Film and the Other Video Contents (TV program and Internet Video)

2020 ◽  
pp. 115-144
Author(s):  
Takashi Uchiyama
Keyword(s):  
The Other ◽  
Internet Video ◽  
Tv Program

Building Communities and Simulating the Nation: Politics of Engaging the “Other” in the First Season of Survivor Philippines

2010 ◽  
Vol 31 (1) ◽  
pp. 1-30
Author(s):  
Antonio P. Contreras
Keyword(s):  
The Philippines ◽  
Multiple Identities ◽  
Reality Tv ◽  
The Other ◽  
Institution Building ◽  
Theoretical Argument ◽  
Shared Meaning ◽  
Tv Program ◽  
Meaning System ◽  
Survival Of The Fittest

Modernist and integrationist theories tend to see the process of nation building as a “game” of surviving. However, the idea of a “surviving” nation, which is shaped according to the logic of the game of politics as domination, is antithetical to the organic processes of institution building consistent with the habitus of the diverse social formations which are found in the Philippines. In these organic spaces, a unified community is born not out of an idea of a subordinated “other” being eliminated, but of “others” being accommodated in the larger society. Survival is not an individualistic and Darwinian process of weeding out the weak, but as a communitarian invitation towards a shared meaning system that is drawn from positions of difference, in which the other is not subordinated, but is just different, and in which the idea of sovereignty is not colonizing the sense of autonomy of these different subjectivities. This theoretical argument will be supported by how the Philippine adaptation of the Survivor franchise, through the first season of the reality TV program Survivor Philippines, has effectively confronted the western construct inherent in the very idea of the game, as seen on how it is played in its American versions. How the game was played, crafted and interpreted in its Filipino version has challenged the Machiavellian concept of politics, and the Darwinian idea of survival of the fittest. This is done by depicting the process of building communities from the fragments of multiple identities as one in which the politics of conflict and contestation is resolved not towards elimination and assimilation of the defeated weaker “other,” but of accommodation and tolerance of those who are just different.

scholarly journals The children's tv and adolescents with camera by hand

Comunicar ◽  
2005 ◽  
Vol 13 (25) ◽  
Author(s):  
Vânia-Lúcia Quintão-Carneiro
Keyword(s):  
Data Collection ◽  
The Other ◽  
Open Channels ◽  
Lower Income ◽  
De Re ◽  
Starting Point ◽  
Tv Program ◽  
Distrito Federal ◽  
Internet Games ◽  
Made In

The objective of this research was to investigate the perception of 424 children and teenagers about the programs they watch on tv, and what kind of programs they would produce if they had a camera on their hands. The data collection was made in 12 schools of Distrito Federal, attended by students who belong to medium and lower income classes. A questionnaire was presented to the students, who were asked to elaborate individually some audiovisual instructions with drawings (storyboard). The starting point to the elaboration of the instructions by the kids and teens was the question: What tv program would you make if you had a camera on your hands? This paper presents the analysis of the answers of the children and teenagers about the question above, as well as the other questions in the questionnaire, so that it was possible to observe which kind of relation they have with the television and which tv storyboards they would like to watch in the open channels. Hoje opçõesculturais e de lazer como TV a cabo, internet, games, dvds e conquistam crianças e adolescentese limitam a audiência de programas em TV aberta.No Brasil, essas mídias são acessíveis apenasàsclasses média e média alta. Para a maioria das crianças e adolescentes brasileiros, o acesso à diversão e à informação midiáticas restringe-se à televisão aberta. A qualidade dessa programação gratuita e a quantidade de horas diárias que o público infanto-juvenil se dedica a consumi-la têm preocupado educadores, pais, pesquisadores e até autoridades governamentais. Há um debate nacional sobre regulação e responsabilidade social das emissoras de TV. Esta pesquisa indaga crianças e adolescentes sobre o quepensam daprogramação da TV abertao que gostam e não gostam, o que propõem. Espera contribuir para reflexão sobre inovação de produção televisiva atenta às diferenciações sociais e culturais e ao desejo de crianças e adolescentes de divertir e de aprender mais sobre si e seu mundo. Situa na perspectiva desses sujeitos consumidores e cidadãos, que passam várias horas diante da TV, têm diferentes modos de ver, constroem representações, mundos imaginários. O objetivo desta pesquisa foi investigar as percepções de (250) crianças e adolescentes sobre a programação que assistem e sobre o que produziriam para TV se tivessem uma câmara na mão. O estudo partiu do princípio de que os sujeitos pesquisados conheciam a programação e a linguagem da TV, além de levar em consideração que a escola seria um espaço de re-elaboração de experiências midiáticas. A coleta dos dados foi realizada em 7 (sete) escolas públicas do Distrito Federal freqüentadas por estudantes de médio e baixo poder aquisitivo. Um questionário foi aplicado aos estudantes que também foram solicitados a elaborar individualmente um roteiro audiovisual com desenhos (tipo storyboard). A aplicação desses instrumentos de pesquisa ocorreu como uma atividade curricular de reflexão e discussão sobre televisão. O ponto de partida para a elaboração do roteiro pelas crianças e adolescentes foi a questão: Que programa de TV fariam se tivessem uma câmara na mão? Este trabalho apresenta as análises das respostas das crianças e adolescentes a essa questão, bem como às outras perguntas do questionário o que permitiu observar qual a relação que eles mantém com a televisão e quais roteiros de programas de TV que eles gostariam de ver em exibição nos canais abertos.

Speech Acts in the Apprentice Asia TV Program

2015 ◽  
Vol 12 (2) ◽  
Author(s):  
Muhammad Reza Pahlevi ◽  
Amrin Saragih ◽  
Anni Holila Pulungan
Keyword(s):  
Key Words ◽  
Speech Acts ◽  
Speech Act ◽  
Task Type ◽  
The Other ◽  
Dominant Type ◽  
Other Hand ◽  
Tv Program

This study is concerned with the use of speech acts in The Apprentice Asia TV program. The objectives of this study were to describe, to explain the types of speech acts used by the host, advisors and contestants of The Apprentice Asia, and the reasons. The findings of this study showed that all types of speech acts, namely representative, directive, commissive, expressive and decalarative were used by the host and contestants, while the advisors did not use expressive and declarative. The dominant type of speech act used by the host was directive, while the advisors and contestants dominantly used representative speech act. The participants performed them by direct, indirect, literal and non-literal way. There were some reasons of using types of speech acts used by all participants. In order to get information from other participants about the performances of the contestants in running the task, type of speech acts used by the host was directive in the form of questioning. On the other hand, the advisors and contestants were the participants whose informations required by the host. Therefore, in responding what the host asked to them, they performed their speech acts through representative in the forms of informing. Key words : Apprentice Asia; Speech Acts;and TV program.

The Work of Art that Observes Itself: The Aesthetics of Interpassivity

2018 ◽  
Author(s):  
Robert Pfaller
Keyword(s):  
The Other ◽  
Work Of Art ◽  
The Sublime ◽  
Tv Program ◽  
Psychoanalysis And Philosophy

This chapter starts with the example that triggered the discovery of interpassivity: TV-SitComs with ‘canned laughter’ - such as Two and a Half Men, The Munsters, Golden Girls and so on. Is it possible that some observers prefer not laughing themselves and seeing their pleasure vicariously fulfilled by the TV program? What can this tell us about pleasure? Why do some people not want to have their pleasure themselves? And if so, why are they still so interested in seeing it experienced by some vicarious agent (a TV program, a friend, an animal, a machine and so on)? The chapter investigates the ethic and aesthetic questions that follow from this, with some guidance from psychoanalysis and philosophy - for example, the necessity of the other in Kant's aesthetics of the sublime, or Ludwig Wittgenstein’s famous investigation whether one can feel pain in someone else’s leg.

On the functions of sort of in New Zealand TV programs

2019 ◽  
Vol 29 (1) ◽  
pp. 33-61
Author(s):  
Peyman G. P. Sabet
Keyword(s):  
New Zealand ◽  
The Other ◽  
Media Discourse ◽  
Media Communication ◽  
Effective Media ◽  
Current Affairs ◽  
Tv Program ◽  
Range Of Functions ◽  
The Media ◽  
A Current

Abstract Sort of is a pragmatic particle with a range of functions in different contexts. There are different factors which can contribute to its varied functions. Focusing on the media discourse, this study investigates the frequency and pragmatic functions of sort of in New Zealand English. Based on the analysis of the data from a current affairs TV program, the study shows that sort of is a pragmatic particle under-used in this discourse type. The analysis of its pragmatic functions demonstrates that right amount of information and mitigation fulfill a substantial proportion of sort of functions. The other two functions, avoidance and discourse management, are less frequent, but still perform important roles in effective media communication.

scholarly journals Rasa Lokal Rejeki Internasional: “Betul, Betul, Betul" Aspek Ekonomi Politik dalam Kartun Animasi Upin & Ipin

2012 ◽  
Vol 1 (5) ◽  
pp. 419
Author(s):  
Aloysius Ranggabumi Nuswantoro
Keyword(s):  
Political Economy ◽  
Business Strategy ◽  
Media Analysis ◽  
The Other ◽  
Right To Know ◽  
Political Economy Of Media ◽  
Tv Program ◽  
Cartoon Animation ◽  
Is Value ◽  
Real Strength

TV program is value laden. There were backgrounds, business strategy, political interest, etc which is called Political Economy of Media. Analysis to Political economy of media will show the facts/interest behind the program. In the other side, public has right to know and to inform the information clearly even the background. Upin & Ipin is popular cartoon animation for Malaysian even Indonesian. It is value laden of civics, ethnicity, capital and also culture infiltration. Upin & Ipin apply the concept of commodification, spasialization and structurazion successfully based on Malaysia value. Upin & Ipin is the real strength not only to Malaysia even the near country.

scholarly journals Tatyana Tolstaya’s Automyth

2020 ◽  
Vol 26 (4) ◽  
pp. 52-59
Author(s):  
M. D. Bryzgalova ◽  
Keyword(s):  
Social Role ◽  
World Order ◽  
The Other ◽  
Daily Routine ◽  
Common Features ◽  
Creative Strategy ◽  
Literary Reputation ◽  
Tv Program ◽  
The One ◽  
Creative Role

The article analyses the character of the automyth, created by T. Tolstaya, and its dependence on the creative roles, chosen by the writer (journalist, professor, TV-presenter, blogger). Common features of the writer’s automyth and its particular components, which vary according to the chosen creative role, are revealed. As a journalist, Tatyana Tolstaya creates an image of a harsh, contemptuous writer, who expresses her opinion dogmatically. This image has a major impact on her literary reputation and remains in the following creative roles, bur becomes more variable and multiple. In the TV-program “School for Scandal” Tatyana Tolstaya appears to be, on the one side, arrogant, contemptuous and rude, and on the other side, truly concerned about her interlocutor. However, the writer is interested in daily routine and meanwhile she is concerned with questions of the world order, which subsequently will be important for her autobiographical heroine. In blogs (on Facebook and LiveJournal) the writer’s image is equally ambivalent: on the one side, she exists in everyday life, but also sees the worlds, which adjoin the ordinary reality, and interacts with them. On the other side, her image is sarcastic and openly provocative. As a professor, Tatyana Tolstaya has no orientation to negative perception, which comes naturally to this social role. The analysis concludes that the automyth construction is not only an important part of the writer’s creative strategy, but also a way to create the new prose, which is autofictional.

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