Television And Social Change

The 20th anniversary edition of EL TIGRE (2021) – with a new Preface about the relationship between Televisa and President López Obrador and the legacy of Azcárraga Milmo – is available at the following sites:
IN THE USA (e-book): www.amazon.com/gp/product/B00EJTIEFG;
IN MEXICO (paperback): www.amazon.com.mx/El-tigre-Azc%C3%A1rraga-imperio-Televisa/dp/6073199775; (e-book): www.amazon.com.mx/El-tigre-Azc%C3%A1rraga-imperio-Televisa-ebook/dp/B00EJTIEFG/ OR www.gandhi.com.mx/catalog/product/view/id/8222604/;
IN THE UK (e-book): www.amazon.co.uk/El-tigre-Azc%C3%A1rraga-imperio-Televisa-ebook/dp/B00EJTIEFG/.

EL TIGRE: Emilio Azcárraga y su imperio Televisa is a biography of the Mexican media mogul Emilio Azcárraga Milmo (1930-1997). Founder of the giant Grupo Televisa - the world's largest Spanish-language broadcaster - Azcárraga was Latin America's answer to Rupert Murdoch. He inherited a TV & radio company and turned it into a colossus, involved in publishing, pay-TV, film, popular music, soccer, and the fine arts. He socialized with presidents and helped shape Mexico’s politics. He became the richest man in Latin America. He consistently generated controversy, through his monopolistic approach to business, his fiery and paternalistic management style, his support of the "perfect dictatorship" of long-ruling party the PRI, his extravagant lifestyle, and his incorrigible womanizing.
In EL TIGRE, Andrew Paxman and Claudia Fernández explore the turbulent life of this charismatic but secretive magnate and trace the evolution of his company, from a radio station founded by his father in 1930 to the present day. They study the traditionally symbiotic relationship between Televisa and the PRI; they examine Azcárraga's influence upon lawmaking, the church, the arts, and Mexico's relationship with the USA; and they survey the story of the telenovela, the much-exported form of soap opera with which Azcárraga turned both Televisa and U.S. network Univision into multi-billion dollar businesses.
EL TIGRE is unique as an unauthorized biography of a Mexican businessman. It reveals both the secret world of Mexican big business and the little-known humanity of a man widely regarded as an arrogant autocrat. It encourages debate about political privilege, broadcast regulation, private sector feudalism, the democratization of Mexico, and racism, classism & sexism in the media.

This chapter considers the significance of social class and gender in relation to authorship and emotion, situating these tenets as key critical contexts for interpreting This Is England’86 (Channel 4, 2010), This Is England’88 (Channel 4, 2011) and This Is England’90 (Channel 4, 2015). Though widely recognised as texts ‘authored’ by Shane Meadows and Jack Thorne, I suggest that the significant creative contribution and improvisation of working-class actor Vicky McClure, amounts to co-authorship.

El objetivo de este ensayo es presentar la problemática de la televisión mexicana en su contexto histórico desde su inicio hasta la actualidad. Partimos de la premisa que el desarrollo científico-tecnológico en general y de la televisión como parte de él, ha exigido a las sociedades y a los individuos implicarse, involucrarse y hasta tratar de evadirse del fenómeno televisivo. La televisión forma parte del desarrollo tecnológico desde finales del siglo XIX y durante el siglo XXI nos atrevemos afirmar que es y seguirá siendo protagonista de las innovaciones tecnológicas de comunicaciones que impactan a las sociedades y culturas donde llega. Desde una visión particularmente histórica sabemos que México (Fernández Christlieb; 2002:16 ,17,18), es un país que en materia de radio y televisión ofrece elementos sui generis. Quedó fuera, del modelo de radiodifusión cultural europeo, adoptó la fórmula de las cadenas comerciales estadounidenses, pero sin limitar el número de estaciones por concesionario. De esta manera se impuso en México un modelo desde una sola empresa, actualmente llamada TELEVISA, con la anuencia del sistema político sexenal del Partido Revolucionario Institucional. Revisamos entonces, en primer lugar, la definición de la televisión como parte del desarrollo tecnológico, después resumimos algunos datos históricos de la televisión mexicana, luego exponemos aspectos legales tales como: los requisitos técnicos para acceder al medio, exigencia del Estado para la difusión del porcentaje en contenidos ya sea programación cultural, infantil y publicitario. Para finalizar la televisión en los hogares mexicanos donde proporcionamos datos estadísticos sobre el nivel de penetración de la llamada televisión abierta, por cable y satelital. Palabras clave: Televisión y desarrollo tecnológico. Legislación y televisión.

Black public-affairs television programming in New York City
between 1967 and 1968 happened because of a convergence
of several factors. They include (a) the upheavals in urban
America between 1964 and 1967, (b) the release of the Report
of the National Advisory Commission on Civil Disorders (a.k.a.,
the Kerner Commission report) and (c) the assassination of
Martin Luther King, the latter two both within months of
each other in 1968. Other equally important factors include
the organic development of Black American-owned and
Black American-oriented media—newspapers and radio
outlets buttressed and informed by more than a century of
Black Left/Nationalist/Pan-Africanist/integrationist intellectual
thought and African-centered/Afrocentric ideology. Using and
critiquing the emerging scholarship on such programming, a
brief historical review of the creation and development of 4==
such shows in 1967 and 1968—WABC-TV’s Like It Is, WNEW-TV’s
Inside Bedford-Stuyvesant, and National Educational Television’s
two locally produced (but nationally broadcast) programs, Black
Journal and Soul!—shows that these programs sought to correct
the Kerner Commission’s critique that the American mass media
show “a White man’s world” by attempting to show, for the first
time, a Black world to large mainstream broadcast markets.

Leif Kramp untersucht erstmals umfassend die Gedächtnisrelevanz des Massenmediums Fernsehen sowie den archivischen und musealen Umgang mit der Fernsehgeschichte. Anknüpfend an die interdisziplinären Zweige der Gedächtnisforschung analysiert der erste Band die Bedeutung des Fernsehens seit Beginn des regelmäßigen Programmbetriebs in Deutschland und Nordamerika unter gedächtnistheoretischer Perspektive. Damit legt dieser Band den Grund für eine differenzierte Bewertung des Fernsehens als Medium des Erinnerns und Vergessens. Auf Basis einer breiten empirischen Erhebung bei zahlreichen Institutionen in Deutschland, Kanada und den USA befasst sich der zweite Band mit dem Status Quo und den Perspektiven der Verwaltung und Nutzung von Überlieferungen aus der Fernsehgeschichte. Kramp analysiert die maßgeblichen Problemstellungen, mit denen sich Museen und Archive konfrontiert sehen: von Fragen der Auswahl, Bewahrung und Zugänglichkeit von Fernsehüberlieferungen bis hin zu ihrer Präsentation und dem Medienwandel, und diskutiert Strategien für die Arbeit von Fernsehmuseen im digitalen Medienzeitalter.

Examines the bleak television comedies that illustrate the obsession of the white left with its own anxiety and suffering

At the same time that right-wing political figures like Donald Trump were elected and reactionary socio-economic policies like Brexit were voted into law, representations of bleakly comic white fragility spread across television screens. American and British programming that featured the abjection of young, middle-class, liberal white people—such as Broad City, Casual, You’re the Worst, Catastrophe, Fleabag, and Transparent—proliferated to wide popular acclaim in the 2010s. Taylor Nygaard and Jorie Lagerwey track how these shows of the white left, obsessed with its own anxiety and suffering, are complicit in the rise and maintenance of the far right—particularly in the mobilization, representation, and sustenance of structural white supremacy on television.

Nygaard and Lagerwey examine a cycle of dark television comedies, the focus of which are “horrible white people,” by putting them in conversation with similar upmarket comedies from creators and casts of color like Insecure, Atlanta, Dear White People, and Master of None. Through their analysis, they demonstrate the ways these non-white-centric shows negotiate prestige TV’s dominant aesthetics of whiteness and push back against the centering of white suffering in a time of cultural crisis.

Through the lens of media analysis and feminist cultural studies, Nygaard and Lagerwey’s book opens up new ways of looking at contemporary television consumption—and the political, cultural, and social repercussions of these “horrible white people” shows, both on- and off-screen.

El personaje de Claire Dunphy de la serie de television Modern Family es un ama de casa casada con tres hijos que esta totalmente dedicada a su hogar, esposo e hijos. El presente analisis se enfrenta el modelo femenino propuesto por el caracter con la concepcion feminista de las mujeres reales durante las primeras cuatro temporadas de la serie. Esto permite establecer el tipo de estilo de vida y los valores que transmite a la audiencia. Mediante la aplicacion de un modelo de analisis etico que cuestiona acerca de sus ambitos antropologicos, Claire aparece como una mujer moderna que eligio a su familia sobre su carrera y ha encontrado en su puesto actual, la sensacion de una vida exito y amorosa.

This essay investigates forensic fiction as a trend in televised crime fiction and argues that this trend or subgenre is particularly interesting if we are to understand how surveillance is portrayed in contemporary society. The essay looks particularly into an extremely popular example of forensic fiction, namely CSI and its two spin-offs CSI: NY and CSI: Miami. Through a discussion of the conceptions of knowledge, crime and power, which seem to come forth in the three CSI series, the present article argues that the particular blend of technological optimism, positivism and moralism that can be witnessed in forensic fiction in general, and in CSI in particular, is important to understanding how popular culture lends a certain normalization of surveillance to everyday life

The history of development in Africa is littered with all sorts of experiments and projects centred on new technologies often presented as a panacea to the problems of health, education, or agricultural production.The failure of some of those projects shows the limits of the technocentrist approach which has recently resurfaced in the developmentalist discourse and which is based on the idea that technology (and technology alone) can solve all the social and economic problems Africa is facing. This is the case of the educational television in Niger that was supposed to ensure a rapid access to universal education. It started in 1964 and was abandoned in 1979. It failed to transform the educational system in any significant way, the school enrolment rate in Niger still being under 60 %, 46 years after the experiment started. In this paper, I intend to show that this failure was not due to a lack of community involvement as generally advanced by project evaluations, but the result of a confrontation of divergent views of the world and society. Indeed, the educational television has become an issue of both social and political struggle, which resulted in the victory of one of the parties and the allocation of the educational television to other purposes for which it was not previously designed.

Satellite television centres in Nigeria have grown with the popularity of foreign football, especially international competitions. This study identifies the social significance, especially the uses and abuses of satellite television centres in Makurdi town. Also, the study identifies the strategy that is effective in curbing the abuses of satellite television viewing centres in Makurdi town. Using a survey of two hundred and twenty (220) respondents who patronise satellite television viewing centres in Makurdi, the study finds among other things that: satellite television viewing centres are used to advance sporting interests, however they are abused when criminals use these centres as meeting places and hideouts. Furthermore, the study finds that the dominant use of satellite television viewing centres to televise football matches leads to neglect of local football teams and this has far reaching implications. The study recommends that proprietors should regulate entry and the poli...

The rise of mass television allowed hundreds of millions of people to closely watch other people and places on a regular basis, anonymously and from afar. Television watching altered the balance of what different types of people knew about each other and relative to each other, blurred the dividing line between public and private behaviors, and weakened the link between physical location and access to social experience. In these ways, television contributed to the reshuffling of previously taken-for-granted reciprocal social roles, including those related to age, gender, and authority. In cultivating its viewers into the normalcy of the acts of watching and of being watched, television experience also stimulated the widespread use of more recent interactive visual media, including the displays of self on social networking sites. Moreover, familiarity with television as a watching machine has fostered the otherwise surprising level of tolerance for increasingly pervasive government, corporate, and populace surveillance.

Los Andes, Mendoza, 26 abril, 2018. Tal como explica Hannah Arendt en La condición humana, la satisfacción de las necesidades básicas ha sido tradicionalmente confinada por las diversas culturas a ámbitos de privacidad y/o intimidad. Las tareas relacionadas con ellas están vedadas a la exposición y el dominio público. Esto es más evidente en unas necesidades que en otras. Nos lavamos, orinamos o defecamos en soledad, siempre que sea posible. Mantenemos relaciones sexuales en un contexto de intimidad. Las mujeres paren acompañadas de alguien que las asista o algún familiar cercano. Dormimos solos o en compañía, pero en un lugar reservado. Hasta para agonizar buscamos algún sitio apacible y apartado, cerca de los nuestros.

Per comprendere la televisione, un’analisi della sua evoluzione tecnologica non basta. Bisogna contestualizzare la sua mediamorfosi anche in rapporto con gli altri mezzi di comunicazione, con le loro forme culturali e con una società profondamente trasformata a livello economico, legislativo, nei modelli di consumo e di business.
Per raccontare con esempi concreti la traiettoria – dagli esordi della tv fino all’epoca della convergenza digitale e dei social media – il libro propone un percorso multimodale in cui il lettore troverà, accanto ai testi, cinquanta video (spezzoni di film, clip o parti di trasmissioni televisive) scelti per documentare, spiegare o introdurre collegamenti interdisciplinari. È possibile accedere ai contenuti video semplicemente inquadrando con uno smartphone i codici QR accanto alle didascalie.
Il volume è inoltre arricchito da approfondimenti bibliografici necessari per sviluppare i temi affrontati.

An investigation into the ecological impact of Planet Earth II, and asking whether it can be used as a model for future natural history programming. Featuring an interview from Planet Earth II producer Elizabeth White, a survey of the public, and a literature review from contemporary media - the essay argues that we must look beyond mainstream productions in a truly ecological future.

A new breed of ‘Obsodrama’

Don’t write questions. Just write what you see.                                                                  Don’t make yourself into a punctuation mark in life’
David Simon  - Hay on Wye, 2009

This paper discusses The Wire as resisting standard broadcast demarcation (classification?) since ‘ the boundary between fact and fiction is both abundantly clear and impossibly muddled’  and suggests it demands the creation of a new, more elastic definition.

David Simon, considers himself first and foremost a journalist, someone in search of ‘The Why’? ‘Homicide was written after immersing himself within the Baltimore police to the point he became a routine ‘invisible’ presence. This directly invokes comparison with the methods of observational documentary, indeed he describes himself as working ‘in the tradition of Frederick Wisemann’  one of the movement’s greatest proponents. The aim of the ‘ob doc’ to ‘record reality without influencing it’  is always conflicted. Wisemann describes his own contributions to the genre as ‘reality fictions ’.  The recreational aspect of certain scenes within The Wire also begs comparison to docudrama, a genre resonant with connotations of falsifying rather than fictionalising.
Fictionalising clearly removed legal constraints but for Simon, stifled by the agenda governing journalism to ‘bite off one small morsel of the actual problem, surround one thing’  also meant he was able to link these morsels, conceiving five series from the outset to ‘construct’ an American City. As a self-proclaimed ‘social warrior  his Balzacian intention to show a ‘detailed and unfiltered representation of society’  extends to casting members of the represented community, although further blurring occurs when they are cast in opposition to type (ie. the actor playing ‘Deacon’ was previously a notorious drug dealer.)

In discussing this complex relationship between the real and imagined in The Wire we look to define a new broadcast genre.
Then, too, he was really more attached to truth than the poets are; for the latter do violence to their own stories in order to make them probable; but he by announcing a story which everyone knows not to be true, told the truth by the very fact that he did not claim to be relating real events.
(Philostratus, Life of Apollonius of Tyana, Book V:14)

DIRECT RESPONSE advertising is not only the preserve of marketers without retail distribution. It can be an integral part of
communication strategies where the objective is to achieve accountability, customer information or sales leads, or to reach
selected lifestyle cluster groups with a relevant targeted message.
Direct response advertising, whether 'above-the-line' or 'below-the-line', provides the researcher or planner with additional
quantitative information and feedback upon which to base future decisions. Direct Response Television (DRTV) planning requires the use of traditional television research, in combination with
quantitative and qualitative analysis of response information.

RESUM Aquesta ponència es proposa explorar el procés segons el qual durant la primera meitat del segle XX va haver-hi tres " intrusos tecnològics " , que es van integrar amb força naturalitat al món domès-tic tot trencant el seu silenci i la seva ancestral impermeabilitat: el gramòfon, el receptor de ràdio i el televisor. Els estudiosos de la tècnica, els antiquaris i els col·leccionistes s'han afanyat molt a estudiar i a documentar les primeres versions d'aquests artefactes, però sempre ho han fet en tant que aparells descontextualitzats i desvinculats del lloc que ocupaven en l'interior domèstic. El procés segons el qual aquests aparells van aconseguir un lloc d'honor en el saló, tot modificant substancialment els comportaments dels seus habitants, no és únicament estètic, ni únicament tecno-lògic, ni únicament productiu i ni únicament comercial. És tot això a l'hora. TEXTE

With user preference driving the digital innovations of televisions, the opportunities for viewers with disability to access television via broadband and digital platforms are profound. Viewers with disability have the potential to experience flexibility in the form of accessibility features such as audio descriptions, captions, lip-reading avatars, signing avatars, spoken subtitles and clean audio. This is especially true as digital television and broadband services converge to deliver television services online through sites such as Netflix. Similarly, with television communication becoming increasingly social, people with disability are mobilizing online to advocate for better television accessibility. While some opportunities for accessibility are not being realised, others are arising through the recognition of people with disability as a niche audience.

"A history of Italian tv broadcasting in its vital but confuse shift from a state owned monopoly to a duopoly between private and public broadcasting. A period that ends with reality television and the coming of digital television.

La storia della televisione italiana nel suo confuso e vitale passaggio dal monopolio alla concorrenza, fino all'arrivo della reality tv e del digitale.
""

Los audiovisuales forman parte de la vida cotidiana de la infancia, construyendo con ellos una parte de la realidad que muchas veces se anticipa y otras sustituye. Este artículo se interesa por una de las partes del binomio audiovisual, la banda sonora, con la finalidad de conocer su significado y sentido desde la propia interpretación infantil. Sus objetivos son determinar si los niños perciben de modo diferente los clips audiovi- suales a los que son expuestos (sonido, imagen y todo); establecer las posibles diferencias en la valoración que realizan comparando las modalidades de presentación sonido e imagen. Se identificaron 14 audiovisuales preferidos (películas, series, dibujos animados y reportajes) por parte de 115 niños de 10 a 12 años. Fueron editados en tres modalidades (solo sonido, solo imagen y todo) y agrupados en series de tres clips, que fueron visionados en sesiones grupales por 547 niños, españoles y argentinos, con una edad media de 11 años. Se diseñó y utilizó un cuestionario de valoración de clips audiovisuales. Los resultados mostraron diferencias sobre el significado de la banda sonora en tres de las cinco categorías del cuestionario, destacando el predo- minio significativo del sonido en series, reportajes y, de manera destacada, en películas. Se perciben por el sonido (la música) elementos contextuales espacio-tiempo, la implicación afectiva, sentimientos y empatía así como la valoración de la experiencia.

This paper explores the production process behind charity appeals in the context of developing Philippines. INGO appeals have traditionally been studied through textual analyses that expose their use of shock effect techniques and neo-colonial narratives that fail to bridge the “moral distance” between Western donors and “distant sufferers” (Chouliaraki, 2013; Vestergaard, 2009). Here, I develop an ethnographic approach to investigate the interactions between producers and the poor people who are subjects of appeals. I pay attention to producers’ articulations of “good work” and strategies of compliance and resistance as regards local media conventions of representing suffering within a culture of disaster and everyday suffering.

Television series are among the most important television products and are indispensable as prime-time representatives of a broadcast generation that international television channels put a strong emphasis on. Both the quality of the content and the cultural similarities the audience perceives in the story carry relevance in terms of reaching the target audience. This study aims to deal with the development of the TV series sector in the context of Turkish TV series (TTS) in recent years, regarding the export of these series abroad and the sociological and cultural effects of these series in the countries they are shown. The study explores the viewing habits of Croatian viewers, their perspective on television watching, TV series in general, their experience with different TV series and the elements that drew them to continue watching, and their opinion on TV series imported from North America, Latin America, and Europe. The study tries to understand the audience's perspectives on Turkish TV series and how they shape their preferences. This study also presents the number of Turkish TV series released in Croatia between 2010 (when the first Turkish TV series was released in Croatia) and 2020 and their effects on local people. Turkish TV series, production details, and broadcasting info were analyzed and explained using information obtained from the Croatian audience through an online questionnaire.

Family Guy is well known for the harsh social criticism it performs embodied in the 'innocence' of typically childish cartoons, together with the provocative humor that sometimes crosses the line of the politically correct. In this essay, I am going to focus on the Jewish stereotypes that this show constantly exploits in its jokes, and the possible antisemitic feelings that this tendency may evidence. The examples of antisemitic jokes in this show are present in almost every chapter since Jews are targeted more than any other ethnic group in it. Nevertheless, I will just analyze in depth two episodes from different seasons by order of broadcasting, so as to study as well the increasing radicalization of antisemitic thoughts towards the Jewish community and their reception by the audience.

Le monstre, cette figure mythique dont tous les artistes et les sociétés s’emparent pour raconter une histoire. Mais quel est-il ? Un cyclope dans L’Odyssée de Homère, une sorcière pour la société moyenâgeuse, la légende qui hante le Loch Ness en Ecosse.
Le monstre change d’aspect selon le média et l’espace qui l’abritent. Le monstre se lit, se regarde, mais jamais ne se rencontre. Le monstre est insaisissable parce qu’on ne sait jamais à quoi il ressemble. Son image s’est encore complexifiée et a évolué au fil des siècles, parce que les cultures ont commencé à donner au monstre une dimension psychologique: il n’est plus seulement beau ou laid, mais il est aussi bon ou mauvais.
L'intégralité du mémoire est disponible sur:  http://www.grin.com/e-book/310970/

Tenendo un approccio in parte storiografico, e in parte di analisi industriale, l’obbiettivo che questo testo si prefigge è quello di, da una parte, rendere evidenti quelli che sono stati i motivi che hanno reso Netflix un’impresa di successo contro ogni previsione, dall'altra come questi motivi la rendano diversa da qualsiasi altro progetto simile che si è lanciato (o è in procinto di farlo) in questo specifico tipo di mercato.

Ante la disyuntiva de cómo cambiar los medios de comunicación o de cómo hacer para usarlos correctamente, la ponencia se decanta por la segunda opción: es necesario empezar a dejar de hablar tanto de los contenidos de los medios de comunicación y empezar a adentrarse en el uso que hace cada individuo y en la interpretación que hace quien los recibe.

La ponencia se estructura a partir de tres aspectos: qué sabemos y qué nos preocupa de como los adolescentes miran los productos audiovisuales relacionados con violencia y sexo; en segundo lugar, los resultados de la investigación cualitativa que ella ha llevado a cabo; y, finalmente, un posible punto de partida para la educación en medios de comunicación.

Sobre el primer punto asegura que se acusa a los medios de influir en la apatía, la ausencia de cultura del esfuerzo, el consumo de alcohol y drogas, la violencia y la precocidad de las relaciones sexuales entre los adolescentes. Según Albero, los estudios sobre efectos y análisis de contenido muestran que estas afirmaciones no están del todo probadas, y que acusar sólo a los medios de los efectos negativos es darles un poder excesivo. Los estudios con un enfoque sociocognitivo destacan la importancia de la mente para dar sentido a la realidad, y añaden otros elementos como el entorno cultural y la interacción de otros contextos sociales como la familia, la escuela, los amigos, las características individuales y el ámbito geográfico y cultural.

Por lo tanto, el consumo de los medios se realiza en medio de una red compleja de interacciones entre diferentes agentes sociales y procesos cognitivos individuales y sociales, como la cultura del grupo y el uso que hacen los iguales de estos medios, los hobbies que orientan el consumo de Internet y el contexto familiar que orienta la interpretación de los contenidos.

¿Cómo interpretan los adolescentes?

La ponente se pregunta si realmente los medios traen el riesgo de una sociedad más violenta o a veces olvidamos otros aspectos de la realidad social que tienen una influencia más grande. También se cuestionó sobre lo que no sabemos, cuando los adolescentes acceden a la información, sobre la influencia de los medios, cómo sucede y por qué, y qué valor le dan a aquello que ven sobre violencia y sexo en sus experiencias. Aseguró que el acceso a los medios de comunicación es una más de sus actividades de ocio.

Otro aspecto que destaca es hasta qué punto los productos de los medios tienen en cuenta los intereses y demandas de los adolescentes: qué les gustaría ver si pudieran escoger.

La investigación cualitativa llevada a cabo por la ponente tuvo tres fases: una de encuestas (97 adolescentes de entre 12 y 16 años); el análisis de diarios personales de adolescentes en los que escribían lo que pensaban sobre los contenidos de violencia y sexo; y finalmente 22 entrevistas con madres y padres de adolescentes, además de cuatro grupos de discusión –uno por cada escuela–, cada uno con seis alumnos.

Los resultados sobre los hábitos de consumo televisivo muestran que es una actividad de entretenimiento no prioritaria, aunque sí generalizada. Los adolescentes valoran los programas de ficción y de humor, y aunque ven telebasura, son bastante críticos.

Respecto de la percepción de los contenidos, le dan más importancia a los referentes inmediatos de su entorno y son capaces de relativizar. Valoran que haya referencia a su vida cotidiana y a veces se sienten identificados con algunos personajes y situaciones, que les ayudan a mantener el interés. No sienten que los medios guíen su conducta.

Piden programas entretenidos, dinámicos, dirigidos a ellos –pero no con un tono paternalista–, que no sean necesariamente de ficción, en los que, por ejemplo, se hable de realidades como las drogas o la violencia y en los que puedan participar y dar su opinión.

En cuanto a la violencia, aseguran distinguir perfectamente entre la violencia de los programas de ficción y la real. Incluso aseguran que la violencia en la vida real –por ejemplo a través de los informativos– es superior a la que se presenta en programas de ficción. En general, no presentan síntomas de desestabilización por ver programas con contenidos de violencia; más bien la televisión puede llegar a ser un vehículo de concienciación sobre violencia.

Respecto a los productos audiovisuales relacionados con el sexo, son críticos y distinguen entre sexo y relaciones amorosas. Se muestran en contra de esta clase de venta del sexo que hacen algunos medios y sienten que algo han aprendido sobre el tema a través de los medios. Se quejan de que, pese a estar muy presente, casi nunca se trata de forma que se responda a sus preguntas sobre el tema. Los amigos continúan siendo la principal fuente de información; no quieren hablar de sexo con los padres, aunque estos tengan una actitud receptiva; y piden programas que les puedan ayudar a resolver dudas. También se ven diferencias de percepción importantes según el género: los chicos presumen de sexo, mientras que las chicas piensan en las responsabilidades.

Puntos de partida hacia la educación

Algunos puntos de partida para la educación en medios de comunicación es convertir los contenidos en una herramienta para generar debates en el aula, desde la escuela estimular a los jóvenes para que creen sus contenidos audiovisuales, formar al profesorado, crear estímulos externos para que los alumnos se interesaran en la creación de trabajos audiovisuales, adaptar el espacio curricular para que la escuela pueda disponer de horas para trabajar esta temática y generar sinergias con los medios de comunicación locales para que se lleguen a emitir los mejores trabajos de los adolescentes.

Se debe contar con un temario básico de educación para los medios de comunicación; avanzar en el conocimiento del lenguaje de los medios para aprender a leer imágenes y a crearlas; conocer la importancia de las audiencias en la selección que hacen los productores; analizar quiénes controlan los medios, quiénes distribuyen y a partir de qué intereses; y, finalmente, se debe saber qué representación hacen de los medios y si son conscientes de las ideas, los mensajes y los valores que se están sugiriendo.

Además se debe orientar el trabajo en clase, provocar la conversación y el debate, centrarse en la experiencia de los alumnos, desarrollar perspectivas objetivas en la producción de materiales, favorecer las actividades de grupo, centrarse en el proceso de exploración y no sólo en encontrar respuestas, y flexibilizar y adaptar estos contenidos a otras áreas curriculares.

Por su parte, la familia debe orientar los contenidos sexuales que llegan a través de los medios audiovisuales.

Difficult Women analyses select case studies from international TV dramas to examine the unresolved feminist issues they raise or address: equal labor force participation, the demand for sexual pleasure and freedom, opposition to sexual and domestic violence, the need for intersectional approaches.

Drawing on examples from The Killing, Orange is the New Black, Big Little Lies, Wentworth, Outlander, Westworld, Being Mary Jane, Queen Sugar, Vida, and other television dramas with a focus on complex female characters, this book illustrates how female creative control in key production roles (direct authorship) together with industrial imperatives and a conducive cultural context (indirect authorship) are necessary to produce feminist texts. Placed within the larger context of a rise in feminist activism and political participation by women; the growing embrace of a feminist identity; and the ascendance of post-feminism, this book reconsiders the unfinished nature of feminist struggle(s) and suggests the need for a broader sweep of economic change.

En este texto se ha buscado realizar un primer acercamiento a lo que significa la TV Digital Terrestre en el contexto boliviano. Está escrito a modo de ensayo de carácter prospectivo y provocador, conducente a una discusión abierta que pueda sentar bases sólidas del nuevo complejo tecnológico televisivo. No se olvida de la historia y de un presente rico en desafíos a la inteligencia; en el devenir de la TV Digital, no hay verdad que no esté sometida a la incertidumbre. Asimismo, aporta aproximaciones teóricas y prácticas que merecen ser enriquecidas en el transcurso de la propia experiencia. Se está comenzando a vivir en un escenario comunicacional televisivo en el que la no certeza es provocadora de todo lo nuevo que se pueda soñar, proponer y hacer.

The publication of the sixth volume of the official history of the BBC, Pinkoes and Traitors: The BBC
and the nation 1974‐1987 by Jean Seaton is reviewed. The book is found to contain numerous
errors, mis‐statements of facts and significant omissions rendering the book an unreliable source
for those researching either the history of the BBC or the impact of the BBC on Britain’s political
and cultural life. Seaton’s major errors and omissions are catalogued as an aid to future researchers
and alternative, more reliable, secondary sources identified.
KEYWORDS
BBC, HISTORY, BROADCASTING, TELEVISION, RADIO, BBC LOCAL RADIO, BBC NATURAL HISTORY UNIT, BRITISH
HISTORY, ASA BRIGGS, JEAN SEATON, HUW WHELDON, ALASDAIR MILNE, PLAY FOR TODAY, THE HITCHHIKER’S
GUIDE TO THE GALAXY, GARDENER’S QUESTION TIME, THE MOUSETRAP, HOWARDS’ WAY, THE THORN BIRDS,
LIFE ON EARTH, NEWSNIGHT, PANORAMA, I, CLAUDIUS, BOYS FROM THE BLACKSTUFF, EDGE OF DARKNESS, BLUE
PETER, BAGPUSS, THE WOMBLES, NATIONWIDE, GRANDSTAND, POT BLACK, THE GENERATION GAME, MATCH OF
THE DAY, BLACK AND WHITE MINSTREL SHOW, EASTENDERS, STARSKY AND HUTCH, MARK TULLY, GRAHAME C
GREENE, CHRISTOPHER ANDREW, TIMOTHY GARTON ASH, TOM BOWER, PAT LOUGHREY, DAVID MCKITTRICK,
BRYCE MCCRIRICK, KELVIN MACKENZIE, GILES OAKLEY, NAOMI SARGANT, RONNIE STONHAM, DAVID
ATTENBOROUGH, DERYCK COOKE, DERRICK AMOORE, SALLY DOGANIS, TIM EGGAR, AUSTEN KARK, SARA
NATHAN, STEWART PURVIS, STEWART PARKER, PHILLIP WHITEHEAD, TONY SMITH, ALASDAIR MILNE, AUBREY
SINGER, ANNA HOME, HUMPHREY BURTON MARK DAMAZER, FRANCESCA KIRBY‐GREEN, DONALD GRATTAN,
ALAN YENTOB, BROADCASTING STANDARDS COUNCIL

The world is now concerned about the better ecology for tomorrow. This has started to look to the best ways in managing the different kinds of waste and various methods of its disposal. Managing perishable waste thrown out by the households, chemical waste by the industries and the e-waste by the corporate entities has unfold its importance are nevertheless posing hazard to the human and the domestic animals in the society. It has been observed that many non-government and non-profit organizations have put in their continuous effort in spreading awareness; while few corporate entities too have contributed to an extent in this regard, yet, we find littering on both the sides of the road from a small chocolate wrapper to tetra packs piling up at the corner of the roads. The efforts of various activists will prove to be successful when media channels support for continuous broadcast to disseminate the awareness among the public at large. Television is a powerful medium which impacts in inducing the viewers in learning through the content it broadcasts for public viewership. This study is thus taken up to  Analyze the percentage of contribution of Kannada broadcast channels namely TV9, Public TV, Janasri News channels in broadcasting awareness content on waste management during the prime time.  Analyze opinions on the role of television in spreading the awareness and encouraging waste management among television viewers residing in Bangalore.