Stories of Motherhood and Ageing in ABC’s Television Programme Once Upon a Time

2017 ◽  
pp. 129-145
Author(s):  
Katherine Whitehurst
Keyword(s):  
Television Programme

The woman who could not sing “Happy Birthday”: couple psychoanalysis at the baby grand piano

2020 ◽  
Vol 10 (1) ◽  
pp. 93-98
Author(s):  
Brett Kahr
Keyword(s):  
British Broadcasting Corporation ◽  
Happy Birthday ◽  
Television Programme ◽  
Grand Piano

This article describes the author’s work as a presenter on the four-part British Broadcasting Corporation television programme, 'Making Slough Happy', in which he used music and singing for therapeutic purposes. In particular, he offers a glimpse into how he helped a woman, gripped by long-standing vocal inhibitions, to achieve her dream of singing “Happy Birthday” to her child.

Kesantunan Pragmatik dalam Irai Hyougen Bahasa Jepang pada Acara Berita Asaichi

Metahumaniora ◽  
2019 ◽  
Vol 9 (1) ◽  
pp. 101
Author(s):  
Thamita Islami Indraswari ◽  
Riza Lupi Ardiati
Keyword(s):  
Conversational Implicature ◽  
Pragmatic Approach ◽  
Concern For Others ◽  
Television Programme ◽  
Japanese Television

Penelitian ini berfokus pada deksripsi bentuk irai hyougen dan bentuk kesantunan dalam irai hyougen yang muncul pada percakapan di acara berita Asaichi. Penelitian dilakukan lewat kajian pragmatik. Identifikasi komponen percakapan yang mengandung irai hyougen dilakukan berdasarkan bentuk irai hyougen maupun implikasi percakapan. Penanda kesantunan diamati lewat kemunculan ungkapan hormat, ungkapan kerendahan hati, ungkapan penimbang rasa, ungkapan beri-terima, serta ungkapan tidak langsung. Hasil penelitian menunjukkan bahwa pada acara Asaichi, irai hyougen dinyatakan dalam bentuk suikoukei irai hyougen, meireikei irai hyougen, youkyuukei irai hyougen, ganbou hyoushutsuteki irai hyougen, dan enkyokuteki irai hyougen. Penanda kesantunan irai hyougen ditemukan dalam bentuk penggunaan kenjougo, penggunaan bentuk formal dari nomina dan pronomina, sebutan hormat, penggunaan irai dalam bentuk tidak langsung, penambahan adverbia maupun partikel akhir kalimat untuk menunjukkan rasa hormat pada petutur, menunjukkan kerendahan hati, empati, kehati-hatian, penghindaran kesan paksaan serta penghalus tuturan. This article examine form of irai hyogen and politeness which reflected in irai hyougen in Japanese television programme called Asaichi. In this study, using pragmatic approach, forms of irai hyougen  are being examined through lexical forms, grammatical forms and conversational implicature. Politeness in irai hyougen are being examined by the emergence of expression of respect, expression of humility, expression of concern for others, expression of giving and receiving favor, indirect expression in irai hyougen. The findings of the study showed that in Asaichi, irai hyogen are expressed through suikoukei irai hyougen, meireikei irai hyougen, youkyuukei irai hyougen, ganbou hyoushutsuteki irai hyougen, and enkyokuteki irai hyougen. Politeness in irai hyougen can be identified by the use of kenjougo, formal forms of noun or pronoun to defer the hearer, terms of respect, indirect request pattern, the use of adverbs and sentence ending particles to show humility, empathy, carefulness, to smooth the request, and avoiding constraint in request are preferable.

“Because every recipient is also a potential patient” – TV Health Programmes in the FRG and the GDR, from the 1960s to the 1980s

Gesnerus ◽  
2019 ◽  
Vol 76 (2) ◽  
pp. 172-191
Author(s):  
Susanne Vollberg
Keyword(s):  
Public Awareness ◽  
West Germany ◽  
Continuous Coverage ◽  
Public Consciousness ◽  
Television Programme ◽  
East German ◽  
Health And Disease ◽  
Media Systems ◽  
The 1960S ◽  
And Function

In the television programme of West Germany from the 1960s to the 1980s, health magazines like Gesundheitsmagazin Praxis [Practice Health Magazine] (produced by ZDF)1 or ARD-Ratgeber: Gesundheit [ARD Health Advisor] played an important role in addressing health and disease as topics of public awareness. With their health magazine Visite [Doctor’s rounds], East German television, too relied on continuous coverage and reporting in the field. On the example of above magazines, this paper will examine the history, design and function of health communication in magazine-type formats. Before the background of the changes in media policy experienced over three decades and the different media systems in the then two Germanys, it will discuss the question of whether television was able to move health relevant topics and issues into public consciousness.

Biofeedback and the Computer

1988 ◽  
Vol 51 (2) ◽  
pp. 57-59 ◽  
Author(s):  
Felicity Crofts ◽  
John Crofts
Keyword(s):  
Occupational Therapist ◽  
Review Of The Literature ◽  
Disabled People ◽  
Orthopaedic Patients ◽  
Television Programme ◽  
The Uk

A television programme on the benefits of technology for disabled people stimulated interest in the possibility of electromyographic techniques providing biofeedback via the computer. A review of the literature suggests that this subject is little publicized in the UK compared with other countries. The advent of the Myolink has facilitated computer-enhanced biofeedback for the occupational therapist. The use of the Myolink with orthopaedic patients is described.

A screwball property: Love It or List It as postfeminist realty TV

2017 ◽  
Vol 20 (5) ◽  
pp. 543-559 ◽  
Author(s):  
Jean M Bruce
Keyword(s):  
Cultural Critique ◽  
Contemporary Culture ◽  
Modern Life ◽  
Gothic Novel ◽  
Progressive Politics ◽  
The Family ◽  
Television Programme ◽  
Family Home ◽  
Screwball Comedy ◽  
Depression Era

This article argues that the property television programme, Love It or List It (2008–), employs conventions from the classic screwball comedy to both consolidate its position within the lucrative realty TV market – especially in response to the recent (2008) recession – and negotiate modern gender dynamics within the home. Its Depression-era (1930s) financial and aesthetic resonances are not incidental. And, as with much contemporary culture, this modern iteration of the screwball comedy is not discretely contained by medium or genre of influence: Love It or List It also borrows flourishes from documentary, tabloid TV, melodrama and the gothic novel. In keeping with its reference to a kind of baseball pitching style that is difficult for hitters to anticipate, the screwball’s tendency to suddenly switch course has been identified as its central means for engaging in cultural critique. Love It or List It as an exemplar of reality TV’s recombinant style is still very much like its cinematic predecessor: it has the adeptness to say many things to many audiences. This article makes no claims for Love It or List It’s progressive politics; rather, as with some classic screwball comedies, it explores the possibility that equivocating, shifting course or otherwise abandoning narrative logic register a profound ambivalence about marriage, coupledom and the family home as sacrosanct loci of modern life.

scholarly journals The responsibility of television programme planners

Comunicar ◽  
2005 ◽  
Vol 13 (25) ◽  
pp. 243-246
Author(s):  
Rafael Quintana-Garzón
Keyword(s):  
Self Regulation ◽  
External Factors ◽  
The Self ◽  
Television Programme

The discussion about the quality of television contents, which has so strongly arisen in recent years, provides both elements for optimism and aspects that foster a sceptical position at the same time. The good intentions of improving programmes and of protecting children and youngsters, which were stated in the self-regulation rules signed in Spain in December of 2004, have come to nothing in the first months. The breaches of the code are frequent. Programme planners do not fully assume their responsibility and they blame external factors (such as the audience, the necessity of income from advertising or the lack of creativity) for the low quality of television products. It is appropriate to introduce the falsehood of such arguments on this point of the debate and to recall that television companies are the owners of the television that we consume. The possibilities of change will depend on the pressure that we, the users, are capable of exerting. El debate acerca de la calidad de los contenidos televisivos, que con tanta fuerza se ha generado en los últimos años, aporta elementos para el optimismo a la vez que aspectos que alimentan una posición escéptica. Los buenos propósitos de mejorar la programación y proteger a la infancia y la juventud, expresados en el Código de Autorregulación firmado en España en diciembre de 2004, se han visto frustrados en los primeros meses. Los incumplimientos del Código son numerosos. Los programadores no acaban de asumir su responsabilidad y echan la culpa a factores externos (audiencia, necesidad de ingresos publicitarios o falta de creatividad) para justificar la baja calidad de los productos televisivos. Resulta oportuno introducir en este punto del debate la falsedad de tales argumentaciones y recordar que los emisores son los dueños de la televisión que consumimos. Las posibilidades de cambio dependerán de la presión que seamos capaces de ejercer los usuarios.

‘Europudding’ or European co-production? The archaeology of the television series Eurocops (1988–94)

2021 ◽  
Vol 12 (2) ◽  
pp. 149-163
Author(s):  
Alice Jacquelin
Keyword(s):  
Public Service ◽  
Narrative Structure ◽  
Crime Fiction ◽  
European Identity ◽  
Cultural Sovereignty ◽  
The North ◽  
American Hegemony ◽  
Television Programme ◽  
The Media ◽  
Tv Show

This chapter examines the case of Eurocops, a crime TV show produced by the European Coproduction Association – composed by one private and six public service broadcasting (PSB) channels of seven European countries – from 1988 to 1994 (71 episodes). Although it is one of the first European co-productions of its kind, Eurocops was a critical and commercial fiasco: what were its faults? Following Ib Bondebjerg’s methodology, this article aims at exploring the failure of this ‘Europudding’. The first section places Eurocops in the media landscape of the late 1980s and explains why this series can be considered as a ‘Europudding’ trying to enforce Europe’s cultural sovereignty against the North American hegemony. The second section analyses how the decentralized PSB production of Eurocops implied the use of an inconsistent narrative structure making the single episodes appear as part of a loose ‘collection’ of crime fiction. This partly explains the lukewarm critical reception of this television programme. The third section examines the cultural meaning of the series and is based on the analysis of the 48 episodes we had access to (through the INA French archives). The lack of transnational ‘encounters’ or dialogues – compared to other more recent cop shows such as The Team, The Killing and The Bridge – reveals the absence of a strong European identity at the time of production.

Creating a Community

2010 ◽  
Author(s):  
Niall Sharples
Keyword(s):  
Nineteenth Century ◽  
Family Member ◽  
Bronze Age ◽  
Field Work ◽  
Late Bronze Age ◽  
National Museum ◽  
Metal Detector ◽  
Direct Relevance ◽  
Television Programme

In the summer of 1979, when I was working on my undergraduate dissertation in the National Museum, I became involved in an interesting piece of field-work that has direct relevance to the material that we are going to examine in this chapter. A Mrs MacDonald came into the museum to enquire whether some objects she had in her possession were of any archaeological significance. She had been encouraged to make this visit by a recent television programme where the presenter discussed and exhibited objects that were similar to those in her possession. She explained to the curator that the objects had been found by a family member during ploughing and had been kept in the kitchen drawer for the last two decades, though they were often brought out for the children to play with. She then removed, from her shopping bag, a gold bracelet and a gold ‘dress fastener’ of distinctive Late Bronze Age type. This had the immediate effect of rendering the museum curator speechless—these were in the days before metal detecting had become a popular hobby, and new finds of this significance were seldom made. The most recent discovery of comparable objects was in the nineteenth century. Further discussion of the nature of the discovery revealed that the location of the find was still remembered; it was just behind the farmhouse. It was also thought that other objects were discovered at the time, but these were discarded, as they were not so interesting. As there was a possibility that objects were still present in the field it was decided that a team would be sent by the museum to explore the finds location. I was dispatched, with two other students then working in the museum, and a metal detector, purchased specially for the occasion, to see what we could find. I have to say that metal detecting must be one of the most boring pastimes ever invented. In our youthful enthusiasm, we decided to be thorough and systematic. We set out a grid that covered the area where the gold had been discovered and began work.

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