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Journal articles on the topic 'Public television'
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Ortiz-Sobrino, Miguel Ángel, José Antonio Ruiz-San-Román, and Elba Díaz-Cerveró. "TV Broadcasters and Research on TV and Children." Comunicar 20, no. 40 (March 1, 2013): 137–44. http://dx.doi.org/10.3916/c40-2013-03-04.
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This paper describes the main contributions of the TV broadcasters in Spain to the study of the relationships between television and childhood. It is justified by the need of compile and organise these contributions. Quality contents broadcasted for children, children consumption of television and the role of TV channels to transfer a positive image of the childhood have been the mainstays of this text. The information that we report is the result of the study carried out from Observatorio Comunicación y Sociedad. Methodologically, consulting scientific bibliography about television and childhood has made possible to put our study into context. After that, the use of questionnaire to people responsible of contents broadcasted for children by the main Spanish TV channels, and the analysis of the different experiences and work papers prepared by televisions, have allowed to create a setting with the broadcasters’ main contributions to a new paradigm which improves the relationship between minors and television. The conclusion from the analysis and the consultation to experts point that, except in the case of the public state television and some regional televisions, the research and the redesign of the childhood/television relationship is not one of the channels priorities. In fact, only TVE has an important scientific production in this field.Este artículo describe las principales aportaciones de las televisiones españolas al estudio y reformulación de la relación entre televisión e infancia. La necesidad de recabar y organizar a lo largo del tiempo esas contribuciones justifica este trabajo. Los contenidos infantiles de calidad, el consumo infantil de televisión, y el papel de las cadenas televisivas para trasladar a la ciudadanía una imagen positiva de la infancia, han sido los ejes vertebradores sobre los que se ha fundamentado este texto. Los datos aportados son el resultado de un estudio llevado a cabo desde el Observatorio Comunicación y Sociedad. Metodológicamente, la consulta de bibliografía científica sobre la televisión y la infancia ha permitido contextualizar este estudio. Posteriormente, la utilización de una microencuesta a los responsables de contenidos infantiles de las principales cadenas televisivas españolas, y el análisis de las diferentes experiencias y documentos de trabajo elaborados por las televisiones, han permitido construir un escenario con las principales aportaciones de las emisoras a un nuevo paradigma que mejore la relación de los menores con la televisión. Las conclusiones más destacadas extraídas del análisis y de las consultas con los expertos apuntan a que, salvo en el caso de la televisión pública estatal y de algunas televisiones autonómicas, la investigación y reformulación del binomio infancia/televisión no es un objetivo prioritario para las cadenas. De hecho, solo TVE tiene producción científica relevante en la materia.
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Ortiz-Sobrino, Miguel-Ángel. "Television, globalization and social change." Comunicar 13, no. 25 (October 1, 2005): 79–85. http://dx.doi.org/10.3916/c25-2005-011.
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XXI Century television is undergoing a process of transformation. New actors, new products and new ways of consuming television are on the lookout. Interactivity will make the traditional concept of television disappear. Television viewers can design their own grids independently of the operator’s schedule. The convergence of television and computer, Internet, telephone and video games bring us a new concept of television. Television faces two big transformations: digital transformation and that of the concept of «general public». The computer, the computer screen, has the calling of turning into a reception screen in which both computer and television functions fuse. Latest generation mobile telephony is integrating itself is this multimedia complex, in connection with television. Future television cannot dissociate from the Internet. La televisión del siglo XXI está en proceso de transformación. Nuevos actores, nuevos productos y nuevas formas de consumir televisión se atisban en el horizonte. La interactividad con la televisión hará desaparecer el concepto de televisión tradicional. El telespectador puede confeccionar sus propias parrillas, independientemente de la programación del operador. La convergencia de la televisión con el ordenador, Internet, el teléfono y los videojuegos nos llevan a un nuevo concepto de la televisión. La televisión se enfrenta a dos grandes transformaciones: la transformación digital y del concepto «público general». La nueva televisión propiciará una nueva forma de ver la televisión, en la que el espectador se olvidará del mundo para dialogar con la máquina e incluso, tomar decisiones que afecten a la programación. El anunciado apagón digital, previsto en España para 2010, va a revolucionar el panorama televisivo español. La oferta se ampliará y se sumará a la oferta del cable, satélite y teléfono. Se ampliarán las ofertas de televisión de pago. Estaremos ante un panorama absolutamente cambiante.
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García-de-Castro, Mario. "Renewal movements in the Spanish television series." Comunicar 15, no. 30 (March 1, 2008): 147–53. http://dx.doi.org/10.3916/c30-2008-02-008.
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The present paper analyzes the results of a qualitative investigation developed by the Spanish public television on the values and characteristics of the national television fiction genre, as well as other aspects of its latest evolution. The conclusions of this qualitative analysis and the audience ratings confirm the hegemony of the genre within the generalist television programming. In the same sense, the paper analyzes its latest tendencies and what is called the last renewal of domestic television fiction. El presente trabajo analiza los resultados de una investigación cualitativa desarrollada por la televisión pública de España en torno a los valores y características del género de la ficción televisiva nacional, así como otros aspectos de la evolución última del género. Las conclusiones del análisis cualitativo y los datos de audiencia confirman la hegemonía del género dentro de la programación televisiva generalista de nuestro país. De igual forma se analizan sus tendencias más recientes y lo que llega a calificarse como última renovación de la ficción televisiva doméstica que podría denominarse la del hiperrealismo, por sus características extremas.
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Aierbe-Barandiaran, Ana, and Concepción Medrano-Samaniego. "Adolescents’ television viewing habits and its relation with values." Comunicar 16, no. 31 (October 1, 2008): 109–14. http://dx.doi.org/10.3916/c31-2008-01-013.
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The aim of this study was to analyze whether television viewing habits themselves contribute to defining the gender significance in a sample of 577 adolescents (270 boys and 307 girls) from the Basque Autonomous Region. Using responses to the CTV (Television Habits Questionnaire), the authors found several groups of people according to various indicators. Results indicate that television reproduces social gender stereotypes and may contribute to their perpetuation. Furthermore, the group most exposed to contents is the adolescent girls, in which an explicit lack of distinction between private and public life, and between more conventional and personal values can be found.En este trabajo se ha tratado de relacionar la dieta televisiva de los adolescentes, recogida a través de diferentes índices con sus valores personales y los valores percibidos en los programas de televisión que más les gustan. Con una muestra de 823 adolescentes del País Vasco, se han empleado instrumentos como un cuestionario de hábitos televisivos, para conocer su dieta y una escala de dominios de valores, para conocer sus valores personales y los valores percibidos en los programas de televisión que más les gustan. Los resultados indican que existen correlaciones entre algunos índices (permanencia, covisionado y preferencias por asistir a determinados programas) y algunos valores personales como poder, benevolencia y tradición. Estos datos, en la misma línea que otras investigaciones internacionales, no nos permiten concluir sobre una relación clara entre la dieta de los adolescentes y sus valores.
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Menezes, Gizeli Costa Bertollo, Francisco Gilson Rebouças Porto Junior, Yuri Vinicius Silva, José Lopes da Cruz Filho, and Kécia Garcia Ferreira. "A TV PÚBLICA NO BRASIL E PORTUGAL: Aspectos conceituais e históricos." Aturá - Revista Pan-Amazônica de Comunicação 3, no. 1 (January 16, 2019): 302–18. http://dx.doi.org/10.20873/uft.2526-8031.2019v3n1p302.
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A proposta deste artigo é compreender melhor o sistema público de televisão em Portugal e no Brasil, especificamente as emissoras RTP1 e TV Brasil. Embora os dois países sejam marcados por fortes ligações históricas, culturais e linguísticas, se distanciam no que diz respeito a radiodifusão pública. Enquanto em Portugal a televisão já nasce sob o domínio estatal, que posteriormente vai se moldando aos princípios do serviço público, no Brasil chega pelas mãos da iniciativa privada, que por quase duas décadas dominou de forma exclusiva o cenário televisivo, imprimindo seu modelo no país.
PALAVRAS CHAVE: Televisão; Brasil; Portugal; TV pública; História.
ABSTRACT
The purpose of this article is to better understand the public television system in Portugal and Brazil, specifically the RTP1 and TV Brazil broadcasters. Although the two countries are marked by strong historical, cultural and linguistic connections, they are distant in relation to public broadcasting. While in Portugal, television is born under state domination, which later is shaping the principles of public service, in Brazil comes through the hands of private initiative, which for almost two decades dominated the television scene exclusively, printing its model in the country.
KEYWORDS: Television; Brazil; Portugal; Public TV; Story.
RESUMEN
El propósito de este trabajo es comprender mejor el sistema público de televisión en Portugal y Brasil, específicamente en las emisoras de televisión RTP 1 y Brasil. Aunque los dos países están marcados por fuertes vínculos históricos, culturales y lingüísticos, se distancian en lo que se refiere a la radiodifusión pública. Mientras que en Portugal la televisión nace bajo dominio del Estado, que posteriormente dar forma a los principios de servicio público en Brasil llega a manos de la empresa privada, que desde hace casi dos décadas dominaron exclusivamente el panorama de la televisión mediante la impresión de su modelo en el país .
PALABRAS CLAVES: Televisión; Brasil; Portugal; TV pública; Historia.
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Rincón, Omar. "New Television Narratives: Entertainment, Telling, Citizenship, Experimental." Comunicar 18, no. 36 (March 1, 2011): 43–50. http://dx.doi.org/10.3916/c36-2011-02-04.
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Broadcasting and industrial television is a trip back to the past, to a space devoid of meaning, and to the boredom resulting from its moral conservatism, lack of creativity, thought and entertainment. But television’s monopoly over public screening is over; now, anyone can be a producer, an audiovisual narrator with his or her own screen. New television and other screens are daring to change the way stories are told: a more subjective, testimonial and imagebased journalism; a hyperrealist soap opera that dares to bring melodrama to comedy, documentary and local cultures; a bottom-up media with people in charge of breaking with the thematic and political homogeneity of the media, market and development machines. This essay will argue in favor of television as a space for expression by unstable identities, narrative experiments and unknown possibilities for audiovisual creation…only if «it takes the form» of women, indigenous peoples, African races, the environment, other sexualities…and plays on YouTube and new screens that are community-based and cellular. The most important thing is for television to move away from an obsession with content towards aesthetic and narrative explorations of other identities and into narratives that are more «collaboractive», with the possibility that they become the stories we want them to be.La televisión generalista e industrial es un viaje al pasado, al vacío de sentido y al aburrimiento por su conservadurismo moral, su pereza creativa, su ausencia de pensamiento y su pobre modo de entender el entretenimiento. Pero el monopolio televisivo de la pantalla pública se acabó, pues ahora todo ciudadano puede ser un productor, narrador audiovisual y tener pantalla. Así aparecen nuevas televisiones y otras pantallas que se atreven a contar distinto: un periodismo más subjetivo, testimonial y pensado desde las imágenes; una telenovela hiperrealista que se atreve a intervenir el melodrama desde la comedia, el documental y las culturas locales; unos medios de abajo y con la gente que se hacen para romper con la homogeneidad temática y política de las máquinas mediática, del mercado y del desarrollo. En este ensayo se argumenta a favor de la televisión como lugar de expresión de identidades inestables, experimentos narrativos y posibilidades inéditas para la creación audiovisual… solo si «toma la forma» de mujer, de lo indígena, afro, medio ambiental, otras sexualidades… y juega en nuevas pantallas como Youtube, lo comunitario y el celular. Lo más urgente es que la televisión pase de la obsesión por los contenidos a las exploraciones estéticas y narrativas desde las identidades otras y en narrativas más «colaboractivas» porque existe la posibilidad de ser los relatos que queremos ser.
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Galetić, Fran. "Changing the Market Position of Public Television – Case of Croatia, Slovenia and Hungary." Köz-gazdaság 16, no. 1 (March 8, 2021): 159–69. http://dx.doi.org/10.14267/retp2021.01.13.
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The market position of public television channels has been changing over the last three decades. From monopolists, public televisions have become just one of the players on the television market. This paper analyses the position of public television in Croatia, Slovenia and Hungary. These neighbouring countries are similar but have different market power of public TV. Croatia has a strong public television, Hungary has very week public television, and Slovenia is in the middle. The aim of this paper is to show how the audience of public TV channels has been changing and based on this data, the author will estimate regression models for future forecasting of audience share for public TV channels in all three countries. This will enable the analysis of the market position of the whole group of public TV channels in each country.
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Chang Keun Lee. "Partisan public television." Global Media and Communication 4, no. 2 (August 2008): 219–22. http://dx.doi.org/10.1177/1742766508091656.
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Nehl, Andy. "Community Public Television." Media Information Australia 46, no. 1 (November 1987): 26–27. http://dx.doi.org/10.1177/1329878x8704600108.
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Coulter, Eric. "Public Access Television." Journal of Public Health Management and Practice 4, no. 3 (May 1998): 77. http://dx.doi.org/10.1097/00124784-199805000-00010.
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Brooks, Arthur C., and Jan I. Ondrich. "How Public Is Public Television?" Public Finance Review 34, no. 1 (January 2006): 101–13. http://dx.doi.org/10.1177/1091142105283412.
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Mayugo-i-Majó, Carme. "Towards another model of television system in the global communication age." Comunicar 13, no. 25 (October 1, 2005): 91–99. http://dx.doi.org/10.3916/c25-2005-013.
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Television plays a very important role in our societies but, until now, we have not been capable to stress on its social discussion and to promote a deep change of this media. Mostly channels (even public ones) remain closed to citizenship, too much influenced by advertising business and economic outcomes. Opening a big participation process within all social agents involved, it is possible to generate another television model, more open and connected with people. Three different questions are crucial in this process: a huge interaction between television producers and their multiples audiences, the creation of a third audiovisual sector (which the only owner should be community), and media literacy for everybody and everywhere. A qualified society for quality on televisions. Nos encontramos de lleno en la llamada era de la sociedad de la información y el conocimiento, pero no conseguimos generar una concurrencia de visiones e inquietudes entre los distintos agentes sociales que interactúan en el tablero de juego del sistema televisivo actual. En este documento se esboza una triple dinámica de intervención para transformar el medio. En primer lugar, estaría la incorporación de la sociedad como agente activo y decisivo en la conformación de la televisión. Como segunda premisa, cabría quebrar la separación existente entre centros emisores y audiencias, y sustituirla por una verdadera interacción. En tercer lugar, convendría aventurarse en el campo de la educación en comunicación (EC) como espacio para el diseño de políticas y experiencias de base para alfabetizar en los medios a todos los sujetos sociales sin excepción. El sistema comunicativo tiene que ir más allá de la dicotomía entre televisión pública y privada, y apostar por el desarrollo del «tercer sector audiovisual».
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Ruano-López, Soledad. "Culture and television. A controversial relation." Comunicar 14, no. 28 (March 1, 2007): 177–82. http://dx.doi.org/10.3916/c28-2007-17.
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From the birth of the public television in Europe, media has been related with cultural and divulging objectives. Nevertheless, it is necessary to admit that the relation between television and culture have always been difficult or al least controversial. Until the eighties there seemed to exist a mutual respect among each other but since the loss of monopoly on the part of the public European chains the relation has been getting worse. Public television has got involved in drag by a crazy race for audience rates where programmes on or with cultural values have been progressively diminished. Desde el nacimiento de la televisión en Europa, se le ha atribuido una función cultural y de difusión de valores, de conocimiento y de saber. Sin embargo, hay que reconocer que la relación entre televisión y cultura siempre ha sido difícil y polémica. Hasta los años ochenta parecía existir un mutuo respeto entre ambas, pero, desde la pérdida del monopolio por parte de las cadenas públicas europeas, la relación ha ido empeorando hasta alcanzar el rótulo de «mala». La televisión pública se ha dejado arrastrar por una loca carrera de índices de audiencia, en donde los programas de valores culturales, con valores culturales o sobre-valores culturales han ido menguando progresivamente.
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Saferstein, Barry, and Barry Dornfeld. "Producing Public Television, Producing Public Culture." Contemporary Sociology 29, no. 6 (November 2000): 844. http://dx.doi.org/10.2307/2654110.
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Curtin, Michael. "Producing Public Television, Producing Public Culture." American Ethnologist 27, no. 1 (February 2000): 200–202. http://dx.doi.org/10.1525/ae.2000.27.1.200.
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Aufderheide, Patricia. "Public television and the public sphere." Critical Studies in Mass Communication 8, no. 2 (June 1991): 168–83. http://dx.doi.org/10.1080/15295039109366789.
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Humphrey, David. "‘Can mom laugh?’: The production of the Japanese television family, 1960s–80s." East Asian Journal of Popular Culture 8, no. 2 (September 1, 2022): 245–60. http://dx.doi.org/10.1386/eapc_00077_1.
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In this article, I examine the history of audience laughter on Japanese television and its role in producing and sustaining the image of an intimate, family-like public during the medium’s early decades. With a focus on the progressive gendering of audience laughter on Japanese television from the 1960s onwards, I demonstrate how the move to procure female laughter on the medium reflected broader ideological expectations that women and their laughter might unify a family-like, national audience. I argue that Japanese television sought to leverage female laughter – both concretely through paid waraiya ‘laughers’ in the audience and through the gender ideology surrounding laughter – to negotiate television’s foundational tensions between the public and the private. More broadly, I suggest that the history of television laughter and its gendering can throw into relief television’s co-imbrication with discourses on gender, nation and consumption.
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Muthia, Eggi Listy Bahatis. "STRATEGI PUBLIC RELATIONS STASIUN TELEVISI DALAM MEMBANGUN CORPORATE IMAGE Studi Kasus Program Community Relations NET. Good People di Stasiun Televisi NET." Jurnal Visi Komunikasi 20, no. 02 (February 26, 2022): 231. http://dx.doi.org/10.22441/jvk.v20i02.14372.
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NET television station. is a station that has a young age compared to other televisions in Indonesia, but is much loved by loyal viewers. Seeing the many loyal viewers of the television station, public relations creates a place to gather and exchange the views of loyal viewers of the NET television station. as the NET community. Good people. The purpose of this study was to find out the strategies carried out by the public relations television station NET. in building an image in the community.In this study using the public relations strategy theory Scoot M. Cutlip & Allen H. Center This study uses a constructivist paradigm with a qualitative approach to case study methods. Data collection techniques with interview techniques and observations and supported by literature studies. The results of this study are public relations television station NET. apply the Scoot M. Cutlip & Allen H.Center theory in implementing the public relations strategy. Besides that, "NET. TV is COOL "is a corporate image that is valued by the community. While the obstacles faced are when looking for targets to become members of the NET community. Good people.
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Muthia, Eggi Listy Bahatis. "STRATEGI PUBLIC RELATIONS STASIUN TELEVISI DALAM MEMBANGUN CORPORATE IMAGE (Studi Kasus Program Community Relations NET. Good People di Stasiun Televisi NET.)." Jurnal Visi Komunikasi 20, no. 02 (February 26, 2022): 231. http://dx.doi.org/10.22441/visikom.v20i02.14372.
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NET television station. is a station that has a young age compared to other televisions in Indonesia, but is much loved by loyal viewers. Seeing the many loyal viewers of the television station, public relations creates a place to gather and exchange the views of loyal viewers of the NET television station. as the NET community. Good people. The purpose of this study was to find out the strategies carried out by the public relations television station NET. in building an image in the community.In this study using the public relations strategy theory Scoot M. Cutlip & Allen H. Center This study uses a constructivist paradigm with a qualitative approach to case study methods. Data collection techniques with interview techniques and observations and supported by literature studies. The results of this study are public relations television station NET. apply the Scoot M. Cutlip & Allen H.Center theory in implementing the public relations strategy. Besides that, "NET. TV is COOL "is a corporate image that is valued by the community. While the obstacles faced are when looking for targets to become members of the NET community. Good people.
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Stapleton, Stephen, Andres Uribe, and Austin L. Wright. "Televising Justice during War." Journal of Conflict Resolution 66, no. 3 (March 20, 2022): 529–52. http://dx.doi.org/10.1177/00220027211047267.
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Television is an overlooked tool of state building. We estimate the impact of televising criminal proceedings on public use of government courts to resolve disputes. We draw on survey data from Afghanistan, where the government used television as a mechanism for enhancing the legitimacy of formal legal institutions during an ongoing conflict. We find consistent evidence of enhanced support for government courts among survey respondents who trust television following the nation’s first televised criminal trial. We find no evidence that public confidence in other government functions (e.g. economy, development, corruption) improved during this period. Our findings suggest that television may provide a means of building state legitimacy during war and other contexts of competition between political authorities.
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García-Matilla, Agustín. "About a television for the education in tuning multimedia." Comunicar 13, no. 25 (October 1, 2005): 33–44. http://dx.doi.org/10.3916/c25-2005-005.
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In 2005, the current socialist government has set out to undertake the greatest update in broadcasting policy since 1956, the moment in which television was born in Spain. This transformation is related to the quick digital reconversion that television has suffered in the latest years. Despite the changes in the law and some reasons to be optimistic about technological development in a recent future the television of the 21st century can not do without being profitable in a social, cultural and educative sense. This is a challenge which many countries have not faced yet and Spain is among these countries. Some models of public television in the world have consolidated proposals of broadcasting contents that make a priority out of the cultural and educative role of television. España inició el siglo XXI con un sistema televisivo sometido a una evidente dispersión legislativa, denunciado por infinidad de instancias por la baja calidad de los contenidos ofrecidos por las diversas ofertas televisivas, una televisión pública exageradamente endeudada y que relegaba los objetivos de servicio público a un papel secundario frente a la utilización partidista de los espacios informativos y un irregular desarrollo de las ofertas de televisión de pago. En 2005, el gobierno socialista ha asumido la mayor actualización legislativa coordinada en materia audiovisual. Han pasado casi 50 años desde el inicio de las emisiones televisivas. Este cambio no afecta sólo al ámbito de la televisión pública sino que además lleva aparejada una transformación global del marco de leyes que contribuirá al desarrollo de la radiotelevisión digital que se impondrá tras el apagón analógico previsto para 2010. Los cambios se ven guiados por la convergencia tecnológica y también por la imperiosa necesidad de atajar ese gran lastre que ha significado tener que pensar hasta hace poco tiempo en una radiotelevisión del pasado. La televisión que ya deberíamos estar viviendo en presente continuo debe concebirse desde las potencialidades que abre la transformación digital y el desarrollo de estrategias multimedia.
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O'Keefe, Roger. "The “Right to Take Part in Cultural Life” Under Article 15 of the ICESCR." International and Comparative Law Quarterly 47, no. 4 (October 1998): 904–23. http://dx.doi.org/10.1017/s002058930006259x.
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The fans' representatives also had some thoughts on the televising of games and pay-per-view television. They proclaimed “the right of fans to watch football matches on television without having to pay extra, since they take place in public arenas which have been paid for by the citizens”.1
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Mixon, Franklin G., and Ashley R. Rice. "Legislative television: Public interest or public choice?" Atlantic Economic Journal 31, no. 4 (December 2003): 385. http://dx.doi.org/10.1007/bf02298497.
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Warapsari, Dhyayi, Lintang Ratri Rahmiaji, and Ade Armando. "KOMODIFIKASI SIARAN OLAHRAGA DI TELEVISI PUBLIK: STUDI KASUS LIGA PRIMER INGGRIS DI LPP TVRI." Interaksi: Jurnal Ilmu Komunikasi 10, no. 2 (December 7, 2021): 93–103. http://dx.doi.org/10.14710/interaksi.10.2.93-103.
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Sport and media have a long history of mutually beneficial relationship. Sport has become a commodity. Private televisions use sport programs to gain more profits through various methods, such as advertising and paid subscription. The potential benefits that media can gain from sport have driven the competition between broadcasters to get the broadcasting rights and thus drive the broadcasting rights fees higher every season. In 2019, TVRI with limited annual budget can acquire English Premier League broadcasting rights through partnership with Mola TV. TVRI as a public service broadcaster is not allowed to be profit-oriented like private televisions. This article investigates commodification of sport in Indonesian public television, TVRI, with study case of English Premier League. Data are collected from literature study and observation, then it is analyzed from a political economy perspective. It is found that TVRI use English Premier League to gain more audiences and profits through various sport programs - similar to private televisions, but with some limitations that public television has.
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Fuenzalida-Fernández, Valerio. "A New Meaning of Educational Television: from School to Audience’s Everyday Life." Comunicar 18, no. 36 (March 1, 2011): 15–24. http://dx.doi.org/10.3916/c36-2011-02-01.
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When analyzing the reception of different Latin American television genres, it can be seen how education is conceptualized –from the point of view of subjects inserted in their daily social practices– as more greatly linked to affectivity than to cognition, thus distinguishing it from knowledge generated through formal schooling. In this sense, television programming has come to be redefined as educational, based on the audiences’ needs in each of their different home environments. Reception studies show that various programs are frequently classified as «educational programs », including news/journalistic programs, entertainment and fictional shows. This presents an opportunity for organizations and professionals of television to contribute to the improvement in the quality of life of their audience members, especially children and adolescents. With regards to the specific challenges that Latin American public television face, it is necessary to shift the axis from propaganda/situational to audiovisual programs that take into account the verbalized needs of various research projects in the region, especially for social groups that suffer not only financial disadvantages, but also those dealing with insecurity and ethnic exclusion.A través del análisis de la recepción de diversos géneros televisivos latinoamericanos, surgen dimensiones de una conceptualización de lo educativo –desde el punto de vista de los sujetos instalados en sus prácticas sociales cotidianas– más vinculada a lo afectivo que a lo cognitivo, conocimiento generado por la escuela formal. En este sentido, la programación televisiva es «re-significada» como educativa a partir de las necesidades de las audiencias, situadas en ambientes hogareños particulares. Los estudios de recepción muestran la calificación recurrente como «programa educativo» hacia espacios que, según la denominación académico-profesional, son periodísticos, magazines de entretenimiento y ficcionales. Esto plantea una oportunidad para las organizaciones y profesionales de la televisión, en términos de contribuir a mejorar la calidad de vida de las personas y, especialmente, de los niños y adolescentes. En el contexto latinoamericano, los retos de la televisión pública se sitúan en desplazar el eje desde lo propagandístico/ coyuntural hacia procesos comunicacionales audiovisuales que den cuenta de las necesidades verbalizadas en diversas investigaciones en la región, especialmente para los grupos sociales que viven en condiciones de vida carenciadas, no solo en lo económico, sino también en ambientes marcados por la inseguridad y la exclusión étnica.
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Habibu, Richifa Aminu, and Ayodele Babatunde Joseph. "Public Perception of the Use of Television in Promoting Healthy Water Consumption." Aug-Sep 2023, no. 35 (September 19, 2023): 41–50. http://dx.doi.org/10.55529/jmcc.35.41.50.
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The Mass Media plays a crucial role in advocacy and publicity, influencing people's mindset and perceptions, thereby affecting their behavior. This study focuses on understanding the public perception of television's role in promoting healthy water consumption in Kaduna state, with the aim of managing solid incidents. Using the magic bullet theory of the press and a survey research design, 60 respondents were sampled through stratified sampling. The study revealed that television programs enlighten people about the importance of using hygienic water and increase their knowledge about water usage. It concludes that television is instrumental in achieving SDG goals by propagating the significance of healthy water consumption among Kaduna state residents. The study recommends that all media organizations in Kaduna state should implement similar programs to raise awareness about the importance of clean drinking water. Additionally, television programs should educate the public about water contamination and its effects on human health.
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Nuryanto Budisusila, Eka, Munaf Ismail, and Jenny Putri Hapsari. "Transfer Teknologi Optimalisasi Penggunaan Set Top Box (STB) Televisi Digital Bagi Masyarakat Kelurahan Gebangsari Kecamatan Genuk Kota Semarang." Journal of Approriate Technology for Community Services 5, no. 2 (July 20, 2024): 181–88. http://dx.doi.org/10.20885/jattec.vol5.iss2.art10.
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The Indonesian government's policy of deactivating analog television broadcasts and switching to digital television has an impact on people who are still used to enjoying analog television broadcasts. Moreover, many television devices owned by the public are still analog system televisions. Thus, people need devices that can convert analog signals into digital form and can be displayed on analog television. This device is better known as a Set Top Box (STB). Unfortunately, people only use STB to watch digital TV shows, while STB has many features that can be used to obtain information, communication tools and entertainment media. For this reason, it is necessary to transfer knowledge and technology to the community so that it can optimize the functions and features of the STB, then these activities are packaged in the form of Community Service. The results of the activity showed that the public was very enthusiastic in following and concerning to the presentation of information on STB features, proven by the large number of people who attended, reaching 93% of the invitations given, and the many questions asked during the discussion session.
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Dunleavy, Trish. "A Soap of Our Own: New Zealand's Shortland Street." Media International Australia 106, no. 1 (February 2003): 18–34. http://dx.doi.org/10.1177/1329878x0310600104.
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Shortland Street is a prime-time soap opera that launched on New Zealand television in 1992 and was created to meet a combination of commercial and ‘public service’ objectives. Shortland Street is institutionally and culturally significant as New Zealand's first attempt at daily drama production and one of the first major productions to follow New Zealand television's 1989 deregulation. Placing Shortland Street in the context of national television culture and within the genre of locally produced TV drama, this paper explores several key facets of the program, including: its creation as a co-production between public and private broadcasting institutions; its domestic role in a small television market; its relationships with New Zealand ‘identity and culture’; its application of genre conventions and foreign influences; and its progress — as a production that was co-developed by Grundy Television — in a range of export markets.
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Sunstein, Cass R. "Television and the Public Interest." California Law Review 88, no. 2 (March 2000): 499. http://dx.doi.org/10.2307/3481228.
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Kletchka, Dana Carlisle. "Museums, Libraries, and Public Television." Art Education 57, no. 4 (July 2004): 13–18. http://dx.doi.org/10.1080/00043125.2004.11653554.
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Huston, Aletha C., Bruce A. Watkins, and Dale Kunkel. "Public policy and children's television." American Psychologist 44, no. 2 (1989): 424–33. http://dx.doi.org/10.1037/0003-066x.44.2.424.
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d'Haenens, Leen. "Arts Programming on Public Television." European Journal of Communication 11, no. 2 (June 1996): 147–72. http://dx.doi.org/10.1177/0267323196011002001.
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Kellner, Douglas. "Public Access Television: Alternative Views." Humanity & Society 9, no. 1 (February 1985): 100–107. http://dx.doi.org/10.1177/016059768500900109.
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Abuzanouna, Bahjat. "Palestinian television and public participation." International Communication Gazette 77, no. 6 (July 30, 2015): 519–32. http://dx.doi.org/10.1177/1748048515597870.
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Phillips, T. Mark, Thomas A. Griffiths, and Norman C. Tarbox. "Public television efficiency versus diversity." Journal of Media Economics 4, no. 1 (March 1991): 19–33. http://dx.doi.org/10.1080/08997769109358201.
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Dayan, Daniel. "The peculiar public of television." Media, Culture & Society 23, no. 6 (November 2001): 743–65. http://dx.doi.org/10.1177/016344301023006004.
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Zanker, Ruth. "Commercial Public Service Children’s Television." European Journal of Communication 19, no. 4 (December 2004): 435–55. http://dx.doi.org/10.1177/0267323104047664.
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Hoynes, William. "Democracy, privatization and public television." Peace Review 11, no. 1 (March 1999): 33–39. http://dx.doi.org/10.1080/10402659908426228.
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Smythe, Dallas W. "Television Deregulation and the Public." Journal of Communication 39, no. 4 (December 1, 1989): 133–37. http://dx.doi.org/10.1111/j.1460-2466.1989.tb01059.x.
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Biliakova, A. V. "PRINCIPLES OF PUBLIC TELEVISION ADMINISTRATION." Actual problems of native jurisprudence, no. 2 (2023): 80–85. http://dx.doi.org/10.32782/39221473.
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Wilson, Tony. "Global Constructions of ‘Korupsi’ in a Local Public Sphere: A Cross-Cultural Malaysian Reception Study." Media International Australia 102, no. 1 (February 2002): 113–25. http://dx.doi.org/10.1177/1329878x0210200112.
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Audience responses to television are at the heart of sense-making in the public sphere. Research on viewers' readings of economic, political and social events in news programs, invariably constructed around the activities of ‘significant’ individuals, is of particular consequence for understanding the functioning of a democracy. This paper is a cross-cultural reception study of how audiences come to interpret the program genre of television news. In a process of comprehension characterised by fusing/feuding horizons of understanding the world, viewers playfully accommodate the meaning of programs in their everyday lives. Analysis of television's reception should be tested against audience activity. Theory must be corroborated. Drawing from a significant literature discussing the phenomenology of ludic experience, the article theorises trans-cultural reception of Western (British) television by Asian (Malaysian) viewers as seriously ‘playful’. Academic assertions are assessed as illuminating audience response.
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Halim, Syaiful, and Nuria Astagini. "Contra Commodification of Audiences in Reporting 212 Brotherhood Reunion in Jakarta." Idealogy Journal 6, no. 2 (September 1, 2021): 104–14. http://dx.doi.org/10.24191/idealogy.v6i2.303.
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On December 2, 2018 there was an event involving a mass of around five million people in the name of 212 Alumni Brotherhood Reunion. We observed broadcasts conducted by a number of televisions on December 2, 2018 as research instruments. The results showed that some television stations broadcast the reunion event live, while a number of television stations did not do live broadcast of the reunion event. According to the television journalistic perspective, the non-involvement of some television stations in 212 Alumni Brotherhood Reunion in Jakarta on December 2, 2018; the same as post-terror contra by television media. On this situation, the television stations managers neglecting their important role in disseminating information to the whole world; become an intermediary to set the agenda and tell important things for people, also then becomes a channel of interaction for all communication activities. In the end, television media managers became unnecessary to design and produce messages as desired by the public. Meanwhile, according to the commodification perspective, as its nature as a profit search engine, television media is obliged to treat messages as commodities that can please the public, invite advertisers, and extend media business. Profit is the "ideology" behind the production and distribution of media messages. In this context, the audience is treated as a commodity that must be offered to advertisers, by placing it in the segmentation, target, and positioning of a marketing activity, as well as market assets that can absorb advertised products.
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Lamuedra-Graván, María, and Tíscar Lara-Padilla. "How to educate the gaze and manufacture the news: the citizen in the BBC broadcast information." Comunicar 16, no. 31 (October 1, 2008): 145–52. http://dx.doi.org/10.3916/c31-2008-01-018.
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This article analyzes the strategies followed by the BBC channel to legitimize its role as public television through an approach to the citizens and a diversification of contents in order to face the challenge posed by the current fragmentation of audiences. The study is based on interviews with BBC news professionals about their concept of the public and their gaze on citizens. The aim of this paper is to identify ways to help TVE to face the challenge of its legitimating as public service television.El presente artículo analiza la estrategia de la BBC para legitimar su papel como televisión pública a través de un mayor acercamiento a los ciudadanos y una diversificación de los contenidos ante la creciente fragmentación de audiencias. El estudio se basa en una serie de entrevistas a profesionales de los servicios informativos de la BBC sobre su concepto de público y su mirada sobre los ciudadanos. El propósito de este estudio es identificar fórmulas que puedan ayudar a las televisiones públicas españolas a afrontar, en el actual contexto, el reto de su legitimación como televisión de servicio público.
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Smee, John, and Marilyn Lashley. "Public Television: Panacea, Pork Barrel, or Public Trust?" Political Science Quarterly 108, no. 1 (1993): 175. http://dx.doi.org/10.2307/2152502.
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CASADO CASADO, LUCÍA. "LA CONFIGURACIÓN DE LA TELEVISIÓN DE TITULARIDAD DEL ESTADO COMO SERVICIO PÚBLICO EN LA LEY 17/2006, DE 5 DE JUNIO, DE LA RADIO Y LA TELEVISIÓN DE TITULARIDAD ESTATAL." RVAP 80, no. 80 (April 1, 2008): 55–109. http://dx.doi.org/10.47623/ivap-rvap.80.2008.02.
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Este trabajo, tras analizar brevemente la evolución del servicio público de televisión en la legislación audiovisual, se centra en el estudio de la configuración de la televisión de titularidad del Estado como servicio público en el marco de la Ley 17/2006, de 5 de junio, de la radio y la televisión de titularidad estatal. Con esta finalidad, analiza, en primer lugar, la configuración de la radio y la televisión de titularidad estatal como servicio público esencial, el objeto de este servicio público y las obligaciones de servicio público que se derivan para la Corporación RTVE; y, en segundo lugar, los tres nuevos instrumentos que se incluyen en la Ley para la concreción de la función de servicio público: el mandato-marco (aprobado en
diciembre de 2007 por el Pleno del Congreso de los Diputados y por el Pleno del Senado), el contrato-programa y el sistema de contabilidad analítica. Lan honetan, ikus-entzunezkoen arloko legerian telebistaren zerbitzu publikoak izan duen bilakaera aztertzen da labur-labur. Ondoren aztertzen da Estatuaren irrati eta telebistari buruzko ekainaren 5eko 17/2006 Legearen esparruan nola dagoen eratuta Estatuaren telebista-zerbitzu publikoa. Horretarako, lehenbizi honako hau begiratzen da: Estatuaren irrati eta telebista nola dagoen eratuta funtsezko zerbitzu publiko gisa, zein den zerbitzu publiko horren helburua eta zerbitzu publiko horretatik RTVE Korporazioarentzat ondorioztatzen diren betebeharrak; eta, bigarrenik, zeintzuk diren zerbitzu publikoaren eginkizuna zehazte aldera lege horretan sartzen diren hiru tresna berriak, alegia, agindu-esparrua (Diputatuen Kongresuaren
Osokoak eta Senatuaren Osokoak 2007ko abenduan onartua), kontratu-egitasmoa eta kontabilitate analitikoko sistema. After a brief analysis of the evolution of the public service of television within the
broadcasting legislation, this work focuses on the study of the configuration of the television owned by the State as public service in the frame of the Act 17/2006 of June 5, on radio and television owned by the State. With this aim, it is firstly analyzed the configuration of the radio and television owned by the State as a essential public service, the scope of this public service and the obligations of this public service for the Spanish Broadcasting Corporation
(RTVE); and, secondly, the three new instruments included in the Act for the concreteness of the function of the public service: the frame-order (passed in December 2007 by the plenary session of the Congress of Deputies and of Senate), the programme-contract and the system of costs accounting.
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Kallioniemi, Noora, and Sami Hantula. "Bailataan ankarasti!" Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 34, no. 2-3 (September 8, 2021): 74–94. http://dx.doi.org/10.23994/lk.111162.
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Tarkastelemme uutisparodiaohjelma Frank Pappa Show’ta esimerkkinä 1990-luvun alun asiaviihteen ohjelmistosta, jota määrittävät uudenlainen faktan ja fiktion suhde sekä viihteellisen poliittisen julkisuuden syntyminen. Indieyhtiö Broadcasters Oy:n tuottama televisiosarja kommentoi ajantasaisesti lama-ajan murroksia, kuten piteneviä leipäjonoja ja kasvavaa työttömyyttä. Frank Pappa Show uudisti poliittisen viihteen kenttää nostamalla viimeisen asiallisuuden linnakkeen, uutiset, viihteen käytettäväksi ja totutti katsojat tulkitsemaan ironisia, satiirisia ja parodisia viestejä.Tämän kulttuurihistoriallisen tutkimuksen alkuperäislähteenä käytämme Frank Pappa Show’n jaksoja vuosilta 1991–1994 ja lisäksi ohjelmaan liittyvää lehdistökeskustelua. Näiden aineistojen avulla tarkastelemme kysymystä siitä, miten Frank Pappa Show’n televisuaalinen satiiri osallistui politiikasta käytävään julkiseen keskusteluun 1990-luvulla.Tarkastelemme keskustelun reunaehtoja, jotka kertovat ajan mediasta ja julkisesta keskustelukulttuurista. Frank Pappa Show toimii esimerkkinä uudesta television muotokielestä aikana, jolloin elokuvallinen ilmaisu ja musiikkivideoiden estetiikka levisivät televisioon. Nopeutunut televisiokerronta vaati katsojilta kykyä seurata muuttuvaa kerrontaa. Television arkipäiväistyminen johti spektaakkelimaistumiseen ja ohjelma kommentoi kriittisesti myös omaa mediaympäristöään.Avainsanat: mediahistoria, televisio, asiaviihde, satiiri, Frank PappaPolitical entertainment program Frank Pappa Show as a contemporary commentator on the 1990s recession in FinlandIn this article, we study the news parody program Frank Pappa Show as an example of how television programs of the 1990s that combine topicality and entertainment began to use reality-based audiovisual material as part of their programs. The relationship between fact and fiction changed and a new kind of political publicity emerged when the actions of politicians were mocked in a weekly carnivalistic television broadcast. The Frank Pappa Show commented on the upheavals of Finland's recession in the 1990s, such as rising unemployment. The Frank Pappa Show reshaped the field of political entertainment by raising the last fortress of objectivity, news, for entertainment use, and accustomed viewers to interpreting ironic, satirical, and parodic messages.As the original source for this cultural-historical research, we use episodes of the Frank Pappa Show from 1991 to 1994, as well as press discussions related to the program. Using these materials, we study how the program contributed to the public debate on politics in the 1990s.We study the boundaries of the debate, which tells about the media of the time and the culture of public debate. The Frank Pappa Show serves as an example of a new form of television at a time when cinematic expression and the aesthetics of music videos were spreading to television. Accelerated television narration required of its viewers the ability to follow changing narration. The mundane nature of television led to a taste for the spectacle, and the program also critically commented on its own media environment.Keywords: media history television, entertainment, satire, Frank Pappa
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Silvestri, Vito N. "Television’s Interface With Kennedy, Nixon, and Trump: Two Politicians and One TV Celebrity." American Behavioral Scientist 63, no. 7 (August 29, 2018): 971–1001. http://dx.doi.org/10.1177/0002764218784992.
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With the historical televised first presidential debates of John F. Kennedy and Richard M. Nixon, television made its national debut as a political influence. Television became a third player in the debates in the way it filmed the candidates. Kennedy and Nixon respectively served as models of effective and ineffective presentations of oneself on the electronic screen. Because of this event, “The Image” emerged as part of the sensibility for any public figure as well as an intrinsic part of the political lexicon. Kennedy, as President, also developed a model of his frequent usage of television as an outreach connection to the public. A few years later television became the dominant media when it presented the Vietnam War to the viewers’ living rooms. This sparked a series of protests not only anti-draft but from other movements: civil rights, black protest, student rights, women’s rights in a society that was becoming part of an unprecedented information age. Television not only reported these events, it repeated its visual imagery which helped to reinforce changing norms in our society. Fifty-five years later, Donald Trump, known for his television celebrity as well as his reputation as a successful businessman, became an unusual marker of reality about public tolerance and acceptance, largely helped by cable television and its effect after fifty-five years of viewers and the additional factor of hundreds of cable channels. Kennedy, Nixon and Trump serve as bookends for television’s prominent and definitely mediated influence on American history.
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Camacho-Ordóñez, Rafael. "Quality television: distinctiveness and audience." Comunicar 13, no. 25 (October 1, 2005): 29–32. http://dx.doi.org/10.3916/c25-2005-004.
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In the endless debate about quality television, we should first deal with the definition of quality, with its investigation and evaluation and with the exigible conditions to achieve it. From this point, we think that the key lies in the idea of audiences as a whole of citizens, not just as mere consumers or users. This simple affirmation gives place to very important consequences for the triple classical function of PSBs (Public Service Broadcasters), which is to inform, educate and entertain. Quality is assured always that PSB does its duty as a public service, to which it has been encomended. Thus, it must provide diversity and reach a broad audience, with a guarantee of respect to the principles subject to law. Additionally, society needs to be taught to watch television and to understand this media. En el inagotable debate sobre la televisión de calidad, se trataría primero de precisar qué es la calidad, cómo se debe investigar y evaluar, y qué condiciones son exigibles para asegurarla. A partir de ahí, creemos que la clave reside en la consideración del público como conjunto de ciudadanos, no como consumidores o usuarios. De esta simple declaración derivan consecuencias muy importantes para la triple función clásica de la televisión pública: informar, formar y entretener. El mejor exponente de la calidad es el cumplimiento de la misión de servicio público que tiene encomendada la televisión pública. Y para ello debe asegurar la diversidad y llegar a amplias audiencias, garantizando el respeto a los principios fijados por la ley. Es fundamental educar, enseñar a ver la televisión y a entender el medio.
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Charren, Peggy, Andrew Gelber, and Milton Arnold. "Media, Children, and Violence: A Public Policy Perspective." Pediatrics 94, no. 4 (October 1, 1994): 631–37. http://dx.doi.org/10.1542/peds.94.4.631.
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Pediatrician advocacy concerning the impact of television violence on children should be clearly grounded in the holistic concern of pediatricians with children's health and well-being. Pediatricians should not promote legislative or regulatory efforts to reduce children's exposure to television violence by proscribing certain kinds of program content. Instead, priority should be given to strategies that improve the content and quality of television programming viewed by children and that enhance the viewing choices made by children and their families. Such strategies include providing parent education and pressing for strong implementation of the Children's Television Act. Pediatricians should dedicate their efforts to increasing the awareness of broadcasters and the general public, acting as educators and persuaders. In order to advocate and educate effectively, pediatricians need to amplify their own knowledge and understanding of television-related issues and their significance. Finally, because children's exposure to television violence is but one part of a larger social context, pediatricians concerned with this issue should devote significant attention to related problems that diminish the health and well-being of children.
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Dehghan, Ali Reza. "Media and Public Sphere in Iran." Asian Journal of Social Science 37, no. 2 (2009): 256–73. http://dx.doi.org/10.1163/156853109x415372.
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AbstractThe Habermasian notion of the public sphere is an independent area free of government intervention. In the Iranian case, the ownership and management of radio and television is with the government. Therefore, no programme can harshly criticise basic government policies. There are news sections, news reports, political commentaries, and interviews with political experts, first, second, or third ranked politicians and government officials, or even interviews with the public in which administrative inefficiencies, commodity shortages and even people's complaints and grievances are discussed. However, television productions, whether political, economic or cultural, cannot be oppositional. To change national television from being (mostly) propagandistic in nature to more public sphere in orientation needs time and more economic and political changes. Unlike television, in Iran we do not categorize the function of newspapers as a monologtype or one-way communication. Reformist papers do present alternative political and economic views. Nonetheless, financial and political problems such as opposing expectations and demands from readers and the judiciary system, low readership figures, a limited advertising market, and the shortage of imported and domestically produced paper prevent them from functioning as an effective and influential part of the Iranian public sphere. Recently, however, there have been some changes in the broadcast policy of Iranian television in terms of more channels, more dialog-type content, and an apparently non-biased and neutral position regarding reformists and conservatives. To assess how this new policy may change national television from (mostly) a propaganda type to a public sphere type requires more time and reliable evidence still not available.