Entertainment Genres Research Articles

The Soviet Vaudeville and the Controversy between 1932-1941

This paper is devoted to study the soviet vaudeville and the controversy between 1932-1941. The Soviet vaudeville debate was focused on the theme: How and in what way do the entertainment and laughter, produced by Vaudeville, would respond to the norm, value, and function of Soviet literature? In 1934, the Stalin government established socialist realism as a only literary theory and principle. While the Union of Soviet Writers did’t take control of literary hegemony completely, the freedom and diversity of literary creation remained for a while and the vaudeville debate has also developed in various ways: The complete rejection of vaudeville, the eclectic combination of vaudeville and satire, and the full recognition of vaudeville as an entertainment genre. The Grand Purge of 1936-1938 was expressed in the realm of culture as anti-formalism campaigns, which The Arts Committee led; vaudeville was criticized as a genre representing the formalism of the play. The opponents regarded the vaudeville techniques for laughter and entertainment as a formalism: They were accused of resulting in the disappearance of the contemporary, serious theme about the Soviet reality, which the Soviet Cultural policy demanded writers to describe in their works. From the anti-formalism campaign until the outbreak of World War II (1938-1941), Soviet critics such as Akimov, on the one hand, demanded full recognition of the light comedy, including Vodeville. On the other hand, there was position, that vaudeville was the main reason for the regression of the Soviet comedy. In 1932-1941, although Soviet vaudeville was discriminated on the level of theater policy, theory and performance, the popularity of vaudeville remained constant; the government’s cultural policy makers and their critics could not ignore the demand of vaudeville advocates, that all comic genres including vaudeville be given the same rights. Between 1932 and 1941, vaudeville, which was not entirely exiled from the Soviet stage, was still possible.

Islamic Content On Malaysian TV: A Case study of TV Al Hijrah

Religion and media are converging and frequently becoming a subject matter for news content and popular entertainment programmes in television and film, publishing, music as well as the new media. Religion, arguably has become part and parcel of the media environment today. In Malaysian context, during the millennium era, many locally produced ‘Islamic programmes’ started to gain popularity among Malaysian audience especially within the entertainment genre such as television drama. With the establishment of Malaysian first Islamic free-to-air television, TV Al Hijrah in 2010, this paper aims to understand the nature of Islamic content available on the station. The preliminary findings of this paper suggest that there are varieties of television programmes created and aired on TV Al Hijrah cutting across different genres meant for disseminating Islam as a way of life. Programmes available are mainly about showcasing the values of Islamic teaching and beliefs with the ultimate goal to highlight Islam as a beautiful and peaceful religion.

Nation, Identity and Performance: The Spanish Zarzuela in Argentina, 1890–1900

This article argues that the Spanish zarzuela, the most popular entertainment genre in Buenos Aires, Argentina in the 1890s, sowed the seeds of its own demise, precisely because of its success as an entertainment export. In the early 1890s, Buenos Aires’ audience members were eager for Spanish entertainment, but by the decade’s end they began to question the appropriateness of having Argentine character types performed by its former colonisers. Despite the fact that Spanish actors worked hard to integrate themselves with Argentine playwrights, helping Argentines to establish their own theatre industry, over time Argentine audiences began to demand entertainment that depicted their own nation and customs. Tensions over national identity reached a peak as a result of the Cuban independence movement of 1895–98. Zarzuela performers were visible and vulnerable symbols of Spanish colonisation during its last moments as a colonial power on the stages of the Americas.

다채널 미디어 환경에서 브랜디드 콘텐츠 마케팅의 유형에 관한 연구

The purpose of this study is to analyze a type of a marketing strategy for branded contents from diverse perspectives after subdividing a type through surveying the present status and the application cases at home and abroad along with a theoretical consideration of the branded contents marketing in multi-channel media environment. To do this, a scope of the research was progressed a research by being limited to digital media in online and SNS platform targeting branded contents in the domestic enterprises. In terms of a research method, the theoretical consideration was made focusing on documentary materials. The data relevant to a case analysis was utilized the D/B search mainly through internet. The statistics for objective data were quoted statistical materials in a relevant field. As a result of the research, a type of the branded contents in online and social channel can be segmented into the blog(cafe) of being operated by brand, the brand & webtoon, the brand & one-person media, the brand & web drama, the brand & music, and the brand & game. The branded content is recently inducing interest to a method of projecting brand image into a story through allowing them to connect to several entertainment genres with escaping from a form of simply exposing a product while consumers of having a negative attitude toward commercial advertisement fail to perceive that it is advertisement. A type of a branded contents strategy can be classified into 5 things such as securing trust, obtaining sense of existence, offering high value, supportive service, and a support for community. Many brands are applying various contents to the brand marketing aiming at the contents marketing for securing trust. A contents strategy for obtaining sense of existence, which attracts customers eyes and participation in order to secure brand awareness, was surveyed to be progressed most actively by utilizing diverse contents. The country is in the real situation of failing to be positive yet in a contents strategy for offering high value and in a contents strategy for a supportive service. Many enterprises were surveyed to make a great effort now for the branded contents strategy in order to form community of implementing and maintaining a positive relationship that gives trust to consumers through operating and managing blog, cafe and Facebook rather than homepage. Accordingly, this study is expected to be utilized as fundamental research data to establish a branded contents marketing strategy.

Transforming 'Female' Programmes

Contemporary Italian digital channels explicitly targeting women (suchas Real Time, Lei, Fox Life, La5, and La7d) represent a privilegedobservatory for some general trends in the international circulation ofcontent and incorporation of foreign formats into national television (TV).In fact, their schedules rely heavily on the genre of factual entertainment,which was first devised and used in international contexts, such as the UKand the US, and only in the second phase was imported into other national TVenvironments. After introducing this scenario and the main issues connectedto the circulation of international content on these channels, the articlewill focus on the BBC docu-reality Don’t Tell the Bride. The show wasextensively circulated (UK and US versions) in the circuit of Italian womenchannels before a national version was produced by the pay-TV brand Lei. Thearticle will reflect on how the national version Non ditelo alla sposa addedfurther shades to the original meaning of the format. While theinternational version only allowed the Italian audience to engage with theprogramme through a romantic and escapist approach, the local adaptationinserted practical advice in the storytelling on how to arrange a low budgetyet traditional wedding day, coupled with the sarcastic and ironic points ofview of the characters involved.

Hadji Murad by Decker-Schenk on Khabarovsk Stage: to the Problem of Formation of Artistic and Aesthetic Taste and Social and Moral Orientations of the Provincial Audience

In Khabarovsk and a number of other provincial towns at the turn of the 19th – 20th centuries, foreign and Russian operetta formed the basis of the mixed operetta and drama troupes’ repertoire. One of the first Russian samples of this genre is analyzed in the article. Combining traditional musicological analysis with musical and sociological approach, the author attempts to establish a link between artistic and stylistic peculiarities of the popular work in the period under consideration – the operetta by I.F. Decker-Schenk “Hadji Murad”, on the one hand, and its perception by the local artistic forces, audience and critics on the other. It is revealed that the ratio of “complexity” as a characteristic of high art and availability, typical of entertainment genres found by the composer and librettist, gave the provincial audience a feeling of belonging to art, at that theater became a symbol of the “civilized” provincial life.

Media Reflexivity and Taste: Chinese Slash Fans' Queering of European Football

This article explores Chinese female fans' appropriation of European football in their slash imagination. Through observations of online fan discussions and in-depth interviews with 12 fans, I show that they use European football to articulate distinct fan identities and their particular positionalities. These fans contrast the realism of mediated sport with realism in other entertainment genres to distinguish themselves from other sport and slash fan practices. Furthermore, while these slash fans critique feminine gender norms in their claim to sexual agency, their taste for European football is racialized in problematic ways. The particular economic, social, and cultural subject positions of these fans act as structuring factors that influence their taste for slashing European football.

Insuffisance ventriculaire droite : comment la prendre en charge ?

We address cancer communication by creating and assessing the impacts of a theatrical production, When Cancer Calls…(WCC…), anchored in conversations from the first natural history of a patient and family members talking through cancer on the telephone.A national study was conducted using a multi-site and randomized controlled trial. An 80-minute video was produced to assess viewing impacts across cancer patients, survivors, and family members. Comparisons were made with a control video on cancer nutrition and diet. Pretest–posttest sample size was 1006, and 669 participants completed a 30-day follow-up impacts assessment.All five family and communication indices increased significantly for WCC…. When compared to the placebo, average pretest–posttest change scores were higher for self-efficacy (775%), family fabric (665%), outside support (189%), and family communication (97%). One month following viewings, WCC…participants reported 30% more conversations about cancer among patients and family members about cancer.A new genre of Entertainment–Education (E–E) was created that triggers positive reactions from audience members. Managing delicate and often complex communication about the trials, tribulations, hopes, and triumphs of cancer journeys is fundamentally important for everyday living.Unique opportunities exist to make WCC… available to national and global audiences, create tailored curricula, and integrate these viewings into educational programs for patients, family members, and care-provider teams across diverse health, corporate, and governmental systems.

The Conversations About Cancer (CAC) Project—Phase II: National findings from viewing When Cancer Calls…and implications for Entertainment–Education (E–E)

ObjectiveWe address cancer communication by creating and assessing the impacts of a theatrical production, When Cancer Calls…(WCC…), anchored in conversations from the first natural history of a patient and family members talking through cancer on the telephone. MethodsA national study was conducted using a multi-site and randomized controlled trial. An 80-minute video was produced to assess viewing impacts across cancer patients, survivors, and family members. Comparisons were made with a control video on cancer nutrition and diet. Pretest–posttest sample size was 1006, and 669 participants completed a 30-day follow-up impacts assessment. ResultsAll five family and communication indices increased significantly for WCC…. When compared to the placebo, average pretest–posttest change scores were higher for self-efficacy (775%), family fabric (665%), outside support (189%), and family communication (97%). One month following viewings, WCC…participants reported 30% more conversations about cancer among patients and family members about cancer. ConclusionA new genre of Entertainment–Education (E–E) was created that triggers positive reactions from audience members. Managing delicate and often complex communication about the trials, tribulations, hopes, and triumphs of cancer journeys is fundamentally important for everyday living. Practice implicationsUnique opportunities exist to make WCC… available to national and global audiences, create tailored curricula, and integrate these viewings into educational programs for patients, family members, and care-provider teams across diverse health, corporate, and governmental systems.

Exposing the white avatar: projections, justifications, and the ever-evolving American racism

In the context of the United States, mainstream entertainment genres continue to recycle dominant racial ideologies typified by the perspectives of white men. American minstrelsy, literature, and film are key sites for whiteness to manifest itself in the design and projection of online personae via white avatars. These projections of whiteness also reify the US racial structure, one that subjects the perspectives of people of color to misrepresentation and further racial marginalization. This theoretical interpretative article employs Critical Race Theory (CRT) and Critical Whiteness Studies (CWS) to investigate how these projections of whiteness are historically rooted and have evolved in the post-racial era. Using popular virtual gaming and social media examples, this paper critically deconstructs how the creation of white personae via avatars maintains and justifies the hegemonic power of whiteness.

A dialética do localismo e do cosmopolitismo nas narrativas gráficas de Marjane Satrapi

Marjane Satrapi´s graphic novels as well their film adaptations show Iranians stories through pop forms of expression. Considering the dialectics of localism and cosmopolitism in Candido (2000), this article proposes to examine Satrapi´s work (Persepolis, Embroideries, and Chicken with plums) and extend the dialectical notion beyond the relations between form and content. It aims at revealing that this dialectics is present in other ways of negotiation between contexts, which questions stereotyped representations of Iran and Iranian women. This article also retrieves the debate about forms of narrating traumatic events, in view of a recent generation that seeks non canonical forms of testimony concerning extreme situations. These forms usually involve the use of images and entertainment genres.

지상파 다채널방송의 화질평가에 관한 연구

최근 국내 지상파 다채널 방송의 도입이 재 논의되고 있다. 본 연구에서는 지상파 다채널방송 도입으로 기존 방송 채널의 화질 열화에 대해 객관적 화질평가와 주관적 화질 평가를 통해 검증하였다. 객관적 화질 평가에서는 다채널 방송용 시스템이 기존 방송보다 높은 PSNR을 보였다. 주관적 화질평가 결과도 MMS 시스템의 화질 열화를 인지하기 어려운 것으로 나타났다. 특히 시사 다큐멘터리와 연예 오락 분야에서는 다채널 방송에서 화질이 더 개선될 것으로 나타나고 있다. 따라서 2006년과 2008년 연구 결과와 비교할 때, 방송 기술의 발전으로 다채널 방송 도입에 따른 화질열화 우려가 해소됨에 따라 다채널 서비스 도입에 필요한 정책마련이 시급히 요구된다. Currently, The terrestrial MMS(Multi Mode Service) is considering to be adapted in the Korea. The objective and subjective video quality test was carried out to verify the current TV channel's video quality degradation by the MMS. In the objective assessment, MMS system showed better PSNR than current system. In the subjective assesment result, It's hard to find the perceive video quality degradation at overall assesment. Even though, The MMS's video quality will be improved at the documentary and entertainment genre. Comparing with the previous research at 2006 and 2008, It's the time to give the benefit of broadcasting technology to the people.

From Ritual Form to Tourist Attraction: Negotiating the Transformation of Classical Cambodian Dance in a Changing World

According to the UNESCO Intangible Cultural Heritage website, classical Cambodian dance is a sacred practice that embodies the spiritual essence of the country’s values and traditions. This article asks, What happens when the sacred becomes the profane, the normal, the everyday? It explores how the sacred classical dance form of the past evolved into the entertainment genre it is today. Focusing on the dinner-dance show phenomenon, the author investigates negotiations that are taking place between the preservation and development of the arts in Siem Reap after decades of civil war decimated the artist population. The tourist shows both provide some economic stability for dancers and strip away some sacred aspects of the art form. The article gives insight into how a ritualistic performing art form adapts to changing environments while maintaining social relevance.

“How I Had Liked This Villain! How I Had Admired Him!”: A. J. Raffles and the Burglar as British Icon, 1898–1939

AbstractThis article analyzes the literary, theatrical, and film versions of E. W. Hornung's fictional “gentleman” burglar Raffles produced between 1898 and 1939. It argues that the character functioned as a nexus for the articulation of a pleasure culture surrounding burglary, highlighting how approbatory and sexualized versions of burglars pervaded popular and official discourse in Britain and, through the character's commercial success, throughout Europe and America. Depictions of Raffles's triumphs over law and order invited successive audiences to vicariously test, and transgress, the legal, social, cultural, political, gendered, and economic constraints of everyday life. As newspapers labelled real-life burglars “Raffles,” both criminologists and criminals around the globe appropriated this title to refashion burglars as glamorous celebrity personae through academic texts and autobiographies. This article thus demonstrates how notions of respectable masculinity were challenged by sympathetic portrayals of burglars fostered under the “new” journalism, human interest journalism, and the true-crime genre of entertainment.

World Cinema versus Subjectivity: How to Read Tunde Kelani's <em>Abeni</em>

In Nigerian Video Films (2000), Jonathan Haynes delineated the ways in which Nollywood called for new critical approaches that would differ from the ways in which African film had been mediated to European or American audiences. Nollywood decidedly did not lend itself to the familiar ideological readings that had marked African film criticism from the outset. Haynes turned to questions of globalization, the economic and social factors that accounted for their production and entertainment values, and sought in studies of modernism, of genre (particularly melodrama), and of cultural anthropology approaches that would make more sense in analyzing the phenomenon of Nollywood and its new approach to African film. The cultural and ideological framings he called for were necessary and invaluable but inevitably left us with the question of how to reconcile such approaches with those marked by poststructural or psychoanalytical analyses. This question has become all the more fraught as the ascension of “world cinema,” within the context of globalization studies, has heightened the emphasis on economic markers and their influence on “mediascapes” and global cultural flows. Where, in this focus on the place of new, popular entertainment genres, with their broad transnational appeals, can an account for agency and subjectivity be formulated?

Traveling Spirit Masters: Moroccan Gnawa Trance and Music in the Global Marketplace

Whatever the order of going, one learns a lot from this book about the cultural specificity of trance experiences and the complexities of recent and ongoing translations from performative practices grounded in specific local spiritual ex- periences and belief systems (moroccan Gnawa) to international entertainment genres and per- formance spaces ("trance music" as a world mu- sic category, and world music as a performance circuit). while there are musicological common- alities supporting some intercultural collabora- tive performances (e.g., randy weston with Gnawa musicians) as both possible and exciting, as kapchan reiterates at several points, trance practices are diverse in origin, form, and ethos, in their local development over time and in prac- tice, though the world music industry markets "trance music" as a kind of primordial, holistic category or genre ("ageless, timeless music that reaches into the heart of Africa," from liner notes by barnwell and lawrence, Trance 2, ellipsis Arts, 1995, quoted on p. 147). here she aptly but briefly brings Johannes Fabian (Time and the Other, columbia university Press, 2002) to our intellectual rescue.

What’s Love Got to Do with It? A Qualitative Grounded Theory Content Analysis of Romance Narratives in the PG Era of World Wrestling Entertainment (WWE) Programming

Although numerous studies have examined cultural representations of love and romance in myriad media sources, scarce attention has been paid to such representations in the genre of sports entertainment. As the most popular brand within this genre, World Wrestling Entertainment (WWE) is an important conduit of cultural knowledge in which to investigate narratives about modern romance. Using qualitative grounded theory content analysis methods, the current study examined representations of romance narratives in WWE’s two highest rated programs (Monday Night Raw and Friday Night Smackdown!) over a 6 month period. Fifty-two episodes comprising 105 h of televised programming were analyzed. Data analysis revealed evidence of six central romance narratives (Prince Charming, Dark Romance, Femme Fatale, Gold Digger, Cougar, and Woman Scorned). The meanings of these narratives were frequently contradictory in nature, revealing complex ideas about the nature of heterosexual romance. Many of the romantic relationships presented contained elements of multiple narratives, suggesting conflicting presentations of heterosexual gender relations not just across but also within individual relationships. Implications of these findings through the lens of social learning and schema theories are provided.

Framing Environmental Risks and Natural Disasters in Factual Entertainment Television

This article examines the framing of environmental risks and natural disasters in factual entertainment television programs of the early 2000s, a hybrid form combining techniques from documentary with techniques such as dramatic reconstructions and computer-generated imagery from entertainment genres. Using qualitative frame analysis, it examines a range of factual entertainment television programs' framing of environmental risk and natural disasters in terms of their attitudes, representation of human participants and visual composition. The article considers the similarities and differences in the framing of natural disasters as factual entertainment compared to the framing of natural disasters in news, documentary and fiction film. It argues that such programs offer representational frames both consonant with and distinct from other media and concludes that they problematically offer a predominantly fatalistic response to environmental risk, constructing natural disasters as voyeuristic spectacles for vicarious entertainment.

The genre of live studio audience programmes in a political context: The Flavio Cavalcanti Show and the Brazilian military regime

This essay aims to contribute to television genre theory by integrating a historical approach with the main concepts of field theory developed by Pierre Bourdieu. I analyzed live studio audience programs aired during the military regime in Brazil as a television genre that is deeply affected by three separate and often colliding forces: its own production rationale, the hierarchical relations between television genres and the political context, and the power relations in society. The present article focuses on Brazilian television host Flavio Calvacanti and his shows, broadcasted by the Tupi Network during the military regime period (1964–85). Despite their immense popularity, and although at least ostensibly they had no ideological pretences and Flavio Cavalcanti even openly endorsed the military regime, his live studio shows were resented by the military leadership and taken off the air for a number of years. Instead of the seemingly almost perfect harmony between the military regime and the entertainment genres, the present analysis focuses on the internal dynamics of live studio shows and the impact of the political context on their survival on the small screen.

Dramatising Identity on Irish Language Television: Aifric (TG4)

Aifric (Telegael 2006-8) a live action comedy drama series for young teenagers, gives an extra dimension to a relatively conventional entertainment genre through its use of the Irish language on screen and on set. One of the largest scale longer-term drama productions for TG4, Aifric is aimed at an audience which enjoys Australian series, British soaps and American sit coms. Significantly, viewers are addressed as members of a similar culture, who understand its norms and expectations, rather than as some pan-global ‘youth audience’ who exist only to be entertained. Aifric presents humorous stories about somewhat quirky characters with credible relationships. Although the language is not foregrounded as a theme in the drama, its treatment results from very conscious decisions by the programme-makers. Performed by largely native-speaking actors, there is a strong drive to present a vibrant and funny Irish-speaking world. However, for most viewers, the use of the indigenous national language on screen remains noteworthy. Telegael were sensitive to this in taking on the commission, and in choosing to create an ‘Aifric universe’ where Irish is fluently used by everyone, add another layer to the question of Irish language identity.