Journal articles on the topic 'This today tonight (Television program)'

Since first being broadcast in 1995, Today Tonight has become one of Australia's most watched current affairs programs. It has also arguably become one of the most talked about and controversial programs on Australian television. This article explores the links between Today Tonight and discourses of Australian identity. By placing this program within a theoretical tradition that views television as a cultural storyteller, this article explores the complex and somewhat contradictory representations of the Australian identity made by the Today Tonight text. It will argue that, throughout a range of representations — from the discourse of the ‘Aussie battler’ to contrasting depictions of Australian society under threat and in decay, or as a place of opportunity — Today Tonight maintains a steady focus on ‘ordinary Australians’ as its main target audience and the bearers of our true national identity.

This paper presents a history of the pioneering ABC TV current affairs program, This Day Tonight (TDT). This Day Tonight has mythic status in the history of Australian television news and current affairs, and is often used as a reference point for the kind of political Journalism that is now generally held to have disappeared from Australian television. The research for this paper does endorse this myth to some extent, but it also reminds us of the importance of the broader cultural contexts within which television programming must find its audience. There are significant differences to be noted, and important lessons to be learnt, from the comparison between TDT and its audience, and the kinds of current affairs programming and audiences we have today. Further, the history of TDT's demise challenges the basis for the industry nostrum that audiences find politics boring and that therefore political journalism is no longer a commercial option for contemporary current affairs television.

Each television station presents various programs to attract public interest. No exception with Net TV. This television station presents a Talk show program entitled "Tonight Show". The Tonight Show program was hosted by famous presenters Vincent and Desta. The Tonight Show was packed with talks between presenters and guest stars, to make the event more attractive, there were various games that were no less fun to entertain the audience. The Tonight Show hosts have their own delivery styles. With different colors Vincent and Desta can combine their communication styles into one interesting mix. Many people have their interest in the Tonight Show because the presenter's style is not boring. The theoretical runway used is the theory of uses and grastification belonging to Blumer and Kaltz.

Humor discourse is a form of language that deviates from the rules of speech and conversation principles. Humor is a form of contradiction or deviation from the constraints of language. One of the humor discourse that presents language use conditions with a particular speech strategy is NET TV Tonight Show. This television program may contain speech offenses at the event. This study aims to describe and explain the implicature of humor discourse in the Tonight Show. In this study, researchers used a qualitative approach with the content analysis method and the pragmatic theory approach. The data is in the form of humor discourse in the Tonight Show television program, which is aired on NET TV. Still, researchers take the data from the Tonight Show uploaded on YouTube, collected by recording and recorded techniques. The data is analyzed by using an interactive model. The results showed that the implicature of humor discourse in the Tonight Show was in the form of mentioning, insinuating, revealing, protesting, informing, rejecting, accusing, asking, and saying. The benefit of this study is to know the humor discourse contained in the Tonight Show.

Presenter is a person whose job is to bring and convey information, or a narrative in a television program. Interest is defined as a feeling of liking or pleasure as well as feeling attracted to an object or activity without instructions and usually there is a tendency to look for the object that you like. Tonight Show is a NET TV talk show hosted by four presenters. This study uses a quantitative approach with a survey method. Data collection using a questionnaire distributed to respondents who are members of the Tonight Mania community Whatsapp group. Based on the research that has been done, it is found that there is a strong influence from the Tonight Show host on the interest in watching the Tonight Show program in the Tonight Mania Community. This is shown by the results of the correlation coefficient test of 0.691 and the influence of 47% obtained from the results of the coefficient of determination test. Based on simple linear regression testing, the results show that the Tonight Show host gives a positive value to the interest in watching the Tonight Show program in the Tonight Mania community, and based on the results of the t test, the results show that Ho is rejected and Ha is accepted.Presenter adalah orang yang bertugas untuk membawakan serta menyampaikan sebuah informasi, atau narasi dalam sebuah program televisi. Minat diartikan sebagai rasa suka atau senang serta rasa tertarik terhadap suatu objek atau aktivitas tanpa adanya suruhan dan biasanya muncul kecenderungan untuk mencari objek yang disenangi tersebut. Tonight Show merupakan sebuah acara talkshow NET TV yang dipandu oleh empat pembawa acara. Penelitian ini menggunakan pendekatan kuantitatif dengan metode survey. Pengumpulan data menggunakan kuesioner yang disebar kepada responden yang tergabung dalam grup Whatsapp komunitas Tonight Mania. Berdasarkan peneltian yang telah dilakukan, didapatkan hasil bahwa terdapat pengaruh yang kuat dari pembawa acara Tonight Show terhadap minat menonton acara Tonight Show pada Komunitas Tonight Mania. Hal itu ditunjukan dari hasil uji koefisien korelasi sebesar 0,691 serta adanya pengaruh sebesar 47% yang didapatkan dari hasil uji koefesien determinasi. Berdasarkan pengujian regresi linear sederhana didapatkan hasil bahwa pembawa acara Tonight Show memberikan nilai positif terhadap minat menonton acara Tonight Show pada komunitas Tonight Mania, serta berdasarkan hasil dari uji t didapatkan hasil bahwa Ho ditolak dan Ha diterima.

The Tonight Show is a talk show program that has been broadcast on NET TV since 2013. Recently, NET TV made a new strategy for the Tonight Show program by creating a new program that is only broadcast on the Youtube platform only. The purpose of this study is to explain the content diversification strategy carried out by NET TV using Mosco's political economy theory, with a descriptive comparative study method. This study also compares the regulation of television media with Youtube media when one program is broadcast on two different platforms, which also have very different content. The findings of this study are that NET TV's strategy to diversify content is quite successful, as seen from the high subscriber of the TonightShowNET Youtube channel when the Tonight Show Premiere was first broadcast, and the number of viewers who continued to rise when the special was uploaded. Another finding is that Youtube already has regulations for users and creators who do violate the rules, but when compared to P3SPS which has been compiled by KPI, the viewing standards on Youtube are still not appropriate.

In this article we are talking about the specific features of the modern Kazakh TV in the language of pragmastylistic. The actual problem of pragmastilistics of Kazakh television is that today programs, TV shows with a publicistic style are seen in a publicistic style. The field of pragmastilistics is also guided by the issues of cognitive linguistics, psycholinguistics, speech culture, linguoculturology, and determines the type of language associated with these areas. The decrease in the rating of TV programs is due to the fact that the population that sees television is reduced due to a decrease in speech action, the acting power of speech. Focusing on the present and future of the native language on Kazakh television is the task of language specialists. The material for the article is taken from the social-analytical programs on modern Kazakh television “Дара жол”, “Мәселе”, “Біздіңназарда” and the TV program “Дара жол”, “Мәселе”, “Біздіңназарда”. The study of pragmastylistic talk show is the problem today. As a working material accepted program “Қалаулым”,“Өзойым”, “Астарлыақиқат”.

Growth of technology give big impact to development and changes in mass media. Today, even though broadcast media like radio and television still have place in the heart of audience, however should be recognized that the existence of social media, it must be recognized that the existence of social media has a significant impact on media development. Mainstream media, especially television broadcast media, are starting to look for ways not to be abandoned by their audience. They began put in social media content into television programs. That happened on all shows in television programs. No exception in the news program on TVOne. Therefore, it is interesting to study how the transfer of social media content to television news programs is a way for TVOne to survive in the midst of the onslaught of social media. This research focuses on news programs on TVOne that take social media content into the show. We will use descriptive qualitative research using the case study method and use the political economy theory of the media.

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.

This paper aims to how Indonesian Leaders Forum (ILF) as a new talkshow program in Indonesia effort to increasing political interest of citizens. This research uses descriptive qualitative method with a case study of the ILF Program. By using descriptive method, the author can explain the background of the incident, some perspective on the event and analyze in depth. So the ILF can answer the public's concerns about the political situation in Indonesia today conclusion contains the main points of the article.

One type of technology that is not used to its fullest potential in mathematics classrooms is video technology. Students today, however, have learned from television since they were toddlers. They are constantly exposed to a variety of multimedia entertainment, from computer-animated movies to music television to interactive software and games. Secondary-level mathematics teachers should consider mathematics videotapes to be an important enhancement to their overall instructional program. This article presents selection criteria for teachers to use when reviewing video materials for classroom use and provides an annotated bibliography of available video material.

AbstractThis article examines early pedagogical experiments in opera on television that were meant to attract new audiences in the 1950s. The aesthetics of early television have often been thought to run contrary to opera, particularly in its grander iterations, but I argue that television producers capitalized upon the traits of early television to personalize opera, both on and off screen. Comparing two NBC pedagogical initiatives—a 1958 Omnibus program starring Leonard Bernstein and the 1956–57 visits of the NBC Opera Company to Saint Mary's College (South Bend, Indiana)—I explore how these efforts were meant to approximate the opera fan's experience as well as prepare audience members to enter the opera house. Ultimately, although opera on television failed to secure a strong foothold in the 1950s, it helped to re-envision the ways in which American audiences could relate to the art form and set the terms for the Metropolitan Opera Live in HD broadcasts today.

<p>ABSTRAK<br />Media televisi merupakan satu di antara tantangan yang saat ini kita hadapi di era 4.0. Tantangan yang kita hadapi melalui media televisi antara lain adalah bagaimana kita dapat memilih program tayangan televisi yang mendidik terutama yang masih mengedepankan penggunaan bahasa Indonesia yang baik dan benar dalam penyajiannya. Ironisnya, sebagian besar program televisi yang disajikan tidak lagi mengindahkan bahasa Indonesia yang baku. Penelitian ini bertujuan untuk mengetahui bagaimana remaja dalam hal ini adalah mahasiswa dapat memandang dan memilih program televisi yang mereka tonton setiap harinya. Berdasar pada tujuan tersebut, peneliti menggunakan metode analisis deskriptif melalui kuisioner. Sampel yang dipilih diambil sebanyak 30 mahasiswa secara acak. Hasil analisis didapatkan data bahwa program televisi saat ini merupakan tantangan di era 4.0 dan sangat berpengaruh terhadap penggunaan bahasa Indonesia yang baku di kalangan remaja. Program televisi saat ini banyak yang belum mendidik lagi terutama dalam segi bahasa dalam penayangannya sehingga hal ini menjadi sebuah tantangan bagi para remaja agar mereka mampu menjaga penggunaan bahasa Indonesia yang baik dan benar.<br />Kata kunci: program televisi, tantangan era 4.0, pergeseran bahasa Indonesia<br />ABSTRACT<br />Television media is one of the challenges we are currently facing in era 4.0. The challenge that we face through television media are, among other things,how we can choose educational television programs, especially those that still prioritize the use of Indonesian language that is good and correct in its presentation. Ironically, most television programs presented no longer heed the standard Indonesian language. This study aims to find out how teenagers in this case are students can view and choose television programs that they watch every day. Based on these objectives, researchers used descriptive analysis methods through questionnaires. The selected sample was taken as many as 30 student randomly. From the result of the analysts, the data shows that television programs are currently very influential in facing challenge in era 4.0 againts the standard use of Indonesian among teenagers. Today‟s television programs are lacking especially in terms of language in the screening so that it becomes a challenge for teenagers so that they are able to maintain the use of goog and correct Indonesian.<br />Keywords: television programs, the challenge of era 4.0, Indonesian language shift</p>

Today, media digitalization has become the foundation of media industry owners in presenting a variety of information and entertainment, including media television. With the establishment of various commercial television broadcasting institutions as well as the competition for the media competition which is quite tight. Seeing the development of television broadcasting media itself with heavy competition, Islamic television institutions, in particular, seem not ready to compete with other television institutions. Institutions that affect the unpreparedness of existing Islamic television broadcasting institutions are planning and strategy within Islamic television broadcasting organizations and institutions, both before they come to the process of running and maintaining broadcasting institutions for a long period of time. The research method used is library research with in-depth analysis to explore problems related to the theme. The results of this study indicate that there are several things that must be planned before deciding to determine an Islamic television broadcasting institution; a) planning human resources, b) planning institutions, c) planning a product or program. When an Islamic broadcasting institution plans well, the sustainability of the Islamic broadcasting institution can be managed and run for a long time. That way, the existence of Islamic television media is indirectly able to provide another option for the public in enjoying the broadcasts that are served.

Astronomy, unlike most other sciences, arouses great curiosity amongst laypeople. It is a subject that can be described relatively easily in public lectures. Distinguished astronomers like James Jeans and Arthur Eddington in the past and many more in recent times have “stooped down” to the public level to share the excitement of astronomical discoveries. Today, the popularization program normally proceeds in four different ways — through popular articles, public lectures, planetarium shows, and radio – TV programs. However, this overwhelming public interest in astronomy brings its own difficulties. Not all of it is motivated by a scientific interest! Many persons read mystic significance into astronomical findings. Many more are guided by astrological interest. Many fail to perceive the scientific basis for astronomy, a subject whose laboratory is the whole cosmos with objects too remote to be subject to scientific experimentation.

The space dedicated to football in several and different television programs in which this industry is debated is often taken by the search for the “true image”, the image that proves the origin of the penalty, the image that supports the warning of the red card, or the image that betrays the irregularity of the goal. All these moments are, today, the target of thousands of hours of commentary in the television space, demonstrating a huge bias on the power of images repeated ad nauseum, there even being a moment where some formats of this type of program were questioned due to the « noise” and the “toxicity” that arose in such confrontations of ideas. This investigation aims to create an artistic object (filmic/video/installation) that explores the condition of the manipulable image-file that arises in this type of programs, and where it is often scrutinized, edited, altered, decontextualized, etc., in an incessant search for determination of a truth-moment.

Talk shows on television today are programs that are of interest to television viewers in Indonesia. One of the talk shows that television viewers are interested in is the talk show Rumah Uya Trans7. The show is easily followed by the viewers. The speech acts used in the show are light and easy to understand. Another interesting issue is the speech acts are a violation of the politeness principle. Yet, this violation of the politeness principle is the one that makes the television viewers pay attention to the show. These violations of the politeness principle are very interesting to be analyzed. To find out the violation of the politeness principle in the show, the researcher used the theory of pragmatics and descriptive qualitative method. Data of this research were taken from the fragments of the show in the Rumah Uya Trans7 in November 2018. The source of the data was the speech acts in the program which contained violation of the politeness principle. The method of the research was the observation method (simak bebas libat cakap) and recording as well as note-taking techniques to collect the data. The result of the analysis showed that violation of politeness principle was found in the show in the form of violation of maxim of tact, maxim of sympathy, maxim of agreement, maxim of modesty, maxim of approbation, and maxim of feeling reticence. The suggestion for the deepening of the research is the existence of further research in violation of the politeness principle of similar shows but different television station as e media.

Serial narratives such as TV series have their own language, genres and narrative tools, according to their media specificities. It is observed that the television of today is going through a process of rapid cultural and technological transformations. Such advances have led to profound changes in the formats of the series, as well as in their modes of production and consumption. As for the production aspects, for example, we observe the creation of new narrative models in which the technological resources are shaped as extensions of the television product, creating a multiplatform or transmedial narrative experience. In this paper we will examine the case of the television series Sherlock by Steven Moffat and Mark Gatiss, broadcasted by BBC, as an example of a program designed for a transmedia television, one that encouraged the emergence of an engaged audience willing to follow the series beyond the TV screen across other media platforms.***Na era da pós-TV: transmídia e fandom em Sherlock, de Moffat e Gatiss***Narrativas seriais como as séries de televisão possuem linguagem, gêneros e ferramentas narrativas próprias, conforme suas especificidades midiáticas. Observa-se que a televisão de hoje passa por um processo de rápidas transformações culturais e tecnológicas. Tais avanços têm levado a profundas modificações nos formatos, modos de produção e consumo das séries. Em relação aos aspectos de produção, por exemplo, observa-se a criação de novos modelos narrativos nos quais os recursos tecnológicos se configuram como uma extensão do produto televisivo, criando uma experiência narrativa multiplataforma ou transmidiática. Neste trabalho analisaremos o caso da série televisiva Sherlock, de Steven Moffat e Mark Gatiss exibida pela BBC, como um exemplo de programa elaborado para uma televisão transmidiática que estimulou o surgimento de um público engajado, disposto a seguir a série para além da tela de TV.Palavras-chave: televisão; série de TV; Sherlock; transmídia; pós-TV.

This study aims to find out how the promotion strategy of television drama series "India Lonceng Cinta" through Twitter conducted by social media team ANTV. The focus of the problem is on the use of social media twitter @seriesANTV and @whatsonANTV in promoting the Indian drama series "Lonceng Cinta" to the public. The development of twitter today, not only as a social media, but ANTV use it as a media promotion of impressions to the people of Indonesia. Theories used are New Media theory and Marketing Communication theory. The paradigm of the research is the postpositivism paradigm, the qualitative approach and the method used is the interistic approach, that is expressing how the social media team strategy in promoting drama series "Lonceng Cinta" using twitter. Keywords: Promotion, Social Media, Twitter, Television Program, Marketing Communications. eISSN: 2398-4287 © 2020. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open-access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia.DOI: https://doi.org/10.21834/ebpj.v5iSI1.2296

Today, cultural issues should be one of the most popular among the viewers of the Ukrainian channels, because such programs affect the level of their education and culture in general. Modern globalization has determined the specifics of socio-cultural dynamics, and media play an important role in this process, demonstrating a channel of translation of the values ​​and content of mass culture, whose stereotypes are widely disseminated in the socio-cultural space. Media in modern society have a significant impact on the formation of value orientations. Cultural and entertainment programs occupy an important niche on television. Most young people prefer this genre. Therefore, to interest the audience in such a program, you should make great efforts to create an entertaining story. As entertainment TV shows become popular, each show must be individual and different from each other. As for the recommendations we would like to make to improve cultural and entertainment programs, this is first and foremost a question. Television speech is seen as an important factor in the emotional interaction of the three elements - image, sound and word. But the word plays the most important role in modern television, it is the main "tool" of a journalist's skill. The desire for purity of speech, its intelligibility - one of the basic professional principles of television journalists. As the analysis of the talk show shows, a skilled presenter is the key to the success of a TV show. The presenter is a person who is first of all aware and constantly enriches his knowledge in a professional way. This is a person who has professional skills, namely: mastery of intonation and timbre of the voice, the manner of gesturing in front of the camera and the work with the camera. A presenter is a creative person who works as a journalist, director, cameraman and editor. The presenter must be smart, not boring, talented and energetic. After all, such people are required by the viewer in a TV show. Hosts should develop thinking, interpret events and conduct broadcasts in a natural manner and intonation. The presenter, of course, is a representative of a certain social group, and his interaction can be considered as "representative communication", meaning the common interests, values, ideals and guidelines of this social group. He must present himself to the viewer as a partner in communication. The establishment of interpersonal contacts in the process of television communication is due to the audiovisual nature of television communication. The viewer receives a message from a specific person, the host of a television program, which is why such a message is personalized. Nowadays we can talk about the tendencies of increasing their influence on the formation of general public flavors and needs, as a result of which research and systematization of mechanisms of interaction of mass media and culture in the process of the emergence of modern values ​​is an urgent problem.

The Honourable Mr Stephane Dion, Leader of the Liberal party of Canada,M. Gilles Duceppe, chef de la Parti Bloc Quebecois, The Honourable JackLayton, Leader of the NDP party, senators and parliamentarians, Mr. Ararand Dr. Mazigh, honored guests, or in likely more appropriate terms for thisevent, friends and fellow Canadians:Assalamu Alaykum. May you all be in Peace.Let me welcome you all with the greeting of Islam on behalf of theCanadian Muslim network; a network of Muslim organizations acrossCanada from BC to Alberta all the way to Ontario, Quebec and the Maritimes.The network was put in place to create an environment of collaborationand communication between Muslim organizations on issues of interestto Muslim Canadians nationally as well as to enhance communication andcollaboration between Canadians of Muslim faith with Canadians of all otherfaiths.The list of names of the organizations in the network is at the back ofyour program (attached here as appendix), and I invite you to look at it indetail to appreciate the breadth of representation here tonight. This initiativeis also supported by a multitude of other organizations that are also listed atthe back.As you may expect civil liberties is high on our agenda. The CanadianMuslim Network is proud to have organized this incredible event to pay tributeto our cherished civil liberties in Canada, to recognize the massive effortthat many in this room exerted to ensure we restore our civil liberties and protectthem for the future of our children and to remind ourselves that while wehave reasons to celebrate our recent successes, the road ahead is still long.We are here today to pay tribute to civil liberties in Canada. Canada is acountry that was never defined by the colour of the skin of its people or theirreligion, rather Canada was always a country defined by its values. Canada ...

One of the growing epidemics in the world today is HIV/AIDS. In the cities with high mobility, bus drivers are considered as the risk group for HIV/AIDS. Most of these younger people do not have access to information, condoms, supportive services which enable them to have safer sex. A descriptive cross sectional study was done to access knowledge about HIV/AIDS among drivers of Birgunj Bus Park. The analysis of the data revealed that majority of the respondents were between ages 20-24 years; have heard from media (radio, Television and newspapers); unsafe sex is the means of transmission and using condom during sexual intercourse can prevent HIV/AIDS. The present study strongly recommends that there is immediate need of program to create awareness among drivers including co-workers, vulnerable youths and other high risk groups such as migrant populations. Academic Voices, Vol. 3, No. 1, 2013, Pages 50-53 DOI: http://dx.doi.org/10.3126/av.v3i1.9589

The subject of the research is the development of competencies for democratic culture in the digital age through the analysis of youth media culture. The aim of the research is that on the basis of the obtained results adequate solutions to the problem of media influence on the culture of communication and culture in general among young people can be proposed, and theoretically to determine how much the media influence the culture of communication and the development of youth awareness. young people. The paper concludes that the surveyed group of teenagers, 300 of them from Belgrade high schools, mostly watch television and follow an entertainment program, that the media in Serbia promote violence and hate speech, and that most of them enrich their language and culture of expression using electronic media, not a book. The results obtained confirm that the media, as they are today, have a very negative impact on the language culture and the culture of behavior of young people in general.

Inspired by her difficulty selecting a film as the subject for her column, Film Quarterly regular Caetlin Benson-Allott explores the concept of the “paradox of choice” in relation to contemporary film culture. A common feature of late-stage capitalism with its characteristic consumer abundance, the paradox of choice afflicts people with too many options, decreasing their happiness and increasing anxiety. In her column, Benson-Allott explores the paradox of choice as a condition of the current streaming era, while also historicizing television culture’s ideology of plenty. She traces this notion of superabundance, which undergirds digital cable and streaming culture today, back to the 1950s when print media such as TV Guide pioneered a print-heavy layout that stupefied the eye into an impression of excess. Arguing that browsing print program guides and its more recent corollary, channel surfing, are numbing experiences that discourage risk-taking, Benson-Allott ultimately finds relief from the ennui of the scroll in the pleasures—both expected and unexpected—of the genre film.

Tambakrejo Beach is located in Tambakrejo Village, Wonotirto district, South of Blitar City. Communities around the Tambakrejo Beach initially work as fishermen, traders, farmers, and to meet the daily needs in getting from fishing. However today many people are turning their professions into traders. The tourism development of Tambakrejo beach resulted in changes of community activities. The method used to collect the data in this study are observation, interview, questionnaires, and literature study and the methods used to analyze the data is comparative descriptive analysis method. The results of this study related to the tourism development that tourists visits increases every year. The interaction of tourists with the community is also high, the number of tourist facilities increased, the attractions are two activities such as boating and riding ATV and watching Islamic local culture Larung Sesaji in the beach, and promotion is done with social media and cooperation between magazine and television to review Tambakrejo in their program . The results of the tourism development toward communities economy is community income increased and employment opportunities associated with the movement of livelihoods as a trader. Keywords : The Impact, Tourism Development, Community Economy, Tambakrejo

Scholars today regard Venerable Archbishop Fulton J. Sheen as a supporting player in the American efforts to drum up support for the Cold War; however, this view limits Sheen’s influence to the years he spent on television hosting his program, Life Is Worth Living (1952–1957). Yet, by the time Sheen left his program, he had been part of public discussions of religion and American politics for almost thirty years. Before his 1930 debut as an authoritative Catholic voice in America, Sheen had become a decorated Catholic scholar, both in his home country and in Europe, earning him a papal audience and broad support in the American Catholic hierarchy. His early contributions to public discussion were sophisticated adaptations of Leonine Catholic social teaching to American circumstances. Critical to his teachings was his view of the American people as the source for political legitimacy. In this respect, he defied the more reactionary clergy of Europe; however, Sheen’s views were vital to his efforts to distinguish why America had a just war against the totalitarian governments of the Axis powers but also a duty to spare people who were as likely to be victims of the regime as they were supporters. Sheen carried this distinction into the Cold War, in which he called for Americans to support the Russian people by opposing totalitarian government there. Therefore, Sheen never advocated the “us vs. them” nationalism so common among Cold War propaganda, which is consistent with his initial opposition to the Vietnam War and his only partial reconsideration of that opposition later.

Today, digital media technologies enable faster reaching the necessary information and placement information that are important to the user, quickly and easily using new communication channels available to everyone around the world. Internet mainly compared with the "information buffet" from which users take as much information as he is when he needs to. This information can be used for information, education, entertainment, advertising, sales, and other aspects of the business. As we live in the age of new media, which enabled the creation and exchange a wide variety of content, including the content of traditional media such as those produced by JMU broadcasting a large number of Internet users, researchers influence of the media warn of increase dependence on the media, especially new and the need to create the institutional basis for the introduction of media education in the regular education program. Gradual influence of new media people indirectly determine the meaning of life, because it is believed that two-thirds of our waking time with the media or with media and other activity. This work will define terms such as Internet, communications, new media, media literacy, social media, media content, but ... I will analyze the expectations and challenges that we accelerated technical and technological developments made in terms of the Internet and other forms of electronic promotions.

Maghrib Mengaji Community Movement or better known as GEMMAR Mengaji is a national program of the Ministry of Religion of the Republic of Indonesia which is launched in every Province and Regency / City in Indonesia(Revelation, 2018). Indonesian Muslims constitute the majority community where almost all Indonesian citizens are predominantly Muslim. According to the 2010 statistical data, Muslims in Indonesia totaled 207,176,162 people or 87.18% followed by Christianity with a percentage of 6.96%, in the next position, namely Catholicism with a percentage of 2.91%, Hinduism 1.69%, Buddhism. 0.72, and Khong hu chu 0.05%. Today people prefer to spend their time watching television than reading the Koran or other positive activities(Kristiawan, 2016). This also happens in Lebak Regency as an area which also has the characteristics of the majority being Islam. So that with the implementation of the perda, the magrib reciting movement can bring about mental changes in thinking, especially among children and adolescents for a better life. The method used in this research is a qualitative method. The results in this study indicate that the implementation of the maghrib recitation regional regulation is quite good if viewed from the communication dimension which shows the socialization carried out by the implementing agency, resources in the form of incentive support for reciting teachers, adequate facilities in the implementation of magrib recitation, and the number of teachers. sufficient recitation.

I realize that you have only just turned three years old, but I thought it might be interesting for you at some time in the future to read about some of the things that concern your Grandpa Jake today. In recent years, episodes of a popular television program opened with this statement, “Space, the Final Frontier!” I have worked for many years on the development of structural metals, putting most of my attention recently on the metal beryllium. And I have been feeling lately as though we need something similarly dramatic to be said about this metal, such as “Beryllium, the Final Frontier,” or perhaps more appropriately, “Beryllium, Stairway to the Final Frontier!” I want to share these thoughts with you because of two important truths about structural metals. One is that Metallurgy is like Medicine: They only call you up when something goes wrong. And the other truth is that structural materials, when they work, are invisible. So we have to work harder in order to gain the attention that structural materials deserve. Beryllium is truly the last structural metal that has outstanding properties that have not been fully exploited by society in order to meet the needs for greater structural efficiency and the savings in energy and effort that result from meeting these societal needs. So, on with “Beryllium, the Final Frontier!”

A large part of television broadcasting today is filled by entertainment programs that are designed to relax and relieve stress in the viewer. Due to this, the interest of the audience in the format of entertainment programs not only remains unchanged, but is constantly growing. That is why programs of this genre have very high ratings. Such projects are relevant and are created in accordance with the social needs of the population. The following programs were analyzed: "Secular life with Kateryna Osadcha", "Changing a Woman", "Voice of the Country". Children", "Breakfast with 1 + 1", "Who's on top?", "Top model in Ukrainian", "Super Intuition", "Crazy", "Half", "From a kid to a young lady", "X- Factor ", "А house for a Dad", "Weighed and happy", "Ukraine has talent", "Battle of psychics". Each program interests the viewer and collects positive feedback. Despite the fact that these programs are entertaining, they are interesting and meaningful. The audience perceives the information in a light, sometimes playful mood, so entertainment programs are mostly for leisure purposes. Each channel has its own approach to creating TV shows or stories, as well as entertainment programs. Among the analyzed programs, in general, each entertainment TV program has positive feedback from the audience. After all, the mood for the whole day can only guarantee laughter. And laughter is the main thing that should be present in entertainment TV shows. Thus, entertainment TV programs are very popular among viewers, have a wide audience among different age groups. This can be explained by the fact that everyone loves to laugh and be in touch with the latest news in the sphere of show business. Entertainment TV shows or reality shows are interesting because they create the presence of the audience at the scene, and also allow you to follow the lives of famous people or people who aim to become famous over time.

Animation is a Latin word meaning animation in our language. It is taken from the French word "Anime" and is located in our language. In French, the word "anime" means animation. Animation generally involves all animation systems. Even the animation of an animal by a group of actors on the stage is a form of animation. Computer-generated cartoons, etc. animations are also called animations. Today such animations are used for television and cinema. If we want to look for animation as a paragraph, we should look for it in the section "Entertainment services in tourism". In order to ensure that tourists have a good time and increase the demand for work, great efforts are made to use all the animations as a result. Any entertainment, to present an interesting program, is a set of all activities aimed at activating guests, that is, all animation activities. "Animator" is used in the sense of a person who animates, performs and moves. Animation has emerged as a social phenomenon. Since primitive communities, animations have been used in various ceremonies. Animations made using face painting, masks and accessories are still very common. It has become an indispensable element of gatherings and events. Although it has undergone certain changes over time, animation is a social activity that retains all the animating power it seeks to convey to people. Key words: animation, animation in tourism, tourism, management

Sustainable development describes the simultaneous maintenance of balance between socio-economic development and environmental sustainability without jeopardizing the future generation's potential to serve their own needs. The main aim of this article is to analyze the sustainability attained by government schools in Andhra Pradesh by providing education to elementary pupils during COVID-19. The unexpected outbreak of the deadly virus COVID-19 wreaked havoc on educational systems, harming children's education. In response to the lockdown, all educational institutions were closed for an extended length of time and remained shuttered even today. According to the information gathered, the government of Andhra Pradesh took all necessary safety measures to ensure the accessibility of government elementary schools and to minimize primary school dropouts. They televised the online lessons to every class at periodic intervals on regional government channels for students. Pupils were given worksheets to exercise according to the curriculum aired on television. These worksheets were submitted for review to the concerned faculty by students' parents. The children were given dry rations monthly as part of the "Mid-Day-Meal" program, which offered healthy meals to address the students' food difficulties, food security, and access to schooling during the COVID-19 epidemic. This document serves as a resource for teachers, administrators, and government officials on how to deal with and avoid the trajectories that primary school pupils face in the future when confronted with difficult situations. Furthermore, the whole perspective provides a list of resources, recommendations, and strategies for ensuring the sustainability of the educational system during the pandemic

The purpose of this study is to explore the impacts of foreign cartoons programs on the social behavior and attitude of Pakistani Children. It is forecasting different cartoon programs 24/7; hence, children spend most of their leisure in front of the television. All these cartoon characters affect the social life and psyche of the children and induce positive and negative mannerism in their daily lifestyles. It has found that one of the most disturbing factor is that the ferocity in children today is increasing rapidly due to following their favorite violent cartoon characters which are even different from their culture and societal norms. The issue is violence is what they see in every cartoon program in one or the other way. Their Guardians are unaware that these cartoons they let their children watch are destroying their parenting as negative forces are attacking the innocent minds of this generation. The study gives the insight of why and what is happening with non-parametric statistics studied and used for thorough analysis. The behavioral outcome of the kids like, imitating their preferred animation character, utilizing various dialects, watching the TV as opposed to deciding on outdoor games and being difficult about getting precisely the same outfits and embellishments as their adored character. This contextual analysis features the disturbing circumstance that guardians are uninformed of. There is something other than mimicking the particular character. The only traits of watching these foreign cartoon characters is that it might damage their own customs and they wildly become to believe these characters as their role models. KEY WORDS: Animated TV Shows, Children, Attitude, Behavior, Cartoons, Violence, Role Model, Pediatric Mental Health

Introduction: One of the growing epidemics in the world today is HIV/AIDS. In the cities with high mobility, bus drivers and transport workers are considered as the risk group for HIV/AIDS. In Kavre district, the increased mobility along with Araniko highway and Banepa Bardibas highways has drastically increased the vulnerabilities of younger populations in particularly to HIV/AIDS and STDs. Most of these young people do not have access to information, condoms, supportive services which enable them to have safer sex. Methodology: A descriptive cross sectional study was done to assess knowledge about HIV/AIDS among bus drivers of Dhulikhel. Results: After the analysis and interpretation of the data, study revealed that majority of the respondents i.e. 38% (n=19) were between age 20-24 years. Among them vast majority of the respondents i.e 82% (n=41) have heard from media (radio, Television and newspapers). Regarding transmission of HIV/AIDS 90% (n=45) of the respondents mentioned that unsafe sex is the means of transmission. Still 24% (n=12) believe that sharing clothes and 2% (n=1) believe that kissing can transmit HIV/AIDS. As per prevention measures 90% (n=5) have the knowledge that using condom during sexual intercourse can prevent HIV/ AIDS. 8% (n=4) of the respondents still believe that HIV/AIDS is curable and rest of them i.e. 92% (n=46) of the respondents knew that HIV/AIDS is not curable. Conclusion: The present study strongly recommends that there is immediate need of program to create awareness of public motor drivers and co-workers, vulnerable youths and other high risk groups of people including migrant populations. SAARC Journal of Tuberculosis, Lung Diseases & HIV/AIDS 2012; IX (1) 35-38 DOI: http://dx.doi.org/10.3126/saarctb.v9i1.6963

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.

Unfortunately, one of the most popular topics today is the diseases of civilization, for which our changed lifestyle is responsible. It is very important that we educate and teach our children to protect nature, pay attention to their environment, move a lot. The role of the family is very important in passing on these values, so it is important and parents have to pay attention to give a good example for their children. In our research, we examined the ecological behavior, environmental values, environmental friendly behaviour and movement habits of students using a questionnaire method. The respondents were seventh and eighth grade students from schools in municipalities of different sizes. (N=558). We used different scales in our questions, such as NEP, PRE, APR, PEB1, HB. To present our results, we used basic statistics and calculated the results of the above-mentioned scales for the type of settlement with the help of SPSS program, analysis of variance (ANOVA). Our results showed that almost half of children believe that they should not respect the laws of nature, however, 71.9% mostly or completely like to go hiking in nature. Protecting ecological behaviour and environmental values is on the right way for students, but we need to draw their attention to becoming more energy efficient. Unfortunately, our results show, as has been supported by several literature, we live a sedentary, inactive life. 62.7% of students attend training that requires physical activity only once or 1-2 times a week. However, 56.7% of them spend at least 2-4 or more hours in front of the computer and / or use their mobilephone every day. Moreover, 33.3% spend 2-4 or more hours in front of the television every day. As at the HB movement scale, we found a difference in student movement as a function of residential settlements F555,2=4.458; p=0.012. If we want our children to live a healthy, quality life, we need to bring up and teach them for that as well.

The formula of the New Ukrainian School consists of nine key components, one of which is a personality-oriented model of education based on the child-centered ideas. This implies the maximum approximation of education and upbringing of a particular child to his essence, abilities and life plans, providing moral and psychological comfort, refusal to focus the educational process on the «average» student. Therefore, today in pedagogy the problem of individual educational trajectory of youth is actively discussed, which makes it possible to create conditions for the harmonious development of the individual, to meet his educational needs. In general, the concept of individualization of the educational trajectory of students is associated with the process of identifying and developing their abilities, the realization of their own educational goals that meet the needs, opportunities, motivation, interests of modern youth. The purpose of the article is to reveal the features of the formation of the individual educational trajectory of the student in the profile senior school of artistic and aesthetic field of training. Artistic and aesthetic field of specialized training is connected with the core of creative industries (literature, music, fine arts, cinema, television, radio, video and computer games, advertising, architecture, design, fashion, etc.), so it is important to personalize educational path of gifted students with a focus on unleashing their creative potential. The formation of individual educational trajectories of students of the artistic and aesthetic field of specialized education begins with the definition of their life plans, hopes for the future and consists of four stages. The first stage is the study of needs, interests, requests, personal characteristics of students. The second stage is associated with the creation of an individual educational program, which involves the definition of long-term goals; conceptual strategies and approaches to creative development, indicators of their achievements, as well as the selection of content and forms of training. Within the third stage there is a correction of pedagogical influences, creation of a positive pedagogical environment around students, elimination of organizational shortcomings, psychological and pedagogical support of senior students’ creative development is carried out. The fourth stage is related to pedagogical monitoring, which is carried out in order to ensure the quality of this process.

Qur’an memorizer or commonly known as Hafidz Qur’an is currently getting quite intense attention from Moslem society in Indonesia, especially Moslem society in Jember. This positive acceptance can be seen from the development of tahfidz Qur’an program in various educational institutions in Jember and the number of educational scholarship offered to students who memorized Qur’an. This study aims to explain the social construction of the Hafidzah Qur’an in Jember with the use of constructivism method. The theory used is social construction that explains the formation of a society based on the knowledge they have through three simultaneous processes, namely, externalization, objectivation, and internalization. The result of this study is that the social construction of the moslem community in Jember shows positive acceptance of hafidzah Qur’an. It began with an externalizing moment when people found out about hafidz Qur’an through Islamic studies and television programs. Then the community formed the acceptance through the construction of tahfidz institution and the provision of scholarship to hafidz students in objectivation process, and finally it inspires the community to become hafidz and send their children to tahfidz institutions in the process of internalization. Keywords: Hafidz Qur'an, social construction, externalization, objectivation, internalization Referensi: Ahmad, A. A. 2012. Musnad Imam Ahmad bin Hanbal. Riyadh: Maktaba Dar-u-Salam. Terjemahan oleh Al-Khattab. 2012. English Translation of Musnad Imam Ahmad bin Hanbal. Cetakan Pertama. Riyadh: Maktaba Dar-us-Salam Anwar, Rosihan. 2008. Ulumul Qur’an. Bandung: CV. Pustaka Setia Bagong, Suyanti dan Sutinah. 2013. “Metode Penelitian Sosial: Berbagai Alternatif Pendekatan”. Jakarta: Kencana Prenadamedia Group Barker, C. 2015. “Cultural Studies: Teori dan Praktik”. Bantul: Kreasi Wacana Berger, P.L. 1991. Langit Suci Agama Sebagai Realitas Sosial. Cetakan Pertama. Diterjemahkan oleh Hartono. Jakarta: LP3ES Berger, P. L dan Thomas Luckmann. 1990. Tafsir Sosial Atas Kenyataan. Cetakan Ke 1. Diterjemahkan oleh Hasan Basari. Jakarta: LPES Bungin. 2008. Konstruksi Sosial Media Massa: Kekuatan Pengaruh Media Massa, Iklan Televisi dan Keputusan Konsumen serta Kritik terhadap Peter L. Berger dan Thomas Luckmann. Jakarta: Kencana Prenada Media Group Denzin, Norman K. dan Yvonna S. Lincoln. 2009. “Handbook of Qualitative Research”. Cetakan ke 1. Diterjemahkan Oleh: Dariyatno dkk. Yogyakarta: Pustaka Pelajar. Jaffer, Abbas & Masuma Jaffer. 2009. Quranic Sciences. London: ICAS Press Kemenag. 2014. Al-Qur’anulkarim Al-Ihsan. Bandung: Al-Hambar Nawawi, H. 1998. Metode Penelitian Bidang Sosial. Yogyakarta: Gadjah Mada University Press Paloma, M. M. 2004. Sosiologi Kontemporer. Jakarta: Raja Grafindo Persada Ridder, HG. 2014. A Review Book of Qualitative Data Analysis. A Methods Sourcebook. Hannover: SAGE Publicatio Shihab, Q. 2003. Wawasan Al-Qur’an. Jakarta: Penerbit Mizan Suryana. 2010. “Metode Penelitian Model Praktis Penelitian Kuantitatif dan Kualitatif”. Bandung : Universitas Pendidikan Indonesia. Skripsi: Ula, Nur Habibatul. 2016. Pengaruh Media Televisi dalam Acara Hafidzah Indonesia terhadap Menghafal al-Qur’an Siswa Kelas 3 SDIT Ghilmani Ketintang Surabaya. Skripsi. Surabaya: Fakultas Tarbiyah dan Keguruan Universitas Islam Negeri Sunan Ampel Surabaya Nurnaini, K. 2014. Motivasi Berprestasi Mahasiswa Penyandang Tundakasa. Skripsi. Surabaya: Fakultas Psikologi dan Kesehatan Universitas Islam Negeri Sunan Ampel Surabaya Baehaki, A. 2009. Pemenuhan Kebutuhan Chatters dalam Program Chate Mate, O Chanel. Skripsi. Depok: Fakultas Ilmu Sosial dan Ilmu Politik Universitas Indonesia Rosiawati, D. I. 2014. Konstruksi Realitas Sosial Anggota Multi Level Marketing Fashion di Kota Jember. Skripsi. Jember: Fakultas Ilmu Sosial dan Ilmu Politik Universitas Jember Iskandar, A. S. 2013. Konstruksi Identitas Muslimah Bercadar. Skripsi. Jember: Fakultas Imu Sosial dan Ilmu Politik Universitas Jember Disertasi: Bungin, B. 1990. Konstruksi Sosial Media Massa Makna Realitas Sosial Iklan Televisi dalam Masyarakat Kapitalistik. Disertasi. Surabaya: Program Pascasarjana Universitas Airlangga Jurnal: Manuaba, Putera. 2008. “Memahami Teori Konstruksi Sosial”. Surabaya: Masyarakat Kebudayaan dan Politik Vol. 21 No. 3 pp. 221-230 Manshur, F. M. 1998. Budaya Pesantren dan Tradisi Pengajian Kitab. Yogyakarta: Humaniora No. 8 pp. 46-52 Mushtofa. 2015. Kedatangan Islam dan Pertumbuhan Pondok Pesantren di Indonesia Prespektif filsafat Sejarah. Madiun: An-Nuha Vol. 2 No. 1 pp. 1-15 Ngangi, Charles R. 2011. Konstruksi Sosial dalam Realita Sosial. Jakarta: ASE Vol. 7 No. 2 pp. 1-4 Romdloni, Ali. 2005. Tradisi Hafalan Qur’an di Masyarakat Muslim Indonesia. Jakarta: Journal of Qur’an and Hadith Studies Vol. 4 No.1 pp. 1-18 Zulva, Ngindiana. 2014. Sejarah Tahfidzul Qur’an Pondok Pesantren Al-Qur’an Nurul Huda Singosari Malang Tahun 1973-2007. Surabaya: AVATARA Vol. 2 No. 3 pp. 241-250 Internet: Avepress. 2010. “Budaya Malam Ganjilan di Jember” https://www.avepress.com/budaya-malem-ganjilan-di-jember/ [diakses tanggal 3 September 2018] Badan Pusat Statistik Jember. 2018. “Kabupaten Jember dalam Angka 2018” https://jemberkab.bps.go.id/publication/2018/08/23/ed0fddee041f0944344af43b/kabupaten-jember-dalam-angka-2018.html [diakses pada tangal 30 Agustus 2018] Tempo.co. 2017. “Setelah SNMPTN, IPB dan UNDIP Terima Mahasiswa Hafiz Al-Qur’an” https://nasional.tempo.co/read/869661/setelah-snmptn-ipb-dan-undip-terima-mahasiswa-hafiz-al-quran [diakses pada 16 Oktober 2017] Admin. 2016. “Apresiasi UNS untu Mahasiswa Hafiz” https://uns.ac.id/id/uns-update/mahasiswa-hafiz.html [diakses pada 16 Oktober 2017] PPA Putra. 2017. “Pendaftaran Santri Baru” http://ppa-putra.ibnukatsir.or.id/2017/02/28/pendaftaran-santri-baru/ [diakses pada 21 November 2017] Hajaroh, M. “Paradigma, Pendekatan dan Metode Penelitian Fenomenologi”. staffnew.uny.ac.id/upload/132011629/penelitian/fenomenologi.pdf [diakses pada 27 November 2017] Redaksi Kampus Undip, “Hafidzah Qur’an Kini Bisa Masuk Undip Lewat SMBU” http://www.kampusundip.com/2016/07/hafizh-quran-kini-bisa-masuk-undip.html [diakses tanggal 24 Mei 2018] Solichah, Z. “Hafiz Al Qur’an Bebas Pilih Sekolah di Jember” https://www.antaranews.com/berita/567996/hafiz-al-quran-bebas-pilih-sekolah-di-jember [diakses tanggal 3 Juni 2018] Budiawati, A. D. “Bank Syariah Ini Buka Lowongan, Hafiz Qur’an Diutamakan” https://www.dream.co.id/dinar/bank-syariah-ini-buka-lowongan-hafiz-quran-silakan-masuk-1801291.html diakses tangggal 29 Juni 2018 [diakses tanggal 29 Juni 2018] Alaydrus, H. 2017. “Survei Membuktikan Generasi Milenial Lebih Suka Menonton TV” http://industri.bisnis.com/read/20171103/105/705870/survei-membuktikan-generasi-milenial-lebih-suka-nonton-tv [diakses tanggal 4 Juli 2018] Tempo.co. 2015. “90 Persen Orang Indonesia Doyan Nonton Ketimbang Baca Buku” https://nasional.tempo.co/read/713809/90-persen-orang-indonesia-doyan-nonton-ketimbang-baca-buku [diakses tanggal 4 Juli 2018] Hendri. 2017. “Sebelum Lulus, Siswa SMA Ini Wajib Hafal Alquran” https://www.jawapos.com/jpg-today/19/02/2017/sebelum-lulus-siswa-sekolah-ini-wajib-hafal-alquran [diakses pada 6 Juli 2018] PPPA. Daarul Qur’an. 2012. “Hadits Keempat” https://pppa.or.id/hadist/4/Hadits-Keempat [diakses tanggal 3 Sepember 2018]

While the television cooking genre has evolved in numerous ways to withstand competition and become a constant feature in television programming (Collins and College), it has been argued that audience demand for televisual cooking has always been high because of the daily importance of cooking (Hamada, “Multimedia Integration”). Early cooking shows were characterised by an instructional discourse, before quickly embracing an entertainment focus; modern cooking shows take on a more competitive, out of the kitchen focus (Collins and College). The genre has continued to evolve, with celebrity chefs and ordinary people embracing transmedia affordances to return to the instructional focus of the early cooking shows. While the television cooking show is recognised for its broad cultural impacts related to gender (Ouellette and Hay), cultural capital (Ibrahim; Oren), television formatting (Oren), and even communication itself (Matwick and Matwick), its role in the widespread adoption of television captions is significantly underexplored. Even the fact that a cooking show was the first ever program captioned on American television is almost completely unremarked within cooking show histories and literature.A Brief History of Captioning WorldwideWhen captions were first introduced on US television in the early 1970s, programmers were guided by the general principle to make the captioned program “accessible to every deaf viewer regardless of reading ability” (Jensema, McCann and Ramsey 284). However, there were no exact rules regarding captioning quality and captions did not reflect verbatim what was said onscreen. According to Jensema, McCann and Ramsey (285), less than verbatim captioning continued for many years because “deaf people were so delighted to have captions that they accepted almost anything thrown on the screen” (see also Newell 266 for a discussion of the UK context).While the benefits of captions for people who are D/deaf or hard of hearing were immediate, its commercial applications also became apparent. When the moral argument that people who were D/deaf or hard of hearing had a right to access television via captions proved unsuccessful in the fight for legislation, advocates lobbied the US Congress about the mainstream commercial benefits such as in education and the benefits for people learning English as a second language (Downey). Activist efforts and hard-won legal battles meant D/deaf and hard of hearing viewers can now expect closed captions on almost all television content. With legislation in place to determine the provision of captions, attention began to focus on their quality. D/deaf viewers are no longer just delighted to accept anything thrown on the screen and have begun to demand verbatim captioning. At the same time, market-based incentives are capturing the attention of television executives seeking to make money, and the widespread availability of verbatim captions has been recognised for its multimedia—and therefore commercial—applications. These include its capacity for information retrieval (Miura et al.; Agnihotri et al.) and for creative repurposing of television content (Blankinship et al.). Captions and transcripts have been identified as being of particular importance to augmenting the information provided in cooking shows (Miura et al.; Oh et al.).Early Captions in the US: Julia Child’s The French ChefJulia Child is indicative of the early period of the cooking genre (Collins and College)—she has been described as “the epitome of the TV chef” (ray 53) and is often credited for making cooking accessible to American audiences through her onscreen focus on normalising techniques that she promised could be mastered at home (ray). She is still recognised for her mastery of the genre, and for her capacity to entertain in a way that stood out from her contemporaries (Collins and College; ray).Julia Child’s The French Chef originally aired on the US publicly-funded Public Broadcasting System (PBS) affiliate WBGH from 1963–1973. The captioning of television also began in the 1960s, with educators creating the captions themselves, mainly for educational use in deaf schools (Downey 70). However, there soon came calls for public television to also be made accessible for the deaf and hard of hearing—the debate focused on equality and pushed for recognition that deaf people were culturally diverse (Downey 70).The PBS therefore began a trial of captioning programs (Downey 71). These would be “open captions”—characters which were positioned on the screen as part of the normal image for all viewers to see (Downey 71). The trial was designed to determine both the number of D/deaf and hard of hearing people viewing the program, as well as to test if non-D/deaf and hard of hearing viewers would watch a program which had captions (Downey 71). The French Chef was selected for captioning by WBGH because it was their most popular television show in the early 1970s and in 1972 eight episodes of The French Chef were aired using open—albeit inconsistent—captions (Downey 71; Jensema et al. 284).There were concerns from some broadcasters that openly captioned programs would drive away the “hearing majority” (Downey 71). However, there was no explicit study carried out in 1972 on the viewers of The French Chef to determine if this was the case because WBGH ran out of funds to research this further (Downey 71). Nevertheless, Jensema, McCann and Ramsey (284) note that WBGH did begin to re-broadcast ABC World News Tonight in the 1970s with open captions and that this was the only regularly captioned show at the time.Due to changes in technology and fears that not everyone wanted to see captions onscreen, television’s focus shifted from open captions to closed captioning in the 1980s. Captions became encoded, with viewers needing a decoder to be able to access them. However, the high cost of the decoders meant that many could not afford to buy them and adoption of the technology was slow (Youngblood and Lysaght 243; Downey 71). In 1979, the US government had set up the National Captioning Institute (NCI) with a mandate to develop and sell these decoders, and provide captioning services to the networks. This was initially government-funded but was designed to eventually be self-sufficient (Downey 73).PBS, ABC and NBC (but not CBS) had agreed to a trial (Downey 73). However, there was a reluctance on the part of broadcasters to pay to caption content when there was not enough evidence that the demand was high (Downey 73—74). The argument for the provision of captioned content therefore began to focus on the rights of all citizens to be able to access a public service. A complaint was lodged claiming that the Los Angeles station KCET, which was a PBS affiliate, did not provide captioned content that was available elsewhere (Downey 74). When Los Angeles PBS station KCET refused to air captioned episodes of The French Chef, the Greater Los Angeles Council on Deafness (GLAD) picketed the station until the decision was reversed. GLAD then focused on legislation and used the Rehabilitation Act to argue that television was federally assisted and, by not providing captioned content, broadcasters were in violation of the Act (Downey 74).GLAD also used the 1934 Communications Act in their argument. This Act had firstly established the Federal Communications Commission (FCC) and then assigned them the right to grant and renew broadcast licenses as long as those broadcasters served the ‘‘public interest, convenience, and necessity’’ (Michalik, cited in Downey 74). The FCC could, argued GLAD, therefore refuse to renew the licenses of broadcasters who did not air captioned content. However, rather than this argument working in their favour, the FCC instead changed its own procedures to avoid such legal actions in the future (Downey 75). As a result, although some stations began to voluntarily caption more content, it was not until 1996 that it became a legally mandated requirement with the introduction of the Telecommunications Act (Youngblood and Lysaght 244)—too late for The French Chef.My Kitchen Rules: Captioning BreachWhereas The French Chef presented instructional cooking programming from a kitchen set, more recently the food genre has moved away from the staged domestic kitchen set as an instructional space to use real-life domestic kitchens and more competitive multi-bench spaces. The Australian program MKR straddles this shift in the cooking genre with the first half of each season occurring in domestic settings and the second half in Iron Chef style studio competition (see Oren for a discussion of the influence of Iron Chef on contemporary cooking shows).All broadcast channels in Australia are mandated to caption 100 per cent of programs aired between 6am and midnight. However, the 2013 MKR Grand Final broadcast by Channel Seven Brisbane Pty Ltd and Channel Seven Melbourne Pty Ltd (Seven) failed to transmit 10 minutes of captions some 30 minutes into the 2-hour program. The ACMA received two complaints relating to this. The first complaint, received on 27 April 2013, the same evening as the program was broadcast, noted ‘[the D/deaf community] … should not have to miss out’ (ACMA, Report No. 3046 3). The second complaint, received on 30 April 2013, identified the crucial nature of the missing segment and its effect on viewers’ overall enjoyment of the program (ACMA, Report No. 3046 3).Seven explained that the relevant segment (approximately 10 per cent of the program) was missing from the captioning file, but that it had not appeared to be missing when Seven completed its usual captioning checks prior to broadcast (ACMA, Report No. 3046 4). The ACMA found that Seven had breached the conditions of their commercial television broadcasting licence by “failing to provide a captioning service for the program” (ACMA, Report No. 3046 12). The interruption of captioning was serious enough to constitute a breach due, in part, to the nature and characteristic of the program:the viewer is engaged in the momentum of the competitive process by being provided with an understanding of each of the competition stages; how the judges, guests and contestants interact; and their commentaries of the food and the cooking processes during those stages. (ACMA, Report No. 3046 6)These interactions have become a crucial part of the cooking genre, a genre often described as offering a way to acquire cultural capital via instructions in both cooking and ideological food preferences (Oren 31). Further, in relation to the uncaptioned MKR segment, ACMA acknowledged it would have been difficult to follow both the cooking process and the exchanges taking place between contestants (ACMA, Report No. 3046 8). ACMA considered these exchanges crucial to ‘a viewer’s understanding of, and secondly to their engagement with the different inter-related stages of the program’ (ACMA, Report No. 3046 7).An additional complaint was made with regards to the same program broadcast on Prime Television (Northern) Pty Ltd (Prime), a Seven Network affiliate. The complaint stated that the lack of captions was “Not good enough in prime time and for a show that is non-live in nature” (ACMA, Report No. 3124 3). Despite the fact that the ACMA found that “the fault arose from the affiliate, Seven, rather than from the licensee [Prime]”, Prime was also found to also have breached their licence conditions by failing to provide a captioning service (ACMA, Report No. 3124 12).The following year, Seven launched captions for their online catch-up television platform. Although this was a result of discussions with a complainant over the broader lack of captioned online television content, it was also a step that re-established Seven’s credentials as a leader in commercial television access. The 2015 season of MKR also featured their first partially-deaf contestant, Emilie Biggar.Mainstreaming Captions — Inter-Platform CooperationOver time, cooking shows on television have evolved from an informative style (The French Chef) to become more entertaining in their approach (MKR). As Oren identifies, this has seen a shift in the food genre “away from the traditional, instructional format and towards professionalism and competition” (Oren 25). The affordances of television itself as a visual medium has also been recognised as crucial in the popularity of this genre and its more recent transmedia turn. That is, following Joshua Meyrowitz’s medium theory regarding how different media can afford us different messages, televised cooking shows offer audiences stylised knowledge about food and cooking beyond the traditional cookbook (Oren; ray). In addition, cooking shows are taking their product beyond just television and increasing their inter-platform cooperation (Oren)—for example, MKR has a comprehensive companion website that viewers can visit to watch whole episodes, obtain full recipes, and view shopping lists. While this can be viewed as a modern take on Julia Child’s cookbook success, it must also be considered in the context of the increasing focus on multimedia approaches to cooking instructions (Hamada et al., Multimedia Integration; Cooking Navi; Oh et al.). Audiences today are more likely to attempt a recipe if they have seen it on television, and will use transmedia to download the recipe. As Oren explains:foodism’s ascent to popular culture provides the backdrop and motivation for the current explosion of food-themed formats that encourages audiences’ investment in their own expertise as critics, diners, foodies and even wanna-be professional chefs. FoodTV, in turn, feeds back into a web-powered, gastro-culture and critique-economy where appraisal outranks delight. (Oren 33)This explosion in popularity of the web-powered gastro culture Oren refers to has led to an increase in appetite for step by step, easy to access instructions. These are being delivered using captions. As a result of the legislation and activism described throughout this paper, captions are more widely available and, in many cases, now describe what is said onscreen verbatim. In addition, the mainstream commercial benefits and uses of captions are being explored. Captions have therefore moved from a specialist assistive technology for people who are D/deaf or hard of hearing to become recognised as an important resource for creative television viewers regardless of their hearing (Blankinship et al.). With captions becoming more accessible, accurate, financially viable, and mainstreamed, their potential as an additional television resource is of interest. As outlined above, within the cooking show genre—especially with its current multimedia turn and the demand for captioned recipe instructions (Hamada et al., “Multimedia Integration”, “Cooking Navi”; Oh et al.)—this is particularly pertinent.Hamada et al. identify captions as a useful technology to use in the increasingly popular educational, yet entertaining, cooking show genre as the required information—ingredient lists, instructions, recipes—is in high demand (Hamada et al., “Multimedia Integration” 658). They note that cooking shows often present information out of order, making them difficult to follow, particularly if a recipe must be sourced later from a website (Hamada et al., “Multimedia Integration” 658-59; Oh et al.). Each step in a recipe must be navigated and coordinated, particularly if multiple recipes are being completed at the same times (Hamada, et al., Cooking Navi) as is often the case on cooking shows such as MKR. Using captions as part of a software program to index cooking videos facilitates a number of search affordances for people wishing to replicate the recipe themselves. As Kyeong-Jin et al. explain:if food and recipe information are published as linked data with the scheme, it enables to search food recipe and annotate certain recipe by communities (sic). In addition, because of characteristics of linked data, information on food recipes can be connected to additional data source such as products for ingredients, and recipe websites can support users’ decision making in the cooking domain. (Oh et al. 2)The advantages of such a software program are many. For the audience there is easy access to desired information. For the number of commercial entities involved, this consumer desire facilitates endless marketing opportunities including product placement, increased ratings, and software development. Interesting, all of this falls outside the “usual” parameters of captions as purely an assistive device for a few, and facilitates the mainstreaming—and perhaps beginnings of acceptance—of captions.ConclusionCaptions are a vital accessibility feature for television viewers who are D/deaf or hard of hearing, not just from an informative or entertainment perspective but also to facilitate social inclusion for this culturally diverse group. The availability and quality of television captions has moved through three stages. These can be broadly summarised as early yet inconsistent captions, captions becoming more widely available and accurate—often as a direct result of activism and legislation—but not yet fully verbatim, and verbatim captions as adopted within mainstream software applications. This paper has situated these stages within the television cooking genre, a genre often remarked for its appeal towards inclusion and cultural capital.If television facilitates social inclusion, then food television offers vital cultural capital. While Julia Child’s The French Chef offered the first example of television captions via open captions in 1972, a lack of funding means we do not know how viewers (both hearing and not) actually received the program. However, at the time, captions that would be considered unacceptable today were received favourably (Jensema, McCann and Ramsey; Newell)—anything was deemed better than nothing. Increasingly, as the focus shifted to closed captioning and the cooking genre embraced a more competitive approach, viewers who required captions were no longer happy with missing or inconsistent captioning quality. The was particularly significant in Australia in 2013 when several viewers complained to ACMA that captions were missing from the finale of MKR. These captions provided more than vital cooking instructions—their lack prevented viewers from understanding conflict within the program. Following this breach, Seven became the only Australian commercial television station to offer captions on their web based catch-up platform. While this may have gone a long way to rehabilitate Seven amongst D/deaf and hard of hearing audiences, there is the potential too for commercial benefits. Caption technology is now being mainstreamed for use in cooking software applications developed from televised cooking shows. These allow viewers—both D/deaf and hearing—to access information in a completely new, and inclusive, way.ReferencesAgnihotri, Lalitha, et al. “Summarization of Video Programs Based on Closed Captions.” 4315 (2001): 599–607.Australian Communications and Media Authority (ACMA). Investigation Report No. 3046. 2013. 26 Apr. 2017 <http://www.acma.gov.au/~/media/Diversity%20Localism%20and%20Accessibility/Investigation%20reports/Word%20document/3046%20My%20Kitchen%20Rules%20Grand%20Final%20docx.docx>.———. Investigation Report No. 3124. 2014. 26 Apr. 2017 <http://www.acma.gov.au/~/media/Diversity%20Localism%20and%20Accessibility/Investigation%20reports/Word%20document/3124%20NEN%20My%20Kitchen%20Rules%20docx.docx>.Blankinship, E., et al. “Closed Caption, Open Source.” BT Technology Journal 22.4 (2004): 151–59.Collins, Kathleen, and John Jay College. “TV Cooking Shows: The Evolution of a Genre”. Flow: A Critical Forum on Television and Media Culture (7 May 2008). 14 May 2017 <http://www.flowjournal.org/2008/05/tv-cooking-shows-the-evolution-of-a-genre/>.Downey, Greg. “Constructing Closed-Captioning in the Public Interest: From Minority Media Accessibility to Mainstream Educational Technology.” The Journal of Policy, Regulation and Strategy for Telecommunications, Information and Media 9.2/3 (2007): 69–82. DOI: 10.1108/14636690710734670.Hamada, Reiko, et al. “Multimedia Integration for Cooking Video Indexing.” Advances in Multimedia Information Processing-PCM 2004 (2005): 657–64.Hamada, Reiko, et al. “Cooking Navi: Assistant for Daily Cooking in Kitchen.” Proceedings of the 13th Annual ACM International Conference on Multimedia. ACM.Ibrahim, Yasmin. “Food Porn and the Invitation to Gaze: Ephemeral Consumption and the Digital Spectacle.” International Journal of E-Politics (IJEP) 6.3 (2015): 1–12.Jensema, Carl J., Ralph McCann, and Scott Ramsey. “Closed-Captioned Television Presentation Speed and Vocabulary.” American Annals of the Deaf 141.4 (1996): 284–292.Matwick, Kelsi, and Keri Matwick. “Inquiry in Television Cooking Shows.” Discourse & Communication 9.3 (2015): 313–30.Meyrowitz, Joshua. No Sense of Place: The Impact of Electronic Media on Social Behavior. New York: Oxford University Press, 1985.Miura, K., et al. “Automatic Generation of a Multimedia Encyclopedia from TV Programs by Using Closed Captions and Detecting Principal Video Objects.” Eighth IEEE International Symposium on Multimedia (2006): 873–80.Newell, A.F. “Teletext for the Deaf.” Electronics and Power 28.3 (1982): 263–66.Oh, K.J. et al. “Automatic Indexing of Cooking Video by Using Caption-Recipe Alignment.” 2014 International Conference on Behavioral, Economic, and Socio-Cultural Computing (BESC2014) (2014): 1–6.Oren, Tasha. “On the Line: Format, Cooking and Competition as Television Values.” Critical Studies in Television: The International Journal of Television Studies 8.2 (2013): 20–35.Ouellette, Laurie, and James Hay. “Makeover Television, Governmentality and the Good Citizen.” Continuum: Journal of Media & Cultural Studies 22.4 (2008): 471–84.ray, krishnendu. “Domesticating Cuisine: Food and Aesthetics on American Television.” Gastronomica 7.1 (2007): 50–63.Youngblood, Norman E., and Ryan Lysaght. “Accessibility and Use of Online Video Captions by Local Television News Websites.” Electronic News 9.4 (2015): 242–256.

The world in one hand, now is no longer just an advertising tagline. It really has become a reality, when the gadget in our hands is able to present all the information needs of the entire world. Not just information, various entertainment can also be found in gadgets. From movies, music, drama series, talk shows, comedy, and various shows owned by influencers or YouTubers that are entertainment. And special, the audience in gadgets only watch the shows they like. There's no way they would waste their quota to watch a program they don't like. The question is, did television audiences still have an audience in such an era? As we all know, television viewers cannot just watch what they like, because in the program they are watching, it is likely that other programs that they dislike (such as advertisements) are tucked away. This paper tries to reveal, is it true that online media can replace conventional media? Or is it true that conventional media has been abandoned by the audience? The results of this study revealed that not all viewers left conventional media. Similarly, not all programs can be enjoyed online. Keywords: Conventional Media; Online Media; The audience.

Last year, the ABC’s Media Watch (17 Oct. 2005) noted the continuing outrage in the tabloid media over “the dirtiest house in NSW”. The program took issue with Sydney newspaper The Daily Telegraph, and the descriptor “exclusive” attached to their article on a property in beachside Bondi (9 Oct. 2005). In fact, as Media Watch pointed out, Channel Seven’s current affairs flagship Today Tonight had already made repeat visits to the residence. A Current Affair, Channel Nine’s rival show, as well as Bondi’s local newspaper also offered coverage. However, I am interested not in the number of times the story appeared – though this is certainly a symptom of what I do want to talk about. Instead, I want to consider the affect generated by this reportage. In turn, I want to consider what this reveals about our attitudes to refuse, and how these attitudes work to constitute social order in capitalist discourse. The overwhelming affective register of the language deployed to speak about the house is disgust. Adam Bell in The Sunday Telegraph paints a visceral picture entitled “A stinking mess”. He writes that the Bondi premises are engulfed in a stinking three-metre high pile of decaying rubbish that poses a serious health and safety risk. … Stacked with empty boxes, beer cartons, broken furniture, canned fruit, newspapers and cardboard, the waste dump fills the entire front and backyards of the house and spills onto the street. On hot days, the stench of the rotting garbage is detected blocks away while at night, rats and cockroaches are regularly seen running in and out of the mess. … The rubbish is piled so high only the roof of the 1920s Californian bungalow is clearly visible from the front. (9 Oct. 2005) Bell’s follow-up speaks of “the huge pile of filth at the infamous Bondi rubbish house” and of “a team of cleaners dressed in forensic ‘space suits’” (27 Nov. 2005). Other News Limited journalists who subsequently visited the site conjured similar imagery (Goldner; Cummings). Television was not to be outdone: Today Tonight called it “the house from hell”, whilst A Current Affair focused on the “disgraceful pile of rat-infested rubbish [that] just gets higher and higher” (Media Watch). The tonality of the language is a dimension of the prevalent discourse of “aspirationalism” that is central to the popularist politics of Australian Prime Minister John Howard. One key signifier of “aspiration” is property ownership expressed through the rhetoric of the “home.” The affective dimension of the reporting—the disgust—stems from the disjuncture of the exalted (Bondi Beach, high property values) and the abject (refuse). It is a tool used to discursively fix the inappropriate physical and social location of the refuse so as to locate what is culturally valued. Bell’s initial article mentions no less than three times in 600 words that the house is a “million dollar property” and is “located in one of Sydney’s most prestigious and expensive suburbs” (9 Oct. 2005). His second article also mentioned the property’s value (27 Nov. 2005), as did another article by a colleague at The Daily Telegraph (9 Dec. 2005). Today Tonight emphasized that the house was in “an exclusive beachside suburb” and that it was “smack bang in the middle of one of Australia’s most expensive and best known suburbs” (Media Watch). William Ian Miller in Anatomy of Disgust explains how the affective response to an encounter like the one with Bondi’s “rubbish house” can be attributed to feelings about organisation. Miller positions disgust as “a strong sense of aversion to something perceived as dangerous because of its danger to contaminate, infect, or pollute by proximity, contact or ingestion” (2). In other words, disgust is the product of an aversion to something that breaches the lines of containment, and therefore signals a threat to established order. The body – a network of physiological and neurological processes, which constitute multiple systems of order in their own right – cannot cope with such a breakdown and reacts accordingly. David Trotter elaborates: Psychological activity [is] an attempt to impose order on experience: bodily paroxysm is a way of confronting and resolving urgent abstract dilemmas. According to this view, you vomit because you have lost confidence in your ability to make sense of the world: your ability to categorize, order, explain, or tell stories about what has happened to you. Disgust is the product of conceptual trauma. (158-9) The “conceptual trauma” in the case of Bondi’s “rubbish house” is a reaction to a transgression of the order of capitalist social space, which then becomes a discursive conduit for its hegemonic renewal. Indeed, the concern with the malfunction in social order that the misplaced refuse represents confirms what anthropologist Mary Douglas has been telling us for some time: If we can abstract pathogenicity and hygiene from our notion of dirt, we are left with the old definition of dirt as matter out of place. This is a very suggestive approach. It implies two conditions: a set of ordered relations and a contravention of that order. Dirt then, is never a unique, isolated event. Where there is dirt there is a system. Dirt is the by-product of a systematic ordering and classification of matter, in so far as ordering involves rejecting inappropriate elements. (36) Certainly, the associated health risks to Mary Bobolas, the house’s owner/occupier, and the wider community from her hoarding are not purely ideological. However, it is impossible to divorce the social discourses surrounding refuse from the series of social and technological developments that Dominique Laporte in his History of Shit calls the “privatisation” of waste (28). The social and technical apparatuses which enable dominant sociogenetic attitudes regarding refuse include the increasing emphasis on private property, the emergence of the family unit as the primary site for the coalescence of socializing forces and inventions such as the toilet (Elias 137-40). Laporte believes that this process in instrumental in creating the individuated, capitalist subject, which, in the context of contemporary Australian capitalist discourse, is the middle-class homeowner. The construction of complex regulatory architecture to manage practices and tastes substantiates American novelist Don DeLillo’s proposal that civilisation did not rise and flourish as men hammered out hunting scenes on bronze gates and whispered philosophy under the stars, with garbage as a noisome offshoot, swept away and forgotten. No, garbage came first, inciting people to build a civilization in response, in self-defense. We had to find ways to discard our waste, to use what we couldn’t discard, to reprocess what we couldn’t use. … Consume or die. That’s the mandate of the culture. And it all ends up in the dump. We make stupendous amounts of garbage, then we react to it, not only technologically but in our hearts and minds. We let it shape us. We let it control our thinking. Garbage comes first, then we build a system to deal with it. (287-8) Most of the systems to which DeLillo refers are designed to counter the visibility of refuse and channel it to a demarcated, separate space. This is the paradox of refuse: our sense of order depends upon it, yet in affluent society we are anxious about confronting it. Over the years, Bondi Beach has been sanitised both materially and socially. The sewage outfall is a heritage site and the area is no longer working class. Yet, it seems the shit is still washing up on the shore: significantly, the refuse Bobolas accumulates is other people’s rubbish collected from “the streets, garbage bins and council clean-ups” (Bell 9 Oct. 2005). It is produced by the very homeowners whose disgust is so palpable. However, the media coverage of the “rubbish house” does not merely remind the rich and famous residents of their own refuse, nor does it function as a critique of conspicuous consumption. The media event of the “rubbish house” illustrates how “matter out of place” and the resulting affect of disgust are exploited discursively by hegemonic culture in order to maintain the ideology of “aspirationalism” and reiterate the wider capitalist project. References Bell, Adam. “A Stinking Mess – Mountain of Garbage in Sydney Yard.” Sunday Telegraph [Sydney] 9 Oct. 2005: 9. Bell, Adam. “End of the Dirt House.” Sunday Telegraph [Sydney] 27 Nov. 2005: 17. Cummings, Larissa. “Bondi Mountain of Rubbish Rises Again.” Daily Telegraph [Sydney] 20 May 2006: 15. DeLillo, Don. Underworld. New York: Scribner, 1997. Douglas, Mary. Purity and Danger: An Analysis of Concepts of Pollution and Taboo. London: Routledge, 2002. Elias, Norbert. The Civilising Process: The History of Manners: Sociogenetic and Psychogenetic Investigations. Trans. Edmund Jephcott. Oxford: Basil Blackwell, 1978. Goldner, Viva. “Rage over Rubbish – Daughters Defend Garbage Mountain.” Daily Telegraph [Sydney] 9 Dec. 2005: 17. Laporte, Dominique. History of Shit. Cambridge, Mass: MIT P, 2002. Media Watch. ABC TV. 17 Oct. 2005. Transcript. 23 Jul 2006 http://www.abc. net.au/mediawatch/transcripts/s1483767.htm. net.au/mediawatch/transcripts/s1483767.htm> Miller, William Ian. The Anatomy of Disgust. Cambridge, Mass & London: Harvard UP, 1997. Trotter, David. Cooking with Mud: The Idea of Mess in Nineteenth-Century Art and Fiction. Oxford: Oxford UP, 2000. Citation reference for this article MLA Style Seale, Kirsten. "Location, Location: Situating Bondi’s “Rubbish House”." M/C Journal 9.5 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0610/07-seale.php>. APA Style Seale, K. (Nov. 2006) "Location, Location: Situating Bondi’s “Rubbish House”," M/C Journal, 9(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0610/07-seale.php>.

Toy-based television programs, commonly known as program-length commercials, and television-activated toys exploit children as consumers. Of more urgent concern is their potential to promote violent and aggressive behavior, increase the intellectual passivity with which children view television, and inhibit imaginative play.1 Almost all of the 20 best selling toys on the market today are based on television programs. More than half of these toys have violent themes. Many glorify war. Clearly, the commercialization of children's television promotes violence as well as sales. It does little to entertain or educate our children. Television-activated toys take the exploitation of program-length commercials one step further. These toys are activated by inaudible signals broadcast during a program. They are referred to as "interactive," but no descriptor could be more misleading. Although the television affects the toy and the child, no reciprocal interaction occurs. Television-activated toys represent the third, and potentially most hazardous, phase in the commercialization of children's television. Initially, the promotion of toys on television was limited to commercials. After the toy was purchased, the child decided when and how to play with it. In the next phase, program-length commercials were developed to market toys and to show children how to play with them. The development of television-activated toys almost completely eliminates the creative role of the child. Children need only to buy the toy; the television will play with it for them. Parents should consider a child's playtime as an active, creative process that requires imagination. Television-activated toys interfere with this process.

The development and success of television broadcasting in Turkey is a remarkable phenomenon. Television broadcasting, which started in Turkey nearly thirty years after it became widespread in the world, has shown a great development in the process until today. After a long period of single-channel broadcasting, more channels emerged, and private television channels were introduced to the audience as the capital entered. With this, there have been major changes in the broadcasting logic and it continues to be effective today. In this study, in order to understand the current situation of Turkish televisions and possible changes that may occur in the understanding of broadcasting in the future, the data obtained from the broadcast streams of the dates when a significant break in the history of Turkish television was experienced, were analyzed by categorical content analysis. In order to understand the impact of the emergence and development of private television broadcasting on the television industry, the data set of the study is the broadcast flow information of the year 1990, when the Magic Box Star 1 channel was established. For this purpose, the program of 3-9 June 1990 in the 23rd issue of 7 Gong on TV, which is a television viewing guide, was taken as a sample. The reason for choosing the aforementioned week and number for this study is that it was presented to the reader among satellite channels on 6 June 1990 for the first time in the broadcast stream of Star 1 channel. Data from weekly television broadcasts from 7 Gong on TV were evaluated using Williams' comparative program review method. With this method, Williams categorized television program types under various titles and analyzed them according to channel and program durations. In this study, broadcast streams of 6 different channels, which adopt the understanding of public broadcasting and commercial broadcasting, are handled comparatively within the framework of Williams' method. In this context, it is aimed to contribute to the literature on the history of television studies in Turkey, with this study, which conveys the changes in the broadcasting understanding with the start of broadcasting in Turkey through a programming. As a result, it can be said that the international cultural flow took place in one direction, as imported content dominated the broadcast stream during the transition period. However, despite the transformation of publishing technologies, it has been observed that the understanding of content has not changed.

Many types of programs have emerged on television, which continues to be widely used among traditional mass media until today. In addition to thematic channels to meet the need for people to receive news, the type of news – discussion program is also included on television. This study focuses on news courts programs that have become widespread as a type of news discussion program that has been seen frequently on television recently. In this context, the event place with ATV Müge Anlı and Tatlı Sert, Star Balçiçek Ilter, which took place in the daytime zone between April 30, 2018 – May 4, 2018, was chosen as an example of TV8's Gerçeğin Peşinde programs. The presentation of these most frequently watched programs in the daytime is tried to be presented. Programmes within the scope of the study Van Dijk's macro – micro structural analysis is examined within the framework of Critical Discourse Analysis. Quantitative data on the use of the concepts of judicial, religious, sexist, national, pathological, slang and Economic are also included in the news programs.

Television is one of the most widely broadcast media undergo a process of evolution. Today the presence of broadcast media is certainly not out of a myriad of appreciation from many in the community. Man himself was unable to deny that a television media will always be present in front of him. Various impressions broadcast program comes through this medium, different interpretation will emerge from the community as audience. Now, television has become an important need among the millions of people in the world community. This can happen because one characteristic of this form of broadcast media that is intrinsically capable explores some of the information occurs in parts of the world manapan the same time. As part of a development of new audio-visual culture, television becomes the thinking about the main attraction in an impact to thewider community . Positive and negative impacts of television media can only be known if the people themselves are willing and able to follow the development of this medium.Keywords: Broadcasting Media, TV Function, and Society

Music Television (MTV) Networks UK & Ireland is one of the television stations that have credibility and existence in the history of international broadcast world. Its existence and credibility that exists since 1997 until today is one of the evidence of its good works and management system. Formulation on this research focuses on how the broadcasting management strategies of MTV Networks UK & Ireland is explored by 3 aspects: marketing, program, and technic. The purpose of this research is to describe the broadcasting management systems and strategies based on those three aspects. This research uses qualitative methods and theoretical basis that appropriate for the purpose of the research. The data written on this research are based on interviews, observation, and documents review. The result of this research proved that MTV Networks UK & Ireland has a great discipline management strategy seen from the aspects: program, marketing and technique. Each aspect is bound to each other, without one of them the success of broadcast management strategy on MTV Networks UK & Ireland is hard to reach . Keywords: strategy, broadcast, MTV Networks UK & Ireland, Music Television

Successful implementation of a program is the goal of program design. However, currently, many programs fail to be implemented due to the failure of efforts to prevent the occurrence of failure factors. Especially in the era of digital governance such as today, the planning of various smart city programs has a large potential risk of implementation failure. The Semarang City of IoT CCTV program, for example, the implementation of the use of analytics-based CCTV requires long and careful preparation. Not only management preparation but risk management is also needed for the program. This research aims to analyze the map of potential risks in the Semarang City CCTV of IoT program along with analyzing how the risk management of the program. This research is based on qualitative research with primary and secondary data collection techniques. Primary data collection by interviewing related informants purposively, then the data is analyzed based on qualitative analysis. The findings of this research are that the highest level of risk occurs in the shortage of human resources and CCTV operators because there are no human resources who are data analytic experts and Artificial Intelligence experts. Other high risks are database errors / down; CCTV devices using old technology; long loading dashboards; and no Fiber Optic connection in internet management

Information technology is the result of a human mind to develop ordinances or specific systems and use them to solve problems in life. Submission of information today is no longer through the print media, but will gradually shift to the use of digital electronic media. The announcement can be interpreted as a message delivered to every person who is the target destination or destination information. This study discusses the announcement of information systems that can replace conventional media announcements still. With this information system of this announcement makes any lecturer and secretariat in one program studi in College X no longer need to print and posting notices on board the information available, but may be digital by entering the announcement into the system to afterwards the announcement will be displayed on each screen television or monitor the spread and available in every area of ??the campus. This can make the process of delivering information to become more effective and efisien if compared to the print media.

Violence is an instinct inherent in all living beings. Humans, who are social beings unlike other living things and have to live in accordance with social and legal rules, experience sexuality, aggression, etc. suppresses impulses by pushing them into the subconscious. Mass media play a major role in satisfying these repressed impulses today. The mass media prefer to publish programs on topics that can attract people’s attention. One of these issues is “violence”. Today’s commercial mass media, with the thought that it will be watched more, publishes content that will stimulate people’s subconsciously suppressed impulses such as violence and sexuality. Television is one of today’s most popular mass media, which brings violent subjects to the agenda in different programs and instantly delivers them to large masses. George Gerbner, who carried out the first scientific researches on television and violence, introduced the “Cultivate Theory” to the communication literature. In this study, which is based on Gerbner’s “Cultivate Theory”, the effects of the “Müge Anlı ile Tatlı Sert” program on the audience were analyzed by the method of reception. As a result of the analysis, it was revealed that the program changed the perception of violence on the audience in the long term and cultivated violence.

Scholars have criticized how tarento (television personalities) who might be considered “transgender” have for decades provided comic relief on Japanese mainstream television, but few have considered the recent emergence of a different kind of trans celebrity who rejects the entertainment narrative to embrace the “wrong body” discourse (having mismatched corporeality). This article explores this phenomenon through the example of Nishihara Satsuki, a trans-identified internet celebrity-turned- tarento, drawing mainly on discourse analysis of their blog, memoir, and variety program appearances. I demonstrate how Satsuki’s celebrity departs from narratives of trans tarento as objects of entertainment to align with hegemonic discourses of the wrong body, which govern how trans individuals are understood in Japan and reflect the broader context of heightened trans visibility elsewhere. In doing so, Satsuki offers an important platform for discussing trans issues and experiences today, which I argue has encouraged the media to take trans representation more seriously.