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Very young children increasingly use information and communication technologies (ICTs) in their home and educational environments. The study examined representations of ICT use in children's television content, which is a central socialization agent for this audience. Based on cultivation theory, an in-depth qualitative content analysis of television series for young children aired in Israel was conducted. Findings indicate that ICTs are depicted in this content as largely positive, promoting community connectedness and problem resolution, and as effective innovations for the dissemination of information. At the same time, these portrayals ignore common ICTs in children's lives (e.g. social media) as well as social and emotional aspects associated with ICTs in the real world (e.g. entertainment use). Promising themes in the representations—such as the promotion of free, intuitive, and successful use of ICTS—are coupled with findings that question the realism and relevance of these representations for young audiences. [ABSTRACT FROM AUTHOR]

This study aimed to identify disparate health-related marketing across English- and Spanish-language television networks in New York City, ultimately to inform policy that can counteract disproportionate health-related marketing that provides harmful content to and withholds beneficial information from Latinx populations. A 2-week composite sample of primetime English-language (National Broadcasting Company and Columbia Broadcasting System) and Spanish-language (Telemundo and Univision) television networks from YouTube television was randomly drawn from September 7, 2022 to September 27, 2022 in New York City. A total of 9,314 health-related television advertisements were identified for systematic media content analysis and coded into categories: alcohol, core or noncore foods/beverages, mental health/tobacco prevention, health insurance, medical centers, and pharmaceuticals. Analyses conducted in 2022–2024 included intercoder reliability and descriptive and rate difference estimates using total advertisement broadcasting time in the full sample and subsamples by language networks on YouTube television. Spanish television networks broadcast greater health-adverse advertisements per hour for alcohol (rate difference=4.91; 95% CI=3.96, 5.85) and noncore foods/beverages (rate difference=13.43; 95% CI=11.52, 15.34) and fewer health-beneficial advertisements per hour for mental health/tobacco prevention (rate difference= −0.99; 95% CI= −1.45, −0.54), health insurance (rate difference= −1.00; 95% CI= −1.44, −0.57), medical centers (rate difference= −0.55; 95% CI= −1.23, 0.12), and pharmaceuticals (rate difference= −5.72; 95% CI= −7.32, −4.11) than New York City primetime English television networks. Multilevel policy innovation and implementation are required to mitigate primetime television marketing strategies that contribute to health inequities. [ABSTRACT FROM AUTHOR]

The ability to play a diverse range of roles is an important determinant of actors’ status achievement because it signals their talent. When certain roles stick to actors, however, they face obstacles to this end. In this study, we measure role diversity scores of actors in Turkish TV serials and uncover the sociological factors behind differential diversity levels by using an OLS regression model. Our statistical analysis demonstrates that gender is an important determinant of role stickiness, with women having lower levels of role diversification than their male counterparts. We also present qualitative evidence from 21 semi-structured interviews with decision-makers and actors in the sector about how gender-based differences in the field are perceived, experienced, and legitimated by different field participants. Our mixed-method research shows how role stickiness produces and legitimizes gender-based inequalities in the multimillion-dollar Turkish TV serial industry. [ABSTRACT FROM AUTHOR]

This article provides an overview of Netflix's mission and corporate responsibility, emphasizing its commitment to delivering high-quality entertainment while also making a positive impact on society and the environment. It reviews two books, "Netflix Recommends" by Mathias Frey and "Netflix and Streaming Video" by Amanda Lotz, which examine the influence and consequences of Netflix's streaming platform. The books explore various aspects such as Netflix's algorithm, its impact on the media landscape, and its role in international entertainment challenges. The authors offer different perspectives on the revolutionary nature of Netflix's recommendation algorithm and the potential risks and benefits of recommendation systems. The article also discusses Netflix's upcoming ad-supported streaming service, which is priced lower than Disney's offering, and references additional books and articles that delve into the topic. Overall, the article provides a critical analysis of Netflix's influence in the entertainment industry and its corporate responsibility, while acknowledging the power dynamics and challenges the company faces. [Extracted from the article]

This article examines film and television workers' experience of mothering in Ireland and argues that not only are mothers constructed as a 'problem' in these Creative Industries workplaces because of their care work duties, but the 'problem' of work's incompatibility with motherhood is presented as one to be 'solved' by mothers themselves. Drawing from the scholarship on motherhood in film and television work and 12 interviews with workers in the film and television Creative Industries sectors who are mothers, we undertake a thematic analysis to uncover common experiences and insights that are reflective of but depart in some ways from the literature. We identify four themes that suggest that motherhood remains Othered in film and television work and that balancing care work and motherhood remains a form of additional labour that mothers (almost exclusively) must undertake: managing pregnancy at work; maternity leave and the return to work; care for children while working; and mothers' finding solutions. [ABSTRACT FROM AUTHOR]

This article analyzes American cable channel HGTV's programing strategies in response to the COVID-19 pandemic, and specifically their construction of a "COVID-free" fantasia in their series Home Town and its spinoff, Home Town Takeover. By considering this response through the lens of dissonance, I argue that while the network originally emphasized their social responsibility to mitigating the spread of the virus, their business model incentivized them to move past the virus more swiftly than other channels, pushing the labor of mediating dissonance onto their on-screen talent and their audience. This case study foregrounds how variables like genre, channel, and audience shaped the television industry's response to the pandemic, with HGTV's business model built on "evergreen" reality programing leading them to abdicate principles of social responsibility both more quickly and more thoroughly, despite numerous options that would have addressed the dissonance of COVID in a more balanced fashion. [ABSTRACT FROM AUTHOR]

This article examines the representation of the COVID-19 global public health crisis on U.S. network television medical dramas. Programs featuring healthcare professionals like Chicago Med (NBC, 2015-present), The Good Doctor (ABC, 2017–2024), and New Amsterdam (NBC, 2018–2023) depicted the devastation of the pandemic and the plight of the frontline healthcare community to viewers at home through the fictional hospital. In particular, Grey's Anatomy (ABC, 2005–present) produced a "very special season" dedicated to portraying COVID's toil. I argue that the primetime doctor show attempted to lessen the pain of COVID's impact by presenting its audience-as-patient with a way to manage their emotions around loss through narrative catharsis. The program adheres to a logic of alleviation in its care work for viewers. Such a tele-therapeutic strategy of engagement on the long-running Grey's Anatomy, amidst mass suffering and death, also served to revive the series as compelling broadcast television in the streaming era. [ABSTRACT FROM AUTHOR]

Copyright of Arts Magazine is the property of Thamar University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Audiences' shifts to online and interactive engagement have posed numerous challenges to Bangladesh's media ecology. This descriptive case study examines the current state of digital transition, complexities and competitions faced by the local television industry by putting Ntv Online, one of the first-generation television station's online portals and convergence pioneers, at the centre of the discussion. It explains how Ntv Online is internalizing and responding to convergence practice from both media market dynamics and organizational perspectives. This study believes that issues other than those raised by media technology are equally important in comprehending the digital transition of Bangladesh's television industry. The key findings indicate that the hybrid regime's intervention in free media practices as well as complex market competition from massive tech platforms limit Bangladesh's trajectory as a competitor in the global digital media arcade. This also implies that existing ownership and corporate structures may not support the required interoperability between management and journalists. However, the digital transitions of the private TV industry may pave the way for the creation of a democratic space for public deliberation, which is essentially demanded in the current hybrid regime's intervention in actualizing this shift. [ABSTRACT FROM AUTHOR]

Copyright of Environmental & Social Management Journal / Revista de Gestão Social e Ambiental is the property of Environmental & Social Management Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article presents a theoretical and experimental assessment of noise levels during the analog-to-digital conversion of TV broadcast microwave signals. Mathematical expressions are derived to calculate the mean quantization noise power for different brightness distribution models on TV images, considering both linear and nonlinear characteristics of the "light-to-signal" converter. For the first time, the dependence of the average quantization noise power on the compression coefficient is obtained for an inversely proportional distribution of brightness on the television image. This is particularly relevant when the input unipolar positive TV broadcast luminance signal is small, i.e., when the signal level is below the first quantization level. Additionally, analytical expressions are provided to calculate the level of restriction noise and the ratio of restriction noise power to quantizing noise power, particularly when the brightness distribution on TV images follows an exponentially decreasing model or an inversely proportional model with a logarithmic quantization scale. The impact of quantization and restriction noise on image quality was experimentally tested in an Additive White Gaussian Noise (AWGN) channel. [ABSTRACT FROM AUTHOR]

Virtual production, a filmmaking technique that seamlessly merges virtual and real cinematography, has revolutionized the film and television industry. However, traditional virtual production requires the setup of green screens, which can be both costly and cumbersome. We have developed a green screen-free virtual production system that incorporates a 3D tracker for camera tracking, enabling the compositing of virtual and real-world images from a moving camera with varying perspectives. To address the core issue of video matting in virtual production, we introduce a novel Boundary-Selective Fusion (BSF) technique that combines the alpha mattes generated by deep learning-based and depth-based approaches, leveraging their complementary strengths. Experimental results demonstrate that this combined alpha matte is more accurate and robust than those produced by either method alone. Overall, the proposed BSF technique is competitive with state-of-the-art video matting methods, particularly in scenarios involving humans holding objects or other complex settings. The proposed system enables real-time previewing of composite footage during filmmaking, reducing the costs associated with green screen setups and simplifying the compositing process of virtual and real images. [ABSTRACT FROM AUTHOR]

We study the effects of increasing the transparency of parliamentary speeches on polarization and other types of MP behavior. We utilize the 1989 introduction of TV broadcasting to the Finnish government's parliamentary question hours held on the first Thursday of every month. By contrast, the question hours held on other Thursdays of the month were not televised until 2007, allowing us to use a difference‐in‐differences design. We find a positive effect on government–opposition divides, but no evidence that the TV broadcasting of question hours would affect left–right polarization, differences between individual parties, or within‐party group differences. We also observe an increase in attendance and a negative effect on the number of speeches, but no effects on topics discussed, speech length or interruptions. Our results suggest there is no trade‐off between increased transparency and left–right polarization. However, the presence of TV cameras can fuel other political divides and increase politicians' effort. [ABSTRACT FROM AUTHOR]

Music identification is widely regarded as a solved problem for music searching in quiet environments, but its performance tends to degrade in TV broadcast audio owing to the presence of dialogue or sound effects. In addition, constructing an accurate dataset for measuring the performance of background music monitoring in TV broadcast audio is challenging. We propose a framework for monitoring background music by automatic identification and introduce a background music cue sheet. The framework comprises three main components: music identification, music–speech separation, and music detection. In addition, we introduce the Cue‐K‐Drama dataset, which includes reference songs, audio tracks from 60 episodes of five Korean TV drama series, and corresponding cue sheets that provide the start and end timestamps of background music. Experimental results on the constructed and existing datasets demonstrate that the proposed framework, which incorporates music identification with music–speech separation and music detection, effectively enhances TV broadcast audio monitoring. [ABSTRACT FROM AUTHOR]

This study explores the factors influencing the rising global appeal of Turkish TV series, focusing on the production process and economic dynamics with the global and local media distribution of these dramas. It assesses how market-driven media production conditions and creative professionals' roles influence the creation of Turkish series by interviewing nine industry insiders. The study found that market-oriented media practices and executives' understanding of Turkish audience preferences significantly direct the creative output, which is predominantly aimed at local viewers. [ABSTRACT FROM AUTHOR]

In the film and television industry, many social movements as #MeToo, #BuryYourGay or #BlackLivesMatter have highlighted the necessity of better representations of marginalised communities on and off screen. As diversity and inclusion have become major issues in contemporary societies, video-on-demand (VOD) platforms have publicly committed to diversify representation in the films and series they produce and distribute. This article investigates how streaming platforms with different commercial or public interests and in different national contexts understand and promote diversity and inclusion through the analysis of paratext. Focussing on the visual analysis of thumbnails, we compare the French and Norwegian national public platforms (France TV and NRK TV) with the most popular commercial national platforms in each country (Canal + Series in France and Viaplay in Norway). The visibility and invisibility of gender, race, sexuality and (dis)ability on TV series' thumbnails reveal certain national and platforms' social, cultural and political values. By using mixed quantitative and qualitative methods including interviews conducted with industry professionals, we aim to highlight the impact of streaming platforms' promotional practices on the (in)visibility of diversity. [ABSTRACT FROM AUTHOR]

This article examines the incongruence within Netflix's corporate practice: while on the one hand the streamer promotes trans inclusion along with trans talent development in Netflix's production culture, both on and off screen, on the other hand its industrial practices and representational output demonstrate a different approach. This article argues that, while the streamer positions itself as a champion of inclusion and diversity in the television industry, Netflix is invested in transness as an economic frontier rather than in adopting anti-transphobic practices. In making this argument, this article fosters a three-pronged approach to explore the treatment of trans identities by Netflix. Firstly, the article analyses Netflix's corporate practices in relation to promotion of its limited series, Tales of the City. Secondly, the article explores the media event of Dave Chappelle's comedy special The Closer and the subsequent trans employee walkout. Thirdly, it performs on audit of Netflix's website and corporate materials to highlight how Netflix has developed a response to trans inclusion in relation to the walkout. Exploring these facets through Aron Kundnani's (2023) critique of the diversity industry, this article argues that, on a policy and corporate performativity level, Netflix's approach to trans inclusion can be defined as transliberalist (Raha, 2015), so that its practices result in a platform catalogue that is simultaneously at best trans-affirming and at worst transphobic. [ABSTRACT FROM AUTHOR]

This case study assessed the differences in time on camera dedicated to men and women athletes at the 2022 Beijing Winter Olympics. An analysis of the entirety of the programming on the the American broadcast television company NBC, including the prime-time broadcasts, the daytime programming, and the additional nightly content, yielded nearly 185 hr of coded Olympic content. When excluding mixed-sex events, in the 61.5 hr of prime-time coverage, women received 60.05% of the time on camera. During the non-prime-time coverage, which spanned 123 hr, men received the majority of clock time, accounting for 51.6% of coverage. In addition, differences by sport were uncovered, with the major differences occurring in alpine skiing, which saw more women's coverage regardless of broadcast. In contrast, women received more coverage in freestyle skiing and snowboarding during the prime-time broadcast, but men were more emphasized in these competitions during the non-prime-time content. Utilizing agenda setting as the theoretical framework for this case study, ramifications for these broadcast trends and differences are discussed. [ABSTRACT FROM AUTHOR]

Football Bowl Subdivision (FBS) football games are presented in a hypercommercialized manner by television broadcast networks through the targeted use of in-game graphics and corporatized content. While commercialized FBS football broadcast components have been analyzed within the frameworks of a hypercommercialized National Collegiate Athletic Association and media institutional logics, an analysis of commentator language has yet to be examined within the larger institutional field of FBS football broadcasts. Utilizing agenda setting and media framing as frameworks, this case study examined the manner in which commentators frame FBS football players as professionals in a hypercommercialized institutional setting. From a sample of 18 FBS bowl games during the 2019–20 season, discourse and thematic analysis reveal that commentators frame FBS football players in the context of their future professional opportunities (i.e., National Football League). The framing of FBS football players as professionals aligns with extant literature examining the broader institutional field of broadcast media and logics pervasive in the National Collegiate Athletic Association as an organization. The commodification of FBS football players as integral components to strategic programmatic content promoting future broadcast programming is discussed. [ABSTRACT FROM AUTHOR]

This article analyzes the strategies through which Broadcast Video on Demand (BVOD) and Subscription Video on Demand (SVOD) services make queer titles available and discoverable to users. While streaming video services operate globally and the issue of LGBTQ inclusion is not solely a national one, Australia's complex history of LGBTQ representation in film and television offers a unique context to explore these issues. This article asks: How is queer content categorized and promoted on BVOD and SVOD services in Australia? How easily discovered is this content? And how does this impact the visibility and inclusion of LGBTQ identities within the Australian screen media landscape? Drawing on critical librarianship and catalog analysis, this article reveals discrepancies between curated categories and search results, the failure of search tools to recognize language associated with LGBTQ identities, and the obscuring of queer content within streaming video libraries. [ABSTRACT FROM AUTHOR]

This article critiques the ongoing dominance of the Hollywood monomyth in the film and television industry, at least in the UK if not more widely. It considers how this is impacting on the teaching of narrative and story in university film and media departments as they move towards stronger collaborations with industry. It argues for the importance of two-way dialogue to help equip students and their future employers for a world facing complex global challenges. Drawing on the author's extensive experience in teaching and practice-led research, it advocates for a creative problem-solving approach which decentres conflict-driven models of narrative development, such as the Hero's Journey, placing them alongside alternative models which engage with the relationship between conflict and harmony in a variety of different ways. Considering narrative structures such as Kishōtenketsu, indigenous storytelling methods and the author's own work with the Polyphonic Documentary project, the need for a genuinely inclusive and expansive approach is brought to the fore. A mixed economy is considered to be essential, with experimental and traditional approaches preparing students for current industry demands whilst also encouraging them to shape future storytelling landscapes. The argument is made that this is crucial to foster a nuanced understanding of narrative and story that can respond creatively and effectively to the demands of a rapidly changing world. [ABSTRACT FROM AUTHOR]

The market size of the Internet audiovisual industry is expanding continuously, which has profoundly affected the ecology of public opinion and the development of the digital culture industry. During the epidemic of Covid-19, it is witnessed that a surge of active online audiovisual users. However, several issues happening in the Internet audiovisual industry, such as spreading rumors, engaging in vulgar performances, which seriously damaged the network environment and social order. For this reason, a tripartite evolutionary game model of Internet audiovisual space governance was established to simulate and analyze the behavior strategies of administrative departments of radio and television, the Internet audiovisual program service agencies, and network audio and video content creators. Moreover, the game model is verified by empirical analysis. Results demonstrate that: only driven by the administrative department of broadcasting and television can the tripartite evolutionary game of Internet audiovisual space governance reach the expected evolutionary equilibrium point. Therefore, administrative departments of radio and television should give full play to the driving role in the process of Internet audiovisual space governance, strengthen the publicity of regulating the creation of Internet audiovisual content and the warning of vulgar creation through government regulation. [ABSTRACT FROM AUTHOR]

California is firm in its stance against post-term noncompete clauses. This Note examines early Hollywood and the historical and economic context in which talent contracts arose. It analyzes the shift in talent contracts from the harsher terms of the 1930s studio system to the modern terms which give more control to actors. Exclusivity exists in both the film and television industry. However, the in-term and post-term treatment of exclusivity provisions and noncompetes has received conflicting treatment by California and Ninth Circuit Courts, suggesting that perhaps the California Supreme Court should weigh in on the matter as they did in 2008 with Edwards v. Arthur Andersen and articulate whether Section 16600 can apply to in-term noncompete and exclusivity provisions. While it is widely held that Section 16600 does not apply to in-term noncompetes, the holding in ITN Flix, LLC v. Hinojosa suggests that certain situations in the acting industry may trigger its application and deem an in-term noncompete invalid if unduly harsh. Regardless, the ability of actors and unions to negotiate with studios for mutually beneficial terms has allowed common practices in entertainment contracts to shift over time without much recent legislation. This suggests that, while the applicable law will provide one side with bargaining power, negotiations and collective-bargaining agreements will largely continue to set the standards for common entertainment contract practices. [ABSTRACT FROM AUTHOR]

Copyright of Anuario Electrónico de Estudios en Comunicación Social 'Disertaciones' is the property of Colegio Mayor de Nuestra Senora del Rosario and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The UK Creative Industries provide meaningful employment to more than two million people (Creative Industries Council, 2022) with opportunities for self-actualisation and satisfaction beyond what many jobs can provide. This is so particularly within the television industry where, since 2015, new streaming services have massively expanded demand for content and consequently employment. Such opportunities, however, have been heavily dependent upon a freelance workforce, whose experience is often characterised by financial insecurity, poor work-life balance, and lack of coherent career structure or support, within a system that predicates against diversity. This article sets out to address some of these issues and their solutions by offering, and problematising, the concept of 'The Good Manager in TV'. In 2021 the authors followed-up an earlier survey of management practices in unscripted TV production across the UK with a series of in-depth interviews with individuals who, in another context, would be characterised as 'middle managers'. Our data suggests that the challenges faced by the would-be good manager in TV can seem overwhelming, evoking the predicament of Brecht's Good Person of Szechwan. Yet it also points to solutions to those challenges. This article reviews our findings in order to answer the following questions: What does it mean to be a good manager in the volatile, project-based, context of TV production? What are the challenges faced by those who aspire to fill the role? How can such challenges be addressed across this evolving creative industry? [ABSTRACT FROM AUTHOR]

This study is an examination of the corporate identity of African Independent Television (AIT) and the perception of Port Harcourt residents. The objectives were to find out the specific programmes, embarked upon by African Independent Television as identity building mechanism that may influence the view of Port Harcourt residents and ascertain how the perception held by Port Harcourt residents has influenced the viewership of African Independent Television (AIT). The study adopted the descriptive survey design. Residents of Port Harcourt Capital of Rivers State formed the population of the study. The population of the study is 3,171,000 Port Harcourt residents and the sample size for the study is 384. The multi-stage sampling technique was used to select the subjects for this study. The data for this study were generated using the questionnaire. The data for this study were analysed using weighted means score (WMS), in assessing the number of affected residents by different variables. The findings showed that, the specific programmes embarked by African Independent television as identity building mechanism are cultural message of Nigeria, „sharing African Experience”, indigenous culture blowing its own pipe through its identity, Odenigbo which projects Igbo culture, Minijojor that portrays Yoruba heritage, and Africa's rich cultural heritage, beliefs and ways of life. Another revealed that, the impression they had about AIT was in the area of fascinating cross-cultural theme, vibrant content, untainted appreciation of the world and its people, programmes affiliating the communities in Nigeria and share off English name of the staff-such were the African spirit. Based on the findings, it was concluded that, the objective of having identity is to find the best image and to deliver the message related with the image to the public. In view of the findings from the study, the following recommendations have been made that, in order to be consistent and sustainable, organizations need to well-prepared corporate identity that does not only consists of design and symbols but also the connection between internal and external corporate publics. [ABSTRACT FROM AUTHOR]

Phosphor‐sensitized fluorescent (PSF) organic light‐emitting diodes (OLEDs) emerge as an attractive solution for realizing high‐performance displays with high color purity, meeting the Broadcast Television 2020 (BT.2020) requirements, by fully harnessing the benefits of both phosphorescent and fluorescent emitters. Herein, the synergistic effect of a Pt sensitizer and a boron (B)‐based multi‐resonance (MR)‐fluorescent emitter are introduced to enhance the efficiency of blue‐emitting PSF–OLEDs. Notably, it is confirmed that the interaction between the empty pz orbital in the boron atom of the MR emitter and the unpaired electrons in the dz2 orbital of the Pt emitter plays a crucial role. The combination results in an enhancement of the horizontal emitting dipole orientation (EDO) to 81%, a marked improvement compared to the individual components of Pt phosphor (69%) or MR emitter (78%). The synergistic approach leads to the realization of high‐performance blue‐emitting PSF‐OLEDs with a maximum external quantum efficiency of 25%, a peak intensity at 465 nm in the electroluminescence spectrum, and a full width at half maximum of 29 nm, achieved by enhancing the outcoupling. In these findings, insight is provided into design strategies for developing PSF systems based on Pt sensitizer and B‐terminal emitter to achieve efficient energy transfer as well as improved EDO. [ABSTRACT FROM AUTHOR]

This paper explores how social capital and property regulations shape cultural producers' ability to own copyrights for the products they create. Because individual producers lack the resources required to develop and distribute their creations, they partner with large firms who demand the copyrights for products they invest in. I argue two types of social capital—status and partner substitutability—enable producers to own their creations by increasing their bargaining power over the firms they partner with. Moreover, I propose that different types of property regulations condition whether status or partner substitutability have a stronger role in producers' ownership outcomes. Analyzing all shows made for American television from 1956 to 1996, I show that increases in showrunners' status and number of broadcasters they collaborated with increased the probability they owned shows they produced. However, the effects of these social capitals were contingent on the property regulations showrunners operated under. These findings advance our understanding of the allocation of copyrights, the power dynamics between creators and firms, and the effects of social capital in cultural industries. They didn't have to pay me because I signed the contract. But is that right? I found out that these people were streaming my work, and they never had to ask me...They stole that from me. They just took it! (Dave Chappelle, The Unforgiven, 2021). [ABSTRACT FROM AUTHOR]

In 1960s Pakistan, every woman was giving birth to more than 6 children on average. In 2021, Pakistan still has the second-highest fertility rate in South Asia with every woman giving birth to 3.4 children on average. This paper uses four waves of Demographic and Health Survey data to empirically analyze trends in fertility in Pakistan between 1990 and 2018; accounting for wealth, education and locational differences, this paper looks at three additional pathways for reducing fertility: (i) electrification, (ii) access to TV and (iii) family planning commercials broadcast on television. Results show that electricity does not reduce fertility whereas access to television has a significant effect in reducing fertility rates. The content and evolution of Pakistani soap-operas are also discussed, and it is argued that the role models, the types of households and the messages conveyed by these soap-operas may represent strong pathways for the fertility decline. [ABSTRACT FROM AUTHOR]

Copyright of Majalat Monazaat Al-Aamal is the property of Majalat Monazaat Al-Aamal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article discusses various reforms and efforts undertaken in the modern era in the field of Azerbaijani television to develop the national spiritual values of the Azerbaijani people and youth, and to preserve their national spirit. The independence of Azerbaijan following the 70-year collapse of the Soviet Union played a direct role in its culture and the field of television. The article presents facts based on many new programs, including those prepared during the Soviet era. It addresses issues and methods in the Azerbaijani television sector during both periods. The focus is on the entire history of the establishment of Azerbaijan State Television, its stages of development, and all related matters. The article examines the core of program formats related to art, culture, and literature that have historically manifested themselves in the development history of television. Emphasizing the clarification of the role of art in the formation of the aesthetic ideals of society, including its aspects (genres, types), is deemed more appropriate. The widespread interest in culture, in connection with its functions such as educational, heritage, and social existence preservation, is highlighted. Years of experience have once again proven that it is absolutely necessary to learn from professional experts in the Azerbaijani television space. [ABSTRACT FROM AUTHOR]

Media educational potential of the television industry in improving media literacy of broad audience is represented in the article. The complex of theoretical and empirical methods such as: modeling; case-study; classification; design; testing (n=276) is used. The conclusion is made according to the results of the study, that is media educational potential of the television industry in improving media literacy of broad audience is mostly laid in the opportunity of modern television channels to make an off-air interaction with real audience (realizing it in on-line and off-line spaces), thus attracting the audience. Using of media educational potential of the television industry in improving media literacy of broad audience increases confidence to television channels and also makes the television content more demanding and competitive. That is the reason why media educational potential of the television industry in improving media literacy of broad audience is interpreted as a special model of media culture development of modern neo-information society, based on principals of media responsible approach (according to media ethnic rules and standards) to realization of media communications by all actors of media space -- media producers and media consumers (taking into account the combination of these media roles in modern sociocultural realities). [ABSTRACT FROM AUTHOR]

Copyright of Revista de Medicina y Cine / Journal of Medicine & Movies is the property of Ediciones Universidad de Salamanca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Sakarya University Journal of Women's Studies (SAUJWS) / Sakarya Üniversitesi Kadın Araştırmaları Dergisi (SAUKAD) is the property of Sakarya Universitesi Kadin Arastirmalari Dergisi (SAUKAD) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper introduces the current Brazilian DTV (Digital Television) scenario toward the next DTTB (Digital Terrestrial Television Broadcasting) system (named TV 3.0), the fixed Internet broadband scenario, as well the video scalability advantages of the new DTTB generation. Targeting to contribute with solutions for the new system, it is proposed to use video scalability and hybrid transmission to deliver UHD (Ultra High Definition) 4K video to the final user to enhance video quality and user experience. 2K video BL (Base Layer) is OTA (Over the Air) broadcasted using ROUTE (Real-Time Object Delivery Over Unidirectional Transport) protocol as a transport layer. In contrast, the UHD 4K EL (Enhancement Layer) is OTT (Over-The-Top) transmitted to the receiver via DASH (Dynamic Adaptive Streaming over HTTP - Hypertext Transfer Protocol) for synchronizing both layers. A hybrid receiver's architecture is proposed to receive and combine the BL and EL video contents. Video delivery latency is a challenge that video distributors should always be aware not to impact the user's experience. Therefore, different tests have been executed to measure latency between video layers and test the receiver's behavior in different conditions. [ABSTRACT FROM AUTHOR]

With the rapid development of social media, people can access a large amount of data in a short period of time, and big data technology has emerged. With the vigorous development of cloud computing and big data, the method of mining audience interests through a large amount of data to guide film and television creation has attracted more and more attention from experts and scholars. In order to understand the current situation of film and television drama creation in China and provide suggestions for the shortcomings in the industry, this article mainly analyzes the application of intelligent algorithms for traffic prediction models and big data analysis in film and television creation. This intelligent algorithm can predict the potential audience of movies or TV dramas, helping producers and investors make decisions. This system utilizes artificial intelligence technology to select suitable actors for characters based on their matching degree and past work performance. This article applies intelligent algorithms to big data processing to improve the accuracy of data processing. This article explores the application of intelligent algorithms and big data analysis in film and television creation. Using machine learning algorithms to predict the potential audience of a movie or TV series based on historical data, providing decision-making basis for investors and producers. This system utilizes AI technology to select suitable actors for characters based on their matching degree with characters and past work performance, improving the scientific and accurate selection of roles. The application of these technologies helps to improve production efficiency and quality, reduce costs and risks, and inject new impetus into the sustainable development of the film and television industry. [ABSTRACT FROM AUTHOR]

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