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Relevant bibliographies by topics / TV series

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Academic literature on the topic 'TV series'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 March 2023

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Journal articles on the topic "TV series"

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Kompare, Derek. "TV Milestones Series." Cinema Journal 54, no. 4 (2015): 168–72. http://dx.doi.org/10.1353/cj.2015.0044.

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Stanković, Maja. "TV Series or Not?" AM Journal of Art and Media Studies, no. 17 (October 16, 2018): 1. http://dx.doi.org/10.25038/am.v0i17.282.

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The paper deals with the new phenomenon related to the complexity of TV series production after 2000, recently theorized by many authors. The common denominator for most of them is the blurring of boundaries between film and TV. How can we explain the complexity of recent TV production? Is it related to blurring the boundaries between television and film, art and entertainment? The primary objective of this paper is to demonstrate that we are dealing with a completely new, hybrid form, which incorporates not only film aesthetics but also the visual arts experience and contemporary theory. Article received: March 29, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Original scholarly paperHow to cite this article: Stanković, Maja. "TV Series or Not?" AM Journal of Art and Media Studies 17 (2018): 1−13. doi: 10.25038/am.v0i17.282

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Laugier, Sandra. "Taking TV Series Seriously." Open Philosophy 5, no. 1 (January 1, 2022): 250–53. http://dx.doi.org/10.1515/opphil-2022-0198.

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ERICKSON, BRITT E. "NANO TV SERIES DEBUTS." Chemical & Engineering News 86, no. 16 (April 21, 2008): 40–41. http://dx.doi.org/10.1021/cen-v086n016.p040.

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Andrzejewski, Adam, and Mateusz Salwa. "Law and TV Series." Brill Research Perspectives in Art and Law 2, no. 2 (August 10, 2018): 1–74. http://dx.doi.org/10.1163/24684309-12340004.

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AbstractThe aim of the article is to analyse seriality from the point of view of philosophical aesthetics. Such an approach reveals that seriality has a normative character that is often overlooked by other disciplines. Seriality is unanimously considered to be one of the most characteristic traits of contemporary popular culture, but the field where it currently comes to the foreground is TV series. They have been studied within media theory and cultural studies for quite a long time, but they have been analysed mainly in terms of their production, distribution, and consumption across various and changing social contexts. Aiming to show how philosophy may contribute to “seriality studies”, the authors follow the agenda of philosophical aesthetics and conceive of seriality as a factor which defines the structure of TV series, their aesthetic properties, as well as their modes of reception. They claim that seriality is normative as it is possible to indicate what features a television show has to have in order to be a serial show as well as the manner in which it should be watched if it is to be experienced as a serial work.

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Lersch, Edgar, and Reinhold Viehoff. "Geschichte als TV-Serie / History as TV-series." SPIEL 2016, no. 2 (December 31, 2016): 7–19. http://dx.doi.org/10.3726/spiel.2016.02.01.

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Vidmar Jovanović, Iris. "Tv series and their boundaries." Rivista di estetica, no. 73 (April 1, 2020): 30–46. http://dx.doi.org/10.4000/estetica.6695.

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Loock, Kathleen. "American TV Series Revivals: Introduction." Television & New Media 19, no. 4 (November 30, 2017): 299–309. http://dx.doi.org/10.1177/1527476417742971.

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This special issue examines contemporary American TV series revivals with a focus on production and reception contexts as well as the industrial, cultural, and textual practices involved. Each essay is concerned with a different case study and brings a distinct approach to the analysis of the trend on American network television and the online streaming service Netflix. Together, they analyze how revivals rely on past TV experiences to circulate new products through the crowded contemporary media landscape, and how they seek to negotiate the televisual heritage of original series, feelings of generational belonging, as well as notions of the past, present, and future in meaningful ways. This introduction to the special issue provides the definitions, broader historical context, and theoretical framework of televisual repetition and innovation for understanding contemporary TV series revivals.

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Cruise, Karla A. "TV series on atmospheric science." Eos, Transactions American Geophysical Union 67, no. 13 (1986): 157. http://dx.doi.org/10.1029/eo067i013p00157-02.

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BRENNAN, MAIRIN. "TV series spotlights minority scientists." Chemical & Engineering News 74, no. 14 (April 1996): 8. http://dx.doi.org/10.1021/cen-v074n014.p008a.

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Dissertations / Theses on the topic "TV series"

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De, Bortoli Giulia <1992&gt. "The Familiar, the remediation of a TV series. How Danielewski attempts to remediate a TV series." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10223.

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Edgerton, Katherine (Katherine Carter). "Byte-sized TV : writing the web series." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/81078.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2013.
Cataloged from PDF version of thesis. "June 2013."
Includes bibliographical references (p. 128-132).
Web series or "webisodes" are a transitional storytelling form bridging the production practices of broadcast television and Internet video. Shorter than most television episodes and distributed on online platforms like YouTube, web series both draw on and deviate from traditional TV storytelling strategies. In this thesis, I compare the production and storytelling strategies of "derivative" web series based on broadcast television shows with "original" web series created for the Internet, focusing on the evolution of scripted entertainment content online. I begin by reviewing of the relevant academic literature in television studies, production studies, transmedia, and television storytelling to situate web series in a theoretical context. I then undertake an exploration of web series storytelling strategies. I compare the types of narratives told by derivative and original web series, investigating how the form has evolved to date, and which genres dominate the landscape. Finally, I focus on web series production, using John Caldwell's concept of "aesthetic salaries" as a lens to investigate creators' motivations for creating online content. I look into original web series production, exploring the aspirations of creators, as well as how they measure success. I also investigate the politics involved in the production of derivative web series-particularly the tensions between guild writers and non-union marketing "creatives," both of whom stake professional claims on web content.
by Katherine Edgerton.
S.M.

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Olsson, Lisa. "Omission Phenomena in the American TV-series ”The Wire”." Thesis, Mid Sweden University, Department of Humanities, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-11398.

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The aim of this study is to find out what effects the omission of intensifiers, interjections and fillers has on the general English subtitle track in the TV-series “The Wire”. Questions addressed in the study include the possible reasons for such omissions, and the consequences of applying omission strategies in this context. Thirteen episodes of the series were investigated in order to see to what extent these three types of words were omitted, and how that affected the experience when watching the series. The investigation showed that the majority of all omitted words in the subtitle track belonged to these three categories, and that technical restrictions were the most common reason for the omissions. Arguably, the lack of intensifiers, interjections and fillers made the language more stiff and formal, which in the end affected the authenticity of “The Wire”.

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Qu, Dake. "Stereotypical Chinese Accent of English in American TV Series." Thesis, Högskolan Dalarna, Engelska, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:du-4659.

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Pierson, David P. (David Paul). "A Historical/Critical Analysis of the TV Series The Fugitive." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501081/.

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In many respects, the popular 1960's television series, The Fugitive perfectly captured the swelling disillusionment with authority, alienation, and discontent that soon encompassed American society. This historical/critical study provides a broad overview of the economic, social, and political climate that surrounded the creation of The Fugitive. The primary focus of this study is the analysis of five discursive topics (individualism, marriage, justice & authority, professionalism, science and technology) within selected episodes and to show how they relate to broader cultural debates which occurred at that time. Finally, this study argues that The Fugitive is a part of a television adventure subgenre which we may classify as the contemporary "wanderer-hero" narrative and traces its evolution through selected television series from the last three decades.

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Accornero, Giulia. "Breaking the Offender - The Representation of Criminals in TV Series." Thesis, Malmö universitet, Fakulteten för hälsa och samhälle (HS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-24357.

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Mass media play an important role in shaping public perceptions about differentthematics, including crime and justice. The consumption of mediatic contents indifferent forms, such as newspapers, television news and crime dramas, can affectthe way people perceive and interpret concepts as deviance and punishments, theattitude towards the criminal system and the level of concern for becoming a victim.In the last years, Streaming Videos On Demand platforms have made easier theaccess and the consumptions of contents as crime dramas; the changes in themodality of fruition have been followed by changes in the representation ofcharacters, with the introduction and the increasing diffusion of morally ambiguousfigures. This opens new possibilities of research, particularly regarding the modesof representation of criminals as antiheroes. The purpose of the article is then toinvestigate how the figure of the offender is constructed as antihero in four OriginalNetflix Productions (You, Narcos, Ozark, La Casa de Papel). A Critical DiscourseAnalysis of two narrative themes is conducted combining Marxist andPostmodernist interpretative approaches.

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Tantussi, Francesca <1988&gt. "Fansubbing and TV series: an example of subtitling hybrid proposal." Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/6314.

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The first and basic idea about my dissertation came into my mind long time ago, during my not really conventional and standard study path. In the first year of my Master’s Degree at Ca’ Foscari University of Venice, I was actually in Australia and I did something completely different from what I was supposed to do; nevertheless, over there (or better say “Down Under”) I had the possibility to attend some RMIT University lessons of the Master of Translating and Interpreting, with a specific focus on Media and Audiovisual Translation (AVT). Since that moment, I started to “investigate” the vast and fascinating world of AVT just out of personal curiosity, both from the perspective of a student of Interpreting and Translation who simply wants to acquire new knowledge in an interesting and constantly developing field of study , and also from the side of an amateur and passionate lover of movies and TV series. As a matter of fact, the term “translation” is quite immediately associated with “words” rather than “images”; however, even if it is true that all translation takes shape thanks to and by means of words, the scenario is continuously changing and AVT has evolved to the point where it is now, as a discipline, one of the most vibrant and vigorous fields within Translation Studies (Gottlieb 2004: 88). Starting from these premises, I literally stumbled upon the fansubbing phenomenon (becoming funsubber for a while) and on the lack of comprehensive and complete works on audiovisual translation (in Italian, for instance). Hence, my thesis would like to offer some possible suggestions for further paths and future investigations and the main aim is to present a research study with a multidisciplinary and bottom-up approach, not mainly focused on linguistic and translational issues. It is necessary, in fact, to be aware of the existence of aspects of audiovisual translation that are different, inescapable and complementary and it is essential to start to analyze them in a systematic way and on different levels (Perego and Taylor 2012: 12). This is the reason why a part of this dissertation has been written in English. After a general overview on AVT, briefly analyzing dubbing, subtitling and voice-over as the three main modalities, I will introduce the European situation, focusing on the new challenges and on what is presently changing in some countries; then I will deepen the subtitling topics giving a quick glance to the essential features of professional subtitles and dedicating a special paragraph to the TV series. Consequently, I will examine the fansubbing phenomenon, centering my research on the Italian scenario to highlight the characteristics of amateur subtitles. Afterward, my proposal of a hybrid subtitle between the professional and the amateur ones will be shown by an example, namely the subtitling of the pilot of a new American TV series, followed by a translation analysis and a cinematographic sequences analysis of the most important scenes.

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Morin, Åsa. "Lärarrollen : En studie av yrkets framställning i populärkultur." Thesis, Linnéuniversitetet, Institutionen för pedagogik, psykologi och idrottsvetenskap, PPI, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-23806.

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Syftet med uppsatsen är att undersöka hur lärarrollen karaktäriseras i filmer och TV-serier under 2000-talet. I undersökningen görs en framställning av karaktärernas utmärkande drag samt en indelning i kategorierna: The Good, The Saint, The Sad och The Bad. I resultatet ställs karaktärernas drag i förhållande till människosyn och etiksyn. Sist men inte minst dras några tänkbara slutsatser utifrån resultatet.
The purpose of this essay is to highlight how the popular culture, focusing on film and TV-series during the 2000's, describes the characterization of the teachers' role. The survey gives a description of the character´s significant features and the character´s are placed in one of these four categories: The Good, The Saint, The Sad and The Bad. In the result, these features are set in relation to the vision of human beings and the vision of ethics. Last but not least, some conceivable conclusions are drawn from the result.

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Hancock, Mandy Lee. ""A country practice" : script content and the popular TV drama series /." Title page, contents and conclusion only, 1994. http://web4.library.adelaide.edu.au/theses/09AR/09arh235.pdf.

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Bost, Xavier. "A storytelling machine ? : automatic video summarization : the case of TV series." Thesis, Avignon, 2016. http://www.theses.fr/2016AVIG0216/document.

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Ces dix dernières années, les séries télévisées sont devenues de plus en plus populaires. Par opposition aux séries TV classiques composées d’épisodes autosuffisants d’un point de vue narratif, les séries TV modernes développent des intrigues continues sur des dizaines d’épisodes successifs. Cependant, la continuité narrative des séries TV modernes entre directement en conflit avec les conditions usuelles de visionnage : en raison des technologies modernes de visionnage, les nouvelles saisons des séries TV sont regardées sur de courtes périodes de temps. Par conséquent, les spectateurs sur le point de visionner de nouvelles saisons sont largement désengagés de l’intrigue, à la fois d’un point de vue cognitif et affectif. Une telle situation fournit au résumé de vidéos des scénarios d’utilisation remarquablement réalistes, que nous détaillons dans le Chapitre 1. De plus, le résumé automatique de films, longtemps limité à la génération de bande-annonces à partir de descripteurs de bas niveau, trouve dans les séries TV une occasion inédite d’aborder dans des conditions bien définies ce qu’on appelle le fossé sémantique : le résumé de médias narratifs exige des approches orientées contenu, capables de jeter un pont entre des descripteurs de bas niveau et le niveau humain de compréhension. Nous passons en revue dans le Chapitre 2 les deux principales approches adoptées jusqu’ici pour aborder le problème du résumé automatique de films de fiction. Le Chapitre 3 est consacré aux différentes sous-tâches requises pour construire les représentations intermédiaires sur lesquelles repose notre système de génération de résumés : la Section 3.2 se concentre sur la segmentation de vidéos,tandis que le reste du chapitre est consacré à l’extraction de descripteurs de niveau intermédiaire,soit orientés saillance (échelle des plans, musique de fond), soit en relation avec le contenu (locuteurs). Dans le Chapitre 4, nous utilisons l’analyse des réseaux sociaux comme une manière possible de modéliser l’intrigue des séries TV modernes : la dynamique narrative peut être adéquatement capturée par l’évolution dans le temps du réseau des personnages en interaction. Cependant, nous devons faire face ici au caractère séquentiel de la narration lorsque nous prenons des vues instantanées de l’état des relations entre personnages. Nous montrons que les approches classiques par fenêtrage temporel ne peuvent pas traiter convenablement ce cas, et nous détaillons notre propre méthode pour extraire des réseaux sociaux dynamiques dans les médias narratifs.Le Chapitre 5 est consacré à la génération finale de résumés orientés personnages,capables à la fois de refléter la dynamique de l’intrigue et de ré-engager émotionnellement les spectateurs dans la narration. Nous évaluons notre système en menant à une large échelle et dans des conditions réalistes une enquête auprès d’utilisateurs
These past ten years, TV series became increasingly popular. In contrast to classicalTV series consisting of narratively self-sufficient episodes, modern TV seriesdevelop continuous plots over dozens of successive episodes. However, thenarrative continuity of modern TV series directly conflicts with the usual viewing conditions:due to modern viewing technologies, the new seasons of TV series are beingwatched over short periods of time. As a result, viewers are largely disengaged fromthe plot, both cognitively and emotionally, when about to watch new seasons. Sucha situation provides video summarization with remarkably realistic use-case scenarios,that we detail in Chapter 1. Furthermore, automatic movie summarization, longrestricted to trailer generation based on low-level features, finds with TV series a unprecedentedopportunity to address in well-defined conditions the so-called semanticgap: summarization of narrative media requires content-oriented approaches capableto bridge the gap between low-level features and human understanding. We review inChapter 2 the two main approaches adopted so far to address automatic movie summarization.Chapter 3 is dedicated to the various subtasks needed to build the intermediaryrepresentations on which our summarization framework relies: Section 3.2focuses on video segmentation, whereas the rest of Chapter 3 is dedicated to the extractionof different mid-level features, either saliency-oriented (shot size, backgroundmusic), or content-related (speakers). In Chapter 4, we make use of social network analysisas a possible way to model the plot of modern TV series: the narrative dynamicscan be properly captured by the evolution over time of the social network of interactingcharacters. Nonetheless, we have to address here the sequential nature of thenarrative when taking instantaneous views of the state of the relationships between thecharacters. We show that standard time-windowing approaches can not properly handlethis case, and we detail our own method for extracting dynamic social networksfrom narrative media. Chapter 5 is dedicated to the final generation and evaluation ofcharacter-oriented summaries, both able to reflect the plot dynamics and to emotionallyre-engage viewers into the narrative. We evaluate our framework by performing alarge-scale user study in realistic conditions

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Books on the topic "TV series"

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

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Trussell-Cullen, Alan. Making a TV series. Auckland: Shortland Publications, 1987.

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Writing the TV drama series: How to succeed as a professional writer in TV. Studio City, CA: Michael Wiese Productions, 2007.

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Rossini, Gianluigi. Le serie tv. Bologna: Il mulino, 2016.

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Writing the TV drama series. 3rd ed. Studio City, CA: Michael Wiese Productions, 2011.

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García, Alberto N., ed. Emotions in Contemporary TV Series. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1007/978-1-137-56885-4.

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Hong, Sang-u. TV tŭrama ŭi ihae. Kyŏngnam Chinju-si: Kyŏngsang Taehakkyo Ch'ulp'anbu, 2017.

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Virino, Concepción Cascajosa, ed. La Caja Lista: Televisión norteamericana de culto. Barcelona, Spain: Laertes S.A. Ediciones, 2007.

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Peel, John. The Prisoner files, vol. 2. Canoga Park, CA, USA: Movie Publisher Services Inc, 1996.

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Grahame, Jenny. Criminal records: Teaching TV crime series. London: BFI Education, 1988.

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Book chapters on the topic "TV series"

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Griggs, Yvonne. "Penny Dreadful: The Neo-Victorian ‘Made-for-TV’ Series." In Adaptable TV, 13–66. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77531-9_2.

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Ursu, Marian F. "Interactive TV Narrativity." In Human-Computer Interaction Series, 29–33. London: Springer London, 2009. http://dx.doi.org/10.1007/978-1-84882-701-1_7.

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Levine, Elana. "Web Series as Indie TV: Intersectional Identities and Intersecting Media." In Indie TV, 318–34. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003134619-24.

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Lauby, Daniel G., and Lisa S. Starks. "Slings and Arrows (TV Series)." In The Palgrave Encyclopedia of Global Shakespeare, 1–4. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-319-99378-2_215-1.

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Griggs, Yvonne. "Orange Is the New Black as ‘Living Text’: From Memoir to TV Series." In Adaptable TV, 105–50. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77531-9_4.

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Harboe, Gunnar. "Introduction to Social TV." In Human-Computer Interaction Series, 21–24. London: Springer London, 2009. http://dx.doi.org/10.1007/978-1-84882-701-1_5.

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Wang, Klavier J. "Making Hong Kong TV." In Hong Kong Studies Reader Series, 217–93. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-13-8817-0_4.

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Wang, Klavier J. "Worlding Hong Kong TV." In Hong Kong Studies Reader Series, 295–339. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-13-8817-0_5.

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Geerts, David. "The Sociability of Mobile TV." In Human-Computer Interaction Series, 25–28. London: Springer London, 2009. http://dx.doi.org/10.1007/978-1-84882-701-1_6.

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Fakkert, Marie-Selien, Hilde A. M. Voorveld, and Eva A. van Reijmersdal. "Brand Placements in Fashion TV Series." In Advances in Advertising Research (Vol. V), 217–28. Wiesbaden: Springer Fachmedien Wiesbaden, 2014. http://dx.doi.org/10.1007/978-3-658-08132-4_16.

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Conference papers on the topic "TV series"

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Maidi, Madjid, Veronica Scurtu, and Marius Preda. "Characters Identification in TV Series." In 2011 IEEE International Symposium on Multimedia (ISM). IEEE, 2011. http://dx.doi.org/10.1109/ism.2011.31.

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Bost, Xavier, Georges Linares, and Serigne Gueye. "Audiovisual speaker diarization of TV series." In ICASSP 2015 - 2015 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2015. http://dx.doi.org/10.1109/icassp.2015.7178882.

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Nandakumar, Abhishek, and Janet Murray. "Companion apps for long arc TV series." In the 2014 ACM international conference. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2602299.2602317.

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Ando, Kunio, Masashi Ohki, Masutomi Ohta, Masanori Ogino, and Eiichi Yamazaki. "Projection Display Series for High-Definition TV." In OE/LASE '89, edited by Frederic J. Kahn. SPIE, 1989. http://dx.doi.org/10.1117/12.952839.

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"Politeness in Conversation on TV Series Friends." In CABES-2017, DMCCIA-2017, FEBM-17, BDCMTE-17, LLHIS-17 and BMLE-17. Dignified Researchers Publication (DiRPUB), 2018. http://dx.doi.org/10.15242/dirpub.hdir1217040.

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Fischer, Mika, Hazim Kemal Ekenel, and Rainer Stiefelhagen. "Interactive person re-identification in TV series." In 2010 International Workshop on Content-Based Multimedia Indexing (CBMI). IEEE, 2010. http://dx.doi.org/10.1109/cbmi.2010.5529898.

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Yu, Hongliang, Shikun Zhang, and Louis-Philippe Morency. "Unsupervised Text Recap Extraction for TV Series." In Proceedings of the 2016 Conference on Empirical Methods in Natural Language Processing. Stroudsburg, PA, USA: Association for Computational Linguistics, 2016. http://dx.doi.org/10.18653/v1/d16-1185.

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Knyazeva, Elena, Guillaume Wisniewski, Hervé Bredin, and François Yvon. "Structured prediction for speaker identification in TV series." In Interspeech 2015. ISCA: ISCA, 2015. http://dx.doi.org/10.21437/interspeech.2015-83.

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Ozlu, Ahmet, and Hazim Kemal Ekenel. "A multi-view face database from Turkish TV series." In 2018 26th Signal Processing and Communications Applications Conference (SIU). IEEE, 2018. http://dx.doi.org/10.1109/siu.2018.8404767.

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Hao, Xiang, Kripa Chettiar, Ben Cheung, Vernon Germano, and Raffay Hamid. "Intro and Recap Detection for Movies and TV Series." In 2021 IEEE Winter Conference on Applications of Computer Vision (WACV). IEEE, 2021. http://dx.doi.org/10.1109/wacv48630.2021.00021.

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Reports on the topic "TV series"

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Orosa, MA, M. López-Golán, C. Márquez-Domínguez, and Y. Therly Ramos-Gil. USA TV series postdrama: poetics and composition. Revista Latina de Comunicación Social, May 2017. http://dx.doi.org/10.4185/rlcs-2017-1176en.

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Marcos Ramos, M., B. González de Garay, and C. Portillo Delgado. The representation of immigration in contemporary Spanish prime time TV series. Revista Latina de Comunicación Social, January 2019. http://dx.doi.org/10.4185/rlcs-2019-1331en.

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Syvash, Kateryna. AUDIENCE FEEDBACK AS AN ELEMENT OF PARASOCIAL COMMUNICATION WITH SCREEN MEDIA-PERSONS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11062.

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

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.

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

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Comunicación de las Ciencias, Centro. Youtube, la alternativa científica a la TV y Netflix. Universidad Autónoma de Chile, March 2020. http://dx.doi.org/10.32457/2050012728/9603202037.

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Quedarse en casa es cada día más necesario, pero la programación de la televisión (abierta o por cable), incluso Netflix, puede dejarnos con la sensación de “¡Qué buena serie! pero no aprendí nada, solo fue un buen pasatiempo. Como Centro de Comunicación de las Ciencias te recomendamos nuestros canales de Youtube de divulgación científica favoritos, para que ¡aprendas y te diviertas!”

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Bonilla, Leonardo, ed. Indicios de estabilización en el mercado laboral y una estimación de la tasa de desempleo desde el punto de vista de la firma. Banco de la República Colombia, November 2022. http://dx.doi.org/10.32468/rml.24.

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Con datos a agosto de 2022, todas las fuentes de información analizadas en este reporte, tanto las encuestas de hogares y como los registros de datos administrativos, muestran que el empleo mantiene crecimientos anuales importantes. La mayoría de indicadores del mercado laboral se encuentran en niveles similares o mejores a los presentados en el periodo prepandemia. Los segmentos que más aportaron al crecimiento en el empleo son el asalariado, el dominio de otras cabeceras y rural, y los segmentos poblacionales de mujeres, trabajadores sin educación superior y los no jefes de hogar. A pesar de las mejoras anuales destacables en los indicadores laborales, las series con ajuste estacional, que permiten la comparación mes tras mes de los indicadores, muestran que en los últimos meses el empleo, las vacantes y la participación laboral tienden a estabilizarse. Este comportamiento es más pronunciado en el mercado laboral urbano. Un indicador que muestra señales claras de estabilización es la tasa global de participación (TGP), que en el nivel nacional se ha mantenido alrededor del 63 % en el último semestre. La tasa de ocupación (TO) nacional también tiende a mantenerse estable desde julio, jalonada por el dominio urbano; mientras que en el dominio rural todavía se evidencian crecimientos mensuales de la ocupación. Este comportamiento explica la estabilización de la tasa de desempleo (TD) con ajuste estacional en el área urbana alrededor del 11,7 % y el mejor desempeño de la TD en el dominio rural y otras cabeceras, que en los últimos tres meses se redujo en casi 1 punto porcentual (pp). Por el lado de los salarios, se observan aumentos en los ingresos corrientes tanto en los segmentos asalariado como no asalariado. Sin embargo, la mayor inflación se traduce en que los salarios en el segmento asalariado hayan permanecido estables en términos reales. En el segmento no asalariado, caracterizado por su naturaleza más flexible, los ingresos laborales se han ajustado y se evidencian crecimientos reales anuales y trimestrales. Tanto los indicadores de holgura como los de cuellos de botella y las curvas de Beveridge muestran un mercado laboral estrecho. Dadas las previsiones en materia de crecimiento económico del equipo técnico del Banco de la República, consignadas en el Informe de Política Monetaria de octubre de 2022, los pronósticos indican que la TD urbana se mantendrá estable y terminaría 2022 alrededor del 11,2 % como escenario central. Para 2023 se prevé que dicho indicador, en promedio, se ubicaría entre el 9,9 % y 13,5 %, con un 11,7 % como valor más probable. Por el lado del dominio nacional, la tasa terminaría el año 2022 en el 10,6 %, y para 2023, en promedio, estaría entre el 9,2 % y 12,8 %, con un 11% como valor más probable. Estas predicciones implican ligeros incrementos en la TD durante 2023, los cuales serían consistentes con las menores previsiones de crecimiento económico para ese año. Por su parte, las estimaciones de la tasa de desempleo no inflacionaria (Nairu) sugieren una brecha de desempleo urbana negativa para finales de 2022. Estas estimaciones indicarían que la mayor estrechez del mercado laboral podría estar generando presiones inflacionarias; sin embargo, la brecha se vuelve no significativa en el año 2023. Este reporte se divide en dos secciones. La primera profundiza en los hechos coyunturales del mercado laboral descritos. La segunda estudia el tema de los indicadores de holgura del mercado laboral y la relación de estos con la inflación de salarios. Los indicadores de holgura son evaluados constantemente por los formuladores de política porque dan cuenta de la existencia de presiones inflacionarias desde el mercado laboral. La TD, que es el indicador de holgura laboral por excelencia, presenta algunas limitaciones que han sido suficientemente documentadas en la literatura especializada. Medidas análogas construidas a partir de información proveniente de las firmas, en ciertos contextos especiales, podrían tener mayor poder de predicción sobre la inflación de salarios. En este Reporte Especial se construye para Colombia la tasa de desempleo desde el punto de vista de la firma (TDF). La TDF es una modelación de la variación total de la TD que solo tiene en cuenta factores exclusivos de la demanda laboral de firmas, como son la tasa de vacantes (TV) y proxies de la tasa de renuncias. La TDF resultante supera a la TD en términos de predicción de inflación de salarios. Este nuevo indicador da luces sobre las señales mixtas que los indicadores de holgura mostraron al inicio de la pandemia, donde la TD presentó crecimientos exorbitantes, mucho mayores que las reducciones de la TV y, al mismo tiempo, los salarios nominales permanecieron constantes. Los resultados muestran que, en los primeros trimestres de la pandemia, la TD mostraba un mercado laboral bastante más holgado que la TDF. En la actualidad tanto la TD como la TDF están acopladas y muestran la misma señal en términos de la holgura del mercado laboral.

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Mahdavian, Farnaz. Germany Country Report. University of Stavanger, February 2022. http://dx.doi.org/10.31265/usps.180.

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Germany is a parliamentary democracy (The Federal Government, 2021) with two politically independent levels of 1) Federal (Bund) and 2) State (Länder or Bundesländer), and has a highly differentiated decentralized system of Government and administration (Deutsche Gesellschaft für Internationale Zusammenarbeit, 2021). The 16 states in Germany have their own government and legislations which means the federal authority has the responsibility of formulating policy, and the states are responsible for implementation (Franzke, 2020). The Federal Government supports the states in dealing with extraordinary danger and the Federal Ministry of the Interior (BMI) supports the states' operations with technology, expertise and other services (Federal Ministry of Interior, Building and Community, 2020). Due to the decentralized system of government, the Federal Government does not have the power to impose pandemic emergency measures. In the beginning of the COVID-19 pandemic, in order to slowdown the spread of coronavirus, on 16 March 2020 the federal and state governments attempted to harmonize joint guidelines, however one month later State governments started to act more independently (Franzke & Kuhlmann, 2021). In Germany, health insurance is compulsory and more than 11% of Germany’s GDP goes into healthcare spending (Federal Statistical Office, 2021). Health related policy at the federal level is the primary responsibility of the Federal Ministry of Health. This ministry supervises institutions dealing with higher level of public health including the Federal Institute for Drugs and Medical Devices (BfArM), the Paul-Ehrlich-Institute (PEI), the Robert Koch Institute (RKI) and the Federal Centre for Health Education (Federal Ministry of Health, 2020). The first German National Pandemic Plan (NPP), published in 2005, comprises two parts. Part one, updated in 2017, provides a framework for the pandemic plans of the states and the implementation plans of the municipalities, and part two, updated in 2016, is the scientific part of the National Pandemic Plan (Robert Koch Institut, 2017). The joint Federal-State working group on pandemic planning was established in 2005. A pandemic plan for German citizens abroad was published by the German Foreign Office on its website in 2005 (Robert Koch Institut, 2017). In 2007, the federal and state Governments, under the joint leadership of the Federal Ministry of the Interior and the Federal Ministry of Health, simulated influenza pandemic exercise called LÜKEX 07, and trained cross-states and cross-department crisis management (Bundesanstalt Technisches Hilfswerk, 2007b). In 2017, within the context of the G20, Germany ran a health emergency simulation exercise with representatives from WHO and the World Bank to prepare for future pandemic events (Federal Ministry of Health et al., 2017). By the beginning of the COVID-19 pandemic, on 27 February 2020, a joint crisis team of the Federal Ministry of the Interior (BMI) and the Federal Ministry of Health (BMG) was established (Die Bundesregierung, 2020a). On 4 March 2020 RKI published a Supplement to the National Pandemic Plan for COVID-19 (Robert Koch Institut, 2020d), and on 28 March 2020, a law for the protection of the population in an epidemic situation of national scope (Infektionsschutzgesetz) came into force (Bundesgesundheitsministerium, 2020b). In the first early phase of the COVID-19 pandemic in 2020, Germany managed to slow down the speed of the outbreak but was less successful in dealing with the second phase. Coronavirus-related information and measures were communicated through various platforms including TV, radio, press conferences, federal and state government official homepages, social media and applications. In mid-March 2020, the federal and state governments implemented extensive measures nationwide for pandemic containment. Step by step, social distancing and shutdowns were enforced by all Federal States, involving closing schools, day-cares and kindergartens, pubs, restaurants, shops, prayer services, borders, and imposing a curfew. To support those affected financially by the pandemic, the German Government provided large economic packages (Bundesministerium der Finanzen, 2020). These measures have adopted to the COVID-19 situation and changed over the pandemic. On 22 April 2020, the clinical trial of the corona vaccine was approved by Paul Ehrlich Institute, and in late December 2020, the distribution of vaccination in Germany and all other EU countries

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The female condom: Dynamics of use in urban Zimbabwe. Population Council, 2002. http://dx.doi.org/10.31899/hiv2002.1001.

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In July 1997, Population Services International (PSI), at the request of the Zimbabwe National AIDS Coordination Programme, launched a social marketing program for the female condom in Zimbabwe. The campaign's intended audience was women in long-term relationships. To avoid the stigma associated with condoms and the prevention of sexually transmitted infections, PSI marketed the female condom as a family planning product under the brand name Care™. Approximately one year after the start of the female condom social marketing campaign, the Horizons Program and PSI conducted a descriptive, cross-sectional study of female condom users, male condom users, and nonusers of either barrier method. At the time of the study, the female condom was being marketed in urban Zimbabwe through radio, TV, and print media, and sold through selected sales outlets, including pharmacies, large supermarkets, and convenience stores at a subsidized price. As stated in this brief, the goal of this research was to increase understanding of the patterns and dynamics of female condom use to inform policymakers and program planners involved in decisions about promotion and distribution of the female condom in Zimbabwe.

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