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Journal articles on the topic 'Television series'
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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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Griffin, Ken. "The Pioneer Vanishes: Midnight Oil and the Birth of Adult Education Television." Journal of British Cinema and Television 12, no. 2 (April 2015): 172–90. http://dx.doi.org/10.3366/jbctv.2015.0256.
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The pioneering work of Ulster Television (UTV) in the field of adult education television is among the most neglected chapters of UK regional broadcasting history. Between July 1962 and August 1963 the station produced 73 televised lectures in association with Queen's University, Belfast. UTV's initial effort, Midnight Oil (1962), was the first ever adult education series on UK television, while its sequel, The Inquiring Mind (1963), explored the medium's potential as an illustrative educational tool. Both series prefigured key aspects of the television broadcasts which supported the subsequent Open University. Their audience ratings also challenged established wisdom about the potential reach of televised adult education. Despite their innovative nature, UTV's series have been marginalised within accounts of the origins of adult education television in the UK. Such narratives have tended to focus on later English productions and generally identify Anglia Television's Dawn University (1963) as the first precursor to the Open University. One account, Sendall (1983) , even questioned the veracity of the UTV's claim to have brought adult education television to the UK. This article establishes the extent and nature of UTV's contribution to adult education television before examining the factors which may have led to the marginalisation of its role within narratives surrounding UK broadcasting history.
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De Figueiredo, Camila Augusta Pires. "In the post-TV era: transmedia and fandom in Sherlock, by Moffat and Gatiss." Letras de Hoje 55, no. 1 (April 28, 2020): 33789. http://dx.doi.org/10.15448/1984-7726.2020.1.33789.
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Serial narratives such as TV series have their own language, genres and narrative tools, according to their media specificities. It is observed that the television of today is going through a process of rapid cultural and technological transformations. Such advances have led to profound changes in the formats of the series, as well as in their modes of production and consumption. As for the production aspects, for example, we observe the creation of new narrative models in which the technological resources are shaped as extensions of the television product, creating a multiplatform or transmedial narrative experience. In this paper we will examine the case of the television series Sherlock by Steven Moffat and Mark Gatiss, broadcasted by BBC, as an example of a program designed for a transmedia television, one that encouraged the emergence of an engaged audience willing to follow the series beyond the TV screen across other media platforms.***Na era da pós-TV: transmídia e fandom em Sherlock, de Moffat e Gatiss***Narrativas seriais como as séries de televisão possuem linguagem, gêneros e ferramentas narrativas próprias, conforme suas especificidades midiáticas. Observa-se que a televisão de hoje passa por um processo de rápidas transformações culturais e tecnológicas. Tais avanços têm levado a profundas modificações nos formatos, modos de produção e consumo das séries. Em relação aos aspectos de produção, por exemplo, observa-se a criação de novos modelos narrativos nos quais os recursos tecnológicos se configuram como uma extensão do produto televisivo, criando uma experiência narrativa multiplataforma ou transmidiática. Neste trabalho analisaremos o caso da série televisiva Sherlock, de Steven Moffat e Mark Gatiss exibida pela BBC, como um exemplo de programa elaborado para uma televisão transmidiática que estimulou o surgimento de um público engajado, disposto a seguir a série para além da tela de TV.Palavras-chave: televisão; série de TV; Sherlock; transmídia; pós-TV.
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Segarra-Saavedra, Jesús, Tatiana Hidalgo-Marí, and Cande Sánchez-Olmos. "La diversidad en la ficción audiovisual. Alfabetización audiovisual a través de las series de televisión." SERIARTE. Revista científica de series televisivas y arte audiovisual 4 (July 11, 2023): 5–7. http://dx.doi.org/10.21071/seriarte.v4i4.16154.
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La ficción televisiva está de moda. Esta afirmación no sólo la podemos enunciar desde el punto de vista del consumo televisivo a través de las plataformas de VOD (video on demand), sino también desde la perspectiva investigadora y de la producción científica. Prueba de ello es que una búsqueda bibliográfica llevada a cabo sobre “television series” a finales del mes de mayo de 2023 en la base de datos Scopus arrojaba 2269 resultados. Apenas transcurridos los cinco primeros meses de este año, se habían indexado 58 manuscritos. Pero echando la mirada atrás, se puede comprobar cómo desde el primer texto indexado en 1961 la producción científica sobre este campo de investigación se ha ido incrementando, adquiriendo así mayor relevancia en esta base de datos multidisciplinar e internacional y, con ello, creando y difundiendo conocimiento sobre la ficción televisiva de forma interdisciplinar. Así, en el período 1972-1961 se identifican 8 manuscritos (0,4%); de 1982 a 1973, 27 (1,2%); de 1992 a 1984, 56 (2,5%); de 2002 a 1993, 93 (4,1%); de 2012 a 2003, 490 (21,6%) y de 2022 a 2014, 1537 (67,7%). Estos resultados son totalmente reveladores.
Por ello, ante tal incremento científico, en abril de 2023 convocamos la llamada a textos en Seriarte: revista científica de series televisivas y arte audiovisual bajo el título “La diversidad en la ficción audiovisual. Alfabetización audiovisual a través de las series de televisión”.
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Karpenko, Kateryna, and Serhiy Gulevsky. "Educational Function of Documentary Television Series: Philosophical Understanding." Filosofiya osvity. Philosophy of Education 25, no. 2 (July 3, 2020): 273–86. http://dx.doi.org/10.31874/2309-1606-2019-25-2-15.
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The television series are viewed from the perspective of their potential educational role. It is noted that television as a whole, and separately its component – the television series, remain an influential form of media communication of our time, despite the diversification of the delivery channels of the media message and the rapid spread of digital devices.
In the complex hierarchy of TV formats, genres and niches, the television educational series, when it had being appear, became a hybrid documentary broadcast format. Considering the specificity of the video footage, television as a media is characterized by a high potential for reliable reflection of reality (another thing is how television channels operate on this potential). It is no wonder, then, that scientific documentary, as a genre, existed since the "pre-television" era.
The focus is on documentary television series that can directly perform educational functions. It is generalized the idea of creating of the television series that are specifically designed for educational purposes and which can be part of relevant educational programs. It is substantiated the expediency of using educational serials on special educational television channels that are already operating abroad and just beginning to develop in Ukraine. It is emphasized that in the broad sense of the word, all television series, even entertaining ones, have a certain educational function – through the translation of certain ideas, values and patterns of behavior embodied by the characters of these serials.
Typical popular documentary series of recent decades have been analyzed in terms of their specific educational functions. It is substantiated that documentary serials of the present day are able to relay information of a household, scientific and educational value, which should partially rehabilitate both television and television series for educational functions, which are guarded by the culture of any level of the organization.
Despite belonging to one television format, science and education serials communicate at the level of iconic and index characters, and more entertaining reality shows are saturated with symbolic signs. Because of their conventionality, uncertainty, to some extent, nebula, these shows widen the range of potential interpretations, so they can target a flexible and fragmented audience.
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Statham, Simon. "‘He just isn’t my Frost’: Television adaptation of R.D. Wingfield’s Jack Frost." International Journal of Literary Linguistics 8, no. 1 (August 25, 2019): 1–29. http://dx.doi.org/10.15462/ijll.v8i1.118.
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This article presents an analysis of the police television series A Touch of Frost (Yorkshire Television, 1992) and the crime novels of Rodney Wingfield upon which it is based. In analysing characterisation of the protagonist of each version, Inspector Jack Frost, data is drawn from the pilot episode of the series and Wingfield’s debut novel Frost at Christmas (1984). Wingfield was less than impressed with television’s version of Frost, stating, ‘He just isn’t my Frost’. Given that a core motivation for stylistics is to ‘support initial impressions in various extracts’ readings’ and to ‘describe the readers’ response with some precision’ (Gregoriou, 2007:19), this article offers a linguistic explanation for the response of an author to the adaptation of his own work. The famously reticent Wingfield did not elaborate in detail on why he disapproved of the television version of Frost, although several critics contended that Wingfield felt television had ‘softened’ his creation. This article will analyse each version in terms of the elements of narrative outlined by Simpson and Montgomery (1995) and will in turn suggest an elaboration of this model by integrating frameworks for the analysis of impoliteness (Culpeper, 1996; 2010), examining pragmatic elements of Frost’s dialogue. In investigating whether television’s Jack Frost is ‘softer’ than the character envisaged by Wingfield free direct speech and accompanying physical behaviour in novel and television adaptation are analysed, focussing on whether the perceived softness of the latter has been partly achieved by making the speech of Frost less impolite on television.
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Adaptation, characterisation, A Touch of Frost, Frost at Christmas, impoliteness, free direct speech, dialogue, television drama, crime fiction
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Statham, Simon. "‘He just isn’t my Frost’: Television adaptation of R.D. Wingfield’s Jack Frost." International Journal of Literary Linguistics 8, no. 1 (August 25, 2019): 1–29. http://dx.doi.org/10.15462/ijll.v8i1.118.
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This article presents an analysis of the police television series A Touch of Frost (Yorkshire Television, 1992) and the crime novels of Rodney Wingfield upon which it is based. In analysing characterisation of the protagonist of each version, Inspector Jack Frost, data is drawn from the pilot episode of the series and Wingfield’s debut novel Frost at Christmas (1984). Wingfield was less than impressed with television’s version of Frost, stating, ‘He just isn’t my Frost’. Given that a core motivation for stylistics is to ‘support initial impressions in various extracts’ readings’ and to ‘describe the readers’ response with some precision’ (Gregoriou, 2007:19), this article offers a linguistic explanation for the response of an author to the adaptation of his own work. The famously reticent Wingfield did not elaborate in detail on why he disapproved of the television version of Frost, although several critics contended that Wingfield felt television had ‘softened’ his creation. This article will analyse each version in terms of the elements of narrative outlined by Simpson and Montgomery (1995) and will in turn suggest an elaboration of this model by integrating frameworks for the analysis of impoliteness (Culpeper, 1996; 2010), examining pragmatic elements of Frost’s dialogue. In investigating whether television’s Jack Frost is ‘softer’ than the character envisaged by Wingfield free direct speech and accompanying physical behaviour in novel and television adaptation are analysed, focussing on whether the perceived softness of the latter has been partly achieved by making the speech of Frost less impolite on television.
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Adaptation, characterisation, A Touch of Frost, Frost at Christmas, impoliteness, free direct speech, dialogue, television drama, crime fiction
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Chierichetti, Luisa. "“El criado pesado”: La caracterización en la serie Águila Roja." Quaderns de Filologia - Estudis Lingüístics 22, no. 22 (January 7, 2018): 57. http://dx.doi.org/10.7203/qf.22.11301.
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This article, based on the most recent studies on telecinematic dialogue, proposes a contribution to linguistic research on television series, one of the most influential popular cultural products in contemporary society. The work is based on the complete scripts of the successful Spanish series Águila Roja, aired on Radio Televisión Española between 2009 and 2016. Combining techniques of corpus linguistics and discourse analysis, this study examines the characterization of Satur, one of the main characters of this fiction, through the co-construction of the meaning, as processed by the television audience. The results suggest that Satur’s discourse is characterized by the use of contemporary colloquial language and by incongruity; such features create humor and familiarity with the audience.
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Desidério, Plábio Marcos Martins, and Lailson Duarte. "TRABALHADORAS DO SEXO NA SÉRIE DA HBO, O NEGÓCIO: Representações e a Prostituição de Luxo." Revista Observatório 3, no. 3 (May 1, 2017): 506. http://dx.doi.org/10.20873/uft.2447-4266.2017v3n3p506.
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Neste trabalho buscamos compreender as representações da prostituição de luxo, a partir de uma produção televisiva: a série O Negócio, produzida pela HBO. Esta série suscita questões sobre as trabalhadoras do sexo, e, portanto, buscamos analisar alguns discursos e representações dessas mulheres como garotas de programa numa série de televisão. Muitas dessas representações quando se referem a prostituição de luxo procuram evidenciar uma dimensão lúdica, hedonista, sofisticada e consumista, sem, no entanto, questionar as muitas questões que cercam essa prática social. PALAVRA-CHAVE: Série O Negócio; trabalhadoras do sexo;, representações sociais. ABSTRACT In this work we seek to understand the representations of luxury prostitution, from a television production: the series O Negócio, produced by HBO. This series raises questions about prostitute, and therefore we will try to analyze some discourses and representations of these women as program girls in a television series. Many of these representations when referring to luxury prostitution seek to demonstrate a ludic, hedonistic, sophisticated and consumerist dimension, without, however, questioning the many issues surrounding this social practice. KEYWORDS: Series O Negócio; prostitute; social representations. RESUMEN En este trabajo tratamos de entender las representaciones de la prostitución de lujo, de una producción televisiva: la serie O Negócio, producida por HBO. Esta serie plantea preguntas acerca de los profesionales del sexo, y por lo tanto tratar de analizar algunos discursos y representaciones de estas mujeres como prostitutas en una serie de televisión. Muchas de estas representaciones, ya que se relacionan con la prostitución de lujo tratan de mostrar una dimensión lúdica y hedonista, consumista y sofisticado, sin embargo, interrogando a los muchos problemas que rodean esta práctica social. PALABRAS CLAVE: La serie O Negócio; profesionales del sexo; las representaciones sociales.
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Iyorza, Stanislaus, and Patience Abu. "NIGERIAN TELEVISION DRAMA SERIES AND AUDIENCE REACTIONS: A SEISMOLOGY EVALUATION." Jurnal Sosialisasi: Jurnal Hasil Pemikiran, Penelitian dan Pengembangan Keilmuan Sosiologi Pendidikan, no. 1 (July 30, 2020): 47. http://dx.doi.org/10.26858/sosialisasi.v0i1.14491.
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The objective of this study is to find answers to evaluate reactions of the audience to the Nigerian television drama series in Nigeria, giving attention to how the programmes are making waves and the extent to which the audience has invested their knowledge, time and interest in them. Seismology is the study of effects or waves created by a dramatic piece, the entire theatrical event or radio or television programme. This discourse assumes that the Nigerian television drama series may not be evoking the desired reactions from their audience. The problem of this study is the uncertainty surrounding the impact or waves made by the Nigerian television drama series on their audience. To achieve the objectives of this study adopted quantitative and qualitative research methods to elicit audience reaction. The study employed the survey method using questionnaire and online interview designs to elicit responses on audience responses to Nigerian television drama series. Findings revealed that more than 80% of Nigerians watch at least one or more Nigerian television drama series out of interest. Audience reactions to the programmes are in form their expressions of knowledge about the drama series in terms of best actors, producers and television drama series in Nigeria. The audience also reacted that the Nigerian television drama series is more entertaining than educational and informational, even though some combine all those qualities. The audience also agreed that the Nigerian television drama series reflect life in Nigeria by promoting good morals and criticizing anti-social behaviours like raping, drug abuse and kidnaping. The paper recommends multinational companies' continuous sponsorship of television drama series that is targeted at making the Nigerian society a better place.
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Fröhlich, Vincent. "Lebens-Folgen. : Medienreflexion und Gedächtnis in seriell-biographischen TV-Erzählungen." Zeitschrift für Germanistik 32, no. 2 (January 1, 2022): 375–94. http://dx.doi.org/10.3726/92172_375.
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Abstract Der Beitrag behandelt biographisches Erzählen in den Serien Halston, The Crown und The Assassination of Gianni Versace: American Crime Story. Die These lautet, dass diese Serien eine Beziehung zum Fernsehen als Gedächtnismedium reflektieren, dabei das televisuelle Wissen über die dargestellten Biographien in die eigene Erzählweise miteinbauen und zugleich in der Reflexion sowie Zitation der Fernsehbilder ihre eigene Art des biographischen Erzählens betonen. Weiterhin nähert sich der Artikel mittels der Beobachtung einer eigenen Gedächtnisherausbildung durch die Serien sowie verschiedener damit zusammenhängender Operationsweisen der eigenen Modalität des seriell-biographischen Erzählens an.The article examines biographical storytelling in the television series Halston, The Crown and The Assassination of Gianni Versace: American Crime Story. I argue that these TV series reflect their relationship to television as a medium of memory. In doing so, the televisual knowledge about the biographies portrayed is incorporated into the series’ own modes of narration. In the reflection and citation of the television images, the series emphasise their own ways of biographical narration. The essay furthermore approaches the specific modality of serial-biographical narration by observing the series’ own memory production as well as various related modes of operation.
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Fröhlich, Vincent. "Lebens-Folgen. : Medienreflexion und Gedächtnis in seriell-biographischen TV-Erzählungen." Zeitschrift für Germanistik 32, no. 2 (January 1, 2022): 375–94. http://dx.doi.org/10.3726/92171_375.
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Abstract Der Beitrag behandelt biographisches Erzählen in den Serien Halston, The Crown und The Assassination of Gianni Versace: American Crime Story. Die These lautet, dass diese Serien eine Beziehung zum Fernsehen als Gedächtnismedium reflektieren, dabei das televisuelle Wissen über die dargestellten Biographien in die eigene Erzählweise miteinbauen und zugleich in der Reflexion sowie Zitation der Fernsehbilder ihre eigene Art des biographischen Erzählens betonen. Weiterhin nähert sich der Artikel mittels der Beobachtung einer eigenen Gedächtnisherausbildung durch die Serien sowie verschiedener damit zusammenhängender Operationsweisen der eigenen Modalität des seriell-biographischen Erzählens an.The article examines biographical storytelling in the television series Halston, The Crown and The Assassination of Gianni Versace: American Crime Story. I argue that these TV series reflect their relationship to television as a medium of memory. In doing so, the televisual knowledge about the biographies portrayed is incorporated into the series’ own modes of narration. In the reflection and citation of the television images, the series emphasise their own ways of biographical narration. The essay furthermore approaches the specific modality of serial-biographical narration by observing the series’ own memory production as well as various related modes of operation.
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Rudy, Rudy, and Muhammad Kiki Wardana. "Popularizing the Gay Characters: A Study of American Gay-Themed TV Series in 2000s." Anaphora : Journal of Language, Literary, and Cultural Studies 6, no. 1 (July 31, 2023): 37–48. http://dx.doi.org/10.30996/anaphora.v6i1.8475.
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This study is a qualitative research which concentrates on the rise of TV series gay characters on American televisions starting in the early 2000s. The emergence of gay TV series in 2000s has made this phenomena interesting as well as essential to discuss since American television in the pre 2000s era was not not open about the gay characters in television series. The data for this study were obtained through a literature review consisting of journal articles as well as books. This study intended to identify why gay-themed TV series appeared in the 2000s by applying Hall’s theory of representation as a way for analyzing. This research is useful to an additional reference for other researchers and to increase people’s understanding on the gay TV series phenomenon in the US. The research findings showed that there at least four representations explaining the reasons for the emergence of gay-themed TV series in America – the progress of science and knowledge, the strength of minority, the state support, and the new target consumers.
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Talarczyk, Monika. "Krzysztof Kieślowski’s “Decalogue” as a Quality TV Series." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 24, no. 33 (March 25, 2019): 38–46. http://dx.doi.org/10.14746/i.2018.33.04.
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The text is dedicated to The Decalogue (Dekalog,1988) by Krzysztof Kieslowski and analyses the television series through the prism of genre and contemporary television studies, including the concept of quality television. Kieslowski’s series fulfills all the criteria assigned to the contemporary new generation television series, and can act as a reference point for interpreting Poland’s first new generation series by HBO, In treatment (Bez tajemnic, 2011–2013). The two titles are also linked by the same Polish film tradition, i.e. the cinema of moral concern, even though In treatment is based on foreign format.
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GUTIÉRREZ, Julia Sabina. "EL DISCURSO DE LAS SERIES DE TV DE LA TRANSICIÓN ESPAÑOLA Y LA PICARESCA COMO GÉNERO TRANSVERSAL. EL PÍCARO (FERNÁN GÓMEZ, 1974) Y JUNCAL (DE ARMIÑÁN, 1989)." Signa: Revista de la Asociación Española de Semiótica 34 (January 8, 2025): 405–24. https://doi.org/10.5944/signa.vol34.2025.39531.
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En este artículo se analizan dos series que alcanzaron su máxima audiencia en el último tercio del siglo veinte en la Radiotelevisión pública española RTVE y que recuperaban las tradiciones literarias y teatrales del Siglo de Oro: El pícaro y Juncal, dos obras con interacciones entre la literatura, el teatro y la TV. En este caso, nos interesa observar cómo el discurso teatral y literario se integra en el discurso televisivo. En lo que respecta al análisis de El pícaro y Juncal nos hemos centrado especialmente en el aspecto lingüístico, con sus variedades de discurso monologado, dialogado, etc. No obstante, nos hemos extendido al área translingüística, que es la zona del discurso de las series televisivas en las que el lenguaje verbal se completa con la imagen para expresar la gestualidad, las expresiones faciales, la postura corporal, los elementos proxémicos, kinésicos y lograr de esa forma el ensamblaje de los materiales. Palabras clave: Discurso. Televisión. Series. El pícaro. Juncal. Abstract: This article analyzes two TV series that achieved their peak viewership in the last third of the 20th Century on RTVE, the Spanish public broadcaster, which drew from the literary and theatrical traditions of the Golden Age: El pícaro and Juncal. These two series involve interactions between literature, theater, and TV. It will be argued that the theatrical and literary discourse is integrated in the television discourse. Regarding the analysis of El pícaro and Juncal, attention will be paid to the linguistic aspects, including various forms of discourse such as monologues, dialogues, etc. The article will also address the translinguistic area, where verbal language is complemented in TV series by images to express gestural, facial expressions, body posture, proxemic, kinesic elements, and therefore achieve the integration of materials. Keywords: Discourse. Television. TV Series. El pícaro. Juncal.
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Ushanov, Pavel V. "The Specificity of the Genesis of the National Television Series as an Original Cultural-Informational Phenomenon." ICONI, no. 4 (2020): 73–80. http://dx.doi.org/10.33779/2658-4824.2020.4.073-080.
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The article is devoted to the study of the formation of the television series as an independent cultural phenomenon, as well as a multifunctional means of mass communication. Based on the concept of Vladimir S. Sappak, the author examines the television series not simply as a form of the existence of art cinema in the space of television, but as a new cultural phenomenon which arose and continues to develop under the infl uence of a whole complex of types of visual culture and art. While studying the genesis of the television series, the author traces the process of the formation of the fi lm series as one of the basic components of the television series, which was also infl uenced by such types of visual popular culture as popular print and comics. Revealing the specifi city of the genesis of the television series, the author turns to Victor B. Shklovsky’s idea of defamiliarization as an artistic device aimed at creating a special perception of the subject by the audience. As a specifi c feature of the modern television series, the high degree of its dynamism distinguishes itself, the latter being due to the constant exchange of information with objects that also accumulate social information. Therefore, the television series becomes a space where the convergence of documentary and artistic communication fl ows is actively taking place. The results of this convergence can be attributed to the formation in the post-Soviet space of a unique phenomenon — a politically engaged television series.
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Turnbull, Sue, and Felicity Collins. "Old Dogs, New Tricks: Beyond Simpson Le Mesurier, Crime-Comedy and the Telemovie Series." Media International Australia 100, no. 1 (August 2001): 33–48. http://dx.doi.org/10.1177/1329878x0110000106.
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Roger Simpson and Roger Le Mesurier are veterans of commercial television drama production (from Division 4 to Stingers). In the post-Skase/Bond era of deficit funding, their innovative telemovie series (Halifax f.p., Dogwoman) and crime-comedy series (Good Guys Bad Guys) have tested the boundaries of Australian television's staple drama format, the crime series. Taking actors (Rebecca Gibney, Marcus Graham, Magda Szubanski) as hooks for the networks, the joint venture company Beyond Simpson Le Mesurier has brought elements of sketch comedy and a high-concept film aesthetic to the crime series format. Drawing on private investment and public money (FFC, FilmVic, CTPF), Beyond Simpson Le Mesurier exemplifies the current convergence between the film and television industries. Paradoxically, the local success of Simpson Le Mesurier's series (particularly with a post-Fordist, 18–39-year-old demographic) highlights a crisis in the drama production industry — a crisis precipitated by a dramatic drop in international sales, forcing a return to licence fee productions.
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Rudy, Rudy. "CONCEPTUALIZING FRIENDSHIP THROUGH AMERICAN GAY TELEVISION SERIES IN 2000S." Rubikon : Journal of Transnational American Studies 2, no. 2 (September 1, 2015): 64. http://dx.doi.org/10.22146/rubikon.v2i2.34260.
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Gay culture has been one of the most phenomenal issues in the world, particularly in the United States. As this culture has become pro and contra over American regarding their point of view, ethically or unethically, thus, it has been spread all over the world through media, particularly television, which makes it unique and essential to observe through the television series, gay characters appear with certain features attached to them. This study concentrates on the depiction of gay shown through American gay television series in 2000s. As gay culture is strongly connected to the collectivity, the friendship among minority groups like gay people has become fascinating to identify. By focusing on how and why the friendship is portrayed through the gay television series, this study incorporates semiotic approach to identify the friendship among gay shown by the American gay television series in 2000s. The observation of the gay television series have revealed that friendship among gay people plays a significant role in gay culture. The research findings show that the depiction of friendship through the gay TV series symbolizes similar values and vision shared among gay people in order to reach solidarity. Additionally, strong friendship as a binding value is always the feature shown by oppressed minority groups in a society.Keywords: Gay, Television Series, 2000s, Friendship, America Culture
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Lavery, David. "Climate Change: Television Books, the Series." Critical Studies in Television: The International Journal of Television Studies 1, no. 1 (March 2006): 97–103. http://dx.doi.org/10.7227/cst.1.1.13.
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Striffler, S. "Undercover Boss: CBS reality television series." Labor Studies in Working-Class History of the Americas 9, no. 4 (December 1, 2012): 83–85. http://dx.doi.org/10.1215/15476715-1726054.
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Simeunovic-Bajic, Natasa. "Audience research of domestic television series." CM - casopis za upravljanje komuniciranjem 10, no. 35 (2015): 5–32. http://dx.doi.org/10.5937/comman10-9308.
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Pescatore, Guglielmo, and Veronica Innocenti. "Information Architecture in Contemporary Television Series." Journal of Information Architecture 4, no. 2 (September 1, 2012): 61–77. http://dx.doi.org/10.55135/1015060901/122.007/5.030.
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The purpose of this paper is to apply some of the principles of information architecture to a disciplinary sector that is adjacent but has not traditionally considered this kind of approach. Basically, what we suggest in the paper, is the need to adopt a wider vision of information architecture, considering it as the design of every shared information environment. Therefore, in our paper, we propose to apply information architecture principles to the media field, also trying a synthesis with principles and topics that come from other study fields (such as semiotics, media studies etc.) and that are traditionally associated to TV series, demonstrating relevant intersections point
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Hechenblaikner, Verena. "Downton-Mania. Die Fernsehserie „Downton Abbey“ und ihre Auswirkung auf die Public History und den Filmtourismus." historia.scribere, no. 13 (June 22, 2021): 31. http://dx.doi.org/10.15203/historia.scribere.13.615.
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Downton Mania. The Television Series “Downton Abbey” and its Impact on Public History and Film TourismThe following seminar-paper examines the potential of historical television series for historical science. Using the television series "Downton Abbey" as an example, it shows series’ effects on public history and film tourism. The main argument is that historical series increase public interest in history and thus make it possible to communicate historical topics to a broader audience.
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Özalpman, Deniz. "Transnational Viewers of Turkish Television Drama Series." Transnational Marketing Journal 5, no. 1 (May 1, 2017): 25–43. http://dx.doi.org/10.33182/tmj.v5i1.386.
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Since the mid-2000s, Turkish television drama series have been exported to many countries and attracted an unprecedented transnational audience. However, despite popularity, there is paucity of research focusing on the transnational understanding(s) of Turkish television drama audiences in different geographies. Through a reception analysis of three mostly cited television series among participants Muhteşem Yüzyıl (Magnificent Century), Aşk-ı Memnu (Forbidden Love), Kuzey Güney (North South), this study aimed at offering an understanding beyond overly stated cultural/religious proximity explanations to ascertain traces and elements of empowerment that citizens feel coming through their act of consuming Turkish dramas. For that purpose, in-depth interviews were conducted with Iranian viewers of Turkish television series living in the Austrian capital Vienna. Interpretation of that collected qualitative material suggests re-thinking of the transnational audience’s consumption practices that expand tourism and trade flows and other related businesses between the two countries.
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Mazepa, Andrii. "Game TV Series as a Specific Form of Public Communication." Culturology Ideas, no. 14 (2'2018) (2018): 192–98. http://dx.doi.org/10.37627/2311-9489-14-2018-2.192-198.
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The purpose of the article is to study the role of television series as a system-forming factor of modern public communication in the field of domestic television space. The relevance of the article is determined by the insufficient knowledge of the structure and content of modern television series, which is the public basis of communication. In the scientific discourse there are no works that make it possible to comprehend the television series as part of the general cultural media space and contribute to the identification of semiotic codes that determine the unity of the sphere of public communication. The article points out that the development of the information and cultural space is becoming a factor of a powerful influence on society, especially young people. The article reveals the basic principles of building a postmodern television space, defines its specificity as an element of cultural policy. In this sense, the thematic content of the television series is based not so much on the foundation of pure artistic creativity as on the information field that the media form. The television series has the ability to blur the line between documentary and artistic reality and brings this communication characteristic to a new level – creating artistically revised reconstructions of real events within the framework of the paradigm “as it really was”. Due to this, the television can have a powerful manipulative potential.
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Cascajosa Virino, Concepción, and Juan Pedro Molina Cañabate. "Narrativas expandidas entre la tradición y la innovación: construyendo el universo transmedial de "El Ministerio del Tiempo"." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 27 (January 3, 2017): 120. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2017271544.
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El texto es una aproximación a la expansión narrativa de la serie de televisión El Ministerio del Tiempo (TVE1: 2015-) durante su segunda temporada. Se trata de un estudio de caso con el que valorar los retos y oportunidades que supone extender el universo narrativo de la ficción televisiva a través de productos orientados al consumo por parte de los fans. En el caso de El Ministerio del Tiempo es un aspecto clave ha sido la variedad de medios utilizados (ficción sonora, webserie, capítulo de realidad virtual, novelización), así con la recurrencia de temas y la estricta cohesión respecto a su material de partida, siendo un ejemplo modélico de expansión narrativa transmedial. This article focus on the narrative expansion of the television fiction series El Ministerio del Tiempo (TVE1: 2015) during his second season. It is a study case with the purpose of assessing the challenges and opportunities posed by the expanded narratives of television fiction series to be consumed by fans. In the case of El Ministerio del Tiempo, it is a key point the variety of media used (a sound fiction, a webserie, an episode of VR, a novelization), the recurrence of the same topics and the strict respect to the original material, so it can be considered as a model example of transmedial narrative expansion.
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Zimmer, Catherine. "Serial Surveillance: Narrative, Television, and the End of the World." Film Quarterly 72, no. 2 (2018): 12–25. http://dx.doi.org/10.1525/fq.2018.72.2.12.
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This article examines the relationship between two trends in contemporary serial television: the frequent use of surveillance as a device for non-linear storytelling, and an emphasis on the emotional devastation of series characters and viewers alike. Through analysis of shows ranging from 24 and Person of Interest to The Good Wife and Westworld, the article highlights the significance of surveillant logic to contemporary television while also establishing serial narrative as part of a landscape of despair underlying television's new “golden era.” The intersections in theories of time coming from surveillance studies, television studies, and film studies indicate how the surveillance functions both as an element of serial narration and as the imaginary of the American postmillennial security state.
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Pajala, Mari, and John Ellis. "Editorial." VIEW Journal of European Television History and Culture 10, no. 19 (June 24, 2021): 1. http://dx.doi.org/10.18146/view.276.
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As VIEW enters its tenth year of publication, we present our first open issue. The resulting collection of articles represents a varied smörgåsbord of European television, covering television in Germany, Greece, Hungary, Malta, Russia, Spain, Sweden and Turkey. Moreover, many articles discuss the transnational movement of television: a Turkish adaptation of a Danish series, the Portuguese framing of a Spanish historical series, East German films on Swedish television, Russian television programmes on the international market.
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Kaczor, Katarzyna, and Barbara Świąder-Puchowska. "Serial „Artyści” jako przykład telewizji jakościowej." Literatura i Kultura Popularna 26 (September 16, 2021): 275–86. http://dx.doi.org/10.19195/0867-7441.26.20.
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The article The series “The Artists” as an example of quality television is an attempt to analyse the original TV series The Artists [Artyści] (2016) by Paweł Demirski and Monika Strzępka from the perspective of the determinants of the quality television model defined by Jane Feuer. The researchers consider the series, whose authors are neither film nor television artists, but are representing critical theatre in Poland, to be the first such full implementation of quality television in Polish TV culture. The authors of the article begin their analysis with the first Polish productions that featured elements of quality television (starting from The Cop [Glina] series from 2003) and defining synthetically its determinants. These genre determinants are deepened in the following sections in the perspective of the analysis of the series The Artists in terms of focusing the theme of the movie on the present; constructing the script of the series about characters from different layers and environments, in opposition to accepted norms; the author(s) as a guarantee of a high-quality artistic series; stylistic means; intertextual layer.
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Kokhan, Tymofii. ""Episode — series — series products" as structural components of modern culture." Culturology Ideas, no. 22 (2'2022) (2022): 38–45. http://dx.doi.org/10.37627/2311-9489-22-2022-2.38-45.
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It is argued that from decade to decade Ukrainian humanities are actively expanding the research space, discovering new, theoretically important "problem areas", the understanding of which may have prospects by using the potential of cultural analysis, including factors such as "interdisciplinarity", "personalization" and "dialogue". These include a range of issues related to the specifics of the "series". It is noted that due to the involvement of the concept of "paradigm" in the analysis of the situation in the field of art, the facts of partial or complete change, especially patterns of thinking in motion from film to TV series and from cinema to television. It is stated that the interest in television in general and the "television series" in particular intensified during the '70s and '90s. This was due to a number of reasons, including the rapid entry into the space of humanitarian knowledge of cultural studies. As a unity of history and theory of culture, it prompted a revision of the research orientation of the traditional humanities. It is noted that the ability to record the transformation of "film — series" encourages the use of art history dimension of culturology — a science that represents a combination of three components: theory, history and art criticism. At the same time, the history of art is seen as a procedural phenomenon, as it accumulated gradually: art forms were formed not simultaneously but over the centuries, entrenched in the dynamic movement of artistic development of reality.
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Hunter, Starling David, Susan Smith, and Ravi Chinta. "Predicting New TV Series Ratings from their Pilot Episode Scripts." International Journal of English Linguistics 6, no. 5 (September 23, 2016): 1. http://dx.doi.org/10.5539/ijel.v6n5p1.
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<p>Empirical studies of the determinants of the ratings of new television series have focused almost exclusively on factors known <em>after</em> a decision has been made to broadcast the series. The current study directly addresses this gap in the literature. Specifically, we first develop a parsimonious model to predict the audience size of new television series. We then test our model on a sample of 116 hour-long, scripted television series that debuted on one of the four major US television networks during the 2009-2014 seasons. Our key predictor is the size of the main component of the text network developed from the script of the pilot episode of each series. As expected, this size measure strongly explains the number of viewers of the new series’ first several episodes.</p>
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Wilcox, Rhonda V., Stacey Abbott, and Douglas L. Howard. "A tribute to David Lavery: Television canon, television creativity." Critical Studies in Television: The International Journal of Television Studies 13, no. 4 (December 2018): 455–69. http://dx.doi.org/10.1177/1749602018799246.
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This article pays tribute to the career of Professor David Lavery and his landmark contribution to television studies. It reflects upon how his edited collections on TV series such as Twin Peaks, The X-Files, Buffy the Vampire Slayer and The Sopranos demonstrated the value of research and, in particular, close textual analysis of individual television series. It considers the impact that the many conferences he co-organised and journals he co-founded had in the creation of collaborative research networks and a sphere of influence known as the ‘Lavery Effect’. It reflects upon his contribution to legitimising blogging and popular media as acceptable platforms for academic research, thus taking scholarship beyond academic audiences and readers. Finally, the essay offers a review of his personal production, addressing his individual contribution to television studies, particularly addressing how his work led the way in considerations of creativity and television authorship and the development of a TV canon.
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Ribke, Nahuel. "Fauda television series and the turning of asymmetrical conflict into television entertainment." Media, Culture & Society 41, no. 8 (February 15, 2019): 1245–60. http://dx.doi.org/10.1177/0163443718823142.
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Since its release in February 2015, television drama/action series Fauda has attracted enormous public attention and debate, first in Israel and then abroad, following its global release on Netflix. The story of an Israeli undercover unit chasing an infamous Palestinian terrorist, the series was praised for its ‘realistic’ depiction of the conflict and empathetic portrayal of the opposing sides, as well as for the frenetic rhythm and suspense of the plot. On the other hand, the series has faced criticism for downplaying and obscuring the realities of the Israeli occupation, focusing on a cat and mouse thriller rather than the hardships incurred by a civilian population under military control. Based on a qualitative analysis of media coverage in Israel and abroad, this article analyzes the complex relationship between an ongoing asymmetrical conflict and its representation in fictional television entertainment.
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Goldsmith, Ben. "Sport and the Transformation of Australian Television." Media International Australia 155, no. 1 (May 2015): 70–79. http://dx.doi.org/10.1177/1329878x1515500109.
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This article examines the history of Australian broadcast television through the lens of sports programming. Ever since the introduction of the medium in Australia just before the 1956 Olympic Games, sports programming – both event coverage and sports-related content – has played a major role in defining television's forms, concerns and technologies, as well as in developing audiences for services and channels. Looking at a series of pivotal moments in Australian television history – the 1956 Olympics, the coming of colour, aggregation in the late 1980s, the launch of subscription television in 1995 and commercial free-to-air multi-channelling – the article examines sports programming as a site of both competition and collaboration between networks and services. It also discusses the role of sports in shaping the schedules and profiles of the two Australian public service broadcasters, before concluding with a look at the possible future of sport and Australian broadcast television.
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Yıldırım, Nisa. "Transformation of Comedy with Streaming Services: The Case of Bartu Ben." CINEJ Cinema Journal 8, no. 2 (December 3, 2020): 403–25. http://dx.doi.org/10.5195/cinej.2020.300.
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Comedy has always been one ofthe most popular genres in Turkish cinema and television series. As the distinction between film and series has begun to blur in the post-television era, narratives are transforming according to the characteristics of the new medium. Streaming services targeting niche audience offer more freedom to creators of their content.Thisarticle aims tostudy the comedy series Bartu Ben (Its me, Bartu)which is one of the original series of Turkish streaming service Blu TV, in orderto interpret the differences ofthe series from traditional television comedies, and contributionof streaming servicesto the transformation of the genre.
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Olmedo-Salar, Silvia, and Paloma López-Villafranca. "Análisis comparativo de ´podcasts´ y series televisivas de ficción. Estudio de casos en España." INDEX COMUNICACION 9, no. 2 (June 30, 2019): 183–213. http://dx.doi.org/10.33732/ixc/09/02analis.
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Sound fiction genre takes a relevant position after the irruption of American productions such as Serial in the year 2014, whose success boosted its emission in other media as a series with the same title offered by HBO. In Spain, the conversion from podcast to television series hasn´t been produced yet, but we do have on stream podcasts that derive from television series, specifically, on RTVE platform. The objective of this work is to perform a formal comparative analysis and content of podcasts and series of television platforms in Spain and the United States applied to the first season of the following fictions: Homecoming and Dirty John podcasts, both of them broadcasted as series on Amazon and Netflix in the USA. In Spain, we analyze the podcast Carlos de Gante podcast comparing it with the series Carlos, el Emperador, and the podcast Bienvenido a la Pasarela with the TV series Estoy Vivo, on RTVE web platform. In the US, the sound acquires a new dimension both in its adaptation to the television format as an independent unit while in Spain, although it is a complement to the transmedia universe, it enjoys a quality and a projection that announces a rediscovery of the sound format. Keywords: Sound Fiction; Series; Television; Radio; Transmedia; Podcast.
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Qolbi, Pudyaning Putri Noor, S. Kunto Adi Wibowo, and Ikhsan Fuady. "Content Analysis: Relationships and Sexual Behavior in Euphoria Series Season One." Communicare : Journal of Communication Studies 9, no. 2 (December 31, 2022): 115. http://dx.doi.org/10.37535/101009220224.
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Teenage life is not far from romance and identity formation. Programs on television have an essential role in shaping the lives of these teenagers. Teenagers use media such as television to form perceptions and images of how relationships are. Not only relationships, but the programs on television also show a lot of sexual content, which is a source of sexual information for said teenagers. Because of these television programs, teenagers expect their lives to be like what is shown on television, as explained in cultivation theory. This study analyzes how Euphoria season one creates expectations through its depiction of relationships and sexual behaviors. All Euphoria season one episodes were gathered to analyze the frequency of relationships and sexual behaviors portrayed to an adolescent audience. This research explores the types of relationships, ages, genders, and sexual behaviors shown and implied using a frequency distribution table and cross-tabulation. The results show all episodes consisted of sexual behavior, suggesting that a television program significantly impacts on a teenager's sexual socialization.
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Ugurlu, Elif Gizem. "Mediatized Child Characters." European Journal of Social Sciences 1, no. 3 (November 29, 2018): 98. http://dx.doi.org/10.26417/ejss.v1i3.p98-102.
Full textAbstract:
Child actors and actresses perform in television programs, such as contests, shows and series, and in movies broadcasted in Turkey. After the program is broadcasted, social media accounts such as Facebook and instagram are opened by their parents for these children and it is attempted to increase their popularity. Children with increased popularity begin to act in new series and advertisements, and they are drawn into a consumption cycle. While these children, who are used for humour, promotional or dramatic factors, are disturbed, on the other hand, they cause that children's real and big problems (poverty, child labor, abuse, abduction, refugee, etc.) are ignored. This study provides a perspective on child characters in competition programs, TV shows, television series, television programs and movies broadcasted on televisions in 2018 in Turkey. The program in which children aged between 5 and 12 years appear, and their Instagram accounts were tracked and examined. The culture of benefiting from the child in the media multiplies itself as the use of children as mediatic characters in the media in Turkey continues, and the fact that children can be used as a source of income without considering that they can be overwhelmed by the burden of fame becomes widespread. This indicates the perception of childhood in society, the visibility of child individuals' problems, and a frightening future for children.
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Sexton, Max. "The Origins of Gritty Realism on British Television: Euston Films and Special Branch." Journal of British Cinema and Television 11, no. 1 (January 2014): 23–40. http://dx.doi.org/10.3366/jbctv.2014.0190.
Full textAbstract:
Euston Films was the first film subsidiary of a British television company that sought to film entirely on location. To understand how the ‘televisual imagination’ changed and developed in relationship to the parent institution's (Thames Television) economic and strategic needs after the transatlantic success of its predecessor, ABC Television, it is necessary to consider how the use of film in television drama was regarded by those working at Euston Films. The sources of realism and development of generic verisimilitude found in the British adventure series of the early 1970s were not confined to television, and these very diverse sources both outside and inside television are well worth exploring. Thames Television, which was formed in 1968, did not adopt the slickly produced adventure series style of ABC's The Avengers, for example. Instead, Thames emphasised its other ABC inheritance – naturalistic drama in the form of the studio-based Armchair Theatre – and was to give the adventure series a strong London lowlife flavour. Its film subsidiary, Euston Films, would produce ‘gritty’ programmes such as the third and fourth series of Special Branch. Amid the continuities and tensions between ABC and Thames, it is possible to discern how economic and technological changes were used as a cultural discourse of value that marks the production of Special Branch as a key transformative moment in the history of British television.
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Forteza Martínez, Aurora. "Los adolescentes en las series de televisión: Élite como estudio de caso." Comunicación Revista Internacional de Comunicación Audiovisual Publicidad y Literatura 1, no. 22 (2024): 93–113. http://dx.doi.org/10.12795/comunicacion.2024.v22.i01.06.
Full textAbstract:
Las series de televisión se han convertido, en los últimos años, en uno de los formatos televisivos más consumidos entre la audiencia, especialmente entre los más jóvenes, llegando a calificar este momento en el que se encuentran como la edad de oro. Dentro de este estudio se plantea la necesidad de analizar tanto los personajes como los mensajes educativos que se transmiten en la serie de televisión Élite. Para llevar a cabo esta investigación, se ha optado por una metodología cualitativa a través de un análisis de contenido de las temáticas que se muestran en la serie, así como un estudio de los personajes que en ella aparecen. Entre los principales resultados obtenidos se observa cómo se tratan aspectos relacionados con el adecuado uso de las redes sociales, el ciberacoso, las relaciones homosexuales o las enfermedades como el cáncer o el VIH. Por otra parte, a través de los personajes se muestra una gran diversidad de nacionalidades, así como de orientación sexual. Como principales conclusiones, se observa como las series de televisión para adolescentes tienden a captar la atención de la audiencia juvenil a través de temáticas y personajes que resultan cercanos a ellos y con quienes se pueden identificar.
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Meuzelaar, Andrea. "Compiling European Immigration History." VIEW Journal of European Television History and Culture 4, no. 8 (December 30, 2015): 10. http://dx.doi.org/10.18146/2213-0969.2015.jethc089.
Full textAbstract:
Today television's reliance on archival footage seems to be intensifying due to the increased accessibility of European broadcast archives and the increased amount of available digitized broadcast material. In this article, the author reflects on television's convention to compile stories from archival material by presenting a case-study of a recently broadcast Dutch television series Land of Promise (2014). This series narrates the history of European post-war immigration, and is constructed from archival material from various European broadcast archives. In this article the author analyses the compilation strategy of Land of Promise, and assesses what kind of European immigration history the series has articulated through the selection and juxtaposition of archival footage.