We examine creativity from a qualitative process rather than a quantitative product perspective. Our focus is on “habits of mind” (thinking dispositions) used during the creative process, and the categories we used were those of the eight Studio Habits of Mind observed in visual arts classrooms (Hetland, Winner, Veenema, & Sheridan, 2007, 2013). Our source of data was footage from a popular reality television show, Project Runway, in which nascent fashion designers are given garment design challenges. An entire (...) season of the show (14 episodes) was transcribed and coded for the presence of eight Studio Habits of Mind. We found abundant evidence of all eight of these thinking dispositions in all portions of the show. We argue that the creative thinking occurring during fashion design bears strong resemblances to that which occurs in the art studio-classroom. Qualitatively created frameworks, like those of the Studio Habits of Mind, can be used to inform our understanding of creative behavior in various disciplines. (shrink)

This paper contributes to the Business Ethics literature by unpacking the multimodal construction of moral narratives in popular culture and its portrayals of organizations and organizational roles. Understanding such portrayals and their construction is crucial to Business Ethics scholarship because they shape organizational imaginaries, influencing understandings and expectations of the ethical/moral responsibilities of organizations and the actors within them. In particular, we study the construction of moral narratives within a reality TV show that focuses on immigration and border control (...) at an airport. We find that the immigration officers are depicted as rational and heroic figures whilst the travellers are presented as emotional and potentially dangerous characters. Our analysis highlights how this is achieved via five multimodal editing dimensions—the structure of interactional scenes, the ability to address the camera, the narrator’s comments, the visual and music effects—that are key in constructing clearly defined personae. We show how, through the intersubjective construction of clear-cut characters, the show downplays the moral complexity of its content. Portraying immigration officers as heroic, while presenting travellers as potentially dangerous, allows for a silencing of any ethical questioning of immigration officers’ organizational practices. (shrink)

Three experiments were conducted to test whether watching an animated show with frequent fantastical events decreased Chinese preschoolers’ post-viewing executive function, and to test possible mechanisms of this effect. In all three experiments, children were randomly assigned to watch a video with either frequent or infrequent fantastical events; their EF was immediately assessed after viewing, using behavioral measures of working memory, sustained attention, and cognitive flexibility. Parents completed a questionnaire to assess preschoolers’ hyperactivity level as a potential confounding variable. (...) In Experiment 1, which also included a control group, there was an immediate negative effect of watching frequent fantastical events, as seen in lower scores on the behavioral EF tasks. In Experiment 2, eye tracking data showed more but shorter eye fixations in the high frequency group, suggesting a higher demand on cognitive resources; this group also did more poorly on behavioral measures of EF. In Experiment 3, functional near-infrared spectroscopy data showed that the high frequency group had a higher concentration of oxygenated hemoglobin, an indicator of higher brain activation consistent with a greater use of cognitive resources; this group also had lower scores on the behavioral EF tasks. The findings are discussed in reference to models of limited cognitive resources. (shrink)

From farmers’ markets to primetime television cooking shows, notions of ‘knowing where our food comes from’ and ‘reconnecting’ with the sources of our food are now central to a range of contemporary cultural movements and popular media texts. While these ideas have primarily been mobilized by those with activist commitments to ethical and sustainable food production, they are also increasingly appearing in the media and marketing strategies of large agribusiness and retailing corporations, including those of the major Australian supermarkets. (...) This paper explores some of the techniques currently used by major supermarkets to respond to criticisms about their food ethics, market control and relationship with producers. Using a case study of Australian supermarket Coles and its integration of its ‘Helping Australia Grow’ campaign into reality television cooking show, My Kitchen Rules, it will consider the textual practices of, and social media response to, Coles’ sponsorship and integrated advertising strategies of putting a ‘face’ to the farmers who produce the products found on supermarket shelves. By emphasizing to Coles customers that they, too, can ‘know where their food comes from’ and that their purchasing decisions support individual farmers and family farms rather than large conglomerates, these strategies help to locate Coles within a network of meanings that seek to both shift and contest negative perceptions of the supermarket chain’s corporate practices and food politics in ways that potentially complicate the activist discourses from which they draw. (shrink)

This article raises the important question as to why cooking, a seemingly mundane practice, performs social and cultural functions that go much beyond cooking, cooking instructions, and food preparation, and specifically how it functions in a media context. By integrating theories about inquiry, discourse analysis, gender, and sociolinguistics, the article makes an important contribution to the growing literature on contemporary discourse in the media. The research was conducted on popular television cooking channels, the Food Network and the Cooking Channel, (...) and involved close analyses of a sample of instructional cooking shows. The article is an exploration of social and communicative dynamics inherent in cooking, especially from the public discourse of contemporary cooking shows. (shrink)

Western societies are confronted with a growing number of overweight and obese children. Past studies have pointed to excessive television viewing as one of the causes of this phenomenon. The aim of the current study was to examine the influence of parental mediation and modeling on TV use and obesity among pre-school children. A survey conducted among 608 parents of two-and-a-half to six year olds shows that obese children watch significantly more television, show more affinity towards (...) class='Hi'>television and more often have a TV set in their bedroom than normal weight and overweight children. For girls, parental restrictions on television viewing are negatively associated with their BMI. For boys, no similar relationship can be found. This study suggests that taking into account possible differences in television viewing behavior between pre-school boys and girls and paying attention to a wide range of television viewing variables can be fruitful for further research. (shrink)

Abstract:For many people, the media is the main source of their knowledge and understanding about policing and crime. As a result, a common thread running through content analysis of television police shows is the gap between the “reality” of police work, crime, criminals, and the justice system and the picture painted by media representations. I argue, however, that all representations of social reality are partial and that commercial imperatives, working processes, ideological frames of the makers, and format of individual (...) shows shape and constrain the stories told. Given that police shows can never be totally authentic, I argue that scholars should be exploring the symbolic value of these shows, the types of discourse produced, and whether such shows habituate viewers into ways of thinking about crime and punishment that may be excessively simplified. (shrink)

Even though it’s frequently asserted that we are living in a golden age of scripted television, television as a medium is still not taken seriously as an artistic art form, nor has the stigma of television as “chewing gum for the mind” really disappeared. -/- Philosopher Martin Shuster argues that television is the modern art form, full of promise and urgency, and in New Television, he offers a strong philosophical justification for its importance. Through careful (...) analysis of shows including The Wire, Justified, and Weeds, among others; and European and Anglophone philosophers, such as Stanley Cavell, Hannah Arendt, Martin Heidegger, and John Rawls; Shuster reveals how various contemporary television series engage deeply with aesthetic and philosophical issues in modernism and modernity. What unifies the aesthetic and philosophical ambitions of new television is a commitment to portraying and exploring the family as the last site of political possibility in a world otherwise bereft of any other sources of traditional authority; consequently, at the heart of new television are profound political stakes. (shrink)

Fertile grounds for theoretical inquiry can be found in the oddest corners. Contemporary television programming provides viewers with several talk shows of the grotesque, as I will call them, in which the aim of each episode is to put some monstrous human phenomenon on display with the help of a host and a participating studio audience. In this paper I will try to support the unlikely claim that these talk shows, which include The Jerry Springer Show and Sally (...) Jesse Raphael (among others), provide remarkably fruitful foci for theoretical attention. My plan is to give a reading of the ideological structure of talk shows of the grotesque. In particular, my interest lies in a relatively recent strand of ideological theory that has treated questions concerning the nature and reproduction of ideology as serious ontological questions: questions that go to the heart of our philosophical understanding of subjectivity, autonomy, and the metaphysics of belief and other intentional attitudes. Here I take the work of Louis Althusser, Judith Butler, and Slavoj i ek as paradigmatic and seminal representatives of this type of theorizing. My eye, in this paper, will be turned toward showing how the contemporary talk show of the grotesque provides us with a case study through which we can productively interrogate this new theoretical turn in our understanding of ideology. After spending a substantial amount of time laying down some theoretical groundwork, during which I take a selective and usurious tour through recent theories of ideology, performativity, and the constitution of subjectivity, I will analyze the talk show phenomenon by dividing it into four levels of participatory activity: those of the host, the guests, the studio audience, and the television audience. I will argue.. (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)

If public self-expression is a crucial feature of democracy, how might it work on the democratic – or at least, mass – medium par excellence, television? Television talk shows often allow ‘ordinary’ participants the opportunity to express themselves, i.e. deploy identities, feelings and opinions, presumably to further their own ends. This article uses speech act theory and Bakhtinian genre theory to analyze the talk on Jan Publiek, a Flemish talk show. This close reading helps to determine how (...) two of the 20 ‘ordinary’ participants co-created shifting and even contradictory identities with other participants, the host, the producers, the conventions of television talk shows and larger discourses such as those of gender and class. In these two cases, the participants seem mostly to fail in employing the medium of Jan Publiekto achieve their stated aims. The authors claim that while discourses may never be completely transparent, their means of functioning can still be better understood. All participants of television – producers, actors, viewers, media scholars – can benefit from the kind of media literacy to which this article contributes. (shrink)

Television medical dramas frequently depict the practice of medicine and bioethical issues in a strikingly realistic but sometimes inaccurate fashion. Because these shows depict medicine so vividly and are so relevant to the career interests of medical and nursing students, they may affect these students' beliefs, attitudes, and perceptions regarding the practice of medicine and bioethical issues. We conducted a web-based survey of medical and nursing students to determine the medical drama viewing habits and impressions of bioethical issues depicted (...) in them. More than 80% of medical and nursing students watch television medical dramas. Students with more clinical experience tended to have impressions that were more negative than those of students without clinical experience. Furthermore, viewing of television medical dramas is a social event and many students discuss the bioethical issues they observe with friends and family. Television medical dramas may stimulate students to think about and discuss bioethical issues. (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 study uses the television show Cash Cab as a natural experiment to investigate gender differences in decision making under uncertainty. As expected, men are much more likely to accept the end-of-game gamble than are women, but men and women appear to weigh performance variables differently when relying on subjective probabilities. At best men base their risky decisions on general aspects of their previous “good” play (not all of which is relevant at the time the decision is made) (...) and at worst fail to condition their risky decisions on any of the relevant information available to them. In sharp contrast, women appear to consider all of the information available to them, including previous “poor” play as well as their most recent confident “good” play, which, by design, is likely the most relevant information to consider. (shrink)

Written by one of the foremost and widely-respected writers in the field, this volume sheds new light on the forms and premises of the communicative experience. In doing so, it challenges the theoretical positions of marxist and "political economy of media" analysts who focus largely on the structure of economic and social power within the media. Instead, Scannell explores the structuring of engagement of the viewer/listener with the broadcaster by analysing the communicative intentions of the broadcaster and the understanding by (...) the audience of those intentions. This powerful and accessible book makes an important contribution to media studies in showing students how the history of the media can be enriched by communications theory. (shrink)

Global television has enabled cultures across the world to meet within the virtual space and interact in terms of decoding, meaning making and appropriating messages. It is also the case of the Romanian audience, a local community of viewers who have long been exposed to highly censored and restrictive programming (under the communist regime) and who are now enabled to identify with the (western) communities they have aspired to. We intend to illustrate our case with TV advertisements, which, generally, (...) provide abundant material for television viewers, with socio-culturally determined profiles, to re-construct meanings into either coincidental or disjunctive semantic outputs. Since the act of consumption is productive, we aim to show that in spite of the possibly conflicting readings of the poly- and multi-semantics of the ads, viewers can coalesce into interpretative communities irrespective of their cultural make and cooperate towards the production of a joint meaning. We consider that this is an illustration of transculturalism at the level of a local audience interacting with the symbolic representations of cultures elsewhere on television. (shrink)

This study reports the findings of a survey of television news directors drawn from a Radio?Television News Directors Association (RTNDA) sample. Rationale for the study centers around an apparent trend in television news to extend its ethical boundaries to include high proportions of sensationalism, privacy invasion, deception, unfair reporting, and the like. Five principles of journalism ethics? truth, justice, freedom, humaneness, and stewardship?are used as the framework for discussing results of 34 ethical questions. Results show most (...) news directors clearly favor traditional ethical solutions to ethical questions related to truth, justice, freedom, and stewardship principles. There is more disagreement among news directors in responses related to humaneness. (shrink)

The concept of media events continues to generate widespread debate among scholars around the globe. Studies that have challenged the concept’s functionalist foundations have undoubtedly sharpened our thinking. Conversely, approaches that have sought to expand the concept tend to confuse rather than clarify. In this paper, we argue that events that are planned, anticipated, and involve external organizations in their design demand a specific set of analytical tools. Furthermore, we draw a further distinction between one-off events and those that are (...) cyclical in nature, with the latter being theorized using insights from studies of the television format industry. This approach not only focuses much needed attention on the production side of media events but also on the struggles between different interest groups. We illustrate our arguments by drawing upon ethnographic material from the 2014 Eurovision Song Contest. (shrink)

Uptalk is the use of a rising, questioning intonation when making a statement, which has become quite prevalent in contemporary American speech. Women tend to use uptalk more frequently than men do, though the reasons behind this difference are contested. I use the popular game show Jeopardy! to study variation in the use of uptalk among the contestants’ responses, and argue that uptalk is a key way in which gender is constructed through interaction. While overall, Jeopardy! contestants use uptalk (...) 37 percent of the time, there is much variation in the use of uptalk. The typical purveyor of uptalk is white, young, and female. Men use uptalk more when surrounded by women contestants, and when correcting a woman contestant after she makes an incorrect response. Success on the show produces different results for men and women. The more successful a man is, the less likely he is to use uptalk; the more successful a woman is, the more likely she is to use uptalk. (shrink)

En France, les personnes issues des minorités, principalement d'origine extra-européenne , sont susceptibles de connaître la discrimination, la stigmatisation mais aussi l'exclusion. La télévision, en tant que « lieu de reconnaissance », constitue un enjeu important pour ces populations. Cependant, le petit écran semble marginaliser depuis toujours ces minorités visibles non seulement en leur laissant une place limitée à l'antenne mais aussi en leur renvoyant des images majoritairement caricaturales et dévalorisantes d'elles-mêmes. Une enquête qualitative auprès de 43 individus d'origine africaine (...) et antillaise montre que les minorités sont capables de mettre en place des réactions défensives ou stratégies identitaires afin de réduire le décalage certain entre leur identité sociale - souvent dépréciatrice - et leur identité personnelle , prenant les médias comme ressources pour l'action.In France, persons belonging to minorities, mainly non-European origin , are likely to experience discrimination, stigmatization but also exclusion. Television as a "place of recognition," is an important issue for these people. However, the small screen seems to marginalize always visible minorities by giving them not only a limited role in the antenna but also by returning images mostly caricatures and demeaning to themselves. A qualitative survey of 43 individuals of African and Caribbean origin shows that minorities are able to implement defensive reactions or identity strategies to reduce the gap between some social identity - often dépréciatrice - and their personal identity , taking the media as resources for action. (shrink)

Since 2009, the Norwegian public service broadcaster NRK has produced a number of slow TV shows. Some of the programmes have had a surprisingly big success in terms of public engagement and audience share even though the majority of the audience was from the oldest age groups. These programmes are not only slow, lasting a long time and lacking dramatic development and progress, they also engage in a particular, traditional version of national identity. The current article argues that, through slow (...) TV, the Norwegian public service broadcaster has found a new way to reflect a particular version of Norwegian identity and to tap into the central values of Norwegian culture. Taken together, the shows cover all regions of the country—the coastal areas as well the inlands and mountains. In terms of representation, the programmes highlight nature and traditional Norwegian values such as closeness to nature, rural life, and “friluftsliv” (living the outdoor life). Urban areas and the non-white population are conspicuously absent. (shrink)

This article examines the significant relationship that existed between commercial British television and the study of animal behaviour. Ethological research provided important content for the new television channel, at the same time as that coverage played a substantial role in creating a new research specialism, the study of primate facial expressions, for this emergent scientific discipline. The key site in this was a television and film unit at London Zoo administered by the Zoological Society and Granada TV. (...) The Granada unit produced ‘Animal expressions’, a twenty-five-minute television film based on research on monkeys and apes by the Dutch postgraduate student and soon-to-be-leading-authority Jan van Hooff. Recovering the production and multiple uses of ‘Animal expressions’, this paper offers the first sustained historical analysis of science on commercial television. I show how Granada patronage helped Van Hooff to support his argument that human expressions such as smiling and laughter shared common evolutionary origins with similar facial movements in nonhuman primates. Emphasizing the mutual shaping of science and ITV, I argue that ‘Animal expressions’ repurposed televisual conventions of framing talking heads, and blended serious science with the comedy of ‘funny faces’, thereby epitomizing Granada's public-service strategy at a time when commercial television was defending itself from criticism in the Pilkington report. (shrink)

This paper argues that American television fiction with supernatural themes offers Danish teenage audiences a playground for exploring different religious imaginations in a continuous process of internal negotiations; thereby transforming their imaginations. This process of the mediatization of religion is strengthened by three dominating factors: the absence of a homogenous religious worldview in Danish culture, the importance of high production values and visual credibility to supernatural concepts in these shows, and the appeal of transformed religious content in open-structured serial (...) narratives. This essay presents the findings of an empirical qualitative study of seventy-two Danish teenagers and considers two primary parameters for the case-based reception study: the teenagers' levels of fandom and their connection with institutionalized religion. In other words, how are religious imaginations transformed in relation to viewers' level of commitment to the television fiction and to traditional institutionalized religion? (shrink)

Recent communication research indicates that approach and avoidance constitute two separate yet co-existing processes during media exposure. While many studies address TV approach behavior, little is known about TV avoidance behavior. Furthermore, personality has yet to be linked to avoidance behavior. This study analyzes the influence of personality on TV program avoidance. Data show that the “Big Five” personality characteristics and Risk and Fight Willingness influence program avoidance, albeit to varying degrees. While the specific correlations are discussed in the (...) paper, the results generally reveal that the combination of personality and avoidance has added value in terms of understanding of TV using behavior compared to the frequently analyzed link between personality and approach. For nearly all personality characteristics, data show that the avoidance perspective is more than the inversion of the approach perspective. The findings are discussed with reference to gratification and selectivity research. (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)

Advertising is a tool by which the audience who may be the viewers, readers or listeners are communicated and convinced to buy or taking any action regarding the products, or getting information about the services provided. The TV advertisements influence the consumers’ buying behaviour. The need of TV advertisement has increased with the fast growth of mobile phones industry in Pakistan. This paper investigates the relationship between independent variable of advertisement with dependent variables of consumer choice, consumer awareness, consumer perception, (...) and consumer motivation by getting the responses of 250 respondents using questionnaires based on 5-point Likert scale from the graduating students of various faculties at University of Karachi. The main results of the study show a strong association between the independent and dependent variables. It is a fact that the brands which are advertised on TV are purchased more because people become emotionally attached with such brands or products. This study is very useful for producers, distributors, wholesalers and retailers as well engaged in mobile business in Pakistan. (shrink)

This article lies at the intersection of two problems: the one concerning the potential of fictional works to inform us about our social reality and foster our understanding of its various aspects, and the one concerning their potential to engage with philosophical issues. I bring these two together by analyzing the hit television series Law and Order: Special Victims Unit. According to my interpretation, the series is informative about our social world, and it raises philosophical concerns about it. This (...) makes it well-equipped to fulfill the educative function attributed to mass art by Noël Carroll, and to stand out as an example of what he calls popular philosophy. To support this interpretation, I rely on contemporary views regarding the nature of our engagements with fictional narratives. I then explore how philosophical concerns are generated and I elaborate on the role they have in deepening one’s understanding of one’s social circumstances. I further show how the series provides innovative and independent philosophical knowledge by means specific to the medium of generic serialized fiction. The central part of my argument is an analysis of the narrative strategies which enable the informative and philosophical aspects of the series to generate the series’ educative function. (shrink)

Television content that contains non-stereotypical representations of ethnic minorities and models positive intercultural interactions may potentially aid in reducing the prejudices of its viewers. However, the exact effect has yet to be demonstrated. Furthermore, the cognitive mechanisms behind such an effect remain unclear. This article tests hypotheses derived from social identity theory and social learning theory that attribute this effect to the identification patterns with ingroup and outgroup characters in television drama. In an experiment, participants either watched episodes (...) of a multicultural drama or a regular soap series. Results showed that viewers of multicultural drama had lower perceptions of ethnic threat. Moreover, this effect was mediated by identification with characters, namely, increased identification with outgroup and lowered identification with ingroup characters resulting in lower ethnic threat. The results suggest that short term viewing effects are best explained with social identity theory. The implications for long term effects and the possible role of social learning are analyzed in the discussion. (shrink)

In this article we argue that our present-day mode of looking at bodies expresses a cosmetic gaze, that is, a gaze already informed by the techniques, expectations and strategies of bodily modification and a way of looking at bodies as awaiting an improvement. The cosmetic gaze, as we see it epitomized in contemporary media phenomena like reality makeover shows on television, is also a physiognomic gaze in that it creates a short-circuit between inside and outside beauty. Our article traces (...) some of the history of the present short-circuit between an inside and an outside and analyzes how different visual media have informed and shaped the gaze in historically specific ways, but also how aspects of that history inhere in media practices today. More specifically, we will analyze John Caspar Lavater’s hand-drawn portraits, Francis Galton’s photographical composites, the anthropometrically defined but still intuitively discovered ideals of the ‘Aryan body’ in Nazi Germany, and today’s reality television makeover shows in order to understand some of the continuities and discontinuities of the cosmetic gaze. (shrink)

This essay suggests that television aesthetics, as a research project, would benefit from attending to relevant theoretical debates in philosophical aesthetics. One reason for this is that assumptions about the ontology of television artworks are already embedded in our critical practices. We ought to be more aware of what these assumptions are and state them more explicitly. Moreover, I argue, for debates in television aesthetics to get off the ground, we need to ensure we bring the largely (...) the same ontological assumptions to the table. We need to roughly agree about how television works are identified and individuated to ensure we are talking about the same works and that our debates are coherent. Referring to television works as 'texts' can make their ontology seem radically different from what our common creative and critical practices suggest, but I argue that a more precise use of language will help clarify ontological matters. Furthermore, I argue that the tacit ontological conceptions embedded in our creative and critical practices cannot be overturned by revisionist theories; rather, they actually determine the sort of ontological things to which we refer with terms like ‘episode’ and ‘series’. I conclude by attempting to show that our standard critical practices involve the tacit assumption that successfully realized artistic intentions establish the spatio-temporal boundaries of television works. (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)

Television medical dramas frequently depict the practice of medicine and bioethical issues in a strikingly realistic but sometimes inaccurate fashion. Because these shows depict medicine so vividly and are so relevant to the career interests of medical and nursing students, they may affect these students' beliefs, attitudes, and perceptions regarding the practice of medicine and bioethical issues. We conducted a web-based survey of medical and nursing students to determine the medical drama viewing habits and impressions of bioethical issues depicted (...) in them. More than 80% of medical and nursing students watch television medical dramas. Students with more clinical experience tended to have impressions that were more negative than those of students without clinical experience. Furthermore, viewing of television medical dramas is a social event and many students discuss the bioethical issues they observe with friends and family. Television medical dramas may stimulate students to think about and discuss bioethical issues. (shrink)

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)

The present study shows the influential role of TV on all spheres of human life and very type of environments that is surrounding of us. This research attempts to discuss the powerful character of television in depth on the social, moral, political, economical, religious and all other factors, which make full use of this most exceptional and constructive invention. It concluded the challenges that faced viewers which lie in variety of contents that are offering television in forms of (...) news, current affairs, entertainment and social welfare programmes. Furthermore, television is contributing to the benefit of masses in making the awareness of their environment, rights, duties, privileges and above all, patriotic affection and religious proximity in our beloved country. (shrink)

To reduce negative emotional responses and to stimulate prosociality, constructive journalism promotes the inclusion of positive emotions and solutions in news. This study experimentally tested whether including those elements indeed increased prosocial intentions and behavior among children, and whether negative emotions and self-efficacy are mediators in this regard. To this end, children were exposed to an emotion-based, solution-based, or non-constructive news video. Results showed that emotion-based and solution-based news reduced children’s negative emotions compared to non-constructive news. No direct effects for (...) prosocial intentions were found, but solution-based news led to less prosocial behavior than emotion-based and non-constructive news. Moreover, negative emotions served as a mediator, self-efficacy did not. The more negative emotions were elicited by a news story, the higher the prosocial intentions and behavior. In conclusion, a constructive style of reporting helps to reduce children’s negative emotional responses but subsequently hinders prosociality. (shrink)

This article explores how media content may facilitate processes of recognition through playfulness and comedy. Mediated recognition is typically understood as a matter of respectful and positive representation of subaltern groups and in terms of struggles for visibility and dignity. Yet at the same time, the media address audiences in much less deferential ways that are nonetheless consequential to processes of recognition: by means of playfulness, subversion, and irreverence. This article introduces the concept of ‘playful recognition’ to account for the (...) contradictory ways in which humor can incite recognition. The article empirically illustrates this concept drawing upon a case study of Svart Humor – a comedy show aired in Norway. On the one hand, this article explores an important yet neglected dimension of mediated recognition, on the other, it introduces a recognition perspective to the study of televised comedy. (shrink)

In this article, I defend the cognitive value of certain generic television series. Unlike media and television scholars, who have been appreciative of the informative capacity of television fiction, philosophers have been less willing to acknowledge the way in which these works contribute to our understanding of our social reality. My aim here is to provide one such account, grounded in aesthetic cognitivism, that is, the view that fiction is a source of knowledge. Focusing on crime and (...) courtroom dramas, I start by offering some examples of the cognitive benefits available in some of these series and I argue that the more beneficial cases establish superior mimetic relations with reality, enhancing their capacity to present ethically challenging issues. I then examine whether the fictional dimension of these works presents an obstacle to their informative potential and I conclude that it does not. A central aspect of my account is the claim that the degree of cognitive benefit depends on the underlying narrative strategy of the series. Specifically, there are clues in any given show, including the treatment of ongoing characters, which signal the extent to which it can be taken as mimetically reliable and thus, cognitively valuable. I complete my account by addressing anti-cognitivists’ arguments which call to doubt the informative aspect of television series and their capacity to address ethical concerns. (shrink)

This article presents the findings of an audience research conducted with 86 young Spanish people aged 15 to 29 years. The investigation examines the modes of reception of television fiction, and the impact of the shows on the viewers. Friends’ influence on the choice of program, and the tendency to use social networks to comment on the shows and to talk about themselves, underline the crucial role played by TV fiction and new technologies in socialization processes. While most participants (...) criticized the propensity of television fiction to build extreme stereotypes, they also showed a clear predilection for Spanish programs, and admitted that their characters often offer inspiration to face everyday problems. (shrink)

This essay examines the connections between the Miss America pageant and reality makeover television shows. We argue that televised performances of gender have shifted focus from the intensely scripted, out-of-touch Miss America to reality makeover shows that normalize cosmetic surgery as a means to become the ‘ideal’ woman. While both spectacles offer their viewers performances of femininity, these performances need to be understood as emerging from the cultural and political conditions in which they are produced. This difference in presentation (...) of the subjects of beauty pageants and makeover programmes speaks respectively to the changing role of media in the normalization of performances of femininity, as well as to the affiliation of many young women with post-feminist politics in the United States. (shrink)

Proclaimed the “greenest television programme in the world,” the award-winning soap opera Coronation Street is seen as an industry success story. This paper explores how the integration of carbon literacy training led to a widespread transformational change of practice within Coronation Street. Using the theoretical lens of Communities of Practice, this study examines the nature of social learning and the enablers and barriers to change within the organization. Specifically, how boundary spanning practices, objects and people led to the transformation (...) on both a personal and group level. Based on a qualitative analysis of 22 interviews with Heads of Departments and other staff, the paper argues that CLT is a boundary practice which has evolved into a boundary spanning CoP. The importance of infrastructures supporting boundary objects and practices is highlighted as reinforcers of the CLT, both as a boundary object and a community, with the “ultimate” boundary spanning object being the show. A significant enabler in social learning and change in practice is the creation of discursive and creative space, both within CoP and across the boundaries. Findings also highlight the role of “self” in the process of social learning and organizational change. Distinct patterns emerged in the relationship between self-identity, social learning and change across a range of boundary objects, practices and communities both in the CLT and CoP. This suggests that in a diverse social learning setting such as CLT there are different transformational catalysts within the CoP and these identities can influence how knowledge is translated into practice. (shrink)

A content analysis of 601 commercials was conducted in order to identify the appeals that characterize commercials aimed at children and teenagers. Our findings demonstrated that the use of appeals showed strong age differences and was highly gender-role stereotyped, particularly in commercials aimed at children. The most typical appeals in commercials aimed at male children were action-adventure, sports, and play, whereas commercials aimed at female children emphasized nurturing, physical attractiveness, friendship, and romance. Having the best, competition, and achievement were the (...) dominant appeals in commercials aimed at male teenagers, whereas romance, sexuality, and belonging to a group were emphasized in commercials aimed at female teenagers. (shrink)

What's Good on TV? Understanding Ethics Through Television presents an introduction to the basic theories and concepts of moral philosophy using concrete examples from classic and contemporary television shows. Utilizes clear examples from popular contemporary and classic television shows, such as The Office, Law and Order, Star Trek and Family Guy, to illustrate complex philosophical concepts Designed to be used as a stand-alone or supplementary introductory ethics text Features case studies, study questions, and suggested readings Episodes mentioned (...) are from a wide variety of television shows, and are easily accessible Offers a balanced treatment of a number of controversial ethical issues including environmental ethics, animal welfare, abortion, homosexuality, capital punishment, assisted suicide, censorship and the erosion of values Includes a companion website at http://whatsgoodontv.webs.com. (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)