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Journal articles on the topic 'Television reception'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

Ortiz-Sobrino, Miguel-Ángel. "Television, globalization and social change." Comunicar 13, no. 25 (October 1, 2005): 79–85. http://dx.doi.org/10.3916/c25-2005-011.

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XXI Century television is undergoing a process of transformation. New actors, new products and new ways of consuming television are on the lookout. Interactivity will make the traditional concept of television disappear. Television viewers can design their own grids independently of the operator’s schedule. The convergence of television and computer, Internet, telephone and video games bring us a new concept of television. Television faces two big transformations: digital transformation and that of the concept of «general public». The computer, the computer screen, has the calling of turning into a reception screen in which both computer and television functions fuse. Latest generation mobile telephony is integrating itself is this multimedia complex, in connection with television. Future television cannot dissociate from the Internet. La televisión del siglo XXI está en proceso de transformación. Nuevos actores, nuevos productos y nuevas formas de consumir televisión se atisban en el horizonte. La interactividad con la televisión hará desaparecer el concepto de televisión tradicional. El telespectador puede confeccionar sus propias parrillas, independientemente de la programación del operador. La convergencia de la televisión con el ordenador, Internet, el teléfono y los videojuegos nos llevan a un nuevo concepto de la televisión. La televisión se enfrenta a dos grandes transformaciones: la transformación digital y del concepto «público general». La nueva televisión propiciará una nueva forma de ver la televisión, en la que el espectador se olvidará del mundo para dialogar con la máquina e incluso, tomar decisiones que afecten a la programación. El anunciado apagón digital, previsto en España para 2010, va a revolucionar el panorama televisivo español. La oferta se ampliará y se sumará a la oferta del cable, satélite y teléfono. Se ampliarán las ofertas de televisión de pago. Estaremos ante un panorama absolutamente cambiante.

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2

Borisov, Vasily. "Amateur Radio Activity in the USSR before World War II." Science Management: Theory and Practice 4, no. 3 (September 26, 2022): 189–98. http://dx.doi.org/10.19181/smtp.2022.4.3.13.

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The article discusses the emergence and development of amateur activities in radio communications and television reception in the USSR. Amateur radio activity in the USSR received legal recognition in 1924. By the end of 1928, more than 450 amateur radio stations were on the air in the country. From the beginning of the 1930s domestic radio amateurs have also mastered the reception of television broadcasts on home-made televisions. By the end of the 1930s. there were a large number of home-made television receivers tuned to the transmission of optical-mechanical television in the country. In this regard, short-line mechanical television broadcasting in the USSR existed until the early 1940s.

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Fuenzalida-Fernández, Valerio. "A New Meaning of Educational Television: from School to Audience’s Everyday Life." Comunicar 18, no. 36 (March 1, 2011): 15–24. http://dx.doi.org/10.3916/c36-2011-02-01.

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When analyzing the reception of different Latin American television genres, it can be seen how education is conceptualized –from the point of view of subjects inserted in their daily social practices– as more greatly linked to affectivity than to cognition, thus distinguishing it from knowledge generated through formal schooling. In this sense, television programming has come to be redefined as educational, based on the audiences’ needs in each of their different home environments. Reception studies show that various programs are frequently classified as «educational programs », including news/journalistic programs, entertainment and fictional shows. This presents an opportunity for organizations and professionals of television to contribute to the improvement in the quality of life of their audience members, especially children and adolescents. With regards to the specific challenges that Latin American public television face, it is necessary to shift the axis from propaganda/situational to audiovisual programs that take into account the verbalized needs of various research projects in the region, especially for social groups that suffer not only financial disadvantages, but also those dealing with insecurity and ethnic exclusion.A través del análisis de la recepción de diversos géneros televisivos latinoamericanos, surgen dimensiones de una conceptualización de lo educativo –desde el punto de vista de los sujetos instalados en sus prácticas sociales cotidianas– más vinculada a lo afectivo que a lo cognitivo, conocimiento generado por la escuela formal. En este sentido, la programación televisiva es «re-significada» como educativa a partir de las necesidades de las audiencias, situadas en ambientes hogareños particulares. Los estudios de recepción muestran la calificación recurrente como «programa educativo» hacia espacios que, según la denominación académico-profesional, son periodísticos, magazines de entretenimiento y ficcionales. Esto plantea una oportunidad para las organizaciones y profesionales de la televisión, en términos de contribuir a mejorar la calidad de vida de las personas y, especialmente, de los niños y adolescentes. En el contexto latinoamericano, los retos de la televisión pública se sitúan en desplazar el eje desde lo propagandístico/ coyuntural hacia procesos comunicacionales audiovisuales que den cuenta de las necesidades verbalizadas en diversas investigaciones en la región, especialmente para los grupos sociales que viven en condiciones de vida carenciadas, no solo en lo económico, sino también en ambientes marcados por la inseguridad y la exclusión étnica.

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4

Wilson, Tony. "Global Constructions of ‘Korupsi’ in a Local Public Sphere: A Cross-Cultural Malaysian Reception Study." Media International Australia 102, no. 1 (February 2002): 113–25. http://dx.doi.org/10.1177/1329878x0210200112.

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Audience responses to television are at the heart of sense-making in the public sphere. Research on viewers' readings of economic, political and social events in news programs, invariably constructed around the activities of ‘significant’ individuals, is of particular consequence for understanding the functioning of a democracy. This paper is a cross-cultural reception study of how audiences come to interpret the program genre of television news. In a process of comprehension characterised by fusing/feuding horizons of understanding the world, viewers playfully accommodate the meaning of programs in their everyday lives. Analysis of television's reception should be tested against audience activity. Theory must be corroborated. Drawing from a significant literature discussing the phenomenology of ludic experience, the article theorises trans-cultural reception of Western (British) television by Asian (Malaysian) viewers as seriously ‘playful’. Academic assertions are assessed as illuminating audience response.

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5

Leberg. "The Hollow Crown: Quality Television and Colonial Performances." Reception: Texts, Readers, Audiences, History 10, no. 1 (2018): 27. http://dx.doi.org/10.5325/reception.10.1.0027.

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6

Rustad, Gry C., and Anders Olof Larsson. "Introducing quantitative reception aesthetics: Television reception and textual engagement." Critical Studies in Television: The International Journal of Television Studies 16, no. 1 (February 23, 2021): 7–29. http://dx.doi.org/10.1177/1749602020974347.

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This article introduces quantitative reception aesthetics as a method and demonstrates how big data derived from social media services and textual analysis can be employed to uncover hitherto hidden processes of media spectatorship. It demonstrates how mixing quantitative and qualitative methods allows us to understand textual engagement and how media spectatorship evolves over time. Taking the Norwegian web series, Skam (2015–2017), as its case study, the article demonstrates how (web)television engagement on Instagram is linked to aesthetics and narrative events and how textual engagement is more universal than perhaps post-structuralist reception studies of media reception might have us believe.

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7

Qudratullah, Qudratullah. "PEMAKNAAN KHALAYAK TERHADAP KONFLIK SELEBRITI PADA TAYANGAN INFOTAINMENT." Al-Din: Jurnal Dakwah dan Sosial Keagamaan 5, no. 1 (January 6, 2020): 128–37. http://dx.doi.org/10.35673/ajdsk.v5i1.576.

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AbstractInfotainment news about artists that air on television is always unique and interesting to watch. This is caused by conflicts displayed on the television screen. To still be able to exist, celebrities carry out a strategy by creating a variety of controversial and behavioral behaviors which are then widely covered and broadcast by infotainment on television. The conflict news program carried out by these celebrities contained codes for each event. So this study tries to find out how the analysis of public receptions on the contents of messages in the reporting of celebrity conflicts in infotainment. This study uses a reception analysis method by conducting interviews with informants who have met certain criteria. The theory used is the Encoding-Decoding Theory by Stuart Hall. The results show that there are 3 reception categories in celebrity conflict news on the audience. Four people in the Dominant Hegemonic category, one in the Negotiated category, and one in the Oppositional category. Keywords: News, Celebrities, Infotainment, Reception Analysis, Encoding-Decoding.

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8

Lacalle, Charo. "Genre and Age in the Reception of Television Fiction." Comunicar 20, no. 39 (October 1, 2012): 111–18. http://dx.doi.org/10.3916/c39-2012-03-01.

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This article summarizes the main results of an investigation that is part of a project regarding the construction of youth and gender identity in television fiction. The methodology integrates reception analysis (focus group) with data obtained through an anonymous questionnaire, designed to contextualize the results of the qualitative research. Television fiction is the favourite macro-genre of young people, especially women. Broadly speaking, participants appreciate the greater proximity of Spanish fiction, which favours the different mechanisms of identification/projection activated during the reception process, and they acknowledge that TV fiction has a certain didactic nature. The research highlights the more intimate nature of female reception compared to the detachment of the male viewer, who watches fiction less frequently and assimilates it as pure entertainment. Age influences the different modes of reception, while the social class and origin of participants hardly have any impact. Confident, rebellious and ambivalent characters are found to be more interesting than the rest. By contrast, the structure of the story and a major part of the topics addressed by the programme are usually consigned to oblivion, highlighting the importance of selective memory in the interpretative process, as well as suggesting the limited nature of the effects of television fiction. El artículo resume los principales resultados de una investigación integrada en un proyecto más amplio sobre la construcción de la identidad juvenil y de género en la ficción televisiva. La metodología combina el análisis de la recepción («focus group») con los datos obtenidos mediante un cuestionario anónimo, destinados a contextualizar los resultados del estudio cualitativo. La ficción televisiva es el macrogénero preferido por los jóvenes, sobre todo por las mujeres. En general, los participantes aprecian la mayor proximidad de la ficción española, propiciadora de los diferentes mecanismos de identificación/proyección activados en los procesos de recepción, y le reconocen un cierto carácter didáctico. La investigación pone de manifiesto el carácter más intimista de la recepción femenina, frente al mayor distanciamiento de un espectador masculino mucho más inconstante, que asimila la ficción con el puro entretenimiento. La edad influye principalmente en las diferentes modalidades de recepción, mientras que apenas se constata la incidencia de la clase social ni del origen de los participantes. Los personajes seguros de sí mismos, rebeldes y ambivalentes, interesan más que el resto. Por el contrario, la estructura del relato y una buena parte de los temas del programa visionado se relegan generalmente al olvido, lo que revela el peso de la memoria selectiva en los procesos de interpretación y sugiere el carácter limitado de los efectos de la ficción televisiva.

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Anderson-Lopez, Jonina, R. J. Lambert, and Allison Budaj. "Tug of War: Social Media, Cancel Culture, and Diversity for Girls and The 100." KOME 9, no. 1 (2021): 64–84. http://dx.doi.org/10.17646/kome.75672.59.

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Hate the most recent season of a television show? Create a viral petition! Better yet, find an old tweet of a cast member to publicly shame them. These are examples of audience participation and expectations when it comes to television. Audiences react to several types of fiction, but this article mostly focuses on the impacts of television shows and audience reception. Analyzing audience and critical reception of certain TV shows may reveal motivations for subsequent creative decisions by the creators. On shows like Roseanne, audience reception has influenced decisions concerning creative control. Audience demands help sway the market and have opened up diversity initiatives in speculative media. The theoretical base for this article is formed from reception theoryand primary research of Twitter posts. To further explore the phenomenon of audience sway over artistic ownership, two television shows, Girlsand The 100, will be examined in context with audience and critical reception, cancelculture, and diversity initiatives across media.

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10

Höijer, Birgitta. "Socio-cognitive structures and television reception." Media, Culture & Society 14, no. 4 (October 1992): 583–603. http://dx.doi.org/10.1177/016344392014004006.

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Ohmaru, Kenji. "Mobile reception systems for television broadcasting." Journal of the Institute of Television Engineers of Japan 43, no. 2 (1989): 152–59. http://dx.doi.org/10.3169/itej1978.43.152.

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12

O'Sullivan, Janet. "A Poor Reception for Television Nuisance." Cambridge Law Journal 55, no. 2 (July 1996): 184–87. http://dx.doi.org/10.1017/s0008197300097993.

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Yulita, Reni Diyah, and Fitri Murfianti. "PENERIMAAN KHALAYAK DESA PONGGOL MAGELANGTERHADAP PROGRAM GENDU-GENDU ROSO GRABAGTV." Capture : Jurnal Seni Media Rekam 3, no. 2 (June 19, 2017): 74–86. http://dx.doi.org/10.33153/capture.v3i2.1891.

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GrabagTV is one of community televisions that has been operated in Indonesia.It wasestablished in 2004 in District Grabag, Magelang regency, Central Java. Grabag TV is noncommercial television. One of programs that aired is Gendu-Gendu Roso.This program is aninteractive dialogue aimed as a space to accommodate the aspirations of the people Grabag.This problem is then focused on how the public acceptance of the program Gendu-Gendu Rosoas a medium channeling the aspirations of the people in accordance with the goals and ideals ofIndonesia broadcasters.The purpose of this study is how the reader understand on how thepublic acceptance of the program being broadcasted on television community and the factorsthat affect the acceptance of the audience. This thesis using qualitative methods and theapproach used is reception analysis.This approach is used in order to determine how audiencesreceive the contents of the messages conveyed by the media viewed from a variety ofcontextual factors that influence.Audience acceptance will be obtained by a long process thatbecame valuable experience within the public and shaping the mindset and worldview different.The results of this study show that community acceptance of Gendu Gendu Roso in defendingfreedom of speech in the category dominant reception where the community agreed that theevent was able to become the voice of the container,as well as public acceptance of the use ofsetting events are also included in the reception dominant. While the acceptance of theaudience to the information included in the reception is dominant and negotiated.The lastdiscussion on the use of regional languages in the event showed that the acceptance of theaudience entered the reception is dominant,negotiated and oppositional.For people who fallinto the category of oppositional means that the use of the local language cannot be receivedwell.Public acceptance of the programs shown on television was not the same community.It isinfluenced by various factors in daily life such as social background, occupation, age, sex andneighborhood audiences.Keywords: Community television, audiences positioning, and Grabag TV

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Olken, Benjamin A. "Do Television and Radio Destroy Social Capital? Evidence from Indonesian Villages." American Economic Journal: Applied Economics 1, no. 4 (September 1, 2009): 1–33. http://dx.doi.org/10.1257/app.1.4.1.

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This paper investigates the impact of television and radio on social capital in Indonesia. I use two sources of variation in signal reception—one based on Indonesia's mountainous terrain, and a second based on the differential introduction of private television throughout Indonesia. I find that increased signal reception, which leads to more time watching television and listening to the radio, is associated with less participation in social organizations and with lower self-reported trust. Improved reception does not affect village governance, at least as measured by discussions in village meetings and by corruption in village road projects. (JEL L82, O15, Z13)

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Aguilar-González, Luz Rugenia. "Transverse readings: how to build critical audiences." Comunicar 16, no. 31 (October 1, 2008): 27–33. http://dx.doi.org/10.3916/c31-2008-01-003.

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The main point in this article is to discuss the development of the critical reception. The method establishes an analysis of the codes and cultural sources of a specific television show, (that analysis understood as transverse readings), to identify the intertextualities in the show. The purpose is to develop the intertextual competence and the critical vision of the children. The main goal is to make children acquire a critical capacity that enables them to criticize the consumption, the rejection or the interpretation of different television shows.En el presente artículo se realiza una propuesta para el desarrollo de la recepción crítica. El método propone que, por medio del análisis de los códigos y fuentes culturales de un programa televisivo determinado (lo que se entiende como lecturas transversales), se identifiquen las intertextualidades presentes en el mismo. La finalidad es desarrollar la competencia intertextual y la visión crítica de los niños. Ello puede contribuir a que los niños adquieran elementos para que puedan fundamentar críticamente el consumo, el rechazo o la interpretación compleja de programas de televisión.

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Zaid, Bouziane. "Audience Reception Analysis of Moroccan Public Service Broadcasting." Middle East Journal of Culture and Communication 7, no. 3 (2014): 284–309. http://dx.doi.org/10.1163/18739865-00703003.

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Television is one of the most important sources of information and entertainment for the majority of Moroccans. Since 2002, the Moroccan government has put forth policies to regulate the use of television as an important outside source for promoting its development programs. This audience reception study aims to assess the opinions of Moroccan television viewers on the quality of programming provided by the two public service TV stations, Al Oula and 2M. The study applies Stuart Hall’s encoding/decoding theory to examine the interactions of the Moroccan audience with the content of the two public service television stations. This study focuses mainly on television viewers of lower educational backgrounds and those with lower incomes because they could benefit most from the developmental role of public service television. The study examines the extent to which TV programming addresses the viewers’ lifestyles and concerns and the expectations viewers may have of their public service stations. The study uses focus groups as a stand-alone data-gathering strategy because of the multicultural nature of Moroccan society, which is characterized by different ethnic, linguistic and geographic attributes. Focus groups enable researchers to collect rich data in participants’ own words; they are particularly useful when the survey group is illiterate or semiliterate. The application of Stuart Hall’s theory in the Moroccan context reveals some of the model’s strengths as well some of its limitations. While the model provides rich analytical tools that help us understand the relationship between how television producers encode messages and how audiences decode them, this study illustrates the limits of Hall’s theory application to non-western audiences. Hall’s model is founded on the assumption that audiences are capable of decoding the television content and that the variations in the decoding process are the outcome of the audiences’ reactions to the hegemonic message. The study found that this was not applicable to Moroccan audiences and that additional theoretical tools needed to be in place for an audience reception analysis to be complete and substantial.

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Wilson, Tony. "Watching Television: Hermeneutics, Reception and Popular Culture." Journal of Aesthetics and Art Criticism 53, no. 4 (1995): 451. http://dx.doi.org/10.2307/430996.

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Abercrombie, Nicholas, and Tony Wilson. "Watching Television: Hermeneutics, Reception, and Popular Culture." British Journal of Sociology 45, no. 2 (June 1994): 328. http://dx.doi.org/10.2307/591516.

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Marta-Lazo, Carmen. "The process of TV reception as contextual interaction." Comunicar 16, no. 31 (October 1, 2008): 35–40. http://dx.doi.org/10.3916/c31-2008-01-004.

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The process of reception cannot be equated to visualisation. Many factors are involved in the act of looking; the subject’s background, their level of communicative competence, code knowledge, modus operandi and different ways of interpreting and deepening in messages. Dynamics of interaction with the screen are varied, but to achieve a significant degree of autonomy and activity, direct involvement in the creative process will be necessary. Hence, it is of major importance to foster a responsible use of television and educate society in matters of communication. This is, beyond any doubt, the challenge that the present educative system has to face. El proceso de recepción televisiva se circunscribe al mero acto de visionado. Son muchos los factores que afectan al ejercicio de mirar, entre otros el «background» con el que cuente el sujeto, su grado de competencia comunicativa, el conocimiento de códigos, modos de operar y maneras de interpretar y profundizar en los mensajes. Las dinámicas de interacción con la pantalla son muy diversas, pero para conseguir un grado de autonomía y actividad significativo, será necesaria la construcción de mensajes o la participación directa en el proceso creativo. En consecuencia, es importante despertar unos hábitos responsables de consumo televisivo y educar en materia de comunicación. Éste es, sin duda, el reto que se le plantea al sistema educativo actual.

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Penzhorn, Heidi, and Magriet Pitout. "interactive nature of reality television." Communicare: Journal for Communication Studies in Africa 25, no. 2 (October 20, 2022): 85–102. http://dx.doi.org/10.36615/jcsa.v25i2.1746.

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This article explores the motivating factors for viewer participation in the reality television programme,Project Fame. It looks at the interactive component of reality television, arguing that viewers areactive in their media consumption. The theoretical foundation of this study is based on the usesand gratifications theory as well as the cultural studies approach to reception theory.On a methodological level, this study applies qualitative research methods in order to determinewhat factors motivate viewers to participate interactively in the television programme. Supportedby the categories of need gratifications, this study concludes that cognitive, affective and personalintegrative needs motivate viewers to utilise the various interactive opportunities and thatviewers expect gratifications from participating interactively. In addition, reception theory is usedto further explain viewers’ active participation and interpretation of media messages in a socialand cultural context.

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Chicharro-Merayo, Mar. "Learning from Television Fiction. The Reception and Socialization Effects from Watching «Loving in Troubled Times»." Comunicar 18, no. 36 (March 1, 2011): 181–90. http://dx.doi.org/10.3916/c36-2011-03-10.

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Television fiction is often understood as a cultural product whose aim is entertainment and escapism. However, its functions are not merely commercial. In fact, this article aims to improve understanding of the socializing and educational effects of television’s fictional messages. It also reflects on the active role of the audience in the process of reception, and on its capacity to define and interpret messages according to the viewer’s personal and social characteristics. This work examines the informational usefulness and significance for personal identity of a specific television genre, the telenovela, a fictional product which, despite focusing its narrative on romantic events and personal conflicts, can also provide the viewer with explanations and interpretations of society’s past and present. In particular, this analysis of the melodramatic format sets out to establish the meanings and representations in «Amar en tiempos revueltos» («Loving in Troubled Times») for its female viewers. Based on the analysis of in-depth interviews, the article will explore the female audience’s reception processes through variables such as age and education. This study concludes that the majority of female viewers use fiction in an explanatory sense, and that the telenovela is a genre in which women identify themselves individually and as a group.La ficción televisiva suele ser entendida como producto cultural encaminado a la evasión y el entretenimiento. Sin embargo, sus funciones no son estrictamente comerciales. De hecho, el presente trabajo surge del interés por conocer los efectos socializadores y educativos de los mensajes de ficción. Del mismo modo, reflexiona sobre el papel activo de los espectadores en el proceso de recepción, sobre su capacidad para definir e interpretar los mensajes de acuerdo con sus características personales y sociales. Más concretamente, el trabajo se interesa por las utilidades informativas y significados identitarios de un género televisivo concreto: la telenovela. Si bien focaliza el grueso de sus tramas en los avatares románticos y los conflictos personales, este producto de ficción, puede además proveer al espectador de explicaciones e interpretaciones en relación con el pasado y el presente de una sociedad. Concretando nuestro análisis en un formato melodramático concreto, «Amar en tiempos revueltos», analizaremos los significados y representaciones que ofrece a sus públicos femeninos. A partir de ahí, y mediante el análisis de contenido de los discursos obtenidos a través de la técnica de la entrevista en profundidad, se explorarán los procesos de recepción de las espectadoras, en función de variables como la edad y el nivel educativo. De este modo, se concluirá señalando cómo el grueso de las espectadoras utiliza la ficción en un sentido explicativo, y se reconocen en ella personal y grupalmente.

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Perks, Lisa G., and Noelle McElrath-Hart. "Spoiler definitions and behaviors in the post-network era." Convergence: The International Journal of Research into New Media Technologies 24, no. 2 (July 21, 2016): 137–51. http://dx.doi.org/10.1177/1354856516659403.

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Analysis of survey responses gathered from 92 television time shifters reveals varying attitudes and behaviors toward spoilers. Throughout this essay, we argue that spoiler avoiders embrace post-network era reception practices but use network era norms to evaluate their own experience and regulate the television conversations around them. We see, however, an erosion of those network era norms in people who either use spoilers to enhance their narrative pleasure or who do not actively police television conversations around them. These findings suggest that television conversation norms and individual evaluations of narrative pleasures are slower to evolve than reception patterns. Our study brings convergence culture questions of narrative pleasure, discursive patterns, active audience behaviors, and contested grounds of power to the surface.

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Thamae, Leboli, Itumeleng Potsanyane, and Mpho Mokhetsengoane. "Preliminary performance evaluation and verification of digital terrestrial television signal propagation." Journal of Digital Science 3, no. 2 (December 28, 2021): 53–66. http://dx.doi.org/10.33847/2686-8296.3.2_4.

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This article presents the computer simulation and field test measurement results on Channel 29 for the preliminary performance evaluation and verification of the newly-installed Lesotho digital terrestrial television network based on DVB-T2 standard following the guidelines and techniques specified by the ITU-R BT.2035-2. It evaluates, at predetermined outdoor locations for fixed and mobile reception, parameters such as received signal strength, signal quality, bit-error rate (BER) and threshold-of-visibility (ToV) together with TV signal decoding (observation of screen artefacts) for quasi error-free reception. The results indicate that at over 97% of the test sites/points at the university town of Roma, the main Berea Plateau transmitter from the capital city (Maseru) broadcasts digital television service with enough signal level and quality to be properly decoded. The measured signal strength threshold ranges above -50 dBm for good reception, -64 dBm to -50 dBm for acceptable reception and -69 dBm to -64 dBm for poor reception. With the noise floor at about -73 dBm, the minimum required C/N of around 23 dB for good reception and about 4 dB for ToV have been recorded. The relative values of minimum required respective signal strength and signal quality for ToV obtained from the set-top box are 33% and 18% for stationary reception, while they give 37% and 20% for mobile reception.

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Fuenzalida-Fernández, Valerio. "Changes in the relationship between children and television." Comunicar 15, no. 30 (March 1, 2008): 49–54. http://dx.doi.org/10.3916/c30-2008-01-007.

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This paper presents some changes occurring in Latin America related to the relationship between children and television channels and programs. There are new ways of television consumption by children at home, and new tendencies in the understanding of reception processes in children programming. Television production has had considerable change and this has produced important transformations in children’s representations inside the text. Mediation is required in order to take advantage of this programming. En este artículo se presentarán algunos cambios que están apareciendo en América Latina en la relación de los niños con los canales y programas televisivos. Estos cambios aparecen en las nuevas formas de consumo infantil y en nuevas tendencias en el análisis de la recepción de los programas infantiles; pero también en las nuevas formas de realización de los programas, que involucran cambios en la representación infantil simbólica en el texto. La plena utilidad de estos programas requiere del proceso de mediación.

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O'Regan, Tom. "Reception and Exposure in Architecture, Film and Television." Architectural Theory Review 18, no. 3 (December 2013): 272–78. http://dx.doi.org/10.1080/13264826.2014.875611.

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Jensen, Klaus Bruhn. "Reception as flow: The ‘New television viewer’ revisited." Cultural Studies 8, no. 2 (May 1994): 293–305. http://dx.doi.org/10.1080/09502389400490461.

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Mustaffa, Che Su, and Ilias Md Salleh. "Impact of Television Drama from Audience Reception Perspective." Procedia - Social and Behavioral Sciences 155 (November 2014): 203–8. http://dx.doi.org/10.1016/j.sbspro.2014.10.280.

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Latawiec, Krystyna. "Za kulisami sądu. Ugo Betti, "Trąd w pałacu sprawiedliwości" ("Corruzione al Palazzo di Giustizia")." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 17 (October 12, 2018): 159–70. http://dx.doi.org/10.24917/20811853.17.14.

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Behind the scenes of Court. Ugo Betti, Corruzione al Palazzo di GiustiziaAbstractThe article concerns the Polish reception of Ugo Betti’s drama Corruzione al Palazzo di Giustizia.It presents the comparison of the two performances: the theatrical one, directed by MariaWiercińska (1958), and the television one, directed by Gustaw Holoubek (1970). The firstspectacle was determined by the political context in post-Stalinist times, the second wasconcentrated on moral conflicts and personal attitudes. Both performances searched for ananswer to the question about the meaning of justice.Keywords: Ugo Betti, Polish theatre, reception, television performance, justice

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Arrow, Michelle, Bridget Griffen-Foley, and Marnie Hughes-Warrington. "Australian Media Reception Histories." Media International Australia 131, no. 1 (May 2009): 68–69. http://dx.doi.org/10.1177/1329878x0913100108.

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As the field of Australian media history expands, so too does the need for a broader and more innovative range of questions, issues and debates. This special issue of MIA responds to that need by considering the sources and research questions raised by media reception historians working on film, radio, television and the press. From print to new media, the papers assembled highlight the ingenuity of Australian historians working to recover the experiences of audiences in urban and regional settings.

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Genosko, Gary. "Guattari TV, By Kafka." Deleuze Studies 6, no. 2 (May 2012): 210–23. http://dx.doi.org/10.3366/dls.2012.0058.

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Guattari looked for crossovers between film and television in a posthumously published ‘Project for a Film By Kafka’. His critical comments on television and the mixed reception of television within the Deleuzo-Guattarian literature provide the occasion for an investigation of what Guattari thought television could do for his project. The auteur model best suits his needs in this regard, with the proviso that it is animated by a modernist aesthetic oriented towards the conjuring of a people to come who would join the Kafka assemblage as part of their viewing experience.

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Negus, Keith. "Musicians on Television: Visible, Audible and Ignored." Journal of the Royal Musical Association 131, no. 2 (2006): 310–30. http://dx.doi.org/10.1093/jrma/fkl005.

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This article focuses on the prominent anxieties generated by television broadcasts of musicians from the 1930s onwards. It explores three specific issues: first, a concern that television images of performing musicians are detrimental to the experience of music; second, negative judgments about the consequences of television sound quality; and, third, fears that musical value is undermined by the distracted character of television reception. Focusing on these particular points, the article also raises a series of more profound questions about how various strategies of looking and listening influence our understanding of music.

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Febrian, Febrian. "Analisis Resepsi Mahasiswa Ilmu Komunikasi Universitas Semarang Terhadap Tayangan Iklan Televisi Layanan SMS Premium Versi Ramalan Paranormal." Jurnal The Messenger 4, no. 2 (July 1, 2012): 50. http://dx.doi.org/10.26623/themessenger.v4i2.160.

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<p><em>This study aims to understand the audience reception of cultural horoscope, forecasts and the occult are sold through premium SMS services. Basic theory used in this study is the cultivation theory of McQuail (1996) which states that television become a major tool in which the media or the television audience to learn about society and culture environment. In other words, the perception of what our minds awakened about society and culture is largely determined by the television. The research method qualitative descriptive used is a interpretive perspective. Research was conducted in the city of Semarang. Informants in this study were students of the University of Semarang science communication. Concluded that the analysis of other research has answered this reception, where there are three positions in the analysis of audience reception that is the position of the dominant readings, readings that are negotiated and oppositional readings. From this study it can be concluded if the ad is a Premium SMS content that contents can not be held responsible, this can be seen from the researcher interviewed informants in the field.</em></p>

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Steward, Tom James Longley. "Wide-Screen Television and Home Movies." Convergent Television(s) 3, no. 6 (December 24, 2014): 58. http://dx.doi.org/10.18146/2213-0969.2014.jethc070.

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In this article, Tom Steward uses past interrelations of television and cinema spectatorship, exhibition, production and aesthetics to historicize phenomenological digital-era discourses on, ontological definitions of, and cultural arguments about television and cinema convergence. He argues that television and cinema assisted in defining each other as late 20th Century media and cultural forms, have a multi-directional industrial and artistic flow, and are often interdependent in reception and distribution. Television and cinema convergence demonstrates the need for historical breadth in media convergence theory and an understanding of medium-specificity that incorporates interactions with other media.

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Sa’don, Siti Nor Hafizah, and Muhammad Ramlee Kamarudin. "UHF TV Band Transparent Antenna for Indoor Television Reception." Applied Mechanics and Materials 781 (August 2015): 32–35. http://dx.doi.org/10.4028/www.scientific.net/amm.781.32.

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The characteristics of transparent antenna for indoor television reception are investigated. It operates at Ultra High Frequency (UHF) band. The proposed antenna was made from silver coated polyester film (AgHT-4), the transparent conductive material and it is attached on a layer of glass substrate at both sides. The overall antenna length and width is at 150 mm x 50 mm. It has not fully ground plane and fed by a 50 Ω feedline. The meander line is designed at the feedline to broader the bandwidth. The simulated bandwidth obtained is 505.37 MHz to 802.45 MHz at level -6 dB. The rough impedance bandwidth is 297.08 MHz or 45.43 %. All the radiation patterns over the UHF band show bi-directional for E-plane and omni-directional at H-plane. The maximum gain obtained is 1.88 dBi.

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Rubiano-Daza, Henry, and Luis Alfonso Argüello-Guzmán. "Television Reception Among Young Viewers who are Forcibly Displaced." Palabra Clave - Revista de Comunicación 13, no. 2 (December 1, 2010): 307–2. http://dx.doi.org/10.5294/pacla.2010.13.2.5.

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Le Grignou, Brigitte, and Erik Neveu. "Transmitting Reception. How political television programmes anticipate audience reaction." Réseaux. The French journal of communication 4, no. 1 (1996): 157–88. http://dx.doi.org/10.3406/reso.1996.3309.

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Keinonen, Heidi. "Television Format as Cultural Negotiation." TV Formats and Format Research 5, no. 9 (August 1, 2016): 60. http://dx.doi.org/10.18146/2213-0969.2016.jethc103.

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Despite the growing number of publications on television formats, specific theorisations regarding formats and format adaptation, in particular, are still rare. In this article, I introduce a synthesizing approach for studying format appropriation. Drawing on format study, media industry research and structuration theory, I suggest that television formats should be understood and studied as a process of cultural negotiation in which global influences and local elements amalgamate on various levels of television culture (i.e., production, text, and reception); every level includes several sites of symbolic or actual negotiation. These sites emerge in the duality of structure and human agency.

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Pheasant-Kelly, Fran. "Text, Image, Audience: Adaptation and Reception of Andrea Newman'sBouquet of Barbed Wire." Journal of British Cinema and Television 13, no. 1 (January 2016): 80–98. http://dx.doi.org/10.3366/jbctv.2016.0297.

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Andrea Newman's 1969 novel, A Bouquet of Barbed Wire, has been adapted twice for television: first in 1976, and later in 2010. Controversially, the novel and its adaptations inferred father – daughter incest, a subject that was considered taboo during the 1970s. Arguably, though partly arising as a result of available technologies at that time, the repressed nature of incest is reflected in the claustrophobic aesthetics of the 1976 television version. In contrast, the more diverse cinematography, panoramic settings and less populated frames of Ashley Pearce's 2010 version correspond with an increasingly transparent approach to incest and child abuse, consistent with the contemporary zeitgeist, which fosters openness across all social and cultural structures. In particular, the changed climate involves a mounting preoccupation with, and sensitivity to, child welfare and legislation, arising as a result of national and international media revelations of child abuse in both domestic and institutional scenarios. Engaging theoretically with Raymond Williams’ concept of a ‘structure of feeling’, as well as referring to Freud's seduction theory, and television theorists including Karen Lury and John Ellis, this article locates parallels between the way that incest is represented and the socio-political and cultural contexts of the respective television adaptations of Newman's novel.

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Jenner, Mareike. "Researching Binge-Watching." Critical Studies in Television: The International Journal of Television Studies 15, no. 3 (September 2020): 267–79. http://dx.doi.org/10.1177/1749602020935012.

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This piece gives an overview of the different ways binge-watching is explored and analysed in contemporary television studies. It specifically explores the way binge-watching has been covered in the technological histories of television, fan studies, audience reception research, and narratology. In this, it insists that binge-watching is deployed in different ways within the broad and diverse field of television studies. The distinct uses of binge-watching in different sub-fields of television studies makes it a term that can be deployed in a variety of ways, suggesting that there can be no ‘one’ definition, also allowing for its resilience in the face of constant change of the medium.

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Johansen, Stine Liv. "Toddlers Watching TV - A study on the role of electronic media in the everyday-lives of one to three year old children." Kinderfernsehen wieder zum Thema machen! 13, Kinderfernsehen (October 12, 2007): 1–14. http://dx.doi.org/10.21240/mpaed/13/2007.10.12.x.

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In recent studies on children and electronic media, children are acknowledged as active users, interpreting TV-texts in various meaningful ways, according to their previously constructed knowledge of narratives and relating the texts to their everyday lives. Still, there is a tendency that toddlers' (ages 1 to 3) viewing is neglected, and seen as mere fascinations of patterns, bright colours and movements without focusing on the social uses or uses in which television narratives come to play an important part in small children's experimenting with building identity and self-image. This article focuses on the meaning-making processes that take place when toddlers watch television and DVD, and the way in which they broaden the reception-situation to different arenas, for instance through play and different uses of merchandise connected to the television programs. Also, it studies the context of children's media use, the way both parents, media and market set up the frames of children's reception.

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Báez, Jillian. "“I Know I Can’t Wait to See My Name in Lights”." Feminist Media Histories 7, no. 4 (2021): 7–26. http://dx.doi.org/10.1525/fmh.2021.7.4.7.

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This essay explores the production, content, and reception of Nickelodeon’s sitcom Taina (2000–01). Created by Maria Perez-Brown, a Latina pioneer in cable television, Taina ran for two seasons and foregrounded a Puerto Rican teenage girl at a performing arts high school in New York City. Guided by an intersectional feminist media studies analysis, I argue that Taina presages the rise of girls’ tween and teen shows on cable television and paved the way for contemporary representations of Latina girlhood in mainstream broadcast, cable, and streaming television. Taina is rarely cited in the history of Latina/o television or children’s television. This essay re-centers Taina as a critical intervention into children’s television and as a leading forerunner in Latina television production. I also highlight the labor of fans in shedding light on Taina’s obscured history, creating new ways of engagement with television of the past, and demanding new representations of Latinas.

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Stjernholm, Emil. "GDR Cinema on Swedish Television." VIEW Journal of European Television History and Culture 10, no. 19 (June 24, 2021): 41. http://dx.doi.org/10.18146/view.259.

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This article studies the import of East German films by Swedish public service broadcaster Sveriges Radio, and their reception in the Swedish public sphere. While few GDR films reached theatrical distribution, Swedish television imported and broadcasted over 30 productions by the state-owned film studio DEFA during the 1970s and 1980s, making this the primary distribution window for East German film in Sweden. Relying on sources such as Sveriges Radio’s in-house correspondence and screening reports, the weekly Sveriges Radio magazine Voices in Radio/Television (Röster i Radio/TV) and the public service corporation’s annual reports, this study sheds light on the political, economic and ideological considerations involved in the cultural exchange between Sweden and the GDR.

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Baczyk, Marcin, and Mateusz Malanowski. "Reconstruction of the Reference Signal in DVB-T-based Passive Radar." International Journal of Electronics and Telecommunications 57, no. 1 (March 1, 2011): 43–48. http://dx.doi.org/10.2478/v10177-011-0006-y.

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Reconstruction of the Reference Signal in DVB-T-based Passive RadarIn the paper the problem of decoding of digital television signal and its reconstruction for the purpose of using it in passive radar is presented. The main focus is the reconstruction of the signal using a general purpose receiver, not dedicated to digital television signal reception. The performance of the proposed method is verified on simulated and real-life signals.

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Downing, Taylor. "A New History for a New Channel: The Great War and the Launch of BBC2." Journal of British Cinema and Television 14, no. 3 (July 2017): 283–97. http://dx.doi.org/10.3366/jbctv.2017.0374.

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This article considers the making of the BBC2 series, The Great War, and examines issues around the treatment and presentation of the First World War on television, the reception of the series in 1964 and its impact on the making of television history over the last fifty years. The Great War combined archive film with interviews from front-line soldiers, nurses and war workers, giving a totally new feel to the depiction of history on television. Many aspects of The Great War were controversial and raised intense debate at the time and have continued to do so ever since.

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Malik, Aisha. "Transnational Feminist Edutainment Television in Pakistan: Udaari as Case Study." BioScope: South Asian Screen Studies 10, no. 2 (December 2019): 129–44. http://dx.doi.org/10.1177/0974927619896774.

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First created in the context of state-controlled broadcast television of the 1960s, the Urdu serial drama form has proven enduringly popular in Pakistan. This article examines how institutional changes, including the appearance of nongovernmental organisations in this space, have altered the production and reception of these serial dramas and their thematic content, which has recently included such highly charged topics as sexual abuse, harassment and rape. First, I look at how transnationally funded content has impacted modes of production in a liberalised and deregulated Pakistani television industry. Second, I give a case study of the internationally funded drama serial Udaari as an example of agenda setting television intended to create public dialogue and galvanise change, to which I give the name feminist edutainment (FE) that intentionally recalls the form of entertainment education (EE) associated with the work of Miguel Sabido. Finally, I draw on my ethnographic research to argue that contemporary serial dramas, while engaging a domestic reception space primarily occupied by women, have expanded into the online space through the social media activism of feminist influencers.

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Oubaha, Driss, and Oulaid Amzaourou. "AUDIENCE RECEPTION ANALYSIS OF PUBLIC SERVICE TELEVISION NEWS IN MOROCCO." International Journal of Advanced Research 5, no. 11 (November 30, 2017): 457–69. http://dx.doi.org/10.21474/ijar01/5791.

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Höijer, Birgitta. "Studying Viewers' Reception of Television Programmes: Theoretical and Methodological Considerations." European Journal of Communication 5, no. 1 (March 1990): 29–56. http://dx.doi.org/10.1177/0267323190005001003.

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Bendov, O. "Smart, Active, and Concealable Antenna Array for Portable Television Reception." IEEE Transactions on Broadcasting 50, no. 1 (March 2004): 71–75. http://dx.doi.org/10.1109/tbc.2004.824744.

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Hutchison, Phillip J. "Communities of Reception: Television Esthetics and Locality in Midcentury America." GeoHumanities 6, no. 1 (December 20, 2019): 106–21. http://dx.doi.org/10.1080/2373566x.2019.1691465.

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Obiyemi, OO, TS Ibiyemi, TH Ogunbeku, AY Abdulrahman, and MK Abdulmajeed. "Quantification of Rain Induced Artifacts on Digital Satellite Television Reception." Nigerian Journal of Technology 34, no. 4 (September 27, 2015): 802. http://dx.doi.org/10.4314/njt.v34i4.19.

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