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Gumbert, Heather. "The Deutschland Series: Cold War Nostalgia for Transnational Audiences". Central European History 54, n. 2 (giugno 2021): 352–60. http://dx.doi.org/10.1017/s0008938921000480.
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How do you explain the Cold War to a generation who did not live through it? For Jörg and Anna Winger, co-creators and showrunners of the Deutschland series, you bring it to life on television. Part pop culture reference, part spy thriller, and part existential crisis, the Wingers’ Cold War is a fun, fast-paced story, “sunny and slick and full of twenty-something eye candy.” A coproduction of Germany's UFA Fiction and Sundance TV in the United States, the show premiered at the 2015 Berlinale before appearing on American and German television screens later that year. Especially popular in the United Kingdom, it sold widely on the transnational market. It has been touted as a game-changer for the German television industry for breaking new ground for the German television industry abroad and expanding the possibilities of dramatic storytelling in Germany, and is credited with unleashing a new wave of German (historical) dramas including Babylon Berlin, Dark, and a new production of Das Boot.
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Lozano, Jose Carlos. "From Parochialism to Cosmopolitanism in the American Audiovisual Supply? Netflix’s New Releases of Television Fiction in the United States and their Geographical Diversity". Anagramas Rumbos y Sentidos de la Comunicación 20, n. 40 (19 maggio 2022): 200–223. http://dx.doi.org/10.22395/angr.v20n40a9.
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The supply of films and TV series in the United States has been historically dominated by national programming produced by its powerful media conglomerates, significantly limiting the diversity and plurality of choices for their American viewers. Netflix and other video-on-demandplatforms are changing this situation, significantly increasing the availability in the United States of fiction produced in different regions of the world, potentially exposing their subscribers to new narrative styles, scenarios, ethnicities, nationalities, languages, and cultural features. This study, based on the methodology of content analysis, analyzes the geographical origin and production type of new Netflix scripted television releases in the United States from January 2017 to June 2018 and discusses their potential relevance in broadening the degree of geographical diversity among American subscribers to the platform. The paper concludes that while Netflix USA substantially increased the supply of foreign television series in its catalog during that period, a sizeable part of the imports came from countries with high degrees of “cultural proximity” with the United States. The article concludes by discussing the possible “Americanization” of foreign audiovisual productions, formats, and genres bought or produced by Netflix.
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Sullivan, John L. "Transporting Television in Space and Time: The Export ofDoctor Whoto the United States in the 1970s and 1980s". Journal of British Cinema and Television 12, n. 3 (luglio 2015): 342–63. http://dx.doi.org/10.3366/jbctv.2015.0269.
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The revival of the BBC series Doctor Who in 2005 heralded the successful rebirth of a defunct science fiction series that had been cancelled in 1989. While the 2005 incarnation was designed as a slick, high-budget media product with cross-national appeal, the initial series, which was broadcast regularly from 1963 to 1989, was quite different – quirky, low-budget and distinctly British. In fact, the roll-out of Doctor Who on American television screens in the late 1970s was marred by missteps thanks in part to structural differences between the US and British broadcasting systems. This essay explores the initial expansion of Doctor Who into the United States beginning in the late 1960s, first via syndication to commercial stations with Time Life Television and later to Public Broadcasting Service (PBS) stations nationwide through the BBC's US distribution arm, Lionheart Television. The attempt to internationalise the Doctor Who audience in its first two decades is examined through the larger lens of shared British and American broadcasting history and policy before and during the Thatcher era. Ironically, while the BBC scrapped Doctor Who in the 1980s due to market pressures and personal rivalries, it attracted an engaged and loyal fan base in the United States, ultimately boosting the fortunes of American public television.
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Huntsberger, Michael W. "Community media in the United States: Fostering pluralism and inclusivity in challenging times". Interactions: Studies in Communication & Culture 11, n. 2 (1 luglio 2020): 191–205. http://dx.doi.org/10.1386/iscc_00018_1.
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For most Americans, public service media (PSM) are synonymous with National Public Radio for radio and audio and Public Broadcasting Service for television and video. However, these national services do not fully circumscribe the PSM sphere in the United States. US community media are non-commercial, locally controlled outlets that produce content intended for local audiences, most often focused on local concerns associated with housing, education, government and the arts. This study provides an overview of the present state of community media in the United States. It draws on a variety of sources, including data from the industry, and from the professional press, as well as a series of extensive informational interviews with community media leaders around the United States. The subjects include representatives from community radio and community television outlets that serve urban, suburban and rural markets. After compiling and analysing the quantitative and qualitative data, several key indicators emerge that help to describe the current state of community media in the United States and point towards challenges and opportunities ahead for the sector.
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Rudy, Rudy. "CONCEPTUALIZING FRIENDSHIP THROUGH AMERICAN GAY TELEVISION SERIES IN 2000S". Rubikon : Journal of Transnational American Studies 2, n. 2 (1 settembre 2015): 64. http://dx.doi.org/10.22146/rubikon.v2i2.34260.
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Gay culture has been one of the most phenomenal issues in the world, particularly in the United States. As this culture has become pro and contra over American regarding their point of view, ethically or unethically, thus, it has been spread all over the world through media, particularly television, which makes it unique and essential to observe through the television series, gay characters appear with certain features attached to them. This study concentrates on the depiction of gay shown through American gay television series in 2000s. As gay culture is strongly connected to the collectivity, the friendship among minority groups like gay people has become fascinating to identify. By focusing on how and why the friendship is portrayed through the gay television series, this study incorporates semiotic approach to identify the friendship among gay shown by the American gay television series in 2000s. The observation of the gay television series have revealed that friendship among gay people plays a significant role in gay culture. The research findings show that the depiction of friendship through the gay TV series symbolizes similar values and vision shared among gay people in order to reach solidarity. Additionally, strong friendship as a binding value is always the feature shown by oppressed minority groups in a society.Keywords: Gay, Television Series, 2000s, Friendship, America Culture
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Fedele, Maddalena. "La segunda generación de teen series: programas estadounidenses, británicos y españoles de los 2000-2010". INDEX COMUNICACION 11, n. 01 (11 gennaio 2021): 297–327. http://dx.doi.org/10.33732/ixc/11/01lasegu.
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Teen series are a star media product around youth culture, and at the same time that represent the prototype of serialised fiction programmes preferred by the teen audience. This article presents the results of a study of 50 contemporary teen series, produced in The United States, The United Kingdom and Spain. Through a qualitative approach and a mixed methodology, the study draws on the fundamental characteristics of the format of the second generation of teen series. Like the first-generation productions of the 1990s, today's teen series remain prime-time star shows and continue to focus on teenage characters and themes. But, unlike those of the first generation, current teen series tend to portray more diverse and varied youth representations, offering models of identity based on self-acceptance; they open up to a young and young-adult audience, and rely on the narrative and aesthetic strategies of the current meta-television stage and of the so-called third golden age of television, becoming popular quality productions.
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Olmedo-Salar, Silvia, e Paloma López-Villafranca. "Análisis comparativo de ´podcasts´ y series televisivas de ficción. Estudio de casos en España". INDEX COMUNICACION 9, n. 2 (30 giugno 2019): 183–213. http://dx.doi.org/10.33732/ixc/09/02analis.
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Sound fiction genre takes a relevant position after the irruption of American productions such as Serial in the year 2014, whose success boosted its emission in other media as a series with the same title offered by HBO. In Spain, the conversion from podcast to television series hasn´t been produced yet, but we do have on stream podcasts that derive from television series, specifically, on RTVE platform. The objective of this work is to perform a formal comparative analysis and content of podcasts and series of television platforms in Spain and the United States applied to the first season of the following fictions: Homecoming and Dirty John podcasts, both of them broadcasted as series on Amazon and Netflix in the USA. In Spain, we analyze the podcast Carlos de Gante podcast comparing it with the series Carlos, el Emperador, and the podcast Bienvenido a la Pasarela with the TV series Estoy Vivo, on RTVE web platform. In the US, the sound acquires a new dimension both in its adaptation to the television format as an independent unit while in Spain, although it is a complement to the transmedia universe, it enjoys a quality and a projection that announces a rediscovery of the sound format. Keywords: Sound Fiction; Series; Television; Radio; Transmedia; Podcast.
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Arcimowicz, Krzysztof. "Determinants of the Content and Creation of Modern Television Series. Selected Issues". Creativity. Theories – Research - Applications 3, n. 1 (1 giugno 2016): 104–17. http://dx.doi.org/10.1515/ctra-2016-0008.
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AbstractThe aim of this article is to present the most important factors affecting the creation and content of two different genres of television series–Polish television sagas and American post-soap operas. The analysis which I have carried out in the field allows the formulation of several conclusions. The creation of the two genres is similar. In both cases the most important people are the producers and scriptwriters and the most important criteria used for the assessment of a production are audience ratings and economic factors. Polish television sagas and American post-soaps are often very different with regard to their content and the ways they present social issues. The reasons for the differences include: genre convention, expectations of viewers, social and cultural context, and the emergence of commercial subscription television in the United States. At the turn of the 21st century HBO, an American pay television provider, followed by other stations began to produce shows which, even though they have originated from older television forms, break the ties with their antecedents. Makers of post-soaps address sensitive social issues and create their characters in an original and often controversial way.
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Martin, Kameelah, e Elizabeth West. "Sankofa, or “Go Back and Fetch It”: Merging Genealogy and Africana Studies—An Introduction". Genealogy 2, n. 4 (29 ottobre 2018): 46. http://dx.doi.org/10.3390/genealogy2040046.
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With the overwhelming popularity of genealogy-themed television series, genetic genealogy testing, online subscription services for research, and the enduring aphorism of Sankofa, people of African descent are consistently dispelling the long-avowed assertion that the ancestry of the enslaved in the United States and their descendants is, for the most part, unknowable. [...]
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Paris, Orlando. "The “Fiat 500L” commercial: A journey into Italian style". Semiotica 2019, n. 229 (26 luglio 2019): 237–46. http://dx.doi.org/10.1515/sem-2018-0010.
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AbstractThis essay will analyze a single script, the television commercial that advertises the Fiat 500L in the United States, released in 2013. This commercial has stimulated wide debate both in Italy and the United States. It was generally well received by the press, even if it did attract some criticism on the part of those who simply read it as the latest version of a series of stereotypes of Italian mores. Without neglecting the functional dynamic of advertising (narratological structure and underlying rhetorical devices), this analysis will focus in particular on the decisive role played by Italianness and the Italian language.
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Elder, Catriona. "Framing stories of national belonging: the case of an historical adventure-romance television series". Media International Australia 174, n. 1 (19 ottobre 2019): 72–85. http://dx.doi.org/10.1177/1329878x19882021.
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This article explores the role of Australian 1970s and 1980s ‘quality’ historical television series and miniseries in engaging national audiences in discussions about their national history. These programmes – which had a corollary in the United States in the same period – were ‘blockbusters’. But the historical miniseries of this period were not designed just to make money for the television networks, rather they had ‘designs’ on their viewers. What this set of programmes have in common is a sense of their important contribution to debates about what, who and why of nations and citizens. The producers of these programmes, in a period of significant social change and the emergence of identity politics, sought to engage citizens with the complexities of national histories. This article focuses on one series, Luke’s Kingdom, and explores why and how it was possible for this television genre to reinvigorate and rethink ideas of national belonging.
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Lo, Yin-Yueh, e Chun-Ju Huang. "Differences in knowledge, uncertainty, and social context in four medical TV series from Taiwan, Japan, South Korea and the United States". Journal of Science Communication 20, n. 01 (11 gennaio 2021): A01. http://dx.doi.org/10.22323/2.20010201.
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Television series that mix real science and imagery science make up a fascinating genre in popular science. While previous research on entertainment media focuses on Western examples and seldom includes Asian TV series, this study explores how medicine is portrayed in four TV series located in a hospital setting which were broadcasted in Taiwan. Yet, they were produced in different cultures: Taiwan, Japan, South Korea and the United States. We found that the emphasis is more on the social contexts of medicine than on factual medical information. Yet, fictional TV series may be crucial for contextualizing science and science-based medicine.
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SCHOCKET, ANDREW M. "Little Founders on the Small Screen: Interpreting a Multicultural American Revolution for Children's Television". Journal of American Studies 45, n. 1 (13 maggio 2010): 145–63. http://dx.doi.org/10.1017/s0021875810000630.
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From 2002 to 2004, the children's animated series Liberty's Kids aired on the Public Broadcasting Service (PBS), the United States' public television network. It runs over forty half-hour episodes and features a stellar cast, including such celebrities as Walter Cronkite, Michael Douglas, Yolanda King, Whoopi Goldberg, Billy Crystal, Arnold Schwarzenegger, Liam Neeson, and Annette Bening. Television critics generally loved it, and there are now college students who can trace their interest in the American Revolution to having watched this series when they were children. At the turn of the twenty-first century, it is the most extended and in-depth encounter with the American Revolution that most young people in the United States are likely to have encountered, and is appropriately patriotic and questioning, celebratory and chastening. Although children certainly learn a great deal about multiculturalism from popular culture, the tropes and limitations of depicting history on television trend toward personification, toward reduced complexity and, for children, toward resisting examining the darker sides of human experience. As this essay suggests, the genre's limits match the limits of a multicultural history in its attempt to show diversity and agency during a time when “liberty and justice for all” proved to be more apt as an aspiration at best and an empty slogan at worst than as an accurate depiction of the society that proclaimed it. This essay is not an effort to be, as Robert Sklar put it, a “historian cop,” policing the accuracy of the series by patrolling for inaccuracies. Rather, it is a consideration of the inherent difficulties of trying to apply a multicultural sensibility to a portrayal of the American Revolution.
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Kornilova, Elena. "GHOST, MONSTER, SKULL: POP CULTURE VALUES INTHE AMERICAN TELEVISION SERIES "WEDNESDAY"". Experience industries Socio-Cultural Research Technologies, n. 3 (2023): 116–48. http://dx.doi.org/10.34680/eiscrt-2023-3(4)-116-148.
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the work is devoted to observations of the phenomenon of modern mass culture, which is in demand by viewers on the Internet -the television series "Wednesday", created by order of the «Netflix»streaming service, for children and youth audiences. The author analyzes in detail the gothic elements underlying the fantastic plot scheme, intertextual inclusions in the idea of film writers, in particular, the work of E.A. Poe, motifs from the novels by M. Shelley and R. Stevenson and Old Testament allusions, as well as possible parallels with the equally popular a decade ago with the Harry Potter series. Attention is paid to the genre forms of mass culture, the thrillerand the detective story, which were clearly used by the script authors in their work on the TV series "Wednesday". The value orientations of modern public life in the United States, which are reflected in popular culture, are considered in detail.
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Billah, Zakiyah Dania. "Watchmen (2019): Is it an African-American superhero narrative or another traditional way to present racism?" Leksika: Jurnal Bahasa, Sastra dan Pengajarannya 17, n. 1 (20 febbraio 2023): 56. http://dx.doi.org/10.30595/lks.v17i1.15797.
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There have been many studies on race relations between African-American and White-American or Asian-American and White-American. However, there are few studies regarding the portrayal of these three races in media, such as film. The purpose of this study is to expose the Watchmen (2019) television series’ African-American superhero narrative and its racial relationship between white Americans, African Americans, and Vietnamese Americans (Asian Americans). In the United States, recent race relation is considered better than in the past, as proved by Obama serving the country for two terms, but the media is still preserving each race’s labels. This study argues that this series is proof of racist behavior in media. This qualitative study uses narrative and non-narrative to analyze the data gained from the series. This television series, uncommonly, shows the White-American as the villain while the African American as the hero, which makes this series worth analyzing. The series finally attained a complex racial relationship when a Vietnamese-American character was introduced. Racial stereotypes are frequently depicted in popular culture, including movies and television shows. Consequently, it is interesting to investigate its intricacy in light of white supremacy. This series presents several shots and events indicating a racist community, even from the very beginning of the series. Thus, this study argues that the series does not portray White-American as a villain but perpetuates the stereotypes of African-Americans and Asian-American.
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Steemers, Jeanette. "No Longer ‘The Best in the World’: The Challenge of Exporting British Television Drama". Media International Australia 115, n. 1 (maggio 2005): 33–47. http://dx.doi.org/10.1177/1329878x0511500105.
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Within the broader context of globalisation and the transformation of world television markets, this article sets out to address the extent of British drama's international presence, and the factors which either promote or inhibit that presence in Britain's major television export markets in the United States, Western Europe and Australasia. Alongside an examination of recent policy debates, which raised concerns about the exportability of British drama series, this article pinpoints and assesses the culturally specific factors that affect overseas acceptance of British drama. These include the continuing decline of traditional public service channels, the different needs of distinctive nationally based television ecologies, and the growing demand for more locally originated programming. Sales of British drama are stagnant or declining, but alternative export strategies, including coproduction and the export of scripted formats, have had only limited success. Increasingly, Britain's export successes are dominated by programming genres (children's, factual) and entertainment formats, which can be indigenised and adapted by the receiving culture, and in their more ‘universal’ appeal are quite different from the identifiably British detective series, historical and literary-based drama on which Britain's international success was judged in the past.
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Dobles, Ricardo, e Jose Antonio Segarra. "Introduction: Symposium: Puerto Rican Education". Harvard Educational Review 68, n. 2 (1 luglio 1998): vii—xvi. http://dx.doi.org/10.17763/haer.68.2.l15pq831t2671850.
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When the writers and producers of the NBC television series Seinfeld, including Jerry Seinfeld himself, decided to burn the Puerto Rican flag on national television, they performed a great service for the Puerto Rican people. Albeit unwittingly, this singular event reminded Puerto Ricans of how poorly we are regarded in the American psyche. Puerto Ricans everywhere were forced to ask themselves, would the people of Seinfeld and NBC dare burn any flag other than the Puerto Rican flag? That act, committed presumably in the interest of humor, only poured salt on a hundred-year-old wound. Since October 18, 1898, the day the United States raised its flag on the island of Puerto Rico, Puerto Ricans and their flag have been little more than a joke and an occasional nuisance to the American people.
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Sprochi, Amanda K. "Book Review: The Opioid Crisis: A Reference Handbook". Reference & User Services Quarterly 58, n. 3 (22 giugno 2019): 195. http://dx.doi.org/10.5860/rusq.58.3.7059.
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The opioid crisis has been a topic of much concern for much of the last decade, and it has reached epidemic proportions in the United States. The CDC estimates that 115 people per day die from overdosing on opioids, and countless articles, news stories, social media accounts, and television programs have documented the destruction. This latest volume in ABC-CLIO’s Contemporary World Issues series, authored by David E. Newsome, a prolific writer with an EdD in science education, tackles the history, epidemiology, and controversies surrounding the twenty-first century public health crisis.
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Galarza-Ligña, Viviana, e Miguel A. Orosa. "Twenty-first century tendencies: characters, confrontation and freedom in the us teleserial post-drama". TECHNO REVIEW. International Technology, Science and Society Review /Revista Internacional de Tecnología, Ciencia y Sociedad 11, Monográfico (29 dicembre 2022): 1–8. http://dx.doi.org/10.37467/revtechno.v11.4439.
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The purpose of the ensuing research is to highlight the patterns of the transformations that have taken place in some of the most prestigious television series in the United States in terms of conflict, characters and the decomposition of the classic categories (freedom). Methodologically, the aim is to make an empirical analysis, within the framework of certain scientific models, that would address the current North American tele-serial post-drama and its antecedents in the dramatic culture so typical of the libertarian and anti-classical worldview that enriches the Spanish language.
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Kiss, Ádám László. "The Stalinist Soviet Union in the Disney Animated Cartoon Tale Spin". Hungarian Journal of English and American Studies 29, n. 2 (1 novembre 2023): 430–54. http://dx.doi.org/10.30608/hjeas/2023/29/2/12.
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Abstract The Disney animated cartoon television series TaleSpin was released in 1990, at the end of a decade that started with an escalation of the Cold War between the United States and the Soviet Union, and ended in the abolition of nuclear weapons, which foreshadowed the eventual downfall of the USSR in 1991. This “adventure-plus comedy” American series successfully combines sources not only from within the studio (the 1967 Disney animated version of The Jungle Book), but also from adventure films outside the studio (Casablanca, Indiana Jones movies), and most interestingly, it weaves in a harsh parody of Stalinist Soviet Union. TaleSpin effectively captures the complex political climate of the 1980s–1990s by presenting the conditions of high Stalinism (mass repressions, executions, and show trials) in the military state Thembria with her Thembrian inhabitants, the anthropomorphic warthogs. The essay explores the characteristic topoi of Stalin’s Soviet Union in the series with an overview of US–Soviet relationship and the general perception of the USSR in the United States in the 1980s. The essay argues that the American image of the USSR established in the 1930s–1950s was extrapolated to post-Stalinist periods of Soviet history and was still prevalent in the 1980s, thus shaping the conception of Thembria and the Thembrians. (ÁLK)
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Southall, Richard M., Mark S. Nagel, John M. Amis e Crystal Southall. "A Method to March Madness? Institutional Logics and the 2006 National Collegiate Athletic Association Division I Men’s Basketball Tournament". Journal of Sport Management 22, n. 6 (novembre 2008): 677–700. http://dx.doi.org/10.1123/jsm.22.6.677.
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As the United States’ largest intercollegiate athletic event, the National Collegiate Athletic Association (NCAA) Division I men’s basketball tournament consistently generates high television ratings and attracts higher levels of advertising spending than the Super Bowl or the World Series. Given the limited analysis of the organizational conditions that frame these broadcasts’ production, this study examines the impact of influential actors on the representation process. Using a mixed-method approach, this paper investigates production conditions and processes involved in producing a sample (n= 31) of NCAA Division I men’s basketball tournament broadcasts, examines the extent to which these broadcasts are consistent with the NCAA’s educational mission, and considers the dominant institutional logic that underpins their reproduction. In so doing, this analysis provides a critical examination of the 2006 NCAA Division I men’s basketball tournament broadcasts, and how such broadcasts constitute, and are constituted by, choices in television production structures and practices.
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Corcuff, Philippe. "Television Series as Critical Theories: From Current Identitarianism to Levinas. American Crime, The Sinner, Sharp Objects, Unorthodox". Open Philosophy 5, n. 1 (16 dicembre 2021): 105–17. http://dx.doi.org/10.1515/opphil-2020-0160.
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Abstract Critical theory with emancipatory aims today to find a source of regeneration in ordinary cultures, and in particular, in TV series. Certain series can play a role in reinventing critical theories, drawing on the tradition of the Frankfurt School but shifting some of that School’s formulations through contact with current forms of interpretive sociology and pragmatic sociology. This requires a cross-border dialogue between the “language game” of TV series and the “knowledge game” of political theory, to use concepts inspired by Ludwig Wittgenstein. In this article, I will focus on four series: seasons 1 of American Crime (2015) and The Sinner (2017); Sharp Objects (2018); and Unorthodox (2020). The resources provided by these cultural works can help us formulate a critical decoding of important aspects of the current ideological context, in particular, the intersecting identitarian and ultra-conservative tendencies we find in France, Europe, the United States, and Brazil. These critical resources bear affinities to a political philosophy of the opening of being inspired by the ethical reflections of Emmanuel Levinas.
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Joubin, Alexa Alice. "Screening Anti-Asian Racism". Prism 19, n. 1 (1 marzo 2022): 167–80. http://dx.doi.org/10.1215/25783491-9645962.
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Abstract The global pandemic of COVID-19 has exacerbated anti-Asian racism—the demonization of the Asian American and Pacific Islander communities as viral origins—in the United States. Offering strategies for inclusion and for identifying tacit forms of misogynistic racism, this article analyzes the manifestation of the ideas of yellow peril and yellow fever in recent films and television series. The spectatorial aspect of racism has both fetishized Asian bodies and erased Asianness from content creators' visual landscapes. These case studies reveal that racialized thinking is institutionalized as power relations in the cultural and political life, take the form of political marginalization of minority groups, and cause emotional distress and physical harm within and beyond the fictional universe.
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Esch, Madeleine Shufeldt. "Picking through history: ‘Mantiques’ and masculinity in artifactual entertainment". European Journal of Cultural Studies 20, n. 5 (2 maggio 2017): 509–24. http://dx.doi.org/10.1177/1367549417701760.
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Traveling the back roads of the United States, the stars of American Pickers hunt for antiques in rural junkyards, dilapidated barns and shuttered small town storefronts. The series is part of a branding and programming strategy that History Channel executives call ‘artifactual entertainment’, a category that is generically related to a recent spate of macho, blue-collar reality television hits. Rather than engaging in the feminine therapeutic discourses of makeover specialists, the stars of American Pickers style themselves as archeologists on the hunt for ‘mantiques’ – masculine antiques. This article explores how this masculinization is enacted in conjunction with the archaeological discourse surrounding the hunt for relics of America’s bygone industrial past. In doing so, I consider how the hit series negotiates anxieties about the feminization of work and paradoxically celebrates the postmodern neoliberal economy, even as it seems to lament the disappearance of more ‘authentic’ and independent ways of life.
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Beattie, Melissa. "‘I’d castrate you and marry you in a heartbeat’: Queerness, quality and classics in Succession". Northern Lights: Film & Media Studies Yearbook 21, n. 1 (1 giugno 2023): 63–75. http://dx.doi.org/10.1386/nl_00039_1.
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Critically acclaimed transnational (United States/United Kingdom) drama Succession (2017–23) utilizes classical references combined (arguably juxtaposed) with queerness and insecurities about masculinity/-ties and orientation within its satirical representation of corporate culture. While connecting quality television to British period dramas and queerness, especially on HBO, is relatively common, the series uses phallic discourses not only to illustrate and satirize the toxic masculinity present in its pseudo-royal corporate culture but also to show the complexities of a queer ‘will-they/won’t-they’ couple – Tom Wambsgans (Matthew Macfadyen) and Greg Hirsch (Nicholas Braun) – within this environment. This article will engage in a close reading of representative scenes from the first three series in order to analyse the variety of phallic and other gendered or sexualized discourses within the series which represent contemporary sociocultural anxieties over masculinity/-ties and power as connected with genitalia, castration and/or orientation. This will include discussion and historical contextualization of castration with regard to queerness and different modes of (non-procreative) power, the analogy made to Nero and his castrated slave/spouse Sporus in which the title quote appears in the series as a declaration of love, and discussion of transgression, power and the series’ pseudo-royal court/corporation. The article will illustrate how the series utilizes these discourses to acquire and express the distinction required for quality TV while simultaneously interrogating, satirizing and critiquing the toxicity of contemporary corporate culture with regard to gender and orientation.
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Smith, Paul Julian. "Screenings". Film Quarterly 71, n. 3 (2018): 72–76. http://dx.doi.org/10.1525/fq.2018.71.3.72.
Testo completoAbstract (sommario):
Italian television scholar Milly Buonanno has often complained that, in this second Golden Age of TV, academic attention is focused almost exclusively on the United States. Even in a country like Spain, newspapers dutifully recap each episode of American premium-cable and streaming-service series while ignoring their own local productions. Hence, the importance of Buonanno's new collection Television Antiheroines: Women Behaving Badly in Crime and Prison Drama, which tracks its female figures on screens from Italy and France to Australia and Brazil. Smith examines two prominent Spanish language TV shows featuring women in prison and concludes that Buonanno's invaluable book shows it is no longer necessary to ask where the female Tony Sopranos or Walter Whites may be. And, thanks to the compelling examples of Capadocia (HBO Latin America, 2008–12) and Spain's Vis a vis (Antena 3/Fox, 2015–), it is now clear that difficult women can speak Spanish as well as English on global TV screens, even as they are confined within them to the smallest of prison cells.
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Sylvester, Roshanna P. "Far from Tranquility Base". Historical Reflections/Réflexions Historiques 50, n. 2 (1 giugno 2024): 106–24. http://dx.doi.org/10.3167/hrrh.2024.500208.
Testo completoAbstract (sommario):
Abstract The Apple+ television series For All Mankind imagines an alternative history in which the Soviets beat the United States to the moon and the Cold War space race never ends. Gender politics and associated dynamics are central to the action. This article explores plotlines involving two fictional cosmonauts: the first woman on the moon and a male crew member stationed at the Soviet's lunar base. It finds that FAM reinforces Cold War tropes, anxieties, and “us vs them” formulations. FAM's writers miss the opportunity to probe the complexities of gender and personhood in the late Soviet era. Instead of encouraging more nuanced thinking about “the Russians,” FAM's universe perpetuates Cold War sensibilities that promote competition and conflict on Earth and in space.
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Smith, Paul Julian. "Screenings". Film Quarterly 70, n. 4 (2017): 83–87. http://dx.doi.org/10.1525/fq.2017.70.4.83.
Testo completoAbstract (sommario):
Columnist Paul Julian Smith puts a Mexican TV hit that has gone global into perspective for FQ's readers. Sor Juana Inés de la Cruz, the seventeenth-century poet and nun, has a good claim to be the best-known woman in the history of Mexico. Looking scholarly on the two-hundred-peso banknote, where she is depicted with an ink quill and a volume of her collected works, she has long been an incongruous presence among the virile Aztecs, revolutionaries, and presidents that grace the rest of Mexican currency. But only now has she been awarded that special honor: a biographical television series on her richly resonant and mysterious life. Patricia Arriaga Jordán, perhaps the most distinguished television producer in the country, created Juana Inés for Canal 11, the free public broadcast channel owned by the Instituto Politécnico Nacional university with which she has long collaborated. The seven-hour-long episodes were broadcast nationally twice a week in prime time beginning on March 26, 2016, and subsequently sold for international distribution to Netflix where, at the time of writing, they are available in the United States.
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Jimenez, Carlos, e Alfredo Huante. "Home in Vida and Gentefied". Aztlán: A Journal of Chicano Studies 48, n. 1 (2023): 21–52. http://dx.doi.org/10.1525/azt.2023.48.1.21.
Testo completoAbstract (sommario):
The process of gente-fication, or Latinx-led urban revitalization in workingclass barrios, has recently gained widespread attention and is at the heart of the popular US television series Vida (2018–20) and Gentefied (2020–22). Both programs serve as windows into contemporary Latinx struggles over belonging, “home,” and identity against the backdrop of multicultural neoliberalism and multicultural whiteness in the United States. We examine how change in the fictional Latinx neighborhoods in Vida and Gentefied highlights the precarity of home for Latinxs in the United States, even as Latinx representation has achieved new heights across social life. Vida and Gentefied specifically depict home as threatened by processes of gentrification and gente-fication. Even though the home is in distress, it continues to offer Latinx protagonists safety, love, and belonging through a heterogeneous network of individuals, experiences, and memories. In their attempt to stabilize home, Latinx protagonists find autonomy and a home that heals, but in contrasting the popular conceptualization of gente-fication as a gentler, more culturally sensitive form of gentrification emphasizing racial and economic uplift for barrio residents, we argue that Vida and Gentefied utilize gente-fication as a narrative tool that rests Latinx belonging on tenets of assimilation.
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Peltier, MacKenzie, e Lauren Mizock. "Fox's More to Love: Pseudo-Fat Acceptance in Reality Television". Somatechnics 2, n. 1 (marzo 2012): 93–106. http://dx.doi.org/10.3366/soma.2012.0043.
Testo completoAbstract (sommario):
Anti-fat bias has become a critical issue to address given the moral panic over perceptions of the prevalence of ‘obesity’ that leads to further stigmatization of fatness ( Boero, 2007 ; Campos et al., 2006 ; Flegal et al., 2010 ; Gard, 2010 ; Tischner & Malson, 2008 ). Fat phobic attitudes result in negative outcomes for employment, relationships, and health care provision ( Teachman & Brownell, 2001 ; Maranto & Stenoien, 2000 ). The United States media has frequently been identified as a source that further reinforces stereotypes and contributes to anti-fat stigma ( Himes & Thompson, 2007 ). Specifically, the representation of fat characters in television has risen in recent years ( Himes & Thompson, 2007 ), possibly due to public pressure, marketing goals, or to better represent the general population. However, are these allegedly fat positive depictions effective alternatives to fat stigma? In the case of the Fox Television network's reality dating series featuring fat contestants, More to Love, pseudo-fat acceptance is the result. In this paper, we rely on a textual analysis of More to Love (in select episodes and promotional material) to highlight the undermining of fat acceptance in popular American media sources. We will discuss how pseudo-fat acceptance in this program further reinforces anti-fat stigma. Implications of fat stigmatizing and fat positive representation in the media will also be suggested.
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Witek, Michał. "The changing face of the “Yellow Peril” — representations of Asians and Asian Americans in the context of the “streaming revolution” in the United States". Prace Kulturoznawcze 24, n. 4 (10 gennaio 2021): 15–31. http://dx.doi.org/10.19195/0860-6668.24.4.2.
Testo completoAbstract (sommario):
The aim of this article is a critical analysis of the changing landscape of American streaming and post-network television content offer in the context of Asians’ and Asian Americans’ representations. The focus of this analysis is primarily on the stereotypes — the mechanisms behind their construction and deconstruction, and their role in the shaping of the popular image of Asians and Asian Americans. The secondary goal is the attempt to show how the culturally constructed Other is constantly present in the common imagination of the TV and cinema audience, and how this construct influences production companies, audiences, and showrunners in the USA. The question of the postulated “change” in the representation of Asian and Asian Americans, and their visibility remains open for further debate. However, I have attempted to restrict it to the model example of two series over the past twenty years.
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Moise, Edwin E. "Recent Accounts of the Vietnam War—A Review Article". Journal of Asian Studies 44, n. 2 (febbraio 1985): 343–48. http://dx.doi.org/10.2307/2055928.
Testo completoAbstract (sommario):
AbstractsThe Public Broadcasting Service series Vietnam: A Television History is generally sound, and commendably willing to present opinions and judgments on controversial issues.Stanley Karnow's Vietnam: A History presents important new information but gives inadequate attention to some fundamental issues; James Harrison's The Endless War contains less original material but deals better with fundamental issues, including the nature and sources of Communist strength in Vietnam.R. B. Smith, Revolution versus Containment, 1955–1961, volume 1 of An International History of the Vietnam War, tries to cover too much in a short book. Some of the conclusions are not adequately proven.Ronald Spector's Advice and Support: The Early Years, 1941–1960 (the first volume of the United States Army's official history of the Vietnam War) is useful, especially for the periods 1944–1945 and 1956–1960. It slightly exaggerates the speed with which Communist guerrilla warfare developed in South Vietnam between 1957 and 1960.
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Matyjaszek, Konrad. "Reactions by émigré Polish leaders and intellectuals in the United States to the television series Holocaust: The Story of the Family Weiss (1978)". Patterns of Prejudice 55, n. 1 (1 gennaio 2021): 47–70. http://dx.doi.org/10.1080/0031322x.2021.1920720.
Testo completo
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Pötzsch, Janelle. "The Handmaid’s Tale: Reproductive Labour and the Social Embeddedness of Markets". Open Philosophy 5, n. 1 (14 dicembre 2021): 31–43. http://dx.doi.org/10.1515/opphil-2020-0158.
Testo completoAbstract (sommario):
Abstract In episode 6 of the first season of The Handmaid’s Tale (2017–, MGM Television), the Republic of Gilead welcomes a trade delegation of the United Mexican States. Offred’s hope that the ensuing trade agreement between Gilead and Mexico would eventually bring the sexual exploitation she and the other handmaids suffer to public are quickly dashed. During a chance encounter at the house of Offred’s master, the Mexican ambassador Mrs Castillo confides in Offred that Mexico is suffering a fertility crisis just like Gilead. Her country is seriously considering trading with Gilead in handmaids (season 1, episode 6, “A Woman’s Place”). My article will use this episode as a starting point to reflect on the correlation between women’s social and economic status. I will illustrate how The Handmaid’s Tale demonstrates that markets are socially embedded and thereby reproduce and amplify social and political inequalities. This series thereby also functions as a powerful validation of the asymmetry thesis concerning markets in reproductive labour.
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Sundstrom, Beth, Laura A. Carr, Andrea L. DeMaria, Jeffrey E. Korte, Susan C. Modesitt e Jennifer Young Pierce. "Protecting the Next Generation". Social Marketing Quarterly 21, n. 3 (6 agosto 2015): 173–88. http://dx.doi.org/10.1177/1524500415598984.
Testo completoAbstract (sommario):
This study guides social marketing campaigns to increase human papillomavirus (HPV) vaccination among young women by elaborating the health belief model (HBM). A self-administered, anonymous, web-based questionnaire was e-mailed to all entering female college students at a large, public university in the mid-Atlantic region of the United States. Findings elaborate the HBM constructs of perceived threat, benefits, barriers, and cues to action. Almost all participants had heard about the HPV vaccine and the majority of first-year students had received at least one shot in the vaccination series. Results expand understandings of perceived threat in relation to the HPV vaccine by explicating misinformation and knowledge gaps. Participants indicated that parents and physicians were their most trusted sources of vaccine information. Television and Internet cues to action were negatively associated with HPV vaccination among these women. Structural equation modeling results affirmed the HBM’s fit (comparative fit index = 0.935, normative fit index = 0.921, and root mean square error of approximation = 0.077). This finding suggests the importance of multimodal sources of information, expanding the dichotomous internal and external cues to action. Perceptions of vaccine safety remained a significant barrier to the uptake of HPV vaccination among participants. Racial disparities between White and non-White students could have a considerable impact on the established inequality in HPV vaccination rates in the United States. Results inform future social marketing campaign messages and strategies based on the HBM.
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Xue, Mengjie. "The Transmission Effect of Costume Dramas on International Social Media". Journal of Education, Humanities and Social Sciences 1 (6 luglio 2022): 82–85. http://dx.doi.org/10.54097/ehss.v1i.642.
Testo completoAbstract (sommario):
C-dramas are launched on YouTube platform, and the update speed overseas is the same as that at home. Overseas audiences can understand costume dramas through language symbols, star symbols, and they love costume dramas more than modern dramas. They have the ability to share joys and sorrows with film and television characters. The viewing of costume dramas leads to Chinese fever and star chasing behavior. In order to better spread costume drama, it can create contact opportunities for overseas audiences within the acceptable range of culture, reduce the cultural inaccuracy part of costume drama, provide background knowledge and provide quality dramas. Film and television works are an important way to tell Chinese stories. Story-based communication makes overseas audiences willing to learn about Chinese culture and history through film and television works. Swordsmen film is a folk hero myth in the Chinese world, similar to western cowboy in the United States and Bushido in Japan. Swordsmen films is the most complete in China film, and the most national characteristics of film type.In terms of TV dramas, costume dramas are rooted in traditional Chinese culture, displaying rich Chinese elements and carrying cultural symbols such as Chinese history, mythology, classical Musical Instruments, traditional costumes, architecture and Chinese food. They are unique types of dramas attracting overseas audiences with distinctive national characteristics.With the open, convenient, timely and effective features of the Internet, Chinese films and TV series have been released on overseas network platforms such as Netflix and YouTube, changing from passive communication to active communication. On YouTube, film and television organizations with copyright have opened channels to upload Chinese films and TV works.This study takes Tencent Video as the research object to analyze what efforts the online video platform has made for the spread of costume dramas? What are the comments of international audiences? How to improve the overseas communication effect of costume dramas?
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Cull, Nicholas. "The forgotten process: Information disarmament in the Soviet/US reproachment of the 1980s". Vestnik of Saint Petersburg University. International relations 14, n. 3 (2021): 257–72. http://dx.doi.org/10.21638/spbu06.2021.301.
Testo completoAbstract (sommario):
This article contends that just as an excess of conventional arms requires a disarmament processes, so the weaponization of media should be met with an information disarmament process. The article examines elements of this work deployed to assist in the US — Soviet rapprochement of the 1980s. Cases discussed include a mutual textbook review project, citizento-citizen conferences mounted by the Chautauqua Society and a series of forums held via satellite television links called Spacebridges. The emergence of government-to-government information talks in which the United States Information Agency led by Charles Z.Wick engaged various elements of the Soviet state media apparatus is traced. The meetings from 1986 through 1989 are summarized, including the frank discussion of the challenge of disinformation and of mutual stereotyping. It is asserted that this process was more effective than is generally remembered, but success required a rough symmetry within the US/Soviet relationship. The internal crisis within the USSR repositioned the country as a junior partner and led the US to misperceive the end of the Cold War in terms of victory and defeat, with counterproductive results.
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Leigh, Andrew, e Chris Ryan. "Long-Run Trends in School Productivity: Evidence from Australia". Education Finance and Policy 6, n. 1 (gennaio 2011): 105–35. http://dx.doi.org/10.1162/edfp_a_00024.
Testo completoAbstract (sommario):
Outside the United States, very little is known about long-run trends in school productivity. We present new evidence using two data series from Australia, where comparable tests are available back to the 1960s. For young teenagers (aged 13–14), we find a small but statistically significant fall in numeracy over the period 1964–2003 and in both literacy and numeracy over the period 1975–98. The decline is in the order of one-tenth to one-fifth of a standard deviation. Adjusting this decline for changes in student demographics does not affect this conclusion; if anything, the decline appears to be more acute. The available evidence also suggests that any changes in student attitudes, school violence, and television viewing are unlikely to have had a major impact on test scores. Real per child school expenditure increased substantially over this period, implying a fall in school productivity. Although we cannot account for all the phenomena that might have affected school productivity, we identify a number of plausible explanations.
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Daniels, Jessie, Julie C. Netherland e Alyssa Patricia Lyons. "White Women, U.S. Popular Culture, and Narratives of Addiction". Contemporary Drug Problems 45, n. 3 (18 aprile 2018): 329–46. http://dx.doi.org/10.1177/0091450918766914.
Testo completoAbstract (sommario):
The United States war on drugs has, for decades now, systematically targeted communities of color. This sustained attack on people of color is accomplished through the use of whiteness. Recently, mainstream news media and elected officials have called for a “gentler war on drugs” to address the opioid epidemic. While some may see this as a welcome change, we take a more critical view. Specifically, we examine the role of White women in two popular television series that feature narratives of addiction as a gendered instance of “white drug exceptionalism.” To do this, we conducted a systematic analysis of a narrative television show, Law & Order, and a reality-based show, Intervention, using nine seasons over the same time period (2000–2010). In the procedural drama Law & Order, White women were featured prominently as part of the carceral state, both as police detectives and as prosecutors. Occasionally, White women are portrayed as victims of drug culture. On the rehabinspired Intervention, the majority of all characters are White, and the audience is invited to view drug use and recovery through a white lens that tells a particular kind of story about addiction. Both the carceral model promoted by Law & Order and the therapeutic model valorized by Intervention rely on particular notions of White womanhood mapped onto neoliberal regimes of citizenship that not only compel us all toward “health” and “sobriety” but also warp our collective imagination, so that we only see some drug users as worthy of a gentleness and compassion.
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Woodson, Mary Beth. "Two Trips across One Globe: Earth and Planet Earth Fothergill, A., & Linfield, M. (Directors). (2007). Earth [Documentary]. United States: Disneynature. Fothergill, A. (Director). (2006). Planet Earth. [Television series]. United Kingdom: BBC/Greenlight Media/Discovery Channel." Society & Animals 18, n. 4 (2010): 428–32. http://dx.doi.org/10.1163/156853010x524398.
Testo completoAbstract (sommario):
AbstractThis review explores the twin documentaries Earth and Planet Earth. Both are structured with the same goal of exploring our planet and its nonhuman animal inhabitants, but they diverge in approach. Using Disney’s “True-Life Adventure” series as an ideal, the view of human-nonhuman animal relations presented in Earth differs from the one presented in Planet Earth. While the former relies strongly on a purified image that mirrors traditional (Western, human) ideals, the latter presents an image that is both less “neat” and less reliant on attributing humanlike qualities to nonhuman animals. There are some similarities, however, especially regarding the human role in the future survival of the planet’s nonhuman animals.
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McWha, Madelene, e Sue Beeton. "Engaging with popular media through tourism: A brief introduction". Tourist Studies 18, n. 3 (25 giugno 2018): 257–60. http://dx.doi.org/10.1177/1468797618782254.
Testo completoAbstract (sommario):
Featuring research cases in Australia, China, Japan, Switzerland and the United States, from cosmopolitan New York to the American wilderness, this Special Issue reviews the ways in which popular media can be engaged through tourism across the globe. In this introduction, we set the scene for the six papers that follow, which collectively demonstrate the diversity of touristic, cultural and societal engagement with different forms of popular media through travel and tourism. The qualitative research papers present rich theoretical analysis and diverse and deliberate methodological approaches to critically examine a range of theoretical themes and constructs, including more amorphous concepts such as mediatised mobility, nationalism, gendered narratives and inter- and intra-personal authenticity, to more practical demonstrations of destination choice, contents tourism, placemaking and fandom. Each paper features a different popular media, including music, film, television series, animation, advertising and social media, and contributing authors critique the manifold uses of these mediums in tourism as well as their theoretical, managerial and operational implications. Also presented in this introduction is a brief explanation of the mentoring process in which some of the contributors participated to develop their scholarly practice and reflections with the support of a ‘critical reader’.
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Martens, Emiel, e Débora Póvoa. "How to get away with colour". Alphaville: Journal of Film and Screen Media, n. 13 (20 luglio 2017): 117–34. http://dx.doi.org/10.33178/alpha.13.07.
Testo completoAbstract (sommario):
The popular American television series How to Get Away with Murder (2014) seems to challenge the long history of stereotypical roles assigned to racial minorities in American media by choosing a multiracial cast to impersonate characters that, while having different racial backgrounds, share a similar socio-economic status and have multidimensional personalities that distance them from the common stereotypes. However, although it has been praised for its portrayal of racial diversity, the series operates within a problematic logic of racial colour-blindness, disconnecting the main characters from any sign of racial specificity and creating a fictional world in which racism is no longer part of American society. This case study aims to demonstrate to which extent the “colour-blind approach” of the TV show reinforces the postracial illusion in the United States, i.e. the idea that the country has overcome its past of racial segregation and now offers the same opportunities for everyone, regardless of colour and race. Through a narrative analysis of the first season of the series, this chapter will argue that the depiction of race in How to Get Away with Murder is highly ambivalent. On the one hand, the show does not completely ignore race by inserting topics such as racism in the plot, giving these issues at least some visibility. On the other hand, its more general panorama reveals an intent to deracialise its main characters in a colour-blind manner. This is problematic since it overshadows racial issues that still have a big impact on the lives of racial minorities.
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Fuechtner, Veronika, e Paul Lerner. "Babylon Berlin: Media, Spectacle, and History". Central European History 53, n. 4 (dicembre 2020): 835–54. http://dx.doi.org/10.1017/s0008938920000771.
Testo completoAbstract (sommario):
Babylon Berlin (henceforth BB) premiered in Germany on the pay channel Sky TV in October 2017 and in the United States on the streaming service Netflix in January 2018. It is based on Volker Kutscher's series of crime novels set in late Weimar Republic and early Nazi-era Berlin. At its center are the lives and investigations of the laconic and tormented police detective Gereon Rath and his charismatic and irrepressible assistant Charlotte (Lotte) Ritter. In anticipation of the series premiere on public television, marathon screenings took place in 150 cinemas across Germany, where audience members dressed up in 1920s fashion and enjoyed a Currywurst break. Its viewership in the Federal Republic was topped only by the global fantasy behemoth Game of Thrones. The series is clearly modeled on American series such as Mad Men (2007–2015) and The Wire (2002–2008) as it unfolds a complex web of characters and subplots with loving attention to the history and fashions of the time. Indeed, this collaboration of seasoned directors Tom Tykwer, Achim von Borries, and Henk Handloegten is the most expensive German TV series to date. The fact that BB premiered on pay TV while having been largely produced with public funds drew some ire. German reviewers questioned both the circumstances of its production and its creative ambition. While Der Spiegel called it “a masterpiece,” one much debated blog review went so far as to call it “pure crap,” which neither reflected historical truth nor carried artistic merit. Many critics faulted the series for trading in postcard clichés and creating a 1920s “Berlin Disneyland.” The weekly Die Zeit complained that there was a little too much cute dialect, such as “icke” and “kiek ma,” which made the critic sometimes feel like wiping the dirt makeup off the proletarian faces. (And indeed, one of the numerous intertexts of this series are Heinrich Zille's unflinching depictions of proletarian misery.)
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Xu, J., S. Rugg, M. Horner e L. Byerle. "Application of ATOVS Radiance with ARW WRF/GSI Data Assimilation System in the Prediction of Hurricane Katrina". Open Atmospheric Science Journal 3, n. 1 (15 gennaio 2009): 13–28. http://dx.doi.org/10.2174/1874282300903010013.
Testo completoAbstract (sommario):
In this study, we evaluated the impact of directly assimilating radiance on Hurricane Katrina forecasts over the Gulf of Mexico in the southeastern United States in August 2005. The ATOVS (i.e., The Advanced Television and Infrared Observation Satellite (TIROS)-N Operational Vertical Sounder) radiance data, the Gridpoint Statistical Interpolation (GSI) three-dimensional variational analysis (3DVAR) system, and the Advanced Research WRF (ARW WRF) model were employed. The results in a series of experiments show that after radiance data assimilation, the intensity and structure of initial fields including atmospheric flow, temperature and moisture have been modified somehow, especially with instruments using microwave bands such as AMSU-A/B. An anomalous southward pressure gradient has been added behind the hurricane center, which made the easterly flow go through the initial vortex center, accelerating westward movement of the hurricane. All data assimilation experiments obtain a similar forecast for the hurricane track before 36 h of model integration. After 36 h, the hurricane tracks in AMSU-A/B experiments are closer to the best track, but the tracks in HIRS3 and control experiments have a bigger error. However, we note that the improvement is limited, all assimilation experiments did not properly depict the deepening of the hurricane center around 1800 UTC 28 August.
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Pietrzyck, Katja, Nora Berke, Vanessa Wendel, Julia Steinhoff-Wagner, Sebastian Jarzębowski e Brigitte Petersen. "Understanding the Importance of International Quality Standards Regarding Global Trade in Food and Agricultural Products: Analysis of the German Media". Agriculture 11, n. 4 (7 aprile 2021): 328. http://dx.doi.org/10.3390/agriculture11040328.
Testo completoAbstract (sommario):
Rapid globalization of the agrifood industry has important impacts on international trade and quality management (QM). Likewise, the European Union has negotiated a series of bilateral free trade agreements. Of note was the Transatlantic Trade and Investment Partnership (TTIP) with the United States of America, where the debate focused on the mutual recognition and harmonization of quality standards, especially for agricultural and food products. This topic offered the mainstream media excellent substances for coverage. This paper explores German print media, television, and radio on the importance of international quality standards in the agrifood sectors in light of the TTIP. A quantitative and qualitative empirical content analysis was performed to investigate media reporting regarding (a) it is scientific character, (b) the use of the term “quality standards” of the agrifood industry, and (c) the reporting on the agrifood industry and QM linked with TTIP, focused on harmonization. The results showed that interrelations between QM and global trade were not presented to recipients in-depth. A trend toward information asymmetries in recipient’s knowledge is indicated. The study addresses recommendations for future collaborations between media, policy-makers, and further cooperation in the mutual recognition and harmonization of quality standards and control procedures within global trade.
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Fried, Kristopher, e Shelley Carson. "The influence of performance expectations and personality on audience ratings of humor". HUMOR 31, n. 4 (25 settembre 2018): 645–61. http://dx.doi.org/10.1515/humor-2017-0137.
Testo completoAbstract (sommario):
Abstract Are our ratings of comics and the humor of their material affected by our perceived expectations? We tested the responses of fifty participants, recruited from comedy club audiences in the United States, who completed a standard personality test and then watched and rated video clips of stand-up comedy performances. The comedians in each clip were unknown to the viewers, and were either introduced with enhanced/exaggerated credentials (such as having experience writing for The Tonight Show or appearing on the Modern Family television series), or were given a more generic introduction, hinting that they have not yet achieved notable success. Participants rated their enjoyment of each comedian at three points during each eight-minute video clip, and rated their favorite joke and favorite comedian overall. Results indicated that expectations (based on exaggerated/enhanced credentials) affected humor ratings early in the performance but dissipated as the performance continued, suggesting that expectations only briefly affect one’s judgment of humor. Personality results indicated that the traits Extraversion and Agreeableness were significantly and positively correlated with overall performance ratings but only Extraversion affected whether viewers’ ratings were influenced by enhanced/exaggerated introductions. Agreeableness, gender, and age were more salient predictors of viewers’ humor ratings of comedians than were viewer expectations based on enhanced/exaggerated credentials.
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Haldane, John. "A SUBJECT OF DISTASTE; AN OBJECT OF JUDGMENT". Social Philosophy and Policy 21, n. 1 (gennaio 2004): 202–20. http://dx.doi.org/10.1017/s0265052504211098.
Testo completoAbstract (sommario):
In recent years it has become increasingly common in the United States and in the United Kingdom for newspapers and other media to expose problematic aspects of the private lives of political (and other public) figures; or, since the facts may already be in the public domain, to draw wider attention to them and to make them the subject of commentary. These “problematic aspects” may include past or continuing physical or psychological illness, eating disorders, drug and alcohol abuse or dependence, financial difficulties, family conflict, infidelity, or certain sexual proclivities of both the political figures themselves and of their family members or intimates. In the United States, the most prominent cases are probably those of President Bill Clinton in relation to a series of alleged extramarital affairs leading up to the scandal involving White House intern Monica Lewinsky, and of President John F. Kennedy, also in relation to marital infidelities. The latter exposure was, of course retrospective, as were revelations of similar matters concerning other presidents and holders of high office. Up until the mid-1960s, while it was sometimes known to the press that politicians had “problems” in their private lives, it was rare for these to be made public. Sometimes it might be reported, or more likely hinted, that a figure had a “complex” or “difficult” personal life, and the public was left to infer whatever it might from this (generally concluding that infidelity, alcoholism, or both, were probably at issue). The recent culture of exposure results from a combination of factors, including changed attitudes toward public discussion of sexual conduct, changed standards of sexual behavior, recognition of the scale of Cold War espionage and of its practice of blackmail, a general decline in social deference, a threat to the print media posed by the growth of television, and the rise of satirical entertainment. All of these elements were present in the case that marked the establishment of the culture of exposure in the U.K.: the ‘Profumo scandal’ of 1963. For those unaware of this episode, it may be sufficient to say that it involved the then-secretary of state for war, members of the British aristocracy, a Soviet naval attaché, and a number of “society” call girls, and that it contributed to the resignation of Prime Minister Harold Macmillan and the subsequent fall from power of the Conservative Party. In the United States, the culture of exposure developed somewhat later and took shape in the period of the Watergate scandal, which damaged the American public's perception of the governing classes just as the Profumo scandal had in Britain.
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WORDEN, DANIEL. "Fossil-Fuel Futurity: Oil in Giant". Journal of American Studies 46, n. 2 (maggio 2012): 441–60. http://dx.doi.org/10.1017/s002187581200014x.
Testo completoAbstract (sommario):
Giant is a sprawling narrative, centered around the Benedict family, Texas cattle ranchers, and Jett Rink, a nouveau riche oilman. Originally serialized in Ladies' Home Journal in 1952, subsequently published as a novel, then adapted into George Stevens's 1956 film starring James Dean, Rock Hudson, and Elizabeth Taylor, Giant is a text that dramatizes the domestication and naturalization of the oil industry in the postwar United States while endorsing a multiracial vision of Texas. This essay explores how Giant ultimately arrives at nationalistic pluralism after representing the radical changes brought about by the modern oil industry in the US, particularly the erosion of traditional class divisions as Jett Rink's oil wealth exceeds the Benedict's ranching wealth. The subsumption of oil into liberal pluralism marks what this essay names “fossil-fuel futurity,” an ideological configuration in which normative life is produced through the commodities and modes of transportation made available by fossil-fuel culture. The essay then puts Giant into a broader context of narratives about oil in the postwar US, especially the television series Dallas (1978–91) and the film There Will Be Blood (2007). In all three texts, oil culture becomes postwar US culture, saturating aesthetic, affective, and family relations. The challenge for us, then, is to imagine a mode of futurity that does not replicate the ideological valences of “fossil-fuel futurity.”
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Wang, Yang, Huichuan Xia, Yaxing Yao e Yun Huang. "Flying Eyes and Hidden Controllers: A Qualitative Study of People’s Privacy Perceptions of Civilian Drones in The US". Proceedings on Privacy Enhancing Technologies 2016, n. 3 (1 luglio 2016): 172–90. http://dx.doi.org/10.1515/popets-2016-0022.
Testo completoAbstract (sommario):
Abstract Drones are unmanned aircraft controlled remotely or operated autonomously. While the extant literature suggests that drones can in principle invade people’s privacy, little is known about how people actually think about drones. Drawing from a series of in-depth interviews conducted in the United States, we provide a novel and rich account of people’s privacy perceptions of drones for civilian uses both in general and under specific usage scenarios. Our informants raised both physical and information privacy issues against government, organization and individual use of drones. Informants’ reasoning about the acceptance of drone use was in part based on whether the drone is operating in a public or private space. However, our informants differed significantly in their definitions of public and private spaces. While our informants’ privacy concerns such as surveillance, data collection and sharing have been raised for other tracking technologies such as camera phones and closed-circuit television (CCTV), our interviews highlight two heightened issues of drones: (1) powerful yet inconspicuous data collection, (2) hidden and inaccessible drone controllers. These two aspects of drones render some of people’s existing privacy practices futile (e.g., notice recording and ask controllers to stop or delete the recording). Some informants demanded notifications of drones near them and expected drone controllers asking for their explicit permissions before recording. We discuss implications for future privacy-enhancing drone designs.
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Day, Alan. "Television Westerns Episode Guide:97502Harris M. Lentz III. Television Westerns Episode Guide: All United States Series 1949‐1996. Jefferson, NC: McFarland and Co 1997. viii + 568 pp, ISBN: 0 7864 0377 2 £85.50 UK distribution by Shelwing Ltd, Folkestone, Kent". Reference Reviews 11, n. 8 (agosto 1997): 33. http://dx.doi.org/10.1108/rr.1997.11.8.33.502.
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