Global TV Research Articles

References in Speech of Selena Gomez Billboard Music Award: Discourse Analysis Study

The purpose of this study is to analyze the function of references within Selena Gomez's Billboard Woman of the Year speech through a comprehensive analysis. The research employs a qualitative descriptive method, with data obtained from a YouTube video posted by the Global TV team on December 2, 2018. To analyze the data, this research utilizes discourse analysis theory from Halliday and Hasan (2013). The study focuses on identifying types of references and what grammatical cohesion is found in each type of reference within the framework of discourse analysis. The distribution of found references is as follows: 49 (35.8%) data for anaphoric reference, 16 (11.7%) for cataphoric reference, and 5 (3.6%) for exophoric reference. In terms of grammatical cohesion, the data are distributed as follows: 32 (23.4%) data for pronouns, 33 (24.1%) for lexical cohesion, and 1 (0.7%) for ellipsis. The study employs systemic functional linguistics (SFL) to delve into speech functions, emphasizing the importance of grammar and language in effective communication. By examining Selena Gomez's speech, the research aims to uncover underlying meanings and cultural influences embedded in her references. Discourse analysis, as a tool, allows for a broader understanding of language's role in society communication, particularly within the realm of celebrity culture. Keywords: Anaphoric, Cataphoric, Exophoric, Discourse Analysis, Reference, Youtube Video

A Systematic Literature Review of Localization Strategies of the Global Format Reality TV in China in the Past Decade (2012-2022)

The past few decades have witnessed the popularity of global format reality TV programs in China, paralleled by a growing academic interest in comprehending the process of localizing these format programs. However, the existing literature on the subject comprises diverse and fragmented selected cases, revealing a research gap in terms of a systematic exploration and comprehensive review of the adaptation process of format television programs in China. This study employs a systematic literature review to examine the localization of format reality shows in China over the past decades. It aims to provide practical strategies for format programs to enter the Chinese media market and identify the gaps in this area. The general research question is what strategies have been used to adapt format reality shows in China. A total of 40 articles from CNKI, Google Scholar, and Scopus are selected for qualitative synthesis. The findings indicate that the localization of format reality TV need to incorporate more local elements to enter the Chinese media market due to the cultural differences and the strict regulation from the State Administration of Radio, Film, and Television of the People’s Republic of China (SARFT). Further research should investigate the impact of SARFT’s regulations on format programs and the subsequent shift towards local production in China.

How <i>Pachinko</i> Mirrors Migrant Life: Rethinking the Temporal, Spatial, and Linguistic Dimensions of Migration

This paper critically analyzes the Apple TV+ series Pachinko (2022) to comprehend its cross-historical and cross-regional metanarrative unfolding from the organization of temporality, spatiality, and language. As the TV adaptation of Min Jin Lee’s eponymous novel, Pachinko depicts a family’s migration journey from Korea to Japan after the 1910s and emphasizes their suffering from systemic discrimination against temporary Korean residents. Produced by talents from Korea, Japan, and the United States, Pachinko displays strong hybridization that combines American TV conventions with a distinct East Asian culture and history. The hybridized, multicultural, and multilingual background of the production necessitates a transnational and interdisciplinary framework to analyze its critical success and cultural implications. Expanding Harvey’s notion of time-space compression, the paper conceptualizes the temporal and spatial experience of watching a transnational production via global streaming as a mirrored experience of migrant life. It tackles television dramas as a strategy to understand contemporary migration and globalization by first outlining the evolutionary trajectory of television, and then identifying the movements, mobility, and the transnational cultural flows in Pachinko. Moreover, this paper analyzes the linguistic aspects of Pachinko, particularly in translation and multilingualism, to establish a connection between language and cultural identities. Inquiring into previous literature on translation, this paper also seeks to understand the complexity of communicating in multiple languages, both literally and metaphorically. Finally, this paper examines how migration and migrants are reimagined in Pachinko at a time when national borders and cultural and linguistic barriers are quickly eroded by global streaming TV.

From ‘Kill This Love’ to ‘Cue Ji’s Love’: The Convergence of Queer, Feminist and Global TV Cultures in China

ABSTRACT This research looks at women-centred Chinese competition-style programmes that are adapted from foreign TV formats and synthesise transnational televisual elements, idol cultures and gendered aesthetics. With particular attention to imaginaries of women with nonnormative gender and sexual identities, I expound how and why representations of female gender and sexuality on Chinese TV are fashioned by the intersected discourses on China’s TV and cultural globalisations and digitisation, the party-state’s manipulations and regulations of feminism, androgyny and homoeroticism, and the entertainment industry’s capitalisation of queer women’s stardom and fandom. My analysis reveals that the emergence, survival and endurance of queer women on Chinese TV has coincided with China’s appropriations of both global formats and twenty-first-century idol girl group cultures. Through examining some key moments in popular idol group-cultivating shows produced in 2020 and 2021, I capture a multilevel, ambivalent queer convergence that transforms these televisual stages into queer-charging venues through which queer imaginaries of womanhood have actively incorporated local situations and transcultural televisual, gender and sexual knowledge to bypass, compromise with – and even partly connive with – the government’s ideological and moral controls.

Global TV Formats Queer Contemporary China

Global TV Formats Queer Contemporary China1 Jamie J. Zhao (bio) TV formats are sets of transferable ideas, principles, and procedures to produce and remake television programs.2 They "are designed to 'travel well' across national boundaries" and are adaptable to various domestic markets.3 While the transnational exchange of TV formats was considered "an Anglophone development,"4 the rapid integration of television production, circulation, and consumption into a global trade system since the 1990s has created many popular global TV formats that have become profitable media franchises and been widely (re)made in different parts of world.5 A case in point is the Dutch reality television franchise Big Brother (Veronica, 1999–) that has been adapted in more than sixty regions worldwide as of August 2021.6 Since the late 1990s, the television industry of the People's Republic of China has also started to creatively appropriate standardized global media and cultural formulas to produce content compatible with local political-ideological [End Page 183] projects. Toward the end of the first decade of the twenty-first century, a few highly popular TV formats originally developed in Euro-America, such as Idol and Survivor, were employed as efficient catalysts of the party-state's strategic goals of media marketization and cultural globalization.7 Global TV formats have thus played an indispensable role in the economic, cultural, and social-political transformations of contemporary Chinese media landscapes.8 In the meantime, gender and sexual television images that subvert local heteronormative ideals have proliferated in entertainment TV shows made, distributed, and consumed in contemporary China. Most of these productions are variety or reality TV shows adapted from global TV formats. Notable beneficiaries of these productions include numerous tomboyish (meaning young, masculine) female singers who have risen to stardom in Idol-style reality singing competitions and effeminate, beautiful male stars who have enjoyed wide popularity for their appearances in the trans-Asian idol group training programs.9 In both cases, the nonbinary personae of these celebrities and their television performances are socioculturally legitimized in the Chinese context. These adapted Chinese shows do not present the stars' nonconforming images as visual signs for more politically sensitive and censorable lesbian, gay, bisexual, transgender, and queer (LGBTQ) identities and sexualities.10 Rather, the shows subtly depoliticize and explain their gender-nonconformity as expressions of Chinese-specific individualism, feminism, cosmopolitanism, or fashion styles that synthesize characteristics of local and global public and pop cultures.11 Such dissociation and depoliticization also result from these television stars' frequent cultural references to premodern and modern Chinese gender norms and paradigms, their incorporation of inter-Asian and cosmopolitan gender aesthetics, and their promotion of official ideologies. Existing scholarship has considered local adaptations of global TV formats as "gendered and gendering" venues that both circulate and reconfigure various patriarchal elements transnationally.12 For example, dating show formats, such as The Bachelor (ABC, 2002–), often feature a highly hetero-centric [End Page 184] setting and mobilize "culturally specific gender tropes" to reproduce and promote various forms of misogyny and hegemonic male masculinity in their local adaptations.13 Yet I take a different approach, conceptualizing certain global TV formats, such as those featuring intensive homosocial bonding and settings (e.g., the reality singing competitions shows with an all-female cast) or those promoting heteropatriarchal ideals (e.g., heterosexual matchmaking shows), as inherently queer-enacting, queer-structured, and queer-scripted. These queer-inflected formats and their localization speak volumes about the coexistence and mutual implications of queer and heterosexual sentiments in normative Chinese societies. Specifically, I employ a queering lens to analyze the formats of and dramatic moments in several popular reality shows in contemporary China. I pay particular attention to the long-running popular dating show Feicheng wurao (If You Are the One, JSTV, 2010–) and unfold the ways in which heterocentric TV formats might queer and be queered despite predominantly heteronormative media and public discourses. I see queer as a critical, analytical practice to interrogate "nonnormative ways of being, doing, desiring, and imagining in and cross various forms of traditionally defined boundaries."14 My discussion explores the queer-enabling potential and queered adaptations of global TV formats and unravels the nonnormative meanings and connotations...

Global TV Horror

Global TV Horror

Beyond media imperialism: The challenges of theorizing global TV flows

This article reviews the intellectual journey that led me to study the development of television in Brazil. It discusses how I came to study how media were developing in countries of the global South as part of a Ph.D. in International Relations. It led me to get particularly interested in Brazil, particularly when I discovered that the US State Department was willing to train me in Portuguese and send me there for three years. It discusses the great intellectual support I received for my research on Brazilian television, TV Globo and cultural dependency, from Prof. José Marques de Melo and others at ECA/USP, in which others like Carlos Eduardo Lins da Silva and Ana Maria Fadul were beginning to look at some of the same issues. It goes on to discuss how interesting and helpful the INTERCOM and ALAIC network of researchers was in learning about the great upswell in Brazilian and Latin American research that was taking place.

Korean Competitiveness in the Global TV Market and Implications for Policy

Korean Competitiveness in the Global TV Market and Implications for Policy

Introduction: Global TV Images of Female Masculinity in the 2010s

Abstract This introductory article to the special Forum “Global TV Images of Female Masculinity in the 2010s” offers a reflection on the concept of “female masculinity” in global media and gender studies. Witnessing a growing number of TV representations of masculine girls and women worldwide, we present a summary of the four articles which comprise this themed Forum and address a number of key issues in their case studies, including televisual imaginaries of heterosexual, masculine women, the cultural legitimization of global female masculinities on reality TV, and the racialization and stigmatization of masculine women in White heteronormative societies. The Forum thus promotes a critical dialogue that aims to stimulate further interest in this interdisciplinary field by emphasizing the mutual implications of gendered TV genres and tropes, cross-cultural currents of gender, sexual, and racial knowledge and politics, and the intersectionality of female gender, sexuality, race, and nationality in TV representations.

Multimodality of the TV Format

This article analyses the multimodal construction of various global TV formats and the modes through which the format negotiates reinforcement of its ideological bases, innovation, change and unlimited semiosis. Theoretically, this work draws on social semiotics, multimodality and political economy. Methodologically, it applies semiotic analysis to really popular global formats. The results show that the format is an extraordinary and powerful example of multimodality which speaks the global language of signs. On the one hand, different languages and forms of communication reinforce its ideologies, such as competition, primacy of money, objectification of human bodies and consumerism; but the format also puts forward a kind of self-propaganda; in many cases, in fact, its communication aims to support and promote itself, even when this contradicts other messages of the system; it is by being successful that producers make more money, become more successful, may further influence the audience, and so on. On the other hand, the languages and the forms adopted continually renew the format, change the relationships between signifier and signified, and create new symbols. This unlimited semiosis allows the format to refresh or adapt its image, get more audience and remain competitive in the market. Keywords: TV format, who wants to be a millionaire, wheel of fortune, multimodality, social semiotics

Türk Dizi Filmlerinin Uluslararasılaşmasında Distribütörlerin Fuar Süreci: Çoklu Örnek Olay İncelemesi (Trade Fair Process of the Distributor on the Internationalization of Turkish TV Series: Multiple Case Study)

Purpose – The main purpose of this research is to understand the trade fair activities carried out by the distributors on the internationalization process of Turkish TV series. Design/Methodology/Approach – Multiple case study model, which is the qualitative research methods, was used. Data were collected by conducting semi-structured interviews with the agents of three Turkish TV series distributors using the purposeful sampling method. The data were analyzed by content analysis. Findings – International trade fairs are held in different parts of the world many times a year. It is an important touchpoint for Turkish distributors, who assume the act of intermediary between Turkish producers and TV channels from other countries, for Turkish TV series get into the other country's market. The trade fair process was examined as pre- trade fair, during the trade fair and post- trade fair. Distributors make announcements to their target markets before participating in the trade fairs, take part in the trade fairs as exhibitors, promote the TV series in their catalogs, and establish and develop relations with current and potential customers. By providing continuity of the relations established after the trade fair, they continue to work for the licensing agreements of the TV series in their catalogs. Discussion – Turkish TV series, which were broadcast on TV channels of other countries and enjoyed by large audiences, were achieved both with artistic and technical superiority and through the intermediary activities of distributors in the transfer of rights to TV channels of other countries. International trade fairs can be expressed as markets where Turkish content is presented to the global TV market and where integrated marketing communication takes place. In addition to having an important share in export revenues, Turkish TV series play an important role in promoting Turkey, Turkish culture and Turkish brands to wide geographies by being broadcast on TV channels of other countries. With the study, it has been tried to understand the trade fair process on the internationalization of Turkish TV series, which is a great power for Turkey's image and export.

The Humble Charisma of a White-Dressed Man in a Desert Place: Pope Francis' Communicative Style in the Covid-19 Pandemic.

The context of deep uncertainty, fear, and “social distancing” characterizing the COVID-19 pandemic has led to a need for cultural anchorages and charismatic leaders who may conjointly and effectively support human beings, strengthen their identity, and empower social commitment. In this perspective, the charismatic leadership of Pope Francis, which is widely shared not only within the religious world, may play a crucial role in facing emergency with existential reasons and psychological resources. The general aim of this work is to shed light on the communicative features of the charismatic leadership of Pope Francis during the pandemic emergency; in order to better understand his effectiveness, we analyzed both the core issues and his multimodal body signals in the global TV event of the Universal Prayer with the Urbi et Orbi Blessing. The multimodal and discursive analyses of the homily enabled us to define the “humble” charisma of the Pope, which is based upon on authentic and informal presence, manifested emotional signals (and, in particular commotion) showing features of equity and familiarity. From a discursive point of view, the common and overarching affiliation is constructed through a multiple focus on the “we” pronoun, which is constructed through socio-epistemic rhetoric. The results show how this integrated methodological perspectives, which is multimodal and discursive, may offer meaningful pathways detection of effective and persuasive signals.

Dual-band broadside-coupled based BPF with improved performance

This paper presents a unique structure of a dual-band microstrip bandpass filter (BPF) that works at 1.25 GHz, 1.9 GHz for global positioning systems (GPS) and TV broadcast auxiliary service applications, respectively. The proposed BPF provides compactness, small fractional bandwidth (FBW), small frequency separation, and low IL. The prospective filter is constructed employing broadside-coupling techniques to achieve low insertion loss (IL). The feeding structure is accomplished utilizing a 50 Ω co-planar waveguide (CPW) scheme due to its low loss characteristics. The small 3-dB FBW is accomplished by inserting four transmission zeros (TZs). The size of the overall structure, including I/O transmission lines, is 34.9 × 23.5 mm2. The measured and simulated results fit well with each other and show an IL of 0.77 dB and 0.5 dB, and FBW of 7.6% and 8.4% at 1.25 GHz and 1.9 GHz, respectively.

NETFLIX: CULTURAL DIVERSITY OR CULTURAL IMPERIALISM?

The global rise of Netflix as subscription video-on-demand (SVOD) has emerged along with its capitalization of film, television, and technology industry for the audience's convenience. It replaces the interest of local television with its claim of 'a global TV network' with cultural diversity in its contents. However, the term cultural diversity itself should be questioned whether it means to leave the American cultural power or it is only to claim themselves as a global company where global identity is represented in their identity to attract a wider audience. By using transnational approach, this study finds the use of cultural diversity merely to fulfill the demand of the American audience, with several globalization consequences in Netflix Original series, especially in non-American series. Those consequences are the homogenization in European-made Netflix series, where they appear to be fully Americanized with American lifestyle or American perspective, and heterogenization in Asian-made Netflix series with its collaboration of Asian culture and American popular culture. The claim of a 'global TV network' itself does not leave the American cultural power. Instead, they are taking advantage of the cultural power to retain the existing audiences and to fascinate more audiences. Therefore, the dependency of non-American producers in relying on Netflix platform as a way to reach global audience, even the use of Americanization to their works for global audience's satisfaction, confirms the cultural power of America in its ability to bring economic advancement to other countries.

Turkey’s TV celebrities as cultural envoys: the role of celebrity diplomacy in nation branding and the pursuit of soft power

ABSTRACT With the increasing popularity of Turkish television dramas, actors from Turkish TV series have become global celebrities with hundreds of millions of fans worldwide. In this paper, drawing on a political economy of communication analysis, we investigate the ways in which the Turkish government utilizes Turkish TV series’ actors’ celebrity status to further its foreign policy agenda with respect to soft power. We argue that in the Turkish case, celebrity diplomacy or the instrumentalization of celebrities for state ambitions of soft power necessitates a reliance on commercial television exports for nation branding. This brings its own contradictions and consequences as the image and meaning desired by the Turkish government does not always align with what the TV industry creates when competing in the global TV marketplace.

Fan activism as discursive action: Poaching foreign television series for political satire in China

Critical discourse analysis (CDA) has proved insightful theoretically to analysing discourses and discursive practices of digital activism, especially political activism online. However, few studies have developed CDA analytical framework to unpack fan activism. The unique feature of fan activism lies in the discursive dynamics of transferring discursive resources from entertainment products to construct political discourse. Drawing on CDA, this research explicates the question of how global political TV fictions such as the Netflix TV series House of Cards (HoC) are appropriated as discursive resources for emergent online fan activism in local political contexts. Constrained by the authoritarian context, China’s fan activism usually showcases as discursive action. Using the TV series HoC as a lens, Chinese HoC fans engage in online fan activism through the discursive practice of political satire, playfully criticising contemporary China’s authoritarian politics. Conceptualised within CDA, this research attempts to make explicit a three-pronged analytical framework to unpack such discursive action. To use Western TV series to satirise Chinese contemporary politics, firstly, these fans map the fictional world of HoC onto China’s real-life politics by adopting the lexical strategy of mixing specific Chinese political terms and those taken from televisual and real American politics. Secondly, analogies between the content-world of HoC and contemporary Chinese politics are used to criticise contemporary Chinese political figures and scandals. Thirdly, to avoid Internet censorship, various discursive strategies are used by HoC fans to express their criticism subtly. By focusing on fan activism’s discursive dynamics, this study also forms a dialogue with the scholarship on China’s online activism.

Gendered Islamophobia in the Case of the Returning ISIS Women: A Canadian Narrative

In February 2019, the case of Shamima Begum, hit the headlines. Begum, one of the three East London girls who had left the UK for Syria in 2015, was located in a refugee camp in Syria. Tagged as an “ISIS bride,” Begum's case raised the profile of Muslim women who had voluntarily left their home countries to join the Islamic State and were now seeking to return. In this paper, I focus on the Canadian women returnees who were and, in some cases, remain wives of ISIS soldiers. I pay particular attention to how they are framed in the Canadian media and the audience response to their portrayals. Against a backdrop of the media's representation of these women, I examine the comments that audience members posted after a three-part series on the returning ISIS members was broadcast on the Global Television Network during the month of October 2018. Global TV is a 24/7 news channel that can be streamed online on various platforms. I contend that the construction of the returning wives and the responses the series elicited are reflective of the larger currents of racism and Islamophobia that circulate within Canadian society and that have become amplified since the inception of the War on Terror. However, they take on a distinct hue with respect to the framing of gendered agency and critically heighten the affective charge around the issue of returning ISIS fighters and the women who joined the movement. In this sense, the technology making online commenting possible has escalated the extent and intensity of Islamophobia. This article also seeks to demonstrate how Islamophobia is yoked to and animates an anti-government discourse. Thus, in contrast to Canada's projected national image as a benign, multicultural nation, the user-generated comments paint a picture of a white nation that is overrun with and taken advantage of by racialized minorities.

Hyperspectral Image Destriping and Denoising Using Stripe and Spectral Low-Rank Matrix Recovery and Global Spatial-Spectral Total Variation

Hyperspectral image (HSI) is easily corrupted by different kinds of noise, such as stripes, dead pixels, impulse noise, Gaussian noise, etc. Due to less consideration of the structural specificity of stripes, many existing HSI denoising methods cannot effectively remove the heavy stripes in mixed noise. In this paper, we classify the noise on HSI into three types: sparse noise, stripe noise, and Gaussian noise. The clean image and different types of noise are treated as independent components. In this way, the image denoising task can be naturally regarded as an image decomposition problem. Thanks to the structural characteristic of stripes and the low-rank property of HSI, we propose to destripe and denoise the HSI by using stripe and spectral low-rank matrix recovery and combine it with the global spatial-spectral TV regularization (SSLR-SSTV). By considering different properties of different HSI ingredients, the proposed method separates the original image from the noise components perfectly. Both simulation and real image denoising experiments demonstrate that the proposed method can achieve a satisfactory denoising result compared with the state-of-the-art methods. Especially, it outperforms the other methods in the task of stripe noise removal visually and quantitatively.

POST-PANDEMIC MEDIA SPACE

It is no secret that COVID 19 and its consequences have affected almost all aspects of our life. We have become focused on life at home, the approach to work has changed, and the definition of remote work has taken root in our vocabulary. Despite all the negative aspects, the pandemic has accelerated the development of key technological trends, such as distance learning, telemedicine, remote work, online shopping, contactless payments, 3D printing, which leveled out supply disruptions, robotics, a new generation of 5G mobile communications with its capabilities, and of course, the online entertainment industry. Our consumer preferences have changed during this year; however, the need for entertainment has only increased. Many believe that nowadays, the Internet and television era is a thing of the past; nevertheless, statistics do not confirm this. In the third quarter of this year alone, global TV sales have increased by 12.9% over the same period in 2019, which is 38% more than in the previous quarter. Television viewing has increased, and television program views have skyrocketed. Streaming content has become even more popular; streaming services allow one to watch absolutely everything - movies, TV series, news at any time and from any device. All these processes are connected with the fact that, during the quarantine, cinemas were closed, the attendance of which has already decreased in recent years. They opened with restrictions on viewers’ seating; the premieres were postponed for a year, even two - until the spring of 2021 and 2022. This year, the world of the media and entertainment industry has become: remote, virtual, streaming and personalized. The driver is the consumer, so market players pay great attention to innovation, focusing on personalization. At the forefront of new technologies is the Disney company, which presents its films both in theatrical screenings and on its online platform. Television is also not left behind; on November 3, VGTRK launched its "Smotrim" media platform. The audience’s consumption habits have already changed, interest in media is increasing and moving towards digitalization. The pandemic has accelerated the process. How this is happening and what awaits the industry is covered in this article.

TV2++: a novel spatial-temporal total variation for super resolution with exponential-type norm

Recently, many super-resolution algorithms have been proposed to recover high-resolution images to improve visualization and help better analyze images. Among them, total variation regularization (TV) methods have been proven to have a good effect in retaining image edge information. However, these TV methods do not consider the temporal correlation between images. Our algorithm designs a new TV regularization (TV2++) to take advantage of the time dimension information of the images, further improving the utilization of useful information in the images. In addition, the union of global low rank regularization and TV regularization further enhances the image super-resolution recovery. And we extend the exponential-type penalty (ETP) function on singular values of a matrix to enhance low-rank matrix recovery. A novel image super-resolution algorithm based on the ETP norm and TV2++ regularization is proposed. And the alternating direction method of multipliers (ADMM) is applied to solve the optimization problems effectively. Numerous experimental results prove that the proposed algorithm is superior to other algorithms.