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Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies 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 American sports television industry has scrambled to adjust to the loss of live sporting events in the wake of the coronavirus pandemic--a scramble clearly evidenced in programming schedules suddenly filled with replays of older event telecasts. However, rather than focusing on the apparent novelty of this type of substitute coronavirus programming, this article, instead, argues that the loss of live sporting events represents the amplification of a problem that television networks have already been grappling with for years: how to fill an ever greater number of outlets with sufficient year-round programming given a finite number of live events. With that in mind, this article proposes that many of the programming strategies that networks have turned to in the midst of the pandemic, including the expanded coverage of transactions (e.g., coverage of National Football League free agency) and the increased scheduling of documentaries (e.g., The Last Dance), have been familiar extensions of previously established alternative programming solutions. [ABSTRACT FROM AUTHOR]

Copyright of Aposta is the property of Aposta 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 Historia y Comunicación Social is the property of Universidad Complutense de Madrid 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.)

Cartoons have been and still are a fundamental genre in children's television programming and are a key product for the media industry due to their easy interpretation by children and their presence in distribution channels. This paper presents an analysis of the supply of children's and cartoons broadcast over the last decade on 25 European general-interest television channels, both public and private, of Germany, Spain, France, Italy and the United Kingdom. The research findings focus on the genre programming strategies applied in terms of channels, broadcasting time slots and types of production in a multiplatform context driven by the consumption of digital content through streaming and SVOD services. The results show the continued leadership of cartoons in an environment of scarcity of children's supply on European generalist television channels, reaffirming itself as a morning and weekend product highly shaped by commercial logics. However, distinctive programmatic policies are prominent in the role of public broadcasters in the supply of domestic products, both due to the broadcasting quotas of local cartoons and the consistency of their strategy over the period 2010-2020. [ABSTRACT FROM AUTHOR]

Cartoons have been and still are a fundamental genre in children’s television programming and are a key product for the media industry due to their easy interpretation by children and their presence in distribution channels. This paper presents an analysis of the supply of children’s and cartoons broadcast over the last decade on 25 European general-interest television channels, both public and private, of Germany, Spain, France, Italy and the United Kingdom. The research findings focus on the genre programming strategies applied in terms of channels, broadcasting time slots and types of production in a multiplatform context driven by the consumption of digital content through streaming and SVOD services. The results show the continued leadership of cartoons in an environment of scarcity of children’s supply on European generalist television channels, reaffirming itself as a morning and weekend product highly shaped by commercial logics. However, distinctive programmatic policies are prominent in the role of public broadcasters in the supply of domestic products, both due to the broadcasting quotas of local cartoons and the consistency of their strategy over the period 2010-2020.

The theory formulated to date indicates that political infotainment programs arrived in Spain in a widespread manner in the 1990s with the rise of private television channels. But were there spaces in public television that shared the traits of this novel television genre before that time? This article is aimed at analyzing debate and talk shows, as well as hybrid format shows combining both genres, broadcasted on Televisión Española (TVE-1 and TVE-2) during the '80s, in order to determine whether or not these programs present the emblematic style characteristic of infotainment. The methodology consists of a content analysis of a total of 31 television programs, each of which was viewed on the RTVE archive using different multimedia platforms. The results of this research reveal that Televisión Española incorporated into its debate shows, talk shows, and hybrid format shows, features typical of infotainment prior to the '90s. Among the most recurrent stylistic features of these programs are the tendency to dramatization, polemic and emotionality (achieved through different techniques and strategies), an increase of soft content, a greater presence of satire, humor and close-ups, and the use of music. [ABSTRACT FROM AUTHOR]

Technological changes are a key factor in the life of the media and how they operate. It is an undeniable fact that the media has always been created through the creation of a new technology. And the creation of new media has always had an impact on the past media. Meanwhile, the impact and interaction between TV and social media based on the Internet environment has been very much taken into consideration. Which can be seen as the convergence of the media. The present study in search for understand the role and functions of social media in television productions. This research has been done by classic grounded theory and case studies. And a targeted sampling was used. After analyzing the findings, researchers arrived at the Twenty three functions that ultimately provided them with a conceptual model. This model explains these functions in four phases of production, which includes pre-production, production, broadcast and post-broadcast. Producers of television shows can use their findings to promote their own productions. And use the functions of media convergence in their television productions.

This paper investigates the evolution of non-daily current affairs formats –other than the news– in the prime time of Spanish generalist television between 1990 and 2016. Analysing the programming content of six channels (TVE, La2, Antena 3, Telecinco, Cuatro and La Sexta), we have studied the presence, typology and strategies of the programmers to incorporate them into the offer of prime time. The longitudinal sample allows us to detect the tendencies that have influenced the audiovisual treatment of the non-daily current affairs information in the most competitive television time slot. The result of the analysis shows that the most important topics on current affairs such as politics, or the economy, have been integrated into the prime time. In addition, there has been a recovery of analytical genres such as the television reportage to explain topics of current interest. This new informative offer, much more innovative in the treatment, has enabled new programming strategies to be applied to the non-daily current affairs formats in order to improve their profitability.

The theory formulated to date indicates that political infotainment programs arrived in Spain in a widespread manner in the 1990s with the rise of private television channels. But were there spaces in public television that shared the traits of this novel television genre before that time? This article is aimed at analyzing debate and talk shows, as well as hybrid format shows combining both genres, broadcasted on Televisión Española (TVE-1 and TVE-2) during the ‘80s, in order to determine whether or not these programs present the emblematic style characteristic of infotainment. The methodology consists of a content analysis of a total of 31 television programs, each of which was viewed on the RTVE archive using different multimedia platforms. The results of this research reveal that Televisión Española incorporated into its debate shows, talk shows, and hybrid format shows, features typical of infotainment prior to the ‘90s. Among the most recurrent stylistic features of these programs are the tendency to dramatization, polemic and emotionality (achieved through different techniques and strategies), an increase of soft content, a greater presence of satire, humor and close-ups, and the use of music.

Copyright of Journal of International Social Research is the property of Journal of International Social Research 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 Oceánide is the property of Spanish Society for the Study of Popular Culture (SELICUP) 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.)

Traditional television coexists with formats that originated on the internet, as well as on-demand consumption, paid television, and other audio-visual content distribution platforms. Audience data reveal a steady decline in television viewership, and digital technologies now allow any citizen to produce audio-visual content and distribute it for mass consumption through the internet. Given this new audio-visual ecosystem, the aim of this research is to ascertain whether there are any signs of a crisis regarding the dominance of television as a means of disseminating the products of the culture industry. Disinterest or indifference toward conventional programming by users would reveal a danger to the broadcast industry. In contrast, the consumption of television products through other channels would imply the retention of television audiences through the internet. This study analyzes perceptions regarding television through five online discussion groups. Three conclusions can be drawn: Firstly, television holds a prominent place in the daily lives of those who use it, including the youngest participants, despite the fact that audiences have declined in recent years. The second conclusion states that the perception of television is positive and associated with disengagement, relaxation, and family gatherings, which can be combined with individual consumption at other times of the day. As a third conclusion, this study reveals the high degree of compatibility between the internet and television screens, as new forms of consumption are emerging, yet there is still a predominant interest in content on television and from the mass culture industry. [ABSTRACT FROM AUTHOR]

This article analyses the response of European Public Service Media to the crisis caused by Covid-19, especially the impact of the pandemic on Europe's major public broadcasters, with a particular focus on technical and professional constraints, alterations in audience volume and habits, production strategies, type of broadcast content and journalists' routines. The research is based on public information from the European Broadcasting Union (EBU) and 19 in-depth, structured interviews with a convenience sample of innovation and strategy managers from public broadcasters in Austria (ORF), Belgium (VRT and RTBF), Denmark (DR), Finland (YLE), France (France TV), Germany (ARD and ZDF), Great Britain (BBC), Ireland (RTÉ), Italy (RAI), Netherlands (NPO), Portugal (RTP), Spain (RTVE), Sweden (SVT), Switzerland (RTS) and the European Broadcasting Union (EBU). The results indicate that the corporate projection of PSM was increased by emphasising their role as essential services and their defence of the values that characterise them. The pandemic forced the adaptation of programme production from technical standards to an emotional approach, accelerating a formal hybridisation with native online contents. Dependence on software grew and newsmaking processes were altered towards 'remote journalism'. Changes are drawn that may be maintained in the future. [ABSTRACT FROM AUTHOR]

This article uses the prime-time drama Peyton Place (ABC, 1964–67) to examine the challenges of racial integration in the serial narrative. Peyton Place broke ground as a prime-time serial, but declined in popularity by its fourth year on the air. An African-American family was added to the story canvas as part of a strategy to revive audience interest by exploring stories with social relevance. I use the archived papers of the show's writers and producers to examine the negotiations behind the racial integration of a continuing drama that established its success with a white cast of characters. [ABSTRACT FROM AUTHOR]

This paper investigates the evolution of non-daily current affairs formats -other than the news- in the prime time of Spanish generalist television between 1990 and 2016. Analysing the programming content of six channels (TVE, La2, Antena 3, Telecinco, Cuatro and La Sexta), we have studied the presence, typology and strategies of the programmers to incorporate them into the offer of prime time. The longitudinal sample allows us to detect the tendencies that have influenced the audiovisual treatment of the non-daily current affairs information in the most competitive television time slot. The result of the analysis shows that the most important topics on current affairs such as politics, or the economy, have been integrated into the prime time. In addition, there has been a recovery of analytical genres such as the television reportage to explain topics of current interest. This new informative offer, much more innovative in the treatment, has enabled new programming strategies to be applied to the non-daily current affairs formats in order to improve their profitability. [ABSTRACT FROM AUTHOR]

As the globalization of markets spreads Western media and consumerism across the world, it raises the question as to whether the arguments proposed by theories of social comparison and cultivation hold true in non-Western societies. In this study, we test the relationships between social comparison associated with television programming, materialism, and subjective well-being among college students from the United States, China, Croatia, and India. Structural equation modeling results reveal that the positive relationship between social comparison and materialism is universal. However, the mediating role of materialism between social comparison and subjective well-being is different between individualistic and collectivistic societies. [ABSTRACT FROM AUTHOR]

Copyright of Index.Comunicación is the property of Index.comunicacion 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.)

Public service stipulations include the provision of content that informs and educates, helps imagine the nation, enriches the lives and culture of its citizens. Reality TV is one of the most growing, vivid and controversial genres in the contemporary TV broadcasting from popular culture, sports, lifestyle to arts or minorities. It's genealogy comes from documentary films, but today it is considered the bottom of the TV industry when compared to the artistic documentary film. But how has this trend of reality TV impacted on public service broadcasting? This article focuses on Reality TV produced by Czech public service television (Česká televize, hereafter ČT), the biggest (and only one) public services broadcaster in Czech Republic. The article focus on three examples: docusoap, living history a docu-reality. Research for this article is based on author's experience as a dramaturgist in ČT. [ABSTRACT FROM AUTHOR]

Copyright of Trípodos is the property of Universitat Ramon Llull, Facultat de Comunicacio Blanquerna 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 Archaeologies is the property of Springer Nature 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 Audio Visual Program plays a strategic role to achieve an integral and general culture in the new generations. For the professor’s work it means to possess an instrument to potentiate the teaching process, in spite of the demand of better preparation to succeed. The program in its large educative possibilities, constitute an expression of the principles of the educational policy and its correct implementation, means an enhance between the school and life as it permits to illustrate in many ways the principles, laws of nature and society, and the fact of having the student studying in class, then it is based in the polytechnic character of education that means to know about the science and its application in the contemporary production. What has been explained so far is a part of the teaching–learning process. So, the professor of Physical Culture, as it is compulsory must show a high scientific and methodological preparation. The authoresses offer some methodological alternatives that to use the educative spaces of the TV programming in the classes of Physical Education of first grade of the school Manuel Fuentes Borges propitiating a more effective learning in the classes.