共查询到20条相似文献，搜索用时 31 毫秒
1.
Maria Dicenzo 《Media History》2013,19(2):115-128
The late nineteenth century American mass circulation press developed a style of ‘new journalism’ that gave rise to celebrity journalism. It is widely accepted that this new approach to reporting replaced news values with entertainment as a consequence of the need to cater to the tastes of a mass readership and this is seen to explain the incredible innovations that occurred in the press in the US at the time (Ponce de Leon; Roggenkamp; Tebbel; Turner; Schudson Discovering the News). This article questions this version of American press history by arguing that those papers also had to appeal to the politics of poor immigrants and the working class and that the conventions associated with celebrity overlapped and often coincided with a ‘radical’ populist campaigning style of reporting that was as important (and at times, more important) to building and sustaining mass readerships. 相似文献
2.
The ‘cultural translator’ is an individual who expresses the essence of entanglement in their career choices, moving between genres, media, or nations. This article suggests that the BBC producer and writer, Nesta Pain, was such an individual. Over the course of her career, Pain not only wrote and produced radio features and radio dramas but was also a successful journalist and author. She translated her experience in radio production onto the stage and on television by exploiting the different possibilities offered by these visual media—all evidence of her transmedial cultural translation. Further adding to the transgressive nature of her career, was her place as a woman in male-dominated radio production arenas. 相似文献
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Critics of celebrity activism often assume that fans blindly follow celebrities who invite them to support celebrity activism and charity. These fans are often imagined as participating in celebrity activism only because their beloved celebrity asked them to — not out of any kind of rational understanding of a political issue, awareness of a public problem, or commitment to a public issue. We contest this view of celebrity activism. Drawing on scholars like Bennett, Ellcessor, and Chouliaraki, we argue that the case of Ian Somerhalder demonstrates that a commitment to a celebrity may actually be connected to a commitment to a public issue. We trace the ways in which Somerhalder plays with the slippage between television celebrity and his character, arguing that such slippage merges the intimacy fans feel for Damon with the intimacy fans feel for Somerhalder and imbues Somerhalder’s environmental appeals with the values his on-screen character comes to represent in The Vampire Diaries. We argue that Somerhalder deploys themes and ideals from The Vampire Diaries in his communication with fans and in his activist appeals. Ultimately, Somerhalder’s celebrity activism demonstrates how intimacy with celebrities might function to connect fans to public issues in powerful ways. 相似文献
5.
Hye-Jin Paek 《亚洲交流杂志》2013,23(2):133-153
Based largely on McCracken's ‘cultural meaning transfer’ model (1989), which stresses the cultural meanings of celebrity endorsers, this study explores the characteristics that differentiate celebrity-endorser strategies in South Korean newspaper ads from those in US newspaper ads. With Hofstede's cultural typology—uncertainty avoidance and power distance—as a theoretical framework, this study finds that ads in South Korea with a high uncertainty avoidance and a high power distance culture present a higher proportion of celebrity endorsers than those in the US with a low uncertainty avoidance and a low power distance culture. However, US ads have a greater proportion of product-related celebrity endorsers in both high- and low-involvement product ads. The study also provides detailed information on foreign celebrity endorsers presented in international product ads. 相似文献
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The study reported herein aimed to identify and discuss the nature and pattern of the uses of new media through a notable YouTube phenomenon. It analyzed 132 online videos centered on ‘Bus Uncle,’ a YouTube celebrity who rose into fame in Hong Kong during April 2006. Most of the videos drew references from local popular culture texts. They were mostly playful and sarcastic in their undertones. The collective behaviors in YouTube suggest that this hugely popular video-sharing site takes on the roles as public space, a playground and a cultural public sphere. 相似文献
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From the late 1920s, all radio broadcasting in the United Kingdom was undertaken by a public sector broadcaster—the British Broadcasting Corporation (BBC). Television was also the exclusive preserve of the BBC until the mid-1950s, when advertiser-supported commercial stations came into existence. This form of competition for audiences, but not for finance, between two broadcasting sectors—called by some a 'comfortable duopoly'—persisted until the late 1980s when the government permitted competitive entry by cable and satellite operators, introduced competition for advertising revenue between terrestrial stations, and placed commercial television broadcasting on a more competitive footing by introducing tendering for franchises. As these changes have occurred, the BBC has maintained its traditional system of regulation and has continued to operate under a Royal Charter. Although the expiry of the current Charter at the end of 1996 has provoked a debate about the role of the BBC, the government has stated its intention to renew the Charter for another 10 years. It seems likely that, until the year 2002 at least, the current system of regulating and financing public Service broadcasting in the United Kingdom will remain intact. However, the proliferation of channels represents a threat to the BBC's audience base. There may also be difficulties in combining within the same organization a public service mission and highly commercial activities, undertaken in a very competitive world market. 相似文献
9.
Andrea Stanton 《Media History》2013,19(4):421-435
From 1934 to 1941, three British-governed radio stations were established in the Middle East: Egyptian State Broadcasting (ESB) in Cairo (1934), the Palestine Broadcasting Service (PBS) in Jerusalem (1936), and the Near East Broadcasting Service (NEBS) in Jaffa (1941). These three stations were modeled on the BBC and run as colonial or imperial stations—but they were also considered national stations. As a result, they operated as hybrid entities with overlapping and sometimes conflicting mandates. Through the three case studies—a contentious hire at the ESB, the PBS' ‘Jerusalem Direct News Service’, and the NEBS' Islamic broadcasts—this article charts the evolving relationship between Great Britain and its Arab-world radio stations, examining these three stations in tandem tension between national and regional broadcasting mandates, as well as the challenge that managing each station raised for British officials in the UK and in-country. It moves away from a focus on the disembodied spheres of ideology and propaganda, and toward the messy administrative decisions that reflected British officials' on-the-ground efforts to navigate the administrative control and programming decisions in the perplexing world of semi-independent radio broadcasting stations in the Middle East. It closes by noting that while UK-based British officials saw these three stations as operating under the aegis of British governance and on the model of the BBC, the ESB and the PBS, in particular, reflected and projected not a British imperial identity but an Egyptian and a Palestinian nationalist one. 相似文献
10.
Erga Atad 《Journalism Practice》2017,11(6):760-776
This study examines whether news broadcasts across nations are more cosmopolitan or parochial in their essence. To answer this question, the article proposes two unique theoretical concepts: “global newsworthiness” and “reversed domestication.” Global newsworthiness refers to news broadcasts that include ranges of countries, selected by several different reporting criteria. Reversed domestication refers to the connection made between the country of origin of the broadcasting media and the news content. Four television news networks were compared—CNN International, BBC World News, Al Jazeera English and France 24. The findings point to different levels of global newsworthiness and reversed domestication. 相似文献
11.
Keith M. Johnston 《Media History》2013,19(4):377-388
Through an analysis of the first British television ‘trailers’, this article explores an intersection within media history where the film industry attempted to reach out and utilise the new dissemination medium of television. Whilst this moment could be read as an attempt to control the promotion of film on British commercial television, and impose American film trailer aesthetics on the ‘rival screen’, I explore the television trailer as an early cross-media text that offered a challenge to existing trailer structure and style. By focusing on the recreation of these lost texts through trade press commentary, the article provides a new perspective on industry attitudes, media technology and media relationships in this transitional moment. 相似文献
12.
Zaharom Nain 《亚洲交流杂志》2013,23(1):43-64
This paper identifies and evaluates Malaysia's television policy in a period of change. A period, that is, which sees the transnational media becoming more dominant and influential in this region. A period, on the other hand, which also sees Malaysia's policy makers arguing in the international arena for ‘Asian’ values and, domestically, for ‘Islamic’ values. By locating the development of Malaysian television and its contents within these wider proclamations of intent by the powers that be, this paper argues that while these declarations give the policy makers much political mileage and may help them ‘look good’ in the local and international arenas, in reality, all is not what it seems with Malaysian television. What this paper argues is that while the rhetoric of ‘Western media/ cultural imperialism’ is constantly evoked by the policy makers in Malaysia to imply that they are ‘Malaysianizing’ the medium of television, current practices and trends indicate that it is very much ‘business as usual’, with Malaysian television being led further and further into the international marketplace and the attendant pressures this entails. 相似文献
13.
Mary Irwin 《Media History》2013,19(2):162-177
Wednesday Magazine (1958–1963) was an innovative BBC television afternoon arts and culture strand produced by the specialist BBC women's programme unit, which had been built up and nurtured by the first dedicated head of women's programmes Doreen Stephens, who was appointed in 1953. Stephens was responsible for the development of a diverse and extensive range of women's programming; highly ambitious in the offering that it presented to its female viewers. This article will examine the series Wednesday Magazine exploring the wealth of arts and culture items broadcast, whilst considering the programme's significance in critical histories of both women's programming and arts television. The article will also make an intervention into historical debates around what constituted women's television in Britain. 相似文献
14.
Allan Jones 《Media History》2013,19(4):436-449
In 1949, physicist Mark Oliphant criticised the BBC's handling of science in a letter to the Director General William Haley. It initiated a chain of events which led to the experimental appointment of a science adviser, Henry Dale, to improve the ‘coordination’ of science broadcasts. The experiment failed, but the episode revealed conflicting views of the BBC's responsibility towards science held by scientists and BBC staff. For the scientists, science had a special status, both as knowledge and as an activity, which in their view obligated the BBC to make special arrangements for it. BBC staff, however, had their own professional procedures which they were unwilling to abandon. The events unfolded within a few years of the end of the Second World War, when social attitudes to science had been coloured by the recent conflict, and when the BBC itself was under scrutiny from the William Beveridge's Committee. The BBC was also embarking on new initiatives, notably the revival of adult education. These contextual factors bear on the story, which is about the relationship between a public service broadcaster and the external constituencies it relies on, but must appear to remain independent from. The article therefore extends earlier studies showing how external bodies have attempted to manipulate the inner workings of the BBC to their own advantage (e.g. those by Doctor and Karpf) by looking at the little-researched area of science broadcasting. The article is largely based on unpublished archive documents. 相似文献
15.
This study investigated how clients and advertising agencies in Korea prioritized celebrity selection criteria differently. Responses from 50 client-side and 50 agency-side executives in Korea were analyzed using the Analytic Hierarchy Process. Results show that the brand-centered factor ‘Match-up’ was considered most important by both clients and agencies but that the celebrity-centered factor ‘Popularity’ was ranked quite differently (i.e. second by agencies and fourth by clients, out of five factors). Other factors (i.e. Availability and Potential Risk) were ranked similarly. The main finding of the study is that Korean ad agencies and clients placed different weight on celebrity endorser selection criteria. This finding is particularly valuable to national and international advertisers who are deliberating about celebrity endorsement for the Korean market. 相似文献
16.
Joshua N. Morrison 《传播与批判/文化研究》2020,17(2):149-165
ABSTRACT In this essay, I theorize the lifestyle celebrity as a figure whose fame is premised on their aspirational status. I offer lifestyle celebrity as a complementary analytic to ordinary celebrity that allows for more precise distinction between celebrity figures. I engage Sofia Coppola's The Bling Ring as a film that positions the desire for lifestyle celebrity as dangerous and irresponsible. I argue that the film places the burden of maintaining a “healthy” relationship with celebrity culture entirely on consumer-participants and affirms the class and gender performance hierarchies that structure the valuation and distribution of lifestyle celebrity. 相似文献
17.
Stephanie Seul 《Media History》2015,21(4):378-396
Established during the Sudeten crisis in September 1938, the BBC German Service played an important role in Chamberlain's appeasement policy and warfare towards Nazi Germany. Yet the BBC's employment for official propaganda, especially in peacetime, raised delicate issues of its independence from government control and of the objectivity and credibility of its broadcasts. This paper discusses, first, the origins of the BBC German Service and its role within Chamberlain's policy. Second, it analyses the relationship between the BBC and Whitehall. Third, it traces the evolution and development of the British propaganda strategy towards Germany and investigates how the concepts of ‘truthfulness’ and ‘objectivity’ were internally understood and employed by the BBC and Whitehall in their propaganda campaign. Finally, the paper argues that Chamberlain's propaganda strategy towards Germany collapsed during the Allied campaign in Norway in April 1940 precisely because it no longer conformed to its self-proclaimed principles of ‘truth’ and ‘objectivity’. As a result, the credibility of the BBC German Service suffered a significant, if ultimately temporary, setback. 相似文献
18.
This article scrutinises the usage of the words “we”, “us” and “our” by BBC radio journalists when reporting and discussing news and current affairs. By analysing reports and discussions on the “flagship” Radio 4 Today, a daily news programme whose centrality to political and public debate is widely recognised, the article raises substantive questions about clarity, accuracy and impartiality in senior broadcast journalists’ choice of language. In exploring the assumptions which may underlie the invocation, via such language choices, of an implied community, and against the backdrop of the BBC's commitment to impartiality in its Editorial Guidelines, the article identifies numerous recent examples where the choice of words and identifiers can be seen as undermining the BBC's impartiality and which show several of its senior journalists adopting the first-person plural “we” when reporting on matters of public policy. The findings therefore indicate a general need to codify norms which are seen to integrate the need for accuracy as well as impartiality, and for these norms to take into account issues which might at first glance seem to be inconsequential, micro-level features of the journalists’ language. The evidence suggests that more fine-grained guidelines on permissible circumstances for BBC journalists’ usage of “we” and “our” need revising and disseminating in the light of these findings. 相似文献
19.
Donald F. McLean 《Media History》2018,24(1):46-70
The business reasons behind the decision to start the BBC television service in 1936 remain unclear despite the volume of literature on the subject. Additionally, controversy has persisted regarding foreign involvement in what has been considered a fully British system. What is apparent from the literature is an emphasis placed on the technical development, generally under-representing other aspects of television. A new multi-disciplinary approach is proposed and applied here to explore the circumstances around the emergence of the service, together with hitherto neglected industry aspects: the business and commercial issues relating to broadcaster and suppliers. This paper highlights the primacy of the BBC television service as providing the first instance of what became a common template for live television creation whilst illustrating, with new evidence, foreign influence on British engineering development for the BBC service. 相似文献
20.
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