"Kathrin Nieder-Steinheuer hat ein Modell entwickelt, mit dem sich die kommunikative Verfasstheit der Kategorie des Christlichen im Unterhaltungsformat analysieren lässt. Grundlegend dafür ist der in den untersuchten Formaten festgestellte Zusammenhang zwischen kirchlichen Räumen und geographisch
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en Konzepten einerseits und religiöser Normativität und statistisch-normalistischen Konzepten andererseits. Die bisherige theologisch dominierte Religiotainment-Forschung wird somit durch ein nicht normatives Analyseinstrument für die kulturelle Gegenwart des Christlichen im Unterhaltungsformat ergänzt." (Verlagsbeschreibung)
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"Interactive TV and radio shows are popular phenomena in Kenya and Zambia. Drawing primarily from interview- and observation based research in TV stations in Kenya and Zambia, this paper examines the role of media practitioners in shaping interactive broadcast programmes, and the nature and possibil
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ities of audience participation. Looking at the cases of Muvi TV’s The Assignment in Zambia and Power Breakfast and Cheche on Kenya’s Citizen TV, it considers the agency of the host and presenter of interactive shows. This working paper analyses the various ways that hosts implement ground rules for appropriate behaviour of audience members and seek to create space for different voices. It then turns to analyse the constraining effects of the wider political and regulatory environment in the two countries, for instance, Zambia as a ‘Christian nation’ and a relatively peaceful country, and Kenya as a ‘volatile nation’ due to insecurity, including terrorism-related threats and ethnic tensions. In so doing, this paper finds that despite structural factors and individual limitations, the hosts of these shows see themselves, and have been seen by audiences, guests and political elites, as key drivers and celebrities that shape access and nature of participation." (Abstract)
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"This study examined the relationship between exposure to Bollywood movies and job-seeking behavior of South Asian females. Using survey data collected from 132 female participants, we explored the effects of exposure to Bollywood movies on job search self-efficacy, enjoyment and job-seeking behavio
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r of South Asian females living in the United States, Canada, United Kingdom, Germany, India, and Pakistan. We also applied a structural equation model to examine the role of enjoyment and job search self-efficacy in mediating the relationship between frequency of exposure to Bollywood movies and job-seeking behavior. Results indicated that exposure to Bollywood movies was positively related to enjoyment and job-seeking behavior of the female viewers of Bollywood movies. We also found a significant relationship between job search self-efficacy and job-seeking behavior. Our study offers a significant insight into the role of entertainment narratives in influencing the behavior of South Asian female audiences that hitherto remained a neglected group in media effects research." (Abstract)
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"This study in a way established that soap operas have some positive contributions to the society. For example, the study shows that youth become more confident and social after watching soaps. However, in agreement with the objectives of this study, the negative effects of soap operas on young peop
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le overwhelmingly outweigh the positive impacts. For example, this study showed how relationships break after watching telenovelas; In addition, outside-marriage affairs increased or are considered normal after youths’ watch telenovelas." (Conclusion remarks, page 41)
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"Lifestyle TV analyzes a burgeoning array of lifestyle formats on network and cable channels, from how-to and advice programs to hybrid reality entertainment built around the cultivation of the self as project, the ethics of everyday life, the mediation of style and taste, the regulation of health a
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nd the body, and the performance of identity and “difference.” Ouellette situates these formats historically, arguing that the lifestyling of television ultimately signals more than the television industry’s turn to cost-cutting formats, niche markets and specialized demographics. Rather, Ouellette argues that the surge of reality programming devoted to the achievement and display of lifestyle practices and choices must also be situated within broader socio-historical changes in capitalist democracies." (Publisher description)
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"The telenovela El Candidato did not elect Vicente Fox per se but it was a very powerful media vehicle that certainly helped him. Although there were suspicions from the beginning about the telenovela’s positive support of the PRI in the context of the real election, it turns out that in fact upon
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detailed analysis key scenes and episodes of El Candidato’s general framework, the opposite proved to be true. TV-Azteca and El Candidato together negatively framed the image of the PRI and its role in ruling the country for 71 years, which then helped to underline the necessity of change. El Candidato visually explained the complexity of the social-political world even better that the politicians themselves or the press because its arguments are accompanied by images, angles, colors, music, emotions, etc. For some of those viewers-electors, the telenovela was an understandable guide to Mexican politics because the telenovela showed details related to what people thought about the PRI, politics, recent scandals and assassinations. The public mission of TVAzteca and its nightly newscast Hechos de la Noche following El Candidato resulted in sensationalizing real public events with the private goal of supporting a president close to its own interests." (Conclusion, page 23)
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"This report gives forecasts for online video spend and consumption, where available, for 40 markets in which online video is at varying stages of development. From markets such as Singapore, where 85% of the population claims to access online video (according to GlobalWebIndex, 2014), to countries
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where online video is still in its early stages of growth, what we see is that online video consumption has risen sharply over the past few years and has begun to attract budget-switching from TV advertising. TV remains, of course, the world’s most popular advertising channel, and will be so for some years yet. Nevertheless, networks and studios are having to adapt to the new importance of digital." (Introduction, page 1)
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"The study finds that there is a general liking for Partenal Guidance (PG) ratings, based on the need to protect the children from harmful and foreign content, as well as to avoid adoption of foreign cultures. However, this does not translate into action in determining viewership decisions, with man
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y parents not able to implement PG ratings. Major gaps remain in the implementation of the PG ratings systems for the country. The understanding and use of ratings by parents, TV stations and regulators is limited, and the guideline remain difficult to use, with TV stations using them but to little impact in the audiences. The challenge is compounded by cut-throat competition by TV stations for audiences. Technology that has changed the methods of access to such content, as well as the social set up also affect the use and effectiveness of PG ratings. Achieving a change of trend requires a change in approach to child programming. This challenge is even bigger for Uganda, a country that boasts of a big young population, and an increasing affinity to watching television, whose numbers are increasing by the day. These challenges can however be addressed; and they need to be addressed. PG ratings is one acceptable way of regulating the kind of TV content that children access to make useful viewing. The study recommends that regulators need to take more responsibility and engage the TV stations as well as the public on the proper use of ratings, through engagement drives. The public, especially the parents, cannot shy away from demanding for proper ratings by the TV stations, and seeking redress for poorly rated content. One other way of resolving the debate is by improving on the availability of only-children content for educational purposes. This
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"Complex TV offers a sustained analysis of the poetics of television narrative, focusing on how storytelling has changed in recent years and how viewers make sense of these innovations. Through close analyses of key programs, including The Wire, Lost, Breaking Bad, The Sopranos, Veronica Mars, Curb
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Your Enthusiasm, and Mad Men the book traces the emergence of this narrative mode, focusing on issues such as viewer comprehension, transmedia storytelling, serial authorship, character change, and cultural evaluation. Developing a television-specific set of narrative theories, Complex TV argues that television is the most vital and important storytelling medium of our time." (Publisher description)
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"Genre is central to understanding the industrial context and visual form of television. This new edition of the key textbook on television genre brings together leading international scholars to provide an accessible and comprehensive introduction to the debates, issues and concerns of the field. S
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tructured in eleven sections, The Television Genre Book introduces the concept of 'genre' itself and how it has been understood in television studies, and then addresses the main televisual genres in turn: drama, soap opera, comedy, news, documentary, reality television, children's television, animation and popular entertainment. This third edition is illustrated throughout with case studies of classic and contemporary programming from each genre, ranging from The Simpsons to Buffy the Vampire Slayer and from Monty Python's Flying Circus to Who Wants to be a Millionaire?. It also features new case studies on contemporary shows, including The Only Way Is Essex, Homeland, Game of Thrones, Downton Abbey, Planet Earth, Grey's Anatomy and QVC, and new chapters covering topics such as constructed reality, travelogues, telefantasy, stand-up comedy, the panel show, 24-hour news, Netflix and video on demand." (Publisher description)
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"Tatsächlich erfreuen sich koreanische Fernsehserien und Filme sowie die koreanische Popmusik (K-pop) im Ausland, insbesondere in Ost- und Südostasien, ganz unerwartet großer Beliebtheit. In Südkorea selbst ist man stolz darauf, es - zumindest in der eigenen Wahrnehmung - endlich geschafft zu ha
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ben, in der Welt als "Kulturnation" zu gelten. Die öffentliche Hallyu-Debatte ist dabei allerdings stark von nationalistisch inspirierten Selbstbehauptungsdiskursen geprägt. Ein Strang der südkoreanischen Debatte kreist um Hallyu als Wirtschaftsfaktor. Dieser stützt sich weniger auf reale Effekte, sondern auf Erwartungen und Hoffnungen, die mit besseren Exportchancen, vor allem mit der Aufwertung des internationalen Images Südkoreas verbunden sind." (Fazit, Seite 401)
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"In 2014, Mexico, Brazil, Portugal, Colombia and Argentina, in that order, were the top five countries in the production of national fiction hours. Once again, Brazil and Mexico, despite the drop suffered by the latter, continued to be the largest producers of fiction in the Ibero-American region. I
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n contrast, Peru and Ecuador had the lowest offer of national fiction hours, while Uruguay did not produce hours of national fiction during 2014." (Page 39)
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"Collectively known as Hallyu, Korean music, television programs, films, online games, and comics enjoy global popularity, thanks to new communication technologies. In recent years, Korean popular culture has also become the subject of academic inquiry. Whereas the Hallyu's impact on Korea's nationa
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l image and domestic economy, as well as on transnational cultural flows, have received much scholarly attention, there has been little discussion of the role of social media in Hallyu's propagation. Contributors to Hallyu 2.0: The Korean Wave in the Age of Social Media explore the ways in which Korean popular cultural products are shared by audiences around the globe; how they generate new fans, markets, and consumers through social media networks; and how scholars can analyze, interpret, and envision the future of this unprecedented cultural phenomenon." (Publisher description)
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"In many—if not most—countries of the modern world, radio is thought of as a provider of music, news, weather reports and traffic situations, but very little else. Yet in parts of the developing world, radio is still extremely important and valuable as a medium for encouraging and teaching life
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improvement. This book demonstrates and teaches how radio drama—be it stand alone or serial drama—can be very influential in helping people to improve their lives." (Prologue)
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"This publication covers attitudes toward, and behavior pertaining to, entertainment media among residents in Qatar [...] These results suggest notable differences among the nationalities living in Qatar with regard to their attitudes, preferences and behaviors related to entertainment media. In man
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y respects, the opinions and habits of Qatari nationals and Arab expatriates mirror those of their Arab neighbors. For example, they show a strong respect for Arab culture that they wish to see reflected in their entertainment choices, and they support government regulation and censorship of entertainment media. In other respects, nationals in Qatar report different behaviors and interests than others in the region. More Qataris, for example, use Instagram than Facebook, whereas other nationals in the study prefer Facebook. Qataris enjoy religious content and are less interested than other nationals in locally-produced entertainment (perhaps reflecting relatively little material produced in Qatar rather than disdain for material produced there)." (Summary)
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"Turkish television has undergone a distinctive transformation since the early 2000s in which new regulations, rapid market growth, and political pressures have interacted with and transformed each other. As Turkey set new records in 2013 for the highest number of journalists arrested worldwide, tel
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evision dramas have suffered from their fair share of political pressures, while the contemporary political agenda has, in turn, infiltrated the content of television dramas. This article analyzes the ways in which Turkish television dramas appear as a sphere of political contest." (Abstract)
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