首页 | 本学科首页   官方微博 | 高级检索  
相似文献
 共查询到20条相似文献，搜索用时 78 毫秒
1.
Tony Bennett 《Cultural Trends》2006,15(2-3):193-212
The literature on cultural capital has had relatively little to say about television viewing, except insofar as television has served as a negative point of reference in relation to which other cultural practices register their distinctiveness. This article, by contrast, examines the respects in which practices of distinction are operative within the space of broadcast television. Looking first at the ‘internal economy’ of television as expressed in the relations between genre, programme and channel preferences, it then examines how these preferences are related to occupational class, gender, level of education and ethnicity. While showing that divisions within the space of broadcasting are most powerfully articulated in terms of age and gender, the article also shows that occupational class and level of education play important roles in stratifying television audiences along traditional ‘high’/‘low’ lines. A closer analysis of the relations between these variables reveals more complex patterns of distinction, particularly in the place occupied by ‘new drama’ and ‘new comedy’ in the preferences of younger, well-educated viewers.  相似文献   

2.
This chapter assesses the developments in UK religious broadcasting over the last 20 years in both the BBC and independent television. Debate about the role and purpose of religious broadcasting is nothing new. However, the debate has taken on new significance recently in the light of wider consideration by broadcasting bodies and the government about the meaning and purpose of public service broadcasting in a multi‐channel television environment.

The first part of the chapter maps developments in broadcasting policy, with particular reference to statements issued by the BBC's and Independent Television Commission's advisory body, the Central Religious Advisory Committee. The chapter also highlights the impact of the changing religious make‐up of the UK, and the advent of dedicated religious television channels on the content of religious broadcasting.

The second part looks at the audience. Research findings may initially suggest that religious programmes are seen primarily as being for ‘other people’. However, closer examination of the audience shows that religious programmes are still watched by the majority of the adult population. And although viewers over 55 are well represented in the audience for many programmes, the audience for religious television is in reality more diverse than public and broadcasting industry perceptions would suggest.

Programmes are the focus of the third part of the chapter. While the amount of time devoted to religious programmes on BBC1 and ITV has remained at similar levels, the scheduling of religious programmes has moved away from peak time on both channels, but particularly so on ITV. Both channels have reduced the amount of religious programme time devoted to acts of worship. The official figures for amounts of religious broadcasting do not tell the whole story, however. Discussion continues both about the definition of ‘religious’ programmes and the future of religious broadcasting departments.

The challenge for religious broadcasting is to redefine itself for the digital age, without narrowing its scope.  相似文献   


3.
Television viewers construct many different meanings from the programs they watch. Here, we investigated whether ethnic prejudice is differentially influenced by the genre of television programs in their portrayal of ethnic minorities. We also wanted to determine whether a higher educational level reduces ethnic prejudice and television use. A self-reported questionnaire was administered to 401 Italian adults. Structural equation modeling was used to analyze the relationships between ethnic prejudice and television program contents and educational level. Viewing Reality and Variety Shows was positively related to ethnic prejudice, News and Public Affairs was negatively related, and Films and TV series had no apparent influence on prejudice. Educational level was negatively related to both ethnic prejudice and watching Reality and Variety Shows, and positively related to viewing News and Public Affairs and Films and TV series programs.  相似文献   

4.
《Popular Communication》2013,11(3):195-207
This article explores the relations between journalism and feminist cultural studies to underscore the crucial importance of studying forms of popular knowledge that claim to foster citizenship among audiences. The article begins by examining the history of feminist cultural studies scholars' sustained interest in feminine genres of popular culture rather than journalism. Crossing over to the other side, I then outline some of the reasons for journalism's early resistance to cultural studies and trace new developments that suggest the growing acceptance of cultural studies within the institutional apparatus of journalism. As a case study, news magazines' representations of globalization illustrate the distinct ways in which journalism employs discourses of gender to produce hegemonic ideas of modernity, prosperity, and achievement for global reading publics. Finally, the article points to new directions for international audience research in the arena of globalization, gender, and journalism.  相似文献   

5.
《Popular Communication》2013,11(4):229-252
Despite both the economic success and shear spectacle of television shopping, very little research has looked at what keeps millions of viewers tuned in to what could be considered nothing more than networks devoted to a constant stream of advertisements. Building on the theoretical framework of parasocial interactions, this article devises a typology of television shopping viewers based on in-depth interviews conducted with audience members that range from heavy to light in terms of their viewing patterns. Audience members fall into 3 different categories of viewer-shoppers: skeptical-ironic, practical-hesitant, and expert-compulsive. Each of these categories of viewer-shoppers negotiated different meanings of television shopping programming that challenge ideas about isolated individuals who turn to television shopping networks primarily for companionship.  相似文献   

6.
Cultural consumption is problematic from a number of different perspectives, but certain responses from producers, regulators and commentators depend on the measurement of consumption according to quantitative and qualitative parameters. The reliability of the data can vary widely, not least because in certain areas consumption is invisible to those who would measure it, and so they must make estimates based on assumptions about methodology and sampling techniques. Whereas in auditoria, turnstiles may quite accurately quantify footfall through the premises, and sale or return inspires high levels of confidence in circulation figures for certain types of publication, broadcasters perform to intangible audiences who can be neither counted nor observed en masse. This article considers the appropriateness of sampling techniques used to produce audience research data for the broadcasting industries, for the programmers and advertisers who need detailed ‘knowledge’ about their audiences. It draws on the contextualization in Cultural Trends 45 (Starkey, 2003), which examined the debate around competing methodologies using either innovatory electronic devices for the measurement of consumption or more traditional human recall. The article raises important questions for those who use sampling techniques in the cultural sector and those who would interpret their data.  相似文献   

7.
The present study aims to gain an understanding of the patterns of representation and appearances of Palestinian citizens of Israel in the genre of reality shows in Israel. This genre has become extremely dominant in the television-broadcasting schedule. The mere fact that Arab people are visually present in TV entertainment, and in reality shows more specifically, should not lead us to conclude that Israeli TV is witnessing a move toward pluralism. It is important to examine the precise mode of representation of the “others.” That is to say: we must look at the visibility of Arab participants in those reality shows in which they appear (research question 1); how Arabs are represented in such programs (research question 2), and at the types of interaction between Arabs and other, Jewish-majority, participants in the program (research question 3). Content analyses were conducted for all reality shows broadcast on Israel's commercial TV channels between 2003 and 2007 that included Arab participants. Results show the reality show genre is still firmly ruled by a Jewish hegemony that represents the Palestinian Arab as the “other” and that the overwhelming majority of spectators are Jewish.  相似文献   

8.
The last 10–15 years has seen the rapid growth of festivals in Britain and overseas. This article examines the current situation of combined arts festivals in the UK in an effort to understand what the British festival environment looks like in the early years of the new millennium. A number of questions present themselves regarding the history and development of the current festival structure, the number of festivals, their size, distribution, audiences, geographical locations, programming content, duration, seasonality, influences, objectives, future plans and so forth. Combined arts festivals are defined as those containing more than one genre of arts, e.g., Edinburgh International Festival. Research methods include a survey questionnaire sent to 117 UK combined arts festivals (56 per cent response rate) to discern audience demographics, programming history, funding and future plans. In-depth interviews were also conducted with festival organizers. Based on survey data, it is argued that a homogeneous combined arts festival “type” is developing and replicating across the country. This argument is supported by the similarity in programming choices and festival format of a majority of the festivals surveyed. One of the main reasons for the increasing formulaic approach to festival programming and design is the increasing competition for funding as public and private funding sources expect combined arts festivals to achieve socio-economic targets and become more sustainable from one year to the next. This can be seen to be contributing to the increasing professionalism of combined arts festival organization, which has resulted in the majority of combined arts festival directors favouring “safe” content options that emulate the successes of several large, long-established festivals. Such an approach has had detrimental effects on the creativity of the arts festival landscape on the whole and may also be altering the symbolic meanings of festivals for communities and places.  相似文献   

9.
Abstract

This article presents a new analysis of representations of T. E. Lawrence to explore how the media created celebrity identities in interwar Britain. Examining his appearance in seventeen national newspapers and in newsreels between 1919 and 1935, it shows how earlier press depictions that borrowed from Lowell Thomas’s portrayal of him as the mythical ‘Lawrence of Arabia’ were disrupted by a nascent media-driven celebrity culture which aimed to uncover intimate details of the lives of the so-called ‘real’ people that were believed to exist behind the outward personae of the famous. By the late 1920s, the press’s attention had switched from Lawrence as an imperial adventurer to focus on the intensely private man who lay behind the public image of the ‘Blonde Bedouin’. This shift in emphasis denoted a significant change in the way celebrities were presented by the news media in interwar Britain. Journalists intensified their exposure of celebrities’ private lives to amplify the empathetic connection between the public and the famous at a time when new modes of self-fashioning were configured through expression in private, domestic life. This shift was also informed by growing anxieties regarding how public figures communicated their social authority to the new audiences of the interwar mass media, newspapers and newsreels exposing famous people’s private lives to generate emotional connections with members of the public which would strengthen concepts of social leadership and trust.  相似文献   

10.
Telenovelas have been considered the predominant popular genre on television, the most widely available and popular national medium, in Brazil, for more than 30 years (Straubhaar, 1982). However, we argue in this article that although telenovelas do indeed have this remarkable penetration and popularity in Brazil, their reception is mediated by audience class, geographical location, race, and issues with media content. Many in the audience feel disenfranchised from the dominant telenovela representations, particularly on the primary network, TV Globo, because of their rural, Northeastern status and identity, or their Afro-Brazilian identity. They question their sense of belonging, not because they do not feel Brazilian, but because the “Brazil” they see on TV does not include them.  相似文献   

11.
In France, the social-stratification model based on Bourdieu's Distinction is still one of the main theoretical models used to analyse cultural tastes. The distinction model asserts a hierarchical classification of tastes and genre and an aesthetic judgment based on rejection. In the musical field, Richard A. Peterson challenged the model showing the eclectism and the mix of classical and popular genres among the tastes of elite. Changes in taste judgements in multicultural societies problematise the understanding and representation of the structuration of tastes. In reference to the 2008 statistical survey on French cultural practices and tastes, this article challenges conventional understandings of the taste patterns informing music consumption in contemporary France. In doing this, the article utilises a ‘tablature of tastes’ model which infers the incommensurability of musical genres and taste judgments no longer based on “rejections/dislikes” but rather on “openness/tolerance” or “indifference/ignorance”. Our analysis tests the “tablatures” of musical likes, dislikes and indifferences hypothesis within the French population through a factor and classification analysis method. Six classes of musical taste emerge with a limited share of dislikes and a strong age differentiation. It confirms a major transformation in judgments of taste in the musical field.  相似文献   

12.
This article examines debates around Chile’s digital television transition in order to trace the socio-historical relation between piracy and social change. During the military dictatorship (1973–1990), media activists used what they called “honorable piracy” for counter-communication efforts aimed at restoring democracy. Following the return to democracy, community television participants have rationalized their unauthorized transmission of alternative programming to low-income sectors using a similar logic of honorable piracy. For these community television participants, the digital transition represented the possibility of redefining democratic access to the public sphere and attaining legal recognition. Through an analysis of citizen activism around the move from analog to digital television, this article argues that discussion of piracy emerges as an expression of conflicting notions of the definition, use, and distribution of public resources.  相似文献   

13.
Big Sexy (2011), a television mini-series on TLC, tells the story of five “larger than life” Manhattan women working in the fashion industry. In comparison to dozens of reality television programs that emphasize weight-loss, Big Sexy critiques the idea that all fat individuals need to lose weight, or should even want to lose weight in the first place. This resistant message of fat acceptance exists in a carnivalesque televisual space, creating a site for the interplay of competing, yet increasingly co-present discourses of the body despite the dominance of “obesity epidemic” rhetoric. Ultimately, Big Sexy necessitates a different theoretical lens than the one often applied to reality television, namely neoliberalism in relation to governmentality, shame, and self-discipline, in order to make sense of its uniqueness within this continually expanding genre.  相似文献   

14.
ABSTRACT

This article explores popular media as resources for judgment in how settled migrants in Europe imagine solidarities toward newer arrivals seeking entry into the region. It discusses the news and entertainment consumption of Filipino nurses in London and how this figures in their imaginary of social and political bonds with refugees. Drawing on ethnographic interviews, I argue that these Filipino migrants can only articulate a compromised solidarity: one fractured between empathy with refugees and concern about what these newer arrivals might mean for settled migrants in the city. I then explain how the media contribute to this fracturing. One way is that the xenophobia in popular media content on social media leads the Filipinos to assert their difference with other migrants, including refugees. A second is that the Filipinos deploy popular media content, especially on British television, to assert that they belong to UK society more than other migrants, again including refugees.  相似文献   

15.
This article intervenes in ongoing debates around the democratic potential of new television satire through an analysis of the content and reception of The Thick of It (TTOI). TTOI is popular not only with a notoriously cynical British public, but even more so with the politicians and journalists that are the target of its ridicule. TTOI’s politics are relatively radical, portraying the news media and politicians as forming a social apparatus which is rotten to the core, and thereby offering a challenge to liberal democracy itself. It is deeply ironic, then, that the show has been incorporated by this very apparatus. What does it mean for the show to be adopted so enthusiastically by the system it so aggressively derides, and what can it tell us about satire’s relationship to cynicism, politics, and democracy?  相似文献   

16.
The theatrical play O Bem Amado is based on a tragic and comical Brazilian reality: the way politicians plot their interests, without regard for their voters’ well-being. Populist and eccentric, the protagonist Odorico Paraguaçu embodies gestures, spoken gags, unfilled promises, and other typical characteristics of Brazilian politicians. This article analyzes how the most recent cinematic version of the play staged a character who was born in the 1960s, became a television soap opera hit in the 1970s, starred a movie in the 2000s, and comes back to life in every election period. We intend to make clear that much of what was criticized in Brazilian politics then is still very much alive today. The characteristics that make Odorico laughable are described in the article and are the same ones that highlight aspects of Brazilian political culture, all played out in a lighthearted comedy of manners spiced with political satire. This article introduces the latest version of O Bem Amado with some important background information. Based on scenes extracted from the film, popular comedy is portrayed as an opportunity for the public to take revenge, through mockery, of those who take advantage of their public position in favor of private interest. The article also explores added dimensions of the most recent version, brought on by new technological aspects added when the story was adapted for the big screen.  相似文献   

17.
This qualitative, exploratory study examines issues of age and aging surrounding mega-serial (daily soap opera) production in Tamil Nadu, India. This study is timely for demographic reasons (a rapidly aging Indian population) and for the centrality of mega-serials to India’s entertainment landscape, coupled with the genre’s long history of engaging global audiences with real-world social issues. Two data sources are utilized: focus groups with 16 mega-serial viewers and interviews with 25 members of the Tamil mega-serial industry. Situated in scholarship on gerontology/age studies and media/culture industry studies, analysis yields two broad themes related to (a) representations of age/aging and elder-oriented storylines in contemporary Tamil mega-serials and (b) recent industry changes that may forestall mega-serials’ potential to center age and aging as core narrative elements. Overall, evidence points to an industry and audience(s) in considerable transition.  相似文献   

18.
ABSTRACT

The term “classical” is often applied to the genre of Iranian music known as musiqi-e sonnati (traditional music), normally identified by a form of music making involving extensive extemporization based on a structural framework called the radif, historically performed at length in intimate settings among initiated individuals. Today, classically trained musicians working the public concert circuit in Iran face a somewhat different picture of musical practice. Concert halls are typically much larger, audiences much wider, and performances much shorter. Many musicians tend to categorize themselves as classical, though they do not always perform according to the traditional parameters of the sonnati genre. This raises questions about new developments in classical music that fall just outside radif-based performance, and about the perceived conceptual relationship between sonnati and new-classical performance as the genre evolves. This article explores some of these dynamics through reflections among performers navigating Tehran’s classical concert circuit today.  相似文献   

19.
《Popular Communication》2013,11(2):103-118
This article presents findings from 2 studies examining the impact of the 1996 Federal Communications Commission (FCC) processing guideline mandating educational television for children. The studies include (a) a content analysis of 3 episodes of each of 41 different programs listed as "core" educational programming under the FCC's requirements and (b) an examination of industry perspectives on children's educational programming based on 22 in-depth telephone interviews with independent producers, network executives, and program consultants. The article contrasts the results of the content analysis with findings from the industry interviews to explore the economic factors that determine what is offered as "educational and informational" (E/I) on commercial broadcast television for children. The article concludes by considering why broadcasters may be more likely to offer "prosocial" programming (i.e., shows that deal with social and emotional issues) than "traditionally academic" programming (i.e., shows related to school-type subjects) to satisfy their educational television obligations to children.  相似文献   

20.
In the interwar years the loosening of constitutional bonds between Britain and the settler colonies was facilitated by a perceived strengthening of economic, social, and cultural ties. In the case of broadcasting, this closer cultural connection becomes apparent when programming is placed in its institutional context, for example through analysis of BBC and CBC coverage of the 1939 royal tour of Canada. Despite tensions produced by different agendas and interests, in general the two broadcasters collaborated to achieve common goals. In particular, both presented an empire divided along lines of race and class as nevertheless united in loyalty to the crown.  相似文献   

设为首页 | 免责声明 | 关于勤云 | 加入收藏

Copyright©北京勤云科技发展有限公司  京ICP备09084417号