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Journal articles on the topic 'Top Gear (Television programme)'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Janiak, Ziemowit. "Clarkson is a Woman, or about Gender in Language Illustrated by Interviews on the British Motoring Television Show Top Gear." Acta Humana 6 (June 14, 2016): 87. http://dx.doi.org/10.17951/ah.2015.6.87.

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2

Bonner, Frances. "Top Gear: Why Does the World's Most Popular Programme Not Deserve Scrutiny?" Critical Studies in Television: The International Journal of Television Studies 5, no. 1 (2010): 32–45. http://dx.doi.org/10.7227/cst.5.1.5.

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3

Yuniarti, Diah, and Sri Ariyanti. "Towards Indonesia’s integrated broadcast-broadband implementation policy: A comparative analysis of Singapore, Japan and Malaysia." Journal of Digital Media & Policy 00, no. 00 (2021): 1–19. http://dx.doi.org/10.1386/jdmp_00041_1.

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This study aims to provide recommendations to the government on regulating licence, content and data privacy and protection for integrated broadcast-broadband (IBB) operations in Indonesia, by referencing Singapore, Japan and Malaysia as case studies, considering the need for umbrella regulations for IBB implementation. Singapore and Japan were chosen as countries that have deployed IBB since they have been using hybrid broadcast broadband television (HbbTV) and Hybridcast standards, respectively. Malaysia was chosen because it is a neighbouring country that has conducted trials of the IBB ser

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Malik, Sarita, and Clive James Nwonka. "Top Boy : Cultural Verisimilitude and the Allure of Black Criminality for UK Public Service Broadcasting Drama." Journal of British Cinema and Television 14, no. 4 (2017): 423–44. http://dx.doi.org/10.3366/jbctv.2017.0387.

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In the early 2000s, a new form of multicultural television drama began to emerge in the UK, exploring contemporary gang life within Britain's black communities. A notable example of this ‘black urban crime’ genre is Top Boy, screened by the UK's leading multicultural public service broadcaster, Channel 4, in 2011 and 2013. This article produces an analysis, drawing on sociological and media studies perspectives, and through historicisation and contextualisation, that seeks to understand the fascination of the black urban crime genre for programme-makers, broadcasters and audiences in the conte

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5

Kornfield, Rachel, Glen Szczypka, Lisa M. Powell, and Sherry L. Emery. "Televised obesity-prevention advertising across US media markets: exposure and content, 2010–2011." Public Health Nutrition 18, no. 6 (2014): 983–93. http://dx.doi.org/10.1017/s1368980014001335.

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AbstractObjectiveTo examine levels of exposure and content characteristics for recent televised obesity-prevention campaigns sponsored by state and community health departments, federal agencies, non-profit organizations and television stations in the USA.DesignNielsen television ratings for obesity-prevention advertising were collected for the top seventy-five US media markets and were used to calculate household exposure levels for 2010 and 2011. Governmental advertisements were coded for content.SettingUnited States.ResultsAverage household exposure to obesity-prevention campaigns was 2·6 a

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Krishnaji, M. V., T. Gopi Krishna, A. Srinivasa Rao, and N. Deborah Messiana. "Importance of Writing Content Analysis of Farm Broadcast Programmes of Andhra Pradesh, India." Asian Journal of Agricultural Extension, Economics & Sociology 41, no. 5 (2023): 8–20. http://dx.doi.org/10.9734/ajaees/2023/v41i51893.

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The study was taken up to investigate the trend and frequency of coverage of agricultural information in popular farm broadcasts namely Pasidi Pantalu and Annadata in a quantitative manner. One-year content of two popular farm programmes of Telegu language namely Pasidi Pantalu and Annadata telecasted over Dooradarshan – Sapthagiri (public sector) and Enadu television (private sector) channel were recorded by using “set top box”. The entire content was categorized in to six categories after preliminary watching. The six categories namely enterprise - wise, crop - wise, organization - wise, pac

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7

Robie, David. "From Pacific Scoop to Asia Pacific Report: A case study in an independent campus-industry media partnership." Pacific Journalism Review 22, no. 2 (2016): 64. http://dx.doi.org/10.24135/pjr.v22i2.31.

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Media convergence within the news and current affairs landscape over the past two decades has opened opportunities for competing newspapers, television stations and online publishers to form alliances to approach digital and editorial challenges with innovative strategies. The partnerships have often enabled journalists to embrace multimedia platforms with flexibility and initiative. This has fostered a trend in ‘gatewatching’ and a citizen responsive and involved grassroots media rather than legacy mainstream gatekeeping, top-down models. Such committed media attempts in search of investigati

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8

Nigam, Alka, and Neelma Kunwar. "Impact of Social Media Selected TV Programmes on Current Social Issues and Factors Affected the Categories of Viewers." Asian Journal of Agricultural Extension, Economics & Sociology, November 15, 2022, 490–96. http://dx.doi.org/10.9734/ajaees/2022/v40i111736.

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Satellite television is a service that delivers television programming to viewers by relaying it from a communications satellite orbiting the Earth directly to the viewer's location. The signals are received via an outdoor parabolic antenna commonly referred to as a satellite dish and a low-noise block down converter. A satellite receiver then decodes the desired television programme for viewing on a television set. Receivers can be external set-top boxes, or a built-in television tuner. Satellite television provides a wide range of channels and services. It is usually the only television avai

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9

Suela, Musta. "Ndikimet e Përmbajtjeve Audiovizive tek Publiku-Dhuna në Television." Beder University Journal of Educational Sciences 28, no. 2 (2025). https://doi.org/10.5281/zenodo.15303279.

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<strong>Abstrakt </strong> Televizioni vazhdon të ruajë një nivel epërsie si medium masiv, edhe në kulmimin e plaformave të rrjetit. Misioni i televizionit, përtej funksionit si industri biznesi, fokusohet tek informimi, edukimi dhe argëtimi i publikut. Ekrani vazhdon të mbërthejë pas vetes breza të ndryshëm në Shqipëri, ndërkohë që shijet e audiencave janë të ndryshme. Në këtë aspekt, studimi i përmbajtjeve audiovizive merr një rëndësi specifike për t&eum

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10

Van Es, Karin, Daniela Van Geenen, and Thomas Boeschoten. "Re-imagining Television Audience Research: Tracing Viewing Patterns on Twitter." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1032.

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IntroductionIn his seminal article, “Communications: Blindspot of Western Marxism” (1977), Dallas Smythe suggested that audiences are the commodity form of advertiser-supported communications, as their time is sold to advertisers. Audience measurement firms establish the audience size for a programme by calculating how many people are “tuned in” to a particular offering, and then provide their estimates to advertisers and break down their figures on the basis of demographic characteristics (these characteristics include age, gender, and income level). These ratings have long been the currency

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11

Senarathna, Tharindu, and Dinuka Wijetunga. "Examining some dynamics related to YouTube ad clutter in a high–clutter context." South Asian Journal of Marketing, December 20, 2023. http://dx.doi.org/10.1108/sajm-04-2023-0025.

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PurposeThis study aimed to test some dynamics related to YouTube advertising clutter and viewers' attitudes towards YouTube channels operated by traditional television (TV) companies (These YouTube channels tend to have a greater ad clutter since their videos have embedded ads of programme sponsors in addition to regular YouTube advertisements).Design/methodology/approachEmploying a positivistic, quantitative methodology, the study collected data through an online survey from a sample of 295 YouTube viewers in Sri Lanka. Data were analysed using the regression-based PROCESS macro, utilising th

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Khan, Aamir, Muhammad Sohail Khan, Amjad Ali Pasha, et al. "Hydrodynamic analysis of the magnetic field dependent viscous fluid flow and thermosolutal convection between rotating channels." Scientific Reports 12, no. 1 (2022). http://dx.doi.org/10.1038/s41598-022-20959-1.

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AbstractAccording to research, exposing a person to a magnetic field enhances blood flow and minimizes their risk of suffering a heart attack. Ferrohydrodynamics is the study of fluid motion mechanics that is affected by strong magnetic polarisation forces (FHD). Ferrofluids may transmit heat in a variety of ways by using magnetic fluids. This behaviour is demonstrated by liquid-cooled speakers, which utilise less ferrofluid to prevent heat from reaching the speaker coil. This modification boosts the coil’s ability to expand, which enables the loudspeaker to create high-fidelity sound. It is i

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13

Green, Lelia. "Relating to Internet 'Audiences'." M/C Journal 3, no. 1 (2000). http://dx.doi.org/10.5204/mcj.1826.

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Audiences are a contested domain with Ang and others desperate to analyse, anatomise, understand and describe them. They are particularly important for the commercialisation of any medium since advertisers like to know what they are getting for their money and, in the famous aphorism, 'the role of the commercial media is to deliver audiences to advertisers'. Marshall's concept of 'audience-commodity' continues this intellectual interrogation of the audience and its production by individual practices of media consumption. Mass media audiences have consumed much research attention over most of t

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14

Udris, Linards. "Types of Media Outlets (Formats and Genre)." DOCA - Database of Variables for Content Analysis, May 30, 2024. http://dx.doi.org/10.34778/2zw.

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“Types of media outlets”, often referred to as “media type” or “medium type”, is a variable that is widely used for content analyses of news media. The variable indicates which media outlets share certain characteristics. Grouping media outlets to media types ultimately helps reveal patterns and implications beyond the individual case of a specific outlet. Field of application/Theoretical foundation: The variable can be used for content analyses of print, broadcast or online media. It takes the form of a formal variable, with an underlying theoretical construct. As such, it provides important

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15

Hope, Cathy, and Bethaney Turner. "The Right Stuff? The Original Double Jay as Site for Youth Counterculture." M/C Journal 17, no. 6 (2014). http://dx.doi.org/10.5204/mcj.898.

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On 19 January 1975, Australia’s first youth station 2JJ (Double Jay) launched itself onto the nation’s airwaves with a NASA-style countdown and You Only Like Me ‘Cause I’m Good in Bed by Australian band Skyhooks. Refused airtime by the commercial stations because of its explicit sexual content, this song was a clear signifier of the new station’s intent—to occupy a more radical territory on Australian radio. Indeed, Double Jay’s musical entrée into the highly restrictive local broadcasting environment of the time has gone on to symbolise both the station’s role in its early days as an enfant t

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16

Jaaniste, Luke Oliver. "The Ambience of Ambience." M/C Journal 13, no. 2 (2010). http://dx.doi.org/10.5204/mcj.238.

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Well, you couldn't control the situation to that extent. The world just comes in on top of you. It creeps under the door. It falls out of the sky. It's all around. (Leunig) Like the world that cartoonist Michael Leunig describes, ambience is all around. Everywhere you go. You cannot get away from it. You cannot hide from it. You cannot be without it. For ambience is that which surrounds us, that which pervades. Always-on. Always by-your-side. Always already. Here, there and everywhere. Super-surround-sound. Immersive. Networked and cloudy. Ubiquitous. Although you cannot avoid ambience, you ma

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17

Archer, Catherine, and Kate Delmo. "Play Is a Child’s Work (on Instagram)." M/C Journal 26, no. 2 (2023). http://dx.doi.org/10.5204/mcj.2952.

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Introduction Where children’s television once ruled supreme as a vehicle for sales of kids’ brands, the marketing of children’s toys now often hinges on having the right social media influencer, many of them children themselves (Verdon). As Forbes reported in 2021, the pandemic saw an increase in children spending more time online, many following their favourite influencers on YouTube, TikTok, and Instagram. The importance of tapping into partnering with the right influencer grew, as did sales in toys for children isolated at home. We detail, through a case study approach and visual narrative

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18

Lawson, Jenny. "Food Confessions: Disclosing the Self through the Performance of Food." M/C Journal 12, no. 5 (2009). http://dx.doi.org/10.5204/mcj.199.

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At the end of the episode “Crowd Pleasers,” from her television series Nigella Feasts, we see British food writer and television cook Nigella Lawson in her nightgown opening her fridge in the dark. The fridge light reveals the remnant dishes of chili con carne that she prepared earlier on in the programme. She scoops up a dollop of soured cream and chili onto a spoon and shovels it into her mouth, nods approvingly and then picks up the entire chili dish. She eats another mouthful, utters a satisfied “umm” sound, closes the fridge door and walks away, taking the dish of chili with her. This rec

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19

Deer, Patrick, and Toby Miller. "A Day That Will Live In … ?" M/C Journal 5, no. 1 (2002). http://dx.doi.org/10.5204/mcj.1938.

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By the time you read this, it will be wrong. Things seemed to be moving so fast in these first days after airplanes crashed into the World Trade Center, the Pentagon, and the Pennsylvania earth. Each certainty is as carelessly dropped as it was once carelessly assumed. The sounds of lower Manhattan that used to serve as white noise for residentsâ€”sirens, screeches, screamsâ€”are no longer signs without a referent. Instead, they make folks stare and stop, hurry and hustle, wondering whether the noises we know so well are in fact, this time, coefficients of a new reality. At the time of writing

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20

Bruns, Axel. "Dash or Slash?" M/C Journal 3, no. 6 (2000). http://dx.doi.org/10.5204/mcj.1886.

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"On a list concerned with 'media-culture' one would expect the discussion to focus around the way 'media' function" -- Trevor Batten, in a posting to M/C's Media-Culture mailing-list (9 Sep. 2000) If I may begin by speaking personally for a moment: this is my last issue as M/C's Production Editor, a position I've held for the first three volumes of this journal. It's been a wild, sometimes bumpy ride as we worked to establish a new publication on a still-new medium, but I think the results speak for themselves -- M/C is something my fellow contributors and I can be proud of. Overall, I believe

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21

Oravec, Jo Ann. "Promoting Honesty in Children, or Fostering Pathological Behaviour?" M/C Journal 26, no. 3 (2023). http://dx.doi.org/10.5204/mcj.2944.

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Introduction Many years ago, the moral fable of Pinocchio warned children about the evils of lying (Perella). This article explores how children are learning lie-related insights from genres of currently marketed polygraph-style “spy kits”, voice stress analysis apps, and electric shock-delivering games. These artifacts are emerging despite the fact that polygraphy and other lie detection approaches are restricted in use in certain business and community contexts, in part because of their dubious scientific support. However, lie detection devices are still applied in many real-life settings, o

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22

Blackwood, Gemma. "<em>Roblox</em> and Meta Verch." M/C Journal 26, no. 3 (2023). http://dx.doi.org/10.5204/mcj.2958.

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Introduction In September 2022, American retail giant Walmart launched two new gaming experiences onto popular multi-platform gaming experience Roblox, entitled Walmart Land and Walmart Universe of Play. First released in 2006, Roblox is an online multiplayer programme and a virtual gaming world that is part of a rise of other similar programmes, including Minecraft (2009), Pokémon GO (2016), and Fortnite (2013). Like these other games, it is also a multi-platform program, which means that “it can be played on computers, tablets, mobiles or video consoles, thus enabling its ubiquitous access”

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23

Thomas, Peter. "Anywhere But the Home: The Promiscuous Afterlife of Super 8." M/C Journal 12, no. 3 (2009). http://dx.doi.org/10.5204/mcj.164.

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Consumer or home use (previously ‘amateur’) moving image formats are distinguished from professional (still known as ‘professional’) ones by relative affordability, ubiquity and simplicity of use. Since Pathé Frères released its Pathé Baby camera, projector and 9.5mm film gauge in 1922, a distinct line of viewing and making equipment has been successfully marketed at nonprofessional use, especially in the home. ‘Amateur film’ is a simple term for a complex, variegated and longstanding set of activities. Conceptually it is bounded only by the negative definition of nonprofessional (usually inte

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Roney, Lisa. "The Extreme Connection Between Bodies and Houses." M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2684.

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   Perhaps nothing in media culture today makes clearer the connection between people’s bodies and their homes than the Emmy-winning reality TV program Extreme Makeover: Home Edition. Home Edition is a spin-off from the original Extreme Makeover, and that fact provides in fundamental form the strong connection that the show demonstrates between bodies and houses. The first EM, initially popular for its focus on cosmetic surgery, laser skin and hair treatments, dental work, cosmetics and wardrobe for mainly middle-aged and self-described unattractive participants, lagged after

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