TV series are gaining increasing attention in current research. However, their aesthetic potential for visualizing ethical issues and both forming and facilitating collective inquiry into democratic values has not yet been fully appreciated. Because of their format (weekly/seasonal regularity, home viewing) and the participatory qualities of Internet usage (tweeting, chat forums), series allow for a new form of education by expressing complex issues through narrative and characters. This education is both political and moral. This topical issue elucidates the power, diversity, (...) and richness of TV series and their moral and political purpose. TV series provide common reference points, which populate ordinary conversations and political debates. They become shared representations of moral reasoning and feelings. They arouse ethical reflection in their viewers – in the spirit of philosophy. (shrink)

As transformações que atualmente os meios de comunicação tradicionais estão enfrentando fez com que a televisão, em vez de ser extinta, expandisse sua presença para outros suportes tecnológicos, potencializando seu poder de penetração e hibridização. O aparelho tradicional não é mais o único meio transmissor de conteúdo: a combinação da internet, redes sociais e os novos fenômenos emergidos pela convergência dos meios levaram ao surgimento de uma inédita experiência televisiva. O presente trabalho reflete sobre as novas possibilidades e características da (...) televisão expandida e identifica como o engajamento e participação ativa dos usuários no ciberespaço força os programas de TV a mudarem o modelo televisivo. Para isso, serão analisadas e categorizadas as estratégias transmídias usadas no BBB17 para expandir seu conteúdo no ciberespaço. (shrink)

Using therapeutic conversations from a televised talk show as the source data, this article investigates how people solve emotional problems in an institutional setting within a specific social cultural context. In light of the genre framework and the Systemic Functional Linguistics, the investigation considers the TV talk show therapy under examination a distinct genre. The claim is based on the linguistic evidence drawn from the analytical work. As a valid genre the talk show therapy has been characterized with the communicative (...) intentionality to resolve emotional problems and to promote mental health to the public. These components in turn have shaped the generic structures, which become the crucial criteria that constitute a text as a genre. The article proposes that a broader conception of genre framework is an effective research method to describe the textual typologies and interpret the semantic structures of the social interaction in postmodern society. (shrink)

In this paper we analyze the relative effectiveness of the moment of contact between a brand and an individual consumer. The concept of effectiveness is made operational through the use of both attitude and awareness measures. The main research uses a 4x4 Latin square confounded within subjects factorial design with different touch points and brands. The appropriate stimuli were identified in a preliminary study. The results indicate that, overall, TV advertising and print advertisements – the traditional media channels – are (...) significantly more effective than the internet, a non-traditional media channel. (shrink)

As time-shifting technologies and digital convergence are facilitating and encouraging increasingly individualized and personalized television viewing practices, the social role and function of traditional linear television might be changing as well. Through empirical audience research, using TV diaries and interviews, this article investigates the social dimensions of engaged viewers’ reception of TV drama and explores how audiences themselves experience contemporary television as a social medium. The qualitative analysis reveals three social dimensions in viewers’ engagement with TV drama and indicates that (...) television is generally still perceived as a social medium. Time-shifting technologies do not only fracture audiences, they also create new opportunities for social connections with peer viewers. (shrink)

TV-Philosophy in Action is inspired by philosopher and series-devotee Sandra Laugier’s monthly columns published in the French journal Libération. It is her contribution to the collective reflection on TV series produced by critics, theorists, and the vast mass of individual watchers who evaluate and discuss these programmes every day. The book brings together a selection of articles from Libération, as well as longer pieces, to demonstrate ‘TV-Philosophy in action’: Laugier’s response as a philosopher-viewer to a range of particularly salient TV (...) shows from the last 20 years, and their relationship to social and political issues of our times. Arranged under a number of important themes—relating to politics, identity, and the stories we tell ourselves about our world—the book shows how TV series provide a rich resource for thinking about our lives, and places them centre-stage as works of art, and of thought, in their own right. (shrink)

À la différence du cinéma, les séries TV, genre mineure, regardé dans l’univers domestique, ont mis souvent en avant les femmes. À partir de la série Buffy, leurs héroïnes échappent aux stéréotypes de genre et allient violence, souci des autres et affirmation d’un pouvoir collectif. Au tournant du siècle certaines séries deviennent féministes et accompagnent la transformation de la vision des femmes, de leur âge, de leur orientation sexuelle, de leurs appartenances sociale et raciale. Il y a même des vieilles (...) et des méchantes. L’article détaille ces transformations dans l’évocation concrète des séries de référence. (shrink)

In response to the preceding research report by Professor Steele, television news director Jeffrey Marks suggests that TV news photographers operate in a world not entirely of their own making. They are often treated as pieces of equipment whose insights and judgments are not taken into consideration when newscasts are produced. Seeing the world through a two?inch black and white viewfinder causes some distorted perceptions of reality and a certain detachment from ethical decision making. The author, chairman of the Radio?Television (...) News Directors Association's ethics commutee, offers some suggestions for correcting the ethical morass. (shrink)

This is the first book to explore the hold of TV series on our lives from a philosophical and ethical perspective. Sandra Laugier argues that this vital and ubiquitous expression of popular culture throughout the world is transformative in its effects on the activity of philosophy in everyday life. Drawing on Stanley Cavell’s work on film and ordinary experience, Laugier contends that we are deeply affected by the formative role played by the TV series we watch, and by the ways (...) they become interconnected with our daily lives. The philosophical thinking embodied in series empowers individuals in their capacity to experience, understand and appropriate elements of the world, and to educate themselves. Through our relationships with TV series, we develop our own tastes and competences, which are constitutive of our distinct experience of life. ‘Series-philosophy’ is thus a democratizing force. It also offers us a new ethics, for morality can be found not in general rules and abstract principles but in the narrative texture of characters in everyday situations facing particular ethical problems, and with whom we form attachments that result in our moral education—in sometimes surprising ways. (shrink)

The article connects the forms of contemporary TV series with the narrative and participatory logics of contemporary media. In particular, the author proposes to consider the wide diffusion and popularity of TV series as a form of response and adaptation to the contemporary media condition. The article proposes an analysis of the ways in which the human instinct for storytelling finds form in contemporary participatory media practices. This reflection is situated within the broader debate on post-cinema and the ways in (...) which new technologies have transformed cinema and audiovisual products. This theoretical perspective is related to the well-known twentieth-century philosophical reflection on the status of narration. TV series, therefore, are a response to the “call for concordance” (Ricœur) that is nowadays more evident than ever. Yet there seems to be a sort of paradox here, that characterises the TV series aesthetic experience: in the process of accomplishing this concordance, by creating solid and unitary world, TV series adapt that transmedia aesthetic (Jenkins) of fragmentation that is typical of contemporary media logic. At the end the author discusses some examples. (shrink)

In media-centered democracies, political TV interviews can reveal a lot about the relationship between journalists and politicians. However, knowledge about these formats during non-election times is lacking. Against this background, this study aims to generate insights about specific conversation strategies, the staging of politics, and agenda control in a long-term comparison, and to link them with media logic, which has been identified as a factor that shapes agenda-setting strategies in related contexts. Following a static-dynamic approach, a quantitative content analysis was (...) conducted for all statements (N=19,108) from 125 episodes of a specific Austrian interview format in a one-on-one setting broadcast between 1981 and 2016. Regarding the number of statements in which a newly introduced topic is discussed as a measure for agenda control, specific conversation strategies were identified that contribute to a stronger position for journalists. Moreover, specific aspects of media logic help to introduce and anchor a new topic, although their success varies over the decades. (shrink)

In ten years, says Jacques Attali , more than two billion TV screens will be switched on at any given time. I suggest that it is primarily in this massive, ubiquitous and obtrusive presence of TV-transmitted images that the true impact of television on the way we act and think ought to be sought. Television has conquered the Earth and its inhabitants. What, though, is the outcome of that must successful of known invasions?Since the beginning of the invasion evaluations of (...) the new medium's impact on human lives and on the fashion in which they are shared oscillated between cassandric and panglossian. The Cassandrians saw the medium as a next gigantic stride on the road to the totalitarian rule which society has travelled since the beginning of modern times: a Wunderwaffe of Big Brother and his henchmen, the unsurpassed and irresistible weapon of intellectual disablement, brainwashing, indoctrination and imposition of thoughtless conformity, wielded by those placed in front of the TV cameras against those sitting in front of the TV screens.The Panglossians welcomed the medium as a next gigantic stride on the road to emancipation which humanity followed since that great awakening called Enlightenment: knowledge being power, and the screen being a glass window through which the crown jewels of human wisdom can be contemplated. TV in the Panglossians' portrayal is, or is bound to become, a most powerful weapon of individual freedom of self-construction and self-assertion. (shrink)

In this paper I follow Ted Nannicelli in the project of establishing boundaries of television works. I focus on serialized television works pertaining to a particular genre and I set out to provide an account of their identity. My claim is that external identity of such works is determined by their specific genre-affiliation, given the way in which generic norms determine the content of the series, namely, its characteristic storylines and regular set of characters. From the internal perspective, a series’ (...) identity is determined by the particular way in which it implements abstract generic norms. I describe the process of such implementation as creation of series-specific formulaic patterns, and I analyze different layers of works where such patterns are evident. My central claim is that series-specific formulaic patterns create a coherent set of norms which, through repeated instantiation in the series’ episodes, become associated with that particular series. The function of this set is to establish the series’ boundaries, and to maintain its identity when different modifications to the patterns are made. (shrink)

This paper sheds new light on Putnam's hypothesis that watching television, particularly entertainment programs, contributes to an erosion of social trust. Previous studies have been unable to reach convincing evidence regarding this claim. It is argued that this is a consequence of the neglect of indirect, interpersonally mediated TV effects which supplement the influence of direct exposure, and extend even to those who do not watch television. Using data from the 2002 and 2004 waves of the European Social Survey in (...) combination with aggregate data from telemetric audience research, we conduct a multilevel analysis of TV's impact on social trust. Investigating this macro-micro relationship, we find that patterns of general TV use in 25 European societies exert substantial effects on individual social trust that by far exceed those of individual TV use. In line with Putnam's hypothesis, there is a negative impact of total TV time; however, high market shares of public TV increase social trust. (shrink)

Background The purpose of this study was to examine whether extended use of a variety of screen-based devices, in addition to television, was associated with poor dietary habits and other health-related characteristics and behaviors among US adults. The recent phenomenon of binge-watching was also explored. -/- Methods A survey to assess screen time across multiple devices, dietary habits, sleep duration and quality, perceived stress, self-rated health, physical activity, and body mass index, was administered to a sample of US adults using (...) the Qualtrics platform and distributed via Amazon Mechanical Turk (MTurk). Participants were adults 18 years of age and older, English speakers, current US residents, and owners of a television and at least one other device with a screen. Three different screen time categories (heavy, moderate, and light) were created for total screen time, and separately for screen time by type of screen, based on distribution tertiles. Kruskal-Wallis tests were conducted to examine differences in dietary habits and health-related characteristics between screen time categories. -/- Results Aggregate screen time across all devices totaled 17.5 h per day for heavy users. Heavy users reported the least healthful dietary patterns and the poorest health-related characteristics – including self-rated health – compared to moderate and light users. Moreover, unique dietary habits emerged when examining dietary patterns by type of screen separately, such that heavy users of TV and smartphone displayed the least healthful dietary patterns compared to heavy users of TV-connected devices, laptop, and tablet. Binge-watching was also significantly associated with less healthy dietary patterns, including frequency of fast-food consumption as well as eating family meals in front of a television, and perceived stress. -/- Conclusions The present study found that poorer dietary choices, as well as other negative health-related impacts, occurred more often as the viewing time of a variety of different screen-based devices increased in a sample of US adults. Future research is needed to better understand what factors among different screen-based devices might affect health behaviors and in turn health-related outcomes. Research is also required to better understand how binge-watching behavior contributes impacts health-related behaviors and characteristics. (shrink)

This primer of research on how television affects children and families is organized around the perceptions and insights of four ordinary families who are raising their children without any television in their homes. Readers will learn about the methods and findings of over 40 years of research on TV and, in the process, may change the way they look at television forever.

Este estudo pretende discutir as relações existentes entre mídia e educação, analisando as políticas públicas que influenciaram a criação da TV Pendrive, identificando a percepção dos professores acerca da mesma. Justifica-se pelo fato de que no ano de 2007 o governo federal criou o Programa Nacional de Tecnologia Educacional (ProInfo), com o objetivo de informatizar o ensino, buscando promover uma educação com maior qualidade. Nesse contexto, a Secretaria de Estado da Educação do Paraná, com vistas à inclusão e ao acesso (...) de alunos e professores da rede pública estadual às novas tecnologias, criou o projeto TV Pendrive. Para a concretização desse estudo, foram realizadas pesquisas e análises bibliográficas, bem como um levantamento com professores da educação básica pública estadual da cidade de Londrina/PR, visando a identificar a percepção dos mesmos em relação à TV Pendrive. Como resultado, constatou-se que as políticas públicas, especialmente as voltadas à educação, parecem ser implantadas pelo governo sem a anuência dos educadores. (shrink)

This paper presents the results from a study of the attitudes of TV workers in entertainment shows in two main category oppositions: “visible”/“invisible” and “interesting”/“insignificant”. The conducted interviews show that despite the stress of the workroom, nobody quits their workplace. Loggers and copilots keep their jobs, despite the pressure, because they want to “overcome the challenge” and to “leave their comfort zone”. These lines strongly resemble the lines used by producers to describe contestants in the shows. The lowest hierarchal level (...) job in reality TV shows (such as Big Brother or The Farm) is for workers to compete among themselves in describing the most “interesting” scenes which should not be overlooked. Our research shows, that these reality TV workrooms overflow with competition between ready-made stereotypical expectations of “interesting” interactions between contestants and unexpected “more interesting” occurrences. I attempt to answer the question: What messages in TV entertainment come from the relationships between video surveillance workers? One of the research results points, that people’s desire to have symbolic power over others, to establish the ideas of what is “interesting”, is the reason why this descriptive job has not yet been delegated to software solutions but instead people’s senses are used as mechanical appliances. (shrink)

Volume 19, Issue 10, October 2019, Page 12-14.

The TV show rating analysis and prediction system can collect and transmit information more quickly and quickly upload the information to the database. The convolutional neural network is a multilayer neural network structure that simulates the operating mechanism of biological vision systems. It is a neural network composed of multiple convolutional layers and downsampling layers sequentially connected. It can obtain useful feature descriptions from original data and is an effective method to extract features from data. At present, convolutional neural networks (...) have become a research hotspot in speech recognition, image recognition and classification, natural language processing, and other fields and have been widely and successfully applied in these fields. Therefore, this paper introduces the convolutional neural network structure to predict the TV program rating data. First, it briefly introduces artificial neural networks and deep learning methods and focuses on the algorithm principles of convolutional neural networks and support vector machines. Then, we improve the convolutional neural network to fit the TV program rating data and finally apply the two prediction models to the TV program rating data prediction. We improve the convolutional neural network TV program rating prediction model and combine the advantages of the convolutional neural network to extract effective features and good classification and prediction capabilities to improve the prediction accuracy. Through simulation comparison, we verify the feasibility and effectiveness of the TV program rating prediction model given in this article. (shrink)

Why do we trust TV news? What reasons might support a recipient’s assessment of the trustworthiness of this kind of information? This paper presents a veritistic analysis of the epistemic practice of news production and communication. The topic is approached by discussing a detailed case study, namely the characteristics of the most popular German news programme, called the ‘Tagesschau’. It will be shown that a veritistic analysis can indeed provide a recipient with relevant reasons to consider when pondering on the (...) trustworthiness of sources of information. Moreover, it will turn out that these reasons are part of what recipients might gather from media literacy. (shrink)

Television series seem to be made of images and sounds just like films, but Luca Bandirali and Enrico Terrone suggest an alternate framework for understanding television series: as concepts whereby narratives made of images and sounds can be constructed.

This paper investigates the logistics of crafting and accounting for animal realities on television. Using the case of The Making of David Attenborough’s Conquest of the Skies, a behind-the-scenes documentary about how the Sky TV series David Attenborough’s Conquest of the Skies was created, it explores how the material reality of animals becomes a televisual reality. In seeking to challenge the lingering concern within many media studies critiques of wildlife TV about the constructed and manipulated nature of televisual animals, we (...) propose an approach focused on how realities are provoked. This approach draws on recent debates within STS and screen theory about the contingent elements and accountability relations that become practically operative in making something real. Equally significant is the animal performer. How do the animals, often domesticated, that are used in television to simulate wildness or scientific facts participate in and resist the television apparatus? And how do these animal performances shape distinct animal–human relations and contact zones? (shrink)

This study investigates the negative reactions of Dutch viewers to the content of television programs. The results show that a vast majority is sometimes irritated by TV programs, that a somewhat smaller majority is sometimes shocked by the programs, and that one fifth of the viewing population consider certain programs to be intolerable. The most frequently mentioned genres are games, shows, and related entertainment programs, while reality TV, news and current affairs, and sex are primarily evaluated as irritating. It appears (...) that violent and frightening material creates by far the largest category of negative responses. Intimidating behavior worries the viewers most, immediately followed by the violation of privacy. This article also discusses the consequences of these results for broadcasting policy in the Netherlands. (shrink)

This article analyzes the significance of the Rāmāyaṇa, a serial telecast on state-controlled television in 1987-88, to the neo-liberal shift and the rise of Hindu nationalism in India. Analyzing the inter-subjective structure of the TV serial and the audience it created, the article teases out the complex play of commodity fetishism and mythopoeic investment in the experience of the audience, and how the political right capitalized on these processes. It argues that the human compulsion to repetition and a jouissance consequent (...) to a pre-existing collective unconscious were harnessed as able allies in this transformative process. The Rāmāyaṇa serial metonymically represents the ideological appropriation of the hysteric’s scream for god at the traumatic moment of neo-liberal arrival, both as a flood of commodities and as discursive hegemony. The religious discourse, I argue, was necessary to this transitional structure –the new economic order could only be ushered in the name of God. God was the necessary supplement of a culture apropos the new economy. (shrink)

In his extremely suggestive essay entitled 'Towards an Immersive Intelligence', artist and theorist Joseph Nechvatal defines immersive virtual reality art as 'an art that has a continuous, coherent quality and strives to ambiently include everything of perceptual worth within its domain in an overall, enveloping totality that is concerted and without an evident frame or border'1. Television, on the face of it, is not a medium capable of providing any form of sensory immersion: compared to the Imax or to a (...) trip through virtual reality goggles, its screen (even in its 'giant' sizes) remains ridiculously small. More importantly, whereas immersion requires the intense capture of our full attention in the enveloping totality it artificially creates, our viewing of television is generally distracted and superficial. (shrink)

Public debates on reality television often address the display of emotion and immoral conduct. Television scholars have recently proposed that while reality television offers its audience an opportunity to learn valuable lessons, they rarely address the issue of the morality of the genre. In this contribution, we analyze the display of emotion and immoral conduct in the Dutch reality show The Golden Cage. Reality television is viewed as constituting a ‘moral laboratory’. The question guiding our research revolved around the kind (...) of exercise this moral laboratory provides for. A dramaturgical study of the display of actions and emotions as part of participant “projects” was used to answer this question. Results indicate that moral issues and emotions were continuously at stake, and immoral conduct appeared to be coupled with pleasurable emotions. It is concluded that the laboratory of The Golden Cage is at least equally suited for exercising autonomy and identity performance under competitive pressure as it is for the simulation of moral conflicts. (shrink)

At present, the news broadcast system using mobile network on the market provides the basic functions required by TV stations, but there are still many problems and shortcomings. In view of the main problems existing in the current system and combined with the actual needs of current users, this paper has preliminarily developed a news broadcast system based on 5G Live. The card frame adaptive strategy significantly improves the user experience by using gradual video frame buffering technology. Hardware codec technology (...) significantly reduces the consumption of system resources; H.264 high-compression algorithm can reduce network bandwidth by 50% compared with MPEG-2 and MPEG-4 without a significant change in image quality. At the same time, the use of mobile video acquisition terminals in the system not only solves the problem that satellite broadcast vehicles cannot reach the site due to the lack of roads but also greatly reduces the cost of early deployment and late maintenance of the news broadcast system. This paper studies the card frame adaptive strategy, the system resource consumption reduction solution, and the deployment scheme of the mobile video and audio transmission terminal, which is of great significance to improve the design and research of the news broadcast system under the wireless network application and also has certain reference value for the design of other broadcasting and television solutions. (shrink)

Heidegger and the Televisual Explores an ontological theory of television as it authors culture and expands beyond the limit of the technology and its social and economical institutions. As well, it employs ideas deliverd by Martin Heidegger as a way of understanding and investigating the Being' of what the book names as the televisual - the thinking of television beyond that which is normally characterised as television.'.

Guattari looked for crossovers between film and television in a posthumously published ‘Project for a Film By Kafka’. His critical comments on television and the mixed reception of television within the Deleuzo-Guattarian literature provide the occasion for an investigation of what Guattari thought television could do for his project. The auteur model best suits his needs in this regard, with the proviso that it is animated by a modernist aesthetic oriented towards the conjuring of a people to come who would (...) join the Kafka assemblage as part of their viewing experience. (shrink)

The 1991 war against Iraq was one of the first televised events of the global village in which the entire world watched a military spectacle unfold via global TV satellite networks.1 In retrospect, the Bush administration and the Pentagon carried out one of the most successful public relations campaigns in the history of modern politics in its use of the media to mobilize support for the war. The mainstream media in the United States and elsewhere tended to be a compliant (...) vehicle for the government strategy to manipulate the public, imperiling democracy which requires informed citizens, checks and balances against excessive government power, and a free and vigorous critical media (see Kellner 1990 and 1992). Indeed, if the media do not adequately inform citizens, provide a check against excessive government power and corruption, and adequately debate the key issues of the day, democracy is undermined. M oreover, the U.S. media, especially CNN, completely dominated global coverage of the event. CNN had cameras and reporters in Baghdad throughout the war, a large crew in Israel, and live coverage of all U.S. military and government press conferences. Thus its images, discourses, and material tended to shape global coverage of the event. This meant that the Bush administration and Pentagon was able to control the flow of images and discourses and thus to manage the TV spectacle of the Gulf War.2 In this chapter, I first discuss the production of the text of the "crisis in the Gulf" and then "the Gulf war." This will involve analysis of disinformation and propaganda campaigns by the Bush administration, the Pentagon, and their allies, as well as dissection of the constraints produced by the so-called pool system. I also indicate how the political economy of the media in the United States facilitated the manufacturing of consent for U.S. government policies. Then I analyze the meanings embedded in the text of the war against Iraq and the reception of the text/event by the audience.. (shrink)

WAIT A MINUTE, I have to turn off the TV. My son watched a half hour of "Salmon: A Dangerous Journey" on The Discovery Channel and 20 minutes of PBS's "Reading Rainbow" earlier today; I need to make sure he doesn't watch more than 10 minutes of "Sesame Street" now, lest he be put at risk for aggression in later years.

Film noir reflects the fatalistic themes and visual style of hard-boiled novelists and many émigré filmmakers in 1940s and 1950s America, emphasizing crime, alienation, and moral ambiguity. In The Philosophy of TV Noir, Steven M. Sanders and Aeon J. Skoble argue that the legacy of film noir classics such as The Maltese Falcon, Kiss Me Deadly, and The Big Sleep is also found in episodic television from the mid-1950s to the present. In this first-of-its-kind collection, contributors from philosophy, film studies, (...) and literature raise fundamental questions about the human predicament, giving this unique volume its moral resonance and demonstrating why television noir deserves our attention. The introduction traces the development of TV noir and provides an overview and evaluation of the book's thirteen essays, each of which discusses an exemplary TV noir series. Realism, relativism, and integrity are discussed in essays on Dragnet, Naked City, The Fugitive, and Secret Agent. Existentialist themes of authenticity, nihilism, and the search for life's meaning are addressed in essays on Miami Vice, The Sopranos, Carnivale, and 24. The methods of crime scene investigation in The X-Files and CSI are examined, followed by an exploration of autonomy, selfhood, and interpretation in The Prisoner, Twin Peaks, The X-Files, and Millennium. With this focus on the philosophical dimensions of crime, espionage, and science fiction series, The Philosophy of TV Noir draws out the full implications of film noir and establishes TV noir as an art form in its own right. (shrink)