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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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
7
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
9
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
11
Furno-Lamude, Diane. "DIMENSIONS OF PSYCHOLOGICAL TIME AND FAVORITE TV PERSONALITIES." Social Behavior and Personality: an international journal 19, no. 4 (January 1, 1991): 277–88. http://dx.doi.org/10.2224/sbp.1991.19.4.277.
Повний текст джерелаАнотація:
This study investigated 286 television viewers' psychological time orientations for congruence to the psychological orientation portrayed by their favorite characters. Significant relationships were found for future and past oriented personality types and selection of favorite TV personalities. However, no significant relationship was found for “presents”. Viewers' preferences of TV characters according to choice of dimension orientation revealed demographic differences among each group.
12
Bainbridge, Caroline. "Television as psychical object: Mad Men and the value of psychoanalysis for television scholarship." Critical Studies in Television: The International Journal of Television Studies 14, no. 3 (August 12, 2019): 289–306. http://dx.doi.org/10.1177/1749602019851714.
Повний текст джерелаАнотація:
Claims that Mad Men (2007–2015) is an obedient post-feminist text overlook the drama’s images of both women and the history of feminism and its potential to impact on contemporary understandings of gender politics. Mad Men can be seen as a psychological object, helping viewers to explore links between their own experience and that of characters on screen as the narrative unfolds. Making links between the social re-emergence of feminist awareness, the drama’s representations of second-wave feminism and a psychoanalytic understanding of mourning, I suggest that a return to psychoanalytic methodologies has the potential to enrich television scholarship.
13
Vera-Aranda, Ángel-Luis. "Television and televiewers." Comunicar 13, no. 25 (October 1, 2005): 203–10. http://dx.doi.org/10.3916/c25-2005-028.
Повний текст джерелаАнотація:
In this presentation the impacts, influence an effects that the television has on the viewers is analyzed. Special attention is put on one of the most questioned aspects of the television: the violence, with many opinions of some authors about the importance of this fact over the viewers and especially over the young ones. Finally, the question of the consumption of television is approached referring to some researches on the overage to viewer. Los impactos, la influencia y los efectos que tiene la televisión en los telespectadores es el objeto de este trabajo que presta especial atención a uno de los aspectos más cuestionados de la televisión: la violencia, presentándose diferentes opiniones de autores sobre la importancia que tiene este hecho sobre quienes ven televisión y, en concreto, sobre los más jóvenes. A continuación se aborda la cuestión relacionada con el consumo de televisión y se aportan cifras sobre las que se basan los comentarios, analizándose el perfil medio que poseen los telespectadores en España. Para finalizar, se reflexiona sobre la influencia que tiene el consumo de televisión en niños y adolescentes, profundizándose en algunas investigaciones que se han llevado a cabo sobre este tema en el último medio siglo.
14
Carlos, Mariana, and Telmo Silva. "Seniors, iTV and content about Social Services: Clarifying the relationship." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 10, no. 1 (March 24, 2017): 64–75. http://dx.doi.org/10.31165/nk.2017.101.497.
Повний текст джерелаАнотація:
Over the years, television has been seen as a means of enriching human development. The technological evolution of this means of communication has led broadcasters to deliver more attractive and diversified contents. Hence, traditional broadcasting has evolved from the traditional passivity to the granting of a participatory role for viewers, creating a new paradigm – Interactive Television. Senior citizen viewers are great consumers of television and represent a considerable portion of people, who can take advantage of the interactivity potentialities. Most of the time, changes in social services take too long to reach senior citizens due to their technological, sensory or cognitive limitations, which tend to occur with the aging process. In this exploratory study, the research team aims to find principles for the development of content about social services, considering iTV potential and the limitations of senior citizens’ viewers. To accomplish this goal, the research team developed audiovisual content, videos regarding social services with different approaches on technological aspects. The evaluation of its effectiveness was by means of inquiry with direct questions on the material that was showcased.
15
Grau, Oliver. "Into the Belly of the Image: Historical Aspects of Virtual Reality." Leonardo 32, no. 5 (October 1999): 365–71. http://dx.doi.org/10.1162/002409499553587.
Повний текст джерелаАнотація:
Virtual reality (VR) is a constant phenomenon in art history that can be traced back to antiquity. It can involve an area of ritual action, a private, artificial paradise, or a public sphere with politically suggestive power—in short, it encompasses a visual history that is characterized by totality. The concept of transposing viewers into an enclosed, illusionary visual space has been revived and expanded in the VR art of the current age. The more intimate ly an interface nestles into viewers' senses, the more intense their immersion will be. Such an interface weakens the viewers' sense of psychological distance and puts the relationship between art and consciousness into question.
16
Phuong, Nguyen Doan Viet, and Vo Thi Ngoc Thuy. "The impact of cognitive and affective factors on the viewer’s preference for television programs." Science & Technology Development Journal - Economics - Law and Management 3, no. 4 (February 9, 2020): 460–77. http://dx.doi.org/10.32508/stdjelm.v3i4.588.
Повний текст джерелаАнотація:
One of the greatest concerns to television program producers is to attract and retain viewers. There have been many studies aiming to predict and examine the determinants of viewers’ preference for television programs, of which the most outstanding is the research on media enjoyment by Nabi and Krcmar. In particular, Nabi and Krcmar proposed the tripartite model of media enjoyment effects on viewing and content-related behavior that comprises of affective reaction, cognitive reaction and behaviour reaction. A more generalized theory is that of Katz et al. on the uses and gratifications. Accordingly, the audience has a collection of needs that come from social and psychological origins and needs to be gratified; all types of mass communication media are only a facility to satisfy those needs. Four general categories of needs are identified, including (1) diversion; (2) personal relationships; (3) personal identity and; (4) surveillance. Later studies have been devoted to clarifying and extending these needs. This research employs the reliability test Cronbach’s Alpha, exploratory factor analysis (EFA), confirmatory factor analysis (CFA) and structural equation modeling (SEM) to test the research model and measure the influence of the cognitive and affective factors on the enjoyment and uses of television programs. The final objective of this research is to find the way to influence the viewers’ preference for reality programs/gameshows in Vietnam.
17
Illés, Gabriella. "Expansion of the small cable television counterparts of market leading commercial channels in view of Hungarian regional and social aspects." Acta Agraria Debreceniensis, no. 58 (April 8, 2014): 107–10. http://dx.doi.org/10.34101/actaagrar/58/1981.
Повний текст джерелаАнотація:
Currently, there are 102 Hungarian-language television channels in Hungary. TV2 Hungary is the second largest commercial television channel. Current trends in the television market in Europe indicate that large channels are expanding their portfolios while at the same time selling their smaller units. This trend has now affected Hungary as well.
After having TV2 for 16 years, MTM-SBS Television Ltd. eventually expanded its portfolio with three new cable channels. The first new channel was FEM3, a channel directed at women, which was launched on January 1, 2010. A year later, the male channel, PRO4, was launched and finally, SuperTV2, primarily a premium entertainment channel, was launched on November 2, 2012. Although the main channel, TV2, remained free, the new pay channels on cable received a significant amount of investment from venture capitalists and Pro7Sat1 for the development of new content.
SuperTV2 is a premium channel. When the channel was launched, the goal was to target those viewers who had turned away from watching the increasingly less-sophisticated content on the commercial channels as well as those who were not drawn to the programming on public television. When the viewer stats were examined, the channel had proven itself. The premium brand of Super TV2 was successful in attracting new viewers and consumers and within a year it had gained a strong foothold over more than 100 other Hungarian-language channels.
18
Bordeniuk, Serhii, and Viktoriia Byshovets. "Psychological Aspects of Social Photography." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (June 30, 2021): 78–83. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235089.
Повний текст джерелаАнотація:
The purpose of the research is to analyze the main features of social photography in the psychological aspect of the photographer. The research methodology is based on the application of a system-integrated approach to the review of this problem, within the framework of which a whole range of cultural, philosophical, psychological and professional qualities that affect viewers when viewing photographs is considered. The scientific novelty lies in the analysis of modern typological features and characteristics of social photography. The opinions of scientists from different times on issues of the psychological aspects of social photography were also systematized and generalized. Conclusions. We have analyzed the components of the psychological aspect of social photography. With the help of the analysis, the value of psychology in the work of the photographer specializing in the field of social photography has been established. Structural components that form a psychological aspect in the photo have been developed in detail. The factors that influence the rating of social photography have been summarized. The importance of the psychological aspects of social photography has been determined, since during the work at the same time the process of becoming the author himself, and his main task is to not just capture the environment but through his work to express feelings, emotions and thoughts.
19
Frosh, Paul. "Phatic morality: Television and proper distance." International Journal of Cultural Studies 14, no. 4 (June 24, 2011): 383–400. http://dx.doi.org/10.1177/1367877911403248.
Повний текст джерелаАнотація:
This article attempts to expand Silverstone’s notion of ‘proper distance’ by asking what moral possibilities are ‘proper’ to aspects of mediation that are usually understood to be ‘distant’: impersonal, non-intimate and inattentive. Proper assessment of these low-intensity modes of mediation invites us to challenge the automatic assumption that moral sensibility has a necessary basis in audience attentiveness, intimacy and involvement with the representations of others. Instead, the article emphasizes the work of ‘phatic morality’, the moral ground created by long-term, habitual, ambient forms of mediated connectivity rather than the attentive engagement of viewers with particular texts. Focusing on television, it elaborates the features and limitations of phatic morality by exploring frequently denigrated aspects of the medium: the creation of non-reciprocal communicative relations between viewer and viewed; the transience of those depicted; the substitutability of depicted individuals and the aggregation of images over time.
20
Ashifa, Dr K. M. "Soap Opera Addictive Behaviour among Women Viewers in India." GIS Business 14, no. 6 (December 15, 2019): 1007–10. http://dx.doi.org/10.26643/gis.v14i6.16681.
Повний текст джерелаАнотація:
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.
21
Unz, Dagmar, Frank Schwab, and Peter Winterhoff-Spurk. "TV News – The Daily Horror?" Journal of Media Psychology 20, no. 4 (January 2008): 141–55. http://dx.doi.org/10.1027/1864-1105.20.4.141.
Повний текст джерелаАнотація:
In two studies we examined the influence of violent television news on viewers emotional experiences and facial expressions. In doing so, we considered formal and content aspects of news reports as well as viewers gratifications as independent variables. Analyses showed that violence in TV news elicits primarily negative emotions depending on the type of portrayed violence. Effects of presentation mode and of expected gratification on the viewers feelings are traceable. On the whole, fear is neither the only nor the most prominent emotion; rather, viewers seem to react to violence with other-critical moral emotions, including anger and contempt, reflecting a concern for the integrity of the social order and the disapproval of others. Emotions shown in reaction to the suffering of others, like sadness and fear, occur much more rarely. The results largely show a complex web of relations between media variables, viewers characteristics, and emotional processes.
22
Kirkland, Ewan. "Contextualizing the bronies: Cult, quality, subculture and the contradictions of contemporary fandom." Journal of Popular Television 8, no. 1 (March 1, 2020): 87–104. http://dx.doi.org/10.1386/jptv_00012_1.
Повний текст джерелаАнотація:
This article critically situates My Little Pony: Friendship Is Magic (2010‐19) and the ‘brony’ following it has attracted in terms of age and fandom, discourses of quality television, cult media and interactions between fandoms and cultural producers. Far from unprecedented, the show’s unexpected male audience reflects adults’ historic appreciation of media for children, the increased mainstreaming of animation, and the already infantilized persona of media fans. Aspects of the reimagined series reproduce characteristics of ‘quality television’ concerning characterization, genre, authorship and political intentionality. Simultaneously the show corresponds with overlapping aspects of cult television and cult cinema, crucially affording both cultural and subcultural value. Finally, examples of the series deliberately courting adult fan audiences are presented as reflecting reciprocal relationships between show producers and its mature viewers. The brony following consequently reflects changes in contemporary fandom dynamics, and the increasing mobility of twenty-first-century television viewing.
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Dhoest, Alexander, and Nele Simons. "Still ‘Watching’ TV? The Consumption of TV Fiction by Engaged Audiences." Media and Communication 4, no. 3 (July 14, 2016): 176–84. http://dx.doi.org/10.17645/mac.v4i3.427.
Повний текст джерелаАнотація:
There is no denying that television, as a medium and an institution, has drastically changed in the age of digitization and convergence. For audiences, this has not only opened up multiple opportunities to watch television content at other times and on other devices, but also to interact with its cross-media extensions. However, while much has been written about the new opportunities for audience engagement, we do not know much about the actual adoption of new technologies nor the motivations underlying such uses. Therefore, this paper draws on empirical audience research to address the key question: how do viewers engage with contemporary TV fiction? Through empirical audience research, using various qualitative research methods, three different aspects of the reception of cross-media TV fiction will be discussed: (1) how do viewers watch the TV episodes of contemporary TV fiction?, (2) how do viewers engage with the cross-media extensions of TV fiction?, and (3) how do viewers experience the social dimensions of contemporary TV fiction? We focus on a particular group, that of 'engaged' viewers, who are actively involved by personalizing their viewing practices, by communicating about it, by consuming cross-media elements of TV fiction, or producing TV fiction-related content. Our findings suggest that even this group does not make full use of all the available technological opportunities to personalize TV viewing, and that the classical TV text, linear viewing, and the social aspect of viewing remain of key importance.
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Norris, Claire E., and Andrew M. Colman. "CONTEXT EFFECTS ON MEMORY FOR TELEVISION ADVERTISEMENTS." Social Behavior and Personality: an international journal 21, no. 4 (January 1, 1993): 279–96. http://dx.doi.org/10.2224/sbp.1993.21.4.279.
Повний текст джерелаАнотація:
This study focuses on the hypothesis that television viewers' depth of psychological involvement in a program is inversely related to their recall and recognition of accompanying advertisements. Ninety subjects watched an involving or a relatively uninvolving television program accompanied by six completely unfamiliar advertisements. They then responded to a series of questionnaires designed to measure their perceptions of the programs and the advertisements and their memory for the advertisements. As predicted, subjects' recall and recognition of the advertisements correlated negatively with their ratings of the programs as suspenseful, challenging, involving, and worth remembering, and positively with their ratings of boredom with the programs. But, in sharp contrast, subjects' attitudes towards the advertisements, attitudes towards the brands, and rated intention to buy the products correlated positively with their ratings of the programs as stimulating, thought provoking, attention-grabbing, challenging, immersing, and as having impact.
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Navarro, Celina, and Emili Prado. "Television buyers in the digital era: A comparative study of the UK and Spain." International Communication Gazette 81, no. 6-8 (January 9, 2019): 727–47. http://dx.doi.org/10.1177/1748048518822612.
Повний текст джерелаАнотація:
European television channels harbour a significant amount of imported programmes within their schedules. This presence, with its social and cultural impact, is directly affected by the established practices of the television industry which conditions the type and origin of the foreign programmes that are being acquired by linear broadcasters. This research article aims to analyse the criteria used by local television buyers when acquiring international programmes and understand the reasons behind transnational television flows. The findings of the interviews with the television buyers of the main free-to-air television corporations of the United Kingdom and Spain reveal that there is a high level of standardization across the two countries in the decision making process and this homogenizes the range of programme viewers are exposed to. However, a differentiation between public and commercial channels has to be made since public broadcasters consider social and cultural aspects to a higher degree.
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Anzur, Terry. "How to Talk To the Media: Televised Coverage of Public Health Issues in a Disaster." Prehospital and Disaster Medicine 15, no. 4 (December 2000): 70–72. http://dx.doi.org/10.1017/s1049023x00025310.
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AbstractPublic health officials often are critical of the way television news covers disasters, while broadcast journalists complain of a lack of cooperation from the public health sector during disaster coverage. This article summarizes the issues discussed in a session on Televised Coverage of Disasters, presented in April 1999 at the UCLA Conference on Public Health and Disasters in Los Angeles. Public health officials were asked to “talk back to their television sets” in a dialog with television journalists. Concerns included: 1) the lack of balance in television coverage that is dominated by sensational images that may frighten rather than inform the public; 2) the potential for psychological damage to viewers when frightening images are shown repeatedly in the days and weeks of the disaster; and 3) the perception that TV reporters place too much emphasis on crime, property damage, and loss of life, giving relatively low priority to disaster preparedness and to public health issues in the aftermath of a disaster. Options for improving communication between television journalists and public health professionals also are discussed.
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Shin, Dong-Hee, and Ounjung Roh. "Social television and locus of control: Interactivity effects on cognition and behavior." Social Behavior and Personality: an international journal 44, no. 10 (November 10, 2016): 1671–86. http://dx.doi.org/10.2224/sbp.2016.44.10.1671.
Повний текст джерелаАнотація:
We examined the effects on users' cognition and behavior of an interface cue for level of interactivity that is presented on secondary screens in a social television environment. Our primary focus was on the social role of television watching, the effects of an interactivity cue on user perception, and user behavior outcomes. In addition, we examined how locus of control, as an individual characteristic, influenced these aspects. Participants (52 undergraduate students in Korea) communicated with other viewers through a secondary device while watching a television show. We found that the presence of an interface cue for interactivity was positively related to users' perceptions, such as sense of presence and sense of community. Additionally, the relationship differed based on personal characteristics. Overall, the effect of an interface cue on social television users' attitude and behavior is mediated by sense of community.
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Cachia, Moira, Mary Anne Lauri, and Pierre Cachia. "Teleshopping: A uses and gratifications approach." Social Psychological Review 11, no. 1 (March 2009): 17–26. http://dx.doi.org/10.53841/bpsspr.2009.11.1.17.
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Teleshopping has become central to the content of Maltese television in the last five years. This exploratory study examined reasons behind the success of these programmes amongst Malta’s television audience. It was hypothesised that the popularity of this genre is related to the gratification of psychological needs besides the overt marketing function. Factor analysis of data collected from 150 participants indicated that, at least partly, viewers watch teleshopping programmes because this activity provides them with a sense of identification with a particular group of people who they perceive to have a better lifestyle than they have. Specifically, these programmes inspire the belief that buying the advertised products makes consumers more important and respected, enhancing their self-esteem and instilling hope in a better future. Teleshopping allows viewers to identify with a higher social group than the one they belong to while providing relaxation and entertainment as well as escapism from life’s realities. The results of this study emphasize the primacy of the emerging virtual community. This genre seems to have partially replaced what the physical community used to offer in the provision of companionship, setting of norms, and providing benchmarks for a comfortable lifestyle.
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da Silva Klehm, Volnei, Rodrigo de Souza Braga, and Vicente Ferreira de Lucena. "A Survey of Digital Television Interactivity Technologies." Sensors 22, no. 17 (August 30, 2022): 6542. http://dx.doi.org/10.3390/s22176542.
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This paper presents a survey of the worldwide use of Digital Television interactivity (DTVi) standards. First, we recall some concepts of first-generation interactivity middlewares released in the early 2000s, such as the European MHP (based on Java) and the Japanese BML (based on XML). Then, we cover the new standards (emerging after 2010) that introduced the new Integrated Broadcast Broadband (IBB) model, which combines broadcast signals with a broadband interface and leverages synergies to offer high-quality, flexible, interactive and customized services and applications to viewers. Regarding IBB systems, we also cover the main aspects of their architectures and innovations introduced by this kind of technology, such as support to companion devices, e.g., smartphones, tablets, targeted advertisements, and integration with Internet-of-Things (IoT) devices. Finally, we show the current adoption of different IBB systems around the world as well as current challenges regarding IBB technologies.
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Ashifa, K. M. "Behavior Analysis Matrix for Women Soap Opera Viewers: A Structural Analysis." GATR Journal of Management and Marketing Review 3, no. 4 (December 11, 2018): 206–12. http://dx.doi.org/10.35609/jmmr.2018.3.4(5).
Повний текст джерелаАнотація:
Objective - In modern times, soap operas are thought to be a good source of leisure and are considered a powerful medium for propagating specific attitudes, ideas and different cultures within society. They are also useful for educating, informing and entertaining audiences, particularly women and children. The present investigation examines behavioural changes in women who watch soap operas. The Behaviour Analysis Matrix is used to assess changes in socio-cultural, psychological, economic, physiological and functional traits. Methodology/Technique - The present paper develops a global model for behavioural analysis of women who view soap operas using structural equation modelling. Findings - The present SEM model on behavioural analysis of soap opera viewers can be adopted as a global model for intervention. Novelty - The present study is useful for medical personal, social workers, academics and researchers in understanding the positive and negative effects of television shows on women, specifically, whether these serials create attitude changes among modern day women and the extent of the effect of their inter-personal relationships with family members and society. It is believed that this study will assist satellite media personnel in the development of their future programmes with social consciousness. Type of Paper: Empirical Keywords: Structural Equation Modelling; Performance; Socio-cultural Traits; Economical Traits; Psychological Traits; Physiological Traits. JEL Classification: M30, M31, M39.
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UKka, Ibrahim T. I. "COMMUNICATION PLANNING AND POLICY: COMMUNICATION PLANNING PT. ABADI LIGHT TELEVISION (TATV) BRANDING." International Journal of Applied Research in Social Sciences 1, no. 4 (June 21, 2020): 95–110. http://dx.doi.org/10.51594/ijarss.v1i4.37.
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The presence of PT. Eternal Light Television (TATV) as local television in Surakarta and surrounding there initially, viewed pessimistically by the surrounding community. This is very reasonable considering that no television has been established in Surakarta. On April 29, 2004, TATV began broadcasting on air, and was called "Jelang Tayang Perdana". At the start of launching on air or the trial broadcast by TATV it still seemed to be less professional. There are no programs that can be presented such as national television, only limited to advertisements in the form of slides. The screenings are still very simple and not very interesting. In addition to image quality, it may be due to the lack of human resource management.At first, TATV only broadcast for 3 hours and the ShowTime is still limited to daylight hours. After conducting a grand launch on September 1, 2004, TATV began broadcasting for 8 hours per day. After surviving several months with broadcasts for 8 hours per day in subsequent developments, TATV then began pursuing the target to be 14 hours per day. And the current situation of TATV has had broadcast hours of 18 hours per day which continue to the present day. TATV has a strong commitment to fight for the creation of an advanced Indonesian society in all aspects of life, based on positive life values. This commitment is communicated by TATV management, to viewers via TV PROMO, Content (Program on air), or through continuous (intense) event affair. The aim is to create a single perception that is strong in the minds of viewers.
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Lundgren, Lars. "Live From Moscow." Europe on and Behind the Screens 1, no. 2 (November 29, 2012): 45. http://dx.doi.org/10.18146/2213-0969.2012.jethc018.
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On April 14th, 1961, television viewers across Europe watched live images of Yuri Gagarin being celebrated on the Red Square in Moscow. The broadcast was made possible by the linking of the Intervision and Eurovision television networks, which was the result of cooperation between broadcasters on both sides of the Iron Curtain. By looking into how the co-operation between the OIRT and EBU was gradually developed between 1957 and 1961 this article engages with the interplay between cultural, legal and technological aspects of broadcasting and how the transnational broadcast of Gagarin’s return to Moscow was made possible. The article furthermore argues the need to understand early television in Europe as a dialectic between the national and the transnational and shows how the live transmission network binding the East and West together was the result of an interplay between structures provided by transnational organisations such as the OIRT and EBU, and initiatives by national broadcasting organisations.
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Volokhova, Natalia V., and Alex V. Postnikov. "Television Series as a Phenomenon of Screen Culture." Proceedings of the Southwest State University. Series: Economics, Sociology and Management 11, no. 5 (2021): 243–50. http://dx.doi.org/10.21869/2223-1552-2021-11-5-243-250.
Повний текст джерелаАнотація:
Relevance. Modern screen culture as a component of mass communication occupies a leading position in terms of influence on public consciousness. A television series as a part of mass culture secures important content, time and functional positions. In our opinion, with the increasing importance of the television series as an aspect of mass culture in particular and modern socio-cultural life in general, active attention should be paid to the formation of this phenomenon as a postmodern aspect and reflection of the "non-classical" model of reality. The purpose is to identify the specifics of a television series as a cultural text and determine its place in the field of modern screen culture. Objectives: to establish the role and significance of the TV series in the context of the current reality of screen culture and to assess its communicative effectiveness; to find the relationship between the seriality of a television series through its reflection as a phenomenon of mass consciousness and an important aspect of postmodern reality; to trace the specifics of the language of the TV series and the complex of semiotic codes presented in it; analyze the phenomenon of the TV series and evaluate its impact on the viewer through psychological and emotional mechanisms. Methodology. In the process of working on the study, mainly structural-diachronic, historical-biographical, hermeneutic methods, the method of system analysis were used. The results of the study can be used in the course of the educational process when considering issues in various courses on anthropology, philosophy of history, philosophy of culture, etc. Conclusions. As our analysis of the source base shows, as a rule, the television series became the object of research from the point of view of classical aesthetics or from the point of view of its perception from the point of view of the recipient, that is, the audience. For us, the television series is of interest primarily as a semiotic carrier of a cultural text, where multidimensional and multilevel inclusions of various discourses and codes are reflected.
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Bignell, Jonathan. "Performing the Identity of the Medium: Adaptation and Television Historiography." Adaptation 12, no. 2 (July 25, 2019): 149–64. http://dx.doi.org/10.1093/adaptation/apz017.
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AbstractThis article focuses on how histories of television construct narratives about what the medium is, how it changes, and how it works in relation to other media. The key examples discussed are dramatic adaptations made and screened in Britain. They include early forms of live transmission of performance shot with multiple cameras, usually in a TV studio, with the aim of bringing an intimate and immediate experience to the viewer. This form shares aspects of medial identity with broadcast radio and live television programmes, and with theatre. The article also analyses adaptations of a later period, mainly filmed dramas for television that were broadcast in weekly serialized episodes, and shot on location to offer viewers a rich engagement with a realized fictional world. Here, film production techniques and technologies are adapted for television, alongside the routines of daily and weekly scheduling that characterize television broadcasting. The article identifies and analyses the questions about what is proper to television that arise from the different forms that adaptations took. The analyses show that television has been a mixed form across its history, while often aiming to reject such intermediality and claim its own specificity as a medium. Television adaptation has, paradoxically, operated as the ground to assert and debate what television could and should be, through a process of transforming pre-existing material. The performance of television’s role has taken place through the relay, repetition, and remediation that adaptation implies, and also through the repudiation of adaptation.
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Shen, Zhe. "Operation Mode and Creation of Film Media Based on the Internet Logic under the Field Theory." Mobile Information Systems 2022 (October 6, 2022): 1–11. http://dx.doi.org/10.1155/2022/6484483.
Повний текст джерелаАнотація:
With the development of information technology and new media technology, the Internet has had a profound impact on the development of the film and television industry. Mainstream media, new media, Internet companies, cultural media companies, etc. are all eager to try, and the forces from the state, capital, media, and users are intertwined. The film and television field is the behavioral practice field of various stakeholders. Capital stimulates the industrial functions of the film and television industry from the perspective of commercial interests. The interests of users are being redefined in the context of the Internet, and the film and television industry actively promotes the creative process from its own interests. In order to analyze the influence and motivation of the Internet on the operation mode and creation research of the film and television media industry, this paper relied on Bourdieu’s field theory to explore the forces and interests that promote the development of the film and television media industry from different aspects. This provided development suggestions for the construction of a new pattern combining the Internet and film media. The integration of film and television and the Internet has become the new normal in the film and television industry. At present, people’s online entertainment time at home has increased significantly, which has led to a rapid increase in the number of movie viewers. The introduction of Internet technology into the film industry media operation model can improve the operation efficiency of enterprises by 6.5%.
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Alena Šplíchalová, Tomáš Karásek, and Tomáš Apeltauer. "Classification of the Socio-Psychological Aspects of Protecting Soft Targets: a Case Study for Evacuation of the Railway Terminals." Communications - Scientific letters of the University of Zilina 23, no. 3 (July 1, 2021): F71—F82. http://dx.doi.org/10.26552/com.c.2021.3.f71-f82.
Повний текст джерелаАнотація:
Current crisis management approaches to protect soft targets make assumptions about average visitors/listeners/viewers or passengers. They do not give much consideration to impacts of diversity of potentially evacuated persons with regard to socio-psychological parameters/factors that may lead to practical problems and complications during the evacuation itself. At the same time, the soft target operators have various means of machine vision tools at their disposal, but do not use these records for more thorough analysis of evacuation planning needs. Based on this observation, the article identifies and analyzes the socio-psychological aspects that may significantly affect behavior and decisions of persons during the evacuation and thus total evacuation time.
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Sobczak, Barbara. "News as a Rhetorical Act." Acta Universitatis Lodziensis. Folia Litteraria Polonica 35, no. 5 (April 27, 2017): 43–58. http://dx.doi.org/10.18778/1505-9057.35.04.
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This article presents television news as a rhetorical act. Television news is understood as an account of an event usually comprising of a short introduction and a few minutes of film footage (sometimes referred to as the editorial), created as a result of the work of reporters, broadcast on television, usually as one of the elements in the structure of a news magazine, but also as an element of the programme blocks of news television channels. Television news functions in the media as one of the elements of the strategic actions of media broadcasters, focused on specific purposes, including image-building and political and economic goals. News is created as a response to specific events, it fulfils the need for information, but also serves the creation of a certain image of the world, focusing attention on certain aspects of reality, evaluating it, persuading viewers of the importance or unimportance of certain events. It plays an informative, creative, conceptual, stimulating, evaluative and ultimately aesthetic role. In order to achieve these objectives it is appropriately constructed, taking into account the characteristics and needs of the recipient and the ethos of the broadcaster. In this sense, it is therefore a “rhetorical” act – intentional, deliberate, constituting a response to a specific situation (it is historically, socially and politically conditioned) and addressed to specific recipients.
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Putri, Vinanda Cinta Cendekia, and Alem Febri Sonni. "The quality of television news in Indonesia." ProTVF 6, no. 2 (September 29, 2022): 224. http://dx.doi.org/10.24198/ptvf.v6i2.37882.
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This research aims to explore the watching patterns of the people of Indonesia with a specific focus on how they consume news programs on television. Indonesian democracy condition is draining much information energy every year. The war for information among broadcasting institutions has stirred worry among the general public regarding the quality of the content broadcast by national television stations. Virtually no medium is safe from the touch of politics, and news programs, in particular, are often highly political. Due to the urgency of this research to measure the quality of programs, not the number of viewers, the informants of this study are industry experts and academics. Their knowledge, experience, and insight into the television industry make them exceptionally qualified to assess television programs' quality critically. The results of the evaluation and deepening of the experts can be concluded by several aspects of the quality of news programs: The intervention of media owners is still evident and even conspicuous in the balance of news in an industry where broadcasting institutions are explicitly manipulating news content, especially when it concerns political issues. Concerning critical power, several news programs fail to arouse a critical rationale. News is delivered from one perspective only. The supervision aspect is still deficient because the shocking and horrible are intrinsically appealing. Subjectiveness in the news is widespread, especially in the selection of titles and narratives that simply justify the reporters' words.
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Kruglova, L. A., та A. S. Artes. "TV Channels Are on the Air and on the YouTube: The Specificity of Interaction on the Example of “Russia С” and ARTE". Vestnik NSU. Series: History and Philology 18, № 6 (2019): 139–49. http://dx.doi.org/10.25205/1818-7919-2019-18-6-139-149.
Повний текст джерелаАнотація:
Purpose. The article presents the results of the analysis of the work of television channels on the air and on the YouTube. This platform appeared in 2006 and has become popular all over the world. Now famous video service has a great influence to the media sphere, and traditional television has to reckon with this fact. The topic of interaction of TV channels with YouTube platforms is relevant for the theorists and practitioners. However, due to its novelty, it can not be called fully studied. Studies dealing with this issue cover only certain aspects of it, and the interaction of cultural and educational channels and their accounts on YouTube has not been considered before. Results. In the article authors analyzed materials prepared by the “Russia С” and Arte channels. These materials were published on the YouTube. The analysis was based on the following features: the number of released materials, views, comments, the specifics of the content (air or special), informational occasions, format and timing. Conclusion. The authors conclude that YouTube channels perfectly complement the on-air broadcasting, giving to the viewers the opportunities of non-linear viewing and encouraging users to be more active. Each of the analyzed channels has its advantages and disadvantages, but undoubtedly the presence of traditional media on new platforms is necessary: YouTube provides viewers with opportunities for non-linear viewing and encourages users to be more active. This means that both “Russia С” and Arte have great prospects in the development of a new Internet space.
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Hodge, James G., Veda Collmer, Daniel G. Orenstein, Chase Millea, and Laura Van Buren. "Reconsidering the Legality of Cigarette Smoking Advertisements on Television Public Health and the Law." Journal of Law, Medicine & Ethics 41, no. 1 (2013): 369–73. http://dx.doi.org/10.1111/jlme.12026.
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Amid the action of the 2013 Super Bowl aired the usual array of high-priced advertisements. Most ads were original. Some were unusual. One regional ad, however, seemed distantly familiar. The 30-second commercial promoted the NJOY King electronic (or e-) cigarette1 to at least 10 million viewers in several major markets. It featured an attractive male model taking a drag from what looks like (and NJOY calls) a cigarette. He then slowly blows smoke to the tune of Foreigner’s “Feels Like the First Time.” Of course, the “smoke” does not come from burning tobacco. Rather, it is the water vapor produced by an e-cigarette as part of its nicotine delivery process. This, however, was not evident from the imagery. For those watching the broadcast, including thousands of minors, NJOY’s advertisement depicted what tobacco companies have not portrayed on television for decades: a person engaged in smoking behavior.
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Perryman, Nyssa, and Sandra Theiss. "“Weather Girls” on the Big Screen: Stereotypes, Sex Appeal, and Science." Bulletin of the American Meteorological Society 95, no. 3 (March 1, 2014): 347–56. http://dx.doi.org/10.1175/bams-d-12-00079.1.
Повний текст джерелаАнотація:
Women currently in the broadcasting meteorology field have dealt with—and continue to deal with—restrictive stereotypes based on the public's perception of their physical appearance and intelligence, largely stemming from the “weather girl” stereotype developed in the 1950s. This sexist stereotype is best seen and often exaggerated in cinematic films and television shows; however, the public's ability to distinguish the truthful and fictitious aspects of these stereotypes is important because these stereotypes limit the level of trust established between female weathercasters and viewers while consequently impeding the public response to dangerous weather situations. This study will evaluate the origin of the weather girl stereotype associated with female broadcast meteorologists throughout history and use this information to further understand the representation of women weathercasters in several films and television episodes, in order to determine if the weather girl stereotype is further perpetrated in popular cultural media. The study found that these films and episodes actually serve to diminish the role of female weathercasters by reducing them to nothing more than a weather girl.
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Aran-Ramspott, Sue, and Miquel Rodrigo-Alsina. "The Notion of Violence in Television Fiction: Children’s Interpretation." Comunicar 20, no. 40 (March 1, 2013): 155–64. http://dx.doi.org/10.3916/c40-2013-03-06.
Повний текст джерелаАнотація:
In this paper we analyse child viewers’ interpretation of television violence shown in television programmes specifically aimed at children. The justification for this work is based on the research that considers that more theoretical and empirical studies need to be carried out on the conceptualisation of violence, and about how much violence is legitimised and through what mechanisms such legitimacy is constructed. It is aimed at providing a notion of television violence as interpreted by child television viewers which takes these mechanisms into account. The methodology used is based on an analysis of the content and the dialogue of in-depth interviews conducted with sixteen children under the age of 12 years, after showing them two sequences of television programmes with types and various formalisation of fictional violence. The results, as well as providing a conceptual map of the responses, also show how children define and differentiate different types of violence. We can also verify how their reception process is framed by their cultural history and specific reading and consumption experiences, in which contextual narrative aspects play a very important role in children’s interpretation of violence. Thus, the results of this study indicate how children give an unrestricted significance to violence.En el presente trabajo se analiza la interpretación de los espectadores infantiles ante la presencia de violencia en la programación televisiva dirigida a la infancia. Su justificación se enmarca en aquellas investigaciones que consideran necesario la realización de más estudios teóricos y empíricos sobre la conceptualización de la violencia, y sobre cuánta violencia se legitima y cuáles son los mecanismos con los que se construye dicha legitimación. El objetivo que se persigue es ofrecer una noción de violencia televisiva según la interpretación de los telespectadores infantiles que tenga en cuenta dichos mecanismos. La metodología utilizada se basa en el análisis de contenido y del discurso de las entrevistas en profundidad efectuadas a dieciséis niños y niñas menores de 12 años, después de mostrarles dos secuencias de la programación televisiva con tipos y formalización diversa de violencia de ficción. Los resultados, además de ofrecer un mapa conceptual sobre las respuestas, indican cómo niños y niñas definen y diferencian distintos tipos de violencia. También se puede constatar cómo su proceso de recepción está enmarcado por una historia cultural y por unas prácticas concretas de lectura y consumo, en las que los aspectos narrativos contextuales tienen un gran protagonismo en la interpretación infantil de la violencia. Así, los resultados de la investigación señalan cómo niños y niñas dan a la violencia una significación de carácter no restringido.
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Ladendorf, Martina. "The L-word. Queer identifikation och mediereception." Tidskrift för genusvetenskap 29, no. 3-4 (June 14, 2022): 115–37. http://dx.doi.org/10.55870/tgv.v29i3-4.3799.
Повний текст джерелаАнотація:
The L-word is said to be the first commercial television drama that is narratively centered on lesbian characters. How is a queer audience, in this case eighteen lesbian, bisexual or queer identified Swedish women, interpreting a homonormative mainstream media text? This article aims to read the representation and reception of The L-word against freudian psychoanalysis and spectatorship theory’s splitting of identification and desire and a queer critique of these. It also discusses the lesbian sex scenes in the series through some viewers interpretations of them. In focus group interviews, viewers are identifying, counteridentifying, but mainly disidentifying with the text’s construction of lesbian identity. The theoretical concept disidentification is borrowed from José Esteban Muñoz, which is something in between identification and counteridentification. Subjects can enjoy but still not completely ”buy” the media text and its offered identities at large, in an ironic negotiated reading. The main aspects that viewers are not identifying with are class positions (upper middle class) and the glamourous surroundings and characters (not seen as typical for lesbians), something they saw as linked to ”american-ness” and US commercial TV. But before the viewing of the televised text, an earlier identification with lesbianism is made, even among the two heterosexually (but also somewhat queer) identified interviewees. Interviewees choose to identify with different characters, or more commonly, situations, and these identifications were changing. A heterosexually identified interviewee, Ida, both identified, admired and desired the character Shane, something that puts the splitting of desire and identification into question. My analysis further shows that there are multiple wiewing positions among the eighteen interviewees. This is particularly true for the sex scenes, where different viewers see the same scene as great, ”hot”, uninteresting, based on a male gaze and heterosexual norms, or even as violent.
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KOLOTVINA, OLGA V. "IMMERSIVE TECHNOLOGIES OF J. VAL DEL OMAR’S MEDIA ART (“APANORAMIC IMAGE OVERFLOW”, “DIAPHONY”, “TACTILE VISION”) AS AN EXPRESSION OF HIS CONCEPT OF “MECHANICAL MYSTICISM”." ART AND SCIENCE OF TELEVISION 17, no. 1 (2021): 51–71. http://dx.doi.org/10.30628/1994-9529-2021-17.1-51-71.
Повний текст джерелаАнотація:
The article analyzes three media technologies for creating an immersive polysensory environment, developed back in 1940–1960s by the Spanish film director and engineer Jose Val del Omar. The technologies are considered in the context of the director’s key concept, which he called “mechanical mysticism”. It was aimed at creating a cinematic analogy of mystical experience by transforming the mysticism of Spanish culture into cinematic technologies. The author reveals how the conversion of the suggestive artistic potential of Spanish mysticism into the immersiveness of film technologies allowed J. Val del Omar to create art spaces that took the system of illusions beyond the visual into special modes of psychological experiences. On the example of his films (Water- Mirror of Granada, 1955, and Fire in Castile, 1961), the author analyzes the originality of the engineering solutions of J. Val del Omar’s technologies, defines the strategies of immersiveness and their rootedness in Spanish mysticism, qualifies the aesthetic impact of these media technologies on viewers. The article demonstrates that immersiveness is achieved by using a shock strategy of interlacing the effects of suggestiveness and defamiliarization (“ostranenie”), as well as through the expansion of the range of the viewer’s sensory perception and the effect of synesthesia. The suggestive impression effect is enhanced by visual poetic metaphors that reveal to the viewers the historically formed sensual imagery of Spanish mysticism. With the help of optical and light technologies, the semantic field of a film is not only visualized, but also illusively materialized as a three-dimensional image. НАУКА ТЕЛЕВИДЕНИЯ № 17.1, 2021 54 THE ART AND SCIENCE OF TELEVISION In general, the strategies reproduce the sensual immersiveness, which is inherent in the Spanish Catholic cultural experience. Such strategies block the viewers’ psychological distancing mechanisms and cause affective states and emotional involvement in the art spaces. Such technological innovations for creation of immersive spectacular audio-visual environments brought the J. Val del Omar’s cinema into the field of multi-media, and therefore he could rightfully be considered the forerunner of media art, the creator of art spaces, which later became known as sound and video installations.
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Leah Cross, Judith. "Aspects of a boy’s childhood as a complex social construct in comics." Visual Communication 16, no. 2 (March 30, 2017): 147–64. http://dx.doi.org/10.1177/1470357216680162.
Повний текст джерелаАнотація:
The depiction of boyhood in the Western world of comics underwent a subtle transformation in the shadow of the Second World War. Major artists of these sequential artistic texts (such as Schultz and Spiegelman) fine-tuned key elements in the set of resources they drew on, effectively changing how readers/viewers engage with the young male protagonists in comics. The shift in affect was realized in storylines; instead of these being driven by external, performance-oriented representations of ‘boyhood’ punctuated by mischievous deeds or heroic exploits, drama was created by a much more complex and nuanced depiction of boyhood that explored the internal emotional and psychological worlds of main boy characters. Drawing on representative examples from two different sets of comics, this article applies a bi-modal, semiotic approach that specifically addresses how facial expressions, gaze and speech/thought bubbles, elements of the interpersonal meta-function, construct a more complex representation of boyhood.
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Bell, Phillip. "Real New Formats of Television: Looking at Big Brother." Media International Australia 100, no. 1 (August 2001): 105–14. http://dx.doi.org/10.1177/1329878x0110000111.
Повний текст джерелаАнотація:
Recent ‘reality TV’ formats, such as Channel Ten's Big Brother, exhibit many features of ethnography, and attend to ‘real’ aspects of human behaviour in ways reminiscent of experimental psychological simulations of institutional roles conducted in the 1960s. Reality TV integrates and re-mixes genres of observational cinema and of game shows and situation comedy, purporting to reveal the very nature of people stripped of their conventional social support and competing for biological or social rewards. Yet these formats construct tight, artificial recontextualisations of existing social practices (around sex, courtship, work). Controlled, scripted games are therefore played out which beg the question of how ‘naturally’ people do (or should) behave, both in ‘reality’ and on television.
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Pinto, Manuel. "TV and family: a crossroad fo changeable fields." Comunicar 12, no. 24 (March 1, 2005): 59–67. http://dx.doi.org/10.3916/c24-2005-10.
Повний текст джерелаАнотація:
Television is a family issue. Concerning the relationship between family and media we should consider at least three aspects: the family on the TV, TV in the family and finally, the family making TV. The viewers are not only seduced customers, but citizens who are conscious of their position in the world and called to participate in the collective life. La televisión es cada vez más un asunto familiar. Teniendo presente las interacciones que el medio televisivo genera con el mundo familiar, es importante reflexionar sobre tres dimensiones esenciales: la familia en la televisión, la televisión en la familia y la familia frente a la televisión. Los telespectadores no son una mera clientela seducida por la pantalla, son ciudadanos que toman conciencia de su lugar en el mundo y que son llamados a participar activamente en el medio social en el que se desenvuelven.
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Tazanu, Primus M. "Of Polluted Spirits and Compromised Identity: Pentecostal Depictions of Causality and the Repositioning of Human Agency in Cameroon." Journal of Asian and African Studies 53, no. 6 (March 23, 2018): 970–83. http://dx.doi.org/10.1177/0021909618762520.
Повний текст джерелаАнотація:
Thanks to the mass media, specifically television, Pentecostal discourses involving polluted human spirits and defective human agency are captured and disseminated in audio-visual form in Cameroon. These representations are about evil spirits residing in, as well as corrupting, the personality of innocent individuals. Victims of evil spirits are portrayed as colonized vessels incapable of exercising agency without the intervention of an all-powerful pastor. In this article, I expose the ways in which these representations of malevolent forces – that are strongly connected to aspects of African non-church religious beliefs – influence conversations between viewers, particularly to the extent that they express doubt about whether these forces really do affect people’s agency. The narratives doubting human agency as described in this article draw from Emmanuel TV representations of causality. This is further grounded in Cameroonians’ desire to align their spirits with benevolent forces through the intervention of pastor TB Joshua.
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Young, Michael P. "Such Schadenfreude – Unpacking The Medley of Caustic Humor and Politics in Veep." AM Journal of Art and Media Studies, no. 20 (October 15, 2019): 61. http://dx.doi.org/10.25038/am.v0i20.327.
Повний текст джерелаАнотація:
This paper discusses the intersection of humor and politics from a media perspective, particularly through the lens of television aesthetics. As a growing branch of television studies, television aesthetics tends to refer to stylistic analysis but also, more rarely, to an interest in philosophical aesthetics as applied to television (Butler, 2010; Cardwell, 2013). I will focus on the genre of political satire and identify the critically acclaimed television series Veep (HBO, 2012 – present) as a program which exemplifies the expression and underlying values of a contemporary strain of aesthetic sensibility – schadenfreude – that runs through its axes of coarse disempowering humor and the portrayal of politics. Specifically, the paper explores how Veep’s affective reception results from humorously overlapping two of the more problematic aspects that persist in the political landscape, namely, self-interest and ineptitude.This paper begins by reflecting on the universal prevalence of schadenfreude. The first section briefly traces key historical instantiations of political satire, understood as a genre that humorously derides the shortcomings and dissonances of a prevailing political milieu. The second section conceptualizes schadenfreude in satirical terms and underlies its philosophical foundations. The third section elaborates on the novelty of Veep by highlighting its gendered position as the first comedic fictional television program of a female president and outlines how its satirical modality depends on its coarse writing style and depiction of antiheroinism to make the problematic political milieu pleasurable to viewers whose normative experience of politics is frequently negative. The final section considers the ‘real world’ implications of Veep as a social commentary on unsavory political personas and perspectives. Article received: May 10, 2019; Article accepted: July 6, 2019; Published online: October 15, 2019; Original scholarly articleHow to cite this articel: Young, Michael P. "Such Schadenfreude – Unpacking The Medley of Caustic Humor and Politics in Veep." AM Journal of Art and Media Studies 20 (2019): 61-69. doi: 10.25038/am.v0i20.327
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Lovie, Sandy. "M R James and the Psychology of Terror." History & Philosophy of Psychology 8, no. 1 (2006): 40–47. http://dx.doi.org/10.53841/bpshpp.2006.8.1.40.
Повний текст джерелаАнотація:
Although Montague Rhodes James (1862–1936) would have wanted to be remembered primarily for his antiquarian scholarship, the only substantial work of his which remains in print are the ghost stories. These were frequently tried out at Christmas in front of an audience of dons and students, first at King’s College Cambridge and then at Eton, before seeing the light of day in various literary journals. There are a little over 30 of these stories extant, with the collected edition dating from 1931. Although their subject matter and settings are now historical, the stories are still able to evoke horror and disgust in a modern audience, as may be witnessed by the invariable success of their many retellings on film and television, of which Jonathan Miller’s version of ‘Oh, Whistle, and I’ll Come to You, my Lad’ of 1967 is perhaps the best example. My aim in this paper is to explore the means, both psychological and social, whereby James induced terror in his protagonists, and in his listeners, readers and viewers.