Television and the popular: viewing from the British perspective

The academic discipline of television studies has been constituted by the claim that television is worth studying because it is popular. Yet this claim has also entailed a need to defend the subject against the triviality that is associated with the television medium because of its very popularity. This article analyses the many attempts in the later twentieth and twenty-first centuries to constitute critical discourses about television as a popular medium. It focuses on how the theoretical currents of Television Studies emerged and changed in the UK, where a disciplinary identity for the subject was founded by borrowing from related disciplines, yet argued for the specificity of the medium as an object of criticism. Eschewing technological determinism, moral pathologization and sterile debates about television's supposed effects, UK writers such as Raymond Williams addressed television as an aspect of culture. Television theory in Britain has been part of, and also separate from, the disciplinary fields of media theory, literary theory and film theory. It has focused its attention on institutions, audio-visual texts, genres, authors and viewers according to the ways that research problems and theoretical inadequacies have emerged over time. But a consistent feature has been the problem of moving from a descriptive discourse to an analytical and evaluative one, and from studies of specific texts, moments and locations of television to larger theories. By discussing some historically significant critical work about television, the article considers how academic work has constructed relationships between the different kinds of objects of study. The article argues that a fundamental tension between descriptive and politically activist discourses has confused academic writing about ›the popular‹. Television study in Britain arose not to supply graduate professionals to the television industry, nor to perfect the instrumental techniques of allied sectors such as advertising and marketing, but to analyse and critique the medium's aesthetic forms and to evaluate its role in culture. Since television cannot be made by ›the people‹, the empowerment that discourses of television theory and analysis aimed for was focused on disseminating the tools for critique. Recent developments in factual entertainment television (in Britain and elsewhere) have greatly increased the visibility of ›the people‹ in programmes, notably in docusoaps, game shows and other participative formats. This has led to renewed debates about whether such ›popular‹ programmes appropriately represent ›the people‹ and how factual entertainment that is often despised relates to genres hitherto considered to be of high quality, such as scripted drama and socially-engaged documentary television. A further aspect of this problem of evaluation is how television globalisation has been addressed, and the example that the issue has crystallised around most is the reality TV contest Big Brother. Television theory has been largely based on studying the texts, institutions and audiences of television in the Anglophone world, and thus in specific geographical contexts. The transnational contexts of popular television have been addressed as spaces of contestation, for example between Americanisation and national or regional identities. Commentators have been ambivalent about whether the discipline's role is to celebrate or critique television, and whether to do so within a national, regional or global context. In the discourses of the television industry, ›popular television‹ is a quantitative and comparative measure, and because of the overlap between the programming with the largest audiences and the scheduling of established programme types at the times of day when the largest audiences are available, it has a strong relationship with genre. The measurement of audiences and the design of schedules are carried out in predominantly national contexts, but the article refers to programmes like Big Brother that have been broadcast transnationally, and programmes that have been extensively exported, to consider in what ways they too might be called popular. Strands of work in television studies have at different times attempted to diagnose what is at stake in the most popular programme types, such as reality TV, situation comedy and drama series. This has centred on questions of how aesthetic quality might be discriminated in television programmes, and how quality relates to popularity. The interaction of the designations ›popular‹ and ›quality‹ is exemplified in the ways that critical discourse has addressed US drama series that have been widely exported around the world, and the article shows how the two critical terms are both distinct and interrelated. In this context and in the article as a whole, the aim is not to arrive at a definitive meaning for ›the popular‹ inasmuch as it designates programmes or indeed the medium of television itself. Instead the aim is to show how, in historically and geographically contingent ways, these terms and ideas have been dynamically adopted and contested in order to address a multiple and changing object of analysis.

TransReality : en kvalitativ studie om representationer av unga transpersoner i Ryssland och USA

Denna studie undersöker hur unga transpersoner representeras i media, närmare bestämt inom genren reality tv. De två program som valts för ändamålet är amerikanska I am Jazz och ryska TransReality, där den första fokuserar på 15-åriga Jazz Jennings liv medan den andra följer ett antal unga transpersoners vardag. Valet av program bygger på att de båda släpptes under det gångna året, att samtliga huvudpersoner är ungdomar och att de har sitt ursprung i två vitt skilda kulturella kontext. Syftet är att granska hur serierna representerar transpersoner utifrån frågor som biologiskt kön, genus och könsidentitet. Frågeställningarna rör ungdomarnas sociala relationer och samhället, vad det är som serierna problematiserar och hur programmets utformning bidrar till att berätta deras historier. Inledningsvis förklaras olika definitioner av kön, samt genus och könsidentitet. För att närma mig materialet har jag valt teorier utifrån programmens utformning såväl som innehåll. Teorierna omfattar reality tv, stereotypier, Judith Butlers idéer om genus i kombination med transgender studier och transfeminism. De senare två är relativt nya akademiska ämnen/teorier i Sverige, men välbehövliga sådana då de tar transpersoners liv och erfarenheter på allvar. Studierna jag tagit del av inom tidigare forskning visar på att transpersoner ofta förbises även i queerteoretiska sammanhang. Feminismen har även inkorporerats i metodologin, för att bättre belysa det som studien avser att undersöka. Norman Faircloughs kritiska diskursanalys med sin politiska betoning utgör stommen för det analytiska arbetet. Detta har applicerats på tre avsnitt av varje program: det första, mittersta och sista. Genom att analysera dessa framkommer att bakom den överlag positiva framställningen av de unga transpersonerna i TransReality ligger konservativa värderingar om kön, genus och könsidentitet. I am Jazz är mer progressiv, men även den visar ibland på liknande tendenser som TransReality. De sociala relationerna är det som problematiseras, istället för de unga transpersonerna själva. Reality tv ger prov på att den vuxit till sig som genre i att den med dokumentär ambition berättar de unga transpersonernas historier. Denna autenticitet kan vara av vikt för samhällets förståelse av transpersoner. 

Reality-show: a tv na era da globalização

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

A região nas plataformas: o caso da Nordeste TV

Relatório de estágio de mestrado em Ciências da Comunicação (área de especialização em Especialização em Audiovisual e Multimédia)

Women or Girls in Reality Television? Translating References to Females in the Reality Dating Show Love Connection

Tässä sivuaineen tutkielmassa tarkastellaan, miten naisiin viittaavat sanat on käännetty suomalaisen, mutta pääosin englanniksi puhutun Love Connection -tosi-tvohjelman suomenkielisissä tekstityksissä. Tavoitteena on selvittää, millä tavoin suomen ja englannin puhekielen erot naispuolisiin henkilöihin viitattaessa näkyvät ruututeksteissä, ja millaisia käännösstrategioita ohjelman kääntäjä on sarjaa suomentaessaan käyttänyt. Lisäksi tv-ohjelmassa tehtyjä naisiin kohdistuvia viittauksia verrataan ohjelman englanninkielisessä mainoslehtisessä käytettyihin naisiin viittaaviin sanoihin. Tutkimuksen primäärimateriaali koostui Love Connection -tv-sarjan 12 osasta sekä niiden suomenkielisestä tekstityksestä, ohjelman Yhdysvaltoihin suunnatusta mainoslehtisestä sopivien osallistujien löytämiseksi sekä sarjan kääntäjän haastattelusta. Tutkimus toteutettiin sekä kvalitatiivisin että kvantitatiivisin menetelmin. Tv-ohjelman jaksoista litteroitiin englanninkielinen puhe ja suomenkielinen tekstitys niiltä osin kuin vähintään toisessa esiintyi viittaus naispuoliseen henkilöön, kuten woman/nainen tai girl/tyttö. Aineistosta poimitut viittaukset sijoitettiin lähdekirjallisuuden pohjalta luotuihin kategorioihin sen mukaan, millaista käännösstrategiaa niihin oli sovellettu. Lisäksi tarkasteltiin, millaisia eroja sovelletuissa käännösstrategioissa ilmeni ohjelman osallistujien tekemien viittausten välillä sekä toisaalta yksilöhaastattelujen ja keskustelutilanteiden välillä. Analyysi ja kääntäjän haastattelu osoittivat, että suurin osa viittauksista käännettiin suomeksi lähimmällä semanttisella vastineella, mutta myös poistoja ja korvauksia esimerkiksi pronominilla oli tekstityksen vaatimien tila- ja aikarajoitusten vuoksi käytetty runsaasti. Merkittävin tutkimushavainto oli, että joissakin yhteyksissä englannin kielen sana girl oli käännetty suomeksi sanalla nainen suoran käännösvastineen sijasta, koska suomen kielen sana tyttö ei kyseisissä konteksteissa olisi soveltunut käytettäväksi aikuisesta naisesta puhuttaessa. Suomalaisten tuottajien laatimassa englanninkielisessä mainoksessa esiintyi suurelta osin kuvaannollisia, sukupuolineutraaleja henkilöviittauksia, eikä girl-sanaa käytetty kertaakaan. Audiovisuaalisten käännösten kautta välittyvää naiskuvaa viihdegenren televisioohjelmissa on toistaiseksi tutkittu vähän, joten jatkotutkimusten kannalta vaihtoehtoja on runsaasti. Tulosten laajemman sovellettavuuden arvioimiseksi naisten puhuttelua voisi tutkia tarkemmin muissa, kansainvälisesti tunnetuissa tositv-formaateissa esimerkiksi vertailemalla eri maissa esitettäviä ohjelmaversioita.

Tosi-tv:n affektiivinen politiikka

Kirjallisuusarvostelu

Reality status evaluations in mediated experiences /

This paper explores the cognitive functions of the Reality Status Evaluation (RSE) system in our experiences of narrative mediated messages (NMM) (fictional, narrative, audio-visual one-way input and moving picture messages), such as fictional TV programs and films. We regard reality in mediated experiences as a special mental and emotional construction and a multi-dimensional concept. We argue that viewers' reality sense in NMM is influenced by many factors with "real - on" as the default value. Some of these factors function as primary mental processes, including the content realism factors of those messages such as Factuality (F), Social Realism (SR), Life Relevance (LR), and Perceptual Realism - involvement (PR), which would have direct impacts on reality evaluations. Other factors, such as Narrative Meaning (NM), Emotional Responses, and personality trait Absorption (AB), will influence the reality evaluations directly or through the mediations of these main dimensions. I designed a questionnaire to study this theoretical construction. I developed items to form scales and sub-scales measuring viewers' subjective experiences of reality evaluations and these factors. Pertinent statistical techniques, such as internal consistency and factorial analysis, were employed to make revisions and improve the quality of the questionnaire. In the formal experiment, after viewing two short films, which were selected as high or low narrative structure messages from previous experiments, participants were required to answer the questionnaire, Absorption questionnaire, and SAM (Self-Assessment Manikin, measuring immediate emotional responses). Results were analyzed using the EQS, structural equation modeling (SEM), and discussed in terms oflatent relations among these subjective factors in mediated experience. The present results supported most of my theoretical hypotheses. In NMM, three main jactors, or dimensions, could be extracted in viewers' subjective reality evaluations: Social Realism (combining with Factuality), Life Relevance and Perceptual Realism. I designed two ways to assess viewers' understanding of na"ative meanings in mediated messages, questionnaire (NM-Q) and rating (NM-R) measurement, and its significant influences on reality evaluations was supported in the final EQS models. Particularly in high story stnlcture messages, the effect of Narrative Meaning (NM) can rarely be explained by only these dimensions of reality evaluations. Also, Empathy seems to playa more important role in RSE of low story structure messages. Also, I focused on two other factors that were pertinent to RSE in NMM, the personality trait Absorption, and Emotional Responses (including two dimensions: Valence and Intensity). Final model results partly supported my theoretical hypotheses about the relationships among Absorption (AB), Social Realism (SR) and Life Relevance (LR); and the immediate impact of Emotional Responses on Perceptual Realism cPR).

Jämförelse av två system för att bedöma vinter väglag : Ett nytt system i utvecklingen för att säkra Sveriges vägar

Trafikverket, är den statliga verksamhet som har hand om alla Sveriges vägar och järnvägar har den så kallade nollvisionen som ett huvudmål. Tanken bakom nollvisionen är att de som använder vägarna skall vara säkra och inte komma till skada. En del av uppfyllandet av detta mål är att Trafikverket ger ut korttidsprognoser för väglag och körförhållande. I nuläget så används ett mycket manuellt systemet som heter NTIS, men man håller på att utveckla det nya automatiska systemet RCC som skall kunna ta fram korttidsprognoser baserat på olika former av data, t.ex. data från väderstationer. Syftet med denna studie är att utvärdera hur väl de två olika systemen utför en korttidsprognos och jämföra de mot varandra, samt verkligheten. Denna studie gjordes i form av en förklarande fallstudie. Som datainsamling används dokument i olika former och analysen var kvantitativ då resultatet av utvärdering ger olika procenttal av hur rätt respektive system har. Under undersökningen gång så kom vi fram till att båda systemen hade sina fördelar och nackdelar. T.ex. så det gamla NTIS systemet fortfarande bäst på isigt och moddigt väglag. Medans det nya RCC systemet hade sina egna fördelar, t.ex. snöigt väglag och vått väglag. Samt så hade RCC en klar fördel med sin rapporteringstid, vilket var ett problem man såg med NTIS. Resultat var som sagt ett procenttal av hur rätt de två olika systemen hade, men även förslag till förbättringar. T.ex. hur man skulle kunna ändra RCC regler för bättre resultat.

A campanha Quem financia a baixaria é contra a cidadania como contraposição aos produtos da cultura de massa na TV brasileira

Pós-graduação em Comunicação - FAAC

TV, Lobato e o ato da leitura: a mediação dos sentidos através da narrativa ficcional da TV brasileira

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

A propaganda e a publicidade na TV digital: um estudo exploratório de tendências

Pós-graduação em Televisão Digital: Informação e Conhecimento - FAAC

Percepção e perspectivas dos adolescentes sobre a TV digital

Pós-graduação em Televisão Digital: Informação e Conhecimento - FAAC

Convergência digital de sistemas de aprendizado colaborativo, considerando ambientes da web e da TV digital no Brasil

Pós-graduação em Ciência da Computação - IBILCE

A realidade aumentada na produção de conteúdos para TV digital

Pós-graduação em Televisão Digital: Informação e Conhecimento - FAAC