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1.
Abstract This multiple-case study explored television programming products offered by U.S.-originated cable networks—namely, Music Television, Cartoon Network, Entertainment and Sports Programming Network, and Discovery Channel—in such Asian markets as Japan, Singapore, and Taiwan and attempted to identify factors that shape their programming strategies. On the basis of theoretical foundations concerning product standardization and adaptation in international marketing research, this study found that various external and intrafirm factors, ranging from host country's cultural and environmental characteristics to network's business orientation, are relevant to the decision on programming products by global television networks. 相似文献
2.
Jamie Medhurst 《Media History》2013,19(3):292-306
There is no doubting the influence and impact of (Lord) John Reith on the shape of British broadcasting, both radio and television. As one cultural historian argues: ‘he occupies an important place in the social and cultural history of twentieth-century Britain.’ The most commonly-accepted view in television histories is that John Reith disliked television, would have nothing to do with the medium, viewed those involved with establishing and running the BBC's television service with contempt, and refused to watch television programmes. However, drawing on both archival and secondary resources, together with Trine Syvertsen's notion of ‘media resistance’, I argue that Reith's relationship with television was far more complex than has been understood thus far and that his attitude towards the new technology was shaped by a combination of personal and professional factors. 相似文献
3.
The diffusion of international television programs has been an important area of international communication research. In this article, we use theoretical constructs from country-of-origin and cultural proximity literatures and develop a model to explain audience's attitudes toward and willingness to watch imported television programs from China. Our study used a questionnaire survey method to collect data from 553 respondents in Taiwan. We examined television programs imported from China, a country that has tried to invade Taiwan to destroy its democracy in the past decades. Regression analyses found that, whereas cultural proximity was an important predictor, animosity turned out to be a more powerful predictor of Taiwanese audience's attitudes toward television programs from China. The results also demonstrated that if the Taiwanese audience perceived China as holding less animosity and more cultural proximity, they had more positive attitudes and were more willing to watch television programs imported from China. 相似文献
4.
《广播与电子媒介杂志》2013,57(3):394-417
This study examines parental mediation of preschool children's television viewing. Becker's (1981) theory of parent-child relations is used to frame mediation in terms of parenting resources. A survey of 129 parents of preschool children (ages 1-5) reveals that when resources are in highest demand, attitudes toward television are a factor in deciding whether television mediation will benefit children. Demographic variables, parents' attitudes about television, and parents' involvement with children all significantly predicted restrictive and instructive mediation. The findings are discussed in light of young Children's needs for mediation as a guide to television's novel set of technical and cultural codes. 相似文献
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6.
Belinda Flores Espiritu 《亚洲交流杂志》2013,23(4):355-372
This study examines the ‘theater of struggle’ in young Filipino women's reception of Korean television dramas in view of the American cultural imperialism that is deeply entrenched in the Philippine society. Mainly anchored on Gramsci's concept of hegemony and Stuart Hall's encoding-decoding theory, the researcher conducted a reception analysis through a textual analysis of selected Korean television comedy-dramas and focus group discussions with young Filipino women in different colleges. The young Filipino women expressed cultural affinity with the culture, storylines, values, and environment in Korean and other Asian television dramas that have invaded the Philippines in the twenty-first century. ‘Negotiation, resistance, and struggle’, in Hall's sense, against both the liberalism in American dramas and the pre-modern themes in local dramas were manifested in the young women's discourses. Consequently, American cultural imperialism in the Philippines was undermined, challenged, and to some extent subverted. The study also looked into the young women's dominant, negotiated, and oppositional readings of the dominant capitalist patriarchal values and ideologies that were embedded in selected Korean dramas. While there were young female participants who subscribed to global capitalist values showing their cooptation within Western cultural hegemonic domains, the young women largely articulated negotiated readings of capitalist values and oppositional readings with regard to the dominant ideology of capitalist patriarchy. In reading the selected Korean dramas reflexively, the young women identified social pathologies of poverty, class inequality, and capitalist patriarchal values and constructed emancipatory discourses with regard to these. 相似文献
7.
Tasha R. Rennels 《传播与批判/文化研究》2013,10(3):271-288
Depictions of white working-class people are steadily on the rise in reality television. To understand this phenomenon, and the ways in which it articulates white working-class people in the United States today, I analyze Here Comes Honey Boo Boo, a popular reality series on TLC featuring a self-described “redneck” family. I argue that this series highlights the family's inability—because of their working-class status—to conform to “ideal whiteness,” a whiteness that displays dominant cultural standards bolstered by neoliberalism, such as wealth, rationality, personal responsibility, and self-control. The family members consequently become exemplars of “inappropriate whiteness,” a marginal identity presented as humorous and, through the use of surveillance and spectacle, authentic. 相似文献
8.
Joy Elizabeth Hayes 《The Communication Review》2013,16(4):411-439
This paper provides a historical perspective on the intersection of media, popular culture, and nationalism through a study of the broadcasting policies and programs of one of Mexico's earliest government radio stations. This study analyzes the musical programs that formed the centerpiece of government radio programming in order to evaluate the racial and class ideologies imbedded in the nationalist discourse of state broadcasters. By viewing these government programs through the lens of a broader literature on nationalism in the Third World and among diasporic communities, it is possible to identify a fundamental tension in Mexico's official nationalism between a search for the roots of an “authentic”; ethnic identity, and a need to position Mexican culture within the constellation of Western “civilization.”; Finally, this paper investigates audience reactions to state broadcasts in order to explore the meaning of early broadcast nationalism for Mexico's radio listeners. 相似文献
9.
David W. Scott 《Critical Studies in Media Communication》2013,30(3):317-333
This research is premised on Stuart Hall's encoding/decoding model and on Berger's concept that religiosity is socially constructed. However, unlike the early Birmingham studies' emphasis on socioeconomic status as a “cultural code” through which audience members would decode media texts, this study examines the readings of television texts from the perspective of audience members who are, because of their religious practices, ideologically situated to the right of much that is offered on television. The findings in this case are consistent with Hall's notion that individuals bring contradictory and conflicting discourse into their readings of media texts. 相似文献
10.
Ted Striphas 《Critical Studies in Media Communication》2013,30(3):295-316
This essay explores the cultural politics of television talk-show host Oprah Winfrey's Book Club. Because women constitute both the primary Oprah television audience and the largest United States book buying public, it focuses specifically on women's involvement in the club and their modes of engagement with its selections. The Book Club's astonishing success was attributable in part to the carefully considered communication strategies through which participants, Winfrey, and Oprah producers collectively articulated the value of books and reading specifically for women. Their de-emphasizing of purely literary considerations, I contend, enabled women to strategize how to use Book Club selections simultaneously to distance themselves from and to engage more intensively with the demands of living in a patriarchal and otherwise socioeconomically stratified society – a relationship I call a “dialectic with the everyday.” This essay thus traces the communicative processes/practices through which those involved in Oprah's Book Club articulated a highly sophisticated economy of cultural value around books and reading and the implications of that economy to a possible feminist cultural politics. 相似文献
11.
Ron Garay 《广播与电子媒介杂志》2013,57(4):469-490
This study examines children's understanding of temporal order as depicted on television through three distinctive techniques — canonical sequencing (normal time), reversed sequencing, and “time‐leaps”; (advanced time). Findings suggest that cognitive skills associated with the ability to comprehend liquid conservation contribute to children's understanding of the temporal ordering of televised events in real time, including both canonical and reversed sequencing. Understanding of the more complex, telegeneric time‐leap modification of temporal sequencing was found to be associated with the quantity of children's television consumption. 相似文献
12.
This study describes the changes over time in the portrayal of socio-cultural characteristics; namely gender, age, ethnicity, religious outlook, family unit, violence experienced, living conditions, and cultural values in Indonesian children's television programs. Using systematic-quantitative content analysis of popular locally produced Indonesian children's television programs in the 1980s and the 2000s, this study found that all socio-cultural characteristics changed over time, except for gender representation with male actors consistently outnumbering female actors. There were some predominant socio-cultural characteristics in the 1980s, the era of authoritarian broadcasting system in Indonesia: most of the major characters were children and preteens, from Western Indonesia, not showing religious symbols or practices, having more than one sibling, and the majority of the adult characters were married. In the 2000s, the era of liberal broadcasting system, major characters were children and teens, showing certain religious symbols, having no or only one sibling, and the majority of the adult characters were single. Indonesian children's television brought certain cultural values to the fore for their young audiences to identify themselves with: self-direction and benevolence. 相似文献
13.
Diana Dixon 《Media History》2013,19(1):79-89
Television history channels and programming have seen considerable growth in recent years, yet empirical research on television history audiences remains limited. This essay argues that media history scholars need better to understand what happens when audiences consume television history, examining the critical debates concerning the genre's specific modalities of rendering the past on screen before exploring what opportunities and problems it affords viewers. The essay draws on original qualitative, empirical research on audiences of historical reality television through a specific, small-scale case study of BBC Wales' Coal House at War (Indus 2008). It argues for the need to retain a dual focus upon such programming's historical content and its televisuality if we are to appreciate the intricacies of viewers' cultural consumption. The essay concludes by demonstrating that audiences' own oral and written responses to television history reveal something of how people, situated in their specific times and places, understand both their past and their present. 相似文献
14.
Carol Stabile 《传播与批判/文化研究》2013,10(3):266-285
Scholarly accounts of gender, race, and television in the 1950s have mainly focused on the ideological content of programming that ultimately made it onto the air. This research has played an important role in reckoning with the political and cultural legacies of 1950s television. But the focus on ideology and content has prevented us from fully understanding the repressive nature of anti-communist thought and action, both in terms of the powerful ways in which the broadcast blacklist made the production of progressive themes and images impossible, and in terms of how the fear that followed from the blacklist repressed the memory that such alternatives had ever existed. Counter to the images of white suburban women we have inherited from the 1950s, the first two casualties of the broadcast blacklist were professional women who were politically active—white actor Jean Muir and African American musician Hazel Scott—whose involvement in civil rights was deemed evidence of their communist sympathies. This essay builds on earlier research on gender and 1950s television not by analyzing the absence of strong women, people of color, immigrants, and working-class families from the televisual landscape, but by looking at the elimination of the very cultural workers writing, agitating, and fighting to broadcast these representations. 相似文献
15.
New media technologies are often met with political and public ambivalence, as they are perceived to threaten established activities, values and institutions, as well as bring progress and improve political, cultural and social life. Taking the Norwegian history of television as an empirical case study, this article relates to an international research agenda focusing on the cultural political debates in the early phases of broadcast media. The article is structured according to five key conjunctures where significant new media and technologies were introduced with corresponding political debates: the introduction of television (1940s–1950s), of colour television (1960s–1970s), of satellite, cable and commercial television (1980s), of digital distribution (1990s–2000s) and the expansion of television to new platforms (2000s). The article addresses the key arguments and dividing lines in these political debates, as well as the change in the perception of television when the medium is no longer new, but has become an integrated part of people's everyday life. 相似文献
16.
James Royal 《传播与批判/文化研究》2013,10(4):346-365
Television is increasingly creeping into non-traditional spaces such as workplaces. As part of that movement, Ford Motor Company of Europe uses television as a key component of communication between top management and subordinates. The company broadcasts over its internal television system various Ford-related video and news stories to its plants in five countries—UK, France, Belgium, Spain, and Germany. As an employee in Ford of Europe's internal-communications team based in Cologne, I witnessed first-hand the inner dynamics of the deployment of television in a pan-European setting. Through television, the company is crafting a transnational corporate identity among its multi-national workforce, interpellating viewers in the various local sites within a larger “Ford family.” While television can act as a unifying force, the deployment of the technology also exacerbates tensions within the transnational entity as inflected by site-specific concerns—white collar/blue collar, international/national, management/union, labor/leisure, and public/private. Layered on top of this multitude of tensions remains the inherently propagandistic nature of developing news for a captive audience. For myself and others at the company, irony became a necessary tactic, to use DeCerteau's terms, to cope with the presence of a potentially monolithic technology in the prototypical transnational corporation. 相似文献
17.
《Journal of Media Economics》2013,26(4):235-251
This article contributes to the understanding of how transnational media corporations enter, operate, and are structured in different national contexts. Specifically, it provides a detailed examination of News Corporation's use of sport as an instrument for successfully penetrating national television markets within the United States, the United Kingdom, and Australia. The discussion is divided into 3 sections, focused on (a) the cultural and economic rationales underpinning News Corporation's use of sport as a core aspect of transnational television market entry strategies, (b) examples of News Corporation's use of sport programming to enter and manage local media markets, and (c) the changes wrought in News Corporation's organizational structure and focus resulting from its transnational sporting orientation. 相似文献
18.
This study examined associations between bedroom television, media use, and adolescents' health risk behaviors. A sample of 1,017 12- to 14-year-old adolescents completed computer-assisted interviews at baseline and 2-year follow-up. Among White adolescents, having a bedroom television predicted risk-promoting media use practices and significantly greater odds of initiating health risk behaviors—cigarette smoking and sexual intercourse—over 2 years. Although significantly more Black than White adolescents had a bedroom television, bedroom television was unrelated to Black adolescents' media use practices or health risk behaviors. Research is needed to understand ethnic differences in family media use and consequences for adolescent development. 相似文献
19.
Zaharom Nain 《亚洲交流杂志》2013,23(1):43-64
This paper identifies and evaluates Malaysia's television policy in a period of change. A period, that is, which sees the transnational media becoming more dominant and influential in this region. A period, on the other hand, which also sees Malaysia's policy makers arguing in the international arena for ‘Asian’ values and, domestically, for ‘Islamic’ values. By locating the development of Malaysian television and its contents within these wider proclamations of intent by the powers that be, this paper argues that while these declarations give the policy makers much political mileage and may help them ‘look good’ in the local and international arenas, in reality, all is not what it seems with Malaysian television. What this paper argues is that while the rhetoric of ‘Western media/ cultural imperialism’ is constantly evoked by the policy makers in Malaysia to imply that they are ‘Malaysianizing’ the medium of television, current practices and trends indicate that it is very much ‘business as usual’, with Malaysian television being led further and further into the international marketplace and the attendant pressures this entails. 相似文献
20.
Rosya Izyanie Shamshudeen 《亚洲交流杂志》2013,23(2):142-157
This paper analyses the audience reception of the Malaysian reality television programme Akademi Fantasia (AF), which first aired in 2003 and completed its ninth season in 2011. AF has been an influential pioneer in the national television industry, inaugurating the trend of local reality shows and weathering intense competition from similar shows to remain at the top of the ratings chart over the last decade. Based on the Mexican talent search show, La Academia, Malaysia's AF is a unique hybrid blend of an Idol-style talent contest and Big Brother observational spectacle. The article draws on primary audience research to investigate the ways in which Malay audiences interpret the potentially incommensurable cultural meanings generated within the context of a localised version of a global television format. Chua's concept of ‘identification and distancing’ is employed as a framework to analyse the complex ways in which perceived Malay ‘cultural norms’ assume primacy as interpretative lenses for audience evaluations of the show and measures of its local difference from similar global cultural products. The research also reveals how these cultural norms are themselves being negotiated by the audience as part of the everyday experience of inhabiting coexisting local and global popular cultural spaces. The analysis focuses on audience understandings and pleasure in the programme in relation to fashion and taste; the behaviour of the official judges; voyeurism and conflict in ‘backstage’ coverage; and emotional intimacy onstage in the public performance component of the programme. 相似文献