TV studies

This dissertation analyzes the postfeminist tendencies and biopolitics in contemporary media practices by considering the pop culture exemplar, the Kardashian-Jenner family.

This dissertation received First Class Honors from Trinity College Dublin.
Vanessa graduated with Distinction in B.A. English Literature and Media Studies.

The new millennium has seen the franchising of television content escalate. The trade in so-called TV formats, like Big Brother or The X Factor, sold internationally for local adaptation, has multiplied. This article aims to illuminate the development of the format trade and the reasons for its acceleration and globalization in the early twenty-first century. It will be argued that franchising has come to play and will continue to play a prominent role in the TV content business: First, because of digital television’s highly competitive, commercial multi-platform ecosystem. Second, because ongoing internationalization and gradual convergence of TV systems globally diminish national barriers of structure and agency; and third, because of the popularity of light entertainment, coupled with formats’ multiple advantages as compared to locally developed programming, specifically TV fiction.

This paper begins with a survey of scholarship on television history and history on television in Spain. It goes on to sketch two theoretical models of history and television. Finally it offers a close reading of the most viewed event in Spanish television, the mini-series recreating the attempted coup known as 23-F, stressing such dissonant motifs as the feminization of the monarch and the blurring of the pseudo-documentary genre with soap opera and game show. Finally, it argues that, in spite of the 'presentism' and nostalgia typical of its medium, this mini-series reinforces a perception of shared experience and collective memory that is not incompatible with progressive social change.

DE ALLÁ PARA ACÁ es una serie documental infantil ganadora del Concurso Nacional del INCAA “Series Documentales para ser emitidas por canal Paka Paka (2014)”. La serie forma parte de la grilla de contenidos del primer canal educativo y público diseñado por el Ministerio de Educación de la Nación Argentina. La propuesta documental representa una herramienta educativa y de comunicación innovadora desarrollada a partir de un trabajo interdisciplinar entre la comunicación, la animación, el audiovisual, y la sociología de las migraciones.

La serie cuenta la vida cotidiana de niños y niñas migrantes que residen en la ciudad de Córdoba (Argentina), y retrata la diversidad y la hibridez cultural de la ciudad desde la mirada y vivencia de los niños. Busca representar los relatos de los niños migrantes, sin caer en los estereotipos, simplificaciones o visiones folckorizantes de las culturas de nuestra Latinoamérica y del resto del mundo.

DE ALLÁ PARA ACÁ es una propuesta dinámica, atractiva y reflexiva que permite al público infantil de entre 8 y 12 años acercarse a los conceptos de diversidad, interculturalidad y migración desde la mirada de los protagonistas de la serie: desde niños para niños. La serie no está dirigida exclusivamente a niños que han experimentado un proceso migratorio, ya que plantea temas transversales vinculados a los desafíos propios de la infancia: la relación con los otros, la convivencia, los vínculos, la integración, la discriminación, etc.

Palabras claves: niños migrantes, interculturalidad, identidad, material educativo, migración infantil.

Documentary reconstruction is a creative production decision which involves reconstructing a reality or event rather than filming it as it occurs spontaneously. This article studies the use of the resource in the filming of nature documentaries for the series El Hombre y la Tierra. All of the action scenes in the series were reconstructions, which required rehearsals and involved a large amount of editing work. Without documentary reconstruction and the handling of animals it would have been impossible to film the majority of the hunting sequences, and the series never would have achieved the success that it did. Even today El Hombre y la Tierra is a point of reference in entertainment in nature documentaries and continues to raise debate about how to communicate the lives of wild animals in a respectful and truthful way to ever more demanding audiences, as well as about the need for, and boundaries of, entertainment in scientific television programmes.

A HBO é uma emissora que possui uma reputação muito proeminente no mercado televisivo, muito disso por conta de sua gestão de marca e seu discurso institucional que possuem papel direto na consolidação da terminologia " televisão de qualidade " , trazendo um certo grau de relevância para si na historiografia e na conjuntura atual do audiovisual. Portanto, faço uso do canal para propor a implosão do conceito " televisão de qualidade " e relaciona-lo com a dramédia Enlightened (2011), da própria HBO, com intuito de expor paradoxos mercadológicos do panorama televisivo pago norte americano contemporâneo.

Solamente se si tiene conto della natura umanizzata della televisione -così come degli altri media che l'hanno preceduta -e della natura televisiva dell'uomo contemporaneo, è possibile dialogare con il testo di Salvatore Patriarca, Il mistero di Maria. L'autore ha studiato tre programmi di lungo corso della televisione commerciale italiana che hanno come denominatore comune la conduzione -ma anche la scrittura -di Maria de Filippi, riuscendo a isolare alcuni motivi dell'antropologia contemporanea, tra questi basti qui riferirsi all'affermazione dell'"autorità orizzontale". Qualche considerazione generale sulla televisione ci appare però necessaria prima di entrare nel merito del libro.

Por estar vivendo seu auge de popularidade, o seriado televisivo é o enfoque dessa pesquisa. Ela tem tem como objetivo traçar a trajetória e flexões presentes no estilo de narrativa seriada. Como critério, foi levado em consideração suas origens na oralidade, sua apropriação pelos meios de comunicação, as variações proporcionadas pelas transformações tecnológicas e suas consequências, além de sua espectatorialidade. O artigo busca organizar os elementos que moldaram o estilo até se chegar ao formato de série de televisão que consumimos atualmente. A narrativa seriada encontrou seu lugar ao sol nos meios de comunicação de massa. O ato de dividir uma história para manter o interesse daquele que está a acompanhando favorece principalmente o capital, que fideliza um público curioso e que está disposto a consumir essas histórias. Jornais, cinema, rádio, televisão e internet, não importa o suporte, a narrativa seriada tem espaço em todos eles. A serialidade encontrou diversas formas e suportes para ser realizado, mas sua origem é bem anterior à sua apropriação pelos meios de comunicação de massa e está relacionada à oralidade. A prática de se contar histórias, como vimos, é parte fundamental da construção da identidade de uma nação. Nesse sentido, o folclore – um

Le film n'est ni un objet neutre ni une chose, comme l'a parfois prétendu la sémiologie. Ce n'est pas non plus un simple reflet de notre monde ou le produit d'un processus machinique. Si les images nous retiennent, si nous sommes capables de nous disputer pour elles en sortant du cinéma ou en regardant la télévision, c'est que, loin de les prendre pour une imitation ou une duplication du monde filmé, nous ne cessons d'en faire un monde à notre image...
Une théorie de l'énonciation cinématographique qui s'appuie sur des analyses de Truffaut ou Sternberg aussi bien que sur la retransmission de la révolution roumaine.

Web, or networked, distribution technologies have challenged the power of US media corporations, which set high technical standards for production value, a measure of content quality. Legacy TV companies privilege complex, seamless technical execution supported by large crews of workers-lighting, sound, design, visual effects-but exclude as producers culturally marginalised creators perceived as too risky for the big investment necessary to execute it. The internet disrupts these dynamics by allowing for the distribution of smaller scale TV and video productions that are independently or inexpensively made. In smaller scale work, cultural production value asserts more importance , as producers create with and for their community.

ENGLISH SUMMARY

The book "Worlds To Be Continued. Analysing Possibilities of Serial Narrativity" (in Czech "Světy na pokračování. Rozbor možností seriálového vyprávění") is built upon the assumption that fictional stories presented as serials have been a longstanding part of nearly everyday experience with narrative arts; capitalizing on the case of TV shows, it presents the intellectual framework, research background and analytical tools to effectively describe, explore and explain serial fiction.

The approach is theoretically grounded in serial fiction poetics, which aims to (1) present a systemic explanation of serial fiction, (2) capture a variability of artistic possibilities of serial narrative and, (3) offer tools for the analysis of actual serial works.

The original concept of seriality serves as foundation for the first and second aims; it remains as mere background for analytical hypotheses with regard to the third aim. Serial fiction poetics, as presented here, assumes the presence of a space-time continuum, which is created by the work through interaction with its audience. This is process is termed a fictional macroworld: narrated stories take place within its conditions and settings. Each episode of a serial constitutes an episodic world; seriality denotes a relationship between the state of affairs in a macroworld at the end of a current episode and the state of affairs in the macroworld at the end of the previous one. Depending on the intensity of connectedness between these two states and the relations of fictional characters to them, the book presents a typology of seriality, which serves as a functional and heuristic categorization, yet not as a substantive one.

(1) In the case of a separate seriality type, no fictional characters share the state of affairs at the end of the current episode with the state of affairs at the end of the previous one (e.g. The Twilight Zone, 1959-1964).
(2) In the case of a non-sequential seriality type, the current episode shares at least one fictional character with the state of the macroworld at the end of the previous one, without any open connection between these episodic worlds on the level of narrative causality (e.g. Columbo, 1968-2003).
(3) In the case of a semisequential seriality type, episodic worlds represent rather closed narrative units but they include at least one causal line of events, which continues in the state of affairs in the following episode (e.g. most of House, M.D., 2004-2012).
(4) In the case of a sequential seriality type, there are prevalent causal connections among episodic worlds on various levels (e.g. most of Dallas, 1978-1991; Pride and Prejudice, 1995; Stranger Things, 2016-?).
(5) Lastly, in the case of a disrupted seriality type, the standing linear composition of episodic worlds is problematized; instead of a line, it creates a network of relations among fictional elements in both states of affairs in a macroworld, where the currently valid state of affairs in a macroworld is being rewritten or retrospectively changed (e.g. Arabela, 1980-1981; Day Break, 2006; Lost, 2004-2010).

Worlds To Be Continued is divided into three parts, which are all based on analyses of a sample of roughly four hundred television serials from various countries and times.

1. SERIALITY AS A SYSTEM

The first part of the book gives a systemic explanation of seriality, using the five types top-down, and in these contexts, it describes ways of mediating information (a narrative outline) and issues of identifying fictional entities across episodes (a fictional macroworld arrangement). Both aspects turned out to be functionally related, and they expose a logic of an inner composition of seriality as a specific kind of fictional representation. The first part stands for a theoretical-descriptive dimension of the serial fiction poetics. It deals with relationships of seriality within a theoretical frame and, while considering its systemic transformations, it aims at a clarity of explanations.

2. SERIALITY AS A REGISTRY OF POSSIBILITIES

The second part of the book explores variable possibilities of serial narrative. It approaches the types of seriality from its material, bottom-up, as it explores preferred registries of artistic solutions both within the types of seriality and in the crime serial as a mode of fictional worldmaking. In these contexts, it studies (1) narrative process through an original question-based model of the analysis of a work, one which is not based on knowledge of a whole work, as in various other narratological concepts, because knowledge of this kind cannot be assumed in case of a serial work. The second part further focuses on (2) a fictional macroworld dynamics, which it explains through an original composite model, understanding a fictional macroworld as a dynamic interaction between various areas of a macroworld (microworlds and subworlds); this dynamics can be utilized to explain its happening. The second part of the book stands for a descriptive-analytical dimension of the serial fiction poetics. It deals with the art of seriality in a creative frame, explores registries of preferred artistic solutions, and aims at a productive depiction of a field of possibilities.

3. SERIALITY AS ANALYTICAL BACKGROUND

It was deemed necessary in the last, analytical part of the book to limit the range of types of seriality considered appropriate for research interest. Despite the descriptive potential of the typology, it represents a limiting set of categories for a dynamic analysis, disregarding the fact that one serial work often uses various types of seriality in a variety of patterns (e.g. Doctor Who, 1963-1988; The X Files, 1993-2016). What is specifically focused upon in the third part of the book are those tools which have so far constituted the basis for an analytical framework (narrative outline, fictional macroworld arrangement, question-based model of a narrative process, and composite model of macroworld dynamics) or its auxiliary categories (a cultural encyclopaedia, immersive spectatorship, and analytical spectatorship). The last two chapters attempt to offer the greatest possible degree of aesthetic sensitivity towards those works analysed and those explanations presented. An analysis of the serial 24 (2001-2010) explores tactics applied to achieve clarity and coherence within a very diverse system of narrative situates the work in the contexts of complex serials and those of action films of motion. The closing analysis of Mr. Bean (1989-1995) as a serial addresses the more general question of how can we systemically analyse the narrative and macroworld of serials that seemingly consist of a number of rather independent sketches. The third part of the book considers the analytical dimension of serial fiction poetics. It explores issues related to the explanatory potential of analyses of individual serial works within an aesthetic frame and aims at a maximum degree of adaptability in relation to the artistic uniqueness of these works.

The three parts of Worlds To Be Continued develop and transform, with respect to these three aims, which differ from each other but are also interrelated, only to answer the questions posed, in correspondence with the individual dimensions of serial fiction poetics, in ways that are at the same time systematic and aesthetically sensitive.

Este trabalho procurará analisar a representação de clones humanos na série televisiva Orphan Black com base nas obras de Donna Haraway e Jean Baudrillard, ao ponderar aproximações e distanciamentos entre as abordagens propostas pela série e os dois pensadores citados. Para tal, as ideias de clonagem humana artificial e biotecnologia retratadas em Orphan Black serão analisadas, com ênfase nos campos da bioética, transhumanismo e individualidade. A partir desses aprofundamentos, a pesquisa discutirá como Orphan Black traz informações pertinentes a respeito da biotecnologia para seu público. A metodologia empregada será a análise de episódios de Orphan Black baseada em conceitos dos Estudos Culturais Críticos propostos por Kellner (2001). A revisão bibliográfica se também se faz necessária, tendo como base as obras de Jean Baudrillard e Donna Haraway.

Paper d'esame in Analisi del Cinema Americano Contemporaneo, che si sofferma sul segno che l'atto terroristico del 9/11 ha solcato nella politica americana e nella narrativa seriale pop contemporanea, prendendo come caso di studio la serie televisiva di Amazon Prime Video "The Boys".

Nel passaggio della TV al digitale, la segmentazione dei pubblici e dei contenuti non comporta necessariamente l’indebolimento del sistema mediatico, che invece è attento a recepire le sollecitazioni provenienti dall’innovazione tecnologica per riconfigurarsi su nuovi modelli funzionali, così come era accaduto nel passaggio al flusso neotelevisivo. Al di sotto delle rapide trasformazioni indotte dalla tecnologie, va infatti esplorato l’ampio territorio degli orizzonti culturali e delle configurazioni sociali, da più di un secolo e mezzo legate alle dinamiche del sistema dei media e rispondenti quindi a logiche di più lunga durata.

This book posits an interconnection between the ways in which contemporary television serials cue cognitive operations, solicit emotional responses, and elicit aesthetic appreciation.
The chapters explore a number of questions, including: How do the particularities of form and style in contemporary serial television engage us cognitively, emotionally, and aesthetically? How do they foster cognitive and emotional effects such as feeling suspense, anticipation, surprise, satisfaction, and disappointment? Why and how do we value some serials while disliking others? What is it about the particularities of serial television form and style, in conjunction with our common cognitive, emotional, and aesthetic capacities, that accounts for serial television’s cognitive, socio-political, and aesthetic value and its current ubiquity in popular culture?
This book will appeal to postgraduates and scholars working in television studies as well as film studies, cognitive media theory, media psychology, and the philosophy of art.

Queer teenagers are avid readers of popular culture; as numerous audience studies prove, television plays a significant role in identity-formation for LGBTIQ+ youth, providing them with the information about sexuality, gender roles or non-normative relationships usually unavailable in their educational and home environments. In this article we analyze how some of the protagonists of Netflix’s TV show Sex Education (2019-present) utilize popular culture as a tool to explore their desires, forbidden fantasies, and gender expressions, becoming instrumental in the formation of their queer identities in a way that metatextually reflects the role LGBTIQ+ shows play for their audiences. Such is the case of Adam, a bisexual teenager that masturbates to the image of a fictional actor featured in a 1980s action film poster; Lily, whose sexual fantasies of role playing with alien creatures are strongly influenced by spatial sci-fi; and Ola, whose onyric universe is influenced by David Bowie’s ...

ÖZET Günümüzün pazarlama dünyasında marka ve hizmetler kendilerini rakiplerinden ayrıştırmak, hatırlanmak ve inandırıcılığını kanıtlamak amacıyla reklam çalışmalarında çeşitli yollara başvurmaktadırlar. Kendilerini rakiplerinden farklı kılmak için marka ve hizmetlerin kullandıkları yöntemlerden bir diğeri de reklamlarda mizah unsuruna ve komedyenlere yer vermektir. Burada amaç tüketicinin dikkatini çekmek ve markanın tüketicinin zihninde yer etmesini sağlamaktadır. Bu durumu en yaygın olarak kullanan sektörlerden biri de finans/bankacılık sektörüdür. Bu çalışmada televizyon reklamlarında mizah unsuru ve komedyen kullanımının bankacılık sektöründeki yansımaları incelenmektedir. Çalışma kapsamında reklam, televizyon reklamcılığı ve reklamda mizah konuları hakkında ilgili literatür taranmıştır. Finans sektörüne ait "Türkiye İş Bankası 92 Yaşında" reklam filmi tema analizi yöntemi ile incelenmekte ve bu reklam filminde mizah unsuru ve komedyen kullanımı ile bankanın hangi özelliklerini vurgu yapıldığına bakılmaktadır.

ABSTRACT In today's marketing world, brands and services use various ways in advertising to distinguish themselves from their competitors, to be remembered and to prove their credibility. Another method used by brands and services to distinguish themselves from competitors is to include humor and comedians in advertisements. Here, the aim is to attract the attention of the consumer and ensure that the brand was in the mind of the consumer. One of the sectors that use this situation most commonly is the finance/banking sector. In this study, the effects of humor and use of comedian in television commercials in the banking sector are examined. Within the scope of the study, related literature has been searched about advertisement, television advertising and humor in advertising. The financial sector of "Business Bank of Turkey 92 years old" advertising films are examined with theme analysis and examined. In the commercial film, which the features of the bank are emphasized with the use of humor and comedian.

टेलीविजन का आविष्कार यूँ तो 'जॉन एल बिलियर्ड' ने 1920 के दौर में ही कर दिया था। लेकिन भारत में यह तकनीक तब पहुंचा जब 15 सितम्बर 1959 को तत्कालीन राष्ट्रपति डॉ राजेन्द्र प्रसाद ने दिल्ली में एक प्रसारण सेवा "दूरदर्शन" का उद्घाटन किया। अतः दूरदर्शन पर आज ही के दिन यानी 15 सितंबर, 1959 को पहला प्रसारण हुआ था। आज दूरदर्शन अपने जीवन के 60 वर्ष (सितंबर, 2019 में ) पूर्ण कर चुका है। हालांकि, आरंभिक वर्षों में इसका विकास बहुत संकुचित था, तथा इसके दायरे में दिल्ली के आसपास के लगभग 40 किलोमीटर तक के ही इलाके आते थे। तब सरकार ने दिल्ली के निम्न और माध्यम वर्गीय क्षेत्र के 21 सामुदायिक केन्द्रों पर टीवी सेट रखवाकर इसके प्रसारण की विशेष व्यवस्था करवाई थी।

आरंभिक वर्षों में इसके पास केवल 180 टेलिविजन सेट्स थे। लेकिन 10 वर्षों के अंदर ही इसके टेलिविजन सेट्स की संख्या बढ़कर 1,250 हो गई और 1977 तक यह संख्या करीब 2.5 लाख तक पहुंच गई। 1972 तक टीवी सर्विस को मुंबई और अमृतसर तक विस्तार दिया गया। 1975 तक भारत के सिर्फ 7 शहरों में टीवी सर्विस उपलब्ध थी और भारत में टीवी का अकेला दूरदर्शन ही सर्विस प्रोवाइडर था। दूरदर्शन के लगभग 60 से ज्यादा चैनल्स हैं जिनमें डीडी1, डीडी2, डीडी दमन और दिउ, डीडी अरुणाचल प्रदेश, डीडी इंग्लिश, डीडी गोवा आदि शामिल है। और 'डीडी इंडिया' अभी लगभग 146 देशों में मौजूद है। साल 1982 में, 'रंगीन दूरदर्शन' की शुरूआत हुई और 3 नवंबर 2003 में दूरदर्शन का 24 घंटे लगातार चलने वाला समाचार चैनल बन गया।

महत्वपूर्ण रूप से, सांस्कृतिक चैनल जैसे ‘डीडी भारती’ को दूरदर्शन ने 26 जनवरी 2002 में आरंभ किया गया। सन 2004 में 16 दिसंबर को ‘डायरेक्ट टू होम’ सेवा को दर्शकों के टेलीविजन सेट पर मुफ्त में दिखाया गया, जिसकी सेवा आज भी बरकरार है। इस तरह बदलते परिदृश्य और दर्शकों की मांग को देखते हुए दूरदर्शन ने खुद को व्यापक स्तर से आगे विस्तार किया। इसके बढ़ते कदम को देखते हुए प्राइवेट चैनलों ने भी भारत में अपनी दस्तक दी। इस कदम में, 2 अक्तूबर सन् 1992 में पहली बार प्राइवेट चैनल ‘जी टीवी’ का प्रसारण हुआ। यह चैनल नए कार्यक्रमों के साथ दर्शकों के समक्ष आया। वर्तमान में, देखते ही देखते जी टीवी ने दूरदर्शन की लोकप्रियता जी टीवी ले जाने लगा। दूरदर्शन की ही तरह जी टीवी ने भी वक़्त के साथ अपने काफी चैनल शुरू कर दिए, इसके बाद दर्शकों ने दूरदर्शन देखना मानो छोड़ ही दिया हो। जैसे-जैसे वक़्त बीतता गया दूरदर्शन पीछे छूटता गया और आखिर में आज वक़्त कुछ ऐसा आ गया है कि 26 जनवरी और 15 अगस्त के अलावा शायद ही कोई दूरदर्शन देखता हो।

हालाँकि, जब 15 अगस्त 1965 को दूरदर्शन पर समाचारों का एक घंटे का नियमित हिंदी बुलेटिन शुरू हुआ तब इसके प्रति लोगों की दिलचस्पी बढ़ती दिखाई देने लगी। इसी दौरान दूरदर्शन पर नाटकों का प्रसारण भी शुरू किया गया। लेकिन इसकी लोकप्रियता में बढ़ोतरी तब हुई जब इसमें शिक्षा और सूचना के बाद 'मनोरंजन' भी जुड़ा। यथार्थ में, जब 2 अक्टूबर 1972 को दिल्ली के बाद मुंबई केंद्र शुरू हुआ तो 'मायानगरी' के कारण इसका फिल्मों से जुड़ना स्वाभाविक था। इस प्रकार समकालीन समय में, दूरदर्शन आगे चलकर जन-सामान्य की जिंदगी का अहम हिस्सा बन गया है। आज यह रोटी, कपड़ा और मकान के बाद लोगों की चौथी ऐसी आवश्यकता बन गया है कि जिसके बिना जिंदगी एक अधूरी सी कहानी प्रतीत होती है। डिजिटल क्रांति के इस युग में युवा पीढ़ी को दूरदर्शन का मतलब शायद ही पता हो, लेकिन पिछली पीढ़ी का इसके साथ गहरा नाता रहा है। अतः आने वाली पीढ़ियों को भी इससे ज्ञान अर्जित करना चाहिए।

कुछ बदलाव के परिणामस्वरूप, 1 अप्रैल, 1976 को टीवी सर्विसेज को रेडियो से अलग किया गया। हालाँकि, इससे पहले यह "ऑल इंडिया रेडियो" का हिस्सा था। इसके बाद ऑल इंडिया रेडियो और दूरदर्शन के कार्यालय का प्रबंधन दिल्ली में अलग-अलग महानिदेशकों द्वारा किया जाने लगा। 1982 में यह नैशनल ब्रॉडकास्टर के तौर पर सामने आया और देश के हर हिस्से में पहुंच गया। दूरदर्शन पर जिस कार्यक्रम का सबसे पहले प्रसारण किया गया वह "कृषि दर्शन" था। दूरदर्शन के कुछ लोकप्रिय टीवी शो इस प्रकार थे; रामायण, महाभारत, शक्तिमान, भारत एक खोज, चित्रहार, हम लोग, ये जो है जिंदगी, बुनियाद, करमचंद, ब्योमकेश बख्शी, विक्रम और बेताल, मालगुडी डेज, ओशिन, जंगल बुक, द पीकॉक कॉल्स और यूनिवर्सिटी गर्ल्स आदि।

समाचार, चित्रहार और फिल्मों के बाद दूरदर्शन में दर्शकों की दिलचस्पी तब बढ़ी जब दूरदर्शन पर 'सीरियल युग' का आरंभ हुआ। हालाँकि, सीरियल के इस नए मनोरंजन ने क्रांति का रूप तब लिया जब 7 जुलाई 1984 को ‘हम लोग’ का प्रसारण शुरू हुआ। आज हमारे पास विश्व स्तरीय तकनीक है तथा हम दुनियाभर में जाकर अपने एक से एक कार्यक्रम बनाते हैं और प्रकाशित करते हैँ। निजी चैनल जिन मुद्दों पर उदासीन रहते हैं वहां दूरदर्शन इन सभी मुद्दों पर बहुत कुछ प्रकाशित करते हैं, जैसे किसानों पर, स्वच्छता पर, बेटी बचाओ बेटी पढ़ाओ पर, कला और संस्कृति पर आदि। इसलिए दूरदर्शन आज महानगरों से लेकर छोटे नगरों, कस्बों और गाँवों तक पूरी तरह जुड़ा हुआ है। इसके द्वारा चलाये गए कार्यक्रम तकनीकी और कंटेंट दोनों में उत्तम हैं। बस समय के साथ-साथ इसके कार्यक्रमों की निर्माण गुणवत्ता में जो आधुनिकीकरण करना पड़े, उसे करना चाहिए। भारत में यह शिक्षा-प्रसार का बहुत बड़ा माध्यम हो सकता है। वास्तव में इसका प्रयोग आम जनता की "उन्नति और समृद्धि" के लिए ज्ञान की कुंजी के रूप में करना चाहिए, क्यूंकि इसके अनेक कार्यक्रम जन-जागरण करने में प्रबल रूप से सक्षम हैं।

लेखक: त्रिलोक सिंह, युथ दर्पण के सीईओ हैं। स्नाक्तोत्तर (राजनीती विज्ञान, किरोड़ी, दिल्ली विश्वविद्यालय)। वर्तमान में, ISOMES, न्यूज़ 24 में पोस्ट ग्रेजुएट जर्नलिज्म प्रोग्राम कर रहे हैं। 

New Forms and Interactions is a collection of eleven articles highlighting the controversial relation between the two traditionally opposed realms. By determining the forms, conditions and consequences of interaction between fiction and reality, the texts in this book refute this opposition. They also reflect on the status of the deconstructed and reconstructed boundary that separates the two ontological realms and strive toward multiple possible applications of both terms. This volume features studies of various works of literature, film, photography, video and performance art, television, fan fiction and computer games and discusses their various interrelations and hybrid forms. The diversity of media and the plurality of approaches and academic traditions build the keystone of these discussions while opening them up to the non-canonised, formerly peripheral fields of comparative literary studies. The articles are grouped into three sections which focus on (1) forms of ‘interacting with fictions’, (2) the complexity of ‘indicating realities’ and the reality status of fiction, and (3) different methods involved in the ‘realisations of fictions’.

In: medien & zeit. Kommunikation in Vergangenheit und Gegenwart. Ausgabe 3/2016, (S. 78-91)

Der Beitrag nimmt gegenwärtige Transformationen von Fernsehen und Männlichkeit(en) am Beispiel des House of Cards-Binge-Events in den Blick, das vom selbstbezeichneten „Männer-Sender“ ProSieben MAXX Anfang September 2014 veranstaltet wurde. Auf performativitätstheoretischer Grundlage wird das Event als vergeschlechtlichtes Medienereignis perspektiviert und hinsichtlich seiner prozesshaften Verschränkung von Fernsehen und Männlichkeit befragt. Zu diesem Zweck werden mit einem Plakat und einem Werbespot zwei das Event mitkonstituierende marketingstrategische Paratexte mittels einer visuellen Diskursanalyse erschlossen und auf diese Weise (Dis-)Kontinuitäten vergeschlechtlichter medialer Macht-Wissens-Relationen herausgearbeitet. Das Event kann somit in seiner diachronen Dimension medienhistorisch als Akt der Remediatisierung gefasst werden. Angesichts der Ambivalenz mit der die Paratexte televisuelle und posttelevisuelle Konventionen zitieren, werden schließlich Fragen nach prozessualen Verschränkungen und gegenseitigen De- und Restabilisierungen von Fernsehen und Männlichkeit in postfeministischen Medienkulturen diskutiert.


Considering the House of Cards-binge-event held in September 2014 by ProSieben MAXX a self-declared men’s interest channel as a case study, the article examines current transformations of television(s) and masculinities. Drawing on conceptualizations of both gender and media as ongoing performative acts, the phenomenon can be explored as a gendered media-event, paying particular attention to the entanglement of masculinities and television. A visual discourse analysis of both the poster and the advertising spot for the event allows to point out (dis)continuities regarding gendered relations of power and knowledge. In light of their diachronic dimension, the findings make it possible to conceptualize the event as a media-historical act of remediation. Bearing in mind the ambivalent tone in which both of the analyzed paratexts cite televisual and posttelevisual conventions, the article finally discusses procedural entanglements and mutual de- and restabilizations of masculinities and television in so called postfeminist media cultures.

This book introduction presents the eight chapters, four each on Spain and Mexico. The first section treats: the miniseries as historical memory, transnational telenovela, youth culture and postcolonial TV. The second section treats: educational television, aesthetic TV, race on TV, and HBO Latin America.

In questo saggio analizzo Dark, serie creata da Baran bo Odar e Jantje Friese per Netflix.
Osservatorio TV è un progetto di ricerca indipendente sulla serialità televisiva coordinato da Barbara Maio.
http://www.osservatoriotv.it/Archivio.html

La gravità delle fake news, nelle loro diverse articolazioni, ha assunto delle dimensioni così rilevanti da farle divenire oggetto di discussione ricorrente nei vari ambienti scientifici, culturali e politici. A queste si aggiungono post-truth, bullshits, deepfake che compongono un quadro particolarmente complesso in cui emerge chiaro l’imporsi sempre più deciso della “cultura del falso” all’interno della nostra contemporaneità. Uno degli intenti di questo volume è quello di offrire, attraverso la prospettiva interdisciplinare dei visual culture studies, strumenti accurati e mirati per contrastare i caratteri più nefasti di tale cultura. Ma non solo. Le indagini qui proposte intendono mettere in luce anche i caratteri positivi e la genealogia della “cultura del falso”, individuando importanti suggestioni provenienti dal mondo di cinema, teatro, videoarte e letteratura. I saggi dei trenta studiosi coinvolti e le opere dell’artista Benedetto Poma danno vita a un caleidoscopio di analisi, ricerche e riflessioni in cui le parole si intrecciano con le immagini per far immergere lo spettatore all’interno di una disamina ampia ed esaustiva di uno dei fenomeni culturali più rilevanti della nostra epoca

This paper analyzes the series Sex Education's role in the transnational dissemination of discourses on non-normative sexualities, equality and LGbtiq+ diversity. From a LGbtiq+ Studies perspective, a mixed design with non-experimental ex-post-facto methodology has been applied through transmedia measurement instruments and the iLGa World and Global Attitudes reports. Netflix-through Sex Education-is confirmed to transnationally spread values of diversity and LGbtiq+ equality in countries without full social and legal protection for such diversity, promoting the construction of alternative subjectivities.

1. Un anomalo papa seriale Se pensiamo alle rappresentazioni televisive dei papi siamo inevitabilmente portati a ricordare le diverse miniserie agiografiche prodotte da Lux Vide e RaiFiction per le reti Rai (Giovanni XXIII, 2002; Giovanni Paolo II, 2005; Papa Luciani. Il sorriso di Dio, 2006; Paolo VI, 2008; Sotto il cielo di Roma (Pio XII), 2010), o dalle reti Mediaset (Il papa buono, 2003; Karol. Un uomo diventato papa, 2005). Dal punto di vista cinematografico abbiamo avuto rappresentazioni biografiche più tradizionali come nel recente Chiamatemi Francesco (2016), o il più datato papa Giulio II del colossal hollywoodiano Il tormento e l'estasi (1965), o il Pio IX di Nell'anno del Signore (1969), In nome del papa re (1977) 1 , e In nome del popolo sovrano (1990) di Luigi Magni, ma anche il fanta-politico Kiril I di L'uomo venuto dal Kremlino (1968), e altre rappresentazioni decisamente alternative come nel caso di Il pap'occhio (1980) di Renzo Arbore, o Habemus papam (2011) di Nanni Moretti.

Cos'è la tv? Almeno una volta nel corso delle sue ricerche, ogni studioso di televisione ha provato a rispondere a questa domanda, e raramente i ricercatori devono essere rimasti soddisfatti dalle proprie risposte, perché la televisione è un oggetto sfuggente, che tende al continuo mutamento.

Good Girls is an original, comedy-crime drama created by Jenna Bans. It premiered on February 26th, 2018 on NBC as a mid-season entry.

From publicly-available sources, I determined (1) the creator’s track record of success and (2) the originality of the story’s premise.

Using a proprietary algorithm, I determined the size of the pilot episode script’s semantic network.

With these three variables, I identified 18 comparable dramatic series that appeared on the four major broadcast networks in the last ten seasons.

Based on my analysis, I predict that (1) Good Girls will not achieve a full first season, i.e. 20+ episodes (2) Good Girls has only a 1-in-6 chance of being renewed for a second season and (3) if renewed, the season will fall well short of 20 episodes.

El artículo explora el fenómeno mediático surgido en torno a la telenovela La Reina del Sur (2011), basada en la novela homónima de Arturo Pérez Reverte, dentro del marco de la globalización. Tanto la novela de Pérez Reverte como la teleserie coproducida por EE.UU. (Telemundo), España (Antena 3) y Colombia (RTI) son ejemplos paradigmáticos de las tendencias globales en la promoción y distribución de la narco-cultura. El ensayo se centra en la dimensión transcontinental de ambos productos y en su papel dentro de la canonización del género narco más allá de Colombia y México

This article discusses the effects of TV media as a social change agent on the youth studying higher education in Karachi, Pakistan. A survey was carried out to view the perception of our youth towards media freedom and its effects; a sample of 400 students was drawn from various universities to view this effect.

Foreign fictional TV production aimed at teenagers, i.e. teen TV, is currently strongly influenced by the desire of television stations to capture the attention of the lucrative audience of Millennials. One of the characteristics of this production is an emphasis on the diversity of characters that populate the fictional world of the TV series. This article deals with a specific type of characters; LGBT+ teenagers who have shifted, in terms of action and importance in the narrative, from a marginalised group to the centre of attention of the audience, both in terms of the narrative function and the transformation of character personalities from pure stereotypes and TV tropes to complex protagonists. The author deals with the interconnection of marketing focus on Millennials and the representation of such characters and argues that one of the main reasons why these characters are currently so narratively focused on is, more than the success of human rights activists, an effort on the part of marketing departments of TV stations to reach a specific demographic.

The present paper is based on a case study and investigates the relationships between the religious beliefs of a group of international students (age 18-24) and their taste for supernatural as a TV genre.
Starting from the assumption supported by the literature that every religion presents several aspects related to the sphere of supernatural, the study ultimately tries to reveal possible inconsistencies between the professed faith of the individuals and their take on alleged supernatural phenomena, either believed or even reportedly witnessed and experienced.
Finally, the paper addresses the relationship between religion – which is here meant as both cultural and identity-forming factor – and supernatural under the possible influence of certain TV series appreciated and regularly consumed by those young individuals who took part in the study. In this regard, it is investigated whether the belief in supernatural phenomena is affecting the way the world is interpreted in terms of good vs evil.