Relevant bibliographies by topics / Television genre

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Television genre'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 July 2025

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Journal articles on the topic "Television genre"

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Tsimokh, Natalia. "Trends in the Development of Genres of Modern Television Programs." Culture and Arts in the Modern World, no. 18 (June 15, 2017): 201–19. https://doi.org/10.31866/2410-1915.18.2017.155696.

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Research aim. To analyse classification of genres of modern television, and educe reasons, that assisted birth of the new CRT forms, переосмисленню of traditional genres, becoming of new types of the televisional broadcasting. To extend an idea about genre aspects and investigate progress of genres trends on modern television. Research methodology. By means of analysis of modern telecasts, to investigate socio-economic and political changes in the state, that influenced on diffusions of all genre system, educe reasons that assisted the origin of new genre formations, and also educe b
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Tsimokh, Natalia. "Trends in the Development of Genres of Modern Television Programs." Bulletin of KNUKiM. Series in Arts, no. 40 (June 5, 2019): 11–17. https://doi.org/10.31866/2410-1176.40.2019.173958.

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The purpose of the research is to analyze the technology of creating television programs and to identify the causes and consequences of the use of new genres, methods and techniques; consider the process of merging or replacing one genres with others, the emergence of new genre formations, the creation of new television forms; explore the genre aspects of television products. The research methods. Together with the general scientific methods (analysis, synthesis, generalization), system analysis was used, which made it possible to characterize the integration of the latest technologies, genres
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García-de-Castro, Mario. "Renewal movements in the Spanish television series." Comunicar 15, no. 30 (2008): 147–53. http://dx.doi.org/10.3916/c30-2008-02-008.

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The present paper analyzes the results of a qualitative investigation developed by the Spanish public television on the values and characteristics of the national television fiction genre, as well as other aspects of its latest evolution. The conclusions of this qualitative analysis and the audience ratings confirm the hegemony of the genre within the generalist television programming. In the same sense, the paper analyzes its latest tendencies and what is called the last renewal of domestic television fiction. El presente trabajo analiza los resultados de una investigación cualitativa desarro
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Morney, Elisabeth, and Hanna Vilkka. "Lajityypit ylittävä laatu televisio-ohjelmissa." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 34, no. 4 (2021): 40–56. http://dx.doi.org/10.23994/lk.112963.

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Artikkelin tavoitteena on kuvata televisioalan tekijöiden näkemyksiä laatukriteereistä sekä sitä, millaisia lajityypit ylittäviä laatukriteereitä löytyy audiovisuaalisella alalla. Aineisto on koottu Yhdysvalloissa ja Suomessa haastattelemalla alan ammattilaisia, jotka toimivat tuottajina, ohjaajina, kouluttajina tai johtavissa asemissa palkintojärjestöissä.Analyysi on toteutettu fenomenografisesti. Laatukeskustelun ja televisio-ohjelmien keskinäisen vertailun tuloksena nousi esiin kolme lajityypit ylittävää laatukriteeriryhmää. Nämä ryhmät ovat 1) ammattitaito, 2) vaikutus ja 3) suosio.Avainsa
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Peruško, Zrinjka, and Antonija Čuvalo. "Comparing Socialist and Post-Socialist Television Culture." Television Histories in (Post)Socialist Europe 3, no. 5 (2014): 131. http://dx.doi.org/10.18146/2213-0969.2014.jethc063.

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This article builds a theoretical model for comparative analysis of media culture based on the notion of genre, and applies it to a comparative analysis of television as a cultural form in socialist and post-socialist Croatia. The paper explores how the shares and generic composition of program modes of information, entertainment and fiction change in time, and how the contribution of different genres to program flow and modes varies with the changes of political, economic and technological context. Longitudinal trends in television flows are comparatively evaluated in relation to trends in ge
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Rodman. "Television Genre / Musical Genre / Expressive Genre." American Music 37, no. 4 (2019): 435. http://dx.doi.org/10.5406/americanmusic.37.4.0435.

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Stiernstedt, Fredrik, and Peter Jakobsson. "Watching reality from a distance: class, genre and reality television." Media, Culture & Society 39, no. 5 (2016): 697–714. http://dx.doi.org/10.1177/0163443716663643.

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The cultural significance of reality television is based on its claim to represent social reality. On the level of genre, we might argue that reality television constructs a modern day panorama of the social world and its inhabitants and that it thus makes populations appear. This article presents a class analysis of the population of reality television in which 1 year of television programming and over 1000 participants have been analysed. The purpose of this analysis is to deepen our understanding of the cultural and ideological dimensions of reality television as a genre, and to give a more
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Rushanova, N. B., K. S. Mamyrova, M. S. Nurmanova, Z. S. Seitzhanova, and S. Z. Mukhametkaliyeva. "The genre structure of documentary films in the media space of Kazakhstan." Herald of Journalism 76, no. 2 (2025): 165–73. https://doi.org/10.26577/hj202576213.

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This study explores the development of the genre structure of documentary films in Kazakhstan and the use of artistic methods. Its main objective is to identify the principles guiding the evolution of the documentary television film genre by describing its structure in Kazakhstan’s media space. A key task is to analyze the evolution of television documentary genres. The article examines the influence of audiences on genre development from a cultural anthropology perspective. It analyzes the content and structure of documentaries produced in Kazakhstan and globally. The research methods include
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Tsimokh, Nataliia. "The Evolution of On-screen Works." Bulletin of KNUKiM. Series in Arts, no. 37 (December 10, 2017): 114–25. https://doi.org/10.31866/2410-1176.37.2017.155621.

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The purpose of the article is to study the evolution of genres of on-screen works, to identify the internal and external links between them, to analyze and determine the reasons that caused the emergence of new television forms, the diffusion and hybridization of traditional genres, and the formation of new types and formats of television broadcasting. The research methodology consisted in the application of the analytical, historical, and comparative methods, which provided for the analysis of modern television, where in the process of evolution of television genres, types and
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Tsimokh, Nataliia, and Krystina Chorna. "Historical Sources of Soviet Television." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 2, no. 2 (2019): 145–55. https://doi.org/10.31866/2617-2674.2.2.2019.185688.

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

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Fuller, Sean. "“Quality TV”: The reinvention of U.S. television." Thesis, Department of Gender and Cultural Studies, 2013. http://hdl.handle.net/2123/9556.

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This thesis examines the rise to prominence of a new form of “quality television” that has appeared in the U.S. since the 1990s. There are competing and sometimes conflicting ways to define “quality television”, depending on different histories and prioritising different characteristics - sometimes production methods, sometimes viewing and distribution practices, and sometimes genre hybridity and transformation. For each, however, the 1990s is a watershed decade. The mainstreaming of cable television, the new dominance of video and then DVD collections of series, a decline in broadcast televis
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Barker, Cory Andrew. "Genre Welcome?: Formula, Genre and Branding in USA Network's Programming and Promotional Content." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1332972861.

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Isaac, Alexis N. "Expressions in Genrelessness: Genre in the Netflix Era of Television." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1587127717977521.

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Sander, Johanna. "The television series Community and Sitcom : A case study aimed at the genre of contemporary American Sitcom television series." Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-15067.

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This thesis is asking whether the television series Community (2009-) can be defined as a Sitcom, combined with a look at how other genres that generally are considered to be non-comic are incorporated in the series and how those are identifiable as well as whether or not they compromise Community’s possible label as a Sitcom. In seeking to define this show’s place in its own genre I found that whilst Community does not follow the archetypal technical conventions of Sitcom, it still does follow some of its setups, tropes and ideas. It does not suffice as a classical Sitcom, but it does lean on
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Johnston, Derek. "Genre, taste and the BBC : the origins of British television science fiction." Thesis, University of East Anglia, 2009. https://ueaeprints.uea.ac.uk/10565/.

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This thesis examines the earliest science fiction dramas on the BBC, broadcast during the period between 1936 and 1955 when the BBC had the monopoly on television within Britain. These dramas were not originally identified as "science fiction", although their fantastic nature was recognised and provided early television writers and producers the opportunity to engage with social concerns and to experiment with the formal possibilities of the new medium. As the American term "science fiction" became more familiar in Britain after the war, the approaches and responses to these productions change
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Zollner, L. Elizabeth. "Scripting the Unscripted: Gender and Sexual Orientation in Strategy-Genre Reality Television." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002652.

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Perry, Colin, and mikewood@deakin edu au. "The narrativization of actuality: Convergence of form and genre in film and television." Deakin University. School of Contemporary Arts, 2000. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050902.092326.

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The thesis concerns the treatment of actuality in film and television, particularly the narrativization of actuality images, and the context of their placement within audio/visual texts. Several instances of the convergence of media form and genre are analyzed, and the conventions of classificatory systems and boundaries that pertain to film and television representations are reconsidered in light of changes in the conventions of genre. The distinction between, and convergence of fictional and non-fictional conventions of narrative are therefore central to the thesis, as are the related issues
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Stone, Lelia M. "A Textual Analysis of the Closer and Saving Grace: Feminist and Genre Theory in 21St Century Television." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc407774/.

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Television is a universally popular medium that offers a myriad of choices to viewers around the world. American programs both reflect and influence the culture of the times. Two dramatic series, The Closer and Saving Grace, were presented on the same cable network and shared genre and design. Both featured female police detectives and demonstrated an acute awareness of postmodern feminism. The Closer was very successful, yet Saving Grace, was cancelled midway through the third season. A close study of plot lines and character development in the shows will elucidate their fundamental differenc
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Campos, Brielle R. "Hybrid Genre and Character Representation: Noir, Fantasy, and Fantasy Noir in Constantine, Pushing Daisies, and The Dresden Files." Youngstown State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1464790300.

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Bylina, Lisabeth. "Genre framing in discourses surrounding comedy television remakes between the UK and the US." Thesis, University of East Anglia, 2017. https://ueaeprints.uea.ac.uk/65121/.

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Traded as a format between Britain and the US, the sitcom has traditionally been understood as closely connected to its socio-cultural context (Tueth, 2005; Wagg, 1998) and as being characterised by its humorous intent (Eaton, 1978; Mills, 2009). Current format studies of sitcoms illustrate the variety of ways in which the final texts relate to their local contexts, offering either comparative analyses between versions or singular critiques of programmes focusing on their suitability for their particular market (Beeden & de Bruin, 2010; Ducray, 2012). While doing well to showcase the nations i
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Books on the topic "Television genre"

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Creeber, Glen, ed. The Television Genre Book. British Film Institute, 2015. http://dx.doi.org/10.1007/978-1-84457-898-6.

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1962-, Creeber Glen, Miller Toby, Tulloch John, and British Film Institute, eds. The television genre book. 2nd ed. Palgrave Macmillan on behalf of the British Film Institute, 2008.

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Toby, Miller, Tulloch John, Creeber Glen 1962-, and British Film Institute, eds. The television genre book. British Film Institute, 2001.

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Chan, Felicia, Angelina Karpovich, and Xin Zhang, eds. Genre in Asian Film and Television. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230301900.

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Freadman, Anne. What is this thing called "genre": Four essays in the semiotics of genre. Bombana Publications, 1992.

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Chan, Felicia. Genre in Asian film and television: New approaches. Palgrave Macmillan, 2011.

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1952-, Edgerton Gary R., and Rose Brian Geoffrey, eds. Thinking outside the box: A contemporary television genre reader. University Press of Kentucky, 2008.

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1952-, Edgerton Gary R., and Rose Brian Geoffrey, eds. Thinking outside the box: A contemporary television genre reader. University Press of Kentucky, 2008.

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1952-, Edgerton Gary R., and Rose Brian Geoffrey, eds. Thinking outside the box: A contemporary television genre reader. University Press of Kentucky, 2005.

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Chung, Ah-young. K-drama: A new TV genre with global appeal. Korean Culture and Information Service, 2011.

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Book chapters on the topic "Television genre"

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Mittell, Jason, Máire Messenger Davies, Lisa Richards, Glen Creeber, Paul Wells, and Merris Griffiths. "Children’s Television." In The Television Genre Book. British Film Institute, 2015. http://dx.doi.org/10.1007/978-1-84457-898-6_5.

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Levy, Bob. "Format, Genre and Concept." In Television Development. Routledge, 2019. http://dx.doi.org/10.4324/9780429506147-4.

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Creeber, Glen, Steve Neale, Terry Bailey, Graeme Turner, Robin Nelson, and Jason Mittell. "Introduction: What is Genre?" In The Television Genre Book. British Film Institute, 2015. http://dx.doi.org/10.1007/978-1-84457-898-6_1.

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Miller, Toby, William Boddy, Jane Shattuc, et al. "Popular Entertainment." In The Television Genre Book. British Film Institute, 2015. http://dx.doi.org/10.1007/978-1-84457-898-6_10.

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Jenner, Mareike. "Conclusion: Genre and Video on Demand." In The Television Genre Book. British Film Institute, 2015. http://dx.doi.org/10.1007/978-1-84457-898-6_11.

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Nelson, Robin, Mareike Jenner, Glen Creeber, et al. "Drama." In The Television Genre Book. British Film Institute, 2015. http://dx.doi.org/10.1007/978-1-84457-898-6_2.

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McCarthy, Anna, Glen Creeber, John Tulloch, and Thomas Tufte. "Soap Opera." In The Television Genre Book. British Film Institute, 2015. http://dx.doi.org/10.1007/978-1-84457-898-6_3.

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Mills, Brett, Ian Wilkie, Steve Neale, et al. "Comedy." In The Television Genre Book. British Film Institute, 2015. http://dx.doi.org/10.1007/978-1-84457-898-6_4.

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Lewis, Justin, Jackie Harrison, John Hartley, and Glen Creeber. "News." In The Television Genre Book. British Film Institute, 2015. http://dx.doi.org/10.1007/978-1-84457-898-6_6.

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Corner, John, Glen Creeber, Stella Bruzzi, K. J. Donnelly, and Brett Mills. "Documentary." In The Television Genre Book. British Film Institute, 2015. http://dx.doi.org/10.1007/978-1-84457-898-6_7.

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Conference papers on the topic "Television genre"

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Montagnuolo, Maurizio, and Alberto Messina. "Multimodal Genre Analysis Applied to Digital Television Archives." In 2008 19th International Conference on Database and Expert Systems Applications (DEXA). IEEE, 2008. http://dx.doi.org/10.1109/dexa.2008.22.

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Messina, Alberto, and Maurizio Montagnuolo. "Fuzzy mining of multimedia genre applied to television archives." In 2008 IEEE International Conference on Multimedia and Expo (ICME). IEEE, 2008. http://dx.doi.org/10.1109/icme.2008.4607385.

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Egorova, S. D., A. Lock, and M. G. Nechaev. "COMICS DEVELOPMENT FACTORS IN RUSSIA FOR THE INTERNATIONAL MARKET." In TWEET-FENTS. Новосибирский государственный университет архитектуры, дизайна и искусств им. А.Д. Крячкова, 2020. http://dx.doi.org/10.37909/978-5-89170-266-0-2020-1011.

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The comic combines the features of such art forms as literature and fine art. They have long been present in the media and, as a rule, are now being worked on in large editions. In America, Japan and Europe, the comics industry is no less developed than the cinema and television industry, literature and video games. In Russia, comics as a genre arestill in their infancy.
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Carlson, Gordon, and Honesty Beaton. "Realtime Video Underlay for Accessible Television Graphics." In 16th International Conference on Applied Human Factors and Ergonomics (AHFE 2025). AHFE International, 2025. https://doi.org/10.54941/ahfe1006627.

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Realtime graphics in televised sports have become a staple of the genre. While impressive and effective, existing tools for integrating 3D graphics into televised playing areas are complicated and expensive, limiting their use to only a handful of large-scale television productions. Existing hardware-based solutions are costly and offer limited flexibility. This paper presents a software-based approach for implementing realtime sports graphics on consumer-grade equipment, potentially serving a range of stakeholders who would benefit from the technology but do not have the requisite infrastruct
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Galily, Daniel. "How did the 1980s British political satire series “Yes, Mr. Prime Minister” criticize the social democratic policy in Great Britain?" In 10th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade - Serbia, 2024. https://doi.org/10.32591/coas.e-conf.10.10087g.

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This study aims to recall the ideas and activities in the field of political satire. A great example in this direction is the British series “Yes, Mr. Prime Minister.” It is considered by many to be the best series of its time in Britain and one of the best satirical series of all time made on British television. The series was made in the years 1985-1987 and is a continuation of the satirical comedy series “Yes, Mr. Minister” which was made between the years 1980-1984. The series shows the silent struggle that was going on in the 1980s between the politicians and civil service officials. The
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Ileš, Tatjana, and Tomislav Marijanović. "THE POWER OF TELEVISION SPECTACLE: FEMINISM AND POPULAR TELEVISION." In European realities - Power : 5th International Scientific Conference. Academy of Arts and Culture in Osijek, J. J. Strossmayer University of Osijek, 2023. http://dx.doi.org/10.59014/xuza6596.

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Popular television is perhaps the most important tool for the production and promotion of popular culture content. It is a strong place of resistance and a space for various cultural struggles, including the feminist struggle that we observe through a number of genres and characters that resist established definitions of femininity and typical female characters. Products of popular culture, such as television soap operas, and lately a number of other genres, especially those that put female characters in the role of heroines, have enabled the development of a diverse spectre of female characte
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Назметдинова, Ирина Сайрановна, Светлана Сайрановна Столярова та Кирилл Михайлович Куличев. "ХУДОЖЕСТВЕННО-ПУБЛИЦИСТИЧЕСКИЕ ЖАНРЫ В «СПОРТИВНОМ ТЕЛЕВИДЕНИИ»". У Научные механизмы решения проблем в исследованиях молодых ученых: сборник статей международной научной конференции (Архангельск, Декабрь 2023). Crossref, 2024. http://dx.doi.org/10.37539/231218.2023.55.34.003.

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Исследование посвящено изучению разных аспектов спортивного телевидения 1) изучена взаимозависимость «спортивного телевидения» и «спортивного вещания», обозначены особенности и способы трансляции, дано авторское определение понятию «спортивного телевидение»; 2) выявлен факт наличия и проявления в спортивном телевидении информационных, аналитических и художественно-публицистических жанров, деланы соответствующие выводы. The study is devoted to the study of various aspects of sports television: 1) the interdependence of "sports television" and "sports broadcasting" is studied, the features and m
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Geerts, David, Pablo Cesar, and Dick Bulterman. "The implications of program genres for the design of social television systems." In Proceeding of the 1st international conference. ACM Press, 2008. http://dx.doi.org/10.1145/1453805.1453822.

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Aneva, Nаdelina. "The political metaphors for the war in Ukraine in the morning block of NOVA TV “Hello, Bulgaria” through the prism of ideological discourse." In COMMUNICATION AND MEDIA OF THE 21ST CENTURY: EDUCATIONAL AND PROFESSIONAL CHALLENGES. Faculty of Journalism and Mass Communication, 2023. http://dx.doi.org/10.60060/nifo6971.

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Metaphors play a bigger role in our lives than we realize. Our system of thinking and acting is metaphorical, as argued by George Lakoff and Mark Johnsen. In this article, the war in Ukraine, reflected in the Bulgarian media, in particular in Nova TV, is considered as a system of conceptual metaphors that give value and ideological orientation. Because of the singular perspective on war on television, instead of a clash of metaphors, I find a phenomenon that I have called “the dance of metaphors.” The manipulative potential of political metaphors is drawn from interpretive genres. It is direct
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Amin, Akhter Al, Saad Hassan, and Matt Huenerfauth. "Caption-occlusion severity judgments across live-television genres from deaf and hard-of-hearing viewers." In W4A '21: 18th Web for All Conference. ACM, 2021. http://dx.doi.org/10.1145/3430263.3452429.

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Reports on the topic "Television genre"

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Paslavskyi, Ihor. Ukrainian television: problem-content analysis. Ivan Franko National University of Lviv, 2022. http://dx.doi.org/10.30970/vjo.2022.51.11397.

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The article highlights and analyzes the factors influencing the activities of television editorial teams in the period of new political, economic and security circumstances. It is noted that all-Ukrainian influential television channels, which have the highest popularity and high ratings, are oligarchic media with a high level of political involvement. Ukrainian television is widely practicing to narrow the thematic range of programs, reports and programs resulting in unjustified dominance in the television space of entertainment and humorous genres, «ravel journalism», excessive overweight of
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Dmytrovskyi, Zenon. THE TEXTBOOK, THAT TEACHES AND BRINGS UP. Ivan Franko National University of Lviv, 2022. http://dx.doi.org/10.30970/vjo.2022.51.11414.

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The review is about textbook on television and radio communication for students, teachers of faculties and departments of journalism, as well as journalists-practitioners, prepared by the author’s team edited by Vasyl Lyzanchuk. Textbok absorbed some considerations and conclusions from previous theoretical developments, which found a new meaning here, deeper argumentation, supplemented by many interesting observations that correspond to the spirit of the time, the innovations that have appeared in recent years in the media space of Ukraine. The textbook has ten sections, each of which is desig
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