In the name of visual pleasure, there are different entertainments in today＇s media that instigate voyeurism among common viewers. In this study, the author intends to focus on two phases where the spectators are tur...In the name of visual pleasure, there are different entertainments in today＇s media that instigate voyeurism among common viewers. In this study, the author intends to focus on two phases where the spectators are turning voyeurs without their consent. In the first phase, the study reveals the process where film influences voyeuristic behavior. The urge to explore others＇ private matters starts through the way film reflects, reveals, and even plays on the straight, socially established interpretation of sexual difference which controls images, erotic ways of looking, and spectacle. Several voyeuristic means in films pursue set formation, and they all persuade the viewer to identify with the male character by allowing the viewer to see what he sees through different voyeuristic means. The use of devices as a telescope, magnifying glass, and keyholes is the motivation for the close-up shots. They turn the viewer into a participant and spectator and allow the viewer to look at previously unseen and hidden details, but they do not let the viewer become totally a part of the action. In this study, films like Peeping Tom and Sliver are analyzed to understand big screen voyeurism. In the second phase, this study presents the voyeurism initiated by television programs such as reality shows, ＂soap operas＂, daytime television, talk shows, real life documentaries, and ＂docudramas＂. At the pinnacle, there are the government, police, and the employers who are assisting to produce a new ＂watched＂ culture with the use of closed circuit TV devices. Some camera operators are known to have made ＂greatest hits＂ tapes and other material captured on CCTV has become the footage used to create television programs for entertainment purposes. Thus, they are influencing public voyeurism. Programs like ＂Big Daddy＂, ＂Big Brother＂, and ＂Big Boss＂ are disclosing personal activities of the characters through hidden cameras. They are considered as soft-core pornography on mainstream television and satellite channels.展开更多
In this research, two television programs were analyzed to compare the type and frequency of the product placement within them, and to determine whether women or teenagers are more targeted by advertisers. The televis...In this research, two television programs were analyzed to compare the type and frequency of the product placement within them, and to determine whether women or teenagers are more targeted by advertisers. The television programs were Desperate Housewives, a program targeted toward females, and Blue Mountain State, a program targeted toward male teenagers. The results of the study were analyzed using social cognition research, and ultimately determined that teenagers have become the predominant target audience for advertisers than women.展开更多
This paper will present a television program based on glocal （global ＋ local） culture and sustainability concepts, such as local production, social support and cultural diversity, done with virtual and social netwo...This paper will present a television program based on glocal （global ＋ local） culture and sustainability concepts, such as local production, social support and cultural diversity, done with virtual and social networks. The result is NosOtros1. Its name is a play of words between Nos-we in Portuguese and Otros--other in Spanish. The purpose is to practice a journalistic and cultural production process which would understand local specificities and global themes. NosOtros used professional networks in journalism to compose a cultural, democratic, and balanced program, understood and accepted across all of Latin America. NrsOtros was recorded in four countries in 2007, co-produced by local journalists, using professional networks and new media technologies such as Voice over Internet Protocol （VolP） and peer-to-peer programs.展开更多
This paper looks at how brand development and marketing communication rules are useful, if not essential tools in the transmedia storytelling process. After providing clarification on the meaning of true transmedia co...This paper looks at how brand development and marketing communication rules are useful, if not essential tools in the transmedia storytelling process. After providing clarification on the meaning of true transmedia content, the author suggests that this fi）rm of narrative necessitates a variety of techniques that are beyond those found in the traditional skill set of the linear storyteller. The paper introduces a multi-layered model to help provide a structure for the development of transmedia narrative. It also outlines various stages of development and their specific characteristics. These include the establishment of a core message, introductory, development, and mature narrative phases. It draws extensive]Ly from a case study in transmedia storytelling co-produced by the author. The project, entitled Geo Freakz is rooted in the family sport of geocaching and was initially released on a trial basis, in Canada. The project includes webisodes, multiplayer on line games, TV programming, and live events. Collaborative partners are drawn from several media modalities. Findings from the case to date are used to illustrate the model presented in the paper as well as outline challenges in transmedia storytelling yet to be dealt with.展开更多
Previous studies have shown that children learn from educational television; however, these studies have not explored how closely the educational content of the program is integrated to the narrative. The following st...Previous studies have shown that children learn from educational television; however, these studies have not explored how closely the educational content of the program is integrated to the narrative. The following study uses a systematic content analysis of 100 top-rated U.S. children＇s television programs to explore the tangential relationship （i.e., distance） of narrative and educational content through the lens of the capacity model--which is built upon three basic components： narrative content, educational content, and the distance between them. Programs were analyzed for distance by examining lesson clarity and integration, show type, target audience age, and station type. One-way ANOVAs indicates significant differences between the means of these variables. Programs targeting younger children presented educational content that was closely integrated into the plotline of the program and helped further the story. However, as the target audience aged, the educational content became more tangential to the narrative content and was less tied to the plotline of the program.展开更多
This research studies the motives that lead Arabic-speaking university students to watch television programs in English or dubbed in Arabic, and diagnoses the possible effects of these programs on these young people. ...This research studies the motives that lead Arabic-speaking university students to watch television programs in English or dubbed in Arabic, and diagnoses the possible effects of these programs on these young people. A field study was conducted on a sample of viewers of the MBC2 and MBC4 Channels in the UAE. A questionnaire was used as a tool to cover a sample of the community comprised of 200 young people who attend various public and private universities in the UAE, aged generally between 18 and 30 years old. The applied study proves that there is no relationship between gender and audience preference, and that there is an independence of respondents＇ academic specialization and choice of channel. The study＇s results show that learning English is among the most important motives for the respondents to watch these programs and that 90% of respondents believe that watching foreign programs has negative effects on university youth.展开更多
The culture and history of traditional documentaries carries a set of expectations about types and topics, which are covered by the genre. Documentaries are designed to push social agendas with few thoughts to the aud...The culture and history of traditional documentaries carries a set of expectations about types and topics, which are covered by the genre. Documentaries are designed to push social agendas with few thoughts to the audience reaction. They align more closely with the vision of the creators and producers, often delivering ideological expressions that present cultural, political, and historical content. However, this might be a voice from the past as television, film, and consumer-generated content finds easy voices for expression due to accessibility of technology in the digital era. The role of documentaries as a genre is in the process of changing. The challenges to this type of production are the result of both intrinsic and extrinsic factors. Production costs for creating documentaries have simultaneously soared and shrunk, depending on the accessibility of equipment, post-production facilities and distribution. Of course there are many exceptions to this rule given outlets such as film festivals and YouTube as well as Michael Moore-level auteurs. External influences center on the blurring of lines, caused by the proliferation of television programs under the ＂umbrella＂ of reality television. This, in turn, begs the question： Is reality programming the new documentary or is it a new separate genre？ This discussion will explore the overlap and similarities that exist between documentary programming and reality television programming. Furthermore, it will develop a paradigm of comparisons that re-examines the role and character of documentary production and aesthetics within the landscape of the reality television genre.展开更多
This is a study of the feasibility and effects of teaching listening with films and TV programs. The research is a part of the English Learning Program directed by ZHANG Zhen, which is sponsored by Academic Affairs Of...This is a study of the feasibility and effects of teaching listening with films and TV programs. The research is a part of the English Learning Program directed by ZHANG Zhen, which is sponsored by Academic Affairs Office of Leshan Normal University. The researcher of the program sought for theretical bases from Krashen＇s Input Hypothesis, the Motivation Theory, the Context Theory, and the Communicative Language Teaching Theory. Then the author introduced a pilot study conducted by utilizing films or TV programs to teach listening from September 2010 till now. The statistic results from the experiment suggest that there is indeed some correlations between teaching listening with films or TV programs and a learner＇s listening comprehension in general in language achievement tests at certain stages. The scores of the students from the experimental group are improved after two years of teaching with the new methods. Analyses and discussions have been done based on a questionnaire and an interview. The results showed that both the teachers and the students had positive attitudes towards teaching listening with films or TV programs. Most of them view this method as an effective way in ELT （English language teaching）, because it provides more opportunities for contextual practice, lower their anxiety; it can also help to motivate them, stimulate their active participation and increase their activities as well. Therefore, this method can be used to cultivate students＇ communicative competence. Consequently, we can draw the conclusion that this method has some advantages over teaching listening with the pre-taped materials in New College English. It may play an important role in ELT, especially in listening teaching. Based on the statistic analyses and the survey, some activities and techniques are provided for the teacher on how to teach listening with films or TV programs. The roles that an English teacher plays in this method are illustrated at the end of the thesis.展开更多
文摘In the name of visual pleasure, there are different entertainments in today＇s media that instigate voyeurism among common viewers. In this study, the author intends to focus on two phases where the spectators are turning voyeurs without their consent. In the first phase, the study reveals the process where film influences voyeuristic behavior. The urge to explore others＇ private matters starts through the way film reflects, reveals, and even plays on the straight, socially established interpretation of sexual difference which controls images, erotic ways of looking, and spectacle. Several voyeuristic means in films pursue set formation, and they all persuade the viewer to identify with the male character by allowing the viewer to see what he sees through different voyeuristic means. The use of devices as a telescope, magnifying glass, and keyholes is the motivation for the close-up shots. They turn the viewer into a participant and spectator and allow the viewer to look at previously unseen and hidden details, but they do not let the viewer become totally a part of the action. In this study, films like Peeping Tom and Sliver are analyzed to understand big screen voyeurism. In the second phase, this study presents the voyeurism initiated by television programs such as reality shows, ＂soap operas＂, daytime television, talk shows, real life documentaries, and ＂docudramas＂. At the pinnacle, there are the government, police, and the employers who are assisting to produce a new ＂watched＂ culture with the use of closed circuit TV devices. Some camera operators are known to have made ＂greatest hits＂ tapes and other material captured on CCTV has become the footage used to create television programs for entertainment purposes. Thus, they are influencing public voyeurism. Programs like ＂Big Daddy＂, ＂Big Brother＂, and ＂Big Boss＂ are disclosing personal activities of the characters through hidden cameras. They are considered as soft-core pornography on mainstream television and satellite channels.
文摘In this research, two television programs were analyzed to compare the type and frequency of the product placement within them, and to determine whether women or teenagers are more targeted by advertisers. The television programs were Desperate Housewives, a program targeted toward females, and Blue Mountain State, a program targeted toward male teenagers. The results of the study were analyzed using social cognition research, and ultimately determined that teenagers have become the predominant target audience for advertisers than women.
文摘This paper will present a television program based on glocal （global ＋ local） culture and sustainability concepts, such as local production, social support and cultural diversity, done with virtual and social networks. The result is NosOtros1. Its name is a play of words between Nos-we in Portuguese and Otros--other in Spanish. The purpose is to practice a journalistic and cultural production process which would understand local specificities and global themes. NosOtros used professional networks in journalism to compose a cultural, democratic, and balanced program, understood and accepted across all of Latin America. NrsOtros was recorded in four countries in 2007, co-produced by local journalists, using professional networks and new media technologies such as Voice over Internet Protocol （VolP） and peer-to-peer programs.
文摘This paper looks at how brand development and marketing communication rules are useful, if not essential tools in the transmedia storytelling process. After providing clarification on the meaning of true transmedia content, the author suggests that this fi）rm of narrative necessitates a variety of techniques that are beyond those found in the traditional skill set of the linear storyteller. The paper introduces a multi-layered model to help provide a structure for the development of transmedia narrative. It also outlines various stages of development and their specific characteristics. These include the establishment of a core message, introductory, development, and mature narrative phases. It draws extensive]Ly from a case study in transmedia storytelling co-produced by the author. The project, entitled Geo Freakz is rooted in the family sport of geocaching and was initially released on a trial basis, in Canada. The project includes webisodes, multiplayer on line games, TV programming, and live events. Collaborative partners are drawn from several media modalities. Findings from the case to date are used to illustrate the model presented in the paper as well as outline challenges in transmedia storytelling yet to be dealt with.
文摘Previous studies have shown that children learn from educational television; however, these studies have not explored how closely the educational content of the program is integrated to the narrative. The following study uses a systematic content analysis of 100 top-rated U.S. children＇s television programs to explore the tangential relationship （i.e., distance） of narrative and educational content through the lens of the capacity model--which is built upon three basic components： narrative content, educational content, and the distance between them. Programs were analyzed for distance by examining lesson clarity and integration, show type, target audience age, and station type. One-way ANOVAs indicates significant differences between the means of these variables. Programs targeting younger children presented educational content that was closely integrated into the plotline of the program and helped further the story. However, as the target audience aged, the educational content became more tangential to the narrative content and was less tied to the plotline of the program.
文摘This research studies the motives that lead Arabic-speaking university students to watch television programs in English or dubbed in Arabic, and diagnoses the possible effects of these programs on these young people. A field study was conducted on a sample of viewers of the MBC2 and MBC4 Channels in the UAE. A questionnaire was used as a tool to cover a sample of the community comprised of 200 young people who attend various public and private universities in the UAE, aged generally between 18 and 30 years old. The applied study proves that there is no relationship between gender and audience preference, and that there is an independence of respondents＇ academic specialization and choice of channel. The study＇s results show that learning English is among the most important motives for the respondents to watch these programs and that 90% of respondents believe that watching foreign programs has negative effects on university youth.
文摘The culture and history of traditional documentaries carries a set of expectations about types and topics, which are covered by the genre. Documentaries are designed to push social agendas with few thoughts to the audience reaction. They align more closely with the vision of the creators and producers, often delivering ideological expressions that present cultural, political, and historical content. However, this might be a voice from the past as television, film, and consumer-generated content finds easy voices for expression due to accessibility of technology in the digital era. The role of documentaries as a genre is in the process of changing. The challenges to this type of production are the result of both intrinsic and extrinsic factors. Production costs for creating documentaries have simultaneously soared and shrunk, depending on the accessibility of equipment, post-production facilities and distribution. Of course there are many exceptions to this rule given outlets such as film festivals and YouTube as well as Michael Moore-level auteurs. External influences center on the blurring of lines, caused by the proliferation of television programs under the ＂umbrella＂ of reality television. This, in turn, begs the question： Is reality programming the new documentary or is it a new separate genre？ This discussion will explore the overlap and similarities that exist between documentary programming and reality television programming. Furthermore, it will develop a paradigm of comparisons that re-examines the role and character of documentary production and aesthetics within the landscape of the reality television genre.
文摘This is a study of the feasibility and effects of teaching listening with films and TV programs. The research is a part of the English Learning Program directed by ZHANG Zhen, which is sponsored by Academic Affairs Office of Leshan Normal University. The researcher of the program sought for theretical bases from Krashen＇s Input Hypothesis, the Motivation Theory, the Context Theory, and the Communicative Language Teaching Theory. Then the author introduced a pilot study conducted by utilizing films or TV programs to teach listening from September 2010 till now. The statistic results from the experiment suggest that there is indeed some correlations between teaching listening with films or TV programs and a learner＇s listening comprehension in general in language achievement tests at certain stages. The scores of the students from the experimental group are improved after two years of teaching with the new methods. Analyses and discussions have been done based on a questionnaire and an interview. The results showed that both the teachers and the students had positive attitudes towards teaching listening with films or TV programs. Most of them view this method as an effective way in ELT （English language teaching）, because it provides more opportunities for contextual practice, lower their anxiety; it can also help to motivate them, stimulate their active participation and increase their activities as well. Therefore, this method can be used to cultivate students＇ communicative competence. Consequently, we can draw the conclusion that this method has some advantages over teaching listening with the pre-taped materials in New College English. It may play an important role in ELT, especially in listening teaching. Based on the statistic analyses and the survey, some activities and techniques are provided for the teacher on how to teach listening with films or TV programs. The roles that an English teacher plays in this method are illustrated at the end of the thesis.
