Television

Die Verflechtungsstrukturen deutscher TVSender und Produktionsgesellschaften sind hoch komplex und sehr intransparent gestaltet. Der Versuch, diese schlüssig zu durchdringen, ist für den Fernsehzuschauer angesichts
von verfügbaren Informationen und Veröffentlichungen
der Sender nur mit Mühe möglich. Um dessen Situation möglichst konkret nachzubilden, wurde die Methode reiner Exploration
gewählt. Die diesem Beitrag zugrundeliegende Studie versucht, allen Hindernissen zum Trotz, auf diesem Wege für die – gemessen an den Wirtschaftsdaten – fünf größten deutschen
TV-Sender eine erste Verflechtungsmatrix aufzuzeigen. Sie versteht sich am Ende als Aufforderung zur Erhöhung der Transparenz, die sich insbesondere an die öffentlich-rechtlichen
Leistungsträger richtet.

Background: High screen time in children and its detrimental health effects is a major public health problem. How much screen time adults think is appropriate for children remains little explored, as well as whether adults' screen time behaviour would determine their views on screen time restrictions for children. This study aimed to investigate how adults' screen time behaviour influences their views on screen time restrictions for children, including differences by gender and parental status.

Numerosi prodotti di importazione arricchiscono sempre più spesso l’offerta dei media italiani, tv compresa: in questo modo, nel nostro Paese approdano contenuti che non sono pensati e realizzati appositamente per il pubblico nazionale, ma che, una volta trasferiti e adattati, mutano – almeno in parte – la loro forma. In ambito televisivo, un caso particolarmente interessante è quello della situation comedy americana: un genere centrale nella tv statunitense, ma che in Italia è insieme molto diffuso nei palinsesti e spesso frainteso, complesso da tradurre e talvolta ricostruito – o persino stravolto –, disprezzato ma visto (e rivisto) da intere generazioni di spettatori. Questo volume pone le basi teoriche per uno stu dio dei processi di ‘mediazione’, solo apparentemente banali, che intercorrono nel passaggio di un prodotto mediale da un Paese all’altro: l’appropriazione nazionale (o ‘italianizzazione’), la traduzione, l’adattamento, la distribuzione. E poi applica queste basi a un’approfondita analisi delle vicende italiane della sitcom americana, e di alcuni suoi titoli in particolare (Seinfeld, Friends, Will & Grace, How I Met Your Mother), da tre punti di vista: la ricostruzione della sto ria del genere nel nostro Paese; la rassegna delle variazioni e modifiche traduttive che il prodotto televisivo si trova necessariamente ad affrontare; infine, il racconto della sua filiera produttiva e distributiva, delle routine traduttive e dei professionisti coinvolti. Per capire cosa cambia nella sitcom quando passa dagli Stati Uniti all’Italia, e perché.

Developments in contemporary Latina/os media are the result not only of an exponential­ ly growing Latina/o population in the United States but also of the synergy between trans­ formations in the global political economy and the emergence of new media platforms for production, distribution, and consumption. To reflect upon the emergence of the industry is to consider the politics of the labeling of the Latina/o community and the eventual con­ figuration of a market audience. It also requires a confrontation with the cultural history of representations and stereotypes of Latina/os, particularly in radio, TV, film, and the in­ternet, and the transnational aesthetics and dynamics of media produced by and/or for Latina/os in the United States. If the notion of media revolves around a technological means of communication, it also encompasses the practices and institutions from within which the Latina/o communities are imagined, produced, and consumed. At the start of the 21st century, the idea of Latina/os in media revolved around a handful of Latina/o stars in Hollywood who often performed stereotypical representations, a racialized and marginal Spanish-language radio industry, and two Spanish television networks, Univi­sion and Telemundo. A more complex constellation of representations has evolved in both mainstream and Spanish-language media, among them new platforms for production and resistance, including social media (e.g., Facebook, Instagram, Snapchat), radio podcasts and streaming services (e.g., Hulu and Netflix), and a more active and engaged audience that consumes media in Spanish, English, and even Spanglish.

The aim of this collection is to develop, and promote discussion of, qualitative and quantitative methods, in addi-tion to more traditional ones, for studying television series. Indeed, a methodological hybridity characterizes media stud-ies, which seeks to expand the investigatory frameworks of the phenomena of interest, situating them within the entire media system (including production, distribution and con-sumption) and their social, cultural and political contexts. In this perspective, adopting qualitative and quantitative mod-eling approaches can create an interesting perspective and enhance the development of future research fields. For ex-ample, in the study of individual programs, or particular sites of production, consumption, and reception, or of audience response, modeling approaches might help to identify textual and contextual features that correlate with the persistence of particular programs over time; the ability of particular shows to adjust their form or market appeal in response to changing contextual conditions; and the ways in which different pro-duction, distribution, or exhibition contexts influence textual form and/or audience response.

This article employs uses and gratifications theory to conduct an audience analysis on crime drama viewership. To the best of our knowledge, this theory has not yet specifically been applied to this genre, thus providing a basis for the research study. Three independent variables (age, sex, frequency of crime drama viewing) were tested against four dependent variables (curiosity/information, identification, social interaction, and entertainment), as well as all variables together (full gratification) in order to determine if they were statistically significant predictors of each specific type of gratification. Results indicated that frequency of viewing crime dramas was a statistically significant predictor for only full gratification and curiosity/information. The study‟s limitations and future research directions are discussed.

There is a new panorama of audiovisual content construction that has been opened with the expansion of the TV format formats industry in the world. The emergence and popularization of television can be considered one of the most relevant phenomena in the 20th century in social communication, in the context of Brazilian television productions, the present study aimed to create a methodology for creating new formats of television programs, Based on the analysis of the creative processes used by TV channels, broadcasters and producers, with reference to a new market for the export of audiovisual ideas. This research is justified by the fact that Brazil still has a gap to be filled, since it is not configured as an exporter of television formats. The guiding hypothesis of this research was whether the lack of systematization of the creative process for TV program formats inhibits the development of new ideas for entertainment programs. The hypotheses were also analyzed that the vertical model of the TV stations discourages the development of new projects of formats of programs in Brazil; And that most TV stations do not have creative teams because they do not know how to stimulate or evaluate the creations of new programs. The method used to develop this study was qualitative, using the techniques of exploratory research, bibliography, documentary analysis and cartography, including maps and diagrams. The theoretical framework is based on studies of communication, genres and formats, on theories of genetic criticism, creativity, creative processes, innovation, design thinking and business modeling, as well as the interpretation of data from the Brazilian television scenario. The development of the research finds scientific and methodological support in the line of research Creation Processes in the Media and in the Research Group CCM - Communication and Creation in the Media, aligned with approach of the studies of the professor Lucia Leão.

Greetings: The 7th edition of Visual Communication: Images with Messages is available at a drastically reduced price for students and others at $35: http://goo.gl/r53bFs with a color print version available for $100: http://goo.gl/Cqg3hr through Amazon. The fully updated edition includes 739 figures for photographs and illustrations along with weblinks to additional images and videos. If you plan to teach visual communication, visual literacy, and/or media and culture or if you are an interested student or professional, please consider taking advantage of this opportunity. Let me know if you have any questions. All best things, paul _________

With dragons, dogs, wolves, ravens, and so many more, animal symbolism is endlessly significant in Game of Thrones. Discover their meanings in heraldry, in Celtic myth, and other clever correspondences. What do red, green, black, and grey symbolize, in heraldry and fiction? Why does Daenerys wear so much blue? What about golden roses? As George R.R. Martin’s characters chomp on bloody beef, blood oranges, red wine, beets, and pomegranates, they foreshadow the inevitable bloodbaths. Thus the intricately crafted world of books and show has endless depth, revealed in this spoiler-free talk for fans of every flavor. (This is a free powerpoint of a presentation I've done--this is also a book, written by me, with this title).

This dissertation analyzes the postfeminist tendencies and biopolitics in contemporary media practices by considering the pop culture exemplar, the Kardashian-Jenner family.

This dissertation received First Class Honors from Trinity College Dublin.
Vanessa graduated with Distinction in B.A. English Literature and Media Studies.

The early 2000s saw a sharp rise in the popularity of Wicca, most obviously in the number of teenagers practising Witchcraft. This period similarly saw the introduction of a new era, in which identity formation underwent dramatic changes and the world became increasingly connected, with new forms of media playing a large role in both aspects. In this thesis, I show that teenage Witchcraft can and should be seen within the context of these postmodern developments. Witchcraft offers teenagers an attractive alternative to conventional lifestyle by placing an emphasis on nature and the environment and by providing a possibility for identity formation, yet while still leaving teenagers with a lot of options regarding the practise of their religion.

Television aestheticians and cognitivists share an important endeavour.  Both groups are driven to explore the compelling emotional, cognitive and aesthetic appeals of contemporary television serials. In other words, whether we take up a broadly aesthetic perspective or cognitive approach towards TV, we are engaged in an ongoing act of appreciative engagement. We share a mutual fascination with the televisual works that captivate us, and an urge to address our sense of their potential significance or moment.
Our apparent commonalities, however, lead us not only in diverse directions, but often also into disagreements and mistrust. I write as someone committed to television aesthetics, who embraces the arrival of new perspectives, and recognises the usefulness of much cognitive work, but who nonetheless will admit to some uneasiness about the presumptions underlying cognitive science, and trepidation regarding its deployment within TV studies. This chapter is a preliminary foray into the two approaches side by side. But rather than comparing and contrasting, I aim to uncover something a little more nuanced and elusive: the distinctive sensibility of each perspective and the implicit values which inform it.
          The chapter proceeds by identifying some of the commonest notes of concord and discord between aesthetic and cognitive television scholars, uncovering differences of purpose, scope and values, in order to better appreciate the points of urgent distinction which separate the approaches, and to illuminate the hazards of speaking at cross purposes.
          So that I might grasp more positively the specific strengths and merits of each perspective, I briefly consider how a specific moment of television might seize the attention of its practitioners. I have chosen two moments drawn from recent US television series – The Closer (FOX, 2005-12) and Desperate Housewives (ABC, 2004-12) – that I argue are most sensitively and persuasively appreciated via cognitive and aesthetic perspectives respectively.
My exploration of these two examples leads me, finally, to revisit this book’s core focus – the television serial – via a consideration of ‘moment’. The ‘sense of moment’ in this chapter’s title consciously denotes two meanings of the word. The first is more commonplace: a moment is a short time, an instant. The second refers to importance, weight, significance. What is the ‘moment’ of a particular fragment within a long-running serial? How do cognitive and aesthetic approaches weigh this moment? As we shall see, cognitivists and aestheticians take up subtly dissimilar stances in relation to seriality and moment(s), and in each approach, the two meanings of ‘moment’ are differently interconnected. Attending to these distinctions helps us uncover something of the sensibility of each perspective. And in keeping with the values and sensibility of a television aesthetician, I ultimately aver that it is television programmes themselves, or the unique particularities of selected moments within them, which will guide us – if we let them – to choose the most appropriate appreciative approach in each case.

La transparencia en las instituciones públicas, además de ser una obligación legal en determinados aspectos, es un deber moral con la ciudadanía, que confía en los representantes políticos para gestionar adecuadamente su país, incluidos los recursos que, vía impuestos, administran dichas instituciones; y es, también, un factor diferencial, un elemento de valor añadido que aporta reputación y prestigio a la administración que apuesta decididamente por ella. Valores que se traducen en confianza hacia esa institución y, lo más importante, en confianza en el sistema político, profundizando así en la participación ciudadana, en su capacidad de decisión, en la configuración de una opinión pública mejor formada y, en definitiva, en la mejora de la estabilidad y la calidad democrática.

Highly competitive and multi-channel media environment requires extremely careful attention to the matter of TV programming, insufficiently studied in Russian theory of television journalism. The article focuses on the features of the thematic channels programming on the example of the urban news channel «Moscow 24». The analysis of genre, thematic priorities of the channel, as well as the main principles of scheduling strategies show that the basis of the channels programming is the block of programs from news to news, filled interchangeable content. Large quantities of repetitions lead to the fact that the hours of broadcast in the same time interval are slightly different. Programming techniques related to the inertia of audience's TV viewing are not used. As a prime-time period for the «Moscow 24» should be considered the period of early morning. On the air we can see a lot of reportage and the interview. All type of thematic can be determined as a social journalism. «Moscow 24» is targeted at the young active audience. One of the goals of the channel is the creation of a positive image of the Moscow authorities and context for the perception of topics relevant to the city's policy.

To investigate whether robots could reduce resident sleeping and stimulate activity in the lounges of an older persons' care facility. Non-randomised controlled trial over a 12-week period. The intervention involved situating robots in low-level and high-dependency ward lounges and a comparison with similar lounges without robots. A time sampling observation method was utilised to observe resident behaviour, including sleep and activities over periods of time, to compare interactions in robot and no robot lounges. The use of robots was modest; overall 13% of residents in robot lounges used the robot. Utilisation was higher in the low-level care lounges; on average, 23% used the robot, whereas in high-level care lounges, the television being on was the strongest predictor of sleep. This study found that having robots in lounges was mostly a positive experience. The amount of time residents slept during the day was significantly less in low-level care lounges that had a robot.

En un contexto adverso donde la escasez de subvenciones a los proyectos cinematográficos españoles ha hecho mella, la Ley del Cine, que entró en vigor en 2008, permitió que el capital de otros sectores distintos al mundo audiovisual pudieran financiar películas a través de las agrupaciones de interés económico (AIE), al considerarlo como una actividad estratégica para la cultura y el ocio. Se establece que, para incentivar las inversiones en producciones cinematográficas, se fomente la constitución de una AIE a la que resultará de aplicación el régimen fiscal especial establecido en la Ley del Impuesto de Sociedades. Es decir, facilitan la deducción por inversiones a aquellos sujetos pasivos del Impuesto de Sociedades y del IRPF que las realicen en producciones cinematográficas con nacionalidad española, largometrajes de ficción, animación o documental, además de series de ficción para TV. Esta deducción, junto con la generación de bases imponibles negativas aplicables a los inversores de la película, constituyen el conjunto del beneficio fiscal. Esto les permite convertirse en productores, logrando así una optimización fiscal, además de estimular paralelamente la industria del celuloide y de la televisión. ¿Quieres ser un productor de cine o televisión que desgrava y obtiene una alta rentabilidad financiera y fiscal? Con esta fórmula, el capital privado invertido en la película consigue una deducción del 18% al 20% (para el primer millón de euros) del coste de producción, reduciendo las subvenciones en la península; un 38%-40% en las islas Canarias (20 puntos más que en la península), el 35% Navarra y un 30% en el País Vasco. Se añade una fuente más de financiación al peculiar régimen de financiación de largometrajes que obliga a los productores a sufragar el coste de la película, sin obtener beneficios antes del segundo o tercer año, desde que se comienza a trabajar sobre la idea hasta que se consigue taquilla o se venden los derechos a las televisiones, distribuidoras, plataformas digitales. La apuesta es segura porque al vehicularlo a través de una AIE, el inversor gana automáticamente los porcentajes de la desgravación, teniendo en cuenta que está garantizada aunque la producción no tenga éxito en taquilla. Está pensado, sobre todo, para aquellas personas o empresas con patrimonio y otros ingresos, ya que la rentabilidad se logra a través de incentivos fiscales y no de la venta con plusvalías de la participación en la película. ¿Cómo se hace y cómo funciona? La AIE, figura asociativa de cooperación inter-empresarial, es una entidad con personalidad jurídica y carácter mercantil, cuya finalidad consiste en facilitar el desarrollo o mejorar los

A recent innovation in televised election debates is a continuous response measure (commonly referred to as the "worm") that allows viewers to track the response of a sample of undecided voters in real-time. A potential danger of presenting such data is that it may prevent people from making independent evaluations. We report an experiment with 150 participants in which we manipulated the worm and superimposed it on a live broadcast of a UK election debate. The majority of viewers were unaware that the worm had been manipulated, and yet we were able to influence their perception of who won the debate, their choice of preferred prime minister, and their voting intentions. We argue that there is an urgent need to reconsider the simultaneous broadcast of average response data with televised election debates.

Children’s television is an important and heavily researched subject area that has a long and outstanding tradition. However, while there are a lot of academic works on the content of children’s programming and the production aspect, the issue of children as a specific group of audience is addressed less frequently, and often in a very one-sided way of looking at the risks and benefits of children’s media practices.

This research is taking an audience approach to the study of children’s television, particularly focusing on children’s viewing practices and the use of multifunctional media devices in the home. The findings will come from a recent and original qualitative study of families, their everyday viewing practices and attitudes towards television and media technologies. The paper will argue that the study of children’s viewing habits have the potential to transform the way we think not only about children’s television, but also about television as a medium more generally, as there is evidence to suggest that family viewing practices are indeed undergoing a transformation. The paper will demonstrate that when it comes to children’s viewing, the discussion of television is no longer simply about the ‘telly’, but rather about ‘screens’, with children living in increasingly multimedia homes, using a variety of media devices for a variety of media practices that often compete, overlap and conflate. This paper aims to show that in the context of the home and children’s viewing, what we mean by television is changing, with the boundaries around the medium, its content and technology often blurring.

During last year’s regional meeting, a conversation began around the larger implications of popular culture and biblical studies in several forms to the American religious landscape. This panel hopes to continue this endeavor with a substantive conversation organized this time around representation and minority groups on “television.” Religious language and practice runs through the American media landscape. In our conversation last year, we struck upon the idea that certain pop culture forms are consistently used as mythic and iconic forms, that they are used as both texts and ritual acts. “Television” is currently undergoing a shift of ritual practice. Fewer people watch network television shows together, but more people are watching screens than ever. This fracturing of the audience might be a new part of the culture or it might actually be an illustration of divisions that already existed in audiences.

We hope that this conversation will allow us to bring some broader questions to the region in a panel that focuses on conversation and the process of collaboration rather than more traditional papers. We will provide a quite brief introduction that will include some initial comments on definitional and methodological issues, the future of the field, the value of this field of inquiry. The rest of the panelists will contribute presentations that concentrate somewhat on the questions: In what ways does this show represent minority or religious groups? How does the way the show is distributed impact its production, audience, or reception?
 
The remainder of the panel will be devoted to a moderated conversation that we hope includes those in attendance.

Artykuł będący popularnie ujętym i skróconym wykładem inauguracyjnym, jaki wygłosił autor podczas rozpoczęcia roku akademickiego 2005/06 w AGH - przedstawia drogę, jaką przebyła nauka o elektryczności od prostych doświadczeń z elektrostatycznym oddziaływaniem potartych obiektów dielektrycznych (np. bursztynu) poprzez stworzenie ogniw i baterii elektrochemicznych, aż do używanych obecnie prądnic. Jednym z efektów rozwoju wiedzy o elektryczności było powstanie elektroniki, która - jak napisano w tytule - zelektryzowała także obszar kultury.

As part of a larger research project sponsored by the Instituto Mexicano de Cinematografía, the author reports an exploratory study on film consumption habits in Guadalajara. Three surveys were conducted among people at video-clubs and cinemas. That television is the main form of film consumption, followed by the rental of videos is one of the findings of this work. Also, that people still prefer american movies, but recognizes  the efforts of the "new mexican cinema".