Academic literature on the topic 'Rescue me (Television program)'

The contribution illustrates a research experience conducted on the children’s television program Bumbi, produced and distributed by Rai Ragazzi and broadcasted on Rai Yoyo, one of the most important and popular Italian channels for children. Through the analysis of the program and the in-depth interviews addressed to the group of authors, the objective of the article is to identify the distinctive elements that allow to place Bumbi in the panorama of quality products of Children’s television. The originality elements identified in the broadcast allow us to maintain that Bumbi is a quality program and, once again, reinforce the importance of the role of the public broadcasting company in conceiving and proposing products that meet the needs of the children’s public.

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.

Although horticulture lends itself to videotaped instruction, I effectively used audiotaped “how to” pieces recorded via a television camera to enhance the educational impact of a live, call-in radio program. This monthly program (SCETV-Radio [91.3 WLTR FM]), which had an audience of 14,000 listeners in South Carolina and parts of North Carolina and Georgia, allowed me to educate listeners about horticulture and to respond to their gardening questions. In each hour-long program I included a 3- to 4-minute in-the-field segment of a specific horticultural practice, such as plant selection, soil preparation, planting, or pruning. In the absence of visuals, I relied on descriptive dialogue and in-the-field sounds to enhance the presentation, thereby enabling listeners to visualize the activity. A broadcast quality beta-cam television camera used to videotape horticultural pieces for television broadcasts (Extension videotapes, C.U.E. Magazine, and Making It Grow!) doubled as a recorder for radio. Using the television camera for video- and audiotaping maximized personnel time and equipment, in addition to improving the quality and content of the radio program.

<div><p class="Standard"><em>The article deals with the current state of travel journalism on Ukrainian TV channels. The article describes the chronological formation and development of travel journalism on Ukrainian television as a new thematic area on domestic TV channels. Through the study of the evolution of travel programs, we can see the modern features of new travel programs and claim that modern travel programs on Ukrainian television are better and more interesting than their predecessors in the 90s and early 2000s. Each of the programs we have analyzed has its own peculiarity, which may consist in geographical coverage, thematic specificity, mastery of the presenters and more. But all these programs combine the element of travel and cognitive nature. Most of the TV shows on Ukrainian television appeared in 2011. Some of these programs were only translated for one season, while others are still broadcasted. These are the programs «Inside Out» by Dmitry Komarov and «The Eagle and the Rescue». The secret to the success of these broadcasts is authentic content, interesting program design, and, of course, mastery of the presenters. And if in the program «Eagle and Rescue» pairs of presenters are constantly changing, then in «Inside the World» the author and host of the program remains unchanged. Moreover, Dmitry Komarov’s awareness and rating is constantly growing, which gives reason to speak about his remarkable authority and skill, as well as good selected countries for travel and program format. The originals are also Eurochekin and Zarobitchany programs, where, in addition to traveling, the presenters reveal the peculiarities of living and working abroad. These transfers are of significant importance, because in Eurochekin, the presenters highlight the features of traveling abroad by own car, and in the «Earnings» – the specifics of work and earnings in different countries. In general, the results of the study indicate that modern travel programs are on the verge of a new stage of development.</em></p></div><p class="Standard"><strong><em>Key words:</em></strong><em> travel journalism, travel shows, travel shows, travel, TV channels.</em></p>

Currently we live in very turbulent times. It cannot be more turbulent than last Friday (4 December 2015). The school of my six-year old was having a program, and we decided to go. I had gotten dressed, and I was looking forward to a night out in New York with my husband. Even though it was school related, children were not allowed to attend. And then, I turned on the news and the San Bernardino shooting was unfolding. I sat down to look, and as I was sitting there, I told myself that I did not want to go out again. How long can we watch the news and watch mass killings? How long can we see these things? But what brought it home for me was when my six-year old walked through the door, looked at my husband and me intensely and, watching the news, asked a question that I would never have imagined a six-year old would ask. She looked at the television, looked at us and asked, “Is it ISIL again”?

AbstractUsing ethnographic and archival data, this article explores aspects of global superstar James Brown's participation in the black gospel music community of Augusta, Georgia, from the 1980s until his death in 2006. Using rare footage of Brown performing sacred music on a local gospel music television program, the article builds on scholars’ longtime recognition of Brown's engagement with black sacred song by engaging the singer's negotiation of sacred and secular musical and cultural boundaries from the perspective of his gospel performances. The article also examines Brown's personal relationships with local gospel musicians, ultimately arguing that his involvement with Augusta's gospel tradition near the end of his life provided Brown with an alternative social space for articulating a musical and personal identity somewhat separate from his mainstream media image.

Homelessness is a continual problem around the world, leaving many organizations uncertain of how to serve these individuals. Although 60-percent of homeless are being served by faith-based organizations, religiosity and spirituality have been largely ignored by researchers as a way of treatment. In this study, we looked at 121 men who were admitted to a Christian-based rescue mission. The mission offered programs such as NA/AA and Spiritual Development. Those that agreed to participate in the study filled out the survey after the first 7-days of treatment, and again after 3 months. Our results revealed that due to the program, there was an overall increase in Religious Involvement, and a significant decrease in Religious Crisis. It is evident that religious and spiritual counsel is vital to improving the lives of those who are economically marginalized, and to ignore this is to not treat these individuals holistically.

The purpose of this study was to determine the economic condition of the families of students of the Social Sciences Education Study Program, FKIP Untan. The form of research is a survey. The results of the research on family conditions mostly came from areas outside the city of Pontianak, with as many as 139 students (67.48%) and from the city of Pontianak as many as 67 people (32.52%). Parents are mostly farmers. With an average student family income in the range of Rp. 1,000,000 - Rp. 1,950,000 (income of father, mother, me, and siblings). The income earned is not sufficient for the family's needs, because the average monthly expenditure is over Rp. 2,000,000. In general, parents of students complained that the family's economic burden was quite heavy. In order to help the family economy, most students also work to help the family economy. Such as: guarding a grocery store, taking children to school, as a pinatu (ironing clothes) in a laundry business. The status of the house owned by students is a house that is privately owned. The lighting facility uses electricity with a power of 450 watts. Entertainment facilities for television, tape recorder, and radio. Electricity bill payments have been in arrears. There are 42 students who received Bidik Misi scholarships, 4 students received scholarships from the local government of Kayong Regency. 1 student gets a scholarship from the Sekadau Regency Government, 1 student gets a Partial Independent Untan scholarship. 10 students who received PPA scholarships and 8 students who received PBM scholarships. Payment of student tuition fees ranges from UKT 3, 4, and 5. In Pontianak living at someone's house as a household assistant, and not being paid tuition fees, they are only given the opportunity to live and eat. Meanwhile, tuition fees must be paid by themselves.

This study aimed to explore the perceived barriers to physical activity among college students Study Design: Qualitative research design Eight focus group discussions on 67 college students aged 18-24 years (48 females, 19 males) was conducted on College premises. Data were analysed using inductive approach. Participants identified a number of obstacles to physical activity. Perceived barriers emerged from the analysis of the data addressed the different dimensions of the socio-ecological framework. The result indicated that the young adults perceived substantial amount of personal, social and environmental factors as barriers such as time constraint, tiredness, stress, family control, safety issues and much more. Understanding the barriers and overcoming the barriers at this stage will be valuable. Health professionals and researchers can use this information to design and implement interventions, strategies and policies to promote the participation in physical activity. This further can help the students to deal with those barriers and can help to instil the habit of regular physical activity in the later adult years.

Let’s begin with the paradox of disavowal. On the one hand, we all “know” that television is hypnotic. On the other hand, we tend to imagine that we each – perhaps alone – remain impervious to the blandishments it murmurs as we watch it, often without being fully aware we are doing so. One of the many things contributing to the invention of television, according to Stefan Andriopoulos, was “spiritualist research into the psychic television of somnambulist mediums” (618). His archaeology of the technological medium of television uncovers a reciprocal relation (or “circular causality”) between the new technology and contemporary cultural discourses such that “while spiritualism serves as a necessary (but not sufficient) condition for the invention of electrical television, the emerging technology simultaneously fulfils the very same function for spiritualist research on psychic telesight” (618). Television and the occult seem to be inextricably linked from the outset, so that perhaps the claims of some schizophrenics: that television addresses them personally and importunes them with suggestions, are not so outlandish as one might at first think. Nor, perhaps, are they merely a delusion able to be safely located in the pathology of the other. In fact it could be argued, as Laurent Gerbereau does, that television, as distinct from film with its historical imbrication of crowds with the image, aims to create the illusion of intimacy, as if the viewer were the only person watching and were being addressed directly by the medium. With two exceptions, the illusion of direct contact is sustained by the exclusion of crowds from the image. The first is major sporting events, which people gather to watch on large screens or in bars (which Gerbereau notes) and where, I think, the experience of the crowd requires amplification of itself, or parts of itself, by the large screen images. The second is the more recent advent of reality TV in which contestants’ fates are arbitrated by a public of voting viewers. This illusion of direct contact is facilitated by the fact that viewing actually does take place more and more in individual isolation as the number of TV sets in households multiplies. And it is true in spite of the growth in what Anna McCarthy has called “ambient television”, the television of waiting rooms, airport terminals and bars, which enables us to be alone with the illusion of company, without the demands that being in company might potentially make. Television can be understood as a form of refuge from the crowd. Like the crowd, it offers anonymity and the voyeuristic pleasures of seeing without being seen. But it requires no special skill (for example, of negotiating movement in a crowd) and it seems, on the face of things, to obviate the risk that individuals will themselves become objects of observation. (This, however, is an illusion, given the array of practices, like data-mining, that aim to make new segments of the market visible.) It also enables avoidance of physical contact with others – the risks of being bumped and jostled that so preoccupied many of the early commentators on modernity. New mobile technologies extend the televisual illusion of direct address. You can receive confidences from a friend on the mobile phone, but you can also receive a lot of spam which addresses “you” in an equally intimate mode. You are, of course, not yourself under these conditions, but potentially a member of a consuming public, as the availability of many visual subscription services for 3G phones, including televisually-derived ones like one-minute soap episodes, makes clear. Television cathects (in Virginia Nightingale’s suggestive psychoanalytically-inflected usage) aspects of the human in order to function, and I have argued elsewhere that what it primarily cathects is human affect (Gibbs). We could think of this investment of media in the human body in a number of different ways: in the terms suggested by Mark Seltzer when he writes of the “miscegenation” of bodies and machines, of nature and culture; or we could adapt Eugene Hacker’s term “biomediation”; or again Bolter and Grusin’s concept of “remediation”, which have the advantage of moving beyond earlier models of the cyborg (such as Donna Haraway’s), in the way they describe how media repurposes the human (Angel and Gibbs). Here I want to focus on the media’s capture of human attention. This returns me to the question of television as a hypnotic medium. But on the way there we need to take one short detour. This involves Julian Jaynes’s remarkable book The Origin of Consciousness in the Breakdown of the Bicameral Mind published in 1976 and only since the late nineties beginning to be rescued by its uptake by the likes of Daniel Dennett and Antonio Damasio from its early reception as an intriguing but highly eccentric text. The book proposes taking literally the fact that in The Iliad the gods speak directly to the characters, admonishing them to perform certain acts. In this way, the voices of the gods seem to replace the kind of psychic interiority with which we are familiar. Jaynes argues that people once did actually hallucinate these voices and visions. Consciousness comes into being relatively recently in human history as these voices are internalised and recognised as the formation of the intentions of an “analogue I” – a process Jaynes suggests may have happened quite suddenly, and which involves the forging of closer relations between the two hemispheres of the brain. What drives this is the need for the more diffuse kinds of control enabled by relative individual autonomy, as social organisations become larger and their purposes more complex. Jaynes views some forms of consciousness (those which, like hypnosis, the creation of imaginary friends in childhood, religious ecstasy, or, arguably, creative states, involve a degree of dissociation) as atavistic vestiges of the bicameral state. While he insists that the hypnotic state is quite distinct from everyday experiences, such as being so lost in television that you don’t hear someone talking to you, other writers on hypnosis take the contrary view. So does Dennett, who wants to argue that the voices of the gods needn’t have been actually hallucinated in quite the way Jaynes suggests. He proposes that advertising jingles that get “on the brain”, and any admonitions that have a superegoic force, may also be contemporary forms of the voices of the gods. So we arrive, again, from a quite different avenue of approach, at the idea of television as a hypnotic medium, one that conscripts a human capacity for dissociation. It is perhaps worth noting at this point that, while we tend to associate dissociation with dysfunction, with splitting (in the psychoanalytic sense) and trauma, Jaynes sees it in far more positive terms – at least when it is accompanied by certain kinds of voices. He characterises hypnosis, for example, as a “supererogatory enabler” (379) militated against by consciousness which, to save us from our impulses, creates around us “a buzzing cloud of whys and wherefores”, so that “we know too much to command ourselves very far” [into the kinds of superhuman feats made possible with the assistance of the gods] (402). Most writers on hypnosis speak of the necessity for inducing the hypnotic state, and I want to suggest that televisual “flow” performs this function continuously, even though, as Jane Feuer and Margaret Morse respectively have suggested, television is designed for intermittent spectatorship and is often actually watched in states of distraction. While the interactivity of the internet and the mobile phone militate against this, they do not altogether vitiate it, especially as video and animation are increasingly appearing on these media. The screen has ways of getting your attention by activating the orienting reflexes with sudden noises, changes of scene, cuts, edits, zooms and pans. These reflexes form the basis of what Silvan Tomkins calls the surprise-startle affect which alerts us to a new state of affairs, and technologies of the screen constantly reactivate them (Kubey and Csikszentmihalyi). No wonder, given the need for surprise, that sensationalism is such a well-used technique. While some writers (like S. Elizabeth Bird) link this to the production of “human interest” which creates a focus for everyday talk about news and current affairs that might otherwise be unengaging, I want to focus on the less rational aspects of sensationalism. Televisual sensationalism, which has its origins in the gothic, includes the supernatural, though this may appear as frequently in the guise of laughter as in horror, even if this laughter is sometimes uneasy or ambivalent. Hypnotism as entertainment might also qualify as sensationalism in this sense. A quick survey of Websites about hypnosis on television reveals that stage hypnosis appeared on American television as least as early as 1949, when, for 10 minutes after the CBS evening news on Friday nights, Dr Franz Polgar would demonstrate his hypnotic technique on members of the audience. It has featured as a frequent trope in mystery and suspense genres from at least as early as 1959, and in sitcoms, drama series, comedy sketches and documentaries since at least 1953. If on one level we might interpret this as television simply making use of what has been – and to some extent continues to be – popular as live entertainment, at another we might view it as television’s mise-en-abyme: the presentation of its own communicational models and anti-models for the reception of commands by voices. It’s ironic, then, that the BBC Editorial Guidelines treat hypnotism as a special kind of program rather than a feature of the medium and – in conformity with the Hypnotism Act 1952 – require that demonstrations of public hypnotism be licensed and authorised by a “senior editorial figure”. And the guideline on “Images of Very Brief Duration” (which follows the wording of the Agreement associated with the BBC’s Charter) states that programs should not “include any technical device which, by using images of very brief duration or by any other means, exploits the possibility of conveying a message to, or otherwise influencing the minds of, persons watching or listening to the programmes without their being aware, or fully aware, of what has occurred”. Finally, though, if psychoanalysis is, as Borch-Jacobsen suggests, one more chapter in the history of trance (in spite of its apparent rejection of techniques of suggestion as it attempts to establish its scientific and therapeutic credentials), then perhaps screen-based technologies should be taken seriously as another. What this might suggest about the constitution of belief requires further investigation – especially under conditions in which the pervasiveness of media and its potentially addictive qualities efface the boundary that usually demarcates the time and place of trance as ritual. Such an investigation may just possibly have some bearing on paradoxes such as the one Lyn Spigel identifies in relation to her observation that while the scripting of the “grand narratives of national unity that sprang up after 9/11 were for many people more performative than sincere”, Americans were nevertheless compelled to perform belief in these myths (or be qualified somehow as a bad American) and, further, may have ended by believing their own performances. References Andriopoulis, Stefan. “Psychic Television.” Critical Inquiry 31.3 (2005): 618-38. Angel, Maria, and Anna Gibbs. “Media, Affect and the Face: Biomediation and the Political Scene.” Forthcoming in Southern Review: Communication, Politics and Culture Special Issue 38.3 (2005). Bird, S. Elizabeth. “News We Can Use: An Audience Perspective on the Tabloidisation of News in the United States.” In Virginia Nightingale and Karen Ross, eds., Critical Readings: Media and Audiences. Maidenhead: Open UP, 2003. 65-86. Bolter, Jay David, and Richard Grusin. Remediation. Cambridge Mass., MIT P, 1999. Borch-Jacobsen, Mikkel. The Emotional Tie. Stanford, CA: Stanford UP, 1992. Feuer, Jane. “The Concept of Live Television: Ontology as Ideology.” In Regarding Television: Critical Approaches – An Anthology. 1983. Gerbereau, Laurent. “Samples or Symbols? The Role of Crowds and the Public on Television.” L’image 1 (1995): 97-123. Gibbs, Anna. “Disaffected.” Continuum: Journal of Media and Cultural Studies 16.3 (2002): 335-41. Jaynes, Julian. The Origins of Consciousness in the Breakdown of the Bicameral Mind. Boston: Houghton Mifflin, 1976. Kubey, Richard, and Mihalyi Csikszentmihalyi. “Television Addiction.” http://flatrock.org.nz/topics/drugs/television_addiction.htm>. McCarthy, Anna. Ambient Television: Visual Culture and Public Space. Durham: Duke UP, 2001. Morse, Margaret. “An Ontology of Everyday Distraction: The Freeway, The Mall and Television.” In Patricia Mellencamp, ed., Logics of Television. Bloomington and Indianapolis: Indiana UP, 1990. 193-221. Nightingale, Virginia. “Are Media Cyborgs?” In Angel Gordo-Lopez and Ian Parker, eds., Cyberpsychology. London: Macmillan, 1999. Selzer, Mark. Bodies and Machines. New York and London: Routledge, 1992. Tomkins, Silvan S. Affect, Imagery, Consciousness. New York: Springer, 1962. Spigel, Lyn. “Entertainment Wars: Television Culture after 9/11.” American Quarterly 56.2 (2004): 235-70. Thacker, Eugene. “What Is Biomedia.” Configurations 11 (2003): 47-79. Citation reference for this article MLA Style Gibbs, Anna. "In Thrall: Affect Contagion and the Bio-Energetics of Media." M/C Journal 8.6 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0512/10-gibbs.php>. APA Style Gibbs, A. (Dec. 2005) "In Thrall: Affect Contagion and the Bio-Energetics of Media," M/C Journal, 8(6). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0512/10-gibbs.php>.