Ukrainian Television Research Articles

Negative news on the central TV channels of Russia and Ukraine: general and specific

The relevance of the article is caused by a number of socially significant factors, the most important of which is the possibility and inevitability of manipulative impact on the consumer of information through the formation of the media agenda on television with the active use of negative information in news releases. The scientific objective of the study was to attempt to resolve the theoretical and theoretical and applied questions about the role of the negative news in a person's life and society, on the need for revisions to the negative news to hold the attention of the television audience, the specifics of the use of negative information in the news releases of the Russian and Ukrainian TV channels. The article defines the negative news, systematizes the factors of formation of negative news, identifies and structures the main components of their submission, identifi the specifi of the negative news on Russian and Ukrainian television in the news releases of TV channels “Channel One”, “NTV”, “1+1”, “Ukraine” in the period from 2014 to 2018. The main conclusion of the article is the need to reduce the negative information in the news releases of Russian and Ukrainian TV channels in order to reduce the level of manipulative impact on the audience and the overall negative impact on the psyche of man and society.

Media as a Tool for Forming the President's Image (On the Example of the 2019 Election Process)

The article deals with notion of the a politician image, in particular the president, as well as the tools of forming it through the media in Ukraine using the example of the president’s elections 2019. His benevolent attitude and increasing confidence of Ukrainians in his activities and extrapolated them to the events of 2019. The article deals with the technology of comparative analysis of portrait representation on television and Internet portals of influential Ukrainian media. The authors selected powerful Ukrainian television media, such as 1 + 1 (TSN), ICTV (Facts), Channel 5 (news), STB (News windows), 112 (news112) for the study. On each TV channel and site, the content not only contributed to the formation of a portrait of the president, but gave his own attitude to it. A pilot sociological research has been conducted by the authors revealed the level of Ukrainians’ confidence in the newly elected President of Ukraine. The survey covered the period from the 1-st of April till the 5-th of July 5, 2019. The survey was conducted from the 11-th till the 17-th of June 2019. A total of 1,100 recipients participated in the survey.

Commercialization of Ukrainian Television in the Modern Informational Space

The purpose of the study. The current state and tendencies of Ukrainian media development under the conditions of business realities are considered. The Ukrainian media market under the influence of commercialization is analyzed. Methodology. In the proposed publication, a system-analytical approach to determining the development trend of the Ukrainian media in the context of business realities is applied, namely, with the help of special methods and techniques, the current Ukrainian television is characterized in terms of commercialization. The scientific novelty of the research lies in the fact that, perhaps for the first time, the commercialization of the media was considered as a factor in the formation of the channel’s information policy, its content; and as a result, influence on the formation of public opinion. The basic laws of the influence of business realities on the functioning, information policy and content of Ukrainian media have been clarified. The commercial component of modern media in the process of creating media content and the limits of respecting democratic principles of speech have been illuminated. The main priorities and strategies of the modern television product and detailed the genre-style palette of the media industry of Ukraine have been identified. Conclusions. Despite the fact that the leading social and political media are owned by the state or they are influenced by a small number of financial-industrial groups that are dependent on the government. Most of the media are engaged, do not deliver complete and objective information about politicians and significant political events, do not provide a communication dialogue between the people and the authorities, but are a tool for marginalizing and controlling the masses in the arms of power.

The role of the program «Enei’da» in popularizing Ukrainian culture

The article deals with the culinary-literary show «Enei’da» and its role in popularizing Ukrainian culture. The purpose of the article is to demonstrate the role of the program «Enei’da» in popularizing Ukrainian culture. The relevance of the study is due to a decrease in public expenditures on cultural development and a small number of programs on cultural topics on Ukrainian television. Ways of popularizing Ukrainian culture in the program: preparation of little-known national dishes (originated from a certain region of the country and loved by well-known writers); quoting fragments from the work of writers; the story of interesting and unknown facts about the life and work of the literature classical authors. Each issue has the same structure, which allows you to combine the story of literature with cooking national cuisine. Thus, mixed-theme programs have an exceptional significance for promoting culture, as they engage the audience at once in two types of shows. Key words: «Enei’da», infotehnament, entertaining shows, Ukrainian television.

Features of Receptions Infotehnament

Purpose of the study is to find out the features of the origins, historical evolution of modern trends in the development of infotinment. Analyze literature and sources related to the emergence of the concept of infotehnament. Analyze the classification of infotment techniques and identify the external and internal links between them. Explore the use of infotehnology techniques, and to describe the prospects for their development on Ukrainian television. Research methodology. The proposed publication implies the use of a specific set of research methods. The bibliographic descriptive method made it possible to understand how infotehnum is an investigated and actual phenomenon of the present. The method of observation made it possible to identify the preconditions for the emergence of infotment and the process of its formation and development. Using the analytical method, the characteristics of the modern stage of the functioning of the informational and journalistic segment on the Ukrainian television are highlighted. Scientific novelty the obtained results is that for the first time the details of the implementation of infotehnation on the modern Ukrainian informational and journalistic television have been analyzed in detail, the structure analysis of signs, manifestations and techniques of infotehnum has been carried out, the process of transformation of the information-analytical segment of TV into informational and journalistic is theoretically substantiated. Conclusions. In the course of the study, there were identified causes that contributed to the emergence and development of features of infotment techniques. On the basis of consideration of historiography and source base, it was found that the problem of infotment in Ukraine is poorly understood and has not yet been fully addressed. Analysis of this topic makes it possible to argue that infotehnament - a way to feed news in an entertaining form, which is achieved through various techniques. This aspect is useful for every journalist, since the use of special technologies makes it possible to influence not the mind but the emotional state of the viewer.

Infoteyment on Ukrainian television

The purpose of the article is to determine the specifics of using info-equipment and its techniques in the pro- cess of creating television programs of Ukrainian television. The methodology is based on the use of complex cultural- cultural interactions – a typological (for identifying and defining features of info-equipment, its structural components and attribute characteristics), a comparative historical method (for a comparative analysis of the development of info- tainment programs of foreign and domestic television space), an evolutionary method (for consideration of the dynam- ics of the infotainment according to the transformational processes of sociocultural space аt the end of the XX – beginning of the XXI century), the method of system analysis and synthesis (thanks to which the infotainment was con- sidered as a specific phenomenon of Ukrainian television art, with its inherent originality) and art criticism methods – axiological, genre-typological and stylistic approach, which were used in research of the concept of info-transformation in the transformational conditions of the 21th century Ukrainian television art. Scientific novelty. The concept of ―info- tainment‖ is considered as a phenomenon of modern domestic television space; The technologies for creating on-screen spectacles and the features of infotainment as a sign of modern media and a new format for presenting information have been investigated. Conclusions. Infotainment, as a unique aesthetic and entertaining form of presenting media infor- mation, in which there are elements of theatricalization and games, is a natural result of the development of various sociocultural forms. Positioning infotainment as a complex polygenre phenomenon of modern domestic television space, which is characterized by a variety of formats (informational show, morning television show, talk show, info- mercial, television game, documentary, etc.), we note that besides the main structural components (information and entertainment), its specific typological features is the dominance of form over content, polyfunctionality, polystylistic, emotionality of presentation of the material, the visual attraction, versatility and commercial orientation in the ratings.

Principles and Functionality of Popular Science Content in Ukrainian Television

The aim of this paper is to define the concept of “popular science content” and to study what characteristic features it has within the framework of modern TV-space.Research methodology. Various methodological approaches are used, including etymological origin, analysis, generalizations and others.Results. The following concepts are analyzed: “content”, “science” and “scientific”, “popular”, “television”. The paper studies the position of scientists regarding the semantic features of each of the elements of the concept “popular science content”. Such non-scientific concepts as “para-science”, “pseudoscience”, “anti-science” and the positions of scientists regarding their delineation are considered. The features of scientific and unscientific are singled out. The boundaries of the Ukrainian television under inquiry are determined on the basis of three criteria of “accessibility” for a Ukrainian viewer: technical, linguistic and price. Novelty. Having studied the components of the concept “popular science content”, the author has formulated key criteria that characterize popular science content, such as: 1) covers certain scientific knowledge and achievements from one or more branches of science (social, technical, natural sciences, etc.); 2) has a research base in the structure; 3) does not contain pseudo-guesses; 4) is designed for a mass audience.The practical significance. The research can be recommended for developing lectures by specialists in science journalism courses.Key words: pseudoscience, scientific skepticism, popular science content, television.

Believing Facts in the Fog of War: Identity, Media and Hot Cognition in Ukraine’s 2014 Odesa Tragedy

ABSTRACTHow do people form beliefs about the factual content of major events when established geopolitical orders are violently challenged? Here, we address the tragic events of 2 May 2014, in Odesa, Ukraine. There, Euromaidan protest movement supporters and opponents clashed following Russia’s annexation of Crimea and the onset of the Donbas conflict, culminating in the worst civilian death toll the city had seen since World War II. Shortly after, we surveyed Ukraine’s population about who they thought had actually perpetrated the killings and relate people’s answers to alternative narratives (frames) that an original content analysis finds were available to Ukrainian citizens through different media. We find evidence, consistent with theories of hot cognition and motivated reasoning, that the Odesa violence triggered emotional responses linked to ethnic, regional, and partisan identity, which then activated attitudes associated with these identities that, in turn, led people to adopt very different (sometimes highly improbable) beliefs about who carried out the killings. Ethnic identity in particular is found to have strongly moderated the effects of television, with Ukrainian television greatly influencing Ukrainians but backfiring among Russians, and Russian television mainly impacting non-Ukrainians. Education and local information are found to reduce susceptibility to televised factual narratives.

VARIABILITY IN GENDER CATEGORISATION OF NOUNS (in contemporary Ukrainian TV speech)

Introduction. Nowadays the language of modern television broadcasts’ speechesis more and more in the focus of linguistic study. Special interest of given paper is comprisedby the variability in gender categorization of nouns as it occurs in speeches of Ukrainian TVprograms anchorpersons. The object of the paper is the choice of nouns in modern TV speech,that is distinguished due to the variability of grammatical category of the gender of nouns waysof realization.Purpose of the article is to analyze the nouns that have suffered changes in thegrammatical category of gender within the current language trends being implemented inthe broadcast of Ukrainian television. In addition, the aim is to outline some of the reasonsfor the emergence of such tendencies, the relative use of these nouns, the degree of codificationin modern lexicographic sources.Methods of research. The research is grounded on descriptive method, the method ofempiric analysis, immediate constituents’ analysis, and contextual analysis.Results. Studying the language used in contemporary Ukrainian TV speeches convincinglydemonstrated how formal-grammatical indicators of the category of gender of nouns in moderntelecommunication vary (shift), implemented in the following modifications: male genius  femalegenus, female genus  male genus. In addition, the review of codification in the dictionariesof the analyzed noun units shows that variational changes in the morphology of the noun andin particular, in its morphological and grammatical categories nowadays cause not onlythe dislocation of the current linguistic norm, but also tend to change the morphological norms. Conclusion. Analyzing the language used in speeches of informative and entertainingUkrainian TV programs’ anchorpersons, we have concluded that they prefer to choose differentgrammatical variations in favor of a specific counterpart to the grammatical category of the gender,often a revitalized or dialectal word used.

Author’s Program as a Face of Domestic Television

The purpose of the research is to review and analyze the creation and maintenance of authoritative television programs by well-known Ukrainian television broadcasters on justification the main trends in the influence of domestic television on the worldview of spectators. The methodology of the research is based on an experimental method (to define the specificity of the influence of author’s TV programs on the educational direction on national and regional television channels in Ukraine); method of analysis (to study the practical experience of creating author’s TV programs for the selection of topics, problems, creatively technological means of journalistic and artistic-journalistic orientation). The scientific novelty of the research consists in examining the unexplored specificity of the influence of author’s television programs of ideological direction and the exclusive role of the mouthpieces of television leading Soviet and post-Soviet space. It is also analyzed that, on Ukrainian soil, author programs and charismatic Ukrainian television hosts are an important potential of domestic television in the television industry as a whole, that is why the charismatic figures of TV leaders have been first studied and new forms of influence have been invented, among which the author’s programs have a prominent place. Conclusions. Systematization of author’s programs have showen that all of them from the point of view of the impact on the viewer are socially significant. The full range of genre-content opportunities of modern journalism shows that the author’s TV program in both Ukrainian and world television space is not yet a separate genre of journalistic creativity, but behind leadership has the prospect of becoming a separate section of television in an artistic-journalistic nature.

Особливості тематики та структури соціальних токшоу на українському телебаченні (на прикладі телеканалів «Інтер», «СТБ» та «Україна»)

The article analyzes the content of social talk shows on Ukrainian television and reveals the peculiarities of their structure, in particular, such talk shows as “Stosuietsia kozhnoho”/“It effects everyone” (TV channel “Inter”), “Odyn za vsih”/”One for all” (TV channel “STB”) and “Hovoryt Ukraina”/”It is Ukraine” (TV channel “Ukraine”). In the study of this topic, the following research methods such as content analysis, comparison and generalization were used – to search for differences in the objects under study; analysis and synthesis – to find features in the objects under study and to formulate conclusions. The article examines in detail the role of the TV presenter and identifies the main disadvantages in organizing and conducting social talk shows – in order to eliminate them and improve the quality of social talk shows on Ukrainian television.

Українське телебачення доби «перебудови» в умовах культурної травми радянського суспільства

Українське телебачення доби «перебудови» в умовах культурної травми радянського суспільства

ІНФОТЕЙНМЕНТ ЯК НЕОЖАНР МЕДІЙНОЇ КОМУНІКАЦІЇ: ФУНКЦІОНАЛЬНО-СТИЛІСТИЧНИЙ АНАЛІЗ

The article is devoted to the functional-stylistic analysis of the new genre of Ukrainian television news – infotainment. The author emphasizes that this genre is currently actively developing in the field of national television. In addition, it has a number of specific features inherent only to it. On the example of the TV program "Абзац!" on the New Channel and "M1 News" on the M1 channel the author provides an analysis of the broadcasting media specifics in the television programs of the infotainment genre. Infotainment – literally "infotainment = information + entertainment" – is a diffuse genre, which emerged as functional mix of two genres – informational and entertainment. The essence of the infotainment news is laying in the presentation of official news in an amusement way. The history of infotainment establishment is related not only to the globalization of television, but also to the change in information space paradigm in general. This genre emerged in the American mediaspace in the 80's of the 20th century and, with the help of the globalization process, gradually expanded its borders therefore it became popular outside the United States. In addition, the infotainment changed its format to the needs of the Ukrainian viewer that gave it the unique features that distinguish this genre not only among other types of news, but also among similar foreign prototypes. Among such features the author distinguish: conversational style of speech, the use of a large number of stylistic trails, the irony of discourse, emotional and expressive presentation of the material, versatility of the video and the free choice of thematic content. Due to these features, the Ukrainian infotainment as neo-genre is gaining popularity among recipients. As a result, it was proved that the infotainment exists on the Ukrainian television and has its own linguistic and stylistic features that require attention not only from journalists, but also by linguists, in particular medialinguists. The bright example of studied programs shows that such a genre enriches not only the content of the television media space, but also the language of the recipients by the innovative lexical units.

Становлення телевізійних жанрів на українському телебаченні (за архівними матеріалами 1950-х рр.)

Становлення телевізійних жанрів на українському телебаченні (за архівними матеріалами 1950-х рр.)

Інтроформаційно-деструктивний вплив українського телебачення на свідомість людини: аналіз та оцінка

Інтроформаційно-деструктивний вплив українського телебачення на свідомість людини: аналіз та оцінка

‘Why Did MH17 Crash?’: Blame Attribution, Television News and Public Opinion in Southeastern Ukraine, Crimea and the De Facto States of Abkhazia, South Ossetia and Transnistria

ABSTRACTShock events are often pivotal moments in geopolitics and objects of intense disagreement among conflicting parties. This paper examines the downing of a Malaysia Airlines passenger jet over eastern Ukraine in July 2014 and the divergent blame storylines produced on Russian and Ukrainian television about the event. It then examines results of a question asking why MH17 crashed in a simultaneous survey conducted in December 2014 in six oblasts in Southeastern Ukraine, Crimea, and the de facto states of Abkhazia, South Ossetia and Transnistria. An analysis of the surveys shows that blame attribution was driven more by television viewing habits than by any other factor.

ОСОБЛИВОСТІ РЕПРЕЗЕНТАЦІЙ МАСКУЛІННИХ ОБРАЗІВ: ДИСКУРСИ СЧАСНИХ ТЕЛЕРЕКЛАМ (НА ПРИКЛАДІ УКРАЇНИ, РОСІЇ ТА ПОЛЬЩІ)

This article is concerned with the problem of masculine image creation in modern television commercials. Media, particularly advertising, on the one hand, may become a source of misinformation and stereotyped images, and on the other – the source of formation of new values and behaviors. Research objective is to reveal the main discourses of modern television commercials in Ukraine, Russia and Poland in the context of masculine image creation. Goals: to identify the special aspects of a discursive study of mass media, in particular television advertising; to develop research model of the discursive representation of masculine images in television advertising; to explore ways of presenting the male images in the commercials (in Ukrainian, Polish and Russian television); to compare the results of the research with the others similar. Masculinity can be defined as a system of normative conceptions of man, namely the properties of such basic characteristics as appearance, behavior pattern, life style, interests, values, attitudes, sexual orientation, etc. These and other categories involve compliance with their own psychological gender, the adoption of sex-role stereotypes. Advertising spaces can be considered as a sphere, which has its own discourses, put on an idea and provide values to certain social practices. TV commercials of three countries – Ukraine, Russia and Poland – were analyzed through the use of content analysis and discourse analysis. As a result of the study, four discursive methods of male representation were identified: «Family man», «Businessman», «Seducer», and «Sportsman», masculinity of which is measured through such «nodal points» as features of appearance, values, behavior, emotions, image environment and thematic scope of advertising. There is a competition between different discourses for defining the image of a man. The television is an example of the discourses plurality in the context of masculine image creation. With the help of content analysis, we managed to discover that we often watch on a television of all three countries the image of «Family man». The generalization of the highest percentages of all detailed and covered categories allowed us to highlight a typical male image. On the Ukrainian television, the image of a man in advertising is associated, usually, with rest, casual style, crew cut, athletic build, with expression of social values and consumer behavior, hedonistic and communicative emotions. In the Russian TV advertising the image of a man is as follows: on vacation, casual style, sport hairstyle, athletic build, giving preference to social values and a demonstration of consumer behavior, expression of hedonistic and communicative emotions. For Polish television, the typical image is: a man surrounded by a family, casual style, with classical hair style, athletic build, with an expression of social values and comfort behavior, communicative and practical emotions. Based on the results of our study, we note that Ukrainian and Russian TV advertising discourses can be characterized as traditional, but in Poland we observe ambiguousness, namely the conflict between traditional and liberal discourse. Key words: gender, masculinity, mass media, television advertising, discourse

ТВОРЧА ДІЯЛЬНІСТЬ УКРАЇНСЬКОГО РЕЖИСЕРА КІНО І ТЕЛЕБАЧЕННЯ В. Г. ГОРПЕНКА

The purpose of the article is to analyse the creative activity in audiovisual art and production of Ukrainian film and TV director, actor, teacher of screen arts, Doctor of Arts, Professor, Academician of the Higher School Academy Volodymyr Hryhorovych Horpenko. Research methodology is based on applying the personological method, the method of the theory of individuality and the historical-biographical one. These approaches allow the researcher to collect and analyze the unknown or little-known facts about Volodymyr Hryhorovych Horpenko’s creative activity in screen arts. Conclusions. Concluding the aforementioned, it can be stated that the scientific objectives have been accomplished: personal life and career of Ukrainian film and television director V. Horpenko have been studied; his advent to cinematography has been described; the reasons why V. Horpenko refused to shoot the feature film «Nina» with О. Shvachko have been analysed; the situation formed at the time of work on the film after the same name science fiction novel by the Struhatsky brothers «Hard to be a God» has been described; the directing work of V. Horpenko on Ukrainian television has been mentioned. Nevertheless, the prospects for scientific research remain promising, as V. Horpenko continues active work in the sphere of audiovisual art and production, as well as pedagogy of screen arts of Ukraine. The significance of this research in terms of Art History lies within discovering and introducing the new important facts about creative activity in audiovisual art and production of Ukrainian film and television director, actor, teacher of screen arts, Doctor of Arts, Professor, Academician of the Higher School Academy Volodymyr Hryhorovych Horpenko.

РЕЗУЛЬТАТИ ПОГЛИБЛЕНОГО АНАЛІЗУ ПАРАМЕТРИЧНИХ ПОКАЗНИКІВ ТЕЛЕРЕКЛАМИ ЛІКІВ, ПАРАФАРМАЦІЇ, ПИВО-ГОРІЛЧАНИХ ВИРОБІВ - ДОКАЗОВА БАЗА ДЛЯ РОЗРОБКИ НОРМАТИВНО-ПРАВОВИХ ЗАСАД ЕФЕКТИВНОГО ДЕРЖАВНОГО УПОРЯДКУВАННЯ Ї Ї ДІЯЛЬНОСТІ

There was conducted the analysis of parametric indices of monitoring of television advertising of medicines, parapharmaceutical production and alcoholic drinks in 2011 on the main Ukrainian television channels. There were determined key differences and mechanisms of the development of television advertising business.

Television as total practices and liberalization of distinctions: The Ukrainian case

The simultaneous effect of two opposite tendencies is peculiar to the Ukrainian television as well as to most national media. Firstly, communication assumes more and more universal character due to expansion of the access to the media and because of the standard content. At the same time cultural, social and political distinctions of communications free themselves as the result of the media market’s influence. Both tendencies exhibit internal contradictions and counteractions. The obvious heterogeneity of viewer’s preferences opposes the total entertainment effect of the media reality and essential resistant potential of the Ukrainian audience as well as low level of trust in political media oppose total control over political preferences of the viewers. It would seem that the articulation of distinctions corresponds to the real life styles of population, but in fact it turns out to be a fixation of the traditionally established division into cultural competent and undemanding audiences, a strengthening of “mechanical” pluralism sanctioned by media business. The situation with the Ukrainian media is considered on the basis of the results of sociological researches conducted by the Institute of sociology of National Academy of sciences of Ukraine in 2000-2007. Keywords: Sociocultural differentiation of audience; Political media; Content analysis of TV news