The role of language in tv shows and its impact on the audience: A linguistic analysis of Game of Thrones

Through the analysis of American TV show Game of Thrones, this dissertation will focus on the linguistic issues concerning the adaptation from books to television, the power of language over the audience, and the creation of two languages, with all the linguistic and cultural implications related to this phenomenon.

Habit, aggregation and long memory: Evidence from television audience data

Byers, D., Peel, D., Thomas, D. (2007). Habit, aggregation and long memory: Evidence from television audience data. Applied Economics, 39 (3), 321-327. RAE2008

Language, literature and culture in English studies.

El libro analiza la situación de la enseñanza del inglés en educación secundaria, bachillerato, formación profesional y enseñanza de idiomas. Trata las variedades del inglés más importantes, así como los aspectos básicos de la cultura y la historia de los países en que se habla como primera lengua, cuestiones de metodología y evaluación a distintos niveles, de acuerdo con el Marco Común Europeo de Referencia para las Lenguas, y el European Language Portfolio. Completa cada tema con un glosario y una relación de propuestas educacionales y cuestiones abiertas.

National, Regional, Global TV in Algeria : University students and television audience after the 2012 Algerian Media law

Acknowledgments: The authors would like to thank the colleagues Saida Kheira Benammar, who helped to set up the survey in Mostaganem, and Mohamed Chihat, who helped to contact and meet researchers in Algiers, for their generous and wholehearted support. Viola Sarnelli also wishes to thank Prof. Bel Abbes Neddar, who sponsored and supervised her post-doctoral fellowship at the University of Mostaganem, and his Magistere students, for their active participation in the Media and Cultural Studies seminars.

La programmation télévisée au Québec et l’auditoire des 12-17 ans : analyse comparative de l’offre et de la consommation

Ce mémoire consiste en une analyse des stratégies de l’offre et de la demande de l’industrie québécoise de la production télévisuelle francophone pour la jeunesse et plus précisément, pour l’auditoire des 12-17 ans. Cette industrie tendrait à investir davantage dans l’importation que dans la production d’émissions pour cet auditoire, dû à la faible écoute de ses productions par leur auditoire cible. Afin de mieux saisir les enjeux politiques, économiques et sociaux qui entourent l’industrie de la production télévisuelle pour la jeunesse, nous proposons d’explorer et de comparer l’offre télévisuelle destinée aux 12-17 ans et leur consommation télévisuelle. Cette analyse quantitative et statistique de l’offre et de la consommation se fait en trois étapes : (i) l’analyse de la structure de réception (émissions à succès, écoute des filles et des garçons, temps passé à l’écoute), (ii) l’analyse de la structure de programmation (mode de diffusion, genres télévisuels, origine des émissions, thématiques des émissions), et (iii) l’analyse de la structure thématique (thématiques associées aux épisodes et des personnages). De ces analyses, divers constats apparaissent. Tout d’abord, les jeunes consomment ce que les télédiffuseurs diffusent à leur intention, malgré l’accès limité à cette offre. De plus, plusieurs tactiques semblent être mises en œuvre afin de rentabiliser la diffusion de ces émissions, principalement la rediffusion. Finalement, ces émissions destinées aux adolescents se distinguent de celles offertes au grand public, non seulement par le public qu’elles tentent de rejoindre, mais aussi par les thématiques qu’elles abordent et la manière dont elles les abordent.

Demandas profissionais na produção de conteúdo para televisão digital: um estudo do caso da TV Brasil

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

Violence Profiles on International TV News

Journalism has achieved a crucial importance as a social institution linked with the notion of the public interest. It is still doing so but is nevertheless increasingly challenged by getting networked with the interested publics. This becomes more apparent in times when the media repertoires and audiences as such are changing, when the public relies on more than one news source for the transmission and formulation of world events, but when the importance of TV news nevertheless remains relatively stable. Against this backdrop we may ask what publics contribute to or take away from the new plethora of images and stories saturating the media? This article gives an approximate answer by drawing on a comparative analysis of the present-day presentations of violence on British, German, and Russian television news. Violence in the media is not a new phenomenon, as age-old literary masterpieces like Homer’s Odyssey show, but it is still a very popular one, especially in the news. This article highlights trans-national and national elements in the reporting of violence in three different news cultures. At first glance, both the substantial cross-national violence news flow and the cross-national visual violence flow (key visuals) may be interpreted as distinctly trans-national elements. Event-related textual analysis, however, reveals how the historical rootedness of nations and their specific symbols of power are still very much manifested in respective television mediations of violence. In conclusion, this study recommends the pursuit of conscientious comparisons in journalist research and practice in order to understand what violence news convey in the different arenas of present-day newsmaking.

Entertainment industries at university : designing a curriculum

Universities have not traditionally trained students to work as producers in the entertainment industries. This key entertainment role involves balancing creativity, business and legal skills in order to generate and run entertainment projects. Queensland University of Technology has recently introduced a program to train students for these jobs. The program is interdisciplinary, drawing on expertise from the Creative Industries, Law and Business faculties. This Scholarship of Teaching and Learning (SOTL) article details the course learning outcomes developed from extensive industry and academic consultation, and addresses some of the difficulties involved in developing such an interdisciplinary teaching program.

Gender, sexuality and the challenge of seeing in Orlando

Orlando (Sally Potter, 1992) is a significant filmic achievement: in only ninety minutes it offers a rich, layered, and challenging account of a life lived across four hundred years, across two sexes and genders, and across multiple countries and cultures. Already established as a feminist artist, Potter aligns herself with a genealogy of feminist art by adapting Virginia Woolf’s Orlando: A Biography (1928) to tell the story of Orlando: a British subject who must negotiate their “identity” while living a strangely long time and, also somewhat strangely, changing biological sex from male to female. Both novel and film interrogate norms of gender and culture. They each take up issues of sex, gender, and sexuality as socially-constructed phenomena rather than as “essential truths”, and Orlando’s attempts to tell his/her story and make sense of his/her life mirror readers’ attempts to understand and interpret Orlando’s journey within inherited artistic traditions.

Cross-cultural language learning and web design complexity

Accepting the fact that culture and language are interrelated in second language learning (SLL), the web sites should be designed to integrate with the cultural aspects. Yet many SLL web sites fail to integrate with the cultural aspects and/or focus on language acquisition only. This study identified three issues: (1) anthropologists’ cultural models mostly adopted in cross-cultural web user interface have been superficially used; (2) web designers deal with culture as a fixed one which needs to be modeled into interface design elements, so (3) there is a need for a communication framework between educators and design practitioners, which can be utilized in web design processes. This paper discusses what anthropology can contribute to language learning, mediated through web design processes and suggests a cultural user experience framework for web-based SLL by presenting an exemplary matrix. To evaluate the effectiveness of the framework, the key stakeholders (learners, teachers, and designers) participated in a case scenario-based evaluation. The result shows a high possibility that the framework can enhance the effective communication and collaboration for the cultural integration.

Broadcasting digital stories on Australian community television : the Digistories Anthology

Community-based arts and media movements have been intsrumental in building population-wide creative capacity for cultural development, social participation and social transformation in many parts of the world. Digital storytelling is a form of media practice that was pioneered in the United States at the intersection of these movements. It is described here as a ‘co-creative’ media production method. This description aims to differentiate the approaches to collaborative content creation that are used in community cultural development (CCD) and community media movements from those valued in professional and consumer modes of media production. Yet, the products of co-creative practices, such as digital stories, do not circulate widely through existing media networks or through the newer social media networks that Australian CCD and community media movements anticipated by at least twenty years. The complex politics of story ownership are one of a number of factors that often render ‘publication’ a secondary consideration in the making of digital stories. The possibility of ‘downstream’ use and re-use of stories in other networks is not usually considered in initial planning and development processes. As landmark projects such as Capture Wales indicate, even where stories are made for broadcast outcomes, television can be a problematic window for exhibiting digital stories. Scepticism about the brave new world of reality television and user generated content also circulates in digital storytelling networks, especially when it comes to ethical concerns for managing the risks of harm associated with widespread distribution of digital stories to indiscriminate publics. This publication reports on a collaborative action research project that took a closer look at some of the constraints relating to the problems of re-purposing digital stories for television. It focussed on ‘best practice’ for managing the risks of harm to storytellers in the process of re-purposing digital stories for broadcast on community television.

A small screen alternative to stone and bronze: The Great War series and British television

This article examines the first major British television series about the First World War, The Great War (BBC, 1964), in terms of its cultural, historical and aesthetic significance. As a central component of the BBC`s 50th anniversary commemorative programme to mark the outbreak of war, the series was a major media event -a small-screen memorial cast in sounds and images instead of stone and bronze. This article looks at how the British television audience responded to this form of on-screen commemoration. Material for this article was derived from the series' extensive production records housed in the BBC Written Archives Centre at Caversham, Berkshire. This was supplemented by, among other sources, material from interviews and correspondence with several surviving members of the production team. This allows a broader understanding of the motivations of those involved in the production of a groundbreaking historical series, while acknowledging the wide-ranging nature of its audience. [From the Publisher]

Breaking the Intimate Screen: Pre-Recording, Special Effects and the Aesthetics of Early British Television

The technological constraints of early British television encouraged drama productions which emphasised the immediate, the enclosed and the close-up, an approach which Jason Jacobs described in the title of his seminal study as 'the intimate screen'. While Jacobs' book showed that this conception of early British television drama was only part of the reality, he did not focus on the role that special effects played in expanding the scope of the early television screen. This article will focus upon this role, showing that special effects were not only of use in expanding the temporal and spatial scope of television, but were also considered to be of interest to the audience as a way of exploring the new medium, receiving coverage in the popular press. These effects included pre-recorded film inserts, pre-recorded narration, multiple sets, model work and animation, combined with the live studio performances. Drawing upon archival research into television production files and scripts as well as audience responses and periodical coverage of television at the time of broadcast, this article will focus on telefantasy. This genre offered particular opportunities for utilising effects in ways that seemed appropriate for the experimentation with the form of television and for the drama narratives. This period also saw a variety of shifts within television as the BBC sought to determine a specific identity and understand the possibilities for the new medium.
This research also incorporates the BBC's own research and internal dialogue concerning audiences and how their tastes should best be met, at a time when the television audience was not only growing in terms of number but was also expanding geographically and socially beyond the moneyed Londoners who could afford the first television sets and were within range of the Alexandra Palace transmissions. The primary case study for this article will be the 1949 production of H.G.Wells’ The Time Machine, which incorporated pre-recorded audio and film inserts, which expanded the narrative out of the live studio performance both temporally and spatially, with the effects work receiving coverage in the popular magazine Illustrated. Other productions considered will be the 1938 and 1948 productions of RUR, the 1948 production of Blithe Spirit, and the 1950 adaptation of The Strange Case of Dr Jekyll and Mr Hyde. Despite the focus on telefantasy, this article will also include examples from other genres, both dramatic and factual, showing how the BBC's response to the changing television audience was to restrict drama to a more 'realistic' aesthetic and to move experimentation with televisual form to non-drama productions such as variety performances.