scholarly journals What Are We Drinking? Beverages Shown in Adolescents’ Favorite Television Shows

2017 ◽  
Vol 117 (5) ◽  
pp. 763-769 ◽  
Author(s):  
Marla E. Eisenberg ◽  
Nicole I. Larson ◽  
Sarah E. Gollust ◽  
Dianne Neumark-Sztainer
2021 ◽  
Vol 7 (3) ◽  
pp. 205630512110423
Author(s):  
Lauren Rouse ◽  
Anastasia Salter

Fan producers engaged in monetization, or what Suzanne Scott has termed “fantrepreneurs,” struggle with legal mechanisms for brand-building given the limitations of both copyright and platform moderation. These challenges have been amplified during the COVID-19 pandemic, which has fundamentally changed the way that cosplayers, or fans who dress up as characters from their favorite television shows or movies, market themselves in an increasingly online space, as opposed to their initial public platforms of conventions. Restricted by digital platforms and their various moderation and monetization methods, cosplayer fantrepreneurs have developed new, multi-platform methods for sustaining their content and community connection. One prominent platform significant to this turn is OnlyFans, which is billed as a “peer-to-peer subscription app,” and allows users to “Sign up and interact with your fans!” Through a sample analysis of 50 cosplayers, this case study considers the approaches of cosplayers on integrating OnlyFans as part of a multiplatform struggle for economic viability. When we contextualize this platform labor in the history of cosplay, we note the hypersexualized labor that has always been central to monetization in this space, and the media franchise exploitation that profits from that labor at the expense of the fan producer, demonstrating the fundamental, gendered exploitation of the trend toward a patronage economy.


Author(s):  
Leire Ugalde Lujambio ◽  
María Concepción Medrano Samaniego

Abstract:According to data published in prior research projects, television is emerging as a socializing influence which mediates with family and school in the transmission of values during the socialization of young people. However, there is as yet no consensus regarding what kind of values are actually transmitted and whether or not they coincide with the values that other first-order socializing influences (family and school) aim to transmit to young people. In order to provide information that may help generate knowledge regarding this study aim, this paper seeks to explore the similarities and differences observed in the way that 565 adolescents from Guadalajara (Mexico), Dublin (Ireland), Donostia/San Sebastián and Malaga (Spain) perceive values in the characters from their favorite television shows. Participants were all secondary school students aged between 14 and 19, and the instrument used to record the values perceived in the characters from their favorite television shows was the Value Domain Scale (VAL-TV 0.2). Results were compared in accordance with city and sex. The findings indicate that there are more similarities than differences in the values perceived by adolescents of both sexes from different cities. Nevertheless, one of the cities studied, Dublin, was found to differ more notably from the others; and in relation to sex, adolescent girls from all cities scored higher than boys in the values studied. Finally, the ranking of perceived values was the same for all cities and both sexes, with those referring to openness to change (independence of action and thought) scoring highest in both cases. This was followed by self-transcendence (collective wellbeing), self-promotion (one own interests) and, finally, conservatism (safety and order).Keywords: values, adolescents, television.Resumen:La televisión, de acuerdo a los datos disponibles de investigaciones previas, se erige como un agente socializador que media con la familia y la escuela a la hora de trasmitir valores en el proceso socializador de nuestros jóvenes. Sin embargo, no existe consenso a la hora de asegurar qué tipo de valores son los que trasmite y si éstos, coinciden o no con los valores que los otros agentes socializadores de primer orden (familia y escuela) objeto de estudio, el presente trabajo se ha planteado conocer las diferencias y semejanzas presentadas en la percepción de valores en el personaje de su programa favorito de 566 adolescentes de Guadalajara (México), Dublín (Irlanda), Donostia/San Sebastián y Málaga (España). Para ello, se ha utilizado la Escala de Dominios de Valores (VAL-TV 0.2), recogiendo los valores percibidos en el personaje de los programas favoritos de estudiantes de secundaria de edades comprendidas entre los 14 y 19 años. Además, se han realizado comparaciones en relación a la ciudad y el sexo de los participantes. Los resultados indican que existen más semejanzas que diferencias en los valores percibidos por los adolescentes de diversas ciudades y distinto sexo. Sin embargo, entre las ciudades estudiadas es Dublín, la que en mayor medida se diferencia de las demás y en lo que al factor sexo se refiere, son las mujeres en todos los casos, las que obtienen puntuaciones más altas que los hombres en los valores estudiados. Por último, el ranking de valores percibidos ha sido el mismo por ciudades como por sexos, presentándose en ambos casos con mayor puntuación los valores referidos a la apertura al cambio (independencia de acciones y pensamientos), seguidos de la autotrascendencia (bienestar colectivo), la autopromoción (intereses propios) y en último lugar el conservadurismo (seguridad y orden).Palabras clave: valores, adolescentes, televisión.


2013 ◽  
Vol 15 ◽  
Author(s):  
Christina Savage

Fans rarely have the opportunity to affect the production of their favorite television shows, but sometimes they can save them. "Save our show" campaigns provide an example of fan labor that can influence the decision to renew or cancel a show. These campaigns have previously appeared as fans wrote to the networks en masse and sent in paraphernalia related to the show. The "Finale and a Footlong" "save our show" campaign for NBC's Chuck (2007–12) demonstrates a change in the way that fans understand their role in television consumption and production. By examining this campaign and situating it within a history of these types of campaigns, we can see how the "save our show" campaign for Chuck emphasizes the role of fan as both television viewer and advertisement consumer in a way that privileges the power of the fan as never before.


Author(s):  
Laramie D. Taylor

Research has shown that thoughts about death influence sexual cognitions and some media choices. The present study tested the hypothesis that thoughts about death may affect individuals’ tendency to select or avoid entertainment media programming containing sexual material. In two experiments, thoughts about death (mortality salience [MS]) were manipulated before college undergraduates expressed interest in viewing television shows and movies with varying amounts of sexual content. In both studies, MS was associated with greater overall interest in sexual media content. Although terror management theory would indicate that sexual worldview should moderate this effect, this was not observed to be the case. In addition, MS was not found to affect interest in other types of highly engaging media content including violent and dramatic content. Limitations regarding generalizability are discussed. Results suggest that MS increases a preference for sexual media content, and that this occurs for individuals with diverse sexual values systems. This is discussed in terms of implications for terror management theory and cognitive models of media influence.


2013 ◽  
Vol 221 (2) ◽  
pp. 90-97 ◽  
Author(s):  
John L. Sherry

Millions in taxpayer and foundation euros and dollars have been spent building and testing educational video games, games for health, and serious games. What have been the fruits of this frenzy of activity? What educational video game has had the reach and impact of Sesame Street or Blues Clues television shows? By comparison, the Children’s Television Workshop (CTW) managed to get Sesame Street off the ground within a couple of years, writing the basic scientific literature on educational media design in the process. Not only is Sesame Street well known and proven, it laid the basis for every effective educational show to follow. This article explores the differences between the CTW scientific approach to educational media production and the mostly nonscientific approach consuming so many resources in the educational games, games for health, and serious games movements. Fundamental scientific questions that remain unanswered are outlined.


2007 ◽  
Author(s):  
Kelsey Lyle ◽  
Holly Dyson ◽  
Kendall Moriarty ◽  
Jennifer Ruh Linder

2020 ◽  
Vol 9 (1) ◽  
pp. 111-115
Author(s):  
Oscar A. Mejía ◽  
Kent A. Ono

Representations of undocumented people on television shows such as The Fosters can impact how audiences understand contemporary issues concerning sanctuary and migrants. In this Critical Intervention forum essay, we examine the intricate representation of Ximena, a Latinx woman, and her struggle as an undocumented person who takes up sanctuary in a church to avoid being arrested by US Immigration and Customs Enforcement. This televisual representation of Ximena highlights the need to incorporate the complexity of undocumented people's experiences into mainstream narratives. As activist scholars, in this brief essay we support, critique, and contextualize representations of undocumented people and sanctuary as part of the work that needs to be done to help challenge dehumanizing representations, laws and policies, and actions.


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