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Статті в журналах з теми "Television viewers Psychological aspects":
1
Ashifa, Dr K. M., and -. "Addictive Behaviour among Women Viewers of Indian Soap Opera." Webology 18, Special Issue 03 (April 29, 2021): 127–36. http://dx.doi.org/10.14704/web/v18si03/web18030.
Анотація:
Media is an integral part of society and it plays vital role for inculcating information. In the course of accomplishing its duties and functions, media, especially television influence on society relatively depending on the audience it reaches. Soaps have a predominant female audience. Some soaps do include men viewers but some social researchers pointed, women are considering most peculiar viewers. They are emotionally attached and value particular soaps in their personal and domestic life. Today people are leading a fast life. People should have some kind of recreation in their get relation of their physical and psychological balances of life. So, different people have different activities to spend their leisure. Based on the present study, most of the women are getting involved with the soap opera and were emotionally attached and curiously waiting for next episodes as it is effecting social, family and occupational life. So the present study tried to come out with fact of effects of soap operas’ on women’s behaviour in the aspects of socio- cultural aspects, economic aspects, psychological aspects, physiological aspects and functional aspects.
2
Dadouh, A., and A. Aomari. "Moroccan TV Broadcasters and Viewership Changes in the Digital Age: An Exploratory Study." European Journal of Business and Management Research 6, no. 1 (February 25, 2021): 232–37. http://dx.doi.org/10.24018/ejbmr.2021.6.1.744.
Анотація:
In the first two decades of the 21st century, the relationship between viewers and television underwent major changes, with the advent of technologies that led to new viewing habits. This situation starts now to question the ability of broadcasters to build and retain loyal viewers. As a response, broadcasters are adapting their contents and distribution to fit in the new digital world. While studying the possible impacts of the efforts made by broadcasters, we complete our analysis by addressing also the factors that guide consumer choices through media use models, which focus on the psychological, emotional, personal and environmental aspects of media consumption choices. Through interviews with Moroccan broadcasters, this paper aims to identify which behavioral aspects and innovation levers broadcasters should take into account to build audience loyalty in the era of digital media.
3
Bovina, I. B., N. V. Dvoryanchikov, and S. V. Budykin. "Information security of children and adolescents in understanding parents and teachers." Psychology and Law 5, no. 3 (2015): 1–13. http://dx.doi.org/10.17759/psylaw.2015050301.
Анотація:
The article presents the first part of the work devoted to the study of ordinary representations of parents and teachers about information security of children and adolescents. It is about addressing the problem of information security of children and adolescents, discuss the effects of observing violence in the mass media on the subsequent behaviour of viewers, refers to directing television roles on the example of transfer schemes by S. Milgram in the context of television game (experiment J. L. Beauvois with colleagues). This paper examines the impact on users has the Internet, discusses the main directions of action in relation to ensuring information security of children and adolescents, focusing on psychological aspects of the concept of information security of children, demonstrates the importance of studying "naive theories" that govern the actions aimed at ensuring information security of children. The authors explain the prospect of studying problems of information security of children in the framework of the theory of social representations.
4
Byrne, Peter. "Psychiatry and the media." Advances in Psychiatric Treatment 9, no. 2 (March 2003): 135–43. http://dx.doi.org/10.1192/apt.9.2.135.
Анотація:
Aspects of print, broadcast, film and ‘new media’ are related to their interactions with psychiatry. Frequent representations of mental health issues are paralleled by the adoption of psychological theories into media studies. Key areas are covered where psychiatric items diverge from other medical specialities, such as the depiction of suicide, the dominance of ‘human interest’ stories and negative representation of people with mental illness. Although the language of mental disorders is important, the power of the image needs to be examined. Media items also have implications for public mental health (children as vulnerable viewers) and the clinical practice of psychiatry that are not uniformly negative. Television has limitations and clinicians are encouraged to participate in radio and other media. Resources and practical advice for media contact are provided.
5
Konfederat, Olga, and Natalia Dyadyk. "Philosophical and anthropological aspects of the XXI century television series «Tales from the Loop» (2019) as an experience of philosophical reflection." Socium i vlast 3 (2021): 55–66. http://dx.doi.org/10.22394/1996-0522-2021-3-55-66.
Анотація:
Introduction. Analyzing the popularity of television series in the XXI century makes it possible to conclude that this format of video production has changed significantly in comparison with the second half of the XX century: the fascinating (seductive, enchanting) function in it dominates over the narrative-entertaining one. At the same time, not only the individual performer becomes the instrument of fascination, but the entire specially created visual environment of the series. This situation makes it possible for a researcher, on the one hand, to identify the most significant emotional and psychological needs of modern society and thereby clarify some of the philosophical and anthropological aspects of today’s culture. On the other hand, it makes it possible to classify serial production on the basis of hedonistic values, that is, to identify the basic models by which the fascinating environments of popular serials are created. One of such models, the existential one, becomes the subject of special attention in the article. The purpose of the study is to present the existential model as one of five generative models of the screen spectacle on the basis of analyzing visual cues from the 2020 television series (Tales from the Loop. Amazon Studio, Fox 21 Television Studios, USA, 2020); to consider «Tales from the Loop» as a screen model that gives a viewer the experience of philosophical and anthropological reflection. Methods: In the course of the study, the authors use general scientific methods of analysis and synthesis; the method of phenomenological reduction, which makes it possible to record the sensually perceived qualities of object-spatial screen images; a hermeneutic method that makes it possible, on the basis of visible sign structures, to reveal the deep intentions of a visual image. The scientific novelty lies in the fact that we consider the television series as an anthropological phenomenon, not only reflecting the interests, aspirations and values of the society, but also modeling the society through a deep suggestive (fascinating) influence. A typology of such environments is created, corresponding to basic hedonistic needs and reflecting the degree of demand for certain states of pleasure in modern society. The method of creating a visual environment that draws a viewer into a state of philosophical reflection, which in this case is interpreted as a way to achieve «the fulfillment of being» (Aristippus), is specially clarified. Results. In the course of the analysis, the authors applied to television production a hedonistic-ontological typology of a visual image, which includes five generative models; a targeted analysis of the popularity of the most influential television series of the 2000s – 2020s was carried out, taking into account the level and causes of spectator fascination; as exemplified by the television series «Stories from the Loop» and in the course of the analysis of its visual components, it becomes clear how the modern series succeeds in involving a viewer in a state of philosophical reflection. Conclusions. The philosophical and anthropological analysis of the modern television series shows that the entertainment and narrative functions that are relevant for the twentieth century have been replaced by the function of fascination, a deep influence on a viewer at a suggestive level. In this case, the purpose of fascination is to involve a viewer not only in hedonistic states of pleasure, but also in states of faith or philosophical reflection.
6
Ilchenko, Sergei N. "Transformation of Gender Dominance in Russian TV Content in 2000s and 2010s: Based on Detective Series." Art and Science of Television 17, no. 4 (2021): 111–40. http://dx.doi.org/10.30628/1994-9529-2021-17.4-111-140.
Анотація:
The article covers the gender issues of modern Russian television content on the example of a serial segment of Russian broadcast over the past 20 years. This aspect predetermines the relevance of the proposed research. The work focuses on the series that tend toward the most mass and popular forms of solving aesthetic problems—melodrama, comedy, and detective. The examples of the series, involved in the analysis, suggest that the gender dominance, characteristic of the previous stage of TV broadcasting development in Russia, has transformed significantly. This trend is indicated by the increasing importance of female characters in Russian detective series of the 2000s and 2010s. Notably, the process is instantiated by both quantitative and qualitative markers, including in terms of appeal to different historical periods which are reflected in the plots. At the same time, producers, including production teams of broadcasters, make active use of foreign experience, creating domestic versions of popular detective series filmed in other countries. Such circumstances of on-air content production can be explained by a combination of both objective (social, psychological) factors and subjective reasons (potential audience composition). Such aspects, taken together, generate complexes of plot and personified viewers’ expectations from watching the series. This situation forces the filmmakers and originators of new TV series to budge from traditional formats and creative techniques and take the factor of gender dominance into consideration. The latter, according to the author of the article, contributes to the transformation of the structure and content of the narrative of serial screen products that were standard for the previous stage of Russian TV broadcasting development. It can be stated that in modern television, the shares and roles of male and female characters in the plot constructions are “equalizing”. This, in turn, predetermines the thematic and genre variability of series, reflecting the orientation of Russian serial filmmakers on expanding the potential TV audience.
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WYNN, NEIL A. "Counselling the Mafia: The Sopranos Regina Barreca, ed., A Sitdown with the Sopranos: Watching Italian American Culture on TV's Most Talked-About Series (New York: Palgrave Macmillan, 2002). 0 312 29528 6 David Bishop, Bright Lights, Baked Ziti: The Unofficial, Unauthorised Guide to The Sopranos (London: Virgin Books, 2001). 0 7535 0584 3 David Chase, The Sopranos Scriptbook (London: Channel 4 Books, 2001). 0 7522 6157 6 Glen O. Gabbard, The Psychology of the Sopranos: Love, Death, and Betrayal in America's Favorite Gangster Family (New York: Basic Books, 2002). 0 465 02735 0 The New York Times, The New York Times on the Sopranos, introduction by Stephen Holden (New York: ibooks, 2000). 0 7434 4467 1 Allen Rucker, The Sopranos: A Family History (London: Channel 4 Books, 2000). 0 752 26177 0 Allen Rucker (Recipes by Michele Scicolone), The Sopranos Family Cook Book As Compiled by Artie Bucco (London: Hodder and Stoughton, 2002). 0 340 82724 6 David R. Simon, Tony Soprano's America: The Criminal Side of the American Dream (Boulder, CO, and Oxford: Westview, 2002). 0 8133 4036 5 David Lavery, ed., This Thing of Ours: Investigating the Sopranos (New York: Columbia University Press, 2002). 0 231 12781 2." Journal of American Studies 38, no. 1 (April 2004): 127–32. http://dx.doi.org/10.1017/s0021875804007947.
Анотація:
The HBO television series The Sopranos, produced by David Chase, achieved unprecedented critical acclaim and quickly established itself on both sides of the Atlantic as cult viewing. The fourth series, shown in the UK on Channel 4 in spring 2003, had already attracted record audiences in America and received 13 Emmy Award nominations. Not surprisingly, The Sopranos has generated several web sites and a considerable amount of literature, ranging from the usual spin-offs of television series, cds, scripts, collected reviews, and a number of more academic studies ranging from cultural studies through to explorations of the psychological aspects of the programme. At least one MA has been written dealing with the portrayal of psychotherapy in this series and in films. This is not as remarkable as it might seem given that therapy is central to the whole story. The main character, Tony Soprano (played by James Gandolfini), is the head of an Italian–American family living in New Jersey. However, like his name itself, “family” has a double meaning. Tony is also the head of a Mafia-style gang of mobsters, operating a “waste management company” and night club (The Bada Bing!). The two roles of family head are explored when Tony talks (or “sings”) to a psychiatrist (in addition to his gang-land counsellors) as a result of his anxiety attacks and depression. Thus, Tony Soprano, mobster, is presented as a troubled family man – troubled by his relationships with his wife, daughter, and son, and their futures, but also troubled by business rivalries and problems that arise from the nature of his “work” and colleagues. As one commentator writes, Tony is the subject of “profound moral ambiguity” and it is his struggle to come to terms with this that makes it possible for viewers to identify with him. It is also the focus of his sessions with the therapist, Dr Melfi (played by Lorraine Bracco).
8
Hamilton, Joli. "House of Cards." Journal of Jungian Scholarly Studies 13 (June 12, 2018): 34–48. http://dx.doi.org/10.29173/jjs12s.
Анотація:
This essay turns a depth-psychological lens upon the drug abuse, sexual manipulation, and murder scenes in the American television rendition of House of Cards. The Underwoods, who are obsessed with power, yet strangely enticing, invite the viewer to upend their moralistic perspective challenging notions of innocence and evil. By applying post-Freudian Lacan’s Phallus theory, the unconscious and persistent desire for power in some individuals is explored. Then, in a move toward understanding why audiences flock to such grotesque imagery, post-Jungian Moore’s notion of dark eros is extended to argue for the necessity of accepting the sadistic aspect of psyche. The notion of libertine consciousness is used to illuminate why the darkness draws us in even as it is repulsive and suggest the cautious, reflective digestion of these grotesque images as a creative action for those challenged by current political darkness. Bringing Lacan and Moore into dialogue, it is suggested that sexually toned darkness may necessarily balance the pull toward light aspects of psyche. Through close reading, intense scenes are reimagined as more than just Jungian shadow material. They also illustrate the sacrifice of innocence required as one attempts to increase consciousness.
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Plantinga, Carl. "Screen Stories: Responses to the Critics." Projections 13, no. 3 (December 1, 2019): 112–20. http://dx.doi.org/10.3167/proj.2019.130309.
Анотація:
This article is a discussion of and rejoinder to the comments of three respondents on my book, Screen Stories: Emotion and the Ethics of Engagement. Jane Stadler argues that the book would profit from more attention to the “temporal prolongation” made possible by multi-episode television, especially as it relates to the nature of character engagement. While I have reservations about the notion of medium specificity in relation to television and film (and thus prefer the term “screen stories”), I agree that temporal prolongation in relation to an ethics of screen stories is a vital topic. Malcolm Turvey argues that Screen Stories promotes moral intuition and emotion at the expense of moral reasoning and that an ethics of engagement should pay equal attention to reasoning. In my response, I enumerate four reasons why, despite my belief in the importance of reasoning, I focus on emotion and intuition. I do agree that, once we can decide just what moral reasoning is, it should become a focus of an ethics of engagement. Cynthia Freeland focuses her remarks on various aspects of the third part of my book, “The Contours of Engagement,” in which I examine how the features of screen stories can lead to viewer experiences with ethical implications. In response, I discuss three issues: medium specificity once more, the supposed tension between conceptions of the active and passive spectator, and the psychological underpinnings of various sorts of character engagement.
10
Okoye, Chukwudi M. C., and Chibuike M. Abunike. "Cultural transposition and challenges of policy making: a review of select Nigerian television series." UJAH: Unizik Journal of Arts and Humanities 20, no. 3 (October 30, 2020): 119–32. http://dx.doi.org/10.4314/ujah.v20i3.7.
Анотація:
Cinematic entertainment, it is safe to say, cannot be wished away. Indeed, as a child of necessity, the film and by extension the Televised Drama-series industry have come a long way. However, African countries like Nigeria today continue to grapple with issues of Genre, Form, Cultural imperialism and so on. This hasconsequently raised questions on issues of policy making and realistic interpretation as expressed by film scholars and critics and as observed through the eyes of the regular viewer. Furthermore, the issues of cinematic language or style, raises another concern as this is capable of engendering different levels of psychological involvement or emotional attachment from the viewing audience. Thus, factors such as the social, political and even religious make up of the intended audience become imperative for the director who must fuse these thematic, artistic and technical aspects in order to truly engage his audience on the discourse of the moment. This research work finds that there appears to be a disconnect on how the average Nigeria Television drama series is packaged and presented from its original thematic content. The question of cultural transposition further emboldens this view as directors seem to infuse certain values as seen through dialogue, dressing, set and so on; and as such distract and in some cases prevent the audience from accessing the real message behindthe story. The researchers employed the qualitative research method which entails the analysis of text, online journals and handbooks for proper and objective content analysis and appreciation. The researchers also analyzed two Nigerian series; that is The Johnsons and Professor Johnbull. The study recommends that discussions in the area of Cultural transposition and policy making especially as it concerns the film medium should be intensified as this would not only encourage a more, Professional approach to Film and Television. Drama industry, but would allow for the enthronement of content above glamour as well as engender more believable and realistic story telling.
Дисертації з теми "Television viewers Psychological aspects":
1
Haq, Amrat. "News violence and desensitization of news viewers in Pakistan." HKBU Institutional Repository, 2017. http://repository.hkbu.edu.hk/etd_oa/397.
Анотація:
Television has become the primary 'story teller' in our society today (Gerbner, et.al., 1986, 1994). It is an all pervasive technology that most of us aren't even aware of in our surroundings. From airports, bus terminals, restaurants, bars to our own lounges, television is constantly passing on its message to its audience. Its role might vary from just a background noise to active information source, its presence remains constant. However television itself is not static, it is a dynamic medium with a constantly growing presence in our lives. Therefore, there remains a constant need to understand the role television plays in shaping our 'stories' and the current study is a short step towards understanding the role and impact of news media on the emotional responses of news viewers in Pakistan. During the last decade there has been an exponential growth in Pakistan's private media industry. Over 80 channels have already started with a number in the pipeline. Of these channels the most prominent are the 16 24-hour news channels which, for the first time, provided the Pakistani public multiple options for seeking news and information (previously only Pakistan Television, a state owned channel was available) - the Pakistani public is now spoiled for choice. However this growth in the media industry also resulted in the over-exposure of issues as the channels vied for viewers. Consequently the audience is regularly exposed to sensational news and content - with coverage ranging from the graphic to the mundane - as networks compete for ratings. Observing the media's behavior and keeping media effects research on exposure to violence in mind, the researcher was interested in seeing whether regular exposure to violence news and violent acts leads to desensitization of the audience. The relationship between news and sensationalism is an old one, starting from the early tabloids in the early 1900s which focused on crime/violence to attract readers. The same trend can be seen in news channels in Pakistan and abroad. One main reason can be the low cost of covering and reporting a crime or act of violence. The event itself provides the reporter with images and information (no digging required!), the drama of the crisis, its aftermath and consequences provide news channels easy fodder for their news mill which needs to run 24-hours, 365 days of the year. Therefore the aim of the present research was twofold: one, to evaluate the amount of violence/violent content that is being shown on Pakistani news channels; and two, to try and assess the impact of this content on the emotional responses of news viewers. The study also aimed to extend the desensitization hypothesis by arguing that the continued presence of the stimulus responsible for desensitization will result in audiences' crossing the attention threshold; i.e. viewers will ignore the central issues on the media agenda and remove it from their socio-political discussions. The model further suggested that viewers will focus more on the peripheral issues rather than the primary issues in the media agenda. The results of the content analysis clearly show that in both public and private television news violent content is the 2nd highest type of news being reported (with domestic politics being the highest type of news content across both channels). Two types of news on violence were studied: violence resulting in fatalities and violence without fatalities; with the first one have almost twice the volume of the latter type of news content. The content analysis and the first part of the survey analysis provide the pre-requisite information for the attention threshold assumption. One, they confirm the continuous presence of a particular issue in news in large volume; and secondly, the survey analysis provides support for the presence of desensitization amongst the respondents. The tests run for the attention threshold assumption indicated that despite the presence of the issue of violence on the media agenda, it is no longer on the public agenda, and is not a part of the social discourse of the respondents with either their family or their friends. The current research shows that heavy consumers of violent news content tend to significantly have pro-violence attitudes. They also tend to have lower levels of emotional empathy for victims of violence and higher levels of compassion fatigue. While these results were not statistically significant for the sample tested, the results show a consistently low mean, indicating negative trend for both the variables. The respondents were generally in favor of harsher punishments and greater state/military control of the country. Results of the current study indicate that heavy viewers of news media tend to be more desensitized to the violence in society. Their emotional responses are numbed down. For a country like Pakistan, with a history of military intervention in domestic politics and governance, this is a matter of grave concern. Strong feelings of insecurity and mean world syndrome, fed on a steady diet of violent news programing, can further undermine faith in the political system - leading to greater acceptance (and at times active desire) of military sponsored or led control - a situation that is very troubling for Pakistan. While the current analysis is a starting place, news content in Pakistan needs to be studied in greater depth. Future research needs to also focus on the wider range of news channels in Pakistan. This would help identify the effects of different variables like ownership, political affiliations, language and location on the content of news channels. In terms of the survey itself, a broader, more inclusive research in the rural and semi-urban areas of the country would provide better evidence of the effects of news violence on Pakistanis. And finally, a lot more in-depth and extensive research is needed before on the "attention threshold" model for it to be verified and its results generalized. If verified, the model will help future researchers identify why issues of audience concern are no longer getting the requisite attention from viewers, despite having strong media presence.
2
Roark, Beth A. "The relationship of Saturday morning television commercials viewed and the food consumption of third graders." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/722788.
Анотація:
The relationship of Saturday morning television food commercials viewed and the food consumption of third graders in the Franklin County Community School Corporation in Franklin County, Indiana, was investigated. Such information should help parents, dietitians, and teachers educate children, ultimately producing a healthier population. The results of this study could possibly assist the federal agencies revise guidelines to help protect the children.The independent variable measured was food commercials viewed on Saturday morning; the dependent variable was food consumed. The instrument was designed, pilot-tested, and administered by the researcher with subjects’ identities remaining anonymous.Following data collection, the relationship between the variables was tested using phi coefficient. The phi value of .470 was considered to be significant beyond the .05 level to .00000 level. It was concluded that foods viewed on television are significantly correlated with foods consumed.Department of Home Economics
3
McFarlin, Gavin L. "Sports television viewing and value acceptance." Scholarly Commons, 2005. https://scholarlycommons.pacific.edu/uop_etds/611.
Анотація:
The study examined the ability to learn values while watching sports programming on television. Sports are seen as a huge influence in our lives and helping to spread that influence and bring the games right to our living rooms is television. A total of 360 surveys were collected from three universities, one in the West, one in the Midwest, and one in the South. What was found was there is a direct connection between the exposures to the values seen in sports to the evaluation of those values in our society, which led to individual acceptance of the values personally. It was found that almost half of the viewing by respondents of television was watching sports. By watching these events, respondents were able to see these values first-hand and then personally accept them into their own values.
4
Moodley, Prevan. "An exploration of the psychological significance of soap opera viewing." Thesis, Rhodes University, 1998. http://hdl.handle.net/10962/d1002532.
Анотація:
In traditional research approaches, soap opera viewing has been studied quantitatively. Such studies ignore the subjectivities, the sociocultural contexts, and life contexts of individual viewers. To account for such shortcomings and to offer a qualitative research approach, an investigation was conducted into the engagement that viewers have with a particular soap opera, The bold and the beautiful. The collective case study research method was used. Three subjects were interviewed using in-depth phenomenological interviewing and the data obtained was subjected to.a hermeneutic method of investigation. This involved using a reading guide that extracted firstly, how pleasure is experienced in soap opera viewing, and secondly how the viewers' interpretations of the soap opera are linked to their everyday life contexts. Pleasure was found to be related to experiencing the soap opera world as real, the social context of the viewer, the openness of the text, selecting textual elements, identification and opening up the viewer's world. The viewers' interpretations were related to their life contexts in terms of the meanings that were constructed around emotions, identities, interpersonal relations and a cultural interface. Most notable for the South African context, is that viewing The bold and the beautiful provides a cultural interface because African identities are brought to this practice.
5
Punnett, Trent Harold. "Measuring emotional response to television advertising." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/27702.
Анотація:
The objective of this thesis is to initiate development of a valid and reliable measurement process to assess a viewer's emotional response to television advertising. The development of this measure is based on current psychological theories about the emotional process, and takes advantage of current methods available to measure emotional response. The goals for the measurement process are to provide information on emotional response to television advertising from two diverse sources, automatic real-time response, and cognitive after-the-fact responses.
The selection of instruments to meet these goals first involved a review of the psychological literature on emotional theory to provide direction on defining what is an emotional response, and how the emotional subcomponents relate. This provides direction for evaluating the instruments available for measuring emotional response, and selecting two that will satisfy the above goal. The use of these measurement instruments in a pretest is then outlined, and the thesis concludes with directions for future research.
The construct of emotion is complex and multidimensional, including interactions among neural hormonal systems, conscious and unconscious cognition, physiological adjustments, affective response, and expressive behavior. These dimensions suggest four categories that emotional response measurement instruments can be grouped into; cognitive, affective, psychological and behavioral.
Measurement instruments in each of the four above categories have problems in their applicability as stand alone measures of emotional response to television advertisements. Of all the measurement instruments reviewed, the Beaumont Emotion Battery and the Facial Action Coding System appear to be compatible with the construct of emotion and each other. These measures can provide similar data, and capture virtually the same categories of emotional response.
The usefulness of combining these two measures should be explored through a pretest. In designing the pretest, the success in capturing specific emotional responses attributable to the advertisement will depend on the setting used, the selection of advertisements and the program these advertisements are embedded in. The setting should copy a normal viewing environment to encourage normal behavior in subjects. The advertisements used should maximize the variability in emotional response, while being new to the subjects to avoid frequency biases. The program should be carefully selected to avoid content effects. When subjects proceed through the pretest procedure of watching a television program while having their facial expressions videotaped, and then responding to the Beaumont Emotion Battery after the program ends, careful attention to the environment, advertisements, and program will reduce the potential for error and bias in the pretest. To structure and delineate areas for new research, emotional response to television advertising can be approached from the viewpoint of what could impact or influence the response. This leads to the definition of the following areas of influence: the advertisement; the group of advertisements the advertisement is placed in; the program; the viewing environment; and the viewer.Business, Sauder School of
Graduate
6
Augaitis, Sheila R. "Living room culture : an anthropological study of television usage behavior in America." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1045626.
Анотація:
The television viewing habits of ten Indianapolis-based households were researched and analyzed as to the effects of television on the middleclass American family. This study illustrates how television reinforces Americans' abilities to make choices and exhibit control over technology. With television use as its main focus, this study examines choice in American culture, remote control use, gender-based comparisons, and television's role in the American home-individualism and community.Department of Anthropology
7
Livingstone, Sonia M. "Social knowledge and programme structure in representations of television characters." Thesis, University of Oxford, 1987. http://ora.ox.ac.uk/objects/uuid:2adf1878-f117-4c32-870c-9d0ec539bb11.
Анотація:
It was argued that the social psychology of person perception, mass communications and cultural studies can be related to viewers' representations of television characters. Mass communications needs to incorporate viewers' interpretations and programme structure. Social cognition could satisfy the former need and cultural studies the latter. A literature review showed little research on viewers' interpretations of television programmes. There is a considerable body of research on person perception, gender stereotypes, the effects of viewing and programme structure. A study of viewers' accounts of viewing soap opera showed that they become involved with the characters and find the programmes realistic. Soap opera plays an important role in their lives. Viewers' representations of soap opera characters were examined using multidimensional scaling. This revealed stable, replicable character representations for Dallas, Coronation Street and EastEnders. The representations were compared with the oppositions which structure the programmes, Implicit Personality Theory and Gender Schema Theory. Dallas characters were represented by themes of morality and power/activity. Power was correlated with gender, with some counter-stereotypic females. Coronation Street characters were organised around morality/potency, gender (matriarchal) and approach to life. This related to person prototypes and contrasted with interaction patterns between characters. EastEnders characters were represented by themes of morality/power, gender and approach to life/centrality. Free descriptions validated the attribute ratings and showed further features of the representation. No socio-structural group differences in representation were found. Viewers' character representations were a constructive integration of programme structure and social knowledge. The application of abstract knowledge to a structured domain was discussed. Textual analysis of a narrative identified the 'role of the reader' and textual openness. This was related to stereotypes, narrative expectancies, myth and character representation. Distinct types of divergence in viewers' interpretations of narrative were discovered. Further, a narrative containing two readings was interpreted in four distinct ways by viewers, depending on their perceived relationships with characters. The conclusions and limitations of the research were discussed. Implications for person perception, stereotyping and textual analysis were examined. A taxonomy of factors relating to the interpretation and representation of television drama was presented.
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Khumalo, Senziwani. "An investigation into how Zimbabwe's Bulawayo viewers negotiate the gay storyline in Generations." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017784.
Анотація:
This study seeks to evaluate how aspects of religion, culture, political context, education and class, amongst others, impact on the manner with which Zimbabwe’s Bulawayo residents make sense of media messages which explore issues of homosexuality, as encountered in the soap opera Generations. This is against the backdrop of Zimbabwean legislation, such as the Sexual Deviancy Act, which criminalises homosexuality and the state victimisation of gays and lesbians in this country. The inclusion of homosexual liberties was rejected by all political parties and both public and private media in the recent drafting of a new rule of law. The legislation, including gay rights exclusion in the new constitution, and state action has perpetuated an impression that Zimbabwe is a deeply homophobic society. As a starting point the study examines the claims of the media imperialism thesis which supposes an all-consuming power of western media and next examines Straubhaar’s thesis of ‘cultural proximity’ which argues that there is often a preference for regional media, which is proximate to viewers’ local culture, language and identity. The study explores the prominence of South Africa as a regional media player and that proximate identities with some cultures in that country have played a role in drawing some Bulawayo viewers to South African television, as they feel slighted by Zimbabwean media. Utilising qualitative research methods, the study explores whether or not the representation of gay images on this South African soap opera provides viewers with opportunities for ‘symbolic distancing’. The concept highlights that when people have insight into lifestyles that are different from their own, they use that as a resource to critically analyse their own lives and cultural understandings. The study evaluates if Bulawayo viewers’ sentiments towards homosexuality has been challenged and changed through their interface with the soap opera, Generations.
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Attallah, Paul Michael 1954. "TV before TV : the emergence of American network broadcast television and its implications for audiences, content, and study." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=73970.
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Curry, Tracy. "The application of the uses and gratifications theory comparing television and newspaper coverage during product tampering cases." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1100448.
Анотація:
Periods of crisis communication are uncertain, at best, for any organization dealing with a product tampering. This study examined how the public would use the media to gain information about the product tampering, if there would be a difference between newspaper and television usage, and what gratifications the public would seek from the media.The hypothesis stated that there would be no significant difference in media use during product tampering cases between newspapers and television. Three hundred eighty-eight households, the number needed for statistical reliability, were surveyed by telephone in the Muncie, Indiana, area. Results of the data supported the hypothesis.Department of Journalism
Книги з теми "Television viewers Psychological aspects":
1
Narayanan, Andal. The impact of television on viewers: A case study of Bombay TV viewers. Bombay: Somaiya Publications, 1987.
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Fowles, Jib. Why viewers watch: A reappraisal of television's effects. Newbury Park, Calif: Sage, 1992.
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Shanahan, James. Television and its viewers: Cultivation theory and research. Cambridge, UK: Cambridge University Press, 1999.
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Lewis, Justin. The ideological octopus: An exploration of television and its audience. New York: Routledge, 1991.
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Lewis, Justin. The ideological octopus: An exploration of television and its audience. New York: Routledge, 1991.
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Sturm, Hertha. Fernsehdiktate: Die Veränderung von Gedanken und Gefühlen : Ergebnisse und Folgerungen für eine rezipientenorientierte Mediendramaturgie. Gütersloh: Bertelsmann Stiftung, 1991.
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Fabian, Thomas. Fernsehen und Einsamkeit im Alter: Eine empirische Untersuchung zu parasozialer Interaktion. Münster: Lit, 1993.
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Sturm, Hertha. Der gestresste Zuschauer: Folgerungen für eine rezipientenorientierte Dramaturgie. Stuttgart: Klett-Cotta, 2000.
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Vitouch, Peter. Fernsehen und Angstbewältigung: Zur Typologie des Zuschauerverhaltens. Opladen: Westdeutscher Verlag, 1993.
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Lodi, Mario. A TV spenta: Diario del ritorno. Torino: Einaudi, 2002.
Частини книг з теми "Television viewers Psychological aspects":
1
Nardelli, Matilde. "Performing the Mind: Interiority, Television and Artificial Brains." In Antonioni and the Aesthetics of Impurity, 52–92. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474444040.003.0003.
Анотація:
This chapter addresses the perceived turn to ‘interiority’ in Antonioni’s cinema during the course of the 1960s, often described as an ‘interior neorealism’ or a quintessentially psychological cinema. Such turn, often associated with a breakdown of narrativity and a changed temporal economy, is generally enlisted as another factor fostering increased cinematic purity. Yet I consider how it can be better understood by examining its entanglement with the diffusion of television. In the wake of its mass diffusion in the 1950s, this new medium, transmitting an externally generated ‘flow’ of images inside the home, gave rise to new temporal and viewing economies, as well as preoccupations about its effects on viewers’ interiority: their minds. Starting with a discussion of L’avventura and La notte, this chapter considers how the new temporal aesthetics of Antonioni’s cinema may be both a consequence of and a reaction to the televisual. The discussion then concludes with Il deserto rosso to address how television’s dynamics of interiority and exteriority are in turn connected with the then-emerging fields of cybernetics and early computers, with which Antonioni, like other ‘moderns’, was fascinated.
2
Howell, Charlotte E. "Christianity’s Broad Appeal in the 1990s." In Divine Programming, 33–56. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190054373.003.0002.
Анотація:
The formation of assumptions about Christianity’s associations with middlebrow taste on television is exemplified in discourses around Touched by an Angel (CBS, 1994–2003) and 7th Heaven (the WB/CW, 1996–2007). These shows employed overt moralizing, a religiously slanted lesson learned by both characters and viewers at the end of an episode, a lesson that in turn would resolve ongoing conflict or dramatic tension. Moreover, the shows’ creative and marketing discourses did not shy from the Christian aspects, assuming the mass audience was majority Christian and thus welcoming of or at least indifferent to Christian representation. These two shows exemplify the type of Christian representation that much of twenty-first-century dramas that followed used various containment strategies to distance themselves from in order to appeal to upscale viewers.
3
Sayad, Cecilia. "Seeking ghosts." In The Ghost in the Image, 19–40. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190065768.003.0002.
Анотація:
This chapter examines the use of audiovisual and other indexical technology to capture evidence of supernatural phenomena in ghost-hunting reality television shows like Most Haunted, Ghost Hunters, and Paranormal State, among many others. It explores these programs’ connections with early practices such as spirit photography and phantasmagoria. The chapter also examines the ways in which the shows invite interaction with viewers through web forum discussions and live broadcasts. At the basis of this investigation is the question of how photography and film are seen to reveal hidden aspects of the material world and our expectations about the evidential power of images.
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Hinton, Corrine E. "From ‘Fixer’ to ‘Freak’: Disabling the Ambitious (Mad)Woman in Wentworth." In Screening the Gothic in Australia and New Zealand. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463721141_ch12.
Анотація:
In 2013, Foxtel (SoHo) debuted Wentworth, the women-in-prison television drama and remake of Prisoner: Cell Block H (1979–1986). Season Two resurrects Joan ‘The Freak’ Ferguson, the prison’s new Governor. While the disturbing and the disturbed are tropes common in both gothic texts and prison dramas, something more sinister lurks within Wentworth as viewers witness Ferguson’s personal, psychological, and professional disintegration. Positioned within a feminist disability studies framework, this analysis reveals how Wentworth deliberately frames Ferguson as a revenge-seeking madwoman, conflating symptoms of psychiatric disorders that ultimately dehumanize her. By adopting the banal archetype of the madwoman as villain and leveraging disability as spectacle, Wentworth perpetuates patriarchal and ableist misconceptions about women in power and people with psychiatric disabilities.
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Surender Dhanunjay, Gondi, Pranjal Singh, Sayyad Samee, K. Vengatesan, Abhishek Kumar, and Achintya Singhal. "Brain Inspired Visual Effects and Animation Psychological Computing Impact in Indian Television Advertisement Pre and Post 2000s." In Recent Trends in Intensive Computing. IOS Press, 2021. http://dx.doi.org/10.3233/apc210256.
Анотація:
Technology in its immense boom in the last decade has made us aware of a lot of ways to increase consumer potential and engagement with different products in various spheres and aspects of production. Taking this idea forward, the main idea of this study is to identify the major visual effects facets being used and how they contributed towards consumer engagement. In this regard, a pilot study was done and then questionnaire has been prepared which was completed by 369 participants between the age group 18–60 years. Hence the main aim of this work is to use statistical data to understand how the last decade has proved beneficial for the Advertising industry through the use of visual effects Statistical analysis is used to interpret the data.
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Martin-Jones, David. "Performing: Falk Acts/ Columbo Pays Attention." In Columbo, 87–120. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474479790.003.0004.
Анотація:
This chapter argues that the how of Falk’s performance as Columbo (uncovered by considering the different influences on his acting style) determines the why of his performance. Columbo personifies the need to pay attention 24/7. He performs the thinking process which typifies the attentive labour demanded by late capitalism. Falk/Columbo’s performance thus physically embodies attentive labour. This is evident in Falk’s unique performance, mixing aspects of the method, live television, US indie, and early silent Hollywood comedy acting styles. This how of his acting is key to grasping the why of it. Columbo’s investigative style proceeds through this performance, which enables a gently invasive unofficial intrusion into a suspect’s life, a police surveillance of the everyday. This is why Columbo acts as he does. This performance casts doubt over whether the law assumes innocence or guilt, a confusion indicative of the always-on-trial (in public, in private) nature of life since the end of the Twentieth Century. This confusion emphasises the ambiguity which surrounds character (real? performed?) in a life perpetually surveilled by cameras. Thus, whilst Columbo’s viewers are engaged in playing its memory game, they also come to understand the supplementary matter of how the attentive labourer should “act”.
Звіти організацій з теми "Television viewers Psychological aspects":
1
Syvash, Kateryna. AUDIENCE FEEDBACK AS AN ELEMENT OF PARASOCIAL COMMUNICATION WITH SCREEN MEDIA-PERSONS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11062.
Анотація:
Parasocial communication is defined as an illusory and one-sided interaction between the viewer and the media person, which is analogous to interpersonal communication. Among the classic media, television has the greatest potential for such interaction through a combination of audio and visual series and a wide range of television content – from newscasts to talent shows. Viewers’ reaction to this product can be seen as a defining element of parasociality and directly affect the popularity of a media person and the ratings of the TV channel. In this article we will consider feedback as part of parasocial communication and describe ways to express it in times of media transformations. The psychological interaction «media person – viewer» had been the focus of research by both psychologists and media experts for over 60 years. During the study, scientists described the predictors, functions, manifestations and possible consequences of paracommunication. One of the key elements of the formed parasocial connections is the real audience reaction. Our goal is to conceptualize the concept of feedback in the paradigm of parasocial communication and describe the main types of reactions to the media person in long-term parasocial relationships. The research focuses on the ways in which the viewer’s feedback on the television media person is expressed, bypassing the issue of classifying the audience’s feedback as «positive» and «negative». For this purpose, more than 20 interdisciplinary scientific works on the issue of parasocial interaction were analyzed and their generalization was carried out. Based on previous research, the types and methods of feedback in the television context are separated. With successful parasocial interaction, the viewer can react in different ways to the media person. The type of feedback will directly depend on the strength of the already established communication with the media person. We distinguish seven types of feedback and divide them into those that occur during or after a television show; those that are spontaneous or planned; aimed directly at the media person or third parties. We offer the following types of feedback from TV viewers: «talking to the TV»; telling about the experience of parasocial communication to others; following on social networks; likes and comments; imitation of behavior and appearance; purchase of recommended brands; fanart.