Journal articles: '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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Topol, Eric J. "Pure Genius, the TV Series." JAMA 317, no. 1 (January 3, 2017): 10. http://dx.doi.org/10.1001/jama.2016.19011.

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Yildirim, Yildirim, and Kenan Aydın. "The Role of Popular TV Series and TV Series Characters in Creating Brand Awareness." Procedia - Social and Behavioral Sciences 62 (October 2012): 695–705. http://dx.doi.org/10.1016/j.sbspro.2012.09.118.

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Nago, Mari. "Love Stories in Korean TV Series which are popular in Japan: Comparison between Love Stories in Korean TV Series and Japanese TV Series." Journal of the Korea Contents Association 14, no. 3 (March 28, 2014): 69–79. http://dx.doi.org/10.5392/jkca.2014.14.03.069.

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Tóth-Király, István, Beáta Bőthe, Eszter Tóth-Fáber, Győző Hága, and Gábor Orosz. "Connected to TV series: Quantifying series watching engagement." Journal of Behavioral Addictions 6, no. 4 (December 2017): 472–89. http://dx.doi.org/10.1556/2006.6.2017.083.

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Laugier, Sandra. "Series Under Threat." Open Philosophy 5, no. 1 (December 20, 2021): 155–67. http://dx.doi.org/10.1515/opphil-2020-0165.

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Abstract Lockdown has given us an occasion to discover new television series and to revisit others. TV series accompany us in our ordinary lives, but they can also be a resource or refuge in extraordinary situations. As the enduring success of Friends proves, they provide us with universes of comfort. TV series provide strong common cultural referents, which populate both ordinary conversations and political debates. TV series, by virtue of their aesthetic format (their duration, weekly and seasonal regularity, and the fact that they are, or were until recently, usually viewed in the context of the home), the attachment they inspire to their characters, the democratization and diversification of modes of viewing them (internet, streaming, discussion forums), make possible a specific form of education and constitution of a public. TV shows are hence a medium for political and ethical discussion. The article studies two series, Homeland and The Bureau, which are paradigmatic examples of a genre that has grown exponentially since the beginning of the century, and which we refer to as the “security series” genre. These series are great works of art and can also be seen as powerful tools for educating and informing the public.

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Moylan, Katie. "Uncanny TV." Television & New Media 18, no. 3 (August 1, 2016): 269–82. http://dx.doi.org/10.1177/1527476415608136.

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This article explores how two recent television drama miniseries, Top of the Lake and Les Revenants produce moments of the uncanny. I argue that both series produce the uncanny in formal ways made possible by conditions of a televisuality characterized by narrative complexity and a pronounced aesthetic. In their first season, both series draw on recognizable conventions of the police procedural genre, but each develops a dialectical narrative structure that rotates between a rational procedural plotline and an irrational, less linear narrative of a secretive community. In my exploration, I conceive of the televisual moment as a form of rupture and draw on Freud’s original sense of “the uncanny” as making strange what was fundamentally familiar. I argue that ultimately each series mobilizes “the uncanny” in distinctive ways, resulting in two endings with very different implications.

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Akhmetjanova, Mokhinur O. "NATIONAL TV SERIES OF THE INDEPENDENCE PERIOD: RESEARCH, PROBLEMS AND SOLUTIONS." Builders Of The Future 02, no. 01 (May 1, 2022): 21–25. http://dx.doi.org/10.37547/builders-v2-i1-3.

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Rückert, Jasmin. "Queer Desire in Japanese TV Series." Vienna Journal of East Asian Studies 11, no. 1 (December 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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Okumus, M. Sami. "Social Interaction Mechanisms of Exported Turkish TV Series: The Case of Croatia." European Journal of Behavioral Sciences 3, no. 2 (December 30, 2020): 52–72. http://dx.doi.org/10.33422/ejbs.v3i2.482.

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Television series are among the most important television products and are indispensable as prime-time representatives of a broadcast generation that international television channels put a strong emphasis on. Both the quality of the content and the cultural similarities the audience perceives in the story carry relevance in terms of reaching the target audience. This study aims to deal with the development of the TV series sector in the context of Turkish TV series (TTS) in recent years, regarding the export of these series abroad and the sociological and cultural effects of these series in the countries they are shown. The study explores the viewing habits of Croatian viewers, their perspective on television watching, TV series in general, their experience with different TV series and the elements that drew them to continue watching, and their opinion on TV series imported from North America, Latin America, and Europe. The study tries to understand the audience’s perspectives on Turkish TV series and how they shape their preferences. This study also presents the number of Turkish TV series released in Croatia between 2010 (when the first Turkish TV series was released in Croatia) and 2020 and their effects on local people. Turkish TV series, production details, and broadcasting info were analyzed and explained using information obtained from the Croatian audience through an online questionnaire.

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Christensen, Dorthe Refslund, and Karen Klitgaard Povlsen. "Mad, terroir og tv: Smag på Danmark!" MedieKultur: Journal of media and communication research 24, no. 45 (December 2, 2008): 14. http://dx.doi.org/10.7146/mediekultur.v24i45.512.

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Mad fylder mere i medierne, men hvordan underholder fx et madprogram på tv? Med afsæt i de 13 afsnit af Claus Meyer-serien Smag på Danmark! undersøger vi, hvordan serien er konstrueret og fortalt. Især ser vi på, hvilken rolle de 13 forskellige steder, som serien foregår på, har. Vi diskuterer begreber som terroir og mytologisering. Serien etablerer dobbeltheder og relationer, og i tråd med dette forlenes sted som terroir både med al og med ingen betydning. Mad knyttes som et tegn, med Barthes in mente, til stedet, men på en måde, der leverer rum for seerens eget forestillingsarbejde. Serien demonstrerer for seerne, hvordan smagsdomme kan foregå med Meyer som seerens stedfortræder i et ferie- og fritidsunivers. Den nydelse, som serien konstant etablerer, demonstrerer og anticiperer, kan seeren deltage i med sit eget fantasiarbejde: Det er god underholdning, fordi så meget er overladt til seernes forestillingsarbejde. Food, Terroir, and Television: Taste Denmark! Food has become more dominant in the media landscape, but how does a food programme on television entertain us? We analyse how the 13 episodes of the Claus Meyer series Smag på Danmark (Taste Denmark!)are constructed and narrated. We pay particular attention to the different locations of the episodes and discuss the terms terroir and mythologization. The series establishes ambiguities and relations, and in this connection the location understood as terroir means everything – and at the same time means nothing at all. With reference to Barthes, the series links food as a sign to location, but in such a way that room is left for the viewer’s own imagination. The series demonstrates to the viewers how judgements of taste can be made in a time of leisure and a universe of holidays, with Meyer acting as the viewer’s proxy. The series is constantly establishing, demonstrating and anticipating a pleasure in which the viewer can participate in his or her own imagination. This makes excellent entertainment because so much is left to be worked through in the viewer’s own imagination.

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Garczewska, Anna. "Roman law in Tv series ‘Rome’." Collectanea Philologica, no. 19 (December 30, 2016): 129–36. http://dx.doi.org/10.18778/1733-0319.19.11.

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‘Is there some other form of law?’ – that is how Gaius Iulius Caesar (played by Ciaran Hinds) in the TV series ‘Rome’ comments on Roman Law. ‘Rome’ (2005–2007) is a historical drama set in the last days of the Roman Republic. It is one of the most interesting shows helping to visualize Rome. One of the elements portrayed in the series is Roman Law. Although there is a criminal trial presented in one of the episodes the audience is rarely acquainted with law and its rules directly, Roman legal system can be discovered mostly through characters’ actions. There are many legal elements e.g.: penal trial, executing penalty (damnatio ad gladium ludi), manumission (manumissio), funeral arrangements, or corporal punishment of the soldiers (castigatio). Some of the legal aspects are presented correctly others contain some discrepancies; nevertheless there is a quite interesting portrayal of Roman Law in the series. The aim of the article is to find and describe some legal issues presented in ‘Rome’. It can be both scientific and educational. Nowadays the lecturers search for innovative or more engaging ways to teach, I believe the series could be a useful tool for students of law.

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Alagić, Aida. "TV series from a Philological Perspective." Zagreber germanistische Beiträge 29 (2020): 307–12. http://dx.doi.org/10.17234/zgb.29.18.

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Kesirli Unur, Ayşegül. "‘Aesthetic Proximity’ and Transnational TV Series." VIEW Journal of European Television History and Culture 10, no. 19 (June 24, 2021): 99. http://dx.doi.org/10.18146/view.197.

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This article focuses on the short lived Turkish police procedural TV series, Cinayet (The Murder, Akbel Film and Adam Film, 2014) which is a scripted format adaptation of the celebrated Danish crime drama Forbrydelsen (DR, 2007-2012). By making a comparative textual analysis of the series, the article intends to emphasize the significance of ‘aesthetic proximity’ as a concept in discussing the global flow of television content and to reveal the challenges of adapting a scripted format which is stylistically different than the local stylistic conventions.

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Marrati, Paola, and Martin Shuster. "Philosophy and New American TV Series." MLN 127, no. 5 (2012): vii—ix. http://dx.doi.org/10.1353/mln.2012.0138.

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Guinnessy, Paul. "TV Series Raises Profile of Science." Physics Today 58, no. 10 (October 2005): 32–33. http://dx.doi.org/10.1063/1.2138413.

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Rabai, Carlo Maria. "Birdmen Magazine: Cinema, TV series, theatre." Journal of Italian Cinema & Media Studies 7, no. 2 (March 1, 2019): 305–6. http://dx.doi.org/10.1386/jicms.7.2.305_7.

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Chunlei, Yang, and Yang Liyun. "The communication and acceptance of chinese films and TV series in Kazakhstan in the context of overseas promotion of chinese." Revista Amazonia Investiga 11, no. 53 (July 4, 2022): 194–203. http://dx.doi.org/10.34069/ai/2022.53.05.19.

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Kazakhstan is the largest country in Central Asia, and its cooperation with China in economic and cultural aspects is increasingly close. Studying the communication and acceptance of Chinese film and TV series in Kazakhstan can better understand the acceptance and cognition of Chinese culture by the Central Asian people. Based on data analysis and literature research methods, this paper reviews the history of communication and current situation of Chinese films and TV series in Kazakhstan, uses questionnaires to explore the ways and effects of communication of Chinese film and TV series in Kazakhstan, and analyzes the perception of different types of Chinese film and TV series by Kazakhstan audience. It also pointed out a series of problems existing in the communication and promotion of Chinese films and TV series in Kazakhstan: the cultural differences between China and Kazakhstan, the low quality of subtitle translation of film and TV series, and the lack of adequate publicity. Some suggestions are proposed to promote the promotion of Chinese film and TV series in Kazakhstan and Central Asia, so as to promote the in-depth exchange and cooperation of film and television culture in countries along the Belt and Road.

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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 (June 26, 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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Wati, Dyah Rohma. "IMPLIKATUR DALAM PERCAKAPAN SINETRON PARA PENCARI TUHAN." Jurnal Penelitian Humaniora 18, no. 1 (March 14, 2017): 1. http://dx.doi.org/10.23917/humaniora.v18i1.3634.

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The aim of this research is to know conversational implicature in Para PencariTuhan (PPT) TV-series (volume I), especially to know and describe the kinds ofmaxim which float in PPT TV-series (volume I) and to describe the background offloating maxim in conversational implicature at PPT TV-series(volume I). This isqualitative research. The data of this research are conversational implicature ofsome utterances in PPT TV-series (volume I). The source of data is Para PencariTuhan TV-series (volume I, episode I) produced by PT Demi Gisela Citra Sinema.The researcher obtain the data through documentation technique. This techniquestarts by listening whole implicature in PPT TV-series (volume I), taking note wholerelated data, classifying and taking note the data in data card. This research uses flowmodel analysis to analyze the data, which include collecting data, data reduction,data presentation, and conclusion or verification. The data analysis show that thereare floating in some coperative-principle of maxims, they are maxim quality (twoutterances), maxim manner (two utterances), maxim relevance (one utterance).The floating maxim in PPT TV-series are influenced by some factors, they are thesimilarity of presupposition, the speaker refers to certain reference, and the use oflocal interpretation.

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Zhao, Wenyin. "The community communication of the mainstreamed TV Series." Journal of Education, Humanities and Social Sciences 1 (July 6, 2022): 86–89. http://dx.doi.org/10.54097/ehss.v1i.643.

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The thematic teleplay is an important part of carrying forward the mainstream social values and constructing the socialist core value system. In the era of new media, thematic TV dramas should learn to spread with the help of community power. First of all, thematic TV dramas can eliminate the distance between audiences and thematic TV dramas by means of short video platforms and opinion leaders to expand their influence. Secondly, participatory creation and extended discussion can activate the community, expand the content and deepen the theme of TV drama communication thought. The mainstreamed TV Series show the essential characteristics and essential laws of life, but also strongly advocate the spirit of The Times and national quality, promote mainstream social values.In 2021 is the 100th anniversary of the founding of the communist party of China, the tribute of the 100th anniversary of the founding of the communist party of China major revolutionary historical theme TV series "s awakening" the thought, the grand narrative, full of life fun, characters, details metaphor infectious audiences in spirit and culture with unique technique of visual feast, representative. In the era of communization, new forms of communication appear, with changes in audiences, communication methods, communication technologies, communication environments and situations. The communication of thematic TV dramas can no longer rely solely on its own strength and traditional communication methods. This paper takes The Age of Awakening as an example to study community communication to provide new viewing paths for audiences, expand the scope of communication and deepen the communication effect.

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Zellma, Anna, and Wojsław Czupryński. "Cultural Model of Marriage and Family, as Shown in Selected Polish TV Series - A Pastoral Challenge for the Catholic Church." Nova prisutnost XVIII, no. 2 (July 21, 2020): 311–23. http://dx.doi.org/10.31192/np.18.2.6.

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The analyses conducted in this paper aimed at presenting the standard for the marriage and family, which is created in Polish TV series, and subsequently noting the pastoral challenges arising from them. The quantitative analysis method was applied to stress the issues presented in the TV series. The moral issues dealt with in the series and their popularity in various social groups in Poland were the criteria for choosing the TV series. The qualitative analysis has shown that Polish TV series promotes alternative forms of marriage and family life. They are very different from the Catholic model of marriage and family. This provided grounds for the conclusions. It was observed that the Church is obliged to take up new pastoral challenges as a result of the TV series’ impact of Poles’ views and beliefs. Preparing young people to the sacrament of marriage and education for life in the family should be a priority. The Church should become involved in creating TV series which promote the Christian model of the marriage and family.

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Kaja, Ewa. "Amerykańskie seriale typu „post-soap opera” – nowa generacja seriali telewizyjnych, lecz nie tylko w telewizji." Kultura i Edukacja 102, no. 2 (2014): 64–82. http://dx.doi.org/10.15804/kie.2014.02.03.

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The purpose of this article is to analyze the cultural phenomenon of new generation TV series, called „post-soap operas”. They have changed the entire formula of TV series as a genre, e.g. the way they are watched and distributed. „Post-soap operas” constitute also the main factor of the so called „collective intelligence”. In the article a new genre of TV series has been examined through the examples of two popular shows: Lost and Fringe. J.J. Abrams – the main producer of those series – is considered a visionary and genius by many. His products are perceived as the quintessence of „post-soap operas”. Popular TV series become international blockbusters and are distributed legally through television and DVD and illegally by the Internet. This phenomenon occurs also in our country – Polish subtitles for episodes of popular TV series appear on the Internet in less than 24 hours after they have been aired on American television. Internet is full of websites created by fans and TV producers aimed at sharing information and files. They also works as a opinion sharing platforms used for discussions about favorite TV shows.

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Łaciak, Beata. "Jedzenie i jego funkcje w polskich serialach obyczajowych." Kultura Popularna 2, no. 56 (June 29, 2018): 18–30. http://dx.doi.org/10.5604/01.3001.0012.1133.

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The basis of the text will be a long-term monitoring of Polish TV series, in which the culinary is rarely the main thematic topic, but almost always is a significant element of the narrative. The following text is an analysis of the functions of cooking and eating in TV series. Referring to numerous examples, I try to show the community, social, erotic and compensatory function of food presented in TV series. I analysed too the gender and environmental diversity of culinary and culinary myths and archetypes revealed in Polish TV series.

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Dunleavy, Trisha. "Popular ‘Series’ Drama in Tv's Multichannel Age." Media International Australia 115, no. 1 (May 2005): 5–22. http://dx.doi.org/10.1177/1329878x0511500103.

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Devised to introduce the themed section of this MIA issue and the ‘popular’ area of TV drama that is its focus, this paper examines the contemporary drama series form and outlines some key institutional and cultural conditions for its production in non-American countries.1 Interested in the commercial pressures being brought to bear on drama by intensifying prime-time competition and increasing audience fragmentation, the paper looks at how the series, in particular, has adapted to these. It assesses the contribution of three pervasive approaches to this area of drama: ‘recombination’ (Gitlin, 1994), ‘flexi-narrative’ (Nelson, 1997) and ‘must see-TV’ (Jankovich and Lyons, 2003). To foreground some specific challenges for locally produced drama in the emerging era of television ‘plenty’, a case study of New Zealand TV drama follows. Although its domestic TV drama has a 40-year tradition, New Zealand's efforts to maintain profile and diversity in this meta-genre have been frustrated by its position as a small, English-speaking country for whom leading American and British imports have been popular, affordable and available. Risky and commercially fragile in comparison with these imports, the position of New Zealand TV drama has never been guaranteed to the extent that it is reliant on the support and supply of public funding. Since the mid-1990s, these problems have combined with the challenges of multi-channel competition in television. While the resulting pressures have left some forms of local TV drama as ‘endangered species’, it is the popular, long-form genres — the drama series, soaps and sitcoms — that have shown the greatest resilience.

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Lersch, Edgar, and Reinhold Viehoff. "Vom Vorwort zum Nachwort – Geschichte als TV-Serie / History as TV-series." SPIEL 2017, no. 1 (January 1, 2017): 163–72. http://dx.doi.org/10.3726/spiel.2017.01.10.

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Kristensen, Nete Nørgaard, Heikki Hellman, and Kristina Riegert. "Cultural Mediators Seduced by Mad Men: How Cultural Journalists Legitimized a Quality TV Series in the Nordic Region." Television & New Media 20, no. 3 (November 28, 2017): 257–74. http://dx.doi.org/10.1177/1527476417743574.

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Based on theories about the role of cultural mediators in cultural production and using the TV series Mad Men as a case, this article investigates how cultural journalists in the Nordic countries have contributed to legitimizing “quality TV series” as a worthy field of aesthetic consumption. Key analytical points are as follows: (1) cultural journalists legitimize Mad Men’s quality by addressing aspects internal (aesthetic markers) and aspects external (culture industry markers) to the series, as well as the series’ broader social and historical anchoring; (2) Nordic cultural journalists position themselves positively toward the TV series based on their professional expertise and their personal taste preferences and predilections; (3) these legitimation processes take place across journalistic genres, pointing to the importance not only of TV criticism, epitomized by the review, but of cultural journalism more broadly in constructing affirmative attitudes toward popular culture phenomena such as TV series.

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Priadko, Oleksandr, Nataliia Kostiuk, Nataliia Cherkasova, Oksana Moussienko, and Olena Levchenko. "Modern Ukrainian TV series: challenges of the global multimedia market." Linguistics and Culture Review 5, S2 (July 20, 2021): 259–73. http://dx.doi.org/10.21744/lingcure.v5ns2.1344.

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The aim of the paper is to study the modern Ukrainian TV industry in comparison with foreign examples and to formulate the requirements that a Ukrainian TV series must meet in order to enter the global market. The following methods were used during the work: descriptive method and typology, comparative analysis, and synthesis, each of these methods corresponds to one of the three stages of the study. This contributed to the achievement of the following results: the features of the modern TV series were characterised and its main types were identified; the domestic and foreign markets of multimedia products were studied and their common features and differences were revealed; formulated requirements that the Ukrainian TV series must meet in order to enter the global market. The scientific novelty of the paper lies in the detailed study of modern formats and descriptions of the general features of TV series, which allowed to perform the classification and thoroughly analyse each of the genres and types of TV series. The practical significance lies in the fact that the developed criteria for a modern series should be used as a recommendation when creating a multi-episode project.

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Wojtyna, Miłosz. "Solidarity, dystopia, and fictional worlds in contemporary narrative TV series." Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching, no. 15/3 (December 17, 2018): 163–80. http://dx.doi.org/10.26881/bp.2018.3.09.

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One of the most spectacular cultural macro-events of the last five years, the rise of high-brow narrative TV series has proven to be indicative of several tendencies in contemporary audio-visual culture, both in Europe and in the US. The presentation of dystopian fictional worlds in Mr Robot, Westworld, Utopia, Legion, and several other series is perhaps the most significant manifestation of both the maturity of the TV series form, and the unfaltering interest of audio-visual culture in the utopian/dystopian subject matter. This paper illustrates the connection of the TV series to both solidarity and dystopia, and explains how contemporary TV series has decidedly manifested its artistic ambitions.

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Fröhlich, Vincent. "Lebens-Folgen. : Medienreflexion und Gedächtnis in seriell-biographischen TV-Erzählungen." Zeitschrift für Germanistik 32, no. 2 (January 1, 2022): 375–94. http://dx.doi.org/10.3726/92172_375.

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Abstract Der Beitrag behandelt biographisches Erzählen in den Serien Halston, The Crown und The Assassination of Gianni Versace: American Crime Story. Die These lautet, dass diese Serien eine Beziehung zum Fernsehen als Gedächtnismedium reflektieren, dabei das televisuelle Wissen über die dargestellten Biographien in die eigene Erzählweise miteinbauen und zugleich in der Reflexion sowie Zitation der Fernsehbilder ihre eigene Art des biographischen Erzählens betonen. Weiterhin nähert sich der Artikel mittels der Beobachtung einer eigenen Gedächtnisherausbildung durch die Serien sowie verschiedener damit zusammenhängender Operationsweisen der eigenen Modalität des seriell-biographischen Erzählens an.The article examines biographical storytelling in the television series Halston, The Crown and The Assassination of Gianni Versace: American Crime Story. I argue that these TV series reflect their relationship to television as a medium of memory. In doing so, the televisual knowledge about the biographies portrayed is incorporated into the series’ own modes of narration. In the reflection and citation of the television images, the series emphasise their own ways of biographical narration. The essay furthermore approaches the specific modality of serial-biographical narration by observing the series’ own memory production as well as various related modes of operation.

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Fröhlich, Vincent. "Lebens-Folgen. : Medienreflexion und Gedächtnis in seriell-biographischen TV-Erzählungen." Zeitschrift für Germanistik 32, no. 2 (January 1, 2022): 375–94. http://dx.doi.org/10.3726/92171_375.

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Abstract Der Beitrag behandelt biographisches Erzählen in den Serien Halston, The Crown und The Assassination of Gianni Versace: American Crime Story. Die These lautet, dass diese Serien eine Beziehung zum Fernsehen als Gedächtnismedium reflektieren, dabei das televisuelle Wissen über die dargestellten Biographien in die eigene Erzählweise miteinbauen und zugleich in der Reflexion sowie Zitation der Fernsehbilder ihre eigene Art des biographischen Erzählens betonen. Weiterhin nähert sich der Artikel mittels der Beobachtung einer eigenen Gedächtnisherausbildung durch die Serien sowie verschiedener damit zusammenhängender Operationsweisen der eigenen Modalität des seriell-biographischen Erzählens an.The article examines biographical storytelling in the television series Halston, The Crown and The Assassination of Gianni Versace: American Crime Story. I argue that these TV series reflect their relationship to television as a medium of memory. In doing so, the televisual knowledge about the biographies portrayed is incorporated into the series’ own modes of narration. In the reflection and citation of the television images, the series emphasise their own ways of biographical narration. The essay furthermore approaches the specific modality of serial-biographical narration by observing the series’ own memory production as well as various related modes of operation.

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Balaban, Adem. "The Impacts of Turkish TV Serials Broadcasted in Albania on Albanian and Turkish Relations." European Journal of Social Sciences Education and Research 5, no. 1 (December 30, 2015): 473. http://dx.doi.org/10.26417/ejser.v5i1.p473-495.

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Films and TV series are important means in transferring one nation's values to other nations. In recent years, Turkish TV series have been broadcasted in the Middle East and the Balkans. They are also very popular in Albania. These TV series play a role in presenting Turkey, the Turkish culture and the language in these regions. Turkish culture through these TV series has an impact on the culture of these regions and transfers some cultural values to the cultures of these countries. In Albania, around 10 Turkish soap operas have been broadcasted such as: "Silver, Ezel, Karadayi, Suleiman the Magnificent". These TV series that people are very interested in are highly rated and that is increasing day by day. Turkish cultural values in these series have an effect on Albanians. In this study, the impacts of Turkish culture in these series, on the Albanians and Albanian culture are investigated. It is also discussed the cultural dimension of TV series besides the political, commercial and educational dimensions. Our study is based on a survey; a questionnaire consisting of 17 questions was conducted in Tirana, capital city of Albania. The answers are evaluated and analyzed in terms of cultural, political and commercial and educational dimensions. This study is important in terms of revealing Turkish culture and its impacts in Albania, the role of this series and the evolving relationship of the two nations.

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Rios, Sofia. "From telenovelas to super series: Reflections on TV Azteca’s ‘improved’ content." Journal of Popular Television 10, no. 2 (June 1, 2022): 167–83. http://dx.doi.org/10.1386/jptv_00077_1.

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TV Azteca is one of the biggest multimedia conglomerations in Mexico. From its beginnings in 1993, TV Azteca knew it had to offer something different to audiences so they had a reason to tune in to its telenovelas. Things have changed significantly as TV Azteca announced in the middle of 2016 that it would no longer produce telenovelas. However, TV Azteca still has a vested interest in TV production via its super series. This research focuses on the political economy of production and development of telenovelas and super series, the effect of delineating quality television and the regendering of melodramatic narratives and heroines. It proposes that new content does not need to eradicate women’s stories and melodrama in the service of quality.

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Korobko, M. I. "RETHINKING THE ROLE OF TV SERIES: ENTERTAINING CONTENT, PROPAGANDA WAYS OR NEW MYTH." UKRAINIAN CULTURAL STUDIES, no. 2 (3) (2018): 65–69. http://dx.doi.org/10.17721/ucs.2018.2(3).13.

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The article is an overview of the problem of TV series as a mass culture phenomenon. The purpose of the article is an attempt to rethink the role of television series in the modern socio-cultural sphere, determining their role for humanity in general, and identifying ways for further research in this area. We understand mass culture as a very wide range of phenomena, which surround people every day, especially in the field of human leisure. There are various forms of leisure: walks, reading, watching TV series, etc. Today, we can talk about TV series as a cultural phenomenon that cannot be left out of the attention of academic circles because of the fact that TV shows are viewed by the vast majority of people around the world who have a TV or the Internet connection. Today, this genre of television performs not only an entertaining function, but also an educational, informational, propaganda function, etc. These days the TV series is no longer a mere entertainment for housewives. Netflix and HBO TV series exceeds all expectations, they are expensive, serious, interesting, historically reliable, they are beyond the so-called "low culture", evolving into something completely new. But what exactly? They are very similar in their construction to the new myth, they create new meanings, they form the consciousness of the new generation, now they are turning into a new type of communication and means of propaganda. Now it is not embarrassing to say that you love TV series. More and more foreign TV shows are being released for the intellectual elite. Is the series really not a guilty pleasure anymore? We cannot say with certainty that "they went to a higher league", but the fact is that they cause serious interest among contemporary culturologists, philosophers and sociologists. The series is an endless source for research by humanitarian scholars, and besides, it's a good way to spend a free time after a hard work day.

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Havaš, Ladislav. "Application of Fourier series in the analysis of non-sinusoidal alternating values." Tehnicki vjesnik - Technical Gazette 22, no. 1 (2015): 253–56. http://dx.doi.org/10.17559/tv-20140924120714.

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Park, Youn-O., and Jae-Woong Kim. "Characteristics of Sitcom in TV Series Animation." Journal of the Korea Contents Association 11, no. 3 (March 28, 2011): 157–66. http://dx.doi.org/10.5392/jkca.2011.11.3.157.

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Yamamoto, Márcio Issamu, and Joel Victor Reis Lisboa. "Corpus linguistics and phraseologies on tv series." Itinerarius Reflectionis 15, no. 2 (May 27, 2019): 01–19. http://dx.doi.org/10.5216/rir.v15i2.58713.

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In this paper we aim to work on some phraseology concepts, including the ones proposed by Tagnin (2005), Barbosa (2012), Dobrovol’skij (2012), Muryn et al. (2013), as well as on metaphor concepts by Lakoff and Johnson (2003). Furthermore, we will discuss formal, semantic and pragmatic aspects of phraseologies and use the theoretical framework to classify the results of phraseological and terminographical studies from the Federal University of Uberlândia (UFU) Scientific Initiation and the Federal University of Jataí (UFJ) Prática como Componente Curricular. The English-Portuguese phraseologies were extracted from corpora of TV series subtitles, such as Bones, Game of Thrones and Star Trek, 30 being selected for this paper discussion. The methodology adopted was Corpus Linguistics (CL) and WordSmith Tools 6.0 was the lexical analysis program used. We started by selecting the TV series, then Portuguese and English subtitles were compiled from the internet. Afterwards, word lists were made; we chose terms and verbs that allowed the selection and analysis of phraseologies from TV series by using the Concord tool and most of the analyzed terms were registered on VoTec (FROMM, 2007), an online platform for terminological and terminographical research open to public access. The students that carried out these researches are English Language and Literature undergraduates, and the target audience are translators, language specialists, teachers, students and TV series fans. Some advantages of these researches were: (1) analysis of the real use of English language by native speakers in authentic communicative contexts; (2) access of undergraduates to CL and phraseological/terminographical studies; and (3) training to develop English language teaching material.

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Itaiane R. de Souza, Jéssica, and Bruno S. Leite. "Use of TV Series in Chemistry Teaching." Revista Virtual de Química 10, no. 4 (2018): 749–66. http://dx.doi.org/10.21577/1984-6835.20180055.

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Hickey, Colleen, and Nicole Ballinger. "INCREASING WATERSHED VISIBILITY – LAKE CHAMPLAIN TV SERIES." Proceedings of the Water Environment Federation 2002, no. 2 (January 1, 2002): 1748–52. http://dx.doi.org/10.2175/193864702785665526.

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Mishustina, A. B. "AUDIENCE PRACTICIES OF THE TV SERIES CONSUMPTION." UKRAINIAN CULTURAL STUDIES, no. 2 (5) (2019): 80–87. http://dx.doi.org/10.17721/ucs.2019.2(5).15.

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The article is devoted to the analysis of the audience practices of the TV series as a type of visual culture of Postmodern. Parameters of the transformation of Modern visual practices in the context of the series presenting as a culture industry and their role in changing the anthropological model are considered. The significance of the consumption of TV series as a type of postmodern cultural industry, which produces a human as a TV series-viewer, is postulated. Such visual means of the serial industry as spoilers, suspense, Easter eggs, which are producing postmodernist types of visual interactivity, are revealed. Appealing to the basic concepts of postmodernist philosophy allows the author to research the following transformations of the audience practices connected to the TV series: fragmentation as opposed to a consistent and complete system as a modern form of hierarchy, speaking out against the conventional authorities – the "death of the author", irony, equal game-like participation of both authors and consumers. The basic characteristics of Postmodern culture are represented by an analysis of the works of such authors as U. Eko, I. Hasan, T. Adorno and M. Horkheimer, Z. Bauman, J. Baudrillard, S. Lash, F. Jameson, M. Foucault, P. Bourdieu, J. Liotard. The study of the series is a productive area of scientific research in the field of humanitarian knowledge as foreign (J. Mittell, M. Fleisfeder, M. Voitin, V. Kurinny, A. Khitrov, K. Pevzner, O. Akopov, N. Zakharchenko, I. Tuzovsky, Y. Belenkiy), as well as domestic (M. Sobutsky, L. Voznesensky, and others) researchers who consider this concept in various aspects. Postmodern, producing a new cultural product – a series, and even the production of a new cultural industry for the production of serials is not only limited to the industrialization of culture, but is carried out as a culture of industry – the viewer of the series is produced as a postmodern anthropological model. In this way, the "social implosion" is carried out – since the type of production of the new anthropological model does not become discursive and disciplinary practices (purely social instruments of human production, that is, a direct type of influence of a person on the person, or only through the medium of knowledge), and their own cultural anthropologies of anthropology are formed. models as a (global) cultural industry (the series itself).

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Holstein, Jeannie, and Anniina Rantakari. "Open Strategy and the TV Series ""Borgen." Academy of Management Proceedings 2020, no. 1 (August 2020): 20319. http://dx.doi.org/10.5465/ambpp.2020.20319abstract.

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Journal articles on the topic 'TV series'

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