Journal articles: 'Realism on television'

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Rickenbach, M. "Television programme's realism." BMJ 309, no. 6947 (July 9, 1994): 132. http://dx.doi.org/10.1136/bmj.309.6947.132.

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Ward-Griffin, Danielle. "Realism Redux: Staging ‘Billy Budd’ in the Age of Television." Music and Letters 100, no. 3 (August 1, 2019): 447–80. http://dx.doi.org/10.1093/ml/gcz064.

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Abstract Although the term ‘realism’ is frequently deployed in discussing opera productions, its meanings are far from self-evident. Examining four stage and screen productions of Benjamin Britten’s Billy Budd (1951–66), this article traces how this mode was reworked through television in the mid-twentieth century. Linking theatrical and televisual developments in the UK and the USA, I demonstrate how television’s concerns for intimacy and immediacy guided both the 1951 premiere and the condensed 1952 NBC television version. I then show how challenges to the status quo, particularly the ‘angry young men’ of British theatre and the backlash against naturalism on television, spurred the development of a revamped ‘realistic’ style in the 1964 stage and 1966 BBC productions of Billy Budd. Beyond Billy Budd, this article explores how the meanings of realism changed during the 1950s and 1960s, and how they continue to influence our study of opera performance history.

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Longhurst, Brian. "Realism, Naturalism and Television Soap Opera." Theory, Culture & Society 4, no. 4 (November 1987): 633–49. http://dx.doi.org/10.1177/026327687004004004.

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This paper argues that the concept of soap-opera realism, as developed in some of the recent critical writing on soap opera, is central to the understanding of this form of television drama. However, in its present form, this concept is insufficiently nuanced. In developing the concept, the work of Raymond Williams is drawn upon to delineate three sub-types of soap-opera realism: soap-opera realism in the subjunctive mode, soap-opera realism in the indicative mode, and soap-opera naturalism. The latter is then discussed in detail with particular attention being paid to Coronation Street. In the course of this analysis, two key naturalistic elements in Coronation Street are considered: the nature of living spaces and the connection of character to environment.

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Dickason, Renée. "Capturing the ‘Real’ in British Television Fiction: Experiments in/of Realism— An Abiding and Evolving Notion." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 3 (May 1, 2011): 82. http://dx.doi.org/10.12681/syn.16922.

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The realistic mode of depiction has been an abiding feature of British television fictions intended for British audiences ever since the rebirth of the medium after the Second World War. After briefly evoking the origins of realism in British audio-visual media and some of the reasons for its continued popularity with both viewers and broadcasters, this article examines how the constant challenge of “putting ‘reality’ together” (Schlesinger) has been met by innovation and experiment in differing social, political, and economic climates since the mid-1950s and how the perception of television realism itself has evolved. In the context of reality television and today’s post-modern hybrids which blur the distinctions between fact and fiction, entertainment and information, this article concludes with a reflection on whether British television’s (re)creation of reality is an end in itself or whether it is a means of achieving other objectives.

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yongjin won and 강신규. "'Gamification' and 'Gamic Realism' on Television." Journal of Popular Narrative ll, no. 30 (December 2013): 323–63. http://dx.doi.org/10.18856/jpn.2013..30.010.

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Corner, J. "Presumption as theory: 'realism' in television studies." Screen 33, no. 1 (March 1, 1992): 97–102. http://dx.doi.org/10.1093/screen/33.1.97.

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Ugalde, Leire, Juan-Ignacio Martínez-de-Morentín, and Concepción Medrano-Samaniego. "Adolescents’ TV viewing patterns in the digital era: A cross-cultural study." Comunicar 25, no. 50 (January 1, 2017): 67–76. http://dx.doi.org/10.3916/c50-2017-06.

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The deep-rooted changes that have taken place in the media world over recent years have brought about changes in both television itself and in the relationships established with this medium. Consequently, it is important to understand how young people watch television today, in order to design strategies to help them develop the capacities they require to ensure responsible use. With this aim, the present study analyzes the television viewing habits of 553 adolescents (267 boys and 286 girls), aged between 14 and 19, from Ireland, Spain and Mexico. Through the implementation of two questionnaires (CH-TV 0.2 and VAL-TV 0.2), four viewing patterns were detected that can be generalized to all the contexts studied. Two of these patterns clearly distinguish between boys (critical-cultural) and girls (social-conversational), with boys viewing more cultural and information-oriented programs, and girls tending to watch shows with a view to talking about them later with their friends. Two of the variables which best distinguish between the other two patterns identified are the perception of a conflictive climate (conflictive-passive viewing) and the perception of responsible parental mediation (committed-positive viewing). Moreover, preferred television genre was found to be the factor with the greatest discriminatory power in relation to these patterns, while time spent watching television, perceived realism and cultural context were not found to be significant. Los profundos cambios acaecidos en la configuración del contexto mediático en los últimos tiempos, han generado cambios tanto en el medio televisivo como en las relaciones establecidas con él. Es por ello que, resulta necesario conocer cómo consumen la televisión los jóvenes actuales en aras de crear estrategias que ayuden a capacitarlos en la utilización de este medio. Con este fin, en esta investigación se han estudiado las pautas de consumo televisivo de 553 adolescentes (267 chicos y 286 chicas) de Irlanda, España y México, de edades comprendidas entre 14 y 19 años. Mediante la aplicación de dos cuestionarios (CH-TV 0.2 y VAL-TV 0.2), se han podido detectar cuatro pautas de consumo generalizables a todos los contextos estudiados. Dos de estas pautas, diferencian el consumo entre hombres (Crítico-Cultural) y mujeres (Social-Conversacional), siendo ellos los que realizan un consumo más cultural e informativo y ellas, más dirigido a entablar conversación con sus amistades. En lo que a las otras dos pautas se refiere, la percepción de un clima conflictivo (consumo Conflictivo-Pasivo) o la de una mediación responsable (consumo Comprometido-Positivo) son algunas de las variables que marcan las diferencias. Además, se han detectado aquellos factores que presentan mayor poder discriminativo en la configuración de estas pautas, siendo la preferencia mostrada hacia los géneros televisivos el factor más discriminante entre los estudiados. Sin embargo, la permanencia, el realismo percibido y el contexto cultural no han resultado ser determinantes.

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Cho, Hyunyi, Kari Wilson, and Jounghwa Choi. "Perceived Realism of Television Medical Dramas and Perceptions About Physicians." Journal of Media Psychology 23, no. 3 (January 2011): 141–48. http://dx.doi.org/10.1027/1864-1105/a000047.

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This study investigated whether and how dimensions of perceived realism of television medical dramas are linked to perceptions of physicians. The three dimensions of perceived realism were considered: plausibility, typicality, and narrative consistency. Data from a survey of college students were examined with confirmatory factor analyses and hierarchical regression analyses. Across the three dramas (ER, Grey’s Anatomy, and House), narrative consistency predicted positive perceptions about physicians. Perceived plausibility and typicality of the medical dramas showed no significant association with perceptions about physicians. These results illustrate the importance of distinguishing different dimensions of perceived realism and the importance of narrative consistency in influencing social beliefs.

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Forrest, Tara. "A Realism of Protest: Christoph Schlingensief's Television Experiments." Germanic Review: Literature, Culture, Theory 87, no. 4 (November 2012): 325–44. http://dx.doi.org/10.1080/00168890.2012.734753.

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Goostree, Laura. "The Monkees and the Deconstruction of Television Realism." Journal of Popular Film and Television 16, no. 2 (April 1988): 50–58. http://dx.doi.org/10.1080/01956051.1988.9943383.

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Sexton, Max. "The Origins of Gritty Realism on British Television: Euston Films and Special Branch." Journal of British Cinema and Television 11, no. 1 (January 2014): 23–40. http://dx.doi.org/10.3366/jbctv.2014.0190.

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Euston Films was the first film subsidiary of a British television company that sought to film entirely on location. To understand how the ‘televisual imagination’ changed and developed in relationship to the parent institution's (Thames Television) economic and strategic needs after the transatlantic success of its predecessor, ABC Television, it is necessary to consider how the use of film in television drama was regarded by those working at Euston Films. The sources of realism and development of generic verisimilitude found in the British adventure series of the early 1970s were not confined to television, and these very diverse sources both outside and inside television are well worth exploring. Thames Television, which was formed in 1968, did not adopt the slickly produced adventure series style of ABC's The Avengers, for example. Instead, Thames emphasised its other ABC inheritance – naturalistic drama in the form of the studio-based Armchair Theatre – and was to give the adventure series a strong London lowlife flavour. Its film subsidiary, Euston Films, would produce ‘gritty’ programmes such as the third and fourth series of Special Branch. Amid the continuities and tensions between ABC and Thames, it is possible to discern how economic and technological changes were used as a cultural discourse of value that marks the production of Special Branch as a key transformative moment in the history of British television.

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Khitrov, Arsenii. "Assessing the Realism of Police Series: Audience Responses to the Russian Television Series Glukhar’." Journal of Communication Inquiry 43, no. 1 (May 11, 2018): 6–24. http://dx.doi.org/10.1177/0196859918774799.

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This study builds upon and expands existing research on the perceived realism of media texts. I study debates that took place across several online forums about Russia’s most famous police series Glukhar’ at a time during which police legitimacy in many countries, including Russia, was in crisis. I address the questions of how media users assess the realism of Glukhar’ online. I outline 13 means of realism evaluation that media users employ, offering a more systematic and detailed model than those proposed by existing studies. I argue that media users’ concern with realism of fictional texts signals their longing for interpretations of the social issues which they think the text refers to. I conclude that media users indeed refer to the real police when they discuss the fictional police, and I identify four patterns in these discussions. I hypothesize that the openness of digital communication might motivate media users to evaluate a media text’s realism because they might believe that collectively they will be able to do this accurately.

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Punyanunt-Carter, Narissra M. "The Perceived Realism of African American Portrayals on Television." Howard Journal of Communications 19, no. 3 (July 29, 2008): 241–57. http://dx.doi.org/10.1080/10646170802218263.

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McConnell, Robert R. "Disappearance of the Truth and Realism in Television Criticism." Journal of Mass Media Ethics 5, no. 3 (September 1990): 191–202. http://dx.doi.org/10.1207/s15327728jmme0503_4.

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Zborowski, James. "Notes towards a formal and social poetics of television drama." Journal of Popular Television 10, no. 2 (June 1, 2022): 213–24. http://dx.doi.org/10.1386/jptv_00080_1.

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This article seeks to build a bridge between approaches to television drama that explore form and style, and those that explore realism and representation. It proposes questions which can be applied to any television drama, and reveal meaningful distinctions. The argument is developed through comparative analysis of Sally Wainwright’s Happy Valley (2014‐present) and long-running British soap opera Coronation Street (1960‐present).

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Hewett, Richard. "Acting in the New World: Studio and Location Realism in Survivors." Journal of British Cinema and Television 10, no. 2 (April 2013): 321–39. http://dx.doi.org/10.3366/jbctv.2013.0137.

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While the development of British television drama has been well charted, comparatively little work has been conducted with regard to the medium's impact on acting style. This article is intended to address that lack, evolving a framework of ‘studio realism’ and ‘location realism’ to examine how changes in production can affect acting in television drama, using the BBC series Survivors (1975–7) as a case study. Originally produced along the traditional Corporation lines of filmed location work followed by rehearsal at the purpose-built Acton rooms (typically two weeks for a 50-minute episode of drama) and two days of studio recording at Television Centre, after its initial seven episodes the programme switched to an all-location model using Outside Broadcast video cameras. Instead of preparing in a separate space, the cast adopted an on-location rehearse/record process, a template that has endured, with certain modifications, to the present day. By employing a combination of original cast interviews and textual analysis, I examine what effects this altered mode of production had on acting, as pre-planned, ‘in continuity’, multi-camera studio work – itself a remnant of the live process imported from the stage in the 1930s – began to give way to the out-of-sequence, single-camera model – in which performances are evolved almost entirely on site – which predominates today. In this way the conditions and effects of studio and location realism are exemplified and investigated in an attempt to make an opening contribution to the hitherto largely neglected field of acting for television drama.

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Liarou, Eleni. "British Television's Lost New Wave Moment: Single Drama and Race." Journal of British Cinema and Television 9, no. 4 (October 2012): 612–27. http://dx.doi.org/10.3366/jbctv.2012.0108.

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The article argues that the working-class realism of post-WWII British television single drama is neither as English nor as white as is often implied. The surviving audiovisual material and written sources (reviews, publicity material, biographies of television writers and directors) reveal ITV's dynamic role in offering a range of views and representations of Britain's black population and their multi-layered relationship with white working-class cultures. By examining this neglected history of postwar British drama, this article argues for more inclusive historiographies of British television and sheds light on the dynamism and diversity of British television culture.

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Porto, Mauro Pereira. "Realism and Politics in Brazilian Telenovelas." Media International Australia 106, no. 1 (February 2003): 35–45. http://dx.doi.org/10.1177/1329878x0310600105.

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Telenovelas have been central to the constitution and development of Latin American cultures, becoming the most popular genre of television broadcasting. In the Brazilian case, the melodramatic serials soon became the basis for the commercial success of TV Globo, the dominant network. The prime-time telenovelas of TV Globo are currently watched in almost 50 per cent of the dwellings with TV sets every night. This paper argues that this popularity is specific to the Brazilian industry. The realism and treatment of political issues in the genre is traced to the role of scriptwriters.

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Piper, H. "Understanding Reality Television * Reality TV - Audiences and Popular Factual Television * Reality TV - Realism and Revelation." Screen 47, no. 1 (January 1, 2006): 133–38. http://dx.doi.org/10.1093/screen/hjl012.

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Cooke, Lez. "A ‘New Wave’ in British Television Drama." Media International Australia 115, no. 1 (May 2005): 23–32. http://dx.doi.org/10.1177/1329878x0511500104.

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In recent years, American television drama series have been celebrated as ‘quality television’ at the expense of their British counterparts, yet in the 1970s and 1980s British television was frequently proclaimed to be ‘the best television in the world’. This article will consider this critical turnaround and argue that, contrary to critical opinion, the last few years have seen the emergence of a ‘new wave’ in British television drama, comparable in its thematic and stylistic importance to the new wave that emerged in British cinema and television in the early 1960s. While the 1960s new wave was distinctive for its championing of a new working-class realism, the recent ‘new wave’ is more heterogeneous, encompassing drama series such as This Life, Cold Feet, The Cops, Queer as Folk, Clocking Off and Shameless. While the subject-matter of these dramas is varied, collectively they share an ambition to ‘reinvent’ British television drama for a new audience and a new cultural moment.

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Lacey, Stephen. "‘Blood Red Roses’: John McGrath and Lukácsian Realism." New Theatre Quarterly 18, no. 4 (November 2002): 325–33. http://dx.doi.org/10.1017/s0266464x0200043x.

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John McGrath spurned the easy road to television fame that seemed open to him early in his career, but remained concerned throughout his life to develop the creative potential of the medium, and to exploit what made it distinctive from the forms of film and theatre in which he was also engaged. Unlike many of his contemporaries, McGrath's work was thus underpinned by a strong sense of the differing qualities of the performing media, and nowhere is this more evident than in Blood Red Roses, which began its life as a stage play for 7:84 Scotland in 1980, was adapted into a three-part television serial for Channel 4 in 1985, and re-edited for the version directed by McGrath for Freeway Films. In exploring the differing sensibilities and structures of the different versions, Stephen Lacey draws on ideas – notably the concept of realism – as formulated by George Lukács largely in relation to yet another genre, that of the novel, in which he often found himself in conflict with the ideas of Bertolt Brecht. Stephen Lacey is Principal Lecturer in the Department of Contemporary Arts at Manchester Metropolitan University, and co-director of a major AHRB-funded research project, ‘Cultures of British TV Drama: 1960–82’.

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Panos, Leah. "Realism and Politics in Alienated Space: Trevor Griffiths's Plays of the 1970s in the Television Studio." New Theatre Quarterly 26, no. 3 (August 2010): 273–86. http://dx.doi.org/10.1017/s0266464x10000461.

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The television studio play is often perceived as a somewhat compromised, problematic mode in which spatial and technological constraints inhibit the signifying and aesthetic capacity of dramatic texts. Leah Panos examines the function of the studio in the 1970s television dramas of socialist playwright Trevor Griffiths, and argues that the established verbal and visual conventions of the studio play, in its confined and ‘alienated’ space, connect with and reinforce various aspects of Griffiths's particular approach and agenda. As well as suggesting ways in which the idealist, theoretical focus of the intellectual New Left is reflexively replicated within the studio, Panos explores how the ‘intimate’ visual language of the television studio allows Griffiths to create a ‘humanized’ Marxist discourse through which he examines dialectically his dramatic characters' experiences, ideas, morality, and political objectives. Leah Panos recently completed her doctoral thesis, ‘Dramatizing New Left Contradictions: Television Texts of Ken Loach, Jim Allen, and Trevor Griffiths’, at the University of Reading and is now a Postdoctoral Researcher on the AHRC funded project, ‘Spaces of Television: Production, Site and Style’, which runs from July 2010 to March 2014.

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Pires de Sá, Fernanda. "Connected Co-viewing on Facebook: A Brazilian Telenovela and the Perception of Media Realism." Television & New Media 19, no. 7 (November 22, 2017): 646–59. http://dx.doi.org/10.1177/1527476417741672.

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Co-viewing refers to the practice of sitting together in front of a TV set, watching and making meaning from television content. New media amplifies the possibilities for co-viewing, by allowing people to do it virtually. This study explores the reflexive perception of media realism that emerged when Facebook users engaged in connected co-viewing in two unofficial Facebook groups dedicated to the Brazilian prime-time telenovela Babilônia. The series’ controversial plot led to political discussions and prompted debate where viewers frequently used their perceptions of realism to counter the notion of media effects.

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Hayward, Keith J., and Steve Hall. "Through Scandinavia, Darkly: A Criminological Critique of Nordic Noir." British Journal of Criminology 61, no. 1 (July 15, 2020): 1–21. http://dx.doi.org/10.1093/bjc/azaa044.

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Abstract Nordic noir is a popular crime genre associated with a region (Scandinavia), a narrative style (unpretentious/socially critical) and a particular aesthetic look (dark/foreboding). Renowned for its psychologically complex characterization and gloomy Mise-en-scène, and spanning best-selling crime fiction, film, and globally successful television drama, Nordic noir has mushroomed from regional niche market to international phenomenon in little more than a decade. A review of both popular and academic accounts of the genre suggest that much of Nordic noir’s appeal comes from its supposed ‘gritty’ or ‘realist’ account of Scandinavian society. This paper, however, adopts a different perspective. Drawing on cultural criminology, ultra-realism and Lacanian psychoanalytic theory, we argue that, rather than accurately reflecting the complex social and political problems currently confronting late modern Scandinavian welfare societies, Nordic noir has lost its grip on realism and any meaningful association with actual/established Scandinavian values. Instead, Nordic noir is now functioning as a displacement narrative, a form of cultural expression that allows artists, producers and their audiences to push the region’s social problems outside the realm even of the Imaginary.

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Busselle, Rick W. "Television realism measures: The influence of program salience on global judgments." Communication Research Reports 20, no. 4 (September 2003): 367–75. http://dx.doi.org/10.1080/08824090309388836.

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Belling, Catherine. "Reading The Operation: Television, Realism, and the Possession of Medical Knowledge." Literature and Medicine 17, no. 1 (1998): 1–23. http://dx.doi.org/10.1353/lm.1998.0010.

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Williams, James S. "The Lost Boys of Baltimore: Beauty and Desire in the Hood." Film Quarterly 62, no. 2 (2008): 58–63. http://dx.doi.org/10.1525/fq.2008.62.2.58.

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Abstract This article argues that despite the omnipresence of homophobia relayed linguistically and thematically in The Wire, the show also includes some remarkable instances of male homoeroticism in the way it visualizes ““cinematically”” its black male characters. The result is a groundbreaking exploration of the relations between race, television realism, and spectatorship.

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Woods, Faye. "Telefantasy Tower Blocks: Space, Place and Social Realism Shake-ups in Misfits." Journal of British Cinema and Television 12, no. 2 (April 2015): 229–44. http://dx.doi.org/10.3366/jbctv.2015.0259.

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This article considers the ways in which British youth telefantasy Misfits (E4, 2009–13) takes up and makes strange urban spaces familiar from social-realist narratives. Filmed on the sprawling East London estate, Thamesmead, the programme chronicles a group of young offenders who are given powers by a freak storm, turning them into ‘ASBO superheroes’. Misfits depends on its British urban landscapes for the assertion of its ‘authenticity’ within British youth television, using spaces and landscapes familiar from urban youth exploitation cinema and television's narratives of the underclass. After situating the series within existing cultural discourses and recent developments in social-realist representations, the article explores how Misfits disrupts what have become signifiers for the ‘real’ – the brutalism of housing estates, the grey of the concrete and sky – by making them strange, turning them into telefantasy. The series presents the estate as an uncanny place: the domestic, social-realist world shifted into a fantastical space by the storm. Through close analysis, this article explores how the familiar spaces become skewed and unsettling to match our protagonists' isolation, shifting bodies and scrambled sense of self.

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Busselle, Rick W. "Television Exposure, Perceived Realism, and Exemplar Accessibility in the Social Judgment Process." Media Psychology 3, no. 1 (February 2001): 43–67. http://dx.doi.org/10.1207/s1532785xmep0301_03.

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Jermyn, Deborah. "Labs and slabs: Television crime drama and the quest for forensic realism." Studies in History and Philosophy of Science Part C: Studies in History and Philosophy of Biological and Biomedical Sciences 44, no. 1 (March 2013): 103–9. http://dx.doi.org/10.1016/j.shpsc.2012.09.006.

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García-Mainar, Luis M. "Reality matters: Transnational realist crime film and television in Spain." Studies in Spanish & Latin-American Cinemas 16, no. 3 (September 1, 2019): 363–81. http://dx.doi.org/10.1386/slac_00004_1.

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This article argues that contemporary Spanish crime film and television has adapted to an economic crisis and has embraced a transnational crime film and television ‘realism’, introspection and pathos that reconciles commercial success with the cultural need to address Spain’s recent history. El niño/The Kid (Monzón, 2014), La isla mínima/Marshland (Rodríguez, 2014), El Príncipe/The Prince (Telecinco, 2014–16) and Mar de plástico/Sea of Plastic (Antena 3, 2015–16) represent an attempt to reach out to audiences by gaining international recognition for Spanish audio-visual productions and honouring local issues and spaces. Their diverse configurations point to the country’s ambiguity about its historical legacy and suggest the emergence of a new, gentler version of Spanish nationalism.

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Beswick, Katie. "Capitalist realism: Glimmers, working-class authenticity and Andrea Dunbar in the twenty-first century." International Journal of Media & Cultural Politics 16, no. 1 (March 1, 2020): 75–89. http://dx.doi.org/10.1386/macp_00016_1.

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This article thinks through how registers of ‘the real’ have operated in working-class representations, from social realism (in film, theatre, drama and soap opera) to reality television and appeals to ‘authenticity’ in publicity and marketing materials for cultural products purporting to represent the working class. It argues that the ubiquity of ‘the real’ in representations of working-class experience is one way in which Fisher’s ‘capitalist realism’ asserts itself. The article argues that experiments with form and intertextuality can offer ‘glimmers’ through which slippages in claims to absolute reality are revealed. It explores the possibility for such ‘glimmers’ in experimentations with Andrea Dunbar’s work in the twenty-first century, reasserting the importance of form in dismantling the neo-liberal political project.

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Pohan, Syafruddin. "The Relationship of Watching Television with the Needs of High School Students in Medan (a Study with the Paradigm of Critical Realism)." Talenta Conference Series: Local Wisdom, Social, and Arts (LWSA) 1, no. 1 (October 17, 2018): 110–18. http://dx.doi.org/10.32734/lwsa.v1i1.151.

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This study aimed to get a more specific description of the relationship to watch television with the needs of the school. This study used the paradigm of "critical realism" which tried to reveal the fact that on the surface with the (quantitative approach) the reality of the meaning expressed (qualitative) or also called mix research. The respondents/informants were middle and high school students in Medan. There were 49 people set out in purposively. The theory was the theory of cognitive dissonance consistency realm of Leon Festinger and refined the theory of "low and high dissonance" Cotton and Hieser. Quantitative data were analyzed by correlational perform asymmetrical correlation models. Qualitative data were analyzed using analytical models categorization Neuman. The results included (1) watching television set or selected to enhance the learning needs, increase knowledge, hang and support future; (2) the respondent/informant categories including "high disonance" which rejected a television show not suitable for the purpose of learning and increasing knowledge; (3) the respondent/informant was in continuum "consistent" and "inconsistent" was connected with the spectacle on television. This may be because they were still subject to change from time to time.

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Dorr, Aimée, Peter Kovaric, and Catherine Doubleday. "Age and content influences on children's perceptions of the realism of television families." Journal of Broadcasting & Electronic Media 34, no. 4 (September 1990): 377–97. http://dx.doi.org/10.1080/08838159009386751.

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Busselle, Rick W., and Bradley S. Greenberg. "The Nature of Television Realism Judgments: A Reevaluation of Their Conceptualization and Measurement." Mass Communication and Society 3, no. 2-3 (August 2000): 249–68. http://dx.doi.org/10.1207/s15327825mcs0323_05.

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Fabiszak, Jacek. "Sex-speare vs. Shake-speare: On Nudity and Sexuality in Some Screen and Stage Versions of Shakespeare’s Plays." Text Matters, no. 3 (November 1, 2013): 203–18. http://dx.doi.org/10.2478/texmat-2013-0035.

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The article attempts to address the issue of nudity and eroticism in stage and screen versions of Shakespeare’s plays. Elizabethan theatrical conventions and moral and political censorship of the English Renaissance did not allow for an explicit presentation of naked bodies and sexual interactions on stage; rather, these were relegated to the verbal plane, hence the bawdy language Shakespeare employed on many occasions. Conventions play a significant role also in the present-day, post-1960s and post-sexual revolution era, whereby human sexuality in Western culture is not just alluded to, but discussed and presented in an open manner. Consequently, nudity on stage and screen in versions of Shakespeare’s plays has become more marked and outspoken. Indeed, in both filmic and TV productions as well as stage performances directors and actors more and more willingly have exposed human body and sexuality to the viewer/spectator. My aim is to look at such instances from the perspective of realism and realistic conventions that the three media deploy and the effect nudity/sex can have on the recipient. The conclusion is that theatre is most conventional and stark realism and directness of the message need to be carefully dosed. Similarly to the theatre, television, more specifically television theatre, is, too, a most direct genre, as television is inherently a live medium, the broadcasts of which occur here and now, in the present tense (ideally). Film is markedly different from the two previous forms of art: it is narrated in the past tense, thus creating a distance between what is shown and the viewer, and allowing for more literalness. Naturally, particular cases discussed in the article go beyond these rather simple divisions.

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Press, Andrea. "Class and gender in the hegemonic process: class differences in women's perceptions of television realism and identification with television characters." Media, Culture & Society 11, no. 2 (April 1989): 229–51. http://dx.doi.org/10.1177/016344389011002006.

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Andersen, Iben Engelhardt. "Kirurgiske kærtegn." K&K - Kultur og Klasse 43, no. 120 (December 30, 2015): 185–206. http://dx.doi.org/10.7146/kok.v43i120.22988.

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This article examines contemporary American medical television dramas and their intersections with 19th century literary realism asking how technical language and sentimental speech are connected in these cultural representations of illness and medical discourse. I argue that they share a common effort of medical realism: Questions of medical knowledge, diagnosis and the delimitations of the normal and the pathological not only inform the thematic content of these genres, but also mark the narrative techniques of description, characterization and imagery. Because the rational professionalism, since the founding of modern medical science, carries with it a specific truth privilege, it presents itself not only as the possibility for medical treatment, but also as an answer to our existential troubles. I consider this double authority of medical practice and social therapy a model for the medical realism at play in modern hospital dramas. They borrow the scientific authority of medicine in order to present characters who are first and foremost bodies and who are therefore potentially pathological. Furthermore they borrow the interpretive authority of medicine to develop a diagnostics, which can determine the normal and the pathological on a social scale.

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Berg, Miriam. "The interplay between authenticity, realism and cultural proximity in the reception of Turkish drama serials among Qatari audiences." Journal of Popular Television 10, no. 1 (March 1, 2022): 21–40. http://dx.doi.org/10.1386/jptv_00068_1.

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This article explores how young Qatari audiences perceive authenticity in Turkish television dramas. The concepts of authenticity and realism are used as analytical tools to examine empirical findings from twenty focus group discussions with students, in 2016 and 2017. The results reveal that young Qataris see Turkish serials as offering a more authentic representation of real life than local and regional television serials. Although Turkish drama serials do not provide a window into actual life within Turkish society, they are perceived as offering a realistic depiction of characters and storylines representing Turkey’s social life and culture. This article establishes that Turkish serials’ dubbing into a colloquial Syrian dialect has heightened audience experience of authenticity. The fact that Turkish dramas were created against the backdrop of a Muslim country with significant ethnic and cultural similarities further elevated the Arab audiences’ perception of authenticity.

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Rosen, Philip. "Nation and Anti-Nation: Concepts of National Cinema in the "New" Media Era." Diaspora: A Journal of Transnational Studies 5, no. 3 (December 1996): 375–402. http://dx.doi.org/10.3138/diaspora.5.3.375.

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[M]y knowledge of movies, pictures, or the idea of movie-making, was strongly linked to the identity of a nation. That’s why there is no French television, or Italian, or British, or American television. There can be only one television because it’s not related to nation. It’s related to finance or commerce. Movie-making at the beginning was related to the identity of the nation and there have been very few ―national‖ cinemas. In my opinion there is no Swedish cinema but there are Swedish movie-makers—some very good ones, such as Stiller and Bergman. There have been only a handful of cinemas: Italian, German, American and Russian. This is because when countries were inventing and using motion pictures, they needed an image of themselves. The Russian cinema arrived at a time they needed a new image. And in the case of Germany, they had lost a war and were completely corrupted and needed a new idea of Germany. At the time the new Italian cinema emerged Italy was completely lost—it was the only country which fought with the Germans, then against the Germans. They strongly needed to see a new reality and this was provided by neo-realism. Today, if you put all these people in one so-called ―Eurocountry,‖ you have nothing; since television is television, you only have America. (Jean-Luc Godard in conversation with Colin MacCabe [Petrie 98] )

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Have, Iben. "The musicalized soundtracks of Armadillo. Emotional realism and real emotions." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 2, no. 1 (April 13, 2012): 155–70. http://dx.doi.org/10.7146/se.v2i1.5196.

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“To you it’s film, to them it’s reality” is the translated poster headline of the Danish war documentary Armadillo (Janus Metz, May 2010), a much-debated Cannes award-winning film that follows Danish soldiers stationed in Afghanistan. The article uses this headline as a framework for analyzing, comparing and discussing the film’s “musicalized” soundtracks on various media platforms (cinema, YouTube, television, DVD), and it argues that these soundtracks contribute to the viewer’s experience of emotional realism, as well as to an experience of the emotional reality – the soldiers’ or the viewer’s own. The political, journalistic and in particular aesthetic ambitions of producers and directors have contributed to developing Danish documentary films into a successful brand within the last decade. Using examples from the public reception of and debate on Armadillo, the article discusses how this development may have led to an increased emphasis on the emotional impact of musicalized soundtracks and a new premise for documentary reception.

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Wood, Helen. "Three (Working-class) Girls: Social Realism, the ‘At-risk’ Girl and Alternative Classed Subjectivities." Journal of British Cinema and Television 17, no. 1 (January 2020): 70–90. http://dx.doi.org/10.3366/jbctv.2020.0508.

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This article focuses on the BBC1 three-part drama Three Girls, broadcast in July 2017, which dramatised the Rochdale child sex-grooming gang scandal of 2011 and won five BAFTAs in 2018. While many of the dominant press narratives focused on the ethnicity of the perpetrators, few accounts of the scandal spoke to the need for a sustained public discussion of the class location of the victims. This article considers how the process of recognising the social problem of sex-grooming is set up for the audience through a particular mode of address. In many ways the drama rendered visible the structural conditions that provided the context for this abuse by drawing on the expanded repertoires of television social realism: the representation of the town as abuser; the championing of heroic working-class women; and the power of working-class vernacular. However, ultimately, the narrative marginalises the type of girl most likely to be the victim of this form of sexual abuse. By focusing on the recognisable journey of the girl ‘who can be saved’ this renders the impoverished girl as already constitutive of the social problem. The analysis draws attention to the difficulties of recognising alternative classed subjectivities on television because of the way that boundary-markers are placed between the working class and the poor and suggests that the consequence of these representations is to reify ideas about the victims of poverty and exploitation.

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Smythies, John. "Philosophy, Perception, and Neuroscience." Perception 38, no. 5 (January 1, 2009): 638–51. http://dx.doi.org/10.1068/p6025.

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This paper presents the results of some recent experiments in neuroscience and perceptual science that reveal the role of virtual reality in normal visual perception, and the use of television technology by the visual brain. This involves particularly the cholinergic system in the forebrain. This research throws new light on the nature of perception and the relation of phenomenal consciousness and its brain. It is directly relevant to criticisms by certain analytical philosophers of aspects of neuroscience relating to these matters. Particular attention is paid to their support for Naive Realism.

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Collins, Karen. "Calls of the wild? ‘Fake’ sound effects and cinematic realism in BBC David Attenborough nature documentaries." Soundtrack 10, no. 1 (April 1, 2017): 59–77. http://dx.doi.org/10.1386/ts.10.1.59_1.

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The BBC’s Planet Earth II represented a landmark in natural history documentary television, using the latest technologies to capture nature in ways never before seen or heard. But the series was mired in accusations of ‘fakery’ and ‘trickery’ when it came to the sound, due to its entirely post-production soundtrack. This article explores these accusations in the context of the history of Attenborough documentaries and contemporary practice.

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Horwitz, Jonah. "Visual Style in the “Golden Age” Anthology Drama: The Case of CBS1." Cinémas 23, no. 2-3 (April 18, 2013): 39–68. http://dx.doi.org/10.7202/1015184ar.

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Despite the centrality of a “Golden Age” of live anthology drama to most histories of American television, the aesthetics of this format are widely misunderstood. The anthology drama has been assumed by scholars to be consonant with a critical discourse that valued realism, intimacy and an unremarkable, self-effacing, functional style—or perhaps even an “anti-style.” A close analysis of non-canonical episodes of anthology drama, however, reveals a distinctive style based on long takes, mobile framing and staging in depth. One variation of this style, associated with the CBS network, flaunted a virtuosic use of ensemble staging, moving camera and attention-grabbing pictorial effects. The author examines several episodes in detail, demonstrating how the techniques associated with the CBS style can serve expressive and decorative functions. The sources of this style include the technological limitations of live-television production, networks’ broader aesthetic goals, the seminal producer Worthington Miner and contemporaneous American cinematic styles.

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Taylor, Laramie D. "Effects of visual and verbal sexual television content and perceived realism on attitudes and beliefs." Journal of Sex Research 42, no. 2 (May 1, 2005): 130–37. http://dx.doi.org/10.1080/00224490509552266.

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Geraffo, Monica. "No tights, no flights: Constructing the wardrobe of television superheroes." Film, Fashion & Consumption 10, no. 1 (April 1, 2021): 233–50. http://dx.doi.org/10.1386/ffc_00022_1.

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Superheroes have always been defined by their dual lives, but analysis of the ways dress has informed characterization is often limited to just their superhero costumes, despite qualitative evidence that comic book heroes are depicted in civilian clothes at least half as often. Contemporary depictions of superheroes on television spend an even greater percentage of time dressed in civilian garments. This article combines both adaptation studies and industry studies approaches to discuss the overlooked influence of civilian clothing in conceiving the television superhero ‐ examining both comic book source materials and the process of costume design through the intrinsic constraints of industry television production. Through case studies into the DC comics Arrowverse, a series of interconnected programmes aired on the CW Network, and Marvel’s Runaways, the Hulu adaptation about teenage superheroes without costumes, as well as interviews with costume designers and actors, this article recognizes strong visual similarities across programmes between pseudo-character archetypes, and presents a de facto formula for analysing civilian superhero costume design. The resulting narrative reveals a struggle within superhero civilian costume design: finding the balance between serving semiotics or characterization, and building a sense of realism and individual choice within costuming choices from within hegemonic structures.

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Tavernaro-Haidarian, Leyla. "Makeovers Made Over: Ubuntu and Decolonization in Reality TV." Television & New Media 21, no. 5 (March 21, 2019): 439–56. http://dx.doi.org/10.1177/1527476419836677.

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Narratives about Africa are often shaped by deficit discourses that frame “development” as an instrument for advancing the interests of global capitalism. From within this neoliberal view, Africa has to “catch up” to and “be taught” how to emulate and achieve the standards promulgated in mainstream media. Through the lens of an alternative realism, however, such narratives can be reshaped. The African philosophy of ubuntu is one example of a deeply relational ethic from within which development can be reconceptualized as “freedom” in terms of democratic ideals and which can be used as a guiding principle for media work and the refashioning of (reality television) images.

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Derderian, Richard L. "SOCIAL REALISM, SUBURBAN CULTURE AND ETHNIC DIVERSITY ON FRENCH TELEVISION: A CASE STUDY OF SECONDE B." Contemporary French Civilization 21, no. 1 (April 1997): 38–51. http://dx.doi.org/10.3828/cfc.1997.21.1.003.

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Rosaen, Sarah F., and Jayson L. Dibble. "Investigating the Relationships Among Child's Age, Parasocial Interactions, and the Social Realism of Favorite Television Characters." Communication Research Reports 25, no. 2 (May 5, 2008): 145–54. http://dx.doi.org/10.1080/08824090802021806.

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Journal articles on the topic 'Realism on television'

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