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Journal articles on the topic 'Television programmes'
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Eliah, Victor. "Predictors of Television Programmes Quality in Tanzania: Analysis of Stakeholders’ Perspectives." University of Dar es Salaam Library Journal 16, no. 2 (February 7, 2022): 186–201. http://dx.doi.org/10.4314/udslj.v16i2.13.
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There have been complaints over the quality of television programmes in Tanzania from various groups including; professionals, viewers, television programme sponsors and media authorities. Recognizing the role played by the availability of diverse programme quality perspectives on the amount such compliments, this study sought to establish an understanding on how stakeholders view quality in TV programmes. The study triangulated quantitative and qualitative methods in order to establish a better understanding. The study involved a total of 70 respondents that included; television programmes producers, television programmes viewers, programme sponsors, television programmes managers, and telecom/electronics engineers/technicians. The study has used questionnaire and interviews to collect data from these respondents. Based on the data collected, the study has found that the term “quality” in the context of television production is “erratic” due to the absence of specific standards for measuring it save for different perspectives of professionalism, viewers, business/sponsorships, editorial polices, creativity and cultural orientations. In order to sustain quality control, the study recommends among other things, the establishment of quality control boards or quality assurance unit by the government to spearheading standards in television production and bridge professionalism.
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Wheatley, Helen. "At Home on Safari: Colonial Spectacle, Domestic Space and 1950s Television." Journal of British Cinema and Television 10, no. 2 (April 2013): 257–75. http://dx.doi.org/10.3366/jbctv.2013.0134.
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This article explores the ways in which television registered, and broadcast, colonial discourse in the specific context of Kenya and Britain in the 1950s. Focusing on the wildlife programming of the husband and wife team Armand and Michaela Denis as its case study, an examination of programmes such as Filming in Africa (BBC, 1955) and On Safari (BBC, 1957–65) is offered, looking at the ways in which these programmes negotiated the transition between colonial spectacle and a cosy, domestic address for British television. The article will explore what these programmes reveal about Britain's ‘imagined Kenya’ in the final years of colonial rule, and argue that it is possible to trace a colonial lament in this form of popular entertainment on the cusp of the decolonisation of Kenya. These programmes are thus interesting as examples of colonial television, that is, domestic television broadcasting made outside the UK by programme-makers who present themselves as being simultaneously ‘at home’ and ‘abroad’ on the BBC. Importantly, the programmes aimed to bridge a perceived gap between the ‘outside world’ of colonised ‘wild’ space and the ‘inside world’ of television's interior, domestic spaces. A history of the Denises’ programmes is reconstructed by intertwining archival research into scripts, set designs, publicity materials and production notes with analyses of the programmes themselves.
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Barber, Sian. "Discovering film on Irish television: fragments from RTÉ archives 1960–5*." Historical Research 91, no. 254 (October 22, 2018): 791–809. http://dx.doi.org/10.1111/1468-2281.12242.
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Abstract This work explores film and television in Ireland in the early nineteen-sixties. Focusing on national broadcaster Telefís Éireann (RTÉ), it uses archival programme footage and broadcast listings to examine television's relationship with film and cinema. This material, which includes excerpts from arts and culture programmes and interviews with actors, suggests an intersection between film, cinema and television in nineteen-sixties Ireland.
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Posada-Álvarez, Alexandra. "Apuntes sobre la violencia en los programas de televisión." Comunicar 9, no. 17 (October 1, 2001): 170–75. http://dx.doi.org/10.3916/c17-2001-27.
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The reflection on the possible effects that television violence may have on children watching it is a commonplace in scientific literacy about media education. The author of this paper analyzes some television programmes and comes to the conclusion that it is necessary to provide a critical vision about what television is and means in our societies avoiding prejudices or fears but with responsability and formation. La reflexión sobre las posibles consecuencias que puede tener la violencia de los programas que se transmiten en televisión en horarios en que los niños se encuentran, viéndola es ya un tópico recurrente en la literatura científica de Educación en Medios. La autora de este estudio rescata este tema analizando la programación televisiva más interesante para los educandos, para concluir en la necesidad de promover una visión critica sobre lo que la televisión es y significa en nuestras sociedades, sin tópicos ni miedos alarmistas pero con responsabilidad ante sus efectos, asumiendo de antemano que no es solamente la televisión quien tiene las respuestas.
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Navarro, Celina, and Emili Prado. "Television buyers in the digital era: A comparative study of the UK and Spain." International Communication Gazette 81, no. 6-8 (January 9, 2019): 727–47. http://dx.doi.org/10.1177/1748048518822612.
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European television channels harbour a significant amount of imported programmes within their schedules. This presence, with its social and cultural impact, is directly affected by the established practices of the television industry which conditions the type and origin of the foreign programmes that are being acquired by linear broadcasters. This research article aims to analyse the criteria used by local television buyers when acquiring international programmes and understand the reasons behind transnational television flows. The findings of the interviews with the television buyers of the main free-to-air television corporations of the United Kingdom and Spain reveal that there is a high level of standardization across the two countries in the decision making process and this homogenizes the range of programme viewers are exposed to. However, a differentiation between public and commercial channels has to be made since public broadcasters consider social and cultural aspects to a higher degree.
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Digón-Regueiro, Patricia. "Children programmes and sensationalist TV: entertaining, misinforming, miseducating." Comunicar 16, no. 31 (October 1, 2008): 65–76. http://dx.doi.org/10.3916/c31-2008-01-008.
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Children television in Spain is closely bound to the widespread commercial TV model. The analysis of children programmes broadcast in a regional channel of Spanish public television allows us to see not only the scarce investment for children programmes, but also the inclusion of some contents and values which could be considered as inappropriate from an educational viewpoint. El panorama de la televisión para niños en España está estrechamente vinculado al modelo comercial de TV imperante. El análisis de programas infantiles emitidos en un canal autonómico de la televisión pública española permite observar, no sólo la poca inversión realizada en los programas destinados al público infantil, sino la inclusión de toda una serie de contenidos y valores que se podrían considerar como poco adecuados desde un punto de vista educativo.
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Larsen, Charlotte Rørdam. "Sonic ingredients in television food programmes." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 3, no. 1-2 (December 1, 2013): 23–43. http://dx.doi.org/10.7146/se.v3i1-2.15638.
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The main focus of this article is the use, significance, and role of sound in food and food travel programmes, exemplified by cooking programmes broadcast on Danish television – public service and commercial channels. The aim is to demonstrate how sound and music in this kind of programme plays an important part mediating both the cooking and the kitchen as wellordered and well organized. The use of music represents flow, but refers also to locality, globality and identity, and is often linked to the notions of nostalgia, tradition and authenticity, and contributes to an aesthetization of food programmes as it forms part of the performance and presentation of meals. The early kitchen programmes emphasized on information, as a kind of living cooking books as the idea was to enlighten the housewives and their practices by challenging their common sense choices introducing a more French inspired kitchen. In relation to such kitchen programmes todays cooking programmes seem to appeal to a broader sensibility as they present us to the possibilities of modern life, and the chefs’ multisensuorious performances underlines this – often induced by the sound. It is through the sounds in food programmes that an authentic experience of taste and smell is mediated to the viewer: both through the lustful, approving sounds made by presenters and through the cooks’ handling of raw materials. What looks delicious, also smells and tastes delicious – mediated through sound.
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Davies, Yvonne A. "Television programmes of study?" Education 3-13 19, no. 3 (October 1991): 61–64. http://dx.doi.org/10.1080/03004279185200361.
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Pierson, David. "Fifty Key Television Programmes." Journal of Popular Culture 38, no. 6 (November 2005): 1125–26. http://dx.doi.org/10.1111/j.1540-5931.2005.00197.x.
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Pereira, Sara. "Quality in children’s television." Comunicar 13, no. 25 (October 1, 2005): 181–92. http://dx.doi.org/10.3916/c25-2005-025.
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With this presentation we try to reflect upon the concept of quality with regards to television for children. In addition, we aim to identify a set of criteria which can allow us to recognize and evaluate the quality of programming for younger audiences. This analysis is based both on the contribution of different authors that have studied quality in television and on the opinions of professionals who intervene and pay especial attention to programming for children in Portugal. The opinions of these professionals were collected by interview in the frame of a larger study which focused the offer and programming criteria for children in the Portuguese terrestrial channels. As we shall see, some professionals emphasize the content of television programming and programmes, while others stress the levels of audience, the human and technical resources as well as the goals pursued by each channel. O estudo da relação das crianças com a televisão pode incidir quer na vertente das audiências, nomeadamente, dos públicos infantis, quer na vertente da televisão e do sistema televisivo. O presente trabalho focaliza-se na segunda dimensão. Depois de nos termos detido, noutros estudos, sobre o contexto da recepção, quisemos analisar o contexto da programação e da difusão televisiva. Atendendo a que um dos factores que condiciona o uso da televisão reside nos programas oferecidos, consideramos fundamental estudar também o lado de lá do ecrã para conhecer o que é pensado, concebido e emitido especificamente para o público mais jovem. Neste sentido, realizámos uma pesquisa sobre as ofertas e os critérios de programação para a infância dos canais generalistas portugueses, no período compreendido entre 1992 e 2002. Neste estudo recorremos a uma metodologia assente em abordagens quantitativas e qualitativas.
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Quintana-Garzón, Rafael. "The responsibility of television programme planners." Comunicar 13, no. 25 (October 1, 2005): 243–46. http://dx.doi.org/10.3916/c25-2005-034.
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The discussion about the quality of television contents, which has so strongly arisen in recent years, provides both elements for optimism and aspects that foster a sceptical position at the same time. The good intentions of improving programmes and of protecting children and youngsters, which were stated in the self-regulation rules signed in Spain in December of 2004, have come to nothing in the first months. The breaches of the code are frequent. Programme planners do not fully assume their responsibility and they blame external factors (such as the audience, the necessity of income from advertising or the lack of creativity) for the low quality of television products. It is appropriate to introduce the falsehood of such arguments on this point of the debate and to recall that television companies are the owners of the television that we consume. The possibilities of change will depend on the pressure that we, the users, are capable of exerting. El debate acerca de la calidad de los contenidos televisivos, que con tanta fuerza se ha generado en los últimos años, aporta elementos para el optimismo a la vez que aspectos que alimentan una posición escéptica. Los buenos propósitos de mejorar la programación y proteger a la infancia y la juventud, expresados en el Código de Autorregulación firmado en España en diciembre de 2004, se han visto frustrados en los primeros meses. Los incumplimientos del Código son numerosos. Los programadores no acaban de asumir su responsabilidad y echan la culpa a factores externos (audiencia, necesidad de ingresos publicitarios o falta de creatividad) para justificar la baja calidad de los productos televisivos. Resulta oportuno introducir en este punto del debate la falsedad de tales argumentaciones y recordar que los emisores son los dueños de la televisión que consumimos. Las posibilidades de cambio dependerán de la presión que seamos capaces de ejercer los usuarios.
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Fusco, Francesca, and Maria Vittoria Dell'Anna. "La divulgazione linguistica in RAI: "Le parole per dirlo"." Lingue e culture dei media 5, no. 2 (January 29, 2022): 16–45. http://dx.doi.org/10.54103/2532-1803/17218.
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Il lavoro – che vuole essere un contributo agli studi su lingua italiana, televisione e divulgazione linguistica - si occupa del programma tematico sull’italiano Le parole per dirlo, in onda ogni domenica mattina su Rai 3 dal mese di ottobre 2020, condotto da Noemi Gherrero con la partecipazione dei linguisti Valeria Della Valle e Giuseppe Patota. Le parole per dirlo è al momento in tv l’unica trasmissione interamente dedicata alla lingua italiana, dato significativo tanto più in un contesto televisivo che dedica ai programmi linguistici uno spazio di gran lunga inferiore a quello occupato da altri generi della divulgazione scientifico-culturale.
Il lavoro presenta il programma in seno alla programmazione linguistica Rai dagli esordi (metà degli anni ‘50 del ‘900) a oggi e a correlati fattori storico-culturali, sociolinguistici, comunicativi (fasi e caratteri del mezzo televisivo e sua evoluzione tecnologica; missione di servizio pubblico della Rai; la “lingua” come oggetto di informazione culturale), descrive struttura delle puntate e aspetti crossmediali, illustra le strategie della divulgazione e i temi linguistici privilegiati, anche con focus su puntate specifiche, riportate secondo gli usuali criteri di trascrizione del parlato televisivo. Osservazioni su lingua e tecniche divulgative si basano su un totale di 28 ore e 20 minuti di materiali audiovisivi.
The essay deals with a thematic programme on the Italian language, Le parole per dirlo, broadcast every Sunday morning on Rai 3 since October 2020. The programme is presented by Noemi Gherrero with the participation of two linguists, prof. Valeria Della Valle and prof. Giuseppe Patota and it is currently the only TV programme entirely dedicated to the Italian language (a very significant fact in a television programming scenario in which programmes about the Italian language are given less space than other scientific and cultural outreach programmes).
The work presents the programme within the Rai linguistic programming from its beginnings (mid 1950s) to the present day and takes into consideration historical-cultural, sociolinguistic and communicative factors (phases and characteristics of the television medium and its technological evolution; Rai's public service mission; "language" as an object of cultural information). It describes then the structure of the episodes and cross-media aspects, the strategies of dissemination and the discussed linguistic themes: the analysis focuses on specific episodes, reported according to the usual criteria of transcription of television speech. Observations on language and dissemination techniques are based on a total of 28 hours and 20 minutes of audiovisual materials.
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Jardine, Bryony, Jenni Romaniuk, John G. Dawes, and Virginia Beal. "Retaining the primetime television audience." European Journal of Marketing 50, no. 7/8 (July 11, 2016): 1290–307. http://dx.doi.org/10.1108/ejm-03-2015-0137.
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Purpose This paper aims to investigate factors associated with higher or lower television audience retention from one programme aired sequentially after another, referred to as lead-in audience retention. Lead-in is a primary determinant of television programme audience size. Design/methodology/approach The study models a series of factors linked to lead-in audience retention, such as rating of the second programme, genre match and competitor options. The hypothesised relationships are tested across over 1,000 pairs of programmes aired in the UK and Australia, using multivariate linear regression models. Findings The study finds the factors consistently related to significantly higher lead-in audience retention are the rating of the second programme in the pair and news genre match in programming. Factors consistently linked to lower audience retention include the rating of the initial programme and the number of competitor options starting at the same time as the second programme. Practical implications The findings help television networks understand drivers of lead-in audience retention. Knowledge that can be used to inform the design of tailored marketing plans for programmes based on schedule, timing and adjacent programming. Further, the findings help advertisers and media buyers with scheduling television advertising to achieve reach or frequency objectives. Originality/value No previous studies have comprehensively combined all four factors driving lead-in audience retention into a single model. The testing across multiple markets adds to the robustness of the findings. In particular, the discoveries about the impact of competitor network activities and genre build considerably on past research.
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Barker, Alexander B., Kathy Whittamore, John Britton, and Jo Cranwell. "Content analysis of tobacco content in UK television." Tobacco Control 28, no. 4 (August 13, 2018): 381–85. http://dx.doi.org/10.1136/tobaccocontrol-2018-054427.
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AimsExposure to audiovisual tobacco content in media is a risk factor for smoking in young people. While tobacco content in films has been extensively documented, content in mainstream television has received relatively little attention. We report an analysis of tobacco content in a sample of UK free-to-air prime-time television broadcasts in 2015, and compare this with a similar analysis from 2010.DesignContent analysis of all programmes and advertisements or trailers broadcast on the five national UK free-to-air channels in the UK between 18:00 and 22:00 during three separate weeks in September, October and November 2015.SettingGreat Britain.ParticipantsNone (media analysis only).MeasurementsOccurrence of any tobacco, tobacco use, implied use, other tobacco reference/related objects and branding in every 1 min coding interval.FindingsTobacco content occurred in 33% of all programmes and 8% of all adverts or programme trailer breaks. Actual tobacco use occurred in 12% of all programmes broadcast. Tobacco-related objects, primarily no smoking signs, occurred in 2% of broadcasts; implied tobacco use and tobacco branding were also rare. The majority of tobacco content occurred after the 21:00 watershed.ConclusionsThese findings are virtually unchanged from our earlier analysis of programme content from 2010. Audiovisual tobacco content remains common in UK television programmes.
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Krzywdzińska, Agata. "The Image of NATO in Russian Television on the 70th Anniversary of the North Atlantic Pact." Security Dimensions 31, no. 31 (September 30, 2019): 22–31. http://dx.doi.org/10.5604/01.3001.0013.8552.
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Background: The 70th anniversary of the North Atlantic Pact became an impulse to write the article – to discuss the manner in which the topic was presented on Russian public television. Objectives: The aim of the article is to reconstruct NATO’s image (the military organization associating twenty-nine countries of Europe and North America) on channel Russia-1 in connection with the seventieth anniversary of the Pact, celebrated on 4 April 2019. Methods: The research materials are analytical programmes and political talk shows broadcast in March and April 2019. A content analysis method was used to examine the programmes. Results: Examination of the programmes showed that Russian public television is a mirror image of the state policy. Conclusions: Russian public state television channel Russia-1 presents a coherent narrative image of NATO regardless of the genre formula of the programme. NATO, in the assessment of selected TV programmes, is clearly viewed as an aggressive organization, encroaching closer on the borders of Russia.
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Scully, Paul, Orlaith Reid, Alan Macken, Mark Healy, Jean Saunders, Des Leddin, Walter Cullen, Colum Dunne, and Clodagh S. O’Gorman. "Food and beverage cues in children’s television programmes: the influence of programme genre." Public Health Nutrition 19, no. 4 (June 17, 2015): 616–24. http://dx.doi.org/10.1017/s1368980015001755.
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AbstractObjectiveThe link between childhood obesity and both television viewing and television advertising have previously been examined. We sought to investigate the frequency and type of food and beverage placements in children-specific television broadcasts and, in particular, differences between programme genres.MethodContent of five weekdays of children-specific television broadcasting on both UK (BBC) and Irish (RTE) television channels was summarized. Food and beverage placements were coded based on type of product, product placement, product use and characters involved. A comparison was made between different programme genres: animated, cartoon, child-specific, film, quiz, tween and young persons’ programming.ResultsA total of 1155 (BBC=450; RTE=705) cues were recorded giving a cue every 4·2 min, an average of 12·3 s/cue. The genre with most cues recorded was cartoon programming (30·8 %). For the majority of genres, cues related to sweet snacks (range 1·8–23·3 %) and sweets/candy (range 3·6–25·8 %) featured highly. Fast-food (18·0 %) and sugar-sweetened beverage (42·3 %) cues were observed in a high proportion of tween programming. Celebratory/social motivation factors (range 10–40 %) were most common across all genres while there were low proportions of cues based on reward, punishment or health-related motivating factors.ConclusionsThe study provides evidence for the prominence of energy-dense/nutrient-poor foods and beverages in children’s programming. Of particular interest is the high prevalence of fast-food and sugar-sweetened beverage cues associated with tween programming. These results further emphasize the need for programme makers to provide a healthier image of foods and beverages in children’s television.
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Ahmed, Amal Sabah, and Muhammed Badeaꞌ Ahmed. "Advice in English and Arabic television health programs." Journal of Tikrit University for Humanities 26, no. 3 (June 24, 2019): 79–98. http://dx.doi.org/10.25130/jtuh.26.3.2019.27.
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This study deals with advising speech act from a polite point of view. Advising speech act implies that there is an expert who has knowledge of something and tries to share it with others for their own benefit .Since this study is concerned with health advice, it is very important to show the language used in health context which is medical language. The current study investigates the pieces of advice that are presented in TV health programmes 'The Doctors' and 'Green Apple'. This study aims at:(1) showing the difference between 'The Doctors' and 'Green Apple' programmes in presenting advising speech act with its strategies,(2) shedding light on health advice in T.V programmes and (3) showing the difference between English and Arabic health programmes with regard to politeness types and their strategies. To achieve these aims , the study hypothesizes that:(1)all advising speech acts in 'The Doctors' and 'Green Apple' are performed within a framework of politeness,(2)there is a difference between English and Arabic programmes concerning the employment of politeness types as the Arabic programme 'Green Apple' uses negative politeness more than the English program 'The Doctors' and(3)both
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Amin, Shazad. "Television programmes and psychiatric treatment." Psychiatric Bulletin 18, no. 3 (March 1994): 178–79. http://dx.doi.org/10.1192/pb.18.3.178-a.
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Basson, Natasja. "Kleuters se persepsie van televisieadvertensies." Communicare: Journal for Communication Studies in Africa 10, no. 1 (November 10, 2022): 102–10. http://dx.doi.org/10.36615/jcsa.v10i1.2035.
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An empirical study was conducted to examine pre-primary children's perception of television commercials. When video stimulus material, containing both ads and programmes were showed, most of the children could only remember that they had seen a television programme. Most of the children could not define a television commercial and the results showed that most of the children did not know what the objectives of television commercials are. Pre-primary children believe that television commercials constitute reality. Television commercials prompted child-ren to ask for specific products. The survey also included the televisionviewing patterns of pre-primary
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Wait, Morgan. "Writing the history of women’s programming at Telifís Éireann." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 38–53. http://dx.doi.org/10.33178/alpha.20.04.
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The history of women’s programming at the Irish television station Teilifís Éireann has long been neglected within the historiography of Irish television. Seminal studies within the field have focused quite specifically on the institutional history of the Irish station and have not paid much attention to programming. This is particularly true in regards to women’s programmes. This paper addresses this gap in the literature by demonstrating a methodological approach for reconstructing this lost segment of programming using the example of Home for Tea, a women’s magazine programme that ran on TÉ from 1964 to 1966. It was the network’s flagship women’s programme during this period but is completely absent from within the scholarship on Irish television. Drawing on the international literature on the history of women’s programmes this paper utilises press sources to reconstruct the Home for Tea’s content and discourse around it. It argues that, though Home for Tea has been neglected, a reconstruction of the programme illuminates wider themes of the everyday at Teilifís Éireann, such as a middle-class bias and the treatment of its actors. As such, its reconstruction, and that of other similar programmes, are exceptionally important in moving towards a more holistic history of the Irish station.
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de Cheveigné, Suzanne, and Eliséo Véron. "Science on TV: forms and reception of science programmes on French television." Public Understanding of Science 5, no. 3 (July 1996): 231–53. http://dx.doi.org/10.1088/0963-6625/5/3/004.
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We report a study of the reception by adults of science programmes broadcast on French television. Long, semi-directive interviews were carried out during which a number of short fragments of the programmes were shown. This research, which is part of a wider study (including children, scientists and professionals involved in the production of such programmes), shows that there are not one but several, very different, readings of science programmes. That implies that, from the point of view of the public, there is no unique, `ideal' form for a science programme and that, indeed, the term `popularization of science' can have several very different meanings.
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Goblot, Vana. "The Television Archive on BBC Four." VIEW Journal of European Television History and Culture 4, no. 8 (December 30, 2015): 80. http://dx.doi.org/10.18146/2213-0969.2015.jethc095.
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Reusing audiovisual archive material is a growing trend on television and has many purposes, ranging for commercial to more ‘purely’ social and cultural ones. Focusing on the uses of the television archive on BBC Four, the BBC’s ‘custodian of archive’ and digital channel for arts, culture and ideas, this article examines a selection of archive rich programmes shown on the channel, in order to explore the ways in which the television archive is becoming indispensible in programme making. Based on interviews with BBC Four programme makers, the article further posits that memory, nostalgia, aesthetic and moral judgement and, crucially, self-reflexivity are at play in archive-based programme making, and propose three distinct production approaches – interpretative, interventional and imaginative – all of which contribute differently to the television archive’s being seen as a ‘creative tool’.
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Karthigesu, Ranggasamy. "US Television Programmes and Malaysian Audiences." Media Asia 18, no. 2 (January 1991): 103–8. http://dx.doi.org/10.1080/01296612.1991.11726357.
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Thorley, V. "Television programmes could market breast feeding." BMJ 322, no. 7290 (April 7, 2001): 863. http://dx.doi.org/10.1136/bmj.322.7290.863.
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Cheng, Tang. "Symbolic communication in cultural television programmes." SHS Web of Conferences 158 (2023): 02010. http://dx.doi.org/10.1051/shsconf/202315802010.
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Television performs the fundamental role of spreading information and transmitting culture as a method of mass communication because it is a significant carrier of both.It reflects both the social ambitions of society as a whole and the way that society is currently developing and functioning.It seems that only exciting TV shows can no longer entirely satisfy audience needs after multiple rounds of the program’s carnival-like eruptions, and too much entertainment has made viewers less aesthetic.Finding programs that may actually satisfy audience requirements has thus become a breakthrough for the advancement of television in the future.
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Irwin, Mary. "Doreen Stephens: Producing and Managing British Television in the 1950s and 1960s." Journal of British Cinema and Television 10, no. 3 (July 2013): 618–34. http://dx.doi.org/10.3366/jbctv.2013.0161.
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Doreen Stephens, whose work and career are now largely forgotten, was very active in the production and management of British television during the 1950s and 1960s. This article will consolidate the author's earlier work on Stephens’ central role in the successful expansion of postwar women's television at the BBC. It will chronicle and explore Stephens’ involvement in other significant episodes at the BBC as well as her subsequent appointment in 1967 as London Weekend Television's Head of Children's Religious and Adult Educational Programmes. Such work continues the process of rewriting and repositioning Stephens into existing narratives of television history and demonstrates that the exploration of women's careers in television allows us to establish critical histories of women's professional expertise in television production and management.
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Kerrigan, Lisa. "'Plundering' the Archive and the Recurring Joys of Television." VIEW Journal of European Television History and Culture 4, no. 8 (December 30, 2015): 4. http://dx.doi.org/10.18146/2213-0969.2015.jethc088.
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The seemingly unlimited digital landscape and the current proliferation of the use of archive footage on British television invite the notion that the appreciation of archive material as a historical object is a rather contemporary popular development. It seems unusual then, to find a series devoted to archive television in the mid 1960s. Largely showing excerpts from 1950s programmes, Plunder recalled what presenter Michell Raper called 'the vanished joys of television'. This article will detail the use of archive footage within the series and consider the programme’s configuration of the idea of the 'archive'.
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Bryant, Steve. "Archive Footage in New Programmes." VIEW Journal of European Television History and Culture 4, no. 8 (December 30, 2015): 61. http://dx.doi.org/10.18146/2213-0969.2015.jethc093.
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Archivists have traditionally been concerned about what they have seen as incorrect usage of archival footage in new documentaries, but changing technologies and programme-making conventions have made this inevitable. This paper considers aspects of these changes, focussing particularly on the issue of how the introduction of widescren television affected and continues to affect the aspect ratios in which archival materials are presented, using examples from recent and contemporary television documentaries from Britain and the USA.
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Keeler, Amanda. "Investigating sound: Visual and aural style from Broadchurch to Gracepoint." Soundtrack 10, no. 1 (April 1, 2017): 43–57. http://dx.doi.org/10.1386/ts.10.1.43_1.
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Using Broadchurch and its American version Gracepoint as a case study, this article explores the aesthetic relationship between these two television programmes through an analysis of their visual and aural styles. The increasing proliferation of television-to-television adaptations and remakes necessitates revisiting the terminology to assess how it accommodates methodological approaches that extend beyond cross-cultural analyses. As narrative content and style are inextricably connected, this article attends to the complexity of employing existing terms to analyse the new version of a programme that simultaneously replicates and departs from the style and tone of its predecessor.
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Bakøy, Eva, and Vilde Schanke Sundet. "‘Remember, it’s just television’." VIEW Journal of European Television History and Culture 6, no. 11 (September 22, 2017): 53. http://dx.doi.org/10.18146/2213-0969.2017.jethc123.
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This article discusses the corporate strategy of one of the most successful television production companies in Norway: Rubicon TV. Based on a historical analysis from the company’s establishment in the early 1990s until today, the article illuminates how Rubicon TV has navigated in and contributed to the changing Norwegian television landscape. Rubicon TV has gone from a supplier of popular and provocative programmes to a small group of Norwegian broadcasters to a truly digital and global industrial force which produces linear ‘flow’ programmes as well as web-TV and streaming series for both national and international players.
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Barker, Alexander B., Kathy Whittamore, John Britton, Rachael L. Murray, and Jo Cranwell. "A content analysis of alcohol content in UK television." Journal of Public Health 41, no. 3 (October 14, 2018): 462–69. http://dx.doi.org/10.1093/pubmed/fdy142.
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Abstract Background Exposure to audio-visual alcohol content in media is associated with subsequent alcohol use in young people, but the extent of exposure contained in UK free-to-air prime-time television has not been explored since 2010. We report an analysis of alcohol content in a sample of UK free-to-air prime-time television broadcasts in 2015 and compare this with a similar analysis from 2010. Methods Content analysis of all programmes and advertisement/trailer breaks broadcast on the five national UK free-to-air channels in the UK between 6 and 10 pm during three separate weeks in September, October and November 2015. Results Alcohol content occurred in over 50% of all programmes broadcast and almost 50% of all advert/trailer periods between programmes. The majority of alcohol content occurred before the 9 pm watershed. Branding occurred in 3% of coded intervals and involved 122 brands, though three brands (Heineken, Corona and Fosters) accounted for almost half of all brand appearances. Conclusion Audio-visual alcohol content, including branding, is prevalent in UK television, and is therefore a potential driver of alcohol use in young people. These findings are virtually unchanged from our earlier analysis of programme content from 2010.
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AZZOUZ, Saida. "THE ROLE OF HEALTHY INFORMATION IN THE PROPAGATION OF HEALTHY CULTURE DURING THE FIRST WAVE OF CORONA VIRUS “THE NATIONAL ENTERPRISE OF THE ALGERIAN TELEVISION AS A MODEL”." RIMAK International Journal of Humanities and Social Sciences 03, no. 08 (November 1, 2021): 72–80. http://dx.doi.org/10.47832/2717-8293.8-3.6.
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This research paper aims at identifying the role of the National Enterprise of the Algerian Television with its various channels in the propagation of healthy culture and in the awareness of people and their sensibilization with their responsibility towards their health and others’ health especially with the emergence of Corona Virus or what is called "Covid-19". During that period the interest about healthy information in increased, so, the Algerian Television played an important role in explaining, clarifying and convining people about the danger of this virus and the importance of following the preventive measures and this through its programmes in order to confront this pandemic, so, the Algerian Television programmed special programmes, and emissions in order to present the necessary information about this pandemic and this through months of doctors and specialists that were invited to their studios as well as various information campaigns related to this pandemic. In addition to that, the channels of the National Enterprise of the Algerian Television used slogans in order to remind the viewer, all along the 24 hours, to stay at home and to take care of his health and his health is between his hands. Keywords: Healthy Information, Healthy Culture, Healthy Education, National Enterprise of the Algerian Television, Corona Crisis.
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Wallace, Richard. "John Cura: Pioneer of the Television Archive." Journal of British Cinema and Television 13, no. 1 (January 2016): 99–120. http://dx.doi.org/10.3366/jbctv.2016.0298.
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This article examines the work of John Cura, a freelance photographer who took over half a million still images of British television programmes between 1947 and 1968. Called Tele-snaps, these photographs constitute an archive of British television from a period where only a limited quantity of programme material survives. Based on papers relating to Cura's work, available in the BBC's Written Archive Centre, the article details the development of Cura's relationship with the BBC as a freelancer, from his speculative attempts at securing clients in the late 1940s to his long-standing contractual work with production offices throughout the 1950s and 1960s. Cura's interactions with the BBC also shed light on the development of British television in the period before 1970. The article documents the changes that took place in the BBC's photographic department in the early 1950s, when photographs for presentational and archival purposes ceased, as well as the concern that the Tele-snaps caused the BBC's legal team by raising questions about television images and copyright. In doing so, the article raises questions about the way that television was valued by those who made it, given that Cura was able to sustain a successful business for twenty years by creating a lasting record of a wide range of television programmes, many of which no longer exist in the BBC's archive.
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Hermanson, Dale. "Tuning in: Does TV news influence the political process in Fiji?" Pacific Journalism Review : Te Koakoa 13, no. 2 (September 1, 2007): 77–93. http://dx.doi.org/10.24135/pjr.v13i2.905.
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Local television news programmes in Fiji have been the most watched programmes for the entire 13-year history of broadcast television in the country. Although survey polls consistently show that television news is extremely popular, the influence it may have due to its popularity has not previously been investigated. This article is based on a study examining the influence that television news programmes have on communities in Fiji. The study shows that the influence of TV news is complex and is interwoven with cultural, economic and political contexts. Findings for the study indicate television news is not only an influential source of information, but that it is also an agenda setter for Fiji public opinion. The research conducted indicates that television news influenced people in Fiji before the 2006 general election. While this influence did not necessarily change the way people voted, it may have helped set the political agenda. Television news may not only be informing the public about forces that shape their lives, but it may be a shaping force itself.
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Iyorza, Stanislaus, and Patience Abu. "NIGERIAN TELEVISION DRAMA SERIES AND AUDIENCE REACTIONS: A SEISMOLOGY EVALUATION." Jurnal Sosialisasi: Jurnal Hasil Pemikiran, Penelitian dan Pengembangan Keilmuan Sosiologi Pendidikan, no. 1 (July 30, 2020): 47. http://dx.doi.org/10.26858/sosialisasi.v0i1.14491.
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The objective of this study is to find answers to evaluate reactions of the audience to the Nigerian television drama series in Nigeria, giving attention to how the programmes are making waves and the extent to which the audience has invested their knowledge, time and interest in them. Seismology is the study of effects or waves created by a dramatic piece, the entire theatrical event or radio or television programme. This discourse assumes that the Nigerian television drama series may not be evoking the desired reactions from their audience. The problem of this study is the uncertainty surrounding the impact or waves made by the Nigerian television drama series on their audience. To achieve the objectives of this study adopted quantitative and qualitative research methods to elicit audience reaction. The study employed the survey method using questionnaire and online interview designs to elicit responses on audience responses to Nigerian television drama series. Findings revealed that more than 80% of Nigerians watch at least one or more Nigerian television drama series out of interest. Audience reactions to the programmes are in form their expressions of knowledge about the drama series in terms of best actors, producers and television drama series in Nigeria. The audience also reacted that the Nigerian television drama series is more entertaining than educational and informational, even though some combine all those qualities. The audience also agreed that the Nigerian television drama series reflect life in Nigeria by promoting good morals and criticizing anti-social behaviours like raping, drug abuse and kidnaping. The paper recommends multinational companies' continuous sponsorship of television drama series that is targeted at making the Nigerian society a better place.
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De Bot, Kees, John Jagt, Henk Janssen, Erik Kessels, and Erik Schils. "Foreign television and language maintenance." Interlanguage studies bulletin (Utrecht) 2, no. 1 (June 1986): 72–82. http://dx.doi.org/10.1177/026765838600200105.
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In this article a description is given of an experiment that aimed at bringing to light in what way subtitled foreign television programmes are processed by non-balanced bilingual viewers. It is shown that at least some processing of the spoken language takes place. This suggests that viewers 'use' the foreign language, even though they may not be aware of it. Thus, foreign television programmes may be helpful in the maintenance of foreign language skills.
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Wahab, Juliana Abdul. "Islamic Content On Malaysian TV: A Case study of TV Al Hijrah." MIMBAR, Jurnal Sosial dan Pembangunan 33, no. 2 (December 20, 2017): 445. http://dx.doi.org/10.29313/mimbar.v33i2.3193.
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Religion and media are converging and frequently becoming a subject matter for news content and popular entertainment programmes in television and film, publishing, music as well as the new media. Religion, arguably has become part and parcel of the media environment today. In Malaysian context, during the millennium era, many locally produced ‘Islamic programmes’ started to gain popularity among Malaysian audience especially within the entertainment genre such as television drama. With the establishment of Malaysian first Islamic free-to-air television, TV Al Hijrah in 2010, this paper aims to understand the nature of Islamic content available on the station. The preliminary findings of this paper suggest that there are varieties of television programmes created and aired on TV Al Hijrah cutting across different genres meant for disseminating Islam as a way of life. Programmes available are mainly about showcasing the values of Islamic teaching and beliefs with the ultimate goal to highlight Islam as a beautiful and peaceful religion.
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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 (December 24, 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 with new topics and new means of public involvement; flexible regarding information content, it is however firmly science-based.
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Van Keulen, Jolien. "Aesthetic Proximity." TV Formats and Format Research 5, no. 9 (August 1, 2016): 93. http://dx.doi.org/10.18146/2213-0969.2016.jethc105.
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Implications of the transnationalisation of television are often studied by focusing on the localisation of the content of formatted programmes. Although television is essentially an audio-visual medium, little attention has been paid to the aesthetic aspects of television texts in relation to transnationalisation and formatting. Transnationalisation of production practices, such as through formatting, implies a transnational aesthetic. At the same time, aspects of style are specific to place, culture or audience. In this article, the localisation of stylistic programme elements is explored using a comparison of two reality format adaptations. It is argued that style plays an important role in the expression of the local in a transnational industry.
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K.S, Mwinyimbegu,, and Kubyula, N. "Protecting Children from Violent TV Programmes and Video Games in Tanzania." International Journal of Innovative Science and Research Technology 5, no. 7 (August 12, 2020): 1228–35. http://dx.doi.org/10.38124/ijisrt20jul516.
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Violent Television programmes and video games have been consistently found to have negative impact on children’s education and behaviour. Past and current research on the attitudes of children watching violent television and video games show that children who watch violence in television and video games imitate the violent behaviours of the actors they watch in the television and video games. In Tanzania the influence of violent movies and video games on the education of children is an issue of great concern to parents, pediatricians, educators, researchers, and policymakers. However, very few studies have been undertaken to assess the debilitating effects of violent television programmes and video games on children’s education and attitudinal behaviour. This paper presents the findings of a study undertaken to assess the effects of violence in television and video games on children’s education and attitudinal behaviour. The study’s setting was Isenge Primary School, Pasiansi Ward, in the city of Mwanza. A total of 1,183 pupils were involved where 133 were randomly interviewed. The attitudes of the pupils were assessed by the Child and Adolescent Social Perception Measure (CASP). Results showed that the pupils’ attitudinal behaviours were substantially influenced by violent Television programmes and video games.
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Ruano-López, Soledad. "Culture and television. A controversial relation." Comunicar 14, no. 28 (March 1, 2007): 177–82. http://dx.doi.org/10.3916/c28-2007-17.
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From the birth of the public television in Europe, media has been related with cultural and divulging objectives. Nevertheless, it is necessary to admit that the relation between television and culture have always been difficult or al least controversial. Until the eighties there seemed to exist a mutual respect among each other but since the loss of monopoly on the part of the public European chains the relation has been getting worse. Public television has got involved in drag by a crazy race for audience rates where programmes on or with cultural values have been progressively diminished. Desde el nacimiento de la televisión en Europa, se le ha atribuido una función cultural y de difusión de valores, de conocimiento y de saber. Sin embargo, hay que reconocer que la relación entre televisión y cultura siempre ha sido difícil y polémica. Hasta los años ochenta parecía existir un mutuo respeto entre ambas, pero, desde la pérdida del monopolio por parte de las cadenas públicas europeas, la relación ha ido empeorando hasta alcanzar el rótulo de «mala». La televisión pública se ha dejado arrastrar por una loca carrera de índices de audiencia, en donde los programas de valores culturales, con valores culturales o sobre-valores culturales han ido menguando progresivamente.
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Forrest, Tara. "Rethinking television: Alexander Kluge’s cultural magazine programmes." International Journal of Media & Cultural Politics 1, no. 1 (February 1, 2005): 97–102. http://dx.doi.org/10.1386/macp.1.1.97/3.
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Warrier, Sheela, and Marjory Ebbeck. "Children's rights: television programmes aired in Singapore." Early Child Development and Care 184, no. 1 (March 14, 2013): 138–48. http://dx.doi.org/10.1080/03004430.2013.773991.
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Gunter, Barrie, and Jackie Harrison. "Violence in children's programmes on British television." Children Society 11, no. 3 (September 1997): 143–56. http://dx.doi.org/10.1111/j.1099-0860.1997.tb00022.x.
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Boon, Tim, and Jean-Baptiste Gouyon. "Doing the Work of Medicine? Medical Television Programmes and Patient Behaviour." Gesnerus 76, no. 2 (November 6, 2019): 225–46. http://dx.doi.org/10.24894/gesn-en.2019.76011.
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This article explores the contribution of television programmes to shaping the doctor-patient relationship in Britain in the Sixties and beyond. Our core proposition is that TV programmes on medicine ascribe a specific position as patients to viewers. This is what we call the ‘Inscribed Patient’. In this article we discuss a number of BBC programmes centred on medicine, from the 1958 ‘On Call to a Nation’; to the 1985 ‘A Prize Discovery’, to examine how television accompanied the development of desired patient behaviour during the transition to what was dubbed “Modern Medicine” in early 1970s Britain. To support our argument about the “Inscribed Patient”, we draw a comparison with natural history programmes from the early 1960s, which similarly prescribed specific agencies to viewers as potential participants in wildlife filmmaking. We conclude that a ‘patient position’ is inscribed in biomedical television programmes, which advance propositions to laypeople about how to submit themselves to medical expertise.
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Bekker, S. J. "use of television by blacks in the PWV area." Communicare: Journal for Communication Studies in Africa 10, no. 1 (November 10, 2022): 38–57. http://dx.doi.org/10.36615/jcsa.v10i1.2032.
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This article focuses on Rayburn and Palmgreen's (1984) expectancy-value model of gratifications to determine the way in which members of a group of blacks utilize television as a mass medium to satisfy certain needs through selective exposure to their favourite programmes. Also, an attempt is made to test the basic assumptions of the model. The sample consisted of 703 urban blacks in the PWV area, and was divided into four groups, viz. a satisfied, unrealistic, surprised, and passive group for each of news, educational, and story programmes. The results indicate that the majority of the respondents are satisfied with these television programmes of the SABC. It appears as if the model, which was tested for the whole sample regarding various programmes, should be adapted to enhance its applicability for intercultural studies and the use of television in general
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Nwaolikpe, Onyinyechi Nancy. "UNDERGRADUATES AND WORKERS’ PERCEPTION OF THE ROLE OF TELEVISION IN THE FIGHT AGAINST HUMAN TRAFFICKING IN LAGOS, NIGERIA." Caleb Journal of Social and Management Science 5, no. 2 (December 31, 2020): 158–74. http://dx.doi.org/10.26772/cjsms2020050203.
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his study investigates the role of television in the fight against human trafficking in Lagos State, Nigeria. The objective of the study was to find out the extent at which Nigerian Television Authority (NTA) Lagos and African Independent Television (AIT) air programmes on human trafficking and how often they sensitise the masses on the ills of human trafficking and to determine whether the selected television stations promote human rights for survival, development and protection among the masses. The study utilized elements of quantitative and qualitative research methods. Questionnaire was administered to 360 respondents from Caleb University and key informant interview was also conducted with members of staff of the TV stations. Findings showed that NTA and AIT broadcast programmes on human trafficking in the State. Our study established that respondents are aware of these programmes and consider them as critical to influencing public and policy agenda. The study recommended more creative and massive engagement of the broadcast media in fighting human trafficking in Nigeria. Keywords: Human Trafficking, Human Rights, Perceived Role, Promote, Television Programming
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Spellerberg, Ian S., Graeme D. Buchan, and Nick Early. "Television and environmental sustainability: Arguing a case for a code of standards in NZ." Pacific Journalism Review : Te Koakoa 12, no. 2 (September 1, 2006): 137–47. http://dx.doi.org/10.24135/pjr.v12i2.866.
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This article explores the portrayal of the environment and environmental sustainability by free-to-air network television in New Zealand. The results are based on a three-month survey of a) the portrayal of the use and treatment of the environment, and b) the reporting of environmental news. While television includes environmentally-oriented programmes (eg. some BBC Horizon documentaries), there are no regular programmes about the state of the environment, sustainable use of resources and energy, and there is no regular environmental slot in the news in New Zealand. Some programmes and advertisements are environmentally unfriendly and a few trivialise resource abuse. It is argued that the media has an ‘orchestrational’ influence on social norms and behaviours, and that to eliminate counter-messages requires the addition of a new ‘environmental standard’ to the Code of Broadcasting Practice. It is also argued that coverage of environmental news is quite narrow and, in the case of Television New Zealand, inconsistent with the stated aims of the Television Charter. New Zealand television could and should make a valuable contribution to environmental sustainability.
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Ali, Moondore Madalina. "Analisis Isi Iklan Televisi di Indonesia." Humaniora 5, no. 2 (October 30, 2014): 766. http://dx.doi.org/10.21512/humaniora.v5i2.3132.
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There are no television channels especially for children in Indonesia. Children’s programmes usually air early in the morning or in the afternoon. Most children watch television during Saturday and Sunday where most of them do not have to go to school. Children could watch any programmes airing during those times. There were not many content analysis researches looking at advertiments aired in television before in Indonesia. Therefore, this study looked at advertisements shown on Saturday and Sunday by using quantitative method. Quantitative method used was content analysis. Four private channels were chosen with a total 120 hours of television program recorded on Saturday and Sunday. This study showed that 37 out of 120 hours of television were advertisement with 6898 advertisements (promotion and products). Children in Indonesia were exposed to many advertisements on television on Saturday and Sunday.
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Krzywdzińska, Agata. "Stulecie traktatu wersalskiego i jego znaczenie z perspektywy polskiej i rosyjskiej telewizji." Kultura Słowian Rocznik Komisji Kultury Słowian PAU 16 (2020): 113–26. http://dx.doi.org/10.4467/25439561ksr.20.007.13296.
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100 Years of the The Treaty of Versailles and Its Significance from the Perspective of Polish and Russian Television The subject of the qualitative analysis are Russian and Polish programmes devoted to the 100th anniversary of the Versailles Treaty. Four television programmes from Russian and Polish television, which show similarities and differences, were analysed for the purpose of this article. Przedmiotem analizy jakościowej są rosyjskie i polskie programy poświęcone 100. rocznicy podpisania traktatu wersalskiego. Przeanalizowano cztery programy telewizyjne z telewizji rosyjskiej i polskiej, które wykazują podobieństwa i różnice.