Journal articles: 'Humanities through the arts (Television program)'

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Ramirez, Amelie G., Kipling J. Gallion, Renato Espinoza, Alfred McAlister, and Patricia Chalela. "Developing a Media- and School-Based Program for Substance Abuse Prevention among Hispanic Youth: A Case Study of Mirame!/Look at Me!" Health Education & Behavior 24, no. 5 (1997): 603–12. http://dx.doi.org/10.1177/109019819702400507.

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Mirame!/Look at Me! is a substance abuse prevention program for low-income Mexican American youth 9 to 13 years of age. The theory-driven curriculum, developed for mass distribution via a satellite television network, features social models who demonstrate cognitive-behavioral skills and display conservative norms regarding substance abuse. An 18-session curriculum contains 5-minute videos that are assigned to be followed by discussion and social reinforcement from a teacher or volunteer. This case study reports the program development process and experiences in the initial dissemination of the program through national networks for schools and cable television subscribers.

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White, Mimi. "‘A house divided’." European Journal of Cultural Studies 20, no. 5 (2017): 575–91. http://dx.doi.org/10.1177/1367549417701756.

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HGTV (Home and Garden Television) is an American cable channel devoted to property TV, with programs that combine lifestyle and reality, demonstrating the rewards of home investments. Despite the focus on domestic property and the well-styled home, the programs are generally considered bland, and the cumulative impact of the network’s simple, formulaic programs is considered relaxing and even comforting. But some HGTV programs prominently feature domestic conflict as part of their repetitive narrative formula, disturbing the domestic ideals that the network promotes. While pat endings for individual episodes restore domestic harmony and unity through new (or renewed) domestic space, domestic disputes serve as a persistent reminder of everyday domestic discontent. This emerges in the shows with narratives that highlight conflict – House Hunters, House Hunters International and Love It or List It. But the implications resonate further in the context of the broader esthetic-textual dynamics of HGTV. Repetition within episodes, between episodes of any given show, among many different shows, and in the programming schedule makes the ‘happy endings’ as transitory as the domestic disputes that dominate individual episodes. HGTV programs are lifestyle–reality hybrids that promote quality lifestyle through reality-styled drama. The same textual strategies that demonstrate quality lifestyle also open the door to a lingering sense of domestic unease.

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Ayish, Muhammad. "Arab State Broadcasting Systems in Transition The Promise of the Public Service Broadcasting Model." Middle East Journal of Culture and Communication 3, no. 1 (2010): 9–25. http://dx.doi.org/10.1163/187398609x12584657078448.

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AbstractIn an Arab region entangled in global political, economic, social, and technological transformations, it seems natural to see traditionally paternalistic state broadcasting systems going through transitions. It has been noted that in Arab countries where social and political reforms are highly visible, radio and television services have been most cognizant of the need to adapt to surrounding change. Yet, in the long run, if government broadcasters are perceived to evolve along a path most compatible with envisioned democratization trends, it is public service rather than commercial broadcasting that holds the promise for that democratic vision. State broadcasters share significant features with their public service counterparts when it comes to service universality, funding, social and cultural empowerment, and public interest orientations. It is true that state broad casters in Arab countries with a progressive democratic history have demonstrated a propensity to be more inclusive and pluralistic in addressing national political and cultural issues. But all in all, their institutional affiliation with the state has been highly inhibitive for the pursuit of independence in news and current affairs, documentaries, and religious and cultural content. To bring themselves into closer alignment with the PSB model, state broadcasters need to harness ongoing social and political reforms to address four central issues arising out of their relation ship with government: editorial independence, institutional autonomy, non-state broadcast competition, and program enhancement. The writer notes that those issues have been occasionally addressed in the contexts of new audio-visual laws, broadcast restructurings, state-commercial broadcasting co-existence, and professional and technological development. The writer concludes that only an institution of genuine democratic political, social, and economic reforms in the region would secure state broadcasters' transition into the PSB model.

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Schut, Kevin, and James Pobst. "Thinking Through Television." Journal of Communication Inquiry 26, no. 1 (2002): 100–102. http://dx.doi.org/10.1177/019685990202600110.

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Woodhead, Leslie. "Collaborating with Anthropology through Television." Visual Anthropology Review 8, no. 1 (1992): 118–21. http://dx.doi.org/10.1525/var.1992.8.1.118.

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Ndlovu, Thabisani. "FIXING FAMILIES THROUGH TELEVISION?" Cultural Studies 27, no. 3 (2013): 379–403. http://dx.doi.org/10.1080/09502386.2013.769152.

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Kent, S. M., M. C. Nixon, and P. G. Rendell. "Perceptions of an unusual television program: The example of monkey." Australian Psychologist 21, no. 1 (1986): 43–55. http://dx.doi.org/10.1080/00050068608256486.

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Jacobs, Laura, and Marc Hooghe. "Public television and anti-immigrant sentiments in Europe. A multilevel analysis of patterns in television consumption." Communications 45, no. 2 (2020): 156–75. http://dx.doi.org/10.1515/commun-2019-2025.

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AbstractMass media have been accused of cultivating anti-immigrant sentiments in Western societies. Most studies on this topic, however, have not made a distinction between the types of television program (information vs. entertainment) or television station (public vs. commercial). Adopting a comparative approach, we use data from the six waves of the European Social Survey (ESS, 2002–2012, n = 162,987) to assess the relationship between individual and aggregate level patterns of television consumption and anti-immigrant sentiments in European societies. Individual television viewing time is positively associated with anti-immigrant sentiments, while frequent exposure to news and information programs is associated with lower levels of anti-immigrant sentiments. At the aggregate level we observe a positive effect of the total viewing time in society on anti-immigrant sentiments. In the conclusion we offer some suggestions on how this effect could be explained.

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Stiffler, Brad. "Punk Subculture and the Queer Critique of Community on 1980s Cable TV: The Case of New Wave Theatre." Television & New Media 19, no. 1 (2017): 42–58. http://dx.doi.org/10.1177/1527476416687040.

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If histories of television recognize it all, the relationship between punk subculture and the mass cultural medium of television is often rendered as a story of misreprentation, conflict, or mutual avoidance. Such studies overlook a rich history of punks throughout North America who produced numerous programs for cable television, especially the non-commercial forum of public access, in the late 1970s and early 1980s. Conceiving of TV as a kind of social technology, some punks actively and critically engaged in producing subculture both on and through the medium. This article looks at the case of New Wave Theatre (Theta/KSCI 1979–1983), a Los Angeles–based cable program that featured punk and new-wave bands, performance art, and interviews. It argues that through distinctive performance tactics and production practices, New Wave Theatre developed a form of “subcultural television” rooted in queer “antisociality.”

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Mickiewicz, Ellen, and Gregory Haley. "Soviet and American News: Week of Intensive Interaction." Slavic Review 46, no. 2 (1987): 214–28. http://dx.doi.org/10.2307/2498908.

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In 1940, there were only 400 television sets in the Soviet Union. By 1950, there were 10,000; a decade later, some 4.8 million. Then in the five years between 1965 and 1970, the availability of television sets more than doubled, and by 1976, Soviet industry was producing 7 million sets annually. In 1960, only 5 percent of the Soviet population could watch television, but by 1986 that figure had risen to 93 percent, and television signals could be received in more than 86 percent of the territory of the U.S.S.R. Nearly all the households that are unable to receive television are in sparsely settled rural areas, mainly Siberia.Although television is a relative newcomer to the Soviet media system, it has exerted an enormous effect on leisure time use. It has also reoriented patterns of information acquisition. Of the events in the world abroad covered by the Soviet media 86 percent are known to people through television, 77 percent through the newspaper, and 62 percent from radio.

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Gardiner, Richard C. "Improving Program Targeting Through Simulation." Evaluation Review 18, no. 2 (1994): 208–26. http://dx.doi.org/10.1177/0193841x9401800204.

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McMahon, Susan D., Dale S. Rose, and Michaela Parks. "Basic Reading Through Dance Program." Evaluation Review 27, no. 1 (2003): 104–25. http://dx.doi.org/10.1177/0193841x02239021.

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Pietrobruno, Sheenagh. "YouTube flow and the transmission of heritage: The interplay of users, content, and algorithms." Convergence: The International Journal of Research into New Media Technologies 24, no. 6 (2016): 523–37. http://dx.doi.org/10.1177/1354856516680339.

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YouTube’s increasing convergence with television extends to the notion of flow. The platform’s revising and reshaping of television flow theorized by Raymond Williams ((1974) Television. London: Routledge.), which is produced through the combined work of users and algorithms, enables diverse cultural representations to come into contact. This diversity creates relational juxtapositions that become meaningful through human interpretation. The algorithms that are entrenched in YouTube’s business models and designed to monetize the work of users may also circulate divergent versions of a cultural practice. That YouTube flow can produce diverse cultural representations is demonstrated by a case study of the Mevlevi Sema ceremony, a Turkish intangible heritage practice safeguarded by UNESCO; official heritage narratives put forward by the nation-state of Turkey through UNESCO are challenged by other narratives on the platform.

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Barth, Josie Torres. "Sitting Closer to the Screen: Early Televisual Address, the Unsettling of the Domestic Sphere, and Close Reading Historical TV." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 3 (2019): 31–61. http://dx.doi.org/10.1215/02705346-7772375.

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This article makes a case for formal analysis of historical TV through close readings that demonstrate the ways in which postwar television unsettled the domestic sphere. While scholars of historical television have dismissed formal criticism for its ignorance of contexts of production and reception, I argue that the content and form of TV in its developmental years directly contextualize industry and society. In its first decades of mass use, television refigured spatial relationships by creating an uncanny liminality between the public sphere of commerce and entertainment and the private sphere of the home. These newly blurred boundaries had profound implications for postwar conceptions of gender, home, and family. Through both form and content, programs as wide-ranging as the science-fiction anthology The Twilight Zone (CBS, 1959–64) and domestic sitcoms The George Burns and Gracie Allen Show (CBS, 1950–58) and The Adventures of Ozzie and Harriet (ABC, 1952–66) developed modes of address to articulate and work through their viewers’ anxieties. In order to probe the wide-reaching implications of the new medium’s intimate address, I argue that scholars of historical television must be as attentive to program content, textuality, and form as they are to technological and industrial developments.

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Boon, Tim. "1962: ‘What manner of men?’: Meeting scientists through television." Public Understanding of Science 28, no. 3 (2018): 372–78. http://dx.doi.org/10.1177/0963662518805314.

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Domingo, David. "Book Review: Joshua A Braun This program is brought to you by …: Distributing television news online." Journalism 18, no. 7 (2017): 931–32. http://dx.doi.org/10.1177/1464884917720539.

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Bonnell, Victoria E., and Gregory Freidin. "Televorot: The Role of Television Coverage in Russia's August 1991 Coup." Slavic Review 52, no. 4 (1993): 810–38. http://dx.doi.org/10.2307/2499653.

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When the State Committee on the State of Emergency (henceforth the Emergency Committee) seized power in the early morning of 19 August 1991, it took steps immediately to assert control over Central Television, radio and the press. At one o'clock in the morning on 19 August, Gennadii Shishkin, first deputy director of TASS, was awakened by a phone call from Leonid Kravchenko, the conservative director of Gosteleradio (the State Committee on Television and Radio) and asked to come to Central Committee headquarters.2 By 2 a.m., the chief editor of the nightly news program "Vremia" had been awakened. Then, at dawn, military vehicles and paratroopers surrounded the Gosteleradio building at Ostankino.

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Nelson, Leif D., Tom Meyvis, and Jeff Galak. "Enhancing the Television-Viewing Experience through Commercial Interruptions." Journal of Consumer Research 36, no. 2 (2009): 160–72. http://dx.doi.org/10.1086/597030.

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Shaba, Afnan Mohammed. "TELEVISION PROGRAMS TRENDS TOWARDS PROMOTING SUSTAINABLE DEVELOPMENT VALUES: AN ANALYTICAL STUDY." Humanities & Social Sciences Reviews 8, no. 3 (2020): 1082–91. http://dx.doi.org/10.18510/hssr.2020.83111.

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Purpose: Determine TV program trends towards promoting sustainable development values, and analyze program content, and clarifying the role of development media in supporting the values of sustainable development to the public. Methodology: The descriptive method was used to analyze the content to test the variables and analyze them quantitatively and qualitatively. The number of samples used reached (24) episodes from two TV programs. Reliability tested using retest with Spearman stabilizer. Main Findings: TV satellite channels are concerned with sustainable economic, environmental, social, cultural, religious and health issues of development, countered by the weak interest in educational and educational issues, programs seek to achieve the goals of media, news, awareness, and guidance, as well as providing various TV forms, Most notably the interview and the report. Implications: This study found in order to develop the work of television programs towards new issues that are sustainable development and the importance of public awareness of the necessity of employing them in areas of life and improving plans for managing countries towards attention to sustainability and its impact on setting a good future for society. Novelty/Originality of this study: This Research raises the topic of sustainable development and the trends of development media and television programs towards their promotion in the society.

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Sarnelli, Viola, and Hafssa Kobibi. "National, regional, global TV in Algeria: University students and television audience after the 2012 Algerian media law." Global Media and Communication 13, no. 1 (2017): 57–83. http://dx.doi.org/10.1177/1742766517694473.

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This article investigates new trends in the consumption of national and transnational television channels in Algeria, following the changes introduced by the 2012 media law. Research on this topic was conducted through a small-scale audience survey among university students in Mostaganem, West Algeria, at the beginning of 2015. As with other neighbouring countries, since the 1980s, Algeria has been exposed to a rising amount of transnational television flows. After an initial French dominance, the last 10 years saw a gradual growth in the Gulf channels’ penetration, while national television became increasingly neglected. This partially changed after the 2011 uprisings as many Arab countries accelerated a process of media liberalization. In Algeria, the media law approved in 2012 opened the door to the creation of private television channels. The article explores the choices made by young Algerians in terms of national and transnational television content, both for news and for entertainment. Based on the results of our survey and on other historical and contextual data, we argue that a new national perspective on news and current affairs is emerging in the country, together with the success of non-Western productions for entertainment formats. In both these domains, students from different faculties and backgrounds showed similar preferences, going beyond the linguistic, cultural and social segmentation that has characterized the Algerian audience since the emergence of satellite television.

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Rose, Randall L., and Stacy L. Wood. "Paradox and the Consumption of Authenticity through Reality Television." Journal of Consumer Research 32, no. 2 (2005): 284–96. http://dx.doi.org/10.1086/432238.

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LaChance, Daniel, and Paul Kaplan. "The Seductions of Crimesploitation: The Apprehension of Sex Offenders on Primetime Television." Law, Culture and the Humanities 15, no. 1 (2015): 127–50. http://dx.doi.org/10.1177/1743872115578070.

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Reality television in the United States has often been understood to reinforce the punitive and neoliberal turns American political culture took in the late twentieth century. But in this article, we examine how it can work to unsettle as well as naturalize punitive and neoliberal ideologies. We do so via a case study of To Catch a Predator, a reality-based television program documenting the detection, legal apprehension, and extralegal punishment of adults seeking sex with teenagers. Both the appeal of the show and its susceptibility to the backlash that ultimately shut down its production, we argue, lay in a tacit invitation to viewers to imagine themselves as predators as well as parents or prosecutors.

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Thynne, Lizzie. "Women in Television in the Multi-Channel Age." Feminist Review 64, no. 1 (2000): 65–82. http://dx.doi.org/10.1080/014177800338972.

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This article explores the impact of structural and technological change on women's employment in the UK television industry. It looks at the challenges faced by women in working in what has become since the mid-1980s a largely freelance industry where short-term contracts, informal recruitment procedures and long, unpredictable work schedules mean that women find it increasingly difficult to combine a career and family. Through case studies of individual careers, of a women's magazine programme for S4C Digital and a survey of women's credits on a selection of the newer channels (Sky One, UK Living and Channel 5), it argues that technological advances in digital transmission and production will not improve working conditions and opportunities for women's participation in all areas of the industry if they continue to replicate existing practice.

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Kelly, JP. "Television by the numbers: The challenges of audience measurement in the age of Big Data." Convergence: The International Journal of Research into New Media Technologies 25, no. 1 (2017): 113–32. http://dx.doi.org/10.1177/1354856517700854.

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This article examines recent innovations in how television audiences are measured, paying particular attention to the industry's growing efforts to utilize the large bodies of data generated through social media platforms – a paradigm of research known as Big Data. Although Big Data is considered by many in the television industry as a more veracious model of audience research, this essay uses Boyd and Crawford's (2011) `Six Provocations of Big Data' to problematize and interrogate this prevailing industrial consensus. In doing so, this article explores both the affordances and the limitations of this emerging research paradigm – the latter having largely been ignored by those in the industry – and considers the consequences of these developments for the production culture of television more broadly. Although the full impact of the television industry's adoption of Big Data remains unclear, this article traces some preliminary connections between the introduction of these new measurement practices and the production culture of contemporary television. First, I demonstrate how the design of Big Data privileges real-time analysis, which, in turn, encourages increased investment in ‘live’ and/or ‘event’ television. Second, I argue that despite its potential to produce real-time insights, the scale of Big Data actually limits its utility in the context of the creative industries. Third, building on this discussion of the debatable value and applicability of Big Data, I describe how the introduction of social media metrics is further contributing to a ‘data divide’ in which access to these new information data sets is highly uneven, generally favouring institutions over individuals. Taken together, these three different but overlapping developments provide evidence that the introduction of Big Data is already having a notable effect on the television industry in a number of interesting and unexpected ways.

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Davies, Hannah, David Buckingham, and Peter Kelley. "In the worst possible taste: children, television and cultural value." European Journal of Cultural Studies 3, no. 1 (2000): 5–25. http://dx.doi.org/10.1177/a010860.

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This article draws on data gathered as part of a broader research project looking at the changing nature of children's television culture. In the light of public concerns about the shortcomings of children's 'natural' tastes in television, and broader academic arguments about the social functions of judgements of taste, the article considers whether it makes sense to talk about a distinctive 'children's taste culture' in relation to television. Through an analysis of children's discussions of television, the article identifies several criteria that children use to mark out what is distinctively 'for children', as compared with older age groups. However, it argues that these distinctions between 'adulthood' and 'childhood' are socially constructed; and that, in the increasingly competitive environment of contemporary media, age may be becoming a valuable symbolic commodity in its own right.

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Nilsson, Johan. "Moments of intermediality: The use of television in joker narratives." Convergence: The International Journal of Research into New Media Technologies 26, no. 2 (2018): 386–401. http://dx.doi.org/10.1177/1354856518786010.

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This article uses the concept of intermediality to explore four different adaptations, across three different media, of the infamous supervillain the Joker. Independent of the medium representing him, a recurring practice is to have the Joker engage with media technologies. Television, in particular, is often used, as in the cases discussed here: Tim Burton’s film Batman (1989) and Christopher Nolan’s The Dark Knight (2008), the comic book Batman: Death of the Family (2014), and the video game Batman: Arkham Asylum (2009). Understood as media combination, intermedial referencing (Rajewsky (2005) Intermediality, intertextuality, and remediation: A literary perspective on intermediality. Intermédialités 6: 43–64), and through concepts such as contingency and liveness (Doane (2002) The Emergence of Cinematic Time: Modernity, Contingency, the Archive. Cambridge: Harvard University Press), these intermedial moments, by way of emphasizing the materiality and temporality of media, are found to promote immersion while simultaneously causing tension by destabilizing the act of viewing.

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Glenn, Colleen. "The Road Story and the Rebel: Moving Through Film, Fiction, and Television." Journal of Popular Culture 40, no. 6 (2007): 1079–81. http://dx.doi.org/10.1111/j.1540-5931.2007.00486_4.x.

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Boross, Balázs, and Stijn Reijnders. "Dating the Media: Participation, Voice, and Ritual Logic in the Disability Dating ShowThe Undateables." Television & New Media 20, no. 7 (2018): 720–38. http://dx.doi.org/10.1177/1527476418782184.

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Interventional television formats centering around the ritual transformation of “ordinary people” are not only followed by sizable audiences worldwide but also attract large numbers of aspiring candidates. Although the benefits and consequences of participating in such shows have long been debated within academia and beyond, research into actual experiences of participating in such television productions remains scarce. Based on in-depth interviews with participants of the disability dating show The Undateables, this article focuses on how contributors deal with their position in the production and how their experiences reflect the emancipatory claims of the program. By presenting the production process through the story and from the perspective of three participants, different modes of participation will be discussed, revealing how instances of submission, appropriation, and contestation of the production logic are linked to ideals of representation, notions about empowerment and voice, and to strategies of negotiating normalcy and difference.

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Kozma, Alicia. "Shame, Class, and Embodiment in the Catfish Universe." Television & New Media 19, no. 5 (2017): 467–85. http://dx.doi.org/10.1177/1527476417722845.

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This article examines the film Catfish and the corresponding television program Catfish: The TV Show to articulate how genres of the real create entertainment paradigms built on shame and derision as acceptable modes of programming particularly focused on bodies. Understanding these texts as visual culture narratives grounded in shame produced through “failed” classed, fat, and gendered bodies, I argue that when genres of the real focus on shame as entertainment they implicate individuals, rather than systemically enforced normative identity positions, as wholly complicit in their own sociocultural failure.

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Smit, Alexia. "Forgiving and forgetting: South African reality television, fatherhood and nation." European Journal of Cultural Studies 20, no. 1 (2016): 72–86. http://dx.doi.org/10.1177/1367549416640534.

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This article examines the presentation of mediated reconciliation on the South African reality television show Forgive and Forget (e.tv, 2007–2012). The show features a representation of Black South African masculinity that is located in the domestic realm and associated with care and emotion. This differs from the prominent figuring of Black masculinity in terms of the gangster trope in South African media. The national discourse on reconciliation and nation-building associated with the Truth and Reconciliation Commission foregrounds certain political figures as fathers to the nation. On Forgive and Forget, this narrative is relocated in the domestic sphere with regard to representations of fathers and their children. While on its surface the programme retells a familiar narrative of national reconciliation through family stories, there is an evident tension between a somewhat contrived reconciliation and the many contextual, economic and social complexities of each forgiveness story. These tensions themselves provide a productive space for reflecting on reconciliation through the lens of the family.

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Douglas, William, Carl Graham, Duncan Anderson, and Kim Rogerson. "Managing chronic pain through cognitive change and multidisciplinary treatment program." Australian Psychologist 39, no. 3 (2004): 201–7. http://dx.doi.org/10.1080/00050060412331295045.

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Kahr, Brett. "How to Make a Forty-Seven Minute Television Program in Only Three Years." American Imago 62, no. 4 (2005): 483–91. http://dx.doi.org/10.1353/aim.2006.0003.

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Bardan, Alice. "Remembering socialist entertainment: Romanian television, gestures and intimacy." European Journal of Cultural Studies 20, no. 3 (2017): 341–58. http://dx.doi.org/10.1177/1367549416682246.

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This essay tackles the question of why people enjoy the re-broadcasting of state socialist programmes, asking whether their desires are driven by nostalgia, manipulated by neocapitalist schemes that commodify the past as an audience-raising strategy or simply linked to a compulsive desire to revisit a ‘traumatic’ past. To do so, I first draw on existing literature on mediated nostalgia to examine some of the possible explanations for the continued popularity of socialist-era television in post-socialist Eastern Europe. Focusing on the Romanian context, I discuss audience memories of socialist TV and then zoom in on some of the most prevalent memories of socialist entertainment in this country: the New Year’s Eve comedy sketches and Pistruiatul, one of very few television series made in Romania during socialism. I argue that in order to understand the popularity of socialist-era reruns, we need to look both into how audiences remember these programmes and into how these programmes construct long-term affinities with the audience. To do so, I discuss two kinds of pleasures: first, the pleasure of recalling one’s ability to resist ideological messages and, second, the pleasure of re-watching familiar content and, through that, reliving the sense of intimate connection with television characters.

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Langlois, Sylvia, and Allan Peterkin. "Promoting Collaborative Competencies through the arts and humanities: Lessons learned from an innovative IPE certificate program." Journal of Interprofessional Education & Practice 16 (September 2019): 100267. http://dx.doi.org/10.1016/j.xjep.2019.100267.

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Waller, Lisa, and Katrina Clifford. "Ice towns: Television representations of crystal methamphetamine use in rural Australia." Crime, Media, Culture: An International Journal 16, no. 2 (2019): 185–99. http://dx.doi.org/10.1177/1741659019845025.

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The Australian news media regularly presents crystal methamphetamine use as a non-metropolitan ‘epidemic’ sweeping through country towns with devastating consequences for affected communities. Considerations of place and the notion of rurality are therefore crucial to understanding how these media representations are constructed and their power to influence national understandings of rural people, places and policy debates. In order to explore these complexities, we apply Simon Cottle’s ‘communicative architecture of television’ methodology to an analysis of three long-form reportage television programmes on the theme of ice use in small Australian towns. Theories of ‘social imaginaries’ inform the argument that a distinctive Australian ‘agrarian imaginary’ can be discerned through the reporting’s strong associations with the connections and contradictions attached to ideas and emotions about ‘the bush’. The television programmes draw on what Cottle terms ‘mythic’ and ‘collective’ frames that reach into the cultural reservoirs of communities to reinforce national perceptions, values and narratives about how rural communities ought to be, and by extension, how they ought to deal with complex social problems, such as illicit drug distribution and use.

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Noonan, Caitriona. "‘Big stuff in a beautiful way with interesting people’: The spiritual discourse in UK religious television." European Journal of Cultural Studies 14, no. 6 (2011): 727–46. http://dx.doi.org/10.1177/1367549411419975.

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This article critically examines changes in the style and tone of religious broadcasting. Increasingly, a discourse of spirituality and faith is used by television producers to describe and discuss their output, as these are seen as less contentious and more audience-friendly ways of promoting faith-based programming. However, these themes continue to be framed within a recognizable set of religious traditions, mainly Christian. Combining interviews with producers and analysis of the BBC series Extreme Pilgrim (2008), this article examines the representation of spirituality as it is visualized and narrated. It analyses how this representation challenges traditional religious institutions, the new role it creates for broadcasters within lifestyle television, and discusses whether this subjective position can be conveyed authentically through the medium of television. The future of religious broadcasting rests on finding sustainable formats, yet these lifestyle formats offer distinct challenges in relation to their successful production and reproduction.

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Scolari, Carlos A., and Damián Fraticelli. "The case of the top Spanish YouTubers: Emerging media subjects and discourse practices in the new media ecology." Convergence: The International Journal of Research into New Media Technologies 25, no. 3 (2017): 496–515. http://dx.doi.org/10.1177/1354856517721807.

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The objective of this article is to propose a first exploratory analysis of the Spanish YouTubers’ main productions and practices. Following the description of the emergence of YouTube in the context of media ecology, the article presents a general overview of the top 10 Spanish YouTubers’ production based on quantitative data. The study continues with a semiotic/discursive analysis of their audio-visual production’s main distinctive traits. As traditional television is imitating nowadays these new media expressions, this article also addresses the aesthetics and grammar of Yutubers, a TV program produced by Comedy Central that simulates the Spanish YouTubers channels’ aesthetics and language. The analysis concludes with a discussion on the study’s findings and a series of questions about these new media subjects.

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Szu, Evan, Jonathan Osborne, and Alexis D. Patterson. "Factual accuracy and the cultural context of science in popular media: Perspectives of media makers, middle school students, and university students on an entertainment television program." Public Understanding of Science 26, no. 5 (2016): 596–611. http://dx.doi.org/10.1177/0963662516655685.

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Popular media influences ideas about science constructed by the public. To sway media productions, public policy organizations have increasingly promoted use of science consultants. This study contributes to understanding the connection from science consultants to popular media to public outcomes. A science-based television series was examined for intended messages of the creator and consulting scientist, and received messages among middle school and non-science university students. The results suggest the consulting scientist missed an opportunity to influence the portrayal of the cultural contexts of science and that middle school students may be reading these aspects uncritically—a deficiency educators could potentially address. In contrast, all groups discussed the science content and practices of the show, indicating that scientific facts were salient to both media makers and audiences. This suggests popular media may influence the public knowledge of science, supporting concerns of scientists about the accuracy of fictional television and film.

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Yurchak, Alexei. "A Parasite from Outer Space: How Sergei Kurekhin Proved That Lenin Was a Mushroom." Slavic Review 70, no. 2 (2011): 307–33. http://dx.doi.org/10.5612/slavicreview.70.2.0307.

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In 1991, Leningrad television broadcast a program that has since become infamous. The program's guest, Sergei Kurekhin, claiming to be a political figure and scientist, conducted an elaborate hoax that he presented as a serious historical exploration into the origins of the Bolshevik revolution. Using visual, textual, and scientific evidence, Kurekhin argued that the revolution was led by people who had been consuming hallucinogenic mushrooms. As a result, their personalities were being replaced by mushroom personalities, and their leader, Vladimir Lenin, was simply a mushroom. This fact, according to Kurekhin, shed new light on many enigmas of Soviet history. Millions of viewers were at a loss: were they witnessing a serious program, a daring prank, a case of unprecedented lunacy? In this article, Alexei Yurchak analyzes that remarkable comedic performance, its social and political effects then and now, and what it may contribute to our understanding of the relationship between politics and irony.

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Barkin, Gareth. "COMMERCIAL ISLAM IN INDONESIA: HOW TELEVISION PRODUCERS MEDIATE RELIGIOSITY AMONG NATIONAL AUDIENCES." International Journal of Asian Studies 11, no. 1 (2014): 1–24. http://dx.doi.org/10.1017/s1479591413000181.

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While Indonesia's burgeoning private television industry has prospered through the country's democratic transition and the rise of popular Islam, it has remained ideologically constrained by many of the content restrictions established during Suharto's New Order era. One area in which producers have broken these norms is in the field of religious imagery, and the adaptation of religiously-themed narratives and tropes. This article – based on a long-term ethnographic study of television producers in Indonesia and the social institutions that influence them – explores the strategies and goals behind the industry's handling of the imagined religious audience. It asserts that the tension of appeasing cultural conservatives has been redirected by the industry into content that appeals to the much larger demographic of moderate Muslims, through the adaptation of narrative conventions and stylistic forms that draw on an array of global media traditions. It examines new genres and conventions invoked by producers in their efforts to both placate and mobilize religious sentiment among Indonesia's culturally heterogeneous population, arguing that these practices promote a successful, commercial Islam that largely comports with neoliberal subjectivity.

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Ufuophu-Biri, Emmanuel. "Television and Family Unity in South – South Nigeria." Mediterranean Journal of Social Sciences 11, no. 2 (2020): 125. http://dx.doi.org/10.36941/mjss-2020-0025.

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Television plays important role in the family. It serves as source of information, entertainment, cultural propagation, among other functions. It brings family members together and serves as a catalyst for family unity. However, there is the argument that television viewership could also have negative influence on family unity and values. The study therefore investigated the influence of Television viewing on family unity and values in Southern Nigeria. The study adopted the Behavior Imitation, Linkage and Bowen Family Systems theories. The study used survey and questionnaire as method and instrument respectively. The respondents were chosen through a multi-stage sampling process. The data were analyzed using descriptive statistics. The results show that majority of the respondents do not watch television together with other family members at home. Also, watching of television is found to have negative influence on family unity and values. The study recommends that family members should watch television together at home; and avoid adopting negative values they watch on television.

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Stiernstedt, Fredrik, and Peter Jakobsson. "Defusing the male working class: Populist politics and reality television." European Journal of Cultural Studies 22, no. 5-6 (2018): 545–62. http://dx.doi.org/10.1177/1367549418786423.

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This article presents an analysis of the makeover reality show Real Men, which was broadcast on Swedish television in 2016. The analysis shows that Real Men – like other shows of its genre – functions as a form of ‘governmentality’ through which forms of neoliberal subjectivity are propagated and pedagogically enforced on ‘bad subjects’. However, the show surpasses the genre conventions by questioning the authority of the norms and values (i.e. middle-class, cosmopolitan and urban values) that are being propagated and in letting the values held by the working-class men on the show eventually be victorious and accepted within the narrative. The purpose of this article is to try to make sense of a popular cultural artefact such as Real Men against the background of the crisis of legitimacy for the neoliberal ideology and the rise of (right-wing) populism, and to try to understand how the forms and genres of popular culture transform and respond to this changing political context.

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Smets, Kevin. "The way Syrian refugees in Turkey use media: Understanding “connected refugees” through a non-media-centric and local approach." Communications 43, no. 1 (2018): 113–23. http://dx.doi.org/10.1515/commun-2017-0041.

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Abstract This paper reports on an exploratory, qualitative study of media use among Syrian refugees in Turkey, focusing on two locations: a refugee camp in Sanliurfa (South-Eastern Turkey) and a community center in Istanbul. It seeks to provide new angles for conceptualizing the “connected refugee” by adopting a non-media-centric and ethnographic approach that emphasizes diversity, local contexts and everydayness. Firstly, the paper discusses the interplay between individual and collective ownership of media and ICTs, which is linked to certain power dynamics and an informal economy of solidarity. Secondly, the role of popular media (e.g., music, television series, football) for establishing ontological security in an interstitial and unstable position is discussed.

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Esch, Madeleine Shufeldt. "Picking through history: ‘Mantiques’ and masculinity in artifactual entertainment." European Journal of Cultural Studies 20, no. 5 (2017): 509–24. http://dx.doi.org/10.1177/1367549417701760.

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Traveling the back roads of the United States, the stars of American Pickers hunt for antiques in rural junkyards, dilapidated barns and shuttered small town storefronts. The series is part of a branding and programming strategy that History Channel executives call ‘artifactual entertainment’, a category that is generically related to a recent spate of macho, blue-collar reality television hits. Rather than engaging in the feminine therapeutic discourses of makeover specialists, the stars of American Pickers style themselves as archeologists on the hunt for ‘mantiques’ – masculine antiques. This article explores how this masculinization is enacted in conjunction with the archaeological discourse surrounding the hunt for relics of America’s bygone industrial past. In doing so, I consider how the hit series negotiates anxieties about the feminization of work and paradoxically celebrates the postmodern neoliberal economy, even as it seems to lament the disappearance of more ‘authentic’ and independent ways of life.

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Mcmillin, Divya C. "Ideologies of Gender on Television in India." Indian Journal of Gender Studies 9, no. 1 (2002): 1–26. http://dx.doi.org/10.1177/097152150200900101.

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Content analyses of Indian television programmes on the national network Doordarshan in the 1980s have shown that prime-time shows cast women as docile homemakers and as objects of male desire. This paper uses a critical postcolonial theoretical framework and narrative analysis method to detect ideologies of gender from programmes randomly selected from a month's menu of the transnational, national and regional television networks in the country. A broad conclusion is that Indian television in the late 1990s perpetuates, across channels, the 1980s' stereotypical images of women, images that have their roots in Vedic, colonial, and nationalist literature. The status quo is explained through a critical discussion of the framing of 'woman' in colonial and postcolonial nation-building efforts. The paper also points to the emerging genre of hybrid programming, where the greater incidence of female veejays and talk show hosts paves the way for the expression of female leadership and desire, and leads to more positive television portrayals of women in the 21st century.

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Wang, Lily M., and Siu-Kit Lau. "Studying architectural acoustics through the University of Nebraska’s Architectural Engineering Program." Journal of the Acoustical Society of America 126, no. 4 (2009): 2229. http://dx.doi.org/10.1121/1.3248982.

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Mickiewicz, Ellen. "The Election News Story on Russian Television: A World Apart from Viewers." Slavic Review 65, no. 1 (2006): 1–23. http://dx.doi.org/10.2307/4148520.

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Winning elections is so vital for Russian leaders that competing viewpoints on national television news channels have been scotched, together with the channels that broadcast them. This study examines the other side of the screen: how participants in focus groups in four Russian cities process national channels' treatments of an important regional electoral campaign. The study was conducted during the last period in which viewpoint diversity was still available via TV-6. Unlike findings about other news stories, election stories appear to have little connection to viewers' experiences and values and deprive them of using familiar heuristics to make sense of the stories. For the public, the election story is a genre apart, framed by the same confusing template no matter what the office or region. Even TV-6, soon to be shuttered, broadcast its combative message using that template, thus extinguishing any opportunity for identifying genuine diversity and leaving the audience unable to distinguish between state and private channels, something they easily did for other types of stories. Election stories only cue other election stories. It is mainly younger, "post-Soviet" participants who bring an alternative frame to watching: norms, acquired through their education, by which election stories in a democracy ought to be constructed.

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Noordenbos, Boris. "Seeing the Bigger Picture: Conspiratorial Revisions of World War II History in Recent Russian Cinema." Slavic Review 77, no. 2 (2018): 441–64. http://dx.doi.org/10.1017/slr.2018.130.

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This article analyzes revisions of World War II history in recent Russian cinema and television, including the feature filmThe Match(Andrei Maliukov, 2012),Spy (Aleksei Andrianov, 2012), and the television seriesLiquidation(Sergei Ursuliak, 2007). All these productions rely on the logic of conspiracy theory for their reimaginations of war history: pivotal developments during the war or its aftermath are presented as the result of subterranean manipulations by enemies or intelligence services. Through a narrative and visual analysis, the article shows how these films and series use the notion of conspiracy to reformat the contexts of wartime events and to place them within a speculative “bigger picture.” In doing so, they infer that what we know about the past is merely a part or effect of larger, hidden designs. Finally, the article situates these findings within a wider “reconciliation with the Soviet” in Putin-era culture, which increasingly centers on the remembrance of World War II.

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Choi, Kimburley WY. "Habitus, affordances, and family leisure: Cultural reproduction through children’s leisure activities." Ethnography 18, no. 4 (2016): 427–49. http://dx.doi.org/10.1177/1466138116674734.

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Informed by Gibson’s affordances and Bourdieu’s habitus, this visual ethnographic study explores parents’ ideas about learning and leisure and the actual domestic leisure children (between three to seven years old) consume in association with socioeconomic status. It is found that parent informants have similar reservations about local education regardless of socioeconomic status. Nevertheless, their different socioeconomic and cultural backgrounds contribute to their different involvement in children’s learning and leisure through their use of the domestic setup, television and computing devices, and toys. Through leisure, middle-class parent informants transmit certain emotions, values, skills, behavioral dispositions, and tastes to their children, which coincide with institutional approaches to learning. The study finds that children’s domestic leisure is largely patterned by materials (domestic setup and leisure-induced appliances), practices (TV and mobile computing usage and toy selection and play) and social structure, and thus links considerably to children’s disparity in academic achievements and attitudes towards learning.

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TEMPLETON, PETER. "On the Couch: The Alpha Male in Therapy in Contemporary American Television Drama." Journal of American Studies 53, no. 3 (2018): 799–818. http://dx.doi.org/10.1017/s0021875817001815.

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As ideas of masculinity have changed in the United States, so too has the presentation of men on television. This article, then, explores a range of characters that have characteristics associated with the alpha male in the unusually vulnerable position of the patient, in a variety of programmes from generic detective dramas through to critically acclaimed productions, to analyse how programme makers navigate questions of masculinity against the cultural backdrop of the most recent fin de siècle. It also demonstrates a range of responses by programme makers, including some that question hypermasculine tendencies only to ultimately reinforce them.

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Journal articles on the topic 'Humanities through the arts (Television program)'

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