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Journal articles on the topic 'Television programs – Juvenile fiction'

Author: Grafiati

Published: 25 July 2024

Last updated: 31 July 2025

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1

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

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

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Fedele, Maddalena. "Young New Zealanders' Consumption of Television Fiction Programs: An Exploratory Study of Young People's Reception Habits." Media International Australia 152, no. 1 (2014): 16–26. http://dx.doi.org/10.1177/1329878x1415200104.

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This article presents part of the findings of an exploratory study of young people's consumption of television fiction programs, carried out in Aotearoa New Zealand. The paper focuses on young people's reception habits, describing those practices within the rest of their leisure activities. A questionnaire was administered to a convenience sample of 225 first-year Victoria University of Wellington students aged 17–30. Among the main results, young people's predilection for television fiction must be emphasised. Even if watching television is not one of the more frequent leisure activities for

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Roscoe, Jane. "Real Entertainment: New Factual Hybrid Television." Media International Australia 100, no. 1 (2001): 9–20. http://dx.doi.org/10.1177/1329878x0110000104.

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Popular factual entertainment has changed the face of broadcasting in Australia. Where once dramas, long-running serials and current affairs programs filled prime-time scehdules, we now have docu-soaps such as Popstars, and reality gameshows like Big Brother. While some have expressed concern about this shift to light entertainment in factual programming, it can be argued that such programs have brought a new audience to non-fiction and revitalised debates concerning the real. This paper examines some of the current trends in popular factual entertainment programming, considers their innovatio

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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 watch

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Wallace, Ed. "Television and Nutrition in Juvenile Detention Centers." Californian Journal of Health Promotion 3, no. 2 (2005): 125–29. http://dx.doi.org/10.32398/cjhp.v3i2.1769.

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Background: We sought to improve the ability of incarcerated juveniles to critically evaluate media food messages through an educational program that focused on nutrition. Methods: Surveys were administered to two groups of inmates of both sexes (seven to 16 years). The program consisted of forty-one 50 minute sessions (three times per week for 15 weeks) focusing on media and nutrition. Results: None of the participants identified accurate nutrition information before the intervention. After the program, the intervention group (n = 16) identified inconsistencies between nutrition labeling and

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Tsimokh, Nataliia, and Krystina Chorna. "Historical Sources of Soviet Television." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 2, no. 2 (2019): 145–55. https://doi.org/10.31866/2617-2674.2.2.2019.185688.

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

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Peruško, Zrinjka, and Antonija Čuvalo. "Comparing Socialist and Post-Socialist Television Culture." Television Histories in (Post)Socialist Europe 3, no. 5 (2014): 131. http://dx.doi.org/10.18146/2213-0969.2014.jethc063.

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This article builds a theoretical model for comparative analysis of media culture based on the notion of genre, and applies it to a comparative analysis of television as a cultural form in socialist and post-socialist Croatia. The paper explores how the shares and generic composition of program modes of information, entertainment and fiction change in time, and how the contribution of different genres to program flow and modes varies with the changes of political, economic and technological context. Longitudinal trends in television flows are comparatively evaluated in relation to trends in ge

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Worland, Rick. "Sign-Posts Up Ahead: The Twilight Zone, The Outer Limits, and TV Political Fantasy 1959-1965." Science Fiction Studies 23, Part 1 (1996): 103–22. https://doi.org/10.1525/sfs.23.1.0103.

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The historical and political implications of the science-fiction/fantasy anthology television series The Twilight Zone (1959-64) and The Outer Limits (1963-65) in the Kennedy era are considered. Science fiction is usually a politically reverberant genre, frequently given to social allegory. These two fondly remembered programs often presented speculative and unsettling political visions of American society. The article considers the issues, events, and ideology represented in these programs in the early 1960s as the nation gradually slid from global Cold War into a hot war in Vietnam. A marked

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김우준. "The Effect of Exposure to Violent Television Programs on Juvenile Delinquent Behavior." Journal of Korean Public Police and Security Studies 8, no. 1 (2011): 305–26. http://dx.doi.org/10.25023/kapsa.8.1.201105.305.

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Vandekerckhove, Reinhild, Annick De Houwer, and Aline Remael. "Between language policy and linguistic reality." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 19, no. 4 (2009): 609–28. http://dx.doi.org/10.1075/prag.19.4.05van.

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This paper focuses on a relatively new and much discussed phenomenon on Flemish television: The practice of intralingual subtitling of Dutch, i.e. Dutch subtitling of native speakers of (varieties of) Dutch. Our study investigates the linguistic determinants of intralingual subtitling and subsequently confronts actual subtitling practice with viewer needs. The analyses reveal a striking inconsistency between intralingual subtitling practice in fiction versus non-fiction programs. This appears to be symptomatic of a tension between the official language policy in Flanders and present day lingui

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Matei, Alexandru, and Annemarie Sorescu- Marinković. "The exceptionalism of Romanian socialist television and its implications." Panoptikum, no. 20 (December 17, 2018): 168–92. http://dx.doi.org/10.26881/pan.2018.20.11.

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During recent years, the study of European televisions has rediscovered socialist television, and we have witnessed a rapid rise in scholarly interest in a new field of research: socialist television studies. On the whole, this recent body of literaturę presents two main new insights as compared to previous studies in the field of the history of Western television: on the one hand, it shows that European television during the Cold War was less heterogeneous than one may imagine when considering the political, economic and ideological split created by the Iron Curtain; on the other hand, it tur

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van der Molen, Juliette H. Walma, and Brad J. Bushman. "Children's Direct Fright and Worry Reactions to Violence in Fiction and News Television Programs." Journal of Pediatrics 153, no. 3 (2008): 420–24. http://dx.doi.org/10.1016/j.jpeds.2008.03.036.

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Cascajosa Virino, Concepción. "Reality Bites. De cómo la telerrealidad ayudó a salvar la ficción." Tripodos, no. 21 (September 25, 2007): 97–102. https://doi.org/10.51698/tripodos.2007.21.97-102.

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Reality TV has exerted a noticeable influence on the fiction formats in the United States in the last decade, serving as inspiration for the thematic, narrative and stylistic renovation of traditional genres. While Jerry Bruckheimer’s popular crime dramas were inspired by scientific docudramas, the competitive reality show Survivor was part of the creation process of the sophisticated adventure drama Lost, and the reality series starring has-been celebrities opened the path followed by innovative comedies like Arrested Development and The Comeback. While this is still a popular trend in the Am

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Lowry, Bullitt. "Novels Of The Two World Wars." Teaching History: A Journal of Methods 20, no. 1 (1995): 29–32. http://dx.doi.org/10.33043/th.20.1.29-32.

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Television is filling the airwaves with programs about World War II and continuing to note the first installment of that war, the Great War of 1914-1918. Because I teach histories of World War I and World War Il, students regularly ask me to recommend novels covering those epochal events. Although I do not let novels substitute for weightier tomes of required reading in my courses, I believe fiction helps to illuminate what was really going on during those years.

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Orozco, Guillermo, and Toby Miller. "Television in Latin America Is “Everywhere”: Not Dead, Not Dying, but Converging and Thriving." Media and Communication 4, no. 3 (2016): 99–108. http://dx.doi.org/10.17645/mac.v4i3.592.

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In Latin America, the now-venerable expression “the end of television” itself looks old, tired, and flawed: markets, cultures, politics, and policies alike find television more alive than ever, albeit in its usual state of technological, institutional, and textual flux. Advertising investment in TV continues to increase, governments still use television to promote generalized propaganda as well as their daily agendas, football on screen remains wildly popular, and fiction programs, most notably <em>telenovelas</em>, dominate prime time and draw large audiences aged between 25 and 6

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Cunneen, Chris. "Community Conferencing and the Fiction of Indigenous Control." Australian & New Zealand Journal of Criminology 30, no. 3 (1997): 292–311. http://dx.doi.org/10.1177/000486589703000306.

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The paper analyses the use of community conferencing for young people in various jurisdictions in Australia in the light of its impact in Indigenous communities. It argues that the manner in which these programs have been introduced has ignored Aboriginal rights to self-determination and has grossly simplified Indigenous mechanisms for resolving conflicts. In most jurisdictions, community conferencing has reinforced the role of state police and done little to ensure greater control over police discretionary decision-making. The changes have also been introduced in the context of more punitive

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Telotte, J. P. "Animating Space: Disney, Science, and Empowerment." Science Fiction Studies 35, Part 1 (2008): 48–59. https://doi.org/10.1525/sfs.35.1.0048.

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One of the pleasures of animation, it has been argued, is that it affords viewers a sense of power over the everyday, thanks to its ability to bring into being a world unrestrained by the conventions of realism or of probability. This principle is one that Walt Disney not only well understood, but also brought to bear in his studio’s early foray into the realms of science and science fiction, the “Man in Space” programs created for the Disneyland television series during the 1950s. In these shows, produced against a backdrop of popular media science fiction that was clearly colored by the anxi

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Barth, Josie Torres. "Sitting Closer to the Screen: Early Televisual Address, the Unsettling of the Domestic Sphere, and Close Reading Historical TV." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 3 (2019): 31–61. http://dx.doi.org/10.1215/02705346-7772375.

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This article makes a case for formal analysis of historical TV through close readings that demonstrate the ways in which postwar television unsettled the domestic sphere. While scholars of historical television have dismissed formal criticism for its ignorance of contexts of production and reception, I argue that the content and form of TV in its developmental years directly contextualize industry and society. In its first decades of mass use, television refigured spatial relationships by creating an uncanny liminality between the public sphere of commerce and entertainment and the private sph

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Anderson-Lopez, Jonina, Allison Budaj, and Erin E. Gilles. "“Social Workers Should Be Required to Watch this Episode” : Social Media Perceptions of Television Portrayals of Fictional CPS Workers." KOME 12, no. 2 (2024): 133–58. http://dx.doi.org/10.17646/kome.of.17.

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Child Protective Services (CPS) workers appear in television plotlines across every fiction genre, and these depictions are often quite unfavourable. Customer engagement behaviours (CEBs), or what viewers say in online forums or on social media influence how other viewers perceive CPS workers. This interconnectivity is examined here through the framework of CEBs and Social TV using case studies from four popular programs: Buffy the Vampire Slayer (BtVS), Shameless, Law and Order: SVU (SVU), and The Sandman. These case studies were compared for accuracy against observations given by a former Ch

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Bassols, M. Margarida, Anna Cros, and Anna M. Torrent. "Emotionalization in new television formats of science popularization." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 23, no. 4 (2013): 605–32. http://dx.doi.org/10.1075/prag.23.4.02bas.

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The fierce struggle for television audiences is greatest when the content shown is not strictly entertainment, such as, for example, when specialized knowledge is brought to a wide audience. However, the appearance of new television formats has enabled scientific and technical contents to be brought closer to an unprepared and very diverse audience. What resources do these programs use to achieve this? Is emotionalization, which is increasingly dominant in the media, an important strategy in programs that seek to spread scientific knowledge among the general public? Do they use the pluri-locut

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Xu, Yilin, Wenjie Zhao, and Ling Chen. "The conceptual development of the science-fiction industry and its main forms and features." Cultures of Science 7, no. 2 (2024): 147–58. http://dx.doi.org/10.1177/20966083241257587.

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The term ‘science fiction (sci-fi) industry’ has developed only in the past two decades in China. It has gone through special cultural, economic and political backgrounds in its conceptual development. After years of evolution and under the influence of some influential sci-fi intellectual properties, the sci-fi industry has developed typical forms such as reading material, film and television programs, games, derivative products and cultural tourism. These forms are also the major means for the generation of sci-fi content and the dissemination of sci-fi culture. The sci-fi industry has three

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Kallioniemi, Noora, and Sami Hantula. "Bailataan ankarasti!" Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 34, no. 2-3 (2021): 74–94. http://dx.doi.org/10.23994/lk.111162.

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Tarkastelemme uutisparodiaohjelma Frank Pappa Show’ta esimerkkinä 1990-luvun alun asiaviihteen ohjelmistosta, jota määrittävät uudenlainen faktan ja fiktion suhde sekä viihteellisen poliittisen julkisuuden syntyminen. Indieyhtiö Broadcasters Oy:n tuottama televisiosarja kommentoi ajantasaisesti lama-ajan murroksia, kuten piteneviä leipäjonoja ja kasvavaa työttömyyttä. Frank Pappa Show uudisti poliittisen viihteen kenttää nostamalla viimeisen asiallisuuden linnakkeen, uutiset, viihteen käytettäväksi ja totutti katsojat tulkitsemaan ironisia, satiirisia ja parodisia viestejä.Tämän kulttuurihisto

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Emons, Pascale, Fred Wester, and Peer Scheepers. "“He Works Outside the Home; She Drinks Coffee and Does the Dishes” Gender Roles in Fiction Programs on Dutch Television." Journal of Broadcasting & Electronic Media 54, no. 1 (2010): 40–53. http://dx.doi.org/10.1080/08838150903550386.

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Bjelajac, Željko, and Aleksandar Filipović. "Profile of Contemporary Criminal Investigator in Film and Television Content." Kultura polisa 19, no. 1 (2022): 1–24. http://dx.doi.org/10.51738/kpolisa2022.19.1r.1bf.

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People have been fascinated by detective novels and complicated investigations since the advent of the detective novel as a literary form in the mid-19th century. The progenitors and early popularizers of this genre, such as Edgar Allan Poe and Arthur Conan Doyle, prepared the ground for later authors of this popular genre. In the meantime, from the beginning to the present day, the techniques and methods of criminal investigations have been immeasurably improved. Criminal and detective fiction has followed innovations, so it has always remained relevant and representative in relation to real-

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Joo, Soohyung, Erin Ingram, and Maria Cahill. "Exploring Topics and Genres in Storytime Books: A Text Mining Approach." Evidence Based Library and Information Practice 16, no. 4 (2021): 41–62. http://dx.doi.org/10.18438/eblip29963.

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Objective – While storytime programs for preschool children are offered in nearly all public libraries in the United States, little is known about the books librarians use in these programs. This study employed text analysis to explore topics and genres of books recommended for public library storytime programs. Methods – In the study, the researchers randomly selected 429 children books recommended for preschool storytime programs. Two corpuses of text were extracted from the titles, abstracts, and subject terms from bibliographic data. Multiple text mining methods were employed to investigat

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Лелик, Наталия Борисовна, and Александр Александрович Ефименко. "On the planning of educational work with juvenile convicts in the 1960s." Vedomosti (Knowledge) of the Penal System, no. 11(246) (December 3, 2022): 64–72. http://dx.doi.org/10.51522/2307-0382-2022-246-11-64-72.

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В статье рассматриваются актуальность и проблемы планирования воспитательной работы с несовершеннолетними осужденными в трудовых колониях 1960-х годов. Акцентируется внимание на решении главных задач - воспитании и исправлении нравственно запущенных несовершеннолетних правонарушителей. Особое внимание уделено внеклассной и внешкольной работе учителей и мастеров с воспитанниками, производственной деятельности подростков, их занятиям в технических и художественных кружках под руководством наставников. Представлены основные разделы плана воспитательной работы, учитывающие укрепление дисциплины ср

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Gama, Fitri Ifi. "Pengenalan Anime Sebagai Budaya Populer Jepang." Jurnal Pengabdian Masyarakat Madani (JPMM) 4, no. 1 (2024): 21–27. http://dx.doi.org/10.51805/jpmm.v4i1.159.

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Japanese culture has a unique wealth of traditions, modern impressions, and continuity between the past and the present. Within this culture, key elements such as Shinto, social etiquette, traditional arts, and popular culture, including anime, have a significant impact both locally and globally. Anime is a term used to refer to animation originating from Japan. This term internationally refers to any type of animation from Japan, whether in the form of films, television series, or short videos. Anime has a distinctive art style, with characters having big eyes, colorful hair, and dramatic fac

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Yamani, Mohammed Abdou. "ISLAM AND THE WEST." American Journal of Islam and Society 14, no. 1 (1997): 87–98. http://dx.doi.org/10.35632/ajis.v14i1.2253.

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On the verge of the twenty-first century, the world witnesses anunprecedented instability. Wars and culture conflicts widen the gapbetween the various civilizations and sow the seeds of hatred betweenindividuals. Islam, with its universal precepts of peace and respect for thedignity of humanity, was and still is the most misunderstood religion.When represented in the West, it is always associated with negativeimages that repel Westerners from seeing what Islam really is. Hence thegreat necessity for a peaceful and enlightened dialogue between theworld of Islam and the West.A great deal has bee

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Putsіata, Iryna. "MEDIA MYSTIFICATION IN THE CONTENT OF ALL-UKRAINIAN TV CHANNELS: THE UKRAINIAN EXPERIENCE." Bulletin of Lviv Polytechnic National University: journalism 1, no. 5 (2023): 80–88. http://dx.doi.org/10.23939/sjs2023.01.080.

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The article analyzes the Ukrainian experience of using media mystification in the content of all-Ukrainian TV channels. An actual problem is the use of the genre of hoax in the content of all-Ukrainian TV channels, with the help of which journalists demonstrate fake news or fabricated programs on television as real in the country and abroad. The scientific approaches of scientists to the definition of the concept of "media mystification" are analyzed. It was determined that a significant number of researchers emphasize that one of the main signs of a hoax is plausibility, which is characterize

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Zulfizar, Saidova Khudoyberdievna. "SOME SPECIFIC FEATURES OF TEACHING IDIOMS IN ENGLISH LESSONS IN THE SECONDARY SCHOOL." Innovative Development in Educational Activities 2, no. 6 (2023): 207–16. https://doi.org/10.5281/zenodo.7785174.

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<em>A phrase or expression that typically conveys a figurative rather than literal meaning is known as an idiom. However, there are some phrases that retain their literal meaning but become figurative idioms. Sorted as standard language, a phrase’s non-literal significance is not the same as the exacting importance. Idioms are cultural and social phenomena that refer to communicative human behavior and reflect social mental characteristics of behavior. They suggest communication standards, rules, and conventions for this or that lingua-cultural community. It is common knowledge in lingui

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Harachkovska, Oksana. "Genre Features of Interviews in Modern Information Space." Ukrainian Information Space, no. 1(7) (May 20, 2021): 86–93. https://doi.org/10.31866/2616-7948.1(7).2021.233879.

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The article is devoted to understanding the genre features of interviews in the modern information space. The theoretical and methodological basis of the study were the works of modern journalists. In particular, I. Artamonova studied the specifics of genre formation in the mass media. N. Vyhovska studies the manifestation of multimedia in the adaptation of information genres on the Internet. T. Popova and others devoted their research to the study of television interviews from the standpoint of semantic and pragmatic aspects. It has been found that today informational texts in the media more

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Jamaludin, Opik. "Peran Wakil Talqin dalam Pengembangan Dakwah Tarekat." Anida (Aktualisasi Nuansa Ilmu Dakwah) 18, no. 2 (2019): 159–80. http://dx.doi.org/10.15575/anida.v18i2.5074.

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Deputy talqin is a person who is trusted by the Sheikh of the murshid to give to anyone who wants and wants to practice the qodariyah naqsyabandiyah suryalaya (tqns) tarekat. Appointment of deputy talqin is the pro-creative rights of murshid teachers. Deputy talqin stands for the murshid teacher in various ways. Especially in terms of development of propaganda tqns. Deputy Talqin besides having a duty in the affairs of the tarekat, the representative of taqlin also has a role as a practicing, safeguarding and preservation of the tarekat teachings. The purpose of this study was to analyze the r

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Lacalle, Charo. "Young people and television fiction. Reception analysis." Communications 40, no. 2 (2015). http://dx.doi.org/10.1515/commun-2015-0006.

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AbstractThis article presents the findings of an audience research conducted with 86 young Spanish people aged 15 to 29 years. The investigation examines the modes of reception of television fiction, and the impact of the shows on the viewers. Friends’ influence on the choice of program, and the tendency to use social networks to comment on the shows and to talk about themselves, underline the crucial role played by TV fiction and new technologies in socialization processes. While most participants criticized the propensity of television fiction to build extreme stereotypes, they also showed a

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Ferré, Gaëlle. "Between Fact and Fiction: Semantic fields and Image Content in Crime Infotainment programs." Multimodal Communication 5, no. 2 (2016). http://dx.doi.org/10.1515/mc-2016-0018.

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AbstractCrime infotainment is a hybrid type of television program in which each episode is based on a real criminal case and presented to the audience under the form of a reconstructed narrative. Research has shown that although violent crime is ubiquitous in other types of media, leading to an over-representation of violent content, crime infotainment is the most fear-inducing type of media as compared with newspaper coverage and television crime drama. This leads people to believe their lives are at risk and they consequently support cultural conservative politics of anti-crime measures whic

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Staite, Sophia. "The Interapocalyptic Queer Child." Children's Literature in Education, March 13, 2025. https://doi.org/10.1007/s10583-025-09609-y.

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Abstract Apocalyptic narratives abound in twenty-first century children’s fiction. Child characters in television programs created for children are particularly useful for thinking our way through questions of linearity, apocalypse, and the future. This paper applies the rich theoretical lens provided by the intersection of queer studies and childhood studies to close readings of three characters from three animated children’s television programs: She-Ra and the Princesses of Power, 2018–2020, Kipo and the Age of Wonderbeasts, 2020, and Adventure Time: Stakes, 2015. Each of these characters li

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Barbosa, Miguel, and Ricardo R. Santos. "Contributions of Science Fiction to Thinking up (Im)possible Future Societies: Medical Students’ Genetic Imaginary." Bulletin of Science, Technology & Society, January 22, 2023, 027046762211507. http://dx.doi.org/10.1177/02704676221150752.

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Science fiction has been an inexhaustible source for the creation of technoscientific imaginary that has marked certain historical periods and influenced the production of subjectivity. This imaginary evokes complex ontological, epistemological, political, social, environmental and existential questions on the present and the future. The aim of this study was to identify and characterize the cultural productions accessed by the public to form an opinion about the genetic manipulation of human beings. A survey about sources of information that influence opinions on the genetic manipulation of h

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Wolfe, Jen. "The Mildred Wirt Benson Digital Collection: Digitizing the Mysterious Nancy Drew Author." Microform & Imaging Review 37, no. 1 (2008). http://dx.doi.org/10.1515/mfir.2008.004.

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The University of Iowa, first in the nation to offer advanced degrees for creative writing and home of the famed Iowa Writer's Workshop, has a long history of turning out many of America's best-known authors. However, one of the most popular and enduring novelists ever to have graduated from the UI is hardly a household name. Mildred Wirt Benson, under the much more familiar pseudonym Carolyn Keene, wrote the first 23 Nancy Drew mystery novels. The longest-running juvenile fiction series ever, the series has sold over 200 million books, received translation into 25 languages, and inspired adap

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Kim, Hoyoung. "Between invisibility and having a voice: The marginalization of gendered non-fiction writers in the South Korean television industry." Media, Culture & Society, June 22, 2024. http://dx.doi.org/10.1177/01634437241254740.

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This article examines how gendered workers experience invisibility in the South Korean television industry, focusing on writers who produce non-fiction programs, such as journalism shows and documentaries. Based on my in-depth interviews with 41 research participants, I reveal how the patriarchal, capitalist, and intensely hierarchical labour management in the industry has shaped an invisible writing workforce who are mostly women. Specifically, my research suggests that the exploitation of this invisible writing workforce takes two forms: the devaluation and underpayment of their labour and p

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Johnson, Daniel. "Psychic TV: The Paranormal as Popular Culture in Japanese Television of the 1990s." Television & New Media, April 14, 2024. http://dx.doi.org/10.1177/15274764241246988.

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NIGHT HEAD was a science fiction drama that aired on Japan’s Fuji TV between 1992 and 1993. The series arrived during a wave of interest in the paranormal, a trend that was embraced by commercial television in both dramatic programs and variety/infotainment talk shows. This boom of interest in the paranormal happened within the thriving economic and cultural environment of Japan’s Bubble Era, a period that saw a rapid expansion of television in addition to the prosperity of markets in real estate and industry. NIGHT HEAD portrays a darker vision of 90s Japan, using visual effects and moody, in

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Revilla, Juan Carlos, María Celeste Dávila, and Concepción Fernández-Villanueva. "“Not how much, but how.” Contextualizing the presentation of violence broadcast on television: Normativity and narrative genres." Communications, February 20, 2020. http://dx.doi.org/10.1515/commun-2020-2082.

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AbstractThe analysis of TV violence cannot be limited to the quantification of its incidence, but should also take into account the type of violence broadcast and its context (what is depicted and how). Thus, normative models of violence (legitimized violence with positive consequences for the aggressor, or vice versa) could be understood as positive, while contra-normative models of violence (rewarding illegitimate violence and punishing legitimate violence) should be of far greater concern. This paper analyzes the normative contexts of TV violence through a content analysis of randomly selec

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Muñoz-Santonja, José. "25² lines: mathematics on television." Comunicar 13, no. 25 (2005). http://dx.doi.org/10.3916/c25-2005-221.

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I will talk about the relationship between Mathematics and television from an educational point of view. We will see different ways of presenting Maths on television programs and how we can use them in the classroom as teaching materials. We will say which television cartoons or fiction series are full of Maths and which special programs are about them. Hoy en día es impensable la sociedad actual sin las clásicas “625 líneas” formando parte muy importante de nuestra vida. Como muchos padres colocan a sus niños casi recién nacidos delante de la televisión para que ésta los entretenga convirtién

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van Wichelen, Thalia, and Alexander Dhoest. "Pink-wearing hairdressers to manly gay men: LGBT+ in Flemish children’s fiction." Communications, June 23, 2022. http://dx.doi.org/10.1515/commun-2021-0013.

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Abstract This paper provides critical insights into the inclusion of sexual minorities in Flemish fictional TV shows aimed at children. Narratives including LGBT+ characters and non-normative gender performances have gained presence, and especially Nordic and Dutch productions have been acknowledged for their inclusive storytelling. Following up on this premise, our study analyzes five Flemish programs aimed at children aged six to twelve, which all include at least one character who identifies as LGBT+. Our analysis concludes that Flemish children’s productions show a visible willingness to i

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Campos, Ángel Carrasco. "Teleseries: géneros y formatos. Ensayo de definiciones | Tv series: genres and formats." Miguel Hernández Communication Journal, no. 1 (July 20, 2013). http://dx.doi.org/10.21134/mhcj.v1i1.22.

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ResumenCon el fin de ofrecer un marco conceptual de consenso en el ámbito de la ficción televisiva, tanto a nivel profesional como académico, el presente artículo toma como objetivo la definición y catalogación de los diferentes géneros y formatos paradigmáticos de las teleseries de drama y de comedia, así como la de los propios conceptos de «género» y «formato». Con ello se pretende paliar uno de los más graves problemas a la hora de dar comienzo a cualquier tipo de investigación que tome como objeto a la ficción televisiva: la falta de univocidad en las definiciones de los conceptos que debe

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El Sghiar, Hatim, and Leen d’Haenens. "Publieke televisie en identificatie." Tijdschrift voor Communicatiewetenschap 39, no. 2 (2011). http://dx.doi.org/10.5117/2011.039.002.038.

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Public Television and Identification: Flemish citizens with Moroccan and Turkish backgrounds. Evidence from family research Public Television and Identification: Flemish citizens with Moroccan and Turkish backgrounds. Evidence from family research This article outlines how the Flemish public broadcaster VRT is perceived by 25 in-depth interviewed families with Moroccan and Turkish backgrounds. Our analysis shows that, compared to other channels, VRT is perceived of great value when it comes to current affairs, children’s programs and news, but not fiction. Indispensable elements of identificat

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Gil, Steven John. "Telefantasy’s Conflicting Verisimilitudes: Composite Genre and The X-Files." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 5, no. 2 (2012). http://dx.doi.org/10.31165/nk.2012.52.270.

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When discussed as a genre, Telefantasy may be regarded as a hybrid category because it subsumes existing labels. Although Telefantasy is a composite genre, the characteristics of its constituent elements - namely Science Fiction, Fantasy and Horror - are often in conflict, requiring an appraisal of the tensions between them. This article explores the prospects of using Telefantasy as a generic classification by showing the collective presence of these different genres within The X-Files (1993-2002). It traces the historical interaction between the three genres that make up Telefantasy through

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Fedele, Maddalena, Antonio-José Planells-de-la-Maza, and Endika Rey. "La ficción seriada desde el mitoanálisis: aproximación cualitativa a los argumentos universales en Netflix, Prime Video y HBO." El profesional de la información, April 15, 2021. http://dx.doi.org/10.3145/epi.2021.mar.21.

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Recent decades have seen an unprecedented proliferation of serialized audio-visual narratives within the backdrop of the so-called third golden age of television, in the context of meta-television and quality television. The new digital platforms of content distribution have also influenced this. This article delves into the mythanalysis of current serialized audio-visual stories by analyzing their narrative structure to detect which kind of model or mythical portrayals they present to the audience. A qualitative content analysis, combined with a close reading, which included the mythanalysis

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Brammer, Rebekah. "Dark Laughs." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3152.

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Introduction: From Classic Noir Parody to Aussie Comedy Noir However you choose to identify noir – as a genre, style, or cycle – over its 80 years from classic American film noir to neo-noir, neon-noir, national noirs, and television noir, it has undeniably seeped into popular culture. Exemplary of this is the way noir has hybridised with other genres and styles, true of comedy as much as its more serious pairings with science fiction, Western, and Gothic. This is not a new phenomenon: Sue Short points out that pastiche noir began appearing at the end of the classic cycle, citing Kiss Me Deadl

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Abdulla Hussein Hasan. "Characteristics of satellite TV compared to other media - Theoretical study." Journal of Namibian Studies : History Politics Culture 33 (March 10, 2023). http://dx.doi.org/10.59670/jns.v33i.522.

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Societies resort to satellite channels to preserve their identity and civilization, especially with the increasing spread and their ability to influence the lives of societies and formulate people's knowledge and opinions, with their dominance and power, they not only provide information and convince people, but also enter into determining their priorities for the issues at hand.Satellite television transmission originated from a satellite transmitter orbiting in concert with the Earth, covering a large area of its surface, thus moving the television service from the domestic to the internatio

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Fowles, Jib. "Television Violence and You." M/C Journal 3, no. 1 (2000). http://dx.doi.org/10.5204/mcj.1828.

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Introduction Television has become more and more restricted within the past few years. Rating systems and "family programming" have taken over the broadcast networks, relegating violent programming, often some of the most cutting edge work in television, to pay channels. There are very few people willing to stand up and say that viewers -- even young children -- should be able to watch whatever they want, and that viewing acts of violence can actually result in more mature, balanced adults. Jib Fowles is one of those people. His book, The Case For Television Violence, explores the long history

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Reina-Flores, María-del-Carmen. "TV social representations social and children." Comunicar 13, no. 25 (2005). http://dx.doi.org/10.3916/c25-2005-089.

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The television transmits messages of immediate form to the whole audience. The people could not filter the information of innate form. An individual learns how to filter the information. The children could learn attitudes and forms of behaviour through what they see and observe. For that the parents have a important paper in the education of their children and the values that they are supposed to acquire. The investigation has been carried out with parents' group and their respective children of ages between the ten and the fourteen years. The used instrument was in the case of the parents a s

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