some discount or make jokes about chemical sensitivity or these patients, physicians who have seen a number of them are discovering that many appear to be credible individuals with prior good work records who say they became ill following an identifiable exposure to chemicals.
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Gemzøe, Lynge Stegger. "Language, European identity and stereotypical diversity in trans-European crime dramas." Journal of European Popular Culture 12, no. 2 (October 1, 2021): 135–47. http://dx.doi.org/10.1386/jepc_00034_1.
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Interrogating two transnational television dramas – Crossing Lines (2013, 2014, 2015, the first season) and The Team (2015, 2018, the second season) – and employing critical, textual and production perspectives, this article investigates representations of national and European identity in the series. In this article, I argue that the series on the one hand picture a diverse Europe uniting when challenges arise, embodying the dominant European narrative of ‘unity in diversity’ and, seen from a certain point of view, facilitate a mediated cultural encounter. On the other hand, the diversity depicted is based on the use of a wide range of well-known cultural stereotypes that may be familiar to the audience, and which may facilitate smooth storytelling, but that does little to broaden the actual cultural knowledge and understanding of the viewer, resulting in stereotypical diversity. The series have different strategies regarding representations of nation states, cultures and languages. The implications of these strategies are analysed. Common ground is often found in ‘American’ crime drama genre tropes associated with a team of often-antagonistic specialists who are put together to solve a problem, including such iconic US series as The A-Team (1983–87), the CSI: Crime Scene Investigation franchise (2000–15) and Scorpion (2014, 2015, 2016, 2017). The contribution ultimately finds that meaningful mediated cultural encounters are a challenge to transnational television drama, and that when it comes to television, ‘European’ and ‘transnational’ means little without ‘national’.
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Shapiro, David, and Dominique Meekers. "Target Audience Reach of the Sida Dans La Cité AIDS Prevention Television Series in C⊚te D'ivoire." Social Marketing Quarterly 6, no. 4 (December 2000): 21–30. http://dx.doi.org/10.1080/15245004.2000.9961143.
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This paper uses sample survey data to examine the reach of SIDA dans la Cité (SDLC), a popular television series on Acquired Immunodeficiency Syndrome (AIDS) in Côte d'Ivoire, West Africa. Within the intervention area where SDLC was televised, the program targeted those with an elevated risk of contracting the Human Immunodeficiency Virus (HIV) and those with low socioeconomic status who were likely to have limited access to health information and services. The results indicate that in electrified regions, the SDLC program achieved very good reach among the elevated-risk groups and moderate to good reach among the low socioeconomic status groups. The finding that rural populations obtain AIDS information overwhelmingly from radio and television implies that televised HIV prevention information can play a crucial role in electrified rural regions.
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Liang, Samuel Y. "Property-driven Urban Change in Post-Socialist Shanghai: Reading the Television Series Woju." Journal of Current Chinese Affairs 39, no. 4 (December 2010): 3–28. http://dx.doi.org/10.1177/186810261003900401.
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In late 2009, the television series Woju ([Formula: see text]) received extremely high audience ratings in major Chinese cities. Its visual narratives engage the public and comment on social developments by presenting detailed pictures of urban change in Shanghai and the everyday lives of a range of urban characters who are involved in and affected by the urban-restructuring process and represent three distinct social groups: “white-collar” immigrants, low-income local residents, and powerful officials. By analysing the visual narratives of these characters, this article highlights the loss of the city's historical identity and shows how the reorganization of urban space translates into a reallocation of resources, power and prestige among the social groups. The article also shows that Woju represents a new development in literary and television production in the age of the Internet and globalization; its imaginative construct of the city was based on transnational and virtual rather than local and neighbourhood experience. This also testifies to the loss of the city's established identity in cultural production.
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Cambra, Cristina, Aurora Leal, and Núria Silvestre. "Graphical Representations of a Television Series: A Study with Deaf and Hearing Adolescents." Spanish journal of psychology 13, no. 2 (November 2010): 765–76. http://dx.doi.org/10.1017/s1138741600002420.
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The understanding of a television story can be very different depending on the age of the viewer, their background knowledge, the content of the programme and the way in which they combine the information gathered from linguistic, audio and visual elements. This study explores the different ways of interpreting an audiovisual document considering that, due to a hearing impaired, visual, audio and linguistic information could be perceived very differently to the way it is by hearing people. The study involved the participation of 20 deaf and 20 hearing adolescents, aged 12 to 19 years who, after watching a fragment of a television series, were asked to draw a picture of what had happened in the story. The results show that the graphical representation of the film is similar for both groups in terms of the number of scenes, but there is greater profusion, in the deaf group, of details about the context and characters, and there are differences in their interpretations of some of the sequences in the story.
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Ugurlu, Elif Gizem. "Mediatized Child Characters." European Journal of Social Sciences 1, no. 3 (November 29, 2018): 98. http://dx.doi.org/10.26417/ejss.v1i3.p98-102.
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Child actors and actresses perform in television programs, such as contests, shows and series, and in movies broadcasted in Turkey. After the program is broadcasted, social media accounts such as Facebook and instagram are opened by their parents for these children and it is attempted to increase their popularity. Children with increased popularity begin to act in new series and advertisements, and they are drawn into a consumption cycle. While these children, who are used for humour, promotional or dramatic factors, are disturbed, on the other hand, they cause that children's real and big problems (poverty, child labor, abuse, abduction, refugee, etc.) are ignored. This study provides a perspective on child characters in competition programs, TV shows, television series, television programs and movies broadcasted on televisions in 2018 in Turkey. The program in which children aged between 5 and 12 years appear, and their Instagram accounts were tracked and examined. The culture of benefiting from the child in the media multiplies itself as the use of children as mediatic characters in the media in Turkey continues, and the fact that children can be used as a source of income without considering that they can be overwhelmed by the burden of fame becomes widespread. This indicates the perception of childhood in society, the visibility of child individuals' problems, and a frightening future for children.
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Panka, Daniel. "‘Mystic and a little utopistic’." Science Fiction Film & Television 13, no. 3 (October 1, 2020): 341–62. http://dx.doi.org/10.3828/sfftv.2020.20.
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The Mézga Family is an animated television series that ran for three seasons in Hungary between 1970 and 1980 (produced between 1968 and 1978). In the first season, the twentieth-century Hungarian family establishes contact with their descendant from the thirtieth century who sends them futuristic gadgets whose use results in various adventures. In the second season, the family’s youngest member goes out on missions to other planets in a spaceship built by himself. In the third season, the family goes on vacation during which several calamities befall them. The irony directed at facile utopian desires allowed the series to subtly express deeper-penetrating concerns but simultaneously remain light-hearted. This article introduces the term ‘cynical utopia’ to explain how the season generates multi-layered meanings and critical commentary. By using the conventions of utopia, sf and fairy tales, the series could discuss social and even political issues in a period when state control over media content was strict in Hungary and the production of a clearly dystopian work on national television would have been unimaginable.
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Brady, Anita. "‘Caitlyn Jenner “likes” Ted Cruz but the feeling may not be mutual’: Trans pedagogy and I Am Cait." European Journal of Cultural Studies 20, no. 6 (November 20, 2017): 672–86. http://dx.doi.org/10.1177/1367549417733000.
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When the Olympian and reality television star formerly known as Bruce Jenner appeared on the cover of Vanity Fair in 2015 under the headline ‘Call me Caitlyn’, there was widespread celebration of this unprecedented moment of transgender visibility. However, the positive reception of Jenner as an out trans celebrity has become increasingly complicated by the conservative Republican politics she identifies with. This article examines how those tensions inform the reality series I Am Cait, which repeatedly features Jenner in political conflict with a group of trans activists who are helping to facilitate her public transition. It asks whether the ‘education’ of Jenner that becomes the primary narrative of the text reaffirms or troubles the neoliberal ideology at the core of her conservatism. In order to explore this, I examine the series’ framing of productive gender normative citizenship, the intersection of its corrective pedagogies with the reality television context in which they take place, and the series’ representation of transgender heterogeneity. This article forms part of ‘On the Move’, a special issue marking the twentieth anniversary of the European Journal of Cultural Studies.
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Gómez-Oliver, Valentí. "What is the television that we have like?" Comunicar 13, no. 25 (October 1, 2005): 45–49. http://dx.doi.org/10.3916/c25-2005-006.
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Nowadays national and international reflection on television and mass media in general is based on the activities that the European Observatory for Children´s Television has been carrying out for nine years. This paper proposes to integrate all screens into one ideal screen and to define a series of categories which show how to work whith quality contents, especially for children and youngsters, the most vulnerable audience, who spend more time in front of screens than at school or socializing with their friends, and sometimes even with their own families. The paper ends with comments on a series of proposals and international initiatives about quality television, not only from the theoretical point of view, but from the practical point of view, which allow us to hope that the people who works on media would understand the importance of their educational wolves in order to achieve a total and satisfactory integrations of future citizens into the society of information. La presente reflexión sobre la televisión existente en la actualidad, a nivel nacional e internacional, y más en general sobre los medios de comunicación, se basa en las actividades que desde hace nueve años realiza en Barcelona el Observatorio Europeo de la Televisión Infantil (OETI). El trabajo se plantea en cinco capítulos, centrándose en la necesidad de integrar, teóricamente, todas las pantallas en una sola pantalla ideal y definir una serie de categorías conceptuales que definan cómo han de trabajar los medios de comunicación con unos contenidos inexorablemente de calidad, especialmente para los más desprotegidos y vulnerables, es decir los niños y niñas y los jóvenes que son quienes pasan más horas ante las pantallas que en la escuela, o socializando con sus compañeros y a veces sus propios familiares. Finalmente se comenta una serie de planteamientos e iniciativas internacionales sobre la televisión de calidad, tanto desde el punto de vista teórico como práctico, lo que hace prever que, si bien con graduaciones distintas, los responsables de los medios de comunicación irán comprobando, con matices, la importancia del valor educativo de los medios para lograr la plena y satisfactoria integración en la sociedad de la información de los futuros ciudadanos.
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Bjelajac, Željko, and Aleksandar Filipović. "Profile of Contemporary Criminal Investigator in Film and Television Content." Kultura polisa 19, no. 1 (April 14, 2022): 1–24. http://dx.doi.org/10.51738/kpolisa2022.19.1r.1bf.
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People have been fascinated by detective novels and complicated investigations since the advent of the detective novel as a literary form in the mid-19th century. The progenitors and early popularizers of this genre, such as Edgar Allan Poe and Arthur Conan Doyle, prepared the ground for later authors of this popular genre. In the meantime, from the beginning to the present day, the techniques and methods of criminal investigations have been immeasurably improved. Criminal and detective fiction has followed innovations, so it has always remained relevant and representative in relation to real-life investigative techniques and methods. Significant development of the TV series as a medium and a massive increase in the quality of the recorded program through a significantly more serious approach and involvement of professionals from the film industry, somewhere since the beginning of the XXI century, has led to a change in approach to procedural and criminal TV series. Instead of the previously trendy but unrealistic and pseudo-scientific procedural programs and detectives whose characterization did not correspond to reality, a new wave of crime series has emerged that is significantly more grounded in reality and faithfully shows the methods and modalities of investigative actions and personalities of criminal investigators. We aim to identify common professional and psychological characteristics of subject investigators using media content analysis, narrative analysis, characterization analysis, and other appropriate analytical methods, and to propose a profile of a modern criminal investigator who, very importantly, corresponds with investigators in real life.
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Putri, Fitria Zahrina. "Perbandingan Monstrositas Kriminal dalam Red Dragon (1981) Karya Thomas Harris dan Hannibal (2015) Serial Televisi NBC." ATAVISME 21, no. 2 (December 24, 2018): 164–79. http://dx.doi.org/10.24257/atavisme.v21i2.457.164-179.
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This study aims to reveal how differences in criminal monstrosity are portrayed in Red Dragon novel (1981), with the adaptation of his television series titled Hannibal (2013). The problem discussed is the blurred norms as the form of criminal monstrosity development in Hannibal. The theory used is the criminal monstrosity developed by Alexa Wright (2013). This research uses analytical descriptive method. Data from novels and television series are described and compared to get the grand concept of criminal monstrosity. The results showed that the blurred norms in Hannibal can be seen through normalization of cannibalism by using culinary aesthetic, the role of Will Graham from FBI to Hannibal’s crime partner, and a more intimate relationship between Will and Hannibal. These blurred norms created a new monstrosity narrative: a monstrous criminal nature behind a person who looks normal and able to function properly in society.
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Wakeman, Stephen. "The ‘one who knocks’ and the ‘one who waits’: Gendered violence in Breaking Bad." Crime, Media, Culture: An International Journal 14, no. 2 (January 3, 2017): 213–28. http://dx.doi.org/10.1177/1741659016684897.
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This article provides a cultural criminological analysis of the acclaimed US television series, Breaking Bad. It is argued here that – as a cultural text – Breaking Bad is emblematic of an agenda for change surrounding criminological theories of peoples’ propensity to do harm to one another. To exemplify this, the show’s central (male) protagonist is revealed to undergo a complete biosocial transformation into a violent offender and, as such, to demonstrate the need for criminological theory to recognise and further reflect upon this process. However, at the same time, the (re)presented inability of the show’s female characters to do the same is indicative of a number of gender-related questions that progressive criminological theories of violence need to answer. In considering these two fields in tandem, the show’s criminological significance is established; it is symbolic of the need for criminology to afford greater recognition to the nuanced intersections of both biological and sociological factors in the genesis and evolution of violent human subjectivities.