Relevant bibliographies by topics / Voice (Television program)

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Academic literature on the topic 'Voice (Television program)'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 January 2023

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Journal articles on the topic "Voice (Television program)"

Yulita, Reni Diyah, and Fitri Murfianti. "PENERIMAAN KHALAYAK DESA PONGGOL MAGELANGTERHADAP PROGRAM GENDU-GENDU ROSO GRABAGTV." Capture : Jurnal Seni Media Rekam 3, no. 2 (June 19, 2017): 74–86. http://dx.doi.org/10.33153/capture.v3i2.1891.

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GrabagTV is one of community televisions that has been operated in Indonesia.It wasestablished in 2004 in District Grabag, Magelang regency, Central Java. Grabag TV is noncommercial television. One of programs that aired is Gendu-Gendu Roso.This program is aninteractive dialogue aimed as a space to accommodate the aspirations of the people Grabag.This problem is then focused on how the public acceptance of the program Gendu-Gendu Rosoas a medium channeling the aspirations of the people in accordance with the goals and ideals ofIndonesia broadcasters.The purpose of this study is how the reader understand on how thepublic acceptance of the program being broadcasted on television community and the factorsthat affect the acceptance of the audience. This thesis using qualitative methods and theapproach used is reception analysis.This approach is used in order to determine how audiencesreceive the contents of the messages conveyed by the media viewed from a variety ofcontextual factors that influence.Audience acceptance will be obtained by a long process thatbecame valuable experience within the public and shaping the mindset and worldview different.The results of this study show that community acceptance of Gendu Gendu Roso in defendingfreedom of speech in the category dominant reception where the community agreed that theevent was able to become the voice of the container,as well as public acceptance of the use ofsetting events are also included in the reception dominant. While the acceptance of theaudience to the information included in the reception is dominant and negotiated.The lastdiscussion on the use of regional languages in the event showed that the acceptance of theaudience entered the reception is dominant,negotiated and oppositional.For people who fallinto the category of oppositional means that the use of the local language cannot be receivedwell.Public acceptance of the programs shown on television was not the same community.It isinfluenced by various factors in daily life such as social background, occupation, age, sex andneighborhood audiences.Keywords: Community television, audiences positioning, and Grabag TV

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Abdalla Elkhatim Ali, Dr Hashim, and Dr Esra Omer Ibrahim Edris. "Employing social media sites in producing Television News programs." علوم الاتصال 2, no. 7 (June 27, 2021): 243–76. http://dx.doi.org/10.52981/cs.v2i7.784.

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The study aimed to confirm and highlight the importance of employing social media sites in news programs ,identify social media sites technologies and the extent of their reflection on news programs, to determine the use of social media sites and the extent to which they are used in Nashratcom program on Al-Jazeera channel. The problem raised by this research paper is in the following question: What is the extent of employing social media sites in the production of news programs and the extent of their credibility and impact on the recipient? The researchers used the descriptive and analytical method, the content analysis tool, the observation, the interview, and the questionnaire to collect information and data related to the study, and to divide and analyze the data. The sample of the study was Purposive Sample of experts in the professional and academic field, and the study concluded with several results, the most important of which are: The episodes of the Nashratcom program are uploaded on a daily basis to the websites of Facebook, Twitter, and YouTube. Sending news and events to the program via social media sites Facebook, Twitter, and YouTube. Nashratcom program was able to communicate the voice of the citizen through social media sites., and the researchers recommend to verify the authenticity of news and events on social networking sites before they are broad casted and published.

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Bagaskoro, Gilar Dido. "Komodifikasi Audiens-Penonton dalam Program Ajang Pencarian Bakat The Voice: All-Stars GTV." Kalijaga Journal of Communication 4, no. 2 (December 31, 2022): 193–210. http://dx.doi.org/10.14421/kjc.42.05.2022.

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This research examines the audience commodification process in the search program The Voice: All-Stars GTV. This study uses a qualitative-descriptive method with the political economy theory approach of Vincent Mosco's media. The results of the study show that audience commodification occurs in The Voice: All-Stars GTV in several stages. First, when the event succeeds in attracting advertisers to become the main sponsor. Second, when involving the audience when voting to support the contestants through the RCTI+ and MotionPay applications with top-up balances. The two applications were developed by MNC Group as the owner of the media that broadcast The Voice: All-Stars GTV. Apart from being successful in gaining advertisements, the television stations also succeeded in promoting other products in the form of applications developed by the company.

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Ponomarenko, L., and A. Mysechko. "ПІДГОТОВКА ТЕЛЕВІЗІЙНИХ ПРОГРАМ РОЗВАЖАЛЬНОЇ ТЕМАТИКИ ЯК СКЛАДОВА ОНЛАЙН-НАВЧАННЯ." State and Regions. Series: Social Communications, no. 4(48) (February 2, 2022): 129. http://dx.doi.org/10.32840/cpu2219-8741/2021.4(48).18.

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The purpose of the study is to find out what types of entertainment TV programs can be conducted under conditions of online learning, as well as to offer several practical cases of television programs on entertainment topics with identified features of their use in an online format.Research methodology. The article uses such general methods as analysis of the literature on the subject, comparative analysis of achievements among scientists and in comparison, with the opinions of practicing journalists, description of the TV program, its rules and participants within practical cases, generalization of entertainment programs approbation under conditions of the educational process that takes place online.During the approbation of practical cases on entertainment programs process, the method of problem-based learning was actively used, in particular the method of role plays and the method of simulation, which help involved students to recreate a real entertainment TV program with all actors.Results. Within the entertainment television programs in the context of online learning the preparation process, we have developed practical cases of three different types of programs – talk show «Without Illusion and Deception», an entertainment program with elements of storytelling «What happened next?» and the intellectual program «The Smartest Student». Using the methods of role-playing and simulation, the following features of their conduct in online classes were clarified: talk show «Without illusion and deception» is difficult for students to get used to the role of guests if they are far from their own experience; thorough training of experts is required, who should be well versed in factual information; to a large extent the success of the game depends on the skill of the host; in an entertaining television program with elements of storytelling «What happened next?» the main success depends on the narrators-participants’ skill of the program, who must have a good voice, excellent intonation, know the composition of the story and follow it, create intrigue and keep it until a certain moment; in the intellectual program «The smartest student» the presenter must think carefully about the questions and skillfully manage the process – to push to the right answer, to appeal to logical thinking and associative connections;Novelty. The most successful entertainment program, which was used as part of online learning, was a project with elements of storytelling «What’s next?» One of the keys to the success of this project is that the student participants have known each other for a long time, and some have even known each other’s childhood stories because they are his or her friend. On the other hand, the game was very useful for each participant, because each student learns to tell stories meaningfully, interestingly, and clearly. In the online format, the requirements for diction, voice strength, intonation are increasing, as technical means contribute to the distortion of sound.Practical significance. Practical cases of entertainment television programs have been developed, they can be used both during the teaching of disciplines «Special course on entertainment topics» and during the preparation of entertainment television programs.Key words: entertainment journalism, entertainment television programs, online learning, role-playing method, simulation method, practical cases of entertainment television programs.

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Boross, Balázs, and Stijn Reijnders. "Dating the Media: Participation, Voice, and Ritual Logic in the Disability Dating ShowThe Undateables." Television & New Media 20, no. 7 (June 20, 2018): 720–38. http://dx.doi.org/10.1177/1527476418782184.

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Interventional television formats centering around the ritual transformation of “ordinary people” are not only followed by sizable audiences worldwide but also attract large numbers of aspiring candidates. Although the benefits and consequences of participating in such shows have long been debated within academia and beyond, research into actual experiences of participating in such television productions remains scarce. Based on in-depth interviews with participants of the disability dating show The Undateables, this article focuses on how contributors deal with their position in the production and how their experiences reflect the emancipatory claims of the program. By presenting the production process through the story and from the perspective of three participants, different modes of participation will be discussed, revealing how instances of submission, appropriation, and contestation of the production logic are linked to ideals of representation, notions about empowerment and voice, and to strategies of negotiating normalcy and difference.

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Branigan, Tony. "How Will New Media Affect Television?" Media International Australia 86, no. 1 (February 1998): 54–62. http://dx.doi.org/10.1177/1329878x9808600107.

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The next two decades will force major changes on existing media and leave them with a significantly smaller share of voice, mind and advertising dollars. Pay TV in various forms will be the main challenge, but the Internet and other interactive media also seem certain to change traditional media use and advertising practices. In the United States, cable television has taken large numbers of viewers from free-to-air TV, and is expanding its share of advertising revenue. Pay TV's prospects in Australia are promising, though the largely American program content of advertiser-supported channels may limit their appeal. Pay TV may be in as many as 20 per cent of homes within three years, but its impact on television viewing levels will be only a fraction of that. Free-to-air viewing may decline by as little as 4 per cent by 2000, while television revenue may be unaffected by Pay TV. In the medium term, digital technology will make various forms of interactivity practicable for both free-to-air and Pay TV. This may prove to be more significant than competition for advertising dollars, as it will allow both media to compete for marketing expenditure currently made outside normal advertising media.

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Zubair, Abdul Rasak, Emmanuel Sinmiloluwa Olu-Flourish, and Martins Obinna Nnaukwu. "Smart Home, Support At Old Age And Support For Persons With Disabilities: Speech Processing For Control Of Energy." International Journal of Advanced Networking and Applications 13, no. 05 (2022): 5134–42. http://dx.doi.org/10.35444/ijana.2022.13507.

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Generally, conventional home wiring system use simple latching switch that is being connected to the power supply for controlling electrical appliances such as fan, light, washing machine, air conditioner and television. The switch is usually located at the wall near the electrical appliance. This requires the user to move to the location of the switches to control the appliances. There is rapid increase in the number of people with special needs like the elderly and the disabled. Smart houses are considered a good alternative for the independent life of older persons and persons with disabilities. A smart home is a home that provides its residents the comfort, the convenience and the ease of operation of devices at all times, irrespective of where the resident actually is within the house. Smart Homes include devices that have automatic functions and systems that can be remotely controlled by the user. The primary objective of a smart house is to enhance comfort, energy saving, security for the residents and independent living of people at old age and people with disabilities. A low-cost prototype of a voice controlled smart home system controlling four devices by an Arduino microcontroller via a four-channel relay is presented. Voice control is one of the easiest methods to give input commands and is a more personalized form of control, since it can be adapted and customized to a particular speaker’s voice. Voice recognition is a computer software program embedded in a hardware device with the ability to decode the human voice. Most voice recognition systems require “training” (also called “enrolment”) where an individual speaker reads text or isolated vocabulary into the system. The system analyses the person’s specific voices and uses it to fine-tune the recognition of that person’s command. Upon successful recognition of the voice command, the microcontroller drives the corresponding load with the help of the relay circuit. Voice or Speech Processing has been applied successfully for the control of the supply of energy to home appliances.

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Lestari Pambayun, Ellys. "Pendekatan Feminist Communication Theory pada Cybercommunity “Cerdas Nonton Televisi”." Communicare : Journal of Communication Studies 3, no. 2 (March 21, 2018): 73. http://dx.doi.org/10.37535/101003220165.

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Penelitian tentang Pendekatan Feminist Communication Theory pada Cybercommunity “Wacana Cerdas Menonton Televisi” di internet berasal dari pengamatan tentang fenomena aktivitas percakapan para perempuan di e-forum Cerdas Nonton Televisi di internet yang memuat kondisi pertelevisian Indonesia di mana di tuang ini ditemukan masalah bahwa internet dengan facebook nya telah membangun suatu hubungan dan wacana para anggotanya secara terbuka, lugas, dan kritis, tanpa melihat status, gender, ekonomi, sosial, agama, dan gaya hidup tentang krisis televisi tanah air yang masih memiliki banyak masalah, baik pada penyiar, produser maupun berita atau program-programnya. Teori yang digunakan adalah paradigma kritis dengan salah satu variannya yaitu feminist communication theory yang bertujuan untuk melihat representasi perempuan di ruang publik yang menyuarakan atau mengkomunikasikan semua aspirasi, rasa keadilan, dan keberadaan mereka. Tujuan penelitian adalah untuk menganalisis cybercommunity perempuan di e-forum ”Cerdas Nonton Televisi” yang menyuarakan atau mewacanakan permasalahan pertelevisian Indonesia. Secara metodologis, penelitian ini menggunakan metode netnografi untuk melihat aktivitas budaya komunitas maya perempuan dalam bentuk percakapan di internet. Hasil pengamatan ini memberikan deskripsi bahwa para perempuan dalam e-forum Cerdas Nonton Televisi (CNT) ini telah berupaya mengoptimalisasikan ruang CNT untuk berkomunikasi atau bersuara kritis bagi terciptanya reformasi pertelevisian untuk lebih prokhalayak dan mencerdaskan bangsa. Namun, suara kritis perempuan masih lebih sedikit dibanding suara laki-laki dalam berwacana dalam ruang CNT ini. Selain, itu suara perempuan yang muncul lebih banyak pada hanya mengikuti status laki-laki, dibanding membuat status sendiri. Pada sisi substansi kritisisme perempuan pun cenderung menyiratkan keprihatinan secara emosioanal dibanding pada pengupayaan ke arah tranformasi secara nyata. Research on Feminist Theory Communication Approach on Cybercommunity “Cerdas Nonton Televisi”(CNT) on the Internet comes from the observation of the phenomenon of conversations activity of women in the e-forum CNT which contains conditions on Indonesian TV in the room where it was found that the problem with the internet (facebook) it has built up a relationship and discourse of its members openly, straightforwardly, and critical, regardless of status, gender, economic, social, religious, and lifestyle on television crisis that the country still has many problems, both on the broadcaster, producer and news or programs. The theory used is critical paradigm with one of its variants, namely feminist communication theory which aims to look at the representation of women in public spaces are voiced or communicate all the aspirations, sense of justice, and their whereabouts. The research objective was to analyze cybercommunity women in e-forum “Smart Watch Television” are voiced or mewacanakan issues on Indonesian TV. Methodologically, this study using netnografi to see the virtual community cultural activity of women in the form of a conversation on the internet. These observations provide a description that the women of the e-forum Smart Watch Television (CNT) has sought to optimize this space to communicate or speak CNT critical for the creation of television for more prokhalayak reform and educate the nation. However, critical voices are still fewer female than a male voice in the discourse in this CNT space. In addition, the voice of women who appear more on just follow the status of men, rather than making their own status. On the substance of the criticism of women also tend to imply concern is emosional than at the insistence towards real transformation.

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Kitsa, Mariana, and Maria Kul. "CULTURAL AND ENTERTAINMENT PROGRAMS ON TELEVISION: PROBLEMS AND PROSPECTS OF FUNCTIONING." Bulletin of Lviv Polytechnic National University: journalism 1, no. 2 (2021): 17–23. http://dx.doi.org/10.23939/sjs2021.02.017.

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Today, cultural issues should be one of the most popular among the viewers of the Ukrainian channels, because such programs affect the level of their education and culture in general. Modern globalization has determined the specifics of socio-cultural dynamics, and media play an important role in this process, demonstrating a channel of translation of the values and content of mass culture, whose stereotypes are widely disseminated in the socio-cultural space. Media in modern society have a significant impact on the formation of value orientations. Cultural and entertainment programs occupy an important niche on television. Most young people prefer this genre. Therefore, to interest the audience in such a program, you should make great efforts to create an entertaining story. As entertainment TV shows become popular, each show must be individual and different from each other. As for the recommendations we would like to make to improve cultural and entertainment programs, this is first and foremost a question. Television speech is seen as an important factor in the emotional interaction of the three elements - image, sound and word. But the word plays the most important role in modern television, it is the main "tool" of a journalist's skill. The desire for purity of speech, its intelligibility - one of the basic professional principles of television journalists. As the analysis of the talk show shows, a skilled presenter is the key to the success of a TV show. The presenter is a person who is first of all aware and constantly enriches his knowledge in a professional way. This is a person who has professional skills, namely: mastery of intonation and timbre of the voice, the manner of gesturing in front of the camera and the work with the camera. A presenter is a creative person who works as a journalist, director, cameraman and editor. The presenter must be smart, not boring, talented and energetic. After all, such people are required by the viewer in a TV show. Hosts should develop thinking, interpret events and conduct broadcasts in a natural manner and intonation. The presenter, of course, is a representative of a certain social group, and his interaction can be considered as "representative communication", meaning the common interests, values, ideals and guidelines of this social group. He must present himself to the viewer as a partner in communication. The establishment of interpersonal contacts in the process of television communication is due to the audiovisual nature of television communication. The viewer receives a message from a specific person, the host of a television program, which is why such a message is personalized. Nowadays we can talk about the tendencies of increasing their influence on the formation of general public flavors and needs, as a result of which research and systematization of mechanisms of interaction of mass media and culture in the process of the emergence of modern values is an urgent problem.

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Kuznetsov, Svyatoslav Sergeevich. "Problems of automation of the broadcasting and production complex." Программные системы и вычислительные методы, no. 3 (March 2022): 35–44. http://dx.doi.org/10.7256/2454-0714.2022.3.38800.

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In the TV and radio industry, the efficiency of the hardware and software of broadcast production complexes is the basis of competitive advantage, and therefore, in the context of global digitalization, television industry companies face the task of constantly improving broadcast production complexes. Such improvement is largely provided by new technologies, some of which are aimed at automating broadcasting processes. In the article, the author analyzes the existing problems of automation of broadcast production complexes and concludes that such problems are caused by the desire of TV and radio companies to replace the traditional approach to the production of programs using a team of specialists with software. However, the effectiveness of this approach is questionable, especially if the release of the program is associated with live work, where in an uncertain situation it is not possible to react promptly to any events using automated software. Hence, automation of production processes in the field of broadcasting becomes an effective and economical technology only with the correct configuration of the software and careful calculation of automation prospects. The real prospects for automation of broadcast production complexes are currently in almost unexplored areas for the television sphere - the areas of voice control, which is based on artificial intelligence based on various algorithms for training artificial neural networks, which requires additional study and development of an appropriate model adapted to a specific task.

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Dissertations / Theses on the topic "Voice (Television program)"

Antunes, Maria Inês Soares. "O programa "Voce na TV": veículo e vínculo de entretenimento." Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2013. http://hdl.handle.net/10362/10206.

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Relatório de Estágio apresentado para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ciências da Comunicação – Especialização em Cinema e Televisão
O relatório que se segue relata a minha experiência enquanto estagiária de produção, no programa de entretenimento “Você na TV” da TVI, Televisão Independente. O estágio curricular teve a duração de 6 meses, com início a 19 de Setembro de 2012 e concluído a 18 de Março de 2013 e teve como principal objectivo a conclusão do Mestrado em Ciências da Comunicação – Cinema e Televisão, na Universidade Nova de Lisboa. Durante o período de estágio, tive a oportunidade de trabalhar num dos programas pilares da estação, um dos mais dinâmicos e mais populares entre os espectadores portugueses. Uma experiência que me proporcionou aprender e aperfeiçoar todo o trabalho de produção para televisão no próprio terreno que, de outra forma, nunca conseguiria obter. Este relatório, além de um relato da minha experiência na TVI, pretende ainda dar a conhecer um pouco mais deste programa e avaliar o seu impacto no público.

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Silveira, Milena de Castro. "No Limite do Voce Decide? : sobre a comunicação e a interatividade entre o telespectador e a televisão." [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284900.

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Orientador : José Mario Ortiz Ramos
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-02T18:38:54Z (GMT). No. of bitstreams: 1 Silveira_MilenadeCastro_M.pdf: 645405 bytes, checksum: e5bdebc94adb375fc6e3c06dc5064d57 (MD5) Previous issue date: 2002
Mestrado

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"Japanese voice goes global and local: globalization and localization of the Japanese seiyū culture in Hong Kong." 2007. http://library.cuhk.edu.hk/record=b5896750.

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Iu, Yiu.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2007.
Includes bibliographical references (leaves 163-173).
Abstracts in English and Chinese ; questionnaires also in Chinese.
Abstracts --- p.i
Acknowledgements --- p.iii
Table of Contents --- p.iv
Introduction --- p.1
Chapter A. --- Objectives and Significance --- p.1
Chapter B. --- Academic Issues and Literature Review --- p.4
Chapter C. --- Theories and Methodologies --- p.18
Chapter D. --- Structure of the Thesis --- p.20
Chapter Part I: --- The Making of a Seiyu Culture in Japan
Chapter Chapter 1: --- What is Seiyu? --- p.24
Chapter 1.1 --- Definition of Seiyu --- p.24
Chapter 1.2 --- Scope of Works --- p.27
Chapter 1.3 --- Training Institutions and Agencies --- p.32
Chapter Chapter 2: --- The Historical Development of the Seiyu Profession in Japan --- p.38
Chapter Part II: --- Cultural and Social Significance of Seiyu Culture
Chapter Chapter 3: --- Seiyu as Art and Industry --- p.56
Chapter 3.1 --- Internal Factors --- p.58
Chapter 3.2 --- External Factors --- p.64
Chapter Chapter 4: --- Cultural and Social Impact of the Seiyu Culture --- p.78
Chapter 4.1 --- Cultural Impact --- p.78
Chapter 4.2 --- Social Impact --- p.92
Chapter Part III: --- Comparative Study on Japanese Seiyu and Hong Kong Voice Artists
Chapter Chapter 5: --- The Popularization of the Japanese Seiyu and Local Voice Artists in Hong Kong --- p.101
Chapter 5.1 --- Japanese Seiyu Steal the Limelight in Hong Kong --- p.102
Chapter 5.2 --- Hong Kong Voice Artists Move out from the Backstage --- p.112
Chapter 5.3 --- The Comparison of the Reception of Japanese Seiyu with That of Local Voice Artists in Hong Kong --- p.117
Chapter Chapter 6: --- Comparison of the Dubbing Profession between Japan and Hong Kong --- p.123
Chapter 6.1 --- Structural Differences in Dubbing Profession --- p.126
Chapter 6.2 --- The Role of Voice Dubbing in Popular Culture --- p.135
Concluding Analysis --- p.147
References --- p.163
Appendix --- p.174
Chapter I) --- Questionnaire of Seiyu Culture in Hong Kong --- p.174
Chapter II) --- Sample Interview Questions for Seiyu Fans --- p.177
Chapter III) --- Sample Interview Questions for Voice Artists --- p.178

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Books on the topic "Voice (Television program)"

Catalano, Frank. Rand unwrapped: Confessions of a Robotech warrior. [Charleston, SC]: [CreateSpace], 2011.

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My life as a 10-year-old boy. New York: Hyperion, 2000.

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Mansfield, John. Narration and editing: Sound for television. Borehamwood, Hertfordshire: BBC Television Training, 1992.

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"Indian" stereotypes in TV science fiction: First Nations' voices speak out. Austin: University of Texas Press, 2005.

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Rhodes, Pam. With hearts and hymns and voices. Oxford, England: Lion Pub., 1998.

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With hearts and hymns and voices. Oxford: Lion, 1996.

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With hearts and hymns and voices: A novel. Oxford: Monarch, 2010.

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With hearts and hymns and voices. Long Preston: Magna, 1997.

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Michael, Ignatieff, Bourne Bill, Eichler Udi, and Herman David, eds. Psychoanalysis. Nottingham, England: Spokesman, in association with the Hobo Press, 1987.

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Wo de pei yin sheng ya. Shanghai Shi: Wen hui chu ban she, 2005.

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Book chapters on the topic "Voice (Television program)"

Stoner, Andrew E. "Finding a Voice." In The Journalist of Castro Street, 52–71. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042485.003.0005.

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Shilts’s journalistic “voice” begins to emerge. Shilts’s clash with David Goodstein comes to a head, with Shilts fired from The Advocate but later hired by KQED as a contributor to the “Newsroom” TV program. Shilts begins to address his personal alcohol abuse issues amidst lack of full-time employment but remains a daily marijuana user. Shilts’s TV journalism career covers election and subsequent assassination of Milk (along with Mayor George Moscone), and gay battle against Proposition 6. Shilts covered riots following the trial of convicted Milk-Moscone killer Dan White. Shilts’s relationship with KQED begins to erode as he struggles to master television journalism. Shilts gains scorn for connections to conservative Republican Senator John Briggs.

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Deligiaouri, Anastasia, and Panagiotis Symeonidis. "Internetized Television Debates." In E-Politics and Organizational Implications of the Internet, 157–77. IGI Global, 2012. http://dx.doi.org/10.4018/978-1-4666-0966-2.ch010.

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The convergence of television with internet technologies has further upheld the participatory role of Internet in modern political communication. The adoption of Internet communication regulations in television programs has created a new hybrid model of “Internetized Television” which has the potential to strengthen citizens’ voice in political life. In this research paper, an extensive empirical study of certain variables relating to participation in internetized television was conducted, focusing, in particular, on the impact of this new medium during the 2007 national elections in Greece, when a specific broadcast was aired on TV, namely the “Skai-YouTube Debate.” Based on the results of our survey, an in-depth theoretical discussion of the political and communicative challenges imposed by this form of internetized television was conducted.

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Contreras-Pulido, Paloma, and Ignacio Aguaded. "Communication Media and Digital Literacy as Intervention Tools in Prisons." In Advances in Religious and Cultural Studies, 105–25. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-5975-7.ch005.

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In Spain, there are a few projects that link communication with social intervention in prisons. These projects have remained invisible to society, and similar initiatives taking place in other prisons were even unknown amongst themselves. It is not common to find radio, programs of digital literacy, magazines, or even television and cinema in prisons. These are activities that remain within the walls and come about from the restlessness of the educators who voluntarily produce them. The work presented comes about the doctoral research work that for 4 years explored these initiatives. Through qualitative methodology, based on the use of in-depth interviews, the authors give voice to 20 prisoners and educators that participate in these projects in Spanish jails. Without claiming to be representative, the results show that these activities can become a powerful tool for social-educative integration and personal transformation.

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Lee, Dennis, and Ralf Muhlberger. "A Technology Intervention Perspective of Mobile Marketing." In Mobile Computing, 279–88. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-054-7.ch025.

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In the last decade, the explosive growth and adoption of mobile phones has become commonplace in our everyday lives (Haghirian, Madlberger, & Tanuskova, 2005). In 1997, there were only 215 million people worldwide who used mobile phones as communication devices (Bauer, Barnes, Reichardt, & Neumann, 2005). Today, it is estimated that 2 billion people own a mobile phone worldwide and this number makes up a third of the entire human population (Wireless Intelligence, 2005). Mobile phones are no longer thought of as mere personal communication tools (Cheong & Park, 2005; Ito & Okabe, 2005). They have become a fashion symbol for teenagers and young adults (Katz & Sugiyama, 2005). Personalised ring tones, colours, display logos and accessories are individualised accordingly to suit individuals’ preferences (Bauer, Barnes, Reichardt, & Neumann, 2005). Furthermore, mobile phones are no longer just a platform for voice calls and sending and receiving text messages such as short messaging service (SMS). Photos, pictures and video clips can be attached as a multimedia message service (MMS) for communication purposes too (Okazaki, 2005a). With the recent introduction of 3G mobile technology, mobile phone users are able to perform more activities via their 3G enabled phone sets. They are able to browse the Internet fairly quickly, access online banking, play video games wirelessly, watch television programs, check for weather forecasts, allow instant messaging, and perform live video-conferencing (Okazaki, 2005b).

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"to less prosaic representations. That five of the commentaries are positive in their evaluation of Neighbours, two neutral, and only one negative suggests the broad potential acceptability of the program to the US market (only one publication, the Wall Street Journal, has the kind of highbrow readership which might encourage its television critics to sneer at popular material such as soaps). The two textual features of Neighbours which do draw comment – the everyday, and the domestic and suburban – point to a crucial first feature of the US “mediascape,” in particular its “soapscape,” namely the preference for the exceptional, the non-domestic, the non-suburban. In US soaps, it is well known, the pole of melodrama exercises greater attraction than the pole of realism (cf. Geraghty 1991: 25–38) – in contrast to Australian and British soaps. These two textual aspects of Neighbours are a central theme of the US commentaries, combining under the rubric of the non-exceptional, the “realistic.” All the commentaries bar the sole negative one (Kitman 1991: 23) refer positively to Neighbours’ “realism,” often in contradistinction to the perceived artificiality of US soaps. Peter Pinne, the program’s executive producer, is twice quoted to just this effect (Goodspeed 1991: 22; Mann 1991: 28), while USA Today (Roush 1991: 15) applauds “how close the residents of Ramsey Street seem to our own suburban counterparts,” and notes that “its casual gossip and unexceptional lifestyle [are] closer to the early days of Knots Landing than to any current soap.” The redoubtable Wall Street Journal does not sneer, but praises a television version of middle- and lower-class life that is at ease with itself and singularly lacking in . . . the self-consciousness and discomfort that attends American television’s efforts to portray uneducated white working-class types . . . . [Its] characters . . . ought to be more recognisable to Americans than the peculiar beings that inhabit the worlds of our home-grown TV dramas . . . . [They] actually converse with one another in the way that people do – without declaiming or the rat-a-tat of one-liners, or recitals of a position on the latest hot social theme. If the beat of their daily lives is unhysterical – quiet, in fact – it is also eventful. (Rabinowitz 1991: 17) The Wall Street Journal takes a refreshing distance from the infamous “Greed is good” dictum voiced in Oliver Stone’s film, Wall Street! Given Neighbours’s atypicality in the realm of US soaps, its American reference points are either Knots Landing – which one British journalist described as “the nearest the Americans can bear to get to a soap about ordinary people” (Kingsley 1989: 226) – or US sitcoms (Kelleher 1991: 36; Rabinowitz 1991: 17). Buyer and seller agreed that its non-exceptional “realism” was one reason for Neighbours’s failure in the US “soapscape.” KCOP described it as “less raunchy than US soap operas, too wholesome” (Moran 1992). Its seller, Bob Cristal, added that." In To Be Continued..., 119. Routledge, 2002. http://dx.doi.org/10.4324/9780203131855-21.

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