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1.
George Bagley 《Critical Studies in Media Communication》2013,30(4):436-451
–The problem with popular polarizations in television reception research is that either quantitative or qualitative methodologies considered separately fails to render a complete understanding. Television viewing is both individual and collective. Thus this paper proposes an analytical framework synthesized from alternate approaches not conventionally petitioned in reception research, among them Gramsci's consent theory, which identifies a logical and justifiable space for both considerations, a means of accounting for the ebbs and flows of both individual and collective forces continuously at work in culture and in television reception. 相似文献
2.
Belinda Flores Espiritu 《亚洲交流杂志》2013,23(4):355-372
This study examines the ‘theater of struggle’ in young Filipino women's reception of Korean television dramas in view of the American cultural imperialism that is deeply entrenched in the Philippine society. Mainly anchored on Gramsci's concept of hegemony and Stuart Hall's encoding-decoding theory, the researcher conducted a reception analysis through a textual analysis of selected Korean television comedy-dramas and focus group discussions with young Filipino women in different colleges. The young Filipino women expressed cultural affinity with the culture, storylines, values, and environment in Korean and other Asian television dramas that have invaded the Philippines in the twenty-first century. ‘Negotiation, resistance, and struggle’, in Hall's sense, against both the liberalism in American dramas and the pre-modern themes in local dramas were manifested in the young women's discourses. Consequently, American cultural imperialism in the Philippines was undermined, challenged, and to some extent subverted. The study also looked into the young women's dominant, negotiated, and oppositional readings of the dominant capitalist patriarchal values and ideologies that were embedded in selected Korean dramas. While there were young female participants who subscribed to global capitalist values showing their cooptation within Western cultural hegemonic domains, the young women largely articulated negotiated readings of capitalist values and oppositional readings with regard to the dominant ideology of capitalist patriarchy. In reading the selected Korean dramas reflexively, the young women identified social pathologies of poverty, class inequality, and capitalist patriarchal values and constructed emancipatory discourses with regard to these. 相似文献
3.
Claire Shinhea Lee 《亚洲交流杂志》2013,23(4):353-371
This study investigates the ideological implications of Nambowon (‘the Committee for Men's Rights’), one of the most popular sketches in a live comedy series entitled Gag Concert in Korea. The sketch humorously criticizes women who take advantage of men in various situations and always ends with a funny slogan demanding equal rights for men and the end of reverse gender discrimination. We treat Nambowon not as an idiosyncratic text but as part of Korean television programs that portray the rising social status of women as well as gender differences. Previous studies of gender and comedy have typically focused on textual meanings, and relatively little work exists to explain the audience's reception. Thus, we explore why audiences enjoy the show and whether and why there are differences in the reactions of male and female viewers to the portrayal of gender in Nambowon. 相似文献
4.
Mackenzie Cato 《Mass Communication and Society》2013,16(3):270-288
This study explores how young women's definitions of empowerment relate to their reception of The Girls Next Door, a popular reality show that documents the life and fun times of Hugh Hefner's three sexy, live-in girlfriends. Specifically, we examine whether young women's general attraction to reality television relates to their endorsement of different views of women and empowerment, how these endorsements relate to the women's own sexual permissiveness, and finally how these views relate to perceptions of The Girls Next Door. Results suggest that reality television preferences relate to greater endorsement of sexual empowerment and traditional feminine roles. However, sexual permissiveness is elevated only when sexual empowerment is endorsed, and perceptions of the show appear to be most positive only when sexual permissiveness is elevated. 相似文献
5.
In this study, we investigate differences in occupational status between women and men, and between ethnic minority and majority members, by means of a content analysis of Belgian prime-time television in 2013. We evaluate the accuracy of these television portrayals using interreality comparison strategies. Results indicate that although in television content women obtain higher average scores for occupational status than men, this is mainly due to the underrepresentation of women in low-status occupations. Although previous studies focused on the absence of women in high-status jobs, this analysis shows for the first time that women are also absent in low-status manual and industrial jobs. Ethnic minorities have lower average scores for occupational status. Moreover, interaction terms made clear that this especially holds for female ethnic minorities, suggesting that mechanisms of intersectionality are at play. In general, the labor world as portrayed on television diverges strongly from the real labor world. 相似文献
6.
This study describes the changes over time in the portrayal of socio-cultural characteristics; namely gender, age, ethnicity, religious outlook, family unit, violence experienced, living conditions, and cultural values in Indonesian children's television programs. Using systematic-quantitative content analysis of popular locally produced Indonesian children's television programs in the 1980s and the 2000s, this study found that all socio-cultural characteristics changed over time, except for gender representation with male actors consistently outnumbering female actors. There were some predominant socio-cultural characteristics in the 1980s, the era of authoritarian broadcasting system in Indonesia: most of the major characters were children and preteens, from Western Indonesia, not showing religious symbols or practices, having more than one sibling, and the majority of the adult characters were married. In the 2000s, the era of liberal broadcasting system, major characters were children and teens, showing certain religious symbols, having no or only one sibling, and the majority of the adult characters were single. Indonesian children's television brought certain cultural values to the fore for their young audiences to identify themselves with: self-direction and benevolence. 相似文献
7.
Ted Striphas 《Critical Studies in Media Communication》2013,30(3):295-316
This essay explores the cultural politics of television talk-show host Oprah Winfrey's Book Club. Because women constitute both the primary Oprah television audience and the largest United States book buying public, it focuses specifically on women's involvement in the club and their modes of engagement with its selections. The Book Club's astonishing success was attributable in part to the carefully considered communication strategies through which participants, Winfrey, and Oprah producers collectively articulated the value of books and reading specifically for women. Their de-emphasizing of purely literary considerations, I contend, enabled women to strategize how to use Book Club selections simultaneously to distance themselves from and to engage more intensively with the demands of living in a patriarchal and otherwise socioeconomically stratified society – a relationship I call a “dialectic with the everyday.” This essay thus traces the communicative processes/practices through which those involved in Oprah's Book Club articulated a highly sophisticated economy of cultural value around books and reading and the implications of that economy to a possible feminist cultural politics. 相似文献
8.
Fan Yang 《Critical Studies in Media Communication》2016,33(3):232-244
Under the Dome, a video about smog in China produced by author and former television anchor Chai Jing, garnered 200 million views within 48 hours before disappearing from major Chinese websites. This essay examines the video’s aesthetics, distribution and reception with a particular attention to its relation to time. I argue that a focus on temporality allows us to discern the ideological conditions that delimit how we talk about Under the Dome and indeed China’s pollution in the context of neoliberal globalization. The celebration of the video’s digitally enabled instantaneity not only privileges technological solutions and consumer agency but also obscures the unequal relation of power to which the Chinese state and the workers within the global electronics supply chain have long been subject. What these discourses eclipse is an opportunity to rethink the accidental event as opening an alternative dialogue about the geological deep time of media culture. 相似文献
9.
Allan Brown 《媒体管理杂志》2013,15(4):277-286
Abstract Australia and Finland provide contrasting case studies of the transition from analogue to digital terrestrial television transmission. The experiences of these two countries help identify the policy choices available to governments and provide lessons for other countries planning their digital terrestrial television systems. Overall, the digital policies adopted in Finland are much more liberal than those in Australia. The Australian experience serves to confirm the deficiency of the high definition model for digital television, and to indicate that a wider range of programming and services offers viewers a greater incentive to invest in digital reception equipment than high‐resolution picture quality. Shortcomings in policy decisions have resulted in problems for both countries since their launch of digital transmissions. There have been delays in the availability of some digital services, and the take‐up of digital equipment by viewers has been poor. The experiences of Australia and Finland suggest that the transition to digital terrestrial television broadcasting represents a situation of market failure and that governments may need to consider intervening in the market for digital reception equipment. ....... 相似文献
10.
This article examines the political and social implications of broadening public discourse and facilitating a collective mediated space in which gendered inequities, interests, and identities are debated via the feminist reproductive health radio program Bienvenida Salud! The article describes the mediascape in rural and indigenous Peruvian Amazonian communities and the ways in which feminist reproductive rights discourse has been introduced and interpreted in communities that have limited exposure to global feminism. By analyzing the reception and listening practices among the Bienvenida Salud! audience, the authors explore arguments about the limits and possibilities of participatory media to effect social change. Finally, the article examines the capacity of Amazonian women to use alternative media to voice their traditionally ignored reproductive health priorities, goals, and practices, and in so doing, critically assesses the potential of participatory media interventions to influence the discourses of global feminism and population planning. 相似文献
11.
Contextualized in television program viewing, the current study seeks to develop a new scale that captures individuals' feelings of being connected to others via media consumption. Literature on general human motivation and media consumption motivation sheds light on social relatedness in television experiences. Data suggest a three-factor structure of the focal concept of feeling connected via television viewing (FCTV): (1) a perception of shared viewing among one's immediate social circle and anticipation of subsequent communication as aided by television programs, (2) a sense of global community enhanced by shared television experiences, and (3) communication with distant unknown others. A stronger sense of FCTV predicts a greater tendency for an individual to watch a program when it is first released, and to watch it together with one's friends, as well as a higher level of general involvement with television. Further, we differentiate the focal concept of feeling connected to other television viewers via television viewing from the related concept of parasocial interaction with television characters. Relative to parasocial interaction, FCTV better predicts collective viewing and first-run viewing. 相似文献
12.
Helen Wood 《Media History》2015,21(3):342-359
This article considers the responses of women, many of whom describe themselves as housewives, in the 1949 Mass Observation Television Directive, in order to interrogate some of the broader assumptions around television's relationship with ‘the housewife’ as key to its success. Against the backcloth of social histories revising ideas about gender, modernity and suburbia in the post-war period, this article considers some of the ways in which initial reluctance towards television was recorded and negotiated. It presents three themes around tensions between home and leisure, the domestication of entertainment and ‘going out’, and the appreciation of particular genre, which suggest that the adoption of television as mass entertainment by women might not have been as smooth a process as we have come to understand. 相似文献
13.
Anthea Josias 《Archival Science》2011,11(1-2):95-112
This paper reviews important aspects of the literature on collective memory, how some of these concerns have been expressed in archives, and contemplates how these issues relate to the politically transformative South African post-apartheid context. It highlights the erosion of boundaries between archives, museums, and other less-institutionalized memory projects in post-apartheid South Africa. It notes ways in which archival activity is taking place outside of traditional archives, as part of a changing and evolving memory landscape. It acknowledges the significant gaps in the written record that are a result of apartheid practices and cites different approaches that were overlooked by apartheid??s official archival systems. This paper offers a way of contemplating the ??social constructedness?? of collective memory and the social and political dimensions of archives. 相似文献
14.
《广播与电子媒介杂志》2013,57(2):302-325
Telenovelas, prime-time serial melodramas that dominate Brazilian television, are active players in the national political and social discourse. This article analyzes an example in which the text and the national political discourse merged, creating an intertextual narrative. It then presents ethnographic reception data for this telenovela to demonstrate how local context and the distance from the Southern political and cultural centers constrained its interpretations and viewers' participation in the national political discourse. 相似文献
15.
This article analyzes the feeling of communities of female social viewers who watch television fiction and participate in social networks and forums dedicated to the programs. The sample is made up of 7,849 comments from 157 platforms (49 Facebook pages, 71 Twitter accounts, and 37 forums). We describe the characteristics of these communities of fans, which differ significantly from cult fandoms and are based on ICT interweaving between reception and female viewers’ daily lives. The results reveal that these active online poster and lurker communities express themselves through their emotional ties with the television series, self-reflection, and the manifestation of intimacy. Identification with the group is based on the relationship of the storylines with their own lives, with no attempts at constructing a cultural or political identity. 相似文献
16.
On 29 September 2016, the Indian army conducted a surgical strike along the India–Pakistan border. The mainstream news media in India followed the event with assertive nationalistic rhetoric. What was supposed to be a covert military operation against terrorism became morphed into political rhetoric aggravated by the unwarranted jingoism of television news channels and social media. The coverage of the strike on television news is typically characterized by a confluence of militant nationalist discourses, and the ideologically imbued labelling of specific communities. Within this context, drawing from the close reading of the coverage, this article analyses how Indian television news sustains the construction of a fictive “we”, conflated with the government policies and military strategies, and speaks for a supposedly homogeneous national consensus that also consciously obscures the dissent through minority voices. The article emphasizes the relationship between communities, formal politics, and the supposedly non-political spaces and practices of news media in India. 相似文献
17.
This article discusses producer practices and the reasons why they engage their audience in the production process. In a digitised media context, audiences have become more visible, mainly through social media, and have more means to participate. Our research deconstructs the production process of a particular television programme by means of the “hierarchy of influences” model, which separates micro and macro levels that influence production. It draws on in-depth interviews with all editors of Flemish current affairs programme De Afspraak (The Appointment) and on a three-month participatory observation. We conclude that immersive ways of engaging the audience are applied in our specific case. More broadly, we argue that although practices change, pre-existing norms and values about the television audience remain central to how producers engage their audience through digital and social media. 相似文献
18.
Paul Elliott Johnson 《Critical Studies in Media Communication》2017,34(1):14-28
This essay situates the television show Breaking Bad (BB) and its critical reception in the context of American politics following the economic and political events of 2008. Reading the show as an allegory, I demonstrate that it offered a pathway for viewers to maintain investments and commitments to a toxic, white masculinity threatened by 2008’s economic and political dislocations. Taking the show up for its capacity to allegorize the human experience, Breaking Bad’s critically acclaimed status among viewers from widely divergent political positions suggests that the investment in raced and gendered ideas of individual freedom crosses partisan lines, indicating that American national identity and white masculinity share a mutually sustaining incoherence. Understanding the cultural roots of American victimage evident in post-2008 America helps explain how BB distinguished itself from similar masculine “anti-hero” dramas. 相似文献
19.
Helen Wood 《The Communication Review》2013,16(2):115-135
Feminist audience research has often argued that the pleasures women find in watching certain popular television genres derive from their indulgence in “referential viewing”: relating their own subjective experience to television texts. But it has never been spelled out what this actually entails. This article, based upon research with women viewers of talk shows and morning magazine programs, suggests a specific methodology, “text in action,” to capture the specificities of the text/subject relationship. Findings arising from the use of this method suggest that accounts of the negotiation of subjectivity are induced through the text/subject interplay. Established explanations of “referential viewing” arrived at through traditional reception studies do not entirely account for the dialogic nature of these encounters. This article suggests that they can be more accurately explored through contemporary arguments about modern self-reflexivity where subjectivity can be seen to be discursively accomplishedthrough pragmatic actions across the broadcast encounter. 相似文献
20.
娱乐节目与快乐哲学——韩国电视娱乐节目分析 总被引：3，自引：0，他引：3
本文通过对韩国电视娱乐节目的分析,探讨娱乐节目在韩国公共文化生活中的意义。韩国娱乐节目以快乐主义为价值取向,以娱乐为本位,显示了后现代文化的某些美学旨趣。作为在传播中生产的文本形式,娱乐节目的价值应置于传播情景中理解。 相似文献