共查询到20条相似文献，搜索用时 15 毫秒
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Rebecca Martin 《广播与电子媒介杂志》2017,61(3):499-517
The purpose of the present study was to assess the prevalence of emotion stereotypes in children’s television programming, in both educational and non-educational programming. It was hypothesized that gender stereotypes of emotion would still be prevalent in both entertainment and educational programming, with females showing more fear and sadness and males showing more anger, and that all shows would have more male than female characters. A total of 8 children’s programs were included for analysis: 4 entertainment programs and 4 educational programs. Programs were coded for the total number of males and females and for the emotions displayed by each character: happiness, sadness, anger, and fear. Overall, the analyses revealed that the majority of shows still have more male than female characters. Males were found to portray more of all emotions than females. Educational programming did not differ much in the amount of stereotypical versus counter-stereotypical emotion portrayed. Entertainment programming showed a trend toward more counter-stereotyped emotions. Future research should explore the influence of viewing specific shows on young children’s current gender stereotypes to assess the immediate impact of such viewing. 相似文献
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Leslie McMurtry 《Journal of Radio & Audio Media》2017,24(2):270-288
Imagery generation in dramatized audio drama is still poorly understood with the majority of work having been done from a radio advertising perspective. This study sought to understand audio drama imagery generation by using teenage listeners. The study demonstrated that teenagers can follow purely auditory narrative with ease and can generate unique and vivid imagery through aural dramatic stimulation. The study also showed that listening in the dark and as a group are appealing for audiences. 相似文献
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I. I. Ganitskaya 《International Information and Library Review》2013,45(1):47-58
AbstractChanges in the state structure since 1989 and their effect on the development of culture are discussed, as is the liquidation of censorship. The transition of publishing from a monopoly state enterprise to a part of the market economy is described, along with the development of the new mass electronic media. A final section deals with the situation in public libraries after 1989 and the difficulties experienced by librarians in dealing with the threatened disappearance of traditional culture under the tidal wave of mass media for entertainment. 相似文献
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S. Katherine Cooper 《The Communication Review》2019,22(2):91-116
In this paper, I discuss audience reactions to stand-up clips by Amy Schumer, Wanda Sykes, and Margaret Cho. Women’s comedy is arguably at the height of its popularity, but there is a seeming lack of research on audience interpretations of humor produced by women. This research builds on and extends current notions of “referential viewing” in audience research. Utilizing focus group analysis, I elaborate audience decoding practices and the role of identity in layers of referential viewing. Audiences in this research centered their discussions on identification of the comedians, identification of the targets of jokes, and identification of whom they perceive to be the intended audience. Discussed are implications for how audiences understand various power dynamics through humor and distinctions created between comedy that “laughs with” or that “laughs at.” 相似文献
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Jean Taylor 《档案与原稿》2018,46(1):70-77
With this paper, I first of all acknowledge the Aboriginal and Torres Strait Islander people as the traditional owners of the land in Australia. I go on to mention early radical actions by lesbians and womyn, including setting up the Queen Victoria Women’s Hospital in 1896, and how lesbians and feminists in Victoria joined the worldwide Women’s Liberation Movement (WLM) to fight for womyn’s rights from 1969 onwards. The paper explains why there was a need to set up a WLM Archives in the first place, the herstory of the Victorian Women’s Liberation and Lesbian Feminist Archives (VWLLFA) and the reasons for maintaining and adding to the collection into the new millennium.
The Victorian Women’s Liberation and Lesbian Feminist Archives Inc was established in 1983 with the objective of collecting any and all of the material relating to the WLM in Victoria from 1969 onwards; to store, archive and preserve this material for posterity and make it accessible for research and other purposes.
Now housed at the University of Melbourne Archives, the VWLLFA is a unique record of the enormous amount of political work lesbians and feminists in Victoria have done over the past 50 years. 相似文献
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1 This essay demonstrates that initiatives in the imperial periphery, not least in Western Australia, played a significant role in the development of recordkeeping systems in the British Empire and Commonwealth. Local circumstances, including the adequacy of local revenues and the availability of skilled staff, played their part in shaping the systems. Nonetheless, there are overarching patterns. The need to maintain security provided a potent driver for the creation of confidential registries. The need to carry out basic functions influenced the design of recordkeeping systems far more than any shared ‘imperial imaginary’. The diverging work patterns of colonial capitals and of district administrations tended to produce distinct recordkeeping systems. The development of integrated registry systems may have played a part in the development of the Secretariat as an institution of colonial government. 相似文献
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Emily L. Newman 《The Communication Review》2014,17(3):233-244
In 2005, cable channel FX made the risky decision to air Eric Schaeffer’s Starved, a bold experiment that challenged preconceived notions about eating disorders, anorexia, bulimia, and compulsive eating. The show poses interesting questions about illness, forcing the viewer to consider whether eating disorders can ever be considered funny. The show ultimately received mixed reviews and was cancelled after just seven episodes. Through an exploration of this challenging show, the author examines what happens when eating disorders are explored through comedy rather than the more typical tragic narrative. By comparing the show to similar sitcoms such as Fat Actress as well as serious reality programming such as Intervention and made-for-television movies, it becomes clear that while Starved may push the viewer to confront the horror of the disease, it fails not only to create empathetic characters and situations but also is unable to make audiences laugh. 相似文献
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