The Grand Microbial Variety Show

2021 ◽  
pp. 161-183
Author(s):  
Aharon Oren
Keyword(s):  
Variety Show

Effects of Time and Perceptual Orientation on Actors' and Observers' Attributions

1984 ◽  
Vol 58 (1) ◽  
pp. 23-30
Author(s):  
Donald S. Martin ◽  
Ming-Shiunn Huang
Keyword(s):  
Video Recording ◽  
Control Group ◽  
Control Groups ◽  
Video Recordings ◽  
Before And After ◽  
Perceptual Orientation ◽  
Initial Difference ◽  
Variety Show ◽  
And Control ◽  
Unrelated Variety

The actor/observer effect was examined by Storms in a 1973 study which manipulated perceptual orientation using video recordings. Storms' study was complex and some of his results equivocal. The present study attempted to recreate the perceptual reorientation effect using a simplified experimental design and an initial difference between actors and observers which was the reverse of the original effect. Female undergraduates performed a motor co-ordination task as actors while watched by observers. Each person made attributions for the actor's behaviour before and after watching a video recording of the performance. For a control group the video recording was of an unrelated variety show excerpt. Actors' initial attributions were less situational than observers'. Both actors and observers became more situational after the video replay but this effect occurred in both experimental and control groups. It was suggested the passage of time between first and second recording of attributions could account for the findings and care should be taken when interpreting Storms' (1973) study and others which did not adequately control for temporal effects.

МОДА ЯК ВИДОВИЩЕ: ЕТНОКУЛЬТУРНІ ТА МІФОЛОГІЧНІ ВИМІРИ

2020 ◽  
Author(s):  
Admink Admink
Keyword(s):  
Twentieth Century ◽  
Young People ◽  
Everyday Life ◽  
Cultural Influences ◽  
Ethnic Culture ◽  
The Earth ◽  
The Everyday ◽  
Variety Show

Прослідковуються урбанізаційні та дезурбанізаційні процеси в моді ХХ ст. Звернено увагу на недостатню вивченість питань естетичних та культурологічних аспектів формування моди як видовища в контексті образного простору культури повсякдення. Визначено видовищні виміри модної діяльності як комунікативної сцени. Наголошено на необхідності актуалізації народних мотивів свята, творчості в гурті, певної стилізації у митців та дизайнерів моди мистецтва ностальгійного, втраченого світу з метою осягнення фольклорної, глибинної стихії моди як екомунікативного простору культури повсякдення. Ключові слова: міф, мода, етнокультура, етнос, свято, площа Ключові слова: міф, мода, етнокультура, етнос, свято, площа. According to E. Moren ethnic cultural influences take place in urbanized environment and turn it into "island ontology".Everyday life ethnic culture is differentiated, specified as a certain type of spectacle. However, all that powerful cosmologism, which used to exist as an open-air theater in settlements, near rivers, grasslands, roads, is disappearing. The everyday life culture loses imperatives, patterns, and cosmological designs, where, for example, the “plahta” contains rhombuses, squares, and rectangles - images of the earth, and the top of the costume symbolizes the sky. Yes, the symbolic marriage of earth and sky was a prerequisite for marrying young people. The article deals with traces of the urbanization and deurbanization processes in the twentieth century fashion.Key words: ethnic culture, culture of everyday life, ethnics, holidays, variety show, knockabout comedy, square.

At the Variety Show

1986 ◽  
Vol 3 (11) ◽  
pp. 7
Author(s):  
Sara Neustadtl ◽  
Bettyann Kevles
Keyword(s):  
Variety Show

Pelatihan Menganalisis Etika Komunikasi pada Program Televisi untuk pelajar SMAN 38 Jakarta

2020 ◽  
Vol 3 (4) ◽  
pp. 404
Author(s):  
Yayu Sriwartini ◽  
Djudjur Luciana Radjagukguk
Keyword(s):  
Variety Show

<p>Perkembangan televisi komersial begitu pesat, sehingga terjadi berkompetisi ketat untuk mendapatkan <em>share</em> penonton dan kue iklan. Faktanya saat ini  terkadang kualitas tayangan bukan lagi menjadi prioritas. Tidak sedikit konten tayangan yang melanggar etika atau perundang-undangan penyiaran. Selama ini masyarakat (khalayak) tidak pernah tahu bahwa beberapa tayangan variety show dan iklan  ternyata bermasalah dan melanggar etika komunikasi.  Dalam upaya mengadvokasi dan memberi penyadaran kepada para pelajar tentang pentingnya mengritisi konten media (khususnya televisi), dengan ini telah dilaksanakan kegiatan pelatihan “ Menganalisis Etika Komunikasi pada Tayangan TV” kepada siswa/i kelas X SMAN 38 Jakarta Selatan. Tujuannya adalah: (1) Memberikan pengetahuan kepada para siswa tentang etika komunikasi di media massa; (2) Mendorong para siswa untuk kritis terhadap konten televisi; (3) Menstimuli para siswa untuk menjadi penggerak literasi media di masyarakat. Bentuk kegiatan berupa pelatihan dengan membagi siswa ke dalam 7 kelompok, lalu berdiskusi dan membedah tayangan “Rumah Uya” dan “Iklan Mie Sedap” dengan menggunakan Standar Program Siar (SPS)  sebagai panduan untuk menganalisis konten. Setelah berdiskusi, setiap kelompok melakukan presentasi dan memberikan argumentasinya kemudian divalidasi oleh pemberi pelatihan.</p><p> </p><p><em><br /></em></p>

Epilogue

2020 ◽  
pp. 229-250
Author(s):  
Aldona Bialowas Pobutsky
Keyword(s):  
Paradise Lost ◽  
Life Story ◽  
Ice Cream ◽  
Television Series ◽  
Strip Clubs ◽  
The Core ◽  
Variety Show

My final thoughts in the epilogue extend beyond Colombia, observing how the Escobar brand has been putting down roots in much wider settings, with its historical referent often bearing little to almost no resemblance. From a Chilean variety show with an Escobar character whose endearing joviality portrays the drug baron as a likeable fatty to the Netflix television series Narcos and the film Escobar: Paradise Lost featuring Hollywood icon Benicio del Toro, Escobar is undeniably present at the core of the argument, albeit not in a true-to-life rendition. Thus the capo has become a postmodern simulacrum and a catalyst for dynamic storytelling, where each new tale affords its own ideology, merely bouncing off Escobar’s notorious traits and life story. This chapter also traces the rise of Escobar-themed establishments all over the globe, from restaurants and bars to strip clubs and ice-cream parlors. It examines how Escobar’s memory is branded in a variety of ways and by different subjects, including Escobar’s son Sebastian Marroquín. It explores the tensions inherent in the conflict between trauma of Escobar’s violence and the ongoing aggressive commodification of his persona.

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