French television talk: what tenses for past time?

On the basis of a transcribed French television corpus made of two news bulletins, two chat shows and one literary programme recorded in February 2003, this paper explores the claim that passé simple (PS) may still be used in prepared oral discourse (Pfister 1974). The corpus does not provide support for that use on television, but it seems to suggest a shift from temporal to aspectual features in French television talk: a perfective presentation prevails on a past presentation. This trend would need to be confirmed by a larger television corpus, tested in other types of oral discourse and tested on written corpora.

But somehow it was only television: West German Narratives of the fall of the Wall in recent novels and their screen adaptations

East Germans have long been criticised for harbouring a feeling of Ostalgie, a nostalgia for their old, Socialist state, but only recently has it become apparent that many west Germans obviously experience a similar sense of loss and longing for a seemingly simpler time before reunification. The texts that express these feelings tend to focus on the fall of the Wall as the pivotal point of change in German post-war history. Typically the characters in these books deny the significance and impact of this major political event and strive to reduce its importance, at best to a minor television moment. This attitude can be observed in the novels liegen lernen and Herr Lehmann and in their film adaptations. Despite having been accused of indulging a feeling of Westalgie, a closer analysis reveals that they are in fact deliberately provocative and challenge eastern and western stereotypes. In addition the films find ways to transport the books’ ironic narrative to the screen, and they also reinforce the authors’ implicitly critical attitude towards their characters’ political apathy by portraying the fall of the Wall in ways different to the books. The films react to the provocation voiced in the novels and function like an intertextual commentary as they integrate the opening of the border into a meaningful context for the protagonists and restore it to its historic importance.

Spectatorship and the war on terror:creating consensus through global audiences

This paper considers the staging of violence, atrocities, and sexuality in the conduct of the war on terror. The piece discusses the manner in which the terms of the war on terror appear to shut down possible debate and examines the rhetorical and representational strategies that cause this. The paper argues that the war on terror includes a cultural project that seeks to create a consenting global audience. This cultural project appears more diffuse and less immediately instrumental than the military and diplomatic activities of this global battle. The piece argues that it is through the circulation of open secrets and accounts of torture and abuse that a global audience is constructed as both witness and participant in the practices and objectives of the war and that this positioning is designed to corral audience understanding into the suggested narratives of the proponents of the war. Este documento considera el escenario de la violencia, las atrocidades y la sexualidad en la conducta de la guerra contra el terror. El artículo plantea la manera en que los términos de la guerra contra el terror parecen suspender un posible debate y examina las estrategias retóricas y representativas que causaron esto. El documento plantea que la guerra contra el terror incluye un proyecto cultural que busca crear una audiencia global de común acuerdo. Este proyecto cultural parece más difuso y menos útil en el momento, que las actividades militares y diplomáticas de esta batalla global. El artículo sostiene que es mediante la circulación de secretos abiertos y de informes sobre la tortura y el abuso, que se forma una audiencia global tanto testigos como participantes de las prácticas y los objetivos de la guerra y que esa posición está designada a encerrar el conocimiento de la audiencia dentro de los relatos sugeridos por los proponentes de guerra.

Perception while watching movies:effects of physical screen size and scene type

Over the last decade, television screens and display monitors have increased in size considerably, but has this improved our televisual experience? Our working hypothesis was that the audiences adopt a general strategy that “bigger is better.” However, as our visual perceptions do not tap directly into basic retinal image properties such as retinal image size (C. A. Burbeck, 1987), we wondered whether object size itself might be an important factor. To test this, we needed a task that would tap into the subjective experiences of participants watching a movie on different-sized displays with the same retinal subtense. Our participants used a line bisection task to self-report their level of “presence” (i.e., their involvement with the movie) at several target locations that were probed in a 45-min section of the movie “The Good, The Bad, and The Ugly.” Measures of pupil dilation and reaction time to the probes were also obtained. In Experiment 1, we found that subjective ratings of presence increased with physical screen size, supporting our hypothesis. Face scenes also produced higher presence scores than landscape scenes for both screen sizes. In Experiment 2, reaction time and pupil dilation results showed the same trends as the presence ratings and pupil dilation correlated with presence ratings, providing some validation of the method. Overall, the results suggest that real-time measures of subjective presence might be a valuable tool for measuring audience experience for different types of (i) display and (ii) audiovisual material.

Exploring the adoption of interactive digital television services as a retail shopping platform

The aim of this research is to consider the possible effect of an emerging technology platform on the uptake of online shopping: interactive (digital) Television (iTV), which enables viewers to select a variety of viewing options, publicity materials, games, entertainment and more recently shopping. An augmented version of the original TAM is applied to this study. Two new constructs are considered namely access and awareness together with perceived ease of use, perceived usefulness, perceived enjoyment and security. The results show that indeed the augmented TAM can be used as a predictive model for the adoption of iTV as an online shopping platform. It is concluded that access, perceived ease of use, perceived enjoyment and perceived usefulness are significant factors to determine the consumers’behavioural intentions towards the use of digital TV as a new shopping platform. However, awareness and security are considered to be insignificant with no effect on consumers’ behavioural intentions towards the new shopping medium.

the effect of television image degradation on learning

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Image enhancement of real-time television to benefit the visually impaired

Purpose: To examine the use of real-time, generic edge detection, image processing techniques to enhance the television viewing of the visually impaired. Design: Prospective, clinical experimental study. Method: One hundred and two sequential visually impaired (average age 73.8 ± 14.8 years; 59% female) in a single center optimized a dynamic television image with respect to edge detection filter (Prewitt, Sobel, or the two combined), color (red, green, blue, or white), and intensity (one to 15 times) of the overlaid edges. They then rated the original television footage compared with a black-and-white image displaying the edges detected and the original television image with the detected edges overlaid in the chosen color and at the intensity selected. Footage of news, an advertisement, and the end of program credits were subjectively assessed in a random order. Results: A Prewitt filter was preferred (44%) compared with the Sobel filter (27%) or a combination of the two (28%). Green and white were equally popular for displaying the detected edges (32%), with blue (22%) and red (14%) less so. The average preferred edge intensity was 3.5 ± 1.7 times. The image-enhanced television was significantly preferred to the original (P < .001), which in turn was preferred to viewing the detected edges alone (P < .001) for each of the footage clips. Preference was not dependent on the condition causing visual impairment. Seventy percent were definitely willing to buy a set-top box that could achieve these effects for a reasonable price. Conclusions: Simple generic edge detection image enhancement options can be performed on television in real-time and significantly enhance the viewing of the visually impaired. © 2007 Elsevier Inc. All rights reserved.

Exploration of metaphors used by Indonesian legislators and political elites in the Indonesian sociopolitical domain

This thesis examines the ways Indonesian politicians exploit the rhetorical power of metaphors in the Indonesian political discourse. The research applies the Conceptual Metaphor Theory, Metaphorical Frame Analysis and Critical Discourse Analysis to textual and oral data. The corpus comprises: 150 political news articles from two newspapers (Harian Kompas and Harian Waspada, 2010-2011 edition), 30 recordings of two television news and talk-show programmes (TV-One and Metro-TV), and 20 interviews with four legislators, two educated persons and two laymen. For this study, a corpus of written bahasa Indonesia was also compiled, which comprises 150 texts of approximately 439,472 tokens. The data analysis shows the potential power of metaphors in relation to how politicians communicate the results of their thinking, reasoning and meaning-making through language and discourse and its social consequences. The data analysis firstly revealed 1155 metaphors. These metaphors were then classified into the categories of conventional metaphor, cognitive function of metaphor, metaphorical mapping and metaphor variation. The degree of conventionality of metaphors is established based on the sum of expressions in each group of metaphors. Secondly, the analysis revealed that metaphor variation is influenced by the broader Indonesian cultural context and the natural and physical environment, such as the social dimension, the regional, style and the individual. The mapping system of metaphor is unidirectionality. Thirdly, the data show that metaphoric thought pervades political discourse in relation to its uses as: (1) a felicitous tool for the rhetoric of political leaders, (2) part of meaning-making that keeps the discourse contexts alive and active, and (3) the degree to which metaphor and discourse shape the conceptual structures of politicians‟ rhetoric. Fourthly, the analysis of data revealed that the Indonesian political discourse attempts to create both distance and solidarity towards general and specific social categories accomplished via metaphorical and frame references to the conceptualisations of us/them. The result of the analysis shows that metaphor and frame are excellent indicators of the us/them categories which work dialectically in the discourse. The acts of categorisation via metaphors and frames at both textual and conceptual level activate asymmetrical concepts and contribute to social and political hierarchical constructs, i.e. WEAKNESS vs.POWER, STUDENT vs. TEACHER, GHOST vs. CHOSEN WARRIOR, and so on. This analysis underscores the dynamic nature of categories by documenting metaphorical transfers between, i.e. ENEMY, DISEASE, BUSINESS, MYSTERIOUS OBJECT and CORRUPTION, LAW, POLITICS and CASE. The metaphorical transfers showed that politicians try to dictate how they categorise each other in order to mobilise audiences to act on behalf of their ideologies and to create distance and solidarity.

Narrative pace control practices in the digital age:how do people consume television (tv) series?

Digital devices are profoundly changing the way individuals consume media entertainment, and in particular television (TV). Our research contributes to prior work on narrative processing by advancing a more comprehensive theorization of narrative pace when control is in the hands of story receivers as opposed to storytellers. Using the empirical context of TV series viewing we draw on in-depth interviews to uncover 1) consumer narrative pace control practices such as multi-episode viewing sometimes colloquially called “binge-watching” or replaying specific scenes, and 2) the factors that drive the adoption of such practices, including the countervailing forces of narrative satiation and need for closure, as well as curiosity and enjoyment of mystery.