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This study delves into the social and cultural challenges Muslim women face in the TV series Mata A Yau, which airs on Arewa 24, a Hausa-language channel catering to Hausa-speaking audiences in Northern Nigeria. The show premiered in August 2023, sparking debates about the media’s portrayal of contemporary Muslim women and their identity. The study employed sociocultural theory, mixed methods of interviews, and focus group discussions to analyse the program and uncover the root causes of these cultural and social disputes. The findings reveal that Islamic popular culture often intersects with religious and cultural practices, leading to debates about women’s identity, particularly within the context of media and Islamic popular culture. The study uncovers society’s unfounded biases and unjustified insults and condemnation against a particular gender as a result of hasty judgments or responding to contentious or religious issues without fully understanding the topic. The conflicts experienced by Muslim women within the series provide a valuable opportunity to delve into the complexities of contemporary Muslim women’s identity. [ABSTRACT FROM AUTHOR]

The 2016 Netflix series Stranger Things is a calculated homage to the 1980s; in addition to its period setting and the inclusion of star Winona Ryder, it further incorporates tropes and references from popular 1980s' films including Stand By Me, E.T., and The Goonies. But the series does not only draw from stories about young boys coming of age in America; it also calls back to Stephen King's Carrie and other science fiction and paranormal images marked by the fear of female sexuality. Stranger Things' slimy passages, alien umbilical cords, "demogorgon" vaginas dentata, and liminally gendered and sexualized characters all speak to long-standing fears about the monstrous feminine, and further invoke the monstrous queer. Stranger Things is a contemporary take not only on 1980s' cinema but on classical feminine body horror, and this analysis interrogates the series's positioning as a feminist text. [ABSTRACT FROM AUTHOR]

Time-travel television dramas have recently gained tremendous popularity worldwide. Defying stereotypes of romance TV dramas as women’s genres, time-travel romance TV drama genres seem to have attracted young men and women of different walks of life. Informed by positioning theory and Bakhtin’s heteroglossic dialogism, this study investigates a group of bilingual Mainland Chinese, heterosexual postgraduate students’ consumption of a Chinese time-travel TV drama, Scarlet Heart. It is found that well-educated Mainland Chinese women and men are still confronted with dilemmas of gender role boundaries and pressure to subscribe to traditional gender values. However, the time-travel TV drama has enabled the interviewees to negotiate new gender relations when they assign different positions to the female protagonist and themselves in the discussion. It is therefore proposed that time-travel TV dramas can be appropriated as dialogic resources for ideological becoming and critical literacy activities for facilitating construction of alternative subject positions and identities. [ABSTRACT FROM AUTHOR]

This review essay discusses three scholarly books that analyze the portrayal of complex and disruptive women in television. The books aim to correct the focus on male antiheroes in "prestige" or "quality" television and provide detailed analyses of series featuring difficult female characters. The first book, "Difficult Women on Television Drama" by Isabel Pinedo, examines international TV series that challenge traditional expectations of femininity. Pinedo argues that female creative control is crucial for the development of feminist-themed programming. The second book, "Woman Up" by Julia Havas, focuses on four US programs that disrupt postfeminist representation and foreground gender politics. Havas explores how these shows innovate television aesthetics and comment on the gendered politics of the industry. Overall, these books offer unique insights into the portrayal of women in contemporary television and highlight the importance of diverse perspectives and experiences. [Extracted from the article]

The "nerd" or "geek" in US-American film and television has been a popular mainstay to represent distinct social hierarchies. This article aims to highlight the emergence of engaging and relatable female nerds and geeks that subvert the stereotypes associated with such figures in comedy TV series and sitcoms. Humour in these comedy series exposes the silliness of perceived stereotypes associated with geekdom and "othered" cultures, while at the same time questioning and resisting them through complex female characterization. This article analyses these current shifts in representational patterns that highlight different dimensions including race, sexuality, societal conflicts and interpersonal relationships of funny and "nerdy" female characters in American television. Through a comparative analysis of the geeky characterizations of Amy Santiago from Brooklyn Nine-Nine (2013-2021) in juxtaposition to Betty from Betty en NY (2019), and Devi Vishwakumar from Never Have I Ever (2020-2023) it demonstrates that gender and racial stereotypes influence the portrayal of "geeky" female characters who frequently have not been permitted to be fully developed characters but had to suppress their intelligence to be likeable. This portrayal has significantly changed into the depiction of powerful female nerds on screen in the last two decades. [ABSTRACT FROM AUTHOR]

The (under)representation of women in the news has received much attention in scholarly research. Using a population dataset of news broadcasts in Belgium, this article describes how gender equality has changed over time (2003–2021) and investigates which factors explain the presence (or absence) of women as speaking actors in the news. The findings reveal a structural underrepresentation of women in the news, but a slow increase in their presence over time. Overall, women are more equally represented in softer news topics or in non-elite roles. Remarkable is that women journalists tend to interview more female sources than their male counterparts. [ABSTRACT FROM AUTHOR]

The tendency of late marriage and the increasing single population in Chinese society have galvanized a considerable amount of anxiety in recent years. Part of such anxiety has been manifested through the constant media representations of "shengnü" or "leftover women" since 2010. Referring to women in their late twenties or over thirties while still not getting married, the term "leftover women" indicates a continuous patriarchal policing of single women circulated in mass media. This study, by comparing two popular Chinese television series— We Get Married (2013) and Nothing but Thirty (2020), discusses the altering constructions of unmarried women on Chinese television against the backdrop of China's post-socialist gender politics. The comparison provides a useful vantage point to examine the emerging gendered structures and new cultural imperatives under specific historical contexts. [ABSTRACT FROM AUTHOR]

This research looks at women-centred Chinese competition-style programmes that are adapted from foreign TV formats and synthesise transnational televisual elements, idol cultures and gendered aesthetics. With particular attention to imaginaries of women with nonnormative gender and sexual identities, I expound how and why representations of female gender and sexuality on Chinese TV are fashioned by the intersected discourses on China's TV and cultural globalisations and digitisation, the party-state's manipulations and regulations of feminism, androgyny and homoeroticism, and the entertainment industry's capitalisation of queer women's stardom and fandom. My analysis reveals that the emergence, survival and endurance of queer women on Chinese TV has coincided with China's appropriations of both global formats and twenty-first-century idol girl group cultures. Through examining some key moments in popular idol group-cultivating shows produced in 2020 and 2021, I capture a multilevel, ambivalent queer convergence that transforms these televisual stages into queer-charging venues through which queer imaginaries of womanhood have actively incorporated local situations and transcultural televisual, gender and sexual knowledge to bypass, compromise with – and even partly connive with – the government's ideological and moral controls. [ABSTRACT FROM AUTHOR]

In this essay, we extend conversations around motherhood depictions in popular culture to women inmates on television. Specifically, we explore intersections of incarceration, motherhood, trauma, and power on Foxtel's Wentworth (2013–2021) through the character of Bea Smith. We investigate her journey to Top Dog status—analyzing how these intersections propel her to that highest authority position in prison, while also unpacking why they contribute to her losing that coveted position. We argue that Bea's trauma morphs her into what D'Amore calls a "vigilante feminist," who uses violence to protect herself and others. However, Wentworth shows the complicated nature of how trauma operates with motherhood as it intersects with incarceration and power in that Bea's journey is not a straight one. Instead, Bea shifts away from the role of vigilante feminist at times, opting in favor of using violence for pure revenge. [ABSTRACT FROM AUTHOR]

During the 2010s, American television witnessed a growing attention to and presence of women, both in TV representation and in TV creation and production. As part of that development, the self‐representation of women who are both the creators and the stars of their shows — such as Lena Dunham (creator and star of Girls; HBO, 2012 – 17), Tig Notaro (creator and star of One Mississippi, Amazon, 2015 – 17), Issa Rae (creator and star of Insecure, HBO, 2016 – 21), Pamela Adlon (creator and star of Better Things, FX, 2016 – 22), and Frankie Shaw (creator and star of Smilf, Showtime, 2017 – 19) — has been on the rise. This article examines these five dramedies in which women both exert authorial voices in telling their own stories and bring to bear performative embodiment in starring in these autobiographical texts. The textual multilayeredness of these author‐performers' autobiographical dramedies, the article shows, reveals the ways in which authorship and performance operate in the realm of women's televisual representation. [ABSTRACT FROM AUTHOR]

In "Televising Chineseness: Gender, Nation, and Subjectivity," Geng Song explores the role of Chinese TV drama series in shaping gender norms and promoting patriotism. Through textual analysis and focus groups, the author examines how audiences of different backgrounds perceive these television series. The book discusses various themes, including the portrayal of Japanese characters, foreigners, toxic masculinity, and the rise of "Little Fresh Meat" characters. It also examines the representation of female characters, who are expected to embody both traditional and modern femininity. The study sheds light on the ways in which the Chinese government uses television as a tool for cultural dissemination and propaganda. [Extracted from the article]

Clair Huxtable was the iconic mother, wife, and lawyer on The Cosby Show, an American television sitcom that premiered in September 1984. She appeared to be the perfect lawyer—partner in a law firm, prepared for every case, triumphant in every case, and never stepping over, or anywhere near, the boundary line of legal ethics—all while mothering children ranging in age from 5 to 20 years and supporting her equally successful obstetrician/gynecologist husband. In all her perfection, Clair presumably inspired young women to become lawyers during the middle 1980s through the early 1990s, and beyond. Clair Huxtable was a tough act to follow. The Black women lawyers who came after her on scripted television brought more realism to what it really means to be Black, woman, and a lawyer. These characters have helped direct the professional identities of their real counterparts in the decades since Clair entered our living rooms. This article explores the images of Black woman lawyer characters on scripted television since 1984 and how those images compare or contrast with Clair Huxtable and real-life Black women lawyers. [ABSTRACT FROM AUTHOR]

This paper aims to demonstrate the ideological workings of translation by analyzing the ways Japanese women's language is employed to translate the speech of women in seven cities worldwide in a Japanese TV documentary series. The analysis finds that the TV production team allocates the features of Japanese women's language differently to the speech of women according to region, drawing boundaries between women in Europe and the Americas, those in Asia and Africa, and Japanese women. The program's practices of translation regiment the femininities of women according to region in terms of formality and politeness by actively expanding the indexicality of features of Japanese women's language away from reticence, politeness, and gentleness, and by restricting the use of these features to co-occurrence with the plain form. The analysis implies that this regimentation of femininities serves to reproduce and reinforce Japanese domestic stereotypes concerning women in distinct regions among Japanese audiences. [ABSTRACT FROM AUTHOR]

Woman boss series and woman boss posts on social media that portray women in stereotypically male professions have attracted scholarly attention. The positive effects of this content on adolescents over time are unclear. This study helped fill this gap by examining the within-person reciprocal relations between exposure to woman boss series and posts and adolescents' beliefs about the male vs. female division of professional tasks according to traditional gender stereotypes (which was labeled as professional sexism). We examined the mediating role of the perceived utility of such content and the moderating roles of hypergender identity and knowing women in counter-stereotypical professions offline. A total of 1,286 late adolescents (Mage = 18.33, SD = 0.64) participated in a three-wave longitudinal study with a four-month time interval. The findings indicated positive but inconsistent within-person associations between professional sexism and the perceived utility of woman boss series. The results supported the moderating role of knowing women in atypical professions; that is, the perceived utility of woman boss posts on social media in Wave 2 related to professional sexism in Wave 3. The direction of the association changed when considering the extent to which adolescents knew women in atypical professions. Implications for how parents, teachers, and academic school counselors may talk with adolescents about women who are portrayed in atypical occupations in TV series and on social media are discussed. [ABSTRACT FROM AUTHOR]

This article, titled "EP21.21: How successful is our department in predicting hydatidiform moles on transvaginal ultrasound?", discusses a study conducted in a London teaching hospital to determine the detection rate of hydatidiform moles (HM) on transvaginal ultrasound scan (TVS). The study included 52 patients, with 23 cases of confirmed HM on histology. The detection rate for complete molar pregnancy was 86%, while the detection rate for partial molar pregnancy was 25%. The study concludes that the detection rates for complete molar pregnancy were comparable to other London teaching hospitals, but the lower detection rate for partial molar pregnancy highlights the difficulty in diagnosing it via ultrasound. [Extracted from the article]

This article, titled "OC21.02: Endometrial assessment on ultrasound: why transvaginal scan alone is not good enough?" discusses the effectiveness of a multimodal (MM) sonographic approach compared to transvaginal ultrasound (TVS) alone in assessing endometrial thickness (ET) in women with abnormal uterine bleeding (AUB). The study found that TVS alone resulted in suboptimal ET assessment in 37% of cases, with the most common reasons being adenomyosis, suboptimal angle, and submucosal fibroids. The MM approach was more likely to achieve optimal ET assessment and resulted in significantly lower ET measurements. This could potentially reduce the need for invasive interventions such as hysteroscopy or endometrial biopsy. [Extracted from the article]

Objective: To investigate the feasibility of identifying and measuring the normal sacral plexus (SP) on gynecological transvaginal ultrasound (TVS) examination. Methods: This was a prospective observational study conducted at a single tertiary gynecological referral center, including consecutive women undergoing TVS for various indications between November 2021 and January 2022. A standardized assessment of the pelvic organs was performed and the presence of any congenital or acquired uterine pathology or ovarian abnormality was recorded. Visualization of the right and left SP was attempted in all cases. The success rate and the time needed to identify the SP were recorded and measurements of the SP were made. Results: A total of 326 patients were included in the study. In all women, the SP was identified successfully on at least one side. SP were visualized bilaterally in 317 (97.2% (95% CI, 94.4–98.5%)) women. Only the right SP was seen in 3/326 (0.9% (95% CI, 0.2–2.7%)) and only the left in 6/326 (1.8% (95% CI, 0.6–4.0%)) (P = 0.5048). There was no significant difference in the median time required to visualize the right vs left SP (9.0 (interquartile range (IQR), 8.0–10.0) s vs 9.0 (IQR, 8.0–10.0) s; P = 0.0770). The median transverse diameter of the right SP was 15.0 (IQR, 14.2–15.6) mm and that of the left SP was 14.9 (IQR, 14.4–15.6) mm. Conclusions: We describe a novel method which allows for the consistent and rapid identification of the SP on TVS. Integrating assessment of the SP into routine pelvic TVS may be helpful particularly for women suffering from deep endometriosis. © 2023 The Authors. Ultrasound in Obstetrics & Gynecology published by John Wiley & Sons Ltd on behalf of International Society of Ultrasound in Obstetrics and Gynecology. [ABSTRACT FROM AUTHOR]

Objectives: The evidence in the literature regarding the relationship between Trichomonas vaginalis (TV) infection and cervical neoplasia is conflicting. The main aim of this study was to evaluate the magnitude of the risk of cervical neoplasia associated with TV infection. Methods: A meta-analysis of observational studies, which provided raw data on the association of TV infection with cervical neoplasia, was performed. For this aim, we searched scientific databases (PubMed/Medline, Scopus, the Web of Sciences, and Embase) from inception to March 15, 2023. A random-effects model was applied by Stata 17.0 to calculate the pooled and adjusted odds ratios (ORs) with 95% confidence intervals (CI), including subgroup, sensitivity, and cumulative analyses to explore sources of heterogeneity. Results: Of the 2584 records initially identified, 35 eligible studies contributed data for 67,856 women with cervical neoplasia, and 933,697 healthy controls from 14 countries were included. The pooled (2.15; 1.61–2.87; I2 = 87.7%) and adjusted (2.17; 1.82–2.60; I2 = 31.27%) ORs indicated a significant positive association between TV infection and the development of cervical neoplasia. There was no significant change in pooled and adjusted ORs by applying sensitivity and cumulative analyses, indicating the robustness of our findings. The pooled OR was significant in most sub-group analyses. There was no publication bias in the included studies. Conclusion: Our findings indicated that women with a TV infection are at significantly greater risk of cervical neoplasia. Future research, particularly longitudinal and experimental studies, should be done to better understand the various aspects of this association. [ABSTRACT FROM AUTHOR]

Background Ultrasonography of the pelvic floor, either by the trans-perineal or the endo-vaginal/introital approach, has been effectively utilized in the diagnostic workup of urinary incontinence. Anterior and posterior urethral angles, funneling of bladder neck, urethral hypermobility and bladder base position can be evaluated using pelvic floor ultrasonograph. Objective To assess the impact of variability of ultrasound technique (transvaginal ultrasound; TVS, and transperineal; TPUS) on the measurement of the resting urethral angles in a sample of continent Iraqi women. Methods This study included 100 healthy continent adult females, The numerical values of the urethral angles were obtained by both TVS and TPUS techniques in a sample of women attending Ultrasound Unit in Al-Imamein Al-kadhimein Medical City during 2017. The α angle mean of studied women measured by TVS was 91.92 while that measured by TPUS was 78.67 with highly significant difference between both techniques (p<0.001). Conversely, the ẞ angle mean of studied women measured by TVS was 102.25 while that measured by TPUS was 112.08 with highly significant difference between both techniques (p<0.001). As a result, the α angle was higher among continent women by TVS and ẞ angle was higher among continent women by TPUS. Although no significant difference, the average α angle increased with increased age of continent women while average ß angel was decreased with increased age of continent women. The average α angle of continent women was significantly increased among obese multiparous women at age group <40 years age (p=0.007). The average B angle of continent women was significantly increased among obese multiparous women at age group <40 years age (p<0.001). Conclusion The ultrasound approach whether TVS or TPUS have an essential impact on the measured numerical value of different urethral angles, and the women age, parity and body habitus individually and in combination affect the measurement of the urethral angles. [ABSTRACT FROM AUTHOR]

Copyright of Dixit. Comunicación, Profesión, Conocimiento is the property of Universidad Catolica del Uruguay Damaso Antonio Larranaga 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 woman is a human being who often becomes the meaning of beauty and can attract attention. But for women, it is a source of economic income. This assumption has an impact on women's self-exploitation practices, especially through sexual objectification, such as in TV cigarette commercials. Ironically, many of the commercials produced contradict society's ideal image and reality, and they can harm women. This study aims to analyze the sexual objectification of women in TV cigarette commercials in Indonesia. This study uses qualitative methods through semiotic analysis by John Fiske. The results of this study indicate that: 1) Women as sexual objects are represented as having a sexy dress style by exposing the chest, and the behavior also gestures show vulgar swaying that intends to seduce, then supported by disco music which reinforces the sexual objectification of female characters with evidence of male character responses that expressions and gestures seduced. 2) the meaning and ideology behind women being represented as sexual objects in this commercial is the phenomenon of sensuality technocracy to attract audiences in television commercials and negative developments in the media have pushed many women into an identity crisis. [ABSTRACT FROM AUTHOR]

This paper explores how the central female characters of the television series Killing Eve gain power by accessing and enacting forms of violent "otherness". By rejecting traditional conceptions of femininity, including passivity, maternal nurturing or caregiving, and empathy, Villanelle, Eve, and Carolyn weaponise the cultural narratives used to relegate women to the margins. Their subversions are frequently located in bodily terms, relating to appetite, fashion, sex, and behavioural quirks, but are also intellectual and metaphorical, explicitly addressing gendered anxieties about women, authority, and performance. Indeed, the series turns on the possibilities of transformation, realised via the physical styling of self, for example, as well as the play upon literary and poetic devices such as adaptation and the villanelle. In focussing on various notions of metamorphosis, we contend that Killing Eve offers an ambiguous vision of empowerment, arguing that while it resists the reduction of women to docile bodies forced into compliance, it also equates female power with abnormality, disorder, and abjection. In its mobilisation, subversion and parody of elements of the monstrous feminine, Killing Eve is only partly successful in empowering its female characters but, nonetheless, makes a significant contribution to a culture in which sophisticated feminist tropes are increasingly prevalent. [ABSTRACT FROM AUTHOR]

Advertisements act as a powerful medium for showcasing the role of women in society. The present study explores how women are portrayed in Indian television advertisements and how their portrayal varies according to the product categories. Content analysis of 268 commercials aired during the five popular Indian television shows has been undertaken to understand the role portrayal of women. The study highlights that women are primarily portrayed in a decorative and family role and rarely depicted as freewheelers and professionals in the products related to body beautification and household. However, the study notes a significant rise in situations where women are mostly portrayed as independent decision makers. This paper continues the conversation and adds to the existing literature about the role portrayal of women in media. [ABSTRACT FROM AUTHOR]

For over five decades, scholars have examined depictions of women and men in advertising and media, including the analysis of stereotypes, cultural implications, and social consequences. This research aims to analyze the relationship between target audience characteristics, such as gender and socioeconomic class, and the portrayal of women in Egyptian television commercials (TVCs), taking into account the level of product involvement1. The study analyzed 100 TVCs aired on Egyptian television channels over a period of thirty days. Three hypotheses were tested, and two of them were supported by the research findings. The study concluded that advertisements targeting both a higher socioeconomic group of consumers and women tended to portray women in a better light. Additionally, the level of product involvement did not have an impact on the portrayal of women in the commercials, regardless of high or low involvement. [ABSTRACT FROM AUTHOR]

Through archival research and an intersectional thematic analysis, this paper examines three key episodes of early-2000s sensation To Catch a Predator and situates them within crime media and journalism literature. The paper analyzes themes of journalistic integrity and the subjugation of women and girls by a television program that claimed to use the former to stop the latter. Based on the analysis, To Catch a Predator engages in forensic journalism as demonstrated by the treatment of women and girls as bait, claims of ownership over women and girls' bodies, lack of nuance in reporting, and the liberties taken in their journalistic practices. Ultimately, this paper shows how To Catch a Predator acts as a spectacle of vigilantism, by creating the child pornography it claims to fight and by glorifying punishment, contributing to the ongoing moral panic around child exploitation. [ABSTRACT FROM AUTHOR]

This research utilizes aspects of narrative and ideological criticism to analyze complex mystery television and representations of women. Using the first season of Big Little Lies, the authors argue that the disruption of narrative conventions creates a productive liminality in which the viewer takes on the role of detective. This positioning of the viewer-as-detective encourages viewers to attempt to solve the mystery but also to interrogate their perceptions of the main female characters depicted, ultimately helping to question rather than reinforce stereotypical representations of women. [ABSTRACT FROM AUTHOR]

This article examines the BBC sitcom Alma's Not Normal and its representation of white working-class femininities in/on British TV comedy. After The Royle Family creator Caroline Aherne's death in July 2017, the BBC created a bursary in memory of the comedy star, awarding £5,000 to the successful applicant to develop a pilot comedy script. Though open to people of all backgrounds and genders, the three winners so far have been working-class women – Sophie Willan, Amy Gledhill and Kiri Pritchard-McLean – an important shift from the recent success of female-fronted and female-authored middle-class comedies on the BBC such as Miranda and Fleabag. This article examines the award's first winner: Boltonian Sophie Willan and her series Alma's Not Normal. While Phil Wickham argues that contemporary working-class sitcoms in Britain display the 'hidden injuries of class', something that is felt but no longer acknowledged, I contend that Willan exposes class wounds by explicitly referencing and drawing attention to social issues in her TV series. More specifically, I argue that, as a working-class woman in the North West, Willan uses comedy to interrogate the intersections of class and gender. This textual analysis will then be used as a framework to conceptualise the labour of working-class women in British television comedy, mainly because class has been overlooked as a social category in contemporary scholarship on feminism and humour. [ABSTRACT FROM AUTHOR]

A pioneer of women in advertising and television media, Paula Green (1927–2015) is arguably best remembered for her copy for the Avis "We Try Harder" campaign that revolutionized Madison Avenue in the 1960s. While Green certainly flourished at Doyle Dane Bernbach, by the end of the decade, she had reached the highest position available to her at the agency. It was at this point she decided to establish her own firm, Green Dolmatch. As its president, creative director, and co-owner, Green was no longer beholden to the corporate mainstream. Consequently, as this article will argue, over the course of the 1970s, she selected projects that showcased women's concerns, deploying high-profile radio, television, and print campaigns to convey personal and political cause-driven social messages. Ultimately, Green's feminist media campaigns became watersheds in the industry, helping to transform public attitudes towards women's issues and the way the American media handles activist causes today. [ABSTRACT FROM AUTHOR]

"Black Women and the Changing Television Landscape" by Lisa M. Anderson is a book that examines the portrayal of Black women on television throughout history. Anderson, an associate professor of women and gender studies, builds on her previous work to explore the complex and evolving representations of Black women in media. Using a semiotic approach and drawing on the work of Black feminist scholars, Anderson analyzes specific television shows and personalities from the 1950s to the present. The book goes beyond simplistic judgments and aims to understand the historical and cultural contexts in which these representations exist, as well as the agency of Black women in shaping them. It is a valuable resource for scholars in cultural, media, and television studies. [Extracted from the article]

Women are more visible than ever in sports media. Yet, extant research has shown that females have endured an array of issues exclusive to their gender. Consistent research updates on gender in sports media is necessary in order to discover whether an increase in numbers has changed the assessment of women in sports media. This study's objective was to understand how audiences now perceive women in television sports media, specifically as sports reporters covering the NFL. This quantitative experiment employed two current, veteran sports reporters (one female and one male) and pre-tested for the purpose of this study. It is the first known study that utilized professional television sports reporters. Each reporter recorded the same two "stand-ups" with identical backdrops. Survey participants randomly watched a video either of the male or female giving a fact or an opinion report and were then asked questions to measure their perception of the sports reporter's knowledge and credibility. Intriguingly, this study did not replicate results from prior research, and therefore could contribute to literature on women in sports media moving forward. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y 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.)