Television viewing habits and time use in Australian preschool children : an exploratory study

The overall aim in this study was to investigate time use in Australian preschool children, paying close attention to the types of television programs and videos/DVDs they watch. Ninety-two mothers of preschool children completed five activity diaries, for three typical weekdays and two weekend days. On average, children spent around just over 1 hour per weekday watching television and 30 minutes watching videos/DVDs; on weekends they spent on average 1 hour watching television and the same amount of time watching videos/DVDs. On weekdays, children spent more time watching child informative television; on the weekend they spent more time watching child animated television programs. When not watching television, children were mainly engaged in general play or in outdoor play. Child informative television was associated positively with time spent outdoors and in general and pretend play on weekdays (and for general play also on weekend days), whereas overall television viewing was correlated negatively with reading. Our findings suggest that the content of television programs may play a critical role in the relationship between television and other daily activities.

Multiplatform innovation and participatory citizenship : the Australian Broadcasting Corporation’s digital children’s television projects

This paper examines children’s multiplatform commissioning at the Australian Broadcasting Corporation (ABC) in the context of the digitalisation of Australian television. A pursuit of audience share and reach to legitimise its recurrent funding engenders a strategy that prioritises the entertainment values of the ABC’s children’s offerings. Nevertheless, these multiplatform texts (comprising complementary ‘on-air’ and ‘online’ textualities) evidence a continuing commitment to a youth-focussed, public service remit, and reflect the ABC’s Charter obligations to foster innovation, creativity, participation, citizenship, and the values of social inclusiveness. The analysis focuses on two recent ‘marquee’ drama projects, Dance Academy (a contemporary teen series) and My Place (a historical series for a middle childhood audience). The research draws on a series of research interviews, analysis of policy documents and textual analysis of the television and multiplatform content. The authors argue that a mixed diet of programming, together with an educative or social developmental agenda, features in the design of both program and online participation for the public broadcaster.

Association between food marketing exposure and adolescents' food choices and eating behaviors

The present study examined associations between food marketing exposure and adolescents’ food choices and reported consumption of energy-dense and nutrient-poor (EDNP) foods. A cross-sectional survey of 12,188 Australian secondary students aged 12–17 years was conducted, using a web-based self-report questionnaire. Measures included students’ level of exposure to commercial television and non-broadcast types of food marketing, whether they had tried a new product or requested a product they had seen advertised, and their reported consumption of fast food, sugary drinks and sweet and salty snacks. Results indicated greater exposure to commercial television, print/transport/school food marketing and digital food marketing were all independently associated with students’ food choices. High commercial television viewers (>2 h/day) were more likely to report higher consumption of EDNP foods (ORs ranged from 1.31 for fast food to 1.91 for sweet snacks). Some associations between digital food marketing exposure and students’ eating behaviors were found; however, print/transport/school food marketing was only related to sweet snack consumption. These study results suggest that cumulative exposure to television food advertising and other food marketing sources are positively linked to adolescents’ food choices and eating behaviors. Policy changes to restrict food marketing to young people should include both television and non-broadcast media.

Prevalence and stability of active play, restricted movement and television viewing in infants

This study describes engagement in and stability of physical activity and sedentary behaviours in early life, and assesses associations with sex, maternal education and developmental stage. Maternal-report data at child age 4, 9 and 20 months were collected from 542 families in the Melbourne Infant Feeding Activity and Nutrition Trial Program. Parents estimated average time per day their child spent in active pursuits or pursuits that restricted movement. With increasing age, children generally spent more time in active pursuits and watching television, and less time in situations that restrict movement. Associations were found with age of developmental milestone attainment but not sex or maternal education. Stability over time was strongest for television viewing (β = 0.34–0.38) and time spent outdoors (β = 0.27–0.33). Contrary to guidelines, television viewing increased and showed stability, suggesting a need to target this behaviour very early in life to achieve optimal longer term outcomes.

Educational Television Broadcasting in Germany: Prevailing Practices, Existing Challenges and Adoptable Policies

Television is widely used for educational purposes but has still not achieved its fullest potential neither in developed nor in developing countries. This worldwide under performance invite experts and academics to join hands to search causes and provide suggestions to make television a better and popular learning tool. Guided by this philosophy, the present paper analyzes the educational television broadcasting in Germany from different perspectives. The focus of analysis includes measures and practices adopted by German institutions/broadcasters to promote educational television. Besides dealing with these issues, the paper discusses existing challenges and suggests best adoptable educational television broadcasting polices from Germany to promote educational television in global perspectives.

Online Media and Crisis? of Advertising Media Planning

Nowadays, online media represent a great choice for advertising. From de advertising media planning, new media give new ways to reach the consumers, but they also add more complexity. The communication capacity of online media and the greater use of that media by part of the users open up the debate about the necessity of rethinking the approach of the ‘traditional’ advertising media planning, which structure and work processes were developed when media were offline. So, this article gives a panoramic view about the influence of new media in advertising media planning. To do this, in first place, describes the current scenario, analyzing the penetration and advertising expenditure in Internet. Also, it shows the main online media according to their proximity to the offline advertising media planning conception. In second place, this article addresses the current challenges at measuring new media as a symptom of the impulse at the change of model. Finally, the article ends up showing some trends that are presented as drivers of change. However, after this analysis, comes up the point that those aspects would not change the essence of advertising media planning, so it is questionable if we can speak of a crisis or, instead, if new media are showing the necessity that media planning have to be involved with this new scenario.

International Sales of UK Television Content: Change and Continuity in ‘the space in between’ Production and Consumption

Focusing on the UK, this article addresses key issues facing the international distribution industry arising from over-the-top digital distribution and the fragmentation of audiences and revenues. Building on the identification of these issues, it investigates the extent to which UK distribution has altered over a ten-year period, pinpointing continuities in the destination and type of sales alongside changes in the role and structure of the industry as UK-based distributors adapt to a changing UK broadcasting landscape and global production environment. At one level increasing US ownership of UK-based distributors and the arrival of OTT players like Netflix, highlight the tensions between the national orientations of UK broadcasters and the global aspirations of independent producers and distributors. At another level VOD has boosted international sales of UK drama. Although the full impact of SVOD on content and rights has yet to materialise, significant changes in the industry predate the arrival of SVOD.

Investigative journalism in Mexico: between ideals and realities. The case of Morelia

The aim of this paper is to analyse the state of the investigative journalism in Mexico, especially the one that is practiced at the local level in the provinces. That is, this research is based upon a case study conducted in Morelia, the capital city of the state of Michoacán. The empirical evidence will show that there is an evident divergence regarding the practice of the investigative journalism: on the one hand, journalists are aware of what this concept involves and they consider that they practice it on a regular basis; but, on the other, the content analysis prove otherwise. In other words, the account of what is actually printed significantly differs from the news workers’ perceptions, because the former shows a poorly developed journalistic investigation practice.

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.

An empirical study of the recreationalexpressive and referential roles of the cell phone among young students and their potential applications to advertising

The cell phone has become a means of finding persuasive content, making friends and accessing information. For this reason it is of great interest in analyzing is use by young people during their formative years. Regarding this point, the objectives of the research are: to obtain percentage data on the distraction call phones cause among students; to define their habits re fun activities and their study responsibility in their personal and academic lives; and to identify leisure-expressive and referential trends. It was decided to analyze the Spanish discourse found on Twitter. To do so, a quantitative and qualitative methodology was used, with a linguistic pattern extraction tool which allows us to obtain categories of meaning. The sample was 10,000 tweets in Spanish, with key words such as “cell” and “study” and all possible derivatives. The data were gathered between 30 May and the 6 June 2014, which coincides with the start of the exam period in Spain. Finally, the potential applications of the research to the specific field of publicity and advertising is discussed as a possible solution to the current needs of the brands, which have to find participative formats taking into account the students’ leisure trends.

Co-creative media : theorising digital storytelling as a platform for researching and developing participatory culture

This paper considers the question, ‘what is co-creative media, and why is it a useful idea in social media research’? The term ‘co-creative media’ is now used by Creative Industries researchers at QUT to describe their digital storytelling practices. Digital storytelling is a set of collaborative digital media production techniques that have been used to facilitate social participation in numerous Australian and international contexts. Digital storytelling has been adapted by Creative Industries researchers at QUT as a platform for researching the potential of vernacular creativity in a variety of contexts, including social inclusion of marginalized and disadvantaged groups; inclusion in public histories of narratives that might be overlooked; and articulation of voices that otherwise remain silent in the formulation of social and economic development strategies. The adaption of digital storytelling to different contexts has been shaped by the reflexive, recursive, and pragmatic requirements of action research. Amongst other things, this activity draws attention to the agency of researchers in facilitating these kinds of participatory media processes and outcomes. This discussion serves to problematise concepts of participatory media by introducing the term ‘co-creative media’ and differentiating these from other social media production practices.

Less popular but more democratic? Corrie, Clarkson and the dancing Cru

The central cultural experience of modernity has been change, both the ‘creative destruction’ of existing structures, and the growth, often exponential, of new knowledge. During the twentieth century, the central cultural platform for the collective experience of modernising societies changed too, from page and stage to the screen – from publishing, the press and radio to cinema, television and latterly computer screens. Despite the successive dominance of new media, none has lasted long at the top. The pattern for each was to give way to a successor platform in popularity, but to continue as part of an increasingly crowded media menu. Modern media are supplemented not supplanted by their successors.

The Figmentum Project: appropriating information and communication technologies to animate our urban fabric

This paper explores how we may design located information and communication technologies (ICTs) to foster community sentiment. It focuses explicitly on possibilities for ICTs to create new modalities of place through exploring key factors such as shared experiences, shared knowledge and shared authorship. To contextualise this discussion in a real world setting, this paper presents FIGMENTUM, a situated generative art application that was developed for and installed in a new urban development. FIGMENTUM is a non-authoritative, non-service based application that aims to trigger emotional and representational place-based communities. Out of this practice-led research comes a theory and a process for designing creative place-based ICT’s to animate our urban communities.

Now everything looks like a game : Mobile phones and location-based games.

This paper explores how we may transform peoples’ perceived access to cultural participation by exploiting the possible relationships between place, play and mobile devices. It presents SCOOT; a location-based game in order to investigate how aspects of game-play can be employed to evoke at once playful and culturally meaningful experiences of place. In particular this paper is concerned with how the portable, communicative and social affordances of mobile phones are integral to making a “now everything looks like a game” experience.