Journal articles on the topic 'Television program genres – united states'

Artikkelin tavoitteena on kuvata televisioalan tekijöiden näkemyksiä laatukriteereistä sekä sitä, millaisia lajityypit ylittäviä laatukriteereitä löytyy audiovisuaalisella alalla. Aineisto on koottu Yhdysvalloissa ja Suomessa haastattelemalla alan ammattilaisia, jotka toimivat tuottajina, ohjaajina, kouluttajina tai johtavissa asemissa palkintojärjestöissä.Analyysi on toteutettu fenomenografisesti. Laatukeskustelun ja televisio-ohjelmien keskinäisen vertailun tuloksena nousi esiin kolme lajityypit ylittävää laatukriteeriryhmää. Nämä ryhmät ovat 1) ammattitaito, 2) vaikutus ja 3) suosio.Avainsanat: laatu, televisiotuotanto, televisiotutkimus, lajityyppi, fenomenografiaQuality in Television Across Genres: Views on Criteria of Quality Amongst Television ProfessionalsThe aim of this article is to explore criteria of quality in the views of professionals in the field of television and what kind of criteria of quality across genre can be found in the audiovisual field. Data has been compiled in the United States and Finland by interviewing professionals in the field of television, who act as producers, directors, educators or in leading positions in award organizations, such as Peabody- and Emmy Awards.The analysis has been carried out phenomenographically. As a result of the quality discussion and the mutual comparison of television programs, three groups of quality criteria exceeding the genres emerged. These groups are 1) professionalism, 2) impact, and 3) popularity.Keywords: quality, genre, television production, television research, phenomenography

The article is devoted to the functional-stylistic analysis of the new genre of Ukrainian television news – infotainment. The author emphasizes that this genre is currently actively developing in the field of national television. In addition, it has a number of specific features inherent only to it. On the example of the TV program "Абзац!" on the New Channel and "M1 News" on the M1 channel the author provides an analysis of the broadcasting media specifics in the television programs of the infotainment genre. Infotainment – literally "infotainment = information + entertainment" – is a diffuse genre, which emerged as functional mix of two genres – informational and entertainment. The essence of the infotainment news is laying in the presentation of official news in an amusement way. The history of infotainment establishment is related not only to the globalization of television, but also to the change in information space paradigm in general. This genre emerged in the American mediaspace in the 80's of the 20th century and, with the help of the globalization process, gradually expanded its borders therefore it became popular outside the United States. In addition, the infotainment changed its format to the needs of the Ukrainian viewer that gave it the unique features that distinguish this genre not only among other types of news, but also among similar foreign prototypes. Among such features the author distinguish: conversational style of speech, the use of a large number of stylistic trails, the irony of discourse, emotional and expressive presentation of the material, versatility of the video and the free choice of thematic content. Due to these features, the Ukrainian infotainment as neo-genre is gaining popularity among recipients. As a result, it was proved that the infotainment exists on the Ukrainian television and has its own linguistic and stylistic features that require attention not only from journalists, but also by linguists, in particular medialinguists. The bright example of studied programs shows that such a genre enriches not only the content of the television media space, but also the language of the recipients by the innovative lexical units.

AbstractThe aim of this article is to present the most important factors affecting the creation and content of two different genres of television series–Polish television sagas and American post-soap operas. The analysis which I have carried out in the field allows the formulation of several conclusions. The creation of the two genres is similar. In both cases the most important people are the producers and scriptwriters and the most important criteria used for the assessment of a production are audience ratings and economic factors. Polish television sagas and American post-soaps are often very different with regard to their content and the ways they present social issues. The reasons for the differences include: genre convention, expectations of viewers, social and cultural context, and the emergence of commercial subscription television in the United States. At the turn of the 21st century HBO, an American pay television provider, followed by other stations began to produce shows which, even though they have originated from older television forms, break the ties with their antecedents. Makers of post-soaps address sensitive social issues and create their characters in an original and often controversial way.

The supply of films and TV series in the United States has been historically dominated by national programming produced by its powerful media conglomerates, significantly limiting the diversity and plurality of choices for their American viewers. Netflix and other video-on-demandplatforms are changing this situation, significantly increasing the availability in the United States of fiction produced in different regions of the world, potentially exposing their subscribers to new narrative styles, scenarios, ethnicities, nationalities, languages, and cultural features. This study, based on the methodology of content analysis, analyzes the geographical origin and production type of new Netflix scripted television releases in the United States from January 2017 to June 2018 and discusses their potential relevance in broadening the degree of geographical diversity among American subscribers to the platform. The paper concludes that while Netflix USA substantially increased the supply of foreign television series in its catalog during that period, a sizeable part of the imports came from countries with high degrees of “cultural proximity” with the United States. The article concludes by discussing the possible “Americanization” of foreign audiovisual productions, formats, and genres bought or produced by Netflix.

Over the past few years, the rise in popularity of a genre of You- Tube videos known as “reaction videos” has resulted in controversy for various reasons. The United States District Court in Hosseinzadeh v. Klein, a landmark case for the genre, described the “reaction videos” as “a large genre of YouTube videos . . . [that] vary widely in terms of purpose, structure, and the extent to which they rely on potentially copyrighted material.” According to the Hosseinzadeh opinion, “[s]ome reaction videos. . .intersperse short segments of another’s work with criticism and commentary, while others are more akin to a group viewing session without commentary.” Essentially, reaction videos are exactly what the name suggests: a video showing a person or group of people reacting to the work of another, which by nature requires the incorporation of the work being reacted to for the viewer’s reference. The first time that controversy arose out of the “reaction” genre was in 2015 when the Fine Brothers, the creators of a popular YouTube channel known for its “Kids React” series along with several other “reaction video” series, applied to trademark the term “react.” The brothers did so with the intention to create a program called “React World,” through which they would license out the “reaction video” format to other video creators. This endeavor came not long after the Fine Brothers criticized Ellen DeGeneres for allegedly using their “re- action” format in a segment on her television show, suggesting the brothers’ belief that they were the sole owners of what is, in reality, a widely-used format. As a result, YouTube viewers became distrustful of the Fine Brothers’ intentions in trademarking the format, and viewers criticized them to the point that they issued a public apology in February of 2016 in which they announced their decision to “[r]escind all. . .‘React’ trademarks and applications” and “[d]iscontinue the React World program.” Later in 2016, reaction videos would again become the subject of controversy when Ethan and Hila Klein, the husband-and-wife creators of the popular YouTube comedy channel H3H3 Productions, were sued by Matt Hosseinzadeh of the decidedly less popular You- Tube channel, Matt Hoss Zone, for copyright infringement. Hosseinzadeh alleged copyright infringement for the use of segments of his video, “Bold Guy vs. Parkour Girl,” in a humorous reaction video made by the Kleins.8 What resulted was the aforementioned Hosseinzadeh v. Klein opinion, which set a precedent that will hopefully allow future reaction video creators to produce and share content without their creativity being stifled by the looming risk of copyright infringement lawsuits. Hosseinzadeh alleged that a video, which was part of a series of videos, starring himself as “Bold Guy,” “in which the Bold Guy flirts with a woman and chases her through various sequences” was infringement. Hosseinzadeh alleged that the Kleins’ video entitled “The Big, The BOLD, The Beautiful,” infringed upon “Bold Guy vs. Parkour Girl,” as it featured the couple “comment[ing] on and criticiz[ing] [his] video, playing portions of it in the process.” Accepting the Kleins’ motion for summary judgment, which pleaded the fair use defense, the court held that its “review of the. . .videos makes it clear that [the claim] in which plaintiff alleges that defendants in- fringed plaintiff’s copyrights, must be decided in defendants’ favor.”

Television is historically a generative site for examining media nostalgias. Within the ever-widening landscape of reboots, remakes and revivals across genres and platforms in the post-network era in the United States, an impulse to ‘redo’ live programming on network television has also emerged in the on-going battle for consumer attention. Steadily gaining momentum over the past decade, this article questions the roles that nostalgia plays in structuring the surprising return of fictional event-based television. The evolution of this phenomenon is traced by first examining the wave of live network musical productions (2013–19), followed by the restaging of Norman Lear’s classic sitcoms in Live In Front of a Studio Audience (ABC 2019). Nostalgia’s connection to positive emotion is a powerful marketing tool that is manipulated across industries, and specifically leveraged through airing reperformances of these popular and identifiably nostalgic texts. However, despite reaching new levels of nostalgic indulgence, the live televisual remake opens-up new opportunities for collectivity and critical reflection for viewers in the digital age.

In the industrialized democratic world, broadcasting news monopolies and oligopolies have all but disappeared. Whereas public broadcasters in Western Europe in the earlier postwar period had a monopoly or duopoly on televised news, today there is a more diverse market with competition from other public and commercial broadcasters, often carried by new technology such as satellites. In the United States, the oligopoly of the three networks in news has been broken by both CNN on cable and, to a lesser extent, PBS in its program “News Hour.” Thus the new competition introduced into broadcasting systems has been the result of either changed government policy or new technological mediums, or in certain instances both.

Within the broader context of globalisation and the transformation of world television markets, this article sets out to address the extent of British drama's international presence, and the factors which either promote or inhibit that presence in Britain's major television export markets in the United States, Western Europe and Australasia. Alongside an examination of recent policy debates, which raised concerns about the exportability of British drama series, this article pinpoints and assesses the culturally specific factors that affect overseas acceptance of British drama. These include the continuing decline of traditional public service channels, the different needs of distinctive nationally based television ecologies, and the growing demand for more locally originated programming. Sales of British drama are stagnant or declining, but alternative export strategies, including coproduction and the export of scripted formats, have had only limited success. Increasingly, Britain's export successes are dominated by programming genres (children's, factual) and entertainment formats, which can be indigenised and adapted by the receiving culture, and in their more ‘universal’ appeal are quite different from the identifiably British detective series, historical and literary-based drama on which Britain's international success was judged in the past.

In giving the home audience an experience that combines both images and sound, surpassing the potential of the traditional mediums of print and radio, the audience rallying around the television increased by the day. Reality shows originated as a result of the introducing new programme models to the television. Attempts were made to portray real life forms of people in a more realistic way through the reality format. A majority of the audience were inclined towards watching reality programmes and the trend was to see the rise of modern social media activism. Thus, the research problem herein was to analyse whether the strategic use of social media, causes reality television programs to become more popular. The purpose of this study was to determine whether the close association of reality television programs with social media directly influenced the increase in popularity of reality television programs due to recent dynamics and trends in the reality program format. The study was conducted by analytically studying books written on reality shows, research-related information that has been published far and utilizing data on the present context. The use of new technology, especially in reality shows, has changed the face of the realist model. Various data showed that different cultural changes were taking place in each of the social systems in an attempt to attract more audiences apart from reality. The study also establishes that reality themes that originated in the United States may have spread to other parts of the world. The data also reflect that many countries are imitating reality shows produced in the United States. With the rise of social media in the modern Internet age, all television channels have used social media to promote their programs. Due to the large number of young individuals watching TV shows on social media, reality shows were also broadcasted live on social media and television stations released episodes considered to have the best reach on social media. Accordingly, this study highlights that there is currently no single existence for reality shows without social media activism.

Background. The article is devoted to the creative activity of the outstanding Chinese composer, pianist, teacher and public figure Zhang Zhao (born in 1964). The musical heritage of Zhang Zhao covers a wide range of genres and includes symphonic, piano music, instrumental compositions, works for Chinese traditional instruments, vocal, chamber music, ballets, music of cinema and television programs, and music for large social events. Despite his notoriety in China, the United States, Canada and many European countries, Zhang Zhao is little known in Ukraine. Thus, Ukrainian musicians to date have been deprived of the opportunity to get acquainted with his work. Since the music of Zhang Zhao sounds in many countries of the world, it resonates powerfully in a variety of areas, and in particular, research. To date, the work of the composer is actively studied by Chinese musicologists. However, among the publications, small articles devoted to a narrow range of problems predominate. Large-scale studies devoted to any area of his music have not yet been created. One of the most important topics relating to the composer’s work is the study of his views on musical art. Zhang Zhao’s vision of the further development of Chinese piano art reveals the composer’s worldview, his creative credo. This question is decisive for studying the composer’s musical heritage, defining his genre-style priorities. Objectives. The purpose of the article is to reveal the peculiarities of Zhang Zhao’s artistic worldview in order to promote the fullest possible identification of the ideas of the composer, the disclosure of the artistic concepts of his works. Methods of research are based on a set of scientific approaches necessary for the disclosure of its theme. The complex approach, combining the principle of musical-theoretical, musical-historical and performing analysis, is taken as the basis of the methodology. Results. Important for the disclosure of the creative worldview of the composer is the study of his statements on the ways of further development of musical art. His attitude and vision of his role in this process, the Chinese musician has repeatedly stated in an interview with domestic journalists. According to Zhang Zhao, the main issue that should concern modern composers is the place of the musical art of their country in world culture. Zhang Zhao found in the face of the pianist virtuoso his Yundi Li adherent. The collaboration between the composer and the performer began in 2011. Zhang Zhao took part in a large-scale theatrical performance at the Third Congress of BRICS leaders in Sanya. Then Yundi Li performed on the stage of the concert hall of Zhang Zhao’s play “In the most remote place” and “Chinese piano dream”. Zhang Zhao is committed to the concept of inheritance and the promotion of a culture of national music. The Chinese compare Zhang Zhao with the outstanding leader of the Polish people Chopin, who dedicated his life to the transformation in piano music of various genres. Piano works by Zhang Zhao adorned the world culture with the introduction of Chinese national motives into it. The composer introduced listeners to the air melodic lines of original works and filled his works with a complex texture, making them attractive for acquaintance with the rich traditional culture of China. Developing national piano art, Zhang Zhao inscribes the Chinese chapter in the world culture with his inherent passion and love for life. In addition to studying composition, performing and teaching, Zhang Zhao, is active in public activities, being a music professor at the Central University for Nationalities. He pays great attention to the development of the artistic taste of students, shares his own musical ideas and aesthetic principles. The composer made great efforts and energy to create the “Chinese piano dream”. To popularize this work, they, together with Yundi Li and the Shanghai People’s Orchestra conducted nationwide tours, visited Taiwan, and outlined other projects. Despite the fact that Professor Zhang Zhao has a very tight work schedule, he nevertheless finds time to talk with his students about the place of national music and its prospects. In the “Chinese Piano Dream”, the composer sought to reflect the essence of the musical culture of the Chinese nation. He embodied the dreams of the older generation of pianist composers and performers about the perfection of the Chinese piano scene, set a high goal – to show the artistic value of the Chinese piano piece on the world stage, took on the mission to inherit the national culture and pass it on to the next generations. In the works of Zhang Zhao, the interests of the Chinese and global world level intersect. This is due to the amazing richness of the composer’s creative worldview, which is open to everything significant in life and art. On this basis, the composer came to important conclusions about the role of contemporary classical musical art in people’s lives in China and in the world. Conclusions. For more than twenty years, Zhang Zhao is in the creative search for his musical style. He carefully investigated the development of ethnic music, which enabled him to create his piano works, which are distinguished by a unique and mature language.

The protection of the law may also continue to be endorsed by The United Nations Convention on the Rights of the Child (commonly abbreviated as the CRC or UNCRC) that applies to States that have ratified it. Media regulators, especially television media and the government then try to control the contents of this media, one of which is the obligation to use the age classification code on television broadcast programs. Legislation and regulatory committees that oversee it have also been established by the government. KPI Regulation Number 01 / P / KPI / 03/2012 concerning Regulatory Procedure (P3) and KPI Regulation Number 02 / P / KPI / 03/2012 concerning Civil Procedure Program (SPS) also as alternative provisions in child protection as mandated by the Convention on the Rights of the Child (CRC) and Child Protection Law.Through this research, main problems related to the protection of children were found in the regulation of national television broadcast program classification based on the age group of audiences.Reformulation of the provisions of the age classification code on existing television broadcast programs is deemed necessary to prevent violations, especially related to child protection.

This article charts key developments and cross-national variations in the coverage of foreign culture (i.e., classical and popular music, dance, film, literature, theater, television, and visual arts) in Dutch, French, German, and U.S. elite newspapers between 1955 and 2005. Such coverage signals the awareness of foreign culture among national elites and the degree and direction of “globalization from within.” Using content analysis, we examine the degree, direction, and diversity of the international orientation of arts journalism for each country and cultural genre. Results denote how international arts and culture coverage has increased in Europe but not in the United States. Moreover, the centrality of a country in the cultural “world-system” offers a better explanation for cross-national differences in international orientation than do other country-level characteristics, such as size and cultural policy framework. Recorded and performance-based genres differ markedly in their levels of internationalization, but the effect of other genre-level characteristics, such as language dependency and capital intensiveness, is not clear. In each country, international coverage remains concentrated on a few countries, of which the United States has become the most prominent. Although the global diversity of coverage has increased, non-Western countries are still underrepresented.

Reality television in the United States has often been understood to reinforce the punitive and neoliberal turns American political culture took in the late twentieth century. But in this article, we examine how it can work to unsettle as well as naturalize punitive and neoliberal ideologies. We do so via a case study of To Catch a Predator, a reality-based television program documenting the detection, legal apprehension, and extralegal punishment of adults seeking sex with teenagers. Both the appeal of the show and its susceptibility to the backlash that ultimately shut down its production, we argue, lay in a tacit invitation to viewers to imagine themselves as predators as well as parents or prosecutors.

This article examines the migration of a Soviet agitational theatrical form from Russia to the United States in the 1920s and 1930s. The Soviet living newspaper, or zhivaia gazeta, began during the Russian Civil War as a method to act out a pro-Soviet version of the news for mainly illiterate Red Army soldiers. During the 1920s, it evolved into an experimental form of agitprop theater that attracted the interest of foreigners, who hoped to develop new methods of political theater in their own countries. In the United States, the living newspaper format was first adopted by American communist circles. Eventually, the depression-era arts program, the Federal Theatre Project (FTP), incorporated an expanded and altered version as part of its many offerings. Living newspapers eventually became one of the FTP’s most celebrated and criticized performance genres. The political content of American living newspapers was a major factor in the government’s elimination of the FTP in 1939.

Recently, 194 World Health Organization member states called on the international organization to develop a global campaign to combat ageism, citing its alarming ubiquity, insidious threat to health, and prevalence in the media. Existing media studies of age stereotypes have mostly been single-sourced. This study harnesses a 1.1-billion-word media database comprising the British National Corpus and Corpus of Contemporary American English—with genres including spoken/television, fiction, magazines, newspapers—to provide a comprehensive view of ageism in the United Kingdom and United States. The US and UK were chosen as they are home to the largest media conglomerates with tremendous power to shape public opinion. The most commonly used synonym of older adults was identified, and its most frequently used descriptors were analyzed for valence. Such computational linguistics techniques represent a new advance in studying aging narratives. The key finding is consistent, though no less alarming: Negative descriptions of older adults outnumber positive ones by six times. Negative descriptions tend to be physical, while positive ones tend to be behavioral. Magazines contain the highest levels of ageism, followed by the spoken genre, newspapers, and fiction. Findings underscore the need to increase public awareness of ageism and lay the groundwork to design targeted societal campaigns to tackle ageism—one of our generation’s most pernicious threats.

One of the genres of television journalism is a documentary. The history of documentary filmmaking develops in parallel with film production. This genre of cinema, which began its development in the second half of the XIX century, developed from Europe, the USSR, the USA. Currently, a documentary is a developed television genre. Documentaries are divided into several types depending on the type and content, chronos and facts, goals and interests. This is a pattern. The article focuses on the study of the theory of documentary film in practice in the USA. Currently, as the most developed country in the world, the US journalism is also leading. In the training of American journalists, a review of the practice of teaching the theory of documentary film is given. The article provides an overview of the practice of training American journalists, teaching the theory of documentary cinema. We tried to analyze individually 6 main types of a documentary in classification and meaningful transformation. In addition, a review of the history of the development of documentary films in the United States with creative contacts of world film heroes will be conducted. In the course of the study, the art and creativity of famous American movie characters were studied and analyzed. Among them are Robert Joseph Flaherty, Thomas Edison, Mark Dintenfass, Gus Bakker, Richard Koszarski, John Grierson, Margaret Bourke-White, Ralph Steiner, etc.

The next two decades will force major changes on existing media and leave them with a significantly smaller share of voice, mind and advertising dollars. Pay TV in various forms will be the main challenge, but the Internet and other interactive media also seem certain to change traditional media use and advertising practices. In the United States, cable television has taken large numbers of viewers from free-to-air TV, and is expanding its share of advertising revenue. Pay TV's prospects in Australia are promising, though the largely American program content of advertiser-supported channels may limit their appeal. Pay TV may be in as many as 20 per cent of homes within three years, but its impact on television viewing levels will be only a fraction of that. Free-to-air viewing may decline by as little as 4 per cent by 2000, while television revenue may be unaffected by Pay TV. In the medium term, digital technology will make various forms of interactivity practicable for both free-to-air and Pay TV. This may prove to be more significant than competition for advertising dollars, as it will allow both media to compete for marketing expenditure currently made outside normal advertising media.

Objectives: Health literacy is often viewed as an essential skill set for successfully seeking health information to make health-related decisions. However, this general understanding has yet to be established with the use of nationally representative data. The objective of this study was to provide the first nationally representative empirical evidence that links health information seeking behaviors with health literacy among middle-age to older adults in the United States. Methods: Data were obtained from the 2012/2014 Program for the International Assessment of Adult Literacy (PIAAC). Our analytic sample is representative of adults age 45 to 74 years ( N = 2,989). Results: Distinct components of health literacy (i.e., literacy and numeracy) were uniquely associated with the use of different health information sources (e.g., health professionals, the Internet, television). Discussion: Findings should be useful for government agencies and health care providers interested in targeting health communications, as well as researchers who focus on health disparities.

Although the incidence of foodborne illnesses has declined, thousands of cases are still reported in the United States. In conjunction with industry efforts to reduce foodborne pathogens, consumers play an important role in decreasing foodborne illnesses. To assess food safety knowledge and food handling behaviors of low-income, high-risk populations, a study was conducted with participants of the Special Supplemental Food Program for Women, Infants, and Children (WIC). A survey was conducted with 1,598 clients from 87 WIC agencies nationwide. Descriptive statistics, chi-square analyses, t tests, and analyses of variance were calculated. A majority of respondents received food safety information from WIC (78.7%), family (63.1%), and television (60.7%). Most respondents recognized the necessity for washing and sanitizing cutting boards and utensils (94.3%), but only 66.1% knew the correct ways to sanitize. Using a thermometer to ensure doneness of meat was least recognized (23.7%) and used by even fewer respondents (7.7%). The majority (77.4%) used color of meat and/or juices when checking the doneness of ground beef items. Over half of the respondents (58.4%) used acceptable thawing methods, but many thawed frozen meats on the counter (21.0%) or in a sink filled with water (20.6%). There were significant differences in thawing methods, overall knowledge scores, and overall behavior scores among different racial and ethnic groups. White respondents had higher knowledge scores than did Hispanics, and blacks had lower behavior scores than did individuals in the other racial and ethnic groups. Results of the study suggested the need for food safety education for low-income consumers and different messages to be delivered to specific demographic groups.

The article proves the possibility of forming the ability to understand music by primary school students. The influence of program works of the school program on the perception and understanding of music of different genres is proved by concrete examples. The educational influence of works of musical art on the formation of the artistic and emotional sphere of personality is proved. The formation of the ability to understand works of music by primary school students occurs in a certain sequence based on teacher-student interaction, both in music lessons and during extracurricular work on artistic and aesthetic education of primary school children. The collective type of creativity, inherent in the assimilation of the values of musical art, obliges the subjects of the educational process to comply with certain requirements for the organization of joint activities. In accordance with modern music-pedagogical technologies, which enable the effectiveness of the learning process, there are certain requirements for the perception of works of music of different genres and compositional styles provided by the school curriculum. Thus, the quality of the impact of music on primary school students depends on certain factors. Because, according to the school curriculum, music lessons are united by a common theme, which makes it possible to organize work with children in such a way as to give first-graders the opportunity to talk about their favorite music. To do this, prepare and ask the class a few questions, such as: remember what songs you sang or heard from radio and television programs that focused your attention and you liked ?; what song do you dream to sing ?; what dance music do you like Such a conversation should take place in a friendly atmosphere, and children's responses should be supported and evaluated positively. The teacher's tolerant attitude to any thoughts, feelings and expressions of students gives the child confidence in their own abilities, determination and activity in further work.

This article presents the main findings of a content analysis of the coverage of the Russia-Ukraine war in the Brazilian TV news program, Jornal Nacional, undertaken as part of an international study of coverage of the Russia-Ukraine war on television news in nine countries. Jornal Nacional was selected as the first news program to be broadcast nationwide in Brazil, which is still the country's market leader for private TV. The content analysis included a 10-day sample of 66 news items from the invasion of Ukraine by Russia on 24 February 2022 and the following seven weeks, classified according to thematic categories. The results showed a coverage characterized by a panoramic view of the conflict and the presence of a diversity of angles and points of view. Most of the news focused on the civilian situation, sanctions applied to Russia by the United States and the European Union, and daily news about the battlefield.

Anti-fat bias has become a critical issue to address given the moral panic over perceptions of the prevalence of ‘obesity’ that leads to further stigmatization of fatness ( Boero, 2007 ; Campos et al., 2006 ; Flegal et al., 2010 ; Gard, 2010 ; Tischner & Malson, 2008 ). Fat phobic attitudes result in negative outcomes for employment, relationships, and health care provision ( Teachman & Brownell, 2001 ; Maranto & Stenoien, 2000 ). The United States media has frequently been identified as a source that further reinforces stereotypes and contributes to anti-fat stigma ( Himes & Thompson, 2007 ). Specifically, the representation of fat characters in television has risen in recent years ( Himes & Thompson, 2007 ), possibly due to public pressure, marketing goals, or to better represent the general population. However, are these allegedly fat positive depictions effective alternatives to fat stigma? In the case of the Fox Television network's reality dating series featuring fat contestants, More to Love, pseudo-fat acceptance is the result. In this paper, we rely on a textual analysis of More to Love (in select episodes and promotional material) to highlight the undermining of fat acceptance in popular American media sources. We will discuss how pseudo-fat acceptance in this program further reinforces anti-fat stigma. Implications of fat stigmatizing and fat positive representation in the media will also be suggested.

The Coordinated Educational Marketing Assistance Program (CEMAP) is one of the oldest marketing assistance programs for ornamentals in the United States. The goal of this program is to identify outstanding plants for Texas and to provide support for the nursery industry, thereby making plants with superior performance available to the people of Texas. The CEMAP program is a cooperative effort between the Texas nursery industry and Texas A&M Univ. The CEMAP Executive Board has eight individuals representing extension, research, and teaching plus two administrative liasions and the Industry Advisory Board has ≈50 members from all segments of the ornamentals industry in Texas. Funding for the CEMAP program comes from direct industry support and from the public through the sale of plant tags or other promotional materials which bear the Texas Superstars logo. The logo is trademarked and licensed to printing companies who handle the administration of royalties to the program. The Executive Board makes the final decision about which plants are designated Texas Superstars. Promotional support for the plants is provided by CEMAP through point of purchase materials and publicity through print, radio, and television. In addition, the Texas Nursery and Landscape Association in cooperation with the Texas Department of Agriculture are conducting a publicity campaign to inform the public about Texas Superstars.

Media regulation in Europe is examined with respect to the increasing importance of the ‘supranational’ in the shape of the EU. This supranational influence is found to be increasingly important for the audiovisual sector, but to a much lesser extent for the print media. There have been two major ‘prongs' to policy at the supranational level. The first of these is the Television Without Frontiers directive which has established European content requirements, as yet on a voluntary basis in the EU itself, but as mandatory requirements for the applicant countries for membership in Central and Eastern Europe. The second is the MEDIA program of subsidisation for training, pre-production and other activities in the audiovisual sector. The policy area is one which has been strongly fought over between ‘protectionists' such as France, the European Commission and the European Parliament on one side, and the more market and trade-oriented United Kingdom, Germany and the Netherlands, as well as the United States export lobby, on the other. Protection of culture is put forward as a major justification for regulation and subsidisation of the audiovisual sector and industry, with enthusiasm for this diminishing from north to south but being strongest in France.

I was invited by the MLA committee on the status of graduate students in the profession to speak at a convention workshop entitled “Keywords for a Digital Profession.” My keyword was obsolescence, a catchall term for a multiplicity of conditions; there are material obsolescences, institutional obsolescences, and purely theoretical obsolescences, each type demanding a different response. I spent years pondering theoretical obsolescence while writing The Anxiety of Obsolescence: The American Novel in the Age of Television. The book argues, in part, that claims about the obsolescence of cultural forms often say more about those doing the claiming than they do about the objects of the claims. Neither the novel in particular nor the book more broadly nor print in general is dead, and agonized announcements of the death of such technologies and genres often serve to re-create an elite cadre of cultural producers and consumers, ostensibly operating on the margins of contemporary culture and profiting from their claims of marginality by creating a sense that their own values, once mainstream and now decaying, must be protected. Two oft-cited reports of the National Endowment for the Arts, Reading at Risk (2004) and To Read or Not to Read (2007), come to mind; like numerous other expressions of anxiety about the supposed decline of reading, each rhetorically creates a cultural wildlife preserve in which the apparently obsolete can flourish (United States). These texts suggest that obsolescence is, in this case at least, less a material state than a political project.

This paper explores the value of ecopedagogies and ecojustice education in an increasingly nature-deficit and attention-directed world, and does so through the lens of place-based education. More specifically, this paper explores the positive impact nature-based writing in the Department of English Language Learning at Utah Valley University (UVU) has on English language learners (ELLs). The ecopedagogical program at UVU includes multiple opportunities for conducting environmental/economic research and writing in several relevant genres, but this paper primarily focuses on qualitative data retrieved from semester-long Nature Journals and a Wilderness Writing Workshop held during a four-day department-sponsored excursion to Capitol Reef National Park in south-central Utah in the United States. The benefits of nature-based writing include greater engagement and increased desire to write, improved vocabulary and language skills, more poetic writing, less reported stress, and a greater sense of connection to all other living beings. As added benefit, English language learners at UVU have also had opportunities to participate in civic-minded conferences, have been interviewed with the author on public radio, and are expected to have work published in an upcoming anthology.

Korean Americans (KAs) have among the highest smoking rates in the United States. They are unlikely to participate in conventional evidence-based smoking cessation programs, preferring to quit on their own. Since KAs have good Internet access, the study's community advisory board recommended evaluating the efficacy of an online cessation program. In conjunction with the board, an Internet-based, self-help program was adapted to ensure that it was culturally and linguistically appropriate and was evaluated with a randomized trial. This article describes the real-world experience recruiting 1,261 KA participants, primarily through online methods. Paid online advertising was essential to the recruitment effort. The 31 months of advertising cost approximately $84,000, or $66.50 per study enrollee. Based on self-reports, most participants learned about the study from either a text link such as Google AdWords (44%) and/or a graphic link such as an online newspaper ad (35%). Among the methods used, Google AdWords' cost-per-click content site ads were the most cost-effective. Other types of outreach, including unpaid Internet ads, cable television, newspapers, fliers, and word of mouth, had very low reach. Geographically dispersed, linguistically unique, and privacy-oriented communities can be recruited for eHealth studies and interventions. However, a paid advertising campaign may be necessary.

AbstractClimate Matters is a localized climate change reporting resources program developed to support television (TV) weathercasters across the United States. Developed as a pilot test in one media market in 2010, it launched nationwide in 2013; in the autumn of 2019 more than 797 weathercasters were participating in the program. In this paper we present evidence of the impact of the Climate Matters program on Americans’ science-based understanding of climate change. We analyzed three sets of data in a multilevel model: 20 nationally representative surveys of American adults conducted biannually since 2010 (n = 23 635), data on when and how frequently Climate Matters stories were aired in each U.S. media market, and data describing the demographic, economic, and climatic conditions in each media market. We hypothesized that 1) reporting about climate change by TV weathercasters will increase science-based public understanding of climate change and 2) this effect will be stronger for people who pay more attention to local weather forecasts. Our results partially support the first hypothesis: controlling for market-level factors (population size, temperature, political ideology, and economic prosperity) and individual-level factors (age, education, income, gender, and political ideology), there is a significant positive association between the amount of Climate Matters reporting and some key indicators of science-based understanding (including that climate change is occurring, is primarily human caused, and causes harm). However, there was no evidence for the second hypothesis. These findings suggest that climate reporting by TV weathercasters, as enabled by the Climate Matters program, may be increasing the climate literacy of the American people.

Social and political nationally-biased vocabulary plays an important role in shaping the cultural paradigm of each country as it relates to various aspects of human activity and embodies the view of events in the history of the country from the point of view of politicians, as well as experts in certain fields. The presence of a large number of social and political nationally-biased vocabulary determines the genre specifics of their construction in mass media. It preconditions the relevance of the social and political nationally-biased vocabulary of Great Britain studies in the context of video genres diversity, among which are debates, political shows, and video interviews. In the discourse under consideration meaning making takes place in integration of different semiotic modes. In particular, verbal – scripts of original video interviews, political shows, and debates, where socio-political nationally-biased vocabulary functions. In turn, visual mode is represented by static and dynamic visual images. The former include photos, diagrams, graphs, etc. Dynamic images embrace change of visual images in videos. Both static and dynamic images accompany verbal representation of nationally-biased vocabulary. Kinesic semiotic mode is manifested via gestures, facial expressions of participants in original video interviews, political shows, and debates. An auditory mode is represented by a melody that accompanies the verbal representation of nationally-biased vocabulary. The aim of the article is to identify the nature and types of social and political nationally-biased vocabulary in present-day British political discourse of various video genres. The concept of "social and political nationally-biased vocabulary" is defined, the classification of social and political nationallybiased vocabulary from the standpoint of multimodality theory is specified. The article reveals specific features of the use of social and political nationally-biased vocabulary by the representatives of British political elite. The paper analyzes several excerpts from the interviews with Edward Heath, the Prime Minister of the United Kingdom in 1970-1974 on Thames Television and the current Prime Minister Boris Johnson on BBC. A comparative analysis of the interviewer's methods of interaction with the guest of the TV program is performed. It has been proved that non-verbal communication plays an important role in present-day political discourse.

In modern times, sports have become more global, and thanks to sports and the media, especially television, the schedule of major events has changed. Thus, a new era has begun in sports journalism. Sports journalism has emerged as a small field in the past. The history of sports journalism is connected with the development of sports. One of the first examples of media in the world appeared in the 17th century. Sports developed professionally in the 19th century. But sports media started before this development. The emergence of this area is directly related to the United States. Betting games in the United States have resulted in the emergence of sports media. Therefore, the first example of sports media dates back to the 19th century. Sports journalism, which first appeared in boxing and horse racing, is everywhere in the world today. Sports journalism is the world's most interactive live media. The Tour de France, the famous Wimbledon tennis tournament in France, is one of the oldest tournaments in the sport. Along with the development of sports, the world's most famous sportswear brands have always sponsored. Large corporations such as Nike, which has an annual turnover of $ 4 billion, invest in sports. Due to the size of the advertising market, sports are one of the largest areas of the media. This study discusses the history and development of world sports journalism. At the same time, opportunities for sports journalism education to influence the development of sports media in Azerbaijan, which has invested heavily in sports in recent years, are presented. Here are some suggestions on the first master's program in sports journalism in the Caucasus. At the same time, sports journalism in Azerbaijan is compared with the US and British media, which are the oldest examples of sports journalism.

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.

Broadcast from Havana, Cuba, but intended for audiences in the United States, Radio Free Dixie was the work of the civil rights leader Robert F. Williams. Airing from 1962 until 1966, the program carefully used music, news, and commentary to convey a militant message of armed self-defense and a critique of American imperialism and racism. While most scholars have focused on William’s spoken commentaries, this article aims to reconsider the role of music on Radio Free Dixie. By examining playlists transcribed and identified from archival broadcasts held at the Bentley Historical Library of the University of Michigan, the article explores three themes. 1) The playlists draw attention to the care with which the music for Radio Free Dixie was selected and how phonograph records were acquired while in Cuba. 2) When viewed through the lens of parrēsia, or what Michel Foucault theorizes as the act of “truth-telling,” the playlists facilitate an argument about how music and speech co-constitute Radio Free Dixie’s parrēsiastic subject by isolating particular moments in the broadcasts where the truth-telling occurs at the intersection of music and speech. 3) Consideration of special episodes given wholly over to music allows for an examination of musical genres employed on Radio Free Dixie and their degrees of overt and coded utterance. Finally, the article considers what it might mean to make militancy audible.

Проблема гармонизации общения в разных сферах особенно актуальна в связи с современной коммуникативно-когнитивной парадигмой лингвистического знания. Особенно это касается медиакоммуникации в связи с медийным вектором развития современной русистики. Выдвижение интервью как одного из ведущих жанров представляет интерес в плане взаимодействия его участников и как объект восприятия массового адресата, воспринимающего данный медиадискурс. Цель статьи – опираясь на теорию регулятивности как одно из направлений коммуникативной стилистики текста, выявить некоторые лингвистические механизмы, формирующие гармонизирующий диалог журналиста и его гостей как участников интервью. Исследование основано на использовании методологии и понятийно-терминологического аппарата теории регулятивности, разработанной в коммуникативной стилистике текста, применении дискурсивного, лингво­смыслового, семантико-стилистического анализа. Материалом исследования послужили авторские программы «Очень личное» в формате интервью известного журналиста Виктора Лошака на канале ОРТ. Эффект гармоничного общения в жанре интервью достигается благодаря общей позитивной и доверительной эмоциональной тональности диалога журналиста и гостей; установке на актуализацию журналистом объективных успехов и достоинств приглашенных участников; преобладанию коммуникативных стратегий и тактик поддержки, согласия, комплимента, самопрезентации ведущего и гостей. Формат авторской программы включает систему отдельных медиажанров, объединенных общей идеей и образом автора программы, определяющих целостность общего медиадискурса, связность, концептуальную завершенность, коммуникативно-прагматический эффект. Кроме ключевого медиажанра интервью, авторская программа на ОРТ В. Лошака «Очень личное» включает информативные жанры: представление программы и гостя, а также этикетные жанры: приветствие, комплимент, благодарность. Среди регулятивных средств, формирующих эффект гармонизации общения, выделяются экстралингвистические: выбор гостей – известных публичных личностей, представляющих общественный интерес для массового адресата; музыкальная заставка к программе, невербальное поведение журналиста и гостей (доброжелательный взгляд, поддерживающие жесты, мимика), логико-композиционное развертывание дискурса, направленное на акцентирование личных достоинств гостя и выявление его профессионального пути, интерес­ных массовому адресату. К лингвистическим регулятивным средствам и структурам, имеющим коммуникативно-прагматический эффект, относятся: цитирование гостя, вопросы-подхваты; уточняющие вопросы, включающие варианты ответов на выбор; вопросы, нацеленные на раскрытие достоинств гостя и его общественной значимости; поддерживающие реплики, использование мелиоративной оценочной лексики и лексики с семантикой согласия, поддержки; уместное использование изобразительно-выразительных средств и эксплицитной регулятивной стратегии усилительно-конвергентного типа. Использование теории регулятивности и ее понятийно-терминологического аппарата позволяет судить о некоторых механизмах формирования коммуникативно-прагматического эффекта гармоничного общения журналиста и гостей в процессе интервью в авторской программе «Очень личное» Виктора Лошака на Общественном телевидении. Полученные наблюдения представляют интерес для дальнейшей разработки проблемы эффективности медиакоммуникации и изучения механизмов речевого воздействия в диалоге коммуникантов. The problem of communication’s harmonization in different spheres is relevant in accordance with the modern communicative-cognitive paradigm of linguistic knowledge. This is especially true of media communication in connection with the media vector of development of up-to-date Russian studies. The promotion of the interview as one of the leading genres is of interest in terms of the interaction of its participants and as an object of perception of the mass addressee who perceives this media discourse. The purpose of the article is, based on the theory of regulativity as one of the directions of the communicative style of the text, to identify some linguistic mechanisms that form a harmonizing dialogue between a journalist and his guests as interview participants. The study is based on the use of the methodology and conceptual and terminological apparatus of the theory of regulativity developed in the communicative style of the text, the use of discursive, linguo-semantic, semantic-stylistic analysis. The material of the study was the author’s program “Very Personal” in the format of an interview with the famous journalist Viktor Loshak on the ORT channel. The effect of harmonious communication in the interview genre is achieved due to the overall positive and trusting emotional tone of the dialogue between the journalist and the guests; installation on the actualization of the objective successes and merits of the invited participants by the host program; the predominance of communication strategies and tactics of support, consent, compliment, self-presentation of the journalist and guests. The format of the author’s program includes a system of individual media genres, united by a common idea and image of the author of the program, which determine the integrity of the general media discourse, its coherence, conceptual completeness, communicative and pragmatic effect. In addition to the key media genre of the interview, the author’s program on ORT V. Loshak “Very personal” includes informative genres: presentation of the program and the guest, as well as etiquette genres: greeting, compliment, gratitude. Among the extralinguistic regulatory means, that form the effect of communication harmonization, the following stand out: the choice of guests – famous public figures; musical screen saver for the program; non-verbal behavior of the journalist and program participants (friendly look, supportive gestures, facial expressions); logical-compositional deployment of a discourse aimed at emphasizing the personal and professional merits of invited media persons who are of interest to a mass addressee. Linguistic regulatory means and structures that have a communicative-pragmatic effect include: quoting a guest, pick-up questions; clarifying questions, including options for answers to choose from; questions aimed at revealing the merits of the guest and his social significance; supporting remarks, the use of ameliorative evaluative vocabulary and vocabulary with the semantics of agreement, support; the appropriate use of figurative and expressive means and an explicit regulatory strategy of an amplifying-convergent type. The use of the theory of regulativity and its terminology allows us to judge some of the mechanisms for the formation of the communicative-pragmatic effect of harmonious communication between a journalist and guests during an interview in the author’s program “Very Personal” by Viktor Loshak on Public Television. The obtained observations are of interest for further development of the problem of the effectiveness of media communication and the study of the mechanisms of speech influence in the dialogue of communicants.

43 Background: Lung cancer remains the leading cause of morbidity and mortality, with a predicted 1.8 million deaths worldwide yearly. The United States Preventive Services Task Force (USPSTF) recommends screening for lung cancer with Low Dose Computed Tomography (LDCT) for all genres of age 55 to 80 with a 30 pack-year smoking history, current smokers or have quit within the past 15 years. Early detection has shown to reduce mortality. Only 4% of eligible patients in the US actually undergo lung cancer screening. Methods: A retrospective review of data was performed amongst the University of Connecticut Internal Medicine Residents acting as PCPs at a Clinic in Hartford, CT, USA. Results: 369 medical charts were reviewed. 115 patients (31.1%) met the USPSTF criteria for screening. 5.7% had an appropriately ordered LDCT scan. 2.71% had a LDCT completed and 2.98% had LDCT scheduled but pending or cancelled. 4 patients with smoking history who did not meet USPSTF criteria but had a LDCT due to clinical suspicion for lung cancer. Approximately 11% of patients had chronic obstructive pulmonary disease (COPD) or emphysema and asthma. 5 patients had a first degree relative with history of lung cancer. 6 patients had lung cancer, 3 of which had metastatic lung cancer at the time of diagnosis and are deceased. Conclusions: Lung cancer screening amongst resident PCP is insufficient. The results obtained were lower than the national average. This is likely due to newer trainees focusing less in prevention/screening and more on managing chronic medical conditions. Patients that attend resident PCP clinics in the US are typically of lower socio-economic status, less insurance coverage or uninsured and with a lower level of education. LDCT orders that were cancelled were likely because insurers declined it. Patients not realizing the importance of screening could also be contributing. It is unclear if lung disease or family history attributes a higher risk of developing lung cancer. In conclusion, educating resident PCPs and patients on lung cancer screening, as well as evaluating the reasons for cancelling LDCT could help ensure high quality care.

Abstract This research explores the role of weathercasters as local climate change educators and identifies attributes of those who present climate science to their viewers. In 2015, the authors attempted to survey all television weathercasters currently working in the United States (n = 2128); 478 participated, yielding a 22.5% participation rate. Using logistic regression to identify attributes of weathercasters who report on climate change on-air, it was found that the strongest predictors were participation in Climate Matters (a climate change reporting resource program) (β = 1.01, p < 0.001), personal interest in reporting on climate change (β = 0.93, p < 0.001), age (higher rates of reporting among older weathercasters) (β = 0.301, p < 0.05), and number of climate reporting interests (β = 1.37, p < 0.05). Linear regression was used to identify attributes of weathercasters who showed the most interest in climate change reporting. Weathercasters most interested in reporting about climate change on-air were more certain that climate change is happening (β = 0.344, p < 0.001), were convinced climate change is human caused (β = 0.226, p < 0.001), were older (β = 0.157, p < 0.001), and found the Third National Climate Assessment to be useful (β = 0.134, p < 0.05). Weathercasters who are personally motivated to seek and share broad scientific information, acting as “station scientists,” appear to be those who are also proactive in sharing climate change information. Assisting motivated weathercasters with programs that reduce barriers to climate change education outreach complements their abilities to educate the public regarding climate change science.

The purpose of the article is to study information warfare as an instrument of geopolitical influence on Ukraine, the main aspects of this problem and certain elements of the Ukrainian side's response to the Kremlin regime's information attacks. To achieve this goal, the methods of comparison, analysis, synthesis and content analysis were used. The results indicate that the Russian side in the information warfare uses both traditional tools, such as the media, troll factories, bot factories, and fakes, and new technologies, such as deepfake. This arsenal is constantly evolving and adapting to technological advances. The Kremlin's main goal in the information warfare is to "undermine" Ukraine from within, creating the impression of close ties between Ukraine and Russia as a Eurasian state. Russian activities go beyond Ukraine, influencing public opinion in European countries, the United States and beyond. "Influence operations use social media platforms to spread individual narratives and sow hostility. To counter Russian influence, a program is being implemented to increase media literacy among the Ukrainian public. Ukrainian television companies are responding to the invasion by creating joint telethons that expand communication channels and counter disinformation. Individual tools, such as podcasts, are becoming important in countering disinformation. Ukrainian radio plays a key role in providing information in the occupied regions, and media literacy projects help to verify information and increase information literacy. Initiatives to develop media literacy and counter disinformation in Ukraine are widespread and effective. Results show that the level of resistance to propaganda has increased, and more than 70% of the population can recognize manipulative tactics. Government and civil society initiatives are working together to combat disinformation. Institutions such as the Center for Countering Disinformation and the Center for Strategic Communications are making an important contribution to the resilience of Ukrainian society.

Background. The legislation and funding of the State Children's Health Insurance Program (SCHIP) in 1997 resulted in the largest public investment in child health care in 30 years. The program was designed to provide health insurance for the estimated 11 million uninsured children in the United States. In 1991 New York State implemented a state-funded program—Child Health Plus (CHPlus)—intended to provide health insurance for uninsured children who were ineligible for Medicaid. The program became one of the prototypes for SCHIP. This study was designed to measure the association between CHPlus and access to care, utilization of care, quality of care, and health care costs to understand the potential impact of one type of prototype SCHIP program. Methods. The study took place in the 6-county region of upstate New York around and including the city of Rochester. A before-and-during design was used to compare children's health care for the year before they enrolled in CHPlus versus the first year during enrollment in CHPlus. The study included 1828 children (ages 0–6.99 years at enrollment) who enrolled between November 1, 1991 and August 1, 1993. A substudy involved 187 children 2 to 12.99 years old who had asthma. Data collection involved: 1) interviews of parents to obtain information about demographics, sources of health care, experience and satisfaction with CHPlus, and perceived impact of CHPlus; 2) medical chart reviews at all primary care offices, emergency departments, and health department clinics in the 6-county region to measure utilization of health services; 3) claims analysis to assess costs of care during CHPlus and to impute costs before CHPlus; and 4) analyses of existing datasets including the Current Population Survey, National Health Interview Survey, and statewide hospitalization datasets to anchor the study in relation to the statewide CHPlus population and to assess secular trends in child health care. Logistic regression and Poisson regression were used to compare the means of dependent measures with and without CHPlus coverage, while controlling for age, prior insurance type, and gap in insurance coverage before CHPlus. Results. Enrollment: Only one third of CHPlus-eligible children throughout New York State had enrolled in the program by 1993. Lower enrollment rates occurred among Hispanic and black children than among white children, and among children from lowest income levels. Profile of CHPlus Enrollees: Most enrollees were either previously uninsured, had Medicaid but were no longer eligible, or had parents who either lost a job and related private insurance coverage or could no longer afford commercial or private insurance. Most families heard about CHPlus from a friend, physician, or insurer. Television, radio, and newspaper advertisements were not major sources of information. Nearly all families had at least 1 employed parent. Two thirds of the children resided in 2-parent households. Parents reported that most children were in excellent or good health and only a few were in poor health. The enrolled population was thus a relatively low-risk, generally healthy group of children in low-income, working families. Access and Utilization of Health Care: Utilization of primary care increased dramatically after enrollment in CHPlus, compared with before CHPlus. Visits to primary care medical homes for preventive, acute, and chronic care increased markedly. Visits to medical homes also increased for children with asthma. There was, however, no significant association between enrollment in CHPlus and changes in utilization of emergency departments, specialty services, or inpatient care. Quality of Care: CHPlus was associated with improvements in many measures involving quality of primary care, including preventive visits, immunization rates, use of the medical home for health care, compliance with preventive guidelines, and parent-reported health status of the child. For children with asthma, CHPlus was associated with improvements in several indicators of quality of care such as asthma tune-up visits, parental perception of asthma severity, and parent-reported quality of asthma care. Health Care Costs: Enrollment in CHPlus was associated with modest additional health care expenditures in the short term—$71.85 per child per year—primarily for preventive and acute care services delivered in primary care settings. Conclusions. Overall, children benefited substantially from enrollment in CHPlus. For a modest short-term cost, children experienced improved access to primary care, which translated into improved utilization of primary care and use of medical homes. Children also received higher quality of health care, and parents perceived these improvements to be very important. Nevertheless, CHPlus was not associated with ideal quality of care, as evidenced by suboptimal immunization rates and receipt of preventive or asthma care even during CHPlus coverage. Thus, interventions beyond health insurance are needed to achieve optimal quality of health care. This study implemented methods to evaluate the association between enrollment in a health insurance program and children's health care. These methods may be useful for additional evaluations of SCHIP. Implications: Based on this study of the CHPlus experience, it appears that millions of uninsured children in the United States will benefit substantially from SCHIP programs.

This report was made at the Doctor Honoris Causa conferred to Prof. Leonidas Donskis by Valahia University of Târgoviște on November 6th, 2014. The editors express their gratitudeto Vlad-Gabriel Ghiorghiu, a CoolPeace graduate, for the admirable translation of this report. The publication of this report is supported by EEA Grants, contract no 4/22.07.2014. Currently a professor of advanced studies and academic development at the ISM University of Management and Economics of Kaunas and Vilnius, Lithuania, and a former member of the European Parliament, Leonidas Donskis was born on the 13th of August 1962 in Klaipėda, Lithuania. From 2005 to 2009 he served as dean of the Faculty of Political Science and Diplomacy at Vytautas Magnus University of Kaunas, Lithuania. As a docent, visiting and associate professor, he also taught at the University of Helsinki, Finland, in the field of social and moral philosophy, at the University of Tallinn, Estonia, in the field of philosophy and theory of culture, as well as universities from the United States (Dickinson College, Pennsylvania and Montevallo University, Alabama) in the field of cultural studies and universities from England, Italy and Hungary in similar fields of endeavor. Alongside his scholarly career stands his remarkable contribution to the field of the mass-media, both as a producer and moderator of cultural programs for the Lithuanian Television or as editor for the print media (The Baltic Times, The Ukrainian Week etc). The academic bettering carried out in countries like Lithuania and Finland spawned his encyclopedic character and determined the ramification of his intellectual interests. His bachelor’s degree in philosophy and theater, received from the Lithuanian State Conservatoire (presently the “Lithuanian Academy of Music and Theatre”) in 1985 was followed by a master’s degree program in philosophical studies at the University of Vilnius (1987). From the same university he took his first doctorate in philosophy and the humanities, with a thesis about the culture in crisis and the philosophy of culture in the views of O. Spengler, A. J. Toynbee and L. Mumford (1990). This was soon to be followed by a second doctorate, received from the University of Helsinki, with a thesis dwelling on the relation between ideology and utopia, moral imagination and cultural criticism in the 20th century (1999).

<p class="2"><strong><em>The study objective </em></strong><em>is to expand the awareness of Ukrainians on the history of world Ukrainian-language radio broadcasting and to enrich the profile scientific discourse with the sector of Ukrainian-language radio of diaspora as its natural component.</em><em></em></p><p><strong><em>Research methodology.</em></strong><em> </em><em>The study </em><em>is based on the archival research method. The analysis of digitized issues of the Ukrainian daily in the USA </em><em>«Svoboda»</em><em>, the leading publication of Ukrainian emigration, was expanded with </em><em>method of monitoring, bibliographic-descriptive</em><em> method</em><em>, </em><em>and </em><em>method of comparison in time </em><em>and covered 1930–1932. The obtained conclusions were made, based on the results of the analysis of information collected from 913 issues of the newspaper and 375 materials of various genres, which contain valuable information on this topic.</em></p><p><strong><em>Results.</em></strong><em> The main preconditions and stages of creation of the first periodical radio program for younger listeners in the world Ukrainian-language radio space are stated. The content, thematic and genre orientation of radio programs in the USA, in which children were invited to the microphone, were analyzed. The methods of feedback, success rate, marketing component, style of constructive criticism, evaluation of such initiatives by contemporaries are studied and analogies to the relevant segment at the present stage are made. The importance of succession of generations in the process of development of the world Ukrainian-language radio space in the conditions of digitalization and internetization of the global information space is emphasized. It was established that the leading role in the creation of the first radio programs on the analyzed topic was played by the personality of its leader, sponsor and inspirer M. Surmach and the importance of the work of the united Ukrainian community motivated to acquaint the general public with its culture through the media</em><em> </em><em>is emphasized. The significance of such initiatives for contemporaries in general and the radio process in particular is assessed.</em></p><p><strong><em>Novelty.</em></strong><em> For the first time, a retrospective of the formation of a foreign Ukrainian-language media space in the context of the creation of the first periodical radio program for children in the international media space of the United States in the early 1930s was carefully researched and documented.</em></p><p><strong><em>The practical significance</em></strong><em> of the results of the study lies in rethinking the historical context of the formation of the world Ukrainian-language radio space and its perception as a holistic system that has been unfolding around the world for almost a century.</em></p><p><strong><em>Key words:</em></strong><em> archival periodicals, children’s radio program, multicultural media space, Ukrainian-language radio broadcasting.</em></p>

Much of the literature on international students in U.S. higher education—as well as the perception of many within our institutional communities—focuses on the challenges these globally mobile students may experience. Challenges related to acculturation, English language proficiency, academic adjustment, and cross-cultural interactions are prevalent in research (Smith & Khawaja, 2011). However, research has also demonstrated international students’ ability to succeed academically in spite of some of these challenges as a result of their motivation, effort, and persistence (Andrade, 2006). This maps with my own research finding that international students negotiate their sociaocademic experiences in the mainstream U.S. college curriculum with self-awareness and a sense of agency that allows them to shape their own learning experiences (Siczek, 2018). This is the story of how a group of English for Academic Purposes (EAP) students at a private university in Washington, DC, demonstrated resilience and agency in the face of a global health pandemic. In spring 2020, when the COVID-19 pandemic began to affect the United States, these students were enrolled in my on-campus undergraduate course called “Oral Academic Communication for International Students.” The main content of the course draws on students’ global experiences and linguistic assets while preparing them to meet the communicative expectations of the U.S. undergraduate curriculum. It is usually a highly interactive and productive class that covers a variety of oral academic genres, with students gaining authority and voice as the semester progresses. We were halfway through the semester when students at our university were told that they were expected to go home for spring break and await an announcement about whether they should return to campus. Of course, going home was not an easy option for a group of students from Austria, China, Germany, Pakistan, South Korea, and Taiwan. As the end of spring break neared, students were told that the rest of the semester would be taught online. International students could head home or petition the university for continued accommodation on campus. Students and their families were forced to make quick decisions, balancing the competing priorities of health and academics. By the final weeks of the semester, only three students in my class remained in the United States: One was in her third campus housing location in less than a month; one had moved to a local hotel, where she would stay to finish the semester; and one moved into a rented room in an AirBnB house in the suburbs of Washington, DC. The rest of my students endured long journeys to their home countries, often spending weeks in hotel- or facility-based quarantine before being allowed to return to their family homes. Throughout this disruption, online learning continued. How did students manage the course despite this disruption and dislocation? They showed up; they engaged; they connected with and cared for one another; they learned. I was amazed and inspired by their response. The students who could joined synchronous sessions online during our usual class time, entering the “room” fully prepared and contributing actively to class activities and discussions. Those who could not join watched recorded versions of each class session and posted multimodal alternate assignments in which they engaged with the learning material as well as the ideas their classmates had discussed during the synchronous class. While we were online during the second half of the semester, students virtually facilitated discussions on self-selected TED Talks covering global and cross-cultural themes, designed and shared internationally oriented infographics that applied best practices for visual communication, practiced vocal techniques for oral presentations, and designed and delivered individual presentations proposing an initiative to advance internationalization on campus. These persuasive presentations were grounded in scholarly literature on the internationalization of higher education and situated in the local context of the university and its needs. Students proposed initiatives such as an international research hub on campus, the enhancement of the university’s foreign language requirement to promote global competence, a new curricular requirement focusing on global diversity and inclusion, a peer-pairing program for domestic and international students, and even a global health crisis headquarters so that the university could address pandemics like COVID-19 with a higher level of preparedness and coordination. Their presentations were uniquely informed by the global perspectives they had developed based on their own transnational migration experiences and were delivered with remarkable professionalism despite conditions being far different from the intended classroom-based presentation. During our 6 weeks of online learning, my contact with students was high, and I had a new window into their lives outside of the classroom and the extent to which they invested in their educations. I was witness to the resilience these students displayed as they negotiated this unsettling global crisis. I posit that these international students were primed to adapt—and even thrive—during this global crisis because they themselves had crossed cultural, linguistic, geographical, and even epistemological boundaries to pursue higher education in the United States. Thus, my call to action as I wrap up this 10th anniversary essay for the Journal of International Students is that we continue to engage in qualitative inquiry into the lived experience of globally mobile students in our institutional settings, targeting research that illuminates their global interconnectedness and the agency they display as they navigate new and uncertain socioacademic terrain.

We live in a world of near continuous monitoring. In our automobiles we monitor the status of fuel, oil pressure, temperature, and seat belts through gauges, lights, and electronic voices. The consumption of electricity and fuel in our homes is monitored as is the chlorine in our drinking water and the alcohol in our beer. Manufacturers retain quality assurance inspectors and issue warrantees and guarantees to convince us that all is well. We monitor our schools and measure our own progress through grades and proficiency scores. It seemed appropriate, therefore, that the Illinois Natural History Survey should take a measure of the living natural resources of Illinois by bringing together a knowledgeable group of persons to summarize the state of the State. In order to share this information and to provide an opportunity for discussion, a symposium, "Our Living Heritage: The Biological Resources of Illinois," was sponsored by the Illinois Department of Energy and Natural Resources and organized by the Survey. The event, timed to coincide with Earth Day 1990 celebrations, was held on April 2.^ and 24 on the campus of the University of Illinois at Urbana-Champaign. It was attended by nearly 250 professional scientists from some 50 agencies and institutions along with a number of interested and dedicated citizens. To share the results of that symposium with an even larger audience, we have issued this publication of its proceedings. To address the salient features of the living resources of Illinois in an ordered fashion, the symposium was presented in five sessions: forests, prairies and barrens, wetlands, streams and caves, and agro-urban ecology. When we consider that only (.).59t of Illinois remains in undisturbed natural areas, that Illinois ranks 46th among states in publicly owned open space per person, that forest acreage has decreased by 73% in the past century and tallgrass prairie by over 99%, that 85% of our wetlands have been lost, that soil erosion proceeds at the rate of 200 million tons per year, and that approximately 30,000 tons of herbicide and 3,500 tons of insecticides are used annually on agricultural crops in Illinois, we can scarcely imagine the tone of the symposium to have been anything but pessimistic. In part, there was discouragement, but it was tempered by positive developments, including the designation of the Middle Fork of the Vermilion River as a National Wild and Scenic River, the acquisition of the Cache River Basin, the initiation of a study to identify high-quality Illinois streams based on biodiversity, and the ever quickening actions of the Nature Preserves Commission. Preservation/conservation has been in conflict with consumption/development since the days of Theodore Roosevelt. At times one side seems to prevail over the other, but the balance has been clearly on the side of consumption. Special interest groups have to a considerable extent managed to give the word environmentalist a pejorative cast and the word development a positive ring. During the past decade, the executive branch of the federal government has determinedly downplayed environmental concerns, and that stance has been translated into inertia in a number of federal agencies with responsibility for natural resources. The focus of the United States Environmental Protection Agency, for example, has until very recently ignored the living components of the environment. At the same time, public sensitivity to environmental concerns has dramatically increased, primarily through public service television and other media-generated presentations on tropical deforestation, extinction of species, depletion of the ozone layer, agro-chemical contamination of groundwater, and the effects of acid rain. Some of this concern is now being transformed into political action. Polls suggest that the public understanding of environmental matters is quite high, and some beheve that it exceeds the perceptions of elected officials. A Green Party has emerged in this country only very recently, but Greens are a part of both major political parties and the trend in federal legislation may soon begin to sway in favor of conservation/preservation and away from consumption/development. The National Institutes for the Environment may well become a reality within the next several years. Within this tentatively encouraging national picture, the symposium was timely indeed. One symposium event of special interest cannot be documented in these proceedings — the "citizens respond" program of Monday evening, April 23—and I would like to note it here. Michael Jeffords and Susan Post of the Survey opened that session with a mulitmedia presentation on the biodiversity of Illinois. Their slides of representative plants and animals and habitats of the natural divisions of Illinois brought home to us the beauty and fragility that can yet be discovered in the landscape of our state. A panel presentation by five environmental activists followed: Clark Bullard, Office of Energy Research at the University of Illinois at Urbana-Champaign; Max Hutchison, Natural Land Institute of The Nature Conservancy; Lawrence Page of the Illinois Natural History Survey; Donna Prevedell, farmwife and contributing editor to the Progressive Farmer, and Michael Reuter, Volunteer Stewardship Network of The Nature Conservancy. They spoke briefly but openly on preservation activities in which they had been closely involved. The discussion was then turned over to the audience, who asked questions and shared their experiences—successes and failures—with preservation efforts. I urge you to read on in order to understand the status of the biological resources of Illinois and to appreciate how much remains to be accomplished to secure their future—and ours. I would be remiss, however, if I did not conclude by acknowledging the committee of Survey staff who planned and conducted the symposium: Lawrence Page, Michael Jeffords, Joyce Hofmann, Susan Post, Louis Iverson, and Audrey Hodgins. Their efforts included developing the program, arranging for speakers and facilities, producing and mailing promotional materials, and welcomine the audience. Without their enthusiasm and hard work, the symposium v^ould not have materialized and our understanding of the biological resources of Illinois would be much diminished. Lorin I. Nevling. ChiefIllinois Natural History Suney

Background. In modern musicology, the issues of composer creativity for children are far from enough covered. This applies to both Ukrainian and foreign musicological literature. Aesthetic issues prevail in studies of children’s piano music, while the issues of composer and performing techniques related to the interpretation of such works become the object of study only occasionally. Still there aren’t special works devoted to piano music for children of Kharkiv authors, and information about this music is dispersed in publications of review or monographic plan, for example, such as the brochure by K. Heivandova (1981) about M. Karminskyi. This article proposes the consideration of the cycle (triptych) of children’s piano miniatures by Mark Karminskyi as a representative of the Kharkiv school from the point of view of the unity of composer and performing aspects and the specifics of their connection. The purpose of the article is to identify the features of embodiment the genre of children’s piano miniature in M. Karminskyi’s composer interpretation using the example of “Three Pieces in C Major”. The main objective of the study is to consider the genre stylistics of the pieces, reflected through the means of thematism, texture and harmony. In a methodological aspect, the article contains elements of a new scientific approach to the study of texture-harmonic complex as the main indicator of the style of children’s piano music, including in the aforementioned work of M. Karminskyi. From a practical point of view, the study can be of help to performers who turn both to the triptych of M. Karminskyi and to other works in the genre of children’s piano miniatures. The results of the study. Piano miniatures, including children’s ones, obey the laws of poetics of this genre, in which, according to E. Nazaikinskyi (2003), the principle of reflection of “big in small” is the main one. Among the other features of this genre, as the main one, we single out the desire of miniatures to unite into groups, cycles of a special kind in which the principle of “identity of the modus and the genre” operates (E. Nazaikinskyi, 2003, p. 372). This means the music pieces of same type follow each other without highlighting any special functions in the form-making. In children’s piano miniatures, such a grouping is normative. However, they also have their own specifics: the contrast, based on which any musical cycle is built, should be combined with the same type of pieces by genre signs and the presence of certain connecting moments, except for a common genre name. For example, the designation “Pieces” typical for cycles of children’s miniatures may have program subheadings aimed at deciphering the emotional and figurative content, which is especially important for children’s perception. In the cycle “Three Pieces in C Major” by M. Karminsky, almost all typical signs of children’s piano miniatures are presented. As a master, in whose work the theme of childhood and youth was one of the leading ones, M. Karminskyi worked intensively in the genres corresponding to her. These were songs and song collections, as well as three children’s piano cycles – the programmatic “Children’s Album”, “Three Pieces in C Major” (discussed here), as well as the cycle “27 plays in a triple meter”. In constructing a cycle of three plays, united by the key in C Major, the figurative and emotional content of each of the numbers is the main thing for the composer. The pieces have programmatic names: No. 1 – “Carelessness”; No. 2 – “Playfulness”; No. 3 –“Fervor”. These names actually correspond to the three main modes-states that are characteristic of the children’s psyche and behavioral reactions. Their reflection in the thematic complex, texture and form of each of the plays puts before the composer the task of harmonizing imagery with the writing technique. It seems that the method of realizing this task for M. Karminskyi is, first of all, the texture in its close connection with harmony – “texture-harmonic complex” (G. Ignatchenko, 1984). The textural-harmonic formulas used by the composer in each of the triptych’s numbers reflect not only their emotional and figurative content, but also belong to various “stylistic inclinations” (according to E. Nazaikinsky, 2003) that are accessible to children’s perception. First, this refers to the unifying moment – the key of C Major, which is presented differently in each of the plays, and these differences are directed towards complication. The same can be said about the texture, as well as the form of the parts of the triptych. With the external similarity and even the same type of compositional solutions (the basis of all the plays is a three-part model of the ABA type, but with different intonation content), individual numbers, as well as sections within them, differ in the features of textured techniques. This is connected, not least, with didactic tasks set by the author that gradually becoming more complicated. The composer sequentially acquaints young pianists with the features of the piano texture, using and combining elements of traditional homophony, various types of sub-voice polyphonic writing, contrasting and imitation polyphonic combinations. Such, at first glance, the “kaleidoscope” texture is ordered, however, by the criterion of ease of performing, which the author takes care of, even taking into account the peculiarities of children’s stretching of fingers in verticals: intervals and chords. Conclusions. The analysis of the plays of the cycle presented in the article proves that it is an original work intended, on the one hand, for performance by young pianists; on the other hand, M. Karminskyi’s triptych reflects the general tendencies of “adult” pianism in the genre of piano miniatures and the cycle of miniatures. According to the style of “Three Pieces in C Major”, they belong to the neoclassical trend, as evidenced by a complex of expressive means: tonality, harmony, texture, and performing attributes – dynamics, articulation, agogics. M. Karminskyi interprets C Major as the “starting point” of various modal and tonal transformations, from the major-minor variable modus in the first play to showing the twelve-tones version of this tonality in the finale piece. There is a similar tendency in the field of texture in the cycle: from stylization of “minuet” homophony in the first piece to polyphony on the constant bass in the second and “stratum” polyphonicity in the finale. The composer acquaints young musicians with the texture and harmony means of piano music from different eras, which makes this cycle a peculiar short textbook of pianistic formulas in their artisticfigurative embodiment. Prospects for further research on this topic lie in the coverage of a largerscale material relating to children’s piano music, not only M. Karminskyi, but also other composers of the Kharkiv school. We can also add the performing aspect: after all, children’s piano music is always updated in interpretations, often with an eye to a concrete performer or performers.

Background: Although sleep has been identified as an important modifiable risk factor for sports injury, the effect of decreased sleep on sports injuries in adolescents is poorly studied. Purpose: To systematically review published literature to examine if a lack of sleep is associated with sports injuries in adolescents and to delineate the effects of chronic versus acute lack of sleep. Methods: PubMed and EMBASE databases were systematically searched for studies reporting statistics regarding the relationship between sleep and sports injury in adolescents aged <19 years published between 1/1/1997 and 12/21/2017. From included studies, the following information was extracted: bibliographic and demographic information, reported outcomes related to injury and sleep, and definitions of injury and decreased sleep. Additionally, a NOS (Newcastle-Ottawa Scale) assessment and an evaluation of the OCEM (Oxford Center for Evidence-Based Medicine) level of evidence for each study was conducted to assess each study’s individual risk of bias, and the risk of bias across all studies. Results: Of 907 identified articles, 7 met inclusion criteria. Five studies reported that adolescents who chronically slept poorly were at a significantly increased likelihood of experiencing a sports or musculoskeletal injury. Two studies reported on acute sleep behaviors. One reported a significant positive correlation between acutely poor sleep and injury, while the other study reported no significant correlation. In our random effects model, adolescents who chronically slept poorly were more likely to be injured than those who slept well (OR 1.58, 95% CI 1.05 to 2.37, p = 0.03). OCEM criteria assessment showed that all but one study (a case-series) were of 2b level of evidence—which is the highest level of evidence possible for studies which were not randomized control trials or systematic reviews. NOS assessment was conducted for all six cohort studies to investigate each study’s individual risk of bias. Five out of six of these studies received between 4 to 6 stars, categorizing them as having a moderate risk of bias. One study received 7 stars, categorizing it as having a low risk of bias. NOS assessment revealed that the most consistent source of bias was in ascertainment of exposure: all studies relied on self-reported data regarding sleep hours rather than a medical or lab record of sleep hours. Conclusions: Chronic lack of sleep in adolescents is associated with greater risk of sports and musculoskeletal injuries. Current evidence cannot yet definitively determine the effect of acute lack of sleep on injury rates. 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This study aimed to identify factors that influence intention to engage in social TV. To that end, this study developed and tested a conceptual model that integrates content–, interpersonal–, and medium–relational factors. A survey of 275 college students in the United States suggests that individuals’ relationships with their contacts on an SNS, relationships with the SNS, affinity for viewing television programs, and preferences for certain types of television program genres predict engagement in social TV.

AbstractReality television (RT) programming is frequently and rightfully criticized and yet its popularity among adolescent and young adult viewers is also undeniable. In response to the need for media literacy programs to address the pleasures, the problems, and the pedagogy of the genre, we have chosen to take a cross‐national, comparative approach and to model a process for teaching through our own research. Three popular reality tv programs were selected from each of our respective nations (China, South Korea, the United States) from one of three subgenres: Dancing, Restaurants, and Travel. We each watched episodes of all nine programs, inventoried their features and took notes. We then compared and contrasted the programs cross‐nationally and across genres, and identified four themes: Pedagogy; Individualism and Collectivism; Tradition and Modernity; and Globalism and Nationalism. We found striking differences across nations in our analysis that provide important insights into our respective national cultures. In conclusion, we discuss the implications of our process for teaching about RT.

Introduction Television has become more and more restricted within the past few years. Rating systems and "family programming" have taken over the broadcast networks, relegating violent programming, often some of the most cutting edge work in television, to pay channels. There are very few people willing to stand up and say that viewers -- even young children -- should be able to watch whatever they want, and that viewing acts of violence can actually result in more mature, balanced adults. Jib Fowles is one of those people. His book, The Case For Television Violence, explores the long history of violent content in popular culture, and how its modern incarnation, television, fulfils the same function as epic tragedy and "penny dreadfuls" did -- the diverting of aggressive feelings into the cathartic action of watching. Fowles points out the flaws in studies linking TV violence to actual violence (why, for example, has there been a sharp decline in violent crime in the U.S. during the 1990s when, by all accounts, television violence has increased?), as well as citing overlooked studies that show no correlation between viewing and performing acts of violence. The book also demonstrates how efforts to censor TV violence are not only ineffective, but can lead to the opposite result: an increase in exposure to violent viewing as audiences forsake traditional broadcast programming for private programming through pay TV and videocassettes. The revised excerpt below describes one of the more heated topics of debate -- the V-Chip. Television Violence and You Although the antiviolence fervor crested in the US in the first half of the 1990s, it also continued into the second half. As Sissela Bok comments: "during the 1990s, much larger efforts by citizen advocacy groups, churches, professional organizations, public officials, and media groups have been launched to address the problems posed by media violence" (146). It continues as always. On the one side, the reformist position finds articulation time and again; on the other side, the public's incessant desire for violent entertainment is reluctantly (because there is no prestige or cachet to be had in it) serviced by television companies as they compete against each other for profits. We can contrast these two forces in the following way: the first, the antitelevision violence campaign, is highly focussed in its presentation, calling for the curtailment of violent content, but this concerted effort has underpinnings that are vague and various; the second force is highly diffused on the surface (the public nowhere speaks pointedly in favor of violent content), but its underpinnings are highly concentrated and functional, pertinent to the management of disapproved emotions. To date, neither force has triumphed decisively. The antiviolence advocates can be gratified by the righteousness of their cause and sense of moral superiority, but violent content continues as a mainstay of the medium's offerings and in viewers' attention. Over the longer term, equilibrium has been the result. If the equilibrium were upset, however, unplanned consequences would result. The attack on television violence is not simply unwarranted; it carries the threat of unfortunate dangers should it succeed. In the US, television violence is a successful site for the siphoning off of unwanted emotions. The French critic Michel Mourlet explains: "violence is a major theme in aesthetics. Violence is decompression: Arising out of a tension between the individual and the world, it explodes as the tension reaches its pitch, like an abscess burning. It has to be gone through before there can be any repose" (233). The loss or even diminishment of television violence would suggest that surplus psychic energy would have to find other outlets. What these outlets would be is open to question, but the possibility exists that some of them might be retrogressive, involving violence in more outright and vicious forms. It is in the nation's best interest not to curtail the symbolic displays that come in the form of television violence. Policy The official curbing of television violence is not an idle or empty threat. It has happened recently in Canada. In 1993, the Canadian Radio- Television and Telecommunications Commission, the equivalent of the Australian Broadcasting Authority or of the American FCC, banned any "gratuitous" violence, which was defined as violence not playing "an integral role in developing the plot, character, or theme of the material as a whole" (Scully 12). Violence of any sort cannot be broadcast before 9 p.m. Totally forbidden are any programs promoting violence against women, minorities, or animals. Detailed codes regulate violence in children's shows. In addition, the Canadian invention of the V-chip is to be implemented, which would permit parents to block out programming that exceeds preset levels for violence, sexuality, or strong language (DePalma). In the United States, the two houses of Congress have held 28 hearings since 1954 on the topic of television violence (Cooper), but none has led to the passage of regulatory legislation until the Telecommunications Act of 1996. According to the Act, "studies have shown that children exposed to violent video programming at a young age have a higher tendency for violent and aggressive behavior later in life than children not so exposed, and that children exposed to violent video programming are prone to assume that acts of violence are acceptable behavior" (Section 551). It then requires that newly manufactured television sets must "be equipped with a feature designed to enable viewers to block display of all programs with a common rating" (Telecommunications Act of 1996, section 551). The V-chip, the only available "feature" to meet the requirements, will therefore be imported from Canada to the United States. Utilising a rating system reluctantly and haltingly developed by the television industry, parents on behalf of their children would be able to black out offensive content. Censorship had passed down to the family level. Although the V-chip represents the first legislated regulation of television violence in the US, that country experienced an earlier episode of violence censorship whose outcome may be telling for the fate of the chip. This occurred in the aftermath of the 1972 Report to the Surgeon General on Television and Social Behavior, which, in highly equivocal language, appeared to give some credence to the notion that violent content can activate violent behavior in some younger viewers. Pressure from influential congressmen and from the FCC and its chairman, Richard Wiley, led the broadcasting industry in 1975 to institute what came to be known as the Family Viewing Hour. Formulated as an amendment to the Television Code of the National Association of Broadcasters, the stipulation decreed that before 9:00 p.m. "entertainment programming inappropriate for viewing by a general family audience should not be broadcast" (Cowan 113). The definition of "inappropriate programming" was left to the individual networks, but as the 1975-1976 television season drew near, it became clear to a production company in Los Angeles that the definitions would be strict. The producers of M*A*S*H (which aired at 8:30 p.m.) learned from the CBS censor assigned to them that three of their proposed programs -- dealing with venereal disease, impotence, and adultery -- would not be allowed (Cowan 125). The series Rhoda could not discuss birth control (131) and the series Phyllis would have to cancel a show on virginity (136). Television writers and producers began to rebel, and in late 1975 their Writers Guild brought a lawsuit against the FCC and the networks with regard to the creative impositions of the Family Viewing Hour. Actor Carroll O'Connor (as quoted in Cowan 179) complained, "Congress has no right whatsoever to interfere in the content of the medium", and writer Larry Gelbert voiced dismay (as quoted in Cowan 177): "situation comedies have become the theater of ideas, and those ideas have been very, very restricted". The judge who heard the case in April and May of 1976 took until November to issue his decision, but when it emerged it was polished and clear: the Family Viewing Hour was the result of "backroom bludgeoning" by the FCC and was to be rescinded. According to the judge, "the existence of threats, and the attempted securing of commitments coupled with the promise to publicize noncompliance ... constituted per se violations of the First Amendment" (Corn-Revere 201). The fate of the Family Viewing Hour may have been a sort of premoniton: The American Civil Liberties Union is currently bringing a similar case against proponents of the V-chip -- a case that may produce similar results. Whether or not the V-chip will withstand judicial scrutiny, there are several problematic aspects to the device and any possible successors. Its usage would appear to impinge on the providers of violent content, on the viewers of it, and indeed on the fundamental legal structure of the United States. To confront the first of these three problems, significant use of the V- chip by parents would measurably reduce the audience size for certain programmes containing symbolic violence. Little else could have greater impact on the American television system as it is currently constituted. A decrease in audience numbers quickly translates into a decrease in advertising revenues in an advertising system such as that of the United States. Advertisers may additionally shy away from a shunned programme because of its loss of popularity or because its lowered ratings have clearly stamped it as violent. The decline in revenues would make the programme less valuable in the eyes of network executives and perhaps a candidate for cancellation. The Hollywood production company would quickly take notice and begin tailoring its broadcast content to the new standards. Blander or at least different fare would be certain to result. Broadcast networks may begin losing viewers to bolder content on less fastidious cable networks and in particular to the channels that are not supported and influenced by advertising. Thus, we might anticipate a shift away from the more traditional and responsible channels towards the less so and away from advertising-supported channels to subscriber-supported channels. This shift would not transpire according to the traditional governing mechanism of television -- audience preferences. Those to whom the censored content had been destined would have played no role in its neglect. Neglect would have transpired because of the artificial intercession of controls. The second area to be affected by the V-chip, should its implementation prove successful, is viewership, in particular younger viewers. Currently, young viewers have great license in most households to select the content they want to watch; this license would be greatly reduced by the V-chip, which can block out entire genres. Screening for certain levels of violence, the parent would eliminate most cartoons and all action- adventure shows, whether the child desires some of these or not. A New York Times reporter, interviewing a Canadian mother who had been an early tester of a V-chip prototype, heard the mother's 12-year-old son protesting in the background, "we're not getting the V-chip back!" The mother explained to the reporter, "the kids didn't like the fact that they were not in control any longer" (as quoted in DePalma C14) -- with good reason. Children are losing the right to pick the content of which they are in psychological need. The V-chip represents another weapon in the generational war -- a device that allows parents to eradicate the compensational content of which children have learned to make enjoyable use. The consequences of all this for the child and the family would be unpleasant. The chances that the V-chip will increase intergenerational friction are high. Not only will normal levels of tension and animosity be denied their outlet via television fiction but also so will the new superheated levels. It is not a pleasant prospect. Third, the V-chip constitutes a strong challenge to traditional American First Amendment rights of free speech and a free press. Stoutly defended by post-World War II Supreme Courts, First Amendment rights can be voided "only in order to promote a compelling state interest, and then only if the government adopts the least restrictive means to further that interest" (Ballard 211). The few restrictions allowed concern such matters as obscenity, libel, national security, and the sometimes conflicting right to a fair trial. According to legal scholar Ian Ballard, there is no "compelling state interest" involved in the matter of television violence because "the social science evidence used to justify the regulation of televised violence is subject to such strong methodological criticism that the evidence is insufficient to support massive regulatory assault on the television entertainment industry" (185). Even if the goal of restricting television violence were acceptable, the V-chip is hardly "the least restrictive means" because it introduces a "chilling effect" on programme producers and broadcasters that "clearly infringes on fundamental First Amendment rights" (216). Moreover, states Ballard, "fear of a slippery slope is not unfounded" (216). If television violence can be censored, supposedly because it poses a threat to social order, then what topics might be next? It would not be long before challenging themes such a feminism or multiculturalism were deemed unfit for the same reason. Taking all these matters into consideration, the best federal policy regarding television violence would be to have no policy -- to leave the extent of violent depictions completely up to the dictates of viewer preferences, as expertly interpreted by the television industry. In this, I am in agreement with Ian Ballard, who finds that the best approach "is for the government to do nothing at all about television violence" (218). Citation reference for this article MLA style: Jib Fowles. "Television Violence and You." M/C: A Journal of Media and Culture 3.1 (2000). [your date of access] <http://www.uq.edu.au/mc/0003/television.php>. Chicago style: Jib Fowles, "Television Violence and You," M/C: A Journal of Media and Culture 3, no. 1 (2000), <http://www.uq.edu.au/mc/0003/television.php> ([your date of access]). APA style: Jib Fowles. (2000) Television Violence and You. M/C: A Journal of Media and Culture 3(1). <http://www.uq.edu.au/mc/0003/television.php> ([your date of access]).

Let’s begin with the paradox of disavowal. On the one hand, we all “know” that television is hypnotic. On the other hand, we tend to imagine that we each – perhaps alone – remain impervious to the blandishments it murmurs as we watch it, often without being fully aware we are doing so. One of the many things contributing to the invention of television, according to Stefan Andriopoulos, was “spiritualist research into the psychic television of somnambulist mediums” (618). His archaeology of the technological medium of television uncovers a reciprocal relation (or “circular causality”) between the new technology and contemporary cultural discourses such that “while spiritualism serves as a necessary (but not sufficient) condition for the invention of electrical television, the emerging technology simultaneously fulfils the very same function for spiritualist research on psychic telesight” (618). Television and the occult seem to be inextricably linked from the outset, so that perhaps the claims of some schizophrenics: that television addresses them personally and importunes them with suggestions, are not so outlandish as one might at first think. Nor, perhaps, are they merely a delusion able to be safely located in the pathology of the other. In fact it could be argued, as Laurent Gerbereau does, that television, as distinct from film with its historical imbrication of crowds with the image, aims to create the illusion of intimacy, as if the viewer were the only person watching and were being addressed directly by the medium. With two exceptions, the illusion of direct contact is sustained by the exclusion of crowds from the image. The first is major sporting events, which people gather to watch on large screens or in bars (which Gerbereau notes) and where, I think, the experience of the crowd requires amplification of itself, or parts of itself, by the large screen images. The second is the more recent advent of reality TV in which contestants’ fates are arbitrated by a public of voting viewers. This illusion of direct contact is facilitated by the fact that viewing actually does take place more and more in individual isolation as the number of TV sets in households multiplies. And it is true in spite of the growth in what Anna McCarthy has called “ambient television”, the television of waiting rooms, airport terminals and bars, which enables us to be alone with the illusion of company, without the demands that being in company might potentially make. Television can be understood as a form of refuge from the crowd. Like the crowd, it offers anonymity and the voyeuristic pleasures of seeing without being seen. But it requires no special skill (for example, of negotiating movement in a crowd) and it seems, on the face of things, to obviate the risk that individuals will themselves become objects of observation. (This, however, is an illusion, given the array of practices, like data-mining, that aim to make new segments of the market visible.) It also enables avoidance of physical contact with others – the risks of being bumped and jostled that so preoccupied many of the early commentators on modernity. New mobile technologies extend the televisual illusion of direct address. You can receive confidences from a friend on the mobile phone, but you can also receive a lot of spam which addresses “you” in an equally intimate mode. You are, of course, not yourself under these conditions, but potentially a member of a consuming public, as the availability of many visual subscription services for 3G phones, including televisually-derived ones like one-minute soap episodes, makes clear. Television cathects (in Virginia Nightingale’s suggestive psychoanalytically-inflected usage) aspects of the human in order to function, and I have argued elsewhere that what it primarily cathects is human affect (Gibbs). We could think of this investment of media in the human body in a number of different ways: in the terms suggested by Mark Seltzer when he writes of the “miscegenation” of bodies and machines, of nature and culture; or we could adapt Eugene Hacker’s term “biomediation”; or again Bolter and Grusin’s concept of “remediation”, which have the advantage of moving beyond earlier models of the cyborg (such as Donna Haraway’s), in the way they describe how media repurposes the human (Angel and Gibbs). Here I want to focus on the media’s capture of human attention. This returns me to the question of television as a hypnotic medium. But on the way there we need to take one short detour. This involves Julian Jaynes’s remarkable book The Origin of Consciousness in the Breakdown of the Bicameral Mind published in 1976 and only since the late nineties beginning to be rescued by its uptake by the likes of Daniel Dennett and Antonio Damasio from its early reception as an intriguing but highly eccentric text. The book proposes taking literally the fact that in The Iliad the gods speak directly to the characters, admonishing them to perform certain acts. In this way, the voices of the gods seem to replace the kind of psychic interiority with which we are familiar. Jaynes argues that people once did actually hallucinate these voices and visions. Consciousness comes into being relatively recently in human history as these voices are internalised and recognised as the formation of the intentions of an “analogue I” – a process Jaynes suggests may have happened quite suddenly, and which involves the forging of closer relations between the two hemispheres of the brain. What drives this is the need for the more diffuse kinds of control enabled by relative individual autonomy, as social organisations become larger and their purposes more complex. Jaynes views some forms of consciousness (those which, like hypnosis, the creation of imaginary friends in childhood, religious ecstasy, or, arguably, creative states, involve a degree of dissociation) as atavistic vestiges of the bicameral state. While he insists that the hypnotic state is quite distinct from everyday experiences, such as being so lost in television that you don’t hear someone talking to you, other writers on hypnosis take the contrary view. So does Dennett, who wants to argue that the voices of the gods needn’t have been actually hallucinated in quite the way Jaynes suggests. He proposes that advertising jingles that get “on the brain”, and any admonitions that have a superegoic force, may also be contemporary forms of the voices of the gods. So we arrive, again, from a quite different avenue of approach, at the idea of television as a hypnotic medium, one that conscripts a human capacity for dissociation. It is perhaps worth noting at this point that, while we tend to associate dissociation with dysfunction, with splitting (in the psychoanalytic sense) and trauma, Jaynes sees it in far more positive terms – at least when it is accompanied by certain kinds of voices. He characterises hypnosis, for example, as a “supererogatory enabler” (379) militated against by consciousness which, to save us from our impulses, creates around us “a buzzing cloud of whys and wherefores”, so that “we know too much to command ourselves very far” [into the kinds of superhuman feats made possible with the assistance of the gods] (402). Most writers on hypnosis speak of the necessity for inducing the hypnotic state, and I want to suggest that televisual “flow” performs this function continuously, even though, as Jane Feuer and Margaret Morse respectively have suggested, television is designed for intermittent spectatorship and is often actually watched in states of distraction. While the interactivity of the internet and the mobile phone militate against this, they do not altogether vitiate it, especially as video and animation are increasingly appearing on these media. The screen has ways of getting your attention by activating the orienting reflexes with sudden noises, changes of scene, cuts, edits, zooms and pans. These reflexes form the basis of what Silvan Tomkins calls the surprise-startle affect which alerts us to a new state of affairs, and technologies of the screen constantly reactivate them (Kubey and Csikszentmihalyi). No wonder, given the need for surprise, that sensationalism is such a well-used technique. While some writers (like S. Elizabeth Bird) link this to the production of “human interest” which creates a focus for everyday talk about news and current affairs that might otherwise be unengaging, I want to focus on the less rational aspects of sensationalism. Televisual sensationalism, which has its origins in the gothic, includes the supernatural, though this may appear as frequently in the guise of laughter as in horror, even if this laughter is sometimes uneasy or ambivalent. Hypnotism as entertainment might also qualify as sensationalism in this sense. A quick survey of Websites about hypnosis on television reveals that stage hypnosis appeared on American television as least as early as 1949, when, for 10 minutes after the CBS evening news on Friday nights, Dr Franz Polgar would demonstrate his hypnotic technique on members of the audience. It has featured as a frequent trope in mystery and suspense genres from at least as early as 1959, and in sitcoms, drama series, comedy sketches and documentaries since at least 1953. If on one level we might interpret this as television simply making use of what has been – and to some extent continues to be – popular as live entertainment, at another we might view it as television’s mise-en-abyme: the presentation of its own communicational models and anti-models for the reception of commands by voices. It’s ironic, then, that the BBC Editorial Guidelines treat hypnotism as a special kind of program rather than a feature of the medium and – in conformity with the Hypnotism Act 1952 – require that demonstrations of public hypnotism be licensed and authorised by a “senior editorial figure”. And the guideline on “Images of Very Brief Duration” (which follows the wording of the Agreement associated with the BBC’s Charter) states that programs should not “include any technical device which, by using images of very brief duration or by any other means, exploits the possibility of conveying a message to, or otherwise influencing the minds of, persons watching or listening to the programmes without their being aware, or fully aware, of what has occurred”. Finally, though, if psychoanalysis is, as Borch-Jacobsen suggests, one more chapter in the history of trance (in spite of its apparent rejection of techniques of suggestion as it attempts to establish its scientific and therapeutic credentials), then perhaps screen-based technologies should be taken seriously as another. What this might suggest about the constitution of belief requires further investigation – especially under conditions in which the pervasiveness of media and its potentially addictive qualities efface the boundary that usually demarcates the time and place of trance as ritual. Such an investigation may just possibly have some bearing on paradoxes such as the one Lyn Spigel identifies in relation to her observation that while the scripting of the “grand narratives of national unity that sprang up after 9/11 were for many people more performative than sincere”, Americans were nevertheless compelled to perform belief in these myths (or be qualified somehow as a bad American) and, further, may have ended by believing their own performances. References Andriopoulis, Stefan. “Psychic Television.” Critical Inquiry 31.3 (2005): 618-38. Angel, Maria, and Anna Gibbs. “Media, Affect and the Face: Biomediation and the Political Scene.” Forthcoming in Southern Review: Communication, Politics and Culture Special Issue 38.3 (2005). Bird, S. Elizabeth. “News We Can Use: An Audience Perspective on the Tabloidisation of News in the United States.” In Virginia Nightingale and Karen Ross, eds., Critical Readings: Media and Audiences. Maidenhead: Open UP, 2003. 65-86. Bolter, Jay David, and Richard Grusin. Remediation. Cambridge Mass., MIT P, 1999. Borch-Jacobsen, Mikkel. The Emotional Tie. Stanford, CA: Stanford UP, 1992. Feuer, Jane. “The Concept of Live Television: Ontology as Ideology.” In Regarding Television: Critical Approaches – An Anthology. 1983. Gerbereau, Laurent. “Samples or Symbols? The Role of Crowds and the Public on Television.” L’image 1 (1995): 97-123. Gibbs, Anna. “Disaffected.” Continuum: Journal of Media and Cultural Studies 16.3 (2002): 335-41. Jaynes, Julian. The Origins of Consciousness in the Breakdown of the Bicameral Mind. Boston: Houghton Mifflin, 1976. Kubey, Richard, and Mihalyi Csikszentmihalyi. “Television Addiction.” http://flatrock.org.nz/topics/drugs/television_addiction.htm>. McCarthy, Anna. Ambient Television: Visual Culture and Public Space. Durham: Duke UP, 2001. Morse, Margaret. “An Ontology of Everyday Distraction: The Freeway, The Mall and Television.” In Patricia Mellencamp, ed., Logics of Television. Bloomington and Indianapolis: Indiana UP, 1990. 193-221. Nightingale, Virginia. “Are Media Cyborgs?” In Angel Gordo-Lopez and Ian Parker, eds., Cyberpsychology. London: Macmillan, 1999. Selzer, Mark. Bodies and Machines. New York and London: Routledge, 1992. Tomkins, Silvan S. Affect, Imagery, Consciousness. New York: Springer, 1962. Spigel, Lyn. “Entertainment Wars: Television Culture after 9/11.” American Quarterly 56.2 (2004): 235-70. Thacker, Eugene. “What Is Biomedia.” Configurations 11 (2003): 47-79. Citation reference for this article MLA Style Gibbs, Anna. "In Thrall: Affect Contagion and the Bio-Energetics of Media." M/C Journal 8.6 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0512/10-gibbs.php>. APA Style Gibbs, A. (Dec. 2005) "In Thrall: Affect Contagion and the Bio-Energetics of Media," M/C Journal, 8(6). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0512/10-gibbs.php>.

Looking back, the most striking development on the TV screen during the last decade, at least in the Netherlands, was without any doubt the explosive rise of what is usually called reality television. As reality TV almost always shows a profound interest in ‘real’ people’s emotions (hence the term ‘emotion television’ or ‘emo-TV’ as it is commonly shortened in Dutch), it has been heavily criticized for its apparently unscrupulous use, or rather abuse, of people’s feelings for the purpose of achieving higher ratings and profits. It has also been condemned for being television for large audiences at the expense of ordinary people. However, as time passes and the amount of ‘real’ emotions on the TV screen grows, more balanced assessments of the phenomenon are being offered. Now TV critics as well as scholars claim that, although there may be aspects of the genre that should be watched carefully, it has its own specific qualities as well (Glynn, Grindstaff). Thus, emo-TV raises intriguing questions, not only about the shifting social and cultural boundaries in love and other human relations, but also about the role of the media in these developments. I will explore these questions, using as specific examples of the sub-genre two originally Dutch emo-TV formats that became international successes during the 1990s. The first one is Love letters, a game show in which three participants propose to their lovers in a spectacular and especially emotional way, after which they have to compete to marry at the end of the show in front of the live audience as well as the viewers at home. First broadcast in 1990, it has been exported throughout Europe during the 1990s. Even more controversial (and successful) was All you need is love, a dating show in which participants are invited to record a love message on videotape for their lover, ex-lover or, most intriguing, their secret love. This show, which started in 1992, has by now been exported to fourteen countries worldwide, including the United States and Australia. The creator and producer of both shows is John de Mol, currently CEO of the rapidly expanding television production company Endemol, and better known as the devisor of that other infamous reality TV format: Big Brother. Postmodern romance Given the enormous success of the concepts of Love letters and All you need is love in so many different countries throughout the world, one might wonder why such huge numbers of viewers are attracted to images of people attracted to each other. To put the issue in more sociological terms, what does the interaction of the audiences with this kind of television tell us about the relation between communities in society in general, and about the relation between television and its audiences in particular? First of all, what does it mean for the (re/de)construction of love and romance in postmodern societies? Regarding the participants first and foremost, one of the critiques most often heard on All you need in this respect, is that by participating in the show, people actually prove to be unable to express their feelings for each other in a direct, interpersonal way. This, as the reasoning often continues, is a quite convincing sign of the state of alienation in which individuals in the anonymous, depersonalized western world today find themselves. In other words, television has to help out where life fails. In my view, such a critique is totally beside the point. Following Angela McRobbie’s argument on (post)modern romance in general, a point she made in an interview with Anil Ramdas on Dutch television, the way people express themselves in these shows is a sign of the playfulness with which many young people give expression to their feelings of love, a playfulness which combines their knowledge and experience with hopes and desires that are often at odds with each other. The result is a self-reflexive showing off of what John Caughie in another context called “ironic knowingness”: the (re)presentation of one’s real, deeply felt emotions in a way that at the same time shows the irony, construction and relativity of them (54). Participants in All you need often refer to, and make jokes about, the playfulness of the spectacle, while at the same time being shy and dead-serious about their feelings. Being self-reflexive in the way in which they ‘organize’ their proposal (i.e. the format of the program), they appear to be well aware of the construction, and to enjoy it. This is exactly what makes the show so different from traditional dating shows, even a sophisticated American example like Studs. These shows are about the game of seduction, with all its frivolous playfulness. The participants always have the excuse that they came for the game, not for a particular person. In All you need, there is no excuse: the stakes are extensively focused on from the start, and they are about a person, not the play. In fact, this is just a televisual form of Umberto Eco’s much-quoted example. He stated that if you love someone today, you can’t just say “I love you madly” anymore, as this would probably only produce a laugh as response. The only strategy left - not only to say the same thing but also to reach the same effect with it - is intertextuality. Thus, you show that you know that it has been said a million times before, “As Barbara Cartland would say: I love you madly”. Now, some ten years later, you go to Love letters or All you need, make a TV-performance out of your proposal and thus (implicitly) tell him or her: “As Eric Forrester would say ...”. In the above-mentioned interview McRobbie pointed to the liberating elements this irony in romance has, especially for young women. As the traditional concept of romance has always placed women in a passive and dependent position, this ironic playfulness opens up opportunities to change ways of behavior and (power) relations in romance. It does so not by ignoring or denying the old fantasies that we have come to know (and perhaps even love), as it would be impossible and (to some of us) undesirable to just simply forget them. But it does so by making fun of them while at the same time enjoying them. Using this irony, we can explore the ambiguity of romance, with all its historically and culturally determined creativities and constraints. And this is exactly what happens in shows like Love letters and All you need, where ‘real’ people playfully experiment with representations of ‘real’ romance, in front of our very eyes Emo-TV, gender and other relations Regarding the issue of gender relations and representations on TV, the fact that emotions are the central theme of prime time shows like these, is interesting in itself. After all, emotions are traditionally said to be the central focus of interest for women, in real life and (arguably as a consequence) on the screen. As arguments about the tastelessness or inappropriateness of real and fierce emotions on the screen most often come from male viewers/critics, is it really ‘natural’ to think of these kinds of emotions as private, and to reject their showing on TV as a degeneration of good taste or cultural value? And, why do so many people today feel an urgent need to reveal their emotions and watch these shows on television, against their ‘natural tendencies’? One of the issues obviously at stake here is the dichotomy of the public versus the private. In this context, it could be argued that shows like these take an important step in the feminist project of formulating the personal as political, by making the personal very public. From the first tentative qualitative research, we know that these shows generate conversation in the home, including that between men and women, making power structures in personal relationships an easier (or less easily avoidable) topic for discussion. Besides, as available statistics show that roughly 40% of the average viewing public of these programs consists of men, it would not be too optimistic to suppose that some of them like the shows too. If so, it is clear that this shift in values will affect our common, social understandings of the public and private spheres (Bondebjerg). This dichotomy of public versus private also has to do with yet another power relation that is shifting within, and being shifted by, emo-TV: the power over the medium as such. This relates to one of the quite generally shared criticisms of emo-TV, claiming that it exploits ordinary people by (ab)using their emotions to make highly successful, profitable TV programs. Of course it is true that the program producers do ‘use’ people’s emotions to ‘gratify’ their audiences, and that their experience with the medium gives them advantages in foreseeing its effects. But this, in itself, doesn’t mean that this process happens at the cost of the people involved. In fact, participants in emo-shows not only seem to be quite aware of the consequences of being on TV, they often actively speculate on its effects. In a recent interview on Dutch television, de Mol stated that he sees this as a crucial development in the television medium as well as its role in (however public) personal relations. Once being understood as a view on the public world presented to us by professional journalists and actors, for younger generations television has developed into just another tool that can be used in all sorts of private matters. In this sense, the above lament, that television has to assist where life has failed, seems quite irrelevant. Indeed, the participants actively and purposefully take television into their lives to accomplish very real goals. This comment also applies to the discussions about the in-authenticity of the emotions in these shows, endlessly restated by critics claiming these are provoked by the television cameras and therefore never real. It is hard to see why this medium is not at least as relevant for the emotions as the result of a love poem, a bunch of roses or any other love(ly) cliché. Which brings us to the last dichotomy: the shifting relation between television and its audiences. The growing role of emo-TV in the programming schedules means more stories from ordinary people on the TV screen. Television is thus developing from a medium filled with messages made (up) by professional television makers, to a medium (or better, a means) by which we, the people, tell each other our own intimate stories in more or less our own way. It turns out that people are not only quite willing and able to articulate their emotions, they enjoy watching other people tell or show or play out theirs as well (Ross). Television makers do indeed seem to have no other choice than giving love more space and time on TV. Therefore, emo-TV is the genre-par-excellence to raise the intriguing question of whose medium it is anyway, even more so in the light of recent developments on television like reality soaps. Works Cited Bondebjerg, Ib. “Public discourse/private fascination: Hybridization in ‘true-life-stories’ genres”. Media, Culture and Society, vol. 18. 1996: 27-45. Caughie, John. “Playing at being American: Games and tactics.” Ed. Patricia Mellencamp. Logics of television: Essays in cultural criticism. Bloomington: Indiana University Press, 1990. 54-55. de Mol, John. Interviewed on Netwerk (Network). November 22, 1999. Eco, Umberto. Postscript to The name of the rose. New York: Harcourt Brace Jovanovitch, 1984. Glynn, Kevin. Tabloid culture: Trash taste, popular culture and the transformation of American culture. Duke University Press, 2000. Grindstaff, Laura. The money shot: Trash, class and the making of TV talk shows. Chicago: University of Chicago Press, 2002. McRobbie, Angela. Meisjesstijlen: gesprek met Angela McRobbie en Ann Phoenix (Girls’ styles: discussion with Angela McRobbie and Ann Phoenix. Ed. Anil Ramdas In mijn vades house (In my father’s house). Amsterdam: Jan Mets, 1994. 61-78. Ross, Andrew. No respect: Intellectuals and popular culture. London: Routledge, 1989. 102-134. Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Reesink, Maarten. "The Eternal Triangle of Love, Audiences and Emo-TV" M/C: A Journal of Media and Culture 5.6 (2002). Dn Month Year < http://www.media-culture.org.au/0211/emo-TV.php>. APA Style Reesink, M., (2002, Nov 20). The Eternal Triangle of Love, Audiences and Emo-TV. M/C: A Journal of Media and Culture, 5,(6). Retrieved Month Dn, Year, from http://www.media-culture.org.au/0211/emo-TV.html

For more than two decades during the mid-20th century, local entertainment television shaped daily experience across the United States. Although often viewed as trivial by historians, these extinct television genres offer valuable insights into the relationship among media technology, historical consciousness, and cultural memory. Emergent theories of historical phenomenology help facilitate and expand such insights. The phenomenological perspective, which focuses on the sensory experience of media technology in historical settings, illustrates how audience memories inform the historical significance of this programming. The present study utilizes insights from ethnographic data and historical recordings to fortify its findings.