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Vamos con todo is a mixed-genre entertainment programme transmitted in Ecuador on a national television channel. The segment of the programme that we examine in this paper focuses on gossip and events surrounding local/national celebrities. Talk as entertainment is central to this segment which is structured around a series of ‘news’ stories announced by the presenters and mostly conveyed through (pre-recorded) interviews. Extracts of these interviews are ingeniously presented to create a sense of confrontation between the celebrities concerned. Each news story is then followed-up by informal ‘discussions’ among the show’s 5-6 presenters who take on the role of panellists. While Vamos con todo incorporates various genres, the running thread throughout the programme is the creation of scandal and the instigation of confrontation. What is of particular interest, however, is that no sooner the scandalous stories are presented, the programme presenters attempt to defuse the scandal and controversy that they contributed to creating. The programme thus results in what viewers familiar with the genre of confrontational talk shows in Spain, for example, may regard as an emasculated equivalent. In this paper we explore linguistic and other mechanisms through which confrontation and scandal are first created and then defused in Vamos con todo. We consider the situational, cultural and socio-political context of the programme as possibly playing a part in this disjointedness. The study draws on the literature on television discourse, talk shows and (im)politeness in the media.

On March 27, 2021, unknown attackers ambushed a press team working with Chile’s main television channel on the road between Tirua and Canete in Arauco province, in the Bio Bio region. The area is a...

The article is devoted to understanding the features of the implementation of the cultural and educational function in the programs of the television channel «Russia-C». As a rule, coverage of culture and science topics on television channels occurs through programs that capture the difference between trained, «qualified» viewers and a wide audience, and either focus on the former, choosing formats and genres that are not interesting to the majority, or shift the focus to entertainment. In this regard, the resolution of this contradiction and the choice of a format for the TV channel about culture to meet the demand of broad layers of Russian television viewers for high-quality intellectual leisure seems to be significant. The authors of the article analyzed all the Russia-C TV channel programs that are regularly broadcast. The authors identified the features of the programs and concluded that the format of the TV channel is focused on the implementation, first of all, of the cultural and educational function, and also that the programs on TV channels are designed to overcome this contradiction. Competent interlocutors and presenters, who have a flexible strategy and tactics, take part in these programs. The variety of genres and the specifics of camera work are noted, patterns in the design of studios are revealed.

This article examines the Iranian television channel HispanTV Nexo Latino, produced in Spanish for Spain and Latin American countries. Traditionally the Middle East has been understood as ...

This article aims to analyze the political narrative framed by the Kurdish television channel, Rudaw, in its news coverage of the October 2017 militarised crisis between Baghdad and Erbil o...

Introduction: the advertising of drugs and dietary supplements on television has a direct impact on the consumption patterns and the public health of the population, thus establishing the need to quantify the frequency of advertising of drugs and dietary supplements and additionally assess the content of the advertising regarding the current regulations of Invima, WHO and SIC.Methodology: during the week of June 27 to July 3, 2016 on a national television channel there were recorded all advertising related to drugs and dietary supplements broadcasted during the family strip from 7h00 to 21h30. 37 drug advertisements and 4 dietary supplement advertisements were analyzed, and frequency and total duration time were quantified. In addition, a checklist type matrix was used to evaluate compliance with the requirements of the Invima and WHO ethical criteria (only for drug commercials), to subsequently determine the percentage of compliance and non-compliance of each requirement.Results: it was obtained that during the study week the average duration of advertising space during the transmission of the family band was 237.4 minutes, equivalent to approximately 4 hours; and that the proportion of these advertising spaces spread in advertisements of drugs and dietary supplements, corresponded on average to 9.8% to advertisements for drugs and 0.8% to advertisements for dietary supplements. Non-compliance was identified with both the Invima requirements and the WHO ethical criteria, and finally five advertisements of drugs that were under supervision of the SIC by misleading advertising.Conclusions: it was possible to quantify the length of time spent in drug commercials and dietary supplements in relation to the total time of emission of the family band, evidencing a greater proportion in the advertisement of drugs than of dietary supplements.

El presente trabajo pone de relevancia la importancia de la accesibilidad en la sociedad de la información actual, en concreto, en Internet, por lo que analizaremos el cumplimiento de los requisitos de accesibilidad a los contenidos audiovisuales establecidos por las Pautas de Accesibilidad al Contenido Web (WCAG) 2.0 en el canal de televisión online EuroparlTV. Asimismo, trazaremos el vínculo inherente entre la accesibilidad web y la audiovisual y describiremos los subtítulos generados por profesionales de la traducción en el ámbito institucional, concretamente en el Parlamento Europeo. Para llevar a cabo nuestro objetivo y poder realizar el estudio sistemático y exhaustivo de distintos aspectos propios de la subtitulación, hemos creado y analizado el Corpus EMPAC (EuroparlTV Multimedia Parallel Corpus) que reúne los subtítulos en inglés y en español de los vídeos emitidos en EuroparlTV entre 2009 y 2017. This study highlights the importance of accessibility in our current information society, particularly on the Internet. Therefore, we will analyse compliance with the requirements for accessibility to audiovisual content, established by the Web Content Accessibility Guidelines (WCAG) 2.0, on the online television channel EuroparlTV. Furthermore, we will trace the inherent link between web and audiovisual accessibility and describe the subtitles generated by translation professionals in the institutional sphere – in this case, at the European Parliament. To achieve our objective and conduct a systematic and exhaustive study of different aspects of subtitling, we have created and analysed the EMPAC Corpus (EuroparlTV Multimedia Parallel Corpus), which collates the English and Spanish subtitles of the videos broadcast on EuroparlTV between 2009 and 2017.

Launched in 1995, the Dutch music television channel The Music Factory (TMF) presented a local alternative to MTV Europe, owned by the US-based conglomerate Viacom. In 2001, Viacom took over TMF, which by then proved to be far more popular than MTV Europe among the Dutch young viewers. Ten years later, Viacom discontinued the TMF brand. This article places the relatively short history of TMF within the contexts of American and globalization, the expansion of European television from nationally based public broadcasters to commercial pan-European television networks, and the shift from television to other media platforms as the dominant form of distributing music videos.

Las series de comedia rusas han pasado por una serie de cambios rápidos desde su introducción después del fin de la Guerra Fría. El género fue recibido inicialmente con escepticismo en el período post-soviético. Debido principalmente a la falta de familiaridad de la cultura rusa con el género, los primeros intentos por localizarlo no lograron atraer audiencias significativas. Fue solo cuando el canal de televisión STS, con la ayuda de Sony Pictures Television, empezó a trabajar para traer adaptaciones de comedias estadounidenses a Rusia que el género comenzó a resonar con los televidentes. La primera comedia popular en la televisión rusa fue una adaptación del programa The Nanny de CBS. El éxito de esa serie llevó a la producción de muchos otros programas similares. Desde principios de la década del 2000, las comedias rusas han avanzado rápidamente por tres fases: localización, hibridación y ausencia de ‘olor’ cultural. Este artículo describe el desarrollo del género examinando tres programas: My Fair Nanny, Daddy’s Girls y The Kitchen. Cada uno de estos programas marca el inicio de una nueva fase en el desarrollo de la comedia rusa desde la localización, la creación de series originales rusas y programas dirigidos al mercado global de formatos. El artículo también analiza el papel que STS y Sony le dan al género en Rusia.

On Saturday afternoon, 14 February 2015, a man attacked a public meeting at Krudttønden in Copenhagen and later the city's synagogue, killing two persons. The attacks did not take the Danish media by surprise since they had recently been engaged in the coverage of similar events, reporting the attacks at the Charlie Hebdo office in Paris in January 2015.This article analyses how the Danish television channel DR1 framed the attacks in the newscast from the first shot at Krudttønden and for the following week. Furthermore, the analysis will discuss how the framing of the shooting as a “terror attack” transformed the news coverage into a “news media” media event, abandoning the journalistic norm of critical approach while the media instead became the scene of national mourning.

For the last two decades, performance management theories and practices have focused on outcome-oriented management but have paid little attention to the role of public communication. Using multiple large data sets from Kansas City, Missouri, for 2009–14, this research suggests that the perceived effectiveness of public communication has a more substantial impact on public satisfaction with police protection and crime prevention than neighborhood crime rates and broken windows factors and that perceived effectiveness moderates the negative impact of crime rates. After controlling for residents’ demographic characteristics, the authors find that the perceived effectiveness of communication is associated with public satisfaction with the content and quality of the city website and the government television channel. The implications for public safety management and police–citizen relations as well as directions for future research on public communication strategies and public performance management are presented.

Cooking shows take us to the heart of food discourse, the way we talk about food and relate to one another through food. Language structures viewers’ experience and perception of food and of the host themselves, from the viewers’ home kitchen, table, and TV screen to the celebrity chef cooking and plating a dish. While showing how to cook food, cooking show hosts narrate a food discourse, that is, how food and language can help us live fully engaged in our lives. In ‘living food discourse,’ we talk about food in the bigger sense—talking, watching, listening, cooking, and eating food—to create identities and construct societies. This book examined the language of celebrity chefs on TV cooking shows, specifically four linguistic features: recipe telling, storytelling, evaluations, and humor that serve to construct the host as a trusted expert and friend. Viewers learn the language and watch the performance of TV celebrity chefs on America’s food television channel Food Network. The many sensual aspects—tastes, smells, sounds, sights, and touch—of food and language are multimodal and circulate between individuals and communities, as it does virtually between celebrity chefs and viewers.

El HbbTV promueve la interactividad. En esta investigación analizamos los resultados de una serie sincrónica de campañas de publicidad interactiva llevada a cabo en 2016 por parte de Henkel en un canal de televisión en España. Las campañas eran cuatro propuestas diferenciadas en los paneles de medida de CTR. Se suministró a la cadena de televisión una muestra con cuatro anuncios de un producto de belleza de Henkel. Se observó que elt elespectador tiende a clicar el botón de aviso legal (el botón verde), y que existe una relación entre el tiempo promedio de reproducción del vídeo en segundos y la voluntad de querer participar y un equilibrio entre las diferentes campañas a la hora de impulsar el clic del telespectador., HbbTV promotes interactivity. In this study we analyzed the results of a synchronous series of interactive advertising campaigns conducted in 2016 by Henkel on a television channel in Spain. The campaigns were four different proposals in panels measuring CTR. It was supplied to the television a sample with four ads of a beauty product of Henkel. It was observed that the viewer tends to click on the legal warning button (the green button), and that there is a relationship between the average video playback time in seconds and the willingness to participate and a balance between the different campaigns at the time to push the viewer’s click.

A personal essay on the author’s transition from editor of Popular Science magazine to science reporter for Al Jazeera America, the television channel. He finds that the new role—and good science reporting generally—provides a lens through which to see most major news stories dominating the headlines in a clear, thoughtful, and unbiased way.

Resumo:Em um momento em que a intimidade é tema principal, tanto da programação televisiva quanto das salas de cinema, observa-se uma crise dos afetos, em que o risco de aprisionamentos subjetivos e de reificação se intensificam. Neste artigo, foram analisados dois objetos empíricos que privilegiam a vida cotidiana e a intimidade como tema, perpassando alguns territórios afetivos, entre eles, o filme Uma mulher é uma mulher, de Jean-Luc Godard, e a televisão contemporânea, em especial, o canal brasileiro GNT. Como conclusão, a trajetória do eu parece estar ameaçada pela mercantilização das performances afetivas. Abstract:When intimacy is the main theme of both television programs and in movies theaters, an affection crisis is observed, in which the risk of subjective imprisonments and reification intensify. In this paper we analyze two empirical objects that emphasize the theme of everyday life and privacy, which pervade some affective territories, such as the film "A woman is a woman", of Jean-Luc Godard, and contemporary television, in particular the Brazilian television channel GNT. In conclusion, the trajectory of the self seems threatened by the marketing of affective performances.

In 1865, the French science fiction writer Jules Verne produced a new publication in his ‘voyages extraordinaires’ series of adventure tales.1 This one was called De la terre a la lune (From the Earth to the Moon) and featured a gun 900 ft long that shot a capsule containing three intrepid travellers on their journey.2 Five years later, he produced a sequel Autour de la lune (Trip Around the Moon) giving their adventures once they had reached their target. Needless to say, despite the aura of scientific calculation, the gun required would have needed to be impossibly large. It wasn’t practicable.

This study is aimed to find the kinds of code mixing and to know which kinds of code mixing are dominantly used in Bukan Empat Mata Program on TRANS 7 Television channel. Descriptive qualitative method is used in this study. The data were collected through watching, recording, transferring, playing, selecting and transcribing the data from the conversations between the presenters and the guest stars. The collected data were then analyzed through identifying the data, selecting the data related to the code mixing, listing and classifying the data based on the kinds of code mixing and finally drawing conclusion. It was found that there are two kinds of code mixing used by prersenters and guest stars in Bukan Empat Mata program, namely situational and conversational code mixing. Between two kinds of code mixing, conversational code mixing is dominantly used both by presenters and the guest stars in which they sometimes change the pronunciation from English into Indonesian in the conversation.Keywords: code mixing, kinds of code mixing, Bukan Empat Mata program

The situation comedy Madam & Eve (2000-2005) debuted on e.tv, a free-to-air South African television channel, and emerged as one of the most popular local shows, even winning international recognition. Raising pertinent issues of race, class, and gender within the context of domestic service in postcolonial South Africa, Madam & Eve follows the interconnected lives of Gwen Anderson, a well-to-do, white “Madam,” and Eve, a younger, working-class, and black “Maid.” Although directly confronting inequalities of race and class by integrating the perspectives of the maid and the employer, and undermining hierarchies of power through the unruliness of mimicry, the comedy confines racial resolution to the individual. By scapegoating individuals for their discriminatory attitudes, and effectively quelling the motivation for collective resistance, the show embodies the larger industrial trend of promoting profitability at the expense of progressive politics.

My article analyzes a 2006 documentary titled Quand l’Algerie etait francaise. The documentary, which aired for the very first time on French television channel M6, and is directed by Serge de Sampigny, purports to offer a totally new (hi)story of French Algeria. I argue, however, that Quand l’Algerie etait francaise is nothing but a nostalgia for a lost paradise; an attempt to recreate a world that never existed outside the paradigm of the documentary's narrative.

The television channel number 10 of Fortaleza (current TV Verdes Mares), during the 1960 decade, passed through the ideological filter of the Military Dictatorship, when the channel was taken from its owner and given to the businessman Edson Queiroz. The filter had consequences in the next decade with the channel affiliation to the biggest network broadcasting of the country, the Rede Globo, which was also protected by the Military Regime. Based on those two facts, it is intended to discuss some aspects of the exploration models of communication that occurs in the country since the specified period, emphasizing the ideology transmitted by the TV channel which has the biggest audience ratings in Ceara.

This study examined 153 foodstuff commercials on a popular British television channel. Eighty ‘Daytime’ and 73 ‘Evening’ commercials were separately coded for 11 content categories; constituting attributes pertaining to central advertised figures (gender, presentation-mode, credibility-basis, role, age, location, arguments, background, reward-type, product-appeal, end-comment). Although both sexes were portrayed stereotypically for eight daytime and nine evening content analytic categories, daytime advertisements tended to reveal advertisers' awareness of a female audience which tended to be reflected in greater proportions of non-stereotyped female depictions rather than a salience of female stereotypes. Results are discussed with respect to implicated gender ideologies and their accuracy against the wider sex-role climate in society.

A producer or program maker of a audio visual have to posses the sense of creativity in searching the material of program production. This can be appeared from the experience, education and critical attitude. The producer who does not have a clear vision will produce an audio visual product that is limit quality and duplicate another programs that have been ever exist. Meanwhile a television channel needs a innovative strategy to propose the program. Keyword : television program, creative process, creative industry

A relatively small number of Copts appear to have participated in the first week of the Egyptian uprising in January 2011. Christians did participate in the revolution however, despite warnings from the Coptic Pope Shenouda to avoid Tahrir Square.1 Most of the Copts who chose to join the action in the streets did so as Egyptians without openly displaying their Christian identity. Some of those present in the square did proclaim their Christian identity, however, using symbols and engaging in collective prayers and religious chants. The unity of the two religions in Tahrir Square became a frequent topic in the press and on the Internet, fueling hopes that a new Egypt was in the process of being born.

‘Please do not go beyond the barricades! They are shooting our guys there!’ — this alarming warning had been repeatedly voiced from the stage on Maidan Nezalezhnosti (Independence Square), a central site of protests in Kyiv, on the morning of 20 February 2014. The message — full of despair, confusion and fear — reached far beyond the site of the protests, as hundreds of thousands of people were watching live broadcast of a severe stand-off between protestors and riot police in the very heart of the Ukrainian capital.

about the authors:Morena La Barba, University of Geneva, Switzerland Thibaut Bardon, Audencia Nantes School of Management, France Gil Bartholeyns, University Lille III, France Emmanuelle Fantin, CELSA, Paris IV Sorbonne, France Philippe Le Guern, University of Nantes, France Maël Guesdon, Ecole des Hautes Etudes en Sciences Sociales, France Itzhak Goldberg, University of Saint-Etienne, France Aline Hartemann, Ecole des Hautes Etudes en Sciences Sociales, France Ute Holl, University of Basel, Switzerland Andrew Hoskins, University of Glasgow, UK Emmanuel Josserand, University of Geneva, Switzerland Yala Kisukidi, University of Geneva, Switzerland Emily Keightley, Loughborough University, UK Katharina Niemeyer, French Press Institute/CARISM, Pantheon-Assas University, Paris 2, France Michael Pickering, Loughborough University, UK John Potts, Macquarie University, Sydney David P. Pierson, University of Southern Maine, USA Giuseppina Sapio, University of Paris III (Sorbonne Nouvelle), France Dominik Schrey, Karlsruhe Institute of Technology (KIT), Germany Florence Villesèche, University of Geneva, Switzerland Daniela Wentz, Bauhaus-University Weimar, Germany; International audience; Media and Nostalgia is an interdisciplinary and international exploration of media and their relation to nostalgia. Each chapter demonstrates how nostalgia has always been a media-related matter, studying also the recent nostalgia boom by analysing, among others, digital photography, television series and home videos.

The article analyzes the transformations the female body has been the site of among Mauritanians in recent decades, and the role which visual media play in this matter. These media, and television in particular, offer women, in process of breaking away from traditional definitions of their sex, models which they can embrace. Recently, tensions have not failed to arise between their aspiration for modernity and religious imperatives demanding reaffirmation, which themselves are also expressed through the medium of the television channel.

During July to November 2012, two botulism outbreaks (12 cases total) occurred in one all-male prison; both were associated with illicitly brewed alcohol (pruno) consumption. Inmate surveys were conducted to evaluate and develop prevention and education strategies. Qualitative surveys with open-ended questions were performed among inmates from rooms where outbreaks occurred to learn about pruno consumption. Quantitative surveys assessed knowledge gained after the outbreaks and preferred information sources. For the quantitative surveys, 250 inmates were randomly selected by bed from across the correctional facility and 164 inmates were interviewed. Only 24% of inmates reported any botulism knowledge before the outbreaks and education outreach, whereas 73% reported knowledge after the outbreaks (p < .01). Preferred information sources included handouts/fliers (52%) and the prison television channel (32%).

Which of the democratic checks and balances–opposition parties, the judiciary, a free press–is the most forceful? Peru has the full set of democratic institutions. In the 1990s, the secret-police chief Montesinos systematically undermined them all with bribes. We quantify the checks using the bribe prices. Montesinos paid a television-channel owner about 100 times what he paid a judge or a politician. One single television channel's bribe was five times larger than the total of the opposition politicians' bribes. By revealed preference, the strongest check on the government's power was the news media.

The Al-Jazeera Effect by Mohammed EL OIFI Since the launching of the television channel Al-Jazeera in 1996 its impact on Arab public opinions has continually been topic of debate In this res pect we can notice an Al-Jazeera effect on the political processes in the Arab world First of all Al-Jazeera has broken up the Saudi-Lebanese mono poly on pan-Arab media and has opened the way toward diversity of points of view and opinions concerning current events in the Middle East This intensification of exchanges of images and ideas has played part in the formation of an Arab public sphere that serves as centre for forming domi nant opinions The coverage of the second intifada established Al-Jazeera at the regional level while the war in Afghanistan and in Iraq gave it an inter national and strategic dimension Whatever opinion we may have on the way certain events are covered it is no longer possible to ignore the effect Al- Jazeera has on the way international crises are covered in the media today, El Oifi. L'effet Al-Jazira. In: Politique étrangère, n°3 - 2004 - 69ᵉannée. pp. 649-660.

Identifying a television channel on-air has become increasingly important in the multi-channel age. For viewers it is a navigational necessity; for broadcasting executives it contributes to corporate branding. But despite the fact that television is an audiovisual medium, the so-called channel idents which appear between programmes are almost always discussed in terms of their visual rather than their audio characteristics. This article aims to go some way to correct this imbalance in arguing that the latter have evolved in a distinctive manner. Initially borrowing the idea of the fanfare from the cinema, UK broadcasters in recent years have developed a softer style, then drawn on dance and other forms of popular music and finally employed sound effects in the production of channel idents. As television channels proliferate like consumer magazines, increasing efforts are being made to differentiate them from their competitors through branding. Identifying a gap in the market for audiences and advertisers or sponsors requires a judicious mix of good research and intuition. Devising a memorable name and an appropriate schedule of programmes has always been an obvious prerequisite, and in many instances pricing is a key consideration. But, whether channels are subscription-based or free-to-air, analogue or digital, delivered terrestrially or by satellite or cable, the activity of communicating directly with viewers has recently gained a much higher priority than hitherto. Marketing techniques familiar in other sectors are now routinely applied to television channels, both on- and off-air, to raise awareness, stimulate interest, encourage viewing and build loyalty. This article focuses on one aspect of this practice: the ways in which sound is used by UK channels to identify themselves in the junctions between programmes.l In the limited literature on the on-air branding of television channels there is

This article studies the social representations of a Catalan accent known as Xava. I examine the discourses of participants in a chat show produced by TV3, the Catalan television channel. In this programme, members of the general public gave their views about the inhabitants of Barcelona and also about their accent. The language ideologies of the participants in the programme were based on their own experiences, but were also rationalized through metalinguistic discourses, in order to legitimize or exclude linguistic varieties associated with particular social groups. In this way, certain linguistic features of the Xava accent were used by some participants in order to display a number of social representations of this linguistic variety and its users.The language ideologies examined in this article represent Xava as a Spanish-influenced variety of Catalan. The social representations of Xava seem to mirror those of the Spanish language in Catalonia. However, there is no evidence that Xava is used ...

The paper will analyze the Video Music Awards, the most important award dedicated to the music video, in order to comprehend its role in the consolidation of the music video as a genre. The concept of genre will be seen as a sociocultural phenomena characterized by the structure of the cultural products as well as the social contexts in which these structures arise. The main proposal is to understand how VMA was essential to the process of the music video consolidation and how it helped to turn a television channel - MTV - into a music video synonym for many years. Aside from analyzing all VMA editions until 2012, the paper will discuss the concept of genre and the role of the contemporary awards in the legitimation of the cultural products. Keywords: music video, MTV, VMA.

This article analyses the children’s programmes which were made by, and broadcast on, Spanish television channel Televisión Española from the time when programme schedules were first published in the press (1958) until the end of the Franco era (1975). The programming is then linked to the evolution of Televisión Española as an institution, as well as with the social and political context of the nation. The study takes into account the days and times of transmission, programme duration, the number of new shows broadcast per year and the most common content/formats. Each programme’s structure, its characters, the role of the presenter, involvement of children and the values and ideas conveyed are also assessed. We will demonstrate that the dictatorship initially used these programmes to promote patriotic and religious feelings, and later on, to prepare children and young people for the new social and economic realities of the country (such as urbanisation and industrialisation).

On Sunday March 13th 2011, at half past eight in the evening, the French public national television channel France 5 broadcast a documentary relating the investigation which had led to the “formal” identification of Henry IV’s skull. It had been conducted by a team of scientists led by Doctor Philippe Charlier, a forensic medical examiner-a well-known anthropologist. Throughout the programme, many factors were introduced and proved the identification. And yet, taking a scientific step back and looking at things from a distance with historical knowledge, these factors seem to be questionable. Here is a new perspective which showed the seeds of doubt on the showcasing of absolute certainty.

It is extremely common to point to the inverse relationship between the increase in the powers of the European Parliament (EP) and the decrease in popular involvement with the institution, at least as measured by electoral participation. Even the prospect of the entry into force of the Lisbon Treaty, granting the institution almost equal powers as the Council of Ministers in framing legislation and the budget and making it arguably the major winner of that Treaty (Shackleton 2011), did not entice more than 43 per cent of European voters to take part in the June 2009 elections to the Parliament, the lowest figure since direct elections were introduced in 1979.

The quality of the output from various television channels and systems is often discussed but seldom rated or measured in any systematic way. However, due to a Japanese initiative undertaken some years ago, an international group of scholars met and decided to undertake comparative studies of television quality in terms of a characteristic often regarded as basic to overall channel quality: the diversity of a given television channel. An instrument of measurement was designed by a member of the international team and applied to television content from Canada, Great Britain, Japan, Sweden and the United States. This article presents a follow-up study, comparing diversity in Swedish television and radio channels during 1992 to 1995. The results show that Swedish Television increased its diversity during this period, while Swedish Radio decreased its diversity. At the end of the article, a short discussion of potential developments with regard to digitalized television is presented.

The concept of an armed United Nations ‘police’ force is criticized as perhaps leading to more rather than less violence, by analogy with the experience of armed national police forces. The alternative is proposed of the development and promotion of high quality information channels, through the UN's own television channel and/or the Internet.

Jacques Ellul’s Propaganda is a work of analysis and explanation about a crucial range of practices and institutions in modern political society. Drawing upon the social history of political communication and a wealth of social scientific studies on public opinion published during the middle twentieth century, Ellul expands the framework in which such evidence can been understood and put to use. Especially at the book’s conclusion, it is clear that Ellul hoped the book would serve as a warning to democratic citizens of technological societies about the insidious spread of propaganda throughout the body politic.

The typical television landscape in Europe was characterised by public service broadcasting (PSB) in the West and state broadcasting in the East. This era when broadcasting comprised one or two channels closely controlled by the state belongs now in history. A confluence of factors led successive countries to allow private television and to end monopolies on broadcasting. The process was gradual, starting in the 1980s in most Western European countries and in the 1990s in ex-communist European countries.

Despite a high risk of being ridiculed or even frowned upon by others, I just cannot help putting across distinct scepticism against the incessant flow of technical innovations for newer and newer consumer goods and gadgets in our contemporary times. While saying this, I do not, of course, refer to the pure, fundamental, and sometimes even epoch-making scientific inventions and technological progress. In fact, I am perfectly alert and appreciative of profound benefits to modern civilisation of the major scientific inventions and technical innovations that have been, and can still be, made in such important domains as industry, medicines, health, energy, agronomy.

MTG, which has 95% interest in Viasat Hungaria Ltd., decided to finish legal disputes that had been going on between Viasat Hungaria Ltd. and the national regulatory authority (NRTB) regarding the Viasat3 channel for a long time. NRTB had fined the broadcaster many times since the launch of Viasat3 channel on 23 December 2000 due to the alleged violations of the Broadcasting Act passed in 1996 by the Hungarian parliament. The frequency of fines, one every second week on average, indicates the extreme regulatory activism in the Hungarian television market.

In this paper we propose a model of competition between a private television channel, financed by advertising, and a public channel, financed by advertising and a transfer of public funds. We study the impact that an advertising quota imposed on the public channel has on the channels and on the viewers' welfare. We show that, in the short term, when program investments are exogenous, the quota hurts the private channel, but benefits viewers. In the longer term, when program investments are endogenous, the introduction of an advertising quota can benefit the private channel if it is high enough, and reduce the viewers' surplus if set too low.

Consider video ad placement into commercial breaks in a television channel. The ads arrive online over time and each has an expiration date. The commercial breaks are typically of some uniform duration; however, the video ads may have an arbitrary size. Each ad has a private value and should be posted into some break at most once by its expiration date. The player who own the ad gets her value if her ad had been broadcasted by the ad's expiration date (obviously, after ad's arrival date), and zero value otherwise. Arranging the ads into the commercial breaks while maximizing the players' profit is a classical problem of ad placement subject to the capacity constraint that should be solved truthfully. However, we are interested not only in truthfulness but also in a prompt mechanism where the payment is determined for an agent at the very moment of the broadcast. The promptness of the mechanism is a crucial requirement for our algorithm, since it allows a payment process without any redundant relation between an auctioneer and players. An inability to resolve this problem could even prevent the application of such mechanisms in a real marketing process. We design a 6-approximation prompt mechanism for the problem. Previously Cole et al considered a special case where all ads have the same size which is equal to the break duration. For this particular case they achieved a 2-approximation prompt mechanism. The general case of ads with arbitrary size is considerably more involved and requires designing a new algorithm, which we call the Gravity Algorithm.

Whether they are called citizens, consumers, publics or audiences, most people have historically tended to be, to a greater or lesser degree, on the receiving end in their relationship with politics and media. Certainly, they could vote out politicians every four or so years and they could stop reading a newspaper or switch off a television channel, but that was usually where their vertical power vis-a-vis decision makers and definers of reality ended. In recent decades, there have been sizable changes in Western Europe in how people relate to political parties and the media.

An 87-year-old woman, recently lost her husband of 65 years, moved in with her daughter in a town 100 miles from where she had lived for the past 60 years. Her daughter was aware of her mother’s poor vision knowing her mother had been diagnosed with macular degeneration several years earlier. She knew her father had to read recipes to her when the print was small but also knew her mother prepared meals, used the stove, microwave, dishwasher, and other appliances with no difficulty. She kept her mind active listening to the news, talking with friends, and having lunch out of her home with her husband and friends at least twice a week. Also she knew her mother had cared for her father during his final months of life at home. Her mother was hesitant to move in with her daughter as she did not want to be a burden to her and was quite comfortable in her own home. She had friends who offered to take her shopping and out to socialize. Her daughter prevailed and her mother sold her home and moved in. At first things seemed to be going well but soon, when her daughter returned to work, her mother was left alone in the house. She burnt some food in the microwave oven, thinking she had set it for only 40 seconds but later found out it was for 2 minutes. When using the stove she set the temperature too high and forgot to shut off the gas burner. She was unable to get the television channel she so liked and gave up watching her show. Over a short time she had withdrawn from family activities, seemed to be losing weight, and seemed to be depressed. Her daughter brought her to see her doctor who specialized in geriatrics and her ophthalmologist to see if her mother’s vision had deteriorated.

Which of the democratic checks and balances - opposition parties, the judiciary, a free press - is the most critical? Peru has the full set of democratic institutions. In the 1990s, the secret-police chief Montesinos systematically undermined them all with bribes. We quantify the checks using the bribe prices. Montesinos paid television-channel owners about 100 times what he paid judges and politicians. One single television channel's bribe was four times larger than the total of the opposition politicians' bribes. By revealed preference, the strongest check on the government's power was the news media.

Many readers are probably old enough to remember selecting a television channel by turning a knob. With just a dozen positions, it was the picture of simplicity. Today, you could make a control knob the size of a Studebaker hubcap and it still wouldn?t accommodate all our viewing options. Cable and satellite providers routinely offer hundreds of channels of programming and additional video-ondemand (VOD) choices.