Program Genres Research Articles

Generi letterari: Programmschriften filosofiche nella Germania della Aufklärung

The literary genre of academic programs (orationes programmaticae, Programmschriften, Einladungssschriften) defines itself on the basis of the following requirements: they were (1) connected with a course; (2) printed on quarto or octavo signatures; and (3) distributed unbound free of charge at the expenses of the professor. To date, German eighteenth-century academic programs have not been made the subject of scientific investigations due to the difficulty of providing a strict definition of the genre. As a rule, their contents were provocative and hyperbolic, given the professor’s aim of gaining the benevolence of the students by condescending to their reasoning abilities. Most importantly, professors felt free to express themselves on issues they might not have gone into in fully fledged treatises. We are talking about texts that are mostly very little known, although we can identify as academic programs a number of renown writings by Wolff, Kant, Fichte, and Herbart, which gather new light by being put into a fully unexpected context.

Preference for Television Programs About Sexual Risk: The Role of Program Genre and Perceived Message Intent

Entertainment-education television programming may offer an effective way to reach audiences by embedding health and social issues into television shows people already choose to watch. Although research has examined the effects of these narrative-based messages on viewers, little is known about the ways in which different types of programs might motivate or inhibit voluntary exposure in the first place. To address this question, 137 young adults read a series of descriptions of television shows about sexually transmitted infections (STIs) and then indicated their interest in viewing each one. In a 2 × 2 between-subjects experiment, participants were told that the programs they read about were either (a) scripted dramas or (b) news programs and that they had been produced either (a) purely for entertainment or (b) to promote healthy behavior. Results reveal that program genre and perceived message intent interact to influence preference for television programs about sexual health. Discussion of implications and directions for future research are presented.

I Am What I Watch: Voyeurism, Sensation Seeking, and Television Viewing Patterns

This article investigates the role of viewers' personality traits, sensation-seeking, and voyeurism in relation to reported consumption of voyeuristic program content in various television genres. A uses and gratifications approach was employed to identify factors predicting appeal of particular TV programs. The study combines two types of media research: survey and content analysis. Results were combined to create the Voyeurism Television Consumption Index (VTCI) for each genre of TV programming. Both sensation-seeking and voyeurism predict media selection, with voyeuristic personality a better predictor of VTCI across genres. Implications of the findings are discussed.

Predictors of the Gap between Program and Commercial Audiences: An Investigation using Live Tuning Data

Audience measures serve as the basis on which billions of dollars of television advertising are purchased each year. However, these measures often fall short of providing marketers and media planners with information about the size of the audience that has the opportunity to see advertisements during commercial breaks. Although program audience measures remain relevant for product placement, the size of the gap between the audience potentially exposed to programming and the audience exposed to commercial breaks has implications for advertisers and networks, affecting decisions such as program selection and ad pricing. The authors use a full television season of live tuning data to study variation across programs in the size of the program audience and the size of the gap between the potential program audiences and the potential commercial audiences, which is found to exceed 20% of the program audience in some cases. Across program genres, the authors find that dramas have increased program popularity and reduced ad avoidance, whereas reality television experiences increased ad avoidance. The analysis reveals the importance of incorporating show-specific random effects because their omission can result in spurious attribution of differences in ad avoidance and program popularity to genre. The authors discuss the implications for networks and advertisers.

Predictors of the Gap Between Program and Commercial Audiences: An Investigation Using Live Tuning Data

Abstract Audience measures serve as the basis on which billions of dollars of television advertising are purchased each year. However, these measures often fall short of providing marketers and media planners with information about the size of the audience that has the opportunity to see advertisements during commercial breaks. Although program audience measures remain relevant for product placement, the size of the gap between the audience potentially exposed to programming and the audience exposed to commercial breaks has implications for advertisers and networks, affecting decisions such as program selection and ad pricing. The authors use a full television season of live tuning data to study variation across programs in the size of the program audience and the size of the gap between the potential program audiences and the potential commercial audiences, which is found to exceed 20% of the program audience in some cases. Across program genres, the authors find that dramas have increased program popula...

The NBC Advisory Council and radio programming, 1926-1945

This title shapes early mass media. In 1926, the new NBC networks established an advisory board of prominent citizens to help it make program decisions as well as to deflect concerns over NBC's dominance over radio. council, which advised NBC on program development - especially cultural broadcasts and those aimed at rural audiences - influenced not only NBC's policies but also decisions other radio organizations made, decisions that resonate in today's electronic media. council's rulings had wide-ranging impact on society and the radio industry, addressing such issues as radio's operation in the public interest; access of religious groups to the airwaves; personal attacks on individuals, especially the clergy; and coverage of controversial issues of public importance. Principles adopted in these decrees kept undesirable shows off the air, and other networks, stations, and professional broadcast groups used the council's decisions in establishing their own organizational guidelines. Benjamin documents how these decrees had influence well after the council's demise. Beginning in the early 1930s, the council denied use of NBC to birth control advocates. This refusal revealed a pointed clash between traditional and modernistic elements in American society and laid down principles for broadcasting controversial issues. This policy resonated throughout the next five decades with the implementation of the Fairness Doctrine. The NBC Advisory Council and Radio Programming, 1926-1945 offers the first in-depth examination of the council, which reflected and shaped American society during the interwar period. Author Louise M. Benjamin tracks the council from its inception until it was quietly disbanded in 1945, insightfully critiquing the council's influence on broadcast policies, analyzing early attempts at using the medium of radio to achieve political goals, and illustrating the council's role in the development of program genres, including news, sitcoms, crime drama, soap operas, quiz shows, and variety programs.

PENELITIAN KHALAYAK DALAM PERSPEKTIF RECEPTION ANALYSIS

Reception analysis provides a means of understanding media texts by understanding how these texts are read by audiences. Theorists who analyze media through reception studies are concerned with the experience of media (print, broadcasting, online media) and it takes a closer look at what is actually going on. Reception analysis concentrates on the audience themselves and how they come to a particular understanding view of a text, and how meaning is created through that experience. An important concept of reception theory is that the media text—the individual movie or television program—has no inherent meaning in and of itself. Instead, meaning is created in the interaction between spectator and text; in other words, meaning is created as the viewer watches and processes the movie. Reception theory argues that contextual factors, more than textual ones, influence the way the spectator views the movie or television program. Contextual factors include elements of the viewer's identity as well as circumstances of exhibition, the spectator's preconceived notions concerning the movie or television program's genre and production, and even broad social, historical, and political issues. In short, reception theory places the audience in context, taking into account all of the various factors that might influence how she or he will read and contruct meanings from the text, such as in form of still images, moving images, or written. To understand the meanings that people take from a text it is necessary to get closer to individual audience members and engage with them at a personal level-qualitative research becomes a necessity There are obvious implications for research methodology. Quantitative research is not suited to investigating the construction of meaning.

Docudramatizing the real: Developments in British TV docudrama since 1990

ABSTRACTThe article discusses the reasons for the growth in television docudrama in Britain since 1990. These stimulating factors include regulatory frameworks, especially the Broadcasting Act of 1990 that affected existing television institutions by introducing increased competition and budgetary pressures. Challenges to television documentary from falling audiences, and to drama from rising costs, also led to a reconfiguration of British television schedules and the emergence of new hybrid programme genres. The pressures of this changed environment led the hybrid form of docudrama to take on some of the functions of history programmes, social affairs, political investigation and responses to key events such as the September 11, 2001attacks. Docudrama makers were increasingly required to seek co-production finance and distribution deals with overseas television channels. Docudrama was already controversial because of its relationship with antecedent documentary and dramatic traditions, but the post-1990 British contexts presented both new problems and new opportunities. The relative immediacy of docudrama and its engagement with public affairs, married with its performativity and personalized mode of address, equipped docudrama to respond to challenging circumstances. It could fulfil the capacities of the television medium for both social extension and intimate involvement in a period when its component genres faced significant obstacles in doing so.

THE LAST YET ALSO THE FIRST CREATIVE ACT IN TELEVISION?

A television channel's identity is shaped by its output: not just the relative share of different programme genres but equally so the relative position programmes take up in the schedule. This paper refutes the notion that the development of scheduling strategies and tactics – to make the programme schedules as interesting as possible for viewers – are a product of a commercial and competitive television environment. It will be demonstrated that, from its inception, public service television paid considerable attention to the way in which the actual programme schedules could help establish its cultural–educational broadcasting goals. Taking Flemish public service television between 1953 and 1974 as a case in point, the paper analyses how, first, European public service broadcasting (PSB) created its own annual, seasonal, weekly and daily rhythm and, second, how contemporary scheduling strategies and tactics (compatibility, hammocking, etc.) can be identified in the monopolistic past, albeit interpreted along historically dominant PSB policy objectives.

A Portrait of Food and Drink in Commercial TV Series

This study examines the content and presentation of food and drink on fictional, commercial television. It provides the first comparison of food and drink consumption across different television program genres designated for different age groups. Data originated with a random sample of 50 taped episodes of children's shows, 50 episodes of “tween” programs (shows targeted for 9- to 14-year-olds), 40 episodes of afternoon soaps, and 50 episodes of prime time shows. The choice of TV series was based solely on the strength of Nielsen audience ratings. The study coded the foods for nutritional content and the drinks for alcoholic/nonalcoholic content, how they were used, and in what context. Findings indicate that foods were more commonly offered and consumed on children's shows, and that problematic foods (defined as oils, solid fats, and foods with added sugars) were significantly more prevalent in youth-oriented shows than in adult-oriented shows. Although there was only a negligible presence of alcohol on children's shows, the average hourly use of alcohol on the tween shows matched that of the adult programs; therefore, alcohol was as common in the shows directed at young audiences as in shows for adults. Negative outcomes were largely absent from food and drink behaviors on these TV series.

Modeling and delivering heterogeneous audiovisual content for group consumption

The abundance of broadcast material, especially when it becomes available from a variety of content providers, makes the choice of a program genre and adaptation of presentation options to the preferences of a user, a welcome feature of the modern-day TV viewing experience. From a technical point of view, assembling and transmitting such heterogeneous content is in itself a daunting task, especially when intellectual property rights issues should be tackled. In addition to this, while there are a lot of options for filtering content with respect to the preferences of a single user, the common or aggregated choice of a group is hardly ever taken into account. Considering the fact that TV viewing and multimedia consumption in general are essentially a social activity, systems which package, filter and rank the available content or propose similar content to what is currently viewed should also integrate mechanisms to model group dynamics. This article presents an integrated, end-to-end architecture which assembles multimedia material, respecting the IPR of the content provider, and delivers it to a client-side mechanism which considers the preferences of all the viewers currently watching to filter and rank the available programs. In order to respect the established methods of producing content, this system utilizes concepts from adopted standards (MPEG7, MPEG21) to model processes and represents data and relations between the different entities of the system.

High school students’ thoughts about science on television programmes

In this study, high school students’ thoughts about science which takes part in different programme genres are examined. For determining these programme genres, a questionnaire was applied at schools and the programmes that include much more science according to them were asked. Qualitative methods were used in this study which was applied to 70 science students. Four programme cross-sections that include two news, a documentary and a film were used in this study. Open-ended questionnaires about the current programmes were used for gathering students’ opinions. As a result of this study, it was found that students were generally affected by television programmes and particularly some programmes were more convincing.

American Television as a Global Public Sphere

This article examines the hegemony of the American media industry, and the effect that American teltevision has on global publics and global citizens. On the one hand, American television newa (and other global news service) produces the subject position of the hlobal audience that encourages a new type of attentiveness, a new form of collective monitoring, and a new politics of publicity. This new subject position encourages social reflexivity, but it does so in an uneven way, which also provides a number of distancing mechanisms that allow viewers to escape from ethical responsibility. On the other hand, genres of American entertainment programming produce technologies of transnational cultural citizenship, allowing the popular to come into contact with the civil spherein public debates about cultural policy, in aesthetic publics (which combine cultural criticism and social commentary), and at the level of the social imaginary. In this way, American television provides a kind of hybrid public space, which combines local and global publics in a way that denaturalizes both, creating a situation of ideological competition between multiple discursive forms and competing forms of cultural origin.

국내 방송 드라마의 유통 구조 및 창구의 특성

1990년대 중반 케이블 TV의 등장과 함께 국내에도 방송 유통 시장이 형성되면서 최고의 유통 상품으로 떠오르게 된 TV 드라마는 그 후 비디오 플랫폼이 지속적으로 증가하면서 2008년 현재까지 가장 선호되는 콘텐츠로 주목받고 있다. 이 연구는 IP-TV를 비롯한 인터넷 유통으로 또 하나의 유통 창구를 확보하게 된 방송 드라마를 중심으로 부가수익 창출 구조를 살펴보고 유통 창구들의 특성 및 방식에 대해 살펴보았다. 분석 결과, 2000년 이후 방송 드라마 유통의 최고 수익 처는 해외 시장이라고 할 수 있다. 한편, 최근에는 온라인 유통이 활성화 되면서 드라마 판매가 더욱 활기를 띄고 있다. 이와 같은 창구 유통뿐만 아니라, 최근에는 포맷 판매와 리메이크 등 다양한 유통 방식의 변화가 목격됨으로써 유통 메커니즘의 새로운 변화로 여겨지고 있다. Since 1995, starting period of cable TV in Korea, drama became the most economic genre of TV programs : they are the number one genre of exportation with Korean wave ; the most preferred genre of IP-TV, DMB, etc. This study will show how Korean TV dramas are distributed in the various windows and the characteristics of each windows. Recently, remake of original script, format sale, aggregation and packaging became another distribution methods of TV programs.

A Two-Sided, Empirical Model of Television Advertising and Viewing Markets

For marketers, television remains the most important advertising medium. This paper proposes a two-sided model of the television industry. We estimate viewer demand for programs on one side and advertiser demand for audiences on the other. The primary objective is to understand how each group's program usage influences the other group. Four main conclusions emerge. First, viewers tend to be averse to advertising. When a highly rated network decreases its advertising time by 10%, our model predicts a median audience gain of about 25% (assuming no competitive reactions). Second, we find the price elasticity of advertising demand is −2.9, substantially more price elastic than 30 years ago. Third, we compare our estimates of advertiser and viewer preferences for program characteristics to networks' observed program choices. Our results suggest that advertiser preferences influence network choices more strongly than viewer preferences. Viewers' two most preferred program genres, Action and News, account for just 16% of network program hours. Advertisers' two most preferred genres, Reality and Comedy, account for 47% of network program hours. Fourth, we perform a counterfactual experiment in which some viewers gain access to a hypothetical advertisement avoidance technology. The results suggest that ad avoidance tends to increase equilibrium advertising quantities and decrease network revenues.

Toward a Sociology of Reality Television

AbstractReality television has become a standard genre of programming in the twenty‐first century. The popularity of these unscripted programs merits investigation. Reality shows can be seen as significant cultural objects whose production and consumption reflect and reveal norms and ideologies of contemporary culture. Although what is currently conceived as the reality television genre is perceived as novel, this type of programming has a long history, with its foundations dating back to the early days of television. Despite the popularity of reality television and its solid roots in Western media, sociology has been underused in its analysis. In this essay, I review the research on reality television. Its definition, history, and issues of classification in the genre are addressed. Then, I summarize the major themes in the research: production; analysis of content, presentations of race, gender, and sexuality; and audience response and interaction. I conclude with a discussion of what sociology might add to the existing research.What are sociologists to make of the current wave of reality television? What do these shows and their popularity tell us about society? Despite the editing and packaging of these shows and the way people are turned into television‐friendly characters and prototypes, these programs bear similarities to social research. Many are explicitly or implicitly promoted as ‘social experiments’. Reality shows often cast relatively diverse groups with the intention of seeing whether conflict or harmony will result. Success in reality competitions is often achieved through the development of alliances and strategic relationships and the process by which these unions form can be sociologically fascinating to watch. Yet, sociology, in method and theory, has rarely been applied to the analysis of reality television. This is not to say that reality television has not been examined academically. In fact, there is a growing body of research, primarily conducted by communication studies scholars, that takes this type of television seriously.Research on reality television examines the production and reception of programs. Additionally, there are studies that document the significance of the popularity of this genre in television and popular culture. Other research analyzes the content of reality television, aiming to make sense of communication norms depicted on shows like Survivor and Big Brother. Although many of the articles and books about reality television investigate themes with which sociologists are quite familiar (e.g., identity, stereotypes, social structure), missing from most of the current analyses is systematic use of rigorous sociological methodology, perspective, and theory. Sociology could contribute a great deal to the study of reality television. Certainly, a microsociological, symbolic interactionist analysis of both the content of reality shows and the ways viewers interact with them would be a useful extension to the existing literature. Sociologists have done rich ethnographic research in the study of talk shows (e.g., Abt and Mustazza 1997; Gamson 1998; Grindstaff 2002), and it would be beneficial to have an in‐depth, inside look at the production of reality television, particularly given that its reality is contested. Additionally, sociologists could provide important perspective regarding how reality programming reflects, challenges, and perpetuates existing inequalities, particularly with respect to race, class, gender, and sexuality. A critical understanding of the impact of social structure on popular culture, from a sociological point of view, would add another dimension to the study of reality television, continuing the strong tradition in research on culture that demonstrates how cultural objects have much to tell about social life, values, and ideologies.Sociology has been used to make critical contributions to the study of television. As Grindstaff and Turow (2006) note, sociologists have been instrumental in documenting the significance of television as an industry and important part of the economy, and as a primary medium of distribution of mass cultural products. television has unified generations of Americans, creating media events and spectacles, shaping and reflecting changing norms and conceptions of reality (Dayan and Katz 1994). Despite changing technologies and the threat of Internet and other media as means of disseminating information and entertainment (Grindstaff and Turow 2006), television is still the primary source of mass culture, with most Americans having at least one television in their home. Reality television can be conceived as both innovation and replication, with at least a foundational relationship to the traditions of documentary filmmaking (Andrejevic 2004; Biressi and Nunn 2005; Clissold 2004; Corner 2002; Kilborn 1994). Its popularity, its ability to draw record numbers of viewers, merits exploration as media event (Biressi and Nunn 2005; Ticknell and Raghuram 2004) and significant cultural object in the early twenty‐first century.

The Social Implications of Enjoyment of Different Types of Music, Movies, and Television Programming

This study investigated how information about an individual's enjoyment of various genres of music, film, and TV programming could influence an observer's expectations of that individual. An online survey of young adults found that the influence of information about another person's genre preferences varied across genres. Enjoyment of some genres, including jazz music, film comedies, and television comedies, tended to raise expectations of the individual, whereas enjoyment of others, including heavy metal music, anime films, and television soap operas, tended to lower them. The implications of the findings are discussed in relation to uses and gratifications perspectives as well as to previous qualitative research on audience reception.

Migrant children's digital stories

This article starts out from the European research project Children in Communication about Migration (CHICAM). It addresses questions about intercultural communication via the internet and about media production as a vehicle for personal expression and identity formation among excluded youth groups. The article starts out from a cultural theoretical perspective linked to an empirical analysis, which is based on a series of selected productions made by 12 to 14-year-old refugees. The productions represent various programme genres and formats. The use of visual language such as representational conventions are highlighted in order to find out how identities are (re)created in the process of media production. The article touches upon these productions as they reflect not only experiences in dealing with cultural tensions between the 'old' and the 'new' world, but also their views on their future life and on the conditions that they find crucial in developing themselves.

Effects of Personality Types on the Use of Television Genre

This study examined the role of three personality characteristics, Psychoticism, Extraversion, and Neuroticism (PEN), on viewers' level of attention to five different genres of television programming: news, soap operas, reality shows, talk shows, and crime dramas. A survey of 381 college students showed psychoticism to be negatively related to attention to news and reality show programming. There was a positive relationship between extraversion and attention to reality programming. Finally, neuroticism was positively associated with attention to all genres assessed. The implications of these findings for future research are discussed.

The Ideal V. the Real in Media Localism: Regulatory Implications

Most research on the effects of media localism regulation starts and stops by linking the site of broadcast transmissions with content as evaluated at the level of program genre. But broadcasting is not created by transmission towers, the political and expressive nature of programs cannot be discerned by genre, and the effects of content cannot be understood by looking at content alone. To determine whether regulation is effective, policy analysts must look at what empirical research tells us about the ways in which local content is produced, the nature of that content, and the uses of local broadcasting by communities. A synthesis of this research reveals a significant gap between the conceptual ideal of community life as embedded in regulatory assumptions and the actual nature of communities, their decision-making processes, and the effects of local television broadcasting on community life and politics.