Relevant bibliographies by topics / Cultural television programs

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Academic literature on the topic 'Cultural television programs'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Cultural television programs"

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Fuenzalida-Fernández, Valerio. "A New Meaning of Educational Television: from School to Audience’s Everyday Life." Comunicar 18, no. 36 (March 1, 2011): 15–24. http://dx.doi.org/10.3916/c36-2011-02-01.

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When analyzing the reception of different Latin American television genres, it can be seen how education is conceptualized –from the point of view of subjects inserted in their daily social practices– as more greatly linked to affectivity than to cognition, thus distinguishing it from knowledge generated through formal schooling. In this sense, television programming has come to be redefined as educational, based on the audiences’ needs in each of their different home environments. Reception studies show that various programs are frequently classified as «educational programs », including news/journalistic programs, entertainment and fictional shows. This presents an opportunity for organizations and professionals of television to contribute to the improvement in the quality of life of their audience members, especially children and adolescents. With regards to the specific challenges that Latin American public television face, it is necessary to shift the axis from propaganda/situational to audiovisual programs that take into account the verbalized needs of various research projects in the region, especially for social groups that suffer not only financial disadvantages, but also those dealing with insecurity and ethnic exclusion.A través del análisis de la recepción de diversos géneros televisivos latinoamericanos, surgen dimensiones de una conceptualización de lo educativo –desde el punto de vista de los sujetos instalados en sus prácticas sociales cotidianas– más vinculada a lo afectivo que a lo cognitivo, conocimiento generado por la escuela formal. En este sentido, la programación televisiva es «re-significada» como educativa a partir de las necesidades de las audiencias, situadas en ambientes hogareños particulares. Los estudios de recepción muestran la calificación recurrente como «programa educativo» hacia espacios que, según la denominación académico-profesional, son periodísticos, magazines de entretenimiento y ficcionales. Esto plantea una oportunidad para las organizaciones y profesionales de la televisión, en términos de contribuir a mejorar la calidad de vida de las personas y, especialmente, de los niños y adolescentes. En el contexto latinoamericano, los retos de la televisión pública se sitúan en desplazar el eje desde lo propagandístico/ coyuntural hacia procesos comunicacionales audiovisuales que den cuenta de las necesidades verbalizadas en diversas investigaciones en la región, especialmente para los grupos sociales que viven en condiciones de vida carenciadas, no solo en lo económico, sino también en ambientes marcados por la inseguridad y la exclusión étnica.
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Aierbe-Barandiaran, Ana, Concepción Medrano-Samaniego, and Juan-Ignacio Martínez-de-Morentín. "Intimacy in television programs: Adolescents’ perception." Comunicar 18, no. 35 (October 1, 2010): 95–103. http://dx.doi.org/10.3916/c35-2010-03-02.

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Despite the negative criticism leveled at them, certain television genres which treat intimate problems and issues as a kind of spectacle may also help adolescents learn how to cope with interpersonal situations and gain awareness of key social problems. This study focuses on examining the arguments that adolescents use to explain their possible participation (or lack of participation), either as guests or members of the audience, in Celebrity Gossip Shows (Salsa Rosa) and Talk Shows (Diario de Patricia), within the interpretative framework of Turiel’s theory (2002). To this end, interviews were conducted with adolescents from the Basque Autonomous Region and the answers given were grouped into three domains: conventional, moral or private. The results found show that the vast majority would not consider attending these programs for private reasons, and when asked to think in what hypothetical case they would consider participating, any change of opinion was always «Diario de Patricia» or almost always «Salsa Rosa» prompted by moral motives. All of those who said they would participate in the two programs justified their answer using conventional arguments. We can conclude that the adolescents participating in the study continue to value personal privacy, even in association with certain television programs in which the limits between private and public are transgressed. Determinados géneros televisivos que mediatizan la intimidad en forma de espectáculo, a pesar de las críticas negativas que reciben, también pueden servir a los adolescentes para aprender cómo afrontar situaciones interpersonales y tomar conciencia de problemas sociales relevantes. El presente trabajo tiene por objetivo conocer los argumentos que los adolescentes exponen para explicar su posible presencia o no como público o protagonista en los programas de crónica rosa (Salsa Rosa) y «talk show» (Diario de Patricia), en el marco interpretativo de la teoría de Turiel (2002). Para ello, se han llevado a cabo entrevistas con adolescentes de la Comunidad Autónoma Vasca cuyas respuestas se han categorizado en los dominios convencional, moral o privado y, posteriormente, han sido analizadas mediante el programa Nudist. Los resultados hallados muestran que la gran mayoría no acudirían a estos programas por argumentos privados y, cuando se les pide que piensen en qué caso hipotético acudirían, el cambio de opinión, siempre «Diario de Patricia» (DP) o casi siempre «Salsa Rosa» (SR), va acompañado de motivos morales. Por otra parte, la totalidad de los que acudirían a ambos programas lo justifican con argumentos convencionales. Se concluye que los adolescentes participantes en este estudio continúan concediendo valor a la privacidad, aun cuando se asocia a determinados programas televisivos en los que se transgreden los límites entre lo privado y lo público.
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Edwards, Kathryn. "Broadcast Programs: German Television." Sixteenth Century Journal 48, no. 4 (December 1, 2017): 1047–48. http://dx.doi.org/10.1086/scj4804055.

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Flew, Terry. "Review: Cultural Regulation of Australian Television Programs." Media International Australia 88, no. 1 (August 1998): 139–40. http://dx.doi.org/10.1177/1329878x9808800119.

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Kobeisin, K. В., and G. S. Uzbekova. "Trends in the development of socio-cultural aspects of TV programs." BULLETIN of L.N. Gumilyov Eurasian National University. Journalism Series 144, no. 3 (2023): 133–39. http://dx.doi.org/10.32523/2616-7174-2023-144-3-133-139.

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Kazakhstan has recently seen significant trends and transformations in the socio-cultural aspects of television programs. One of the main trends is the increase in the amount of Kazakh-language content on television. In Kazakhstan, in recent years, much attention has been paid to the development of national culture, language, and history, and this is reflected in television. However, despite this, there is still a lot of foreign content on television, especially in the entertainment sector.Another trend is the increase in the number of TV channels. Currently, there are more than 200 TV channels in Kazakhstan, which provides a wide choice for viewers. There have also been changes in the socio-cultural perception of the content of television programs. Today, viewers are more critical of propaganda materials and content that promotes violence or extremism. Finally, one of the most obvious sociocultural trends today is the development of Internet television. In general, Internet television is becoming more popular, and this leads to significant changes in traditional television, including at the level of sociocultural aspects. ВЕСТНИК Евразийского национального университета имени Л.Н.Гумилева. Серия ЖурналистикаBULLETIN of L.N. Gumilyov Eurasian National University. Journalism Series139139No 3(144)/2023In general, it can be said that the trends and transformations of the socio-cultural aspects of TV programs in Kazakhstan show the direction of the development of television in the country in the future, and how the role of television in shaping the worldview of viewers can change.
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Fuenzalida-Fernández, Valerio. "Changes in the relationship between children and television." Comunicar 15, no. 30 (March 1, 2008): 49–54. http://dx.doi.org/10.3916/c30-2008-01-007.

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This paper presents some changes occurring in Latin America related to the relationship between children and television channels and programs. There are new ways of television consumption by children at home, and new tendencies in the understanding of reception processes in children programming. Television production has had considerable change and this has produced important transformations in children’s representations inside the text. Mediation is required in order to take advantage of this programming. En este artículo se presentarán algunos cambios que están apareciendo en América Latina en la relación de los niños con los canales y programas televisivos. Estos cambios aparecen en las nuevas formas de consumo infantil y en nuevas tendencias en el análisis de la recepción de los programas infantiles; pero también en las nuevas formas de realización de los programas, que involucran cambios en la representación infantil simbólica en el texto. La plena utilidad de estos programas requiere del proceso de mediación.
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Wilson, Tony. "Global Constructions of ‘Korupsi’ in a Local Public Sphere: A Cross-Cultural Malaysian Reception Study." Media International Australia 102, no. 1 (February 2002): 113–25. http://dx.doi.org/10.1177/1329878x0210200112.

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Audience responses to television are at the heart of sense-making in the public sphere. Research on viewers' readings of economic, political and social events in news programs, invariably constructed around the activities of ‘significant’ individuals, is of particular consequence for understanding the functioning of a democracy. This paper is a cross-cultural reception study of how audiences come to interpret the program genre of television news. In a process of comprehension characterised by fusing/feuding horizons of understanding the world, viewers playfully accommodate the meaning of programs in their everyday lives. Analysis of television's reception should be tested against audience activity. Theory must be corroborated. Drawing from a significant literature discussing the phenomenology of ludic experience, the article theorises trans-cultural reception of Western (British) television by Asian (Malaysian) viewers as seriously ‘playful’. Academic assertions are assessed as illuminating audience response.
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Bicer, Ramazan. "The Interactive Relation between Religious TV Programs and People in Turkey." International Journal of Online Pedagogy and Course Design 3, no. 3 (July 2013): 76–84. http://dx.doi.org/10.4018/ijopcd.2013070105.

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The aim of the topic is to deal with role of television on the lifestyle of people and their cultural and religious understanding. TV programs will be shown to change according to lifestyle, education and cultural understanding. Nevertheless, television has a great importance on the lifestyle of people. The religious understanding is a part of the lifestyle. Many Turks shape their cultural and religious understanding by watching television. The authors will deal with cultural and religious understanding from a socio-cultural perspective, exemplifying this by two Turkish television programs called 'Ekmek Teknesi' (Means of Livelihood) and 'Sir Kapisi’ (Door to Secret). The authors aim to examine the dimensions of these soap operas in the context of religious education, cultural and theological perspectives.
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Ashuri, Tamar. "Negotiating Distances: The Cultural Economy of Television Programs." Television & New Media 11, no. 2 (July 10, 2009): 105–22. http://dx.doi.org/10.1177/1527476409340907.

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Evizariza and M. Kafrawi. "Penguatan Budaya Melayu di TVRI Riau Melalui Drama Televisi." BIDIK: Jurnal Pengabdian kepada Masyarakat 4, no. 1 (October 19, 2023): 63–66. http://dx.doi.org/10.31849/bidik.v4i1.15613.

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Television is a medium that can be used to disseminate information and entertainment. The development of increasingly sophisticated technology with various kinds of programs requires creative thinking so that television stations are not left behind by their audience. One of the superior programs that can be created is television dramas by incorporating local cultural values. By collaborating with TVRI Riau, Malay cultural values can be combined in a creative work, namely television drama.
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Dissertations / Theses on the topic "Cultural television programs"

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Feng, Zhuo [Verfasser]. "Cultural Difference in Television Programs : Foreign Television Programs in China / Zhuo Feng." Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2012. http://d-nb.info/1042470707/34.

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Ferrari, Chara Francesca. "Translating stereotypes Italian television and the cultural politics of reformatting /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1467887551&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Nazarchuk, Аnna Pavlyvna, and Анна Павлівна Назарчук. "Cultural, educational and entertainment television programs in the ukrainian media space." Thesis, National aviation university, 2021. https://er.nau.edu.ua/handle/NAU/50061.

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1. Minko E. Editor’s note / Ye Minko // Telecriticism. - 2008. - No 7–8. - P. 1. 2. “Encyclopedia Britanica” - [Electronic resource] / The art of television., - Access mode: https://www.britannica.com/technology/broadcasting/The-art-of- television 3. Ligachova N. Crisis of self-identification / N. Ligachova // Telecriticism. - 2008. - No 5. - P. 12–16. 4. “UA: First” - [Electronic resource] / “Eneїda”. - Access mode: https:// tv.suspilne.media/programs/eneida 5. “1 + 1” - [Electronic resource] / “Voice of the country”., - Access mode: https://1plus1.video/golos-strany
Many people turn to television to relax. The easiest way is to sit in front of the TV and immerse yourself in a two-dimensional world. Television, unlike other media, is the easiest to perceive. Reading newspapers and magazines or listening to the radio requires more concentration. When watching TV programs, a person makes less mental effort, which negatively affects the development of society. Therefore, it is extremely necessary to saturate the media space with cultural, educational and artistic programs. The aim of this research is to analyze and investigate the existence of cultural, educational and entertainment programs in the Ukrainian media space.
Багато людей звертаються до телебачення, щоб відпочити. Найпростіший спосіб - сісти перед телевізором і зануритись у двовимірний світ. Телебачення, на відміну від інших ЗМІ, сприймається найлегше. Читання газет і журналів або прослуховування радіо вимагає більшої концентрації уваги. Під час перегляду телевізійних програм людина докладає менше розумових зусиль, що негативно позначається на розвитку суспільства. Тому надзвичайно необхідно наситити медіапростір культурними, освітніми та мистецькими програмами. Метою цього дослідження є аналіз та дослідження існування культурних, освітніх та розважальних програм в українському медіапросторі.
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Mavromichali, Iphigenia. "Cultural imperialism and United States television programming in Greece /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/6201.

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Xie, Wenjing. "The reception of global, regional and local TV dramas in Hong Kong : rethinking cultural proximity." HKBU Institutional Repository, 2005. http://repository.hkbu.edu.hk/etd_ra/669.

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Fagan-Cannon, Amy L. "Culinary Tourism with Anthony Bourdain: Cultural Colonialism, Masculinity and the Exotic "Other"." Fogler Library, University of Maine, 2009. http://www.library.umaine.edu/theses/pdf/Fagan-CannonAL2009.pdf.

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Shepherd, Ngaire. "Seeing themselves : cultural identity and New Zealand produced children's television : a thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in Media Studies /." ResearchArchive@Victoria e-Thesis, 2008. http://hdl.handle.net/10063/927.

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Cheng, ShaoChun. "Popular Cultural Production and Exchange in the Greater China Regional Media Market: A Case Study of Taiwan Symbol Creator Chiungyao's Huanzhu Gege TV Drama Trilogy." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1169143193.

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Butcher, Erica. "An Audience Reception Analysis Field Study: Exploring Second and Later Generation Latino Viewers’ Perceived Realism Appraisals of Latino Fictional Television Characters in English Language Television Programs." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1249586967.

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De, Montgolfier Clémence. "Représentations des mondes de l'art contemporain à la télévision française de 1960 à 2013. De la médiatisation à la médiation." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA126.

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Cette recherche vise à déterminer comment la télévision française représente les mondes de l’art contemporain de 1960 à nos jours. Grâce à une analyse sémiologique et pragmatique d’un corpus d’émissions sur l’art contemporain, nous avons constaté, d’une part, que l’évolution des programmes télévisés dits « culturels » montre une diminution de la part de ces derniers ainsi que leur relégation dans des heures creuses de la programmation depuis les années 1980. Alors que les programmes des années 1960 à 1980 visent à transmettre l’expérience esthétique des œuvres d’art depuis le terrain, les années 1980 à 2000 voient des programmes plus dialogiques où experts et artistes discutent sur le plateau. Ces échanges présentant peu de critique négative relèvent principalement de la promotion culturelle. D’autre part, depuis les années 2000, les émissions sur l’art contemporain s’inspirent des formes divertissantes de la télé-réalité. Des contradictions idéologiques surgissent entre la mission de médiation culturelle portée par l’ORTF puis les chaînes publiques et ces nouveaux récits de compétition. L’art contemporain se trouve alors au cœur des conflits de définition de la culture. D’un côté, sa médiatisation montre un monde de l’art hégémonique où les inégalités socioculturelles sont légitimées. De l’autre, la médiation opérée par les programmes continue de promettre un idéal de démocratisation de l’art contemporain à travers des récits d’accès au savoir, source d’égalité. La médiation des œuvres d’art, de l’exposition filmée à une télévision « curatoriale », promet plus d’immédiateté tout en multipliant les dispositifs de médiation. C’est dans cette indécidabilité que les programmes sur l’art contemporain ne peuvent tenir leurs promesses
This research aims to determine how French television has been representing the worlds of contemporary art from the 1960’s to nowdays. Through a semiological and pragmatic analysis of a corpus of television programs about contemporary art, we have observed, on the one hand, a decrease of their share and their relegation to less favorable hours of programing since the 1980’s. Whereas the programs from 1960 to 1980 aimed to transmit the aesthetic experience of the artworks as seen from the field, the programs between 1980 and 2000 were more dialogical and hosted discussions between experts and artists in the television studio. Showing few negative critiques, they fell under the discourse of cultural promotion. And on the other hand, since the 2000’s, television shows about contemporary art have been taking on the entertaining forms of reality shows. Ideological contradictions arise, between the cultural mediation mission carried on by the ORTF and later public channels and those new narratives of competition. Contemporary art finds itself at the heart of conflicts regarding the definition of culture. On one side, its media coverage shows a hegemonic world of art where sociocultural inequalities are legitimated. And on the other side, those programs continue to promise an ideal of democratization of contemporary art through narratives of accessing knowledge, source of emancipation and equality. Moreover, the mediation of the artworks, from the filmed exhibition to a “curatorial” television, promise more immediacy while multiplying the dispositifs of mediation. It is within this impossibility to decide what their purpose is that television programs about contemporary art can’t hold their promises
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Books on the topic "Cultural television programs"

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Rixon, Paul. American television on British screens: A story of cultural interaction. Houndmills, Basingstoke, Hampshire: Palgrave Macmillian, 2006.

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1943-, Corner John, ed. Popular television in Britain: Studies in cultural history. London: BFI Pub., 1991.

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Mitogo, Pancracio Esono. Panorama cultural: Micro-proyecto nacional CCE/CICIBA GE-05/94 con el concurso de la Union Europea. República de Guinea Ecuatorial: Ministerio de Cultura, Turismo y Francofonia, 1997.

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1940-, Thomsen Christian Werner, DFG-Sonderforschungsbereich 240--"Asthetik, Pragmatik und Geschichte der Bildschirmmedien, Schwerpunkt Fernsehen in der Bundesrepublik Deutschland., Deutsche Forschungsgemeinschaft, Germany (West) Auswärtiges Amt, and British Council, eds. Cultural transfer or electronic imperialism?: The impact of American television programs on European television. Heidelberg: C. Winter, 1989.

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Copycat television: Globalisation, program formats and cultural identity. Luton, Bedfordshire, U.K: University of Luton Press, 1998.

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Moran, Albert. Copycat television: Globalisation, program formats and cultural identity. Luton, Bedfordshire, U.K: University of Luton Press, 1998.

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Lorenzo Vilches and J. M. Pérez Tornero. Libro blanco sobre la televisión educativa y cultural en Iberoamérica. Barcelona: Editorial Gedisa, 2010.

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Holthusen, Annegret. Fenster zur Vielfalt: Unabhängige Dritte im Privatfernsehen -- Alibi der Rundfunkpolitik? Marburg: Tectum Verlag, 2008.

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Nelson, Robin. TV drama in transition: Forms, values, and cultural change. New York: St. Martin's Press, 1997.

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Arab world television in the age of globalisation: An analysis of emerging political, economic, cultural and technological patterns. Hamburg: Deutsches Orient-Institut, 2003.

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Book chapters on the topic "Cultural television programs"

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Wang, Yuqi. "Exploring the Communication Methods of Traditional Cultural Television Programs from the Perspective of Integrated Media." In Proceedings of the 3rd International Conference on Education, Language and Art (ICELA 2023), 385–91. Paris: Atlantis Press SARL, 2024. http://dx.doi.org/10.2991/978-2-38476-214-9_46.

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Rüsch, Maren. "Chapter 17. The narrative of a witness." In Culture and Language Use, 453–78. Amsterdam: 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 ritual frame to the digital context, where it is supposed to fulfill a particular purpose in favor of the TV program. Therefore, the presenters instrumentalize the narratives’ inherent linguistic practices applied by their witnesses to engage viewers in their program.
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Pajala, Mari. "Creating Information Infrastructure for Transnational Co-operation in Television: Nordvision in the 1960s–1970s." In Nordic Media Histories of Propaganda and Persuasion, 205–23. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-05171-5_10.

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AbstractNordic public service television organizations launched Nordvision in 1959 to organize television programme exchange and co-productions, and the network remains active today. This chapter concentrates on a period at the turn of the 1960s and 1970s when Nordvision reorganized its working practices, to trace how Nordvision developed information infrastructure that would support transnational collaboration in television. A key problem for Nordvision was how to ensure the efficient exchange of information necessary for transnational co-operation. This chapter discusses Nordvision’s efforts to develop its information infrastructure consisting of an active meeting culture, paper documents and media technologies such as telephone and video, to understand how Nordvision defined challenges relating to Nordic co-operation and attempted to solve them. Through this lens, this chapter considers how television has contributed to constructing the Nordic region, not by analysing how Nordicness was represented on television screens, but by focusing on the behind-the-scenes work of developing Nordic co-operation networks.
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Whitehouse-Hart, Jo. "‘Programmes for People Who Are Paranoid About the Way They Look’: Thoughts on Paranoia, Recognition, Mirrors and Makeover Television." In Media and the Inner World: Psycho-cultural Approaches to Emotion, Media and Popular Culture, 135–50. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137345547_9.

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Whitehurst, Katherine. "Stories of Motherhood and Ageing in ABC’s Television Programme Once Upon a Time." In Ageing Women in Literature and Visual Culture, 129–45. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63609-2_8.

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Rixon, Paul. "Contextualizing “Quality” US Television Programs for the United Kingdom." In Transatlantic Television Drama, 239–56. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190663124.003.0015.

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American programs have been a significant part of British television culture since the 1950s. Helping their mediation into British culture have been press critics who, in the past, have often been dismissive of such programs. However, as new forms of quality American programs have appeared, and online media have weakened the role of professional cultural intermediaries, a more supportive discourse has appeared. This chapter explores how contemporary American quality programs are being mediated into UK public debate. It will look at the website of one of the most important national UK newspapers, the Guardian, which has developed its online coverage of TV, often in ways more akin to fan sites, while encouraging public participation. The chapter will reflect on how the Guardian’s online strategy has served a niche UK readership interested in American programs, and how it has helped to reinforce and consecrate this group’s cultural dispositions in relation to US television.
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Noam, Eli. "National Culture and the Iron Law of Hollywood Dominance: An Economic Critique." In Television in Europe, 11–27. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195069426.003.0002.

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Abstract Traditionally, an important issue in European media debates is the impact of the liberalization of television on national culture. Critics of change frequently postulate an “iron law” of television, according to which a liberalized television environment would invariably lead to a flood of low-quality imports, typically American. Bad imported programs would drive out good domestic programs. If this were indeed true, one might consider it to be merely a case where the demand for a product is better satisfied by foreign suppliers. But such a conclusion would be mildly subversive to many defenders of the monopoly system, because it suggests that domestic programs are watched only by the grace of some form of cultural protectionism. Hence, a “scientific” argument is usually added to show that it is not the content of imported programs that undermines domestic ones, but some underlying economic logic, an “iron law” leading to inevitable decline of domestic production absent structural policies.
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Pearson, Roberta. "Sherlock and Elementary." In Transatlantic Television Drama, 109–30. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190663124.003.0008.

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This chapter explores the emergence of two tiers of international television programs, high end and routine, and argues that the two types of content serve different functions in their import markets. The content’s cultural and temporal proximity to the import market determines the uses made of it by broadcasters as they attempt to appeal to their domestic audiences. But understanding these different functions requires complicating and nuancing the long-established concept of cultural proximity and developing the concept of temporal proximity. In the case studies, Sherlock and Elementary are used as exemplars of the high end and the routine. The first section establishes the distinction between high-end and routine drama; the second establishes the concept of the cultural proximity index; the third argues that Elementary is characterized by cultural accessibility; the fourth establishes the concept of the temporal proximity index in relation to high-end and routine television.
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Mingqing, Xu, Xu Wenjing, and Zeng Junming. "The Future of Television." In Understanding the Interactive Digital Media Marketplace, 406–15. IGI Global, 2012. http://dx.doi.org/10.4018/978-1-61350-147-4.ch032.

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The TV industry grew exponentially after World War II. In 1962, the percentage of American homes with a TV set reached ninety percent. Today the television not only brings entertainment but also serves as a form of cultural transportation. Furthermore, viewers have turned to watching digital content on a personal computer rather than watching programs on television. We believe in the near future, television will integrate more elements of information technology rather than vanish in the history. We use the ADVISOR model to define the scope of future television. We also use it to find how television in the future may create value, seize value, and add value into the service and products they provide. Finally, we find TV has become more than just an appliance for viewing broadcast programmes. It has become an important and integral part of the interactive digital media industry.
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Ames, Melissa. "Screening Terror." In Small Screen, Big Feels, 21–41. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813180069.003.0002.

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Chapter One analyzes how television not only responded to 9/11 immediately after the tragedy, but also how it responded (and continues to respond) to it years later through fictionalized dramas. By studying the presence of post-9/11 motifs (e.g. salvation, justice, fear, conspiracy) in 21st century fictional television narratives -- through quantitative data on programming trends and a close reading of one particular program -- this essay argues that such programs are important sites where the terrorist attack (and the cultural climate it sparked) is emotionally worked through. However, this chapter also suggests that television's reluctance to revise its post-9/11 narrative in order to reflect contemporary geopolitical realities may also contribute to the perpetual fear cycle shaping national discourse in the United States.
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Conference papers on the topic "Cultural television programs"

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Suing, Abel, and Juan Pablo Arrobo. "Social networks of cultural programs in television of Ecuador." In 2015 10th Iberian Conference on Information Systems and Technologies (CISTI). IEEE, 2015. http://dx.doi.org/10.1109/cisti.2015.7170584.

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Markosyan, Narine. "THE EFFECT OF TELEVISION AND CHILDREN'S PROGRAMS ON THE SOCIALIZATION OF ADOLESCENTS." In The Impact of the Social Cultural Environment on Childhood: Challenges and Solutions. Armenian State Pedagogical University after Kh. Abovyan, 2021. http://dx.doi.org/10.24234/14nm1r25.

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The problem of adolescent personality development is the most important psy-chological and pedagogical problem. It is a fact that adolescents are almost entirely de-pendent on external influences. In this context, we want to emphasize the huge role and influence of television on their socialization. The socialization of adolescents is espe-cially influenced by the TV programs addressed to them. Therefore, it is necessary to revise the list of TV programs that are broadcast on modern Armenian TV channels.
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Nassima, LOUNIS. "Women in the Algerian Television Drama Semiological Analysis of the Image of women through the Drama Series “El Bedera" and the Series“Domou3 El Galeb"." In I.International Congress ofWoman's Studies. Rimar Academy, 2023. http://dx.doi.org/10.47832/lady.con1-11.

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Algerian women have now achieved a share of progress and development at all levels of socio-economic, political and educational, so as to change their social reality and improve their rank and become involved in the process of social development. From this point of view, the role of the media is to highlight this reality of women's living in Algerian society, especially television, which is one of the media that offers many programs. Among them is the drama of TV series, which is one of the most watched and perhaps influential programs so that it is one of the cultural images and messages capable of making a lot of changes in any realistic society. The characters and their repetition make the drama of television series capable of forming and building intellectual images of individuals, especially Algerian women
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Natalia, Johanna. "Indonesian Couples’ Perception of Spouse’s Support during Labour and Childbirth." In International Association of Cross Cultural Psychology Congress. International Association for Cross-Cultural Psychology, 2024. http://dx.doi.org/10.4087/ahdi6579.

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The World Health Organisation (WHO, 2017) stressed the importance of support during labour and childbirth to the women. Indonesia’s Ministry of Health in cooperation with the WHO, Indonesian Obstetrics and Gynaecology Association, and Indonesian Midwives Association recommended a support person (family member) to accompany women during labour and childbirth (Kementrian Kesehatan Republik Indonesia, 2013). However, in most parts of Indonesia, this recommendation has not been applied properly. With support from the management of the maternity centre, this study offered the women to have the husband’s support during labour and childbirth in order to understand the women’s and husband’s perspective of support during labour and childbirth. This study used a qualitative method, which was very rare, particularly in Indonesia. A quantitative method was included to investigate the couples’ perception of support during labour and childbirth. Eighteen couples were interviewed at three different times: before, during, and after childbirth. This study found similar themes between the women and husbands’ perception about support during labour and childbirth except one woman who felt negatively because her husband agreed with the midwife’s recommendation to do caesarean while the woman expected the normal childbirth. In addition, cross tabulation was added to understand the couples’ perception. This study contributed a new perspective of couples’ perception about support during labour and childbirth. Based on the finding, this study recommended maternity centres or local health care centres to provide information about the importance of support during labour and childbirth via posters, pamphlets, and leaflets. In addition, this study recommended to the Indonesian Ministry of Health to use newspapers, television, radio, and social media to inform all Indonesians about the importance of support during labour and childbirth via programs, community service announcements, and advertisements.
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Delikari, Angeliki. "THE HISTORICAL AND CULTURAL HERITAGE OF SAINTS CYRIL AND METHODIUS IN GREECE (THESSALONIKI). PLANS AND PROPOSALS." In THE PATH OF CYRIL AND METHODIUS – SPATIAL AND CULTURAL HISTORICAL DIMENSIONS. Cyrillo-Methodian Research Centre – Bulgarian Academy of Sciences, 2023. http://dx.doi.org/10.59076/2815-3855.2023.33.02.

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The feast day of Saints Cyril and Methodius in the Liturgical Calendar of the Metropolis of Thessaloniki was first introduced in 1957. Until then a large number of Greek people had been unaware of the important role of the two saints and their accomplishments. Through initiatives (educational programs, workshops, summer schools, seminars and public lectures, broadcasts on radio and television, in newspapers and magazines) a larger part of the Greek population must be informed and made aware of the two Saints. In recent years there has been a tendency to dedicate monuments in memory of the Saints’ work in the city of Thessaloniki (the mosaic monument in the shape of a book on the grounds of the church of Saints Cyril and Methodius in Thessaloniki, the cross of Cyril and Methodius on the New Promenade of the town and the statue of Saints Cyril and Methodius in the Park of Slovakia, etc.). The establishment of the Centre for the Study of the Cultural Heritage of Cyril and Methodius in Thessaloniki (www.kyrillos-methodios.gr) served the need to promote research into the life and work of Saints Cyril and Methodius both in Greece and abroad. Among other publications of the Centre is the publication of the journal Cyrillomethodianum (www.kyrillos-methodios.gr/cyrillomethodianum/).
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Bohanţov, Alexandru. "Audiovisual versions of literary creations." In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.09.

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The ways in which literary creations are capitalized in artistic television programs (programsshows) compared to adaptations in the art of cinema provide us with a favorable framework for more accurate identification of the necessary distinctions between these two audiovisual fields. But the theory of cinema screening cannot be used as such in the making of films / television shows. Using the figure of the narrator, the small screen widened the possibilities of audiovisual capitalization of literary species. The narrator’s mission does not lie in scholarly commentary; his colloquial discourse, interwoven, not infrequently, with different testimonies-declarations of faith of the author, must become the binder of the entire television construction, to evade descriptive patterns. The purpose of the comment is to enhance the image through the informative virtues of the word, but, at the same time, not to have a tautological character. Unfortunately, in the conditions of the unprecedented proliferation of television entertainment products, the quality literary page is making its way to the small and big screen harder and harder.
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Sekhudin, N., S. Hapsari, A. Anam, S. Muharomah, S. Mulyani, and M. Ahmad. "The Culture of Extracting Information through Politeness Strategy on Mata Najwa Television Program." In 2nd Workshop on Language, Literature and Society for Education. EAI, 2019. http://dx.doi.org/10.4108/eai.21-12-2018.2282783.

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Wahid, Umaimah, and Menati Fajar Riski. "Brand Awareness of Local Television 'I Channel Bandung' Through Local Culture in Program "Sampurasun Cepot"." In Proceedings of the 1st Workshop on Multidisciplinary and Its Applications Part 1, WMA-01 2018, 19-20 January 2018, Aceh, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.20-1-2018.2281897.

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Pratama, Dendi, Winny Wardani, and Santi Sidhartani. "Building Natural and Cultural Tourism Entities Through Visual Space of Television Shows: Analysis of “My Trip My Adventure” Program." In Proceedings of 1st Workshop on Environmental Science, Society, and Technology, WESTECH 2018, December 8th, 2018, Medan, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.8-12-2018.2283861.

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Velazco Díaz, Yilber Efren. "Travesía: recorriendo lo nuestro." In Encuentro de investigación formativa en Diseño – Semilleros y Grupos de investigación RAD 2019. Pasto, Colombia: Red Académica de Diseño - RAD, 2019. http://dx.doi.org/10.53972/rad.eifd.2019.2.3.

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El objetivo del proyecto consiste en indagar sobre el papel fundamental que cumple la televisión regional en la recuperación de la identidad, las dinámicas económicas y de convivencia en el Departamento del Cauca, a través de la emisión de un formato de entretenimiento para públicos jóvenes, que refuerza los imaginarios positivos entre habitantes y espectadores sobre el territorio. La metodología se basa en la investigación- creación para la grabación de una temporada de Travesía: recorriendo lo nuestro. Se acoge un enfoque cuantitativo con la aplicación de instrumentos de medición de recepción, y cualitativo a través de la observación participante, el diario de campo y la entrevista. Las personas jóvenes del Departamento del Cauca, en una mayoría, no conocen los destinos eco-turísticos de su región. Sin embargo, todos tienen en común el consumo de formatos televisivos de entretenimiento, programas donde los protagonistas vivencian experiencias reales que generan, sobre todo, identificación; se encuentran inmersos en una realidad donde las pantallas son el vehículo principal para la comunicación interpersonal, aunque éstas sólo reflejan realidades ajenas y distantes. Los territorios que vivieron la violencia son los mismos llamados para hablar de paz, pero no sólo como ausencia de guerra, sino como el espacio propicio y necesario para empezar a ver y mostrar esas riquezas culturales, gastronómicas y turísticas del territorio en el que habitan, con el propósito de reconstruirlos socialmente. El Gobierno Nacional, desde hace algún tiempo, se ha enfocado en las economías emergentes para el fortalecimiento económico y social de estos territorios, entre ellas, el turismo.
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Reports on the topic "Cultural television programs"

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Fedorchuk, Liudmyla. Культура в ефірі Суспільного: телевізійний контент і перспективи розвитку. Ivan Franko National University of Lviv, March 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11729.

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Main objectives of this article are changes in the programming principles of the “Suspilne Culture” TV channel, the peculiarities of the program content in the period 2020-2022, as well as potential for further channel development from the content perspective. Methodology of the analysis includes processing primary sources of information, synthesis, induction and deduction, problem-thematic analysis of television programs. Results. During 2017-2021, the specialized public channel about culture increased the number of its own programs, and the ratings of the channel increased. “UA: Culture” produced their own daily information program and several analytical programs about various types of art. Although even now, a significant part of the channel content consists of not relevant and not adapted for the Ukrainian audience purchased serials and educational cycles. After analyzing “Suspilne Culture” TV channel program grid for October 3-7, 2022, significant part of not typical for declared program policy content was discovered. During the present period only 2 programs corresponded to the specifics of the channel and were developed by “Suspilne” production. Conclusions. In general, thematic blocks such as cultural policy of Ukraine and institutions, religious practices, economy of creative industries and representation of Ukrainian culture in the world are not broadcasted. Significance. The conducted research allowed us to actualize the need for a scientific approach to the content and programming policy of the “Suspilne Culture” TV channel. The collected material gives reasons to testify that the mission of the public channel and the declared program principles are implemented only partially. The channel lacks in-depth analytics on a whole range of current cultural issues. The share of self-produced programs is minimal. Instead, purchased content often does not represent the specifics of the channel and does not fulfill the mission of the public broadcaster. The channel program managers should focus on the change in cultural discourse that has been taking place since the beginning of the full-scale war of the Russian Federation against Ukraine. In battles, our army and people defend, first of all, our right to own identity, our right on culture and own voice to tell the world about ourselves. The air of the TV channel “Suspilne Culture” should be filled with exactly such ideas. Keywords: culture; public television; television content; journalism of the culture.
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Pavlyuk, Ihor. MEDIACULTURE AS A NECESSARY FACTOR OF THE CONSERVATION, DEVELOPMENT AND TRANSFORMATION OF ETHNIC AND NATIONAL IDENTITY. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11071.

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The article deals with the mental-existential relationship between ethnoculture, national identity and media culture as a necessary factor for their preservation, transformation, on the example of national original algorithms, matrix models, taking into account global tendencies and Ukrainian archetypal-specific features in Ukraine. the media actively serve the domestic oligarchs in their information-virtual and real wars among themselves and the same expansive alien humanitarian acts by curtailing ethno-cultural programs-projects on national radio, on television, in the press, or offering the recipient instead of a pop pointer, without even communicating to the audience the information stipulated in the media laws − information support-protection-development of ethno-culture national product in the domestic and foreign/diaspora mass media, the support of ethnoculture by NGOs and the state institutions themselves. In the context of the study of the cultural national socio-humanitarian space, the article diagnoses and predicts the model of creating and preserving in it the dynamic equilibrium of the ethno-cultural space, in which the nation must remember the struggle for access to information and its primary sources both as an individual and the state as a whole, culture the transfer of information, which in the process of globalization is becoming a paramount commodity, an egregore, and in the post-traumatic, interrupted-compensatory cultural-information space close rehabilitation mechanisms for national identity to become a real factor in strengthening the state − and vice versa in the context of adequate laws («Law about press and other mass media», Law «About printed media (press) in Ukraine», Law «About Information», «Law about Languages», etc.) and their actual effect in creating motivational mechanisms for preserving/protecting the Ukrainian language, as one of the main identifiers of national identity, information support for its expansion as labels cultural and geostrategic areas.
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Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan, and Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, December 2020. http://dx.doi.org/10.5204/rep.eprints.136822.

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The Sunshine Coast (unless otherwise specified, Sunshine Coast refers to the region which includes both Sunshine Coast and Noosa council areas) is a classic regional hotspot. In many respects, the Sunshine Coast has assets that make it the “Goldilocks” of Queensland hotspots: “the agility of the region and our collaborative nature is facilitated by the fact that we're not too big, not too small - 330,000 people” (Paddenburg, 2019); “We are in that perfect little bubble of just right of about everything” (Erbacher 2019). The Sunshine Coast has one of the fastest-growing economies in Australia. Its population is booming and its local governments are working together to establish world-class communications, transport and health infrastructure, while maintaining the integrity of the region’s much-lauded environment and lifestyle. As a result, the Sunshine Coast Council is regarded as a pioneer on smart city initiatives, while Noosa Shire Council has built a reputation for prioritising sustainable development. The region’s creative economy is growing at a faster rate that of the rest of the economy—in terms of job growth, earnings, incomes and business registrations. These gains, however, are not spread uniformly. Creative Services (that is, the advertising and marketing, architecture and design, and software and digital content sectors) are flourishing, while Cultural Production (music and performing arts, publishing and visual arts) is variable, with visual and performing arts growing while film, television and radio and publishing have low or no growth. The spirit of entrepreneurialism amongst many creatives in the Sunshine Coast was similar to what we witnessed in other hotspots: a spirit of not necessarily relying on institutions, seeking out alternative income sources, and leveraging networks. How public agencies can better harness that energy and entrepreneurialism could be a focus for ongoing strategy. There does seem to be a lower level of arts and culture funding going into the Sunshine Coast from governments than its population base and cultural and creative energy might suggest. Federal and state arts funding programs are under-delivering to the Sunshine Coast.
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