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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
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Thomas A. Mollison 《广播与电子媒介杂志》2013,57(1):128-141
Television broadcasting started slowly in Romania and for decades languished under strict state control. However, since it helped break the shackles of dictator Nicolae Ceausescu's unique blend of Communist dogma and censorship, it has been leading Romania's march toward a more open, democratic society. At first, broadcast improvements were slow to develop as the first democratically elected regime in post‐revolutionary Romania maintained its Communist‐era monopoly overstate television. More recently Romania has seen a dramatic increase in broadcast competition and freedom. Four factors have played particularly significant roles in spurring improvements: the development of alternative networks, access to Western‐style programming and production techniques, the rise of private, independent broadcasters, and the international exchange of broadcast content. 相似文献
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This article examines the recent move by many television sports broadcasters of streaming their content online behind geographically restricted “geofences.” Despite the increasing use of this distribution method, we argue that Internet users are increasingly bypassing geofences that center sports consumption within a nationalized television broadcasting framework through the use of VPN (virtual private network) technologies. Importantly, the geographic fluidity of the Internet often allows users to do this legally—producing meaningful ruptures in the logic that seeks to replicate the structures of mediation central to the television broadcast model within the space of the Internet. We argue that the streaming of sports content, then, should be understood and analyzed as an enforcement of corporate media strategies and reflection of telecommunication policy, as well as a cultural practice and tactic. Large transnational media corporations, typically the holders of popular sporting rights, attempt to bend digital sports content consumption to the broadcast models that they have historically employed. Yet, amidst this emerging model of digital broadcasting lie the problems of digital geography and the cultural practice of a streaming culture within the conditions of post-convergence. This practice often rejects the restrictions and stipulations of digital broadcasting in favor of a globetrotting, station-hopping exercise of content hunting. 相似文献
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J. Matt Giglio 《Critical Studies in Media Communication》2013,30(1):26-44
This article argues that commodity flow is a defining characteristic of children's television programming, and that this flow of commodity and corporate-brand images builds into the genre a relatively coherent selling ethos. Three-hour blocks of programming, recorded on two different Saturday mornings for several broadcast and cable networks, were analyzed to highlight commodity flow within and between networks. This flow of commodities on children's television indicates a blurring of the distinction between content and promotional forms and illustrates the high level of commercialism targeted at this audience. 相似文献
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Shakuntala Rao 《亚洲交流杂志》2013,23(3):193-206
This paper shows that globalization of the Indian broadcast landscape, despite market pressures, has allowed Indian journalists to seek accountability from the government, and has given audiences a broadcast voice. While increasing pro-market focus of news content diminishes emphasis on public service and democratic debates, in many instances, broadcast journalists give voice to the voiceless and seek accountability from the police and political actors. By analyzing news content and journalism practices of several English and Hindi 24-hour news channels, this paper addresses the question as to what extent television journalism's watchdog function continues to strengthen the democratic system and increase democratic participation in India. 相似文献
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Helen Wood 《The Communication Review》2013,16(2):115-135
Feminist audience research has often argued that the pleasures women find in watching certain popular television genres derive from their indulgence in “referential viewing”: relating their own subjective experience to television texts. But it has never been spelled out what this actually entails. This article, based upon research with women viewers of talk shows and morning magazine programs, suggests a specific methodology, “text in action,” to capture the specificities of the text/subject relationship. Findings arising from the use of this method suggest that accounts of the negotiation of subjectivity are induced through the text/subject interplay. Established explanations of “referential viewing” arrived at through traditional reception studies do not entirely account for the dialogic nature of these encounters. This article suggests that they can be more accurately explored through contemporary arguments about modern self-reflexivity where subjectivity can be seen to be discursively accomplishedthrough pragmatic actions across the broadcast encounter. 相似文献
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Racial and ethnic relations in America are a form of social interaction about which changing perceptions could have important consequences. Current research examining the nature of discrete social interaction situations in entertainment content on television is lacking. This study was conducted with the objective of obtaining an updated account of the state of interpersonal interaction portrayals between characters of different racial/ethnic backgrounds in popular prime time programs on broadcast television. Specifically, we analyzed prime-time television program content on 4 major U.S. broadcast networks. Findings are interpreted via a media priming framework. 相似文献
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It is a common assumption that in many countries mass mediacensorship is imposed by an authoritarian government on an unwillingpublic. This study examines public opinion about televisioncensorship in the island nation of Singapore. More specifically,we tested the third-person effect hypothesis, which suggeststhat people expect media content to have more negative influenceon others than on themselves, and that some support for censorshipis based on that perceptual bias. Data for the study came from face-to-face interviews with 506randomly selected Singaporeans who evaluated ten categoriesof ‘sensitive’ television content. Results revealed(1) a substantial perceptual bias in all content categories;(2) generally strong opinion favoring censorship of televisioncontent; and (3) a significant relationship between these twofactors, suggesting that people may support censorship of mediain part because of a tendency to overestimate its negative influence. 相似文献
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George Gerbner 《广播与电子媒介杂志》2013,57(4):293-303
This study was part of a larger project directed by C. E. Osgood and J. C. Nunally of the University of Illinois, conducted under a grant from the National Institute of Mental Health. It is especially interesting, not only because of the current controversy over television program control, but for the light it throws on the operation of the network departments charged with the censorship function. 相似文献
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Lars Lundgren 《Media History》2013,19(2):178-191
This article explores the relationship between historicality and historiography, with particular focus on the tension between claims of the historicality of broadcast events and later absences in broadcast historiography. It analyses two types of claims of historicality: first as a provider of images of history in the making; and second, as a kind of prototype, a forerunner of a new era in which television has a central position in a global society. Looking at the production and organization of the broadcast of Yuri Gagarin's return to Moscow in April 1961, the article argues that historiography is often too bound up in the present and remains blind to perspectives falling outside the dominant narratives of the current. The claims of being forerunners, on behalf of the agents involved in producing the broadcast, fit poorly with later historical events and are perhaps nothing more than the ruins of an anticipated future. But as such it may teach us just as much about the forgotten aspects of television history as it does about our practices of writing it. 相似文献
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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
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Siho Nam 《广播与电子媒介杂志》2013,57(2):260-261
This study introduces the term "travelers" to describe programs that move from one broadcast network to another. Travelers represent a form of television recycling common to the television industry, which has used over three times as many travelers as spin-offs. This article examines and accounts for the history and use of travelers over a fifty-year period: their initial popularity with networks and sponsors in the 1950s their decline in the 1970s and 198Os, and their resurgence in the 1990s. Travelers have become an increasingly important television programming tool as broad- cast networks compete for market share. 相似文献
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Nelson Ribeiro 《Media History》2015,21(1):74-88
This article presents a case study on how goods scarcity, both natural and artificially created, was used along with censorship to control the Portuguese public's access to information during the 1930s and 1940s. Even though the dictatorship that ruled Portugal from 1933 relied on a censorship apparatus that prevented the publication and broadcast of many pieces of national and international news, the research presented in this article demonstrates how the regime took advantage of the Spanish Civil War and World War II to increase restrictions on the circulation of information, justifying this through the artificially created scarcity of paper and radio frequencies. Furthermore, this article also describes how a third type of scarcity—that of electricity—also restricted listeners' access to radio broadcasts, which led many Portuguese to make sacrifices in order to listen to updated news. 相似文献
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《Journal of Radio & Audio Media》2013,20(1-2):137-141
This paper provides an overview of the Peabody Collection of radio and television programs housed at the University of Georgia. The collection is one of the largest broadcast archives in the county, with holdings of more than 30,000 programs. Instructions are provided for scholars wishing to utilize this goldmine of early programming dating back to 1940 (for radio) and 1948 (for television). The archive's tie to the Peabody Awards process is detailed, because the connection impacts access procedures and speaks to the potential biases and strengths of the holdings. The unique advantages of the archive include the large cache of companion print materials and the wealth of public service and local programming. The limitations are discussed, primarily the time-consuming protocols necessary for locating programs of interest Scholarly work utilizing both radio and television materials from the archives is briefly noted. 相似文献
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《Journal of Media Economics》2013,26(4):227-239
This article explores factors explaining program cast racial composition on television broadcast network programs. The roles of program type, cast composition, and viewer income on advertising revenue are examined. The analysis of the data yields several key findings. First, there is no bias against African Americans on the part of viewers or television networks when adjusting for viewer income and age. Second, African Americans have lower incomes and show a strong intensity of preference for programming featuring African American cast members. Therefore, despite the absence of bias, the advertiser-supported broadcast market likely produces less than the socially optimal amount of African American programming. This article provides policy recommendations to increase viewer benefits. 相似文献
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Cynthia Chris 《The Communication Review》2013,16(1):63-84
The article examines shifting patterns of ownership for cable programming services from 1994 to 2003. In these years, vertical integration in the cable industry declined, as cable's multi-system operators divested equity in programming services. Meanwhile, broadcast network-owning media conglomerates invested heavily in cable, tripling their holdings among the top 20 most fully distributed cable channels, as well as launching and acquiring dozens of additional, less widely distributed channels. In light of the Federal Communications Commissions' recent attempts to revise rules regarding television ownership, the author argues that while vertical integration has declined, the market power of the broadcast networks has grown by means of a new kind of horizontal integration that reaches across broadcast and cable channels. This shift is reshaping cable as a market which, despite growing product differentiation, is trending toward less competitive conditions that are akin to the broadcast oligopoly. This article shows that these broadcast-cable alliances contributed to the development of the new synergistic practice of repurposing. 相似文献
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《Journal of Radio & Audio Media》2013,20(2):428-440
This research examines dramatic old-time radio programs produced by the networks to identify prime-time shows that focused regularly and principally on ecclesiastics- people in service to the institutional church. Although many such programs appeared on prime-time broad- cast television, this study reveals that only one such program aired in the history of prime-time radio. The article draws a profile of this program, The Bishop and the Gargoyle, looking at how it represents ecclesiastics. The aim is to contribute to an understanding of how popular culture represents the institutional church and its leaders, here adding a review of radio to the existing literature that looks at the church's representation in television and movies. The study also considers why church-set network-produced prime-time programs were so scarce in old-time radio. 相似文献
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《广播与电子媒介杂志》2013,57(3):503-520
Twenty years ago researchers found that quite apart from the manifest content of television commercials aimed at children, certain formal features showed a marked tendency to vary according to the sex of the target consumers: in particular certain post-production features (transitions and voice-overs). The current study involved a content analysis of formal features in 117 toy advertisements broadcast on British television. Statistically significant differences were found for the same features and also for camera work. 相似文献
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Framed by the technology acceptance and customer-based brand equity (CBBE) models, this study investigated how audiences intend to use broadcast television network Web sites. Drawing upon the results of a survey (N = 178), this research found that perceived ease of use and perceived enjoyment significantly influence intent to use broadcast Web sites. Findings also reveal that CBBE plays a significant role as a mediator between motivations and behavioral intention to use broadcast networks' Web sites. It is concluded that as the medium of television evolves, networks' Web sites should be conduits for sustained brand allegiance and broadcasters should make more strategic use of their Web sites. 相似文献