This article aims to reflect the efforts of the Ethnic Greek Minority that resides mainly in southern Albania, in the villages of Dropoli in Gjirokastra town, to have its own television programs in the Greek language. Further to the editions of the printed media and the radio broadcasts in the Greek language that were dedicated to the Greek Minority, there arouse the need for television programs in the Greek language which would be another dimension in reflecting (...) the worries, the problems, the traditions and the culture of the Greek Minority in Albania. Although the airtime of the programs in the Greek language, their frequency and the period in which they were broadcasted were short term, there remains undisputed their value in terms of the contribution to the social, political, economic and cultural life of the Greek Minority residing in Albania. The study of the Ethnic Greek Minority media in Albania is an unstudied field, so, in this article we aim to fill this gap somehow by providing a modest contribution, which may serve to many future researchers who will conduct studies of such topics. (shrink)

Recent communication research indicates that approach and avoidance constitute two separate yet co-existing processes during media exposure. While many studies address TV approach behavior, little is known about TV avoidance behavior. Furthermore, personality has yet to be linked to avoidance behavior. This study analyzes the influence of personality on TV program avoidance. Data show that the “Big Five” personality characteristics and Risk and Fight Willingness influence program avoidance, albeit to varying degrees. While the specific correlations are discussed in the paper, (...) the results generally reveal that the combination of personality and avoidance has added value in terms of understanding of TV using behavior compared to the frequently analyzed link between personality and approach. For nearly all personality characteristics, data show that the avoidance perspective is more than the inversion of the approach perspective. The findings are discussed with reference to gratification and selectivity research. (shrink)

Through analysis of film sequences focusing on DNA in two British Broadcasting Corporation nonfiction science television programs, Wonders of Life and Bang! Goes the Theory, first broadcast in 2013, contrasting “religious” and “secular” representations of science are identified. In the “religious” portrayal, immutable scientific knowledge is revealed to humanity by nature with minimal human intervention. Science provides a creation story, “explanatory omnicompetence,” and makes life existentially meaningful. In the “secular” portrayal, scientific knowledge is changeable; is produced through technical (...) skill in expert communities; and is ambiguous, potentially positive and negative for society. Television representations of science affect audience understandings, and this is particularly the case for nonfiction representations of science, as they are likely to be “taken more seriously” than fictional representations. The consequences of the “religious” representation of science are discussed, and it is argued that a widespread understanding of science as presented in the religious portrayal would negatively impact democracy. (shrink)

This study extends the examination of moral content in the media by exploring moral messages in television programming and viewer characteristics predictive of the ability to perceive such messages. Generalisability analyses confirmed the reliability of the Media’s Moral Messages (MMM) rating form for analysing programme content and the existence of 10 moral themes prevalent in television media. Standard regression analyses yielded evidence indicating viewers’ moral expertise, as measured by the Defining Issues Test (DIT), familiarity with the programme and (...) level of education predicted their ability to perceive moral messages in a television drama popular in the USA at the time of data collection. Identification of patterns in moral content represented in television programming, as well as knowledge of how viewer characteristics relate to their ability to perceive such content, can provide parents and educators with a means for better comprehending messages regarding human interaction to which they or their children are exposed. (shrink)

This study examines the dynamics of cultural politics in reality television shows featuring North Korean resettlers in South Korea. As existing studies focus on the role of media representation reproducing a dominant ideology for the resettlers, this paper focuses on the specific media rituals of NKR2 programs, which can be seen as a product of the neoliberalist localization process of the global media industry. In doing so, this paper demonstrates how NKR2 programs interrupt the current dynamics of (...) emotions in regard to North Korean resettlers in South Korea. We argue that in shaping civic identity as an effect of the NKR2 show, cultural politics of citizenship in South Korea on North Korean resettlers serve the formation of relatively conservative and sexist civic identity. (shrink)

This study examined the recall of car and food advertisements within either a car or food television program to investigate the relationship between recall, program content, and viewer involvement. The participants, 92 sixth-form students, aged between 16–17 years, were randomly assigned to one of four conditions. As predicted, advertisements placed within a program of dissimilar content were recalled significantly better than if placed within a program of similar content. A gender bias in recall was found with females recalling female-orientated (...) products significantly better than males. Viewer-involvement ratings factored onto three factor clusters: enjoyable, cheerful, and humorous. Negative correlations were shown between cheerfulness and recall in the car program, and positive correlations were shown between cheerfulness and recall in the food program. Finally, implications of the results were considered. (shrink)

Mass media have been accused of cultivating anti-immigrant sentiments in Western societies. Most studies on this topic, however, have not made a distinction between the types of television program (information vs. entertainment) or television station (public vs. commercial). Adopting a comparative approach, we use data from the six waves of the European Social Survey (ESS, 2002–2012, n = 162,987) to assess the relationship between individual and aggregate level patterns of television consumption and anti-immigrant sentiments in European societies. (...) Individual television viewing time is positively associated with anti-immigrant sentiments, while frequent exposure to news and information programs is associated with lower levels of anti-immigrant sentiments. At the aggregate level we observe a positive effect of the total viewing time in society on anti-immigrant sentiments. In the conclusion we offer some suggestions on how this effect could be explained. (shrink)

It seemed to happen overnight. Not long ago, we were all watching television, and now we are watching something else. Television stations have been replaced by streaming services. Well, not quite replaced, since we still have televisions, but somehow our television screens are not quite what they were. In Netflicks: Conceptual Television in the Streaming Era Tony Hughes-d'Aeth critically considers how our viewing habits, and television shows themselves, have changed over time. This book is about (...) television in the streaming age and it considers some of the continuities that contemporary streamed shows have to other narrative forms such as classic television and classic Hollywood. Long gone are the days when we had to wait a week for the next episode of a tv show to be aired -- now we can binge-watch whole series in one sitting! ABOUT VIGNETTES Series Editors: Sarah Collins and Tony Hughes-d'Aeth The Vignettes Series from UWAP is aimed at sharing the knowledges that are emerging in the contemporary university and which that consider the complexities of modern life. Each book provides an image, or a vignette, of a particular phenomenon and how this is being thought through by intellectual practitioners in today's academy. (shrink)

Contemporary television has been marked by such exceptional programming that it is now common to hear claims that TV has finally become an art. In Appreciating the Art of Television, Nannicelli contends that televisual art is not a recent development, but has in fact existed for a long time. Yet despite the flourishing of two relevant academic subfields—the philosophy of film and television aesthetics—there is little scholarship on television, in general, as an art form. This book (...) aims to provide scholars active in television aesthetics with a critical overview of the relevant philosophical literature, while also giving philosophers of film a particular account of the art of television that will hopefully spur further interest and debate. It offers the first sustained theoretical examination of what is involved in appreciating television as an art and how this bears on the practical business of television scholars, critics, students, and fans—namely the comprehension, interpretation, and evaluation of specific televisual artworks. (shrink)

In this article I will present two arguments. First, the argument that the time travel television series historically provided viewers with a spectacular temporal and spatial alternative to the routine of everyday life, the regulation of television scheduling, and the small-world confines of domestic subjectivity. Taking the decades of the 1970s and 1980s, predominantly in a UK viewing environment, I will suggest that the special effect rendering of the time travel sequence expanded the viewer’s material universe, and affectively (...) wrenched the television set free from the strictures of scheduling and realist programming. Further, the time travel series readily and regularly took the domestic space, the ordinary day and the everyman/person into awesome environments and situations that suggested alternative lifestyles and behaviours, with a different existential tempo and rhythm. At a narrative, thematic, meta-textual, and aesthetically spectacular level, television time travel saw to the wonderful end of the working day. Case studies include Sapphire and Steal, Dr Who, and Quantum Leap. Second, the article will argue that rather than the contemporary time travel television series being an extraordinary alternative to ordinary life, they instead articulate convergence culture, deregulation, multiple channel viewing, and time-shift culture where there is no such thing as an ordinary working day or domestic viewing context. (shrink)

Global television has enabled cultures across the world to meet within the virtual space and interact in terms of decoding, meaning making and appropriating messages. It is also the case of the Romanian audience, a local community of viewers who have long been exposed to highly censored and restrictive programming (under the communist regime) and who are now enabled to identify with the (western) communities they have aspired to. We intend to illustrate our case with TV advertisements, which, generally, (...) provide abundant material for television viewers, with socio-culturally determined profiles, to re-construct meanings into either coincidental or disjunctive semantic outputs. Since the act of consumption is productive, we aim to show that in spite of the possibly conflicting readings of the poly- and multi-semantics of the ads, viewers can coalesce into interpretative communities irrespective of their cultural make and cooperate towards the production of a joint meaning. We consider that this is an illustration of transculturalism at the level of a local audience interacting with the symbolic representations of cultures elsewhere on television. (shrink)

When is it ethically justifiable to mislead participants about the nature of a film or television program? Producers of the 2006 film Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan used brilliantly crafted releases to undermine potential fraud claims from participants misled about the comedy. This article argues that if portraying participants can result in foreseeable, substantial negative consequences for them, the portrayal must serve an overriding public interest. The test is applied to scenes in (...) Borat. (shrink)

Flanders will complete the migration from analog to digital terrestrial television by the end of 2008. Despite the cable dominated television landscape, the Flemish government is aiming at a smooth transition from analog to digital terrestrial television. Therefore, a multi-methodical study has been set up by order of the Flemish government to understand the specific features and needs of analog antenna viewers and their expectations for the analog switch-off. The study shows that there are three distinctive types (...) of analog antenna viewers. The results demonstrate that the antenna viewers are rather badly informed about the upcoming analog switch-off, which may lead to a negative attitude and may impede a smooth transition. Finally, antenna viewers seem to be rather conservative viewers: they wish to keep on watching the same television programs from the same channels. Moreover, digital terrestrial television is their preferred alternative. (shrink)

As cable television channel bloomed and grew in Taiwan, more and more teenagers watched a wide variety of foreign TV programmers through hundreds of channels. The impact of this media trend among Taiwanese youth stresses the importance of research to assess whether local college students learn from foreign television programming. In this research, which supports the theoretical discussion in this paper, the nature of these learnings was analyzed as well. In general, this study aims to explore the relevant (...) literature and examine whether college students engage in critical thinking when viewing foreign television programs. This research used a popular Korean series shown in Taiwan to examine various perspectives and views related to the issue. Based from the gathered findings, college students appear to pay more critical attention to the program script, character, rhythm, plot and cultural differences. In relation to aesthetic, ideology and cultural identity issues, less response on the educational impact of the program was obtained from the participants. This confirms the claim that Taiwanese youth view television as an entertainment medium rather than an educational one. For this reason, the role of media education, specifically the integration of visual literacy and critical thinking, is highly significant to generate less passive television viewers. (shrink)

Using telephone interviews among a random sample of 537 Dutch children aged 7–12 years old, we investigated the prevalence of fear reactions to television news among younger and older children and among boys and girls, what types of news items children in different age and gender groups refer to as frightening, and whether children's fear reactions to regular adult television news differed from their fear reactions to a special children's news program. Overall, 48.2 % of the children who (...) reported watching the adult or children's news programs, reported fear reactions to adult news, while 32.6 % reported fear of children's news content. For both types of news programs, younger children and girls more often reported fear than older children and boys did. The most prevalent fear-inducing news content categories were interpersonal violence, fires, accidents, and disasters, and visual depictions of the consequences of violence. (shrink)

L'évolution de la mesure d'audience TV est indissociable des principales étapes qui ont mené d'une télévision publique en situation de monopole à un système mixte public/privé. Les résultats du panel postal de l'ORTF, premier dispositif fiable et permanent , sont réservés aux seuls dirigeants des chaînes, afin d'éclairer une politique de programmes encore volontariste, tandis que le CESP mène une enquête parallèle à destination de la profession publicitaire. La montée de la compétition entre chaînes publiques s'accompagne de l'attention croissante accordée (...) à l'audience et, en 1982, la mise en place de l'audimétrie-foyer représente une véritable révolution, par la rapidité et la précision des résultats obtenus. Avec l'arrivée des chaînes commerciales et la concurrence entre diffuseurs qui en résulte, les publicitaires sont en mesure d'exiger leur participation au contrôle de l'outil géré par Médiamétrie et imposent l'audimétrie individuelle , qui permet un suivi par cible.The evolution of TV audience research is indissociably linked to the main stages of television’s own history which saw it progress from a single state-owned channel with no competition to a system where public and commercial channels co-exist. Results from the ORTF postal panel set up in 1969, the first reliable and permanent measuring device, are only given to channel executives to help shed some light on a programming policy which is still volontarist. The CESP also conducts a parallel survey used by advertisers. The rise in competition between public channels has gone hand-in-hand with the growing attention paid to audience ratings and the introduction, in 1982, of rating measurement meters represented a real revolution since results are accurate and rapidly obtained. The arrival of commercial channels and the resulting competition between broadcasters meant that advertisers were able to demand a say in the control of the “Médiamétrie” audience ratings system and imposed the introduction of the TV “people meter” which permits the calculation of target audiences. (shrink)

In this volume, Richard Parker contemplates the opposing interests of the developing global market television industry and the future of entertainment programming trying to appeal to the local tastes. The author also presents the basic economics of television and how this understanding will enhance the dissemination of news and we as an audience will take this even more for granted.

Public access television has been one of the most interesting and controversial developments in the intersection between media and democracy within the past several decades. Beginning in the 1970s, cable systems began to offer access channels to the public, so that groups and individuals could make programs for other individuals in their own communities. Access systems began to proliferate and access programming has been cablecast regularly in such places as New York, Los Angeles, Boston, Chicago, Atlanta, Madison, Urbana, (...) Austin, and perhaps as many as 4,000 other towns or regions (Linder.. (shrink)

Fertile grounds for theoretical inquiry can be found in the oddest corners. Contemporary television programming provides viewers with several talk shows of the grotesque, as I will call them, in which the aim of each episode is to put some monstrous human phenomenon on display with the help of a host and a participating studio audience. In this paper I will try to support the unlikely claim that these talk shows, which include The Jerry Springer Show and Sally Jesse (...) Raphael (among others), provide remarkably fruitful foci for theoretical attention. My plan is to give a reading of the ideological structure of talk shows of the grotesque. In particular, my interest lies in a relatively recent strand of ideological theory that has treated questions concerning the nature and reproduction of ideology as serious ontological questions: questions that go to the heart of our philosophical understanding of subjectivity, autonomy, and the metaphysics of belief and other intentional attitudes. Here I take the work of Louis Althusser, Judith Butler, and Slavoj i ek as paradigmatic and seminal representatives of this type of theorizing. My eye, in this paper, will be turned toward showing how the contemporary talk show of the grotesque provides us with a case study through which we can productively interrogate this new theoretical turn in our understanding of ideology. After spending a substantial amount of time laying down some theoretical groundwork, during which I take a selective and usurious tour through recent theories of ideology, performativity, and the constitution of subjectivity, I will analyze the talk show phenomenon by dividing it into four levels of participatory activity: those of the host, the guests, the studio audience, and the television audience. I will argue.. (shrink)

The article presents a methodological update on the lexical profile of informal spoken English with the emphasis on movies, television programs, and soap operas. The study analyzed Mark Davies’s mega-corpora with data containing approximately 625 million words and employed Paul Nation’s comprehensive and up-to-date British National Corpus/Corpus of Contemporary American English wordlists. Data from the analyses showed that viewers would need a vocabulary knowledge at 3,000 and 5,000 words frequency levels to understand 95 and 98% of the words (...) in scripted dialogs, respectively. Soap operas were found to be less lexically demanding compared to TV programs and movies. Findings are expected to fill in the methodological gaps between vocabulary assessment and vocabulary profiling research. (shrink)

Objective: To map the tone of local and global economic information transmitted in news and non-news TV programming during economic recovery, and to resolve a conflict in the literature between research where a negative trend in economic news was identified and studies which concluded that economic news reflects actual economic circumstances. Method: A content analysis of 140 hours of prime-time programming aired by commercial networks and public broadcasting in Israel during one month. Results: Local news reflects fairly accurately current trends (...) in the stock exchange while still maintaining a general tendency to employ a negative tone more frequently than a positive tone, even during economic recovery. Global economic news is more positive in tone than local economic news. References to the economy in the news are more positive and frequent than references to the economy in non-news programming. The tone of economic news in public broadcasting is more negative than the tone of economic news aired on commercial stations. Conclusions: The existence of a negative bias in economic news depends on the reported event. While News about the stock exchange is not biased, less concrete news is negatively biased. (shrink)

This article presents the findings of an audience research conducted with 86 young Spanish people aged 15 to 29 years. The investigation examines the modes of reception of television fiction, and the impact of the shows on the viewers. Friends’ influence on the choice of program, and the tendency to use social networks to comment on the shows and to talk about themselves, underline the crucial role played by TV fiction and new technologies in socialization processes. While most participants (...) criticized the propensity of television fiction to build extreme stereotypes, they also showed a clear predilection for Spanish programs, and admitted that their characters often offer inspiration to face everyday problems. (shrink)

ABSTRACTThe commentary is aimed at exploring the ethical dimension of Bigg Boss, one of the most commercially profitable reality shows on Indian television. While reflecting on the entertainment quotient of the show pulled in by way of controversies and abusive behaviour of the celebrity participants, it also delves into the aspects like depression, drug addiction, racism etc that is triggered during the show. The conclusion suggests profit but with more legally ethically and philanthropically active purpose.

This article looks into the way in which public-service as well as commercial TV stations in the Netherlands assume their social responsibility towards a pluralist society. After all, television channels are expected to be ‘mirrors of society’; the key question is then how successful their programs are in conveying a well-balanced representation of all groups in society. By means of a quantitative analysis, the Diversity Monitor charts the presentation of different groups, with a particular focus on gender, age, (...) and ethnicity. Apart from diversity, and as a subcomponent of the Quality Card, the Monitor also reviews innovation as an indicator of program quality. The results reveal a wide diversity of TV programs in the Netherlands, but diversity as such is no guarantee of a balanced presentation of society at large. Due to selection mechanisms on the side of the broadcaster and the public, what the viewer eventually gets is at the most a mirror of his or her own group. (shrink)

Better Call Saul and Philosophy is an anthology, a collection of essays exploring the philosophical themes present in the hit television show Better Call Saul. Premiering in the Spring of 2015, Better Call Saul serves as a prequel to the much beloved and critically acclaimed television show Breaking Bad in a which mild-mannered high school chemistry teacher, Walter White - through a series of poor, albeit strained decisions - slowly but steadily becomes a monstrous drug kingpin. In Better (...) Call Saul, a struggling but cocksure attorney, Jimmy McGill goes through a similar transformation to become a cunning, devious criminal lawyer for the underworld. Beyond this, Better Call Saul is populated with a number of additional characters going through their own evolution - from a brother burdened with a psychosomatic(?) ailment, to a former police officer delving deeper into the wrong side of the law to provide for his family. -/- Much like the beloved show, Better Call Saul and Philosophy is an anthology-- a collection of snippets and essays that slowly reveal a much more complex story. Premiering in the Spring of 2015, Better Call Saul serves as a prequel to the much beloved and critically acclaimed television show Breaking Bad. Critics of the series have noted that its storytelling is emblematic, or "The New Golden Age of Television": programming that not only rewards multiple watches, but also calls for a careful, reasoned analysis of characters, plots, and themes. Better Call Saul is the type of program that is so rich with these elements that it not only calls for a book like Better Call Saul and Philosophy, but might even feel incomplete without it! -/- Now, readers can join alongside struggling-but-cocksure attorney Jimmy McGill as he goes through a series of transformative experiences and scenarios. Featuring the work of contemporary philosophers, Better Call Saul and Philosophy offers its readers a chance to delve deeply into a wide range of philosophical issues the show presents, including the nature of good and evil, personal identity, free will and determinism, the law as it relates to morality, the ethical implications of the war on drugs, death and dying, and many, many more. Fans of the show will love a chance to appreciate the show on much deeper level--and, for those hoping to learn a bit about philosophy as well as the show, the book perfectly marries the two together in a unique and engaging way. -/- This book is the latest edition (#8) in the series Pop Culture and Philosophy. (shrink)

In this study we analyze daily data on television viewing in the Netherlands. We postulate hypotheses on supply and demand factors that could impact the amount of daily viewing time. Although the general assumption is that supply and demand often correlate, we see that for television this is only marginally the case. Especially diversity of program supply, often deemed very important in media markets, does not affect (positively or negatively) television viewing behavior. Most variation in television (...) viewing can be attributed to habit and to regular events (e. g. weekends, Christmas) and to unexpected events (e. g. the 9/11 WTC attack). We also find that weather conditions interact with program types, so that, for example, in winter times people favor entertainment programs even more, suggesting that people use television for mood management. (shrink)

This article examines how on-air conversations between journalists indicate how US television coverage of a race-related crisis can reflect racial ideology. Using critical discourse analysis, we examined interjournalistic discourse about African Americans in national network and cable news programs that aired after Hurricane Katrina reached New Orleans. While we expected conversational semantic items from conservative Fox News to reflect racial ideology, we also found such discursive elements from politically moderate and progressive news organizations such as CBS, CNN, and (...) MSNBC. These findings are consistent with Anxiety Uncertainty Management theory, which predicts that exposure to stressors in unfamiliar settings causes individuals to think in ethnocentric, dichotomous, stereotypical ways. Our research underscores the impact of white privilege on language, communication, and news production, and the need for cultural competence training to enhance journalists’ ability to discuss racial matters with ease. (shrink)

This study investigates the negative reactions of Dutch viewers to the content of television programs. The results show that a vast majority is sometimes irritated by TV programs, that a somewhat smaller majority is sometimes shocked by the programs, and that one fifth of the viewing population consider certain programs to be intolerable. The most frequently mentioned genres are games, shows, and related entertainment programs, while reality TV, news and current affairs, and sex are (...) primarily evaluated as irritating. It appears that violent and frightening material creates by far the largest category of negative responses. Intimidating behavior worries the viewers most, immediately followed by the violation of privacy. This article also discusses the consequences of these results for broadcasting policy in the Netherlands. (shrink)

The medical drama and its central character, the doctor-hero have been a mainstay of popular television. House M.D. offers a new (and problematic) iteration of the doctor-hero. House eschews the generic conventions of the “television doctor” by being neither the idealized television doctor of the past, nor the more recent competent but often fallible physicians in entertainment texts. Instead, his character is a fragmented text which privileges the biomedical over the personal or emotional with the ultimate goal (...) of scientifically uncovering and resolving instances of disease. This article examines the implicit and explicit messages in House M.D. and critically analyzes both the show and its lead character in relation to the traditional medical drama genre that highlights the “doctor-hero” as the central character. While at first House seems to completely violate narrative and generic norms, ultimately the program provides a new form that reinforces the presence of the doctor-hero, but highlights House’s character as the central figure who is personally and interpersonally problematic but biomedically effective. (shrink)

If television news viewers are conceived as active audience members, their interpretations should be a crucial factor in the study of the ‘effects’ of television news. Here, viewers’ interpretations are understood as subjective constructions of a news item. In a previous contribution, we argued that interpretations can vary both within and between viewers in regard to the level of complexity. Complexity is the degree to which interpretations are a) differentiated, and b) integrated. In this contribution, we will operationalize (...) the concept of differentiation of television news interpretations by its viewers. Furthermore, we will present a procedure for measuring differentiation based on the thoughts viewers reported while they watched a television news program. Results of a small-scale study provided first indications that the procedure is able to discriminate between viewers with varying levels of differentiation in interpreting television news. (shrink)

In this study we analyze daily data on television viewing in the Netherlands. We postulate hypotheses on supply and demand factors that could impact the amount of daily viewing time. Although the general assumption is that supply and demand often correlate, we see that for television this is only marginally the case. Especially diversity of program supply, often deemed very important in media markets, does not affect (positively or negatively) television viewing behavior. Most variation in television (...) viewing can be attributed to habit and to regular events (e. g. weekends, Christmas) and to unexpected events (e. g. the 9/11 WTC attack). We also find that weather conditions interact with program types, so that, for example, in winter times people favor entertainment programs even more, suggesting that people use television for mood management. (shrink)

Following WWII the French state deployed television as an instrument of nation-building. The televising of philosophy, visible in 3500 programs aired between 1951 and 1999, contributed to this project. This article examines forty philosophy shows produced for national broadcast in France during the 1960s. It argues that philosophy's dialogic structure rendered it suited to capitalize on television technology. These shows (featuring Hyppolite, Canguilhem, Ricoeur, Foucault and Badiou) also demonstrate how the state used philosophy to reify an image (...) of national superiority at a time when, under the impress of decolonization and modernization, France's role in the global arena was in question. (shrink)

Il est essentiel pour une chaîne de télévision, qu'elle soit publique ou privée, de connaître son public. Le groupe Francetélévisions s'est doté d'une direction d'études commune et de trois directions affiliées à chaque chaîne pour regrouper et analyser l'ensemble des données disponibles sur l'auditoire de la télévision. Face à la variété des outils et à la profusion des données, il est primordial de bien sélectionner ce qui est le plus pertinent pour répondre aux demandes des responsables de programme et de (...) programmation. La direction des études décortique les résultats d'audience par cible et utilise les logiciels permettant de suivre les flux de publics, les reports d'une chaîne à l'autre, etc. Les études qualitatives sont indispensables pour anticiper les réactions du public, pour améliorer un programme. Des sondages proposés par des instituts spécialisés complètent ces études internes .It is essential for both public and private television channels to know their audience. The France Télévisions group has set up a central research department covering each of its channels which also have their own individual research departments whose aim is to assemble and analyse all available audience data. Given the variety of tools and the large amount of data available, it is imperative to select well that which is the most relevant to answer demands coming from programme planners. The research and study department analyses audience ratings per target and uses software to follow audience movement, changes from one channel to another and so forth. Qualitative studies are essential to foresee audience reactions and to improve a program. Surveys proposed by specialised institutes complete these internal studies. (shrink)

Este artigo trata das formas de construção e reelaboração identitárias que ocorrem a partir dos processos de adesões religiosas em curso nos contextos urbanos atuais. Através das narrativas midiáticas e dos depoimentos orais de fiéis que aderiram ao neopentecostalismo, busca-se perceber como ocorrem os trânsitos por entre modalidades religiosas. Neste texto discuto os modos de recepção de uma modalidade de narrativa recorrente nos programas televisivos da Igreja Universal - os testemunhos – destacando a força incorporadora desta modalidade narrativa nas mediações (...) culturais de que se utiliza e os processos de reordenamento simbólico e identitário que esta modalidade narrativa provoca. Noções como identidade-diferença, apropriação e recepção propostas por autores do grupo dos Estudos Culturais são utilizadas para compreender, como, mediante a nova adesão religiosa, fiéis reordenam suas identidades, configurando novos modos de compreensão de si mesmos, dos outros, da divindade e do mundo. A metodologia utilizada decorre das análises propostas pela História Oral sobre narrativas televisivas e os depoimentos orais de fiéis e ex-fiéis neopentecostais. Palavras-chave : Neopentecostalismo; Mídia Evangélica; Narrativas Orais; Identidades.This article deals with the ways of construction and reworking of the identity that occurs from the ongoing religious accession processes on the current urban contexts. Through the media narratives and the oral testimonials of the people who joined the neopentecostalism, the way transits between religious modalities occur has been studied. In this text, I discuss the ways of reception of a recurrent narrative modality on television programs of The Universal Church – the testimonials – highlighting the developing power of this narrative modality on the cultural mediations it makes use of, and the processes of symbolic and identity reordering this modality provokes. Notions as identity-difference, appropriation and reception, proposed by authors of the Cultural Studies group are used to comprehend how, by the new religious accession, people reorder their identities, configuring new ways of comprehension of themselves, of the others, of the divinity and of the world. The methodology that was used comes from analysis proposed by the Oral History about the television narratives and the oral testimonials of people who follow, or do not follow anymore, the neopentecostalism. Keywords : Neo-Pentecostalism; Evangelical Media; Oral Narratives; Identities. (shrink)

This article examines how Italian commercial broadcast news on Mediaset’s three terrestrial channels has covered the transition to digital terrestrial television. Mediaset is the largest commercial broadcaster in the country and is owned by former prime minister Silvio Berlusconi. By drawing on critical discourse analysis of broadcast news, it is argued that linguistic elements such as pronouns, choice of words, and metaphors, together with tendentious editing and framing of interviews, were part of a strategy of positive representation of the (...) broadcaster’s interests in the transition and negative representation of media policies opposing such interests. In particular, the analysis brings to the surface the ideological usage of interviews. Interviews in this case did not function as an act of control over the powerful, but as a way to illuminate the broadcaster’s strategic interests while obfuscating the reasons behind attempts to regulate the transition to digital television and open the market to competition. The data attest that the way in which news programs covered the digital transition exposes the connections between media content, media ownership, and governmental institutions. Indeed, all three news programs, TG5, TG4, and Studio Aperto, despite their different target audience and the reputation of one of them as the most objective and authoritative newscast on Italian commercial television, echoed each other in unified support of the sort of interests and media legislation that best fitted the corporation, especially at times when those interests were threatened. The corpus consists of 13 newscasts grouped in two clusters aired in 2006 and 2009. The main participants in the story were Mediaset’s president, often interviewed as the ‘expert’ on the TV industry, the communications minister for the center-left Prodi government, and the communications undersecretary for the center-right Berlusconi government. Citizens and consumer groups were never given the opportunity to voice their positions or be an active part of the narration. (shrink)

This article takes a critical look at the television show ‘Uit de Kast’ that has been broadcast on Dutch public television for the past three years. In this program, young male and female lesbian, gay, and bisexual participants, who have not come out yet for various reasons, reveal their homosexuality to their family, peers, and colleagues while being documented on camera. We problematize the compatibility of the genre ‘reality television’, which by definition focuses on personal emotions and (...) conflict, with subjects that have emancipatory goals, such as the creation of more awareness for and acceptance of homosexuality. The data reveal that in the show LGB emancipation is framed as a personal problem and not as a socio-political issue with moral and ideological dimensions. In the end, we argue, the effect could very well be that the show does not promote but rather – ironically – hinders LGB emancipation. (shrink)

Based on cloud computing and statistics theory, this paper proposes a reasonable analysis method for big data of film and television. The method selects Hadoop open source cloud platform as the basis, combines the MapReduce distributed programming model and HDFS distributed file storage system and other key cloud computing technologies. In order to cope with different data processing needs of film and television industry, association analysis, cluster analysis, factor analysis, and K-mean + association analysis algorithm training model were (...) applied to model, process, and analyze the full data of film and TV series. According to the film type, producer, production region, investment, box office, audience rating, network score, audience group, and other factors, the film and television data in recent years are analyzed and studied. Based on the study of the impact of each attribute of film and television drama on film box office and TV audience rating, it is committed to the prediction of film and television industry and constantly verifies and improves the algorithm model. (shrink)

The active ‘doing’ of gender and sexuality in and through social interaction has been a topic of academic inquiry for several decades. This study examines the cultural reproduction of that ‘doing’ through the onscreen discourse of the animated television sitcom. A conversation-analytic approach to various excerpts from two popular series reveals the ways in which the situated interactions of these programs make gender and sexuality overtly relevant to viewers through polarization of ‘the norm’ versus deviations from it at (...) the level of talk. In temporarily deviating from their everyday, normative speech practices, characters tap into viewers’ preconceived notions of the behaviors of different gendered and sexual identities in interaction. These non-normative actions are then oriented to as such in the onscreen discourse, thereby making gender, sexuality, and the conduct associated with those identities simultaneously salient for the at-home viewer. It is hypothesized that, while these gender-/sexuality-based associations can be used as a tool through which to offer critiques of the social stereotypes that they parody, they can also serve to re-create those hegemonic divisions at a discursive level through homogenization of the complex range of human identities being represented. (shrink)

This study combines quantitative content and qualitative production analysis of two television news programs in Flanders to investigate the impact of a Charter of Diversity on the portrayal of ethnic minorities. Findings of interviews with news production and ethnic minority experts show the ineffectiveness of a Diversity Charter not implemented at the heart of the newsroom. It seems unable to have an impact on journalists' media literacy and social capital, on the discursive structure of the news or characteristics (...) of the production process itself – all more decisive factors in minority reporting. These findings are confirmed by the results of content analysis showing no gradual improvement of ethnic minority portrayal in a newscast produced under a Diversity Charter compared to news produced under no such Charter – both showing little changes in ethnic minority reporting. (shrink)

The medical drama and its central character, the doctor-hero have been a mainstay of popular television. House M.D. offers a new (and problematic) iteration of the doctor-hero. House eschews the generic conventions of the “television doctor” by being neither the idealized television doctor of the past, nor the more recent competent but often fallible physicians in entertainment texts. Instead, his character is a fragmented text which privileges the biomedical over the personal or emotional with the ultimate goal (...) of scientifically uncovering and resolving instances of disease. This article examines the implicit and explicit messages in House M.D. and critically analyzes both the show and its lead character in relation to the traditional medical drama genre that highlights the “doctor-hero” as the central character. While at first House seems to completely violate narrative and generic norms, ultimately the program provides a new form that reinforces the presence of the doctor-hero, but highlights House’s character as the central figure who is personally and interpersonally problematic but biomedically effective. (shrink)