It seemed to happen overnight. Not long ago, we were all watching television, and now we are watching something else. Television stations have been replaced by streaming services. Well, not quite replaced, since we still have televisions, but somehow our television screens are not quite what they were. In Netflicks: Conceptual Television in the Streaming Era Tony Hughes-d'Aeth critically considers how our viewing habits, and television shows themselves, have changed over time. This book is about (...) television in the streaming age and it considers some of the continuities that contemporary streamed shows have to other narrative forms such as classic television and classic Hollywood. Long gone are the days when we had to wait a week for the next episode of a tv show to be aired -- now we can binge-watch whole series in one sitting! ABOUT VIGNETTES Series Editors: Sarah Collins and Tony Hughes-d'Aeth The Vignettes Series from UWAP is aimed at sharing the knowledges that are emerging in the contemporary university and which that consider the complexities of modern life. Each book provides an image, or a vignette, of a particular phenomenon and how this is being thought through by intellectual practitioners in today's academy. (shrink)

The analysis of TV violence cannot be limited to the quantification of its incidence, but should also take into account the type of violence broadcast and its context (what is depicted and how). Thus, normative models of violence (legitimized violence with positive consequences for the aggressor, or vice versa) could be understood as positive, while contra-normative models of violence (rewarding illegitimate violence and punishing legitimate violence) should be of far greater concern. This paper analyzes the normative contexts of TV violence (...) through a content analysis of randomly selected fragments of TV programming (147 recorded hours). The results show that news programs and TV series/soaps delegitimized violence to a higher extent, while films tend to show legitimized or ambivalent violence. Positive consequences of violence predominate in fictional programs, except for TV series/soaps. Normative presentation of violence is more frequent, especially in nonfiction genres, as fiction has more freedom to depict the socially undesirable. (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)

The medical drama and its central character, the doctor-hero have been a mainstay of popular television. House M.D. offers a new (and problematic) iteration of the doctor-hero. House eschews the generic conventions of the “television doctor” by being neither the idealized television doctor of the past, nor the more recent competent but often fallible physicians in entertainment texts. Instead, his character is a fragmented text which privileges the biomedical over the personal or emotional with the ultimate goal (...) of scientifically uncovering and resolving instances of disease. This article examines the implicit and explicit messages in House M.D. and critically analyzes both the show and its lead character in relation to the traditional medical drama genre that highlights the “doctor-hero” as the central character. While at first House seems to completely violate narrative and generic norms, ultimately the program provides a new form that reinforces the presence of the doctor-hero, but highlights House’s character as the central figure who is personally and interpersonally problematic but biomedically effective. (shrink)

This article takes a critical look at the television show ‘Uit de Kast’ that has been broadcast on Dutch public television for the past three years. In this program, young male and female lesbian, gay, and bisexual participants, who have not come out yet for various reasons, reveal their homosexuality to their family, peers, and colleagues while being documented on camera. We problematize the compatibility of the genre ‘reality television’, which by definition focuses on personal emotions (...) and conflict, with subjects that have emancipatory goals, such as the creation of more awareness for and acceptance of homosexuality. The data reveal that in the show LGB emancipation is framed as a personal problem and not as a socio-political issue with moral and ideological dimensions. In the end, we argue, the effect could very well be that the show does not promote but rather – ironically – hinders LGB emancipation. (shrink)

The medical drama and its central character, the doctor-hero have been a mainstay of popular television. House M.D. offers a new (and problematic) iteration of the doctor-hero. House eschews the generic conventions of the “television doctor” by being neither the idealized television doctor of the past, nor the more recent competent but often fallible physicians in entertainment texts. Instead, his character is a fragmented text which privileges the biomedical over the personal or emotional with the ultimate goal (...) of scientifically uncovering and resolving instances of disease. This article examines the implicit and explicit messages in House M.D. and critically analyzes both the show and its lead character in relation to the traditional medical drama genre that highlights the “doctor-hero” as the central character. While at first House seems to completely violate narrative and generic norms, ultimately the program provides a new form that reinforces the presence of the doctor-hero, but highlights House’s character as the central figure who is personally and interpersonally problematic but biomedically effective. (shrink)

This article aims to reflect the efforts of the Ethnic Greek Minority that resides mainly in southern Albania, in the villages of Dropoli in Gjirokastra town, to have its own television programs in the Greek language. Further to the editions of the printed media and the radio broadcasts in the Greek language that were dedicated to the Greek Minority, there arouse the need for television programs in the Greek language which would be another dimension in reflecting the worries, (...) the problems, the traditions and the culture of the Greek Minority in Albania. Although the airtime of the programs in the Greek language, their frequency and the period in which they were broadcasted were short term, there remains undisputed their value in terms of the contribution to the social, political, economic and cultural life of the Greek Minority residing in Albania. The study of the Ethnic Greek Minority media in Albania is an unstudied field, so, in this article we aim to fill this gap somehow by providing a modest contribution, which may serve to many future researchers who will conduct studies of such topics. (shrink)

Considering the overwhelming amount of media products that we are subjected to in the 21stcentury and the way in which those inevitably influence our perception of reality, this research pays specific attention to the role of the media in the construction and enhancement of stereotypes in everyday life, via the language or, more specifically, specialized languages. In particular, this paper aims to investigate an American legal TV series in order to analyze the way in which legal English is used in (...) dialogues. The major research questions are: to what extent such a kind of specialized discourse may be really understood by the greater audience? How does legal drama participate in the shaping of stereotypes relating to the legal environment in the country where it is produced, and cross-culturally, bearing in mind the prominence of “made in the USA” products in the television programming across the world? Ultimately, in the light of the previous questions, should the growing field of research in audiovisual translation extend its investigation into the area of legal English? Taking into consideration the seminal work of Pedersen and Diaz Cintas in the field of Audiovisual Translation, the study will examine the subtitling techniques employed for this atypical genre. Through the analysis of a corpus comprising several dialogues from a collection of episodes of the legal show Reckless, the paper will mostly focus on gender representations and their most common linguistically enhanced stereotypes. (shrink)

Over the past two decades, stories of world-ending catastrophe have featured prominently in film and television. Zombie apocalypses, climate disasters, alien invasions, global pandemics and dystopian world orders fill our screens-typically with a singular figure or tenacious group tasked with saving or salvaging the world. Why are stories of End Times crisis so popular with audiences? And why is the hero so often a white man who overcomes personal struggles and incredible obstacles to lead humanity toward a restored future? (...) This book examines the familiar trope of the hero and the recasting of contemporary anxieties in narratives like The Walking Dead, Snowpiercer and Mad Max: Fury Road. Some have familiar roots in Western cultural traditions yet many question popular assumptions about heroes and heroism to tell new and fascinating stories about race, gender and society and the power of individuals to change the world. (shrink)

Recent communication research indicates that approach and avoidance constitute two separate yet co-existing processes during media exposure. While many studies address TV approach behavior, little is known about TV avoidance behavior. Furthermore, personality has yet to be linked to avoidance behavior. This study analyzes the influence of personality on TV program avoidance. Data show that the “Big Five” personality characteristics and Risk and Fight Willingness influence program avoidance, albeit to varying degrees. While the specific correlations are discussed in (...) the paper, the results generally reveal that the combination of personality and avoidance has added value in terms of understanding of TV using behavior compared to the frequently analyzed link between personality and approach. For nearly all personality characteristics, data show that the avoidance perspective is more than the inversion of the approach perspective. The findings are discussed with reference to gratification and selectivity research. (shrink)

Through analysis of film sequences focusing on DNA in two British Broadcasting Corporation nonfiction science television programs, Wonders of Life and Bang! Goes the Theory, first broadcast in 2013, contrasting “religious” and “secular” representations of science are identified. In the “religious” portrayal, immutable scientific knowledge is revealed to humanity by nature with minimal human intervention. Science provides a creation story, “explanatory omnicompetence,” and makes life existentially meaningful. In the “secular” portrayal, scientific knowledge is changeable; is produced through technical skill (...) in expert communities; and is ambiguous, potentially positive and negative for society. Television representations of science affect audience understandings, and this is particularly the case for nonfiction representations of science, as they are likely to be “taken more seriously” than fictional representations. The consequences of the “religious” representation of science are discussed, and it is argued that a widespread understanding of science as presented in the religious portrayal would negatively impact democracy. (shrink)

This book explores contemporary existential science fiction media and their influence on society's conceptions of humanity. These media texts manifest abstract concepts in a genre that has historically focused on exploring new ideas and frontiers, creating powerful media that helps audiences contemplate their existence as human beings.

Inviting readers to ponder this genre's various manifestations since the late 1700s, this collection of probing essays allows fans and philosophy buffs alike to ...

This study extends the examination of moral content in the media by exploring moral messages in television programming and viewer characteristics predictive of the ability to perceive such messages. Generalisability analyses confirmed the reliability of the Media’s Moral Messages (MMM) rating form for analysing programme content and the existence of 10 moral themes prevalent in television media. Standard regression analyses yielded evidence indicating viewers’ moral expertise, as measured by the Defining Issues Test (DIT), familiarity with the programme and (...) level of education predicted their ability to perceive moral messages in a television drama popular in the USA at the time of data collection. Identification of patterns in moral content represented in television programming, as well as knowledge of how viewer characteristics relate to their ability to perceive such content, can provide parents and educators with a means for better comprehending messages regarding human interaction to which they or their children are exposed. (shrink)

This study examines the dynamics of cultural politics in reality television shows featuring North Korean resettlers in South Korea. As existing studies focus on the role of media representation reproducing a dominant ideology for the resettlers, this paper focuses on the specific media rituals of NKR2 programs, which can be seen as a product of the neoliberalist localization process of the global media industry. In doing so, this paper demonstrates how NKR2 programs interrupt the current dynamics of emotions in (...) regard to North Korean resettlers in South Korea. We argue that in shaping civic identity as an effect of the NKR2 show, cultural politics of citizenship in South Korea on North Korean resettlers serve the formation of relatively conservative and sexist civic identity. (shrink)

Even though it’s frequently asserted that we are living in a golden age of scripted television, television as a medium is still not taken seriously as an artistic art form, nor has the stigma of television as “chewing gum for the mind” really disappeared. -/- Philosopher Martin Shuster argues that television is the modern art form, full of promise and urgency, and in New Television, he offers a strong philosophical justification for its importance. Through careful (...) analysis of shows including The Wire, Justified, and Weeds, among others; and European and Anglophone philosophers, such as Stanley Cavell, Hannah Arendt, Martin Heidegger, and John Rawls; Shuster reveals how various contemporary television series engage deeply with aesthetic and philosophical issues in modernism and modernity. What unifies the aesthetic and philosophical ambitions of new television is a commitment to portraying and exploring the family as the last site of political possibility in a world otherwise bereft of any other sources of traditional authority; consequently, at the heart of new television are profound political stakes. (shrink)

Science fiction has been an inexhaustible source for the creation of technoscientific imaginary that has marked certain historical periods and influenced the production of subjectivity. This imaginary evokes complex ontological, epistemological, political, social, environmental and existential questions on the present and the future. The aim of this study was to identify and characterize the cultural productions accessed by the public to form an opinion about the genetic manipulation of human beings. A survey about sources of information that influence opinions on (...) the genetic manipulation of human beings was applied to 360 medical students (70.8% female). Movies were the most commonly mentioned source of information, followed by books, documentaries, news programs, television series, informational videos, soap operas and videogames. Science fiction was the most frequent genre and dystopian views of the future of humanity predominated. (shrink)

This study examined the recall of car and food advertisements within either a car or food television program to investigate the relationship between recall, program content, and viewer involvement. The participants, 92 sixth-form students, aged between 16–17 years, were randomly assigned to one of four conditions. As predicted, advertisements placed within a program of dissimilar content were recalled significantly better than if placed within a program of similar content. A gender bias in recall was found (...) with females recalling female-orientated products significantly better than males. Viewer-involvement ratings factored onto three factor clusters: enjoyable, cheerful, and humorous. Negative correlations were shown between cheerfulness and recall in the car program, and positive correlations were shown between cheerfulness and recall in the food program. Finally, implications of the results were considered. (shrink)

"An important contribution to contemporary jurisprudential debate and to legal thought more generally, Just Interpretations is far ahead of currently available work."--Peter Goodrich, author of Oedipus Lex "I was struck repeatedly by the clarity of expression throughout the book. Rosenfeld's description and criticism of the recent work of leading thinkers distinguishes his work within the legal theory genre. Furthermore, his own theory is quite original and provocative."--Aviam Soifer, author of Law and the Company We Keep.

Alias Grace is just one of the many recent TV shows that was labelled ‘feminist’ so quickly and with such ease that one is left to wonder how much of a genre ‘feminism’ has already become. This article interrogates what is at stake for ‘feminist’ critique in labelling cultural phenomena as ‘feminist’. I argue that certain ways of reading Alias Grace as a ‘feminist’ show preclude an alternative reading in which Alias Grace emerges as a critique of ‘feminism’ itself. What (...) is at stake in the debate on ‘feminism’ in popular culture is thus not only whether or not we can recognise the potential for ‘feminist’ critique that resides within popular culture, but also whether or not we can allow socio-cultural phenomena, like TV shows, to take ‘feminism’ as an object of critique: to generate the kind of critical movement that renders futile any attempt to stabilise, or reify, the signifier ‘feminism’ as an ahistorical object with fixed meanings – as a genre even. In so doing, I take it that there is no privileged site from which to engender such movement; and I do not take popular culture as a self-contained domain that could qualify for being such a site. The point, then, is not to treat Alias Grace as a representative case study in popular ‘feminism’; but rather, to demonstrate, by way of Alias Grace, the complex and contradictory readings that socio-cultural phenomena are amenable to, and which in turn give rise to critical possibilities that unfold from within these phenomena. Reading Alias Grace critically, as I understand it in this article, means allowing it to be, at one and the same time, a reflection on itself and a reflection on the world in which it so quickly comes to be labelled ‘feminist’. (shrink)

Mass media have been accused of cultivating anti-immigrant sentiments in Western societies. Most studies on this topic, however, have not made a distinction between the types of television program (information vs. entertainment) or television station (public vs. commercial). Adopting a comparative approach, we use data from the six waves of the European Social Survey (ESS, 2002–2012, n = 162,987) to assess the relationship between individual and aggregate level patterns of television consumption and anti-immigrant sentiments in European (...) societies. Individual television viewing time is positively associated with anti-immigrant sentiments, while frequent exposure to news and information programs is associated with lower levels of anti-immigrant sentiments. At the aggregate level we observe a positive effect of the total viewing time in society on anti-immigrant sentiments. In the conclusion we offer some suggestions on how this effect could be explained. (shrink)

Global television has enabled cultures across the world to meet within the virtual space and interact in terms of decoding, meaning making and appropriating messages. It is also the case of the Romanian audience, a local community of viewers who have long been exposed to highly censored and restrictive programming (under the communist regime) and who are now enabled to identify with the (western) communities they have aspired to. We intend to illustrate our case with TV advertisements, which, generally, (...) provide abundant material for television viewers, with socio-culturally determined profiles, to re-construct meanings into either coincidental or disjunctive semantic outputs. Since the act of consumption is productive, we aim to show that in spite of the possibly conflicting readings of the poly- and multi-semantics of the ads, viewers can coalesce into interpretative communities irrespective of their cultural make and cooperate towards the production of a joint meaning. We consider that this is an illustration of transculturalism at the level of a local audience interacting with the symbolic representations of cultures elsewhere on television. (shrink)

This study focuses on how Israeli Arab citizens perceive their media representations on Israeli television and why they consume television broadcasts even though they are marked mostly by negative representations. A new concept – “Communication Boundary Situation” – a development of Jaspers’ “Boundary Situation” theory, is the theoretical framework for the article. The empirical data was collected by conducting semi-structured in-depth interviews. The findings point to different attitudes among the interviewees towards their representation in various television genres, (...) in particular, in advertising as compared to satire and drama. The suggested theoretical framework and its empirical implementation might be useful in examining how various minorities perceive their media representations in other countries. (shrink)

Previous studies of initiatives in Writing to Learn and Writing Across the Curriculum/Writing in the Disciplines, while showing gains in knowledge retention and improvement in general writing skills, have not yet investigated the more fundamental issue of how writing supports development of domain-specific forms of thinking. Written samples were gathered from prospective teachers engaged in a year-long program of classroom observation and participation designed to advance their understanding of student success and failure. Ethnographic and quantitative methods provided evidence that (...) their written accounts indicated an increased understanding that was aligned with the goals of the program. (shrink)

Those of us who are captivated by new television, often find ourselves rewatching episodes or whole series. Why? What is the philosophical significance of the phenomenon of rewatching? In what follows, I engage with the ontology of television series in order to think about these questions around rewatching. I conclude by reflecting on what the entire discussion might suggest about the medium of new television, about ourselves, and also about our world and the possibilities of art in (...) it. (shrink)

Contemporary television has been marked by such exceptional programming that it is now common to hear claims that TV has finally become an art. In Appreciating the Art of Television, Nannicelli contends that televisual art is not a recent development, but has in fact existed for a long time. Yet despite the flourishing of two relevant academic subfields—the philosophy of film and television aesthetics—there is little scholarship on television, in general, as an art form. This book (...) aims to provide scholars active in television aesthetics with a critical overview of the relevant philosophical literature, while also giving philosophers of film a particular account of the art of television that will hopefully spur further interest and debate. It offers the first sustained theoretical examination of what is involved in appreciating television as an art and how this bears on the practical business of television scholars, critics, students, and fans—namely the comprehension, interpretation, and evaluation of specific televisual artworks. (shrink)

Using telephone interviews among a random sample of 537 Dutch children aged 7–12 years old, we investigated the prevalence of fear reactions to television news among younger and older children and among boys and girls, what types of news items children in different age and gender groups refer to as frightening, and whether children's fear reactions to regular adult television news differed from their fear reactions to a special children's news program. Overall, 48.2 % of the children (...) who reported watching the adult or children's news programs, reported fear reactions to adult news, while 32.6 % reported fear of children's news content. For both types of news programs, younger children and girls more often reported fear than older children and boys did. The most prevalent fear-inducing news content categories were interpersonal violence, fires, accidents, and disasters, and visual depictions of the consequences of violence. (shrink)

Fertile grounds for theoretical inquiry can be found in the oddest corners. Contemporary television programming provides viewers with several talk shows of the grotesque, as I will call them, in which the aim of each episode is to put some monstrous human phenomenon on display with the help of a host and a participating studio audience. In this paper I will try to support the unlikely claim that these talk shows, which include The Jerry Springer Show and Sally Jesse (...) Raphael (among others), provide remarkably fruitful foci for theoretical attention. My plan is to give a reading of the ideological structure of talk shows of the grotesque. In particular, my interest lies in a relatively recent strand of ideological theory that has treated questions concerning the nature and reproduction of ideology as serious ontological questions: questions that go to the heart of our philosophical understanding of subjectivity, autonomy, and the metaphysics of belief and other intentional attitudes. Here I take the work of Louis Althusser, Judith Butler, and Slavoj i ek as paradigmatic and seminal representatives of this type of theorizing. My eye, in this paper, will be turned toward showing how the contemporary talk show of the grotesque provides us with a case study through which we can productively interrogate this new theoretical turn in our understanding of ideology. After spending a substantial amount of time laying down some theoretical groundwork, during which I take a selective and usurious tour through recent theories of ideology, performativity, and the constitution of subjectivity, I will analyze the talk show phenomenon by dividing it into four levels of participatory activity: those of the host, the guests, the studio audience, and the television audience. I will argue.. (shrink)

In this article I will present two arguments. First, the argument that the time travel television series historically provided viewers with a spectacular temporal and spatial alternative to the routine of everyday life, the regulation of television scheduling, and the small-world confines of domestic subjectivity. Taking the decades of the 1970s and 1980s, predominantly in a UK viewing environment, I will suggest that the special effect rendering of the time travel sequence expanded the viewer’s material universe, and affectively (...) wrenched the television set free from the strictures of scheduling and realist programming. Further, the time travel series readily and regularly took the domestic space, the ordinary day and the everyman/person into awesome environments and situations that suggested alternative lifestyles and behaviours, with a different existential tempo and rhythm. At a narrative, thematic, meta-textual, and aesthetically spectacular level, television time travel saw to the wonderful end of the working day. Case studies include Sapphire and Steal, Dr Who, and Quantum Leap. Second, the article will argue that rather than the contemporary time travel television series being an extraordinary alternative to ordinary life, they instead articulate convergence culture, deregulation, multiple channel viewing, and time-shift culture where there is no such thing as an ordinary working day or domestic viewing context. (shrink)

L'évolution de la mesure d'audience TV est indissociable des principales étapes qui ont mené d'une télévision publique en situation de monopole à un système mixte public/privé. Les résultats du panel postal de l'ORTF, premier dispositif fiable et permanent , sont réservés aux seuls dirigeants des chaînes, afin d'éclairer une politique de programmes encore volontariste, tandis que le CESP mène une enquête parallèle à destination de la profession publicitaire. La montée de la compétition entre chaînes publiques s'accompagne de l'attention croissante accordée (...) à l'audience et, en 1982, la mise en place de l'audimétrie-foyer représente une véritable révolution, par la rapidité et la précision des résultats obtenus. Avec l'arrivée des chaînes commerciales et la concurrence entre diffuseurs qui en résulte, les publicitaires sont en mesure d'exiger leur participation au contrôle de l'outil géré par Médiamétrie et imposent l'audimétrie individuelle , qui permet un suivi par cible.The evolution of TV audience research is indissociably linked to the main stages of television’s own history which saw it progress from a single state-owned channel with no competition to a system where public and commercial channels co-exist. Results from the ORTF postal panel set up in 1969, the first reliable and permanent measuring device, are only given to channel executives to help shed some light on a programming policy which is still volontarist. The CESP also conducts a parallel survey used by advertisers. The rise in competition between public channels has gone hand-in-hand with the growing attention paid to audience ratings and the introduction, in 1982, of rating measurement meters represented a real revolution since results are accurate and rapidly obtained. The arrival of commercial channels and the resulting competition between broadcasters meant that advertisers were able to demand a say in the control of the “Médiamétrie” audience ratings system and imposed the introduction of the TV “people meter” which permits the calculation of target audiences. (shrink)

By and large, contemporary news stories are stories about a particular nation, told to an audience that is seen and addressed in national terms. However, the understanding of the exact ways in which national imagination becomes engrained in the narrative conventions of news reporting is still rather limited, in particular when it comes to audiovisual genres. This article aims to fill a part of this blank by examining the links between national imagination and the narrative conventions of television news. (...) Building on existing debates about different modes of news reporting, the article distinguishes two distinct sets of narrative conventions at work in television news: one typically found in routine reporting, the other characteristic of crisis and celebratory reporting. It is argued that each of these two sets of conventions is tied to a different form of nationalism, and normally arises in a different political climate. Links between national imagination and narrative conventions vary accordingly. To demonstrate this, the article provides a comparative analysis of narrative structures in selected samples of television news bulletins broadcast in the early 1990s in the Socialist Federal Republic of Yugoslavia. The concluding section reflects on the external validity of the chosen case study and surveys supportive evidence from four other relevant cases, drawn from the UK and Israel. (shrink)

When is it ethically justifiable to mislead participants about the nature of a film or television program? Producers of the 2006 film Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan used brilliantly crafted releases to undermine potential fraud claims from participants misled about the comedy. This article argues that if portraying participants can result in foreseeable, substantial negative consequences for them, the portrayal must serve an overriding public interest. The test is applied to scenes (...) in Borat. (shrink)

Public access television has been one of the most interesting and controversial developments in the intersection between media and democracy within the past several decades. Beginning in the 1970s, cable systems began to offer access channels to the public, so that groups and individuals could make programs for other individuals in their own communities. Access systems began to proliferate and access programming has been cablecast regularly in such places as New York, Los Angeles, Boston, Chicago, Atlanta, Madison, Urbana, Austin, (...) and perhaps as many as 4,000 other towns or regions (Linder.. (shrink)

Much of the world's literature and criticism has been shaped by ideas about the nature, function and value of literary genres. Modern developments in critical theory and the emergence of new media such as film and television, have put in question traditional categories, and challenged the assumptions on which earlier genre theory was based. This anthology, the first of its kind in English, charts these new developments and contains judicious selections from major twentieth-century theorists including Mikhail Bakhtin, Gérard Genette (...) and Jacques Derrida. (shrink)

Flanders will complete the migration from analog to digital terrestrial television by the end of 2008. Despite the cable dominated television landscape, the Flemish government is aiming at a smooth transition from analog to digital terrestrial television. Therefore, a multi-methodical study has been set up by order of the Flemish government to understand the specific features and needs of analog antenna viewers and their expectations for the analog switch-off. The study shows that there are three distinctive types (...) of analog antenna viewers. The results demonstrate that the antenna viewers are rather badly informed about the upcoming analog switch-off, which may lead to a negative attitude and may impede a smooth transition. Finally, antenna viewers seem to be rather conservative viewers: they wish to keep on watching the same television programs from the same channels. Moreover, digital terrestrial television is their preferred alternative. (shrink)

The article presents a methodological update on the lexical profile of informal spoken English with the emphasis on movies, television programs, and soap operas. The study analyzed Mark Davies’s mega-corpora with data containing approximately 625 million words and employed Paul Nation’s comprehensive and up-to-date British National Corpus/Corpus of Contemporary American English wordlists. Data from the analyses showed that viewers would need a vocabulary knowledge at 3,000 and 5,000 words frequency levels to understand 95 and 98% of the words in (...) scripted dialogs, respectively. Soap operas were found to be less lexically demanding compared to TV programs and movies. Findings are expected to fill in the methodological gaps between vocabulary assessment and vocabulary profiling research. (shrink)

This article explores the question: is The X-Files dangerous to science fiction (SF) and science? Certainly it is one of the most prominent series that, despite being frequently appended with the SF television label, seems to challenge and sometimes eschew basic conceptualizations of the genre. Furthermore, at the height of its success the series was criticized by scientists such as Richard Dawkins for disseminating and popularizing anti-rational and potentially anti-scientific perspectives. On these grounds, the answer to our question appears (...) to be yes. However, detailed analysis of the series reveals quite a different picture. Firstly, even attempts to distance the series from SF effectively encapsulate reasons for that very labelling. These specifically revolve around the use of the phrase ‘extreme possibilities’. Secondly, far from presenting a simplistic juxtaposition of belief and reason, the series instead involves a dialogic exchange that helps to articulate the role of scientific inquiry in approaching the unknown. (shrink)