La fiction Doc in onda sul canale francese TF1. Analisi di un evento mediatico.

On Wednesday evening, 28 July 1999, an unprecedented event occurred. A program entitled "Seven Signs of Christ's Return" was broadcast during prime time by Australia's leading commercial television network. People who do not live in Australia and who do not have an experiential awareness of the particular brand of secularism that is endemic in Australian culture and society may not find that event particularly noteworthy. Those of us who have lived there most of our lives have found it mind-boggling. Religious programming just does not happen during prime time on the major commercial networks in Australia. Commenting on the significance of the broadcast, Nat Devenish, previously the manager of the South Pacific Division Media Centre and, as such, the person responsible for negotiating time slots for programming Adventist media productions, stated that he recalled a conversation with the manager of the same network in which the manager stated that "even if you were to give me a million dollars I would not put a religious program in prime time." This radical change in thinking has been brought about by the colossal upsurge of community interest in the coming new millennium and the end of the world. While this paper will devote its attention primarily to the phenomenon among those who espouse Christianity, it must be noted that it is by no means confined there.

The emergence of private and foreign TV channels since 2002 have brought strategic changes in advertisement policies, especially in majority adds where the number of women portrayals adds are encouraged. This phenomenon leads more opportunities for women entrepreneurship in media business industry. The present study has investigated that how education play a role in enhancing more business opportunities for women entrepreneurs in advertising media. Using qualitative approach, a comparative analysis of PTV news (public) and GEO news (private) channels was done channel gives more prominence and frequency to women opportunities in their ads broadcasted in prime time (9 to 10 pm) during 30 days of simultaneous period in June 2020 amid CIVID-19 pandemic. The results shows that less educated females as media practitioners in advertisements may get less opportunities and educated females avail lucrative opportunities in Media Industry. Educational richness makes women more capable to influence more audience and grab their attention towards specific product/service with ample marketing skills and entrepreneurial eminency. Results also show that ratio of educated females in private channel advertisements is comparatively high and opportunities for highly educated female practitioners as entrepreneur are high. It is concluded that we need to support young women

The lethality of malaria in the extra-Amazonian region is more than 70 times higherthan in Amazonia itself. Recently, several studies have shown that autochthonousmalaria is not a rare event in the Brazilian southeastern states in the AtlanticForest biome. Information about autochthonous malaria in the state of Rio de Janeiro(RJ) is scarce. This study aims to assess malaria cases reported to the HealthSurveillance System of the State of Rio de Janeiro between 2000-2010. An average of90 cases per year had parasitological malaria confirmation by thick smear. The numberof malaria notifications due to Plasmodium falciparum increased overtime. Imported cases reported during the period studied were spread among 51% of themunicipalities (counties) of the state. Only 35 cases (4.3%) were autochthonous,which represents an average of 3.8 new cases per year. Eleven municipalities reportedautochthonous cases; within these, six could be characterised as areas of residual ornew foci of malaria from the Atlantic Forest system. The other 28 municipalitiescould become receptive for transmission reintroduction. Cases occurred during allperiods of the year, but 62.9% of cases were in the first semester of each year.Assessing vulnerability and receptivity conditions and vector ecology is imperativeto establish the real risk of malaria reintroduction in RJ.

During the last two decades, Italian crime TV series have increased considerably, becoming one of the main scripted television genres offered on national channels, both on free-to-air and pay-TV and streaming platforms, while additionally developing an ever-closer synergy with local territories and their representation. Focusing on the 2020–21 television season, this article provides some maps in order to highlight roles and identities of national places and territories in defining different types and gradations of Italian crime drama TV series. More specifically, it underlines the variety of functions that territories played through the plot and the way they could be represented alternatively as background or foreground, as well as realistic or imaginary, taking into account different models of representation of a multifaceted genre and its connections with geographical locations, which could explain the prominence of giallo in national popular culture.

As also TV commissioners say, locations are taking on a growing importance in Italian TV series. Indeed, academic research has often focused on the relevance that locations have for territorial marketing and tourism market – that is, on the effect that the representation of a given territory might have on an audience of outsiders, possibly induced to visit places different from where they live. This article, instead, aims at measuring and discussing the success that 90 seasons of Italian free-to-air TV series from the last three years achieved precisely in the regions where they were shot or set – that is, on an audience of insiders. The match between locations and local audiences, besides showing the heterogeneity of Italian TV public, demonstrates that the latter can be designed, by designing content with specific (geographical) features.

The mean state, variability, and extreme variability of the stratospheric polar vortices, with an emphasis on the Northern Hemisphere (NH) vortex, are examined using two-dimensional moment analysis and extreme value theory (EVT). The use of moments as an analysis tool gives rise to information about the vortex area, centroid latitude, aspect ratio, and kurtosis. The application of EVT to these moment-derived quantities allows the extreme variability of the vortex to be assessed. The data used for this study are 40-yr ECMWF Re-Analysis (ERA-40) potential vorticity fields on interpolated isentropic surfaces that range from 450 to 1450 K. Analyses show that the most extreme vortex variability occurs most commonly in late January and early February, consistent with when most planetary wave driving from the troposphere is observed. Composites around sudden stratospheric warming (SSW) events reveal that the moment diagnostics evolve in statistically different ways between vortex splitting events and vortex displacement events, in contrast to the traditional diagnostics. Histograms of the vortex diagnostics on the 850-K (~10 hPa) surface over the 1958–2001 period are fitted with parametric distributions and show that SSW events constitute the majority of data in the tails of the distributions. The distribution of each diagnostic is computed on various surfaces throughout the depth of the stratosphere; it shows that in general the vortex becomes more circular with higher filamentation at the upper levels. The Northern and Southern Hemisphere (SH) vortices are also compared through the analysis of their respective vortex diagnostics, confirming that the SH vortex is less variable and lacks extreme events compared to the NH vortex. Finally, extreme value theory is used to statistically model the vortex diagnostics and make inferences about the underlying dynamics of the polar vortices.

The purpose of this study is to analyse texts by the black poet, lawyer and abolitionist Luiz Gama, bringing to light subjective dimensions and enunciative strategies through which the author participates of the scene and reveals himself as the subject of the discourse in which he establishes his identity(ies). For that we turn to the concept of ethos, according to Dominique Maingueneau, joined to the inseparable socio-historical conditions of production, circulation and reception of the discourse.

In recent years, the term global art has become a catchphrase in contemporary art discourses. Going beyond additive notions of canon expansion, this volume encourages a differentiated inquiry into the complex aesthetic, cultural, historical, political, epistemological and socio-economic implications of both the term global art itself and the practices it subsumes. Focusing on diverse examples of art, curating, historiography and criticism, the contributions not only take into account (new) hegemonies and exclusions but also the shifting conditions of transcultural art production, circulation and reception.

The history of the popularization of science in Argentina is rich in formats, texts, and authors, many of whom remain unknown even today. The aim of this paper is to examine the conditions of production, circulation, and reception surrounding the articles written by a cordovan astronomer for La Nacion newspaper during almost forty years. His work began approximately in 1906 or 1907, and it was both continuous and successful. Despite this fact, he has been forgotten, perhaps because he adhered to a theory disparaged by his contemporary scientific community, and which could still be discredited in moderntimes. Nevertheless, his work was determined by factors that converged to shape him into the social figure of a popular scientist. Despite academic rejection, the success of his texts poses questions that this essay hopes to answer through the analysis of his articles. For this purpose, it is important to consider, not only the themes he dealt with, but also hisstyle, which was mindful of the medium he was writing for. His texts show a discursive dynamic centered on the explanation of phenomena related to astronomy, but whichnever ignores a global discursive strategy that calls for pleasing and attractive reading.

Over 60 years on from its inception, the celebrated Fun Palace civic project – developed in the 1960s by the radical theatre director Joan Littlewood and the architect Cedric Price – continues to capture the architectural imagination. Despite the building itself never being realized, much of the previous analysis of the Fun Palace has been devoted to Price and his drawings. The critical role that Littlewood played, however, remains largely unrecognized by architectural scholarship, and a whole area of the project’s cultural agenda remains overlooked. Architecture, Media, Archivesis the first serious study of the complex relations between Littlewood and Price, reframing the Fun Palace as an extended media project and positioning Littlewood more clearly as co-designer. Drawing on extensive archival material, the book considers how, due to a lack of institutional support, the aims of the Fun Palace – to transform the passive mass-audiences of post-war consumer society into active citizens, through forms of self-directed, pleasure-led and open exchange – were realized through different ‘sites of information’ throughout the 1960s. From broadsheets, pamphlets and journals to films and press news, the book addresses the conditions of production, circulation, storage and reception of these ‘sites’ and reveals how they not only recorded the transformation of the project, but also fundamentally enhanced and informed its meaning in specific ways. The book also raises important questions about the agency of the Fun Palace archive in shaping the reception of the project in the decades since its inception, presenting its analysis through a novel ‘Fun Palace Reception Index and Chart’, fundamentally altering our view of the project itself and transforming the way in which we understand the technological and cultural production of the 1960s.

In this article, the nuclear objective is to analyze the category of post-truth, starting from the conditions of production, circulation and reception that allowed its impact and its wide diffusion in the different cognitive fields and in the mass media of communication. Secondly, we address the problems of truth in various types of discourse and semiotics, since this topic always produces multiple gordian knots. Thirdly, we define the post-truth with its main characteristics and relate it to the ethical, the political, and other fields.

Reviewed by: The Queer Turn in Feminism: Identities, Sexualities, and the Theater of Gender by Anne Emmanuelle Berger Evan Litwack Anne Emmanuelle Berger. The Queer Turn in Feminism: Identities, Sexualities, and the Theater of Gender New York: Fordham University Press, 2013, 240 pp. ISBN 978-0-082-35385-2 Anne Emmanuelle Berger's The Queer Turn in Feminism: Identities, Sexualities, and the Theater of Gender gives us fresh and exciting ways to consider—and consider anew—the conceptual and linguistic traffic between French and American theories of sex, gender, and sexuality, and the centrality of the idiom of performance to the making and remaking of modern feminist and queer knowledge domains. By carefully following "the aporias, the dissonances, even the productive inconsistencies" (4) that emerge as gender theories and their queer theoretical cognates move back and forth across the Atlantic, Berger stages a rigorous transnational account of the complex maneuvers through which concepts travel and travail across national and cultural borders. Unfolding across five somewhat discrete chapters, The Queer Turn in Feminism is distinctively attentive not only to that decidedly American design called "French theory," but also to a newer intellectual formation that is perhaps less widely known to U.S. audiences: the recently christened French invention named "American thought," around which the rise of gender studies has come to prominence in contemporary France. The view that gender is performative has, of course, achieved something of an axiomatic status for scholars working in or in between the fields of [End Page 199] feminist theory, queer theory, and performance studies. While this widely institutionalized conceptual frame may now bear the unfortunate mark of a certain obviousness, as Berger forcefully reminds us, it is nonetheless crucial. For what remains buried beneath at least twenty-some-odd years of U.S. left critical academic common sense are the variegated Franco-American geohistorical conditions of production, circulation, and reception that have allowed three interdisciplinary knowledge projects—feminist theory, queer theory, and performance studies—to share the same language even, if not especially, when they do not speak the same dialect. Judith Butler, for instance, famously put into conversation two nationally marked theoretics when she drew on philosophical resources from Foucault, Lacan, and Derrida (in short, "French theory") in order to contribute to a theatrically tinctured conception of gender (a term germane to the postwar American social sciences). The result, of course, was her now canonical account of gender as "a stylized repetition of acts" rendered socially intelligible by what she termed "the heterosexual matrix" (1990, 192). Berger thus presses us to ask: to what extent is gender performativity, an idea foundational if not altogether constitutive of the "'queering' of feminist thought" (5), a properly French or American formulation? In chapter 1, Berger situates herself as "participant-observer" (3) of sorts uniquely poised to pursue such complex quandaries. A French national who arrived at Cornell University in the 1980s during the heyday of French post-structuralism and its thinking of sexual difference, Berger then returned to France seven years into the next millennium at the very moment that American gender theory was being institutionalized in the French academy. This autobiographical detail is important because it highlights not only Berger's own particular standpoint of critical reception, but also keenly registers a larger historical narrative about gender studies' transatlantic residence and, indeed, resonance. If by 2007, as Berger argues, gender studies had waned in prominence in the U.S. university (she cites as evidence Butler's turn from gender to ethics and Eve Kosofsky Sedgwick's turn from sexuality to affect), in France, conversely, gender studies now feels "quite current" (2). By calling attention to the entangled temporalities of gender studies' transnational institutionalization, Berger impresses the need to rethink "on the one hand, a politics and a conception of genders and, on the other hand, the languages and cultures in which or from which this politics and this conception are being developed" (4). Berger's second chapter constitutes the centerpiece of The Queer Turn in Feminism. Here, Berger sets as her task to scrutinize how "American gender theory has always been 'queer'" (14). This task is set to work by way...

In the history of film adaptations of the novel Maria (Isaacs, 1867), to experimental and iconoclastic film Maria (Grau, 1966) it is identified as belonging to the uncanonical trend or subversion and background to the position presented in the Colombian culture field. The article continues with a detailed analysis of the characteristics of narratives and stylistics to determine the semantic level in which it operates its proposal to adjust and, from print and oral records related to the film, their conditions of production, circulation and reception are studied. This analysis shows how a uncanonical position before the novel is built from multiple levels of meaning, determining their place in literary and film fields in Colombia in the 1960s and presenting new clues to understanding the place of the experimental theater in the history of Colombian cinema.

Mr and Mrs: The Wrights BBC 2, 28 May at 9 50 pm Rating: ![Graphic][1]</img>![Graphic][2]</img> On the front of last week's TV Times were a handsome doctor and a pretty...

The introduction considers the influx of sympathetic perpetrators—criminals, mobsters, corrupt politicians—who have flooded Italian television screens over the last ten years or so. It looks at the representation and appeal of criminals when they are the subject of popular fictionalized accounts, focusing on a selection of recent, well-known Italian television series that create sympathy for perpetrators and that premiered on Rai, Mediaset, Sky Italian, and Netflix. In particular, the introduction outlines serial television’s several viewing pleasures; discusses the “sympathetic perpetrator identikit” that positions viewers to root for and align with antiheroes; considers complex masculinities; and addresses the particularities of the Italian case (i.e., sympathetic perpetrators on Italian television are conventionally attractive, and narratives are based upon historical figures and events, in particular Italy’s mafias: the Camorra, Cosa Nostra, Banda della Magliana, and ’ndrangheta).