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Journal articles on the topic 'Dubbing of television programs'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Xue, Qianwen. "Exploring the Causes of "Mother Tongue Shame" When Watching Mandarin Dubbing of Non-Native Language Films and TV Programs." Journal of Education, Humanities and Social Sciences 13 (May 11, 2023): 152–57. http://dx.doi.org/10.54097/ehss.v13i.7886.

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Cross-cultural communication has become easier and easier with the deepening of informationization, and film and TV dramas have been integrated into people's daily life as a medium and carrier of cross-cultural communication. However, people often feel "shame" and discomfort when watching the dubbing of non-native language dramas in their native language, that is, "mother tongue shame". This phenomenon is especially evident among the post-1990s and post-1990s generations. In this paper, the author used questionnaires and interviews to collect data from Mandarin university students and analyzed the causes of this phenomenon from the perspectives of psycholinguistics and cognitive linguistics. Inductive reasoning was used to analyze the data. Research shows that the reasons why people feel uncomfortable with Mandarin dubbing include both objective and subjective aspects. The objective aspects include the quality of Mandarin dubbing, the mismatch between Mandarin and the cultural environment portrayed in non-native film and television productions, and the differences in idiomatic expressions between Mandarin and other languages. The subjective aspect is mainly the audience's emotional reaction to the native language and the cognitive process of the non-native language.

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2

Leon, Crina. "Dialects in Norway – between tolerance and standardization." Romanian Journal for Baltic and Nordic Studies 6, no. 1 (2014): 107–21. http://dx.doi.org/10.53604/rjbns.v6i1_6.

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Norwegian is peculiar not only with a view to the written language, which has two official standards, but also regarding the spoken language, which lacks a standardized form. In fact, Norway is one of the most dialect-speaking countries in Europe. The use of a regional dialect in all fields of one’s life is rather perceived as part of one’s identity, and a sign of democracy and decentralization. Although theoretically there are four main dialects, in practice the variety of dialects differing in grammar, vocabulary or pronunciation is much wider, and depends on the part of the country or even on a specific town. The present paper is mainly focused on analyzing how the issue of diatopic variation in the Norwegian spoken language has been depicted in recent years (2008-2012) in Norway’s largest daily newspaper, Aftenposten. Even if dialects are accepted in everyday life, one of the recurrent debates in the newspaper is however related to using a standard form at least in the news programs from the largest Norwegian television and radio company, NRK, where the language ought to be considered a point of reference. Another topic of interest is related to the dialects used in dubbing in children’s television series.

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3

Zabalbeascoa, Patrick. "Factors in dubbing television comedy." Perspectives 2, no. 1 (1994): 89–99. http://dx.doi.org/10.1080/0907676x.1994.9961226.

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4

O’Connell, Eithne. "What Dubbers of Children’s Television Programmes Can Learn from Translators of Children’s Books?" Meta 48, no. 1-2 (2003): 222–32. http://dx.doi.org/10.7202/006969ar.

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Abstract Technical difficulties associated with dubbing, together with the collaborative nature of the dubbing process, explain why traditionally the linguistic challenges of dubbing translation for specific audiences such as children have not been studied very closely. As new developments in sound recording improve the technical quality of dubbing, it is time for the remaining textual translation issues to be addressed in more detail. Due to the many common characteristics of different text types aimed at children, dubbers of children’s audiovisual material can learn a considerable amount from the translators of other texts, such as books and comics aimed at children, about the particular challenges posed by this target audience.

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5

Matamala, Anna. "Dealing with Paratextual Elements in Dubbing: A Pioneering Perspective from Catalonia." Meta 56, no. 4 (2012): 915–27. http://dx.doi.org/10.7202/1011260ar.

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This article focuses on paratextuality in the realm of dubbing drawing on the author’s professional experience as an audiovisual translator in Catalonia. After a brief discussion of the theoretical approach to paratextuality and the notion of audiovisual text, the article lists the main paratextual components in dubbing and describes how they are dealt with by audiovisual translators. The article focuses on fiction films, cartoons and television series, be they for cinema, television, Internet or DVD, and considers paratexts at two levels: in the audiovisual text itself and in the written synchronised translation.

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6

Wissmath, Bartholomäus, David Weibel, and Rudolf Groner. "Dubbing or Subtitling?" Journal of Media Psychology 21, no. 3 (2009): 114–25. http://dx.doi.org/10.1027/1864-1105.21.3.114.

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Dubbing and subtitling are the two most common methods of translating television broadcasts or movies. Both dubbing and subtitling may present specific advantages and disadvantages. In this study, the effects of these two methods on presence, transportation, flow, and enjoyment were investigated in an experimental approach. Participants (N = 154) watched a 30-min segment of a movie. Between-subject factors were translation method (dubbing without subtitles, dubbing with subtitles in a foreign language, and original language with subtitles) and genre (drama, comedy, and thriller). Findings indicate that subtitles in a foreign language decrease feelings of spatial presence, transportation, and flow. However, the difference between dubbing and subtitling failed to reach significance. No effect of translation method on enjoyment was found. The pattern of results is equal for all genres. Further analyses showed spatial presence, transportation, and flow to be related. In addition, transportation is more strongly related to enjoyment than flow and spatial presence.

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7

Agung, I. Gusti Ayu Mahatma. "Subtitling and Dubbing of Idiomatic Expressions in the American TV Series WandaVision." Lingua Cultura 16, no. 1 (2022): 43–49. http://dx.doi.org/10.21512/lc.v16i1.7806.

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The research aimed to find out the translation strategies applied in the subtitling and the dubbing of idiomatic expressions in the television series WandaVision (2021). Moreover, the research also aimed to reveal whether the subtitling and the dubbing of the idiomatic expressions are source language-oriented or target languageoriented. The descriptive qualitative approach was applied in the research. The data were analyzed using the taxonomy for rendering extralinguistic cultural references in subtitling proposed by Pedersen. The taxonomy was used to analyze the data since it was specifically designed for subtitling and audiovisual translation. The results show that there are various strategies applied in subtitling and dubbing. In subtitling, the translation strategies applied are substitution, direct translation, generalization, and the combination of substitution and omission. The translation strategies applied in the subtitling are related to spatial and temporal constraints. As a comparison, the translation strategies applied in dubbing are substitution, direct translation, generalization, and the combination of substitution and specification. The strategies are applied based on the consideration that spoken language features should be included in the dubbing. Based on the translation strategies applied, it can be concluded that both the subtitling and the dubbing are target language-oriented.

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8

Rossato, Linda. "Reality television and unnatural dialogues: Trends in the Italian audio-visual translation of factual programming." Journal of Popular Television 8, no. 3 (2020): 277–83. http://dx.doi.org/10.1386/jptv_00026_1.

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Since the early 1990s, an exponential increase in the demand for foreign TV content has occurred to fill the ever-growing libraries of new speciality channels (and later digital platforms). This process has boosted demand for the translation and adaptation of reality TV series, thus paving the way in Italy, traditionally a dubbing country, for the rise of a new hybrid form of audio-visual translation (AVT), ‘simil-sync’, deemed more cost-effective than dubbing and more user-friendly than subtitling for the local audience. Factual programming has become one of the most successful components of many themed channels, reshaping both Italian television and the national AVT scenario.

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9

Kilborn, Richard. "`Speak my language': current attitudes to television subtitling and dubbing." Media, Culture & Society 15, no. 4 (1993): 641–60. http://dx.doi.org/10.1177/016344393015004007.

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10

Pedersen, Jan. "Translating culture specific references on television: the case of dubbing." Perspectives 24, no. 4 (2016): 682–84. http://dx.doi.org/10.1080/0907676x.2016.1165370.

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11

Samir, Aynaz. "Investigating the Translators’ Strategies in Subtitling and Dubbing of Taboos in American Drama Television Series The Big Little Lies (2019)." Traduction et Langues 22, no. 1 (2023): 312–33. http://dx.doi.org/10.52919/translang.v22i1.943.

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One of the most difficult tasks that translators deal with when dubbing or subtitling an audiovisual product is translating offensive terms or expressions such as taboos. Translators must handle the translation of taboos with care, as their equivalents may be contrary to the religion and cultural norms of the target country. To that end, some strategies should be employed by translators to choose appropriate equivalents based on the cultural and religious norms of the target language. Thus, the current study aimed to investigate the strategies employed in subtitling and dubbing English taboos in seven episodes of one American television series using Davoodi’s (2009) model. This was corpus-based research that has a qualitative-quantitative method with a comparative approach. To conduct the study, the American English drama crime TV series The Big Little Lies (2019) season two was chosen as the study corpus. 174 taboos, specifically Sh*t and F*k word, were found based on Sharifi and Darchinian's (2009) model in the above- mentioned TV series. Descriptive statistics have been run to examine the frequencies and percentages of implemented translation strategies in subtitling and dubbing the taboos. The results revealed that “Substitution”, and “Censorship” were the commonly most frequently used strategies in Persian subtitled and dubbed versions of taboos. Moreover, the findings of the Chi-square test indicated that no significant difference was identified between the strategies of Iranian translators in subtitling and dubbing taboos. The findings of this research can be useful for subtitlers, dubbers, and translation students in Iran who specialize in translating English TV series.

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12

Adamou, Christina, and Simone Knox. "Transforming Television Drama through Dubbing and Subtitling: Sex and the Cities." Critical Studies in Television: The International Journal of Television Studies 6, no. 1 (2011): 1–21. http://dx.doi.org/10.7227/cst.6.1.3.

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13

Pettit, Zoë. "The Audio-Visual Text: Subtitling and Dubbing Different Genres." Meta 49, no. 1 (2004): 25–38. http://dx.doi.org/10.7202/009017ar.

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Abstract This article explores the complexity of the audio-visual text, comprised of both verbal and non-verbal components, and how this impacts upon foreign language subtitling and dubbing. Reference is made to a selection of audio-visual genres: the film, television series, news programme and documentary, in order to demonstrate the extent to which a particular genre influences translation. This article examines the interaction between language and image, between the verbal (concentrating on the spoken word) and the non-verbal (with specific reference to gesture and vocal intonation). The multi-semiotic nature of the audio-visual medium is stressed throughout.

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14

Garofalo, Damiano, Dom Holdaway, and Massimo Scaglioni. "Canned Television Going Global." Canned TV Going Global 9, no. 17 (2020): 1. http://dx.doi.org/10.18146/view.257.

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This special issue of VIEW focuses on the international circulation and distribution of ready-made content, in the form of scripted products. The following essays share an interest in considering the nuances in power dynamics (adaptation, localization, revision) that are bound to any transnational movements. They also address a fruitful variety of problems and points of view that signal the wider potential of this field of research: the transnational circulation of TV content and the currently used market strategies; common ground and cultural proximity in certain cultural groups and/or regions; the role of European countries and markets in the development of international distributed content, and their impact beyond the continent; the emerging role of OTT services in the internationalization of programming; the growing role played by curation and personalization in order to gain a competitive edge; the functions of “niche” content (such as arts programming) and or particular audience groups (such as the LGBTQIA+ community and its allies), and how these adapt to border-crossings; co-productions, but also co-distributions between different countries (such as China and the UK); processes of localizing and adapting foreign ready-made content, for example through dubbing, subtitling and voice overs; and the role of bottom-up circulation.

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15

Russo, Mariachiara. "Simultaneous film interpreting and users’ feedback." Interpreting. International Journal of Research and Practice in Interpreting 7, no. 1 (2005): 1–26. http://dx.doi.org/10.1075/intp.7.1.02rus.

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Simultaneous film interpreting is a mode of screen language transfer often required of professional interpreters in Italy for international film festivals. The paper briefly discusses similarities and dissimilarities between film interpreting and conference interpreting, subtitling and dubbing. It focuses on interpreting quality evaluation, discussing results of questionnaires distributed to users watching films interpreted by professionals and students. Comparisons are drawn with the results of published surveys on users’ preferences for television and conference interpreting.

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16

Barambones, Josu, Raquel Merino, and Ibon Uribarri. "Audiovisual Translation in the Basque Country: The Case of Basque Television-Euskal Telebista (ETB)." Broadcasting with Intent 57, no. 2 (2013): 408–22. http://dx.doi.org/10.7202/1013953ar.

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Recent historical translation research done on Basque state-owned television shows that while the Basque-speaking channel has used dubbed translation of children’s programmes to promote and standardize the use of Basque, the Spanish-speaking channel has competed in the wider market of Spanish broadcasting channels with fiction for adults. The choice of products to be broadcast for diverse target audiences clearly reflects a diglossic situation in terms of language distribution but it also serves to illustrate government language planning policies. Since Basque television is controlled by political instances (power), manipulation and ideology clearly have an influence both selecting the programmes and controlling the type of (Basque) language used when translating and dubbing imported products.

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17

Parapatics, Andrea. "Idegen tulajdonnevek ejtése a magyar szinkronban." Névtani Értesítő 43 (December 30, 2021): 69–79. http://dx.doi.org/10.29178/nevtert.2021.4.

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The paper investigates Hungarian voice actors’ attitudes to the language quality of texts they have to read for dubbing and narrating foreign language audiovisual products as part of an overall study that is theoretically and practically supported by the most popular voice actors of present-day Hungary and the trade union of Hungarian voice actors. Besides summarizing some general results, the study focuses on a research topic emphasized by many participants: the problems of the pronunciation of foreign proper names in Hungarian dubbing and narration. The results are based on surveyanswers from 69 Hungarian voice actors with different personal and professional backgrounds. The participants name many factors that affect the final quality of the products and reveal many negative examples of topics presented in the paper. Since most foreign language audiovisual products released for Hungarian television, cinemas, film theatres, and even to the Hungarian consumers of online streaming services are dubbed or narrated in Hungarian, and this being the only accessible way of watching these products for most people, the quality of their language should be studied, regardless of the dichotomy of attitudes on watching audiovisual products in Hungarian or original (or other) languages. The results and the dissemination of these can help develop a quality assurance system for Hungarian dubbing that serves many millions of consumers.

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18

Cunningham, Stuart. "Booknote: Overcoming Language Barriers in Television: Dubbing and Subtitling for the European Audience." Media Information Australia 65, no. 1 (1992): 117. http://dx.doi.org/10.1177/1329878x9206500138.

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19

Edwards, Kathryn. "Broadcast Programs: German Television." Sixteenth Century Journal 48, no. 4 (2017): 1047–48. http://dx.doi.org/10.1086/scj4804055.

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20

Berg, Miriam. "The interplay between authenticity, realism and cultural proximity in the reception of Turkish drama serials among Qatari audiences." Journal of Popular Television 10, no. 1 (2022): 21–40. http://dx.doi.org/10.1386/jptv_00068_1.

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This article explores how young Qatari audiences perceive authenticity in Turkish television dramas. The concepts of authenticity and realism are used as analytical tools to examine empirical findings from twenty focus group discussions with students, in 2016 and 2017. The results reveal that young Qataris see Turkish serials as offering a more authentic representation of real life than local and regional television serials. Although Turkish drama serials do not provide a window into actual life within Turkish society, they are perceived as offering a realistic depiction of characters and storylines representing Turkey’s social life and culture. This article establishes that Turkish serials’ dubbing into a colloquial Syrian dialect has heightened audience experience of authenticity. The fact that Turkish dramas were created against the backdrop of a Muslim country with significant ethnic and cultural similarities further elevated the Arab audiences’ perception of authenticity.

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21

Wu, Yihan, Junliang Guo, Xu Tan, et al. "VideoDubber: Machine Translation with Speech-Aware Length Control for Video Dubbing." Proceedings of the AAAI Conference on Artificial Intelligence 37, no. 11 (2023): 13772–79. http://dx.doi.org/10.1609/aaai.v37i11.26613.

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Video dubbing aims to translate the original speech in a film or television program into the speech in a target language, which can be achieved with a cascaded system consisting of speech recognition, machine translation and speech synthesis. To ensure the translated speech to be well aligned with the corresponding video, the length/duration of the translated speech should be as close as possible to that of the original speech, which requires strict length control. Previous works usually control the number of words or characters generated by the machine translation model to be similar to the source sentence, without considering the isochronicity of speech as the speech duration of words/characters in different languages varies. In this paper, we propose VideoDubber, a machine translation system tailored for the task of video dubbing, which directly considers the speech duration of each token in translation, to match the length of source and target speech. Specifically, we control the speech length of generated sentence by guiding the prediction of each word with the duration information, including the speech duration of itself as well as how much duration is left for the remaining words. We design experiments on four language directions (German -> English, Spanish -> English, Chinese English), and the results show that VideoDubber achieves better length control ability on the generated speech than baseline methods. To make up the lack of real-world datasets, we also construct a real-world test set collected from films to provide comprehensive evaluations on the video dubbing task.

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Barra, Luca. "Localization is now claiming its seat at the table: Interview with Saverio Perrino, BBC Studios." Journal of Popular Television 8, no. 3 (2020): 307–12. http://dx.doi.org/10.1386/jptv_00030_7.

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In an open conversation, Saverio Perrino, then localization executive at BBC Studios, highlights the role of dubbing/subtitling in the global circulation of television content and explains how a large production and distribution company is working to better coordinate the preparation of multiple localized versions. The examples of McMafia (2018‐present) and Good Omens (2019), analysed in detail, show the increasing complexity of localization operations for international content owners and distributors, the challenges provided by specific authors and texts, and the pressure for a global day-and-date release that has become the standard for digital audio-visual platforms.

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23

Haider, Ahmad S., and Faurah Alrousan. "Dubbing television advertisements across cultures and languages: A case study of English and Arabic." Language Value 15, no. 2 (2022): 54–80. http://dx.doi.org/10.6035/languagev.6922.

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The differences between Arab and English cultures make the task of Translating English advertisements into Arabic challenging. This study investigates the strategies used by translators to dub English advertisements into Arabic. Six English advertisements and their Arabic translation were compiled from YouTube and then compared their contents, Brand's name, and catchphrases. The findings showed that the translators opted for using various translation strategies such as cultural adaptation, substitution, loan, transliteration, explicitation, addition, omission, and paraphrasing. The analysis also revealed that translators sometimes use the literal translation approach to preserve the foreignness spirit and stay faithful to the original message. They also followed the free approach of translation to bridge the cultural gap. The study recommends future researchers to examine other advertisements in different domains.

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24

Webb, Stuart. "Selecting Television Programs for Language Learning: Investigating Television Programs from the Same Genre." International Journal of English Studies 11, no. 1 (2011): 117. http://dx.doi.org/10.6018/ijes/2011/1/137131.

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The scripts of 288 television episodes were analysed to determine the extent to which vocabulary reoccurs in television programs from the same subgenres and unrelated television programs from different genres. Episodes from two programs from each of the following three subgenres of the American drama genre: medical, spy/action, and criminal forensic investigation were compared with different sets of random episodes. The results showed that although there were an equivalent number of running words in each set of episodes, the episodes from programs within the same subgenre contained fewer word families than random programs. The findings also showed that low frequency word families (4000-14,000 levels) reoccur more often in programs within the same subgenre. Together the results indicate that watching programs within the same subgenre may be an effective approach to language learning with television because it reduces the lexical demands of viewing and increases the potential for vocabulary learning.

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Crookston, Shara. ""Hot-for-Teacher"." Girlhood Studies 13, no. 1 (2020): 101–16. http://dx.doi.org/10.3167/ghs.2020.130108.

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In this article I explore the highly problematic but wildly acclaimed romantic relationship between Aria Montgomery, a high school junior, and her English teacher Ezra Fitz in the television series Pretty Little Liars. This partnership normalizes gendered power imbalances often common to heterosexual partnerships, yet fervent fans have supported the duo enthusiastically, dubbing the couple #Ezria in blogs and social media. As we know, much research shows that along with unintended pregnancy, young girls who are victims of child sexual abuse by adult males suffer from depression. These outcomes are not shown in Pretty Little Liars: the series ends with Aria marrying her teacher in an example of a happily-ever- after ending, thereby reinforcing postfeminist ideas that Aria’s self-efficacy has never been compromised. I argue that in the era of #Metoo, the exploration of power in heterosexual romantic relationships on television shows aimed at adolescent girl audiences is a site for critical analysis.

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Barra, Luca, Paola Brembilla, Linda Rossato, and Lucio Spaziante. "“Lip-Sync for Your Life” (Abroad)." Canned TV Going Global 9, no. 17 (2020): 119. http://dx.doi.org/10.18146/view.210.

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The article aims to critically explore and understand the ways both RuPaul’s star persona and its program, RuPaul’s Drag Race, are distributed in Italy, circulate across, and impact on the Italian television industry and media culture, it also aims to show how many forms of national mediation, professional negotiation and audience reception deeply modify, and re-shape the TV product. To tackle the manifold facets of this case, four aspects will be analyzed: (trans)national distribution; adaptation and dubbing; global/local stardom; reception and cultural impact. Over a decade, the Italian edition and distribution of the show have changed, together with the national media landscape and its audiences.

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Zvereva, Vera. "Lifestyle Programs on Russian Television." Russian Journal of Communication 3, no. 3-4 (2010): 265–79. http://dx.doi.org/10.1080/19409419.2010.10756777.

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28

Webb, Stuart, and Michael P. H. Rodgers. "Vocabulary Demands of Television Programs." Language Learning 59, no. 2 (2009): 335–66. http://dx.doi.org/10.1111/j.1467-9922.2009.00509.x.

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29

Abernethy, Avery M. "Television Exposure: Programs vs. Advertising." Current Issues and Research in Advertising 13, no. 1-2 (1991): 61–77. http://dx.doi.org/10.1080/01633392.1991.10504959.

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30

Li, Xiaoxu. "The Practical Application of Film and Television Packaging Art in Television News Programs." Communications in Humanities Research 24, no. 1 (2024): 270–75. http://dx.doi.org/10.54254/2753-7064/24/20231794.

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Film and television packaging art plays a crucial role in television news programs. By employing film and television packaging, television news programs can achieve more sophisticated production and higher levels of visual effects, thereby enhancing the program's visibility and appeal and strengthening its communication effectiveness. The application of film and television packaging art is wide-ranging, including aspects such as title design, image and visual effects, sound design, and color and style. Successful television news programs often leverage the advantages of film and television packaging art to garner audience recognition and attention. With the continuous innovation and development of film and television packaging technology, the film and television packaging of television news programs in the future will have more possibilities, bringing viewers more rich, vivid, and immersive visuals.

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Malik Rehab Al- Azza, Ezzat Moh’d Hijab, Malik Rehab Al Azza, Ezzat Moh’d Hijab. "The use of modern television technology and its impact on increasing viewing of news programs on Jordanian television from the perspective of employees and technicians working in the news programs: استخدام التقنيات التلفزيونية الحديثة وأثرها في زيادة متابعة مشاهدة البرامج الإخبارية في التلفزيون الأردني من وجهة نظر العاملين والفنيين العاملين في البرامج الإخبارية". المجلة العربية للعلوم و نشر الأبحاث 7, № 4 (2021): 21–1. http://dx.doi.org/10.26389/ajsrp.b070721.

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The study aimed to uncover the level of use of modern television technologies and their impact on increasing the watching of news programs on Jordanian television. The study used a descriptive and analytical approach, and the data were collected through developing a scale for the use of modern television technologies for news programs. The sample of the study consisted of (110) workers and technicians in news programs on Jordanian television, chosen by the available deliberate sample method. The results of the study showed that the use of modern television technologies increases the degree of television viewing, especially watching news programs. The study also showed that Jordanian television still uses old television technologies. The study recommended the necessity of transforming Jordanian television into the HD broadcasting technology system instead of the SD system and working on training employees on modern television technologies (infographic, graphics, audio effects, and visual effects).

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Kanaker, Osama, and Zulkiple Abd Ghani. "Islamic Television Programs: Content and Format Revisited." Ulum Islamiyyah 16 (May 16, 2019): 169–85. http://dx.doi.org/10.33102/uij.vol16no0.126.

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This paper is based on a PhD study of the content of Islamic television broadcasting. Even though there are attempts in the Muslim world to produce Islamic television programs, most of the programs do not comply with Islamic rules either because of some content that includes some scenes that are not Islamic or because of the format that is usually rudimentary and unattractive. This paper focuses on Islamic television programs. It identifies important characteristics of Islamic television content such as reality and objectivity, comprehensiveness, moderation and application of Islamic distinctive features. It also identifies four characteristics of Islamic television programs’ format; which are artistic production, delivering indirect messages, adapting the message to the audience, and simplicity and frequency.

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Septiani, Eka, Nur Indah Sari, and Sri Mulyani. "TANTANGAN DI ERA INDUSTRI 4.0: PENGARUH INTENSITAS TAYANGAN PROGRAM TELEVISI TERHADAP PENGGUNAAN BAHASA INDONESIA." EKSPRESI DAN PERSEPSI : JURNAL ILMU KOMUNIKASI 2, no. 1 (2019): 65. http://dx.doi.org/10.33822/jep.v2i1.1033.

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Television media is one of the challenges we are currently facing in era 4.0. The challenge that we face through television media are, among other things,how we can choose educational television programs, especially those that still prioritize the use of Indonesian language that is good and correct in its presentation. Ironically, most television programs presented no longer heed the standard Indonesian language. This study aims to find out how teenagers in this case are students can view and choose television programs that they watch every day. Based on these objectives, researchers used descriptive analysis methods through questionnaires. The selected sample was taken as many as 30 student randomly. From the result of the analysts, the data shows that television programs are currently very influential in facing challenge in era 4.0 againts the standard use of Indonesian among teenagers. Today’s television programs are lacking especially in terms of language in the screening so that it becomes a challenge for teenagers so that they are able to maintain the use of goog and correct Indonesian. Keyword: television programs, the challenge of era 4.0, Indonesian language shift.

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Kaloka, Rintulebda Anggung. "PARENTAL MEDIATION PADA ANAK SAAT MENONTON TELEVISI DENGAN RATING GUIDE BIMBINGAN ORANG TUA (R-BO)." Interaksi: Jurnal Ilmu Komunikasi 5, no. 1 (2017): 62. http://dx.doi.org/10.14710/interaksi.5.1.62-67.

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ABSTRACTTelevision has few negative side especially for children. Television gives rated PG (Parental Guidance) in certain programs. To minimize the negative effects of television for children hence the need for parental mediation. seeing the impact of television programs and the lack of assistance parents when children watch television feared could affect a child's development.Keywords: Parental Mediation, Rating Guide, Television

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Rajulain, Muhammad. "THE EFFECT OF TELEVISION PROGRAM ON CHILDREN’S FOREIGN LANGUAGE ACQUISITION." Diksi 27, no. 1 (2019): 49–55. http://dx.doi.org/10.21831/diksi.v27i1.26176.

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(Title: The Effect of Television Program on Children’s Foreign Language Acquisition). Since it was first discovered in the 1920s, television has become an integral part of modern human life. The influence of television programs or programs on children's foreign language acquisition has become an interesting research subject to study. This study aims to determine the effect of television programs on the acquisition of foreign languages in a subject aged two years and three months using a qualitative method where the researcher also acts as an observer. The data obtained is recorded in the form of a diary, and interviews are conducted with parents and the people closest to the subject to obtain accurate data. The results of the study showed that the television programs being watched did not have a significant effect on the acquisition of foreign languages on the subjects studied. Keywords: Television programs, foreign language acquisition, children

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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 (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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Raines, Deborah A. "Learning Nursing Concepts Through Television Programs." Journal of Nursing Education 49, no. 3 (2010): 173–74. http://dx.doi.org/10.3928/01484834-20100218-02.

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Aldabergenova, Zh. "Format Features of Morning Television Programs." Bulletin of L.N. Gumilyov Eurasian National University. Journalism Series 129, no. 4 (2019): 60–64. http://dx.doi.org/10.32523/2616-7174-2019-129-4-60-64.

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Kim, Choong-Ryuhn. "Identifying Viewer Segments for Television Programs." Journal of Advertising Research 42, no. 1 (2002): 51–66. http://dx.doi.org/10.2501/jar-42-1-51-66.

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Kim, Yoojung. "Violence Regulation Analysis of Television Programs." Journal of the Korea Contents Association 14, no. 10 (2014): 101–11. http://dx.doi.org/10.5392/jkca.2014.14.10.101.

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Reddy, Srinivas K., Jay E. Aronson, and Antonie Stam. "SPOT: Scheduling Programs Optimally for Television." Management Science 44, no. 1 (1998): 83–102. http://dx.doi.org/10.1287/mnsc.44.1.83.

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Radnitz, Cynthia, Shannon Byrne, Rachel Goldman, Martha Sparks, Meredith Gantshar, and Kane Tung. "Food cues in children's television programs." Appetite 52, no. 1 (2009): 230–33. http://dx.doi.org/10.1016/j.appet.2008.07.006.

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Mustonen, Anu, and Lea Pulkkinen. "Aggression in television programs in Finland." Aggressive Behavior 19, no. 3 (1993): 175–83. http://dx.doi.org/10.1002/1098-2337(1993)19:3<175::aid-ab2480190303>3.0.co;2-x.

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Tomaiuolo, Saverio. "Translating "America's most nuclear family" into Italian: Dubbing and cultural adaptation in The Simpsons." Translation and Interpreting Studies 2, no. 2 (2007): 43–73. http://dx.doi.org/10.1075/tis.2.2.02tom.

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The Simpsons is one of the most successful cartoons and one of the most famous (and widely quoted) sitcoms in TV history, a mass-media phenomenon and the longest-running prime-time animated show in television history. As a typical postmodern creation, it oscillates between a work of art and a consumer good to be exported and sold. Translators and dubbing teams attempting to reproduce it in another language (and culture) must deal confidently with an enormous amount of textual material. This article analyzes the practical strategies adopted by Italian translators using selected episodes from Season Five (with references to other seasons and episodes). As this analysis of the Italian edition will try to demonstrate that, while The Simpsons undoubtedly remains an American ‘product’, many of its themes and references are part of a global cultural background whose adaptation for a ‘local’ audience, such as the Italian one, can still be possible.

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Zubillaga Gomez, Naroa. "From the book to television and to the whole world. Maya the Bee in Basque." MonTI. Monografías de Traducción e Interpretación, no. 14 (April 28, 2022): 494–516. http://dx.doi.org/10.6035/monti.2022.14.17.

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The aim of this article is to show how the Maya the Bee franchise entered the Basque cultural system and, more specifically, how the audiovisual translation (AVT) into Basque was conducted. Maya the Bee is a character from a book written by the German author Waldemar Bonsels in 1912. Yet, her origins are not that well known, as she made her entrance into the public consciousness more recently through audiovisual media. The first two sections of the article delve both into the origins and the multimedia character of Maya the Bee. The third section of the article focuses on the introduction of the Maya franchise into the Basque cultural system, the fourth section explains the methodology used and the fifth section presents the results of an analysis of the AVT. The analysis focuses on the dubbing of the 3D series (English into Basque) and looks at whether both nature-related terms are simplified and offensive language and wordplay have been retained.

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Kanaker, Osama, and Zulkiple A. Ghani. "BROADCASTERS’ PERCEPTION OF TELEVISION PROGRAMS: A STUDY ON AL-HIJRAH ISLAMIC MALAYSIAN TELEVISION CHANNEL." ‘Abqari Journal 13, no. 1 (2019): 7–17. http://dx.doi.org/10.33102/abqari.vol13no1.52.

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This paper identifies four main characteristics of Islamic television programs. They are reality and objectivity, comprehensiveness, moderation and application of Islamic distinctive features. A questionnaire was distributed to the broadcasters of Al-Hijrah Television to determine their perception on the characteristics of applying the aforementioned characteristics to their programs. Programs of Al-Hijrah Television were also observed to further investigate the application of the characteristics to Al-Hijrah Television programs. The main finding of this paper is that despite the satisfaction of Al-Hijrah Television broadcasters, the application of the four characteristics to Islamic television programs does not suffice the need of the audience. It was also found out that drama programs are more effective than traditional programs in delivering the Islamic message despite the rarity of Islamic drama.  Keywords: characteristics, programs, Islamic television, Al-Hijrah Television.   Abstrak Kajian ini mengenal pasti empat ciri utama program televisyen Islam. Antaranya adalah realiti dan objektiviti, komprehensif, kesederhanaan dan ciri-ciri Islam yang tersendiri. Satu borang soal selidik telah diedarkan kepada semua penyiar Al-Hijrah untuk menentukan persepsi mereka terhadap penggunaan ciri-ciri tersebut ke atas program mereka. Program - program Al-Hijrah juga telah dipantau untuk diteliti lebih lanjut lagi dalam mengaplikasikan ciri-ciri tersebut. Walaupun dapatan kajian ini dapat memberi kepuasan kepada semua penyiar Al-Hijrah, namun penggunaan empat ciri tersebut untuk program - program televisyen Islam masih tidak memenuhi kehendak penonton. Kajian mendapati bahawa program - program drama lebih berkesan berbanding program - program tradisional dalam menyampaikan mesej Islam walaupun kurangnya drama versi Islam.  Kata kunci: ciri-ciri, program, televisyen Islamik, Televisyen Al-Hijrah.

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GÜRER, Mert. "TELEVISION S NARRATIVE STRUCTURE AND THE HYBRIDIZATION PROCEDURE IN TELEVISION PROGRAMS." INTERNATIONAL PEER-REVIEWED JOURNAL OF COMMUNICATION AND HUMANITIES RESEARCHES, no. 12 (September 30, 2016): 68. http://dx.doi.org/10.17361/uhive.20161222018.

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Tetik, Anlı Tuna, and Dilay Özgüven. "Reality Crime Programs in Turkish Television: The Notorious Case of Palu Family on Müge." ATHENS JOURNAL OF MASS MEDIA AND COMMUNICATIONS 7, no. 2 (2021): 136–50. http://dx.doi.org/10.30958/ajmmc.7-2-4.

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The crime drama has always been popular on radio and television. Following this popular programming type, these programs found its way into reality crime programs. The reality crime programs emerged in U.S television in the late 1980s as the combination of news, crime dramas, and even horror genre. The reality crime programs placed themselves mainly in two formats in the television world. There is a vignette format where actors reenact actual crimes, and another one is the live-action format. It is the 1990s for Turkey to introduce reality television to the audience. One of the popular programs that were first broadcasted on ATV in 2008 hosted by Müge Anlı is the Müge Anlı ile Tatlı Sert. After we discuss the popularity of the reality crime television and the cases from American television, MATS is discussed as a certain criminal case from Turkey. This case is publicly recognized as Palu Family. This article argues how the case of the Palu Family became a televised public psychosis in MATS which is a hybrid reality crime program. With this regard, we will study family violence, sexual abuse, and homicide that have become publicly available to the audience. Keywords: reality TV, reality crime programs, infotainment, crime, Turkish television, Müge Anlı

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Anyiwo, Nkemka, L. Monique Ward, Kyla Day Fletcher, and Stephanie Rowley. "Black Adolescents’ Television Usage and Endorsement of Mainstream Gender Roles and the Strong Black Woman Schema." Journal of Black Psychology 44, no. 4 (2018): 371–97. http://dx.doi.org/10.1177/0095798418771818.

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This study investigated the associations between Black adolescents’ television usage and their endorsement of mainstream gender roles (MGR) and the strong Black woman (SBW) schema, which characterizes Black woman as emotionally strong, independent, and self-sacrificing. A total of 121 self-identified Black adolescents completed survey measures assessing their endorsement of the SBW and MGR, their viewership of 29 popular television programs (17 targeted to mainstream audiences and 12 targeted to a Black audience), and their total hours of weekly television viewing. Viewing Black-oriented programs was associated with stronger endorsement of SBW. However, viewing mainstream programs was associated with lower endorsement of MGR, specifically for boys. These findings offer some of the first indications of potential relations between Black adolescents’ gender role schemas and the racial makeup of the television programs that they view. We discuss possibilities that youth’s selection of television programs may strengthen the development of the SBW or that youth who embrace the SBW schema may select programs that fit the schema.

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Mubarok, Mubarok, and Urip Mulyadi. "NILAI-NILAI KEBANGSAAN DALAM PROGRAM TAYANGAN RELIGI DI STASIUN TELEVISI." Jurnal Studi Komunikasi dan Media 26, no. 1 (2022): 71–80. http://dx.doi.org/10.17933/jskm.2022.4913.

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Religious broadcast programs on television stations always get the highest quality index compared to other broadcast programs. The results of the Television Broadcasting Program Quality Index Survey conducted by the Indonesian Broadcasting Commission (KPI) always place religious broadcast programs with the best index. This study specifically describes how national values appear in religious broadcast programs on television stations. This research uses critical discourse analysis. The research sample was taken from religious broadcast programs on television stations that aired from January to April 2022. Primary data were obtained from religious broadcasts from television stations. Secondary data in the form of publication data from the Indonesian Broadcasting Commission (KPI). Data analysis was carried out at the micro (textual analysis), meso (discourse analysis), and macro (social context analysis) levels. The results of the study indicate that national values that appear in religious broadcast programs on television are still dominated by normative discourse originating from the state which is associated with Islamic values. This can not be separated from the event's resource persons who come from state sources and there are still few other speakers who discuss national values.

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