El enfoque de este estudio se centra en considerar al telespectador como parte integrante de una organización - en este caso la familiar - con sus respectivos roles, jerarquías, posiciones y relaciones con el entorno social. La idea central consiste en "analizar los procesos de mediación de la te
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levisión por la familia", con la finalidad de elaborar metodologías que respondan a la consecución y estudio de procesos educativos desarrollados en el seno de la organización familiar. El autor es Licenciado en Psicología y Doctor en Educación, además de Profesor en las escuelas de Comunicación Social y Psicología de la Universidad Central de Venezuela. Este trabajo constituye su Tesis Doctoral, que fue presentada en la Universidad de Columbia en 1989, y luego galardonada con el Premio Monseñor Pellín 1990.
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"Este libro no mira a la telenovela desde la perspectiva jurídica o económica, sino que la examina a través de otro prisma: la manera como se articulan las intenciones comerciales de su producción con las lógicas culturales de su consumo a través del caso colombiano. Explora el trasfondo de pr
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oducciones de alcance continental como 'Pero sigo siendo el rey' y 'Caballo viejo." (Cubierta del libro)
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"Jib Fowles sees television as a 'grandly therapeutic force,' that television is indeed good for you. He examines why nearly every American regularly watches television and why viewing is beneficial. Updated and jargon-free, Why Viewers Watch describes the overall effect of programming on the popula
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tion. What do viewers get from television? What does it do for them? Why do academics negatively judge television? Using recent research reports, overlooked past studies, and fresh survey data to substantiate this positive role, Fowles first reviews the history of television and programming. After discussing what people expect from television, he explores how different types of programs satisfy different needs. Fowles also debunks many of the myths propagated by media scholars and “television prigs." (Publisher description)
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"Millions of people all over the world are avid members of the television audience. Yet, despite the central place television occupies in contemporary culture, our understanding of its complex and dynamic role in everyday life remains surprisingly limited. Focusing on the television audience, Ien An
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g asks why we understand so little about its nature and argues that our ignorance arises directly out of the biases inherent in prevailing official knowledge about it. She sets out to deconstruct the assumptions of this official knowledge by exploring the territory where it is mainly produced - the television institutions. Ang draws on Foucault's theory of power/knowledge to scrutinize television's desperate search for the audience, and to identify differences and similarities in the approaches of American commercial television and European public service television to their audiences. She looks carefully at recent developments in the field of ratings research, in particular the controversial introduction of the `people meter' as an instrument for measuring the television audience. By defining the limits and limitations of these institutional procedures of knowledge production, Ien Ang opens new avenues for understanding television audiences. Her ethnographic perspective on the television audience gives new insights into our television culture, with the audience seen not as an object to be controlled, but as an active social subject, engaging with television in a variety of cultural and creative ways." (Publisher description)
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