This article starts with the environmental changes in human cognition, analyzes the virtual as the main feature of visual perception under digital technology, and explores the transition from passive to active human cognitive activities. With the diversified understanding of visual information, human contradiction of memory also began to become prominent. Aiming at the problem that the existing multimodal TV media recognition methods have low recognition rate of unknown application layer protocols, an adaptive clustering method for identifying unknown application layer protocols (...) is proposed. This method clusters application layer protocols based on similarity of the load characteristics of network stream application layer protocol data. The method divides the similarity calculation in the clustering algorithm to improve the clustering efficiency of the algorithm. Experimental results show that the proposed method can efficiently and accurately recognize unknown visual communication. This article proposes that, in the interactive multimodal visual information transmission, human visual perception experience has changed, the diversity of visual information content expression makes the aesthetic subject more personalized and stylized. (shrink)

Television regulation is increasingly Europeanized. While the transposition of community law into national legislation in EU member states has been widely discussed, scholarly attention is less frequently devoted to the Europeanization of non-member states. This paper investigates how television regulation in non-EU members has been influenced by European audiovisual policy since the liberalization of broadcasting. Focusing on the case of Switzerland and putting it into a wider context, changes in television regulation and their connection to the European (...) level were analyzed by performing a qualitative document analysis. Results indicate that the degree of Europeanization in Switzerland differs remarkably from other non-member states like Norway. While advertising regulation was brought in line with less-strict EU directives, a public value test or compliance with state aid rules were not even discussed. Yet similar to other non-members, rules were adopted without having a say in their development. (shrink)

This collective book analyzes seriality as a major phenomenon increasingly connecting audiovisual narratives (cinematic films and television series) in the 20th and 21st centuries. The book historicizes and contextualizes the notion of seriality, combining narratological, aesthetic, industrial, philosophical, and political perspectives, showing how seriality as a paradigm informs media convergence and resides at the core of cinema and television history. By associating theoretical considerations and close readings of specific works, as well as diachronic and synchronic approaches, this volume (...) offers a complex panorama of issues related to seriality including audience engagement, intertextuality and transmediality, cultural legitimacy, authorship, and medium specificity in remakes, adaptations, sequels, and reboots. Written by a team of international scholars, this book highlights a diversity of methodologies that will be of interest to scholars and doctoral students across disciplinary areas such as media studies, film studies, literature, aesthetics, and cultural studies. It will also interest students attending classes on serial audiovisual narratives and will appeal to fans of the series it addresses, such as Fargo, Twin Peaks, The Hunger Games, Bates Motel, and Sherlock. (shrink)

The article connects the forms of contemporary TV series with the narrative and participatory logics of contemporary media. In particular, the author proposes to consider the wide diffusion and popularity of TV series as a form of response and adaptation to the contemporary media condition. The article proposes an analysis of the ways in which the human instinct for storytelling finds form in contemporary participatory media practices. This reflection is situated within the broader debate on post-cinema and the ways in (...) which new technologies have transformed cinema and audiovisual products. This theoretical perspective is related to the well-known twentieth-century philosophical reflection on the status of narration. TV series, therefore, are a response to the “call for concordance” (Ricœur) that is nowadays more evident than ever. Yet there seems to be a sort of paradox here, that characterises the TV series aesthetic experience: in the process of accomplishing this concordance, by creating solid and unitary world, TV series adapt that transmedia aesthetic (Jenkins) of fragmentation that is typical of contemporary media logic. At the end the author discusses some examples. (shrink)

Image restoration is a research hotspot in computer vision and computer graphics. It uses the effective information in the image to fill in the information of the designated damaged area. This has high application value in environmental design, film and television special effects production, old photo restoration, and removal of text or obstacles in images. In traditional sparse representation image restoration algorithms, the size of dictionary atoms is often fixed. When repairing the texture area, the dictionary atom will be (...) too large to cause blurring. When repairing a smooth area, the dictionary atom is too small to cause the extension of the area, which affects the image repair effect. In this paper, the structural sparsity of the block to be repaired is used to adjust the repair priority. By analyzing the structure information of the repair block located in different regions such as texture, edge, and smoothing, the size of the dictionary atom is adaptively determined. This paper proposes a color image restoration method that adaptively determines the size of dictionary atoms and discusses a model based on the partial differential equation restoration method. Through simulation experiments combined with subjective and objective standards, the repair results are evaluated and analyzed. The simulation results show that the algorithm can effectively overcome the shortcomings of blurred details and region extension in fixed dictionary restoration, and the restoration effect has been significantly improved. Compared with the results of several other classic algorithms, it shows the effectiveness of the algorithm in this paper. (shrink)

La réflexion sur la contrepartie que la télévision publique doit offrir au paiement de la redevance par l'ensemble des téléspectateurs relève d'un débat public orchestré par les représentants de l'Etat. La télévision publique ne peut se soustraire à une mesure de son audience, mais peut proposer des critères d'évaluation appropriés, comme les indicateurs d'audience cumulée qui expriment l'étendue du public touché. Plus fondamentalement, afin de développer le dialogue avec le public, France Télévisions a instauré un droit de chaque téléspectateur à (...) être écouté, à obtenir une réponse et à s'assurer que ses remarques seront considérées avec respect, à travers un dispositif de médiateurs et un service de relation avec les téléspectateurs.Any thought on what public television must offer to viewers in return for their licence fee is dependent on a public discussion orchestrated by State representatives. Public television cannot be excluded from audience ratings but can propose adapted criteria of evaluation, like the indicators of cumulated audience ratings which express the range of the audience covered. Basically, to develop a dialogue with the public France Télévisions adopted the policy that each viewer should have the right to be listened to, the right to obtain an answer and the right to have his or her remarks considered with respect through a system of mediators and a customer service department for viewers. (shrink)

This article attempts to show why an experimental hypothesis is plausible and merits testing; in brief, the hypothesis is that autism begins with a failure in early learning and that changing the environment of early learning would dramatically change its incidence. Strong statistical evidence supporting this hypothesis has been published by Waldman et al., but to date this evidence has largely been ignored, perhaps because it challenges prevalent beliefs about autism. This article also suggests that the current epidemic of autism (...) is serious enough, and intellectually mysterious enough, to merit attention from a wider community of brain scientists: New ideas are needed. A confirmation of this article’s hypothesis would have interesting implications for brain science. (shrink)

Since technology has been entering into human beings’ everyday life, individuals established a deep relationship with digital technology, thus an embodied link between people and digital instruments has been born. This is particularly evidenced by recent literature about screen time (duration of time spent by the individual in using electronic/digital media like television, smartphone, tablet or computer), it significantly influences different human beings’ dimensions: physical, psychological and neurological functions. Impact of digital technology on human beings can be considered as (...) a result of syntonic functioning in order to improve different people’s life areas (e.g., work, social or intimate relationship, learning), while the dystonic relationship is evidenced as a result of human addiction to digital technology. The present study aims to provide a cognitive and social psychology perspective on how screen time is changing our existences, defining digital technology as a gift which people should be aware of in terms of positive but even negative consequences in everyday life. (shrink)

Enter The Expanse to explore questions of the meaning of human life, the concept of justice, and the nature of humanity, featuring a foreword from author James S.A. Corey The Expanse and Philosophy investigates the philosophical universe of the critically acclaimed television show and Hugo Award-winning series of novels. Original essays by a diverse international panel of experts illuminate how essential philosophical concepts relate to the meticulously crafted world of The Expanse, engaging with topics such as transhumanism, belief, culture, (...) environmental ethics, identity, colonialism, diaspora, racism, reality, and rhetoric. Conceiving a near-future solar system colonized by humanity, The Expanse provokes a multitude of moral, ethical, and philosophical queries: Are Martians, Outer Planets inhabitants, and Earthers different races? Is Marco Inaros a terrorist? Can people who look and sound different, like Earthers and Belters, ever peacefully co-exist? Should science be subject to moral rules? Who is sovereign in space? What is the relationship between human progress and aggression? The Expanse and Philosophy helps you answer these questions—and many more. Covers the first six novels in The Expanse series and five seasons of the television adaptation Addresses the philosophical issues that emerge from socio-economics and geopolitics of Earth, Mars, and the Outer Planets Alliance Offers fresh perspectives on the themes, characters, and storylines of The Expanse Explores the connections between The Expanse and thinkers such as Aristotle, Kant, Locke, Hannah Arendt, Wittgenstein, Descartes, and Nietzsche Part of the popular Blackwell Philosophy and Pop Culture series, The Expanse and Philosophy is a must-have companion for avid readers of James S.A. Corey’s novels and devotees of the television series alike. (shrink)

This essay examines Italian philosopher Adriana Cavarero's ontology of uniqueness through a reading of Alex Haley's novel Roots, and the recent television adaptation of that book. If Cavarero has insisted throughout her work that we need to challenge the philosophical privileging of abstract universality and focus instead on the irreducibility of embodied singularity, and if such a move in her work has always relied on a feminist analysis of the role women play in such a drama, I argue that (...) attention to issues of race and the institution of slavery both supports and complicates her analysis in meaningful ways. (shrink)

(This version was submitted to Behavioral and Brain Science. A revised version was published by Biological Theory) Estimates of autism’s incidence increased 5-10 fold in ten years, an increase which cannot be genetic. Though many mutations are associated with autism, no mutation seems directly to cause autism. We need to find the direct cause. Complexity science provides a new paradigm - confirmed in biology by extensive hard data. Both the body and the personality are complex dynamic systems which spontaneously self-organize (...) from simple dynamic systems. Autism may therefore be caused by the failure of a simple dynamic system. We know that infants who cannot track their mother’s face often become autistic, that eye-contact initiates intersubjectivity which is blocked in autism, and that the infant-mother pair seems designed to promote eye-contact, as does the eye’s appearance. This author earlier proposed that failure of eye-contact might directly cause autism and that early non-maternal childcare, including television/video, would therefore be statistically linked to autism. Waldman et al. (2008; 2006) recently proved that autism is strongly linked to precipitation (indoor activity) and to the introduction of cable. The most plausible explanation? Early exposure to television/video is linked to autism. Furthermore a normal developmental cascade (blocked in autism) has been deciphered: (a) Infant-mother eye-contact triggers increased maternal attention. (b) Early maternal attention permanently increases not only baseline vasopressin but also that oxytocin release which is triggered by subsequent maternal attention. (c) Vasopressin and oxytocin promote face recognition, gazing-at-the-eyes, emotion recognition, and social bonding. The eye-contact hypothesis suggests a clinical study addressing prevention: recruit prospective parents who agree to curtail television/video/computer/wi-fi in their families; measure autism’s incidence in their children. (shrink)

The technological revolution and appropriation of internet tools began to reshape the material basis of society and the urban space in collaborative, grassroots, leaderless, and participatory actions. The protest squares’ representation on Television screens and mainstream media has been broad. Various health, governmental, societal, and urban challenges have marked the advent of the Covid-19 virus. Inequalities have become more salient as poor people and minorities are more affected by the virus. Social distancing makes the typical forms of protest impossible (...) to carry out. Under social distancing, some state-led policies took advantage of social media to focus on the Covid-19 pandemic to silence social and political activities, censor criticism, and control the press. However, during the pandemic era, the movements for social justice have been particularly active, focusing on defending workers’ rights, mutual aid and solidarity, monitoring policymakers, and popular education. These progressive movements combined concrete practices and experiences to confront the reactionary, capitalist, and governmental actors that sought to shape and envision the world. Through different case studies of protest movements during the pandemic in Europe, the UK, and Asia, this paper argues that at the time of rising racial, social, and economic inequalities, the social activities adapted to the circumstances determined by the social distancing and the impossibility of people gathering in physical spaces. Subsequently, the people in different countries had various individual and collective responses to the support of health workers, systemic inequalities, loss of jobs, and other societal and financial challenges imposed by the governments. It means that, rather than disappearing, the social movements have adapted to the unexpected situations during the pandemic outbreak. The pandemic broke the new digital global wave of protests in this sense. (shrink)

In a sense, all technology is biotechnology: machines interacting with human organisms. Technology is designed to overcome the frailties and limitations of human beings in a state of nature -- to make us faster, stronger, longer-lived, smarter, happier. And all technology raises questions about its real contribution to human welfare: are our lives really better for the existence of the automobile, television, nuclear power? These questions are ethical and political, as well as medical; and they even reach to the (...) philosophical and spiritual. On the whole, we seem pretty well adapted to our technology, at least on the face of it -- but there have always been doubts about whether the human soul thrives best in the oppressively technological world we have created for ourselves. (I am continually struck by how much time I have to spend fixing the machines that supposedly improve my life.). (shrink)

Haneke’s 1997 adaptation of Franz Kafka’s Das Schloß is thus far his last work for television[1]. Although «the Austrian film almanac lists» it «as a feature film» and it «was released in Austrian cinemas before its television première» [2], Haneke has always professed The Castle to be a TV film adaption, «an honorable enterprise» aimed at «bring[ing] literature closer to an audience» [3]. This is a significant remark, as it conveys a belief that this specific double status – (...) qua TV product and qua adaption of a literary work –prevents film adaptation from being considered «autonomous art». For one, he states, a work destined for TV by definition «serves audience expectations». For another, as an adaptation, a work is necessarily dependent upon its original source. [1] Before being well-known as a very influential film director, Michael Haneke began working for television in 1967. His first TV film, i.e., After Liverpool, was released long before his first feature film, Der siebente Kontinent, which was issued in 1989. This should not come as a surprise, since «practically every German-speaking filmmaker» at that time «started out directing films for television, taking advantage of the relatively generous system of subsidies and the general openness of German and Austrian state television channels to aesthetic innovation». In any case, Haneke later specified that directing for television was not solely a matter of opportunity, but also a fitting milieu in which to develop his own style. [2] However, that reportedly happened against Haneke’s will: «The Castle, for example, was in fact made for television, even though it will now be shown in movie houses as well. In my view, film adaptations are not genuine works of art. And I don’t really know of any film adaptation that really worked very well». Later he will confirm this point: «I would not have dared to turn The Castle into a movie for the big screen». [3] Let us note that this does not imply that Haneke feels a work formally presented as an adaptation cannot result in a great feature film. However, properly speaking, such a film could no longer be called an adaptation, since «it is not possible to serve two masters at the same time». Haneke is quite categorical on this point: «Thus one has to decide. Either I use a book as a quarry for ideas for something that I want to create myself, then it is a failed project as a film adaptation, or it is to be a film for a television program that has a commitment to cultural standards». (shrink)

Introduction -- Media and representation. On the one medium / Eric Gans -- The scapegoat mechanism and the media: beyond the folk devil paradigm / John O'Carroll -- The apocalypse will not be televised / Chris Fleming -- Film. Mirrors of nature: artificial agents in real life and virtual worlds / Paul Dumouchel -- Superheroes, scapegoats, and saviors: the problem of evil and the need for redemption / Joel Hodge -- Sanctified victimage on page and screen: The hunger games as (...) prophetic media / Debra E. Macdonald -- The mimetic e-motion: from The matrix to Avatar / Nidesh Lawtoo -- Apocalypse of the therapeutic: The cabin in the woods and the death of mimetic desire / Peter Y. Paik -- Eyes wide shut: mimesis and historical memory in Stanley Kubrick's The shining / David Humbert -- Against romantic love: mimeticism and satire in Woody Allen's Vicky, Cristina, Barcelona; you will meet a tall dark stranger; and To Rome with love / Scott Cowdell -- A beautiful crisis: Ang Lee's film adaptation of The ice storm / Carly Osborn -- Cowboy metaphysics, the virtuous-enough cowboy, and mimetic desire in Stephen Fears' The hi-lo country / Thomas Ryba -- Television. The self in crisis: watching Mad men and Homeland with Girard and Hegel / Paolo Diego Bubbio -- Media, murder, and memoir: Girardian baroque in Robert Drewe's The shark net / Rosamund Dalziell -- Conversion in Dexter / Matthew John Paul Tan and Joel Hodge. (shrink)

The experience of being famous was investigated through interviews with 15 well-known American celebrities. The interviews detail the existential parameters of being famous in contemporary culture. Research participants were celebrities in various societal categories: government, law, business, publishing, sports, music, film, television news and entertainment. Phenomenological analysis was used to examine textural and structural relationship-to-world themes of fame and celebrity. The study found that in relation to self, being famous leads to loss of privacy, entitization, demanding expectations, gratification of (...) ego needs, and symbolic immortality. In relation to other, or world, being famous leads to wealth, access, temptations, and concerns about family impact. Areas of psychological concern for celebrity mental health include character-splitting, mistrust, isolation, and an unwillingness to give up fame. Being-in-the-world of celebrity is a process involving four temporal phases: love/hate, addiction, acceptance, and adaptation. Findings are presented in the form of a Composite Textural Description and two Individual Structural Descriptions. (shrink)

This research aims to analyze the influencing factors of migrant children’s education integration based on the convolutional neural network algorithm. The attention mechanism, LSTM, and GRU are introduced based on the CNN algorithm, to establish an ALGCNN model for text classification. Film and television review data set, Stanford sentiment data set, and news opinion data set are used to analyze the classification accuracy, loss value, Hamming loss, precision, recall, and micro-F1 of the ALGCNN model. Then, on the big data (...) platform, data in the Comprehensive Management System of Floating Population and Rental Housing, Student Status Information Management System, and Student Information Management System of Beijing city are taken as samples. The ALGCNN model is used to classify and compare related data. It is found that in the MR, STT, and MPQA data sets, the classification accuracy and loss value of the ALGCNN model are better than other algorithms. HL is the lowest, the Pre is second only to the BERT algorithm, and the Re and F1 are both higher than other algorithms. From 2015 to 2019, the number of migrant children in different grades of elementary school shows a gradual increase. Among migrant children, the number of migrant children from other counties in this province is evidently higher than the number of migrant children from other provinces. Among children of migrant workers, the number of immigrants from other counties in this province is also notably higher than the number of immigrants from other provinces. With the gradual increase in the years, the proportion of township-level expenses shows a gradual decrease, whereas the proportion of district and county-level expenses shows a gradual increase. Moreover, the accuracy of the ALGCNN model in migrant children and local children data classification is 98.6 and 98.9%, respectively. The proportion of migrant children in the first and second grades of a primary school in Beijing city is obviously higher than that of local children. The average final score of local children was greatly higher than that of migrant children, whereas the scores of migrant children’s listening methods, learning skills, and learning environment adaptability are lower, which shows that an effective text classification model is established based on the CNN algorithm. In short, the children’s education costs, listening methods, learning skills, and learning environment adaptability are the main factors affecting migrant children’s educational integration, and this work provides a reference for the analysis of migrant children’s educational integration. (shrink)

At present, the news broadcast system using mobile network on the market provides the basic functions required by TV stations, but there are still many problems and shortcomings. In view of the main problems existing in the current system and combined with the actual needs of current users, this paper has preliminarily developed a news broadcast system based on 5G Live. The card frame adaptive strategy significantly improves the user experience by using gradual video frame buffering technology. Hardware codec technology (...) significantly reduces the consumption of system resources; H.264 high-compression algorithm can reduce network bandwidth by 50% compared with MPEG-2 and MPEG-4 without a significant change in image quality. At the same time, the use of mobile video acquisition terminals in the system not only solves the problem that satellite broadcast vehicles cannot reach the site due to the lack of roads but also greatly reduces the cost of early deployment and late maintenance of the news broadcast system. This paper studies the card frame adaptive strategy, the system resource consumption reduction solution, and the deployment scheme of the mobile video and audio transmission terminal, which is of great significance to improve the design and research of the news broadcast system under the wireless network application and also has certain reference value for the design of other broadcasting and television solutions. (shrink)

This article attempts to evaluate emotive meanings across languages and cultures expressed and elicited semiotically from viewers. It investigates the challenges of subtitling emotive feelings in the American filmHomeless to Harvard(2003) into Arabic. It adopts Paul Thibault’s (2000. The multimodal transcription of a television advertisement: Theory and practice. In Anthony Baldry (ed.),Multimodality and multimediality in the distance learning age, 311–385. Campobasso: Palladino Editore) method of multimodal transcription and Feng and O’Halloran’s (2013. The multimodal representation of emotion in film: Integrating (...) cognitive and semiotic approaches.Semiotica197(1/4). 79–100) framework of the multimodal representation of emotion to formulate strategies for subtitling emotion from English into Arabic. Additionally, Feng and O’Halloran’s (2013) framework is adapted to show how stylistic choices (e.g., cinematography, music, soundtracks, etc.) and semiotic expressions can elicit emotion from viewers. The social semiotic model is employed to investigate how emotive representation is realized through verbal and non-verbal items. The findings showed that the filmmakers had properly used stylistic choices and various semiotic techniques to elicit emotion from the viewer derived from the emotion of the film’s heroine. (shrink)

No momento em que oposições seculares – tais como real versus imaginário, razão versus mito, inteligível versus sensível, vida mental versus vida material – se encurtam e o poder passa a ser exercido não só pela coerção material, mas também pela dominação simbólica, percebe-se que, cada vez mais, procura-se conciliar razão e imaginário. Entende-se, assim, que a tradição é mantida através dos mitos e das lendas. O que se deseja, realmente, é manter-se o passado dentro do futuro. A sociedade tem, (...) como objetivo, o futuro. Entretanto, ela se mantém sob as regras do passado. O imaginário é sempre, em certa medida, imitação do passado, mas é uma imitação deformada pelo próprio mecanismo de projeção, que mais não pode fazer a não ser transformar os preceitos, as estruturas adquiridas pelas aprendizagens adaptativas, suprimindo-lhes outros preceitos e outras estruturas, condicionando-os a tornarem-se, sem apelo nem agravo, diferentes daquilo que são. A criança não está livre desse processo. Constantemente ela é bombardeada pelas imagens publicitárias, cinematográficas e televisionada, além das várias modalidades de Literatura que permeiam o seu cotidiano. Palavras-chave: Literatura fantástica; Infância; Imaginário e religião. ABSTRACT In a moment when secular oppositions curtail (such as the real versus the imaginary, reason versus myth, the intelligible versus the sensitive, mental life versus material life) and power comes to be exerted not only through material coercion but also through symbolical domination, one notices a growing tendency towards conciliating reason and the imaginary. Thus, tradition is kept through myths and legends, as the aim is really to hold the past inside the future. Society aims at the future. However, it keeps the rules of the past. In a way, the imaginary is always an imitation of the past, but an imitation deformed by its own projection mechanism, which cannot but transform precepts and frameworks acquired through adaptive learning, suppressing other precepts and frameworks and conditioning them to become different from what they are. The child is not free from that process, being constantly exposed to publicity, cinema and television images, besides the various kinds of literature that permeate his daily life. Key words: Fantastic literature; Childhood; The imaginary and religion. (shrink)

This article investigates the critical potential of a contemporary dystopia, The Handmaid’s Tale (Miller 2017-), a U.S. television series adapted from a popular novel by Canadian author Margaret Atwood (1985). The text is widely understood as a feminist intervention that speaks to ongoing struggles against gender oppression, but in this article I consider the invitations that the show offers its viewers in treating race the way that it does, and consider what it means to refuse these invitations in pursuit (...) of a critical feminist understanding of authority, legal subjectivity, and violence. Drawing on the recent turn to genre, my reading focuses on how whiteness is reproduced through this cinematic text and its inculcation of particular ways of seeing, modes of identification and attachment. The Handmaid’s Tale’s post-racial aesthetic means that its thematic engagement with gender, sexuality and resistance actively disavows national and international histories of racist state violence and white supremacy. Its problematic feminism is thus uniquely instructive for understanding how whiteness is reproduced in contemporary (neo)liberal configurations of legal subjectivity and state authority. (shrink)

Charles Dickens’s work has been taken and adapted for many different ends. Quite a lot of attention has been given to film and television versions of the novels, many of which are very distinguished. The stage and screen musical based on his work, essentially a product of the last fifty years, has been neither as studied nor as respected. This paper looks at the connection between Dickens’s novels, the celebration of “London-ness” and its articulation in popular forms of working-class (...) music and song. It will argue that potentially unpromising texts were taken and used to articulate pride and a sense of community for groups representing the disadvantaged of the East End and, more specifically, for first-generation Jewish settlers in London. This is all the more surprising as it was in the first instance through depictions of Oliver Twist and the problematic figure of Fagin that an Anglo-Jewish sensibility was able to express itself. Other texts by Dickens, notably Pickwick Papers, A Christmas Carol and The Old Curiosity Shop, were also adapted to musical forms with varying results, but the period of their heyday was relatively short, as their use of traditional and communitarian forms gave place in the people’s affection to manufactured pop/rock and operetta forms. I will argue that this decline was partly the product of changing London demographics and shifts in theatre economics and partly of the appropriation of Dickens by the academy. (shrink)

Concepts of interaction theory play a central role in media research that deals with the relationship between media offerings and media reception. They cover the diverse activities of media users as well as the adaptation strategies utilized of mass communication. The first part of this article briefly describes where these broad and poorly defined concepts of interaction can be found in different areas of media research. One of the problems is deciding in which cases media communication can be analyzed using (...) interaction models. Another problem is the lack of differentiation between how people deal with media offerings and how media offerings refer to their users. The second part of the article develops a new perspective in media research, which allows the aspects mentioned above to be assigned to processes of media socialization on the one hand, or to the inclusion by mass communication on the other hand. On this basis new research projects can be designed that represent a necessary addition to the established analysis of media reception and media socialization. This research focuses on processes of inclusion as they can be observed in mass communications, mainly in television. This new component of a sociological media theory demonstrates how mass communication itself is able to create an image of its addressees and, in this way, adapt to an anonymous public. (shrink)

Since narratives of legitimation have to adapt to shifting discursive environments, they cannot be regarded as static phenomena. To present a sound understanding of their embedment in a specific context, narratives have to be approached from a variety of perspectives – they necessitate, in other words, a “thick description”. This paper addresses the narrative of antifascism as a central element of public discourse throughout the history of the German Democratic Republic and contextualizes it specifically in East German television culture. (...) In addition to providing an understanding of antifascism as an ideological signifier exclusively for historical phenomena, such as National Socialism or Italian fascism, this paper proposes to conceptualize the narrative of antifascism – as it was officially defined in the GDR/SBZ – as a discursive formation that encompasses various political narratives such as militarism and imperialism, as well as past and present political events. Based on this assumption, the highly successful espionage series Das unsichtbare Visier, which was produced by the DEFA and broadcasted by the East German state television, will be discussed in relation to its exploitation of the narrative of antifascism. By approaching these issues, it is the objective of this paper to examine the practices of the appropriation of the narrative of antifascism in an era that was marked by the development of popular television culture and, moreover, to contribute to the discussion of the dialectic between stability and flexibility that is inherent to narratives. (shrink)

Rendre compte des processus psychologiques qui sous-tendent les stratégies de consultation conçues comme des actions de rassemblement d'informations, de sélection d'un corpus d'images de télévision dans les fonds, corpus à transformer pour procéder à des traitements analytiques ou illustratifs , supposés pertinents pour l'identification et/ou la compréhension des phénomènes étudiés. Les observations et les reconstitutions de séance, donnent accès aux difficultés cognitives de manipulation et d'appropriation des outils et logiciels disponibles. Les jugements métacognitifs qui régulent les clôtures « acceptables » (...) de corpus et la « représentativité typique » des éléments iconiques et linguistiques sélectionnés, sont évoqués pour expliquer la gestion de ces recherches.A study of the psychological processes that underlie the consulting strategies conceived as actions of assembling data, of selecting a corpus of television images from the collections of Inathèque de France, a corpus requring transformation to carry out analytical processing, that are supposed to be relevant to identify or to understand investigated phenomena. The session observations and reconstitutions give access to the cognitive difficulties in handling and adapting available tools and software. The metacognitive assessments that control the "acceptable closures" of corpus and the "typical representativeness" of the iconic and linguistic elements selected, are discussed with a view to explaining how the researchers managed their work. (shrink)

Andrzej Szczypiorski (1928–2000) was a writer and journalist. As a journalist he made his debut in 1947 in “Gromada” and then he cooperated with “Życie Warszawy” and “Film". In 1951 he was a member of literary editor’s office of Polish Radio in Katowice, where he was engaged in reportage and radio’s adaptations of literary works. After short period of work in Teatr Śląski in Katowice and departure to embassy in Copenhagen (Denmark) he arrived to Warsaw and he engaged in (...) cultural journalism. Every week’s feuilletons-commentary in radio and numerous texts printed for example in “Przegląd Kulturalny”, “Życie Warszawy". “Za wolność i lud”, “Nowa Kultura”, “Tygodnik Demokratyczny”, “Tygodnik Kulturalny” made him famous journalist. He was reckoned to be a journalist, who supported obligatory political system. Since 1968 his connections with radio and official press have started to come loose. After next few years he cooperated to “Polityka”, “Odra”, “Problemy Alkoholizmu” and “Literatura". Formation independent press made him publicity in “Zapis”, “Biuletyn Informacyjny", "Bez tytułu". During being internee in the state of war he became concentrated on literary activity. In 1989–1991 years he was a senator. Till his death he published very much (e.g. “Gazeta Wyborcza”, “Wprost”, “Polityka” and “Hustler”) and he took part in television and radio programs, symposiums and cultural meeting in the country and foreign countries. (shrink)

_An in-depth look at the philosophical issues behind HBO's _Game of Thrones_ television series and the books that inspired it_ George R.R. Martin's _New York Times_ bestselling epic fantasy book series, A Song of Ice and Fire, and the HBO television show adapted from it, have earned critical acclaim and inspired fanatic devotion. This book delves into the many philosophical questions that arise in this complex, character-driven series, including: Is it right for a "good" king to usurp the (...) throne of a "bad" one and murder his family? How far should you go to protect your family and its secrets? In a fantasy universe with medieval mores and ethics, can female characters reflect modern feminist ideals? Timed for the premiere of the second season of the HBO _Game of Thrones_ series Gives new perspectives on the characters, storylines, and themes of _Game of Thrones_ Draws on great philosophers from ancient Greece to modern America to explore intriguing topics such as the strange creatures of Westeros, the incestuous relationship of Jaime and Cersei Lannister, and what the kings of Westeros can show us about virtue and honor as they play their game of thrones Essential reading for fans, _Game of Thrones and Philosophy_ will enrich your experience of your favorite medieval fantasy series. (shrink)

The first look at the philosophical issues behind Charlaine Harris's _New York Times_ bestsellers _The Southern Vampire Mysteries_ and the _True Blood_ television series Teeming with complex, mythical characters in the shape of vampires, telepaths, shapeshifters, and the like, _True Blood_, the popular HBO series adapted from Charlaine Harris's bestselling _The Southern Vampire Mysteries_, has a rich collection of themes to explore, from sex and romance to bigotry and violence to death and immortality. The goings-on in the mythical town (...) of Bon Temps, Louisiana, where vampires satiate their blood lust and openly commingle with ordinary humans, present no shortages of juicy metaphysical morsels to sink your teeth into. Now _True Blood and Philosophy_ calls on the minds of some of history's great thinkers to perform some philosophical bloodletting on such topics as Sookie and the metaphysics of mindreading; Maryann and sacrificial religion; werewolves, shapeshifters and personal identity; vampire politics, evil, desire, and much more. The first book to explore the philosophical issues and themes behind the _True Blood_ novels and television series Adds a new dimension to your understanding of _True Blood_ characters and themes The perfect companion to the start of the third season on HBO and the release of the second season on DVD Smart and entertaining_, True Blood and Philosophy_ provides food—or blood—for thought, and a fun, new way to look at the series. (shrink)

NEW BLOOD EDITION: Contains three new chapters from Season 3. This new edition is available as an E-BOOK ONLY and contains three chapters not found in the print book! The first look at the philosophical issues behind Charlaine Harris's _New York Times_ bestsellers _The Southern Vampire Mysteries_ and the _True Blood_ television series! Teeming with complex, mythical characters in the shape of vampires, telepaths, shapeshifters, and the like, _True Blood_, the popular HBO series adapted from Charlaine Harris's bestselling The (...) Southern Vampire Mysteries, has a rich collection of themes to explore, from sex and romance to bigotry and violence to death and immortality. The goings-on in the mythical town of Bon Temps, Louisiana, where vampires satiate their blood lust and openly commingle with ordinary humans, present no shortages of juicy metaphysical morsels to sink your teeth into. Now _True Blood and Philosophy_ calls on the minds of some of history's great thinkers to perform some philosophical bloodletting on such topics as Sookie and the metaphysics of mindreading; Maryann and sacrificial religion; werewolves, shapeshifters and personal identity; vampire politics, evil, desire, and much more. The first book to explore the philosophical issues and themes behind the _True Blood_ novels and television series Adds a new dimension to your understanding of _True Blood_ characters and themes The perfect companion to the start of the third season on HBO and the release of the second season on DVD Smart and entertaining_, True Blood and Philosophy_ provides food -- or blood -- for thought, and a fun, new way to look at the series. (shrink)

_Screen, Culture, Psyche_ illuminates recent developments in Jungian modes of media analysis, and illustrates how psychoanalytic theories have been adapted to allow for the interpretation of films and television programmes, employing Post-Jungian methods in the deep reading of a whole range of films. Readings of this kind can demonstrate the way that some films bear the psychological projections not only of their makers but of their audience, and assess the manner in which films engage the writer’s own psyche. Seeking (...) to go beyond existing theories, John Izod explores the question of whether Jungian screen analysis can work for ordinary filmgoers - can what functions for the scholar be said to be true for people without a background in Jung’s ideas? Through detailed readings of a number of films and programmes, John Izod builds on the work previously done by Jungian film analysts, and moves on to contemplate the level of audience engagement. Offering deep readings of films directed by Kubrick and Bernardo Bertolucci, as well as satirical comedy, documentaries and twenty-first century Westerns, the book explores the extent to which they manage to make the psychological impact on spectators that films of a similar kind have done on Jungian writers. The author concludes that the screen texts with the best likelihood of impacting the culture of the audience through their collective psychological force fall at opposite ends of the size and budget range: highly personal documentaries, and the most affecting of mainstream genre movies. This innovative text will be essential reading for psychoanalysts and therapists, as well as students and scholars of film with an interest in understanding how screen products work psychologically to engage the viewer. (shrink)

One of the most significant aspects of Internet, in comparison with other sources of information, such as libraries, books, journals, television, radio etcetera, is that it makes expert knowledge much more accessible to non‐experts than the other traditional sources. This phenomenon has often been applauded for its democratizing effects. Unfortunately, there is also a disadvantage. Expert information that was originally intended for a specific group of people ‐ and not in any way processed or adapted to make it fit (...) for a broader audience ‐ can easily be misunderstood and misinterpreted by non‐experts and, when used as a basis for decisions, lead to unhappy consequences. Can these risks be diminished without limiting the informational freedoms of the information providers and without imposing paternalistic measures regarding the receivers of the information? (shrink)

The article presents the advantages and limitations of adaptive clinical trials for assessing the effectiveness of medical interventions and specifies the conditions that contributed to their development and implementation in clinical practice. I advance two arguments by discussing different cases of adaptive trials. The normative argument is that responsible adaptation should be taken seriously as a new way of doing clinical research insofar as a valid justification, sufficient understanding, and adequate operational conditions are provided. The second argument is historical. The (...) development of adaptive trials can be related to lessons learned from research in cases of urgency and to the decades-long efforts to end the productivity crisis of pharmaceutical research, which led to the emergence of translational, personalized, and, recently, precision medicine movements. (shrink)