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

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

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.

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.

<p><strong><em>The purpose of the study</em></strong><em> 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.</em></p><p><strong><em>Research methodology</em></strong><em>. 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.</em></p><p><em>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.</em></p><p><strong><em>Results.</em></strong><em> 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;</em></p><p><strong><em>Novelty.</em></strong><em> 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.</em></p><p><strong><em>Practical significance.</em></strong><em> 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.</em></p><p><strong><em>Key words:</em></strong><em> entertainment journalism, entertainment television programs, online learning, role-playing method, simulation method, practical cases of entertainment television programs.</em></p>

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.

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.

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.

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.

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.

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.

A large part of television broadcasting today is filled by entertainment programs that are designed to relax and relieve stress in the viewer. Due to this, the interest of the audience in the format of entertainment programs not only remains unchanged, but is constantly growing. That is why programs of this genre have very high ratings. Such projects are relevant and are created in accordance with the social needs of the population. The following programs were analyzed: "Secular life with Kateryna Osadcha", "Changing a Woman", "Voice of the Country". Children", "Breakfast with 1 + 1", "Who's on top?", "Top model in Ukrainian", "Super Intuition", "Crazy", "Half", "From a kid to a young lady", "X- Factor ", "А house for a Dad", "Weighed and happy", "Ukraine has talent", "Battle of psychics". Each program interests the viewer and collects positive feedback. Despite the fact that these programs are entertaining, they are interesting and meaningful. The audience perceives the information in a light, sometimes playful mood, so entertainment programs are mostly for leisure purposes. Each channel has its own approach to creating TV shows or stories, as well as entertainment programs. Among the analyzed programs, in general, each entertainment TV program has positive feedback from the audience. After all, the mood for the whole day can only guarantee laughter. And laughter is the main thing that should be present in entertainment TV shows. Thus, entertainment TV programs are very popular among viewers, have a wide audience among different age groups. This can be explained by the fact that everyone loves to laugh and be in touch with the latest news in the sphere of show business. Entertainment TV shows or reality shows are interesting because they create the presence of the audience at the scene, and also allow you to follow the lives of famous people or people who aim to become famous over time.

The aim of the article is an analysis of the author’s TV program by Sergei Shargunov in the aspect of idiostyle of announcer’s language personality. The program is considered as audiovisual and speech media content, which is a hypertext reflecting the syncretism of speech genres of news, interview, and reportage. The typical and individual author’s features of the television program “Twelve” on the Russia — 24 channel have been established. Typical features include: positioning the author in the title of the program, multimedia, polydiscursiveness, intertextuality, compositional unity, repetition of the beginning and ending, temporality, thematic unity, social evaluativeness, genre syncretism, cultural, educational and propaganda orientation, a focus on confidentiality of communication with the mass addressee, and an emphasis on acute social problems. The idiostyle specificity of the author’s media discourse as a syncretic informational and media linguistic personality, including speech, communicative, and cognitive features, is revealed. These features reflect the different social, professional, and communicative roles of the author as a writer, journalist, public figure, politician and are implemented in targeting a wide audience of listeners and viewers according to the socially significant topics, their ideological assessment, and skill of the art of speech. The announcer’s idiostyle manifestations at the speech level are associated with his belonging to the person of the elite type of speech culture. At the communicative level, the author of the “Twelve” program is characterized by a restrained-intelligent communicative style, the desire for confidential communication thanks to the strategy of natural simplicity with use of colloquial syntax and neutral vocabulary. From an extralinguistic point of view, the presenter is characterized by an intelligent appearance (clothes, hairstyle), restrained but expressive gestures and facial expressions that reflect interest; quiet voice with a pleasant timbre; clarity of diction. The cognitive features can be characterized as a synthesis of rational and metaphorical cognitive substyles.

In audiovisual contexts, different conventions determine the level at which background music is mixed into the final program, and sometimes, the mix renders the music to be practically or totally inaudible. From a perceptual point of view, the audibility of music is subject to auditory masking by other aural stimuli such as voice or additional sounds (e.g., applause, laughter, horns), and is also influenced by the visual content that accompanies the soundtrack, and by attentional and motivational factors. This situation is relevant to the music industry because, according to some copyright regulations, the non-audible background music must not generate any distribution rights, and the marginally audible background music must generate half of the standard value of audible music. In this study, we conduct two psychoacoustic experiments to identify several factors that influence background music perception, and their contribution to its variable audibility. Our experiments are based on auditory detection and chronometric tasks involving keyboard interactions with original TV content. From the collected data, we estimated a sound-to-music ratio range to define the audibility threshold limits of the barely audible class. In addition, results show that perception is affected by loudness level, listening condition, music sensitivity, and type of television content.

Scholars today regard Venerable Archbishop Fulton J. Sheen as a supporting player in the American efforts to drum up support for the Cold War; however, this view limits Sheen’s influence to the years he spent on television hosting his program, Life Is Worth Living (1952–1957). Yet, by the time Sheen left his program, he had been part of public discussions of religion and American politics for almost thirty years. Before his 1930 debut as an authoritative Catholic voice in America, Sheen had become a decorated Catholic scholar, both in his home country and in Europe, earning him a papal audience and broad support in the American Catholic hierarchy. His early contributions to public discussion were sophisticated adaptations of Leonine Catholic social teaching to American circumstances. Critical to his teachings was his view of the American people as the source for political legitimacy. In this respect, he defied the more reactionary clergy of Europe; however, Sheen’s views were vital to his efforts to distinguish why America had a just war against the totalitarian governments of the Axis powers but also a duty to spare people who were as likely to be victims of the regime as they were supporters. Sheen carried this distinction into the Cold War, in which he called for Americans to support the Russian people by opposing totalitarian government there. Therefore, Sheen never advocated the “us vs. them” nationalism so common among Cold War propaganda, which is consistent with his initial opposition to the Vietnam War and his only partial reconsideration of that opposition later.

New entrants in established markets face competing recommendations over whether it is better to establish their legitimacy by conforming to type or to differentiate themselves from incumbents by proposing novel contributions. This dilemma is particularly acute in cultural markets in which demand for novelty and attention to legitimacy are both high. We draw upon research in organizational theory and entrepreneurship to hypothesize the effects of pursuing narrow or broad appeals on the performance of new entrants in the music industry. We propose that the sales of novel products vary with the distance perceived between the classes being combined and that this happens, in part, because combinations that appear to span great distances encourage consumers to adopt superordinate rather than subordinate classes (e.g., to classify and evaluate something as a “song” rather than a “country song”). Using a sample of 144 artists introduced to the public via the U.S. television program The Voice, we find evidence of a U-shaped relationship between category distance and consumer response. Specifically, consumers reward new entrants who pursue either familiarity (i.e., nonspanning) or distinctive combinations (i.e., combine distant genres) but reject efforts that try to balance both goals. An experimental test validates that manipulating the perceived distance an artist spans influences individual evaluations of product quality and the hierarchy of categorization. Together these results provide initial evidence that distant combinations are more likely to be classified using a superordinate category, mitigating the potential confusion and legitimacy-based penalties that affect middle-distance combinations.

This article examines the complexities involved in transferring content and genre from one media platform to another by emphasising the shifting, fragile yet stabilising part that sound can play in such a transformation. Early television is often labelled as a period of ‘radio with pictures’, and this intriguing designation directs our attention to this ‘moment’ of changeover. This analysis explores the parameters of sound in television's displacement of radio as the primary broadcasting medium in Australia in the 1950s. We focus in particular on the role of the human voice (host, audience and contestants) in two early quiz shows – Wheel of Fortune and Pick-a-Box – that began on radio and were both successfully remade as television programs.

This article argues that more scholarly attention should be paid to women’s contributions to the practice of “theme singing,” or the textual and industrial practices of using vocalists as sonic proxies for television characters by articulating programs’ thematic concerns and embodying their tonal dimension in television shows’ credit sequences and soundtracks. Though vulnerable to muting and time shifting, female recording artists—and black women in particular—have always been a fixture of US television production by helping build televisual worlds as theme singers. These professionals help cultivate television programs’ aural sensibilities by literally giving voice to a show’s premise and, in so doing, raise the volume on women’s place in television storytelling as otherwise marginalized subjects. This essay identifies three different types of theme singing that are especially common in television storytelling: theme singing as declaration of selfhood, theme singing as expression of kinship, and theme singing as assertion of community. Further, it analyzes Solange’s and SZA’s involvement with Insecure (HBO, 2016–) as music consultant and soundtrack contributor, respectively, to identify an emerging pattern within contemporary television production of shifting the tonal and thematic properties of theme singing onto licensing by dispensing with original theme music altogether while potentially amplifying more women’s voices as source music.

Interest in the effect of martyrdom television programming on Palestinian children’s culture culminated in 2007, after Hamas’s Al-Aqsa television station tried to promote its political platform with the aid of a Mickey Mouse look-alike character in The Pioneers of Tomorrow. Critics of this television program assumed that martyrdom programs must have a major impact on Palestinian children. Although this assertion may seem reasonable, it is not supported by my research exploring how Palestinian children use television amidst a cultural context pervaded by ongoing conflict. My analysis reveals, among other important findings, that Palestinian children do not watch martyrdom programs. Thus, somewhat unexpectedly and contrary to concerns voiced about Palestinian martyrdom programming, Palestinian children have not been tuning in. Above all else, Palestinian children negotiate the available options by choosing to tune into global, rather than local Palestinian television content. The television program they consume the most is Tom and Jerry. Their parents, on the other hand, prefer that they watch religious programming, including that which airs on Iqra, and that which is hosted by modernist Muslim televangelist Amr Khaled. Nevertheless, family practices around the television set indicate, ultimately, that these children, not their parents, decide what to consume. My findings are based on survey analysis of Palestinian children’s television consumption decisions, surveys of their parents’ opinions about these decisions, my viewing of related television programs, and ethnographic analysis of related family practices around the television set. I conducted my analysis during a period of two and a half years with over 400 Palestinians in the Palestinian Authority and Israel.

The fierce struggle for television audiences is greatest when the content shown is not strictly entertainment, such as, for example, when specialized knowledge is brought to a wide audience. However, the appearance of new television formats has enabled scientific and technical contents to be brought closer to an unprepared and very diverse audience. What resources do these programs use to achieve this? Is emotionalization, which is increasingly dominant in the media, an important strategy in programs that seek to spread scientific knowledge among the general public? Do they use the pluri-locutionary nature of their discourse to promote understanding of the contents and to capture the viewers’ attention? Our research, which forms part of a broader study of new television formats and the communication of knowledge, is the first study on the discourse of the mediatization of knowledge in Spain. The topic is of particular interest because it coincides with the production of innovative television formats that endeavor to capture the interest of sections of the population that usually do not access this type of content. They have an important social function since, as Semir (2011: 19) points out, the knowledge of the world they promote reduces the fear generated in human beings by that which is opaque or unknown, thereby increasing the ability to make decisions and increasing efficiency. Through the linguistic analysis of the statements uttered by the diverse voices of a popular communication program, Quèquicom (Whatwhohow), we will determine which emotions are more present in the program and, therefore, contribute towards its communicative success, and which speakers (presenters, experts or affected individuals) use them more. Determining the resources leading to the success of this program can provide effective tools for other programs with very diverse aims. Studies of this type in Spain have focused on the press but very little on television. This study forms part of a wider research project on new television formats and the communication of knowledge to different audiences and diverse levels of specialization. It has been proven that emotions join together to provide a dramatic progression, based on the tension-relaxation binomial, a progression that holds the audience’s interest, in a similar manner to dramatic fiction programs. Moreover, the emotions can be examined in three ways: they can be referred to as a fact in the reality being narrated, expressed by the speakers or triggered in the audience. Lastly, it was also observed that the emotional charge that justifies the presence of affected individuals or witnesses in the majority of television programs spreads to the voices of the presenters themselves. The transmission of emotions is almost as important as that of knowledge.

Voice or speaker recognition is the ability of a machine or program to receive and interpret dictation or to understand and carry out spoken commands. Library is used by Voice recognition in this system is keras and tensorflow. Keras is one library often use for machine learning. Watching TV is a daily routine that is carried out by almost everyone from all walks of life.Most of them don't pay attention to the process and distance in watching TV.Sensor ultrasonic is used for detect object from TV in ideal distance.

AbstractThis article argues that television recaps are a unique critical genre that provide uncommon attention to women-targeted content. As an episodic form of critical engagement, recaps provide new opportunities for emerging female writers and writers of color to comment upon television’s representational challenges and successes. As women-targeted media gains new traction in the marketplace, recaps can not only be an important vehicle for needed commentary about undervalued content, but they also may serve as a marker of the value of these programs for a historically underserved audience. Featuring interviews with five recappers and two editors from major entertainment-focused publications including The AV Club, Vulture, Vox, Hello Beautiful, Go Fug Yourself and Buzzfeed, this article explores the recap as a distinct genre with feminist potential to elevate new voices, to disrupt traditional taste hierarchies, and to embrace pleasure as a measure of quality.

Whether it is speech synthesis research or speech recognition research, it depends on the construction of excellent speech corpus at the back end to some extent. The phonetic corpus includes three forms: text database, phonetic database and acoustic parameter database. Based on phonetic facts, it serves the basic research of language and the processing of language modernization technology through the functions of natural phonetic collection, phonetic annotation, retrieval and statistics. The purpose of the construction of the media corpus is to serve the research of the audio language of the media, especially the prosody research of the host language. Broadcasting and hosting is an important part of radio and television, and the diversity and richness of modern radio and television programs also put forward new requirements for broadcasting and hosting. Broadcasting determines the basic style, purpose and orientation of radio and television news programs. In the media industry, the status of broadcasting and hosting art is gradually highlighted. Under the background of media convergence, broadcasting and hosting art needs to be developed in more advanced technical fields, and the media voice corpus is an important product created by the development of science and technology.

The development of television media in Indonesia is increasingly creative. This is inseparable from the problems faced by the country and its people. One of the interesting television programs to watch is a talk show that discusses current issues wrapped in formal or informal concepts. Formal are those who attend speakers or guest stars to discuss serious issues such as political disputes. While informal is a discussion that contains many elements of entertainment or jokes. However, from these two concepts, the Mata Najwa talk show program presents an educational and entertaining spectacle. The host, Najwa Shihab, asks smart questions and sometimes comes with comedy. The concept in the Mata Najwa program is also a means of connecting the voices of the Indonesian people, as is the issue of the health minister which is difficult to ask for clarification regarding the 2020 Covid-19 pandemic. The Mata Najwa program provides awareness with satire in the form of an empty seat interview in the episode "Waiting for Terawan", This inspires the people to realize how important the case is, as well as an insinuation to the government. The purpose of this study is to find out the satire messages contained in the process of interviewing the "empty seat" in the episode of mata najwa "waiting for the terawan". The method used is content analysis in order to conclude the results of the discussion in the form of interviews conducted at the najwa eye event, not imaginary. Keywords: Talkshow, Mata Najwa, Satire, Interview, Agenda Setting

O artigo busca refletir sobre o programa The Voice Brasil 3, analisando um de seus candidatos, Pedro Novas/Deena Love, em sua figura ambígua – o que serve de modelo para pensarmos na própria estrutura do programa: que permite, condiciona e é dependente de corpo e voz do candidato em performance. Assim, defende-se que tal estrutura possibilita a emergência de um sujeito midiático por um processo que aqui chamamos vozibilidade, tensionando as complexas relações entre imagem, voz e corpo nessa dinâmica televisiva.

Here is a dazzling book, one that offers a rich genealogy for reflection about our current preoccupations. Open up any newspaper. Switch on any television news program. What you will read and hear is a cacophony of voices, many of them discordant, on how to fix, fund, and perhaps shrink the federal government's spending on those insurance programs first created in the 1930s by the New Deal welfare state. Equally factious are the debates on immigration policy that some hope will resolve how the republic will meet its future labor needs and how it will placate its rising Latino voting public. Will we deport eleven million workers? Will we construct electrified fences to protect our southern border from “illegal” invasion? Will we offer unauthorized immigrants a path to citizenship? Stay tuned. And while racial politics are clearly at the covert center of these polemics, the discussion of race is rarely overt probably because some now pronounce us a post-racial society.

The music that children are exposed to in their everyday lives plays an important role in shaping the way they interpret the world around them, and television soundtracks are, together with their direct experience of reality, one of the most significant sources of such input. This work is part of a broader research project that looks at what kind of music children listen to in a sample of Latin American and Spanish TV programmes. More specifically, this study focuses on children’s programmes in Spain, and was addressed using a semiotic theoretical framework with a quantitative and musical approach. The programme «Los Lunnis» was chosen as the subject of a preliminary study, which consisted in applying 90 templates and then analysing them in terms of the musical content. The results show that the programme uses music both as the leading figure and as a background element. The most common texture is the accompanied monody and the use of voice, and there is a predominance of electronic instrumental sounds, binary stress and major modes with modulations. Musical pieces are sometimes truncated and rhythmically the music is quite poor; the style used is predominantly that of foreign popular music, with a few allusions to the classical style and to incidental music. The data reveal the presence of music in cultural and patrimonial aspects, as well as in cognitive construction, which were not taken into account in studies on the influence of TV in Spain. Such aspects do emerge, however, when they are reviewed from the perspective of semiotics, musical representation, formal analysis and restructuring theories.La música de la vida cotidiana del niño tiene uno de sus referentes, junto a su experiencia real, en la banda sonora de la televisión, configurando una parte de su interpretación de la realidad. Este trabajo forma parte de una investigación más amplia sobre la escucha televisiva infantil en una muestra iberoamericana. El objetivo, conocer qué escuchan los niños en la programación infantil de «Televisión Española», ha sido estudiado desde un marco teórico semiótico con un enfoque cuantitativo y musical. El artículo presenta un resumen de los resultados obtenidos en un primer análisis del programa «Los Lunnis» mediante la aplicación de noventa plantillas y sus análisis musicales correspondientes. Estos resultados indican que el programa utiliza la música como fondo y figura, textura de monodía acompañada y utilización de la voz, predominio del sonido electrónico instrumental, acento binario y modo mayor con modulaciones. Aparecen piezas musicales cortadas y cierta pobreza rítmica, su opción estilística es la música popular no propia, con algunos guiños al estilo clásico y a la música incidental. Los datos muestran la presencia de la música en aspectos culturales, patrimoniales y de construcción cognitiva no considerados en los estudios sobre la influencia de la TV en España, pero que emergen cuando son revisados desde la semiótica, la representación musical, el análisis formal y las teorías de la reestructuración.

The article is devoted to the study of the general state of television in the field of music performance. The most popular musical television programs and vocal shows are considered. The purpose of the work is to identify the features of music TV projects, comparing with world models and highlighting the typical features of the musical television space. The research methodology consists in applying the general principles of scientific knowledge that correspond to modern cultural discourse. The formation of musical and television projects in the context of changes in the social mentality of the consumer of mass culture is considered. Television is interpreted as a means of approaching the global process closer to a person, that is, a consumer communicates with world-wide examples of popular art, music television projects, vocal show projects and etc. It creates the preconditions for imitation of the best world models of music TV projects in Ukraine. The article first analyzes the interconnection of Ukrainian music television projects as analogues to such worldwide shows as "The Voice", "The X factor", "American Idol". Vocal talent shows are considered as combining the elements of a “game show” and a “perfection / transformation show”, promoting the development of the educational component, namely, the formation of educational activity through comments and advice of judges, classes with participants between performances, determination of the most successful performances, concert practice and etc. It was determined, that the vocal repertoire consists of the most popular world and national hits, which reflects the demand of the audience. It was noted, that the viewer influences the selection of participants in a music television project and functions as an additional judge. So, the article focuses on the structure and content of musical television projects, defines the values of such projects as the communication space of culture between the audience, the artistic and performing component, and the national and world music culture as a whole. Music television projects are part of the general educational context for the development of media art and have a scientific, artistic and educational potential for study.

The Australian mainstream media is dominated by middle-class voices, and this shapes the way working-class people are framed within the media. Working-class people have tended to be represented as responsible for their poverty, or ridiculed for their lack of sophistication. But could very small shifts be occurring, as some outlets acknowledge the impact of neo-liberalism on working-class people and point to some of the structural causes of inequality? This article looks at some examples of working-class representation in Australian newspapers, television news and current affairs programs, and considers the ways in which working-class people are presented. The article also asks whether the Australian mainstream media provides a place for working-class voices?

In this month’s interview, Kappan’s editor talks with Paul Kuttner and Kevin Coe about their recent research into how network television news programs have covered preK-12 education. They found that, over the last 35 years, coverage of education has been rare, well under 1% of total coverage. Stories tend to focus on individual teachers and schools, with less discussion of the big picture behind those stories. The tone of coverage has varied over time, with about 54% overall being negative and 43% positive. Overt criticism of teachers was rare, and teacher voices were included in a slim majority of stories.

The present work studies spontaneous emotional speech in European Portuguese, comparing the values obtained in measuring acoustic parameters in this study with the ones known for other languages and for simulated. The spontaneous expression of emotions recorded in the street or from television programs may bring very relevant results, but even in those situations it is difficult to determine the individual’s true emotion (it is often only possible to be identify through the context) (Patrick, 2008). The main focus of our study is on voice related parameters such as F0, jitter, shimmer and HNR that will be liable to compare with previous studies of emotions produced by an actor. Using the Feeltrace system it is possible to better describe the sensation caused by the stimuli (in any of the emotions in question) and describe in more dynamic manner the emotion. We also realize that, although the emotions produced by actors show some differences, because they are necessarily exaggerated, the parameter values are all very similar, valuing the studies that are usually obtained based on utterances produced by performers. Given the scarcity of studies on voice quality in European Portuguese, it is important to highlight that this work presents an original corpus specifically created for this study. We recognize the limitations of the presented research seeing the results as first approaches that must be deeply studied being important to areas such as robotics and health technology.

One of the growing epidemics in the world today is HIV/AIDS. In the cities with high mobility, bus drivers are considered as the risk group for HIV/AIDS. Most of these younger people do not have access to information, condoms, supportive services which enable them to have safer sex. A descriptive cross sectional study was done to access knowledge about HIV/AIDS among drivers of Birgunj Bus Park. The analysis of the data revealed that majority of the respondents were between ages 20-24 years; have heard from media (radio, Television and newspapers); unsafe sex is the means of transmission and using condom during sexual intercourse can prevent HIV/AIDS. The present study strongly recommends that there is immediate need of program to create awareness among drivers including co-workers, vulnerable youths and other high risk groups such as migrant populations. Academic Voices, Vol. 3, No. 1, 2013, Pages 50-53 DOI: http://dx.doi.org/10.3126/av.v3i1.9589

Currently, speech technology allows for simultaneous subtitling of live television programs using speech recognition and the respeaking approach. Although many previous studies on the quality of live subtitling utilizing voice recognition have been proposed, little attention has been paid to the quantitative elements of subtitles. Due to the high performance of neural machine translation (NMT), it has become the standard machine translation method. A data-driven translation approach requires high-quality, large-scale training data and powerful computing resources to achieve good performance. However, data-driven translation will face challenges when translating languages with limited resources. This paper’s research work focuses on how to integrate linguistic knowledge into the NMT model to improve the translation performance and quality of the NMT system. A method of integrating semantic concept information in the NMT system is proposed to address the problem of out-of-set words and low-frequency terms in the NMT system. This research also provides an NMT-centered read modeling and decoding approach integrating an external knowledge base. The experimental results show that the proposed strategy can effectively increase the MT system’s translation performance.

This paper highlights the Islamic animated series that lately is much loved by children and adults, namely Nussa Rara (an acronym from NusAntara). Nussa Official is a youtube channel that contains animated cartoon edutainment (educational entertainment), carrying themes about Islam which is originated from the Qur'an and Hadith. The revelations and messages of the Prophet are displayed so well that they attract attention and are easily understood by children in contrast to other animated shows in general. The focus of this research is on the theme "Basmallah" in the Youtube channel @Nussa Official. In this study the authors found: First, explicitly, the traditions referred to in this program are those that have a valid status. Second, the meaning of the recitation of basmallah is to ask for God's protection from Satan and make Satan shrink like a fly, make a routine worthy of worship, to gain blessings, to arouse enthusiasm and raise one's soul, and to provide calm. Third, the @Nussa Official youtube channel shows developments in the da'wah media or delivering hadith. The delivery of hadith or da'wah underwent a change in context from the beginning of the Prophet's time. The period of the Prophet's process of delivering the hadith starts from the oral tradition then continues on writing, painting, to social media. First is oral tradition. Something that is classified in this form is lectures, sermons, discussions, and others that are done with the tongue and voice. Second is the written tradition. Like books, journals and others. Third is painting, like calligraphy. Fourth is social media that appears on television and is now developed in the YouTube platform. The presence of the hadith recorded on the Nussa Official YouTube channel gives a new breath to the study of Islam and media-based Hadith. Therefore, it’s proving that this animated series underwent transmission and transformation. So the existence of this research is expected to explain that conveying the values of goodness can be done in a variety of ways. At the same time it shows that the study of Islam, al-Qur'an and Hadith not only rests on texts or books of classical to modern interpretation but are broader than that. Keywords: Living Hadits, Da’wah, Youtube, Transmission, Transformation Abstrak Tulisan ini menyoroti tentang serial animasi islami yang belakangan ini banyak digandrungi oleh anak-anak juga orang dewasa yaitu Nussa Rara (akronim dari NusAntara). Nussa Official adalah sebuah channel youtube yang berisi kartun animasi edutainment (educational entertainment), mengusung tema seputar keislaman yang bersumber dari al-Qur’an dan hadis. Wahyu dan pesan Nabi ditampilkan dengan apiknya hingga menarik perhatian dan mudah dimengerti anak-anak. Berbeda dengan animasi pada umumnya yang sifatnya global. Fokus penelitian ini adalah pada tema “Basmallah”dalam channel youtube @Nussa Official. Dalam kajian ini penulis menemukan: Pertama, secara eksplisit hadis yang dirujuk dalam tayangan ini adalah hadis yang statusnya sahih. Kedua, makna dari pembacaan basmallah adalah memohon perlindungan Allah dari setan dan membuat setan mengecil bagaikan lalat, rutinitas menjadi bernilai ibadah, memperoleh keberkahan, membangkitkan semangat dan membesarkan jiwa, memberikan ketenangan. Ketiga, channel youtube @Nussa Official menunjukkan adanya perkembangan pada media da’wah atau menyampaikan hadis. Penyampaian hadis maupun dakwah mengalami perubahan konteks dari awal masa Nabi. Masa Nabi proses menyampaikan hadis dimulai dari lisan. Kemudian berlanjut pada tulisan, lukisan, hingga pada media sosial. Pertama, lisan. Sesuatu yang tergolong dalam bentuk ini adalah ceramah, kuliah, diskusi, dan lainnya yang dilakukan dengan lidah dan bersuara. Kedua, tulisan. Seperti buku, jurnal dan lainnya. Ketiga, Lukisan seperti kaligrafi. Keempat, media sosial yang muncul dalam televisi dan kini berkembang dalam bentuk youtube. Hadirnya hadis yang terekam dalam channel youtube Nussa Official ini memberi nafas baru bagi kajian islam maupun hadis berbasis media. Dengan demikian membuktikan bahwa serial animasi ini mengalami transmisi dan transformasi. Maka dengan adanya penelitian ini diharapkan dapat menjelaskan bahwa menyampaikan nilai-nilai kebaikan dapat dilakukan dengan beragam. Sekaligus menunjukkan bahwa kajian keislaman, al-Qur’an maupun hadis tidak hanya bertumpu pada teks atau kitab-kitab tafsir klasik hingga modern melainkan lebih luas dari pada itu. Keywords: Living Hadis, Dakwah, Youtube, Living Hadis, Transmisi, Transformasi

ABSTRACTRespeaking involves producing subtitles in real time to make live television programs accessible to deaf and hard of hearing viewers. In this study we investigated how the type of material to be respoken affects temporal aspects of respeaking, such as ear–voice span and pauses. Given the similarities between respeaking and interpreting (time constraints) and between interlingual respeaking and translation (interlingual processing), we also tested whether previous interpreting and translation experience leads to a smaller delay or lesser cognitive load in respeaking, as manifested by a smaller number of pauses. We tested 22 interpreters, 23 translators, and a control group of 12 bilingual controls, who performed interlingual (English to Polish) and intralingual (Polish to Polish) respeaking of five video clips with different characteristics (speech rate, number of speakers, and scriptedness). Interlingual respeaking was found to be more challenging than the intralingual one. The temporal aspects of respeaking were affected by clip type (especially in interpreters). We found no clear interpreter or translator advantage over the bilingual controls across the respeaking tasks. However, interlingual respeaking turned out to be too difficult for many bilinguals to perform at all. To the best of our knowledge, this is the first study to examine temporal aspects of respeaking as modulated by the type of materials and previous interpreting/translation experience. The results develop our understanding of temporal aspects of respeaking and are directly applicable to respeaker training.

Indonesian language is increasingly being ignored, even the mass media often find the use of non-standard language, so there is a uniformity in the use of words that often appear in scientific articles, especially those Indonesian. The uniformity of Indonesian pronunciation certainly confuses the general public, for example: television news viewers and radio listeners, to distinguish between standard and non-standard forms. The non-uniformity of Indonesian pronunciation often occurs in official situations such as official speeches or presentations. Based on this phenomenon, this study aims to conduct an analysis and mapping study of standard pronunciation errors that arise in several public services and develops application tools as automatically tool that can detect errors from the use of standard words obtained from voice recording results in the form of vowel errors, diphthongs and consonants by implementing the bigram method. This research was conducted by collecting voice recordings of conversations, speeches, public speaking and other recordings deemed necessary, then continued with standard pronunciation errors analysis and mapping of these errors using a tool that applied the Bigram technique. Based on statistical information obtained from the detection and correction process that has been carried out, it can be obtained a mapping of the error types in the use of Indonesian standard that often occur in public service environment. The results of the mapping and statistical information obtained are used as the basis for developing programs that aim to improve the quality of the use Indonesian standard in the form of FGDs, socialization and counseling. The study result indicate the standard of pronunciation errors that occur in various circles including presenters and lecturers, then the results of data analysis are described in the form of tables and diagrams so it is seen the percentage of errors that occur

AbstractSelf-report outcome measures were routinely collected from 4421 adult clients around Australia. The measures used were the Hearing Aid User’s Questionnaire (HAUQ), which assessed hearing aid use, benefit, problems, and satisfaction, and the Client Oriented Scale of Improvement (COSI), which identified client needs, change in listening ability, and final listening ability in situations important to each client. Listening to television or radio and conversing with one or two others in a quiet place were the most frequently nominated needs. The benefit reported for noisy places was less than for quiet places, but very positive nonetheless. The normative data collected show a marked concentration of responses near the upper end of the scale for each of the outcome items except daily use. Consequently, correlations between the measures, although highly significant, were mostly less than 0.4. When the data were collapsed across subjects seen at each hearing center, benefit, satisfaction, usage, and problems with the hearing aids became much more strongly correlated with each other, with correlation coefficients up to 0.8. Benefit, satisfaction, usage, and the types of problems clients encountered with their hearing aids varied significantly from hearing center to hearing center. The most frequently reported problem was dissatisfaction with the quality of the subjects’ own voices (i.e., occlusion effect), followed by feedback. The problems most closely related to usage, benefit, and satisfaction, however, were the presence of feedback, comfort of the earmold or earshell, and the quality of the users’ own voices. These outcome measures appear to be most suitable for identifying needs, identifying individuals receiving markedly less than average benefit, and for finding small differences between outcomes for subgroups of the population. Abbreviations: ANOVA = analysis of variance; APHAB = Abbreviated Profile of Hearing Aid Benefit; BTE = behind the ear; COSI = Client Oriented Scale of Improvement; GAS = Goal Attainment Scaling; HAUQ = Hearing Aid User’s Questionnaire; HHIE = Hearing Handicap Inventory for the Elderly; ITE = in the ear; NAL = National Acoustic Laboratories; NAL-RP = NAL Revised Profound; SSPL = saturation sound pressure level

This article aims to explain the use of multimedia in the form of the kinemaster application in the learning process of making news videos in the Praktik Jurnalistik Media Televisi course. The method used is a descriptive method with a qualitative approach. Data were collected from field findings, participant data, and researcher reflections. Sources of data obtained from direct experience, the results of interviews, observations, and documentation from lecturers who are in charge of the Praktik Jurnalistik Media Televisi course at the Indonesian Language and Literature Education Study Program, STKIP PGRI Sumatera Barat. Based on the findings, the kinemaster application helps students in producing news videos. After the data, news scripts, and voices that have been recorded are complete, they take advantage of this application to combine video, sound and images. This application provides a fairly complete video editing feature and can directly edit it on the spot without having to move to another application. Thus, the use of learning resources in the form of multimedia applications in the Praktik Jurnalistik Media Televisi will increase the effectiveness of learning, so that learning becomes more meaningful for students to get direct experience in the use of technology.

OBJECTIVES/SPECIFIC AIMS: This study aims to describe adaptability in methods used to apply community input to programming within the field of translational science. The outcomes of community informed programming include opportunities for innovative projects and approaches, and better responsiveness to community needs. It is anticipated that this will result in greater community involvement in research, moving towards greater health equity. METHODS/STUDY POPULATION: The SC CTSI is situated in urban Los Angeles, one of the most diverse communities in the world. Eight SC CTSI Community Engagement Core initiatives that employ community partnership are illustrated. The activities include social marketing campaigns for cervical cancer prevention; use of community-embedded research ambassadors to increase scientific literacy in Latino and Black/African-American communities; use of innovative technologies to educate pediatric patients and families about clinical research; working with the entertainment industry to promote clinical research in popular television shows; a community advisory board that is tailored and embedded in each CSTA core group; a community based research dissemination program; an ad-hoc community advisory group assembled to adapt a research 101 curriculum for Black/African-American communities; and a series of listening sessions conducted throughout Los Angeles. RESULTS/ANTICIPATED RESULTS: Integration of community voices provide direction for future planning, programming and execution of all referenced initiatives. Ultimately, the goal for these discussions with community members is to develop innovative approaches to CTSA programming. DISCUSSION/SIGNIFICANCE OF IMPACT: Racial and ethnic minorities continue to experience underrepresentation in clinical research trials. CTSAs have been tasked with addressing barriers that have historically led to disparities in research participation, and by extension, the effectiveness of medical interventions in diverse populations. Community input is an invaluable source for knowledge and innovative ideas in how to increase involvement in various aspects of the research process, including dissemination, recruitment and enrollment in clinical trials. CTSAs have increasingly augmented Community Engagement programs within their respective cores to address population disparities. The approaches used to engage communities require an element of fluidity and flexibility, and a reliance on the input of community members, in order to maintain relevant and desired community engagement practices.

AbstractThis essay aims to explicate the conditions enabling Hansonism. Politically, it argues that the party's exploitation of cynicism about mainstream politics and deepening economic and social divisions have been enabled by the Howard government's zealous pursuit of neo-liberal politics, its dismantling of Labor's welfare safety net, its wedge politics, its cynical reneging on election promises, and its attacks on the fourth estate, not to mention his endorsement of Hanson's freedom of speech'. In terms of the media, the essay argues that Hansonism's protest vote is based on a ‘plague o’ both your houses'. The allied populist prejudices of several radio talkback hosts have drawn their strength from television's virtual displacement of political debate in its posture as voice of the people, its actual address to viewers as domestic, atomised consumers and the increasing populism of vernacular genres such as lifestyle programs and sitcoms. Examples include the most popular Australian film of the Howard-Hanson era, The Castle.We live in the most polyglot and hybrid moment of human history […] Apostles of purity are the most dangerous people in the world. (Salman Rushdie 1994)People who can accept their own contradictions do not kill people. (Ariel Dorfman 1998)The media are […] so much more effective in disseminating information simultaneously to large groups of people that they not only supplement the political and educational systems but in some respects supplant them, because of their enormous power. (Anthony Wedgewood Benn 1972)

FR. Le journal télévisé (JT) est constitué d’un assemblage de voix : voix du réseau de télévision responsable du JT ; voix du présentateur et des reporters qui se succèdent à l’écran ; voix des protagonistes et des interprètes des événements. Cette polyphonie, élaborée et orchestrée par les artisans du JT, est un révélateur du type de rapport que ceux-ci cherchent à établir avec le monde dont ils sont censés rendre compte et avec le public qu’ils sont censés informer. Une analyse en diachronie des voix présentes dans les JT diffusés au Québec depuis les années 1960 permet d’observer certains changements significatifs. Le JT montre à l’écran deux catégories de locuteurs : des journalistes (présentateurs, reporters, chroniqueurs), qui sont de loin les plus loquaces (80% du temps de parole) et des acteurs de l’actualité (protagonistes, témoins et interprètes des événements). Au début de la période, le monde que donne à voir le JT est surtout celui des institutions soumises au principe de publicité (les parlements, les assemblées publiques, les tribunaux et les conférences de presse convoquées par les grandes institutions) dans lesquelles domine une parole dite « officielle ». Ces voix institutionnelles ont cédé de plus en plus de place à des locuteurs individuels, en l’occurrence des experts et des « gens ordinaires », qui, en parlant, n’engagent qu’eux-mêmes. Avant 2000, l’actualité que décrit le JT est d’abord et avant tout l’affaire des acteurs politiques et des dirigeants de l’administration publique ; après 2000, l’actualité du JT est surtout l’affaire d’individus qui, pour diverses raisons, sont mis en scène dans le bilan de l’actualité. Cette montée en puissance du discours individuel peut s’expliquer par des facteurs techniques (qui ont rendu la chose matériellement faisable), des facteurs professionnels et organisationnels (qui ont fait en sorte que la valorisation de la parole individuelle est apparue aux yeux des artisans du JT comme une stratégie avantageuse, commercialement et professionnellement) et des facteurs socio-culturels (qui ont rendu cette publicisation de la parole individuelle acceptable, même souhaitable aux yeux des téléspectateurs). *** EN. Televised news bulletins are composed of a chorus of voices: the television network responsible for the news broadcast; the news anchor and reporters who follow one after the other on the screen; and the protagonists and interpreters of the events. This polyphony, developed and orchestrated by TV news maestros, exemplifies the type of relationship they seek to establish with the world they are supposed to report on and with the public they are supposed to inform. A diachronic analysis of televised news broadcasts in Quebec since the 1960s reveals significant change. Two categories of speakers dominate the screen: journalists (presenters, reporters, columnists), by far the most prevalent (80% of speaking time), and news actors (protagonists, witnesses and event interpreters). At first, news mainly portrayed the world of institutions subject to needs of publicity (parliaments, public assemblies, courts and press conferences convened by major institutions), and was dominated by so-called “official” discourse. These once-dominant institutional voices have increasingly given way to individual speakers, in this case experts and “ordinary people,” whose discourses only commits the speaker and not the institution. Before 2000, the world described by the news was first and foremost that of political actors and public administration officials; since 2000, news has become mainly about individuals who are staged, for various reasons, into news programs. The growing importance of individualistic discourse can be explained by technical factors (which have made it materially feasible), professional and organizational factors (which have convinced TV news producers that individual speech is an advantageous strategy, commercially and professionally) and socio-cultural factors (which have made this visibility of individual speech acceptable and even desirable to viewers). *** PT. Os boletins de notícias na televisão são compostos por um conjunto de vozes: vozes da rede de televisão responsável pela transmissão de notícias; vozes dos âncoras e repórteres que se sucedem na tela; vozes dos protagonistas e intérpretes dos eventos. Essa polifonia, desenvolvida e orquestrada por artesãos de telejornais, revela o tipo de relacionamento que eles procuram estabelecer com o mundo que presumem reportar e com o público que presumem informar. Uma análise diacrônica das vozes encontradas nas transmissões de notícias televisivas em Quebec desde a década de 1960 mostra algumas mudanças significativas. Duas categorias de interlocutores são ouvidas principalmente: jornalistas (apresentadores, repórteres, colunistas), de longe os mais loquazes (80% do tempo de fala), e atores de notícias (protagonistas, testemunhas e intérpretes de eventos). No início do período, o mundo retratado pelas notícias é principalmente o mundo das instituições sujeitas ao princípio da publicidade (parlamentos, assembléias públicas, tribunais e conferências de imprensa convocadas pelas principais instituições), nas quais o chamado discurso "oficial" domina. Essas vozes institucionais outrora dominantes deram lugar a interlocutores individuais, neste caso especialistas e "pessoas comuns", cujos discursos apenas se empenham. Antes de 2000, o mundo descrito pelas notícias é da preocupação dos atores políticos e líderes da administração pública; depois de 2000, as notícias são principalmente sobre indivíduos encenados, por várias razões, no programa de notícias. A crescente importância do discurso individualista pode ser explicada por fatores técnicos (que o tornaram materialmente viável), fatores profissionais e organizacionais (que fizeram o aprimoramento do discurso individual parecer aos telespectadores uma estratégia vantajosa, comercial e profissionalmente) e fatores socioculturais (que tornaram essa visibilidade do discurso individual aceitável e até desejável para os telespectadores). ***

Abstract Background Many laboratory tests are performed under unrealistic conditions. Tasks, such as repeating words or sentences, are performed in simple loudspeaker setups. Currently, many research groups focus on realistic audiovisual laboratory setups. Fewer groups focus on the tasks performed during testing. Purpose A semicontrolled laboratory test method focusing on the tasks performed, the Live Evaluation of Auditory Preference (LEAP) was evaluated. LEAP is developed to evaluate hearing-instrument performance in test scenarios that represent everyday listening situations. Research Design LEAP was evaluated in a feasibility study. The method comprises conversations between a test participant and one or two test leaders, enabling evaluation of the test participant's own voice. The method allows for visual cues (when relevant) and introduce social pressure to participate in the conversation. In addition, other everyday listening tasks, such as watching television (TV) and listening to radio, are included. In this study, LEAP was used to assess preference for two hearing aid settings using paired comparisons. Study Sample Nineteen experienced hearing aid users (13 females and 6 males; mean age 74 years), participated in the study. Data Collection and Analysis LEAP was performed at three visits to the laboratory. In addition, participants conducted a field trial where the two hearing aid programs were compared using Ecological Momentary Assessments (EMA). During LEAP testing, six mandatory test cases were used, representing commonly occurring everyday listening situations. Individual test cases were also included, selected from individually experienced listening situations during the field trial. Within- and between-session reliability of the LEAP test was investigated. Validity was investigated by comparing the LEAP and the EMA results. Results For the current signal-processing evaluation, the test was judged to have acceptable reliability and validity. The inclusion of individually selected test cases increased the representativeness of the LEAP test, but it did not substantially alter the results in the current study. Conclusion LEAP in its current implementation seems suitable for investigating signal-processing preference in the laboratory in a way that is indicative of everyday preference. The LEAP method represents one step forward in bringing the real world into the laboratory.

Minstrels play a fundamental role in representing and preserving the oral tradition and music culture in geographies where Turkish culture is dominant. Setting the tone of socio-cultural structure, minstrels have ensured that the artistic expression and perception of the societies have remained within the framework of traditions and customs. Âşık Reyhanî is a minstrel who managed to be an intergenerational bridge between his predecessor and the next generation in terms of passing down the minstrel literature and music through the apprentices he trained, his mentor’s works he brought to society, and the works he produced. This study aims to reveal Âşık Reyhanî's mastery of minstrel music with both his theoretical knowledge and rich melody repertoire, as well as vocal and instrumental performance techniques, in the light of information and documents. With this approach; a literature review was made on poet, minstrel, minstrel tradition, the place of the minstrel tradition in Turkish folk music, minstrel music in Erzurum province, and the art life of Âşık Reyhani so as to create the theoretical part of the research. In order to obtain the musical findings belonging to Âşık Reyhanî, the documentary review method was used to collect the data, and Âşık Reyhanî's record-cassette albums, video recordings, television programs he attended, documentaries with the theme of Âşık Reyhanî, and various written sources were utilized. In line with the findings obtained, Âşık Reyhanî was knowledgeable about various performance techniques, chords, and frets concerning the performance of the baglama instrument. Although he mostly used the divan instrument, it is seen that he also preferred the instrument tambura in his performances. In his albums, Âşık Reyhanî performed unmetered folk songs that resemble Turkish unmetered folk music types such as Maya and Divan, besides Turkish folk songs in various melody forms such as Sümmani and Köroğlu, When the tone of the works performed by Âşık Reyhanî is examined, it is seen that he generally sang with the sounds fa# (F#3), fa (F3), and sol (G3). The works he performed usually do not exceed one octave and are in the range of 4-5 and 7 voices. Besides the Uşşak and Hüseyni that are frequently used in the region, he performed works with the Hejaz, Muhayyer, Saba, and Karcığar scales. Âşık Reyhanî performed Turkish folk songs mostly in the 4/4 and 2/4 simple, and the 5/8 compound tempo.

The aim of the article is to clarify the artistic role of the ensemble “Chervona Ruta” in the context of Ukrainian musical culture. The relevance of the study lies in the development of principles of a new vision, trends in the development of the ensemble “Chervona Ruta” in the context of Ukrainian pop and ensemble performance and its role in the development of musical culture of Ukraine. The methodology of this study is the application of comparative-historical method, which allows us to trace the historical context of the ensemble and the context of the development of pop and ensemble art of Ukraine. The chronological method allows to determine the stages of formation and development of the team on the example of the analysis of concert and performance activities of the ensemble. Vocal and pop performance on the examplebof the ensemble “Chervona Ruta” appears as a dynamic cultural and artistic phenomenon. The song repertoire of the ensemble appears as a translator of the identity of Ukrainian culture, which is confirmed by the presence of folk intonations and the involvement of appropriatebinstruments. The study of the processes of formation and development of ensembles allows us to identify the traditions of Ukrainian pop music, which is a prerequisite for the formation and development of musical art in Ukraine. Despite the existing achievements in the study of ensemble performance, the issues of the influence of ensemble work on Ukrainian artistic music culture remain insufficiently studied, which highlights the need for a comprehensive analysis of the specifics of pop vocal and ensemble performance, especially the band “Chervona Ruta” as a creative phenomenon of pop ensemble. The creative path of the ensemble “Chervona Ruta” began a new stage in the formation of pop song repertoire, which differs from the previous significant changes in genre richness, functional features and new means of performance. The popularization of Ukrainian pop song contributed to the development of television, the improvement of sound recording and reproducing equipment, the emergence of electromusical instruments. All this contributed to the emergence of numerous amateur vocal and instrumental ensembles – a hallmark of a new era in the development of popular music. The advent of VIA brought new ways of artistic expression to the stage – new timbre paints, the use of electromusical instruments with their specifics, the use of various electronic systems, the strange sound of voices in extreme tension. Conclusions. Ensemble art in various genre and stylistic forms has always played a significant role in social life and has enjoyed the widest popularity among composers, performers and listeners in all historical epochs and in general remains popular today. The rise and prosperity of VIA coincided with a period of intensive scientific and technical discoveries – radio engineering, electronics, sound recording. Participants of vocal-instrumental ensembles can be called musicians-performers of a new type, they are at the same time singers, musicians, actors and authors. The new domestic VIA combined the features of big beat and enriched them with national elements, in their programs there is a tendency to synthesize with theater, choreography. A new youth spectator stood out from the former regular audience of the stage, the regulatory functions of the mass media increased.

We live in a world of near continuous monitoring. In our automobiles we monitor the status of fuel, oil pressure, temperature, and seat belts through gauges, lights, and electronic voices. The consumption of electricity and fuel in our homes is monitored as is the chlorine in our drinking water and the alcohol in our beer. Manufacturers retain quality assurance inspectors and issue warrantees and guarantees to convince us that all is well. We monitor our schools and measure our own progress through grades and proficiency scores. It seemed appropriate, therefore, that the Illinois Natural History Survey should take a measure of the living natural resources of Illinois by bringing together a knowledgeable group of persons to summarize the state of the State. In order to share this information and to provide an opportunity for discussion, a symposium, "Our Living Heritage: The Biological Resources of Illinois," was sponsored by the Illinois Department of Energy and Natural Resources and organized by the Survey. The event, timed to coincide with Earth Day 1990 celebrations, was held on April 2.^ and 24 on the campus of the University of Illinois at Urbana-Champaign. It was attended by nearly 250 professional scientists from some 50 agencies and institutions along with a number of interested and dedicated citizens. To share the results of that symposium with an even larger audience, we have issued this publication of its proceedings. To address the salient features of the living resources of Illinois in an ordered fashion, the symposium was presented in five sessions: forests, prairies and barrens, wetlands, streams and caves, and agro-urban ecology. When we consider that only (.).59t of Illinois remains in undisturbed natural areas, that Illinois ranks 46th among states in publicly owned open space per person, that forest acreage has decreased by 73% in the past century and tallgrass prairie by over 99%, that 85% of our wetlands have been lost, that soil erosion proceeds at the rate of 200 million tons per year, and that approximately 30,000 tons of herbicide and 3,500 tons of insecticides are used annually on agricultural crops in Illinois, we can scarcely imagine the tone of the symposium to have been anything but pessimistic. In part, there was discouragement, but it was tempered by positive developments, including the designation of the Middle Fork of the Vermilion River as a National Wild and Scenic River, the acquisition of the Cache River Basin, the initiation of a study to identify high-quality Illinois streams based on biodiversity, and the ever quickening actions of the Nature Preserves Commission. Preservation/conservation has been in conflict with consumption/development since the days of Theodore Roosevelt. At times one side seems to prevail over the other, but the balance has been clearly on the side of consumption. Special interest groups have to a considerable extent managed to give the word environmentalist a pejorative cast and the word development a positive ring. During the past decade, the executive branch of the federal government has determinedly downplayed environmental concerns, and that stance has been translated into inertia in a number of federal agencies with responsibility for natural resources. The focus of the United States Environmental Protection Agency, for example, has until very recently ignored the living components of the environment. At the same time, public sensitivity to environmental concerns has dramatically increased, primarily through public service television and other media-generated presentations on tropical deforestation, extinction of species, depletion of the ozone layer, agro-chemical contamination of groundwater, and the effects of acid rain. Some of this concern is now being transformed into political action. Polls suggest that the public understanding of environmental matters is quite high, and some beheve that it exceeds the perceptions of elected officials. A Green Party has emerged in this country only very recently, but Greens are a part of both major political parties and the trend in federal legislation may soon begin to sway in favor of conservation/preservation and away from consumption/development. The National Institutes for the Environment may well become a reality within the next several years. Within this tentatively encouraging national picture, the symposium was timely indeed. One symposium event of special interest cannot be documented in these proceedings — the "citizens respond" program of Monday evening, April 23—and I would like to note it here. Michael Jeffords and Susan Post of the Survey opened that session with a mulitmedia presentation on the biodiversity of Illinois. Their slides of representative plants and animals and habitats of the natural divisions of Illinois brought home to us the beauty and fragility that can yet be discovered in the landscape of our state. A panel presentation by five environmental activists followed: Clark Bullard, Office of Energy Research at the University of Illinois at Urbana-Champaign; Max Hutchison, Natural Land Institute of The Nature Conservancy; Lawrence Page of the Illinois Natural History Survey; Donna Prevedell, farmwife and contributing editor to the Progressive Farmer, and Michael Reuter, Volunteer Stewardship Network of The Nature Conservancy. They spoke briefly but openly on preservation activities in which they had been closely involved. The discussion was then turned over to the audience, who asked questions and shared their experiences—successes and failures—with preservation efforts. I urge you to read on in order to understand the status of the biological resources of Illinois and to appreciate how much remains to be accomplished to secure their future—and ours. I would be remiss, however, if I did not conclude by acknowledging the committee of Survey staff who planned and conducted the symposium: Lawrence Page, Michael Jeffords, Joyce Hofmann, Susan Post, Louis Iverson, and Audrey Hodgins. Their efforts included developing the program, arranging for speakers and facilities, producing and mailing promotional materials, and welcomine the audience. Without their enthusiasm and hard work, the symposium v^ould not have materialized and our understanding of the biological resources of Illinois would be much diminished. Lorin I. Nevling. ChiefIllinois Natural History Suney

Abstract. Voice Over or what is known as VO is being discussed a lot, not only about the profession, but also from the industry side and the various voice over techniques used. Due to this phenomenon, many ordinary people try voice over from imitating, covering, voice over. challenges on instagram. From a journalistic point of view, voice over is also used in news programs, from various types of regular news programs, this research focuses on voice over features because it has more discussion, the way it is delivered, produces more diverse news using different voice colors, with the research subject being voice actors. overfeature news tvOne. This study is entitled The Meaning of Voice Over in Television Feature Reporting. The purpose of this study is to discuss the experiences of voice over talent from the journey of becoming voice over talent to the voice over production process on tvOne, to analyze the motives for becoming voice over talent feature news on tvOne, to find the meaning of voice over on tvOne news feature, to analyze self-representation as news voice over. This study uses a qualitative research method, Alfred Schutz's phenomenological approach to answer research questions. The results of the research in the experience of news voice over on tvOne that each informant has a different experience and it has been for many years, some have previous experience because they have served in the media before, have knowledge through training, have the ability to report or deliver news. Commonly used voice over techniques include articulation, emphasize, and intonation. The motives behind the voice over tvOne news in carrying out their work are dream motives, work experience motives, and interest motives. These motives are included in the because motive or past motives. Meanwhile, future motives or in order to motives are economic motives and learning motives. The self-representation of news voice over consists of two parts, namely the front stage and the back stage. The front stage for news voice overs is when they take voice over, voice according to the character of the feature or program script, do voice acting with an informative impression. Back stage for news voice over is script discussion with producer or scriptwriter, doing script or voice character research, practicing before doing voice over take. The meaning of voice over for news voice over is divided into five categories, namely, (1) Voice over and picture shows have the same value, (2) Voice has feelings and emotions (3) Voice over as a messenger (4) Voice over to channel interest and (5) Voice over as a learning medium. Abstrak. Voice Over atau yang dikenal VO sedang banyak diperbincangkan, tidak hanya seputar profesinya saja, tetapi dari sisi industri dan berbagai teknik-teknik voice over yang digunakan, adanya fenomena ini banyak orang awam mencoba-coba voice over dari meniru, meng-cover, voice over challenge di instagram. Dari sisi jurnalistik voice over pun digunakan pada program berita, dari berbagai jenis program berita reguler, penelitian ini fokus dalam voice over feature karena lebih banyak pembahasannya, cara penyampaiannya, menghasilkan berita yang lebih beragam dengan menggunakan warna suara yang berbeda, dengan subjek penelitian pengisi voice over feature news tvOne. Penelitian ini berjudul Makna Voice Over Dalam Pemberitaan Feature Di Televisi.Tujuan penelitian ini untuk membahas pengalaman para voice over talent dari proses perjalanan menjadi voice over talent sampai proses produksi voice over di tvOne, untuk menganalisis motif menjadi voice over talent feature news di tvOne, untuk menemukan makna dari voice over pada feature news tvOne, untuk menganalis representasi diri sebagai news voice over. Penelitian ini menggunakan metode penelitian kualitatif, pendekatan fenomenologi Alfred Schutz untuk menjawab pertanyaan penelitian. Hasil penelitian dalam pengalaman news voice over di tvOne bahwa setiap informan memiliki pengalaman yang berbeda dan sudah bertahun-tahun, ada yang memiliki pengalaman sebelumnya karena pernah bertugas di media sebelumnya, memiliki ilmu melalui pelatihan, memiliki kemampuan dalam reportase atau menyampaikan berita. Teknik voice over yang umum digunakan meliputi artikulasi, emphasize, dan intonasi. Motif yang menjadi latar belakang para news voice over tvOne dalam menjalankan pekerjaannya adalah motif mimpi, motif pengalaman pekerjaan, motif minat. Motif tersebut termasuk ke dalam because motive atau motif masa lalu. Sedangkan motif masa depan atau in order to motive yaitu motif ekonomi dan motif belajar. Representasi pada diri news voice over terdiri dari dua bagian yaitu front stage dan back stage. Front stage para news voice over adalah saat melakukan take voice over, menyuarakan sesuai karakter naskah feature atau program, melakukan voice acting bersuara dengan kesan informatif. Back stage para news voice over adalah diskusi naskah dengan produser atau penulis naskah, melakukan riset naskah atau karakter suara, berlatih sebelum melakukan take voice over. Makna voice over bagi news voice over dibagi menjadi lima kategori yakni, (1) Voice over dan tayangan gambar memiliki nilai yang sama, (2) Suara memiliki rasa dan emosi (3) Voice over sebagai penyampai pesan (4) Voice over untuk menyalurkan minat dan (5) Voice over sebagai media belajar.

The focus of the research is to explore creativity in the application of linking techniquesto improve English fluency in order to increase the understanding of the English languagethrough the medium of television news. The method used is a combination betweendemonstrations and simulations method, based on experiences through reading andlistening skills. Simultaneously both these skills are applied in the instructional processin the classroom by using English-language news items from Voice of America SpecialEducation Report. The result of this study is that technique of linking is found in theEnglish News presented in television. Linking technique was applied to the type ofconsonant-vowel as well as the vowel-vowel. Consonant-vowel found in more thanthe vowel-vowel. The more linking technique found the more it makes a rapid speechin the case of presenting English news. By knowing the characteristics of the applicationof the technique linking, it is expected that Indonesian audience in general and studentof television study program in particular can understand the news more easily.

The study aimed to identify the role of Jordanian television talk shows in promoting freedom of opinion and freedom of expression in Jordanian society. The program "Voice of the Kingdom" on the Kingdom of Jordan channel is a model. The study used the analytical descriptive approach. The most important results were as follows: the largest percentage of the topics of the workshops were local, and national social programs that dealt with topics related to public affairs, followed by economic and then political topics. The local and social topics discussed in the program were topics that discussed public affairs, most of which were related to procedures and measures to deal with the Corona epidemic, Especially in the first two years of the spread of the COVID-19 pandemic, which was predominantly healthy, medical, awareness, guidance and warning, such as the time of the ban, the government measures taken to deal with Corona, the ability of the health sector to deal with this epidemic, and the way the epidemic spread, and they took the necessary measures not to transmit the disease between individuals.

Introduction In this paper, I examine the practices of representing Deaf ‘voices’’ to hearing audiences in two recent US television crime dramas. More literally I look at how American Sign Language is framed and made visible on the screen through various production decisions. Drawing examples from an episode of CSI: New York that aired in December 2006 and an episode of Law and Order: Criminal Intent that aired in April 2007, I examine how the practices of filming Deaf people and the use of American Sign Language intersect with the production of a Deaf ‘voice’ on the screen. The problem of representing a Deaf ‘voice’ on the screen is akin to the problem of representing other minority languages. Film and television producers in the United States have to make choices about whether the majority audience of English speakers will have access to the minority language or not. In the face of this dilemma media producers have taken several approaches: subtitling foreign speech, translating foreign speech through other characters, or leaving the language inaccessible except to those who use it. The additional difficulty with representing national sign languages is that both the language and the recording medium are visual. Sometimes, filmmakers make the choice of leaving some portions of the signed dialogue inaccessible to a non-signing hearing audience. On the one hand this choice could indicate a devaluing of the signed communication, as its specific content is considered irrelevant to the plot. On the other hand it could indicate that Deaf people have a right to be visible on television using their own language without accommodating hearing people. A number of choices made in the filming and editing can subtly undermine positive representations of Deaf ‘voices’ particularly to a Deaf audience. These choices often construct an image of sign languages as objectified, exoticised, disjointed, incomplete, or a code for spoken language. Simple choices such as using simultaneous speaking and signing by Deaf characters, cropping the scene, translating or not translating the dialogue have powerful implications for the ways that Deaf ‘voices’ are becoming more visible in the 21st century. Typical filming and editing conventions effectively silence the Deaf ‘voice.’ Over 20 years ago, in the comprehensive book, Hollywood Speaks: Deafness and the Film Entertainment Industry (1988), Schuchman’s complaint that the filming and editing techniques of the day often did not attend to preserving the visibility and comprehensibility of sign language eon the screen, still applies today. As editing techniques have evolved over the years, fr om reliance on wide and medium shots to frequent intercutting of close-ups, the tendency to cut sign language off the screen, and out of the comprehensible view of the audience, may have even increased. Recent Portrayals of Deaf People on Television During one television season in the United States between August 2006 and April 2007, 30 episodes of six different serial television programs portrayed signing Deaf characters. Three of these programs had on-going Deaf characters that appeared in a number of episodes throughout the season, while three other programs portrayed Deaf people in a one-off episode with a Deaf theme. Initial air date for the season Program and Season # of Episodes 1 14 Aug. 2006 Weeds, Season 2 5 2 20 Sep. 2006 Jericho, Season 1 13 3 28 Jan. 2007 The L Word, Season 4 9 Table 1. Dramas with Ongoing Deaf Characters during the 2006-2007 USA Television Season Initial air date Program, Season, Episode Episode Title 1 13 Dec. 2006 CSI: New York, Season 3, Episode 12 “Silent Night” 2 3 Apr. 2007 Law and Order: Criminal Intent, Season 6, Episode 18 "Silencer" 3 12 Apr. 2007 Scrubs, Season 6, Episode 16 “My Words of Wisdom” Table 2. One-off Episodes with Signing Deaf Characters during the 2006-2007 USA Television Seasons Ironically, although the shows with ongoing characters sometimes allow the Deafness of the character to be incidental to the character, it is only the one-off crime dramas that show Deaf people relating with one another as members of a vibrant community and culture based in sign language. Often, in the ongoing series, the characters remain isolated from the Deaf community and their interactions with other Deaf people are sparse or non-existent. For example, out of the 27 episodes with an ongoing Deaf character only two episodes of The L-Word have more than one Deaf character portrayed. In both Weeds and The L-Word the Deaf character is the love interest of one of the hearing characters, while in Jericho, the Deaf character is the sister of one of the main hearing characters. In these episodes though some of realities about Deaf people’s lives are touched on as they relate to the hearing characters, the reality of signing Deaf people’s social lives in the Deaf community is left absent and they are depicted primarily interacting with hearing people. The two episodes, from CSI: New York, and Law and Order: Criminal Intent, focus on the controversial theme of cochlear implants in the Deaf community. Though it is true that generally the signing Deaf community in the U.S.A. sees cochlear implants as a threat to their community, there is no record of this controversy ever motivating violent criminal acts or murder as portrayed in these episodes. In the episode of CSI: New York entitled “Silent Night” a conflict between a young Deaf man and Deaf woman who were formerly romantically involved is portrayed. The murdered young woman who comes from a Deaf family does not want her Deaf baby to have a cochlear implant while the killer ex-boyfriend who has a cochlear implant believes that it is the best option for his child. The woman’s Deaf parents are involved in the investigation. The episode of Law and Order: Criminal Intent, entitled “Silencer,” is also ultimately about a conflict between a Deaf man and a Deaf woman over cochlear implants. In the end, it is revealed that the Deaf woman is exploring the possibility of a cochlear implant. Her boyfriend projecting the past hurt of his hearing sister leaving him behind to go off and live her own life, doesn’t want his girlfriend to leave him once she gains more hearing. So he shoots the cochlear implant surgeon in the hand to prevent him from being able to perform the surgery. Then he accidentally kills him by crushing his voice box to prevent him from screaming. Analyzing Two Crime Dramas In both television dramas, the filmmakers use both sound and video editing techniques to mark the experiential difference between hearing and Deaf characters. In comparing the two dramas two techniques are evident : muting/distorting sounds and extreme close-ups on lips talking or hands signing. Though these techniques may heighten awareness of deaf experience to a non-signing audience they also point to a disabling stereotyping of the experience of being Deaf as lacking — framing their experience as hearing loss rather than Deaf gain (Bauman & Murray; Shakespeare 199). By objectifying sign language through extreme close ups American Sign Language is portrayed as something strange and unusual that separates Deaf signers from hearing speakers. The auditory silences can either jolt the hearing non-signer into awareness of the sensory aspect of sound that is missing or it can jolt them into awareness of the visual world that they often don’t really see. In the opening few scenes of the episodes both CSI: New York and Law and Order: Criminal Intent use sound editing alternately muting or distorting sounds as they cut between a ‘deaf’ auditory perspective and a ‘hearing’ perspective on the action as it unfolds. Even though the sound editing does play a part in the portrayal of Deaf people’s experience as lacking sound, the more important aspects of film production to attend to are the visual aspects where Deaf people are seen authentically signing in their own language. Scene Analysis Methodology In taking a closer look at a scene from each episode we can see exactly how the filming and editing techniques work to create an image of sign language. I have chosen comparable scenes where a Deaf individual is interviewed or interrogated by the police using a sign language interpreter. In each scene it can be assumed that all the communication is happening in both English and ASL through an interpreter, so at all times some signing should be occurring. In transcribing the scenes, I noted each point when the editor spliced different camera shots adjacent to each other. Because of the different visual aesthetics in each program where one relied heavily on continuous panning shots, I also noted where the camera shifted focus from one character to another marking the duration of screen time for each character. This allowed for a better comparison between the two programs. In my transcripts, I included both glosses of the ASL signs visible on the screen as well as the flow of the spoken English on the audio track. This enabled me to count how many separate shifts in character screen time segments contained signing and how much of these contained completely visible signing in medium shots. CSI:NY Witness Interview Scene In the first signing scene, Gina (played by Marlee Matlin) is brought in for an interview with Detective Taylor and a uniformed officer interpreter. The scene opens with a medium shot on Detective Taylor as he asks her, “What do you think woke you up?” The shot cuts to an extreme close up of her face and hands and pans to only the hands as she signs FOOTSTEPS. Then the scene shifts to an over the shoulder medium shot of the interpreter where we can still see her signing VIBRATIONS and it cuts to a close up of her face as she signs ALISON NOISE. Though these signs are cropped, they are still decipherable as they happen near the face. Throughout this sequence the interpreter voices “Footsteps, I felt vibrations. I thought maybe it was Alison.” Next we have a close-up on Detective Taylor’s face as he asks her why her family moved and whether she had family in the area. During his question the camera shifts to a close up reaction of Gina listening and then back to a close up on Taylor’s face, and then to a medium shot of the interpreter translating the last part of the question. Next, while Gina responds the camera quickly cuts from a medium shot to a close-up side view of the hands to a close-up bird’s eye view of the hands to a close up of Gina’s face with most of the signs outside of the frame. See the transcript below: [medium shot] NOT PLAN HAVE MORE CHILDREN,[close-up side view of hands] PREGNANT,[close-up from bird’s eye view] DECIDE RAISE ELIZABETH[close-up Gina’s face signs out of frame] SAFE While this sequence plays out the interpreter voices, “My husband and I weren’t planning on having any more children. When I got pregnant my husband and I decided to raise Elizabeth outside of the city where it’s safe.” The kind of quick cuts between close-ups, medium shots and reaction shots of other characters sets the visual aesthetic for this episode of CSI: NY. In this particular clip, the camera shifts shot angles no less than 50 times in the space of one minute and 34 seconds. Yet there are only 12 conversational turns back and forth between the two characters. This makes for a number of intercut reaction shots, interpreter shots as well as close-ups and other angles on the same character. If only counting shifts in screen time on a particular character, there are still 37 shifts in focus between different characters during the scene. Out of the 22 shots that contain some element of signing — we only see a medium shot with all of the signing space visible 4 times for approximately 2 seconds each. Even though signing is occurring during every communication via the interpreter or Gina, less than half of the shots contain signs and 18 of these are close ups from various angles. The close ups in this clip varied from close-ups on the face, which cut out part of the signs, to close ups on the hands caught in different perspectives from a front, side, top or even table top reflected upside-down view. Some of the other shots were over the back shoulder of Gina catching a rear view of the signs as the camera is aimed in a medium shot of the detective and interpreter. The overall result from a signing perspective is a disjointed jumble of signs leaving the impression of chaos and heightened emotion. In some ways this can be seen as an exoticisation of the signs making them look surreal, drawing attention to the body parts displaying the signs and objectifying them. Such objectification may seem harmless to a non-signing hearing audience or media producer as a mere materializing of the felt amazement at signed communication moving at such a pace. But if we were to propose a hypothetical parallel situation where a Korean character is speaking in her native tongue and we are shown extreme close ups and quick cuts jumping from an image of the lips moving to the tongue tapping the teeth to a side close up of the mouth to an overhead image from the top of the head – this type of portrayal would immediately be felt to be a de-humanization of Korean people and likely labeled racist. In the case of sign language, is it merely thought of as visual artistry? Law & Order: Suspect Interrogation Scene Law & Order: Criminal Intent has a different film aesthetic. The scene selected is an interview with a potential suspect in the murder of a cochlear implant surgeon. The Deaf man, Larry is an activist and playwright. He is sitting at a table with his lawyer across from the male detective, Goren, and the interpreter with the female detective, Eames, standing to the side. Unlike the CSI: NY scene there are no quick cuts between shots. Instead the camera takes longer shots panning around the table. Even when there are cuts to slightly different angles, the camera continues to pan in the same direction as the previous shot giving the illusion that almost the entire scene is one shot. In this 45-second scene, there are only five cuts to different camera angles. However, the act of panning the camera around the room even in a continuous shot serves to break up the scene further as the camera pulls focus zooming in on different characters while it pans. For the purposes of this analysis, in addition to dividing the scene at shifts in camera angles performed through editing, I also divide the scenes at shifts in camera angles focusing on different characters. As the camera moves to focus on a different interlocutor (serving the same purpose as a shift done through editing), this brings the total shifts in camera angles to ten. At several points throughout this Law & Order: CI episode, the cinematographer uses the technique of zooming into an extreme close-up on the hands and then pulling out to see the signer. But in this particular scene all of the visible signed sequences are filmed in medium shots. While this is positive because we can actually see the whole message including hand and face, the act of panning behind the backs of seated characters while Larry is signing blocks some of his message just as much as shifting the edit to a reaction shot would do. Of the ten shots, only one shot does not contain any signing: when Detective Eames reacts to Larry’s demands and incredulously says, “A Deaf cop?” While all of the other shots contain some signing, there are only two signed interchanges that are not interrupted by some sort of body block. Ironically, both of these shots are when the hearing detective is speaking. The first is the opening shot. The camera, in a wide shot on 5 characters, opens on their reflections in the mirrored window located in the interview room. As the camera pulls back into the room, it spins around and pans across Detective Eames’ face to settle on Detective Goran. While Goran begins talking the shot widens out to include the interpreter sitting next to him and catch the signed translation. Goran says, “Larry? There’s a lot of people pointing their finger at you.” With a bit of lag time the interpreter signs: A-LOT PEOPLE THINK YOU GUILTY. Overall Comparison of the Two Scenes For both scenes there were only four segments with unobstructed medium shots of signers in the act of signing. In the case of Law & Order: CI this might be considered a good showing as there were only nine segments in the entire scene and 8 contained signing. Thus potentially yielding 50% visibility of the signs during the entire stream of the conversation (however not all signs were actually fully visible). In the case of CSI: NY, with its higher ratio of segments split by different camera shots, 22 segments contained signing, yielding a ratio of 18% visibility of signs. Though this analysis is limited to only one scene for comparison it does reveal that both episodes prioritize the spoken language stream of information over the sign language stream of information. CSI: New York Law & Order: CI Time duration of the clip 1 min 34 sec 45 sec # shifts in character conversational turns 12 times 10 times # edited camera shots to different angle 50 5 #shifts in screen time of the characters (edited or panned) 37 9 Total # screen time segments with signing 22 8 # medium shot segments with signing fully visible 4 4 # segments containing close ups of signs, cropped off signs or blocked 18 4 Table 3. Count comparison between the two scenes Filmmakers come from a hearing framework of film production where language equals sound on an audio track. Within that framework sound editing is separate from video editing and can provide continuity between disjointed visual shots. But this kind of reliance on sound to provide the linguistic continuity fails when confronted with representing American Sign Language on the screen. The sound stream of translated English words may provide continuity for the hearing audience, but if left to rely on what is available in the visual modality Deaf viewers may have to rely on closed captioning to understand the dialog even when it is portrayed in their own language. Disjointed scenes showing quick cuts between different angles on a signed dialog and flashing between reacting interlocutors leaves the signing audience with a view on a silenced protagonist. Recommendations How can media producers give voice to sign language on the screen? First there needs to be an awareness and concern amongst these same media producers that there is actually value in taking the care required to make sign language visible and accessible to the signing Deaf audience and perhaps raise more awareness among the non-signing hearing audience. It may be entirely possible to maintain a similar visual aesthetic to the programs and still make sign language visible. Hearing producers could learn from Deaf cinema and the techniques being developed there by emerging Deaf film producers (Christie, Durr, and Wilkins). In both examples used above careful planning and choreography of the filming and editing of the scenes would make this possible. With the quick cutting style of frequent close up shots found in CSI: NY, it would be necessary to reduce the number of close ups or make sure they were wide enough to include enough of the signs to maintain intelligibility as with signs that are made near the face. In addition, medium shots of the interpreter or the interpreter and the hearing speaker would have to become the norm in order to make the interpreted spoken language accessible as well. Over the shoulder shots of signers are possible as well, as long as the back of the signer does not obscure understanding of the signs. In order to avoid objectification of sign language, extreme close-ups of the hands should be avoided as it de-humanizes sign languages and reduces language to animalistic hand gestures. In addition, with adopting the visual aesthetic of panning continuous shots such as those found in Law and Order: CI, care would need to be taken not to obstruct the signs while circling behind other participants. Other possibilities remain such as adapting the visual aesthetic of 24 (another United States crime drama) where multiple shots taking place simultaneously are projected onto the screen. In this manner reaction shots and full shots of the signing can both be visible simultaneously. Aside from careful choreography, as suggested in previous work by scholars of Deaf cinema, (Schuchman, Hollywood; Jane Norman qtd. in Hartzell), hearing media producers would need to rely on excellent ASL/Deaf culture informants during all stages of the production; typically, cinematographers, directors and editors likely will not know how to make sure that signs are not obscured. Simultaneous signing and talking by Deaf and hearing characters should be avoided as this method of communication only confirms in the minds of hearing signers that sign language is merely a code for spoken language and not a language in and of itself. Instead, hearing media producers can more creatively rely on interpreters in mixed settings or subtitling when conversations occur between Deaf characters. Subtitling is already a marker for foreign language and may alert non-signing hearing audiences to the fact that sign language is a full language not merely a code for English. Using these kinds of techniques as a matter of policy when filming signing Deaf people will enable the signing voice some of the visibility that the Deaf community desires. Acknowledgements This article is based on work originally presented at the conference “Deaf Studies Today!”, April 2008, at Utah Valley State University in Orem, Utah, USA. I am grateful for feedback that I received from participants at this presentation. An earlier version of this article is published as part of the conference proceedings Deaf Studies Today! Mosaic edited by Brian K. Eldredge, Flavia Fleischer, and Douglas Stringham. References Bauman, H-Dirksen, and Joseph Murray. "Reframing from Hearing Loss to Deaf Gain." Deaf Studies Digital Journal (Fall 2009). < http://dsdj.gallaudet.edu/ >. Chaiken, Ilene (writer). The L Word. Television series. Season 4. 2007. Chbosky, S., J. Schaer, and J.E. Steinbert (creators) Jericho. Television series. Season 1 & 2. 2006-2007. Christie, Karen, Patti Durr, and Dorothy M. Wilkins. “CLOSE-UP: Contemporary Deaf Filmmakers.” Deaf Studies Today 2 (2006): 91-104. Hartzell, Adam. “The Deaf Film Festival.” The Film Journal (May 2003) < http://www.thefilmjournal.com/issue5/deaf.html >. Kohan, J. (creator), M. Burley (producer). Weeds. Television series. Lawrence, B. (creator), V. Nelli Jr. (director). “My Words of Wisdom.” Scrubs. Television series episode. Season 6, Episode 16. 12 Apr. 2007. Lenkov, P. M., and S. Humphrey (writers), A.E. Zulker (story), and R. Bailey (director). “Silent Night.” CSI: New York. Television series episode. Season 3, episode 12. CBS, 13 Dec. 2006. O'Shea, M. (writer), D. White (director), M.R. Thewlis (producer). "Silencer." Law and Order Criminal Intent. Television series episode. Season 6, Episode 18. New York: Universal, 3 April 2007. Schuchman, John. S. Hollywood Speaks: Deafness and the Entertainment Industry. Urbana & Chicago, Ill.: University of Illinois Press. 1988. ———. “The Silent Film Era: Silent Films, NAD Films, and the Deaf Community's Response.” Sign Language Studies 4.3 (2004): 231-238.

The anchorman: the qualities necessary for an effective communication contains an enumeration of the principal specific qualities for the presentation of informative programs on television, specially, credibility. The most important theoretical contributions relative to the presentation in television remain here quiet, and among all of them the correspondent emphasizes Andrew Boyd. In this text there gets an interpretation of the qualities exposed initially by this author: credibility, honesty, professionalism, experience, impartiality, good voice, good image, clarity, authority, confidence, personality, enthusiasm and tranquility. El presentador de noticias: las cualidades necesarias para una comunicación eficaz se centra en la enumeración de las principales cualidades específicas para la presentación de programas informativos en televisión, especialmente, la credibilidad. Las aportaciones teóricas más importantes relativas a la presentación en televisión quedan aquí recogidas, y entre todas ellas destaca la correspondiente a Andrew Boyd. En este texto se introduce una interpretación de las cualidades expuestas inicialmente por este autor: credibilidad, honestidad, profesionalidad, experiencia, imparcialidad, buena voz, buena imagen, claridad, autoridad, confianza, personalidad, entusiasmo y tranquilidad.