Estructura formal, textual y oral del discurso p��blico

Estructura formal, textual y oral del discurso p��blicoExisten tres competencias comunicativas muy valoradas en la sociedad de la informaci��n. Primero, la b��squeda, selecci��n y gesti��n de grandes cantidades de informaci��n. Segundo, la redacci��n de textos claros, concisos y rigurosos. Y en tercer lugar, la exposici��n y defensa oral de esta informaci��n en un discurso p��blico. Tradicionalmente, los estudios de periodismo han abordado estas competencias de forma independiente. Pero actualmente, instituciones y empresas de ��mbitos diferentes demandan un perfil profesional capaz de aplicarlas ante cualquier tipo de informaci��n y con objetivos diversos. Se propone un modelo integral en tres niveles estructurales basado en teor��as, conceptos y estudios espec��ficos de periodismo, oratoria, ret��rica��� o comunicaci��n, en los ��ltimos a��os. Este modelo puede contribuir a encauzar las investigaciones de acad��micos y representa una herramienta de entrenamiento para profesionales.

Formal Aspects in SDH for Children in Spanish Television: A Descriptive Study

The comprehension of a subtitle goes far beyond the understanding of the meaning of the words it comprises. Formal aspects of subtitles for the d/Deaf and the hard-of-hearing (SDH) can be crucial in the cognitive effort necessary to process the subtitle within its audiovisual context (Perego 2008). The present article studies common practices of formal aspects in SDH for children, focusing on three parameters: layout and positioning of the subtitle; orthotypographic conventions; and resources for the identification of characters in the three TV channels dedicated exclusively to the youngest audiences in Spain. The present piece of research was carried out by analysing and evaluating these three parameters in comparison with the current UNE Standard 153010 (AENOR 2012) and with previous theoretical studies in the field.

Integrating an entertainment robot

<p>[EN]In this paper we will present Eldi, a mobile robot that has been in opertation at the Elder Museum of Science and Technology at Las Palmas de Gran Canaria since december 1999. This is an ongoing project that was organized in three different stages of which only the first one has been accomplished. The initial phase, termed "The Player", the second stage, actually under develpment, has been called "The Cicerone" and in the final phase, termed "The Vagabond", in which Eldi will be allowed to move erratically across the Museum. This paper will focus on the accomplished first stage to succinctly describe the physical robot and the environment and demos developed. Finally we will summarize some important lessons learnt.</p>

May the Giant Be With You: Twin Peaks Season Two, Episode One and the Television Auteur

The premiere of Season Two of Twin Peaks garnered some of the highest ratings of the series, with celebrated filmmaker and co-creator David Lynch stepping back into the director���s chair. Yet, within this episode many traditional television conventions are flouted, and in response the following week the ratings dropped dramatically. From its slow-paced opening scenes in which an old man admonishes the wounded, bleeding protagonist to drink his warm milk before it gets cold, followed by a vision of a giant speaking in riddles, this episode not only tested its audience���s patience but also seemed to set out to deliberately confuse them. In this essay I will explore how this episode is an example of auteur television, an episode in which the director expresses a consistency of style and theme that is similar to their other work, as well as examine how Lynch���s approach to televisual aesthetics has influenced the way that contemporary film directors have crossed over into the television medium. However, when taking into account the differences in the two media of film and television notions of authorship, with regards to the position of the director, become complicated, especially when considering contemporary television and the rise of the showrunner as key creative force. Even when looking back at Lynch���s contribution to Twin Peaks it becomes clear that the series was deeply collaborative, with Lynch absent during parts of the filming. Yet, when examining the extensive material that has been written about Twin Peaks there is still a continuing tendency to place Lynch as the sole author. The placement of Lynch as author can be argued in relation to the episodes he directed (as will be explored below in relation to the first episode of Season Two), but cannot be attributed to him alone when considering the series as a whole. Finally, I will discuss how the figure of the television auteur has become a central element of television reception rather than production, an integral part of a viewer���s search for narrative meaning in a medium where complexity and mystery are now expected and enjoyed. Just as fans scrambled to uncover the many secrets and mysteries of Twin Peaks by looking to Lynch���s other works for answers, a similar process is experienced by fans of television shows existing today.

Nutrition and health claims in products directed at children via television in Spain in 2012

Objective: To describe the use of nutrition and health claims in products directed at children via television in Spain and to analyse their nutrient profile. Methods: A cross-sectional study of television food advertisements over 7 days in five Spanish television channels popular among children. The products were classified as core, non-core or miscellaneous, and as either healthy or less healthy, according to the United Kingdom Nutrient Profile Model. We registered all claims contained on the product (packaging and labelling) and its advertisement. We calculated the frequency distributions of health and nutrition claims. Results: During the 420 hours of broadcasting, 169 food products were identified, 28.5% in the dairy group and 60.9% in the non-core category. A total of 53.3% of products contained nutrition claims and 26.6% contained health claims; 62.2% of the products with claims were less healthy. Low-fat dairy products were the food category containing the highest percentage of health and nutrition claims. Conclusion: Over half of all food products marketed to children via television in Spain made some type of nutrition or health claim. Most of these products were less healthy, which could mislead Spanish consumers.

Television and the Second Screen.

This book examines an emerging and fast evolving phenomena: that a growing number of people engage with two screens whilst watching television. It seems a simple concept ��� until we discover the important implications. In doing this, this book will move way beyond the study of online and multimedia content. It will go past the impact of mobile and multi-platform technology on the media. Instead it will examine how this new concept of second screen interactivity changes the way we watch, produce, commission and monetise television programmes in the UK.

'Don't stop': re-thinking the function of endings in narrative television

This thesis argues that the study of narrative television has been limited by an adherence to accepted and commonplace conceptions of endings as derived from literary theory, particularly a preoccupation with the terminus of the text as the ultimate site of cohesion, structure, and meaning. Such common conceptions of endings, this thesis argues, are largely incompatible with the realities of television���s production and reception, and as a result the study of endings in television needs to be re-thought to pay attention to the specificities of the medium. In this regard, this thesis proposes a model of intra-narrative endings, islands of cohesion, structure, and meaning located within television texts, as a possible solution to the problem of endings in television. These intra-narrative endings maintain the functionality of traditional endings, whilst also allowing for the specificities of television as a narrative medium. The first two chapters set out the theoretical groundwork, first by exploring the essential characteristics of narrative television (serialisation, fragmentation, duration, repetition, and accumulation), then by exploring the unique relationship between narrative television and the forces of contingency. These chapters also introduce the concept of intra-narrative endings as a possible solution to the problems of television���s narrative structure, and the medium���s relationship to contingency. Following on from this my three case studies examine forms of television which have either been traditionally defined as particularly resistant to closure (soap opera and the US sitcom) or which have received little analysis in terms of their narrative structure (sports coverage). Each of these case studies provides contextual material on these televisual forms, situating them in terms of their narrative structure, before moving on to analyse them in terms of my concept of intra-narrative endings. In the case of soap opera, the chapter focusses on the death of the long running character Pat Butcher in the British soap EastEnders (BBC, 1985-), while my chapter on the US sitcom focusses on the varying levels of closure that can be located within the US sitcom, using Friends (NBC, 1993-2004) as a particular example. Finally, my chapter on sports coverage analyses the BBC���s coverage of the 2012 London Olympics, and focusses on the narratives surrounding cyclists Chris Hoy and Victoria Pendleton. Each of these case studies identifies their chosen events as intra-narrative endings within larger, ongoing texts, and analyses the various ways in which they operate within those wider texts. This thesis is intended to make a contribution to the emerging field of endings studies within television by shifting the understanding of endings away from a dominant literary model which overwhelmingly focusses on the terminus of the text, to a more televisually specific model which pays attention to the particular contexts of the medium���s production and reception.

This Is a Gorgeous-looking Movie���: Multimodal Interplay between Commentary and Subject Materials in Movie Review Entertainment

The present thesis is a study of movie review entertainment (MRE) which is a contemporary Internet-based genre of texts. MRE are movie reviews in video form which are published online, usually as episodes of an MRE web show. Characteristic to MRE is combining humor and honest opinions in varying degrees as well as the use of subject materials, i.e. clips of the movies, as a part of the review. The study approached MRE from a linguistic perspective aiming to discover 1) whether MRE is primarily text- or image-based and what the primary functions of the modes are, 2) how a reviewer linguistically combines subject footage to her/his commentary?, 3) whether there is any internal variation in MRE regarding the aforementioned questions, and 4) how suitable the selected models and theories are in the analysis of this type of contemporary multimodal data. To answer the aforementioned questions, the multimodal system of image���text relations by Martinec and Salway (2005) in combination with categories of cohesion by Halliday and Hasan (1976) were applied to four full MRE videos which were transcribed in their entirety for the study. The primary data represent varying types of MRE: a current movie review, an analytic essay, a riff review, and a humorous essay. The results demonstrated that image vs. text prioritization can vary between reviews and also within a review. The current movie review and the two essays were primarily commentary-focused whereas the riff review was significantly more dependent on the use of imagery as the clips are a major source of humor which is a prominent value in that type of a review. In addition to humor, clips are used to exemplify the commentary. A reviewer also relates new information to the imagery as well as uses two modes to present the information in a review. Linguistically, the most frequent case was that the reviewer names participants and processes lexically in the commentary. Grammatical relations (reference items such as pronouns and adverbs and conjunctive items in the riff review) were also encountered. There was internal variation to a considerable degree. The methods chosen were deemed appropriate to answer the research questions. Further study could go beyond linguistics to include, for instance, genre and media studies.

Live Entertainment at Cedar Point

Through the years, Cedar Point's live entertainment has always varied. In the 1960s, the park offered Broadway-style revues, strolling acts, Dixieland bands, and country acts, all performed by college students studying music or theater.

On the implementation of a Laboratory of Digital Television according to the ISDB-Tb standard

Este art��culo resume el proceso de implementaci��n del Laboratorio de Televisi��n Digital (DTV) de la Universidad de Cuenca, que surge como un entorno confiable de experimentaci��n e investigaci��n que hace uso de las caracter��sticas asociadas al est��ndar ISDB-Tb adoptado por Ecuador en el a��o 2010 para la transmisi��n de se��ales de televisi��n abierta. El objetivo de este art��culo es documentar los aspectos que se han considerado para simular un escenario real en el que un Transport Stream (TS) formado por contenido audiovisual y aplicaciones interactivas, primero se genera, para luego transmitirse a trav��s del canal de comunicaciones, y finalmente ser recibido en una televisi��n con receptor ISDB-Tb. As��, se facilita el desarrollo y la experimentaci��n de nuevos servicios aprovechando el nuevo formato de DTV.

O impacto das telenovelas brasileiras nos luandenses

Vivemos uma era em que os distintos pontos geogr��ficos do globo se tornaram mais pr��ximos em virtude do estreitamento proporcionado pelo profundo avan��o tecnol��gico dos meios de transporte, mas tamb��m pela evolu����o vertiginosa das novas tecnologias de comunica����o que t��m permitido fazer com que eventos ocorridos numa determinada regi��o do planeta sejam vistos num outro ponto geogr��fico, com diferen��a de apenas algumas horas ou mesmo em tempo real. Gra��as a esse avan��o tecnol��gico e ao consequente desenvolvimento do processo comercial de transmiss��o e rece����o de sinal de televis��o por sat��lite e/ou por cabo, a par do veloz fluxo de informa����o, s��o tamb��m disponibilizados aos recetores conte��dos de entretenimento que refletem pr��ticas culturais com caracter��sticas marcadamente identit��rias, de outras sociedades. Considerando que determinadas condicionantes hist��ricas e econ��micas do mundo n��o possibilitam um fluxo bidirecional dos referidos produtos televisivos e o facto de as empresas prestadoras destes servi��os se dedicarem exclusivamente �� venda de produtos, cujos conte��dos retratam pr��ticas culturais de determinados pa��ses (em melhores condi����es de desenvolvimento econ��mico e tecnol��gico) existe a possibilidade de se estar diante de um processo de difus��o cultural e de acultura����o de que s��o alvo os cidad��os dos pa��ses recetores dos referidos conte��dos. Este trabalho pretende efetuar uma an��lise do impacto das telenovelas brasileiras no comportamento dos luandenses, baseando-se numa pesquisa desenvolvida nos sete munic��pios da Prov��ncia de Luanda. Os resultados da pesquisa revelam a presen��a de componentes culturais brasileiras em pr��ticas sociais dos luandenses h�� v��rias gera����es e mostram o papel transformador que as telenovelas brasileiras continuam a desempenhar nesta sociedade. A aus��ncia nos canais de televis��o locais de mensagens e imagens das representa����es end��genas favorece a apropria����o de pr��ticas culturais ex��genas emitidas pelas produ����es brasileiras e a sua ressignifica����o no quotidiano local.