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Journal articles on the topic 'Television genre'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

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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2

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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8

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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Leonzi, Silvia, Giovanni Ciofalo, Lorenzo Ugolini, and Fabio Ciammella. "From Family Doctor to Healthentainment: Health Topics in the Italian Public Service from Neo-Television to Post-television." VIEW Journal of European Television History and Culture 9, no. 18 (2020): 141. http://dx.doi.org/10.18146/view.219.

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The paper analyses health and public health representation within RAI (Radiotelevisione Italiana) programmes in the shift from neo-television to post-television. To this purpose, it presents the result of a qualitative media content analysis on three different RAI programmes, attributable to different television genres and aired in the two periods considered. The analysis shows that in the shift from neo-television to post-television a recurrent genre arose which we call healthentainment: evolving from health representation to health storytelling, this genre integrates varied expert knowledge

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Shaw, Caitlin. "Introduction: Television and nostalgia now." Journal of Popular Television 9, no. 3 (2021): 287–91. http://dx.doi.org/10.1386/jptv_00056_2.

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This introduces the following dossier which, inspired by the roundtable panel ‘Streaming the past: Contemporary television, genre and nostalgia’ from the University of Hertfordshire’s 2021 genre/nostalgia conference, explores contemporary television’s relationship to nostalgia amid multi-platform shifts and the COVID-19 pandemic. While non-linear television has in some ways disrupted linear television’s ties to nostalgia, it has also seen a rise in aesthetically nostalgic programming. The introduction considers how this connects to broader cultural nostalgic trends, themselves fuelled by diver

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Haludzina-Horobets, Victoriia. "TRANSFORMATION PROCESSES OF THE SERVE OF THE TELEVISION INTERVIEW IN THE MODERN MEDIA SPACE." Scientific journal “Library Science. Record Studies. Informology”, no. 2 (September 1, 2021): 95–102. http://dx.doi.org/10.32461/2409-9805.2.2021.238788.

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The purpose of the article. The study examines the transformational processes of the genre of television interview in the modern media space, in particular, the "migration" of television interviews on Youtube. The methodology consists of the application of such general scientific methods as: synthesis, analysis, generalization, comparison, which allowed to explore the features of the genre of television interview in the context of social communications, as well as the transformation processes of the genre. The scientific novelty of the work is that the article clarifies the place and role of t

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Tregub, A. "ЖАНРОВА ДИФЕРЕНЦІАЦІЯ СЕРВІСНО-ЕКСПЕРТНИХ ПРОГРАМ У МЕЖАХ ЗАГАЛЬНОГО ЖАНРОВО-ВИДОВОГО ПОДІЛУ УКРАЇНСЬКОГО ТЕЛЕБАЧЕННЯ". State and Regions. Series: Social Communications, № 4(48) (2 лютого 2022): 55. http://dx.doi.org/10.32840/cpu2219-8741/2021.4(48).8.

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<p><strong><em>The aim of the study </em></strong><em>is to determine the general genre-specific pertain and genre dominants of service-expert programs on Ukrainian television.</em><em></em></p><p><strong><em>Research methodology.</em></strong><em> The research used methods of analysis, synthesis, abstraction and generalization, as well as monitoring, content analysis to determine the genre pertain of service-expert programs of own production of highly rated nation-wide TV channels and genre dominan

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Heyer, Paul. "Islands in the Screen: The Robinsonnade as Television Genre." Cinémas 23, no. 2-3 (2013): 121–43. http://dx.doi.org/10.7202/1015187ar.

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The island survivor narrative, or robinsonnade, has emerged as a small but significant television genre over the past 50 years. The author considers its origins as a literary genre and the screen adaptations that followed. Emphasis is placed on how “island TV” employed a television aesthetic that ranged from an earlier conventional approach, using three cameras, studio locations, and narrative resolution in each episode, to open-ended storylines employing a cinematic style that exploits the new generation of widescreen televisions, especially with the advent of HDTV. Two case studies centre th

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Martín-Jiménez, Virginia, Pablo Berdón-Prieto, and Itziar Reguero-Sanz. "The precursors of infotainment? Debate and talk shows on Televisión Española (1980-1989)." Communication & Society 35, no. 1 (2022): 119–35. http://dx.doi.org/10.15581/003.35.1.119-135.

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The theory formulated to date indicates that political infotainment programs arrived in Spain in a widespread manner in the 1990s with the rise of private television channels. But were there spaces in public television that shared the traits of this novel television genre before that time? This article is aimed at analyzing debate and talk shows, as well as hybrid format shows combining both genres, broadcasted on Televisión Española (TVE-1 and TVE-2) during the ‘80s, in order to determine whether or not these programs present the emblematic style characteristic of infotainment. The methodolog

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Iryna, Putsіata. "MODERN METHODS OF SUBMITTING INFORMATION IN THE CONTENT OF ALL-UKRAINIAN TV CHANNELS: FROM LONGRIDE TO FINISHING." Bulletin of Lviv Polytechnic National University: journalism 1, no. 3 (2022): 28–37. http://dx.doi.org/10.23939/sjs2022.01.028.

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In the article, the author examines the problems associated with increasing the relevance of television news programs in the context of intense competition between television and such modern media as news feeds, blogs, social networks, YouTube channels, which, due to their technical capabilities, can provide higher operational efficiency. presentation of news content compared to traditional televison news releases. In these conditions, television channels, as well as authors of television programs specializing in the genre of news television, have to look for fundamentally new approaches to br

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Iryna, Putsіata. "MODERN METHODS OF SUBMITTING INFORMATION IN THE CONTENT OF ALL-UKRAINIAN TV CHANNELS: FROM LONGRIDE TO FINISHING." Bulletin of Lviv Polytechnic National University: journalism 1, no. 3 (2022): 28–37. http://dx.doi.org/10.23939/sjs2022.01.028.

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In the article, the author examines the problems associated with increasing the relevance of television news programs in the context of intense competition between television and such modern media as news feeds, blogs, social networks, YouTube channels, which, due to their technical capabilities, can provide higher operational efficiency. presentation of news content compared to traditional televison news releases. In these conditions, television channels, as well as authors of television programs specializing in the genre of news television, have to look for fundamentally new approaches to br

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Iryna, Putsіata. "MODERN METHODS OF SUBMITTING INFORMATION IN THE CONTENT OF ALL-UKRAINIAN TV CHANNELS: FROM LONGRIDE TO FINISHING." Bulletin of Lviv Polytechnic National University: journalism 1, no. 3 (2022): 28–37. http://dx.doi.org/10.23939/sjs2022.01.028.

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In the article, the author examines the problems associated with increasing the relevance of television news programs in the context of intense competition between television and such modern media as news feeds, blogs, social networks, YouTube channels, which, due to their technical capabilities, can provide higher operational efficiency. presentation of news content compared to traditional televison news releases. In these conditions, television channels, as well as authors of television programs specializing in the genre of news television, have to look for fundamentally new approaches to br

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Eremeeva, S. A. "Lexical and grammatical means of expressing medical advice in an educational television programme about health (based on the Russian language)." Philology and Culture, no. 1 (April 26, 2025): 50–57. https://doi.org/10.26907/2782-4756-2025-79-1-50-57.

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The current article studies the advice speech genre in the Russian language. Its purpose is to describe the linguistic embodiment of the genre in the television medical discourse. By linguistic embodiment we understand both lexical and grammatical means of expressing the speech genre, whereas by television medical discourse we understand a polydiscursive text environment produced by an educational television programme about health. The article explores the scientific problem, based on the programme, broadcast on one of the Russian TV channels. To achieve the goal, we study both theoretical and

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

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

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Bruun, Hanne. "Global tv-genre og komplekse nærhedsoplevelser." Dansk Sociologi 13, no. 2 (2006): 51–71. http://dx.doi.org/10.22439/dansoc.v13i2.494.

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Hanne Bruun: A global TV-genre and the complexity of proximity  Television is often considered an agent of cultural globalization, and the American television industry is often equated with globalization in part due to the ability of its genre’s to travel. Media reception studies show the viewers’ expectations of a genre are influenced by these television genres. But such studies also show that the cultural origin of television products plays an important role in viewers’ experiences. This article presents a study of young Danish women’s experience of viewing two daytime talk shows

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Medvedieva, Alla, and Serhii Chernenko. "Issues of the Interview Genre in Contemporary Media Space." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (2021): 11–17. https://doi.org/10.31866/2617-2674.4.1.2021.235059.

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<em>The purpose of the research </em>is to investigate the problems of the genre in modern media discourse. <em>Research methodology. </em>When writing a scientific article, research methods are used: analysis and synthesis (analyzed and systematized the work of the interview genre have been analyzed and systematized), a comparative method (parallels of interviews in the world and Ukraine have been made), generalization and systematization (summarizing has been made due to practical knowledge and work with diverse literature). <em>Scientific novelty. </em>This article

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Chepornyuk, Anastasiya. "Infotainment as media communication neo-genre: functional and stylistic analysis." Actual issues of Ukrainian linguistics: theory and practice, no. 37 (2018): 124–40. http://dx.doi.org/10.17721/apultp.2018.37.124-140.

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The article is devoted to the functional-stylistic analysis of the new genre of Ukrainian television news – infotainment. The author emphasizes that this genre is currently actively developing in the field of national television. In addition, it has a number of specific features inherent only to it. On the example of the TV program "Абзац!" on the New Channel and "M1 News" on the M1 channel the author provides an analysis of the broadcasting media specifics in the television programs of the infotainment genre. Infotainment – literally "infotainment = information + entertainment" – is a diffuse

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

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

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

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

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Turnbull, Sue. "Review: The Television Genre Book." Media International Australia 103, no. 1 (2002): 138–40. http://dx.doi.org/10.1177/1329878x0210300118.

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Quiroz-Velasco, María Teresa. "Television: Seen, Heard and Read by Peruvian Adolescents." Comunicar 18, no. 36 (2011): 35–41. http://dx.doi.org/10.3916/c36-2011-02-03.

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This paper analyzes the current relationship between Peruvian teenagers and television. The information accessed from various sources concluded that adolescents are consuming television extensively, especially the poorer within the country. Teens appreciate the cable television as a source of learning, and its variety and ability to relate it with the world. The interest in cartoons, movies and series –fiction genre in general– affirms the value of this media in society as well as the possibility to make them more familiar with their environment. Information about what happens beyond their loc

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Isaac, Alexis. "Genre Microdosing: Genre for the Netflix Era of Television." Journal of Communication and Media Studies 6, no. 1 (2021): 57–67. http://dx.doi.org/10.18848/2470-9247/cgp/v06i01/57-67.

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Forman, Murray. "Television before Television Genre: The Case of Popular Music." Journal of Popular Film and Television 31, no. 1 (2003): 5–16. http://dx.doi.org/10.1080/01956050309602863.

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Keinonen, Heidi. "From television genre to film genre: Finnish Schlager music on small and big screens." Journal of Scandinavian Cinema 13, no. 1 (2023): 51–57. http://dx.doi.org/10.1386/jsca_00081_1.

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Schlager shows were one of the main attractions on early Finnish television. Featuring a popular music genre, the shows were soon followed by a wave of Schlager films. In this article, I discuss Schlager film as an intermedial genre that sheds light on the early forms of cooperation between television, film and record industries. Focusing on the Schlager film Hit parade (1959), I suggest that while television was often seen merely as a competitor of the film industry, contributing to the crisis of Finnish film production, the relation between the two was more ambiguous than that: the case of H

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Wartecka, Anna. "Identyfikacja gatunku mowy pochwały w oparciu o strategię reaktywnego gatunku mowy (SRGM)." Investigationes Linguisticae 40 (May 31, 2019): 49–61. http://dx.doi.org/10.14746/il.2018.40.4.

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The main purpose of this article is to explain the procedure of identifying the utterances of praise using the Reactive Speech Genre Strategy (RSGS). The RSGS is one of the steps of a wider strategy dedicated to identification of “Praise” speech genre. In the article are described 5 stages of RSGS, which include considerations over: the initiative nature of “Praise” speech genre; the role of the reactive nature of “Gratitude” speech genre in identifying the “Praise” speech genre; the analysis of selected speech genres associated with “Praise” and “Gratitude”. The linguistic corpus consists of

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Kiseleva, Yulia I., and Marina A. Myasnikova. "Genre Solutions in Contemporary Popular Science Cinema. Experience of Practical Application." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 29, no. 4 (2023): 40–49. http://dx.doi.org/10.15826/izv1.2023.29.4.064.

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The article studies the current situation in Russian popular science cinema, as well as its essence as a separate type of cinema with its own genre system, different from documentary film, television and television journalism genres. The authors consider such famous researchers points of view on the genre problem as G. Pospelov, G. Abramovich, L. Timofeev, V. Kozhinov, G. Gachev, V. Poznin, G. Prozhiko, N. Zorkaya, and offer their opinion concerning the differentiation of the concepts “types” and “genres” in relation to popular science cinema. The problem of its future existence is characteriz

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Rybinska, Yuliia. "Lingvo-Sociocultural Specific of Talk Show Translation as a TV Discourse Genre." PSYCHOLINGUISTICS 23, no. 2 (2018): 192–202. https://doi.org/10.5281/zenodo.1199210.

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<strong>ABSTRACT</strong> The article is devoted to the linguistic and sociocultural features of the talks how translationas a television discourse genre. The results of the research in the sphere of mass-media discourse represent a big value for understanding of different field correlation such as media and culture, sociocultural reality and its representation in media. It also has a big value for detecting of mass-media texts complicated semantic structure and different aspects of linguistic personality communicative behavior. The object of the study is television discourse as a linguistic a

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Hoffman, Emily. "This is the Legacy of Garry's Show: Restoring It's Garry Shandling's Show to the American Sitcom Canon." Popular Culture Review 35, no. 1 (2024): 135–67. http://dx.doi.org/10.1002/j.2831-865x.2024.tb00812.x.

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ABSTRACTThough largely forgotten, It's Garry Shandling's Show is a pivotal sitcom text that reclaims the self‐reflexive, meta‐narrative style of The George Burns and Gracie Allen Show. Shandling births the contemporary sitcom by de‐centering the idealized nuclear family; using Brechtian direct address that fuses the sitcom with stand‐up comedy; and parodying specific genres, films, and television shows. These destabilizing features turn the calcified genre into the television equivalent of Mikhail Bakhtin's carnival.

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Bennett, J. "Genre and Performance: Film and Television." Screen 52, no. 2 (2011): 299–302. http://dx.doi.org/10.1093/screen/hjr011.

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Jenner, Mareike. "Genre, cycles and sunshine noir television." Journal of Popular Television 5, no. 2 (2017): 177–93. http://dx.doi.org/10.1386/jptv.5.2.177_1.

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Miller, Mark Crispin. "The End of Genre in Television." Missouri Review 9, no. 3 (1986): 138–49. http://dx.doi.org/10.1353/mis.1986.0024.

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Waller, Gregory A. "Flow, Genre, and the Television Text." Journal of Popular Film and Television 16, no. 1 (1988): 6–11. http://dx.doi.org/10.1080/01956051.1988.9943304.

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BONDAR, V. V. "GENRE FEATURES OF TELEVISION PORTRAIT SKETCH." Медиасреда 1, no. 1 (2024): 13–17. https://doi.org/10.47475/2070-0717-2024-1-1-13-17.

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Lacalle, Charo. "Genre and Age in the Reception of Television Fiction." Comunicar 20, no. 39 (2012): 111–18. http://dx.doi.org/10.3916/c39-2012-03-01.

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This article summarizes the main results of an investigation that is part of a project regarding the construction of youth and gender identity in television fiction. The methodology integrates reception analysis (focus group) with data obtained through an anonymous questionnaire, designed to contextualize the results of the qualitative research. Television fiction is the favourite macro-genre of young people, especially women. Broadly speaking, participants appreciate the greater proximity of Spanish fiction, which favours the different mechanisms of identification/projection activated during

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Chorna, Kristina. "Infotainment is a Genre on Verge of Information and Entertainment." Bulletin of KNUKiM. Series in Arts, no. 40 (June 5, 2019): 27–32. https://doi.org/10.31866/2410-1176.40.2019.172672.

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The aim of the research is to consider the modern television programs that use infotainment; to identify the advantages and disadvantages of this genre; to analyse the use of information and games in the process of creating television programs; to find out the historical conditions that led to the emergence of a new format; to analyse how the changes affected not only the principle of selection of information, but also the method of its presentation. The research methodology consists in application analytical, historical, and comparative methods. One of main methods that helps to study the phe

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Yıldırım, Nisa. "Transformation of Comedy with Streaming Services: The Case of Bartu Ben." CINEJ Cinema Journal 8, no. 2 (2020): 403–25. http://dx.doi.org/10.5195/cinej.2020.300.

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Comedy has always been one ofthe most popular genres in Turkish cinema and television series. As the distinction between film and series has begun to blur in the post-television era, narratives are transforming according to the characteristics of the new medium. Streaming services targeting niche audience offer more freedom to creators of their content.Thisarticle aims tostudy the comedy series Bartu Ben (Its me, Bartu)which is one of the original series of Turkish streaming service Blu TV, in orderto interpret the differences ofthe series from traditional television comedies, and contribution

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Piñón, Juan. "Disruption and continuity on telenovela with the surge of a new hybrid prime-time fictional serial: The super series." Critical Studies in Television: The International Journal of Television Studies 14, no. 2 (2019): 204–21. http://dx.doi.org/10.1177/1749602019838885.

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The Latin American telenovela genre has enjoyed a long-lasting hegemonic position in prime-time television across the region, and particularly within US Spanish-language television market. However, in the last several years, Spanish-language national television networks, as well as their prime-time telenovela product, are being challenged by the new digital and mobile media landscape. Television networks have deployed a variety of strategies to better accommodate to new audiences’ consumption routines in a digital age. This article focuses on a particular moment of disruption – and continuity

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Sexton, Max. "The Tripods: Distinction, Science Fiction and the BBC." Journal of British Cinema and Television 13, no. 3 (2016): 469–83. http://dx.doi.org/10.3366/jbctv.2016.0330.

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This article focuses on how mode and genre shaped the formal and narrative possibilities in The Tripods (BBC, 1984–5). It explores how the first and second series are substantially different from each other and offers an approach that attempts to explain the complex ways in which generic boundaries are made to operate within television. Such an approach can offer insight into how modifications in mode were a desire to replace an existing but ailing show, Doctor Who (BBC, 1963–) with one that would be successful because it fitted the existing industrial model of televisual flow. However, The Tr

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Webb, Stuart. "Selecting Television Programs for Language Learning: Investigating Television Programs from the Same Genre." International Journal of English Studies 11, no. 1 (2011): 117. http://dx.doi.org/10.6018/ijes/2011/1/137131.

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The scripts of 288 television episodes were analysed to determine the extent to which vocabulary reoccurs in television programs from the same subgenres and unrelated television programs from different genres. Episodes from two programs from each of the following three subgenres of the American drama genre: medical, spy/action, and criminal forensic investigation were compared with different sets of random episodes. The results showed that although there were an equivalent number of running words in each set of episodes, the episodes from programs within the same subgenre contained fewer word

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Alam, Sohaib, and Shafey Anwarul Haque. "Gender, Language and Indian Reality Television: Locating Social Stereotypes and Linguistic Sexism." Journal of Education Culture and Society 12, no. 2 (2021): 482–92. http://dx.doi.org/10.15503/jecs2021.2.482.492.

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Aim. The reality genre has gained much popularity in last few years across the globe. In India too, this genre has reportedly surpassed other genres in recognition and acceptance. However, its format and content intrigue controversies at both social and academic level, but its mass appeal gets bigger each day. The study examines gender, language and issues of gendered language in Indian reality show Bigg Boss. While keeping in view the format and claim of the genre, the study observes how under thorough surveillance, housemates negotiate with their real self and grapple with their language pra

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Frandsen, Kirsten. "Tour de France in a digital television paradigm." MedieKultur: Journal of media and communication research 39, no. 75 (2023): 032–52. http://dx.doi.org/10.7146/mk.v39i75.138616.

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This article analyses sports events as mega-events with global appeal and increasing socio-economic and cultural significance, and as genres which have now become important in the television industry’s transformation from broadcast to online streaming. It presents findings from a qualitative production analysis of how the Tour de France 2022 was shaped in a twofold strategic context. Genre specific aspects of the media event in the ongoing transformation of the television industry and wider strategic interests behind the hosting and organization of the start of the race in Denmark 2022 are dis

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Pereira de Sá, Simone, Juliana Freire Gutmann, and Simone Evangelista. "Musical Performances in Digital Audiovisualities." Journal of Popular Music Studies 35, no. 2 (2023): 66–87. http://dx.doi.org/10.1525/jpms.2023.35.2.66.

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This study discusses modes of appropriation of television genres for the constitution of new audiovisual dynamics in a digital context, based on performatic strategies of the Brazilian funk singer Pepita, who is known for her LGBTQ+ activism. Based on a methodology that articulates studies about media genres and performance, we try to understand how television conventions and characteristics of YouTube and Instagram are appropriated for the constitution of what we call performances of empowerment. We conclude that Pepita’s movements exemplify a broader phenomenon, associated to a complex artic

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Aquilia, Pieter. "Endangered Genre: English-Language Television Drama in Singapore." Media International Australia 115, no. 1 (2005): 71–81. http://dx.doi.org/10.1177/1329878x0511500108.

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For 40 years, the Singapore government has successfully promoted the English language for its citizens to operate in an international Western economy. However, English-language television drama, with no cultural-linguistic roots in Singapore's multi-Asian society, has been heavily criticised for its lack of quality in comparison to its successful Chinese-language counterpart. A case study of the prime-time drama @Moulmein High demonstrates how state involvement in English-language television has an impact on drama's content, popularity and commercial aims. This paper explores whether a televis

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