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1.
Using analysis of program content and programming features, this study identifies patterns of television viewing preferences that explain why certain shows are frequently watched with certain other shows. Principal components analysis (PCA) of data collected from a sample of 750 Israeli adults was used to identify groups of shows often watched by the same viewers. A further analysis was conducted to uncover common features of these shows. The results replicate earlier findings indicating that program viewing preferences are explained by channel loyalty and genre loyalty, but the study adds a focus on the importance of programming language in non-English-speaking television markets.  相似文献   

2.
The scope and nature of reality television has changed since researchers last conducted a content analysis of the antisocial behavior for this type of programming. This study examines the content of seven seasons of Survivor, one of America's longest running reality television programs, to determine the types, frequency, and context of antisocial behavior presented in the series as well as the possible effects of the program on longtime viewers using social learning and cultivation theories. In the 76.4 hours of programming analyzed for this study, 4,207 antisocial acts were documented in the coding database. Indirect aggression and verbal aggression were found to be the most frequently occurring types of antisocial behavior. The number (4,207) and the rate (45.7 acts per hour) of antisocial acts in the seven seasons of Survivor analyzed in this study is higher than the findings of a previous study of antisocial behavior in reality-based television conducted in 1997. This study clearly demonstrates that longtime viewers of Survivor get a higher dose of antisocial behavior than did regular viewers of news programming and other reality-based programs that aired slightly more than 10 years ago.  相似文献   

3.
Twitter updates and expands television’s cultural forum model by letting viewers speak to current events such as the Black Live Matter (BLM) movement. This article analyzes 1,985 tweets in response to three television episodes (Law & Order: SVU, The Good Wife, and Scandal) that dramatized BLM, and identifies five common themes in how viewers address these representations: thematic appropriateness, timing, producers’ qualifications, institutional critiques, and the purpose of entertainment television. This study concludes that Twitter facilitates a meta-commentary, which expands traditional discussions of entertainment programming, and that these programs transcend “mere” entertainment to become critiques of larger social movements.  相似文献   

4.
This study examined whether affect induced by television commercials influences the perception of news programming. An experiment showed that viewers in positive moods generated by television commercials perceive news stories viewed both after and before watching the commercials as more entertaining, relaxing, realistic, and more credible than viewers exposed to neutral commercials do. Of interest, viewers in positive mood, as compared to neutral mood, perceived the topic presented in the news story as less important and serious.  相似文献   

5.
Media consumers have grown accustomed to content that is broken down into digestible chunks. Portlandia, an Independent Film Channel (IFC) comedy series that affectionately satirizes Portland, Oregon's hipster culture, offers a model of how to attract online viewers and create television programming using short videos intended for a niche audience. IFC promotes these decoupled, song-length clips online and encourages sampling and sharing. Using interviews and an analysis of the program's structure and content, this case study explores how Portlandia takes advantage of the synergy between television and new media, and the way audiences consume video programming in the digital age.  相似文献   

6.
Television programs' production value is highly regarded by professionals as a crucial dimension of program quality. This study examines the degree to which lay viewers, rather than professionals, are sensitive to television programs' production value as a distinct evaluative dimension, their ability to pass educated judgments on production value, and the impact of these judgments on their overall program appreciation and quality assessment. Based on a large-scale survey of television viewers in Israel, we find that production value makes up a distinct evaluative dimension, indicating that viewers are sensitive to production considerations. Production value assessments also explain television program appreciation and quality evaluations. On the other hand, there are indications that lay viewers are not very good at discerning gradations of production value among different programs and genres. These findings are discussed in the context of the conflicting interests among Israeli program makers and television channel franchisers to cut costs or to invest in the quality and production value of domestically produced programs. Based on the findings, a deliberative procedure is suggested which can accommodate these conflicting interests by combining lay viewers’ quality assessments with professionals’ more considered and informed judgments.  相似文献   

7.
Television history channels and programming have seen considerable growth in recent years, yet empirical research on television history audiences remains limited. This essay argues that media history scholars need better to understand what happens when audiences consume television history, examining the critical debates concerning the genre's specific modalities of rendering the past on screen before exploring what opportunities and problems it affords viewers. The essay draws on original qualitative, empirical research on audiences of historical reality television through a specific, small-scale case study of BBC Wales' Coal House at War (Indus 2008). It argues for the need to retain a dual focus upon such programming's historical content and its televisuality if we are to appreciate the intricacies of viewers' cultural consumption. The essay concludes by demonstrating that audiences' own oral and written responses to television history reveal something of how people, situated in their specific times and places, understand both their past and their present.  相似文献   

8.
Television programs' production value is highly regarded by professionals as a crucial dimension of program quality. This study examines the degree to which lay viewers, rather than professionals, are sensitive to television programs' production value as a distinct evaluative dimension, their ability to pass educated judgments on production value, and the impact of these judgments on their overall program appreciation and quality assessment. Based on a large-scale survey of television viewers in Israel, we find that production value makes up a distinct evaluative dimension, indicating that viewers are sensitive to production considerations. Production value assessments also explain television program appreciation and quality evaluations. On the other hand, there are indications that lay viewers are not very good at discerning gradations of production value among different programs and genres. These findings are discussed in the context of the conflicting interests among Israeli program makers and television channel franchisers to cut costs or to invest in the quality and production value of domestically produced programs. Based on the findings, a deliberative procedure is suggested which can accommodate these conflicting interests by combining lay viewers' quality assessments with professionals' more considered and informed judgments.  相似文献   

9.
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   

10.
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   

11.
This article explores factors explaining program cast racial composition on television broadcast network programs. The roles of program type, cast composition, and viewer income on advertising revenue are examined. The analysis of the data yields several key findings. First, there is no bias against African Americans on the part of viewers or television networks when adjusting for viewer income and age. Second, African Americans have lower incomes and show a strong intensity of preference for programming featuring African American cast members. Therefore, despite the absence of bias, the advertiser-supported broadcast market likely produces less than the socially optimal amount of African American programming. This article provides policy recommendations to increase viewer benefits.  相似文献   

12.
Two experiments, one with college students and one with older participants, examine how the addition of text and animated graphics influence the processing of television news stories. Recall data suggest graphics help younger and older viewers store and retrieve information presented in television news stories. Graphics also enhanced encoding of harder stories for younger viewers but not older viewers. The recognition and heart rate data indicate that older viewers engage in more controlled processing of television messages, whereas college students process television in a more automatic fashion.  相似文献   

13.
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   

14.
This article explores communication at University of Nebraska Cornhusker football “watch parties”—public gatherings where fans watch the football team's game on television—at seven locations across the United States. This study concludes that the decoration of the watch-party site, the attire worn by fans attending the watch parties, and collective activities of relating and connecting that occur during the watch parties constitute a unique type of performance ritual. Specifically, this article analyzes how the watch-party rituals spin a web of communal connections in which fans at each site connect with one another, with fans at other sites, and with the state of Nebraska to form what is called an “intermediate place”—a place that is symbolically rooted in a specific geographic location and simultaneously manifest in other physical locations.  相似文献   

15.
This study aims to understand the psychological mechanisms of the generation of viewers’ emotional reactions in successful media events and the role of social identity in the process. An online survey was conducted among Chinese viewers shortly after an important national ceremony was broadcast in China. A direct route between viewers’ media consumption and emotional arousal and a mediated route between them through cognition of the symbolism in the event were found. However, high-nationalist viewers were only aroused through symbolic cognition, while low-nationalist viewers gained emotions through both the direct and the indirect routes. The findings suggest two psychological mechanisms of ritual communications moderated by social identities and clarify the role of social identity in media ritual theories.  相似文献   

16.
This survey investigated how viewers use and value print promotional ads and on‐air spots. The majority turned to the print media for information about television programs.  相似文献   

17.
This study attempts to describe some possible elaborations of the cultivation hypothesis and present relevant evidence from a Korean student sample. Using the postulates and methodology of the cultivation analysis approach to mass communication, this investigation employs a two‐pronged research strategy: message system analysis and cultivation analysis. Message system analysis consisted of one‐week sample of Korean television programs from the three television networks in June 1991. For cultivation analysis, a questionnaire was administered to 1,200 Korean students attending eight junior and senior high schools from five different states in July, 1991. Within the clear limitations of measures, the results suggested that viewers differentially perceive the social reality of different content types. The findings seem to indicate that the degree of cultivation effects is not uniform across different kinds of television programming.  相似文献   

18.
If advertisers and programmers are to keep pace with the rapid structural and contextual changes in broadcast and cable television, and maintain their young audiences, they must gain a better understanding of children's viewing motives and viewing patterns. The authors assess the interrelatedness of television use motives and viewing patterns, and investigate perceptions of viewer loyalty network and station identification, and the generalizability of these perceptions to times when local television stations change network affiliation. This study profiles the child televiewing audience and expands the known parameters of television viewer uses and gratifications by identifying three distinctive viewer archetypes-medium- oriented viewers, network-oriented viewers, and station-oriented viewers.  相似文献   

19.
This survey-based study explored the mediated social attraction that a sample of Modern Family viewers had for Gloria Pritchett. Statistically speaking, viewers generally liked Gloria Pritchett, but her intersected social identity characterizations (e.g., harlot-spitfire prototype) guided her likability. Moreover, how viewers felt toward their ethnic, gender, and social class (not their membership in these groups) predicted viewer-character likability. Discussed are implications regarding the liking of Othered television characters and group identity, notions of intersectionality, and challenges associated with mainstream Latinidad.  相似文献   

20.
This study examined the relationships between television viewers’ empathy and affective orientation and their identification with their favorite television characters. Results showed that viewers’ perspective taking and affective orientation positively predicted cognitive-emotional identification and group identification, and affective orientation positively predicted similarity identification. Similarity in viewer and favorite character sex and the genre in which the favorite character appeared also predicted identification.  相似文献   

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