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1
SHRADER, M. B., D. H. PREIST, and R. N. TORNOE. "THE 267 MHz HIGH POWER CW KLYSTRODE® AMPLIFIER." International Journal of High Speed Electronics and Systems 04, no. 04 (December 1993): 349–64. http://dx.doi.org/10.1142/s0129156493000169.
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A 250 kW CW 267 MHz Klystrode has been designed and built as part of a major program in conjunction with the Chalk River National Labs., Chalk River, Ontario, Canada. The high CW power design has evolved from previous work for UHF television and the SDI program. A major step was taken on this program to simplify and reduce the complexity of the RF input circuit. CW power in excess of 250kW and efficiencies in excess of 70% were readily obtained with power gain in excess of 21 dB. Three tubes and associated circuitry were tested and delivered as part of the effort.
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Herbell, T. P., and A. J. Eckel. "Ceramic Matrix Composites for Rocket Engine Turbine Applications." Journal of Engineering for Gas Turbines and Power 115, no. 1 (January 1, 1993): 64–69. http://dx.doi.org/10.1115/1.2906687.
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A program to establish the potential for introducing fiber-reinforced ceramic matrix composites (FRCMC) in future rocket engine turbopumps was instituted in 1988. A brief summary of the overall program (both contract and in-house research) is presented. Tests at NASA Lewis include thermal upshocks in a hydrogen/oxygen test rig capable of generating heating rates up to 2500°C/s. Post-thermal upshock exposure evaluation includes the measurement of residual strength and failure analysis. Test results for monolithic ceramics and several FRCMCs are presented. Hydrogen compatibility was assessed by isothermal exposure of monolithic ceramics in high-temperature gaseous hydrogen plus water vapor.
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Sukmawati, Dian, and Ade Armando. "Otoritas Komisi Penyiaran Indonesia dalam Pengaturan Isi Siaran." Jurnal Komunikasi Global 8, no. 2 (December 31, 2019): 151–73. http://dx.doi.org/10.24815/jkg.v8i2.14774.
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Although the Indonesian Broadcasting Commission (KPI) supervised all of the television programs, there are a lot of programs getting a warning because of breaking the rule of P Broadcasting Code of Conduct (P3) and Broadcasting Program Standard (SPS). Focusing on program Pagi-Pagi Pasti Happy, this research investigated the authority of KPI in terms of being a watchdog of television content in Indonesia. This research deployed political economy theory because it has studied not only media analysis in general but also the problems faced by the media industry and who controlled media. To criticize the authority of KPI in maintaining a code of conduct over the broadcasting content, three KPI’s commissioners, two television program representatives, and a media observer were interviewed. Based on interviews, the researcher found that dialogue preferred by KPI in supervising the television content confirmed that the current KPI’s commissioner has compromised with private television stations. KPI is more likely to support the existing television business system nowadays to gain maximum profit for the media investor. The findings suggest that role as KPI’s commissioner has been used to gain more power in the future.
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Meech, Peter, and Alastair Duncan. "Beyond Commercials: Television Program Sponsorship in France and the United Kingdom." Media International Australia 86, no. 1 (February 1998): 13–26. http://dx.doi.org/10.1177/1329878x9808600104.
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This article deals with varieties of sponsorship, with regulation, with the number and types of programs sponsored on terrestrial television, and with the types of advertisers who sponsor them. In France, the 1980s were characterised by expansion and experimentation in sponsorship which outpaced regulation; by contrast, the first network program sponsorship in the United Kingdom was in 1989. The effect of the European legislation of 1989 was to tighten control in France and ease the regulatory framework in the United Kingdom. However, the perceived power of commercials and the strict regime imposed by the British ITC Code of Television Sponsorship, although further liberalised in 1997, continue to limit the penetration of sponsorship in the United Kingdom, Given that in 1995 only 2 per cent of television's advertising income in Britain, and 6 per cent in France, came from sponsorship, there is no evidence to date that sponsorship has had an adverse effect on program quality or diversity.
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Haqqu, Rizca. "Uji Uses and Gratifications dalam Intensitas Menonton Program Talk Show Melalui Televisi." CoverAge: Journal of Strategic Communication 10, no. 2 (March 29, 2020): 11–18. http://dx.doi.org/10.35814/coverage.v10i2.1378.
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A survey of media consumption in several cities throughout Indonesia shows that television use still dominates. The results of a survey conducted by the Indonesian Broadcasting Commission explained that television programs considered to have quality with a high standard value of 3.04 were talk show programs. The purpose of this study is to examine the use of media and its underlying relationships based on the standpoint of the uses and gratification theory. This research uses theories of uses and gratification. The theory of uses and gratification considers that mass media do not have the power to influence the audience, but the audience using mass media is certainly based on different needs. An explanatory quantitative approach is used in this study to explain a social phenomenon that can be measured. Correlation test results in this study explained that the entertainment satisfaction obtained by respondents did not come from the intensity of the respondents when watching talk show s through television media, but the high level of entertainment satisfaction obtained by respondents came from the magnitude of the desired information motive.
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Tahira Asgher, Asma Kashif Shahzad, and Anum Hanif. "Power Distribution in Discourse: A Lexico-Grammatical Analysis of a Television Interview from HARD Talk." sjesr 3, no. 4 (December 25, 2020): 120–28. http://dx.doi.org/10.36902/sjesr-vol3-iss4-2020(120-128).
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The research provides an insight into the disparity of power distribution in the discourse of television interview specifically of HARDtalk (a program of BBC news channel concerned with crucial issues related to politics, society, and economy) which includes two participants: the interviewer who is professionally a journalist and interviewee who is a politician. The paper investigates which members of the interview are responsible for controlling the directions of discourse and it examines the difference between casual conversation and television interview communication. Lexico-Grammatical Analysis (LGA) model by Eggins and Slade (1997) was applied for data analysis. Results of the study illustrated that distribution of power in discourse is dichotomous, although unequal, but the great amount of power resided with the interviewer as compared to the interviewee as he has to control the directions of the interview discourse. The findings further revealed that the discourse of television interviews is diverse from the casual discourse.
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Alkebaeva, D., Zh Satkenova, and А. Amirov. "PRAGMASTYLISTIC KAZAKH TV." BULLETIN Series of Philological Sciences 73, no. 3 (July 15, 2020): 381–86. http://dx.doi.org/10.51889/2020-3.1728-7804.60.
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In this article we are talking about the specific features of the modern Kazakh TV in the language of pragmastylistic. The actual problem of pragmastilistics of Kazakh television is that today programs, TV shows with a publicistic style are seen in a publicistic style. The field of pragmastilistics is also guided by the issues of cognitive linguistics, psycholinguistics, speech culture, linguoculturology, and determines the type of language associated with these areas. The decrease in the rating of TV programs is due to the fact that the population that sees television is reduced due to a decrease in speech action, the acting power of speech. Focusing on the present and future of the native language on Kazakh television is the task of language specialists. The material for the article is taken from the social-analytical programs on modern Kazakh television “Дара жол”, “Мәселе”, “Біздіңназарда” and the TV program “Дара жол”, “Мәселе”, “Біздіңназарда”. The study of pragmastylistic talk show is the problem today. As a working material accepted program “Қалаулым”,“Өзойым”, “Астарлыақиқат”.
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Atygayev, Talgat, Victor Ivel, and Yulia Gerasimova. "Development of a hardware and software model of a rocket motion correction system." Eastern-European Journal of Enterprise Technologies 3, no. 3 (111) (June 30, 2021): 15–23. http://dx.doi.org/10.15587/1729-4061.2021.228146.
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The paper deals with the development of a motion correction system for an unguided rocket of a certain class. The existing method for calculating the rocket flight range based on the dependence of flight path on the initial rocket pitch angle and average parameters of disturbing effects does not provide the required accuracy of the specified flight range. This is mainly due to uncontrolled range wind deviations in the flight area. At the same time, conducting test rocket launches to identify dispersion characteristics and improve the target accuracy leads to significant material costs. Therefore, computer simulation is the most promising approach for studying rocket dispersion laws and developing a motion correction system for the unguided rocket on this basis. When developing the correction system, classical differential equations were used describing the aerodynamics of a variable-mass rocket, as well as adaptive control methods with a reference model. As a result of the study, a method for recording a program that implements the reference model on the Arduino Due platform was developed. A general Simulink model that simulates the process of rocket flight path correction was built. A half-scale rocket flight model with a correction block was developed. Based on this model, a series of experiments were carried out, which showed a high degree of rocket target accuracy due to rocket path correction. The results make it possible to take the developed system as a basis for developing a practical path correction system for Grad rockets
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Andriana, Dina. "RELASI KEKUASAAN ANTARA TIM MANAJERIAL DAN REDAKSI LIPUTAN." JIKE : Jurnal Ilmu Komunikasi Efek 2, no. 2 (June 30, 2019): 205–22. http://dx.doi.org/10.32534/jike.v2i2.528.
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Power relations reveal hidden things that occur in the Works process between agents in Social practice related to media political economy practices. Media competition requires agents (workers) to compete with innovation and more creatively giving birth to program that are able to attract a large audience. So editors become depressed in producing a program content. Every agents in television media conducts Social practices to channel the relationship between relations which directly or indirectly, or equal or not equal, this indicates the existence of Power. The Research has conducted in the critical paradigma domain, with the Robert K Yin case Study method, where the The of Research was explanatory study regarding the Power relations between manajerial teams and editor Liputan 6 Pagi teams using the theory of Foucault’s Discourse of Power and Knowledge. The Result showed that there were elementer of combination of dominance Power relations and unequal govermentality of Power.
Keywords: Power Relations, Foucault, Manajerial Teams, News Program, Editor Teams, Liputan 6 Pagi, SCTV.
10
Treufeldt, Indrek. "Television News in the 1950s: New Medium in the Service of Soviet Power and Society." Baltic Screen Media Review 1, no. 1 (October 1, 2013): 44–64. http://dx.doi.org/10.1515/bsmr-2015-0004.
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Abstract The article discusses the evolution of conventions for TV-journalism based on the early history of Estonian Television (ETV) news. ETV was launched in 1955, its founding was coordinated by the Soviet authorities in Moscow. Although one of the initial motivations for founding the station was to produce ideological programming directed to Finnish audience, the Estonian team within the institution used the new medium to develop a new nationally oriented media organization. Over time this new journalistic institution became increasingly established and standardized both in terms of its practices as well as its use of textual formats. As the authorities lacked a clear understanding of television’s specific journalistic means and affordances the governance of ETV became an object of a rather multilayered control system. The article analyses this complex system of institutional power distribution and discusses its effects on the evolution of “cognitive modalities” expressed in specific programming formats, especially in regard to mechanisms of representing time and space. Also the “interpretative modalities” or the various, often conflicting mechanisms of managing “collectively shared meaning-systems” are discussed. For instance, in response to ritualistic and non-dialogic elements of the program that were conditioned by the soviet ideological apparatus the local journalists also aimed at representing the quotidian experiences of the common men and at establishing relatively free and dialogic relationships with their audiences and with their sense of reality. As a result, the program evolved as a mixture both ideologically and modally different as well as, paradoxically, mutually conditioning elements.
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Aprinta, Gita. "JURNALISME REPORTASE: SEBUAH PRODUK KOMERSIALISASI DALAM INDUSTRI TELEVISI." Jurnal The Messenger 4, no. 1 (March 23, 2016): 27. http://dx.doi.org/10.26623/themessenger.v4i1.274.
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<p><em>The freedom of press has given space to the growth of television industries in Indonesia. As we all know, since 2010 there are at least nine private television that established. This case has been impact to the public information fulfilness. Unfortunately as part of the capitalism industry, television should able to provide information that give two function, these is entertainment and journalism. Therefore, information is so often considered as commodity relate with the market mechanism that create television commercialization.</em></p><p><em>This article aim to observe the bias of information that affected by journalism technique in the investigation program called. “Reportase Investigasi” through the approach Marxis capitalism where in the world of capitalism production is always relate with power and capital ownership. </em><em></em></p>
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Bovon, François. "The Child and the Beast: Fighting Violence in Ancient Christianity." Harvard Theological Review 92, no. 4 (October 1999): 369–92. http://dx.doi.org/10.1017/s0017816000017739.
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Popular nature programs, such as the cable-television program Wild Discovery, are both appealing and frightening because they confront the audience with acts of pure violence that follow the natural law of the jungle and the harsh imperative of nature's food chain. Viewers are enthralled watching the leopard catch its prey: such is the power of violence.
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Nayak, Rajeshwari R. "Reconstruction and Presentation of Reality on Television: An Analytical Study of Kannada Channels." Artha - Journal of Social Sciences 16, no. 3 (July 1, 2017): 39–47. http://dx.doi.org/10.12724/ajss.42.3.
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Television has altered the way news is constructed and delivered. Due to competition and TRP, television news channels are experimenting with different techniques to attract attention and reach audiences. Reconstruction with the help of graphics and animation along with docudramas has become quite common in various kinds of television programs. From hard to soft news story-telling television channels have adopted different patterns of visual construction to make an emotional appeal to the audience. Media theories have established the power of visual media in the common man’s life. The present study focuses on the trend related to visual reconstruction of reality in storytelling among Kannada channels. This qualitative study specifically evaluates the various techniques of visual construction, reasons for visual construction, program patterns which use these practices significantly and investigates the influence of visual construction in storytelling. The content of Kannada television programs is evaluated in order to gather primary data. The programs that use visual construction regularly and news items which depend on visual construction have been selected for analysis.
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Bonnell, Victoria E., and Gregory Freidin. "Televorot: The Role of Television Coverage in Russia's August 1991 Coup." Slavic Review 52, no. 4 (1993): 810–38. http://dx.doi.org/10.2307/2499653.
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When the State Committee on the State of Emergency (henceforth the Emergency Committee) seized power in the early morning of 19 August 1991, it took steps immediately to assert control over Central Television, radio and the press. At one o'clock in the morning on 19 August, Gennadii Shishkin, first deputy director of TASS, was awakened by a phone call from Leonid Kravchenko, the conservative director of Gosteleradio (the State Committee on Television and Radio) and asked to come to Central Committee headquarters.2 By 2 a.m., the chief editor of the nightly news program "Vremia" had been awakened. Then, at dawn, military vehicles and paratroopers surrounded the Gosteleradio building at Ostankino.
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Фролов, Виктор Петрович, Галина Ивановна Сокол, and Владислав Юрьевич Котлов. "ВОЛНОВОЙ ПАРАМЕТР КАК КРИТЕРИЙ В ОСНОВЕ МЕТОДА ИССЛЕДОВАНИЯ АКУСТИЧЕСКИХ ИСТОЧНИКОВ ПРИ СТАРТЕ РАКЕТ." Aerospace technic and technology, no. 3 (June 27, 2018): 4–12. http://dx.doi.org/10.32620/aktt.2018.3.01.
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The purpose of this work is to develop a method for determining the types of acoustic sources of radiation and their acoustic fields during the space rockets launch in the first seconds based on the wave parameter values. The main noise source during the space rocket launch is its propulsion system (PS). The cross-section of the nozzle is taken as the oscillation source. The theory of siren sound emission is based on the acoustic power calculation of a jet as a volume sound radiator or a radiator with a space velocity. In the model of a volumetric spherical radiator, the front of a spherical wave is a spherical surface, and the sound rays, according to the definition of the wave front, coincide with the radii of the sphere. As a result of the divergence of waves, the sound intensity decreases with distance from the source. The present work has a prospective character for clarifying the nature of the acoustic fields and for calculating the noise levels from the space rocket launch when designing the cosmodromes. In the requirements for the construction of such structures, the noise impact on the environment of infrasound radiation upon launching launch vehicles is identified. A method for determining the types of acoustic radiation sources during the space rocket launch and their acoustic fields has been developed. The method makes it possible to develop physical models of acoustic fields and apply known mathematical models to calculating their characteristics. The method is applicable for the study of acoustic emissions in the first seconds of the space rocket launch based on the determination of the wave parameter kR and allows us to provide valid data on the levels of sound pressure, intensity and acoustic power at specific points of airspace around the PS in the first seconds of the launch. The character of the acoustic wave radiation from a hole in a specific size gas flue has been studied. To calculate the acoustic characteristics, an algorithm and a program on Java programming language have been developed. Two models of acoustic field generation in the environment are described during the work of a rocket as a plane radiator and spherical waves, depending on the value of the wave parameter kR. A technique for calculating the noise of a remote control in the range for the first 1.5-4 seconds of the space rocket start time is developed
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Fishbach, L. H., and S. Gordon. "NNEPEQ—Chemical Equilibrium Version of the Navy/NASA Engine Program." Journal of Engineering for Gas Turbines and Power 111, no. 1 (January 1, 1989): 114–16. http://dx.doi.org/10.1115/1.3240205.
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The Navy NASA Engine Program, NNEP, developed in 1975, currently is in use at a large number of government agencies, commercial companies, and universities. This computer code has been used extensively to calculate the design and off-design (matched) performance of a broad range of turbine engines, ranging from subsonic turboprops to variable cycle engines for supersonic transports. Recently, there has been increased interest in applications that NNEP was not capable of simulating, namely, high Mach applications, alternate fuels including cryogenics, and cycles such as the gas generator air-turbo-rocket (ATR). In addition, there is interest in cycles employing ejectors such as for military fighters. New engine component models had to be created for incorporation into NNEP, and it was also found necessary to include chemical dissociation effects of high-temperature gases. This paper discusses the incorporation of these extended capabilities of NNEP and illustrates some of the effects of these changes.
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Gaylo, Benedict J. "That One Small Step." Mechanical Engineering 122, no. 10 (October 1, 2000): 62–69. http://dx.doi.org/10.1115/1.2000-oct-2.
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This article highlights that three approaches for the Apollo mission were considered and investigated early in the program: direct ascent, Earth orbit rendezvous, and lunar orbit rendezvous. Direct ascent would entail a direct shot from Earth to the moon, requiring an enormous rocket assembly, named the Nova rocket that required 15 first stage engines and would dwarf the Saturn V eventually selected as the launch vehicle. It also required a massive lunar landing vehicle to return the astronauts from the moon directly to Earth. At liftoff, the first stage burned 15 tons of fuel a second, requiring approximately 50,000 horsepower to power the fuel pumps to feed the engines. The Apollo 13 movie followed the actual flight with a fair degree of accuracy, recognizing that it had to compress four days of real-life tension into a two-hour motion picture. The film dramatized the explosion of the oxygen tank by showing the astronauts being thrown about in the cabin. In reality, the astronauts only heard a bang and then the warning alarm for low electrical bus voltage.
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Krakow, W. "Real-time computer simulation of electron microscope images via a digital television frame store system." Proceedings, annual meeting, Electron Microscopy Society of America 44 (August 1986): 542–43. http://dx.doi.org/10.1017/s0424820100144188.
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Digital television frame store devices and software packages have made it possible to obtain images directly from electron microscopes, photographic prints and transparencies in real time and obtain the power spectrum (optical diffraction pattern) and filtered image of various electron micrographs. Enhancements have been added to the Fourier analysis program package which include the use of offset filter functions and the computation of high resolution electron microscope images by including the microscope lens aberration phase shifts and illumination conditions. Because of the use of the frame store and a large mainframe computer, it is possible to have several orders of magnitude gain in image computational speed which makes real-time interactive computations possible.
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Hearn, Alison Mary Virginia. "Reality Television, The Hills and the Limits of the Immaterial Labour Thesis." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 8, no. 1 (May 20, 2010): 60–76. http://dx.doi.org/10.31269/triplec.v8i1.206.
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This paper will examine the immaterial labour thesis as proposed by Michael Hardt and Antonio Negri through a case study of reality television production practices, specifically those of the MTV program, The Hills. Because immaterial labour is rooted in individual intelligence, affect, and social communicative capacities, Hardt and Negri contend that economic value in the form of labour power can no longer be adequately measured and quantified and that this immeasurability contains revolutionary potential. But, given the current global economic meltdown, and the persistent and very material suffering of people all over the globe, how legitimate and responsible are these claims? Drawing from interviews with reality television workers and the work of George Caffentzis, Massimo de Angelis, David Harvie and others, this paper will test the limits of the immaterial labour thesis, arguing that, rather than disappearing, capital continues to impose measurement systems to determine socially necessary labour time no matter how diffuse or social that labour might be, and that this imposition continues to produce the alienation and exploitation of many for the benefit of a few.
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Hearn, Alison Mary Virginia. "Reality Television, The Hills and the Limits of the Immaterial Labour Thesis." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 8, no. 1 (May 20, 2010): 60–76. http://dx.doi.org/10.31269/vol8iss1pp60-76.
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This paper will examine the immaterial labour thesis as proposed by Michael Hardt and Antonio Negri through a case study of reality television production practices, specifically those of the MTV program, The Hills. Because immaterial labour is rooted in individual intelligence, affect, and social communicative capacities, Hardt and Negri contend that economic value in the form of labour power can no longer be adequately measured and quantified and that this immeasurability contains revolutionary potential. But, given the current global economic meltdown, and the persistent and very material suffering of people all over the globe, how legitimate and responsible are these claims? Drawing from interviews with reality television workers and the work of George Caffentzis, Massimo de Angelis, David Harvie and others, this paper will test the limits of the immaterial labour thesis, arguing that, rather than disappearing, capital continues to impose measurement systems to determine socially necessary labour time no matter how diffuse or social that labour might be, and that this imposition continues to produce the alienation and exploitation of many for the benefit of a few.
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Kim, Noo-ri, Sungtak Oh, and Jee-Hyong Lee. "A Television Recommender System Learning a User’s Time-Aware Watching Patterns Using Quadratic Programming." Applied Sciences 8, no. 8 (August 8, 2018): 1323. http://dx.doi.org/10.3390/app8081323.
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In this paper, a novel television (TV) program recommendation method is proposed by merging multiple preferences. We use channels and genres of programs, which is available information in standalone TVs, as features for the recommendation. The proposed method performs multi-time contextual profiling and constructs multiple-time contextual preference matrices of channels and genres. Since multiple preference models are constructed with different time contexts, there can be conflicts among them. In order to effectively merge the preferences with the minimum number of conflicts, we develop a quadratic programming model. The optimization problem is formulated with a minimum number of constraints so that the optimization process is scalable and fast even in a standalone TV with low computational power. Experiments with a real-world dataset prove that the proposed method is more efficient and accurate than other TV recommendation methods. Our method improves recommendation performance by 5–50% compared to the baselines.
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Kang, Ji-Hae. "Translating Mad Cow Disease: A Case Study of Subtitling for a Television News Magazine." Broadcasting with Intent 57, no. 2 (February 4, 2013): 439–63. http://dx.doi.org/10.7202/1013955ar.
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This paper explores how discourse is reframed in audiovisual translation in a well-known South Korean television news magazine, PD Swuchep [PD Notebook]. The episode under consideration raised serious questions regarding the safety of US beef and the conduct of South Korean officials responsible for negotiating imported beef in the Korea-US Free Trade Agreement talks. The program, which contained sound bites of interviews in English subtitled in Korean, created uproar in the South Korean society and played a significant role in touching off many months of massive street rallies against the government for its alleged sloppy handling of the beef import negotiation talks. Based on the view that subtitling for television news is a practice of “entextualization,” the study argues that (1) different degrees of discursive transformations in the target text cumulatively work to support and exaggerate the risk of the transmission of mad cow disease as a result of eating American beef; and (2) the discursive transformation is reinforced by institutionally defined roles and procedures for target text production. The findings suggest that one of the main criteria for the selection of target text expressions may be the narrative relevance of the political slant of the translation to the story of the program. Furthermore, the narrative of the target text may not necessarily be consensually co-constructed by participants. On the contrary, it is often a product of conflict-ridden processes that are characterized by tensions and differences in power relationships among people in different roles in the media institution.
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Noni Suharyanti, Ni Putu, and Kadek Endra Setiawan. "PERAN KOMISI PENYIARAN INDONESIA DALAM MENGAWASI PENYELENGGARAAN PENYIARAN PADA MASA PANDEMI COVID-19." Jurnal Aktual Justice 6, no. 1 (June 14, 2021): 78–100. http://dx.doi.org/10.47329/aktualjustice.v6i1.622.
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In order to support the government in overcoming the Covid-19 outbreak, Komisi Penyiaran Indonesia (KPI) has issued several policies related to broadcasting, especially on television. This policy was taken considering that television is still the media with the most audience reach and has a high duplication power in society. Therefore, in every program broadcast to the public, adherence to health protocols is a must. Based on this, it is necessary to examine in depth the role of KPI in overseeing broadcasting and the synergy between Central and Regional KPIs in overseeing broadcasting during the Covid-19 pandemic. The results showed that the KPI in supervising broadcasting during the Covid-19 pandemic played an optimal role in regulating and supervising broadcast content by issuing policies to broadcast the socialization of prevention of the spread of Covid-19 either through Public Service Ads (ILM) or other programs by television and radio. In addition, KPI also issued KPI Decree (KKPI) Number 12 of 2020 concerning Support of Broadcasting Institutions in Efforts to Prevent and Overcome the Spread of Covid-19. Then to follow up on the Circular on news related to the Covid-19 Virus, the Central KPI along with Regional KPI throughout Indonesia conveyed and reminded all Broadcasting Institutions to remain guided by broadcasting rules in broadcasting institutions to convey useful and accountable information.
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Lee, Kathy, Sunyoung Choi, and Jee Won Min. "Discursive strategies of othering: North Korean youth on a South Korean television show." Text & Talk 39, no. 6 (November 26, 2019): 725–45. http://dx.doi.org/10.1515/text-2019-0236.
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Abstract As the number of South Koreans, especially those in their 20s and 30s, in favor of unification with North Korea decreases, it is not surprising that younger generations feel a lack of closeness or familiarity with North Korean refugees in South Korea. Targeting South Korean adolescents’ ambivalence toward unification and North Korean refugees is a talk show called Great Friends. Moderated by a South Korean host, Great Friends presents the experiences of a group of North Korean and South Korean youth. Given the current social climate surrounding North Korean refugees in South Korea, this study investigates how North Korean youth on this program are discursively constructed over the course of 17 episodes aired in 2015. Considering the unequal power relations between the host country and refugees, this study applies critical discourse analysis (CDA) to interpret how North Korean adolescents are presented to a South Korean audience. The analysis reveals the ‘othering’ of North Koreans through discourses of difference. Despite presenting North Koreans as friends to South Koreans, these discursive constructions create a dichotomy by positioning North Koreans as inferior to their southern counterparts. The findings contribute to rethinking how authorities promote the integration of North Koreans in South Korea.
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Zeki, Firas Muhammad, and Adil Hussein Mohammed Al-Dalawie. "Design and Implementation a Non-uniform Helical Antenna in Frequency Range of 450–850 MHz for Ultra-high-frequency Television Application." Cihan University-Erbil Scientific Journal 3, no. 2 (August 20, 2019): 75–79. http://dx.doi.org/10.24086/cuesj.v3n2y2019.pp75-79.
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In a domestic region, the people are living inside cities, they complaining from the weak of local TV broadcasting signals in frequency range of 450–850 MHz, in this paper try to get a solution by increase the gain antenna by design new antenna have a wideband and high gain compare with antennas are available in the local market. A non-uniform helical antenna designed using helical antenna calculator according to equations then implemented and measured the radiation pattern and gain of antenna, then compare with commercial loop antenna gain found increase in received power about 10–12 dB more than loop antenna gain. The results of measurement applied in Matlab program to draw the pattern of the antenna.
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Nursanti, Dian, Sutopo Patria Jati, and M. Zen Rahfiludin. "Stakeholder Mapping Analysis Of First 1000 Days Of Life Program In Semarang." Jurnal Manajemen Kesehatan Indonesia 5, no. 3 (December 31, 2017): 48–55. http://dx.doi.org/10.14710/jmki.5.3.2017.48-55.
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There is a gap between the implementation of the first 1000 days of life Program on the Implementation Guidelines in Semarang City, among others health workers are not well informed about the program, there is no specific structure in the implementation of first 1000 days of life program in Semarang City in accordance with the first 1000 days of life program Implementation Guidelines, and there has not been an integrated step from the Health Department related to the first 1000 days of life program, therefore it is necessary to analyze stakeholder mapping related to its role and function in supporting the 1000HPK program.This research is an observatioal research with qualitative method. Respondents in this study were representatives of stakeholders involved in the 1000HPK Program in Semarang City. In determining the respondents, the researcher uses purposive sampling to assess stakeholder perceptions on the level of influence of power, level of interest, and attitudes of each stakeholder linked to the role of each stakeholder and process indicator of the first 1000 days of life program.The modification group of the stakeholder classification model is as follows: Decision makers include: Regional People's Representative Assembly of Semarang City and BAPPEDA Semarang City, Provider: Health Office of Semarang City, IBI (Indonesian Midwives Association) Semarang City, IDI (Indonesian Doctors Association) Semarang City, Ministry of Religious Affairs Semarang, Education Office of Semarang City, and Academics. Client: PHC, Pregnant Women, Breastfeeding Mothers, Cadre (Dasawisma). Representative: FMM (Forum Masyarakat Madani), Business World, Print Media, Television Media.The results of identification of stakeholders of decision makers and client groups, all states support for the first 1000 days of life Program Process Indicators, but for the provider stakeholders there are groups in the "Time Bomb" position indicating that the stakeholders have not fully supported and directly involved in the first 1000 days of life Program.
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Beutelschmidt, Thomas, and Richard Oehmig. "Connected Enemies?" Television Histories in (Post)Socialist Europe 3, no. 5 (June 24, 2014): 60. http://dx.doi.org/10.18146/2213-0969.2014.jethc056.
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This article examines GDR television from a media-historical perspective with special focus on the inter- and transnational communication between Eastern and Western Europe in the Cold War until the dissolution of the separate spheres of power in 1990. It focuses on the development and function of the “Organisation Internationale de diffusion et de Télévision Radio” (OIRT), which was founded in 1946, and their network “Intervision”, founded in 1960, both centred in Prague. The OIRT, as an umbrella organization, coordinated cooperation between the TV-stations in the socialist community and represented their interests to the “European Broadcasting Union” (UER/EBU) and the “Eurovision” system. While “Intervision” handled the direct program traffic between the stations, exchange of movies and occasionally TV series was an autonomous field. A central conclusion is that the program transfer had a hand in a partial rapprochement and dialogue between East and West. In addition, these permanent relations triggered an early synchronization process with a tendency to cross-culture productions – even if the partial opening in Eastern Europe before 1990 brought only limited pluralism and could not contribute to genuine participation.
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Sew, Jyh Wee. "Hokkien as a Heritage Language of Citizenry in Singapore." Issues in Language Studies 9, no. 2 (December 3, 2020): 18–32. http://dx.doi.org/10.33736/ils.2393.2020.
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In examining Hokkien as a heritage language in Singapore, this discussion hopes to contribute to an enriching of the perception of citizenship in an ever-evolving national narrative towards one people (Mathew, 2017). The Singapore Census of Population statistics indicate that 11% of ethnic local Chinese households speak Hokkien. Singaporean television serials and movies that use Hokkien as the medium of narration achieve encouraging viewership and box office ratings, hinting that Hokkien is understood, or appreciated by a significant number of the local population as a language of prominence. Therefore, since Hokkien holds a key to common Chinese Singaporean cultural memories, this paper contemplates if learning Hokkien could cultivate a collective resilience when balancing professional, and personal challenges. To this end, 冰冰Show, a contemporary Taiwanese variety program available on YouTube, is used to evaluate the potential power of this language in nurturing citizenship.
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Nurdiarti, Rosalia. "Culinary Culture Construction in Indonesian Master Chef Show at RCTI." JCommsci - Journal of Media and Communication Science 2, no. 3 (September 13, 2019): 148. http://dx.doi.org/10.29303/jcommsci.v2i3.55.
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This research aims to uncover the construction of culinary culture, on the empirical level that presents a socio-political reality, where 'food' can trigger a constellation of interests over the power of certain groups. At the level of ‘symbolic’ food represents identity, language, culture and construction of reality. This phenomenon is symbolically present through television media, one of which shows the cooking competition of Indonesian Master Chef. This research uses textual analysis. By using Norman Fairclough's critical discourse analysis to uncover the construction of culinary culture in the Indonesian Master Chef program. This analysis uses three stages of practice of citizenship at the micro level (audio visual text), meso (consumption and production of text) and macro (connecting text networks with social conditions). The analysis of selected scenes reveals that: at the level of the text, culinary culture is present through menus with European and American tastes. The construction of discourse built on the process of consuming text reveals that, culinary culture reaps the "perception" of "best" taste in European and American cuisine.
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Fitri, Alifa Nur. "I Like Dangdut Chalange Dangdut sebagai Sebuah Society of Spectacle." Interaksi: Jurnal Ilmu Komunikasi 5, no. 2 (March 29, 2017): 166. http://dx.doi.org/10.14710/interaksi.5.2.166-176.
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Abstraksi:Now, we find so many challenge for charity, one of them and popular is Ice Bucket Challenge. The goal of challenge to helps research ALS disease, and this challenge success to help them. One of program television in Indonesia, Indosiar make a same challenge. This challenge not for help ALS patient but for help many children to get educate more better, and this program name is “I Like Dangdut Challenge”. I Like Dangdut Challenge is one of program in “D’Terong Show”one of popular dangdut program in Indosiar. This is form of epigonism, ALS get good response from people and Indosiar create same challenge to get good response too. Why Dangdut,not another genre music? Because Dangdut is music from Indonesia and many people young or old can enjoy it. This challenge invite artist, actor, public officials, minister, district head and society to show and dancing with dangdut music, and upload they video in Indosiar. Some public figure was following “I Like Dangdut Chellenge” is Aliando and Prily Ratuconsina, Ganjar Pranowo Governoor of Central Java, Ridwan Kamil Distric Head of Bandung, CEO of Semen Indonesia Dwi Soetjipto, Ignasius Jonan, Emirsyah Satar and Dahlan Iskan. Andrew N. Weintraub describtion Dangdut as repertoire (of song, text, and spin off stylke), a community(singer, arranger, mucisians, produser, and fans) a performance style (spectacular, excessive, and over the top) and a discource abaout social relations of power. (Andrew, 2010:15). And now Dangdut is different, not only for underclass but highclass too. Media make dangdut as a spectacle for society, from reality and make it to be a spectacle. Dangdut is a commodity for owner media, to get money, and the ways to society approve it is make it a spectacle to society. Keywords: Spectacle, Epigonism, Economy Political Media.
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Aminuyati, Aminuyati, and Mashudi Mashudi. "EKONOMI KELUARGA MAHASISWA PROGRAM STUDI PENDIDIKAN ILMU PENGETAHUAN SOSIAL JURUSAN PENDIDIKAN ILMU ILMU SOSIAL FAKULTAS KEGURUAN DAN ILMU PENDIDIKAN." Jurnal Pendidikan Sosiologi dan Humaniora 12, no. 1 (April 16, 2021): 42. http://dx.doi.org/10.26418/j-psh.v12i1.46328.
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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.
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Brockmeyer, J. W., A. C. Straub, and E. J. Krieg. "Ceramic Composite Attachments for Transmission of High-Torque Loads." Journal of Engineering for Gas Turbines and Power 116, no. 3 (July 1, 1994): 611–15. http://dx.doi.org/10.1115/1.2906863.
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The use of fiber-reinforced ceramic matrix composites (FRCMC) for advanced turbopump (T/P) hot-section components offers a number of potential advantages relative to the use of “conventional” materials. Among these advantages are reduced weight, enhanced life with reduced maintenance, and improved performance achievable by increasing the turbine inlet temperature. FRCMC are, however, emerging materials, and their design and analysis present unique challenges. These composites have relatively low thermal expansion coefficients and low strain-to-failure characteristics, and they have nonlinear, anisotropic properties. These characteristics particularly complicate the design of attachments to mating metallic components within a T/P. In an ongoing program, an FRCMC stator and rotor for a rocket engine T/P are being developed for eventual ground test demonstration. The rotor attachment is designed to transmit high-torque loads and provides an example of a design methodology that is compatible with current analytical capabilities. The approach used and described herein applies an empirically derived materials properties data base in combination with macromechanical analysis to reach a solution to this design challenge. This example demonstrates both the capabilities and the limitations of current design and analysis practices and provides direction for future development. A curvic coupling was chosen to meet the specific design goals and will be fabricated and tested to verify the design.
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Suryadi, Agus. "Rancang bangun Aplikasi Education Module Menggunakan Macromedia Flash Sebagai Alat Bantu Ajar materi Fantasy Untuk Anak Playgroup Berbasis Local Aren Network." JURTEKSI 4, no. 1 (December 4, 2017): 37–42. http://dx.doi.org/10.33330/jurteksi.v4i1.22.
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Abstract: Introduce computer technology as a medium of learning the child wisely early on the potential to improve learning ability in children and child develop self-confidence about the future. The reality of child loved the games and television entertainment programs not only viewed negatively, but rather as learning modalities. Provide educational type programs that can be done with a computer as a device supporting a new power of learning media. Children not only learn computer skills, but also utilize the computer as a means or medium for learning. To get optimum benefit Teachers can integrate the use of computers as a medium in the learning process and focus on high-order thingking skill. Fantasy Drafting module aims to develop the potential and effectiveness of learning in early childhood or playgroup, where the module is designed as an education module to read and write the material fauna and flora, coloring and coloring as well. Module proram also implemented into the Local Area Network networking technology to be applied easily and efficiently. Keywords: education module application, tool, fantasy Abstrak: Mengenalkan teknologi komputer sebagai media pembelajaran kepada anak sejak dini secara bijaksana berpotensi untuk meningkatkan kemampuan belajar pada anak dan mengembangkan rasa percaya diri anak akan masa depannya. Realitas anak sangat menyukai games dan program-program hiburan televisi tidak seharusya hanya dipandang negatif, namun lebih sebagai modalitas belajar. Menyediakan program sejenis yang edukatif bisa dilakukan dengan komputer sebagai perangkat pendukungnya menjadi kekuatan baru media pembelajaran. Anak bukan saja belajar ketrampilan komputer, namun juga memanfaatkan komputer sebagai sarana atau media untuk belajar. Guna mendapatkan manfaat optimal Guru bisa mengintegrasikan penggunaan komputer sebagai media di dalam proses pembelajaran dan fokus kepada high order thingking skill. Perancangan modul fantasy bertujuan untuk mengembangkan potensi dan keefektifan cara belajar pada anak usia dini atau playgroup, dimana modul dirancang sebagai education module dengan materi baca dan tulis fauna serta flora, mewarnai dan juga mewarnai. Modul proram diimplementasikan pula ke dalam teknologi jaringan Local Area Network agar dapat di aplikasikan dengan mudah dan efisien. Kata Kunci : aplikasi education module, alat bantu, fantasy
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Falski, Maciej. "Semiotics of the “third force”." Narodna umjetnost 56, no. 1 (July 2, 2019): 27–40. http://dx.doi.org/10.15176/vol56no102.
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The present paper analyzes the media representation of the idea of the “third force” in politics. The research focuses on how the notion is being staged and visualized in order to create the impression of a new and fresh agent in the race for power. The case of MOST, a political coalition which gained importance in the 2015 Croatian parliamentary election, seems particularly important and adequate for the purpose. I do not discuss programs, political aims or visions of the main political parties. Rather, I propose a semiotic analysis of public communication. Attention will be paid to performative aspects of television broadcasts, organization of the space where negotiations were held, visual relations between political actors. The broadcasts, and the broadly taken space of public contact, will be treated as a stage, and actions taking place on such a stage as a political drama, with a screenplay which may be, but is not necessarily, conscious and planned. When seen from this perspective, the focus of interest does not lie on the purposeful layout of seating in a meeting or a public communique, but on unconscious cultural patterns which have a great impact on our decisions, choices, and perceptions. Ultimately, the electoral success of MOST was related not only to its program, but also–or maybe mostly – to its performative policy and its consistent positioning as a new actor in the political field.
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Azad oğlu Aslanov, Rəşid. "Management of animation in tourism." SCIENTIFIC WORK 65, no. 04 (April 21, 2021): 151–53. http://dx.doi.org/10.36719/2663-4619/65/151-153.
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Animation is a Latin word meaning animation in our language. It is taken from the French word "Anime" and is located in our language. In French, the word "anime" means animation. Animation generally involves all animation systems. Even the animation of an animal by a group of actors on the stage is a form of animation. Computer-generated cartoons, etc. animations are also called animations. Today such animations are used for television and cinema. If we want to look for animation as a paragraph, we should look for it in the section "Entertainment services in tourism". In order to ensure that tourists have a good time and increase the demand for work, great efforts are made to use all the animations as a result. Any entertainment, to present an interesting program, is a set of all activities aimed at activating guests, that is, all animation activities. "Animator" is used in the sense of a person who animates, performs and moves. Animation has emerged as a social phenomenon. Since primitive communities, animations have been used in various ceremonies. Animations made using face painting, masks and accessories are still very common. It has become an indispensable element of gatherings and events. Although it has undergone certain changes over time, animation is a social activity that retains all the animating power it seeks to convey to people. Key words: animation, animation in tourism, tourism, management
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Cornish, Gabrielle. "Music and the Making of the Cosmonaut Everyman." Journal of Musicology 36, no. 4 (2019): 464–97. http://dx.doi.org/10.1525/jm.2019.36.4.464.
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This article repositions the space race as a sonic phenomenon by analyzing music and sounds related to the Soviet space program. Early triumphs such as the orbit of Sputnik I in 1957, Yuri Gagarin’s groundbreaking orbital flight in 1961, and Valentina Tereshkova’s success as the first woman in space in 1963 epitomized the complexities of the cultural Cold War and the utopian underpinnings of the Thaw. Space, the ultimate nonaligned sphere, was a new world for the planting of real and ideological flags. At the same time, these successes were key to reimagining the ideals of Soviet citizenship and national identity in the post-Stalin era. Heating up at a moment of great change and consequence, the space race provides an inroad to examine how music, media, and sound helped spread these emerging values. Drawing on the popular press, radio broadcasts, and variety television performances, this article demonstrates how music was used to humanize the cosmonauts and promote a new personal ethics—one that prized approachability and humility alongside heroism and bravery. The divergent ways that composers and performers celebrated Gagarin and Tereshkova reveal a complex politics of gender during the Thaw. Gagarin, the conqueror, was revered in marches extolling his colonizing feats; Tereshkova, the homemaker, was celebrated with romances and tales of domesticity. By demonstrating the prevalence of new media and the power of participatory practices in the sonic space race, this article contributes to our understanding of the cultural Cold War as a lived and performed experience.
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Lestari, Sri Budi, Suhartono Wiryopranoto, and GR Lono Lastoro Simatupang. "Negotiation of Gender Relations Meaning among Female Interpretation Community in Housing and Village Settlement." KOMUNITAS: International Journal of Indonesian Society and Culture 6, no. 2 (December 20, 2014): 189–96. http://dx.doi.org/10.15294/komunitas.v6i2.3270.
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The sitcom of Husbands fearing Wives (SSTI-Suami-Suami Takut Istri), is one of the private television sitcoms which highlights violence as a joke to provoke laughter of its audiences. In SSTI, the joke involves the concept of gender, exchanging the role of women and men which has been socially and culturally constructed. One of the main objectives of this study is to analyze the role of the interpretation community in understanding the gender relations in SSTI sitcom. The study aims to discover the media interpretation by a group of female audiences living in the village and sub-district of Tembalang, Semarang. The results show that the negotiation of interpretation community on SSTI sitcom is not in line with the goal of the media; because the nature of men and women roles that are exchanged is interpreted as an abnormal relation. Therefore, the hierarchical power relation between men and women which tends to disadvantage women, for interpretation community is regarded as a normal & natural.Tayangan sinetron komedi Suami-suami Takut Istri (SSTI), merupakan salah satu program televisi swasta yang menonjolkan kekerasan sebagai lelucon untuk tujuan memancing tawa. Dalam prakteknya SSTI melibatkan konsep jender, yang mempertukarkan sifat-sifat perempuan dan laki-laki sebagai hasil kontruksi secara sosial maupun kultural. Salah satu tujuan penelitian ini ingin menganalisis peran komunitas interpretasi dalam pemaknaan tentang relasi jender pada tayangan sinetron SSTI. Penelitian ini berlangsung pada penonton perempuan yang tinggal di perumahan dan perkampungan wilayah kecamatan Tembalang, kota Semarang. Hasil penelitian menunjukkan bahwa negosiasi komunitas interpretasi pada tayangan sinetron SSTI tidak sejalan dengan arahan media karena ternyata sifat laki-laki dan perempuan yang dipertuarkan dimaknai sebagai relasi yang tidak normal. Dengan demikian relasi kuasa hirarkis antara laki-laki dan perempuan yang cenderung merugikan perempuan bagi komunitas interpretasi justru dianggap sebagai suatu relasi yang normal serta dipahami sebagai kodrat kultural.
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Buggy, D. "After a Sharp Decline in HPV Vaccine Rates From 87% to 50%, Irish Health Experts, Politicians and NGOs Joined Forces To Turn The Tide, Helping to Increase Vaccination by 11%. This Is How We Did It." Journal of Global Oncology 4, Supplement 2 (October 1, 2018): 145s. http://dx.doi.org/10.1200/jgo.18.36000.
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Background and context: Just three years ago, in 2015, HPV vaccination uptake in Ireland was running at 87%. The school-based program was going well, and thousands of girls had completed a two-dose vaccination course which will significantly reduce their risk of cervical cancer and other HPV-related diseases. This was achieved with limited public health messaging. Then an online campaign to undermine the vaccine began to gather momentum. A small number of stories surfaced on social media claiming links between the timing of the vaccination campaigns and the subsequent development of illnesses. The campaign against the vaccine went viral on social media, local radio - and, in November 2015, on a commercial television station - fear began to trump science. In the summer of 2016, when preliminary figures showed uptake had hit 50%, the Irish Cancer Society commenced a campaign to take decisive action. Aim: To reverse the decline in HPV vaccine and restore uptake to previous levels above 80%. Strategy/Tactics: For health campaigners, such as the Irish Cancer Society, the problem of falling HPV vaccine uptake was a perplexing one. The society had pushed hard for the introduction of the HPV vaccine which commenced in 2011. To address the problem the Irish Cancer Society developed an advocacy campaign which eventually led to the establishment of the HPV Vaccination Alliance, a large group of leading health, children and women's groups, with the aim of ensuring that the public saw a broad coalition standing up for the vaccine. The Alliance has simple and consistent messages - including the fact that 40 women will die each year as a result of parents opting out of the vaccination program. Work was done to ensure that politicians were strongly supportive of the vaccine including political briefings with politicians who had previously sought to question its effectiveness. Young women with cervical cancer endorsed the campaign. The Minister for Health strongly endorsed the vaccine. The credibility of support groups for those with reported side effects of the vaccine was undermined by highlighting their links with national and international antivaccine activists as well as highlighting their repeated refusal to answer questions about where they spent money raised from the general public. Outcomes: Figures show uptake of the vaccine has increased to 61% in 2017 - up from 50% in 2016. What was learned: Not enough was done to support the initial implementation of the vaccine which created an information vacuum and under informed vaccination teams. The answer was a classic example of good public health advocacy in action demonstrating the power of alliances delivering consistent, clear and simple messaging.
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MARKOV, ALEXANDER V. "APPLICABILITY OF HAUNTOLOGY TO THE STUDY OF THE ORIGINS OF SCREEN ARTS." ART AND SCIENCE OF TELEVISION 17, no. 2 (2021): 217–37. http://dx.doi.org/10.30628/1994-9529-2021-17.2-217-237.
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The article discusses the possibility of making hauntology one of the methods of studying screen arts at the stage of their formation, which might make it possible to correctly interpret the use of early screen arts techniques in later cinema and television broadcasts. Hauntology is a method backed by a program of research into social life and the role of associations in maintaining stable communicative structures, which program is based on the assumption of “ghosts” as cultural actors inherently belonging to the cultural order. Based on the ideas of Jacques Derrida and Mark Fischer, going back to Sigmund Freud’s methods of studying the “uncanny” and “effect of reality”, hauntology claims that ghosts determine the modes of nostalgia and user orientation of a number of screen and visual arts, in particular, the visual principles of modern musical culture. Although hauntology researchers focus extensively on the world of ghosts in the culture of the 19th century, they limit themselves to private remarks and often optimistically presume the fact that the plot rationality ultimately triumphs over the power of ghosts. However, this contradicts both the actual history of the culture then, and the basic principles of hauntology, which asserts that ghosts cannot be fully rationalized. Therefore, the article proposes a visual-critical hauntology, which allows us to explain how visualization techniques contributed to the rationalization of ghostly existence, and how, to create the effect of reality, a screen was required as the basic method of this visualization. Vladimir Toporov’s work on the mystical prose of Turgenev provides the main source of visual-critical hauntology thus proving the need for screen projection to express the author’s position in the era under consideration. The article establishes a connection between the ghostly statuses and the need for a screen reflection mode, which provides a consistent description of psychological reality. It is pointed out that a number of literary experiments of the Victorian era require a screen medium as a basis for understanding the independent sequence of events, from the plot of internal psychological transformation in Dickens’s A Christmas Carol to the “unreliable storyteller” technique in Henry James’s The Turn of the Screw. Visual-critical hauntology, referring to the history of psychology, the decisions of directors, especially Hitchcock, indisputably proves that it is possible to cope with ghosts and rationalize them not with the help of everyday life staging, as it is usually considered, but with the help of its adaptation, which allows to apply emerging technology for creation long-term effect of reality.
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Mohammed, S., Z. Bagudu, and A. Aliyu. "Kick Out Cancer Campaign." Journal of Global Oncology 4, Supplement 2 (October 1, 2018): 185s. http://dx.doi.org/10.1200/jgo.18.62900.
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Amount raised: N17,307,000 Background and context: The power of games for social change is well documented. Football, the world's most popular game is a common passion shared by most Nigerians across all divides. It defies all barriers and unites people globally. Beyond the potential for cancer awareness creation using football games, it can also be used to raise funds for cancer course. Aim: The aim was to increase cancer awareness via community participation and involvement as well as raise funds for cancer patients. To encourage the population to engage in healthy lifestyles and physical activities in lowering the risks of cancer. Strategy/Tactics: We partnered with the League Management Company- Nigeria Professional Football League and the Nigerian Football Federation (NFF) for technical support to portray a tone of professionalism in our novelty football tournament. We worked a long side with expert active, retired, Nigerian and international professional footballers as well as artists to bring out in mass fans and the community at large toward achieving our goals. Radio and television jingles were made to ensure maximum reach out to the masses. Social media hype was done where some selected players called on to their fans to get involved. An awareness 5-km walk was organized where kits (T-shirts, face caps, wrist bands) were sold in addition to the tickets for the tournament. Footballers signed on various T-shirts which were auctioned during the tournament as well as arts and jewelry. Program process: Active and retired footballers were engaged as well as prominent local artist to bring out crowd in mass crowd that benefitted in this campaign. All transactions made were through the foundation's account for credibility. Costs and returns: Costs: media and logistics - N1,000,000, walk kits and jerseys - N1,500,000, food and refreshments - N1,300,000, security - N200,000, event planners - N300,000, kids corner - N500,000. Total N4,800,000 Returns: tickets and coupon sales - N1,057,000, walk kits sold - N 3,050,000, players registration - N200,000, teams registration - N4,000,000, stands sold - N250,000, auctioned art - 1,000,000, auctioned jerseys - N1,500,000, auctioned jewelry - 250,000, donations received - N10,800,000. Total N22,107,000 What was learned: A lot can be achieved collectively as a community in reducing the burden of costs in the treatment of cancer.
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Setiawan, Afrizal Yudha. "Fenomena Ajang Pencarian Bakat di Indonesia Ditinjau dari Perspektif Poskolonial." Indonesian Journal Of Performing Arts Education 1, no. 1 (January 31, 2021): 18–22. http://dx.doi.org/10.24821/ijopaed.v1i1.4920.
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AbstractThis article aims to examine the phenomenon of Indonesia's talent search arena using a postcolonial perspective. Various talent search programs in Indonesia are imported products, which can be interpreted as an effort to globalize Indonesia. This has indirectly changed the Indonesian people's mindset and culture, one of which is the taste of music, which prefers westernized songs. Postcolonial can be interpreted as a form of analysis unit that can be used to study the form of the new cultural colonial phenomenon, primarily carried out by the west towards nations in the developing (eastern) category of regions. The form of colonialism that occurred was no longer physical colonialism. However, colonization was carried out through language texts, culture, and the development of a negative image of the east by the west, hegemony as a form of power practice. The postcolonial approach in looking at the phenomenon of the talent search arena in Indonesia can provide an overview of how western culture enters Indonesia and hegemony through television media. This form of hegemony is represented in the talent search event, which is full of westernized nuances. The meaning of western culture can be conveyed to the audience and constructed within the audience.AbstrakArtikel ini bertujuan untuk mengkaji fenomena ajang pencarian bakat di Indonesia, dengan menggunakan perspektif poskolonial. Berbagai program ajang pencarian bakat di Indonesia merupakan produk import, yang dapat dimaknai sebagai upaya untuk mengglobalkan Indonesia. Hal tersebut secara tidak langsung telah mengubah pola pikir dan kebudayaan masyarakat Indonesia salah satunya seperti selera musik, yang lebih menyukai lagu bernuansa kebarat-baratan. Poskolonial dapat dimaknai sebagai sebentuk unit analisis yang dapat digunakan untuk mengkaji bentuk fenomena penjajahan kebudayaan model baru terutama yang dilakukan oleh Barat terhadap bangsa-bangsa yang ada di kategori wilayah yang sedang berkembang (timur). Bentuk penjajahan yang terjadi tidak lagi penjajahan secara fisik, namun penjajahan dilakukan melalui budaya, teks bahasa, dan pembangunan citra negatif tentang timur oleh barat, menghegemoni sebagai bentuk praktik kekuasaan. Pendekatan poskolonial dalam memandang fenomena ajang pencarian bakat di Indonesia dapat memberikan gambaran tentang bagaimana budaya barat masuk ke Indonesia dan menghegemoni melalui media televisi. Bentuk hegemoni tersebut direpresentasikan dalam acara ajang pencarian bakat yang sarat akan nuansa kebarat-baratan, sehingga makna kebudayaan barat tersebut dapat tersampaikan kepada audience dan terkonstruksi dalam diri audience.
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Lotz, Amanda D., and Kevin Sanson. "Foreign Ownership of Production Companies as a New Mechanism of Internationalizating Television: The Case of Australian Scripted Television." Television & New Media, June 30, 2021, 152747642110272. http://dx.doi.org/10.1177/15274764211027222.
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This article explores the rise in foreign television production company ownership at the beginning of the twenty-first century as a new mechanism of internationalization. It joins mechanisms such as foreign program sales and transnational satellite channels in shifting television further from its domestic origins. To date, examination of television’s internationalization has focused on programs and programming. Foreign ownership may be a less obvious “cultural” form of business internationalization, but it nevertheless affects the television culture made available in many places and poses consequences for cultures of consumption. Foreign ownership also opens up new avenues of inquiry for global television scholars to question the shifting geographies of power in the field of television production.
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Hartiningsih, Hartiningsih. "Sikap Masyarakat Terhadap Tayangan Kekerasan di Televisi Swasta." Jurnal Penelitian Pers dan Komunikasi Pembangunan 17, no. 3 (February 19, 2014). http://dx.doi.org/10.46426/jp2kp.v17i3.4.
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Study of public response to the violence on private televisions show has been done in Banjarmasin. The goal of study was to know public response by cognitive view and affective. By quantitative and descriptive analyzes, the result of study indicated that knowledge society to violence is too significant. Long duration and intensity to watch daily program television such news, entertainment, etc, not only create knowledge society to diversity and violence cases, but also emotional between agree and disagree to violence on television. Television show in news, not pared in detail, vulgar, and insistently, get positif response by public. Because television had power of penetration, easy to be understood, so the management of television program should be wise and not establishing violence as the main program (submissive to the law).
Keywords: Response , Violence Show, Television, Private TV Company
ABSTRAK
Penelitian sikap masyarakat terhadap tayangan kekerasan di televisi swasta dilakukan di Kota Banjarmasin. Tujuannya untuk mengetahui sikap masyarakat dilihat dari sudut kognisi maupun afeksi terhadap tayangan kekerasan di televisi. Melalui metode survey dengan analisis deskriptif hasil penelitian mengindikasikan bahwasanya pengetahuan masyarakat terhadap tayangan kekerasan di televisi sangat signifkan. Durasi menonton yang cukup lama degan intensitas menonton yang juga sangat sering (setiap hari) melalui berbagai program, seperti berita, film, sinetron, sebagainya, bukan saja membentuk pengetahuan (mampu mengingat dan menjelaskan) terhadap aneka ragam dan bentuk kasus kekerasan, tetapi juga membentuk sikap emosional antara setuju dan tidak setuju pada tayangan kekerasan. Tayangan dalam bentuk pemberitaan yang obyektif, apa adanya, tidak rinci, vulgar, dan tidak ditayang ulang berkali-kali mendapat respon positif dari masyarakat. Sebaliknya, tayangan yang berulang–ulang, terkesan sensasional, dimuat dalam kemasan lain dengan waktu tayangan lama (berminggu), dibenci/tidak disetujui masyarakat. Karena televisi memiliki daya penetrasi mudah dimengerti dan dipahami, maka sudah seharusnya pengelola tevisi berlaku bijak, tidak menjadikan kasus kekerasan sebagai bagian tayangan utama untuk mendongkrak rating, (patuh pada undang-undang yang berlaku)
Kata Kunci: Sikap, Tayangan Kekerasan, Televisi, Perusahaan TV Swasta
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"Tensions Rise Between the United States and North Korea." American Journal of International Law 112, no. 1 (January 2018): 95–100. http://dx.doi.org/10.1017/ajil.2018.4.
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On November 29, 2017, North Korea test-fired a ballistic missile that North Korean officials claim can deliver a nuclear warhead to any city in the United States. According to North Korea's leader Kim Jong Un, the missile launch “finally realised” the nation's ambition “of completing the state nuclear force, the cause of building a rocket power.” At the same time, U.S. officials have reiterated that “[t]he United States does not accept a nuclear North Korea.” As a result, North Korea's fast-expanding nuclear weapons program has exacerbated the already fraught relations between the two countries.
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Tsai, Wen-Hsuan, and Xingmiu Liao. "A Mechanism of Coded Communication: Xinwen Lianbo and CCP Politics." Modern China, June 8, 2020, 009770042092020. http://dx.doi.org/10.1177/0097700420920204.
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Studies of the official media of the Chinese Communist Party (CCP) have long focused on interpretations of political propaganda. In this article, we propose another model—the “secret code communication” model. We find that the main audience for some of the official media consists not of members of the public but rather cadres. The China Central Television (CCTV) program Xinwen Lianbo is a typical example. The program operates according to a very obscure political code. By watching and decoding Xinwen Lianbo, cadres can see that Xi Jinping is firmly in power. They can also gain insight into the policy directions favored by the CCP. Xinwen Lianbo thus acts as a mechanism for communication within the party using a code that can only be deciphered by insiders.
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Meyers, Cynthia B. "Advertisers and American Broadcasting: From Institutional Sponsorship to the Creative Revolution." Business History Review, August 23, 2021, 1–35. http://dx.doi.org/10.1017/s0007680521000222.
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American broadcasting, unique among media industries, relied on sponsors and their ad agencies for program content from the 1920s through the 1950s. Some sponsors broadcast educational or culturally uplifting programs to burnish their corporate images. By the mid-1960s, however, commercial broadcasting had transformed, and advertisers could only buy interstitial minutes for interrupting commercials, during which they wooed cynical consumers with entertaining soft-sell appeals. The midcentury shifts in institutional power in US broadcasting among corporate sponsors, advertising agencies, and radio/television networks reflected a fundamental shift in beliefs about how to use broadcasting as an advertising medium.
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Mast, Jelle. "‘Realityshow’-productie(s) en professionele ethiek: discussiepunten, dimensies, en discours van programmamakers en deelnemers." Tijdschrift voor Communicatiewetenschap 41, no. 4 (December 1, 2013). http://dx.doi.org/10.5117/2013.041.004.402.
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The ethics of ‘reality show’ production(s): Issues, dimensions, and discourses of program-makers and participants The ethics of ‘reality show’ production(s): Issues, dimensions, and discourses of program-makers and participants In this article we elaborate the ethical issues of ‘intrusion’, ‘humiliation’, and ‘misrepresentation’ as related to the production of ‘reality shows’. Our focus is on dilemmas between moral and professional values or loyalties, and the (potentially) harmful treatments and responsibilities emerging from the power differential between program-makers and participants. The present study is grounded in insights drawn from the literature on documentary, media and image ethics, and cultural production studies. These are integrated with primary data obtained through semi-structured interviews with 12 television professionals and 25 participants of ‘reality shows’, (co-)produced in Flanders (and the Netherlands). We argue for a position that touches a middle ground between an ‘incident-centered ethics’ and an all-encompassing critique, pointing out structural factors, while allowing for measures of agency and differentiation. It is also concluded that ethical considerations need to be brought more squarely into the day-to-day calculations of ‘reality’-program-makers.
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Mulyani, Henny Sri, and Herlina Agustin. "PENGGUNAAN MEDIA KOMUNIKASI DALAM SOSIALISASI PROGRAM URBAN FARMING DI KOTA SURABAYA." Journal Acta Diurna 14, no. 1 (April 30, 2018). http://dx.doi.org/10.20884/1.actadiurna.2018.14.1.1141.
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Communication media is a source of power, a control tool that can be utilized as a substitute for poweror other resources, besides the media is a vehicle that plays a role to socialize the events of communitylife both individually and collectively. To provide food availability independently and sustainably itneeds a breakthrough program through the concept of gardening in the yard of the house or the use ofempty land for planting productive crops. The purpose of research to find out how the background ofmedia usage, type of media used and the form of presentation of messages used in the socialization ofurban farming program in the city of Surabaya. The research method used is descriptive qualitativewith data collection interview, observation and literature study. The results showed that the delivery ofagricultural messages in urban areas from the Surabaya City Agriculture Office to poor families(Gakin) scattered in 31 sub-districts did not use mass media on the grounds that the gakin communityrarely mengengan radio, see television and read the print media so generally the delivery of directmessages done facilitator in this case PPL to poor community society by direct way of technicalguidance in the form of group. Media used more to media antarpersona communication. Messagedelivered on how to do urban farming activities for vegetables with a short harvest period ofapproximately one month, the use of narrow land in the yard so as to support household-scale foodsecurity and add green or green open space.
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Zeng, Wenna, and Kara Chan. "Heroism as Narrative Strategy: Children’s Animation and Modernity in Chinese TV." Television & New Media, June 25, 2020, 152747642093358. http://dx.doi.org/10.1177/1527476420933584.
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Entertaining animated television programs often carry significant educational and national discourses that are rarely given much scholarly attention. This article examines the Chinese children’s animation program Boonie Bears and explores its narrative strategies in portraying heroism. By employing content analyses, in-depth interviews, and focus groups, the article discusses how producers construct animation heroes according to the ideological framework of the Communist Party, economic preferences embedded in the Chinese market, and broader cultural expectations held by society. Finally, this article offers a preliminary exploration of the collaboration between political power and market forces in children’s animation, thus revealing the changing needs and interests of the government, producers, and audiences in the process of modernization, and the social significance of animation in Chinese modernity.
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Holloway, Donell. "Sharing Foxtel." M/C Journal 6, no. 2 (April 1, 2003). http://dx.doi.org/10.5204/mcj.2163.
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The kids in our house are making a public comeback. They are surfacing from the private recesses of the house out into the more communal space of the family lounge room. After years of being holed-up in their bedrooms they are back – thanks to pay TV. Foxtel has presented them with a smorgasbord of programs, tempting enough to entice even the most die-hard gamer or teenage recluse out of the bedroom and into the throes of lounge room politics. In some ways, our newly populated lounge room is reminiscent of David Morley’s Family Television with television viewing “situated firmly within the politics of the living room”(19). This article explores the notion that the introduction of pay TV in Australia challenges the general movement towards an individualisation of media consumption in the family home. Due to pay TV’s limitations of one outlet per household, children and teenagers are leaving the privacies of their own bedrooms and returning to the family lounge room. With this return, many family members are having to relearn the art of sharing (or getting your fair share of) this limited resource. This situation may also be a particularly Australian one, as it seems that pay TV with its multi-channel viewing is more readily available on multiple television sets within homes in other countries (Tidhar, Chava and Nossek 16) Family television viewing seems to be part of a relatively recent (round the hearth) tradition, which followed from the family piano, phonograph and the radio. These traditions re-established the home and family as a place where parental authority overrode the dangers of the outside world. Radio broadcasters in the 1940s endorsed the family radio as a way to promote family togetherness because (as they saw it) “the house and hearth have [had] been largely given up in favour of a multitude of other interests and activities outside, with the consequent disintegration of family ties and affections” (Lewis qtd. in Flichy 158). Television viewing followed suit as another round-the-hearth family tradition during the earlier period of domestic television. David Morley (1986) explored the domestic consumption of television in the context of everyday family life during this time, a time when only one television set was available to most families – a time when dads, and the occasional mum, ruled the television viewing habits of the family. Morley’s approach to television viewing was one in which the household (or family) was central to interpreting the television audience; where there were gendered regimes of watching and program choice which often reflected existing power relationships in the home. Today most Australian families have more than one television set (Department of Foreign Affairs and Trade), leading the way to more individualised and fragmented modes of television watching within Australian homes. The introduction of computers, the Internet and video consoles in many family homes seems to have further dispersed family members to more private spaces in the family home, diffusing existing conflict surrounding the family television. Therefore, "if television once brought the family together around the hearth, now domestic technologies permit the dispersal of family members to different rooms or different activities within the same space" (Livingstone 128). The geographical migration of the television set, along with new digital technologies, to the bedrooms and secondary living spaces in many family homes has brought with it new dynamics for social space within the household and a “reciprocal (re)construction of the meanings and functions of both the technological objects and the domestic spaces they inhabit” (Caron 3). Equipping bedrooms with television and digital technologies has the ability to change the room’s conventional usage – both spatially and temporally. In this way our 11-year-old’s bedroom has been transformed into a specialised bedroom culture – a gamer’s paradise. By locating a television and game console in this bedroom the technologies are identified as personal property while at the same time allowing for a space that functions as both communal and private, for sharing with siblings and friends and solitary gaming. The upside of this general movement towards a separate bedroom culture (or private media spaces) is that there are more spaces to engage with media technologies and therefore more viewing choice for family members. These extra media spaces have freed up the lounge room possibly allowing for more harmony and accord within the family, while at the same time bringing about the opportunity for some family members to retreat from the social togetherness of family television viewing. However, with the limitations of one outlet per household in Australian pay TV, the lounge room has again become the focus of family television viewing in some Australian homes. With over twenty percent of Australian homes now subscribing to pay TV (Australian Film Commission) some Australian families may again be experiencing the togetherness (and the inevitable struggles) of sharing one television set. In the days when one television set was the norm, Morley explored the way in which family viewing habits reflected existing power relationships in the home, focussing mainly on issues concerned with gender and class in the UK home. Twenty years later, in our house on the other side of the world, similar battles are taking place – Dragonball Z vs. Ocean Girl, Robot Wars vs. Buffy and World Series Cricket vs. Changing Rooms. However, unlike Morley’s Family Television the results of these gendered battles are too close to call. Perhaps, with forty or more channels to choose from, and programs designed to appeal to specific family members, the stakes are even higher and the battle has only just begun. Today’s media-rich home environments, with multiple television sets and digital technologies, seem to have gone some way to resolving household conflicts over television viewing allowing for more choice and individualisation of media consumption. However, the introduction of pay TV in Australia has seen a return to the living room politics of family television viewing somewhat reminiscent of Morley’s Family Television where sharing the family television reflected and highlighted existing family power relationships and struggles. Works Cited Australian Department of Foreign Affairs and Trade. Australia in Brief: Way of Life. Commonwealth of Australia. 2 March 2003 <http://www.dfat.gov.au/aib2001/media.php>. Australian Film Commission. Get the Picture: Fast Facts. 2002. 3 March 2003 <http://www.afc.gov.au/GTP/wptvfast.php>. Caron, Andre. "New Communication Technologies in the Home: A Qualitative Study on the Introduction, Appropriation and Uses of Media in the Family." Young People and the Media. Sydney: International Forum of Researchers, 2000. Livingstone, Sonia. "The Meaning of Domestic Technologies: A Personal Construct Analysis of Familial Gender Relations." Consuming Technologies: Media and Information in Domestic Spaces. Eds. Roger Silverstone and Eric Hirsch. London: Routledge, 1992. 113-30. Morley, D. Family Television: Cultural Power and Domestic Pleasure. London: Routledge, 1986. Tidhar, Chava E., and Hillel Nossek. "All in the Family: The Integration of a New Media Technology in the Family." Communications 27 (2002): 15-34. Links http://www.afc.gov.au/GTP/wptvfast.htmlhttp://www.dfat.gov.au/aib2001/media.html Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Holloway, Donell. "Sharing Foxtel" M/C: A Journal of Media and Culture< http://www.media-culture.org.au/0304/06-sharingfoxtel.php>. APA Style Holloway, D. (2003, Apr 23). Sharing Foxtel. M/C: A Journal of Media and Culture, 6,< http://www.media-culture.org.au/0304/06-sharingfoxtel.php>