Thematische Bibliographien / Rebelde Way (Television program)

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Auswahl der wissenschaftlichen Literatur zum Thema „Rebelde Way (Television program)“

Autor: Grafiati

Veröffentlicht am 28. Juli 2024

Zuletzt aktualisiert am 31. Juli 2025

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Zeitschriftenartikel zum Thema "Rebelde Way (Television program)"

Tsfati, Yariv, Rivka Ribak, and Jonathan Cohen. "Rebelde Way in Israel: Parental Perceptions of Television Influence and Monitoring of Children's Social and Media Activities." Mass Communication and Society 8, no. 1 (2005): 3–22. http://dx.doi.org/10.1207/s15327825mcs0801_2.

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McCleary, Iva Dene, and M. Winston Egan. "Program design: Program design and evaluation: Two‐way interactive television." American Journal of Distance Education 3, no. 1 (1989): 50–60. http://dx.doi.org/10.1080/08923648909526650.

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Ciurea, Maria, and Veronica Catargiu. "The Adoption of the Recovery Program – is this a Way to Improve the Financial Performance of the Romanian Television Society?" New Trends and Issues Proceedings on Humanities and Social Sciences 3, no. 4 (2017): 96–103. http://dx.doi.org/10.18844/prosoc.v3i4.1519.

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Through this scientific approach we wanted to tackle a controversial and least investigated area for the Romanian media market that is the public television service. In the current economic context, our objective has been to analyze the way the adoption of the Recovery Program and its implementation have led to an improvement in the financial performance of the Romanian Television Society. Keywords: recovery program; financial performance; tax debt/ liabilities; financial results; public television;

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Polomski, R. F., D. W. Bradshaw, R. H. Head, and G. L. Reighard. "Teaching Pruning through Television." HortScience 32, no. 4 (1997): 592B—592. http://dx.doi.org/10.21273/hortsci.32.4.592b.

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Two interactive pruning televideoconferences were produced, each comprised of videotaped segments and in-studio pruning demonstrations. In the first televised conference, viewers received step-by-step instructions for pruning four small and tree fruits. Twelve woody ornamentals were pruned in the second conference. The “how-to-prune” segments were performed by Extension personnel and videotaped by University Electronic and Photographic Services. Each of the 2-hour conferences was broadcast live from a classroom television studio with a total of 30 in-studio participants and 178 county extensio

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Fantini, Endah. "REPRESENTASI ADEGAN KEKERASAN DALAM TAYANGAN KOMEDI TELEVISI (ANALISIS SEMIOTIKA TERHADAP PROGRAM OPERA VAN JAVA DI TRANS7)." Majalah Ilmiah Bijak 15, no. 1 (2018): 91–105. http://dx.doi.org/10.31334/bijak.v15i1.135.

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Opera Van Java (OVJ) Television program on Trans7 earns a high rating and share in a relatively short time. This is a new phenomenon in the category of comedy that shows a television program in Indonesia can be successful. This event received much praise, so the OVJ included a comedy that received great public attention. The silly story presented by OVJ is very funny and appealing to all walks of life.Trans7's communications management on this television comedy program has demonstrated professional work in managing comedy programs. This is done by building the synergy / performance of all the

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Selimi, Ferid, Marigona Xhigoli, Driton Iseni, and Saranda Krasniqi. "Young Kosovars, Their Preferred Television and Use of Viewing Devices." Revista de Gestão Social e Ambiental 18, no. 3 (2024): e05897. http://dx.doi.org/10.24857/rgsa.v18n3-119.

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Objective: To ascertain the interest of youth in this information medium at a time when television is no longer the primary media, as each individual carries a cellphone and when young people utilize alternative information sources through social networks Theoric Framework: Other studies concerning media preference have argued that preference in media is a complex concept that needs to be studied on different levels. Methods: During the research, an empirical study was conducted, specifically a survey with a focus group of young people aged 18-30, to explore their access to information, using

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Lizetha, Vivin, and Angga Prawadika. "Konvergensi Setengah Hati : Invasi Konten Media Sosial dalam Program Berita Televisi di TVOne." Jurnal Media dan Komunikasi 2, no. 1 (2021): 15. http://dx.doi.org/10.20473/medkom.v2i1.29350.

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Growth of technology give big impact to development and changes in mass media. Today, even though broadcast media like radio and television still have place in the heart of audience, however should be recognized that the existence of social media, it must be recognized that the existence of social media has a significant impact on media development. Mainstream media, especially television broadcast media, are starting to look for ways not to be abandoned by their audience. They began put in social media content into television programs. That happened on all shows in television programs. No exc

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Glover, Petra. "Michael Palin's Himalaya : Potential Impact of Television Travel Diaries on Destination Image." Tourism Review International 16, no. 2 (2012): 113–24. http://dx.doi.org/10.3727/154427212x13485031583894.

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A strong academic interest in media-induced tourism has emerged in recent years with a focus on fictional movies and television programs. In contrast, few studies have evaluated audiovisual formats of factual or documentary nature, despite the increasing popularity of such television programs with a specific travel theme. In the UK, programs resembling video diaries in which the presenter, generally a celebrity, is accompanied on an extended journey by a television crew are firmly established in the television schedule. this article examines the potential impacts of the television travel serie

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İşliyen, Fadime Şimşek, and Mustafa İşliyen. "An overall assessment of the educational roles TV contents play in raising children’s historical consciousnes." International Journal of Innovative Research in Education 4, no. 2 (2017): 77. http://dx.doi.org/10.18844/ijire.v4i2.2317.

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Abstract  This study attempts to determine what kind of effects the contents of TV children consume have on their cognitive development and whether they have any contribution to their educational lives. In this study, the effect of television usually on education especially on history education has been discussed. To reveal this effect clearly, children aged 7 to 8 who had not received history education and whose historical consciousness had not yet developed fully were included in the study. Face to face interviews were used to collect data for the study. Based on the consideratio

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Furno-Lamude, Diane, and James Anderson. "The Uses and Gratifications of Rerun Viewing." Journalism Quarterly 69, no. 2 (1992): 362–72. http://dx.doi.org/10.1177/107769909206900210.

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Even from the earliest days of commercial television in the 1950s, viewers have been able to pick betweeen first-run or rerun television programs. One way or the other, about half of today's television menu involves rerun material. This survey of viewers finds a number of motivations associated with the viewing of each type of program. For many viewers, nostalgia or pure enjoyment is associated with viewing reruns more than with viewing first run programs. But those with time to kill are more likely to watch first run programs; rerun viewing seems to require more motivation.

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Bücher zum Thema "Rebelde Way (Television program)"

Grams, Martin. Way Out: A History and Episode Guide to Roald Dahl's Spooky 1961 Television Program. Independently Published, 2019.

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Essex, Joey. Being reem. Hodder, 2014.

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Doolittle, Melinda. Beyond me: Finding your way to life's next level. Zondervan, 2010.

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Doolittle, Melinda. Beyond me: Finding your way to life's next level. Zondervan, 2010.

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Argent, James. Living it Arg. Simon & Schuster, 2014.

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פינת אור: Ha-hofaʻah : ḥoveret le-mazkeret, ha-hofaʻah, ha-biḳur ṿe-khol ha-shirim. Mapal tiḳshoret be-ʻe.m, 2004.

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Alonso, Juan Luis. La Revolucion Rebelde. Grijalbo, 2007.

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The way back to Mayberry: Lessons from a simpler time. Broadman & Holman, 2001.

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Trump, Donald. Way We Are: Heroes, Scoundrels, and Oddballs from Twenty-Five Years of Inside Edition. Insight Editions, 2013.

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Armstrong, Jennifer Keishin. Sex and the City and Us: How Four Single Women Changed the Way We Think, Live, and Love. Simon & Schuster Audio and Blackstone Audio, 2018.

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Buchteile zum Thema "Rebelde Way (Television program)"

Rüsch, Maren. "Chapter 17. The narrative of a witness." In Culture and Language Use. John Benjamins Publishing Company, 2024. http://dx.doi.org/10.1075/clu.23.17rus.

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On a regular basis, the news and other shows and documentaries on East African television feature various stories not only about events in politics and society, but also of personal fates related to them. In addition to the presenters, citizens of East African countries share their perspectives on how they experienced events. This paper focuses on the way in which these speakers tell their stories on a Kenyan TV show. It will show how the common ritual oral tradition in Swahili, also well-established in everyday conversation, is recontextualized in the media and therefore brought from the ritu

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ABBOU, MARIE-THÉRÈSE. "Presenting the Television Program, “It’s My Hands’ Turn to Speak”." In The Deaf Way. Gallaudet University Press, 2009. http://dx.doi.org/10.2307/jj.4688148.75.

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Noam, Eli. "Israel." In Television in Europe. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195069426.003.0024.

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Abstract Israel’s broadcasting system has been strongly shaped by its use as an instrument of social and cultural integration in a heterogeneous society in the midst of periodic warfare. The government has been reluctant to loosen its control, whether by expansion of channels or by liberalization of entry. However, alternative media options such as pirate cable television, Arab countries’ TV stations, and VCRs forced a change. The consequence was the establishment of cable television and of a second broadcast channel, with the likelihood of satellite program activities. These developments have

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Fuller-Seeley, Kathryn H. "Jack Benny’s Turn Towards Television." In Jack Benny and the Golden Age of American Radio Comedy. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520295049.003.0010.

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The new medium of television was to cause Jack Benny much consternation in how to best adapt his iconic radio program after 18 years to the new visual medium. Benny fretted and delayed his entry into New York City-based TV broadcasting until October 1950, meantime remaining radio’s top comic. But industrial pressures to switch networks (in Benny’s momentous move to CBS) and move to television, while trimming radio production budgets, and chasing audiences flocking to TV, pressed Benny to act. Benny struggled against critical expectations, and critical disdain, to find a way to merge the best o

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Jankowski, Gene F., and David C. Fuchs. "A Brief History of Broadcasting." In Television Today and Tomorrow. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195074871.003.0002.

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Abstract There never has been a personality as dominant in the industry as Arthur Godfrey was in the 1950s and ‘60s. He had two TV shows in the top ten as well as a two-hour weekday program carried on both radio and television. Gene once received an opportunity to fly to Buffalo with Godfrey, an expert pilot who flew his own plane everywhere. On the way back, after Godfrey had finished charming the local citizens, Gene noticed a pat tern in the radio conversation as they flew in and out of various flight control sectors. It went like this: “Rochester, this is Mike One at five thousand feet.”

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Montgomery, Kathryn C. "Cleaning Up TV." In Target: Prime Time. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780195063202.003.0008.

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Abstract One evening in 1976, Donald Wildman, a quiet, middle-aged minister, sat down to watch television with his family in his home in Tupelo, Mississippi. But instead of relaxing, he became increasingly enraged. The first program he tuned in contained “an explicit sex scene.” As Wildman later explained, “We don’t live that way, so I asked the children to change the channel.” In the next program, the characters were using “earthy” language. “We don’t use that language, and teach our children not to,” he said. So the Wildmons tried yet another channel.

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Robinson, James D., and Robert R. Agne. "Audience Replies to Character Blogs as Parasocial Relationships." In Social Computing. IGI Global, 2010. http://dx.doi.org/10.4018/978-1-60566-984-7.ch123.

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News anchors, talk show hosts, and soap opera characters often become objects of parasocial affection because of the nature of these program genres. This chapter explores the concept of parasocial interaction by focusing on audience replies to blog posts made on behalf of a TV character, Jessica Buchanan of ABC Television Network’s One Life to Live show. The authors employ communication accommodation theory to illuminate the concept and to identify specific communicative behaviors that occur during parasocial interaction. The chapter presents evidence of parasocial interaction within the blog

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Breton, Justine. "Short Middle Ages: Comic Dramatisation of Rhythm in French Shortcom Kaamelott." In Brevity and the Short Form in Serial Television. Edinburgh University Press, 2024. https://doi.org/10.3366/edinburgh/9781474482042.003.0004.

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The French TV series Kaamelott was broadcast on private channel M6 from early to 2005 to 2009. This rewriting of the Arthurian legend started off as a short humorous program (with an episode length of three minutes and a half) made for a wide family audience – a mock rewriting of the famous ‘Camelot’. The legend of King Arthur is usually presented as an epic, and rarely appears as comic material. One of the specificities of Kaamelott lies in this comic reading of the legendary epic and its irreverent treatment of the Middle Ages. Of course, the TV series is not the first one to attempt this or

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Green, David B. "Cheryl Clarke’s Clit Agency." In Black Sexual Economies. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042645.003.0014.

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This chapter focuses on Noah’s Arc (Logo, 2005-2006) a television show featuring four gay men of color that aired for two seasons on the gay lifestyle-oriented cable channel Logo. It argues that Noah's Arc works within the popular cultural genre of the dramedy to engage with—while also contradicting and disrupting—new normativities of race, sexuality and its intersections. First it contextualizes the anxieties around black middle class heteronormativity and outlines some of the ways in which these anxieties have been negotiated through black televisuality. Then it provides an interpretation of

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Kluge, Alexander. "On the Expressions “Media” and “New Media”." In Difference and Orientation, edited by Richard Langston. Cornell University Press, 2019. http://dx.doi.org/10.7591/cornell/9781501739200.003.0016.

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This chapter examines Alexander Kluge's reflections on the distinctions between classical media and new media. Kluge ties the advent of new media to the advance of digital technologies, attendant reductive forms of programming, the acceleration of experience, and the acquisition of new forms of private property located in viewers' heads. The supposed advantage of new media lies in the fact that it mobilizes people more rapidly and more inclusively in a nonhuman way than humans could ever manage directly among one another. To all appearances, new media works differently. A television program sh

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Konferenzberichte zum Thema "Rebelde Way (Television program)"

Nikolajević, Snežana. "Dragutin Gostuški’s Television Narrative." In Iskošeni ugao Dragutina Gostuškog. Muzikološki institut SANU Beograd, 2024. https://doi.org/10.46793/dgost23.303n.

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The selection of music combined with the text about music is very important for the effect on the viewer of the television music programs. The interaction between music and text turns into an action towards the viewer, and that action is, in fact, the essence of the television medium. The words about music hold great importance, almost like the music itself, and their mutual influence leads to a new quality – to a new television music form. To achieve the most suitable effect and the highest range from that combination requires great erudition, skilful use of various elements and their connect

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Başaran, Meltem. "An Investigation on the Netflix Platform in the Context of Flow Theory." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.025.

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Today, with the development of technology, many developments and changes have been experienced in mass media. In the traditional period, content could only be accessed from sources such as television, newspapers, magazines, and radio, while the digital platforms that emerged with the era of the so-called new media enabled people to acquire the content they wanted at any time. Netflix, one of these digital platforms, is a video streaming service that offers on-demand access to individuals. Netflix, which first started selling DVD subscriptions by mail in 1998, has turned into a platform that se

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Cohen Zilka, Gila. "The Elements Way: Empowering Parents, Educators, and Mentors in the Age of New Media." In InSITE 2017: Informing Science + IT Education Conferences: Vietnam. Informing Science Institute, 2017. http://dx.doi.org/10.28945/3701.

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[This Proceedings paper was revised and published in the journal Issues in Informing Science and Information Technology] Aim/Purpose: This study was designed to examine the effectiveness of mentor’s work with immigrant children and adolescents at risk, using the Elements Way. Background: The New Media offers our “screen kids” a lot of information, many behavioral models, and a new type of social communication. The Elements Way is an educational method designed to enhance openness, development, breakthroughs, goal achievement, and transformation in the age of media and social networks. Methodol

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