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Journal articles on the topic 'Independent Television'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

Thomas, Amos Owen. "Television Dependency in Independent Kazakhstan." Gazette (Leiden, Netherlands) 67, no. 4 (2005): 325–37. http://dx.doi.org/10.1177/0016549205054282.

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2

Perkins, Claire, and Michele Schreiber. "Independent women: from film to television." Feminist Media Studies 19, no. 7 (2019): 919–27. http://dx.doi.org/10.1080/14680777.2019.1667059.

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3

Kennedy, Melanie, and Safiya Umoja Noble. "Independent women: from film to television." Feminist Media Studies 19, no. 7 (2019): 1043–60. http://dx.doi.org/10.1080/14680777.2019.1667071.

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4

Marghitu, Stefania. "Independent women: from film to television." Feminist Media Studies 19, no. 7 (2019): 1050–53. http://dx.doi.org/10.1080/14680777.2019.1667075.

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5

Hale, Gary A., and Richard C. Vincent. "Locally Produced Programming on Independent Television Stations." Journalism Quarterly 63, no. 3 (1986): 562–67. http://dx.doi.org/10.1177/107769908606300317.

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6

Nylund, Mats, and Peter Mildén. "New Strategies in Finnish Independent Television Production." Journal of Media Business Studies 9, no. 1 (2012): 85–99. http://dx.doi.org/10.1080/16522354.2012.11073538.

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7

Creeber, G. "ITV Cultures: Independent Television Over Fifty Years." Screen 47, no. 2 (2006): 261–65. http://dx.doi.org/10.1093/screen/hjl020.

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8

Doyle, Gillian. "Public policy, independent television production and the digital challenge." journal of digital media & policy 10, no. 2 (2019): 145–62. http://dx.doi.org/10.1386/jdmp.10.2.145_1.

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Television production is a vital component of the media and a sector whose performance has important cultural and economic ramifications. In the United Kingdom, the growing prosperity of the programme-making sector – attributable partly to historic policy interventions – is widely recognized as being a success story. However, a recent wave of corporate consolidation and takeovers, characterized by many leading UK production companies being bought out and often by US media conglomerates, has raised concern about the ability of the independent production sector to flourish in an increasingly glo

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9

Ferreira, Paulo Ixtanio Leite, Bruno Barboso Albert, Edmar Candeia Gurjão, and Glauco Fontgalland. "Television channel spectrum sensing using independent component analysis." IET Communications 9, no. 8 (2015): 1054–59. http://dx.doi.org/10.1049/iet-com.2014.0505.

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10

Borer, Tim, and Andrew Cotton. "A Display-Independent High Dynamic Range Television System." SMPTE Motion Imaging Journal 125, no. 4 (2016): 50–56. http://dx.doi.org/10.5594/jmi.2016.2548838.

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11

REDLEY, MICHAEL. "THE REGULATORY ROLE OF THE INDEPENDENT TELEVISION COMMISSION." Journal of Financial Regulation and Compliance 1, no. 1 (1992): 93–98. http://dx.doi.org/10.1108/eb024755.

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12

Smaill, Belinda. "Commissioning Difference? The Case of SBS Independent and Documentary." Media International Australia 107, no. 1 (2003): 105–16. http://dx.doi.org/10.1177/1329878x0310700111.

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SBS Independent (SBSI) is the arm of SBS Television responsible for commissioning new work. Since 1994, SBSI has been working in conjunction with other screen funding bodies to commission feature film, short drama, animation and documentary. The charter that dictates the practices of SBS Television also provides guidelines for SBSI, which is consequently required to focus on work that is innovative and concerned with Indigenous issues and cultural diversity. This article focuses on the case of documentary in Australia and the impact of SBSI on a filmmaking community and contemporary documentar

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13

Crisell, Andrew. "Book Review: ITV Cultures: Independent Television Over Fifty Years." European Journal of Communication 21, no. 2 (2006): 256–57. http://dx.doi.org/10.1177/026732310602100211.

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14

Doyle, Gillian, and Richard Paterson. "Public Policy and Independent Television Production In the U.K." Journal of Media Business Studies 5, no. 3 (2008): 17–33. http://dx.doi.org/10.1080/16522354.2008.11073473.

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15

Wober, J. Mallory, and Barrie Gunter. "Television audience research at Britain's independent broadcasting authority, 1974–1984." Journal of Broadcasting & Electronic Media 30, no. 1 (1986): 15–31. http://dx.doi.org/10.1080/08838158609386605.

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16

Borghese, Michael M., Mark S. Tremblay, Genevieve Leduc, et al. "Independent and combined associations of total sedentary time and television viewing time with food intake patterns of 9- to 11-year-old Canadian children." Applied Physiology, Nutrition, and Metabolism 39, no. 8 (2014): 937–43. http://dx.doi.org/10.1139/apnm-2013-0551.

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The relationships among sedentary time, television viewing time, and dietary patterns in children are not fully understood. The aim of this paper was to determine which of self-reported television viewing time or objectively measured sedentary time is a better correlate of the frequency of consumption of healthy and unhealthy foods. A cross-sectional study was conducted of 9- to 11-year-old children (n = 523; 57.1% female) from Ottawa, Ontario, Canada. Accelerometers were used to determine total sedentary time, and questionnaires were used to determine the number of hours of television watchin

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17

Carter, Eli. "Entering through the Porta dos Fundos: The Changing Landscape of Brazilian Television Fiction." Television & New Media 18, no. 5 (2016): 410–26. http://dx.doi.org/10.1177/1527476416667822.

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Brazil is both a leading television producer in the Global South and home to TV Globo, one of the largest and most commercially successful networks in the world. Indeed, for nearly fifty years of its sixty-five year history, TV Globo and its standardized production of extremely popular telenovelas have largely come to characterize Brazilian television fiction as a whole. In this article, I situate the meteoric rise of the independent production company and YouTube sensation, Porta dos Fundos, within the broader context of TV Globo’s declining audience share and the wide-ranging effects of the

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18

Clarke, D. B., and M. G. Bradford. "Competition between Television Companies for Advertising Revenue in the United Kingdom: The Independent Television Regions Prior to Deregulation." Environment and Planning A: Economy and Space 24, no. 11 (1992): 1627–44. http://dx.doi.org/10.1068/a241627.

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This paper provides a contribution to the geographies of advertising and the media. The authors examine the ways in which commercial television companies try to attract advertising to their regions; advertising being their main source of revenue. Competition based on the cost of advertising in particular regions is effectively restricted. This market failure results in regionally uneven allocations of advertising money, and hence an uneven regional pattern of TV company revenues. Other forms of competition are used to attempt to change this. TV companies promote their regions to advertisers an

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19

Aufderheide. "Documentary Filmmaking and US Public TV's Independent Television Service, 1989–2017." Journal of Film and Video 71, no. 4 (2019): 3. http://dx.doi.org/10.5406/jfilmvideo.71.4.0003.

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20

Jonathan, Parker LJJ. "R v INDEPENDENT TELEVISION COMMISSION EX P. TV DANMARK 1 LTD." European Law Reports 5, no. 1 (2001): 93–104. http://dx.doi.org/10.5235/elr.v5n1.93.

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21

DOMBERGER, S., and J. MIDDLETON. "Franchising in Practice: The Case of Independent Television in the UK." Fiscal Studies 6, no. 1 (1985): 17–33. http://dx.doi.org/10.1111/j.1475-5890.1985.tb00397.x.

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22

Nikolychuk, Lynne A. "The evolution of make/buy contracting for UK independent television (ITV)." International Journal on Media Management 4, no. 2 (2002): 118–23. http://dx.doi.org/10.1080/14241270209389988.

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23

Sabarofek, Margareth Sylvia, and Magriet Ester Sawaki. "PENGARUH KARAKTERISTIK INDIVIDU, BUDAYA KERJA DAN PERILAKU INDIVIDU TERHADAP KINERJA PEGAWAI: STUDI KASUS PADA PT. TELEVISI MANDIRI PAPUA." Jurnal Riset Manajemen dan Bisnis 12, no. 2 (2018): 93. http://dx.doi.org/10.21460/jrmb.2017.122.289.

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ABSTRACTThis study aims: to analyze the influence of individual characteristics, work culture and individual behavior to employee performance in PT. Papua Independent Television: and to analyze the dominant factor influencing the performance of employees at PT. Papua Independent Television. The method of analysis used in this research is statistical integral multiples regression model analysis using. The result of analysis that: the first problem showed that the simultaneous behavior of employees, work culture and employee characteristics of strong and significant influence on the performance

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24

Zhao, Deng Feng, Guo Lu Ma, and Guo Ying Zeng. "Optimal Design of Television Packaging Based on Drop Analysis." Advanced Materials Research 156-157 (October 2010): 713–16. http://dx.doi.org/10.4028/www.scientific.net/amr.156-157.713.

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Optimization method was applied to obtain optimal television packaging cushion for reducing drop impact response on television. At first, by establishing the parametric finite element model of television with packaging, the drop simulation was performed, and the equivalent stress distribution, acceleration response curve and other related parameters were obtained. Simulation shows that maximum acceleration is overload. Then, structural optimization of television with packaging was performed. The equivalent stress distribution and acceleration curves of optimal packaging and without optimal pac

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25

Belenkiy, Yuri Mikhaylovich. "Sitcom Genre Features." Journal of Flm Arts and Film Studies 4, no. 1 (2012): 120–32. http://dx.doi.org/10.17816/vgik41120-132.

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The article deals with the main features of sitcom that make it an independent genre. The term “situation comedy” is compared to other comedy subgenres, such as comedy of manners and comedy of intrigue in its first sense etc. The emergence of TV sitcom properties is analyzed from the historic prospective. During all the years of its existence sitcom has managed to retain the combination of theatrical aesthetics and the nature of television which makes it not only an independent genre, but also a unique television product in a sense.

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26

Scholes, M. "Peter Goodwin, Television under the Tories: Broadcasting Policy, 1979-97; Paul Bonner and Lesley Aston, Independent Television in Britain." Screen 40, no. 4 (1999): 461–66. http://dx.doi.org/10.1093/screen/40.4.461.

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27

King, Lesley, Lana Hebden, Anne Grunseit, Bridget Kelly, and Kathy Chapman. "Building the case for independent monitoring of food advertising on Australian television." Public Health Nutrition 16, no. 12 (2012): 2249–54. http://dx.doi.org/10.1017/s1368980012004429.

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AbstractObjectiveTo provide an independent monitoring report examining the ongoing impact of Australian self-regulatory pledges on food and drink advertising to children on commercial television.DesignAnalysis of food advertisements across comparable sample time periods in April/May 2006, 2007, 2009, 2010 and 2011. The main outcome measure comprised change in the mean rate of non-core food advertisements from 2006 to 2011.SettingSydney free-to-air television channels.SubjectsTelevised food advertisements.ResultsIn 2011 the rate of non-core food advertisements was not significantly different fr

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28

Ferrara, Beatrice. "The Otolith Group’s “Monuments to Dead Television.” Independent Cinema and the Migrant Experience in Europe between Television and the Museum." CINEJ Cinema Journal 3, no. 1 (2014): 47–74. http://dx.doi.org/10.5195/cinej.2013.78.

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“Monument to dead television” is the expression the British collective The Otolith Group uses to define its activity of recuperating long-lost quality films, and re-screening them in contemporary art museums and gallery spaces. What these films share is a cinematic vocation and a complex approach to the question of memory and migration in Europe, and to the role of images as testimonies or documents. This essay explores The Otolith Group’s interest in such forgotten archives of modern television in order to unearth their significance for contemporary museums today.

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29

Zoellner, Anna. "Professional Ideology and Program Conventions: Documentary Development in Independent British Television Production." Mass Communication and Society 12, no. 4 (2009): 503–36. http://dx.doi.org/10.1080/15205430903237840.

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30

Lee, David. "Networks, cultural capital and creative labour in the British independent television industry." Media, Culture & Society 33, no. 4 (2011): 549–65. http://dx.doi.org/10.1177/0163443711398693.

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31

Paterson, Richard. "Early independent production entrepreneurs in UK television: pioneering agents of neoliberal intervention." International Journal of Entrepreneurial Venturing 9, no. 3 (2017): 1. http://dx.doi.org/10.1504/ijev.2017.10006933.

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32

Hogan, Lindsay, and Matt Sienkiewicz. "1001 markets: Independent production, ‘Universal Childhood’ and the Global Kids’ television industry." Interactions: Studies in Communication & Culture 4, no. 3 (2013): 221–38. http://dx.doi.org/10.1386/iscc.4.3.221_1.

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33

Wu, Irene. "Who Regulates Phones, Television, and the Internet? What Makes a Communications Regulator Independent and Why It Matters." Perspectives on Politics 6, no. 4 (2008): 769–83. http://dx.doi.org/10.1017/s1537592708081905.

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More political scientists should engage in the debates surrounding regulation of communications networks, the infrastructure on which telecom, media, and Internet services ride. In 1990 there were 14 communications regulators worldwide, by 2007 there were 148. To fulfill World Trade Organization Agreement on Basic Telecommunications commitments, many countries aim to create regulatory agencies that are “independent.” What characterizes independence? Regulators are embedded in a political context that includes three main constituencies : other government institutions, industry, and consumers. I

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34

Liang, Tina, Stefan Kuhle, and Paul J. Veugelers. "Nutrition and body weights of Canadian children watching television and eating while watching television." Public Health Nutrition 12, no. 12 (2009): 2457–63. http://dx.doi.org/10.1017/s1368980009005564.

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AbstractObjectiveTo examine whether eating while watching television poses a risk for poor nutrition and excess body weight over and above that of time spent watching television.DesignWe analysed data of grade 5 students participating in a comprehensive population-based survey in the Canadian province of Nova Scotia. This survey included the Harvard’s Youth Food Frequency Questionnaire, students’ height and weight measurements, and a parent survey. We applied multivariable linear and logistic random effects models to quantify the associations of watching television and eating while watching te

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35

Gerhardt, Cornelia. "Moving closer to the audience: watching football on television." Revista Alicantina de Estudios Ingleses, no. 19 (November 15, 2006): 125. http://dx.doi.org/10.14198/raei.2006.19.08.

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This article aims to describe specific practices of television spectators based on recordings of English families and friends while watching football on television. Their conversations and the talk and events on television are transcribed and analysed with interactional sociolinguistic and conversation analytical methodologies. By doing 'watching football on television', the spectators constitute themselves as a community of practice. Their strategies include direct address of the television (i.e. the commentator or one of the protagonists of the game) and signalling of independent knowledge a

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36

Doyle, Gillian. "Television production: configuring for sustainability in the digital era." Media, Culture & Society 40, no. 2 (2017): 285–95. http://dx.doi.org/10.1177/0163443717717634.

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Over recent years leading independent television production companies in the United Kingdom and elsewhere in Europe have become prime targets for corporate activity, and many have been subject to takeover, often by US media groups. Why is it that nurturing the development of television production companies which achieve scale but, at the same time, remain independent appears to be so challenging? This article considers which factors are crucial to the success of television production businesses and argues that, besides the ability to make compelling content, two key variables which strongly af

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37

Fernández-Quijada, David. "Quoting television: a cross-national analysis of regulatory intervention in the independent television production industry in the UK and Spain." International Journal of Cultural Policy 18, no. 4 (2012): 378–97. http://dx.doi.org/10.1080/10286632.2011.591489.

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38

Aires, Luisa, Michael Pratt, Felipe Lobelo, Rute Marina Santos, Maria Paula Santos, and Jorge Mota. "Associations of Cardiorespiratory Fitness in Children and Adolescents With Physical Activity, Active Commuting to School, and Screen Time." Journal of Physical Activity and Health 8, s2 (2011): S198—S205. http://dx.doi.org/10.1123/jpah.8.s2.s198.

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Background:The objective of this study was to analyze associations of cardiorespiratory fitness (CRF) with physical activity, time spent watching television and using computer, mode of commuting to school (CS), and adiposity, by gender.Methods:Participants were 1708 students (53.8% girls), aged 11 to 19 years. CRF was evaluated with a 20-meter shuttle-run test using VO2max by previously published equation. Maturation stages determined by Tanner’s criteria, body mass index, and skinfolds were measured, and a questionnaire used to assess socioeconomic status, PA, television and computer time, an

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39

Lourenço, Ana, and Simon Turner. "The role of regulation in constituting markets: a co-evolutionary perspective on the UK television production sector." Journal of Institutional Economics 15, no. 4 (2019): 615–30. http://dx.doi.org/10.1017/s174413741900002x.

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AbstractThis article builds on a legal institutionalist approach to assess market-based regulatory change in British television production over the last three decades. It explores how formal rules governing television production constitute market relations, and whether these rules are likely to be evaded by television producers and commissioners in a context where contracting depends heavily on social norms of cooperation, reciprocity and flexibility. Using qualitative data, this article suggests that changes in law and terms of trade intended to promote a market in television production have

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40

Doyle, Gillian, and Kenny Barr. "After the gold rush: industrial re-configuration in the UK television production sector and content." Media, Culture & Society 41, no. 7 (2019): 939–57. http://dx.doi.org/10.1177/0163443719857640.

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Recent technological and market changes in the television industry appear to have transformed the corporate configurations which conduce to economic success in the production industry. As a result, many leading independent television production companies in the United Kingdom and elsewhere across Europe have become prime targets for corporate activity and many have been subject to takeover, often by the US media groups. Does this matter? Does the concept of ‘national’ television content still have any relevance in the digital era? Drawing on a multiple-case-study-based analysis of several UK-b

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41

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 progr

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42

Badran, Yazan, and Enrico De Angelis. "‘Independent’ Kurdish Media in Syria." Middle East Journal of Culture and Communication 9, no. 3 (2016): 334–51. http://dx.doi.org/10.1163/18739865-00903001.

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The Syrian uprising in 2011 was accompanied by the birth of a new generation of media outlets seeking to offer alternative narratives to those of the regime. After the Kurds gained a certain level of autonomy from the Syrian regime and opposition forces, areas historically inhabited by Kurds (Rojava) have also seen the emergence of local media: for example, the television station Ronahi, magazines and newspapers such as Welat, Buyer and Shar, radio stations such as Arta FM and Welat and the ARA News agency. Indeed, for the first time in their history, Syrian Kurds have the opportunity to have

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43

ISLAM, M. RAKIBUL, M. AMIRUL ISLAM, and BANYA BANOWARY. "DETERMINANTS OF EXPOSURE TO MASS MEDIA FAMILY PLANNING MESSAGES AMONG INDIGENOUS PEOPLE IN BANGLADESH: A STUDY ON THE GARO." Journal of Biosocial Science 41, no. 2 (2009): 221–29. http://dx.doi.org/10.1017/s0021932008003088.

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SummaryThis paper evaluates exposure to mass media family planning (FP) messages among the Garo, an indigenous community in Bangladesh. A sample of 223 currently married Garo women were selected purposively from two districts where most of the Garo population live. The analysis demonstrated that television was the most significant form of mass media to disseminate FP messages among the recipients – more so than radio and newspapers. About 80·6% of the respondents had heard of FP messages through television, while for the radio and newspapers the percentages were 55·3% and 22·7% respectively. T

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44

Waymark, Peter. "Catherine Johnson and Rob Turnock (eds), ITV Cultures: Independent Television Over Fifty Years." Journal of British Cinema and Television 3, no. 2 (2006): 382–84. http://dx.doi.org/10.3366/jbctv.2006.3.2.382.

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45

Paterson, Richard. "Early independent production entrepreneurs in the UK television: pioneering agents of neoliberal intervention." International Journal of Entrepreneurial Venturing 9, no. 3 (2017): 280. http://dx.doi.org/10.1504/ijev.2017.086496.

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46

Fernández-Quijada, David. "Transnationalism and media groups in independent television production in the UK and Spain." Global Media and Communication 9, no. 2 (2013): 101–18. http://dx.doi.org/10.1177/1742766513478139.

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47

Soto, Daniel. "Digital Television Backward Compatibility Based on Mixed Simulcast using Independent Scalable Video Coding." SMPTE Motion Imaging Journal 125, no. 9 (2016): 42–56. http://dx.doi.org/10.5594/jmi.2016.2619460.

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48

Dickinson, Margaret. "Colin Perry, Radical Mainstream: Independent Film, Video and Television in Britain 1974–90." Journal of British Cinema and Television 18, no. 2 (2021): 246–49. http://dx.doi.org/10.3366/jbctv.2021.0568.

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49

Fox, Jo. "From Documentary Film to Television Documentaries: John Grierson andThis Wonderful World." Journal of British Cinema and Television 10, no. 3 (2013): 498–523. http://dx.doi.org/10.3366/jbctv.2013.0152.

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In October 1957, John Grierson, the founder of the British documentary film movement, made the transition to a new medium: television. His series for STV, This Wonderful World, which ran in its original form until August 1965, introduced audiences to international documentary in an ‘inter-generic’ magazine format and was among the most popular broadcasts of the fledgling station, which was formed in August 1957 following the introduction of Independent Television (ITV) in 1954. This article analyses how cinematic documentarists made the transition to television and what their experiences revea

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50

Steemers, Jeanette. "International Sales of U.K. Television Content." Television & New Media 17, no. 8 (2016): 734–53. http://dx.doi.org/10.1177/1527476416653481.

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Focusing on the United Kingdom, this article addresses key issues facing the international distribution industry arising from over-the-top (OTT) digital distribution and the fragmentation of audiences and revenues. Building on the identification of these issues, it investigates the extent to which U.K. distribution has altered over a ten-year period, pinpointing continuities in the destination and type of sales alongside changes in the role and structure of the industry as U.K.-based distributors adapt to a changing U.K. broadcasting landscape and global production environment. At one level, i

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