Relevant bibliographies by topics / Television series

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

Academic literature on the topic 'Television series'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 January 2025

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Journal articles on the topic "Television series"

1

García-de-Castro, Mario. "Renewal movements in the Spanish television series." Comunicar 15, no. 30 (March 1, 2008): 147–53. http://dx.doi.org/10.3916/c30-2008-02-008.

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The present paper analyzes the results of a qualitative investigation developed by the Spanish public television on the values and characteristics of the national television fiction genre, as well as other aspects of its latest evolution. The conclusions of this qualitative analysis and the audience ratings confirm the hegemony of the genre within the generalist television programming. In the same sense, the paper analyzes its latest tendencies and what is called the last renewal of domestic television fiction. El presente trabajo analiza los resultados de una investigación cualitativa desarrollada por la televisión pública de España en torno a los valores y características del género de la ficción televisiva nacional, así como otros aspectos de la evolución última del género. Las conclusiones del análisis cualitativo y los datos de audiencia confirman la hegemonía del género dentro de la programación televisiva generalista de nuestro país. De igual forma se analizan sus tendencias más recientes y lo que llega a calificarse como última renovación de la ficción televisiva doméstica que podría denominarse la del hiperrealismo, por sus características extremas.
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Queiroz, Regina Farias de, and Rafael Ferreira da Silva. "O estereótipo do amante siciliano adaptado para a televisão italiana na série Il giovane Montalbano." Revista Italiano UERJ 13, no. 1 (October 17, 2022): 23. http://dx.doi.org/10.12957/italianouerj.2022.70743.

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RESUMO: Este artigo tem como objetivo geral compreender a relação estabelecida entre sociedade e televisão, a partir da análise de trechos da série Il giovane Montalbano (2012). Para tanto, como objetivo específico, pretendemos analisar os processos de construção de identidade do protagonista atrelado ao estereótipo de amante siciliano, baseando-nos em discussões de pesquisadores dos Estudos Culturais e televisivos. Por exemplo, destacamos Menduni (2002), por enxergar a sociedade italiana por meio de sua produção televisiva, e também Casetti e Di Chio (2006), por apresentarem a possibilidade de analisar o texto televisivo pela perspectiva cultural. Os resultados da análise revelaram que a televisão é capaz de reforçar e reafirmar a representação cultural e os estereótipos culturais locais, como a figura do amante siciliano, além de ser responsável também por difundi-los, tanto nacional quanto internacionalmente.Palavras-chave: Il giovane Montalbano. Televisão italiana. Identidade. ABSTRACT: Questo articolo si propone di comprendere il rapporto che si instaura tra società e televisione, dall'analisi di brani tratti dalla serie Il giovane Montalbano (2012). Pertanto, come obiettivo specifico, si intende analizzare i processi di costruzione identitaria del protagonista legati allo stereotipo dell'amante siciliano, sulla base delle discussioni di ricercatori in Studi Culturali e televisivi. Si segnalano ad esempio Menduni (2002), per analizzare la società italiana attraverso la sua produzione televisiva, e anche Casetti e Di Chio (2006), per presentare la possibilità di analizzare il testo televisivo da una prospettiva culturale. Dai risultati dell'analisi è emerso che la televisione è in grado di rafforzare e riaffermare la rappresentazione culturale e gli stereotipi culturali locali, come la figura dell'amante siciliano, oltre ad essere responsabile della loro diffusione, sia a livello nazionale che internazionale.Parole chiave: Il giovane Montalbano. Televisione italiana. Identità. ABSTRACT: This article aims to understand the relationship established between society and television, using, as a starting point, the analysis of certain excerpts from the TV series Il giovane Montalbano (2012). As a specific objective, the hereby article has intended to analyze both the protagonist’s processes of identity construction and his stereotype as a Sicilian lover, on the basis of the discussions made by Cultural and TV Studies researchers. In order to compose the theoretical framework, the highlighted author has been Menduni ([1998] 2002) who sees Italian society through his television production. With regard to the research methodology, the procedures of analysis of the TV text as proposed by Casetti and Di Chio (2006) have been adopted, since they present, among the various possibilities of analysis, the possibility of analyzing the television text from the cultural perspective. The results of the analysis revealed how television is capable of reinforcing and reaffirming a cultural representation along with local cultural stereotypes, such as the character of the Sicilian lover, in addition to being responsible for broadcasting them, both nationally and internationally.Key-words: Il giovane Montalbano. Italian television. Identity.
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Williams, Samantha. "Television series." Nursing Management 16, no. 10 (March 3, 2010): 8. http://dx.doi.org/10.7748/nm.16.10.8.s14.

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Grau, Andrée, and Moe Dodson. "Television series." British Journal of Ethnomusicology 2, no. 1 (January 1993): 166–69. http://dx.doi.org/10.1080/09681229308567218.

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Quiroz-Velasco, María Teresa. "Television: Seen, Heard and Read by Peruvian Adolescents." Comunicar 18, no. 36 (March 1, 2011): 35–41. http://dx.doi.org/10.3916/c36-2011-02-03.

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This paper analyzes the current relationship between Peruvian teenagers and television. The information accessed from various sources concluded that adolescents are consuming television extensively, especially the poorer within the country. Teens appreciate the cable television as a source of learning, and its variety and ability to relate it with the world. The interest in cartoons, movies and series –fiction genre in general– affirms the value of this media in society as well as the possibility to make them more familiar with their environment. Information about what happens beyond their localities is a source of reference in their perception of the country. Beyond the cultural conflict from which is generally assessed from the effects that television may have on the rural world, television has a positive sign for the visual deterritorialization, which dissolves the natural relationship between culture and territory. In rural areas, parents and teenagers evaluate television positively because it offers more than just the school itself. In the midst of academic and professional criticism on television, adolescents do not distinguish between traditional media and new media, they are all integrated into their daily lives.El presente trabajo analiza la relación actual de los adolescentes peruanos con la pantalla televisiva. La información consultada en diversas fuentes concluye que los adolescentes siguen consumiendo ampliamente la televisión, especialmente los más pobres de ciudades del interior del Perú. Los adolescentes valoran la televisión por cable como una fuente de aprendizaje, así como por su variedad y por la posibilidad de relacionarlos con el mundo. El interés por los dibujos animados y las series y películas y, en general, por la ficción televisiva, reafirma el sentido que tiene la televisión en familiarizarlos con la sociedad y su entorno. La información de lo que acontece más allá de sus localidades es fuente de referencia en su percepción del país y es compartida en familia. Más allá del conflicto cultural, desde el cual generalmente se ha evaluado los efectos de la televisión en el medio rural, ésta tiene para los adolescentes y sus padres un signo positivo porque favorece la desterritorialización visual al disolver la relación natural entre cultura y territorio geográfico. En el medio rural los padres y los jóvenes valoran a la televisión porque les ofrece más que la propia escuela. En medio de la crítica académica y profesional a la televisión, los adolescentes no distinguen entre medios tradicionales y nuevos medios porque todos ellos están integrados a su vida cotidiana.
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Medina-Laverón, Mercedes. "The meaning of television series: audiovisual slogans." Comunicar 14, no. 27 (October 1, 2006): 61–68. http://dx.doi.org/10.3916/c27-2006-10.

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Television contents influence as much in our behavior and our thought as other social and educationai agents, but the influence might be in a less conscious way than the othen. In this paper we will reflect about how to take advantage of the series for educationai purposes. Drama series can be used as a tool to educate young people and show them how to form their moral criterium in order to distinguish good fiom bad, to judge the programmes and to know the reasons for not to watch certain television programmes.La televisión influye en nuestro comportamiento y en nuestro pensamiento tanto como otros agentes sociales, pero quizá lo hace de un modo menos consciente que el resto. En la presente comunicación se pretende dar pautas sobre cómo aprovechar las series para la educación en familia. El visionado reflexivo de algunas series puede contribuir a la formación del criterio de los espectadores en cuanto a lo que ven y a cómo puede influir en su comportamiento.
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Loriguillo-López, Antonio. "La comunicabilidad de lo ambiguo: una propuesta narratológica para el análisis de la ficción televisiva compleja." Signa: Revista de la Asociación Española de Semiótica 28 (June 28, 2019): 867. http://dx.doi.org/10.5944/signa.vol28.2019.25097.

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El presente artículo propone una metodología de análisis de la narración ambigua en la ficción televisiva contemporánea, rasgo estilístico al alza entre propuestas comerciales. A través de la adaptación y aplicación de la comunicabilidad enunciada por David Bordwell como estrategia nar­rativa en su estudio de los modos de narración cinematográficos a una muestra de series dramáticas de origen anglosajón, se ofrece un primer tratamiento del modo narrativo de lo que desde los estudios televisivos se ha identificado como televisión compleja. Finalmente, se apunta a la cor­respondencia de este modelo con una nueva fase del modelo de narración del audiovisual postclásico.The present article proposes a methodology of analysis of the ambiguous narration in contemporary television fiction, a stylistic feature on the rise among commercial titles. Through the adaptation and applica­tion of the communicativeness formulated by David Bordwell as one of the categories of narrative strategies in his examination of the modes of narration in film to a sample of drama series produced in English-speaking regions, we offer a primary approach to the narrative mode of what has come to be known in the field of Television Studies as complex TV. Lastly, we note the correspondence between this model and a new phase of the audiovisual post-classical narration.
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McAndrew, Michael. "Television Series Review." Language and Psychoanalysis 10, no. 1 (June 19, 2021): 53–54. http://dx.doi.org/10.7565/landp.v10i1.5705.

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Showtime’s Couples Therapy (2019-2021) has done something very few shows have done well-showcase real therapeutic treatment on television. The advent of “prestige tv” has led to a proliferation of programs which show the therapeutic relationship in hi definition between protagonists and their therapists, such as HBO’s The Sopranos (1999-2007), and the recently revived In Treatment (2008-2010, 2021). Prior to this the “real” therapy seen on television was limited to the so-called “reality television” trend that gave us the wildly popular Intervention on A&E (2005-ongoing) and the seedier Celebrity Rehab with Dr. Drew (2008-2012).
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García-Muñoz, Núria, and Maddalena Fedele. "Television Fiction Series Targeted at Young Audience: Plots and Conflicts Portrayed in a Teen Series." Comunicar 19, no. 37 (October 1, 2011): 133–40. http://dx.doi.org/10.3916/c37-2011-03-05.

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This paper presents the main findings of a research project on teen series, which are television fiction series featuring teenagers and specifically targeted at a young audience. The analysis of the portrayal of young people in television fictional series specifically targeted at a young audience has a meaningful value both for television production and for audience reception. In fact, the potential consumers of the teen series –the teenagers– find themselves at a key moment in the construction of their identities. First, the article presents a review of the background literature on young people’s portrayal in television fiction series. Secondly, it discusses the concept of teen series and their relationship with youth consumption. Finally, the article presents a case study that consisted of a content analysis of the North American teen drama Dawson’s Creek. Content analysis was conducted on a representative sample of three seasons of the show, in order to analyse two groups of variables: the variables of the characters’ personalities and those of plot and story characteristics. The article discusses the results of the second group of variables, focusing on the main characteristics of the plots and on the characters’ roles in the development and resolution of the conflicts. Acceptance of one’s personal identity, love and friendship have been identified as the most highly recurring themes. In addition, the importance of social relationships among the characters in the development of plots and conflicts has been highlighted.Se presentan los principales hallazgos de un estudio sobre las «teen series», es decir las series de ficción televisiva protagonizadas por personajes adolescentes y dirigidas expresamente a una audiencia juvenil. El análisis del retrato de los jóvenes representados en productos específicamente dirigidos a un público juvenil tiene un valor muy significativo tanto por la producción de ficción como por la recepción, ya que los consumidores potenciales se encuentran en un momento clave del proceso de construcción de sus identidades. Después de repasar los principales antecedentes en el estudio de la representación de los jóvenes en la ficción televisiva, se describe el marco conceptual relativo a las «teen series» y se discute su relación con el consumo juvenil. Sucesivamente se presenta un estudio de caso que consiste en un análisis de contenido de la serie norteamericana «Dawson’s creek», realizado sobre una muestra representativa de tres temporadas de la serie, para analizar dos grupos de variables: variables relativas a los personajes y variables relativas a las tramas y a los conflictos. Se discuten los resultados relativos al segundo grupo de variables, con particular atención a las características de las tramas y al papel de los personajes en el desarrollo y en la resolución de las mismas. La aceptación de la identidad personal, el amor y la amistad han resultado ser las temáticas más recurrentes. Además, las relaciones sociales entre los personajes han resultado ejercer un papel fundamental en el desarrollo de las tramas y de los conflictos.
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Degn, Hans-Peter, and Stinne Gunder Strøm Krogager. "Danish television drama series." Critical Studies in Television: The International Journal of Television Studies 12, no. 4 (December 2017): 362–79. http://dx.doi.org/10.1177/1749602017730261.

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Dissertations / Theses on the topic "Television series"

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Ding, Grace T. "The Circuit: An Original Television Series." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/881.

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Between good and evil there's a whole lot of gray: Welcome to The Circuit. A shady private security firm recruits criminals straight out of prison and sells its services to the highest bidder, saint and sinner alike (mostly sinners). Through the trials and tribulations of a diverse ensemble cast, the show explores some of my absolute favorite themes in storytelling: gray morality, found families, and unlikely heroes. Follow our gritty and guarded lead Shaye as she struggles to tame a group of talented and contentious ex-cons under the shadow of her ambitious and manipulative father, all the while struggling to maintain her integrity in a world where nobody's the good guy. This thesis is an original television drama series, and consists of two full episodes as well as thirteen episode synopses for season one. It is also a work in progress, so feedback is welcome.
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Quick, Shayne P. "World series cricket, television and Australian culture /." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487683401442143.

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

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This thesis is asking whether the television series Community (2009-) can be defined as a Sitcom, combined with a look at how other genres that generally are considered to be non-comic are incorporated in the series and how those are identifiable as well as whether or not they compromise Community’s possible label as a Sitcom. In seeking to define this show’s place in its own genre I found that whilst Community does not follow the archetypal technical conventions of Sitcom, it still does follow some of its setups, tropes and ideas. It does not suffice as a classical Sitcom, but it does lean on some of the genres conventions and has not yet passed over the line where it would be part of a completely different genre. Instead I state that the series fits the term New Comedy, as devised by Antonio Savorelli, not a genre but a term representing the heightened use of metatextuality on four levels in Comedy. Thus Community suffices as a part of an evolved version of the Sitcom genre.
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Berridge, Susan. "Serialised sexual violence in teen television drama series." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/2326/.

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This thesis examines the kinds of stories about teenage sexual violence that are enabled (or not) by US and British teen television drama series between 1990 and 2008. This genre is centrally concerned with issues of sexuality and, in particular, sexual vulnerability as teenage characters negotiate the transition from childhood to adulthood. Sexual violence narratives are common within this context. This thesis argues that a fuller understanding of representations of sexual violence is enabled by contextualising these narratives in relation to overall series’ and generic contexts. I employ a structural methodology to map where these storylines occur within series’ and generic structures across fourteen texts, uncovering striking patterns that point to the value of analysing several programmes alongside one another. This then provides the starting point for a deeper textual analysis of how sexual violence functions narratively and ideologically. Through doing this, I am able to provide insights into a variety of different forces that shape how these narratives are framed. Contextualising my analysis of representations of sexual violence allows me to account for the specificities of episodic and serial narrative forms, the generic hybridity of individual programmes, the wider conventions of the teen drama series genre, the gender of the series’ protagonist and US and British contexts. Additionally, I identify the genre’s dominant sexual norms and explore how these norms intersect with representations of sexual violence.
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Schneider, Florian. "Visual political communication in popular Chinese television series." Thesis, University of Sheffield, 2009. http://etheses.whiterose.ac.uk/14525/.

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This thesis argues that the content of popular Chinese TV dramas helps construct and reenforce social and political reality in China by defining what is true. With the increasing liberalisation of the Chinese TV drama market, this construction process is becoming more and more complex: it is not merely influenced by the political interests of state and party institutions, but also by the commercial interests of producers and broadcasters, as well as by the viewing habits and interests of audiences. Consequently, Chinese TV dramas create ideas concerning Chinese society which are simultaneously popular and politically 'healthy'. Based on qualitative interviews with Chinese media experts and production crew members conducted in 2007, my research shows how various actors and institutional factors influence the production of political discourses in Chinese TV dramas. This thesis also offers a qualitative analysis of how the discourses on two political concepts (governance and security) are depicted in three particularly popular dramas, one historical epic, one crime drama, and one teen drama. This analysis shows that these programs all link their political message to patriotic sentiments or conservative gender discourses, and that this is not the result of political directives but instead of market dynamics and of audiences' viewing preferences. In this sense, the present research shows how the apparent liberalisation of the drama market in reality imposes a whole framework of new cultural, political, and economic restrictions, which in tum leads to the production of TV content that is firmly rooted in hegemonic discourses. This discourse is then not primarily reproduced because it is politically opportune, but because, it is popular.
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Costa, Sarah Moralejo da [UNESP]. "Supernatural na web: produção e reprodução audiovisual em suporte convergente." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/89376.

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Made available in DSpace on 2014-06-11T19:24:02Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-07-26Bitstream added on 2014-06-13T20:51:13Z : No. of bitstreams: 1 costa_sm_me_bauru.pdf: 783771 bytes, checksum: f6115841d14868eb3c59d33eab2dfea9 (MD5)
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A diversidade de suportes e mídias que povoam o mercado tecnológico atualmente desperta preocupações por parte dos produtores de conteúdo cultural comercial devido principalmente à necessidade de atender a um novo público que busca cada vez mais interagir com narrativas, com os produtores e com demais consumidores. A web, com suas ferramentas de interatividade e construção coletiva de conhecimento, se destaca como ponto de união de interesses tanto de produtores, com a maior variabilidade de suas narrativas, quanto dos consumidores, com suas diversas formas de fruição de conteúdo. Partindo da hipótese de que as ferramentas da web interferem na forma de fruição, o objetivo da pesquisa se volta para a identificação dessas ferramentas e análise crítica de sua utilização na transmissão de conteúdo audiovisual na web. A pesquisa se debruça sobre um produto audiovisual, a série de TV Supernatural, buscando observar quais são as ferramentas envolvidas no processo de convergência midiática entre televisão e internet, mais especificamente, a apropriação feita pelo público do conteúdo audiovisual para sua transmissão na web, originalmente produzido para a TV. O objetivo é compreender criticamente esse deslocamento de conteúdo e qual a importância das características da web para essa dinâmica, buscando responder quais recursos midiáticos estão disponíveis para transmissão de conteúdo audiovisual. Esta observação se faz a partir da análise de três sites distintos, com formas diferentes de disponibilização do conteúdo de série Supernatural, buscando uma gama maior de ferramentas disponíveis próprias da web
The diversity in media and supports which populate the technology market nowadays brings about some worry on the part of the producers of culturally commercial content due, mainly, to the need of catering to a new public who looks more and mor to interact with the narrative, with said producers and with other consumers of such media. The web, with its interactivity tools and collective construction of knowledge, comes across as union focus of of interests from the part of the producers, with a greater varibility of its narratives, and also from the part of the consumers, with its many ways of fruition of such content. Coming from the bypothesis that the web-tools interfere in the ways of fruition, the aim of this research is to turn is focus on the identification of these tools and on the critical analysis of its usage in the transmission of audiovisual content over the web. The research focu on an audiovisual product, the TV series Supernatural, aiming to observe what are the tools involved in the media convergence process between television and the internet, more specifically, the appropriation made by the public of the audiovisual content for its transmission on the web, originally produced for the TV. The goal is to critically understand such content displacement and what is the importance of the web characteristics for this dynamic, trying to answer what media resources are available for the transmission of audiovisual content. This observation is made by the analyses of three distinct websites, with different ways of release of the content of the series Supernatural, trying to achieve e bigger frame of reference on the tools available over the web
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Costa, Sarah Moralejo da. "Supernatural na web : produção e reprodução audiovisual em suporte convergente /." Bauru : [s.n.], 2012. http://hdl.handle.net/11449/89376.

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Orientador: Marcelo Magalhães Bulhões
Banca: Rogério Ferraraz
Banca: Mauro de Souza Ventura
Resumo: A diversidade de suportes e mídias que povoam o mercado tecnológico atualmente desperta preocupações por parte dos produtores de conteúdo cultural comercial devido principalmente à necessidade de atender a um novo público que busca cada vez mais interagir com narrativas, com os produtores e com demais consumidores. A web, com suas ferramentas de interatividade e construção coletiva de conhecimento, se destaca como ponto de união de interesses tanto de produtores, com a maior variabilidade de suas narrativas, quanto dos consumidores, com suas diversas formas de fruição de conteúdo. Partindo da hipótese de que as ferramentas da web interferem na forma de fruição, o objetivo da pesquisa se volta para a identificação dessas ferramentas e análise crítica de sua utilização na transmissão de conteúdo audiovisual na web. A pesquisa se debruça sobre um produto audiovisual, a série de TV Supernatural, buscando observar quais são as ferramentas envolvidas no processo de convergência midiática entre televisão e internet, mais especificamente, a apropriação feita pelo público do conteúdo audiovisual para sua transmissão na web, originalmente produzido para a TV. O objetivo é compreender criticamente esse deslocamento de conteúdo e qual a importância das características da web para essa dinâmica, buscando responder quais recursos midiáticos estão disponíveis para transmissão de conteúdo audiovisual. Esta observação se faz a partir da análise de três sites distintos, com formas diferentes de disponibilização do conteúdo de série Supernatural, buscando uma gama maior de ferramentas disponíveis próprias da web
Abstract: The diversity in media and supports which populate the technology market nowadays brings about some worry on the part of the producers of culturally commercial content due, mainly, to the need of catering to a new public who looks more and mor to interact with the narrative, with said producers and with other consumers of such media. The web, with its interactivity tools and collective construction of knowledge, comes across as union focus of of interests from the part of the producers, with a greater varibility of its narratives, and also from the part of the consumers, with its many ways of fruition of such content. Coming from the bypothesis that the web-tools interfere in the ways of fruition, the aim of this research is to turn is focus on the identification of these tools and on the critical analysis of its usage in the transmission of audiovisual content over the web. The research focu on an audiovisual product, the TV series Supernatural, aiming to observe what are the tools involved in the media convergence process between television and the internet, more specifically, the appropriation made by the public of the audiovisual content for its transmission on the web, originally produced for the TV. The goal is to critically understand such content displacement and what is the importance of the web characteristics for this dynamic, trying to answer what media resources are available for the transmission of audiovisual content. This observation is made by the analyses of three distinct websites, with different ways of release of the content of the series Supernatural, trying to achieve e bigger frame of reference on the tools available over the web
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Baluch, Jamila. "Representations of race in contemporary U.S. television drama series." Thesis, University of Reading, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.658005.

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This thesis examines quantitative and qualitative representations of race in contemporary U.S. drama series with a focus on network television and the two largest minority groups in the United States, Latinos and African Americans. The analysis of quantitative representations of whites and non-whites in American network dramas is based on the February 2011 television schedule of the five broadcast networks ABC, CBS, Fox, NBC and The CW, with a focus on regular characters as represented on the networks' official websites. The results show that Latinos are dramatically under-represented in U.S. network drama series, while whites and black males are overrepresented. Furthermore, due to structural changes in the American television landscape and an increased focus on non-scripted reality programming, black-themed and Latino-themed programmes have been completely eliminated from primetime network television so that African-American and Latino characters are generally portrayed in white settings. The second part of the thesis provides a critical analysis of the three internationally successful American quality dramas CSI, House and Desperate Housewives. Among their otherwise white regular casts, CSI and House each include one black male character, while Desperate Housewives features a Latina as one of the four female protagonists. Based on a critical analysis of individual episodes as well as on a contextualisation of the characters within each series, representations of whiteness and non-whiteness are discussed in the context of traditional Western conceptions of racial dilference.
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Dias, Branco Sergio. "Strung pieces : on the aesthetics of television fiction series." Thesis, University of Kent, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.582014.

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As layered and long works, television fiction series have aesthetic properties that are built over time, bit by bit. This thesis develops a group of concepts that enable the study of these properties, It argues that a series is made of strung pieces, a system of related elements. The text begins by considering this sequential form within the fields of film and television. This opening chapter defines the object and methodology of research, arguing for a non-essentialist distinction between cinema and television and against the adequacy of textual and contextual analyses as approaches to the aesthetics of these shows. It proposes instead that these programmes should be described as televisual works that can be scrutinised through aesthetic analysis. The next chapters propose a sequence of interrelated concepts. The second chapter contends that series are composed of building blocks that can be either units into which series are divided or motifi that unify series and are dispersed across their pans. These blocks are patterned according to four kinds of relations or principles of composition. Repetition and variation are treated in tandem in the third chapter because of their close connection, given that variation emerges from established repetition. Exception and progression are also discussed together in the fourth chapter since they both require a long view of these serial works. The former, in order to be recognised as a deviation from the patterns of repetition and variation. The latter, In order to be understood in Its many dimensions as the series advances. Each of these concepts is further detailed with additional distinctions between types of units, motifs, repetitions, variations, and exceptions, using illustrative examples from numerous shows. In contrast, the section on progression uses a single series as case study, Camioal« (2003-05), because this is the overarching principle that encompasses all the others. The conclusion considers the findings of the research and suggests avenues for their application.
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Dettleff-Pallete, James-Anthony. "Fragilidad masculina en la ficción televisiva peruana : el caso de la reina de las carretillas." Bachelor's thesis, Universidad de Lima, 2016. http://repositorio.ulima.edu.pe/handle/ulima/2983.

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Books on the topic "Television series"

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1954-, Hammond Michael, and Mazdon Lucy, eds. The contemporary television series. Edinburgh: Edinburgh University Press, 2005.

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Winckler, Reto, and Víctor Huertas-Martín, eds. Television Series as Literature. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-4720-1.

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Kim, Chʻŏl-gyu, A.-in Yu, and Su-jŏng Im. Sik'ago t'ajagi: Zhijiage da zi ji = Chicago typewriter. Kuala Lumpur: PMP Entertainment, 2017.

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1925-, Purser Philip, and Halliwell Leslie, eds. Halliwell's television companion. 3rd ed. London: Grafton Books, 1986.

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Allrath, Gaby, and Marion Gymnich, eds. Narrative Strategies in Television Series. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230501003.

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1943-, Bellamy David, ed. Art works: The television series. Chipping Norton: APV Films, 1993.

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1971-, Allrath Gaby, and Gymnich Marion, eds. Narrative strategies in television series. New York: Palgrave Macmillan, 2005.

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Jennings, Bryant, ed. Television and the American family. Hillsdale, N.J: L. Erlbaum Associates, 1990.

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Javna, John. The best of TV sitcoms: Burns and Allen to the Cosby show, the Munsters to Mary Tyler Moore. New York: Harmony Books, 1988.

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Myers, Deana. Modeling TV series profits. Carmel, CA: Kagan World Media, 2002.

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Book chapters on the topic "Television series"

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Levy, Bob. "What Make Series Go." In Television Development, 91–99. New York : Routledge, Taylor & Francis Group, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429506147-5.

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Levy, Bob. "Pitching New Pilots and Series." In Television Development, 130–67. New York : Routledge, Taylor & Francis Group, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429506147-8.

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Verna, Tony, and William T. Bode. "How to Produce a Series." In Global Television, 122–56. London: Routledge, 2023. http://dx.doi.org/10.4324/9781032643663-13.

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Lievens, Bram, Eva Vanhengel, Jo Pierson, and An Jacobs. "Does Mobile Television Enhance a New Television Experience?" In Human-Computer Interaction Series, 81–96. London: Springer London, 2009. http://dx.doi.org/10.1007/978-1-84882-701-1_10.

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Shubik, Irene. "Television Drama Series: A Producer’s View." In British Television Drama, 45–51. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137327581_4.

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Friedmann, Anthony. "Television Series, Sitcoms, and Soaps." In Writing for Visual Media, 255–77. 5th ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429280856-15.

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Selby, Keith, and Ron Cowdery. "The police series: The Bill." In How to Study Television, 64–92. London: Macmillan Education UK, 1995. http://dx.doi.org/10.1007/978-1-349-12829-7_4.

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Winckler, Reto, and Víctor Huertas-Martín. "Introduction: Considering Television Series as Literature." In Television Series as Literature, 1–16. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-4720-1_1.

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Li, Dongxiao, and Peter Olaf Looms. "Television Accessibility in China." In Human–Computer Interaction Series, 261–73. London: Springer London, 2015. http://dx.doi.org/10.1007/978-1-4471-6708-2_14.

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Mora-Rioja, Arturo. "Musical Paratexts: Song Lyrics in Television Series." In Television Series as Literature, 241–58. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-4720-1_14.

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Conference papers on the topic "Television series"

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Jurković, Irena. "DAVID LYNCH’S MONOLOGUES: DISRUPTION OF NETWORK TELEVISION NORMS." In Proceeding of the Thirteenth International Conference at the Faculty of Foreign Languages, 176–87. Alfa BK University Belgrade, 2024. https://doi.org/10.46793/lld24.176j.

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The paper examines David Lynch’s television series Twin Peaks (1990–1991) and its profound influence on the US television landscape, particularly during the transition to multi-channel broadcasting and the emergence of “Quality TV”. Rather than conforming to the existing aesthetic and production norms associated with prime-time American television, Lynch developed a series that reflected his auteur vision and challenged the perception of television as a commercial medium. Instead of observing Twin Peaks as a singular occurrence, this paper observes the series’ innovative narrative strategies in the context of the rising tensions between artistic vision and commercial demands in the television industry. Drawing on Pierre Bourdieu’s field theory and Amanda Lotz’s discussion of the US television industry’s evolution, the paper explores how Twin Peaks, both in its original run and 2017 revival, mirrored broader shifts in the television landscape while showcasing the potential for auteur-driven experimentation within television. Finally, through an observation of Dale Cooper’s character arc, the paper illustrates the ongoing interaction between artistic innovation and commercial pressures in television, affirming Twin Peaks’ status as a groundbreaking work in television history.
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Akula, Ramya, Zachary Wieselthier, Laura Martin, and Ivan Garibay. "Forecasting the Success of Television Series using Machine Learning." In SoutheastCon 2019. IEEE, 2019. http://dx.doi.org/10.1109/southeastcon42311.2019.9020419.

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Heiselberg, Lene, and Thomas Bjørner. "How to evaluate emotional experiences in television drama series." In ECCE'18: 36th European Conference on Cognitive Ergonomics. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3232078.3232093.

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Cooray, Thavisha M., Geethika Perera, Archchana Kugathasan, and Jesuthasan Alosius. "Aspect-based sentiment analysis: movie and television series reviews." In International Workshop on Advanced Image Technology 2021, edited by Wen-Nung Lie, Qian Kemao, Jae-Gon Kim, and Masayuki Nakajima. SPIE, 2021. http://dx.doi.org/10.1117/12.2590784.

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Ileš, Tatjana, and Tomislav Marijanović. "THE POWER OF TELEVISION SPECTACLE: FEMINISM AND POPULAR TELEVISION." In European realities - Power : 5th International Scientific Conference. Academy of Arts and Culture in Osijek, J. J. Strossmayer University of Osijek, 2023. http://dx.doi.org/10.59014/xuza6596.

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Popular television is perhaps the most important tool for the production and promotion of popular culture content. It is a strong place of resistance and a space for various cultural struggles, including the feminist struggle that we observe through a number of genres and characters that resist established definitions of femininity and typical female characters. Products of popular culture, such as television soap operas, and lately a number of other genres, especially those that put female characters in the role of heroines, have enabled the development of a diverse spectre of female characters and given their audience a place where they can find authentic representations of their identities and life experiences. Through the analysis of such series, this paper will show how popular television, empowered by the ideals of feminism, and above all, popular feminism, introduced many female characters to a wider audience, and has undeniably become one of the primary places for female consumption of popular culture.
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Okumus, M. Sami. "Television Series Viewing Habits and Trends in Croatia: The Case of Turkish TV Series." In 7th International Conference on Research in Behavioral and Social Sciences. Acavent, 2020. http://dx.doi.org/10.33422/7th.icrbs.2020.10.28.

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Brainard, R. C., and J. H. Othmer. "Television Compression Algorithms And Transmission On Packet Networks." In Visual Communications and Image Processing '88: Third in a Series, edited by T. Russell Hsing. SPIE, 1988. http://dx.doi.org/10.1117/12.969049.

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Zhang, Peng, Chuanren Liu, Kefeng Ning, Wenxiang Zhu, and Yu Zhang. "Prediction and Profiling of Audience Competition for Online Television Series." In KDD '20: The 26th ACM SIGKDD Conference on Knowledge Discovery and Data Mining. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3394486.3403188.

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Lippman, Andrew. "Open Architecture Television." In Applied Vision. Washington, D.C.: Optica Publishing Group, 1989. http://dx.doi.org/10.1364/av.1989.thc5.

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During the past few years, potentially misdirected effort has been expended developing the notion of high definition television (HDTV) as a system akin to existing television but with approximately twice the spatial resolution horizontally and vertically, and with a slightly higher aspect ratio. System proponents have suggested “production” or distribution systems where the sole difference between current systems and these new ideas is the number of lines and the pixel rate. These efforts have resulted in international discord that may well result in a generation of television systems that impede international interchange of programs, fail to deliver higher quality to the consumer, and retard the technological convergence of computer workstation technology with that of consumer video. In this paper, we suggest that HDTV is an issue of system architecture rather than line count, and we explore signal representations that allow for multiple, simultaneous display of disparate TV standards on the same screen. The notions presented here are not fully developed but are fruitful areas of research and study. We suggest that a new generation of television systems be predicated upon sequential component representation of the video sequence rather than a series of frames and that consumer receivers and workstations be optimized for processing this video format.
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Schreiber, William F., and Andrew B. Lippman. "Single-Channel High-Definition Television Systems, Compatible And Noncompatible." In Visual Communications and Image Processing '88: Third in a Series, edited by T. Russell Hsing. SPIE, 1988. http://dx.doi.org/10.1117/12.969027.

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Reports on the topic "Television series"

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Ortega-Mohedano, F., A. Jiménez-Sánchez, and JM Lavín. Cultural industries and character composition in children’s animated television series broadcast in Spain. Revista Latina de Comunicación Social, January 2018. http://dx.doi.org/10.4185/rlcs-2018-1246en.

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Dione, Malick, Jessica Heckert, Melissa Hidrobo, Agnès Le Port, Amber Peterman, and Moustapha Seye. C’est la vie!: Mixed impacts of an edutainment television series in West Africa. Washington, DC: International Food Policy Research Institute, 2023. http://dx.doi.org/10.2499/p15738coll2.137017.

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Lotz, Amanda, Anna Potter, Marion McCutcheon, Kevin Sanson, and Oliver Eklund. Australian Television Drama Index, 1999-2019. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.212330.

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This report examines changes in the production and commissioning of Australian television drama from 1999–2019, a period marked by notable changes in the business of television in Australia and globally. More production companies now make drama in Australia; however, the fact that more companies share less than half the annual hours once produced raises concerns about sustainability. Several major Australian production companies have been acquired by foreign conglomerates and challenge the viability of domestic companies that lack access to international corporate capital and distribution. The decrease in adult drama hours commissioned by commercial broadcasters has reshaped Australian television drama more than any other change. The national broadcasters have increased their role in commissioning, particularly in children’s drama. Titles have not decreased nearly as significantly as the number of episodes per series. Commercial broadcasters’ drama decreased from an average of 21 episodes per title in 1999 to seven in 2019, a 60 per cent decrease that, along with the increasing peripheralization of soaps, has diminished available training grounds and career paths in the Australian scripted production industry.
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Padilla-Castillo, Graciela. Medical television series as a means to educate the public on nutrition and healthy eating. Revista Latina de Comunicación Social, 2012. http://dx.doi.org/10.4185/rlcs-067-954-228-246-en.

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Chamorro Maldonado, MA. Television audience and memory: the case study of the Chilean drama series Los archivos del cardenal. Revista Latina de Comunicación Social, April 2018. http://dx.doi.org/10.4185/rlcs-2018-1276en.

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Ryan, Mark David, Andrew Couzens, Peter Innes, and Sue Cake. A Re-Evaluation of Screen Production on the Gold Coast After COVID-19. Queensland University of Technology, 2023. http://dx.doi.org/10.5204/rep.eprints.244107.

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This study was commissioned by the City of Gold Coast to re-evaluate the size and activity of the film and television production industry on the Gold Coast since the outbreak of COVID-19 in March 2020. Focusing on the period between June 2020 and mid-2023, the study examines the production activity and characteristics of the local screen ecology; the size and growth of the local film, television and games workforce; and the current capacity of film and television sound stages and production facilities. Using both qualitative and quantitative research methodology, primary data was generated through a series of semi-structured interviews with key above-the-line screen content creators and stakeholders; data mining from Screen Queensland’s location and crew online app, IMDb, and City of Gold Coast Screen Attraction data; and ABR and ABS Census data. The findings indicate the employment of film, television and creative specialists on the Gold Coast grew nearly three times more than the average employment growth. The Gold Coast also accounted for between 39% and 71% of Queensland’s total film and television drama production expenditure. The report identified several barriers to continued growth of the film and television industry on the Gold Coast and made a number of recommendations to address these challenges.
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Syvash, Kateryna. AUDIENCE FEEDBACK AS AN ELEMENT OF PARASOCIAL COMMUNICATION WITH SCREEN MEDIA-PERSONS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11062.

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Parasocial communication is defined as an illusory and one-sided interaction between the viewer and the media person, which is analogous to interpersonal communication. Among the classic media, television has the greatest potential for such interaction through a combination of audio and visual series and a wide range of television content – from newscasts to talent shows. Viewers’ reaction to this product can be seen as a defining element of parasociality and directly affect the popularity of a media person and the ratings of the TV channel. In this article we will consider feedback as part of parasocial communication and describe ways to express it in times of media transformations. The psychological interaction «media person – viewer» had been the focus of research by both psychologists and media experts for over 60 years. During the study, scientists described the predictors, functions, manifestations and possible consequences of paracommunication. One of the key elements of the formed parasocial connections is the real audience reaction. Our goal is to conceptualize the concept of feedback in the paradigm of parasocial communication and describe the main types of reactions to the media person in long-term parasocial relationships. The research focuses on the ways in which the viewer’s feedback on the television media person is expressed, bypassing the issue of classifying the audience’s feedback as «positive» and «negative». For this purpose, more than 20 interdisciplinary scientific works on the issue of parasocial interaction were analyzed and their generalization was carried out. Based on pre­vious research, the types and methods of feedback in the television context are separated. With successful parasocial interaction, the viewer can react in different ways to the media person. The type of feedback will directly depend on the strength of the already established communication with the media person. We distinguish seven types of feedback and divide them into those that occur during or after a television show; those that are spontaneous or planned; aimed directly at the media person or third parties. We offer the following types of feedback from TV viewers: «talking to the TV»; telling about the experience of parasocial communication to others; following on social networks; likes and comments; imitation of behavior and appearance; purchase of recommended brands; fanart.
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.

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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation and maintenance of its heritage listed buildings by the local council, Ballarat has been used as the location for a significant set of feature films, documentaries and television series bringing work to local crews and suppliers. With numerous festivals playing to the cities strengths many creative embeddeds and performing artists take advantage of employment in facilities such as the Museum of Australian Democracy at Eureka. The city has its share of start-ups, as well as advertising, design and architectural firms. The city is noted for its museums, its many theatres and art galleries. All major national networks service the TV and radio sector here while community radio is strong and growing.
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Winseck, D. Growth and Upheaval in the Network Media Economy in Canada, 1984-2019. Canadian Media Concentration Research Project (CMCRP), Carleton University, November 2020. http://dx.doi.org/10.22215/cmcrp/2020.1.

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This report examines the development of the media economy over the past thirty-five years. Since beginning this project a decade ago, we have focused on analyzing a comprehensive as possible selection of the biggest telecoms, Internet and media industries (based on revenue) in Canada, including: mobile wireless and wireline telecoms; Internet access; cable, satellite & IPTV; broadcast television, specialty and pay television services as well as Internet-based video subscription and download services; radio; newspapers; magazines; music; Internet advertising; social media; operating systems; browsers, etc.
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Padilla-Castillo, Graciela. Las series de televisión sobre médicos como ejemplo de enseñanza en nutrición y gastronomía. Revista Latina de Comunicación Social, 2012. http://dx.doi.org/10.4185/rlcs-067-954-229-247.

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