Television Content Research Articles

Televisión y redes sociales: las audiencias sociales en la estrategia publicitaria

The social audience emerges with the simultaneous exposure to television and social networks. Through them the audience voices its opinions or interests about the contents in real time. This information is of great value for the advertising strategy. By analyzing the presence of social audiences in the most effective commercial communication campaigns, this study makes evident the common elements and variables used by them. The 23 campaigns awarded in the Efficacy Awards, granted by the Asociacion Espanola de Anunciantes, in the category of media and tactical action, from 2014 to 2018 are examined. Social conversation is detected in 15 cases, although only four campaigns link television content to social media, including social audience in their public strategies. Accordingly, the use of the social audience is scarce but a favorable progression in the strategies is observed, since they gain in transmediality and agents’ participation. Engagement is pursued and branded content, gamification or multiplication of official transmitters is used. The latest cases reveal how they take advantage of these audiences.

‘Masters of your fate and the captains of your soul’: media representations of the 2018 Invictus Games

The Invictus Games was established by Prince Harry in London in 2014 and Sydney hosted the fourth version in 2018. Due to the profile of Prince Harry and the growth of the Games, the media has played a major role in delivering news and information about the event and its competitors, as well as highlighting broader themes of rehabilitation and inclusion. This descriptive study investigates the media coverage of the 2018 Invictus Games to identify key narratives underpinning the representations of the event. This paper employs a quantitative and qualitative content analysis to examine similarities and differences in reporting from four Australian media organisations across print, online and television. The findings are based on the examination of 176 articles and more than eight hours of television and multimedia content. The results highlight a greater focus on the event, as well as celebrity and entertainment elements, than those who were competing.

ТЕЛЕВІЗІЙНА КОМУНІКАЦІЯ В КОНТЕКСТІ РОЗВИТКУ СУСПІЛЬСТВА

<div><p><em>The article presents the dynamics of the main factors for the development of modern television, the transition from traditional technologies of television broadcasting to the latest technologies. The process of developing digital television and broadband has been technically determined to address the challenge of integrating new technologies into traditional TV content. Ways of expanding the possibilities of interaction between the viewer and the television producer in the context of overcoming the crisis of traditional technologies are analyzed. It is determined that integration, development of mobile communications and Internet technologies are a hallmark of the modern world media space and have a significant influence on the formation of public opinion. The analysis of actual media researches concerning problems of the theory of mass communication is carried out. The phenomenon of «social television», which combines watching TV with simultaneous communication in social networks, is considered. The author draws attention to the disclosure of the determining factors of media communication, the study of the process of feedback from viewers on television. It is stated that the development of modern technologies, namely digital broadcasting and introduction of broadband Internet access to create a multimedia platform that combines Internet communication services and television content, contributes to improving the mechanism of interaction between the TV and the viewer. The theory of the conceptualization of journalism based on identity construction is examined: journalists understand their audience and, as members of that audience, connect with their communities. An analysis of integrated journalistic activity is conducted, which consists of three stages: gathering, editing and disseminating information. It is determined that the influence of the Internet allows the consumer to play his or her role at each stage, thus helping the journalist determine the degree of relevance of the story to himself and to the potential audience. The common features of modern telecontent were singled out and a comparative analysis of the trend of development of interactive TV programs of the USA, UK and Ukraine was made.</em></p></div><p><strong><em>Key words:</em></strong><em> public opinion, two-vector communication, feedback, communication methods, television audience, country telephony.</em></p>

“Tune in to the Affirmative”: The Family Channel and the Politics of Positive Programming

The Family Channel, which evolved out of Pat Robertson’s Christian Broadcasting Network, created a new brand of family television and redefined the “family audience” in the 1990s. The channel capitalized on the vacuum produced by the major networks’ pursuit of advertiser-friendly demographics, and created a safe space for traditional family television viewing. By promoting “positivity” as its brand and relying on the nostalgic appeal of older television properties, the Family Channel became the first cable channel to build a “values-based” brand and audience. The Family Channel normalized an ideologically conservative model of commercial family television in an expanding cable landscape, and capitalized on social conservatives’ discontent with mainstream television content. This article analyzes the branding, programming, and public-facing statements of the channel’s executives to reveal how the Family Channel implicitly and explicitly connected this new “family audience” with the ideology and politics of social conservatism.

Related Multiscreening as a Strategy to Retain Audiences and Increase Persuasion During a Commercial Break

The aim of the study was to deepen our understanding of how related multiscreening affects audience memory and persuasion. A survey was administered after a live television show. The results showed that the higher the perceived relatedness of the multi-screen activity, the more persuasive the message. This effect was mediated by subsequent attention to television content, program involvement, and attention to the commercial break. The model was replicated for three different multiscreen activities: social media use, chatting, and information search. Furthermore, it was found that related multiscreening increased the likelihood of respondents staying tuned to the television after the show.

Cultural Proximity or Cultural Distance? Selecting Media Content among Turkish Diasporic Audiences in Germany

This study focuses on the consumption of Turkish cultural products (TV serials) among second- and third-generation members of the Turkish diaspora. It provides a comparative analysis of diasporans aged between eighteen and thirty years who have higher education with those who have undergone a vocational education. It attempts to determine whether basic education is heightening an audience’s preference for Turkish television content and if receiving a higher education leads to a greater interest in German media. Focus group discussions conducted in Hamburg, Germany, reveal that level of education is not a significant factor in determining an audience’s choices. Instead, Turkish cultural products have been filling a void for young diasporans that German cultural products are failing to satisfy. This research establishes that the more Turkish diasporic audience feels ignored by German media and society, the greater their proximity toward Turkish cultural products, as these are able to satisfy their longing for a true home and sense of belonging.

It’s Complicated: Plot and Formal Feature Complexity in Early Childhood Television Content

ABSTRACT The recent surge in television content targeting young children has led to questions about the appropriateness of the content for children’s developmental capabilities. The study comprehensively analyzed the manifestations of complexity – both in the plot and in formal features – in content aired on child-targeted television channels (from about 2 to 6 years of age). A qualitative analysis of content from 216 television shows from the six Israeli children’s television channels identified much complexity in children’s programming. Plot complexity involved intertwining sub-plots and characters, a weak problem-solution link in the narrative, and unclear messages. Formal feature complexity involved fast-pace, quick camera cuts, and an overload of visual elements. The study uniquely identified the shifts between “real” and “fantasy” worlds in children’s television shows as comn contexts of complexity that integrate both plot and formal feature indicators. Manifestations of complex messages in children’s television shows are discussed in light of toddlers’ and young children’s cognitive development. The findings are also discussed in light of the traveling lens model associated with children’s learning from television content.

User Central Content Design in the Age of Interactive Television

Bu makale, etkileşimli televizyon içeriklerinin tasarımına yönelik interaktif bir prototipin geliştirilmesini amaçlamaktadır. Etkileşimli Televizyon Yayıncılığına ilişkin prototipin geliştirilmesi süreci iki aşamadan oluşmaktadır. Sürecin ilk aşamasında Hollanda, ABD, Avustralya, Singapur ve Türkiye’den çalışmaya katılmayı kabul eden etkileşimli televizyon ve etkileşimli içerik konusunda deneyimli sekiz uzmanın görüşleri alınmıştır. Bu nedenle araştırma, nitel bir durum çalışması şeklinde desenlenmiştir. Elde edilen veriler doğrultusunda, etkileşimli televizyon uygulamalarının dört ana tema ile gerçekleştirileceği sonucuna ulaşılmıştır. Bu temalar; televizyonun görsel diline ve estetiğine uygun etkileşimli içerik oluşturma, etkileşimli televizyon yayıncılığında ikinci ekran uygulaması, katılımcıların bireysel farklılıklarına uygun olarak destek kontrol unsurların yer alması ve çevrimiçi uygulamalara yer vermedir. Sürecin ikinci aşamasında ise, bireysel görüşmelerden elde edilen veriler doğrultusunda etkileşimli bir futbol programının tasarımı gerçekleştirilmiştir. Sonuç olarak her bir program için oluşturulan içerik tasarımı, kullanıcıya etkileşimli çevrenin farklı düzeyini sunmaktadır. Pogramın televizyonun görsel diline ve estetiğine uygun olup olmama durumu, kullanıcının davranışını, sunulan etkileşimin niteliğini ve doğallığını etkilemektedir. Etkileşimli futbol tasarımında değiştirilen çevrimiçi parametrelerin sayısı ne kadar çok olursa, kullanıcının futbol programına katılım düzeyinin kalitesi de o kadar artmaktadır. Futbol programında etkileşimlilik seviyesi, etkileşim içerisinde bulunan katılımcıların iletilen kişisel semboller üzerinden anlam oluşturmasıyla ve içeriklerde karşılıklılık, yanıt verme ve yanıt verme hızı noktasında katılımcının sürece dahil olmasıyla ilgilidir.

Fear of an Alien Planet: Public Functions and Framings of Extraterrestrial Intelligent Life

This paper explores popular representations of extraterrestrial intelligent life in their cultural context. How does the cultural environment affect these representations? How does the political economy of the mass media industry shape these representations? With Edward Said’s Orientalism (1976) as a guide, I will examine a sampling of commercially produced and globally marketed television and film content featuring extraterrestrial intelligent life – that is, “aliens.” Why are aliens such a common subject on television and in film? What do these make-believe aliens do, and mean, for viewers? I posit that these popular representations provide arm’s-length, safe encounters with the Other. These encounters may feed our yen for the new and different. On the other hand, and perhaps at the same time, they may be a manifestation of our fear of it. In fictional encounters with alien invaders, humans tend to end up exterminating the would-be exterminators. Post-Cold War, post-9/11, post-Gulf Wars I and II, in the 21st Century of Terror, the Western world has identified a new enemy, and it is anybody “different.” While bigotry, racism, sexism and xenophobia are not socially acceptable in Western “society,” they are all operative in contemporary culture. In the real world, vilifying and abusing people because of their origin, skin color, appearance, or beliefs is taboo. In the make-believe world of mass-media science fiction movies and “infotainment” TV, however, it is not only all right but encouraged. There, extraterrestrial intelligent life is routinely slaughtered en masse to save the (Western) world.

A content analysis of violence on turkish primetime television shows

Objective: Violence has a great impact on society, as is often the case with television programs. This study aims to assess how the violence is portrayed on television channels that reach a large audience of children, adolescents, and adults in Turkey. Method: This study is a media content analysis (28 television shows and 84 episodes) of the six most popular Turkish primetime television shows aired between November 18, 2019, and December 8, 2019. The violence types have been classified into one of the following five categories: verbal, physical, psychological, social, and economic. Besides, some vulnerable special groups, such as children and healthcare workers, have also been evaluated. Results: Our findings indicate that each show has at least one violent behavior. Contrary to the perception in society, men are exposed to violence more than women (56.6% vs. 27.6%). The number of psychological violence content in television shows (median:16.5) was significantly higher than the number of physical (median:11.0) and verbal (median:13.0) violent content (p<0.05). Conclusion: Our findings have significant consequences as exposure to popular media affect the behaviors and perceptions of the entire society, not just children.. Our study has the potential to shed light on the need to create new content in television shows watched by the Turkish society with educational messages on the risks and consequences of violent behavior.

TELEVISION-ONLINE VIEWING ADDICTION

Television addiction is not to be an addict of a particular television content. Television addiction is to connect to television as a tool without caring what the content is. Allegedly, something with television forces us to watch it and watch it for longer than we thought when we started. The main reasons that pose a risk in the development of television addiction: lack or abuse of caregivers as a result of the work of both parents (making the baby or child sit in front of the television most of the time, making them eat in front of the television, sleeping..If the child has a very moving or attention problem, then the caregiver turns on the television to reduce the child's movement, the caregiver turns on the TV to reduce the child's squeeze because of lack of peers around, and the child's development and learning will benefit from the idea of opening the TV by the caregiver, The fact that parents or caregivers are addicted to TV ranks as conflicts between parents, financial inadequacies, and little social and environmental support. It should also be noted that television is a tool that can help family, school and society when used consciously. Watching TV also has some social benefits. These include sharing, learning some positive attitudes, etc. countable. Watching television has important tasks in social terms such as making people aware of what is going on in the world, expanding the distribution of information, teaching new words and concepts, developing their language, evaluating their free time, making them have a good time, developing their imagination, and fully revealing their creativity by directing them. When television is used in accordance with the child's developmental characteristics, there are also benefits such as accelerating the child's language development, improving the ability to extract meaning from visuals, and gaining behaviors adopted by society through the right models. It bears similarities with the European and American public regarding the dependence of Turkish people on television. As a result of studies on television addiction, weight problems and eating habits, weakening of school performance and learning difficulties, behavior and development problems, Killing Time, Social Activity, family and Model taking, sleep disorder and emotional stress, violence problem, attention problem have emerged. In particular, “dialectical behavioural therapy (DDT)”; different treatment methods such as motivational interviewing are considered to be effective in the treatment of addiction. Some suggestions have been made to get rid of television addiction.

Serving the populist agenda. How German public media broadcasters inadvertently facilitate populist movements by evoking fear and anger

The term Media Populism is used to indicate a ‘involuntary complicity’ between news media and populist movements based on the convergence of commercial media logic and populist communication style. It grants populists and their messages a high degree of media visibility. According to the literature, this applies more to tabloid media and infotainment content in commercial television than to upmarket media outlets and news programs. In this paper, we refer to another form of involuntary collaboration between news media and populists that is not based on similar communication styles, but simply on the fact that news media have to report on topics which populists claim issue ownership for. This applies foremost to upmarket media and public service broadcasting, which are obliged by their own quality standards or legal mandate to report completely and comprehensively on all topics of public concern. We are especially interested in the emotional response of German audiences to news coverage on two topics: mass migration and the role of Islam in Germany. With the help of two experiments, we demonstrate that public service news reporting on these issues provokes strong negative emotional reactions. What is more, our results indicate that media induced fear and anger lead to increased support for anti-migration and Islam-critical demands. Hence, German public service broadcasters may not only be ‘secret accomplices’ in creating negative emotions towards Muslim migration, but also facilitate populist movements.

Medijska kultura u savremenom društvu

The importance of media culture in contemporary society is extremely large because it shapes a modern man life, the creation of political attitudes and social behavior of individuals. The products of media culture, paintings, sounds and performances are increasingly organizing free time of a contemporary man, shaping his thinking and identity. Based on the content of radio, television, film, and new media technologies, a person creates an image of himself, his own potentials, values, success, as well as his own affiliation, a certain class, race, nationality, and thus media culture has a remarkable social significance. A number of relevant authors state that media culture shapes people's perceptions of the world, the value system, morality, good and evil. Worldwide, the contents of the media culture today constitute a general culture and are seen as the basis for new forms of global culture. A complex spectrum of actions that make media, primarily radio television, film, and media of modern technologies, creates the need for a more precise definition of the term media culture, bearing in mind its breadth and complexity. In this context, the main goal of this paper is to define the concept of media culture, in order to better understand all aspects, as well as the complexity of the whole that this term implies. Media culture is determined by the terms which provide an insight into a better understanding of this term, and in this paper they are given considerable attention. D. Kelner in the Media Culture section points to the following important determinants: a wide range of media resources that form an integral part of the media culture; performances created by the combination of picture and sound; creation of features and symbols of contemporary social life; media culture as a high technology culture (techno-culture); the relation between media culture and society; theory of media and cultures.

Protección de la infancia, construcción de la identidad y medios de comunicación. La regulación de los contenidos audiovisuales para menores en España

Childhood is a key stage in the assimilation of values and behavioural patterns that shape identity. Among the socializing agents that influence this complex process are the audiovisual media. Therefore, the products that are made available to children and the protection of the child from harmful contents are essential to complete the training process in such a sensitive period of cognitive development. In this research we analyze the influence of television content in the process of constructing the identity of the child as well as the regulatory framework of audiovisual protection applied in Spain. A decade after the entry into force of Law 7/2010 of 31 March, General of Audiovisual Communication (LGCA), many of the challenges posed remain unresolved. As main conclusions we stress the need to respect the special protection schedule, the incorporation of thematic descriptors in the signalling of audiovisual products and a complete legislative categorization of harmful contents to children’s and young people’s development.

Візуальні форми комічного у сучасному медіапросторі

The article outlines the features of those forms of the comic that are common in modern media culture. The universalism of this category, its ability to significant transformations and the ability to remain relevant in the context of modernity are noted. The comic that occurs in the media space is part of the communication process; it helps to reduce the level of the conflict and reconciliation of a person with reality. Visuality and virtuality are becoming the leading signs of the times. We can talk about the existence of both art practices and communicative media forms, which displace the usual classical arts. Despite the fact that art is changing, the presence and modification of aesthetic categories, which are embodied in art, art forms and communicative practices, remains unchanged. With the visual turn, the attitude that art appears at the center of intelligence begins to disappear. It united visual artifacts through the category of the aesthetic. However, now images that do not fall into the class of aesthetic objects play an important role. Among comic visual forms those are considered that can be attributed to the “classics", which have long received air time on television (sketch show, pop comedy show, situation comedies sitcoms, Stand Up Comedy Show, entertainment shows, parody shows), and demotivators, memes and short videos (in Instagram, TikTok content, Vine applications, Coub), which are a product of modern media culture of the Internet space. A number of communicative visual practices are beginning to play the role of a pretext for communication, and often form its basis when it comes to part of informal communication. The role of the comic in modern society is extremely important, because many researchers have pointed out that laughter can cure society, pointing out its shortcomings and helping to eradicate them. Among visual forms of the comic, we can distinguish those that have already become a permanent part of television content, as well as the product of modern media culture of the Internet space - demotivators, memes and short videos. Distributing and imitating certain forms of the comic involve creating the content that is relevant and responsive to the demands of the mass audience. It is important to note that this process may be accompanied by a fairly low aesthetic level, but it is important to achieve a comic effect. The above examples are not able to describe the fullness of visual content that is available in the media space and embodies a comic beginning. At the same time, an attempt was made to demonstrate the ways of its creation and existence in modern culture.

The Influence of Regulator on Television Content in Post-Authoritarian Indonesia

Throughout the authoritarian era, the government imposed tight control on television content in Indonesia. However, after the fall of the last authoritarian ruler in 1998, and the old style of restriction no longer exist, the question now remains: who ultimately control television content? This research measures the influence of political and economic factors on television content with a focus on owners, advertisers, audiences, regulators, and politicians. A questionnaire survey was conducted on 400 television workers employed at 10 national private television stations in Indonesia. Qualitative data was produced from the interview with 50 television workers with a focus on the role of the regulator in influencing content. Key research questions are: 1) what are the most influential politics and economic factors that influence television workers in shaping the content? 2) How does the regulator influence television workers in shaping the content? The findings showed that the audience is the most influential factor since it affected 33.9 percent of television workers. The regulator appeared to be the least influence on programmes content on a daily basis. This showed that the influence of regulators experienced a drastic decline from the strongest in the authoritarian era to the weakest in the post-authoritarian era. However, the influence of regulators was still quite significant among television workers who worked at TV stations and relied heavily on entertainment programmes. Keywords : Regulator, television, Indonesia, authoritarian, post-authoritarian.

Why do sparkles make a sound in English?

Due to their features of multi-modal presentation and their abundance in terms of availability and diversity, the media have been assumed to have a distinct effect on second language acquisition (SLA). Although their beneficial effect on overall SLA has been found in various studies, very few of them examined the characteristics of different types of media in relation to how they may influence second language (L2) vocabulary acquisition at an early age. We present a case study of a 9-year-old Croatian girl who had achieved high competence in the English language primarily through exposure to television (TV) content in English. We examined her production for the evidence that some features of television as a medium might have influenced the development of her vocabulary and the way she experienced and used the L2. The production data was collected in a series of unstructured conversations in the informal atmosphere of the participant’s home. Additional data on the participant’s language learning background were collected in interviews with the participant and her parents. The results suggest that exposure to TV as a medium, which provides opportunities for repeated exposure to rich input, contextualized language, and a combination of visual and aural stimuli, may have an important influence on L2 vocabulary acquisition. However, it has to be emphasized that the influence was evidenced in the production of a highly motivated language learner in an environment that was truly supportive of her language development.

Humor in German media coverage of Poland and Poles

Media play a significant role in perceiving the world and constructing our conception of reality since the samples of social discourses exposed in the media have a strong influence on the shaping of the image of nations, opinions, attitudes, and hierarchies of values. The present article discusses humorous content in German press, television, and Internet coverage from recent years, which has reinforced a negative image of Poland and Poles in German minds. In the introductory part, the attention is focused on presenting the essence and functions of humor in the light of contemporary humor research, with a special emphasis placed on the interdependencies between humor, language, and discourse on the one hand, and ethnic cultures on the other, which differ in terms of preferred norms and values.

Immediate impact of fantastical television content on children's executive functions.

Recent research has suggested that particular content of television programmes, such as watching fantastical scenes, can have negative consequences on cognitive functions in young children. We examined the effects of watching fantastical programmes on executive functions measured at both pre- and post-television viewing. Eighty 5- to 6-year-old children participated and were randomized into either fantastical or non-fantastical conditions. They completed inhibition, working memory, cognitive flexibility, and planning tasks both before and after watching either the brief fantastical or non-fantastical television clip. Whilst there were no differences between the groups at pre-test on any of the cognitive measures, children in the fantastical condition were poorer on inhibition, working memory, and cognitive flexibility tasks at the post-test session. Watching fantastical television content, even briefly, seems to disrupt cognitive function performance in young children across a broad range of aspects of executive function. Statement of contribution What is already known on this subject? Exposure to fantastical content within a television programme may impair executive functions in young children. What does this study add? Exposure to fantastical content within television programmes impairs executive functions in children of early primary school age. Impairment extends to all three core aspects of executive functions. Watching fantastical clips slows down planning performance without improving accuracy.

Enjoying the NFL in Brazil through social TV

NFL Brazilian broadcasts is distinguished by the interaction of fans through social media. By reverberating television content in another media, they establish the phenomenon of Social TV. The research pursues to respond how Brazilian viewers enjoy the NFL through Social TV. For this purpose, we performed a netnography based on three league seasons, through 2016 to 2019. Results reveal Brazilian viewers enjoy the NFL through Social TV because it propitiates them to participate in the broadcasting, what becomes more important than the games itself. Based on this, we argue that NFL fans and ESPN channels co-prosume a simulation turned possible due to the current mediatized world.