Journal articles: 'Television images'

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Botta, Renée A. "Television Images and Adolescent Girls' Body Image Disturbance." Journal of Communication 49, no. 2 (June 1, 1999): 22–41. http://dx.doi.org/10.1111/j.1460-2466.1999.tb02791.x.

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Brookfield, Stephen. "Media Power and the Development of Media Literacy: An Adult Educational Interpretation." Harvard Educational Review 56, no. 2 (July 1, 1986): 151–71. http://dx.doi.org/10.17763/haer.56.2.6601402174824253.

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Stephen Brookfield describes and illustrates television's presentation of bias in programming and production. He advocates educating adults to be critical in consuming television images of reality and presents six techniques which have been successful in teaching adults to read between the lines of television's portrayal of political issues, news events, and images of society.

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Barnes, Colin. "Images of Disability on Television." Disability, Handicap & Society 7, no. 4 (January 1992): 385–87. http://dx.doi.org/10.1080/02674649266780481.

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Rajarathnamani, Beulah Rachel. "Television images and body image concerns among adolescent girls." Mass Communicator: International Journal of Communication Studies 11, no. 4 (2017): 19. http://dx.doi.org/10.5958/0973-967x.2017.00022.9.

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Siqueira, Fabiana Cardoso de. "Telejournalism in Transformation: The Co-Production of New News-Values." Brazilian Journalism Research 13, no. 2 (August 30, 2017): 141. http://dx.doi.org/10.25200/bjr.v13n2.2017.977.

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Transformations to the production routines in telejournalism caused by how news is now being produced was the motivation for our doctoral research. This article is a part of this study analyzes the emergence of a new news-value behind the process of selecting what will or will not be broadcast on television news: the unique flagrant of co-production. This new news-value is connected to co-producers and their more active role in news programs. Co-producers are not cameramen at television stations, news agencies, or press services. They are citizens who capture images which are then used in television news broadcasts. The study was based on participant observation (WOLF, 1997), semi-structured interviews and a content analysis (HERSCOVITZ, 2007) of Rede Globo National News in Brazil. In our understanding, journalists select these images in order to create effects of participation of the represented real.As transformações nas rotinas produtivas do telejornalismo provocadas pela maneira como as notícias estão sendo produzidas motivaram nossa pesquisa de doutorado. Este artigo é parte desse estudo e tem como objetivo analisar o surgimento de um novo valor-notícia no processo de seleção do que será ou não veiculado nos noticiários televisivos: o flagrante único de coprodução. Esse novo valor-notícia está atrelado a atuação mais ativa por parte dos coprodutores nos telejornais. Os coprodutores não são cinegrafistas das emissoras de televisão, nem de agências de notícias, nem de assessorias de imprensa. São cidadãos que captam imagens, que acabam sendo usadas nos telejornais. O estudo foi feito a partir da observação participante (WOLF, 1997), entrevistas semiestruturadas e também da análise de conteúdo (HERSCOVITZ, 2007) do Jornal Nacional da Rede Globo. No nosso entendimento, os jornalistas selecionam essas imagens com a intenção de criar efeitos de participação do real representado. La transformación en las rutinas productivas causada por la manera como las noticias estan siendo produccidas han motivado nuestra investigación doctoral. Este artículo es parte de este estudio y tiene como meta analizar la aparición de un nuevo valor-noticia en la selección de lo que será transmitido en el telediario: el flagrante único de coproducción. Este nuevo valor-noticia está relacionado con la atuación más activa por parte de los coprodutores en los telediarios. Los coproductores no son cámaras de estaciones de televisión, ni de agencias de noticias, ni de oficina de prensa. Son ciudadanos que capturan imágenes, utilizadas en los noticiarios televisivos. El estudio fue hecho a partir de la observación participante (WOLF, 1997), entrevistas semiestructuradas y también de la análisis de contenido (HERSCOVITZ, 2007) de lo telediario Jornal Nacional de la Rede Globo, en Brasil. En nuestro entendimiento, los periodistas eligen las imagines con la intención de crear efectos de participación en lo real representado.

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Greguš, Ľuboš, Anna Kačincová Predmerská, and Jana Radošinská. "Misleading Through Images: Television News as Simulacrum." Studies in Media and Communication 10, no. 2 (June 13, 2022): 65. http://dx.doi.org/10.11114/smc.v10i2.5557.

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The aim of the presented theoretical-empirical study, which is based on theoretical reflection on the issue in question, case study and application of quantitative content analysis, is to discuss the occurrence of simulations in contemporary television newscasting in the context of the construction of media reality. Due to the specificity of the topic and the complexity of the research, we focus on informing about foreign affair events portrayed by the Slovak news television channel TA3. Drawing from current studies and acquired data sets, the research material consists of 712 television news items by TA3 and 4208 audio-visual agency materials by Reuters published over a two-month period, more specifically in January 2019 and May 2019. We conducted quantitative content analysis in order to point out the degree of occurrence of simulations in television news. Considering the results of the inquiry, we can confirm the unclear labelling of stock and archive images in every eighth television news item, which can lead to distortion of recipients’ imagination, i.e., towards misrepresentation or ‘bending’ objective reality in their minds caused by television broadcasting.

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Semenov, Vladimir, Yurij Hanzhonkov, Yurij Astsaturov, and Victoria Shvets. "Television analyzer of aerosol particles images." E3S Web of Conferences 104 (2019): 02006. http://dx.doi.org/10.1051/e3sconf/201910402006.

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In the paper an aerosol image analyzer is described, which allows to obtain in three projections the main geometric and optical parameters of the aerosol particles. It is necessary for the calibration of simple optical-electronic sensors. We describe a recognition algorithm that allows real-time obtaining of data on the shape, size, and color of studying aerosols.

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Scriven, Michael. "Review Essay : Television images of Sartre." French Cultural Studies 3, no. 7 (February 1992): 087–92. http://dx.doi.org/10.1177/095715589200300706.

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Staples, Robert, and Terry Jones. "Culture, Ideology and Black Television Images." Black Scholar 16, no. 3 (May 1985): 10–20. http://dx.doi.org/10.1080/00064246.1985.11414338.

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Rodgers, Michael P. H. "The images in television programs and the potential for learning unknown words." Approaches to learning, testing, and researching L2 vocabulary 169, no. 1 (April 16, 2018): 191–211. http://dx.doi.org/10.1075/itl.00012.rod.

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Abstract Previous studies have indicated the potential for incidental vocabulary learning through viewing television. The assumption has been that the imagery in television helps learners acquire vocabulary because when they hear an unfamiliar word, the on-screen images provide semantic support. However, the extent to which imagery in authentic television supports learners in this way is unclear. This study examines 90 target words occurring in single seasons of television, and the degree to which their aural occurrence matched the presentation of a potentially supporting image. Results indicate differences in the way imagery supports potential vocabulary learning in documentary television compared with narrative television, and that this supporting imagery occurred concurrently with the aural form more often in documentary television. Research and pedagogical implications are discussed in detail.

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Pajala, Mari. "“Images from beyond the Eastern Border”: Socialist Television in Finland, 1963 to 1988." Television & New Media 19, no. 5 (August 11, 2017): 448–66. http://dx.doi.org/10.1177/1527476417721749.

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Recent research has criticized a tradition of seeing socialist media cultures as strictly separated from the West. While scholars have analyzed how socialist television institutions reacted to influences from Western media, there is little research on how socialist television culture traveled outside the socialist bloc. This article analyses the ways in which state socialist television culture appeared in Finland on the basis of the main Finnish TV guide magazine Katso in 1963, 1968, 1973, 1978, 1983, and 1988. The article argues that socialist television was a significant influence in the Finnish television environment. Finnish audiences were introduced to socialist television cultures through means such as cross-border access to Soviet broadcasts and journalistic depictions. Both public service and commercial television companies imported Eastern European programs of various genres. Thus, the Finnish case shows that a strict East/West binary is not helpful for understanding European television history.

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Friedman, Norman L. "a.k.a. Pablo: Mexican American Images for Television." Explorations in Ethnic Studies 8, no. 2 (July 1, 1985): 1–10. http://dx.doi.org/10.1525/ees.1985.8.2.1.

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Okano, Hitoshi, Tadashi Kodama, and Tatsuro Takino. "TELEVISION ENDOSCOPY WITH PRERECORDED IMAGES FOR COMPARISON." Lancet 329, no. 8541 (May 1987): 1086–87. http://dx.doi.org/10.1016/s0140-6736(87)90507-1.

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Paterson, Christopher. "Who Owns TV Images from Africa?" Issue: A Journal of Opinion 22, no. 1 (1994): 15–18. http://dx.doi.org/10.1017/s0047160700501759.

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This essay addresses how recent changes in electronic media may impact upon what the rest of the world sees of Africa on television. Its predictions are disheartening, especially to Africanists and communications scholars who have well documented the longstanding insufficiency of African news coverage. And my conclusions contrast with those of the big television news companies, who, with a “good for business, good for everyone” mentality, like to believe that the new media market and nifty new technologies can only mean more and better coverage of every part of the planet.

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Mastro, Dana E., and Elizabeth Behm-Morawitz. "Latino Representation on Primetime Television." Journalism & Mass Communication Quarterly 82, no. 1 (March 2005): 110–30. http://dx.doi.org/10.1177/107769900508200108.

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This study analyzes the frequency and quality of depictions of Latinos during the 2002 primetime television season. Research on cultivation theory and social identity theory provides insight into the potential implications of exposure to these images. Findings suggest that while advances have been made in terms of the quality of depictions of Latinos, many of these images remain tied to a few, longstanding media stereotypes. In addition, the rate at which Latinos are portrayed on television remains dramatically below that of the real-world population.

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Holleufer, Gilbert. "Images of humanitarian crises: Ethical implications." International Review of the Red Cross 36, no. 315 (December 1996): 609–13. http://dx.doi.org/10.1017/s0020860400076415.

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With the long-heralded advent of the information age, the upheaval caused by the proliferation of visual technologies in a society dominated by the media is forcing the entire spectrum of what used to be called “the press” to redefine itself, to reassess its professional code of ethics and to devise new working methods. Only by examining the role played by images in the global flow of information—especially their relationship to the written word—can we fully grasp what is at stake. Our world view is increasingly shaped by the images, televised or in print, to which the public is constantly exposed. Indeed, so great is their power that one can say, along with many analysts, that they are beginning to replace reality: only what has been authenticated, certified and validated by being photographed or filmed and shown on television really exists. As these images bombard us from all sides, everything that has not been seen captured on film is reduced to oblivion. What makes the power of images so irresistible?Images impart values. They attract or repel. They appeal to our imagination, play on our feelings and rouse us from our complacency: in other words, images stir our conscience because they purport to show us, in the raw, the unadorned, indisputable reality of things as they are. That is television's great ambition, that is its purpose; and that is what prompted Régis Debray to say that “television is fond of humanitarian stories since they are both human interest stories and moral tales”. Over the years, images of humanitarian action have invaded the media and fired people's imagination.

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Barker. "Time and the Problems of Television: Three Images." Philosophies 4, no. 3 (August 23, 2019): 52. http://dx.doi.org/10.3390/philosophies4030052.

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In this paper I look at three images and use them to discuss television and the conditions for the representation of time in the twenty-first century. The first image is from the UK’s Channel 4 news report following the November 2015 terror attacks in Paris. The paper begins by offering a theoretical critique of this televisual image and explores the grounding offered for the representation of fear and the contingent. From here, I explore two images from the experimental beginnings of television, which can be seen to provide the historical and technical conditions for the first image. The paper is media philosophical in method, critically analysing the way television can represent time and events by looking to its technical operation and its history as a technology rooted in solutions to time-based problems.

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Lins Cajazeira, Paulo Eduardo, and Thiago Pedro Malkowski. "COMO É POSSÍVEL AS UNIVERSIDADES ACOMPANHAREM AS INOVAÇÕES NO TELEJORNALISMO BRASILEIRO?" Revista Observatório 4, no. 2 (April 1, 2018): 692. http://dx.doi.org/10.20873/uft.2447-4266.2018v4n2p692.

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Este artigo faz parte de uma pesquisa desenvolvida a nível de mestrado e busca apresentar propostas de atividades que promovam o aprendizado do fazer telejornalismo visto o contexto atual das inovações tecnológicas e não tecnológicas realizadas no telejornalismo brasileiro. Parte-se do pressuposto que as inovações estão ocorrendo de forma cada vez mais acelerada e que as universidades necessitam ampliar as possibilidades de ensino para que os futuros jornalistas cheguem ao mercado de trabalho com amplo conhecimento prático e teórico, não só técnico, mas dos processos de produção de imagens que são alterados constantemente por consequência das inovações. PALAVRAS-CHAVE: Telejornalismo; inovação; academia; produção; imagem. ABSTRACT This article is part of a research developed at the masters level and seeks to present proposals of activities that promote the learning of telejournalism, considering the current context of technological and non - technological innovations carried out in Brazilian television journalism. It is assumed that innovations are occurring in an increasingly accelerated way and that universities need to expand the possibilities of teaching so that future journalists reach the labor market with a broad practical and theoretical knowledge, not only technical but of the processes Images that are constantly altered as a result of innovations. KEYWORDS: Telejournalism; innovation; academia; production; image. RESUMEN Este artículo es parte de una investigación desarrollada a nivel de maestría y busca presentar propuestas de actividades que promueven el aprendizaje de las noticias de televisión ya que el contexto actual de las innovaciones tecnológicas y no tecnológicas realizadas en el periodismo de la televisión brasileña. Esto es en el supuesto de que las innovaciones se están produciendo cada vez más acelerado camino y que las universidades necesidad de ampliar las posibilidades de educación para los futuros periodistas que llegan al mercado de trabajo con un amplio conocimiento teórico y práctico, no sólo técnico, sino los procesos producción de imágenes que cambian constantemente como resultado de las innovaciones. PALABRAS CLAVE: Periodismo television; de innovación; de salud, de producción, de imagen.

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Feld, Claudia. "Constructing Memory through Television in Argentina." Latin American Perspectives 43, no. 5 (July 9, 2016): 29–44. http://dx.doi.org/10.1177/0094582x15570878.

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Television represents Argentina’s recent past through three specific links with social memory: as an “entrepreneur of memory,” shaping public agendas, as a vehicle of intergenerational transmission of past events, and as a creator of meaning through images, sounds, and words, a “stage for memory.” An analysis in terms of the links between television and the memories constructed around the forced disappearance of persons during the 1976–1983 military dictatorship reveals the complex way in which the obstacles when narrating an extreme experience are combined with the attempt to sell a product and entertain the spectator. La televisión representa el pasado reciente de la Argentina a través de vínculos específicos con la memoria social: como un “emprendedor de la memoria” definiendo las agendas públicas, como un vehículo de transmisión intergeneracional sobre el pasado y como un creador de significados por medio de imágenes, sonidos y palabras, esto es, un “escenario para la memoria.” Un análisis de los vínculos entre televisión y memorias, construido alrededor de la desaparición forzada de personas durante la dictadura militar de 1976 a 1983, revela la manera compleja en la cual los obstáculos para relatar ese periodo trágico se combinan con el intento de vender un producto y entretener al espectador.

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Ali, Syauki. "Tayangan Televisi: Akhlak dan Buruh Industri." TASAMUH: Jurnal Studi Islam 12, no. 1 (April 6, 2020): 47–68. http://dx.doi.org/10.47945/tasamuh.v12i1.237.

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The mass media that develops in the community have a variety of forms. There are mass media in the form of audio mass media (in the form of sounds), visual mass media (in the form of images, both non-moving images and moving images), and audio-visual mass media (in the form of sounds and images). Nowadays, the mass media which are the most widely owned and used as media of information, entertainment, education, and social controlled by the public are mostly mass media in the form of television. This media (television) has its own advantages where people can enjoy objects of information and communication in the form of audio-visual at the same time. The existence of mass media including television occupies a place that is urgent, because the mass media in addition to being a medium of communication (channel of communication) that functions as a messenger and acts as a source of messages (massage resource). Television excels in building attraction, perception, change and imagination in constructing reality. Through television, people can choose various shows that are needed by them. These shows are news, entertainment, or educational information shows. While other television station programs offer a very physical, materialistic luxury, Trans 7 offers a different alternative. The talk show so-called Empat Mata, which has now changed its name to not four eyes, was delivered by the presenter, as well as comedian Tukul Arwana who presents contextually related to people’s interest that is effortlessly undertood, immidiately accepted, and non-complicated interpretation to figure out its purpose. This paper reviews the role of television shows on morals and the role of industrial workers in the world of intertiment.

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Bignell, Jonathan. "Specially for Television?" Samuel Beckett Today / Aujourd’hui 32, no. 1 (April 17, 2020): 41–54. http://dx.doi.org/10.1163/18757405-03201004.

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Abstract This article analyses tensions between medium specificity and intermediality in Beckett’s first original drama for television, Eh Joe (1966), which exploits features of the medium such as the spatiality of the studio, monochrome images and close-up. But its visual motifs also echo Beckett’s cinema debut, Film (1964), and uses of sound and voice from his radio plays. The public promotion of Eh Joe centred on its relationships with Beckett’s theatre plays, while Eh Joe’s first audiences adduced frames of reference from both theatre and television. Eh Joe works with the porosity of media boundaries and performatively renegotiates them.

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McCarthy, Anna. "The Angelus: Devotional Television, Changing Times." Television & New Media 22, no. 1 (November 30, 2020): 12–31. http://dx.doi.org/10.1177/1527476420976120.

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The ringing of the Angelus, a Catholic call to prayer, is a staple of Irish state television broadcasting, occurring at 6 o’clock every evening. Over the years, the image track accompanying the bell has changed, transitioning from still to moving images and incorporating an increasingly secular pictorial repertoire. Although the Angelus is TV you are not supposed to watch, the document archives at Radió Teleifís Éireann offer plenty of rich evidence that people have always watched the Angelus closely, that they feel a personal stake in its modes of representation, and that they approach religious images as statements about religion and the Church.

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Binnie, C. D., J. Emmett, P. Gardiner, G. F. A. Harding, D. Harrison, and A. J. Wilkins. "Characterizing the Flashing Television Images that Precipitate Seizures." SMPTE Journal 111, no. 6-7 (July 2002): 323–29. http://dx.doi.org/10.5594/j15330.

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Oskay, H. Arda. "SEMIOTIC ANALYSIS OF CHILDREN IMAGES IN TELEVISION COMMERCIALS." AJIT-e Online Academic Journal of Information Technology 6, no. 19 (May 15, 2015): 99–126. http://dx.doi.org/10.5824/1309-1581.2015.2.005.x.

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Lämsä, Tiina. "Generational structuring of childhood images in television commercials." Families, Relationships and Societies 2, no. 2 (July 1, 2013): 247–65. http://dx.doi.org/10.1332/204674313x665904.

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Sharma, Andrew. "Images from the Past: Mythical Narratives and Television." Journal of Visual Literacy 20, no. 1 (January 2000): 89–100. http://dx.doi.org/10.1080/23796529.2000.11674559.

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Comstock, George. "Images Of The Medical Profession: Television Versus Reality." Health Affairs 10, no. 1 (January 1991): 208–9. http://dx.doi.org/10.1377/hlthaff.10.1.208.

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Lippe, Berit von der. "Images of Victory Images of Masculinity? Images of Victory Images of Masculinity?" Nordicom Review 27, no. 1 (February 1, 2006): 63–79. http://dx.doi.org/10.1515/nor-2017-0219.

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Abstract The focus of this article will be on the televised constructions, both in leading American mass media and in the two leading Norwegian television networks, of Bush’s announcement of victory in Iraq on May 1 2003, on board the battleship Abraham Lincoln. The article opens with a consideration of hegemony in mass media, focusing on hegemonic discourse in general, and at times of war in particular. Looking through my ‘gendered lenses’ might reveal how some kinds of hegemonic masculinity are embedded in this discourse and regarded as universal. The intention is to shed light on how non-hegemonic discourses (such as those in Norwegian media) are restrained, in subtle ways, from being counter-hegemonic. By highlighting the gendered perspectives the article may also serve as a kind of feminist and non-military intervention in dichotomic discourses, be it the dichotomies war-peace, victory-defeat or characteristics attributed to “we” and “them”. The approach is strongly influenced by cultural analysis, critical discourse analysis as well as by rhetorics.

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Güven, Sevim. "Determination of the Perceptions of Primary School Students Regarding the Concept of Television." Journal of Education and Training Studies 5, no. 8 (July 27, 2017): 151. http://dx.doi.org/10.11114/jets.v5i8.2554.

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Main purpose of the study is to determine how television is perceived by primary school students by means of metaphors and statements in figures. Being designed as a qualitative study, this study was handled in phenomenology patter and axis. The study was conducted with participation of 57 students continuing their education in 3rd and 4th grade in May 2016. In formation of the study group, analogous sampling technique as one of the purposeful sampling methods was used. The study data were obtained by means of “document analysis” from qualitative research data collection methods. With the purpose of revealing mental images relating to television concepts, the primary school students participating into the study were given an A4 paper with the sentence “Television is like …, because …” to complete on one side, and they were requested to draw a picture about meaning of television concept for the students, and answer the question “What do you want to explain in this picture?” Class teachers provided help for this procedure. The data obtained at the end of the study were analyzed with descriptive analysis and semiological analysis. 57 primary school students participating into the study developed 45 different metaphors and drew 57 different pictures. It was observed as a result of the study that primary school students had more intense positive perceptions towards televisions in their metaphors, and they defined television as mostly a free time and amusement tool. In pictures drawn relating to television, it was detected that television is mostly in the centers of settlement and they mostly used iconic indication and symbol.

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GOWDA, RAHUL, SHALIN M. MEHTA, YUE YANG, and BAOXIN LI. "ADAPTIVE NONLINEAR IMAGE ENHANCEMENT OF GAUSSIAN DEGRADED IMAGES." International Journal of Image and Graphics 10, no. 03 (July 2010): 365–93. http://dx.doi.org/10.1142/s0219467810003822.

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An adaptive technique for nonlinear image enhancement using Gabor filters is proposed. A set of Gabor filters are employed to extract high-pass components from the blurred image and these components are then nonlinearly processed before adding back to the input image for enhancement. Further, we propose a novel method for fast blur estimation and we establish an empirical relationship between the estimated blur and the optimal Gabor filter parameters, resulting in an enhancement system that is adaptive to the degree of blur in the input image. Extensive evaluation, including both PSNR-based objective evaluation and subjective psychophysical tests, confirms the advantages of the proposed approach over existing state-of-the-art methods. This enhancement approach is especially targeted at digital television applications where image blur is present due to various reasons like compression and resolution up-conversion.

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Whitt, Jan. "Color Television: Fifty Years of African American and Latino Images on Prime-Time Television." Journal of Broadcasting & Electronic Media 51, no. 1 (April 10, 2007): 188–89. http://dx.doi.org/10.1080/08838150701309356.

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Abdul Fattah Wan Ismail, Wan, Syahirah Abdul Shukor, Hasnizam Hashim, Lukman Abdul Mutalib, and Ahmad Syukran Baharuddin. "THE REALITY ON APPLICATION AND CHALLENGES OF CLOSED-CIRCUIT TELEVISION (CCTV) IMAGES AS EVIDENCE IN SHARIAH CRIMINAL CASES IN MALAYSIA." Humanities & Social Sciences Reviews 7, no. 6 (November 27, 2019): 356–61. http://dx.doi.org/10.18510/hssr.2019.7661.

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Purpose of the study: This study analyses the evidencing procedure via Closed-Circuit Television (CCTV) images in criminal cases of hudud, qisas, and takzir based on the Islamic Law of Evidence in Malaysia. Methodology: The method used to analyze data is content analysis on primary and secondary data sources gained from various sources. Main Findings: Closed-Circuit Television (CCTV) images are classified under the definition of an electronic document in Malaysia’s Shariah law. Applications of this study: This study proved the admission of video as evidence in cases including zina (adultery), qazaf (offense of making an accusation of zina) and other criminal offenses. Novelty/Originality of this study: This study discovers how far Closed-Circuit Television (CCTV) images are being used as evidence and challenges faced in convicting charges in Shariah court using this evidence.

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Gorjón Palos, Laura, and Ana Isabel Isidro de Pedro. "MAMÁ, QUIERO SER “TRONISTA”. EL PODER DE LA PROGRAMACIÓN TELEVISIVA EN ADOLESCENTES." International Journal of Developmental and Educational Psychology. Revista INFAD de Psicología. 2, no. 1 (October 22, 2017): 385. http://dx.doi.org/10.17060/ijodaep.2017.n1.v2.951.

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Abstract.MOMMY, I WANT TO BE A REALITY SHOW CONTESTANT. THE POWER OF THE TELEVISION PROGRAMMING IN ADOLESCENTSThe media have gained great importance as a socializing agent, building up and transmitting identities through images and speeches, in such a way that they influence, immediately and daily, the behaviors and attitudes of the spectators. One of those media, so deeply rooted in our daily habits that we can hardly detach from both its consumption and the power that it exerts on us, is television (conventional or through Internet). The competition between the television networks and the terrible fight for the audience have led to a change in the programming, in such a way that, at present, a significant percentage of the guide is constituted by the so-called trash TV programs, among which are those exhibiting prejudices and gender stereotypes. This paper aims for examine the television products consumed by adolescents and the impact and influence that the so called “reality shows” have. To do this, a homemade questionnaire of 36 items (with open, closed and Likert-type questions) was used on a sample of 237 subjects, aged between 14 and 23 years old. After data analyzing, grouping, contrasting and interpreting, it was found that television consumption among the subjects of the sample was massive and daily (99.4%), as well as the related comments on the social networks. Similarly, 73% of the subjects claimed to be a follower of at least one reality show, most of them (87.3%) found important advantages to the fact of going out on TV, 35% would like to be people related to fame and a surprising 27% would like to participate in a reality show. The results show the necessity of an education for the television products consumption that put the emphasis on the reflective and critical role of the spectator.Keywords: Trash television; Reality show; SpectatorResumen.Los medios de comunicación han cobrado gran importancia como agente socializador, forjando y transmitiendo identidades a través de imágenes y discursos, de tal modo que influyen, de manera inmediata y cotidiana, en las conductas y actitudes de los espectadores. Y uno de esos medios, tan profundamente arraigado en nuestras costumbres cotidianas que difícilmente podemos desprendernos de su consumo y del poder que ejerce sobre nosotros, es la televisión (convencional o visionada a través de internet). La competencia de las cadenas televisivas y la feroz lucha por la audiencia han llevado a un cambio en la programación, de tal manera que, en la actualidad, un porcentaje importante de la parrilla lo constituyen los denominados programas basura, entre los que no son ajenos aquéllos que exhiben prejuicios y estereotipos de género. Este trabajo pretende examinar los productos televisivos consumidos por los adolescentes y el impacto e influencia que tienen en ellos los denominados “reality shows”. Para ello se utilizó un cuestionario de elaboración propia de 36 ítems (con preguntas abiertas, cerradas y tipo Likert), que fue aplicado a una muestra de 237 sujetos de entre 14 y 23 años. Tras analizar, agrupar, contrastar e interpretar los datos, constatamos que el consumo de televisión entre los sujetos de la muestra es masivo y cotidiano (99,4%), así como los comentarios al respecto en las redes sociales. De igual manera, un 73% de los sujetos manifiesta ser seguidor de, al menos, un reality show, una mayoría (87,3%) encuentra importantes ventajas al hecho de salir en televisión, a un 35% les gustaría ser personas relacionadas con la fama y a un sorprendente 27% les gustaría participar en un reality show. Los resultados muestran la necesidad de una educación para el consumo de los productos televisivos que ponga el énfasis en el papel reflexivo y crítico del espectador.Palabras clave: Televisión basura; Reality show; Espectador

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Ortiz-Sobrino, Miguel Ángel, José Antonio Ruiz-San-Román, and Elba Díaz-Cerveró. "TV Broadcasters and Research on TV and Children." Comunicar 20, no. 40 (March 1, 2013): 137–44. http://dx.doi.org/10.3916/c40-2013-03-04.

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This paper describes the main contributions of the TV broadcasters in Spain to the study of the relationships between television and childhood. It is justified by the need of compile and organise these contributions. Quality contents broadcasted for children, children consumption of television and the role of TV channels to transfer a positive image of the childhood have been the mainstays of this text. The information that we report is the result of the study carried out from Observatorio Comunicación y Sociedad. Methodologically, consulting scientific bibliography about television and childhood has made possible to put our study into context. After that, the use of questionnaire to people responsible of contents broadcasted for children by the main Spanish TV channels, and the analysis of the different experiences and work papers prepared by televisions, have allowed to create a setting with the broadcasters’ main contributions to a new paradigm which improves the relationship between minors and television. The conclusion from the analysis and the consultation to experts point that, except in the case of the public state television and some regional televisions, the research and the redesign of the childhood/television relationship is not one of the channels priorities. In fact, only TVE has an important scientific production in this field.Este artículo describe las principales aportaciones de las televisiones españolas al estudio y reformulación de la relación entre televisión e infancia. La necesidad de recabar y organizar a lo largo del tiempo esas contribuciones justifica este trabajo. Los contenidos infantiles de calidad, el consumo infantil de televisión, y el papel de las cadenas televisivas para trasladar a la ciudadanía una imagen positiva de la infancia, han sido los ejes vertebradores sobre los que se ha fundamentado este texto. Los datos aportados son el resultado de un estudio llevado a cabo desde el Observatorio Comunicación y Sociedad. Metodológicamente, la consulta de bibliografía científica sobre la televisión y la infancia ha permitido contextualizar este estudio. Posteriormente, la utilización de una microencuesta a los responsables de contenidos infantiles de las principales cadenas televisivas españolas, y el análisis de las diferentes experiencias y documentos de trabajo elaborados por las televisiones, han permitido construir un escenario con las principales aportaciones de las emisoras a un nuevo paradigma que mejore la relación de los menores con la televisión. Las conclusiones más destacadas extraídas del análisis y de las consultas con los expertos apuntan a que, salvo en el caso de la televisión pública estatal y de algunas televisiones autonómicas, la investigación y reformulación del binomio infancia/televisión no es un objetivo prioritario para las cadenas. De hecho, solo TVE tiene producción científica relevante en la materia.

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Dubois, Lise. "La représentation du vieillissement à la télévision: Des images de négation et d'exclusion dans une logique de mise en marché." Canadian Journal on Aging / La Revue canadienne du vieillissement 16, no. 2 (1997): 354–72. http://dx.doi.org/10.1017/s0714980800014392.

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AbstractThis paper is about the television representation of aging and the ensuing social discourse. We analysed the content of 756 hours of television (3 weeks from 2 television networks: Société Radio-Canada and TVA in March 1992). We found that television discourse in different types of programs (information, talkshows, fiction, advertising) uses many strategies that deny the aging process and, in doing so, reassure the public about aging. Television also talks about the exclusion of the elderly in our society. But, at the same time, it must charm these potential consumers. Old people watching several hours of television daily know that they are excluded from society, except as consumers.

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Anzur, Terry. "How to Talk To the Media: Televised Coverage of Public Health Issues in a Disaster." Prehospital and Disaster Medicine 15, no. 4 (December 2000): 70–72. http://dx.doi.org/10.1017/s1049023x00025310.

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AbstractPublic health officials often are critical of the way television news covers disasters, while broadcast journalists complain of a lack of cooperation from the public health sector during disaster coverage. This article summarizes the issues discussed in a session on Televised Coverage of Disasters, presented in April 1999 at the UCLA Conference on Public Health and Disasters in Los Angeles. Public health officials were asked to “talk back to their television sets” in a dialog with television journalists. Concerns included: 1) the lack of balance in television coverage that is dominated by sensational images that may frighten rather than inform the public; 2) the potential for psychological damage to viewers when frightening images are shown repeatedly in the days and weeks of the disaster; and 3) the perception that TV reporters place too much emphasis on crime, property damage, and loss of life, giving relatively low priority to disaster preparedness and to public health issues in the aftermath of a disaster. Options for improving communication between television journalists and public health professionals also are discussed.

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Chacińska, Maja, and Maria Sibińska. "Constructing Sámi images in Scandinavian television series: Between pessimism and new possibilities." Journal of Scandinavian Cinema 12, no. 1 (March 1, 2022): 71–86. http://dx.doi.org/10.1386/jsca_00065_1.

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The Sámi are a linguistic, ethnic and cultural Indigenous minority in three Nordic countries, Finland, Norway and Sweden. Much of the perception of this minority comes from the majority media of these countries. Media in general have often been accused of under- and misrepresenting the Sámi. Previous research, however, has mainly concerned the news media. The article examines how the Sámi are portrayed in two television series, the Swedish Midnight Sun (2016) and the Norwegian Heartless (2013). Since television is a popular medium, the representation of the Sámi in these series can significantly impact the general perception of the group. Drawing on recent migration theory, the article examines how Sámi- and non-Sámi-produced television impacts the perception and apparent authenticity of the Indigenous population.

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Aryal, Kundan. "The Gulf War as Simulacra: An Analysis of Vishwa Ghatana [World Affairs] on Nepal Television." SCHOLARS: Journal of Arts & Humanities 5, no. 1 (February 15, 2023): 62–70. http://dx.doi.org/10.3126/sjah.v5i1.52478.

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Between early August 1990 and the end of February 1991, the coverage of the Persian Gulf War on Cable News Network (CNN) television showcases a comprehensive example of simulacra. Based on Jean Baudrillard's ideas of postmodern simulacra and simulation, this paper attempts to demonstrate how the simulacra of the Gulf War appeared before the Nepali audience through a domestic nationwide channel. The major source of news and perspectives of the contents of Nepal Television's world affairs program were the reports and images of CNN. The paper, with an approach to looking into the event retrospectively, demonstrates a case where CNN used a comparatively small television channel in a developing country to disseminate its cultural product to the local audience in their vernacular language. Taking Nepal Television (NTV) and its Vishwa Ghatana [World Affairs], a program dedicated to the world affairs as a case in point, this paper examines relationships between the rhetoric and reality in the theoretical and conceptual frame of simulacra and simulation based on Baudrillard’s ideas.

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Ogundimu, Folu. "Images of Africa on U.S. Television: Do you have Problems with that?" Issue: A Journal of Opinion 22, no. 1 (1994): 7–11. http://dx.doi.org/10.1017/s0047160700501735.

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As references to the “Evil Empire” on American television recede into memory, sublime images of Africa as a dark continent nevertheless remain an enduring presence. This, despite the debate in foreign policy and media circles about the need to redefine now the role of the press in coverage of global affairs. No doubt, the media, television especially, have provided compelling images of the changing world order: Tiananmen Square, the Persian Gulf and the Middle East, Somalia, Bosnia, the Soviet coup and the Berlin Wall. To most Americans, vivid memories of these events are in all likelihood shaped by images gleaned from CNN or one of the three networks.

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Lam, Anita. "Televisual waiting: Images of time and waiting in CSI." Time & Society 27, no. 3 (September 30, 2015): 275–94. http://dx.doi.org/10.1177/0961463x15604517.

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As a massively popular crime drama, Crime Scene Investigation has circulated influential images and narratives that suggest that the processing and analysis of forensic evidence can be done in a swift and timely manner. The claim of such a CSI effect is based on the relative absence of waiting scenes within the series. This article examines the series’ multiple representations of time and waiting, linking the absence of waiting to the construction of forensic scientists as powerful figures of moral authority. In the episode Grave Danger, however, waiting is notably imagined as something that must be experienced and endured as a result of conviction. It is made analogous to death, and embodied through horizontality as well as by feminized waiters. Because the feminization of waiters also characterizes the representation of television viewers, I end by examining how the role of waiting in Crime Scene Investigation is intertwined with the viewer’s experience of watching the planned flow of network television. Ultimately, this article argues that the study of televisual waiting requires a recognition that images and narratives on network television emerge out of and depend on waiting as representation, experience, and performance.

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Bristor, Julia M., Renée Gravois Lee, and Michelle R. Hunt. "Race and Ideology: African-American Images in Television Advertising." Journal of Public Policy & Marketing 14, no. 1 (March 1995): 48–59. http://dx.doi.org/10.1177/074391569501400105.

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Although the numerical representation of African-Americans in contemporary television advertising has improved in recent years, the authors’ analysis illustrates how the potentially positive effects of including more African-Americans in advertisements are often mitigated by subtle racist elements that suggest African-American inferiority. Using an interpretive approach, the authors cast the problem within a framework of racism as ideology, that is, the dominant white ideology pervading the advertising industry. Their discussion of six themes identified in their analysis of prime-time television commercials serves to highlight problematic images of African-Americans that continue to persist in contemporary advertising. In the spirit of self-regulation, the authors suggest actions that the advertising industry can take to present more positive and varied portrayals of minority populations.

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Mcmillin, Divya C. "Ideologies of Gender on Television in India." Indian Journal of Gender Studies 9, no. 1 (March 2002): 1–26. http://dx.doi.org/10.1177/097152150200900101.

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Content analyses of Indian television programmes on the national network Doordarshan in the 1980s have shown that prime-time shows cast women as docile homemakers and as objects of male desire. This paper uses a critical postcolonial theoretical framework and narrative analysis method to detect ideologies of gender from programmes randomly selected from a month's menu of the transnational, national and regional television networks in the country. A broad conclusion is that Indian television in the late 1990s perpetuates, across channels, the 1980s' stereotypical images of women, images that have their roots in Vedic, colonial, and nationalist literature. The status quo is explained through a critical discussion of the framing of 'woman' in colonial and postcolonial nation-building efforts. The paper also points to the emerging genre of hybrid programming, where the greater incidence of female veejays and talk show hosts paves the way for the expression of female leadership and desire, and leads to more positive television portrayals of women in the 21st century.

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Negus, Keith. "Musicians on Television: Visible, Audible and Ignored." Journal of the Royal Musical Association 131, no. 2 (2006): 310–30. http://dx.doi.org/10.1093/jrma/fkl005.

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This article focuses on the prominent anxieties generated by television broadcasts of musicians from the 1930s onwards. It explores three specific issues: first, a concern that television images of performing musicians are detrimental to the experience of music; second, negative judgments about the consequences of television sound quality; and, third, fears that musical value is undermined by the distracted character of television reception. Focusing on these particular points, the article also raises a series of more profound questions about how various strategies of looking and listening influence our understanding of music.

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Xu, Fangyi. "Sisters Who Make Waves and Contemporary Female Identity." International Journal of Social Science Studies 9, no. 3 (April 13, 2021): 51. http://dx.doi.org/10.11114/ijsss.v9i3.5211.

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The online variety show Sisters Who Make Waves has rapidly become highly popular and is one of many online shows dominated by young idols creating a group portrait of many successful sister identities. Various film and television dramas such as Nothing But Thirty and To Dear Myself have also depicted middle-aged and adult women. From the feminist perspective, mature and independent female images are a new feature of these online film and television shows. We found that women who participate in literary and creative activities are increasingly speaking in their own voices, that the sisters’ independent images have important cultural symbolic significance, and that these new images form an imagined community among the audience. However, we must be vigilant about the impact of new media’s commercialization on new women’s images.

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Yamamoto, Kenji, Tomohiro Endo, Toshiaki Fujii, and Masayuki Tanimoto. "Transformation of Multi-camera Images for Free Viewpoint Television." Journal of The Institute of Image Information and Television Engineers 60, no. 2 (2006): 219–26. http://dx.doi.org/10.3169/itej.60.219.

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Taylor, R. A. "Estimating the Nonlint Content of Yarn With Television Images." Journal of Engineering for Industry 110, no. 3 (August 1, 1988): 259–62. http://dx.doi.org/10.1115/1.3187879.

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Video scanning type trashmeters have been developed to identify and integrate the amount of trash observed in cotton. They perform a surface scan of trash particles in lint samples compressed against an observation window. This study reports the use of video scanning measurements on yarn samples to estimate the quantity of visible trash remaining in yarn. Methods described can be used to rapidly grade yarn for visual quality and fabric defect potential.

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Shi Guang-hui, 史光辉, and 杨威 Yang Wei. "Optical system used to compose images in television photograph." Chinese Journal of Optics and Applied Optics 7, no. 4 (2014): 638–43. http://dx.doi.org/10.3788/co.20140704.0638.

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Mastro, Dana E., and Amanda L. Robinson. "Cops and crooks: images of minorities on primetime television." Journal of Criminal Justice 28, no. 5 (September 2000): 385–96. http://dx.doi.org/10.1016/s0047-2352(00)00053-2.

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Pecot, M., P. J. Tourtier, and Y. Thomas. "Compatible coding of television images, part 1. Coding algorithm." Signal Processing: Image Communication 2, no. 3 (October 1990): 245–58. http://dx.doi.org/10.1016/0923-5965(90)90002-y.

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Pecot, M., P. J. Tourtier, and Y. Thomas. "Compatible coding of television images, part 2. Compatible system." Signal Processing: Image Communication 2, no. 3 (October 1990): 259–68. http://dx.doi.org/10.1016/0923-5965(90)90003-z.

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Journal articles on the topic 'Television images'

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