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1.
This report details the aims, methodology and selected findings of the Arts and Humanities Research Council (AHRC)-funded project ‘A History of Television for Women in Britain, 1947–1989’, running between 2010 and 2013 at the University of Warwick and De Montfort University. Here, we consider the difficulties of conducting historical television research and the ways in which we have tried to use a method which is attentive to production research, textual analysis and audience work in a dialogic relationship. We discuss the work of Doreen Stephens, the BBC's first Editor, Women's Programmes, the ‘discovery’ of the daytime women's arts programme Wednesday Magazine and the ways in which the women who have participated in our study have described the significance of television for women in their lives. Finally, we discuss the ways in which the project has attempted to engage with constituencies outside the academy. 相似文献
2.
Diana Dixon 《Media History》2013,19(1):79-89
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 It argues for the need to retain a dual focus upon such programming's historical content and its televisuality if we are to appreciate the intricacies of viewers' cultural consumption.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
3.
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
4.
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
5.
Stephanie E. Bor 《Media History》2013,19(4):464-478
This historical research describes the strategies used by the New York Times, Los Angeles Times, and several other periodicals to discuss the incorporation of Lucille Ball's pregnancy into her television sitcom, I Love Lucy. This important media event occurred in the early 1950s and marked the first time that an image of pregnancy and childbirth would be depicted on national television. Although the inclusion of sexual content in the mass media was highly controversial at the time of Ball's pregnancy, this analysis concluded that the press was generally favorable in its treatment of the topic. Journalists highlighted the popularity of the event, praised I Love Lucy creators for their sensitive treatment of the topic, and drew comparisons between characters' on-screen and off-screen lives. This research elucidates the emergence of representations of pregnancy and childbirth on television that are now commonly featured in modern broadcast programming. 相似文献
6.
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
7.
8.
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
9.
Elia Powers 《广播与电子媒介杂志》2014,58(3):342-364
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
10.
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
11.
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
12.
《Journalism Practice》2013,7(3):304-318
This article explores the growth and character of breaking news on two 24-hour news channels in the United Kingdom, Sky News and BBC News 24. Our purpose is to examine, in detail, the nature and role of breaking news and, more generally, its impact on the quality of television news journalism. We draw upon a series of content analyses of news programming conducted in 2004, 2005/6 and 2007, and compare the elements of a breaking news item with more conventional forms of news. Our findings indicate that “breaking news” has become an increasingly important part of the 24-hour news culture. This growth means that the typical breaking news item is becoming increasingly predictable and routine. Moreover, by most measures, breaking news items are less well informed and feature less independent reporting than conventional news items. As a consequence, we argue, the decision to cover more breaking news stories impoverishes the quality of journalism. 相似文献
13.
Helen Morgan Parmett 《传播与批判/文化研究》2016,13(1):3-22
This paper contends with how postbroadcast television branding subsumes viewers’ affective interactivities with place to produce brand value. Focusing on the HBO series Treme, I argue that Treme engendered HBO's postbroadcast brand mutation by producing “passionate engagement,” where viewers were invited to interact with the show by touring New Orleans, thus adding place to online interactivity and multiscreen engagement as a means of constructing an “authentic” brand identity. The desire for viewers to connect to New Orleans’ culture is thus transformed into a vehicle for profit making for HBO and an assurance to shareholders that the brand still holds value. 相似文献
14.
Jiyeun Lee 《亚洲交流杂志》2015,25(4):393-407
This study examined how Korean dramas portray the relationship between women's life and work. Men were shown as more affluent, more educationally privileged, older, and yet less likely to be married than women. Far more men than women were employed outside the home and holding a professional occupation or managerial position. Among young adult characters, marriage increased men's employment but decreased women's. Married men were also the most likely to be professionals or managers whereas it was highly unlikely for women, whether married or single. The negative effects of being a parent on employment and on holding a professional or managerial position were consistent for women and men. Examination of women and men's employment and professional empowerment for the past 10 years in television dramas and South Korean social statistics revealed a parallel between television reality and the observed reality, except for a gross overrepresentation of men as professionals or managers in the dramas. 相似文献
15.
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
16.
Kelly Loughlin 《Media History》2013,19(2):177-188
The establishment of Finnish television in the mid-1950s was heavily affected by the cold war politics. Both the Soviet Union and the United States were interested in the development of the Finnish television. Regular television transmissions were started by a commercial television station called TES-TV which was balancing between eastern and western interests. The Soviet attempts to interfere with the station were rejected, while the help from the United States was warmly welcomed. Thus the term Finlandization does not apply the early years of the Finnish commercial television. My main argument is that TES-TV became a site of balancing between East and West and, as such, symbolizes, Finland's role in the cold war. My analysis covers the launching of the company and its programming in 1956–1964. The empirical material draws mainly on archival material which is completed by interviews and the TV pages and articles published in a radio and television magazine. 相似文献
17.
Scholars have long debated the adequacy of women's images on television. This study traced the development of trends and economic influences in serial programming devoted to single working women since 1966. Results suggest that the networks have made considerable progress in the quantity and status of roles presénted, but minority females continue to be underrepresented. Individual network contributions also vary, suggesting that role characterizations are more a function of program economics than social advocacy. 相似文献
18.
John H. Lerch 《广播与电子媒介杂志》2013,57(3):213-224
The question of “who is to supply programs” to television networks is one that affects viewers, advertisers, and licensees as well as networks and program producers and packagers. The revolutionary change that took place in the early 1950's, when the advertising agency was supplanted by the network as the primary source of programming, cured many then‐existing problems, but led to complaints that the networks could and did prevent “outside” creative program agencies from having an outlet for their productions. These complaints, added to those presented in Congress and elsewhere about the present quality of television programming, led to the proposal discussed in the following article. Often mislabeled, and still more often misunderstood, the FCC's proposal is intended to “preserve intact the present structure of television network broadcasting, but seeks within that structure to improve conditions of competition in the program process.” 相似文献
19.
Caitriona Noonan 《Media History》2013,19(2):196-212
This research focuses on two decades in the BBC's relationship with religion as an area of programming. The 1960s and 1970s marked a period of massive social change in Britain in which traditional religious institutions were challenged relentlessly and a more religiously diverse society emerged. This makes it a significant time to examine the BBC's response and the impact these changes had on the culture of production within the Corporation. This research asks how did the BBC frame the making of religious programmes within the changing socio-political context and how did their changing religious mission sit within the Corporation's wider strategic aims? Religious broadcasting also offers a unique microcosm within which to view the changing professional culture of the BBC itself. To address these interests this research uses documents from the BBC's written archive and accounts from staff involved with the genre at the time. 相似文献
20.
《Journalism Practice》2013,7(9):1075-1090
ABSTRACTThe initiation of economic reforms in the 1990s led to major recastings in the media-state-market relationship in India. Looking specifically at the television news media space, the age-old monopoly of the state broadcaster Doordarshan was challenged by the mushrooming of a host of private television news media. Private participation in the television news sector was in sync with the logic of market capitalism. Market-based news model radically altered the nature of production, representation and consumption of news. This paper makes an inquiry into one such predominant aspect of news production, the ascendancy of views/opinion based prime time programming in television news media, in contemporary India. Through a series of semi-structured interviews with journalists, the paper attempts to make sense of the reasons, the nature and significance and the likely impact of such programming on the nature of public discourse in India. 相似文献