Journal articles on the topic 'Television interpreting'
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Turnbull, Sue. "Review: Interpreting Television." Media International Australia 119, no. 1 (May 2006): 167–68. http://dx.doi.org/10.1177/1329878x0611900123.
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Daly, A. "Interpreting for International Satellite Television." Meta: Journal des traducteurs 30, no. 1 (1985): 91. http://dx.doi.org/10.7202/002445ar.
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Ferri, Anthony J. "Prime-time Television: A Concise History Interpreting Television Television: The Critical View." Journal of Broadcasting & Electronic Media 51, no. 3 (August 21, 2007): 543–46. http://dx.doi.org/10.1080/08838150701457602.
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Yang, Yuhong. "From text to ensemble: A multimodal study of television interpreting with cases from Chinese TV." Text & Talk 39, no. 6 (November 26, 2019): 819–40. http://dx.doi.org/10.1515/text-2019-2045.
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Abstract Television interpreting, although serving the largest population of users, is underexplored compared with conference interpreting or community interpreting by the academic community, not to mention any systematic, in-depth analysis foregrounding or tailored to its salient multimodal features. Drawing on Kress and van Leeuwen’s multimodal social-semiotic theory of communication as well as frameworks established in nonverbal communication and audiovisual translation, this paper moves away from traditional language-based discussions of interpreter-mediated television events and attempts to gain new insights into this essentially multimodal communicative practice through multimodal analysis of data. This paper purports to testify a tentative framework of modal relations of “complementarity”, “dependency”, and “incongruity” which are at work in interpreted television events, with authentic data, amounting to a total length of 5 hours, recorded from live news programmes on Chinese TV. The findings of modal complementarity and dependency clearly point to the essentially multimodal meaning making mechanism involved in the semiotic ensemble that is to be perceived by the audience in a gestalt fashion, which reveals the inadequacy of linguistic approaches to television interpreting.
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Crigler, Ann N., Marion Just, and W. Russell Neuman. "Interpreting Visual Versus Audio Messages in Television News." Journal of Communication 44, no. 4 (December 1, 1994): 132–49. http://dx.doi.org/10.1111/j.1460-2466.1994.tb00703.x.
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Livingstone, Sonia M. "The Resourceful Reader: Interpreting Television Characters and Narratives." Annals of the International Communication Association 15, no. 1 (January 1992): 58–90. http://dx.doi.org/10.1080/23808985.1992.11678835.
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Kalinina, Ekaterina. "Beyond nostalgia for the Soviet past: Interpreting documentaries on Russian television." European Journal of Cultural Studies 20, no. 3 (January 20, 2017): 285–306. http://dx.doi.org/10.1177/1367549416682245.
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The proliferation and recycling of Soviet popular culture and history is a central ingredient of post-Soviet film and television production, leading to accusations that the Russian media is nurturing nostalgia. Nostalgia can hardly account for the manifold uses of the Soviet past in contemporary Russian television programming. Nevertheless, in the aftermath of the Crimean annexation, it became evident that nostalgia for a strong empire with a ‘strong ruling hand’ was part of Putin’s symbolic politics for several years. Keeping these considerations in mind, this article investigates how nostalgia extends into the domain of television and becomes an element of symbolic politics, employing a case study of two documentaries produced during Putin’s presidency to focus the analysis. This study also examines how contemporary Russian television uses footage and film clips from the socialist period and witness testimonies to ‘dismantle’ popular myths.
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Russo, Mariachiara. "Simultaneous film interpreting and users’ feedback." Interpreting. International Journal of Research and Practice in Interpreting 7, no. 1 (June 1, 2005): 1–26. http://dx.doi.org/10.1075/intp.7.1.02rus.
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Simultaneous film interpreting is a mode of screen language transfer often required of professional interpreters in Italy for international film festivals. The paper briefly discusses similarities and dissimilarities between film interpreting and conference interpreting, subtitling and dubbing. It focuses on interpreting quality evaluation, discussing results of questionnaires distributed to users watching films interpreted by professionals and students. Comparisons are drawn with the results of published surveys on users’ preferences for television and conference interpreting.
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Nishiyama, Sen. "Simultaneous Interpreting in Japan and the Role of Television." Meta: Journal des traducteurs 33, no. 1 (1988): 64. http://dx.doi.org/10.7202/003741ar.
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Buckingham, David. "What are words worth? Interpreting children's talk about television." Cultural Studies 5, no. 2 (May 1991): 228–45. http://dx.doi.org/10.1080/09502389100490181.
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Talarczyk, Monika. "Krzysztof Kieślowski’s “Decalogue” as a Quality TV Series." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 24, no. 33 (March 25, 2019): 38–46. http://dx.doi.org/10.14746/i.2018.33.04.
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The text is dedicated to The Decalogue (Dekalog,1988) by Krzysztof Kieslowski and analyses the television series through the prism of genre and contemporary television studies, including the concept of quality television. Kieslowski’s series fulfills all the criteria assigned to the contemporary new generation television series, and can act as a reference point for interpreting Poland’s first new generation series by HBO, In treatment (Bez tajemnic, 2011–2013). The two titles are also linked by the same Polish film tradition, i.e. the cinema of moral concern, even though In treatment is based on foreign format.
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Xiao, Xiaoyan, Xiaoyan Chen, and Jeffrey Levi Palmer. "Chinese Deaf viewers’ comprehension of sign language interpreting on television." Interpreting. International Journal of Research and Practice in Interpreting 17, no. 1 (March 30, 2015): 91–117. http://dx.doi.org/10.1075/intp.17.1.05xia.
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Over 200 television channels in China broadcast news with signed language interpreting, making this one of the most visible forms of public accessibility for Deaf citizens. However, previous surveys have reported that most viewers have difficulty understanding the sign language interpreter. This experimental study examines how well a group of 49 Deaf individuals do, comparing their level of comprehension with that of twenty hearing viewers whose medium of access to program content is spoken Mandarin. All participants completed simple comprehension questions, in written form, after viewing twenty short news clips. These were shown once to the hearing viewers, and twice to Deaf viewers so as to compensate for any intrinsic difficulty related to the limited visual clarity of televised signed language interpreting. Results show that, even with interpretation, the Deaf viewers do not benefit equally from the news clips. Analysis of the interpretations suggests that the interpreters’ lack of Chinese Sign Language fluency might have contributed to the Deaf viewers’ lesser comprehension. In addition to insufficient training, the high pressure the interpreters experience in relation to interpreting in media settings might have a negative effect on the quality of their interpretation.
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Livingstone, Sonia M. "Interpreting a Television Narrative: How Different Viewers See a Story." Journal of Communication 40, no. 1 (March 1, 1990): 72–85. http://dx.doi.org/10.1111/j.1460-2466.1990.tb02252.x.
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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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Wehrmeyer, Ella. "Comprehension of television news signed language interpreters." Interpreting. International Journal of Research and Practice in Interpreting 17, no. 2 (September 3, 2015): 195–225. http://dx.doi.org/10.1075/intp.17.2.03weh.
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This questionnaire-based study evaluates interpretations of TV news broadcasts into South African Sign Language from the perspective of 360 adult Deaf respondents, who identify factors hindering comprehension. Methodologically, findings are based on both open-ended and closed questions. The sources of difficulty identified, together with viewer assessments of current interpreting services and viewer expectancy norms, are explored in relation to the profile of the Deaf target audience represented by the study sample. Despite potentially low literacy levels, the study found a stronger stated preference for subtitles than for signed interpretation. The limited size of the signed language screen inset and the type of signed language used by the interpreters were found to be the main factors limiting comprehension; to a lesser extent, problems can also be related to various features of the interpreters’ performance (facial expression, mouthing, sign articulation and general language proficiency), viewers’ insufficient background knowledge and signing skills, the difficulty of dividing attention between different forms of visual input, as well as the positioning of the screen inset showing the interpreter. The cultural and linguistic heterogeneity of the South African Deaf community poses a further challenge to interpreters. Recommendations for both interpreting practice and further research emerge from the discussion.
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Gorjón Palos, Laura, and Ana Isabel Isidro de Pedro. "MAMÁ, QUIERO SER “TRONISTA”. EL PODER DE LA PROGRAMACIÓN TELEVISIVA EN ADOLESCENTES." International Journal of Developmental and Educational Psychology. Revista INFAD de Psicología. 2, no. 1 (October 22, 2017): 385. http://dx.doi.org/10.17060/ijodaep.2017.n1.v2.951.
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Abstract.MOMMY, I WANT TO BE A REALITY SHOW CONTESTANT. THE POWER OF THE TELEVISION PROGRAMMING IN ADOLESCENTSThe media have gained great importance as a socializing agent, building up and transmitting identities through images and speeches, in such a way that they influence, immediately and daily, the behaviors and attitudes of the spectators. One of those media, so deeply rooted in our daily habits that we can hardly detach from both its consumption and the power that it exerts on us, is television (conventional or through Internet). The competition between the television networks and the terrible fight for the audience have led to a change in the programming, in such a way that, at present, a significant percentage of the guide is constituted by the so-called trash TV programs, among which are those exhibiting prejudices and gender stereotypes. This paper aims for examine the television products consumed by adolescents and the impact and influence that the so called “reality shows” have. To do this, a homemade questionnaire of 36 items (with open, closed and Likert-type questions) was used on a sample of 237 subjects, aged between 14 and 23 years old. After data analyzing, grouping, contrasting and interpreting, it was found that television consumption among the subjects of the sample was massive and daily (99.4%), as well as the related comments on the social networks. Similarly, 73% of the subjects claimed to be a follower of at least one reality show, most of them (87.3%) found important advantages to the fact of going out on TV, 35% would like to be people related to fame and a surprising 27% would like to participate in a reality show. The results show the necessity of an education for the television products consumption that put the emphasis on the reflective and critical role of the spectator.Keywords: Trash television; Reality show; SpectatorResumen.Los medios de comunicación han cobrado gran importancia como agente socializador, forjando y transmitiendo identidades a través de imágenes y discursos, de tal modo que influyen, de manera inmediata y cotidiana, en las conductas y actitudes de los espectadores. Y uno de esos medios, tan profundamente arraigado en nuestras costumbres cotidianas que difícilmente podemos desprendernos de su consumo y del poder que ejerce sobre nosotros, es la televisión (convencional o visionada a través de internet). La competencia de las cadenas televisivas y la feroz lucha por la audiencia han llevado a un cambio en la programación, de tal manera que, en la actualidad, un porcentaje importante de la parrilla lo constituyen los denominados programas basura, entre los que no son ajenos aquéllos que exhiben prejuicios y estereotipos de género. Este trabajo pretende examinar los productos televisivos consumidos por los adolescentes y el impacto e influencia que tienen en ellos los denominados “reality shows”. Para ello se utilizó un cuestionario de elaboración propia de 36 ítems (con preguntas abiertas, cerradas y tipo Likert), que fue aplicado a una muestra de 237 sujetos de entre 14 y 23 años. Tras analizar, agrupar, contrastar e interpretar los datos, constatamos que el consumo de televisión entre los sujetos de la muestra es masivo y cotidiano (99,4%), así como los comentarios al respecto en las redes sociales. De igual manera, un 73% de los sujetos manifiesta ser seguidor de, al menos, un reality show, una mayoría (87,3%) encuentra importantes ventajas al hecho de salir en televisión, a un 35% les gustaría ser personas relacionadas con la fama y a un sorprendente 27% les gustaría participar en un reality show. Los resultados muestran la necesidad de una educación para el consumo de los productos televisivos que ponga el énfasis en el papel reflexivo y crítico del espectador.Palabras clave: Televisión basura; Reality show; Espectador
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Briandana, Rizki, and Azman Azwan Azmawati. "The influx of national identity: “imagined communities” on Indonesian audience in Indonesia and Malaysia frontier." Jurnal Studi Komunikasi (Indonesian Journal of Communications Studies) 5, no. 1 (February 16, 2021): 24. http://dx.doi.org/10.25139/jsk.v5i1.2846.
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This study aimed to analyse the abundance of Malaysian television broadcasts’ impact on building Indonesian society’s national identity on Sebatik Island. The residents of this island have been watching Malaysian television for a long time as the primary source of communication in their daily lives. In this context, the interaction between the community and television is manifested through interpreting images and meanings. Furthermore, it becomes the basis for the building process of the community’s national identity. This was a case study with observation and focus group discussion as the method of data collection. The results showed that Malaysian television conveys the meaning and values of its nationality to the Indonesian people. This manifests a high tendency among the Sebatik residents towards Malaysia, which is considered an ideal reference of life.
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KN, Jamiati, Naila Waliya Hamima, and Velda Ardia. "ANALYSIS OF TOKOPEDIA’S ADVERTISING CREATIVITY “WAKTU INDONESIA BELANJA”." Indonesian Journal of Communication Studies 13, no. 2 (February 21, 2021): 116. http://dx.doi.org/10.31315/ijcs.v13i2.4518.
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Companies must have innovative ways of communicating messages to compete with other companies because of the many new companies that have sprung up. One of them is by using television media. However, with the increasing number of companies placing advertisements, the number of TV stations in Indonesia is now around 1027 television stations. The public's tendency to switch channels has made advertising conditions worse so that creative advertising is needed. Using a qualitative descriptive method focuses on describing, analyzing, and interpreting Tokopedia advertisements from television media. The data collection techniques used were observation, literature study, and documentation. The results showed that the Tokopedia WIB "Waktu Indonesia Belanja" advertisement was always on television. The advert is inspiring and easy to remember. This advertising has creativity as seen from the indicators of connectedness, suitability, and novelty.
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Tahir, Huma, and Dr Bushra H. Rehma. "Rethinking Gender Roles: Perception of Female Viewers of Pakistani Television Dramas." Journal of Peace, Development & Communication me 05, issue 2 (June 30, 2021): 177–84. http://dx.doi.org/10.36968/jpdc-v05-i02-16.
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Television drama is always an attraction for women. It has considerably contributed in defining gender roles to its viewers. This study was aimed to investigate that how females from different socioeconomic backgrounds perceive and interpret gender roles shown in Pakistani television drama. For data collection qualitative research strategy was applied. Data was collected by conducting eight focus groups. Each group consisted of eight participants (females) aged 20-40 years. Emergent themes from the data were non stereotypic representation of gender roles in Pakistani Television drama. This study concluded that tendency of Pakistani TV drama to redefine gender roles have contributed in conformity with the change in perception of female viewers interpreting gender roles shown in these dramas.
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Izard, John. "Developing Spatial Skills With Three-Dimensional Puzzles." Arithmetic Teacher 37, no. 6 (February 1990): 44–47. http://dx.doi.org/10.5951/at.37.6.0044.
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Spatial skills are an important component of the mathematics curriculum. Both teachers and students have to make use of their spatial skills when using two-dimensional diagrams to represent three-dimensional objects and when interpreting photographs or television images (see, e.g., Pohl [1986]; Greenfield [1987]: Smith [1987]; Bright and Harvey 11988]: Carroll [1988]).
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Sinu, Raluca. "Audiovisual Translation in Romanian TV News Programmes." Linguaculture 9, no. 2 (December 10, 2018): 129–45. http://dx.doi.org/10.47743/lincu-2018-2-0128.
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This paper proposes an investigation into the place of audiovisual translation in Romanian television news programmes. Although news translation has attracted a lot of attention in recent years, the same cannot be said about the various forms of audiovisual translation used in news programmes, which might range from interlingual subtitling and voice-over to media interpreting and signed language interpreting. The present paper attempts to highlight the contexts in which these types of translation are used in Romanian broadcast news, their features and functions. We will begin by discussing the concept of news translation and contrast it with audiovisual translation in the news. This will be followed by an overview and short description of the different forms of audiovisual translation encountered in the news. Based on this framework, we will then conduct a small-scale survey of several news broadcasts of the Romanian public television service in order to identify the situations in which a particular type of audiovisual translation tends to be used, as well as the reasons for resorting to it and ensuing results.
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SCHOCKET, ANDREW M. "Little Founders on the Small Screen: Interpreting a Multicultural American Revolution for Children's Television." Journal of American Studies 45, no. 1 (May 13, 2010): 145–63. http://dx.doi.org/10.1017/s0021875810000630.
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From 2002 to 2004, the children's animated series Liberty's Kids aired on the Public Broadcasting Service (PBS), the United States' public television network. It runs over forty half-hour episodes and features a stellar cast, including such celebrities as Walter Cronkite, Michael Douglas, Yolanda King, Whoopi Goldberg, Billy Crystal, Arnold Schwarzenegger, Liam Neeson, and Annette Bening. Television critics generally loved it, and there are now college students who can trace their interest in the American Revolution to having watched this series when they were children. At the turn of the twenty-first century, it is the most extended and in-depth encounter with the American Revolution that most young people in the United States are likely to have encountered, and is appropriately patriotic and questioning, celebratory and chastening. Although children certainly learn a great deal about multiculturalism from popular culture, the tropes and limitations of depicting history on television trend toward personification, toward reduced complexity and, for children, toward resisting examining the darker sides of human experience. As this essay suggests, the genre's limits match the limits of a multicultural history in its attempt to show diversity and agency during a time when “liberty and justice for all” proved to be more apt as an aspiration at best and an empty slogan at worst than as an accurate depiction of the society that proclaimed it. This essay is not an effort to be, as Robert Sklar put it, a “historian cop,” policing the accuracy of the series by patrolling for inaccuracies. Rather, it is a consideration of the inherent difficulties of trying to apply a multicultural sensibility to a portrayal of the American Revolution.
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Johansen, Stine Liv. "Toddlers Watching TV - A study on the role of electronic media in the everyday-lives of one to three year old children." Kinderfernsehen wieder zum Thema machen! 13, Kinderfernsehen (October 12, 2007): 1–14. http://dx.doi.org/10.21240/mpaed/13/2007.10.12.x.
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In recent studies on children and electronic media, children are acknowledged as active users, interpreting TV-texts in various meaningful ways, according to their previously constructed knowledge of narratives and relating the texts to their everyday lives. Still, there is a tendency that toddlers' (ages 1 to 3) viewing is neglected, and seen as mere fascinations of patterns, bright colours and movements without focusing on the social uses or uses in which television narratives come to play an important part in small children's experimenting with building identity and self-image. This article focuses on the meaning-making processes that take place when toddlers watch television and DVD, and the way in which they broaden the reception-situation to different arenas, for instance through play and different uses of merchandise connected to the television programs. Also, it studies the context of children's media use, the way both parents, media and market set up the frames of children's reception.
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Marta-Lazo, Carmen. "The process of TV reception as contextual interaction." Comunicar 16, no. 31 (October 1, 2008): 35–40. http://dx.doi.org/10.3916/c31-2008-01-004.
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The process of reception cannot be equated to visualisation. Many factors are involved in the act of looking; the subject’s background, their level of communicative competence, code knowledge, modus operandi and different ways of interpreting and deepening in messages. Dynamics of interaction with the screen are varied, but to achieve a significant degree of autonomy and activity, direct involvement in the creative process will be necessary. Hence, it is of major importance to foster a responsible use of television and educate society in matters of communication. This is, beyond any doubt, the challenge that the present educative system has to face. El proceso de recepción televisiva se circunscribe al mero acto de visionado. Son muchos los factores que afectan al ejercicio de mirar, entre otros el «background» con el que cuente el sujeto, su grado de competencia comunicativa, el conocimiento de códigos, modos de operar y maneras de interpretar y profundizar en los mensajes. Las dinámicas de interacción con la pantalla son muy diversas, pero para conseguir un grado de autonomía y actividad significativo, será necesaria la construcción de mensajes o la participación directa en el proceso creativo. En consecuencia, es importante despertar unos hábitos responsables de consumo televisivo y educar en materia de comunicación. Éste es, sin duda, el reto que se le plantea al sistema educativo actual.
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Harmes, Marcus. "Education in the apocalypse: disaster and teaching on British television." History of Education Review 49, no. 2 (April 28, 2020): 165–79. http://dx.doi.org/10.1108/her-08-2019-0033.
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PurposeThe purpose of the study is to examine educational history through television's portrayal of educational activity in post-apocalyptic society. The paper examines how and why television drama set after a catastrophe is in dialogue with, but rejects, both contemporary government discourse of “protect and survive”.Design/methodology/approachThe paper treats television programmes as historical artefacts made during periods of heightened anxiety about nuclear and bacteriological war. This paper follows established methods for interpreting educational history by examining the representation of schooling and the discursive construction of teachers and their practices via television. This paper proceeds by tight selection of sections from two texts, examining them as documentary evidence of education in later-20th-century Britain and representations of specific types of schooling that were found in real-world Britain in the period, namely, the minor public school and educational television.FindingsTelevision drama showing education during and after an apocalyptic event was a reaction to and critique of official assurances that life would continue after a large-scale catastrophe. The representations of schooling reflect the preoccupations of the writers and depict the intersection of schooling, teachers and students with contemporary anxieties in a period where global war and large-scale catastrophe were prominent fears in popular consciousness. Representations of schooling enabled a twofold critique of education. One is critique of the industrial and civil society that had called formal schooling into existence, questioning the value of what in the 1970s and 1980s was being taught in schools. The second is the subversion of the assurances contained in “disaster” education, which promised that disaster would be a temporary setback and underlying social structures and institutions would survive. This paper suggests these sources of educational history present the need to unlearn old knowledge, urge the recourse to self-teaching and question the reliance on a television to teach.Originality/valueThis paper endorses educational, historical and popular cultural research that has found meaning and importance in popular television as a reflection of actual educational practice. Efforts to educate a civilian population about civil defence have received some scholarly attention; however, so far, the way educational practice is portrayed in television that shows the end of the world as we know it has received limited attention. These sources yield valuable insights regarding the interaction between education, disaster and popular consciousness.
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Aganbi, Victor. "WHAT IS SOCIAL ABOUT SOCIAL MEDIA? The Rejuvenation of Television as social media." IJRDO - Journal of Business Management 7, no. 6 (July 2, 2021): 84–93. http://dx.doi.org/10.53555/bm.v7i6.4425.
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WHAT IS SOCIAL ABOUT SOCIAL MEDIA: The Rejuvenation of Television as Social Media highlights television as the dominant social medium of all time. Communication of any sort is already social interaction involving the sending of a message to a receiver, and the feelings and thoughts of the receiver upon interpreting the message within the viewpoint of a single linear model or two linear models stacked on top of each other to cater for feedback loop in the S-M-M-R (Sender-Message-Medium-Receiver) communication framework. "Truth" and "ideas" are constructed or invented through the social process wherein the sender channels a message to the receiver and the receiver then becomes the sender and channels a message to the original sender. This feedback model includes cultural background, ethnicity, geographic location, extent of travel, and general personal experiences accumulated over the course of interactant’s lifetime. Thus, the question “what is social about social media” is rhetorical and points to the obvious – the human elements (sender and receiver) define any communication process as SOCIAL and any communication media as SOCIAL MEDIA. Though instantaneity of message delivery and simultaneousness of feedback are contingent to mass communication, they remain elusive and constitute the problem inherent in nearly all forms of media, including the so-called social media platforms. However, social media and television broadcasting have a number of connections and interrelationships that have led to the phenomenon of Social Television. Social Television is an emerging communication digital technology centered around real-time interactivity involving media displayed on television. Through in-depth review, analyses and synthesis of scanty literature, this research questions the description of television as “traditional” or “old.” And, more so, the worn phrase “social media” or “emergent media” in exclusion of television is misnomer. Television – the underrated, overlooked but potentially the most powerful social medium from its humble beginnings, can be more appropriately celebrated as rejuvenated social media. In conclusion, this researcher proposes an updated definition and categorisation of television as social media. The author further makes the case that as television has always been social, never ceased to evolve and is still evolving as social media, it qualifies as emergent media consistent with its dramatically expanding capacity and capabilities beyond sound, picture and text.
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Hennessey, Katherine. "Interpreting Othello in the Arabian Gulf: Shakespeare in a Time of Blackface Controversies." Multicultural Shakespeare: Translation, Appropriation and Performance 22, no. 37 (December 30, 2020): 103–23. http://dx.doi.org/10.18778/2083-8530.22.07.
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This article opens with some brief observations on the phenomenon of Arab blackface—that is, of Arab actors “blacking up” to impersonate black Arab or African characters—from classic cinematic portrayals of the warrior-poet Antara Ibn Shaddad to more recent deployments of blackface in the Arab entertainment industry. It then explores the complex nexus of race, gender, citizenship and social status in the Arabian Gulf as context for a critical reflection on the author’s experience of reading and discussing Othello with students at the American University of Kuwait—discussions which took place in the fall of 2019, in the midst of a wave of controversies sparked by instances of Arab blackface on television and in social media.
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Heine, Jytte. "TV-tekster til tiden - oversættelse og tekstning af nyheder." HERMES - Journal of Language and Communication in Business 7, no. 13 (January 4, 2017): 235. http://dx.doi.org/10.7146/hjlcb.v7i13.25086.
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News subtitling for television in several ways differs from the subtitling of films ontelevision: There is very short time available for the work, all foreign languages are translated from spoken language – like interpreting – and finally the subtitles are cued directly during transmission.The time problem becomes still more evident in connection with the traditional presubtitling in the national languages for people with hearing disabilities. To meet their demands for subtitled news broadcasts a couple of European countries have introduced simultaneous subtitling, a costly andn problematic solution.
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Fisher, Jill A., and Marci D. Cottingham. "This isn’t going to end well: Fictional representations of medical research in television and film." Public Understanding of Science 26, no. 5 (April 5, 2016): 564–78. http://dx.doi.org/10.1177/0963662516641339.
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Fictional television shows and films convey cultural assumptions about scientists and the research enterprise. But how do these forms of entertainment portray medical research participants? We sampled 65 television shows and films released between 2004 and 2014 to determine the ways in which medical research and human participants are represented in popular media. We found that research participants are largely represented as White, male, and lower or working class and that 40% of the participants depicted in these fictional accounts were seeking financial compensation, 34% were hoping for a therapeutic benefit, and 15% were coerced into participation. Regardless of participant motivation, media representations tended to portray a negative outcome of medical research. Interpreting the themes in these media, we argue that these fictional portrayals might provide the public with valuable representations of medical research, especially in terms of risks to research participants, scientific failure, and researchers’ conflicts of interest.
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Yan, Jackie Xiu, and Kangte Luo. "Introducing Audio Describer Training in University Interpreting Classes." Journal of Visual Impairment & Blindness 116, no. 3 (May 2022): 425–32. http://dx.doi.org/10.1177/0145482x221108996.
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Audio description (AD), the rendering of images into words, helps people who are visually impaired to access audiovisual products. Being able to access media is a basic human right. The United Nations Convention on the Rights of Persons with Disabilities clearly states that people with disabilities should have “access to television programs, films, theater, and other cultural activities, in accessible formats” (United Nations, 2006). Recent developments in technology, for example, text-to-speech synthesizers, have enabled audio description to include more languages (see Tor-Carroggio, 2020). Training is important to ensure the quality of audio describers. Offering audio description training in universities can provide students an opportunity to get early exposure to this field and increase their understanding of the issues about accessibility. This report presents an audio description training module conducted in a university interpreting program in Hong Kong. Based on the commonalities between audio description and interpreting in quality assessment, a set of criteria was proposed and applied to the assessment of the students’ audio description performance. A visually impaired colleague was invited to participate in the evaluation, and her timely feedback for the student was provided from the user’s perspective. A post-class survey was conducted after the training program. The survey results suggested that students were highly motivated to learn audio description in interpreting classes. In reflecting on the skills cultivated during the training process, students acknowledged the value of audio description training for learning interpreting. The implementation of audio description training in interpreting programs has proved to be feasible and highly regarded by the students. The present study hopes to shed some light on the feasibility of offering audio description training in universities in general and interpreting classes in particular. It is expected this practice can significantly enrich and broaden the scope of education, audio description and development.
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Sari, Herninda Cintia Kemala. "REPRESENTASI MASKULINITAS DALAM IKLAN GARNIER MEN VERSI JOE TASLIM DAN CHICO JERIKO." sarasvati 2, no. 1 (June 26, 2020): 33. http://dx.doi.org/10.30742/sv.v2i1.868.
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Television advertising is not only the most reliable medium for selling products, but also in shaping an image. Such as advertisements for facial care products for men which often highlight masculine images, where masculine is a gender concept that is pinned to men by a culture. This study aims to explore the meaning of denotation, connotation, and myth contained in the Garnier Men advertisement by Joe Taslim and Chico Jeriko. Using Roland Barthes's analysis related to signified, significant, denotative, connotative, and myth. The results showed a male masculine image, a combination of urban, metropolis, and metrosexual male images represented by denotations of races, martial arts and other urban metropolis men's activities. In connotation, showing a representation of the dominant male type in life. These signs point to the social relations of the community towards a man. This research is expected to be able to add and provide knowledge and be a reference for the public's perspective in interpreting television advertisements for men's facial cleansers.
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Denison, Rayna. "Christopher Bolton, Interpreting AnimeThomas Lamarre, The Anime Ecology: A Genealogy of Television, Animation and Game Media." Screen 60, no. 3 (2019): 492–96. http://dx.doi.org/10.1093/screen/hjz032.
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Frame, Gregory. "“The Lincoln Memorial Was Too Crowded”: Interpreting the United States' Memorial Landscape through Film and Television." Journal of Popular Film and Television 45, no. 4 (October 2, 2017): 190–201. http://dx.doi.org/10.1080/01956051.2017.1343795.
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Rosidi, Imron. "Consuming Representations of Korean TV Dramas among Indonesian Muslim Youth." Jurnal The Messenger 12, no. 2 (July 31, 2020): 111. http://dx.doi.org/10.26623/themessenger.v12i2.2115.
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<p><em><span>This article dealt with Korean TV dramas consumption among Muslim youth in Pekanbaru. It aimed to undestand their interpretations on the television dramas. The values of being a Muslim was constantly under scrutiny by the image representation in Korean TV Dramas. As transnational cultural products, they were considered as reducing Islamic values for Muslim youth. Using ethnographic study, forty two informants were selected based on a purposive sampling technique in which they loved on consuming Korean TV dramas. This article found that Muslim youth were active audiences consuming and interpreting Korean TV dramas. This can be seen from two characteristics. The first is that Muslim youth consumption of Korean TV dramas was not dominantly done through television medium, but through their lapptop. As a result, their position as an active audiences or viewers was obvious. This was because the dramas to be watched were not interrupted by some advertisements. The audiences could also actively watch them without depending on the schedule decided by television stations. The second is that young Muslims watching Korean TV dramas did not accept some representations contradictory with their Islamic identity. However, some of Korean TV dramas were accepted due to their proximity with Islamic values.</span></em></p>
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Sterba, Christopher M. "“I Ought to Know How Negroes Talk”." California History 96, no. 3 (2019): 48–76. http://dx.doi.org/10.1525/ch.2019.96.3.48.
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The African American actor, writer, and director Spencer Williams, Jr. (1895–1969) has been the subject of a range of academic studies in recent years. Scholars have explored his pioneering work in early black film and his problematic role as “Andy Hogg Brown” in the television version of the Amos 'n' Andy radio program as a means of interpreting representations of black life within the confines of the Hollywood culture industry. This new scholarship, however, has reflected a limited and often inaccurate understanding of Williams' remarkable career. As will be discussed in this article, major events in Williams' life that have been unknown until now strongly influenced his filmmaking and his strategies to make the movie and television industries more racially inclusive. Most significantly, Williams was at different times a soldier in a segregated army unit, a convicted felon, and a committed artist and activist in Hollywood. These experiences helped to shape the themes and subject matter of his films, which ranged from religious dramas and singing cowboy westerns to backstage musicals and the first African American horror movie ever made.
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Cambra, Cristina, Aurora Leal, and Núria Silvestre. "Graphical Representations of a Television Series: A Study with Deaf and Hearing Adolescents." Spanish journal of psychology 13, no. 2 (November 2010): 765–76. http://dx.doi.org/10.1017/s1138741600002420.
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The understanding of a television story can be very different depending on the age of the viewer, their background knowledge, the content of the programme and the way in which they combine the information gathered from linguistic, audio and visual elements. This study explores the different ways of interpreting an audiovisual document considering that, due to a hearing impaired, visual, audio and linguistic information could be perceived very differently to the way it is by hearing people. The study involved the participation of 20 deaf and 20 hearing adolescents, aged 12 to 19 years who, after watching a fragment of a television series, were asked to draw a picture of what had happened in the story. The results show that the graphical representation of the film is similar for both groups in terms of the number of scenes, but there is greater profusion, in the deaf group, of details about the context and characters, and there are differences in their interpretations of some of the sequences in the story.
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Scharrer, Erica, Lisa M. Weidman, and Kimberly L. Bissell. "Pointing the Finger of Blame: News Media Coverage of Popular-Culture Culpability." Journalism & Communication Monographs 5, no. 2 (June 2003): 48–98. http://dx.doi.org/10.1177/152263790300500201.
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In the 1990s, three relatively high-profile tragedies occurred in which popular media products (including movies, recorded music, television talk shows, the Internet, tabloid newspapers, and video games) were argued to be the primary cause. This study analyzes the discourse surrounding the culpability that was placed on popular culture in major newspaper coverage of the car crash that killed Princess Diana, the murder associated with the “Jenny Jones” show, and the shootings at Columbine High School in Littleton, Colorado. The analysis reveals patterns in the assignment of blame—and relatively more rarely of exoneration—of popular culture, interpreting why and how popular culture was targeted as a cause of the tragedies.
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Sulistyo, Aji. "Representasi Moralitas Dalam Iklan Teh Botol Sosro Versi “Semeja Bersaudara”." Paradigma: Jurnal Filsafat, Sains, Teknologi, dan Sosial Budaya 26, no. 1 (April 7, 2020): 48–59. http://dx.doi.org/10.33503/paradigma.v26i1.736.
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Television advertisement is an effective medium that aims to market a product or service, because it combines audio and visuals. therefore television advertisement can effectively influence the audience to buy the product or service. Advertisement nowadays does not only convey promotional messages, but can also be a medium for delivering social messages. That is one form of the function of the media, which is to educate the public. The research entitled Representation of Morality in the Teh Botol Sosro Advertisement "Semeja Bersaudara" version analyzed the morality value in a television advertisement from ready-to-drink tea producers, Teh Botol Sosro entitled "Semeja Bersaudara" which began airing in early 2019. In this study researchers used Charles Sanders Peirce's Semiotics theory with triangular meaning analysis tools in the form of Signs, Objects and Interpretations. In addition, researchers also use representation theory from Stuart Hall in interpreting messages in advertisements. The results of this study found that the "Semeja Bersaudara" version of Teh Botol Sosro advertisement represented a message in the form of morality. There are nine values of morality that can be taken in this advertisement including, friendly attitude, sharing, empathy, help, not prejudice, no discrimination, harmony, tolerance between religious communities and cross-cultural tolerance. The message conveyed in this advertisement is how the general public can understand how every human action in social life has moral values, so that the public can understand and apply moral values in order to live a better life.
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CHMIEL, AGNIESZKA, AGNIESZKA SZARKOWSKA, DANIJEL KORŽINEK, AGNIESZKA LIJEWSKA, ŁUKASZ DUTKA, ŁUKASZ BROCKI, and KRZYSZTOF MARASEK. "Ear–voice span and pauses in intra- and interlingual respeaking: An exploratory study into temporal aspects of the respeaking process." Applied Psycholinguistics 38, no. 5 (May 9, 2017): 1201–27. http://dx.doi.org/10.1017/s0142716417000108.
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ABSTRACTRespeaking involves producing subtitles in real time to make live television programs accessible to deaf and hard of hearing viewers. In this study we investigated how the type of material to be respoken affects temporal aspects of respeaking, such as ear–voice span and pauses. Given the similarities between respeaking and interpreting (time constraints) and between interlingual respeaking and translation (interlingual processing), we also tested whether previous interpreting and translation experience leads to a smaller delay or lesser cognitive load in respeaking, as manifested by a smaller number of pauses. We tested 22 interpreters, 23 translators, and a control group of 12 bilingual controls, who performed interlingual (English to Polish) and intralingual (Polish to Polish) respeaking of five video clips with different characteristics (speech rate, number of speakers, and scriptedness). Interlingual respeaking was found to be more challenging than the intralingual one. The temporal aspects of respeaking were affected by clip type (especially in interpreters). We found no clear interpreter or translator advantage over the bilingual controls across the respeaking tasks. However, interlingual respeaking turned out to be too difficult for many bilinguals to perform at all. To the best of our knowledge, this is the first study to examine temporal aspects of respeaking as modulated by the type of materials and previous interpreting/translation experience. The results develop our understanding of temporal aspects of respeaking and are directly applicable to respeaker training.
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Psotka, Joseph, Sonya A. Lewis, and Donald King. "Effects of Field of View on Judgments of Self-Location: Distortions in Distance Estimations Even When the Image Geometry Exactly Fits the Field of View." Presence: Teleoperators and Virtual Environments 7, no. 4 (August 1998): 352–69. http://dx.doi.org/10.1162/105474698565776.
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This research stems from the casual observation that the image of a television screen with 18° geometric ®eld of view (FOVg) as seen on a real television with 17° real FOV appears much “nearer” than the real television<Eth>as much as 98% closer. Does the image appear “nearer” because the distance to the real television is misjudged or is a mental model of a virtual subjective self-location created? Either way, all the projective mapping in the world, whether only in the z plane or in all x, y, and z planes, is irrelevant to explain this powerful perceptual or cognitive effect that the neglected variable of FOV has on self-location in virtual space. Accurate perception of the scene and precise self-location in virtual environments is the goal of accurate perspective geometries, scene computation, and helmet-mounted display (HMD) optics. Yet, as research has already clearly shown, accurate geometric projection is no guarantee of accurate perception: for instance, images viewed exactly at their proper projection points have repeatedly been seen at distorted distances or inaccurate directions. In addition to precise engineering, it is important to understand the psychology of selflocation, also called egocenters, to obtain an understanding of virtual space. A new theory, Cognitive Frame Theory, is proposed to deal with cognitive modi®cations of perception in a way that emphasizes the importance of self-location. Cognitive Frame Theory builds on the phenomenal geometry underlying self-location perceptions: the localization of objects in space requires a combination of perceived distance, perceived direction, and the perception of the position or motion of the self. A fundamentally novel component of the theory suggests that observers use their natural ®elds of view of 120° vertical by 180° horizontal as the primary standard for interpreting visual displays and their self-location in the space of those displays.
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Cushion, Stephen, Richard Thomas, and Oliver Ellis. "Interpreting UKIP's ‘Earthquake’ in British Politics: UK Television News Coverage of the 2009 and 2014 EU Election Campaigns." Political Quarterly 86, no. 2 (April 2015): 314–22. http://dx.doi.org/10.1111/1467-923x.12169.
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Hay, Jonathan. "“Can I use the toilet?”: Watching Steven Moffat’s Doctor Who (2010-2017) as Posthuman Television." Journal of Posthumanism 2, no. 3 (October 31, 2022): 193–204. http://dx.doi.org/10.33182/joph.v2i3.1285.
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Interpreting the modern television series Doctor Who as an extended metaphor of everyday posthuman life, this article explicates the postphenomenological qualities of the six series released during Steven Moffat’s tenure as showrunner. By explicating precisely how the show’s televisual format amplifies and intersects with its overtly technology-centred narrative content, I develop a posthumanistic conception of Doctor Who’s intra-active rhetorical strategies. This era of the show illustrates the vital role played by the cultural imaginaries of our contemporary lifeworlds upon the realisation of the posthuman future, by vicariously implicating viewers in its mundane discourse. Additionally, its narrative penchant for frequent timeline resets is symptomatic of the intra-active engagements formed between viewers and the technological apparatus of the series itself. By closely analysing a representative sample of episodes, I demonstrate that by watching Doctor Who, viewers are interpellated to recognise their agential capacity to inform our species’ posthuman potential.
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AşIk, Ozan. "Politics, power, and performativity in the newsroom: an ethnography of television journalism in Turkey." Media, Culture & Society 41, no. 5 (September 14, 2018): 587–603. http://dx.doi.org/10.1177/0163443718799400.
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How do political divisions within the newsroom shape negotiations around news production? This article addresses this question by examining how Turkish journalists, in their discourse and practices, represent Kurds and Arabs when interpreting and discussing current events related to the Kurdish question and the Arab Spring. The study draws upon a year of ethnographic fieldwork, and interviews conducted in 2011 and 2012, in the newsrooms of two mainstream national television channels in Turkey. It reveals how journalists with opposing political beliefs perform their representational practices by continuously modifying them according to the opinions of managerial boards. In negotiations on the portrayal of Kurds and Arabs in news reports, journalists mask or modify ‘undesired’ aspects of their individual interpretations to fit them into a dominant news frame. However, they can also challenge that frame. Based upon the observation of such negotiations, this article advances a novel definition of journalistic performance as a purposeful, strategic, and staged form of symbolic communication: an essential tool for navigating ideological conflicts in the power structure of the newsroom.
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Djeric, Ivana, and Rajka Studen. "Stereotypes in media and media literacy among young people." Zbornik Instituta za pedagoska istrazivanja 38, no. 2 (2006): 456–71. http://dx.doi.org/10.2298/zipi0602456d.
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Young people, the most common consumers of media content, bear out the view that media shapes people?s lives. Therefore we must not underestimate the effect media exerts on young people?s values and behavioral patterns. Television is the medium which draws children and young people for the greatest part of their free time. Regardless whether television programs are described as positive or negative, whether they abound with stereotypes or not, it is important that young people develop a critical attitude towards them so that they may resist different forms of media manipulation. The paper discusses how stereotypes are generated and used by media and the manners in which stereotypical concepts affect young people?s attitudes. It highlights the importance of the development of media literacy which implies a critical attitude towards media images and discourses, the development of criteria for the selection and evaluation of information broadcast by media, the development of skills in interpreting and understanding stereotypical concepts and familiarity with alternative forms of media culture. The paper draws special attention to the issue of media education. The conclusion is that schools should offer media literacy as part of their curriculum and in it possible solutions to the problems discussed. .
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Fernández, Maria L., and Robert C. Schoen. "Teaching and Learning Mathematics through Hurricane Tracking." Mathematics Teaching in the Middle School 13, no. 9 (May 2008): 500–512. http://dx.doi.org/10.5951/mtms.13.9.0500.
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During hurricane season, maps that track predicted storm paths are commonly seen on television and the Internet. The Weather Channel often receives number-one viewership ratings in regions encountering a major weather event, such as a hurricane or tornado (Kloer 2001). Mathematics teachers can tap into students' curiosity and interest about hurricanes to develop their understanding of mathematical ideas within a real-life context. In this article, we discuss observations and findings after implementing mathematics tasks based on data about hurricanes. Finding patterns and relationships, creating and interpreting graphs, and examining rates of change are just a few of the topics that can be studied. We developed these tasks as part of the Students' Transition Toward Algebra project and have used them with both middle school teachers and students.
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Cushion, Stephen, Justin Lewis, and Allaina Kilby. "Why context, relevance and repetition matter in news reporting: Interpreting the United Kingdom’s political information environment." Journalism 21, no. 1 (December 13, 2017): 34–53. http://dx.doi.org/10.1177/1464884917746560.
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This study develops a multi-method approach to analysing political information environments, exploring how media and political systems help shape people’s understanding of news. In doing so, we ask a question fundamental to democratic citizenship: how well do news media communicate political responsibility and policy differences across political systems? Our study examines the United Kingdom’s political information environment, where significant power is devolved to Scotland, Wales and Northern Ireland, with different political parties in control. Drawing on a content analysis of 17,765 news items, a representative survey of 3272 respondents and 15 semi-structured interviews, we examine the dominant information sources about UK politics by longitudinally tracing coverage of devolved issues from 2007 to 2016, and gauging how well it was understood by television news viewers. Our results suggest that while BBC news is more sensitive to communicating the devolved relevance of news than more commercial outlets, there remains a democratic deficit in the supply of political information and audience understanding of where power and responsibility lies. If news coverage more regularly communicated the relevance and context of devolved issues, we argue it could open up democratic opportunities for citizens to consider a wider range of policy options debated in all four political institutions.
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Prestley, Robert, Michele K. Olson, Sarah C. Vos, and Jeannette Sutton. "Machines, Monsters, and Coffin Corners: Broadcast Meteorologists’ Use of Figurative and Intense Language during Hurricane Harvey." Bulletin of the American Meteorological Society 101, no. 8 (August 1, 2020): E1329—E1339. http://dx.doi.org/10.1175/bams-d-19-0205.1.
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Abstract During impactful weather events, television broadcast meteorologists act as high-profile risk communicators by interpreting complex weather information for viewers. However, the specific language choices broadcast meteorologists make in these situations have rarely been studied. This qualitative study investigates how meteorologists used figurative and emotionally intense language to interpret threats and impacts during Hurricane Harvey in August 2017, using 24 h of live broadcasts from KHOU, a Houston CBS affiliate. The results of this inductive, thematic analysis suggest that KHOU meteorologists framed Harvey as an all-encompassing monster and as a heat-seeking machine. The meteorologists also relied on emotionally intense language to emphasize Harvey’s extreme threat and to express their concern and disbelief about Harvey’s impact. This study indicates the specific and multifaceted ways broadcast meteorologists communicate risk and science during high-impact events and identifies key questions for future research.
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Shamoon, Deborah. "Interpreting Anime by Christopher Bolton, and: The Anime Ecology: A Genealogy of Television, Animation, and Game Media by Thomas Lamarre." Monumenta Nipponica 74, no. 1 (2019): 165–70. http://dx.doi.org/10.1353/mni.2019.0014.
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Vincent, John, Jason W. Lee, Kevin Hull, and John Hill. "Where Legends Are Made: A Case Study of an Advertising and Branding Campaign at the University of Alabama." International Journal of Sport Communication 13, no. 1 (March 1, 2020): 97–128. http://dx.doi.org/10.1123/ijsc.2019-0098.
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This case study of the University of Alabama’s Where Legends Are Made illustrates how a 30-s television advertisement with a catchy tagline was transformed into a strategic branding campaign that communicated the essence of the university in a compelling story. Employing a qualitative methodology, the case study drew on personality archetypes to develop an institutional brand communication management conceptual framework that illustrated the guiding principles and creative contexts used to break through the communication clutter. It did so by emphasizing the University of Alabama’s leadership, competitive spirit, and transformative innovation by making its fabled athletic tradition an extension of its everyday excellence in academic disciplines. It also demonstrated how empirically tested archetype personas can be effectively employed in persuasive storylines to emotionally resonate with key stakeholders and prospective consumers alike, with each interpreting it in a way that is compatible with their own values, lifestyles, and culture.
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Fairchild, Charles. "Flow amid Flux." Television & New Media 12, no. 6 (June 23, 2010): 491–512. http://dx.doi.org/10.1177/1527476410374967.
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The extensive changes affecting television highlight the importance of understanding how these changes might affect programming content. The use of music in evening drama is analyzed here with a view toward interpreting the place of music within several programs in relation to the larger changes affecting the medium. From this analysis, it seems clear that the use of composed music and popular songs is intended to act as a stylistically distinct feature of the overall experience and understanding of evening dramas to attract and hold the attention of viewers across multiple sites of consumption in an increasingly competitive entertainment market. An expansive use of the concept of televisual flow is employed to connect the aesthetic contours of the use of music in evening drama to the ways in which producers try to create and maintain connections with viewers whose viewing patterns and practices are changing rapidly and unpredictably.