Journal articles: 'TV representation'

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McIntyre, Joanna. "Transgender idol: Queer subjectivities and Australian reality TV." European Journal of Cultural Studies 20, no. 1 (2016): 87–103. http://dx.doi.org/10.1177/1367549416640535.

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Transgender is a marginalised category to which reality TV has given visibility, yet it is usually overlooked in observations regarding the minority groups that have gained mainstream representation through these programmes. Popular Australian reality TV shows have provided a unique space for the constructive representation of certain queer subjectivities. The Australian reality TV contestants in question present gendering that embraces ambiguity, that is, they demonstrate the deliberate disruption and blurring of gender/sex category divisions. This article examines the ways in which Australian reality TV’s representations of transgender contestants remain robustly queer while also being negotiated and made palatable for ‘family’ television audiences. It asserts the reality TV shows that feature transgender performance orchestrate a balance between queer expression and its containment. This article also takes as a case study a particularly successful Australian transgender reality TV contestant, Courtney Act. It argues Act’s representation of queerness was ‘managed’ within the normative framework of mainstream television yet she is still significantly troubled by gender binaries during her time on Australian screen. In 2014, she appeared as a contestant on the United States’ queer-themed reality TV show RuPaul’s Drag Race and again proved to be a reality TV success. This transnational intersection of transgender performance signalled the productive possibilities of international cross-pollination in regard to affirmative reality TV representations of marginalised subjectivities. At the same time, however, it also revealed the localised nature of reality TV, even in those shows with an international queer appeal.

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Hohenstein, Svenja, and Katharina Thalmann. "Difficult Women: Changing Representations of Female Characters in Contemporary Television Series." Zeitschrift für Anglistik und Amerikanistik 67, no. 2 (2019): 109–29. http://dx.doi.org/10.1515/zaa-2019-0012.

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Abstract Starting out with a brief overview of recent TV series that feature complex and complicated female characters – or, as we call them, ‘difficult women’ – this introduction investigates the changing manner in which women have been represented on TV in previous decades. Demonstrating that especially TV shows of the 2010s undermine and work against traditional and stereotypical portrayals of women on TV and instead establish feminist discourses, we argue that this time period can be defined as a pivotal moment with regard to changing representations of women on TV. Using Netflix’s Orange Is the New Black as an example, we also show that TV series that feature difficult women make use of the very techniques and conventions of what Jason Mittell has described as ‘Complex TV’ in order to consciously engage with questions of female representation on TV and to create a feminist discourse that works against sexist tropes and stereotypes.

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Pedersen, Vibeke. "TV Aestetics and the Representation of Women." MedieKultur: Journal of media and communication research 2, no. 4 (1986): 17. http://dx.doi.org/10.7146/mediekultur.v2i4.732.

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Nakajima, Yasuto. "Production & representation technology on TV program." Journal of the Institute of Television Engineers of Japan 44, no. 1 (1990): 24–28. http://dx.doi.org/10.3169/itej1978.44.24.

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Rückert, Jasmin. "Queer Desire in Japanese TV Series." Vienna Journal of East Asian Studies 11, no. 1 (2019): 1–30. http://dx.doi.org/10.2478/vjeas-2019-0001.

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Abstract This article provides an analysis of representations of sexual minorities in Japanese TV series. It outlines how homosexual and queer desire is depicted and how stereotypes and tropes are used in the construction of queer characters in this media format. The article also illuminates the ways in which TV series differentiate between depictions of same-sex romance and opposite-sex romance. The corpus of analysed TV series spans a period of twenty-five years. Thus, the analysis also sheds light on changes in the representation of sexual minorities over time. Examples from recent TV series point to a more positive and sometimes didactic approach towards the topic of homosexuality in Japanese mainstream media.

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Goddard, Edited and introduced by Michael, and Christopher Hogg. "Introduction: Trans TV dossier, III: Trans TV re-evaluated, part 2." Critical Studies in Television: The International Journal of Television Studies 15, no. 3 (2020): 255–66. http://dx.doi.org/10.1177/1749602020937566.

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This is the second more substantial part of the introduction to the final Trans TV special issue, distributed across issues 15.2 and 15.3 of this journal. As well as introducing the contents of this issue, we reflect in this introduction on the Trans TV project as it has developed since 2017, via an engagement with two key televisual texts namely Transparent (2014–2019) and Pose (2018–). We argue that this certainly reflects positive developments in terms of transgender representation and authorship but this progress is more complex when considered in terms of television aesthetics and politics. We also propose, drawing on the work of Koch-Rein et al (2020), a shift form representation towards the concept of ‘transing’ as a reading strategy, and argue that this has been at the heart of the Trans TV project all along.

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Vanchenko, Tatyana Petrovna. "On modeling TV programs." Journal of Flm Arts and Film Studies 5, no. 2 (2013): 122–32. http://dx.doi.org/10.17816/vgik52122-132.

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The article examines the presence of shows on TV, reveals the culturological foundations of screen representation as a mass culture phenomenon and points out the techniques of modeling this kind of TV programs.

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Dexl, Carmen, and Katrin Horn. "“Beef Jerky in a Ball Gown”: The Camp Excesses of Titus Andromedon in Unbreakable Kimmy Schmidt." Open Cultural Studies 1, no. 1 (2017): 442–53. http://dx.doi.org/10.1515/culture-2017-0041.

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AbstractIn this essay, we look at Titus Andromedon from the Netflix-sitcom Unbreakable Kimmy Schmidt (2014-) as a singular phenomenon in contemporary TV: a black queen whose use of camp distances him from stereotypes, but connects him with audiences. Titus thus not only adds to a more diverse representation of black experience on TV but also interrogates prevailing TV tropes. Titus thus presents a crucial (and critical) addition to the contemporary TV landscape, to which several TV critics in leading media outlets have recently attested a turning point in the representation-both in quantity and quality-of black characters on big and small screens. Titus breaks with historical traditions of African American representation in the sitcom, both in so-called “black sitcoms” with a majority of African American characters and in white sitcoms which have featured people of color as sidekicks. In addition, Titus picks up on gay sidekicks and their relation to female lead characters, whose dynamics are interrogated through Titus’s growing agency as a character in his own right. Titus expands on these novelties in meaningful ways, as he wholeheartedly embraces his queer identity and furthermore offers a running commentary on other characters’ “white nonsense,” thereby clearly refusing the assimilationist tendencies typical for much of “Post-Cosby”-sitcom black representation. This article therefore claims that Titus’ character relies on camp in his balancing act between comic relief, affective centering, and critical distance, and illustrates this by analyzing the specific techniques of Titus’ critical engagement with stereotypical representation of gay and black TV characters.

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González-de-Garay, B., M. Marcos-Ramos, and C. Portillo-Delgado. "Gender representation in Spanish prime-time TV series." Feminist Media Studies 20, no. 3 (2019): 414–33. http://dx.doi.org/10.1080/14680777.2019.1593875.

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Mingant, Nolwenn Anne. "‘Not A Terrorist’: The Representational Alternative of Reality TV in All-American Muslim." CINEJ Cinema Journal 3, no. 1 (2014): 4–27. http://dx.doi.org/10.5195/cinej.2013.74.

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The reality TV show All-American Muslim depicts the lives of five Muslim families of Lebanese descent in Dearborn. Although the project was conceived as mainstream entertainment and not as a political statement, it led to a controversy over the representation of ‘true’ Muslims. Indeed the interest of the show lies in the fact that it offers its participants an opportunity to express themselves in an otherwise hostile media environment. The reality TV format seems particularly apt at providing a different vision of American Muslim, a vision clashing with images usually conveyed by TV news and Hollywood films. The show proposes a radical shift in the representational paradigm by making the Muslim families typical representatives of the U.S.A.

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Pindado-Pindado, Julián. "Archetype and reality on TV: Quality, formats and representation." Comunicar 13, no. 25 (2005): 101–8. http://dx.doi.org/10.3916/c25-2005-014.

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This article arises from some conclusions of the «Wise´s Report » and examines the difficulties to obtain a quality TV at the moment. Data demonstrate that the audiences consume a lot of popular entertainment This fact proves that the way towards a quality TV is very difficult, after years of television channels modelling the audience´s tastes. It is necessary to start from the TV current reality to obtain a formative and cultural TV that includes the experience of «telephiles» generations. If these generations prefer entertainment formats, these formats must be used for an education in values. El «Informe de los sabios» constituye el punto de partida de este artículo en el que se examina la dificultad que entraña conseguir una televisión de calidad en el momento presente. Los datos demuestran que la audiencia es una gran consumidora de entretenimiento popular, lo que dificulta el camino hacia una televisión de calidad tras años de modelación de gustos por parte de los operadores televisivos. Ello plantea la necesidad de partir de la realidad televisiva actual para conseguir unos mínimos de televisión formativa y cultural que tengan en cuenta la experiencia de las generaciones «teléfilas». Si estas generaciones prefieren formatos de entretenimiento, éstos deben aprovecharse para una educación en valores referidos a la representación del otro.

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McGuire, Sarah. "A defense of the modern, high-tech redneck on reality TV: Why the world loves Duck Dynasty and its resulting redemptive representation of Rednecks." SURG Journal 7, no. 3 (2014): 5–14. http://dx.doi.org/10.21083/surg.v7i3.2972.

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This article uses key terms and concepts from Television Studies to “close read” the reality TV show Duck Dynasty in its visual form. This article questions not only how Duck Dynasty represents rednecks, but also how the representation of the “redneck” is understood by the TV audience. It explores the success of Duck Dynasty as a reality TV show and argues that it redeems “rednecks” from Hollywood’s previous portrayals of the overly caricatured redneck stereotype. The Robertsons have the ability to convey truth – even if it is through a partially fake/mediated realm – and what they actually represent is a more subdued, modern form of redneck identity in comparison to classic Hollywood depictions. However, viewers cannot trust reality TV to wholly or singularly inform how they understand other social groups despite how “real” reality may appear on reality TV shows. Instead of viewing the redneck jokes and portrayal on reality TV as offensive, Duck Dynasty’s jokes and portrayals can be powerful tools for exposing the absurdity of the stereotypes previously perpetuated by Hollywood and can help subvert them. Keywords: Duck Dynasty; Duck Commander; Buck Commander; Robertson; redneck (representations of); reality TV; television studies; hillbilly; Southern culture; stereotypes; sitcom; American dream; American television

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Wu, Doreen D., and Agatha Man-kwan Chung. "Hybridized images." Cultural China in Discursive Transformation 21, no. 2 (2011): 177–95. http://dx.doi.org/10.1075/japc.21.2.02wu.

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As advertising can be a social factor and cultural artifact, this study analyzes the images of “modern Chinese woman” via an investigation of their role portrayals, appearance/projection, and verbal characteristics represented in a total of 164 award-winning Chinese TV commercials from 2007 to 2009. Results show that a much larger percentage of females in the Chinese TV commercials embody modern rather than traditional representations. The commercials from Mainland China have also manifested modern representations of the women in more dimensions than their counterparts in Hong Kong. Furthermore, hybridization of both the traditional and modern features are most frequently found in the Chinese TV commercials. It is concluded that the modern forms of Chinese femininity is generated from a synthesis of both the traditional and modern values and that the dichotomous approach of globalization vs localization debate in advertising practice has oversimplified the intricate process as well as the product of image representation and transformation of women in Cultural China.

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DuCros, Faustina M., Christina B. Chin, Jenny Jong-Hwa Lee, Nancy Wang Yuen, Meera E. Deo, and Noriko Milman. "Asian Americans and Pacific Islanders on TV." Contexts 17, no. 4 (2018): 12–17. http://dx.doi.org/10.1177/1536504218812863.

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EL Kandoussi, Mohamed. "Moroccan TV Programming in Ramadan: An Analysis of Gender Representations." European Scientific Journal, ESJ 13, no. 8 (2017): 121. http://dx.doi.org/10.19044/esj.2017.v13n8p121.

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The purpose of this article is to explore how gender representations are portrayed through the examination of the salient images and messages latent in a prime-time comic series entitled Kenza FDouar (Kenza in the village) that was aired during the holy month of Ramadan in 2014 on 2M which is a Moroccan state-owned television channel. The study adopts the textual representation approach and draws heavily on the critical discourse analysis. The findings point to the absence of a coherent and consistent policy by the domestic outlet towards the gender issue in the series. The paper also reveals that the gender representations as manifested in the program are not compatible with the institutional endeavor to counter the perpetuation of stereotypical portrayals on the national media.

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عبد العزیز, انسام. "Redefining Gender Representation in Selected TV Commercials:A Multimodal Approach." مجلة البحث العلمی فی الآداب 1, no. 2 (2018): 1–23. http://dx.doi.org/10.21608/jssa.2018.12140.

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정옥희. "The History of Dance Representation on North American TV." Korean Journal of Dance Studies 42, no. 3 (2013): 117–42. http://dx.doi.org/10.16877/kjds.42.3.201305.117.

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Harutyunyan, Angela. "The Real and/as Representation: TV, Video, and Contemporary Art in Armenia." ARTMargins 1, no. 1 (2012): 88–109. http://dx.doi.org/10.1162/artm_a_00002.

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The article situates video art produced in Armenia in the late 1990s and early 2000s in the framework of larger social transformations from modern to post-modern society. It explores the ways in which the paradigm shift in media representations in Armenia affected art production and reception. By critically examining theories of video art as developed in the context of the Euro-American academia and their applicability to historically specific contexts, the article argues that the late 1990s brought about a rapid shift in the relationship between the real and representation in which media images were perceived as more real than “reality” of everyday non-mediatized experiences.

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Rosidi, Imron. "Consuming Representations of Korean TV Dramas among Indonesian Muslim Youth." Jurnal The Messenger 12, no. 2 (2020): 111. http://dx.doi.org/10.26623/themessenger.v12i2.2115.

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This article dealt with Korean TV dramas consumption among Muslim youth in Pekanbaru. It aimed to undestand their interpretations on the television dramas. The values of being a Muslim was constantly under scrutiny by the image representation in Korean TV Dramas. As transnational cultural products, they were considered as reducing Islamic values for Muslim youth. Using ethnographic study, forty two informants were selected based on a purposive sampling technique in which they loved on consuming Korean TV dramas. This article found that Muslim youth were active audiences consuming and interpreting Korean TV dramas. This can be seen from two characteristics. The first is that Muslim youth consumption of Korean TV dramas was not dominantly done through television medium, but through their lapptop. As a result, their position as an active audiences or viewers was obvious. This was because the dramas to be watched were not interrupted by some advertisements. The audiences could also actively watch them without depending on the schedule decided by television stations. The second is that young Muslims watching Korean TV dramas did not accept some representations contradictory with their Islamic identity. However, some of Korean TV dramas were accepted due to their proximity with Islamic values.

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Kustanto, Lilik. "ANALISIS NARATIF: KEMISKINAN DALAM PROGRAM REALITY TV “PEMBERIAN MISTERIUS” DI STASIUN SCTV." REKAM: Jurnal Fotografi, Televisi, dan Animasi 11, no. 2 (2016): 109. http://dx.doi.org/10.24821/rekam.v11i2.1297.

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Reality TV merupakan sebuah program televisi yang menggambarkan sebuah peristiwa realita atau peristiwa nyata. Namun, program tersebut mengalami perkembangan dengan menampilkan kejadian yang nyata dan dibuat sehingga disebut program hibriditas. Sebagai sebuah program yang menggambarkan kejadian tentunya reality TV memiliki aspek narasi di dalamnya. Salah satunya adalah program reality TV “Pemberian Misterius” yang menarasikan tentang memberi pertolongan dengan memberi hadiah kepada orang lain yang memenuhi kriteria yang ditetapkan. Namun, narasi yang ceritakan tersebut sebenarnya memiliki makna lain sebagai sebuah representasi kemiskinan yang secara implisit tidak terbaca oleh penonton. Analisis naratif merupakan metode mengkaji narasi yang dapat membantu kita untuk memahami, mengevaluasi dan memaknai struktur narasi. Oleh sebab itu program reality TV “Pemberian Misterius” akan dianalisis menggunakan analisis naratif untuk melihat makna sebenarnya, yaitu representasi kemiskinan dalam program reality TV “Pemberian Misterius”. Poverty in Reality TV Programme “Mysterious Gift” on SCTV Television Channel. Reality TV is a television program which depicts a realistic event or real event. However, the program evolves and depicts real (unscripted) and manufactured events (scripted), so that it’s called hybrid program. As a program which depicts events, reality TV contains narration aspect. One of them is reality TV program called “Pemberian Misterius” which narrates the aids delivery by giving gifts to others who meet established criteria. However, the narration contains another meaning which is as an implicit representation of poverty the audience isn’t aware of. Narrative analysis is the method of reviewing narration which can help us to understand, evaluate and interpret narration. Therefore, “Pemberian Misterius” reality TV program was analyzed using narrative analysis to discover its meaning, which is representation of poverty in “Pemberian Misterius” reality TV program.

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Li, Huaxin, and Jinxiao Pan. "Deflection Tomography Reconstruction Based on Diagonal Total Variation." MATEC Web of Conferences 246 (2018): 03022. http://dx.doi.org/10.1051/matecconf/201824603022.

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In view of the shortages of the reconstruction algorithm based on Total Variation (TV) minimum under the framework of measured field compressed sensing, we study the measured field sparse representation method and solving method of optimization equation, and propose the measured field reconstruction algorithms based on Diagonal Total Variation (DTV). When there is no obvious change in the reconstruction iteration of TV, gradient transformation of diagonal direction is introduced, the multi-directional information is used to obtain a more sparse representation of the measured field in the reconstruction. Under the condition of sparse projections, experimental results of this algorithm are demonstrated and compared with the results from the TV method. Comparisons show that this method can reconstruct high-quality measured field.

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Yoon Hyun Chul. "The Representation of Self-Identity in Video Phone TV Commercials." Journal of Digital Design 8, no. 2 (2008): 349–58. http://dx.doi.org/10.17280/jdd.2008.8.2.034.

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Pourre, F., E. Aubert, J. Andanson, and J. P. Raynaud. "Representation of Asperger syndrome in contemporary movies and TV series." Neuropsychiatrie de l'Enfance et de l'Adolescence 60, no. 5 (2012): S27. http://dx.doi.org/10.1016/j.neurenf.2012.05.076.

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Shibata, Yuko, and Darrell Y. Hamamoto. "Monitored Peril: Asian Americans and the Politics of TV Representation." Pacific Affairs 69, no. 1 (1996): 146. http://dx.doi.org/10.2307/2760917.

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Ju, Hye Yeon, and Kwang Woo Noh. "Multiculturalism and Representation of Racial Others in Korean TV Dramas." Cartoon and Animation Studies 32 (September 30, 2013): 335–61. http://dx.doi.org/10.7230/koscas.2013.32.335.

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Sursanova, Iuliia V. "Representation of everyday nationalism practices on “Russia 1” TV channel." Ars Administrandi (Искусство управления) 13, no. 1 (2021): 31–48. http://dx.doi.org/10.17072/2218-9173-2021-1-31-48.

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Introduction: the article focuses on how everyday practices are used by the state to project the image of a Russian patriot. State-owned and state-related media discourse models are traditionally studied from the top down. We will analyze how the state and the media manage the display of daily nationalism, which has usually been seen in a bottom-up approach. Thus, the combination of both approaches − banal and everyday nationalisms − will highlight the state’s interest in encouraging Russians to use their version of patriotism in everyday life. For this, a qualitative study of the video reports of the “Vesti Nedeli” program on “Russia 1” TV channel was carried out. The period between 2011−2012 has been chosen for content analysis which is known as a “protest year” and the zenith of the new identity policy of the modern Russian state. Objectives: to describe how everyday practices are used by the state to project the image of a real Russian patriot. Methods: M. Billig’s theory of banal nationalism, discourse analysis, content analysis. Results: the key practices of projecting the image of a real Russian patriot have been identified. This is the asceticism of a Russian person and the ability to live in the most modest conditions. This paradoxically combines with the unprecedented generosity of the Russian people and, provided the resources are available, the ability to live on a grand scale, without knowing the measure. The ability tocombinethesetwopolarities,asasignoftrueRussianness,isillustratedbystoriesabout current and historical characters. The third routine practice, reproduced from story to story on “Russia 1” TV channel, is paternalism, which is expressed both in caring for children, women and the elderly, and in the patronage of the state. The readiness to sacrifice is the central theme of the “Vesti Nedeli” program on the “Russia 1” TV channel. Conclusions: preventive mobilization through daily practices as the goal of identity politics implemented through “Russia 1” TV channel can easily be traced in the “Vesti Nedeli” stories using the framework of “banal nationalism” theory tools. A sacrifice, not only a great one as in war, but also small − in limiting consumerism, in the readiness to work and serve in hard conditions , to defend the honor of the country in sports competitions − all of these, with the involvement of national anger, can is easily transform from daily practice into action.

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Borges, Gabriela, and Alex Caravela. "From City of God to City of Men: The Representation of Violence in Brazilian Cinema and Television." Cinémas 22, no. 1 (2011): 123–48. http://dx.doi.org/10.7202/1005807ar.

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This paper discusses the representation of violence in Brazilian cinema and television through analysis of the TV seriesCity of Men(2003-7), which is a follow-up to the filmCity of God(2002), with the same actors, sets and non-linear narrative. The project began with the production of the TV episodePalace II(2000), which was developed intoCity of God’s script. After receiving international acclaim, it resulted in the production ofCity of Men. In this context, it is important to emphasise the relationship between cinema and television and their particular features as products of the Brazilian audiovisual industry’s renaissance in the 1990s. The representation of violence is analysed not only as a thematic issue common to Brazilian favelas but also as an aesthetic element of TV drama. The representation of the oppressed has been well known in Brazilian cinema since Glauber Rocha’s manifesto “Aesthetics of Hunger” (1965), in which he argues that films need to be aggressive in order to truly expose poverty. The main point to be addressed, however, is whether the representation of violence in this series conveys, criticises or reflects about what is really happening in Brazilian favelas or if it merely offers an aesthetic look into poverty for the delight of audiences in Brazil and abroad.

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Osanami Törngren, Sayaka, and Sofia Ulver. "Who Is Marketised in Colour-Blind Sweden? Racial and Ethnic Representation in Swedish Commercials 2008–2017." Genealogy 4, no. 4 (2020): 100. http://dx.doi.org/10.3390/genealogy4040100.

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From a social equality representation perspective, advertising should ideally mirror the multicultural composition at the national market, because mass-mediated identity representations may act as cultural resources for those with marginalised identities. To investigate the observance to such an ideal in a context where the ethnic and racial composition of the population saw a rapid change, this article examines 676 Swedish TV commercials in over the period 2008–2017, and analyses the representation of non-White persons of colour (POC). Through this quantitative and qualitative examination, we find that POC are indeed visible in the commercials, but predominantly in the background or playing minor roles. With the, at times, unproportionally high representation of racial and ethnic diversity in Swedish advertising, we find significant tokenism, or in other words, the structurally ineffectual approach common in market-based multiculturalism.

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Panis, Koen, Steve Paulussen, and Alexander Dhoest. "Managing Super-Diversity on Television: The Representation of Ethnic Minorities in Flemish Non-Fiction Programmes." Media and Communication 7, no. 1 (2019): 13–21. http://dx.doi.org/10.17645/mac.v7i1.1614.

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This study examines and evaluates the representation of ethnocultural diversity in non-fiction TV programmes broadcasted by the Flemish (Belgian Dutch-speaking) public service broadcaster VRT in the 2016–2017 TV season. A qualitative content analysis of a sample comprising 36 clips and episodes of 14 non-fiction programmes was supplemented by four focus group interviews with a total of 12 participants belonging to different ethnocultural minorities. The findings suggest that despite several measures undertaken by the VRT, the representation of ethnocultural minorities is still unbalanced and biased in at least three ways: first, in presenting minorities as homogeneous groups rather than highlighting intragroup differences; second, in ‘typecasting’ people with a migration background thematically, i.e., for items on topics and issues related to their ethnocultural identity; and, third, in portraying and approaching minorities from a dominant group perspective. The article ends with the recommendation for public service media to further improve ethnocultural diversity in the workforce and to encourage their journalists and TV producers to reconsider their ‘professional pragmatics’ in order to increase their ethnocultural sensitivity and better manage the representation of super-diversity in their programmes.

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Celik Rappas, Ipek A., and Sezen Kayhan. "TV Series Production and the Urban Restructuring of Istanbul." Television & New Media 19, no. 1 (2016): 3–23. http://dx.doi.org/10.1177/1527476416681500.

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This article explores the entangled relationship between Turkish TV series and the city of Istanbul examining both the series’ representation of the city and the effects of flourishing series’ production on the city. We argue that TV series production and representation changes and is changed by the urban restructuring of globalizing Istanbul since the late 1980s. Analyzing internationally popular series such as Noor, Valley of the Wolves, and 1001 Nights and building on television, urban and cultural studies, this article explores the ways that Istanbul’s neoliberal renovation process appears in and is shaped by TV series. The three segments of the article probe how series reflect and push forth the gentrification of historical neighborhoods, their increasing use of abandoned post-industrial areas as shooting locations, and their promotion of spaces associated with creative industries and luxury lifestyles. We show that both images and image making are connected to city making.

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Zhang, Qiping, Yin Zhang, Yongchao Zhang, Yulin Huang, and Jianyu Yang. "Airborne Radar Super-Resolution Imaging Based on Fast Total Variation Method." Remote Sensing 13, no. 4 (2021): 549. http://dx.doi.org/10.3390/rs13040549.

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Total variation (TV) is an effective super-resolution method to improve the azimuth resolution and preserve the contour information of the target in airborne radar imaging. However, the computational complexity is very high because of the matrix inversion, reaching O(N3). In this paper, a Gohberg–Semencul (GS) representation based fast TV (GSFTV) method is proposed to make up for the shortcoming. The proposed GSFTV method fist utilizes a one-dimensional TV norm as the regular term under regularization framework, which is conducive to achieve super-resolution while preserving the target contour. Then, aiming at the very high computational complexity caused by matrix inversion when minimizing the TV regularization problem, we use the low displacement rank feature of Toeplitz matrix to achieve fast inversion through GS representation. This reduces the computational complexity from O(N3) to O(N2), benefiting efficiency improvement for airborne radar imaging. Finally, the simulation and real data processing results demonstrate that the proposed GSFTV method can simultaneously improve the resolution and preserve the target contour. Moreover, the very high computational efficiency of the proposed GSFTV method is tested by hardware platform.

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Hogg, Christopher. "A Class Act: An interview with Julie Hesmondhalgh on casting, representation and inclusion in British television drama." Critical Studies in Television: The International Journal of Television Studies 15, no. 3 (2020): 302–11. http://dx.doi.org/10.1177/1749602020934670.

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In this interview, actor Julie Hesmondhalgh reflects on her rich body of work in British TV drama, connecting her own career trajectory with a consideration of wider industry developments in casting and representation, diversity and inclusion. With extended reference to Coronation Street (1960–) and Doctor Who (1963–1989, 2005–), Hesmondhalgh discusses how far UK TV drama production has come in tackling systemic inequalities and exclusions, while also stressing the progress still required, particularly in relation to capturing the complexities of class identity. More broadly, the insights offered within this piece illustrate the value of industry interviews as a methodological approach for TV studies, in revealing the experiences and perspectives of key creative agents within the production process.

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Tamborini, Ron, Lindsay Hahn, Sujay Prabhu, Brian Klebig, and Clare Grall. "The Representation of Altruistic and Egoistic Motivations in Children’s TV Programming." Communication Research Reports 34, no. 1 (2016): 58–67. http://dx.doi.org/10.1080/08824096.2016.1227312.

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Belmonte-Arocha, Jorge, and Silvia Guillamón-Carrasco. "Co-educating the gaze against gender stereotypes in TV." Comunicar 16, no. 31 (2008): 115–20. http://dx.doi.org/10.3916/c31-2008-01-014.

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TV serials analyzed in this paper show a representation of stereotyped gender. These cultural products, despite its apparent modernity, reproduce inequalities in the representation of the feminine and masculine through gender stereotypes which are sexist models for the construction of gender identity among its young viewers. Besides, a gender and co-education approach for an audiovisual alphabetization should be a good way against inequality. Se analizan en este trabajo un conjunto de series de televisión que plantean una representación estereotípica de los géneros. Pese a su aparente modernidad, múltiples productos culturales-televisivos siguen siendo portadores de discursos que reproducen la desigualdad en la representación de lo femenino y lo masculino, a través de estereotipos de género que actúan como modelos de desigualdad para la construcción de identidad de sus jóvenes espectadores. Frente a ellas, una alfabetización audiovisual, desde un enfoque coeducativo, podría ser un buen instrumento contra la desigualdad.

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Gans-Segrera, Sandra, Javier Molina-García, and Vladimir Martínez-Bello. "Representation of physical activity domains and sedentary behaviors across categories of gender and disability in children’s TV cartoons." Motricidade 14, no. 4 (2018): 14–23. http://dx.doi.org/10.6063/motricidade.13847.

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Television (TV) cartoons could reflect and shape social values about children’s health-related behaviors. The main aim of this study is to analyze the portrayal of physical activity (PA) domains in the most popular Spanish children’s television (TV) cartoons. It is performed a content analysis of each scene following a coding scheme. The sample selected included the five most popular children’s TV cartoons for the 2013-2014 period in Spain. Our results show a large gap between the modest representation of different PA domains compared to the overwhelming depiction of sedentary behaviors. We do not find evidence of males and females participating equally in a variety of PA domains, and we fail to identify any characters with disabilities, reinforcing evidence on their invisibility in different media. Current children’s cartoons in Spain are not adequate regarding promoting healthy behaviors related to PA. While policy makers need to work on limiting sedentary time in pre-schoolers, children, teachers, and parents should be encouraged to develop their critical thinking about the under-representation of health-related behaviors—including PA—on children’s TV cartoons. The study further contributes to the scientific literature by shedding light on the typical health-related behaviors coded in analyses of children’s cartoons.

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Guang-jin, Wang. "Research on the representation of granular vertical size grading and numerical simulation method with the typical waste rock site." Tehnicki vjesnik-Technical Gazette 22, no. 3 (2015): 677–83. http://dx.doi.org/10.17559/tv-20150428103311.

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Deng, Hong, Dongwei Ren, Gang Xiao, David Zhang, and Wangmeng Zuo. "A Coordinate Descent Method for Total Variation Minimization." Mathematical Problems in Engineering 2017 (2017): 1–13. http://dx.doi.org/10.1155/2017/3012910.

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Total variation (TV) is a well-known image model with extensive applications in various images and vision tasks, for example, denoising, deblurring, superresolution, inpainting, and compressed sensing. In this paper, we systematically study the coordinate descent (CoD) method for solving general total variation (TV) minimization problems. Based on multidirectional gradients representation, the proposed CoD method provides a unified solution for both anisotropic and isotropic TV-based denoising (CoDenoise). With sequential sweeping and small random perturbations, CoDenoise is efficient in denoising and empirically converges to optimal solution. Moreover, CoDenoise also delivers new perspective on understanding recursive weighted median filtering. By incorporating with the Augmented Lagrangian Method (ALM), CoD was further extended to TV-based image deblurring (ALMCD). The results on denoising and deblurring validate the efficiency and effectiveness of the CoD-based methods.

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Kazyuchits, Maxim Fyodorovich. "Human Being in Media Arts: Character and TV Series." Journal of Flm Arts and Film Studies 3, no. 3 (2011): 86–98. http://dx.doi.org/10.17816/vgik3386-98.

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The article explores the changes in depicting human beings on television (TV series) caused by modernization in the media culture. The processes connected with the esthetics and narrative changes should be viewed in terms of the general changes affecting all communication-information technologies. The accent is laid upon two important aspects: the changes in the representation of the character's body and the transformations in the narrative of TV shows which have led to the change of the ideological component (norms and values).

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Garrido, Rocío, and Anna Zaptsi. "Archetypes, Me Too, Time’s Up and the representation of diverse women on TV." Comunicar 29, no. 68 (2021): 21–33. http://dx.doi.org/10.3916/c68-2021-02.

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The feminist movements Me Too and Time’s Up have showcased the power of the audiovisual industry and social networks denouncing sexual harassment and promoting gender equality. Nevertheless, women in the media –and, specifically, on TV– continue to be underrepresented and stereotyped. Then, according to Time’s Up, it is urgent to increase the number of women in front of and behind the cameras, as well as to embed social movements’ influences on media productions in order to broaden the archetypal models used for characters' design/analysis. Despite the benefits of archetypes in storytelling, they are based on patriarchal and ethnocentric myths that undervalue female diversity. In response, this paper explores the transference of these feminist movements in terms of female presence and representation on TV series broadcast in the Peak TV era. From an intersectional approach, 25 feminist series were identified, and good practices in the portrayal of female characters are presented as useful role models for co-education which can contribute to egalitarian attitudes in youth. These female characters amplify typical archetypes (i.e., Knower, Carer, Striver, Conflictor, Everywomen) by defying stereotypes. This study concludes that there is a feminist trend in streaming platforms’ content, especially in series with a high female presence on-screen/off-screen (many of them linked to feminist movements), that sheds light on a more egalitarian and inclusive television landscape. Los movimientos feministas Me Too y Time’s Up han mostrado el poder de la industria audiovisual y las redes sociales para denunciar el acoso sexual y promover la equidad de género. No obstante, las mujeres en los medios –y, específicamente, en TV– siguen estando infrarrepresentadas y estereotipadas. Por ello, como señala Time's Up, es urgente aumentar la presencia femenina delante y detrás de las cámaras, así como integrar las influencias de los movimientos sociales en las producciones para ampliar los modelos arquetípicos utilizados en el diseño/análisis de personajes. A pesar de los beneficios narrativos de los arquetipos, estos se basan en mitos patriarcales y etnocéntricos que infravaloran la diversidad de las mujeres. En respuesta, este estudio explora la transferencia de los movimientos feministas a la presencia y representación femenina en las series emitidas en la era Peak TV. Desde una aproximación interseccional, se identifican 25 series feministas en Netflix y HBO y se presentan buenas prácticas de construcción de personajes femeninos útiles para la coeducación y el desarrollo de actitudes igualitarias en jóvenes. Estos amplían los arquetipos típicos (es decir, Conocedora, Cuidadora, Luchadora, Conflictiva, Cualquier mujer) y desafían los estereotipos. Se concluye una tendencia feminista en el contenido emitido en plataformas streaming, especialmente en series con alta presencia de mujeres delante/detrás de las cámaras (muchas vinculadas a movimientos feministas) que arroja luz sobre un panorama televisivo más igualitario e inclusivo.

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del-Río-Pereda, Pablo, and Miguel del-Río-Álvarez. "Reality construction by Spanish infancy across TV consumption." Comunicar 16, no. 31 (2008): 99–108. http://dx.doi.org/10.3916/c31-2008-01-012.

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This paper presents the preliminary exposition and results of a feasibility project for an Observatory of Consumption of Infantile Television that contributes with indexes of evolutionary impact (developmental ratings) of diverse contents, taking part in the television diet of Spanish children. The model of analysis has developed indicators about 7 evolutionary dimensions relative to the imagery representation and to the orientation in the symbolic reality. This model has been applied in a pilot stage to a limited but significant sample (the 10 and the 30 most seen programs by 4, 7, and 12-year-old Spanish children), as well as to the most seen advertising. The provisional results allow us to establish certain features of the situation of the audio-visual diet and the orientation of the imagery representation. Aportar índices de impacto evolutivo de los diversos contenidos que componen la dieta televisiva del niño español es el objetivo del futuro «Observatorio de la Dieta Televisiva Infantil». Para ello se ha desarrollado un modelo de análisis con indicadores agrupados en 7 dimensiones evolutivas relativos al imaginario y a la orientación en la realidad simbólica de los niños y niñas. Aplicado en una etapa piloto con una muestra reducida pero significativa (los 10 y los 30 programas más vistos por los niños españoles de 4, 7 y 12 años), los resultados provisionales permiten establecer ciertos rasgos de la situación de la dieta audiovisual y su orientación del imaginario infantil.

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Bouko, Catherine, Olivier Standaert, and Astrid Vandendaele. "Being a journalist in a multilingual country: Representations of Dutch among Belgian French-speaking journalists." Multilingua 38, no. 3 (2019): 231–51. http://dx.doi.org/10.1515/multi-2018-0036.

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Abstract In this paper, we examine how the francophone TV audience is introduced to the Flemish community and its language through daily news broadcasts. More specifically, our research looks at how the Dutch language is used when francophone journalists prepare and produce their reports – during all stages of the process –, up until the actual broadcast. We therefore conducted 15 qualitative interviews with TV news journalists employed by the Belgian French-speaking public broadcaster. The interviews were organized around eight topics, e.g. the place of Dutch in the newsroom and the languages chosen during interactions with Dutch-speaking interviewees. From a discursive point of view, we focused on the selected lexical terms and rhetorical tropes (the various uses of the litotes, in particular) to unpack the journalists’ practices, in relation to their representations of Dutch. Our study provides notable insights into their representation of the differences between French- and Dutch-speaking Belgians as a generational issue, their tendency to assess their proficiency in Dutch measured against bilingualism, as well as their wish to beat the cliché of “the unilingual French-speaker”. These observations are coupled with criteria which explain why French might be preferred in the end: the TV audience’s comfort, general intelligibility and subtitling constraints.

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Tutar, Cem. "Risk Toplumu Söylemlerinin Televizyon Reality Programlarında Temsili." Etkileşim 2, no. 4 (2019): 88–115. http://dx.doi.org/10.32739/etkilesim.2019.4.65.

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Temellerini Aydınlanma Düşüncesinden alan modernleşme teorisi toplumsal alanı akıl ve bilimin öncülüğünde metafizik bilgi dışarıda kalacak şekilde planlarken belirsizlikler ve riskler üretir hale gelmiştir. Modernliğin kendi üzerine uygulanması anlamına gelen düşünümsellik fikri oluşan bu yeni toplumsal düzeni risk toplumu olarak adlandırırken; risk, modern toplumların gündelik yaşam pratiklerinin bir parçası olarak sıradan insanın hayat epizotlarına eklemlenmeye başlamıştır. Giderek daha fazla etkisi hissedilen risk söylemi medya aracılığı ile modern toplumların gündelik yaşamında dolayımlanmaktadır. Risk toplumu söyleminin içerdiği bilimsel ve teknik uzman bilgileri medyanın oluşturduğu sembolik evrenler içerisinde şekil alırken bireylerin yaşamlarında anlam repertuarları oluşturmaktadır. Böylece toplumların geçmişten getirdikleri geleneksel değer ve normlar bu dönemde dönüşerek neo-liberal pazar ekonomisinin gereklilikleri çerçevesinde güncellenmektedir. Küreselleşme süreciyle Batı ve Batı dışı toplumları eşzamanlı olarak etkileyen bu toplumsal dönüşüm içinde sistemin işleyişinden kaynaklanan risklerin topluma sunulduğu bir mecra olarak olgusal içerikleri temel alan reality programlar farklı alt türleriyle sistemin üretim ve yeniden üretim sürecinde etkin rol oynamaktadır. Bu anlamda söz konusu programlar bir televizyon program türü olmasının ötesinde ideolojik bir araçtır. Reality programların içerdiği risk bilgisi kimi zaman bireylere kentsel yaşamda olası karşılaşacakları risklerden kaçınma pratikleri olarak sunulurken, aynı zamanda neo-liberal pazar ekonomisinin gereklilikleri çerçevesinde alınacak riskler konusunda rehber olma işlevine haizdir. Bu çalışmada ulusal televizyon kanalları içerisinde reality programların alt türleri dikkate alınarak amaca yönelik bir örneklem oluşturulmakta ve bu yolla tespit edilen programların modern kültürün getirisi olan risk duyumu ve belirsizliklerle ilişkisi, alana ait kuramsal bir paradigma üzerinden irdelenmektedir.

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Joo, Jaewon. "Representation of Others in TV Contents: Focusing on the KBS News 9." Journal of the Korea Contents Association 14, no. 8 (2014): 40–49. http://dx.doi.org/10.5392/jkca.2014.14.08.040.

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Lipsitz, George. "Book Review: Monitored Peril: Asian Americans and the Politics of TV Representation." Journal of Asian American Studies 1, no. 1 (1998): 104–7. http://dx.doi.org/10.1353/jaas.1998.0002.

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Sánchez González, Sofía, and Beatriz González de Garay Domínguez. "La Diversidad Afectivo-Sexual en First Dates (Cuatro: 2016-). Análisis de Contenido del Perfil de los Participantes." Masculinities & Social Change 9, no. 2 (2020): 113. http://dx.doi.org/10.17583/mcs.2020.3629.

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The aim of the current research is to study the affective-sexual diversity on the TV show First Dates and its representation of LGBT participants. The methodology used was the content analysis of 28 programs from the third season and the selection of a final sample of 260 participants (n = 260). The results show the presence of a high percentage of LGBT members (in comparison with demographical data), although its representation is not uniform: lesbianism, bisexuality and transsexuality are scarce, and young people are the population group with more LGBT individuals on the TV show. In addition, Spain is the geographical origin of most of the contestants, being Madrid, Catalonia and Andalusia the most common place of residence. The occupation also proved to be statistically related to the sexual orientation while the second-date consent or the geographical origin did not.

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Biryukova, Polina. "Representation of a Film Recipient in Neologisms of the English Cinematic Discourse." Philology & Human, no. 2 (July 21, 2021): 97–105. http://dx.doi.org/10.14258/filichel(2021)2-08.

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This work analyzes English neologisms of cinematic discourse that characterize a film recipient – they name the viewers, describe the process of their perception of TV content, denote acceptance or rejection of its content, the incentive nature of cinema. Based on the semantic components contained in the definitions and/or the contextual field of the neologisms at hand, a conclusion was drawn on the ever-growing role of cinematography in a personal life of a 21st century person, its ubiquity in daily life both in the form of a moving image and in other incarnations. The neologisms under consideration indicate that viewers analyze TV content, discuss it, engage in productive activity while watching a movie, visit filming locations, and see images of famous characters in their natural habitat. A certain range of neologisms in English cinematic discourse speaks of the tendency of a significant number of modern film recipients to popularize negative characters, to justify their immoral acts. However, this work also emphasizes that this is not the first time this trend is taking place.

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Velásquez-de-León, Isabel-Francis. "Treatment of women image in Venezuelan TV spots." Comunicar 13, no. 26 (2006): 137–41. http://dx.doi.org/10.3916/c26-2006-21.

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This paper is a descriptive research about the women image in Venezuelan TV spots, through the analysis of roles, gender stereotypes and physical features. They show the predominance of sensual women, their reclusion in domestic environments and the representation of white, young and brunette women. Este trabajo recoge una investigación descriptiva acerca de la imagen de la mujer en los comerciales venezolanos a través del análisis de los roles, estereotipos de género y características físicas. Arroja el predominio de la mujer sensual, el confinamiento de la mujer al entorno doméstico y la representación de una mujer blanca, joven y de cabello oscuro.

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Zeng, Fanfan, Hongwei Du, Jiaquan Jin, Jinzhang Xu, and Bensheng Qiu. "Compressed Sensing MRI via Extended Anisotropic and Isotropic Total Variation." Journal of Medical Imaging and Health Informatics 9, no. 6 (2019): 1066–75. http://dx.doi.org/10.1166/jmihi.2019.2702.

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Compressed sensing (CS) is a technique to reconstruct images from undersampling data, reducing the scanning time of magnetic resonance imaging (MRI). It utilizes the sparsity of images in some transform domains. Total variation (TV) has been applied to enforce sparsity. However, traditional TV based on the l1-norm is not the most direct way to induce sparsity, and it cannot offer a sufficiently sparse representation. Since the lp-norm (0< p < 1) promotes the sparsity better than that of the l1-norm, we propose two extended TV algorithms based on the lp-norm: anisotropic and isotropic total p-variation (TpV). Then we introduce them to the MRI reconstruction model. We apply the Bregman iteration technique to handle the proposed optimization problem. During the iteration, the p-shrinkage operator is employed to resolve the nonconvex problem caused by the lp-norm. Experimental results illustrate that our algorithms could offer the higher SNR and lower relative error compared with traditional TV algorithms and high-degree TV (HDTV) algorithm in MRI reconstruction problem.

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Zhou, Jian, and Jianli Liu. "Segmentation of defects in textile fabric with robust texture representation and total variation." International Journal of Clothing Science and Technology 32, no. 6 (2020): 813–23. http://dx.doi.org/10.1108/ijcst-10-2019-0157.

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PurposeVisual quality control on raw textile fabrics is a vital process in weaving factories to ensure their exterior quality (visual defects or imperfection) satisfying customer requirements. Commonly, this critical process is manually conducted by human inspectors, which can hardly provide a fast and reliable inspection results due to fatigue and subjective errors. To meet modern production needs, it is highly demanded to develop an automated defect inspection system by replacing human eyes with computer vision.Design/methodology/approachAs a structural texture, fabric textures can be effectively represented by a linearly summation of basic elements (dictionary). To create a robust representation of a fabric texture in an unsupervised manner, a smooth constraint is imposed on dictionary learning model. Such representation is robust to defects when using it to recover a defective image. Thus an abnormal map (likelihood of defective regions) can be computed by measuring similarity between recovered version and itself. Finally, the total variation (TV) based model is built to segment defects on the abnormal map.FindingsDifferent from traditional dictionary learning method, a smooth constraint is introduced in dictionary learning that not only able to create a robust representation for fabric textures but also avoid the selection of dictionary size. In addition, a TV based model is designed according to defects' characteristics. The experimental results demonstrate that (1) the dictionary with smooth constraint can generate a more robust representation of fabric textures compared to traditional dictionary; (2) the TV based model can achieve a robust and good segmentation result.Originality/valueThe major originality of the proposed method are: (1) Dictionary size can be set as a constant instead of selecting it empirically; (2) The total variation based model is built, which can enhance less salient defects, improving segmentation performance significantly.

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Verkholomova, Elena Vladimirovna. "THE LINGUISTIC PERSONA REPRESENTATION OF THE TV PRESENTER (AS ILLUSTRATED BY THE V. TRETYAKOV’S TV PROGRAM “WHAT DO WE DO?”)." Sovremennye issledovaniya sotsialnykh problem, no. 3-1 (November 14, 2016): 37. http://dx.doi.org/10.12731/2077-1770-2016-3-1-37-49.

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Journal articles on the topic 'TV representation'

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