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Artículos de revistas sobre el tema "Television viewers Psychological aspects"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 28 de enero de 2023

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1

Ashifa, Dr K. M., and -. "Addictive Behaviour among Women Viewers of Indian Soap Opera." Webology 18, Special Issue 03 (April 29, 2021): 127–36. http://dx.doi.org/10.14704/web/v18si03/web18030.

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Media is an integral part of society and it plays vital role for inculcating information. In the course of accomplishing its duties and functions, media, especially television influence on society relatively depending on the audience it reaches. Soaps have a predominant female audience. Some soaps do include men viewers but some social researchers pointed, women are considering most peculiar viewers. They are emotionally attached and value particular soaps in their personal and domestic life. Today people are leading a fast life. People should have some kind of recreation in their get relation

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2

Dadouh, A., and A. Aomari. "Moroccan TV Broadcasters and Viewership Changes in the Digital Age: An Exploratory Study." European Journal of Business and Management Research 6, no. 1 (February 25, 2021): 232–37. http://dx.doi.org/10.24018/ejbmr.2021.6.1.744.

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In the first two decades of the 21st century, the relationship between viewers and television underwent major changes, with the advent of technologies that led to new viewing habits. This situation starts now to question the ability of broadcasters to build and retain loyal viewers. As a response, broadcasters are adapting their contents and distribution to fit in the new digital world. While studying the possible impacts of the efforts made by broadcasters, we complete our analysis by addressing also the factors that guide consumer choices through media use models, which focus on the psycholo

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3

Bovina, I. B., N. V. Dvoryanchikov, and S. V. Budykin. "Information security of children and adolescents in understanding parents and teachers." Psychology and Law 5, no. 3 (2015): 1–13. http://dx.doi.org/10.17759/psylaw.2015050301.

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The article presents the first part of the work devoted to the study of ordinary representations of parents and teachers about information security of children and adolescents. It is about addressing the problem of information security of children and adolescents, discuss the effects of observing violence in the mass media on the subsequent behaviour of viewers, refers to directing television roles on the example of transfer schemes by S. Milgram in the context of television game (experiment J. L. Beauvois with colleagues). This paper examines the impact on users has the Internet, discusses th

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4

Byrne, Peter. "Psychiatry and the media." Advances in Psychiatric Treatment 9, no. 2 (March 2003): 135–43. http://dx.doi.org/10.1192/apt.9.2.135.

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Aspects of print, broadcast, film and ‘new media’ are related to their interactions with psychiatry. Frequent representations of mental health issues are paralleled by the adoption of psychological theories into media studies. Key areas are covered where psychiatric items diverge from other medical specialities, such as the depiction of suicide, the dominance of ‘human interest’ stories and negative representation of people with mental illness. Although the language of mental disorders is important, the power of the image needs to be examined. Media items also have implications for public ment

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5

Konfederat, Olga, and Natalia Dyadyk. "Philosophical and anthropological aspects of the XXI century television series «Tales from the Loop» (2019) as an experience of philosophical reflection." Socium i vlast 3 (2021): 55–66. http://dx.doi.org/10.22394/1996-0522-2021-3-55-66.

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Introduction. Analyzing the popularity of television series in the XXI century makes it possible to conclude that this format of video production has changed significantly in comparison with the second half of the XX century: the fascinating (seductive, enchanting) function in it dominates over the narrative-entertaining one. At the same time, not only the individual performer becomes the instrument of fascination, but the entire specially created visual environment of the series. This situation makes it possible for a researcher, on the one hand, to identify the most significant emotional and

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6

Ilchenko, Sergei N. "Transformation of Gender Dominance in Russian TV Content in 2000s and 2010s: Based on Detective Series." Art and Science of Television 17, no. 4 (2021): 111–40. http://dx.doi.org/10.30628/1994-9529-2021-17.4-111-140.

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The article covers the gender issues of modern Russian television content on the example of a serial segment of Russian broadcast over the past 20 years. This aspect predetermines the relevance of the proposed research. The work focuses on the series that tend toward the most mass and popular forms of solving aesthetic problems—melodrama, comedy, and detective. The examples of the series, involved in the analysis, suggest that the gender dominance, characteristic of the previous stage of TV broadcasting development in Russia, has transformed significantly. This trend is indicated by the increa

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WYNN, NEIL A. "Counselling the Mafia: The Sopranos Regina Barreca, ed., A Sitdown with the Sopranos: Watching Italian American Culture on TV's Most Talked-About Series (New York: Palgrave Macmillan, 2002). 0 312 29528 6 David Bishop, Bright Lights, Baked Ziti: The Unofficial, Unauthorised Guide to The Sopranos (London: Virgin Books, 2001). 0 7535 0584 3 David Chase, The Sopranos Scriptbook (London: Channel 4 Books, 2001). 0 7522 6157 6 Glen O. Gabbard, The Psychology of the Sopranos: Love, Death, and Betrayal in America's Favorite Gangster Family (New York: Basic Books, 2002). 0 465 02735 0 The New York Times, The New York Times on the Sopranos, introduction by Stephen Holden (New York: ibooks, 2000). 0 7434 4467 1 Allen Rucker, The Sopranos: A Family History (London: Channel 4 Books, 2000). 0 752 26177 0 Allen Rucker (Recipes by Michele Scicolone), The Sopranos Family Cook Book As Compiled by Artie Bucco (London: Hodder and Stoughton, 2002). 0 340 82724 6 David R. Simon, Tony Soprano's America: The Criminal Side of the American Dream (Boulder, CO, and Oxford: Westview, 2002). 0 8133 4036 5 David Lavery, ed., This Thing of Ours: Investigating the Sopranos (New York: Columbia University Press, 2002). 0 231 12781 2." Journal of American Studies 38, no. 1 (April 2004): 127–32. http://dx.doi.org/10.1017/s0021875804007947.

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The HBO television series The Sopranos, produced by David Chase, achieved unprecedented critical acclaim and quickly established itself on both sides of the Atlantic as cult viewing. The fourth series, shown in the UK on Channel 4 in spring 2003, had already attracted record audiences in America and received 13 Emmy Award nominations. Not surprisingly, The Sopranos has generated several web sites and a considerable amount of literature, ranging from the usual spin-offs of television series, cds, scripts, collected reviews, and a number of more academic studies ranging from cultural studies thr

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8

Hamilton, Joli. "House of Cards." Journal of Jungian Scholarly Studies 13 (June 12, 2018): 34–48. http://dx.doi.org/10.29173/jjs12s.

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This essay turns a depth-psychological lens upon the drug abuse, sexual manipulation, and murder scenes in the American television rendition of House of Cards. The Underwoods, who are obsessed with power, yet strangely enticing, invite the viewer to upend their moralistic perspective challenging notions of innocence and evil. By applying post-Freudian Lacan’s Phallus theory, the unconscious and persistent desire for power in some individuals is explored. Then, in a move toward understanding why audiences flock to such grotesque imagery, post-Jungian Moore’s notion of dark eros is extended to a

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9

Plantinga, Carl. "Screen Stories: Responses to the Critics." Projections 13, no. 3 (December 1, 2019): 112–20. http://dx.doi.org/10.3167/proj.2019.130309.

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This article is a discussion of and rejoinder to the comments of three respondents on my book, Screen Stories: Emotion and the Ethics of Engagement. Jane Stadler argues that the book would profit from more attention to the “temporal prolongation” made possible by multi-episode television, especially as it relates to the nature of character engagement. While I have reservations about the notion of medium specificity in relation to television and film (and thus prefer the term “screen stories”), I agree that temporal prolongation in relation to an ethics of screen stories is a vital topic. Malco

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10

Okoye, Chukwudi M. C., and Chibuike M. Abunike. "Cultural transposition and challenges of policy making: a review of select Nigerian television series." UJAH: Unizik Journal of Arts and Humanities 20, no. 3 (October 30, 2020): 119–32. http://dx.doi.org/10.4314/ujah.v20i3.7.

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Cinematic entertainment, it is safe to say, cannot be wished away. Indeed, as a child of necessity, the film and by extension the Televised Drama-series industry have come a long way. However, African countries like Nigeria today continue to grapple with issues of Genre, Form, Cultural imperialism and so on. This hasconsequently raised questions on issues of policy making and realistic interpretation as expressed by film scholars and critics and as observed through the eyes of the regular viewer. Furthermore, the issues of cinematic language or style, raises another concern as this is capable

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11

Furno-Lamude, Diane. "DIMENSIONS OF PSYCHOLOGICAL TIME AND FAVORITE TV PERSONALITIES." Social Behavior and Personality: an international journal 19, no. 4 (January 1, 1991): 277–88. http://dx.doi.org/10.2224/sbp.1991.19.4.277.

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This study investigated 286 television viewers' psychological time orientations for congruence to the psychological orientation portrayed by their favorite characters. Significant relationships were found for future and past oriented personality types and selection of favorite TV personalities. However, no significant relationship was found for “presents”. Viewers' preferences of TV characters according to choice of dimension orientation revealed demographic differences among each group.

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12

Bainbridge, Caroline. "Television as psychical object: Mad Men and the value of psychoanalysis for television scholarship." Critical Studies in Television: The International Journal of Television Studies 14, no. 3 (August 12, 2019): 289–306. http://dx.doi.org/10.1177/1749602019851714.

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Claims that Mad Men (2007–2015) is an obedient post-feminist text overlook the drama’s images of both women and the history of feminism and its potential to impact on contemporary understandings of gender politics. Mad Men can be seen as a psychological object, helping viewers to explore links between their own experience and that of characters on screen as the narrative unfolds. Making links between the social re-emergence of feminist awareness, the drama’s representations of second-wave feminism and a psychoanalytic understanding of mourning, I suggest that a return to psychoanalytic methodo

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13

Vera-Aranda, Ángel-Luis. "Television and televiewers." Comunicar 13, no. 25 (October 1, 2005): 203–10. http://dx.doi.org/10.3916/c25-2005-028.

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In this presentation the impacts, influence an effects that the television has on the viewers is analyzed. Special attention is put on one of the most questioned aspects of the television: the violence, with many opinions of some authors about the importance of this fact over the viewers and especially over the young ones. Finally, the question of the consumption of television is approached referring to some researches on the overage to viewer. Los impactos, la influencia y los efectos que tiene la televisión en los telespectadores es el objeto de este trabajo que presta especial atención a un

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14

Carlos, Mariana, and Telmo Silva. "Seniors, iTV and content about Social Services: Clarifying the relationship." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 10, no. 1 (March 24, 2017): 64–75. http://dx.doi.org/10.31165/nk.2017.101.497.

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Over the years, television has been seen as a means of enriching human development. The technological evolution of this means of communication has led broadcasters to deliver more attractive and diversified contents. Hence, traditional broadcasting has evolved from the traditional passivity to the granting of a participatory role for viewers, creating a new paradigm – Interactive Television. Senior citizen viewers are great consumers of television and represent a considerable portion of people, who can take advantage of the interactivity potentialities. Most of the time, changes in social serv

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15

Grau, Oliver. "Into the Belly of the Image: Historical Aspects of Virtual Reality." Leonardo 32, no. 5 (October 1999): 365–71. http://dx.doi.org/10.1162/002409499553587.

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Virtual reality (VR) is a constant phenomenon in art history that can be traced back to antiquity. It can involve an area of ritual action, a private, artificial paradise, or a public sphere with politically suggestive power—in short, it encompasses a visual history that is characterized by totality. The concept of transposing viewers into an enclosed, illusionary visual space has been revived and expanded in the VR art of the current age. The more intimate ly an interface nestles into viewers' senses, the more intense their immersion will be. Such an interface weakens the viewers' sense of ps

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16

Phuong, Nguyen Doan Viet, and Vo Thi Ngoc Thuy. "The impact of cognitive and affective factors on the viewer’s preference for television programs." Science & Technology Development Journal - Economics - Law and Management 3, no. 4 (February 9, 2020): 460–77. http://dx.doi.org/10.32508/stdjelm.v3i4.588.

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One of the greatest concerns to television program producers is to attract and retain viewers. There have been many studies aiming to predict and examine the determinants of viewers’ preference for television programs, of which the most outstanding is the research on media enjoyment by Nabi and Krcmar. In particular, Nabi and Krcmar proposed the tripartite model of media enjoyment effects on viewing and content-related behavior that comprises of affective reaction, cognitive reaction and behaviour reaction. A more generalized theory is that of Katz et al. on the uses and gratifications. Accord

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17

Illés, Gabriella. "Expansion of the small cable television counterparts of market leading commercial channels in view of Hungarian regional and social aspects." Acta Agraria Debreceniensis, no. 58 (April 8, 2014): 107–10. http://dx.doi.org/10.34101/actaagrar/58/1981.

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Currently, there are 102 Hungarian-language television channels in Hungary. TV2 Hungary is the second largest commercial television channel. Current trends in the television market in Europe indicate that large channels are expanding their portfolios while at the same time selling their smaller units. This trend has now affected Hungary as well. After having TV2 for 16 years, MTM-SBS Television Ltd. eventually expanded its portfolio with three new cable channels. The first new channel was FEM3, a channel directed at women, which was launched on January 1, 2010. A year later, the male cha

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18

Bordeniuk, Serhii, and Viktoriia Byshovets. "Psychological Aspects of Social Photography." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (June 30, 2021): 78–83. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235089.

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The purpose of the research is to analyze the main features of social photography in the psychological aspect of the photographer. The research methodology is based on the application of a system-integrated approach to the review of this problem, within the framework of which a whole range of cultural, philosophical, psychological and professional qualities that affect viewers when viewing photographs is considered. The scientific novelty lies in the analysis of modern typological features and characteristics of social photography. The opinions of scientists from different times on issues of t

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19

Frosh, Paul. "Phatic morality: Television and proper distance." International Journal of Cultural Studies 14, no. 4 (June 24, 2011): 383–400. http://dx.doi.org/10.1177/1367877911403248.

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This article attempts to expand Silverstone’s notion of ‘proper distance’ by asking what moral possibilities are ‘proper’ to aspects of mediation that are usually understood to be ‘distant’: impersonal, non-intimate and inattentive. Proper assessment of these low-intensity modes of mediation invites us to challenge the automatic assumption that moral sensibility has a necessary basis in audience attentiveness, intimacy and involvement with the representations of others. Instead, the article emphasizes the work of ‘phatic morality’, the moral ground created by long-term, habitual, ambient forms

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Ashifa, Dr K. M. "Soap Opera Addictive Behaviour among Women Viewers in India." GIS Business 14, no. 6 (December 15, 2019): 1007–10. http://dx.doi.org/10.26643/gis.v14i6.16681.

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Media is an integral part of society and it plays vital role for inculcating information. In the course of accomplishing its duties and functions, media, especially television influence on society relatively depending on the audience it reaches. Soaps have a predominant female audience. Some soaps do include men viewers but some social researchers pointed, women are considering most peculiar viewers. They are emotionally attached and value particular soaps in their personal and domestic life. Today people are leading a fast life. People should have some kind of recreation in their get relation

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21

Unz, Dagmar, Frank Schwab, and Peter Winterhoff-Spurk. "TV News – The Daily Horror?" Journal of Media Psychology 20, no. 4 (January 2008): 141–55. http://dx.doi.org/10.1027/1864-1105.20.4.141.

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In two studies we examined the influence of violent television news on viewers emotional experiences and facial expressions. In doing so, we considered formal and content aspects of news reports as well as viewers gratifications as independent variables. Analyses showed that violence in TV news elicits primarily negative emotions depending on the type of portrayed violence. Effects of presentation mode and of expected gratification on the viewers feelings are traceable. On the whole, fear is neither the only nor the most prominent emotion; rather, viewers seem to react to violence with oth

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Kirkland, Ewan. "Contextualizing the bronies: Cult, quality, subculture and the contradictions of contemporary fandom." Journal of Popular Television 8, no. 1 (March 1, 2020): 87–104. http://dx.doi.org/10.1386/jptv_00012_1.

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This article critically situates My Little Pony: Friendship Is Magic (2010‐19) and the ‘brony’ following it has attracted in terms of age and fandom, discourses of quality television, cult media and interactions between fandoms and cultural producers. Far from unprecedented, the show’s unexpected male audience reflects adults’ historic appreciation of media for children, the increased mainstreaming of animation, and the already infantilized persona of media fans. Aspects of the reimagined series reproduce characteristics of ‘quality television’ concerning characterization, genre, authorship an

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Dhoest, Alexander, and Nele Simons. "Still ‘Watching’ TV? The Consumption of TV Fiction by Engaged Audiences." Media and Communication 4, no. 3 (July 14, 2016): 176–84. http://dx.doi.org/10.17645/mac.v4i3.427.

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There is no denying that television, as a medium and an institution, has drastically changed in the age of digitization and convergence. For audiences, this has not only opened up multiple opportunities to watch television content at other times and on other devices, but also to interact with its cross-media extensions. However, while much has been written about the new opportunities for audience engagement, we do not know much about the actual adoption of new technologies nor the motivations underlying such uses. Therefore, this paper draws on empirical audience research to address the key qu

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24

Norris, Claire E., and Andrew M. Colman. "CONTEXT EFFECTS ON MEMORY FOR TELEVISION ADVERTISEMENTS." Social Behavior and Personality: an international journal 21, no. 4 (January 1, 1993): 279–96. http://dx.doi.org/10.2224/sbp.1993.21.4.279.

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This study focuses on the hypothesis that television viewers' depth of psychological involvement in a program is inversely related to their recall and recognition of accompanying advertisements. Ninety subjects watched an involving or a relatively uninvolving television program accompanied by six completely unfamiliar advertisements. They then responded to a series of questionnaires designed to measure their perceptions of the programs and the advertisements and their memory for the advertisements. As predicted, subjects' recall and recognition of the advertisements correlated negatively with

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Navarro, Celina, and Emili Prado. "Television buyers in the digital era: A comparative study of the UK and Spain." International Communication Gazette 81, no. 6-8 (January 9, 2019): 727–47. http://dx.doi.org/10.1177/1748048518822612.

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European television channels harbour a significant amount of imported programmes within their schedules. This presence, with its social and cultural impact, is directly affected by the established practices of the television industry which conditions the type and origin of the foreign programmes that are being acquired by linear broadcasters. This research article aims to analyse the criteria used by local television buyers when acquiring international programmes and understand the reasons behind transnational television flows. The findings of the interviews with the television buyers of the m

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Anzur, Terry. "How to Talk To the Media: Televised Coverage of Public Health Issues in a Disaster." Prehospital and Disaster Medicine 15, no. 4 (December 2000): 70–72. http://dx.doi.org/10.1017/s1049023x00025310.

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AbstractPublic health officials often are critical of the way television news covers disasters, while broadcast journalists complain of a lack of cooperation from the public health sector during disaster coverage. This article summarizes the issues discussed in a session on Televised Coverage of Disasters, presented in April 1999 at the UCLA Conference on Public Health and Disasters in Los Angeles. Public health officials were asked to “talk back to their television sets” in a dialog with television journalists. Concerns included: 1) the lack of balance in television coverage that is dominated

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Shin, Dong-Hee, and Ounjung Roh. "Social television and locus of control: Interactivity effects on cognition and behavior." Social Behavior and Personality: an international journal 44, no. 10 (November 10, 2016): 1671–86. http://dx.doi.org/10.2224/sbp.2016.44.10.1671.

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We examined the effects on users' cognition and behavior of an interface cue for level of interactivity that is presented on secondary screens in a social television environment. Our primary focus was on the social role of television watching, the effects of an interactivity cue on user perception, and user behavior outcomes. In addition, we examined how locus of control, as an individual characteristic, influenced these aspects. Participants (52 undergraduate students in Korea) communicated with other viewers through a secondary device while watching a television show. We found that the prese

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Cachia, Moira, Mary Anne Lauri, and Pierre Cachia. "Teleshopping: A uses and gratifications approach." Social Psychological Review 11, no. 1 (March 2009): 17–26. http://dx.doi.org/10.53841/bpsspr.2009.11.1.17.

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Teleshopping has become central to the content of Maltese television in the last five years. This exploratory study examined reasons behind the success of these programmes amongst Malta’s television audience. It was hypothesised that the popularity of this genre is related to the gratification of psychological needs besides the overt marketing function. Factor analysis of data collected from 150 participants indicated that, at least partly, viewers watch teleshopping programmes because this activity provides them with a sense of identification with a particular group of people who they perceiv

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da Silva Klehm, Volnei, Rodrigo de Souza Braga, and Vicente Ferreira de Lucena. "A Survey of Digital Television Interactivity Technologies." Sensors 22, no. 17 (August 30, 2022): 6542. http://dx.doi.org/10.3390/s22176542.

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This paper presents a survey of the worldwide use of Digital Television interactivity (DTVi) standards. First, we recall some concepts of first-generation interactivity middlewares released in the early 2000s, such as the European MHP (based on Java) and the Japanese BML (based on XML). Then, we cover the new standards (emerging after 2010) that introduced the new Integrated Broadcast Broadband (IBB) model, which combines broadcast signals with a broadband interface and leverages synergies to offer high-quality, flexible, interactive and customized services and applications to viewers. Regardi

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Ashifa, K. M. "Behavior Analysis Matrix for Women Soap Opera Viewers: A Structural Analysis." GATR Journal of Management and Marketing Review 3, no. 4 (December 11, 2018): 206–12. http://dx.doi.org/10.35609/jmmr.2018.3.4(5).

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Objective - In modern times, soap operas are thought to be a good source of leisure and are considered a powerful medium for propagating specific attitudes, ideas and different cultures within society. They are also useful for educating, informing and entertaining audiences, particularly women and children. The present investigation examines behavioural changes in women who watch soap operas. The Behaviour Analysis Matrix is used to assess changes in socio-cultural, psychological, economic, physiological and functional traits. Methodology/Technique - The present paper develops a global model f

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UKka, Ibrahim T. I. "COMMUNICATION PLANNING AND POLICY: COMMUNICATION PLANNING PT. ABADI LIGHT TELEVISION (TATV) BRANDING." International Journal of Applied Research in Social Sciences 1, no. 4 (June 21, 2020): 95–110. http://dx.doi.org/10.51594/ijarss.v1i4.37.

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The presence of PT. Eternal Light Television (TATV) as local television in Surakarta and surrounding there initially, viewed pessimistically by the surrounding community. This is very reasonable considering that no television has been established in Surakarta. On April 29, 2004, TATV began broadcasting on air, and was called "Jelang Tayang Perdana". At the start of launching on air or the trial broadcast by TATV it still seemed to be less professional. There are no programs that can be presented such as national television, only limited to advertisements in the form of slides. The screenings a

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Lundgren, Lars. "Live From Moscow." Europe on and Behind the Screens 1, no. 2 (November 29, 2012): 45. http://dx.doi.org/10.18146/2213-0969.2012.jethc018.

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On April 14th, 1961, television viewers across Europe watched live images of Yuri Gagarin being celebrated on the Red Square in Moscow. The broadcast was made possible by the linking of the Intervision and Eurovision television networks, which was the result of cooperation between broadcasters on both sides of the Iron Curtain. By looking into how the co-operation between the OIRT and EBU was gradually developed between 1957 and 1961 this article engages with the interplay between cultural, legal and technological aspects of broadcasting and how the transnational broadcast of Gagarin’s return

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Volokhova, Natalia V., and Alex V. Postnikov. "Television Series as a Phenomenon of Screen Culture." Proceedings of the Southwest State University. Series: Economics, Sociology and Management 11, no. 5 (2021): 243–50. http://dx.doi.org/10.21869/2223-1552-2021-11-5-243-250.

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Relevance. Modern screen culture as a component of mass communication occupies a leading position in terms of influence on public consciousness. A television series as a part of mass culture secures important content, time and functional positions. In our opinion, with the increasing importance of the television series as an aspect of mass culture in particular and modern socio-cultural life in general, active attention should be paid to the formation of this phenomenon as a postmodern aspect and reflection of the "non-classical" model of reality. The purpose is to identify the specifics of a

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Bignell, Jonathan. "Performing the Identity of the Medium: Adaptation and Television Historiography." Adaptation 12, no. 2 (July 25, 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 la

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Shen, Zhe. "Operation Mode and Creation of Film Media Based on the Internet Logic under the Field Theory." Mobile Information Systems 2022 (October 6, 2022): 1–11. http://dx.doi.org/10.1155/2022/6484483.

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With the development of information technology and new media technology, the Internet has had a profound impact on the development of the film and television industry. Mainstream media, new media, Internet companies, cultural media companies, etc. are all eager to try, and the forces from the state, capital, media, and users are intertwined. The film and television field is the behavioral practice field of various stakeholders. Capital stimulates the industrial functions of the film and television industry from the perspective of commercial interests. The interests of users are being redefined

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Alena Šplíchalová, Tomáš Karásek, and Tomáš Apeltauer. "Classification of the Socio-Psychological Aspects of Protecting Soft Targets: a Case Study for Evacuation of the Railway Terminals." Communications - Scientific letters of the University of Zilina 23, no. 3 (July 1, 2021): F71—F82. http://dx.doi.org/10.26552/com.c.2021.3.f71-f82.

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Current crisis management approaches to protect soft targets make assumptions about average visitors/listeners/viewers or passengers. They do not give much consideration to impacts of diversity of potentially evacuated persons with regard to socio-psychological parameters/factors that may lead to practical problems and complications during the evacuation itself. At the same time, the soft target operators have various means of machine vision tools at their disposal, but do not use these records for more thorough analysis of evacuation planning needs. Based on this observation, the article iden

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37

Sobczak, Barbara. "News as a Rhetorical Act." Acta Universitatis Lodziensis. Folia Litteraria Polonica 35, no. 5 (April 27, 2017): 43–58. http://dx.doi.org/10.18778/1505-9057.35.04.

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This article presents television news as a rhetorical act. Television news is understood as an account of an event usually comprising of a short introduction and a few minutes of film footage (sometimes referred to as the editorial), created as a result of the work of reporters, broadcast on television, usually as one of the elements in the structure of a news magazine, but also as an element of the programme blocks of news television channels. Television news functions in the media as one of the elements of the strategic actions of media broadcasters, focused on specific purposes, including i

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Putri, Vinanda Cinta Cendekia, and Alem Febri Sonni. "The quality of television news in Indonesia." ProTVF 6, no. 2 (September 29, 2022): 224. http://dx.doi.org/10.24198/ptvf.v6i2.37882.

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This research aims to explore the watching patterns of the people of Indonesia with a specific focus on how they consume news programs on television. Indonesian democracy condition is draining much information energy every year. The war for information among broadcasting institutions has stirred worry among the general public regarding the quality of the content broadcast by national television stations. Virtually no medium is safe from the touch of politics, and news programs, in particular, are often highly political. Due to the urgency of this research to measure the quality of programs, no

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39

Kruglova, L. A., та A. S. Artes. "TV Channels Are on the Air and on the YouTube: The Specificity of Interaction on the Example of “Russia С” and ARTE". Vestnik NSU. Series: History and Philology 18, № 6 (2019): 139–49. http://dx.doi.org/10.25205/1818-7919-2019-18-6-139-149.

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Purpose. The article presents the results of the analysis of the work of television channels on the air and on the YouTube. This platform appeared in 2006 and has become popular all over the world. Now famous video service has a great influence to the media sphere, and traditional television has to reckon with this fact. The topic of interaction of TV channels with YouTube platforms is relevant for the theorists and practitioners. However, due to its novelty, it can not be called fully studied. Studies dealing with this issue cover only certain aspects of it, and the interaction of cultural an

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40

Hodge, James G., Veda Collmer, Daniel G. Orenstein, Chase Millea, and Laura Van Buren. "Reconsidering the Legality of Cigarette Smoking Advertisements on Television Public Health and the Law." Journal of Law, Medicine & Ethics 41, no. 1 (2013): 369–73. http://dx.doi.org/10.1111/jlme.12026.

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Amid the action of the 2013 Super Bowl aired the usual array of high-priced advertisements. Most ads were original. Some were unusual. One regional ad, however, seemed distantly familiar. The 30-second commercial promoted the NJOY King electronic (or e-) cigarette1 to at least 10 million viewers in several major markets. It featured an attractive male model taking a drag from what looks like (and NJOY calls) a cigarette. He then slowly blows smoke to the tune of Foreigner’s “Feels Like the First Time.” Of course, the “smoke” does not come from burning tobacco. Rather, it is the water vapor pro

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41

Perryman, Nyssa, and Sandra Theiss. "“Weather Girls” on the Big Screen: Stereotypes, Sex Appeal, and Science." Bulletin of the American Meteorological Society 95, no. 3 (March 1, 2014): 347–56. http://dx.doi.org/10.1175/bams-d-12-00079.1.

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Women currently in the broadcasting meteorology field have dealt with—and continue to deal with—restrictive stereotypes based on the public's perception of their physical appearance and intelligence, largely stemming from the “weather girl” stereotype developed in the 1950s. This sexist stereotype is best seen and often exaggerated in cinematic films and television shows; however, the public's ability to distinguish the truthful and fictitious aspects of these stereotypes is important because these stereotypes limit the level of trust established between female weathercasters and viewers while

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42

Aran-Ramspott, Sue, and Miquel Rodrigo-Alsina. "The Notion of Violence in Television Fiction: Children’s Interpretation." Comunicar 20, no. 40 (March 1, 2013): 155–64. http://dx.doi.org/10.3916/c40-2013-03-06.

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In this paper we analyse child viewers’ interpretation of television violence shown in television programmes specifically aimed at children. The justification for this work is based on the research that considers that more theoretical and empirical studies need to be carried out on the conceptualisation of violence, and about how much violence is legitimised and through what mechanisms such legitimacy is constructed. It is aimed at providing a notion of television violence as interpreted by child television viewers which takes these mechanisms into account. The methodology used is based on an

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Ladendorf, Martina. "The L-word. Queer identifikation och mediereception." Tidskrift för genusvetenskap 29, no. 3-4 (June 14, 2022): 115–37. http://dx.doi.org/10.55870/tgv.v29i3-4.3799.

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The L-word is said to be the first commercial television drama that is narratively centered on lesbian characters. How is a queer audience, in this case eighteen lesbian, bisexual or queer identified Swedish women, interpreting a homonormative mainstream media text? This article aims to read the representation and reception of The L-word against freudian psychoanalysis and spectatorship theory’s splitting of identification and desire and a queer critique of these. It also discusses the lesbian sex scenes in the series through some viewers interpretations of them. In focus group interviews, vie

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KOLOTVINA, OLGA V. "IMMERSIVE TECHNOLOGIES OF J. VAL DEL OMAR’S MEDIA ART (“APANORAMIC IMAGE OVERFLOW”, “DIAPHONY”, “TACTILE VISION”) AS AN EXPRESSION OF HIS CONCEPT OF “MECHANICAL MYSTICISM”." ART AND SCIENCE OF TELEVISION 17, no. 1 (2021): 51–71. http://dx.doi.org/10.30628/1994-9529-2021-17.1-51-71.

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The article analyzes three media technologies for creating an immersive polysensory environment, developed back in 1940–1960s by the Spanish film director and engineer Jose Val del Omar. The technologies are considered in the context of the director’s key concept, which he called “mechanical mysticism”. It was aimed at creating a cinematic analogy of mystical experience by transforming the mysticism of Spanish culture into cinematic technologies. The author reveals how the conversion of the suggestive artistic potential of Spanish mysticism into the immersiveness of film technologies allowed J

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Leah Cross, Judith. "Aspects of a boy’s childhood as a complex social construct in comics." Visual Communication 16, no. 2 (March 30, 2017): 147–64. http://dx.doi.org/10.1177/1470357216680162.

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The depiction of boyhood in the Western world of comics underwent a subtle transformation in the shadow of the Second World War. Major artists of these sequential artistic texts (such as Schultz and Spiegelman) fine-tuned key elements in the set of resources they drew on, effectively changing how readers/viewers engage with the young male protagonists in comics. The shift in affect was realized in storylines; instead of these being driven by external, performance-oriented representations of ‘boyhood’ punctuated by mischievous deeds or heroic exploits, drama was created by a much more complex a

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46

Bell, Phillip. "Real New Formats of Television: Looking at Big Brother." Media International Australia 100, no. 1 (August 2001): 105–14. http://dx.doi.org/10.1177/1329878x0110000111.

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Recent ‘reality TV’ formats, such as Channel Ten's Big Brother, exhibit many features of ethnography, and attend to ‘real’ aspects of human behaviour in ways reminiscent of experimental psychological simulations of institutional roles conducted in the 1960s. Reality TV integrates and re-mixes genres of observational cinema and of game shows and situation comedy, purporting to reveal the very nature of people stripped of their conventional social support and competing for biological or social rewards. Yet these formats construct tight, artificial recontextualisations of existing social practice

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47

Pinto, Manuel. "TV and family: a crossroad fo changeable fields." Comunicar 12, no. 24 (March 1, 2005): 59–67. http://dx.doi.org/10.3916/c24-2005-10.

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Television is a family issue. Concerning the relationship between family and media we should consider at least three aspects: the family on the TV, TV in the family and finally, the family making TV. The viewers are not only seduced customers, but citizens who are conscious of their position in the world and called to participate in the collective life. La televisión es cada vez más un asunto familiar. Teniendo presente las interacciones que el medio televisivo genera con el mundo familiar, es importante reflexionar sobre tres dimensiones esenciales: la familia en la televisión, la televisión

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48

Tazanu, Primus M. "Of Polluted Spirits and Compromised Identity: Pentecostal Depictions of Causality and the Repositioning of Human Agency in Cameroon." Journal of Asian and African Studies 53, no. 6 (March 23, 2018): 970–83. http://dx.doi.org/10.1177/0021909618762520.

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Thanks to the mass media, specifically television, Pentecostal discourses involving polluted human spirits and defective human agency are captured and disseminated in audio-visual form in Cameroon. These representations are about evil spirits residing in, as well as corrupting, the personality of innocent individuals. Victims of evil spirits are portrayed as colonized vessels incapable of exercising agency without the intervention of an all-powerful pastor. In this article, I expose the ways in which these representations of malevolent forces – that are strongly connected to aspects of African

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Young, Michael P. "Such Schadenfreude – Unpacking The Medley of Caustic Humor and Politics in Veep." AM Journal of Art and Media Studies, no. 20 (October 15, 2019): 61. http://dx.doi.org/10.25038/am.v0i20.327.

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This paper discusses the intersection of humor and politics from a media perspective, particularly through the lens of television aesthetics. As a growing branch of television studies, television aesthetics tends to refer to stylistic analysis but also, more rarely, to an interest in philosophical aesthetics as applied to television (Butler, 2010; Cardwell, 2013). I will focus on the genre of political satire and identify the critically acclaimed television series Veep (HBO, 2012 – present) as a program which exemplifies the expression and underlying values of a contemporary strain of aestheti

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Lovie, Sandy. "M R James and the Psychology of Terror." History & Philosophy of Psychology 8, no. 1 (2006): 40–47. http://dx.doi.org/10.53841/bpshpp.2006.8.1.40.

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Although Montague Rhodes James (1862–1936) would have wanted to be remembered primarily for his antiquarian scholarship, the only substantial work of his which remains in print are the ghost stories. These were frequently tried out at Christmas in front of an audience of dons and students, first at King’s College Cambridge and then at Eton, before seeing the light of day in various literary journals. There are a little over 30 of these stories extant, with the collected edition dating from 1931. Although their subject matter and settings are now historical, the stories are still able to evoke

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