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1.
Brazilian telenovelas (soap operas) have been playing a growing and important role in the discussion of political and social problems in Brazil. This specific role of melodrama in Brazilian culture imposes the necessity of exploring its influence upon the political process, avoiding the prejudice and indifference of the traditional approach to this problem on the part of political scientists. The objective of this article is to stress the importance of telenovelas for the interpretation of the Brazilian political process and to show their role as a key public forum in the discussion of political and social issues. A content analysis of three telenovelas that preceded the 1994 Brazilian presidential election is developed to identify the constitutive elements of the “scenario of representation of politics” (SR‐P) within which the electoral process took place. The identification of the SR‐P's constitutive elements is made on the basis of three telenovelas produced by TV Globo: Renascer (Revival), Fera Ferida (Wounded Beast) and Pátria Minha (My Homeland). The implications of the study for the analysis of political and electoral processes are discussed.  相似文献   

2.
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   

3.
–This essay examines how the narrative structure of the Fox primetime television hit Ally McBeal opens the text to a feminist reading. Despite critics' charges to the contrary, I argue that producer/screenwriter David E. Kelley's teleplays construct a preferred feminine spectator position that appropriates dominant male gazes in three ways: the feminine setting of the law firm, the refusal of women characters to yield to the male gaze, and the “comic spectacle of maleness.” Ally McBeal's preferred feminine spectatorship stance is articulated through comic strategies in which gender ideals are questioned through mockery, thus opening a safe space for viewers to reject dominant patriarchal meanings and to experience a feminist epistemology.  相似文献   

4.
This essay examines The Man Show as a contemporary example of blatant sexism. A growing body of feminist criticism documents the emergence of subtle forms of sexism in popular culture. Such forms may be characterized as an accommodation or hegemonic negotiation in which dominant discourses must become flexible in the face of pressure from oppressed groups. Yet blatant sexism abounds in contemporary culture. I argue that The Man Show provides viewers with rhetorical resources to imagine their viewing practices as an act of protest against an imagined dominant female authority, and that those resources potentially allow viewers to accept the sexism of the program at face value.  相似文献   

5.
The study explores how competition-based reality shows with different thematic content influence gratifications obtained by viewers. Participants completed surveys regarding their reasons for watching reality programs in general and their reasons for watching specific reality shows (The Apprentice, The Bachelor/Bachelorette, and Survivor). Results identified a new gratification dimension not previously observed in other gratifications research (personal utility), and that correlations exist between the specific content of reality-based programs and the gratifications obtained by the viewers.  相似文献   

6.
This historical study addresses the social impact of early local television by examining the ritual aspects of its now-extinct entertainment programming genres. The study assimilates several theories of ritual and collective memory to explain how this programming shaped the daily lives of television viewers in postwar America. It examines both the nature and form of this programming and how viewers remember it, largely via Internet-based tribute venues. This perspective helps better explain how such programming created a sense of community among technologically determined viewing audiences, and why it continues to structure the collective and individual memories of former viewers.  相似文献   

7.
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   

8.
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   

9.
This longitudinal study explored the popularity and social significance of the 2005 season of the prominent Chinese television show Super Girls’ Voice (a talent show similar to Pop Idol in the UK) regarding gender issues. Based on three focus group studies of the show’s young female audience conducted in 2007, 2010, and 2015, we contend that tomboyish contestants, specifically Li Yuchun, were designated androgynous by most participants. Androgyny was largely perceived as a flexible gender identity that integrated the favorable appearance and personality traits of femininity and masculinity, a view that challenges normative femininity. Most participants also applied this meaning of the term to their own social lives, while some of the participants who were of school age in 2005 applied it to both their social lives and their construction of gender identity by copying the androgynous style. From a time-related perspective, however, we suggest that those participants who had copied the androgynous style were more willing to conform their appearance to the standards of normative femininity several years later, and renegotiated their gender identity in alignment with traditional patriarchal norms.  相似文献   

10.
Using MTV's popular long-running program The Real World as a case study, this essay examines the interrelationship of the construction and consumption of bodies in an increasingly surveillance-based, commercial, hybrid media culture. This article is part of a larger project that employed a multi-method approach grounded in feminism combining textual data from The Real World with interviews with producers and female fans of The Real World. The author investigates how Real World viewers make sense of the series' claims to the real, using the body as the site of cultural production. Two key frames of bodies on The Real World are identified: the troubled body and the heteronormative body. The analysis is situated among studies of media realism to interrogate the context in which real women today are recreated as the “fractured female” in popular culture. The author argues that scholars should continue in a move toward interdisciplinary approaches that link the cultural with the capital and offers the body as a major site of cultural production and reception.  相似文献   

11.
Although late-night comedy and satirical news programs like The Daily Show have been recognized as important sources of political information, prior research suggests that viewers gain only a limited amount of political knowledge from watching these programs. Drawing from uses and gratification theory and extant research on political information processing, this study examines whether learning from The Daily Show depends on whether viewers orient to the message as news or as entertainment. Results from an online experiment suggest that viewers who orient to a segment from The Daily Show as news or as a mix of news and entertainment invest more mental effort and subsequently learn more than viewers who have a purely entertainment orientation. Further, among viewers with a purely entertainment orientation, providing them with an explicit informational-processing goal increases the amount of mental effort and learning relative to viewers who are given no explicit viewing objective.  相似文献   

12.
Many media entertainment products address the fragility of life by portraying the severe illness or death of the protagonist. According to terror management theory, people need to create meaning in their lives when they are reminded of their own mortality, for instance, by engaging in close relationships with others. Meaningful films may provide recipients with an anxiety buffer that helps them to cope with existential fear. The results of an experimental study (N = 130) demonstrated that participants who had been reminded of their mortality appreciated a meaningful movie more and liked the protagonist better when he survived than when he died. Further, participants who viewed the movie in which the protagonist survived did not activate their self-esteem-based anxiety buffer. The results point toward the potential of entertainment to provide internal anxiety buffers and thereby help in coping with self-threatening situations. The findings are discussed in terms of the connections between meaningful media entertainment, coping mechanisms, and viewers’ terror management.  相似文献   

13.
This study's purpose is twofold: to introduce a new format into existing political entertainment research (“serious” political talk shows) and to establish a more specific definition of entertainment in a political context. To do so, the authors rely on a two-process-model of entertainment experiences. A telephone survey (N = 230) was conducted to analyze the antecedents and consequences of eudaimonic and hedonic entertainment experiences and to look into politically relevant variables and their distribution among viewers and nonviewers of such talk shows. The results highlight the importance of introducing new entertainment concepts and their relations to other relevant political and motivational variables into the research of political entertainment. More specifically, the findings demonstrate how entertainment experiences contribute to viewers' feeling of being informed and point out several differences between viewers and nonviewers concerning their internal political efficacy and political interest. Finally, looking at political talk shows from an audience perspective extends previous content-based taxonomies.  相似文献   

14.
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   

15.
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   

16.
The Colbert Report, an innovative American satirical news show, and the show's dedicated viewers, known as “the Colbert Nation,” redefined fan engagement through audience participation, mediated culture jamming, and ironic political spectacle. Yet very little is known about this fan group. This survey of The Colbert Report's devoted followers finds that the fans are distrustful of political and media elites, highly cynical, very politically involved, not apathetic, and moderately efficacious. Further analysis reveals that viewers have different motivations, some seeing the show as primarily entertainment, some mainly as a trusted source of political information, and others as a mix of entertainment and information. The fans are also found to be highly sophisticated consumers of satire and news, and watch the show as an alternative to mainstream media and as a form of comic relief from current events. Several implications are discussed.  相似文献   

17.
In the summer of 2013, the United Nations and NBC began a season-long collaborative campaign involving the primetime television series Revolution (2012–2014), a show about the global loss of electricity, to promote the former’s energy resource campaigns. The two entities collaboratively produced various texts and events encouraging audiences to learn more about United Nations energy initiatives and how people throughout the world lack consistent access to electricity. This essay offers a close, rhetorical reading of the collaboration’s paratexts, examining stated responses from actors, creators, interviewers, and panel participants within this content. In particular, I argue that contact between the paratexts and the “formative” text (that of the show’s narrative) can encourage viewers to think about electricity from the perspective of their own material practices, dependencies, and fears over losing the technological world. I examine how these invested viewers interpreted the United Nations’ efforts through such commitments. Naming a fictive world, and its feared loss, as metonymic of energy politics illustrates how meaning, emotion, and texts circulate, while also implicating the use of celebrity platforms for sociopolitical issues such as energy access.  相似文献   

18.
This paper examines televisual parody as a media literacy educator, and the potential of parody to channel the powers of comedy and entertainment in order to “teach” the techniques and rhetoric of televisual texts and genres. It focuses on the case of the hugely successful and popular animated parodic sitcom, The Simpsons, and its playful attack on advertising and promotional culture. Currently in its 16th season, The Simpsons broadcasts to approximately 60 million viewers in 70 countries weekly, offering a playful critique of television from within the television frame.  相似文献   

19.
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   

20.
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   

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