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Journal articles on the topic 'New statesman (Television program)'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Kozlova, Maria Alekseevna. "Oksana Pushkina: TV presenter, public and statesman." Век информации (сетевое издание) 4, no. 3(12) (2020): 46–54. http://dx.doi.org/10.33941/age-info.com43(12)4.

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Despite the multifaceted study of television journalism "perestroika", researchers have not paid much attention to deep analysis of the creative development of Oksana Pushkina as a journalist. Bridging this scientific gap is important for modern television journalism, because the main emphasis in the works is on the well-known program "Women's View with Oksana Pushkina", but its materials have not been considered for the most part until that time. We see only the flowering of the work of a journalist, and for the younger generation of this profession it is important to trace the path of its fo

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Natalia, El Chris. "ETHICS IN CHILD PROGRAM IMPRESSIONS ON TELEVISION." Emerging Markets : Business and Management Studies Journal 3, no. 1 (2018): 28–37. http://dx.doi.org/10.33555/ijembm.v3i1.68.

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Although nowadays the new media comes to exist in the society, the conventional media like television is still be a part of Indonesian society, especially is the areas that is untouched by the internet. Television still has its own audience. Television is obliged to perform its functions in providing information, educate, entertain, control and also as a social adhesive. Children as one of television audiences always get more attention because children are the next generation who are very easily influenced by this audiovisual media. Children are the easiest figure to imitate what they see on t

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Hussein Saado, Kovan, and Ebtisam Ismaeil Qadr. "Media encounters: Models of TV program adaptation to digital platforms." Journal of University of Raparin 12, no. 2 (2025): 397–421. https://doi.org/10.26750/vol(12).no(2).paper19.

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This paper aims to articulate the media evolution on how the old media species compete with new ones to adapt to the new conditions of the media ecology, in an ecosystem, when new media species emerge, old species try to adopt to the new paradigm. In this case, how Television deals with the new media environment? What are the main methods that television has to deal with to adopt to the new condition of media environments? in what ways, television has to alter programming and distribution strategies and practices to follow the new media species characteristics. The Television adaptation in the

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Eaton, B. Carol. "Prime-Time Stereotyping on the New Television Networks." Journalism & Mass Communication Quarterly 74, no. 4 (1997): 859–72. http://dx.doi.org/10.1177/107769909707400413.

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This content analysis examines portrayals of women in prime-time promotional announcements broadcast on five television networks (ABC, NBC, CBS, FOX, and UPN) during one week in 1995. Findings supported the hypotheses that (1) women are underrepresented in all television networks' promotional announcements, and that (2) stereotypical portrayals of women in these announcements varied due to the television network's target audience. Specifically, television program promotional announcements on networks that seek a younger male audience contained more stereotypical female characters than other ne

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Yakusheva, Viktoriya Vladimirovna, and Victoria Yakusheva. "The mediabrend is urgency of the development in new economicalconditions." Journal of Flm Arts and Film Studies 2, no. 1 (2010): 120–29. http://dx.doi.org/10.17816/vgik21120-129.

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The article analyzes the main trends of the development of Russia's television during the financial crisis. The structure of broadcasting is shown in terms of branding and a unique method of developing a television brand is suggested. The author considers this technology as one of the strategic measures, maintaining a stable position on the media market. The article analyses the television brand "What? Were? When?», because this program is very famous in the cognitive-game content. The practical application of the technology of forming a television brand is illustrated on the stage of creative

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Kotliar, Svitlana, and Viktoria Fedorenko. "Author's Program as a Face of Domestic Television." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 1, no. 1 (2018): 5–17. https://doi.org/10.31866/2617-2674.1.2018.140831.

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The purpose of the research is to review and analyze the creation and maintenance of authoritative television programs by well-known Ukrainian television broadcasters on justification the main trends in the influence of domestic television on the worldview of spectators. The methodology of the research is based on an experimental method (to define the specificity of the influence of author’s TV programs on the educational direction on national and regional television channels in Ukraine); method of analysis (to study the practical experience of creating author’s TV p

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Azzahra, Tasya Yuni, and Berlian Primadani Satria Putri. "AKTIVITAS KOMUNIKASI PEMASARAN PT ARAH DUNIA TELEVISI PADA PROGRAM RAMADHANKU DI JOGJA." Metacommunication; Journal of Communication Studies 8, no. 2 (2023): 125. http://dx.doi.org/10.20527/mc.v8i2.16736.

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In the current digital era, new media, such as social media, have emerged abundantly. These new media platforms serve similar functions to television, providing information and entertainment, and can be seen as potential substitutes for television due to their accessibility and availability anywhere. To remain relevant in this evolving era, television networks have adapted to the trends by shifting towards digital television that can be accessed through gadgets. ADITV is one of the local Islamic television stations in Yogyakarta that has made this transition to digital television. One of ADITV

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Wekesa, Everlyne, Hellen Mberia, and Augustus Nyakundi. "The Influence Of New Media Technology on Television Content Sourcing in Kenya." African Multidisciplinary Journal of Research 1, no. 1 (2024): 297–312. https://doi.org/10.71064/spu.amjr.1.1.279.

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Advancements in technology are shaping the way things are done in the media at a very high rate. It has led to a proliferation of devices that have greatly changed the processes of content sourcing, producing and disseminating. This paper was born of a pilot study that aimed at exploring ways in which the new media technology has influenced television content sourcing in Kenya. The study was informed by The Technological Determinist Theory and the Media Determinism Theory. It was conducted in Nairobi County, being the centre of technological innovation in Kenya. The study adopted the descripti

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Rusnac, Ludmila. "The television program on the theme of health: a structural-discursive approach." Studia Universitatis Moldaviae. Științe Economice și ale Comunicării, no. 11(01) (July 2023): 119–25. http://dx.doi.org/10.59295/sum11(01)2023_16.

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The popularity of television programs on health topics is argued by the constant interest of viewers in the field of health and medicine, also corroborated with the trends of the time to pay more attention to education in the field of health and healthy lifestyle. During its evolution, the television program on the topic of health has configured new particularities, because the functions it performs have also expanded and in some places even bifurcated: if at the beginning this type of show aimed to inform the population, to educate them, to familiarize them with the spectrum of health problem

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Reinhard, Joel, and Agustrijanto Agustrijanto. "Strategi Kreatif Daily Lifestyle sebagai Program Unggulan di MNC Channels." KALBISIANA Jurnal Sains, Bisnis dan Teknologi 10, no. 2 (2024): 224–35. http://dx.doi.org/10.53008/kalbisiana.v10i2.1479.

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Strategy is important in every situation, including television. Creativity is also needed when running a television program with the aim of achieving the target being achieved. Creative strategy is a concept created to achieve the goals of a television program. The purpose of this study was to determine the daily lifestyle creative strategy as a flagship program in MNC Channels. Although this program is a new program, this program has a fairly good rating. The methodology in this research is descriptive with data collection through observation and interviews. By using Peter Pringle's program s

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11

Dunleavy, Trish. "A Soap of Our Own: New Zealand's Shortland Street." Media International Australia 106, no. 1 (2003): 18–34. http://dx.doi.org/10.1177/1329878x0310600104.

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Shortland Street is a prime-time soap opera that launched on New Zealand television in 1992 and was created to meet a combination of commercial and ‘public service’ objectives. Shortland Street is institutionally and culturally significant as New Zealand's first attempt at daily drama production and one of the first major productions to follow New Zealand television's 1989 deregulation. Placing Shortland Street in the context of national television culture and within the genre of locally produced TV drama, this paper explores several key facets of the program, including: its creation as a co-p

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Atton, Chris. "The news that doesn't make the news sources for alternative current affairs reporting." Information for Social Change, no. 2 (September 1, 1995): 6–12. https://doi.org/10.5281/zenodo.4609384.

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The distorting influence of all mass media has been demonstrated for many years in the work of such as Noam Chomsky, John Pilger and the Glasgow University Media Group. Their books have been published by such as Routledge, Verso and Pluto, yet their ideas hardly have the currency that one would expect of work rigorously sustained for so many years. The Guardian is the only newspaper to cover the work of the Glasgow University Media Group on anything like a regular basis (here regular means once a year at best). Pilger has an occasional column in New Statesman and Society plus the very occasion

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Nafi, Anan Tawazzun, and Alamsyah Alamsyah. "Dinamika Program Siaran TVRI Tahun 1969-1989." Sabda: Jurnal Kajian Kebudayaan 18, no. 1 (2023): 1–10. http://dx.doi.org/10.14710/sabda.18.1.1-10.

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During the New Order era, economic development policies were the focus of the Soeharto administration. To implement development, the country's socio-political conditions needed to be controlled. This control was done through the utilisation of television as a tool to spread development messages. This mass media is very effective and efficient in shaping people's mindset. In carrying out its duties, TVRI does so through its broadcast programmes. However, people do not like TVRI's lighting broadcasts, they prefer entertainment broadcasts. Therefore, development messages began to be inserted into

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14

Hattie, John, and Richard Fletcher. "Development of an IQ Test for New Zealand Adults." Psychological Reports 102, no. 2 (2008): 389–97. http://dx.doi.org/10.2466/pr0.102.2.389-397.

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In 2003 and 2004 a television network in New Zealand showed a syndicated program called Test the Nation: The New Zealand IQ Test. This paper demonstrates how the IQ test was devised using item response theory, and evaluates the properties of the test using data from the TV program participants.

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15

Dobbs, Steve. "OKLAHOMA GARDENING—TWENTY YEARS OF HELPING PEOPLE AND PLANTS GROW." HortScience 30, no. 3 (1995): 444e—444. http://dx.doi.org/10.21273/hortsci.30.3.444e.

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Oklahoma Gardening, a television program produced by the Oklahoma Cooperative Extension Service, Departments of Horticulture and Landscape Architecture and Agricultural Communications, is tied for the longest running consecutively taped gardening program in the nation. The program airs weekly on Oklahoma's PBS affiliate and ranks as the top locally produced program in the viewing region, with a dedicated weekly audience of 150,000 gardening enthusiasts. As an Extension constituent, Oklahoma Gardening is successful at program identification, development, and evaluation—a new twist for most tele

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George, Penny. "Interactive Television: A New Technology for Teaching and Learning." CALICO Journal 6, no. 3 (2013): 43–46. http://dx.doi.org/10.1558/cj.v6i3.43-46.

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This article describes an interactive television program in which one Spanish teacher reaches 3959 elementary students at nine different sites through the use of cameras and televisions in the studio and at each of the sites.

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17

Branigan, Tony. "How Will New Media Affect Television?" Media International Australia 86, no. 1 (1998): 54–62. http://dx.doi.org/10.1177/1329878x9808600107.

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The next two decades will force major changes on existing media and leave them with a significantly smaller share of voice, mind and advertising dollars. Pay TV in various forms will be the main challenge, but the Internet and other interactive media also seem certain to change traditional media use and advertising practices. In the United States, cable television has taken large numbers of viewers from free-to-air TV, and is expanding its share of advertising revenue. Pay TV's prospects in Australia are promising, though the largely American program content of advertiser-supported channels ma

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Sukmawati, Dian, and Tri Alida Apriliana. "Daur Ulang Konten Menyelamatkan Bisnis Televisi." Jurnal PIKMA : Publikasi Ilmu Komunikasi Media Dan Cinema 5, no. 2 (2023): 190–204. http://dx.doi.org/10.24076/pikma.v5i2.874.

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The technology has made the competition in television industry becomes much tighter. Nowadays, we can see some of television stations are starting to broadcast in digital platform. Even before, the portion of advertisements have already shared not only with existing television stations but also with radio and now increasingly with new media. The innovation of technologies and new capitalism culture make television industry and its owners are trapped in short-term thinking logical concept. According to Richard Sennet, short-term thinking logical concept can be defined as how new capitalism cult

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Raudhatul Fitri, Rustim, Dynia Fitri, and FX. Yatno Karyadi. "Talkpod Program Broadcasting Diversification Program on Net Tv Through Digital Platform." Journal of Scientific Research, Education, and Technology (JSRET) 3, no. 2 (2024): 855–67. http://dx.doi.org/10.58526/jsret.v3i2.427.

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This research is to reveal that broadcasting diversification is an important strategy for television stations in facing the development of broadcasting technology platforms and changes in social media consumption patterns of android-based communities. The "Talkpod" program is one of NET TV's innovations that combines the concepts of talk shows and podcasts, which are then distributed through digital platforms. The research method used is a qualitative method and data collection techniques by conducting interviews, observations, and document studies. This research approach focuses on television

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Danaher, Peter J., and Donald F. Mawhinney. "Optimizing Television Program Schedules Using Choice Modeling." Journal of Marketing Research 38, no. 3 (2001): 298–312. http://dx.doi.org/10.1509/jmkr.38.3.298.18867.

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The authors examine the rescheduling of television programs to maximize the total ratings for one network across a week. The key idea is to design a choice experiment in which television programs are rescheduled and presented to respondents. Respondents read these program schedules (much like the regular TV Guide listings) and give their preferences, including not watching any of the listed programs. Because there are potentially billions of possible schedules, the authors give a procedure for designing a fractional factorial experiment that can accommodate both programs of varying length and

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

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

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Bassols, M. Margarida, Anna Cros, and Anna M. Torrent. "Emotionalization in new television formats of science popularization." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 23, no. 4 (2013): 605–32. http://dx.doi.org/10.1075/prag.23.4.02bas.

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The fierce struggle for television audiences is greatest when the content shown is not strictly entertainment, such as, for example, when specialized knowledge is brought to a wide audience. However, the appearance of new television formats has enabled scientific and technical contents to be brought closer to an unprepared and very diverse audience. What resources do these programs use to achieve this? Is emotionalization, which is increasingly dominant in the media, an important strategy in programs that seek to spread scientific knowledge among the general public? Do they use the pluri-locut

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Krauss, Ellis S. "Changing Television News in Japan." Journal of Asian Studies 57, no. 3 (1998): 663–92. http://dx.doi.org/10.2307/2658737.

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In the industrialized democratic world, broadcasting news monopolies and oligopolies have all but disappeared. Whereas public broadcasters in Western Europe in the earlier postwar period had a monopoly or duopoly on televised news, today there is a more diverse market with competition from other public and commercial broadcasters, often carried by new technology such as satellites. In the United States, the oligopoly of the three networks in news has been broken by both CNN on cable and, to a lesser extent, PBS in its program “News Hour.” Thus the new competition introduced into broadcasting s

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Pembayun, Estavita Chantik. "YouTube Vs television in media convergence era: case study study on tonight show program presented by Net Mediatama." Indonesian Journal of Communication Studies 15, no. 2 (2022): 105. http://dx.doi.org/10.31315/ijcs.v15i2.8000.

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The use of the internet has become a habit among millennials lately. The products of these two media are television and YouTube. Presentation of content that is considered almost the same, namely using audio-visual media, YouTube is considered to be a new medium that will shift and even replace the existence of the television industry. In 2020, We are Social analysis said the number of YouTube users reached 2 billion each month. This has a significant impact on television, one of which is NET (News and Entertainment Television) that owned by PT NET Mediatama. The increasing number of YouTube v

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Ikegami, Hideo, Tadahiko Sugimura, Yasuo Kubota, et al. "New technology in broadcasting. 2 Program production techniques for television broadcasting." Journal of the Institute of Television Engineers of Japan 41, no. 1 (1987): 7–24. http://dx.doi.org/10.3169/itej1978.41.7.

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Zhiqiang, Jia, Binti Mohamed Shazleen, and Hakimi Tew Abdullah Muhammad. "THE TRANSFORMATION OF TELEVISION PROGRAMS IN THE CONVERGENCE OF MEDIA: CASE STUDY ON SHANXI RADIO AND TELEVISION STATION." Asian Journal of Social Science Research (e-ISSN: 2600-9706) Volume 5, Issue 1 (June 30, 2023): 43–51. https://doi.org/10.5281/zenodo.8088938.

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<strong>ABSTRACT</strong> The escalating growth of new media has profoundly reshaped China's media environment, prompting traditional powerhouses such as Television Stations to adapt and innovate. As China experiences rapid socio-economic growth and a marked enhancement in the rise of China, its television industry faces a unique set of possibilities and hurdles. New media technologies are pivotal in augmenting productivity and redefining organizational frameworks, and the continuous evolution of media convergence significantly drives the transformation within China's TV sector. This p

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Ćitić, Tatjana. "Accessibility of TV programs to persons with disabilities." Socioloski pregled 55, no. 3 (2021): 1110–37. http://dx.doi.org/10.5937/socpreg55-32277.

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The most modern media systems in television program production and placement have the obligation of ensuring program accessibility to persons with disabilities. While in some countries this obligation is defined through a certain minimum of adapted content, in Serbia there is a set of media laws only indicating the necessity of care for persons with difficulty in following the television program. The basic thesis of this paper is how program accessibility, and thus increased social inclusion through media content, may be improved through the development and greater presence of the existing ser

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Petrenko, Sergei. "Template Video Editing as a Sign of an Information TV Program." Bulletin of KNUKiM. Series in Arts, no. 38 (August 16, 2018): 21–31. https://doi.org/10.31866/2410-1176.38.2018.141736.

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The purpose of the work. To investigate the process of forming the stereotyped video editing, as well as its systematic consideration by studying information programs as sources of this process.The article analyzes the techniques of video editing inherent in television news, refutes the idea that template video editing in information releases hinders adequate perception of information and distorts its content. The task of editing any information release is to make it accessible and understandable to the ordinary viewer. Research methodology. A systematic approach is used to

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Moran, Albert. "Reg Grundy: A Review Essay." Media International Australia 138, no. 1 (2011): 149–57. http://dx.doi.org/10.1177/1329878x1113800116.

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Adaptation and remaking are central dynamics of culture industries, most especially television. There is now a formal trade in program formats that is part of the evolution of a worldwide screen industry. However, the practice of program cloning is not new: various instances of such activity have been noticed by television historians. Yet systematic investigation of this earlier phase is largely lacking. One major reason has to do with the unavailability of insider accounts by media professionals of how program remaking worked in other times and places. Thus the recent publication of the memoi

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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

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Yelisovenko, Yurii, and Anna Nytchenko. "New Tendencies of the Viewer Involvement in Producing ZIK TV Channel Analytical Product." Scientific notes of the Institute of Journalism, no. 1 (76) (2020): 41–52. http://dx.doi.org/10.17721/2522-1272.2020.76.3.

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The latest trends of viewers` participation in producing an analytical product on the example of ZIK TV channel are considered. The objective of the study is to identify and to describe the latest trends in producing the broadcaster`s analytical programs; to identify which techniques of interaction with the audience are used by ZIK TV channel, to determine their strengths and weaknesses, and to suggest the ways of more effective interactions. The article identifies the viewer’s place in producing the television analytical product with the latest trends in increasing audience interaction. Such

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Kallioniemi, Noora, and Sami Hantula. "Bailataan ankarasti!" Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 34, no. 2-3 (2021): 74–94. http://dx.doi.org/10.23994/lk.111162.

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Tarkastelemme uutisparodiaohjelma Frank Pappa Show’ta esimerkkinä 1990-luvun alun asiaviihteen ohjelmistosta, jota määrittävät uudenlainen faktan ja fiktion suhde sekä viihteellisen poliittisen julkisuuden syntyminen. Indieyhtiö Broadcasters Oy:n tuottama televisiosarja kommentoi ajantasaisesti lama-ajan murroksia, kuten piteneviä leipäjonoja ja kasvavaa työttömyyttä. Frank Pappa Show uudisti poliittisen viihteen kenttää nostamalla viimeisen asiallisuuden linnakkeen, uutiset, viihteen käytettäväksi ja totutti katsojat tulkitsemaan ironisia, satiirisia ja parodisia viestejä.Tämän kulttuurihisto

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Shashkova, E. V. "INTERVIEW RECONSTRUCTION AS A GENRE MODIFICATION." Memoirs of NovSU, no. 4 (2024): 599–608. https://doi.org/10.34680/2411-7951.2024.4(55).599-608.

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Interviews occupy a special place in the system of journalism genres. Having started its history with print media, interviews today have become an integral part of not only television, but also digital content. Modern television interviews require more freedom and dialog, which allows one to establish personal contact with the guest; in addition, they have reached a new level of interaction with the audience, which is a positive factor in the development of the modern media space. Therefore, the transformation of the television interview allows it to adapt to modern requirements and expectatio

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Zanker, Ruth. "Kumara Kai or the Big Mac Pak? Television for Six- to 12-Year-Olds in New Zealand." Media International Australia 93, no. 1 (1999): 91–102. http://dx.doi.org/10.1177/1329878x9909300110.

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The producers of local television for children in New Zealand face daunting challenges. No public-service channel exists in New Zealand's deregulated television environment and the country has a small population of 3 million. This paper draws on a year-long production case-study of a publicly funded flagship magazine program for six- to 12-year-olds and considers the strategies used by a range of other productions targeting the same audience. This paper raises questions about the rationale of current funding mechanisms.

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Blumler, Jay G., and Carolyn Martin Spicer. "Prospects for Creativity in the New Television Marketplace: Evidence from Program-Makers." Journal of Communication 40, no. 4 (1990): 78–101. http://dx.doi.org/10.1111/j.1460-2466.1990.tb02283.x.

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Wang, Jie. "The dissemination of TV livelihood programs on Bilibili under the background of new media." SHS Web of Conferences 171 (2023): 03022. http://dx.doi.org/10.1051/shsconf/202317103022.

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The rise of new media has brought many challenges to the development of traditional media, and television livelihood programs are also seeking their own path of transformation. Like other programs, many livelihood programs choose to collaborate with high traffic video platforms and gradually explore new forms of development. The entry of livelihood programs has affirmed the important value of the social attributes of news in the new media era. This article explores the dissemination characteristics and problems of television livelihood programs in the context of new media, in order to propose

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Putri, Dhea Helyana, Puji Rianto, and Herman Felani. "Local television and the construction of local identities: case studies on two local televisions in Pekanbaru, Indonesia." Asian Journal of Media and Communication 2, no. 1 (2018): 21–26. http://dx.doi.org/10.20885/asjmc.vol2.iss1.art3.

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This aim of the study is to describe the role of local televisions in constructing local identities. This study was conducted with qualitative approach, examining two programs in two local televisions in Pekanbaru, Riau, Indonesia, namely Belacan Program of Riau Television (RTV) and Online Channel Program of Riau Channel Television (RCTV). This research found that local televisions have important roles in constructing local identities and maintaining local cultures. RTV and RCTV have optimized various ways of constructing local cultures, which simultaneously draws closer relations to their aud

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Abdillah, Wachid, Dhimam Abror Djuraid, and Nur Annafi. "Program Mini Segmen “Kampung Jatim” Sebagai Pengembangan Program Berita Televisi "Pojok Kampung" JTV (Studi Kasus Respons Pemirsa JTV Di Kelurahan Bulak Banteng Surabaya)." WAHANA 75, no. 2 (2023): 48–59. http://dx.doi.org/10.36456/wahana.v75i2.8352.

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Entering the era of terrestrial digital television, many new television stations have emerged, JTV, the name of the television station from (PT. Jawa Pos Media Televisi) is the largest local television in East Java, there are many controversies about the pros and cons, including the mainstay news program Pojok Kampung which is one of the top programs on JTV , this news program is unique in its disclosure, namely using boso Suroboyoan. This research is descriptive research with a qualitative approach. The data types used are primary and secondary. Primary data sources come from interviews, FGDs

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Fung, Anthony YH. "Fandomization of online video or television in China." Media, Culture & Society 41, no. 7 (2019): 995–1010. http://dx.doi.org/10.1177/0163443719863353.

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In this article, I explain a new media ecology for online television in which the online audience or fans and their participation play a stronger role in swaying the online video content or production. I call it fandomization of online television. Dependent on the number of online users and the viewership, online television platforms have to produce programs that align with the fans’ discourse and emotions to maximize their viewership. This results in a fan-discourse-led production, as in the case of China’s huge online video or television market. Based on my study of the top online television

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Rodríguez Pérez, María Pilar, and Miren Berasategi. "Infotainment in the campaign for the 2015 Spanish general election: An analysis of El Hormiguero from a gender perspective." Cuestiones de género: de la igualdad y la diferencia, no. 11 (June 29, 2016): 313. http://dx.doi.org/10.18002/cg.v0i11.3608.

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<p>Within the new landscape of political communications characterized by infotainment in prime time television programs, this article analyzes the presence of four political representatives in <em>El Hormiguero</em> to explore if their appearances reinforce gender stereotypes. The analysis of the television programs reveals a substantial progress in the elimination of gender stereotypes which the media traditionally convey and reproduce in political campaigns. The analysis reveals a practical elimination of gendered bias in the interviews; the sexist tone remains, however, in

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Wekesa, Everlyne Nafula, Hellen Kinoti Mberia, and Augustus O. Nyakundi. "The Influence of New Media Technology on Television Content Production in Selected Television Stations in Kenya." African Multidisciplinary Journal of Research 1, no. 1 (2025): 139–54. https://doi.org/10.71064/spu.amjr.1.1.2025.336.

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Technology has permeated the media industry, leading to huge transitions in their operations. Technological advancements have led to a multiplicity of devices, ultimately affecting the content development process. This paper explores the influence of new media technology on television content production. It was born of a study that aimed at exploring ways in which the new media technology has influenced television content development in Kenya. The study was informed by The Technological Determinist Theory and the Media Determinism Theory. It was conducted in Nairobi County, being the centre of

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WITTE, JOHN, and ERIC WANG. "Kuyper and Reformed Public Theology: Family, Freedom, and Fortune." Unio Cum Christo 6, no. 2 (2020): 61. http://dx.doi.org/10.35285/ucc6.2.2020.art3.

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This Article Introduces And Illustrates The Public Theology Developed By Dutch Theologian, Philosopher, And Statesman Abraham Kuyper At The Turn Of The Twentieth Century. Much Like Pope Leo XIII Transformed Modern Catholicism With A New Social Teaching Movement Grounded In Neo-Thomist Thought, Kuyper Transformed Modern Protestantism With A New Public Theology Grounded In The Reformed Tradition Going Back To John Calvin. Combining Close Biblical And Catechetical Exegesis With Sweeping Theological And Political Doctrines Of The Created Order, Social Pluralism, Covenant Doctrine, And Sphere Sover

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Khan, Huma, Muhammad Awais Abbas, and Madiha Ashiq. "Teen Nick Children Television Programs: A Thematic Analysis." Human Nature Journal of Social Sciences 4, no. 2 (2023): 453–65. https://doi.org/10.71016/hnjss/dqm04j16.

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Aim of the Study: This research study is exploring the Teen Nick TV program’s thematic analysis broadcast for adolescents during 2009 to 2023. Methodology: The researcher has adopted content analysis and textual analysis method to investigate the themes of Teen Nicks programs. The uses and gratification theory has been used to investigate thematic frame. Findings: The thematic analysis results have revealed that Teen Nicks Children TV program shows presented teenagers indulging in trivial matters of everyday life like friendship, music & dance rehearsals, learning a new skill, app designin

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Rizki, Meinati Fajar. "Peranan Public Relations dalam Rebranding TVRI untuk Membentuk New Image." Jurnal Komunikasi Global 8, no. 2 (2019): 134–50. http://dx.doi.org/10.24815/jkg.v8i2.14931.

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Indonesian state-run television (TVRI) is a state-owned public broadcasting institution that aired since August 24, 1962. However, along with media development, TVRI has been largely abandoned by Indonesians. The 'outdated' image is attached to TVRI due to various factors, such as the program view, the image quality, and the logo. In March 2019, LPP TVRI conducted a comprehensive rebranding program by introducing its new logo and slogan. The purpose of this study is to explore the role of the Public Relations of LPP TVRI in this rebranding activity to change the image of 'outdated' into up-to-

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Su, Yu, Shu Hong Wen, and Jian Ping Chai. "Embedded System Based Television Data Collection and Return Technology." Applied Mechanics and Materials 48-49 (February 2011): 496–501. http://dx.doi.org/10.4028/www.scientific.net/amm.48-49.496.

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Television data collection and return technologies are one of key technologies in television secure broadcasting system, TV video content surveillance, TV program copyright protection, and client advertisement broadcasting. In china, the dominating methods of TV video content surveillance are manual tape recording and whole TV program Automatic Return. Manual method costs too much, whole TV program return method needs lots of net bandwidth and storage space. This paper proposes a new method of television data collection and return technology, video field is extracted from continuous video and

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Hendro W, Nur Cahyo. "PENGEMBANGAN MANAJEMEN PENYIARAN WALISONGO TV." Islamic Communication Journal 2, no. 1 (2018): 1. http://dx.doi.org/10.21580/icj.2017.2.1.2097.

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<p><em>Tele</em><em>v</em><em>i</em><em>s</em><em>i</em><em>on is the media most widely consumed by the people of the world and especially Indonesia, with conditions like this the influence of television to be very large on the mindset and patterns of public attitudes. Faculty of Da'wah and Communications UIN Walisongo as an institution that is responsible for the success of Islamic propagation in Indonesia is very appropriate to use television as one of his da'wah media. The management of broadcast television is classifie

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Jayalath, H. A. K. A. M. "A Study of the Dynamics and Trends of Reality Television Program Format and the Relationship of Such Programs with Social Media." Vidyodaya Journal of Humanities and Social Sciences 07, no. 02 (2022): 203–17. http://dx.doi.org/10.31357/fhss/vjhss.v07i02.15.

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In giving the home audience an experience that combines both images and sound, surpassing the potential of the traditional mediums of print and radio, the audience rallying around the television increased by the day. Reality shows originated as a result of the introducing new programme models to the television. Attempts were made to portray real life forms of people in a more realistic way through the reality format. A majority of the audience were inclined towards watching reality programmes and the trend was to see the rise of modern social media activism. Thus, the research problem herein w

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Tsimokh, Nataliia, and Krystina Chorna. "Historical Sources of Soviet Television." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 2, no. 2 (2019): 145–55. https://doi.org/10.31866/2617-2674.2.2.2019.185688.

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The purpose of the article is to explore the TV genres of Soviet television and identify the interrelation of its development with political, economic and social events in the USSR. The research methods. With the help of analytical, comparative, and historical, methods to consider the Soviet television development, where, in the process of its evolution, there was a transformation of genres, types and formats of television programs. The scientific novelty. The first one has been systematically implemented in the TV program. It’s the basics of the science-fiction of the dum

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Cuní, Josep. "Transvasament mediàtic i hibridació de gèneres. De la ràdio a la televisió. Infoshow o tv posada al dia." Tripodos, no. 27 (March 1, 2011): 41–48. https://doi.org/10.51698/tripodos.2011.27.41-48.

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It all began on January 14, 1952. The North American station NBC started up morning television —Breakfast TV— with a program that maintains the top position in the ratings even today, the “Today Show”. Here, and thanks to the influence of their radio namesakes, this type of entertainment program has evolved towards the area of news and its consequences, giving shape to the “magazine” or containing program. Some experts consider them emblems of the “info-show” or “infotainment”. For others, they are the perfect hybrid of genres, forming a “morning magazine of news and current events” which give

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WARD-GRIFFIN, DANIELLE. "Up Close and Personal: Opera and Television Broadcasting in the 1950s." Journal of the Society for American Music 13, no. 2 (2019): 216–31. http://dx.doi.org/10.1017/s1752196319000087.

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AbstractThis article examines early pedagogical experiments in opera on television that were meant to attract new audiences in the 1950s. The aesthetics of early television have often been thought to run contrary to opera, particularly in its grander iterations, but I argue that television producers capitalized upon the traits of early television to personalize opera, both on and off screen. Comparing two NBC pedagogical initiatives—a 1958 Omnibus program starring Leonard Bernstein and the 1956–57 visits of the NBC Opera Company to Saint Mary's College (South Bend, Indiana)—I explore how these

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