Artículos de revistas: "Television in literature"

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Coward, Rosalind. "Literature, Television, and Cultural Values". Yearbook of English Studies 20 (1990): 82. http://dx.doi.org/10.2307/3507522.

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Partello, Peggie. "Film and Television Literature Index". Charleston Advisor 12, n.º 1 (1 de julio de 2010): 17–19. http://dx.doi.org/10.5260/chara.12.1.17.

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Loriguillo-López, Antonio. "La comunicabilidad de lo ambiguo: una propuesta narratológica para el análisis de la ficción televisiva compleja". Signa: Revista de la Asociación Española de Semiótica 28 (28 de junio de 2019): 867. http://dx.doi.org/10.5944/signa.vol28.2019.25097.

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El presente artículo propone una metodología de análisis de la narración ambigua en la ficción televisiva contemporánea, rasgo estilístico al alza entre propuestas comerciales. A través de la adaptación y aplicación de la comunicabilidad enunciada por David Bordwell como estrategia narrativa en su estudio de los modos de narración cinematográficos a una muestra de series dramáticas de origen anglosajón, se ofrece un primer tratamiento del modo narrativo de lo que desde los estudios televisivos se ha identificado como televisión compleja. Finalmente, se apunta a la correspondencia de este modelo con una nueva fase del modelo de narración del audiovisual postclásico.The present article proposes a methodology of analysis of the ambiguous narration in contemporary television fiction, a stylistic feature on the rise among commercial titles. Through the adaptation and application of the communicativeness formulated by David Bordwell as one of the categories of narrative strategies in his examination of the modes of narration in film to a sample of drama series produced in English-speaking regions, we offer a primary approach to the narrative mode of what has come to be known in the field of Television Studies as complex TV. Lastly, we note the correspondence between this model and a new phase of the audiovisual post-classical narration.

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Jones, David Houston, Jean-Philippe Toussaint y Jordan Stump. "Television". World Literature Today 79, n.º 3/4 (2005): 94. http://dx.doi.org/10.2307/40158974.

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Willaert, Tom. "How Literature Imagined Television, 1880-1950". Orbis Litterarum 72, n.º 6 (1 de noviembre de 2017): 591–610. http://dx.doi.org/10.1111/oli.12152.

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Alexander, Louise, Jade Sheen, Nicole Rinehart, Margaret Hay y Lee Boyd. "The role of television in perceptions of dangerousness". Journal of Mental Health Training, Education and Practice 13, n.º 3 (14 de mayo de 2018): 187–96. http://dx.doi.org/10.1108/jmhtep-02-2017-0006.

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PurposeThis critical review of historical and contemporary literature explores the role of television media in the prevalence of stigma towards persons experiencing a mental health challenge. In addition to this, the purpose of this paper is to examine the notion of perceived dangerousness, which is a concept where persons with mental illness are thought by others to be inherently dangerous.Design/methodology/approachA vigorous search of databases was undertaken for articles published between 2000 and 2016. Some seminal literature prior to 2000 was used to compare historical data with current literature. In total, 1,037 publications were reviewed against inclusion criteria.FindingsWhile mental illness stigma has received much attention in the literature, television media and public perceptions of dangerousness have not. While these concepts are complex and multi-factorial, what we do understand is that approaches to address stigma have been largely unsuccessful, and that persons experiencing mental health challenges continue to be significantly disadvantaged.Practical implicationsImplications to practice for clinicians working in mental health on this issue have not been adequately explored within the literature. While media guidelines assist journalists to make informed choices when they portray mental health issues in television news, there are no such guidelines to inform drama television viewing.Originality/valueSignificantly, television’s role in perpetuation of perceptions of dangerousness has not been adequately explored as a combined co-occurring factor associated with the stigmatisation and avoidance of persons experiencing a mental health challenge. In an era when mental health challenges are on the rise, it is of great importance that we collectively seek to minimise negative impacts and improve the experiences of those with a mental health challenge through addressing stigma both individually and in television media.

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Wulandari, Sursih, Marnis Nasution y Mustafa Haris Munandar. "Implementasi Metode Case Based Reasoning Untuk Mendeteksi Kerusakan Televisi". JURNAL MEDIA INFORMATIKA BUDIDARMA 5, n.º 2 (25 de abril de 2021): 624. http://dx.doi.org/10.30865/mib.v5i2.2952.

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The process of deteriorating television should indeed be done by an expert who is a television expert himself, but because television is a tool that is no longer common for people to know him, many people also have television in their respective homes. Even for television repairs, it is quite expensive, so some people who have televisions can do television maintenance at home. The lack of knowledge possessed by the community can lead to wrong handling of television maintenance / maintenance and this has a fatal impact. Hopefully the existence of this system can help the community in diagnosing the damage to their televisions. In that case they need not bother to call for repairmen or bring in a television repair shop. Here the authors provide solutions to solve the problems that often arise on television. In this study, it discusses how to care for television officers. The research objective is to analyze a desktop-based expert system program that contains the knowledge of an expert / doctor whose truth is believed to have the ability to be able to diagnose the disease from the symptoms of damage that has been damaged by television damage quickly and precisely. The stages of research carried out in this study include literature study, data collection, system design, system creation, system testing. Case Based Reasoning is a method used to build a knowledge-based system. The source of system knowledge is obtained by collecting the handling of cases by an expert / expert. Therefore, many problems in television damage are usually due to the negligence of the television owner himself. The first step in solving a problem is by first identifying the scope of the problem to be resolved, this also applies to any Artificial Intelligence (AI) programming. The results obtained in the study for the diagnosis of conjunctivitis were the value of old cases and new cases which obtained a high weight value, namely 1 from the third case

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Yoedtadi, Moehammad Gafar, Riris Loisa, Genep Sukendro, Roswita Oktavianti y Lusia Savitri Setyo Utami. "ANALISIS KOMODIFIKASI KONTRIBUTOR DALAM PRODUKSI BERITA TELEVISI". Jurnal Muara Ilmu Sosial, Humaniora, dan Seni 5, n.º 1 (30 de abril de 2021): 213. http://dx.doi.org/10.24912/jmishumsen.v5i1.9777.2021.

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The pattern of news production in the Indonesian television broadcasting industry generally uses two human resources, namely permanent journalists and temporary journalists. Regular journalists are organic employees of television companies. Meanwhile, journalists who are not permanent or contributors only work under a news sale and purchase contract. They are not the organic employees of the television company. They only get honorarium when the news airs. As a result of such a working relationship, the contributors' bargaining position is very weak in front of the television station management. The coverage and news agenda will follow the tastes of television stations. News coverage that is at risk of not airing will be avoided. As a result, there has been neglect of the ideal function of the media in serving the public interest. Based on the political economy theory of media, there has been a commodification of labor in the television news production process. The object of this research is the process of commodification of contributors in the production of television news.Meanwhile, the subjects of this study were television contributors, and news producers of Jakarta television stations.Other contributors who became research informants were in West Java and Ambon. This research uses a qualitative approach with a case study method. Collecting data using in-depth interviews, observation and literature study. The results showed that there has been a commodification of contributors in the production of television news. Television management exploits contributors. Television management promotes false consciousness among contributors who are unaware of the commodification. Pola produksi berita pada industri penyiaran televisi Indonesia umumnya memanfaatkan dua sumber daya manusia, yakni jurnalis tetap dan jurnalis lepas. Jurnalis tetap adalah karyawan organik dari perusahaan televisi. Sementara jurnalis lepas atau kontributor hanya bekerja berdasarkan kontrak jual beli berita. Mereka bukan karyawan organik perusahaan televisi. Mereka hanya mendapat imbalan honor ketika beritanya ditayangkan. Akibat dari hubungan kerja semacam itu, posisi tawar kontributor sangat lemah dihadapan manajemen stasiun televisi. Agenda peliputan dan berita akan mengikuti selera stasiun televisi. Peliputan berita yang berisiko tidak tayang akan dihindari. Akibatnya terjadi pengabaian fungsi ideal media dalam melayani kepentingan publik. Makalah ini hendak membedah proses komodifikasi kontributor berdasarkan teori ekonomi politik media. Penelitian ini menggunakan pendekatan kualitatif dengan metode studi kasus. Objek dari penelitian ini adalah proses komodifikasi kontributor dalam produksi berita televisi. Sementara itu subjek dari penelitian ini adalah para kontributor televisi, dan para produser berita stasiun televisi Jakarta. Kontributor lain yang menjadi informan penelitian berada di wilayah Jawa Barat dan Ambon. Pengumpulan data dengan menggunakan wawancara mendalam, observasi dan studi literatur. Hasil penelitian menunjukkan telah terjadi komodifikasi kontributor dalam produksi berita televisi. Manajemen televisi melakukan eksploitasi tenaga kontributor. Manajemen televisi mempromosikan kesadaran palsu kepada para kontributor sehingga tidak menyadari adanya komodifikasi tersebut.

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Djordjevic, Milentije. "Literature, film and television - coexistence, antagonisms, influences". Sinteze 1, n.º 2 (2012): 45–52. http://dx.doi.org/10.5937/sinteze1202045d.

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Queiroz, Regina Farias de. "I promessi sposi: entre o cânone e a adaptação parodística na televisão italiana". Revista Italiano UERJ 12, n.º 1 (5 de septiembre de 2021): 14. http://dx.doi.org/10.12957/italianouerj.2021.62063.

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RESUMO: Para discutir as questões subjacentes à adaptação de um texto clássico para as mídias, tomamos como objeto de estudo uma adaptação em formato de paródia para a televisão. I promessi sposi secondo il trio é uma minissérie em 5 episódios, realizada pela RAI, dirigida e protagonizada pelo trio Lopez-Marchesini-Solenghi, em 1990, que ganhou grande notoriedade nacional, exatamente pelo tom cômico que imprimiu à narrativa manzoniana. Neste trabalho, buscamos identificar as estratégias utilizadas na adaptação do clássico para a paródia e para tal, aplicamos ao texto televisivo parodístico o modelo prático-analítico de Robert Stam (2006), que concebe a adaptação audiovisual em dois níveis: estrutural e contextual. A partir dessa aplicação, utilizamos as categorias propostas pelo autor em todos os níveis de análise, a saber: autoria, personagens, narratologia, ordem, frequência e contexto. Os resultados demonstraram que as ressignificações proporcionadas pela adaptação televisiva ampliaram as possibilidades de interpretação do texto literário, além de consolidarem um processo de atualização de tal obra.Palavras-chave: I promessi sposi. Literatura italiana. Televisão. Adaptação. Paródia. ABSTRACT: Per discutere le questioni alla base dell'adattamento di un testo classico per i media, è stato preso come oggetto di studio un adattamento in parodia per la televisione. I promessi sposi secondo il trio è una mini-serie in 5 episodi, realizzata dalla RAI, diretta e interpretata dal trio Lopez-Marchesini-Solenghi nel 1990, la quale ha acquisito una grande notorietà nazionale proprio per il tono comico che ha impresso alla narrazione manzoniana. Il presente articolo ha cercato di individuare le strategie utilizzate nell'adattamento del classico in parodia, e, a tal fine, è stato applicato al testo televisivo parodistico il modello pratico-analitico di Robert Stam (2006), il quale concepisce l'adattamento audio-visivo in due livelli: strutturale e contestuale. Partendo da questa applicazione, si sono utilizzate le categorie proposte dall'autore in tutti i livelli di analisi, ovvero: paternità, personaggi, narratologia, ordine, frequenza e contesto. I risultati hanno dimostrato come i nuovi significati ottenuti attraverso l’adattamento televisivo abbiano ampliato le possibilità di interpretazione del testo letterario, oltre a consolidare un processo di aggiornamento di quest’ultimo.Parole-chiave: I promessi sposi. Letteratura italiana. Televisione. Adattamento. Parodia. ABSTRACT: In order to discuss the issues underlying the adaptation for the visual media of a classic text, the object of study of the hereby article has been an adaptation, in the format of a parody for the television. I promessi sposi secondo il trio is a mini TV-series consisting of 5 episodes, created by the RAI, directed and interpreted by the trio Lopez-Marchesini-Solenghi in 1990, which gained great national notoriety precisely because of the comedy tone it imprinted on Manzoni’s narrative.The hereby research has tried to identify the strategies used to adapt the classic novel into a parody and, in order to do so, the practical-analytic model by Robert Stam (2006) have been applied to the TV parody text. Such model conceives audio-visual adaptation in two levels: structural and contextual, and applying it, the categories proposed by the author, which are: authorship, characters, narratology, order, frequency and context, have been used in all the levels of the analysis. The results proved how the new meanings obtained through the TV adaptation have widened the possibilities of interpretation of the written text, and have also consolidated a process of updating the novel.Keywords: I promessi sposi. Italian Literature. Television. Adaptation. Parody.

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Bignell, Jonathan. "Performing the Identity of the Medium: Adaptation and Television Historiography". Adaptation 12, n.º 2 (25 de julio de 2019): 149–64. http://dx.doi.org/10.1093/adaptation/apz017.

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AbstractThis article focuses on how histories of television construct narratives about what the medium is, how it changes, and how it works in relation to other media. The key examples discussed are dramatic adaptations made and screened in Britain. They include early forms of live transmission of performance shot with multiple cameras, usually in a TV studio, with the aim of bringing an intimate and immediate experience to the viewer. This form shares aspects of medial identity with broadcast radio and live television programmes, and with theatre. The article also analyses adaptations of a later period, mainly filmed dramas for television that were broadcast in weekly serialized episodes, and shot on location to offer viewers a rich engagement with a realized fictional world. Here, film production techniques and technologies are adapted for television, alongside the routines of daily and weekly scheduling that characterize television broadcasting. The article identifies and analyses the questions about what is proper to television that arise from the different forms that adaptations took. The analyses show that television has been a mixed form across its history, while often aiming to reject such intermediality and claim its own specificity as a medium. Television adaptation has, paradoxically, operated as the ground to assert and debate what television could and should be, through a process of transforming pre-existing material. The performance of television’s role has taken place through the relay, repetition, and remediation that adaptation implies, and also through the repudiation of adaptation.

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Rivai, Ardian Bakhtiar. "Politisasi Media di 2014: Aburizal Bakrie dan Segmen Pemilih Pemula". Politik Indonesia: Indonesian Political Science Review 1, n.º 1 (15 de enero de 2016): 30. http://dx.doi.org/10.15294/jpi.v1i1.9078.

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This paper investigates that influence of television for political behavior in Indonesian election on 2014. There is important to identify that televisions in Indonesia is a tool of capital to construct political perception of Indonesian citizens. Public resources information as television in Indonesia has not really objective, in addition there are the domination of media owner interesting for news information which is published. This paper focuses on understanding on young citizen segmentation whose have the high contribution for Indonesian election voters. Literature review and analytical are applied to the media domination model for support argumentation of highly influences of television in Indonesia. Based on explanation in this paper, we can understand that Indonesian election 2014 is not only about competition of candidate, it is clear that media owner competition.

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Lacan, Jacques, Denis Hollier, Rosalind Krauss y Annette Michelson. "Television". October 40 (1987): 6. http://dx.doi.org/10.2307/778337.

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Bignell, Jonathan. "Specially for Television?" Samuel Beckett Today / Aujourd’hui 32, n.º 1 (17 de abril de 2020): 41–54. http://dx.doi.org/10.1163/18757405-03201004.

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Abstract This article analyses tensions between medium specificity and intermediality in Beckett’s first original drama for television, Eh Joe (1966), which exploits features of the medium such as the spatiality of the studio, monochrome images and close-up. But its visual motifs also echo Beckett’s cinema debut, Film (1964), and uses of sound and voice from his radio plays. The public promotion of Eh Joe centred on its relationships with Beckett’s theatre plays, while Eh Joe’s first audiences adduced frames of reference from both theatre and television. Eh Joe works with the porosity of media boundaries and performatively renegotiates them.

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Record, Rachael A. "Genre-specific television viewing: state of the literature". Annals of the International Communication Association 42, n.º 3 (3 de julio de 2018): 155–80. http://dx.doi.org/10.1080/23808985.2018.1487773.

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Wilson, Tony. "Global Constructions of ‘Korupsi’ in a Local Public Sphere: A Cross-Cultural Malaysian Reception Study". Media International Australia 102, n.º 1 (febrero de 2002): 113–25. http://dx.doi.org/10.1177/1329878x0210200112.

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Audience responses to television are at the heart of sense-making in the public sphere. Research on viewers' readings of economic, political and social events in news programs, invariably constructed around the activities of ‘significant’ individuals, is of particular consequence for understanding the functioning of a democracy. This paper is a cross-cultural reception study of how audiences come to interpret the program genre of television news. In a process of comprehension characterised by fusing/feuding horizons of understanding the world, viewers playfully accommodate the meaning of programs in their everyday lives. Analysis of television's reception should be tested against audience activity. Theory must be corroborated. Drawing from a significant literature discussing the phenomenology of ludic experience, the article theorises trans-cultural reception of Western (British) television by Asian (Malaysian) viewers as seriously ‘playful’. Academic assertions are assessed as illuminating audience response.

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VanArendonk, Kathryn. "Theorizing the Television Episode". Narrative 27, n.º 1 (2019): 65–82. http://dx.doi.org/10.1353/nar.2019.0004.

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Iannucci (book editor), Amilcare A. y Patrizia Bettella (review author). "Dante, Cinema and Television". Quaderni d'italianistica 26, n.º 2 (1 de junio de 2005): 118–21. http://dx.doi.org/10.33137/q.i..v26i2.9000.

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Lannucci, Amilcare A. "Dante, Television, and Education". Quaderni d'italianistica 10, n.º 1-2 (1 de octubre de 1989): 1–33. http://dx.doi.org/10.33137/q.i..v10i1-2.10422.

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GÓMEZ MORALES, Beatriz Maria. "TELEVISIÓN CRÍTICA O INDUSTRIA DE LA RISA: EL CASO DE LA COMEDIA TELEVISIVA ESPAÑOLA (1990-2018)". Signa: Revista de la Asociación Española de Semiótica 29 (8 de abril de 2020): 467. http://dx.doi.org/10.5944/signa.vol29.2020.23947.

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Resumen: El potencial crítico del humor en la comedia televisiva ha generadoun extenso debate entre los investigadores de la ficción televisiva.La sitcom, su principal exponente, ha sido valorada como vehículo reproductorde la ideología dominante por un número significativo de estudiosos.Otros, en cambio, han destacado su capacidad transgresora. Eneste artículo se analizan las significaciones críticas o conservadoras de lacomedia televisiva española de los últimos 30 años centrándonos, principalmente,en la introducción de temáticas de actualidad y problemáticasque conectan con las preocupaciones de la audiencia y su respectivo tratamientonarrativo. Abstract: The critical potential of humour in television comedy has generatedan extensive debate among researchers of television fiction. Thesitcom, its main exponent, has been valued as a reproductive vehicle of the dominant ideology by a significant number of scholars. However, others authors have highlighted their transgressive capacity. This article analyses the critical or conservative meanings of the Spanish television comedy of the last 30 years focusing, mainly, on the introduction of current issues and problems that connect with the concerns of the audience and their respective narrative treatment.

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Jedličková, Jana, Jakub Korda y Petr Szczepanik. "An academic study of research literature on Czech television: The dawn of taking TV seriously". Critical Studies in Television: The International Journal of Television Studies 15, n.º 4 (17 de noviembre de 2020): 409–23. http://dx.doi.org/10.1177/1749602020948185.

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In 2017 the first television studies university programme in the Czech Republic was officially opened at Palacký University in Olomouc. However, television has been a focus of Czech academics and television and film reviewers and practitioners for a long time. This review aims to introduce various forms of academic thinking about Czech and Czechoslovak television, published both in Czech and English. It distinguishes four academic and one insider position, based on institutional and disciplinary criteria. Additionally, the article points towards possible issues with trying to reflect on and teach television in a small, post-socialist East-Central European country where there is a limited number of original scholarly books, theoretical initiatives and translations of important texts from the field of TV studies. At the same time, the small size of the TV market, language barriers and the post-socialist heritage inform the local academic debate with specific research questions that have the potential of opening new perspectives on issues such as ideology, political power, mediated memory and globalisation.

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Mihelj, Sabina. "Understanding Socialist Television". Television Histories in (Post)Socialist Europe 3, n.º 5 (24 de junio de 2014): 7. http://dx.doi.org/10.18146/2213-0969.2014.jethc051.

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This article develops a number of conceptual and methodological proposals aimed at furthering a firmer agenda for the field of socialist television studies. It opens by addressing the issue of relevance of the field, identifying three critical contributions the study of socialist television can make to media, communication and cultural studies. It then puts forward a number of proposals tied to three key issues: strategies of overcoming the Cold War framework that dominates much of existing literature; the importance of a multilayered analysis of socialist television that considers its cultural, political as well as economic aspects; and the ways in which we can challenge the prevalence of methodological nationalism in the field.

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De Carli, Eduarda y Elaine Barros Indrusiak. "ADAPTING JOHN WATSON FROM LITERATURE TO CONTEMPORARY AMERICAN TELEVISION". Organon 33, n.º 65 (14 de diciembre de 2018): 13. http://dx.doi.org/10.22456/2238-8915.88817.

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Furuseth, Sissel, Anne Gjelsvik, Ahmet Gürata, Reinhard Hennig, Julia Leyda y Katie Ritson. "Climate Change in Literature, Television and Film from Norway". Ecozon@: European Journal of Literature, Culture and Environment 11, n.º 2 (7 de octubre de 2020): 8–16. http://dx.doi.org/10.37536/ecozona.2020.11.2.3468.

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Environmental and climatic change has become a frequent motif in contemporary Norwegian literature, television and film, and Norway has the worldwide first organization of writers committed to climate action (The Norwegian Writers’ Climate Campaign, founded in 2013). In this article, we argue that Norwegian climate change fiction and related works draw on elements that relate to specific national and/or Nordic cultural, societal and historical aspects, and that these elements give these works their distinct identity. We focus on four such aspects: (1) references to Norwegian petroculture (since the Norwegian economy is largely based on the export of fossil fuels); (2) an (imagined) intimate connection between Norwegianness and nature, and thus of what often is seen as a typical element of Norwegian national identity; (3) notions of “Nordicity”, and (4) an atmosphere of gloom and melancholia in many of the works (which often has been ascribed to Nordic landscapes, and usually is characteristic for the genre of Nordic noir).

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Hauptman, Robert y D. J. Enright. "Fields of Vision: Essays on Literature, Language, and Television". World Literature Today 64, n.º 1 (1990): 115. http://dx.doi.org/10.2307/40145909.

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Hirschman, Elizabeth C. "Consumer Preferences in Literature, Motion Pictures, and Television Programs". Empirical Studies of the Arts 5, n.º 1 (enero de 1987): 31–46. http://dx.doi.org/10.2190/3c9d-4vf6-v7nt-hbpw.

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This study examined the relationship between five motives—sensory arousal, cognitive arousal, escapism, mastery-control, and emotional involvement—and preferences for different types of content in three cultural media—television programs, motion pictures, and books. The findings both confirmed and extended prior theorization and found some intriguing differences in content preferences between women and men.

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Isaac, Fred. "Spy Television". Journal of American Culture 28, n.º 1 (marzo de 2005): 153–54. http://dx.doi.org/10.1111/j.1542-734x.2005.160_28.x.

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von Moltke, Johannes. "KlugeTube, or Auteur Television". Germanic Review: Literature, Culture, Theory 85, n.º 4 (30 de septiembre de 2010): 368–72. http://dx.doi.org/10.1080/00168890.2010.516223.

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Dinges, Susan S., Cedric Cullingford y George W. Woolery. "Children and Television". Theatre Journal 39, n.º 1 (marzo de 1987): 128. http://dx.doi.org/10.2307/3207648.

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Chiaretto, Marcelo. "A exclusão digital e a leitura literária no Brasil". Txt: Leituras Transdisciplinares de Telas e Textos 1, n.º 1 (30 de junio de 2005): 36. http://dx.doi.org/10.17851/1809-8150.1.1.36-43.

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Resumo: Este trabalho investiga a ligação existente entre exclusão digital e literatura no Brasil, visando assim estabelecer uma conexão mais dialógica e menos monolítica entre o leitor e o texto digital. O trabalho também inclui algumas sugestões para a mudança dos paradigmas que comumente buscam refletir sobre a presença da literatura e da televisão na escola e na sociedade.Palavras-chave: exclusão digital; leitura literária; democracia no Brasil.Abstract: This work investigates the relationship between digital exclusion and literature in Brazil, in order to find a more dialogical and wider connection between reader and digital text. We also suggest that we should change our way of thinking literature and television in society and, more specifically, in school.Keywords: digital exclusion; reading of literature; democracy in Brazil.

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Austin, Richard A., Denisse R. Thompson y Charlene E. Beckmann. "Locusts for Lunch: Connecting Mathematics, Science, and Literature". Mathematics Teaching in the Middle School 12, n.º 4 (noviembre de 2006): 182–89. http://dx.doi.org/10.5951/mtms.12.4.0182.

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Locusts for lunch? if you watch reality television, lunching on locusts is tame compared with some of the edibles that participants in Fear Factor, the Amazing Race, Survivor, and other programs are required to eat. Locusts are considered delicacies in many parts of the world.

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Abadía Quintero, Iván. "Serious Games to Digital Interactive Television. Literature Review and Definitions". Sistemas y Telemática 10, n.º 22 (30 de septiembre de 2012): 149. http://dx.doi.org/10.18046/syt.v10i22.1270.

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Vidal, B. "A Companion to Spanish Cinema * Spanish Practices: Literature, Cinema, Television". Screen 55, n.º 1 (1 de marzo de 2014): 147–52. http://dx.doi.org/10.1093/screen/hjt051.

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Véras, Douglas, Thiago Prota, Alysson Bispo, Ricardo Prudêncio y Carlos Ferraz. "A literature review of recommender systems in the television domain". Expert Systems with Applications 42, n.º 22 (diciembre de 2015): 9046–76. http://dx.doi.org/10.1016/j.eswa.2015.06.052.

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Prévos, André J. M. "Television as Religion, Religion as Television? The Case of the P.T.L." Journal of Popular Culture XXIV, n.º 3 (diciembre de 1990): 113–30. http://dx.doi.org/10.1111/j.0022-3840.1990.2403_113.x.

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Georgakopoulou, Alexandra y Marianna Patrona. "Disagreements in television discussions". Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 10, n.º 3 (1 de septiembre de 2000): 323–38. http://dx.doi.org/10.1075/prag.10.3.03geo.

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Based on a case study, this paper explores the interaction between the act of disagreeing and the contextual parameters of Greek television panel discussions. The analysis of the data reveals that, in contrast to previous literature on disagreements in TV interview situations, the disagreements at hand are both (host)-unmediated and rendered less dispreferred by being delayed, indirectly posed, and/or mitigated. The discussion sheds light on the systematic ways in which the above is sequentially achieved so as to suit the parameters of the given context. It is argued that the preference features that accompany disagreements attend to the specialized floor-holding and turn-taking rights as well as to the public occasion of the interactions. As such, they index the participants’ management and negotiation of their roles and identities as interviewees, interlocutors, and public speakers.

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Tally, Margaret. "Quality Popular Television". Journal of American Culture 28, n.º 1 (marzo de 2005): 150–51. http://dx.doi.org/10.1111/j.1542-734x.2005.160_25.x.

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Prchal, Tim. "Science Fiction Television". Journal of American Culture 28, n.º 2 (junio de 2005): 250–51. http://dx.doi.org/10.1111/j.1542-734x.2005.166_20.x.

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Zrzavy, Phyllis Scrocco. "Understanding Reality Television". Journal of American Culture 29, n.º 1 (marzo de 2006): 107–8. http://dx.doi.org/10.1111/j.1542-734x.2006.00320.x.

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40

Tally, Margaret. "Quality Popular Television". Journal of American Culture 27, n.º 3 (septiembre de 2004): 349–50. http://dx.doi.org/10.1111/j.1537-4726.2004.141_19.x.

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41

Genosko, Gary. "Guattari TV, By Kafka". Deleuze Studies 6, n.º 2 (mayo de 2012): 210–23. http://dx.doi.org/10.3366/dls.2012.0058.

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Guattari looked for crossovers between film and television in a posthumously published ‘Project for a Film By Kafka’. His critical comments on television and the mixed reception of television within the Deleuzo-Guattarian literature provide the occasion for an investigation of what Guattari thought television could do for his project. The auteur model best suits his needs in this regard, with the proviso that it is animated by a modernist aesthetic oriented towards the conjuring of a people to come who would join the Kafka assemblage as part of their viewing experience.

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42

Plass, Ulrich. "Journalism, Television, Poetry: Rainald Goetz's1989". Germanic Review: Literature, Culture, Theory 81, n.º 3 (mayo de 2006): 202–20. http://dx.doi.org/10.3200/gerr.81.3.202-220.

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Oktavianti, Roswita y Riris Loisa. "EKOLOGI MEDIA DALAM PELIPUTAN KEBERAGAMAN JURNALIS TELEVISI KONTRIBUTOR AMBON". Jurnal Muara Ilmu Sosial, Humaniora, dan Seni 5, n.º 1 (30 de abril de 2021): 277. http://dx.doi.org/10.24912/jmishumsen.v5i1.10179.2021.

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Media ecology reflects that mass media have to move dynamically to survive its life in the middle of media pressure and competition among other platforms. In the digital era, television as conventional media needs to embrace the technology by airing diversity issues in social media Youtube. This study has a question about media ecology in the reportage of diversity issues by television journalists in Ambon. This research using a mixed method approach, quantitative and qualitative, with content analysis, FGD, interview, and literature review as a technique for data collecting. Content analysis is conducted toward news diversity about Maluku which aired on the Youtube television channel. Then FGD is conducted further with television journalists in Ambon in which their news has been analyzed. Further, the interview is conducted with a broadcasting supervisor as well as a member of the journalist organization. This study finds that media ecology has been changing to new media ecology. Nevertheless, new media ecology is not fully implemented by television journalists in Ambon when reporting the diversity issues. The journalists will frame their news before report it mainly for news with the tendency to the SARA (ethnicity, religion, and race) issues. Framing is formed when journalists narrate their news before aired. It implemented due to their conflict experienced in the past. The journalists have responsibility and awareness in terms of the effect of their news. Their SARA’s news which aired in the Youtube platform could trigger conflict. The conflict has a huge impact on their personal and social life Ekologi media merefleksikan bahwa media massa harus bergerak dinamis untuk bertahan hidup di tengah tekanan dan kompetisi dengan berbagai platform. Di era digital, televisi sebagai media konvensional merangkul teknologi dengan menayangkan berita keberagaman di media sosial YouTube. Studi ini mengangkat tentang ekologi media dalam peliputan keberagaman jurnalis televisi kontributor Ambon. Peneliti menggunakan pendekatan penelitian campuran, kuantitatif dan kualitatif, dengan teknik pengumpulan data analisis isi, Focus Group Discussion (FGD), wawancara, dan studi pustaka. Analisis isi dilakukan pada berita-berita keberagaman di Maluku pada saluran Youtube televisi-televisi nasional. Selanjutnya dilakukan FGD dengan jurnalis televisi kontributor Ambon di mana berita-berita yang ditayangkan telah dianalisis sebelumnya. Wawancara dilakukan dengan pengawas penyiaran dan organisasi jurnalis televisi. Studi ini menemukan bahwa ekologi media beralih menjadi ekologi media baru. Namun, ekologi media baru ini tidak sepenuhnya diikuti oleh jurnalis televisi kontributor Ambon dalam melaporkan berita keberagaman. Jurnalis televisi kontributor Ambon melakukan pembingkaian ketika melaporkan berita keberagaman, khususnya berita bernuansa SARA. Pembingkaian dilakukan lebih pada narasi atau audio berita yang disajikan. Ini dilakukan karena Provinsi Maluku pernah mengalami konflik masa lalu. Jurnalis memiliki tanggung jawab dan kesadaran tinggi bahwa sejumlah peristiwa konflik terjadi salah satunya akibat berita bernuansa SARA yang tersebar luas di Youtube. Konflik tersebut telah membawa pengaruh besar dalam kehidupan pribadi dan bermasyarakat.

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Gottlieb, Sidney y H. R. Coursen. "Watching Shakespeare on Television." Shakespeare Quarterly 46, n.º 4 (1995): 469. http://dx.doi.org/10.2307/2870986.

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Pierson, David. "Fifty Key Television Programmes". Journal of Popular Culture 38, n.º 6 (noviembre de 2005): 1125–26. http://dx.doi.org/10.1111/j.1540-5931.2005.00197.x.

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Hoppenstand, Gary. "Editorial: Television as Metaphor". Journal of Popular Culture 37, n.º 4 (7 de abril de 2004): 561–63. http://dx.doi.org/10.1111/j.0022-3840.2004.00085.x.

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Viatra, Aji Windu. "ANALISIS TANDA VISUAL CHANNEL IDENTITY MTV (MUSIC TELEVISION) INDONESIA". Jurnal Dimensi DKV Seni Rupa dan Desain 5, n.º 1 (1 de abril de 2020): 33. http://dx.doi.org/10.25105/jdd.v5i1.6861.

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AbstractThe Analysis of MTV (Music Television) Indonesia Channel Identity Visual Symbol. Channel identity can create picture, image, character and identity of a television station. MTV has made the best use of this form of corporate promotion program. Through their channel identity, MTV created images and pictures in accordance with their basic concepts. This research analyzed the MTV (Music Television) channel identity and logo. The analysis procedure carried on the MTV logos including MTV Indonesia, MTV China, MTV Russia, MTV United Kingdom, MTV Japan, and MTV India. This study used a multidisciplinary approach namely the historical, aesthetics, and semiotics approach. The method used in this research was qualitative method, with analytic descriptive analysis. The data was collected through literature study and observation. The data then grouped according to the basic concepts of MTV local culture exploration, and studied by looking at the process of visual idiom design concepts, shapes, characters, colors, and work techniques. The result of this research is interpretation of the visual sign and meaning of the MTV logo as a visual communication media and mass communication which contained certain value and meaning to persuate their audiens. AbstrakAnalisis Tanda Visual Channel Identity MTV (Music Television) Indonesia. Channel identity stasiun televisi dapat membentuk citra, image, karakter dan menjadi identitas sebuah stasiun televisi. MTV telah memanfaatkan sebaik mungkin bentuk program promosi korporat ini. Melalui channel identity, MTV membentuk image dan citra sesuai dengan konsep dasar yang dimiliki. Penelitian ini menganalisis channel identity dan logo stasiun televisi MTV (Music Television). Analisis makna dilakukan pada logo MTV beberapa negara yaitu MTV Indonesia, MTV China, MTV Rusia, MTV United Kingdom, MTV Jepang, dan MTV India. Kajian ini menggunakan pendekatan multidisplin, yakni pendekatan historis, estetika, dan semiotika. Metode penelitian yang digunakan adalah metode kualitatif, dengan analisis deskriptif analitik. Data dikumpulkan melalui studi pustaka dan observasi. Data dikelompokkan sesuai dengan konsep dasar eksplorasi budaya lokal MTV, yang akan dikaji dengan melihat pada proses konsep perancangan idiom visual, bentuk, karakter, warna, dan teknik pengerjaan. Hasil dari penelitian ini adalah interpretasi makna tanda-tanda visual yang digunakan pada logo MTV sebagai media komunikasi visual dan komunikasi massa yang mengandung nilai dan makna tertentu sebagai langkah persuasi kepada pemirsanya. Kata kunci: channel identity, logo, MTV (music television), MTV Indonesia *) J

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Salinas, Claudio, Carolina Kulhmann y Hans Stange. "Discordias categoriales en la literatura sobre la relación entre cine, televisión e historia". Revista Austral de Ciencias Sociales 37 (2019): 89–104. http://dx.doi.org/10.4206/rev.austral.cienc.soc.2019.n37-05.

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Enli, Gunn y Trine Syvertsen. "The End of Television—Again! How TV Is Still Influenced by Cultural Factors in the Age of Digital Intermediaries". Media and Communication 4, n.º 3 (14 de julio de 2016): 142–53. http://dx.doi.org/10.17645/mac.v4i3.547.

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This article discusses the impact of convergence and digital intermediaries for television as a medium, industry and political and cultural institution. There is currently widespread debate about the future of television and the impact of technological and market changes. Our argument is that the answer to what is happening to television cannot be adequately addressed on a general level; local and contextual factors are still important, and so is the position and strategic response of existing television institutions in each national context. Based on analyses of political documents, statistics, audience research and media coverage, as well as secondary literature, the article explores the current situation for Norwegian television and point to four contexts that each plays a part in constraining and enabling existing television operators: the European context, the public service context, the welfare state context and the media ecosystem context.

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50

Attallah, Paul. "Television Discourse and Situation Comedy". Canadian Review of American Studies 40, n.º 1 (marzo de 2010): 1–24. http://dx.doi.org/10.3138/cras.40.1.1.

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