Despite studies such as Biber, quantitative methodologies remain under-exploited resources in discourse analysis. This study employs a quantitative, statistical approach to re-examine and rethink the rather well-explored topic of register. Using the extensively documented register of Sports Announcer Talk as a case study, careful quantitative analysis exposes the limitations of traditional descriptive approaches to registers. Quantitative analysis reveals significant inter-register variation in the distribution of core SAT features in a television broadcast and a radio broadcast of a basketball (...) game. Further, SAT features appear to function differently in the broadcasts: out of necessity in the radio broadcast and symbolically in the television broadcast. Such inter-register variation of variable frequency and feature function may be a product of differences in communication situation and communicative function related to broadcast media. Quantitative approaches allow more precise defining of registers and provide the researcher insight into the communicative function of discourse features. (shrink)

Media in Question sets the agenda for a revitalized debate on the hybrid communicative practices that constitute the postmodern media landscape: practices that cross the boundaries between fact and fiction, information and entertainment, public knowledge, and popular culture. In this challenging and provocative collection, the individual contributors rethink key issuesùthe meaning of the public interest, the quality of media performance, and deregulation. In the process they raise questions rarely addressed in normative media theories, for example, the ethics of sports (...) reporting, the moral reasoning in popular culture, and the required professional standards for infotainment genres such as reality television and gossip journalism. Accessible and wide-ranging, The Media in Question will be essential reading for students in mass communication and political communication studies. (shrink)

A handbook of best practices for television and broadcast journalists, encouraging practices that the public will see as being fair, thereby helping assure that television news gathering remains free.

Through the study of Richard Gruneau and Gunter Gebauer’s respective works, this article examines the social significance and theoretical implications of sport’s capacity to represent social life in a theatrical manner. The drama-like images and representations sporting practices produce, institutions codify, and television programs enhance is considered in relation to ideology’s integrative, legitimating, and distorting functions . Acknowledging the filiations of ‘theatre’ with ‘theory’ – both words stand for ‘to contemplate, to see, to observe’ – this study considers theatricality (...) as a valuable theoretical notion that enables a synthetic and reflexive understanding of athletic practices’ bodily dimension, symbolic representations, and institutional determinants. (shrink)

In this important new book, Jacques Derrida talks with Bernard Stiegler about the effect of teletechnologies on our philosophical and political moment. Improvising before a camera, the two philosophers are confronted by the very technologies they discuss and so are forced to address all the more directly the urgent questions that they raise. What does it mean to speak of the present in a situation of "live" recording? How can we respond, responsibly, to a question when we know that the (...) so-called "natural" conditions of expression, discussion, reflection, and deliberation have been breached? As Derrida and Stiegler discuss the role of teletechnologies in modern society, the political implications of Derrida's thought become apparent. Drawing on recent events in Europe, Derrida and Stiegler explore the impact of television and the internet on our understanding of the state, its borders and citizenship. Their discussion examines the relationship between the juridical and the technical, and it shows how new technologies for manipulating and transmitting images have influenced our notions of democracy, history and the body. The book opens with a shorter interview with Derrida on the news media, and closes with a provocative essay by Stiegler on the epistemology of digital photography. In Echographies of Television, Derrida and Stiegler open up questions that are of key social and political importance. Their book will be of great interest to all those already familiar with Derrida's work, as well as to students and scholars of philosophy, literature, sociology and media studies. (shrink)

This article draws upon data collected as part of a 25-year longitudinal analysis of televised coverage of women’s sports to provide a window into how sexism operates during a postfeminist sociohistorical moment. As the gender order has shifted to incorporate girls’ and women’s movement into the masculine realm of sports, coverage of women’s sports has shifted away from overtly denigrating coverage in 1989 to ostensibly respectful but lackluster coverage in 2014. To theorize this shift, we introduce the (...) concept of “gender-bland sexism,” a contemporary gender framework that superficially extends the principles of merit to women in sports. Televised news and highlight shows frame women in uninspired ways, making women’s athletic accomplishments appear lackluster compared to those of men’s. Because this “bland” language normalizes a hierarchy between men’s and women’s sports while simultaneously avoiding charges of overt sexism, this article contributes to gender theory by illuminating how women can be marginalized in male-dominated, male-controlled settings via individualized merit-based assessments of talent. (shrink)

The Australian Football League (AFL) is the premier sporting competition in Australia in terms of capital outlay, breadth of industry associations, public consumption, and arguably cultural significance. The AFL competition is now a domain of specialisations and interests, which provides vast opportunity for both sporting and non-sporting institutions seeking to utilise the game to capitalise on a society of consumption, entertainment and risk. AFL officials expect high standards of their players both on and off the field. These standards are expressed (...) in various forms of Codes and Policies. Off field player misconduct is an ongoing concern not escaping media attention, which is a resounding indication more needs to be done by the AFL to improve responsible player character development. Whether the current education programmes are sufficient to meet the AFL’s own expectations is the central issue addressed in this chapter. As it stands AFL governance is deficient on several counts. In this chapter I will focus on three governance deficiencies: firstly, the AFL Illicit Drug Policy (IDP) contains unnecessary inconsistencies relative to its primary purpose; secondly, the present measures undertaken to ensure players have appropriate education to achieve the expected character development are far from efficacious and so arguably can be vastly improved; and thirdly, the promotion of live-odds gambling during televised games is culturally problematic and inconsistent with its own demands. The ethical grounds central to this investigation are ‘fairness’ and ‘cultural influence’. In order to resolve some of its governance concerns I will explain why the AFL should be characterised as a practice-community and as such should adopt a comprehensive virtue and value-based compliance ethical education programme consistent with its own vision and conduct expectation of its players and officials. I will argue that the AFL as a practice community is much more than simply a game, given its cultural influence, commercial associations and community programmes. (shrink)

In this paper we describe expertise as a way of seeing. We use match analysis `punditry’ as a setting to show how professional vision is interactionally achieved in TV sport broadcasts through environmentally coupled gestures enhanced by camera actions and a new technology of vision called telestrator. The paper is based on data from video sequences of football TV broadcasts where the pundit shows to the TV host in the studio and to the non-expert audience at home what happened during (...) a football match. We argue that the transparency of seeing is the product of an artfully instructed process whereby the pundit shows what should be seen, how it should be made accountable, and what the audience should expect in order to fully appreciate what they see. The paper shows how broadcasted match analysis expertise interactionally achieves this through the time-critical linking of talk, gesture, and technological environment. (shrink)

John Maynard Smith was one of Britain's most eminent evolutionary biologists. For over forty years, from 1954 onwards, he also regularly appeared on radio and television. He primarily acted as a scientific expert on biology, but in the late 1960s and the 1970s he often spoke on the implications of science for society. Through four case studies, this paper analyses Maynard Smith's scientific broadcasting against developments within the BBC as well as the relation between science and society in (...) Britain. It finds that while Maynard Smith acknowledged and accepted increasing mediation through the BBC and its producers, he stayed publicly and privately critical of both format and content decisions in his reflections on the science–media relationship. At the same time, we find that over a decade before the 1985 report by the Royal Society on the public understanding of science, Maynard Smith came to think of engagement with the public via the media as scientists’ responsibility. (shrink)

Stephen King’s novel The Long Walk, written under the pseudonym of Richard Bachman, offers a vision of sport in a near-future society, where death-sports serve as a major spectacle. This was designed as a critique of trends and problems in sport in the 1960s and 1970s, with over-commercialization and increased violence. Some of this has been mitigated by recent rule changes in the world of sport, but King’s writing prefigured the rise of reality television, where people are practically (...) willing to risk it all for personal gain. (shrink)

This research compares and analyzes the verbal commentary of televised coverage of two women's and men's athletic events: the “final four” of the women's and men's 1989 National Collegiate Athletic Association basketball tournaments and the women's and men's singles, women's and men's doubles, and the mixed-doubles matches of the 1989 U.S. Open tennis tournament. Although we found less overtly sexist commentary than has been observed in past research, we did find two categories of difference: gender marking and a “hierarchy of (...) naming” by gender and, to a certain extent, by race. These differences are described and analyzed in light of feminist analyses of gendered language. It is concluded that televised sports commentary contributes to the construction of gender and racial hierarchies by marking women's sports and women athletes as “other,” by infantilizing women athletes, and by framing the accomplishments of women athletes ambivalently. (shrink)

In 2003, the State Administration of Radio, Film and Television (SARFT) determine those network development years and released a policy document. This indicates that management is aware of the importance of pay TV and digital TV and hoping to promote the development of network services and system integration, and change the business model of the radio and television industry has long rely solely on advertising. As of July 2009, approved by the State Administration of Radio, Film and (...) class='Hi'>Television to set up a pay TV channel has 142 units, divided into two categories broadcast on nationwide broadcast and province. In 7 years, the national digital pay TV channels from scratch, from small to large, from more than 20 of the initial development to the current level of 142, the number increased by 7 times. Judging from the number of digital pay channels have begun to take shape, the categories covered very rich. But from the overall development situation of Chinese digital TV, pay-TV channels, the number of users is far less than the (wired) digital TV subscribers, the development is very optimistic. 2010 cable industry revenues constitute the revenue of the premium channels is also very small. At present, China has a number of pay-TV channels integrated operating agencies, the premium channels transmission operators institutions user access and pay channels, operations, CCTV and local TV stations to form a pay channels. (shrink)

This study focuses on how Israeli Arab citizens perceive their media representations on Israeli television and why they consume television broadcasts even though they are marked mostly by negative representations. A new concept – “Communication Boundary Situation” – a development of Jaspers’ “Boundary Situation” theory, is the theoretical framework for the article. The empirical data was collected by conducting semi-structured in-depth interviews. The findings point to different attitudes among the interviewees towards their representation in various television genres, (...) in particular, in advertising as compared to satire and drama. The suggested theoretical framework and its empirical implementation might be useful in examining how various minorities perceive their media representations in other countries. (shrink)

This article examines how Italian commercial broadcast news on Mediaset’s three terrestrial channels has covered the transition to digital terrestrial television. Mediaset is the largest commercial broadcaster in the country and is owned by former prime minister Silvio Berlusconi. By drawing on critical discourse analysis of broadcast news, it is argued that linguistic elements such as pronouns, choice of words, and metaphors, together with tendentious editing and framing of interviews, were part of a strategy of positive representation of the (...) broadcaster’s interests in the transition and negative representation of media policies opposing such interests. In particular, the analysis brings to the surface the ideological usage of interviews. Interviews in this case did not function as an act of control over the powerful, but as a way to illuminate the broadcaster’s strategic interests while obfuscating the reasons behind attempts to regulate the transition to digital television and open the market to competition. The data attest that the way in which news programs covered the digital transition exposes the connections between media content, media ownership, and governmental institutions. Indeed, all three news programs, TG5, TG4, and Studio Aperto, despite their different target audience and the reputation of one of them as the most objective and authoritative newscast on Italian commercial television, echoed each other in unified support of the sort of interests and media legislation that best fitted the corporation, especially at times when those interests were threatened. The corpus consists of 13 newscasts grouped in two clusters aired in 2006 and 2009. The main participants in the story were Mediaset’s president, often interviewed as the ‘expert’ on the TV industry, the communications minister for the center-left Prodi government, and the communications undersecretary for the center-right Berlusconi government. Citizens and consumer groups were never given the opportunity to voice their positions or be an active part of the narration. (shrink)

This study tried to investigate the type of argumentation found in media discourse data. A case in point was the sport talk show interview. The data included an interview extracted from the Iranian popular sport show, Navad, broadcast every Monday by Channel 3 in Iran. The interview was with the former president of the Football Federation of the Islamic Republic of Iran. Analysis of the data was done within the framework of Toulmin’s conception of argument as a form of conversation. (...) Accordingly, the propositions produced collaboratively by the host and guests were used to reconstruct the argument structure of the interview in terms of Toulminian schemata. The qualitative analysis of the data revealed that: 1) the argument structure of the interview was that of substantial argument rather than the analytic one. 2) Little if any formal validity was found in the skeleton of the argument. 3) The talk seemed to be subjective, and backing and qualifier elements widely used by the guest were not in some parts satisfactory. 4) Warrant, considered as one of the essential components of practical arguments, was not, in some parts, explicitly referred to, but must have been be implicitly inferred by the listeners. (shrink)

Over recent years, the eSport phenomenon has grown in players and audience. The broadcast of certain eSport events have become worldwide mass events. Conceiving eSport gaming as an actual sports practice is not yet common, but it is current issue that deserves careful attention. This article stands on the idea that eSport gaming could be considered a sport and it examines some reasons on that regard. First of all, the piece will elucidate what the practice of gaming involves and (...) if there are reasons to consider the claim that it can be an actual sports practice. Secondly, it will address the distinctive features that eSport gaming as a sport may have. Thirdly, it wants to explore and explain an example of an eSport worldwide success which is the case of League of Legends. And finally, it will introduce and briefly discuss some sports issues this new sports practice would encounter in the near future and which might derive into policy matters. (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)

In this volume, Richard Parker contemplates the opposing interests of the developing global market television industry and the future of entertainment programming trying to appeal to the local tastes. The author also presents the basic economics of television and how this understanding will enhance the dissemination of news and we as an audience will take this even more for granted.

Purpose of the article The issue of creating advertising that is culturally congruent has been considered to be very important to experts dedicated to the field in the past years. Culture is an important internal factor of customer behavior that needs to be fully considered if the advertising campaigns aim to address its target audience effectively. The goal of this article is to contribute to existing knowledge in the area of culturally congruent advertising. More specifically, to find out what advertising (...) appeals are preferred in Slovak television advertising. Methodology/methods Main scientific method of the present research was conceptual content analysis. The results are based on the sample of 133 TV commercials broadcasted in Slovak televisions during the 2012 in selected four segments. Scientific aim Aim of this contribution is the introduction of preferences and frequency of usage of advertising appeals used in Slovak television advertising. Subsequenty, the exploration of the links between the selection of advertising appeals and cultural dimensions of Slovaks are analyzed. Findings The largest representation in analyzed television commercials in all examined segments has the appeal to relaxation.), followed by the appeal of suitable, then the appeal of saving, the appeal to patriotism, the appeal of natural and the appeal to affiliation. In the surveyed segments the preferences of individual advertising appeals are somehow different and reflect existing influence of product category on creative strategy. The findings show the positive relation between selection of advertising appeals and Slovak cultural dimensions. Conclusions The preset contribution shows the importance of studying cultural aspects of advertising and applying findings to the field of advertising. Some limitations of the study are stated and recommendations for further research are added at the end of the article. (shrink)

Sports Semiotics' applies semiotics (and other disciplines, secondarily) to analyse the social, cultural, economic and psychological significance of sports. It includes a primer on semiotic theory, sections on the analysis of wrestling by Roland Barthes in his book 'Mythologies', as well as sections on football and the sacred, the Super Bowl, and the semiotics of televised baseball.

This article aims to reflect the efforts of the Ethnic Greek Minority that resides mainly in southern Albania, in the villages of Dropoli in Gjirokastra town, to have its own television programs in the Greek language. Further to the editions of the printed media and the radio broadcasts in the Greek language that were dedicated to the Greek Minority, there arouse the need for television programs in the Greek language which would be another dimension in reflecting the worries, (...) the problems, the traditions and the culture of the Greek Minority in Albania. Although the airtime of the programs in the Greek language, their frequency and the period in which they were broadcasted were short term, there remains undisputed their value in terms of the contribution to the social, political, economic and cultural life of the Greek Minority residing in Albania. The study of the Ethnic Greek Minority media in Albania is an unstudied field, so, in this article we aim to fill this gap somehow by providing a modest contribution, which may serve to many future researchers who will conduct studies of such topics. (shrink)

In March 2003, President Bush declared the start of Operation Iraqi Freedom, the anticipated commencement of intensive American-led military operations in Iraq. With this declaration, the media began intense coverage of military operations from the field. For the first time, viewers were able to see images of actual events. This was due to three developments: the advancement of technology allowing immediate transmission of text and images, the actual presence of journalists identified as "embedded journalists" at military sites, and the fierce (...) competition among networks for viewers. One result of this constant coverage was significant pressure on decision makers within the television and cable news networks to decide within a matter of seconds which images to air. In particular, producers and broadcasters of competing networks experienced this pressure. Though the radio and broadcasting industry has a published code of standards, it is "general and advisory rather than specific and restrictive." Therefore, it did not address the unique time sensitive decision-making required within this new environment. Issues such as the security of soldiers, confidentiality of troop maneuvers, and the safety of the embedded journalists were critically important. Equally serious were the concerns about the impact of the immediate airing of information and violent images to the public. This research used Patrick Primeaux's ' mind-heart-sou¾ model of decision-making as its theoretical framework. The study investigated the gender and industry experience of selected professionals in a cable news network, MSNBC, to explore how ethical codes of behavior are integrated when people make decisions. Decision-making in both their professional and personal lives was examined. It is from this perspective that their professional decisions to air/not to air material from Operation Iraqi Freedom were studied. The findings on decisions about airing/not airing material from Operation Iraqi Freedom yielded both expected and unexpected results. There was no clear gender difference regarding ethical decision-making, but there was a difference when analyzed by industry experience. When the study focused on questions regarding the respondents' personal lives, the original hypothesis that there was a gender difference was validated. (shrink)

Tube of Plenty is an abridgement of Erik Barnouw's classic 3-volume History of Broadcasting in the United States. The paperback edition was first published in 1976 and a second edition in 1982. Much has happened in television in the 1980s; the decline of the three major networks, the expansion of cable and satellite television, film channels like Home Box Office, the success of ESPN, and MTV, and the increased way in which the White House in Washington has (...) managed and controlled national news and its contents. Barnouw has added an extensive chapter dealing with the changes of the 1980s and looking ahead to the 1990s. (shrink)

Based on 24 hours of videotaped data, this study investigates, both qualitatively and quantitatively, gender differences in the use of person pronouns in televised sports in Taiwan. This analysis has found that, regardless of their speaker role, male sports reporters use the second-person singular pronoun nimuch more frequently than their female counterparts. In addition, there is a significant difference in the distribution ofpragmatic functions of nibetween men’s and women’s reporting. While male sports reporters use niin a more (...) varied way, i.e. to refer to the TV audience, a specific athlete or team, an indefinite or non-specific athlete, or to include this pronoun in direct speech to dramatize their reporting, female reporters use this pronoun predominately to referto a non-specific athlete. In other words, male sports reporters tend to employ impersonal niand dramatic nito signal their strong self-involvement, their interpersonal involvement with the athlete and the TV audience, and their involvement with the reported sports event. Finally, malesports reporters’ more frequent use of the second-person pronoun niin the data also marks their informal and conversational speech style.This result contradicts those previous studies which claim that formality and detachment characterize men’s information-oriented public discourse. (shrink)

The analysis of TV violence cannot be limited to the quantification of its incidence, but should also take into account the type of violence broadcast and its context (what is depicted and how). Thus, normative models of violence (legitimized violence with positive consequences for the aggressor, or vice versa) could be understood as positive, while contra-normative models of violence (rewarding illegitimate violence and punishing legitimate violence) should be of far greater concern. This paper analyzes the normative contexts of TV violence (...) through a content analysis of randomly selected fragments of TV programming (147 recorded hours). The results show that news programs and TV series/soaps delegitimized violence to a higher extent, while films tend to show legitimized or ambivalent violence. Positive consequences of violence predominate in fictional programs, except for TV series/soaps. Normative presentation of violence is more frequent, especially in nonfiction genres, as fiction has more freedom to depict the socially undesirable. (shrink)

In this article I examine the differences between broadcast political interviews in commercial and public service broadcasters in Spain. The study focuses in particular on political interviews broadcast on ‘morning show’ type programmes. The analysis distinguishes the characteristics that make up the news interview turn-taking system in order to explore the degree to which information and entertainment come together in political interviews broadcast on morning shows. The results show, primarily, that political interviews shown on public service broadcasters’ morning shows adhere (...) to the journalistic standards of neutralism and adversarialness. This is precisely how they strive to make the politician publicly accountable. In political interviews broadcast by commercial broadcasters, however, these rules are followed intermittently. The aim of these interviews appears to be different: to penetrate politicians’ personal sphere with the discernible purpose of entertaining. These differences reflect different interview styles which, in turn, reveal different conceptions of journalism, politics and society. This investigation utilizes the research tools developed in conversation analysis. (shrink)

In response to the significant increase of judgment and judgmentalism in contemporary film and television, 'A Critique of Judgment in Film and Television' investigates the evolving connections between the aesthetics and ethics of judgment. The volume ultimately contemplates whether we should, and can, do without judgment, questions that are just the beginning of a much-needed re-examination. The individual contributions of the collection all work towards a very specific focus on judgment that is unprecedented in its transdisciplinary composition and (...) contemporary relevance. By exploring examples of entertainment that aim to instigate judgment, 'A Critique of Judgment in Film and Television' advances the as yet underdeveloped area of research into television and philosophy. (shrink)

Live broadcasts of surgical procedures are most common at professional conferences, but they are not uncommon in the wider public arena, with operations having recently been transmitted in realtime on public television in the UK. This phenomenon raises ethical concerns familiar from the professional context, along with some distinct considerations which merit further attention. In this article I aim to examine the issues in terms of patient autonomy, patient welfare and the public interest. Prompted by the interest recently expressed (...) by the Royal College of Surgeons of England, under each topic I pose a series of questions, before closing with a call for enhanced ethical oversight, such as might be afforded by a clinical ethics committee. (shrink)

This well‐researched book will be of immense value to the person who will someday write the full story of broadcast regulation in the United States. That story still needs to be written; although in this book the facts are all presented, the story behind the facts is not.Well, actually, not quite all the facts are here either. For example, similar problems tackled in other countries such as Canada, even before the United States began looking into them, aren't even mentioned. True, (...) the title of the book specifies that it is limited to the United States, but to understand the regulations presented we should certainly have some knowledge of how others had attacked the same problem.More important, Hugh Slotten totally ignores the personalities of the people involved. This is a tremendously important consideration, for to understand what happened we must know something about the motives of the people who made the decisions, and since many of the motives were hidden under layers of varying complexity and political beliefs we would like to know something about the personalities of the players. Someone at the Johns Hopkins Press evidently noticed the problem, but the only attempt at fixing it was to lie blatantly on the bookjacket: “His [Slotten's] discussion of the early years of radio examines powerful personalities—including navy secretary Josephus Daniels and commerce secretary Herbert Hoover.” But there is no discussion at all of the personalities of these men. Daniels is mentioned in only two sentences, neither of which touches on him as a person, and although Hoover occurs in several more, nothing of his “personality” is thrown in.Lee De Forest is another example. On page 4 he is identified as the inventor of the audion . On page 61 we read of his “invention” [sic] of that device. Why the quotation marks around “invention”? Did he or didn't he invent it? Actually, there is a good story to be told about that, but you won't read it here. De Forest played an active role in the regulation controversies, and this role is made clear in the book. But precisely because of this, wouldn't it be interesting to know that De Forest was arrested and went to trial for crooked stock manipulation in connection with the audion? The only hint at such activities is Slotten's statement that De Forest was a “maverick.” Wouldn't that one word make you want to know more about him, if only to evaluate his quoted remarks on governmental interference and regulations?Other matters of interest are passed by, as when on page 48 we read: “Decisions about who should receive licenses … could … be based on such qualitative issues as the character of broadcasts … and the educational benefits.” What a can of worms this opens up! Or should open up. Is the government going to censor broadcasting by denying licenses to stations that publicize alternative methods of government, such as communism? How about religious or ethnic controversies: will these be deemed “educational” or subversive? Is the government, through its licensing powers, going to let the public hear only what it wants it to hear, à la Goebbels and Germany? Well, we'll never know, for this particular can is not opened by the author; after this one mention, the subject is never broached again.In summary, if you are actively researching this field, Slotten's book is a must for you. But the full story of radio and television regulation in the United States is still to be written. (shrink)

El presente artículo busca problematizar el modo en que la recepción local del cine programado en la televisión chilena, entre 1965 y 1978, permite replicar y prolongar, en el desfase y la anacronía, un ciclo de imaginario histórico más extenso, determinado internamente por el proyecto desarrollista e ilustrado del Estado educador, y externamente por una representación residual de los regímenes heroicos modernos y, en general, de las imágenes de occidentalidad, integrada por formatos secundarios como la serie, el ensayo histórico y (...) la historieta. Nos proponemos analizar y comprender las diversas y ricas implicancias de esta “repetición”, en los planos de la estética y de la reelaboración simbólica de la representación del mundo. The following article seeks to address the issue of the way local reception of the broadcasting of films in Chilean television, between 1965 and 1978, allows us to replicate and endure, the delay and anachronism of a broader historical imaginary cycle, determined, internally, by the development and illustrated project of an educational State; externally, by a residual representation of the modern heroic regimes, and in general, by the images of westernness, composed by secondary formats, such as TV series, the historical essay and cartoons. We propose to analyse and account for the diverse and nurturing implications of this ‘replication’, in the fields of aesthetics and the symbolic rewriting of the world´s representation. (shrink)

Through analysis of film sequences focusing on DNA in two British Broadcasting Corporation nonfiction science television programs, Wonders of Life and Bang! Goes the Theory, first broadcast in 2013, contrasting “religious” and “secular” representations of science are identified. In the “religious” portrayal, immutable scientific knowledge is revealed to humanity by nature with minimal human intervention. Science provides a creation story, “explanatory omnicompetence,” and makes life existentially meaningful. In the “secular” portrayal, scientific knowledge is changeable; is produced through technical (...) skill in expert communities; and is ambiguous, potentially positive and negative for society. Television representations of science affect audience understandings, and this is particularly the case for nonfiction representations of science, as they are likely to be “taken more seriously” than fictional representations. The consequences of the “religious” representation of science are discussed, and it is argued that a widespread understanding of science as presented in the religious portrayal would negatively impact democracy. (shrink)

Machine generated contents note: -- Introduction - the Small Screen and Morality - Morality on Television - Sociology and the Moral OrderTelevisuality: Style and the Small ScreenThe Phenomenology of Television - Society and the Small Screen - Mediating Morality- Television and the Imaginary - Conclusion.

Interviewing as part of broadcast news includes a wide range of practices that go beyond calling public figures to account in ways that have received so much attention and analysis in the research literature. This article examines a major strand of news interviewing which it identifies as ‘experiential’ and argues, on the basis of close discourse analysis of interviews drawn from coverage of the 2008 Beijing Olympics and the 2005 London bombings, that the focus on personal experience and emotion in (...) them is managed in ways quite distinct from accountability interviewing. Indeed, the apparently formulaic quality of the verbal performance in these interviews gives shape to experience in a fashion close to ritual but demands a quite different kind of alignment from the audience than that implicated by accountability interviewing. (shrink)

continent. 1.2 (2011): 125-128. What is the nature of sound? What is the nature of volume? William James, in attempting to address these simple questions wrote, “ The voluminousness of the feeling seems to bear very little relation to the size of the ocean that yields it . The ear and eye are comparatively minute organs, yet they give us feelings of great volume” (203-­4, itals. original). This subtle extensivity of sensation finds its peer in the subtle yet significant influence (...) of habituated action upon our lives. This expansive quality of habit­making is what Craig Dongoski's bodies of work enable us to appreciate. Nearly ten years ago Dongoski had a habit of turning on his audio recorder every day at three o'clock for three minutes. No matter what the setting, what the activity, Dongoski recorded the ambient sounds in his environment at that moment. As it happened, one day he was teaching a drawing class and he recorded the sounds of their pencils scratching across their respective surfaces. This was a critical moment for him. Later he would place a contact mic onto a drawing surface and record the sound of his signature. Signatures change over time, they respond to the conditions in which they are performed. Signatures speak volumes about the author, but a practice of attunement is required for the volume to be audible. To hear all that a signature can tell about its author, the listener must tune into the frequency at which this information is being broadcast. Dongoski's drawings and video works draw­out the peculiar artifact that habit makes of living: habits establish a tempo of living and it seems that one's habitus is the signature of habitual living. I sat down with Craig in an attempt to sound­out some of the depths of thought in his practice. What follows is selected from our conversation. Paul Boshears (PB): Clearly your work is dealing with time: from the painstaking action of rendering the drawing to the free­form approach of launching a microphone into a body of water and waiting to see what's recorded. Craig Dongoski (CD): Are we talking about the films or the drawings? PB: Well, it's a bit of both in my mind. I know the drawings on first glance seem to be these flows of lines without concern but I realize that there is this painstaking action involved. CD: I'm interested in time because I'm interested in forms outside of control, outside of politics, and outside of economics. I think that art, when it's alive, does go beyond those. I'm interested in duality and paradox—a stream of contradiction, I suppose. For instance, scale and size. There is a tendency to think that these are the same thing. But really you can have something small that has a lot of scale—look at Goya's drawings, Los Caprichos , they're very small but they have a lot of scale. Likewise things that are spontaneous don't necessarily mean that they take only two or three seconds to do. This latter distinction is what I'm most interested in. Having that appearance of spontaneity. The image has rhythm, you can latch onto it; but the reality is that it took many hours—and many months in some cases—to arrive at. And this is in keeping with geological time. I like to insert this series of thoughts into my work sometimes as an attempt to make some of this stuff comprehensible. There are all these distractions inundating us throughout our days now. Time gets tweaked by all these technologies that we interact with daily. There's more than just digital time or the mechanical time of your watch. There's biological time, that time in which you're growing. PB: I'm reminded of McLuhan here: he made his career by making that strong claim that the humans of today are not the same humans of three generations ago because technology has fundamentally changed us. Are we not the same human beings as a hundred years ago? CD: I mean, I don't think we're the same human beings that we were when he was around! It's my understanding that before painting a flower, monks would meditate for hours on that flower and then they would complete the painting of that flower in less than a minute. That's what I want to point out about our world today, we have all this information, but how much of it are we metabolizing? PB: Is there a message you're looking for? Or that you're trying to share? CD: These drawings set­up the circumstances for me to continue them forever. I'm only about six years into it, but with more time, things can unfold. You know? If you take this cup of coffee and vow to restrict your work to only this material and medium for seven years—you'll make interesting work. The problem is that most people can't hold on to things or they give up or they get distracted. They don't trust that anything is possible; anything is potential material. Staying with this cup of coffee example, we can get enveloped in the history of the recycling logo, or the process for harvesting coffee and so on. The same is true for my work as it has lead me into places like graphical music scores. I had, of course, known about John Cage's notations and I'd always been interested in sound itself, but this drawing practice made it feasible to explore the intersections in a meaningful way. I think that if you trust your instincts and your curiosities and your abilities, then the bus drives itself. Look at Roman Opalka, he's kind of the patron saint of time painting. The claim is that no one can count to a billion in a lifetime so he's set­out to paint to seven sevens (7,777,777). He began with white numbers on a black field but over the years he has gradually reduced the black field to ever­lightening grays. His plan is to paint these seven sevens on what ostensibly will be white on white. PB: It occurs to me that I've never thought of the actual, literal, meaning of “microphone” in relation to “microscope.” The mic has made everything loud, the world's not allowed to be quiet anymore. Maybe we should call them “macrophones” since telephone's already taken... CD: Well, a microscope is a lens. What got me interested in sound was that a microphone acts like a lens. There are wide angle lenses, or a lens that gets your eye up close to something far away, or at a tiny level. The same is true of the microphone. You can use a parabolic mic to hear what the coach is saying on a sports field or a mic that picks­up the sound from the entire cathedral. There's this whole gamut... I'm kind of playing with the words here. I'm into the minuteness of the sound, but I'm interested in the minuteness of the mark itself. PB: I guess it's a Deluezean, generative, statement, then? It's not a metaphor, it's an actual thing with which we can work. CD : That's right. PB: While doing some background work on you I found myself at interesting places on the internet. For example, Konstantin Raudive and a brief jog into Electronic Voice Phenomena (EVP); perhaps this was just synchronicity. But, it's a happy coincidence nonetheless because the them of this issue of continent. is “the moraine” and one of the nuances of this term is “what remains.” Is there a metaphysical or epistemological problem that you're sorting­out here? CD: Think about fossils: fossils are the first recording device, you know? It's the first, natural, recording device. It's in this way that I think my works are fossilized time. Artifacts of that process. Van Gogh is a strong source for me in this regard: it's not what he's painting it's how. You're seeing his nervous system at work. The what is so incidental, the chairs, the flowers, etc. It's funny: when I first started doing this, before I started drawing voices, I was doing these things in cemeteries. I was doing automatic drawings. And when I took this experiment to its maximum I was taking hydrophones and burying them in abandoned graves. I was thinking about the mic rig as the south coordinate and I'd use a shortwave radio as the north coordinate. Usually it was just white noise, but on the east and west I'd station a writer and a drawer. So I'd have these things going on simultaneously and I'd be mixing them at the same time. PB: How'd it come out? CD: Well, just like you'd expect. It was a lot of white noise. But I think that Raudive was on to something. Burroughs used to say something similar when he'd talk about being in a foreign country where he didn't know the language and then he'd start to hear things. At the base, what I'm doing is pattern recognition. I do have a writing component to the drawings. I haven't exploited it in a while but... I use a vocoder, which was developed to encrypt spy signals during one of the World Wars. The mechanism takes two channels, one being the spy's signal combined with noise and then the other channel is a sine wave so that the intended recipient can pick out the words. So I did something like this with Beowulf. I tried combining the spoken word with other television and radio sources, but that didn't work because a book on tape is usually read in a very steady clip and the result was too garbled. So the second try, instead of drawing I was writing, trying to articulate the sounds that I could hear in this garbled transmission of Beowulf. You start to think you hear something, so you start to write what you think you're hearing. But what you're hearing is just being triggered by this articulating action. When the sound of the drawing lines up with the sound of the word you get something. But it's not ever what you're really hearing. You start writing and you're trying to keep up with what you think you're hearing and it is truly, in the most true sense of the phrase, automatic writing. You can contrive and go into a “spirit trance” or whatever, but... PB: It's uninteresting to you? CD: Well, it's unbelievable. It's just listening to sounds and following along. The magic is out there, there are no tricks or anything. You do this exercise with twenty people and you will get twenty totally different writings. But, you're creating the sound and you're creating the writing as an interpretation. That's the thing with EVP, it's homophonic translation. PB: Do you trust a straight line? I know you start with these meticulous lines at the beginning of the drawings but they do change over time. CD: I'm trying to show that there are these imperfections in structures and that over the reiterations of these structures these imperfections become amplified. But you can see them in tree formation as well. The rings alter their shape as the trees grow. PB: Is that your transmission then? You're not just receiving these sounds but you're broadcasting this message as well? CD: Things exist because of their opposites. These drawings are really about nothing. It's the first body of work I've had where people project so much of stuff onto the works. So there you go, things existing because of their opposites. It's kind of like with Mike Kelley: the work was about a critique of commodity culture and commodifying emotions. Using toys this was a critique of production. But then suddenly people were saying it was about abuse and the abuse that Mike Kelley had suffered. And it wasn't but he heard that and said, “I'll go with it,” and so he did. I think that's the nature of communication: I send this but you receive that instead and this makes me think about what I sent in a different way. (shrink)

Mass media have been accused of cultivating anti-immigrant sentiments in Western societies. Most studies on this topic, however, have not made a distinction between the types of television program (information vs. entertainment) or television station (public vs. commercial). Adopting a comparative approach, we use data from the six waves of the European Social Survey (ESS, 2002–2012, n = 162,987) to assess the relationship between individual and aggregate level patterns of television consumption and anti-immigrant sentiments in European societies. (...) Individual television viewing time is positively associated with anti-immigrant sentiments, while frequent exposure to news and information programs is associated with lower levels of anti-immigrant sentiments. At the aggregate level we observe a positive effect of the total viewing time in society on anti-immigrant sentiments. In the conclusion we offer some suggestions on how this effect could be explained. (shrink)

With the rapid development of Internet technology, sports media consumption is migrating toward streaming. The online streaming of sporting events has become the important way of copyrights holders to engage sports fans, especially young fans. Therefore, it is vital to understanding users' willingness to pay. Given that previous studies of the livestream sports broadcasts online have not dealt with users' payment intention, the originality of this study is that it explore users' motivation by combining information system research (...) with the consumer demand theory. The study aimed to examine the factors that influence users' payment intention to stream online sports by using the extended Technology Acceptance Model. Data from questionnaires completed by 330 Chinese respondents determined how perceived usefulness, ease, enjoyment, and satisfaction, influence users' WTP. Satisfaction positively correlated with users' payment intentions, impacted WTP values, mediated ease of use. The analysis also revealed the necessity for broadcast platforms to improve satisfaction and to increase payment intentions. (shrink)

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 cigarette1 to at least 10 million viewers in several major markets. It featured an attractive male model taking a drag from what looks like 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 produced by an e-cigarette as part of its nicotine delivery process. This, however, was not evident from the imagery. For those watching the broadcast, including thousands of minors, NJOY’s advertisement depicted what tobacco companies have not portrayed on television for decades: a person engaged in smoking behavior. (shrink)

L’émission Loft Story représente l’apogée de la néo-télévision. Elle a instauré un contrat de communication avec le public qui a mêlé la plupart des éléments caractéristiques de la télévision contemporaine. Participation du public au programme, symbolisée par la présence à l’écran de personnes anonymes issues de la société civile et par une interactivité poussée exprimée par les votes. Imbrication difficile à décrypter pour le téléspectateur entre réalité et fiction. Dimension ludique du programme et vécu en direct qui entretiennent le double (...) phénomène d’identification et de distanciation. Mise en scène de la dimension relationnelle de la vie privée. Écho de la culturelle adolescente, surtout dans son aspect interrelationnel. Utilisation du média comme acteur de la vie sociale, et notamment comme agent de promotion professionnelle.The show Loft Story represents the most extreme form of « neotelevision ». The communication contract it proposes to its audience brings together most of the elements that characterize modern television. 1) Public participation in the programme . 2) Unability for viewers to clearly sort out what pertains to reality and what belongs to fiction. 3) Playful dimension of a live broadcast that simultaneously triggers identificatory and distancing processes. 4) Focus on the private realm and on its relational dimension. 5) Particular attention paid to adolescent cultures, especially in their interrelational aspects. 6) Transformation of the medium into a social actor in its own right, specially as an agent of professional promotion. (shrink)

Delia Cristina Balaban, Informationsvermittlung und öffentliche Meinungsbildung im rumänischen Fernsehen Editura Presa Universitarã, Cluj- Napoca, 2003.

This study investigates the portrayal of five female journalists on the Aaron Sorkin television series Sports Night. The women were depicted as acting unprofessionally, displaying motherly qualities, choosing their personal lives over work, being deferential to men for ethical decisions, and showing a lack of sports knowledge compared to the male characters. The researchers use social responsibility theory to suggest why these portrayals were ethically problematic.