Power Of Television Research Articles

Thai Film and Television Development and its Impact on the Economy

Film and television are regarded as the media carrying cultural communication, that is, one of the key carriers of cross-cultural communication. In recent years, Thai films and television have gained more and more popularity among audiences all over the world, which not only has far-reaching significance for studying the phenomenon of cross-cultural communication, but also its contribution to the economy is worth analyzing. As a non-traditional film and television power in Asia, there are many places worthy of our attention and research on how Thailand makes film and television develop rapidly and drive its economy.

Watching Women: Surveillance and Spectatorship in Early Science Fiction Television

Abstract This article analyzes episodes of early science fiction anthology series to examine how fears of television's ability to turn its gaze on the home circulated around women, both as objects of surveillance and as television spectators, in the 1950s and 1960s. Media historians have called attention to the importance of women in defining the role of new technologies and have detailed the gendered popular constructions of early television. This article stems from such work, addressing the time when audiences and producers alike were grappling with the imagined potential of television's visuality and liveness to impose visibility on its viewers. Early episodes of Tales of Tomorrow, The Twilight Zone, and The Outer Limits expose anxieties about the power of television as a surveillance mechanism to enact control over audiences. Formally and narratively, these episodes complicate the division between seeing and being seen, particularly for women viewers, while enacting strategies to contain and discipline women. They mobilize women's navigation of visual subjectivity and objectification only to eschew their ability to look and reify their status as objects to be looked at. By taking a closer look at early television surveillance narratives, this article demonstrates how women's television spectatorship has always entailed a complex negotiation of imposed looking relations that paradoxically attempt to deny the female gaze even as they depend on it. Understanding this historical context helps illuminate the gendered power dynamics of spectatorship and visibility in our present media landscape, in which the convergence of TV and surveillance technologies realizes the imagined fears of the mid-twentieth century.

An Urgent Legacy

The US House Select Committee to Investigate the January 6th Attack on the United States Capitol hearings were the must-see TV of the summer of 2022. FQ columnist Caetlin Benson-Allott argues that the hearings’ compositional form and ideological structures dramatized the differences between televisual liveness and live streaming (i.e., videos created, distributed, and received concurrently online). The Select Committee hearings affirmed television’s cultural significance: they upheld television as the medium for national conversations and, through their invocation of historic television formulas and ideologies of liveness, marked television as a legacy medium whose very datedness bestows a certain gravitas on its contents. In so doing, the hearings reasserted both the Select Committee’s power and the power of television.

“Sizler de Unutmayın Beni Türkiye’deki Kardeşlerim": Yeniden Doğmak Dizisi ve Duygu Politikası

Bulgaristan, 1984-1985 kışında Türk azınlığa karşı yürüttüğü asimilasyon politikalarını had safhaya vardırır. Halterci Naim Süleymanoğlu’nun 1986 yılında Türkiye’ye iltica etmesi, Bulgaristan-Türkiye ilişkilerini iyice gerginleştirir. Türkiye Radyo Televizyon Kurumu (TRT), 1987 yılında Bulgaristan’ın asimilasyon politikalarını konu edinen Yeniden Doğmak dizisini yayınlamaya başlar. Kızlarını geride bırakarak Türkiye’ye göç eden parçalanmış bir ailenin hikâyesini ön plana çıkaran dizi, Türk halkının milliyetçi duygularını harekete geçirerek iki ülke arasında diplomatik bir krize yol açar. Bulgaristan’la yapılan pazarlıklar sonucu, hikâyenin ilham kaynağı olan Aysel Özgür’ün serbest bırakılması karşılığında dizi yayından kaldırılır. Yeniden Doğmak dizisi aracılığıyla yaratılan duygusal atmosfer, Bulgaristan’ın Türk azınlığa karşı yürüttüğü asimilasyon politikalarının hem ulusal hem de uluslararası ölçekte tartışılmasını sağlar. Televizyonun ve dramanın gücünden yararlanarak gerçekleştirilen bu proje, aslında kitlelerin duygularını manipüle eden politik bir etkinliktir. Dönemin Başbakanı Turgut Özal, tüm siyasi kariyeri boyunca iktidarını tıpkı çağdaşları Ronald Reagan ve Margaret Thatcher gibi duygu politikaları ile sürdürmeye çalışmıştır. Bu çalışmanın amacı, Özal’ın Bulgaristan’daki Türk azınlık konusunda yürüttüğü duygu politikasını Yeniden Doğmak dizisi ekseninde incelemektir. Nitel bir perspektifle yürütülen çalışmada, dizinin anlatı analizi gerçekleştirilmiştir. Bu çerçevede, duygulanımsal medya iktidarına ve duygunun ideolojiden çok daha önemli bir rolü olduğuna vurgu yapan Brian Massumi’nin argümanlarından yola çıkılmıştır.

WOMEN'S TOUCH ON SPORTS SCREEN: EXAMINING THE WOMEN SPORTS PRESENTER PERCEPTION ON TV FOOTBALL SHOWS

Women whose interest in sports and football increase day by day maintain their interest both as active and passive participants (Acosta and Kartepender, 2014). This interest has not been limited merely to watching sports. It has gone so far as women working professionally in the media (Performance Communications, 2016). Thus, it is believed that it will not be wrong to say that the male dominant structure in sports and the sports industry has begun to display differences with the professional participation of women in the sports media (reporter, presenter, author, editor etc.) The power of television is a fact that should be taken into consideration in the developing and changing world. Gender studies on sports media demonstrates that women sports are not taken seriously and does not get the respect it deserves in the media (Cooky, Mesner and Hextrum, 2013). Thus, the place of women in sports programmes and the perception this creates in Turkish society has become an important subject that should be studied. The aim of this study is to find out how female presenters in football programmes are perceived by viewers. For this purpose, the interview technique which is a qualitative research method has been used to get more detailed and in-depth data. The data from the interviews has been analyzed using the content analysis method and coded under appropriate themes. Research results are divided into two as positive and negative thoughts. The thoughts of the participants were evaluated in two categories as ‘the perception of women on screen and program content. The findings of the study show that the presence of women in football programmes is generally viewed positively. In addition, it can be said that women on football screen is perceived as ‘beneficial’, ‘necessary’ and ‘beautiful’. Article visualizations:

Narendra Modi and the Power of Television in Gujarat

The growing importance of images in the age of television has created the conditions for Narendra Modi to evolve his nondiscursive populist mode of political communication as Chief Minister of Gujarat. Beyond television, he has relied on techniques like mobile vans carrying TV sets and 3D holograms shown in many different locations simultaneously. In this type of high-tech populism, the dress codes and the body language have mattered lot, and hence Modi’s obsession with details, including the colors to wear and the length of his kurta’s sleeves. If Indira Gandhi’s brand of populism relied mostly on the radio, Narendra Modi, who has short circuited his party in the same proportion, belongs to the television era. But he has not used this medium only to promote his image (TV has also played a role in preparing the ground for the Gujarat pogrom after Godhra).

Influence of television advertising on women consumers' behavior regarding food product brands

Television advertising has a vital role and significant influence on consumer behavior. With steady increase of private TV channels in Bangladesh, effectiveness of advertisements has become a prime concern to the advertisers as they have to pay a lot of money to broadcast their adverts. The main objective of this study is to analyze how much impact TV advertising has on brand preferences of women consumers regarding food products in the context of household decision making. Data was collected using convenient sampling method (N=160) through a self-administered questionnaire in Chittagong city, the commercial capital and second largest city in Bangladesh. Results of the correlation analysis revealed that there is a significant positive correlation between level of attention while viewing TV advertisement and informing, selecting, purchasing and even switching to a particular brand of food products. This study supports the effectiveness of TV advertising, and the power of television viewing as well on behavioral factors.

The Disasters Emergency Committee (DEC) and the Humanitarian Industry in Britain, 1963-85.

This article explores the history of modern British humanitarianism. Specifically, it charts the rise of an extensive humanitarian aid 'industry' in Britain, between 1963 and 1985. It does so through a focus on the Disasters Emergency Committee (DEC), an umbrella body for joint emergency fundraising established in 1963. The DEC is an enduring and important presence in the British humanitarian landscape, as it brings together leading aid agencies to make fundraising campaigns on television after major disasters. This article represents the first systematic historical analysis of the DEC, which it uses to illuminate larger questions about the politics of non-state humanitarianism, state-voluntary sector relations, the political impact of television, and the end of empire. It is shown that while DEC appeals fuelled the growth of its members, this was also a problematic process. Many principal aid agencies wished to shift their focus away from short-term disaster relief work to tackling the long-term structural causes of global poverty instead. It is argued that, despite an increasing political focus, humanitarian organizations were constrained from doing so by the power of television; a perceived lack of public support; the interventions of the British government; and competition between aid agencies in a crowded marketplace. Consequently, continued involvement in short-term, apolitical emergency assistance remained a requirement even for agencies sceptical about its value and impact. This analysis complicates linear narratives of a transition from emergency relief to development aid in post-war British humanitarianism, instead presenting the period as characterized by competing and even contradictory trajectories.

Rationalizing Creativity—Rationalizing Public Service: Is Scheduling Management Fit for the Digital Era?

In public broadcast organizations across Europe, scheduling has been transformed from a marginal, administrative activity to a highly strategic management tool (Hellman, 1999; Hujanen, 2002; Meier, 2003;Ytreberg, 2000) Ellis (2000)described it as “the locus of power in television,” organizing production and managing budgets (p. 26). The role of scheduling in public broadcast organizations today reflects the demands of increasing competition and political pressure for efficiency and accountability. However, new challenges have emerged in the transition from public service broadcasting to public service media (PSM). PSM providers must redefine their mission for the digital era and find new ways to engage audiences and enrich their societies. They also have to navigate a new competitive and regulatory environment, as they begin to compete in a cross-platform market with a range of media services. Adapting to this new arrangement will require creativity and innovation from content creators. However, as this article shows, scheduling management limits producer autonomy and inhibits creativity. Based on in-depth, qualitative interviews with key personnel from Radio Teilifís Eireann (RTÉ), Ireland's public broadcast organization, this article examines how rationalization of scheduling practices has enabled management to maximize competitiveness and cost efficiency. However, it argues that the schedule-led system curbs creative freedom and ultimately threatens to undermine the public service that RTÉ provides. It is timely then, at this critical juncture, to examine whether scheduling management has anything to offer PSM organizations in the digital era or if it should be abandoned in favor of a third model of management.

A thermal simulation of the DDI development of a multi-channel package for high-definition LCD panels

A multi-channel display driver integrated circuit (DDI), which is the core part of a liquid crystal display (LCD) television (TV), was proposed. The introduction of multi-channel DDIs in LCD TVs results in thermal problems because of increased power in LCD TVs. DDIs are investigated at package and module levels to solve this thermal problem, and extracting the junction temperature (Tj) of DDI at a system level is also necessary. The objectives of this research are as follows. First, a standard temperature-measurement environment that is centered on consumers should be defined. Second, the defined measurement method needs to generalize analysis models (Ushaped compact model) based on the size in inches of LCD modules. Third, a cooling method based on multi-channel DDI needs to be proposed. Afterward, the effect of the proposal needs to be verified. The contributions of this study to the development of DDI products are as follows: first, this study performs heat dissipation parameters in multi-channel DDIs by using a generalized compact model. When the compact model is used, it can easily handle boundary conditions and accurately predict the temperature. Consequently, the temperature in the DDI can be calculated easily at a system level. We also propose a cooling plan to protect DDIs from overheating. This cooling plan can be utilized in the DDI design. Second, the thermal problem in conventional chip on films (CoF), which is caused by increased power, is solved by proposing a thermally enhanced CoF (TECoF), thereby reducing costs because of the reduced number of DDIs. For reference, an international patent is applied for the TECoF. Third, an estimated equation of Y (DDI temperature) for X’s is used in a package development system to predict the temperature in the early stage of the development and to prepare various countermeasures.

TV, Boon or Bane? Participation and a Televised Town Meeting

As a public participation tool, television has been particularly vexing for planners who see promise in its ability to reach large audiences, but have issues with its expense and love of “sound-bites”. In 2009, a regional planning organization in the middle of the USA put the power of television to the test with a live televised town meeting. This study evaluates the event's effectiveness using democratic principles. The program was successful at reaching huge numbers in a short time period, at being inspiring, at increasing political efficacy, and at creating networks. It fell short, however, where the medium of television is inherently undemocratic (in the timing and scheduling of the show and engagement, in expense, and in reinforcing passivity). Comparing the strengths and weaknesses of television reveals that planners can use television to its best participatory advantage when they focus on collaborative participation and when they have realistic expectations.

Star Trek as Myth: Essays on Symbol and Archetype at the Final Frontier (review)

Matthew Wilhelm Kapell. Star Trek as Myth: Essays on Symbol and Archetype at the Final Frontier. London: McFarland, 2010. 229 + ix pp. $39.95 (USD). ISBN: 978-0-7864-4724-4 Star Trek as Myth is a compilation of fifteen essays that demonstrate how "Star Trek is a kind of contemporary mythological system" (1). The anthology is divided into two sections and includes an introduction by Kapell, which offers a fascinating commentary on the relation of the Star Trek phenomenon in its infancy to the Moon Landing in 1969, the year Star Trek (The Original Series, hereafter called TOS) was cancelled. Kapell argues that the basis of Star Trek's power over the American psyche is its presentation as "mythos cleverly disguised as a kind of speculative logos" (7). Star Trek creates stories that seem to agree with the logic of science while creating a mythos of the future to which contemporary scientific advances appear to be heading. As a distinctly American phenomenon, the Star Trek mythos is informed by the historical formation of the United States. As testament to this, Kapell's study relies on Frederick Jackson Turner's frontier thesis that "it was an ever-expanding western frontier, continually opening before American Manifest Destiny, full of free land and opportunity that created the American way of life" (8). Although there has been significant research done in frontier theory since Turner forwarded his groundbreaking "Frontier Thesis" in 1893, Kapell does not acknowledge this and instead draws a straight line from Turner's thesis to Gene Roddenberry s "Wagon Train to the stars" (9). The first of two sections of the text, "A Partial Cannon of Star Trek Myth Criticism" contains essays whose original publication dates run from 1977 to 2001, each of which includes a brief postscript written by its original author speaking to the enduring relevancy of the franchise. The first essay is William Tyrell's "Star Trek as Myth and Television as Mythmaker" in which he examines the recurring theme of paradise in TOS to make a larger argument about the "power of television" (19). Peter J. Claus' essay relies on structural analysis of the TOS series to find "the same significance in myth of television" that Levi-Strauss found in traditional forms of myth (40). Scott Littleton's essay argues that a "secularized mythology of the future" is apparent through the study of "fundamental mythic themes and motifs" in TOS as well as the first three films released between 1979 and 1984. Next, Ace Pilkington draws on the same incarnations of Star Trek to show a message of hope for the future in Star Trek's "multiplicity of mythic messages" (44). Kapell's essay in this section convincingly argues that the holocaust on the planet Bajor in Star Trek: Deep Space 9 (DS9) is a dangerous simulacrum based not on history, but on Americanized representations of the Holocaust which ultimately "lessens the dramatic impact of the spectacle and harms the memory of the event" (68). …

The Power of Television in a Digital Age

The Power of Television in a Digital Age

Televising Treatment: The Political Struggle for Antiretrovirals on South African Television

Siyayinqoba/Beat It! is an activist-aligned television programme first broadcast on South African national television in 1999. This article documents how Beat It! used the educative power of television to demystify HIV treatment and generate support for public access to antiretroviral medicines (ARVs). It seeks to address gaps in scholarship about the historical representation of HIV in the South African media, and explores how Beat It!'s earliest critique was directed at the profiteering of pharmaceutical corporations, in reflection of the struggle of HIV treatment activists against the exorbitant cost of branded ARVs. This article also examines Beat It!'s broadcast of the activist struggle against the state's refusal to roll-out a public programme for the prevention of mother-to-child transmission of HIV. Through its galvanising portrayals of the imperatives of HIV treatments, Beat It! encouraged viewers to fight for public access.

THE HIERARCHY OF JOURNALISTIC CULTURAL AUTHORITY

Print and broadcast journalists attempt to patrol the boundaries of the field. They compete with consumer perceptions and the consequent power of television that have led to a shift in traditional definitions of journalism. Among journalists from print, national and network radio and network (non-local) television, a clear discrepancy emerges between the level of esteem journalists of each medium have among their colleagues, and their popular status with the public. This study documents and analyzes the ways in which members of the American journalistic community have articulated their beliefs about who has the authoritative voice in journalism, and who is qualified to make decisions about boundaries of the craft and preferred practices. This study finds that internally, newspaper journalists are still regarded as the legitimate craftsmen. The fame that some television journalists have achieved both reflects the appreciation of TV journalism and a loathing of it, primarily due to how this fame functions in journalistic cultural authority, as well as in practices of promotion and financial compensation for journalists. Despite these tensions, journalists of different media are also shown to exhibit solidarity and recognition that they are all colleagues in a larger community with a common goal.

Exemplary Consumer-Citizens and Protective State Stewards: How Reformers Shaped Censorship Outcomes Regarding <i>The Untouchables</i>

Exemplary Consumer-Citizens and Protective State Stewards:How Reformers Shaped Censorship Outcomes Regarding The Untouchables Laura Cook Kenna Eliot Ness questioned Joe Bucco, but it was no use—Bucco would never reveal what he knew about Vittorini's brutal death or any other detail that would betray his loyalty to the Mafia. "The Noise of Death" episode of The Untouchables (1959–64) built upon Ness's reputation as Al Capone's nemesis but fictionalized the crime fighter by scripting him into crusades against other organized criminals. As in "The Noise of Death," many of the series' imaginary criminals were given names like "Bucco" and "Vittorini." In response, boycott instructions and blustery rhetoric covered the pages of Italian American newspapers across the country. Every effort must be made, they declared, to stop the slur of the Mafia from adhering so persistently and perniciously to their ethnic identity. If other Americans viewed images of organized criminals with Italian last names and Italian immigrant accents, they reasoned, Italian Americans' cultural and even political status would be jeopardized. Meanwhile, the director of the Federal Bureau of Prisons filed a complaint with the FCC charging that the series' fictionalizations were unfair to lawmen and that images from The Untouchables would cause viewers to doubt the competence and honesty of their police forces and promote criminal behavior. Each group's efforts to censor The Untouchables were shaped by their respective understandings of television as a powerful medium. For both sets of objectors, viewers' sympathy with characters on the screen was believed to affect viewers' attitudes or actions in everyday life. To the extent that the would-be censors' views of television differed, so did their preferred means of censorship. How the TV was constructed—particularly the imagined power dynamic between the viewer and the medium—shaped the adopted tactics and the ultimate outcomes of protests against The Untouchables. Government hearings vetted concerns about violence, representations of police, and the possibility of the state taking a greater hand in regulating television. Despite their high profile, the hearings neither resulted in government censorship nor inspired industry-initiated efforts to appease the government's concerns. On the other hand, the boycotts and letter campaigns of Italian American antidefamation activists led to public disclaimers and apologies and even changed scripts. In what follows I consider how competing constructions of television's power—circulating through a variety of sources, including popular press, academic research, and congressional hearings—shaped protestors' reactions to television content as well as the tactics and results of their censorship campaigns rather than focus on the specific representations that incited these controversies. The understanding of television as a powerful medium that was nevertheless bound to consumer preferences reinforced the position of the Italian American antidefamation movement and contributed to their winning fairly radical concessions from The Untouchables' production company, Desilu. These Italian American groups, however, rarely invoked recent scholarly studies or the shared concerns of would-be government regulators, which imagined viewers as relatively less able to resist the influence of the TV medium without increased regulation by the state. Likewise, congressional hearings that subpoenaed network representatives regarding the content of The Untouchables and other action-adventure programming included psychiatrists, communications professors, and concerned government officials but did not acknowledge the grievances, let alone the recent victories, of the ethnic protestors who had addressed television viewers as impressionable but ultimately discerning consumer activists. However separately statist and Italian American spokespersons presented their cases, each relied upon and, in part, constructed a particular understanding of television's power vis-à-vis its viewers, an understanding that [End Page 34] became a structuring factor in articulating and negotiating their complaints against the series. In the end, Italian American activists provided a means and model for public-responsive censorship that still did not invite government participation, a tactic that allowed content restrictions to appear as democratic and market-driven rather than as a special interest or state-driven encroachment on American freedoms. The lively, early-1960s debates over The Untouchables series have drawn previous scholarly attention from those interested in violence or ethnicity in the context of mid-century television. William Boddy has argued that the controversy over the series' notoriously violent...

Television's Power Relations in the Transition to Digital

This article examines the contemporary configuration of power relations in the U.K. television sector, probing, in the process, the enduring accuracy of longstanding economic arguments concerning distributor dominance in the “cultural industries” more broadly. Such arguments are important because we cannot understand the power of the media unless we understand the circulation of power within the media. The article shows that while recent developments in respect to both producer—distributor and producer—advertiser relationships have begun to enhance the leverage enjoyed by the production community, the steady inflation of the mass-market premium enjoyed by the leading distributors (the terrestrial broadcasters) in the advertising market has largely sustained their power, in relation to smaller (multichannel) distributors, to producer suppliers, and—of course— to the consuming public.

An Appreciation of Art Cohen From the Perspective of a Practitioner and Former Graduate Student

When I enrolled in the graduate school of education at UCLA in fall 1969, I had not heard of Arthur Cohen. I was inclined to focus my studies on the more traditional college and university institutions in which, up to that time, I had studied, taught, and worked in student personnel. I had not been a community college student and was not very familiar with the mission and practices of those institutions. However, philosophically I was attracted to the concept of community colleges, especially the emphasis on access, and I believed in the need for reform of higher education teaching, curriculum, and organization. It did not take me long to be drawn to Art Cohen's teaching about, research on, and passion for community colleges. Little did I know then that I would spend my entire professional life working in community colleges, applying many of the ideas and concepts I learned from him in graduate school. This was the late 1960s, and university campuses reflected the turmoil of the country over the Vietnam War and the demands of students for more relevant and education. It was the time of the creation of the Open University in England and the introduction of many innovations in teaching and organization of institutions. In 1969, Art Cohen's book Dateline '79: Heretical Concepts for the Community College was published, and it expressed many of the ideas that would inspire my work for the next 25 years. His description of what the community college of 1979 should look like was prophetic, not necessarily in the sense that all the features were enacted but rather that the ideas have become some of the most significant and ongoing issues of the community college movement since then. His ideal college was characterized by easy access, accountability, courses that take students to all parts of the city, teachers as professionals in instruction, research on learning processes (p. 208). After I completed my doctorate, the first feature of Art's ideal community college, the need for easier access, took me to work at the Coast Community College District in Southern California, where my first position was instructional designer for television courses. The district had just acquired the license for a public broadcasting station and the chancellor, Dr. Norman Watson, was committed to the idea of using television for education. Coast, along with Miami Dade Community College, the Dallas County Community College District, and other colleges, were exploring how public 2-year institutions could lead the open education movement. It was an exciting opportunity to be a part of the creation of high-quality educational television, utilizing principles of design, the power of television, and the opportunity to reach a whole new audience of students, especially adult part-time students. The work on telecourses employed another element of Art Cohen's educational philosophy, the commitment to use objectives in instruction. From the beginning, Coast's telecourses were distinguished by a commitment to solid academic quality and were organized around course goals and specific objectives developed by faculty that formed the basis for the course print and video components, as well as the evaluation instruments. …

The prime-time presidency: The West Wing and US nationalism

Contrasting strong women and multiculturalism with portrayals of a heroic white male leading the nation into battle, The Prime-Time Presidency explores the NBC drama The West Wing, paying particular attention to its role in promoting cultural meaning about the presidency and U.S. nationalism. Based in a careful, detailed analysis of the first term of The West Wing's President Josiah Bartlett, this criticism highlights the ways the text negotiates powerful tensions and complex ambiguities at the base of U.S. national identity - particularly the role of gender, race, and militarism in the construction of U.S. nationalism. Unlike scattered and disparate collections of essays, Trevor Parry-Giles and Shawn J. Parry-Giles offer a sustained, ideologically driven criticism of The West Wing. The Prime-time Presidency presents a detailed critique of the program rooted in presidential history, an appreciation of television's power as a source of political meaning, and television's contribution to the articulation of U.S. national identity.

Estudio empírico sobre el serial juvenil «Al salir de clase»: sobre la transmisión de valores a los adolescentes

The television's power to socializate teenagers is always reason for worry among educators and social scientists. Soap Opera is one of the highest exponents as transmitter of values, rules, attitudes and opinions. This article presents an empirical study about the spanish teen soap «Al salir de clase», which analyses its contents and adolescent's reception.