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1.
Dr Chris Tinker 《Media History》2013,19(2):223-237
This article seeks to reappraise two popular yet neglected examples of variety programming, which appeared on French television during the 1960s: Discorama and Age tendre et tête de bois. While the former has been situated within a realist televisual aesthetic and regarded as a launch-pad for French singer-songwriters, the latter has been represented as a youth-oriented vehicle for rock ‘n’ roll and yé-yé pop music. Although such interpretations are to a large extent valid, this article will argue that both programmes should also be viewed as symptomatic of Charles de Gaulle's statist broadcasting strategy, which placed great emphasis on creating social cohesion via programmes designed to appeal to the widest possible audience. 相似文献
2.
This study investigated whether and how exposure to tanned images on television is related to tanning attitudes and intentions among men and women, using the influence of presumed influence model (Gunther & Storey, 2003). The model showed a better fit with the male rather than female sample. In addition, among males, exposure to tanned-men images on television was directly associated with protanning attitudes and was indirectly associated with protanning intentions. Corresponding direct and indirect associations were not found among females. Instead, the results suggest females may project their own protanning intentions into the estimation of protanning norms among male and female peers. These results suggest the social perceptual processes underlying the link between television exposure and tanning tendencies of men and women may differ. 相似文献
3.
4.
Nickie Michaud Wild 《广播与电子媒介杂志》2015,59(3):494-508
Political comedy on television has become an increasingly relevant and informative source which voters, and commentators in the official journalistic public sphere, draw upon. Saturday Night Live has long been a cultural forum of representation of American Presidential Candidates. Two parodies of candidates in particular stand out in the 21st century: Will Ferrell's impression of George W. Bush in 2000 and Tina Fey's of Sarah Palin in 2008. Journalists in the New York Times and Washington Post tended to reject the Ferrell impression as meaningless, while using the Fey parody to represent their own opinions. Why was the satirical portrayal of Palin more salient? The Fey impression resonated with writers in the public sphere in a much more substantive manner than the Ferrell impression, which focused mostly in personal characteristics. This period marks a transition of personality-based humor to more substantive satire. 相似文献
5.
Bonnie Dow 《Critical Studies in Media Communication》2013,30(2):123-140
–The discourses constructing the coming-out of Ellen DeGeneres/Ellen Morgan, star of and lead character in the ABC television sitcom Ellen, were permeated with implications of authenticity and liberation, illustrating the continuing power of the confessional ritual described by Michele Foucault in The History of Sexuality. In contrast to the popular interpretation of the coming-out as an escape from repression, media treatment of the Ellen phenomenon was productive, in Foucault's sense, constructing a regulatory discourse that constrained the implications of gay visibility on commercial television by channeling it through a narrative of psychological autonomy, through television norms for representing homosexuality, and through an overarching strategy of personalization. I conclude with a discussion of the problems of “poster-child politics” as exemplified by the Ellen discourse. 相似文献
6.
《Communication monographs》2012,79(1):102-120
This paper explores how White viewers' perceived portrayals of African-Americans and Latino-Americans on TV influence their real-world feelings and beliefs about these outgroups, which in turn affect their support for race-targeted policies. A computer-based survey (N=323) included measures relating to perceptions about racial/ethnic groups on television, real-world stereotypical beliefs, prejudicial feelings, and support for affirmative action policies. The affective-cognitive model of policy reasoning presented in this paper extends and improves upon prior research in several ways. It considers intergroup emotions as an important mediator by including prejudicial feelings toward racial/ethnic outgroups in the path analyses. Unlike past research that typically grouped all negative stereotypes into one global measure, this study explores how specific types of stereotypes such as criminality and laziness work independently and simultaneously to influence policy preferences. Finally, this integrated cognitive-affective model of policy reasoning is applied to both perceptions of African-Americans and of Latino-Americans, which provides greater confidence in the applicability of the model. Implications of the results and directions for future research are discussed. 相似文献
7.
Frances Bonner 《Media History》2013,19(3):345-358
Early examples of the re-purposing of material from one medium to one or several others are examined through various cases of television cooking programmes and associated print materials. The presenter was the key property uniting the materials and the first television cook to be examined here is Philip Harben, who started on the BBC in 1946 and whose first spin-off book appeared in 1951. A small discussion of Julia Child's American work precedes the main focus, which is on the British-born Graham Kerr, from his first television work in New Zealand in 1961, through his period in Australia from 1965, to his move to Canada in 1969. During this period the serious hardcover publications were not directly associated with television, while those which stressed the televisual relationship had lower production values and needed to justify their existence with explicit commentary on the service they were providing to viewers. It is these latter however which provide valuable information about the early everyday experiences of watching television. 相似文献
8.
Jason T. Peifer 《The Communication Review》2013,16(3):155-177
This work investigates dynamics of political parody through a framing analysis of Saturday Night Live sketches that spoof former Governor Sarah Palin. It is posited that parodies of political figures can be fruitfully understood as reflecting, refracting, and creating political realities, as suggested by the identification of 4 dominant frames in Saturday Night Live sketches. Furthermore, the author argues that the framing approach can serve as a point of convergence for contrasting epistemological approaches to political humor research. 相似文献
9.
Taking one of the most representative subgenres of lifestyle TV, the cooking show, as a case study, in this article, we examine the history and changing cultural meanings of this televisual genre in the context of Taiwan's postwar social history and TV industry. We conduct textual analyses of Taiwanese cooking shows across three different historical stages: Fu Pei Mei's shows (the 1960s–1980s), Chen Hong's shows (the 1990s), and Metrosexual Uber-Chef with Master Ah-Ji (the 2000s), in order to advance a critical exploration of the complex relationships between these popular media texts and their social and industrial contexts. We argue that, in line with the ongoing transformations in Taiwan's society and television industry over the postwar era, the cooking show essentially shifted from educational-cultural to entertainment programming. However, at the same time, the pedagogical function of teaching both cooking skills and life ethics was maintained throughout the different stages, albeit represented very differently in each of the three periods, corresponding with the social and industrial contexts pertaining in each. 相似文献
10.
This paper explores how Will & Grace, which has been heralded in the popular press for its positive representations of gay men, situates the potentially controversial issue of homosexuality within safe and familiar popular culture conventions, particularly those of the situation comedy genre. This paper draws on feminist and queer theory to examine the liabilities of relying on these familiar situation comedy conventions, demonstrating how the program equates gayness with a lack of masculinity, relies on sexual tension and delayed consummation, infantilizes the program's most potentially subversive characters, and emphasisizes characters' interpersonal relationships rather than the characters' connection to the larger social world. Additionally it argues that by inviting mainstream audiences to read the program within familiar televisual frames, Will & Grace can be read as reinforcing heterosexism and, thus, can be seen as heteronormative. 相似文献
11.
Carol Stabile 《传播与批判/文化研究》2013,10(3):266-285
Scholarly accounts of gender, race, and television in the 1950s have mainly focused on the ideological content of programming that ultimately made it onto the air. This research has played an important role in reckoning with the political and cultural legacies of 1950s television. But the focus on ideology and content has prevented us from fully understanding the repressive nature of anti-communist thought and action, both in terms of the powerful ways in which the broadcast blacklist made the production of progressive themes and images impossible, and in terms of how the fear that followed from the blacklist repressed the memory that such alternatives had ever existed. Counter to the images of white suburban women we have inherited from the 1950s, the first two casualties of the broadcast blacklist were professional women who were politically active—white actor Jean Muir and African American musician Hazel Scott—whose involvement in civil rights was deemed evidence of their communist sympathies. This essay builds on earlier research on gender and 1950s television not by analyzing the absence of strong women, people of color, immigrants, and working-class families from the televisual landscape, but by looking at the elimination of the very cultural workers writing, agitating, and fighting to broadcast these representations. 相似文献
12.
Rosya Izyanie Shamshudeen 《亚洲交流杂志》2013,23(2):142-157
This paper analyses the audience reception of the Malaysian reality television programme Akademi Fantasia (AF), which first aired in 2003 and completed its ninth season in 2011. AF has been an influential pioneer in the national television industry, inaugurating the trend of local reality shows and weathering intense competition from similar shows to remain at the top of the ratings chart over the last decade. Based on the Mexican talent search show, La Academia, Malaysia's AF is a unique hybrid blend of an Idol-style talent contest and Big Brother observational spectacle. The article draws on primary audience research to investigate the ways in which Malay audiences interpret the potentially incommensurable cultural meanings generated within the context of a localised version of a global television format. Chua's concept of ‘identification and distancing’ is employed as a framework to analyse the complex ways in which perceived Malay ‘cultural norms’ assume primacy as interpretative lenses for audience evaluations of the show and measures of its local difference from similar global cultural products. The research also reveals how these cultural norms are themselves being negotiated by the audience as part of the everyday experience of inhabiting coexisting local and global popular cultural spaces. The analysis focuses on audience understandings and pleasure in the programme in relation to fashion and taste; the behaviour of the official judges; voyeurism and conflict in ‘backstage’ coverage; and emotional intimacy onstage in the public performance component of the programme. 相似文献
13.
William J. Brown 《亚洲交流杂志》2013,23(1):113-135
The study examines the prosocial effects of Hum Log (We People), India's first long‐running television soap opera. Hum Log was a prosocial television programme that was designed to promote women's status in Indian society. Regression analysis was used to measure the degree to which exposure to Hum Log affected viewers' (1) awareness of certain prosocial beliefs promoted by the series, (2) level of television dependency, (3) involvement with the characters of Hum Log, and (4) adherence to three prosocial beliefs promoted by Hum Log. Exposure to Hum Log was positively associated with viewers' awareness of the programme's prosocial messages, television dependency, and involvement with television characters in the series. Viewers who were more exposed to Hum Log were also more likely to believe in women's equality and women's freedom of choice, but not in family planning. The implications of these findings are discussed in terms of present and future research on the use of prosocial television programmes for development in Asia. 相似文献
14.
Sarah Banet‐Weiser 《Critical Studies in Media Communication》2013,30(2):119-139
Nickelodeon is a powerful commercial cable network of television, internet activities, toy manufacturing, and video production. The network has been recognized by both industry professionals and media scholars for its representation of girls as strong, intelligent lead characters. Focusing on entertainment programs Clarissa Explains It All and As Told by Ginger, as well as on Nickelodeon's non‐fiction children's news program, Nick News, I argue that the media context of girl power, combined with the increasing recognition of adolescent girls as both powerful citizens and consumers, offers what at times looks like a radical gesture in terms of disrupting dominant gender relations. However, we can also read the mainstream embrace of girl power as a restabilization of particular categories of gender, so that this “radical” challenge moves toward the entrenchment of conventional gender relations. 相似文献
15.
LaChrystal D. Ricke 《Communication Studies》2013,64(2):119-135
Throughout its multiple seasons, the language on Fox's Family Guy has been the subject of criticism, foundation reports, and even lawsuits. The show's creators assert that the language used in the show simply provides satirical social commentary; others believe the language is inappropriate for broadcast television. This study investigated the presence of derogatory language in Family Guy in order to make an argument regarding the potential cultivating effects of such language when presented in an animated format. The study found that derogatory messages were present in roughly 9% of Family Guy scenes and that correlations existed between the types of characters that were the senders and recipients of derogatory messages and the types of messages transmitted. 相似文献
16.
Heloisa Pait 《The Communication Review》2013,16(1):53-77
This paper follows the construction of a televisual public space in Brazil since the 1950s until the present, with special attention to television fiction and soap operas, known as novelas in Brazil. The role of novela writers as mass mediators responsible for weaving together a growing public is investigated, with emphasis on their political projects and their responsibilities when writing for millions. Although aided by an industrial process, their task of reaching the public is one full of misunderstandings, which I contend is an intrinsic part of the environment of mass communication. The acceptance of these unavoidable misunderstandings by all involved in mass communication is crucial for the continuation of a communicative game, as we see in the case of Brazilian television. 相似文献
17.
Rick W. Busselle 《Communication Research Reports》2013,30(4):367-375
Five versions (four experimental and one control) of a questionnaire were randomly distributed to 190 participants as part of an experiment investigating whether judgments of global television realism are influence by the salience of program genre. Questionnaires contained items asking respondents how often they watch either 1) news programs, 2) reality‐based crime programs, 3) crime drama programs, or 4) day and evening soap operas, followed by perceived realism and demographic items. Global measures of television realism were influenced by the viewing questions that preceded them, such that questions about more realistic programming prompted judgments that television programming in general is more realistic. Except for one condition, questions measuring the perceived realism of a specific genre, rather than television in general, were not influenced by the salience manipulation. These results call into question the utility of global television realism items. 相似文献
18.
Binge-watching, simultaneously treated as both guilty pleasure and legitimate health concern in popular press and academic discussions, is a pervasive media behavior. Yet distinguishing it from other ways of television viewing remains elusive in communication research. The present study employs empirically supported variables to determine if different outcome expectancies are relevant to the frequency of binge-watching as contrasted with appointment viewing of television through the lens of the model of media attendance. Survey results (N = 797) of a college student and representative adult sample reveal that binge-watching is motivated in large part by the behavior already being an entrenched habit among viewers, while suspense and anticipation associated with content and motivation to use viewing to regulate one’s emotions are also significant antecedents. Conversely, more frequent appointment viewing of television viewing was driven by viewing efficacy and older age. 相似文献
19.
This study used a survey design (N = 168) to examine how parent and child demographics, parental media-use motives, parental subjective norms, and parental attitudes toward preschool media use (PMU) are all related to actual media exposure among children 6 months to 5 years in age. Results indicate that, in accordance with the theory of reasoned action, parents’ perceived subjective norms regarding various categories of media were significantly related to actual child consumption. Further, positive attitudes toward media were significantly related to higher rates of child consumption. Interestingly, parental worries about media were only negatively related to television consumption and unrelated to child exposure to other kinds of media. 相似文献
20.
《Journalism Practice》2013,7(4):502-516
This study examines how politicians act as sources on Dutch television news. It argues that due to the mediatization of politics and a shift towards more interpretive forms of journalism, journalists use politicians' quotes and sound bites first and foremost to support their interpretation of news events. Previous research has shown that because of the growing importance of media logic, journalists are more autonomous and powerful in their relations with sources. This case study shows, however, how the format of news items, especially the use of interviews and quotes, supports the interpretive nature of television news. While there is less on-screen interaction between journalists and politicians on television news, interviews are cut into short sound bites of politicians without the context of the actual interview. Detached reporting of what politicians say because of its newsworthiness has become less important than fitting suitable quotes into predetermined news frames. The analysis is based on a case study of the 2010 local council election coverage by the two major Dutch television news programs, NOS Eight O'Clock News (NOS Achtuurjournaal) and RTL News (RTL Nieuws). 相似文献