Television Content Research Articles

Tickle fetishism: pleasure beyond playfulness.

Tickling is commonly perceived as juvenile play associated with laughter. However, its potential connection to adult sexual behavior has largely remained unexplored. Our online survey, primarily distributed among individuals interested in tickle fetishism, explored tickling and its association with sexual behavior. Ticklishness types, tools, preferred body parts, and partner preferences, were examined. Results revealed diverse patterns of ticklishness changes over time and distinct body-part preferences for different types of tickling. Childhood experiences and exposure to tickling content in television were found to shape individuals' affinity for tickle fetishism. A quarter of respondents reported experiencing orgasms exclusively from tickling, while around 88% expressed sexual satisfaction through tickling alone, indicating its sufficiency as a sexual stimulus among fetishists. Tickling desire decreased after orgasm, indicating an association between tickling and sexual activity. Moreover, ticklishness degree predicted preferences for being tickled rather than tickling others. Exploratory factor analysis identified three factors underlying tickling and sexual experiences: enjoyment and frequency of tickling during sexual activity; preference for intense sexual experiences; age of becoming sexually active. In conclusion, this study provides unique insights into tickling and its connections to sexual context, enhancing our understanding of diverse human sexual behavior and tickle fetishism as a distinct preference.

Demand for TV content in a national language: The case of Kazakhstan

This study examines preferences in selecting television content, using a national television channel as a case study. The Russian language put a lot of pressure on the Kazakh language during the communist regime. Post-Kazakhstan’s independence, linguistic dynamics shifted as authorities began responding to the demands of the Kazakh-speaking population. The aim is to test the hypothesis regarding the increasing demand for native language content, supported by the analysis of TV program ratings. For hypothesis testing, we employed empirical data obtained through an investigation into the preferences of the Kazakh-speaking audience. A total of 300 residents in Astana, aged 20-70, were interviewed. The survey results elucidate the correlation between public events and the television audience’s preferences. Historical, complex, and comparative analyses were employed, utilizing empirical data derived from a television audience preference study. The examination of television projects and their scripts revealed that language format substantially influences content informativeness and viewership ratings. Findings highlight a correlation between major events and television audience preferences. Programs in the Kazakh language elicit a positive response from the country’s television audience, particularly when discussing engaging topics. Based on research, recommendations are offered for enhancing editorial policies on television channels, with an emphasis on incorporating more Kazakh-language projects to better cater to the growing demand.

Female archetypes in the mythological model of television news culture

This study is aimed at identifying patterns of the embodiment of the female image in the information stories of domestic and foreign TV channels. The subject of this article is a mythological model of constructing reality in modern mass media. The object is television news stories in 2017-2023, in which female archetypes are most clearly revealed. Special attention is paid to the information coverage of the foreign topic of the feminist action MeToo and the domestic criminal case of the Khachaturian sisters. The research is aimed at comparing the mythological structure of the plot with the techniques of television broadcasting and understanding the broadcast of the female image on television screens. Thus, the article puts forward a hypothesis: when covering information topics, the media uses a model of a mythological structure, and as a result, a system of archetypes that forms the viewer's opinion. This work is based on the theory of archetypes developed by the scientist K. Jung, which is visualized in the information topics of the last decade. The analysis is of scientific interest in connection with the growing feminist discourse in society, of which television is becoming one of the key broadcasters. Of particular importance is the study of the symbolization of the female image on the television screen through the concepts of C. Jung and E. Neumann, using the example of the main themes of feminist discourse in recent years. The novelty of the research lies in a new theoretical understanding of the ways in which television content affects the viewer. The main conclusions of the study are the confirmation of a scientific hypothesis: about the use of the media of a mythological structure through which a system of archetypes is broadcast, which in turn leads to a stable formation of public opinion. In addition, the author examines the mythological archetypes of communication, which represent the main ways of transmitting information in the modern world.

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The implementation of digital broadcasting policies in Indonesia was marked by the issuance of Law Number 11/2020 concerning Job Creation, which was followed by the migration from analog to digital broadcasting (Analog Switch Off/ASO). The dynamics of digital broadcasting are caused by the tug of war-between the legislative, executive, judiciary, academics, nongovernmental organizations, and the broadcasting media industry itself. What is the policy of digital broadcasting after the implementation of Law Number 11/2020 concerning Job Creation, especially Article 60 A regarding ASO on November 2, 2022? What are the opportunities and challenges that communication-based tertiary institutions have in utilizing digital broadcasting in Indonesia? The paradigm of this research is qualitative. Data collection techniques through observations on digital broadcasting business trends, interviews, and legal studies. As a result, the digital broadcasting policy has been running quite well so far. Although implementation in each field is constrained by various problems: infrastructure, infraculture, human resources, and the extent of territory. Findings found that higher education institutions must be able to take advantage of opportunities for digital broadcasting policies as a means of disseminating information. The latest research results indicate that universities can establish digital television companies or content providers as well as a place for distributing work for college graduates. Keywords: Broadcasting, digital, ASO, universities, policy.

SENSITIVE JOURNALISM AS A CONFLICT SETTLEMENT TECHNOLOGY

The article is devoted to the possibilities of sensitive journalism in preventing or ending conflicts. Existing proposals based on international experience regarding the use of sensitive journalism as a way to prevent and end conflicts are considered: the need to investigate structural and cultural violence against certain groups; identify all groups that are participants in the conflict; outline the real interests of these groups; to become a dialogue platform for conflicting parties. Conflict is defined by specialists in sensitive journalism as a situation when two or more people, groups of people, have or think they have incompatible goals and undermine the possibility of achieving each other’s goals. When creating journalistic material taking into account the methods of sensitivity, it is first necessary to determine the stage of the conflict (superficial, latent, open), as it affects the further focus of the illumination. Experts advise giving voice by telling personal stories to all potentially conflicted groups. If the conflict has entered the latent stage, it is necessary to reveal the needs of the conflicting groups. Open conflict is an open, often violent, deeply expressed, deep-seated frustration with an unmet need or goal. As the conflict escalates, the collective identity of each side is formed as the opposite of the enemy’s personality. From the point of view of sensitive journalism, it is necessary to study in detail all the nuances of such mutual identification. Further, when journalists “allow their media to become a place for dialogue,” they thereby facilitate mutual understanding between the parties. Further, the article outlines the possibilities of using the technology of sensitive journalism in the modern Ukrainian context. This has gained relevance in connection with Guided by the OSCE proposals, the Ukrainian media space tried to respond to requests of conflict sensitivity. In particular, central and regional online media and television content were monitored. Research results: central and regional online media in 2015 provided 5% of information about social groups related to the conflict. Most of the materials were devoted to fighters; less than 1% to volunteers and immigrants; materials dedicated to the residents of the occupied territories are completely absent. The results of the television content research show similar trends. The analysis of the target groups that were studied in the course of monitoring makes it possible to understand that these are groups that appeared already during the open armed conflict. Thus, unfortunately, we cannot talk about the awareness of the need to investigate and understand the situation of cultural and structural violence that preceded the conflict, to take into account the interests of all interested groups and to have a deep understanding of the context. Separately, such a basic thing for conflict-sensitive journalism as a sensitive interview should be mentioned. Ukrainian journalists and specialists in the field of communication began to pay attention to him mainly during the large-scale invasion of 2022. Although the basic principles of a sensitive interview are somewhat clear, it is a pity that there is no clear line between the interview as a genre and as a method of gathering information. Clearly establishing this boundary, understanding the sensitive interview exclusively as a method of gathering information, in our opinion, would help to better understand the possibilities of this type of interview.

Colombian Television in the 1980S

This article examines the claims that the unique public-private television system of the 1980s provided space for the development of a national sense of community-based on common narratives and decentralization. The sources for the analysis included a revision of its contemporary discussion in printed media coupled with an analysis of TV shows currently available on streaming services and interviews with relevant figures of the time. The television content shot on location was praised for representing the nation, while simultaneously giving rise to debates about decentralization, which was finally addressed by the creation of regional broadcasters. The hybrid system fostered diversity, production quality, and a national representation that was strongly contested from the regions. At the same time, the system unintendedly hampered the creation of an audiovisual archive, and complaints about its tender systems resonate with the plight of contemporary public service broadcasting in Colombia.

Stigmatizing female success: The affective economies of leftover women in popular television dramas in China

This article sheds light on the media representations of successful women using the theorization of affective economies. We focus on four female characters in three popular television series: Andy in Ode to Joy (2016–17), Su Mingyu in All Is Well (2019) and Luo Zijun and Tang Jing in The First Half of My Life (2017). First, we begin by using television content analysis to examine the ways women are subjected to the paradoxical cultural values that stigmatize unmarried women as shengnü (‘leftover women’) while promoting the neo-liberal ideal of duli nüxing (‘independent women’). Second, to explore the affective economies of successful women and how feelings and cultural values are circulated among the female audience, we conduct an in-depth analysis of interviews with 21 female viewers in China. Third, we employ feminist critical discourse analysis to examine how these popular television dramas reflect changing gender norms in China, where new types of relationships are now deemed acceptable. We argue that these series have represented changing gender norms that successful women can achieve happiness by securing a ‘carefree’ romantic relationship, replacing marriage as the new happy ending.

Senior TV – producing information as a way of deepening media literacy and defending against misinformation

Historically, media have always been a lens through which society witnesses and deciphers the countless events that make up the world. Today, disinformation is one of the scourges of society, and the elderly are regarded as being an age group most susceptible to its effects.
 However, it is almost commonplace to consider that, despite the persistence of a historical distance, the older generations are not exempt from the incessant dynamics that the imposition of technological development represents in our society. Gone are the days of "laggards" (Rogers, 1995), a term used to characterize the technological gap that occurred among the elderly. As digital media perform numerous ritualistic and instrumental functions in this age group, they are currently “digital immigrants” (Prensky, 2001).
 In this case, the ability to produce, create, and broadcast content stands out as a characteristic of a society that is increasingly participatory. By underlining the importance that video, television, and television information has traditionally for seniors, the Senior TV project is being developed at the College of Education of Leiria of the Polytechnic Institute of Leiria, in which, through a team of senior students (from the 60+ program of this school), television content of an informative nature is being produced (interviews and reports), and these students are responsible for all the inherent phases and processes (carried out outdoors and in studio) to the creation of these programs from the preproduction moment to the final one when the content is broadcasted. The results of this study allow us to suggest that, through the administration of skills and methodologies for the production of media content, in this case regarding television production, media literacy is increased in this age group. To this extent, it also allows us to consider that more informed television and media consumption about their production conditions could help combat misinformation, particularly in this age group.

The influence of television content on advertisement: a neurophysiological study.

Emotional and cognitive reactions to the media context prove impactful on advertising effectiveness. However, research on the topic remains lacking and with a profusion of mixed results regarding the role of the context in enhancing or detracting communication effectiveness. This study explores the media context-advertising relationship, by investigating the influence of television content on advertisement in light of media psychophysiology and grounding on the Halo effect theory. Consumers' responses to different television content and advertisements are assessed. Specifically, consumers' arousal, pleasure, attention, and memorization are measured through brain analysis, heart rate, and skin conductance detection. Self-reported methods complement such analysis, by exploring the values associated with the television content and the advertised brands. Results show that television content influences consumer responses to the advertisement and the values associated with the brands, confirming the existence of a halo effect. Responses differ among television content typologies.

ІНФОРМАЦІЙНИЙ ВПЛИВ ТЕЛЕКОНТЕНТУ НА ПСИХІКУ ГЛЯДАЧІВ У ВИСВІТЛЕННІ РОСІЙСЬКО-УКРАЇНСЬКОЇ ВІЙНИ (НА ПРИКЛАДІ ВСЕУКРАЇНСЬКИХ КАНАЛІВ)

The purpose of this article is to study the informational impact of television content on the psyche of the viewer in the coverage of the Russian-Ukrainian war (on the example of all-Ukrainian channels). Research methodology. Intelligence is based on the following methods: analytical-synthetic, generalization, modeling, forecasting, evaluation of the artistic and informational value of the material, etc. The novelty of the study. The article proves that TV channels, forcing viewers to become virtual witnesses of war events, broadcast stress on them, which can often cause mental trauma or posttraumatic stress disorder. Conclusions. During hostilities, information security becomes especially important, as incorrect or erroneous information can lead to panic, influence the course of events, accelerate internal migration of the population, and negatively affect the image of the state’s top military-political leadership. It can also undermine trust in politicians, their statements and messages, which in turn can affect the conduct of hostilities and harm the expected results of a military conflict. The above fully applies to the audience’s reaction to the coverage of war events by domestic TV channels. Since February 24, 2022, Ukrainian television has been constantly covering events at the front and in the occupied territories, reporting on the enemy’s losses and the successes of the Ukrainian military, recording the crimes of the Russian army, and also telling the stories of war witnesses. In the first weeks of the aggression, Ukrainian television quickly changed its thematic priorities, preferring materials about military events to news about politics, community life, culture, and ecology. This was caused by the fight against Russian propaganda and caused an increase in the quality of Ukrainian television products. In a situation of uncertainty and anxiety, when the picture of the day changes rapidly, the demand for a high-quality analytical product is increasing. Thus, from February 25, 2022, all channels joined the joint project called «Single Marathon», which is coordinated on the basis of the parliamentary TV channel «Rada». Among the factors that increase the traumatic nature of the materials of domestic television channels about the war with Russia: showing a person «by surprise» in a moment of acute grief or despair; demonstration of torture, moral and physical abuse; direct or indirect justification of the aggressor’s actions, showing his triumph and impunity; emphasis on the uncertainty, absurdity of the situation taking place, on the disorganization, chaotic nature of the applied measures; relishing cruelty, giving «bloody» details; disbelief in the future, the image of the situation as hopeless (any possible solution is a tragedy). Among the factors that weaken trauma: faith in the future (orientation on overcoming the tragedy, affirming the possibilities of a better future); clear moral orientation of the audience, emphasis on the basic values of life; examples of resilience and courage of people who got into the war, a description of cases of active resistance; expressing support for the Armed Forces; a call for the unification of all the forces of society, a demonstration of the solidarity of people within the country, a demonstration of the support of the world community

MIRRORING CONTEMPORARY SOCIETY: CONSUMERIST SOCIETY, MEDIA AND SIMULATED REALITY IN DON DELILLO’S NOVEL WHITE NOISE

Don DeLillo's novel White Noise deals with the complex relationship between popular culture, media, and consumerism and the ways in which they shape the characters' perception of reality. The main character, Jack Gladney, is a consumerist academic who is heavily influenced by the mass media, and his obsession with images of disaster and death, which are constantly shown in the media, shapes his perception of the world. Similarly, his wife Babette becomes obsessed with consumer products and loses touch with the natural world around her. The novel also explores how constant consumption of television content can create a sense of disconnection from reality and how it can create a sense of hyperreality, where the lines between reality and simulation are blurred. Also, through the character of Jack Gladney, DeLillo emphasises a society in which individuals are defined by what they own and consume. Gladney’s preoccupation with consumer goods reflects a society in which consumption determines a person’s value, and the novel points to the dangers of this trend and the need to return to people’s connection with reality and nature. DeLillo emphasises the power of media images to shape individual understanding of the world and the need to be critical of the information people consume, as well as to reconnect with reality and nature.

The Role of Text-Type and Genre in the Analysis of Subtitles: Towards Measuring How Green the Media Are

The United Nations agency UNESCO issued in 2009 the Paris Declaration on Broadcast Media and Climate Change: A Public Service Remit where the role of communication was underlined as vital in informing and educating the public about the realities of climate change and the costs of inaction. Citizens are informed of the environmental crisis through media channels. By integrating the topic of sustainability into all television programming, from children’s programmes to reality TV shows, we can elevate this once-peripheral issue to a prominent position in the public consciousness. Understanding, measuring, and effectively reporting the degree to which the topic of sustainability is featured in broadcast media is challenging (McDonagh and Orero forthcoming). While some analyses and methodologies exist, these can be difficult to implement and time-consuming. Currently, there are no automatic tools to measure large language-based broadcast corpus data. Some companies have developed their own private methodology. Seeking to remedy this critical oversight, the goal of this paper is to propose the use of subtitles as a tool and explain the singularity of subtitles as a text type. At present subtitles are already used to mine information, which is the second part of the article. As a text type, subtitles features need to be taken into consideration. The final part defines the objective of our research: to use subtitles as a metric to measure the frequency, topic coverage, and accessibility of sustainability-related content in television. By drawing on subtitling data, we can measure the degree to which sustainability is discussed and presented in the wider broadcast mediascape. These data are expected to be instrumental in drafting reports, guidelines, and recommendations on sustainability for broadcasting in the region with the possibility of influencing national and international policy. By using subtitles as measurable raw data to develop metrics to gauge the quantity of sustainability-related content in broadcast television, we can better understand how climate change is currently covered. Armed with this knowledge, we can develop strategies and benchmarks to promote sustainability as a concept and contribute towards Net Zero targets.

Innovative Strategies in Movie Marketing: A Case Study of the Barbie Movie

With the rise of the digital media age, there has been a significant shift in viewer behavior, prompting television content producers and networks to actively seek out opportunities to better connect with and enable more active engagement with their digital focus groups. High-profile marketing examples from the movie industry include Scream and Glee 3D, which highlight the movie industry's innovative approach to engaging audiences in the digital age. Using the movie Barbie as a case study, this paper examines traditional and new movie marketing strategies and their application in a changing media landscape. The study finds that digital marketing strategies offer the advantages of broad reach, higher audience engagement, real-time feedback, cost-effectiveness, targeting, and long-term impact, but there are also some limitations. This study provides new ideas about digital marketing for the movie industry and discusses its long-term sustainability, diversification strategies and limitations. Finally, the paper emphasizes that movie marketing in the digital era will provide an important reference for future movie marketing strategies.

Analysis of Cultural Differences in Chinese and American Film and Television Contents: Taking "Shameless" and “Little Reunion” as Examples

Analysis of Cultural Differences in Chinese and American Film and Television Contents: Taking "Shameless" and “Little Reunion” as Examples

Retracted: Optimization of Self-Media Film and Television Content Production and Dissemination Paths under the Background of Artificial Intelligence

Retracted: Optimization of Self-Media Film and Television Content Production and Dissemination Paths under the Background of Artificial Intelligence

An audience studies’ contribution to the discoverability and prominence debate: Seeking UK TV audiences’ ‘routes to content’

Despite discoverability and prominence emerging as crucial to contemporary industry and policy debates in relation to online and internet-distributed television, there remains relatively little rich, qualitative data about how contemporary audiences discover content. This article addresses this gap through empirical audience research focused on the ‘routes to content’ through which UK audiences find and decide what television to watch. Defining television broadly to include all forms of video content accessed in the home, we argue for the importance of thinking about discoverability as an audience activity, not just an industrial strategy. Building on TV audience studies’ longer history and more recent literature on engagement, media literacy, algorithms and technological affordances in contemporary media platforms, we argue for new understanding of the imaginaries shaping people’s habitual viewing activities. The article proposes four new concepts for thinking about discoverability as an audience activity. First, we explore technological affordances and default behaviour, developing the concept of the negotiated-null affordance to explain how technological affordances can be rendered invisible by habitual behaviours. Second, we focus on algorithmic literacies and propose a new dissonant algorithmic imaginary to explain our participants’ ambivalences towards algorithmic personalisation. Third, we unpack the dynamics of access that emerge in our participants’ negotiations of television technologies, services and content. Fourth, we examine the role of word of mouth and promotional paratexts, theorising a second-order algorithmic imaginary to help us understand how these forms of communication can often, themselves, be subject to algorithmic processes. In doing so, we argue for the need for further qualitative research that looks beyond the ‘savvy’ consumers that dominate audience research in order to unpack the technological, industrial, cultural and social processes that shape people’s routes to content in a platform-dominated media landscape.

The impact of linguistic and cultural identity development on the growth of the economy of the Republic of Kazakhstan

Relevance. In view of globalisation and the territorial disputes in the Eurasian region, which have escalated to warfare, the issue of national identity has become particularly relevant.Purpose. The research aims to determine the dynamics of the cultural identity of the citizens of the Republic of Kazakhstan (RK), identify the key directions in the further development of the traditions of the Kazakh people and describe the impact of these processes on the growth of the country�s economy.Methodology. Methods of statistical analysis and forecasting were applied, a list of key indicators was compiled and a trend line was formed. Regression analysis was also performed to better understand the relationship between the indicators, and an internet questionnaire survey of the citizens of the Republic of Kazakhstan was compiled to determine the subjective perception of the nation�s iconic symbols and to find out the dynamics of actual household incomes.Results. As a result, data were obtained on the total number of RK residents, those who identify themselves as Kazakhs, and those who consider Kazakh as their native language. These data in dynamics were compared with the indicators of gross domestic product, which demonstrated a clear direct correlation between these phenomena, additionally confirmed by regression statistics. In addition, the relationship between the growth of cultural identity and the increase in television content in the Kazakh language was analysed.Conclusions. The practical significance of the work lies in obtaining a confirmed way of achieving economic growth through the influence of national television, as well as the presence of representative feedback from society on such key programmes as the development of national identity, the creation of iconic landmarks and national parks, and support for Qazaq repatriates to their historical homeland.

Stories in photos: framing styles of women athlete images on Instagram

The present study aims to determine the ways in which sports content producers in traditional and new media tools in Turkey frame the images of women athletes on Instagram. In the study, the ways in which television, newspaper and digital sports content producers with the highest number of Instagram followers in Turkey visualize women athletes in the news during international organizations were examined using the netnographic method. Study considered only n = 126 women photographs among the analyzed n = 5382 posts in this context and specified that n = 78 of those n = 126 photos belonged to women athletes. While women athletes stand out more prominently on Instagram in cases of failure, these instances of failure are visualized through images of crying, kneeling and covering their faces, framing helplessness. On the other hand, it was determined that women athletes were presented as sexual objects in the images used and that their body lines were highlighted.

Children's Television and its Effects on LGBTQ Youths’ Identity Milestones, Acceptance, and Comfort in Identity

Television has the power to influence and change a viewer's beliefs through the content and characters of a show. This study investigates to what extent the television LGBTQ young adults watched as a child affects their sexuality and gender identity development later on in life. My hypotheses were that watching representative television as a child would increase self-acceptance, lower the age of identity milestones, create positive views on the content of children's television, and increase comfort in identity. This study utilizes a mixed-methods survey for LGBTQ individuals ages 18-21 residing in the US. Using comparisons of means, Spearmans correlational analysis, and analyzing themes, I found no evidence to solidly confirm or deny my hypotheses. Quantitative data does not point towards a relationship between LGBTQ identity development and childhood television, while qualitative results do show that those who watched directly representative television as a child felt more positively about their identity development.

Cinephilia, take three?: Availability, reliability, and disenchantment in the streaming era

This article proposes a modified reading of Thomas Elsaesser’s theories of cinephilia, taking into account the new viewing practices established by the rise of online media streaming. Elsaesser characterised early film culture (labelled as ‘take one’) as rooted in celluloid and marked by a longing to view films that were not always easily available. By contrast, his characterisation of the later ‘take two’ era is one in which each new distribution technology (television, VHS, and so on) promises greater abundance and convenience, to the point where this new generation of cinephiles – in response to the widespread success of DVD – were perceived as having to deal with the ‘anachronisms generated by total availability’. Amanda D. Lotz argues that streaming services appear to provide an extension of the ‘take two’ ideal, offering assurances of ‘ availability (on-demand libraries with many choices) and reliability (you don’t have to watch it now or it’s gone)’. I suggest, however, that the underlying impermanence of streaming has prompted fears related to both access and ownership, marking a break from the expectations surrounding the DVD (as well as its successors Blu-ray and 4K Ultra HD). The impact of content migration – fracturing access between a greater number of paid platforms – and particularly content delisting – the outright removal of access to a given text – can place certain works in a form of limbo. This article proposes the dawn of a new generation of cinephilia – a potential take three – marked by a newfound concern of ephemerality, albeit much more potential and localised than the widespread unavailability of the take one era. In essence, then, take three wrestles with the anachronisms of loss in a media landscape that, in many other ways, offers unprecedented levels of access to film and television content.