Game-Show;

2021 ◽  
pp. 141-156
Author(s):  
Nicholas Brown
Keyword(s):  
PsycCRITIQUES ◽  
2004 ◽  
Vol 49 (Supplement 1) ◽  
Author(s):  
Ian M. Evans

2007 ◽  
Author(s):  
Robert Darren Brooks ◽  
Robert W. Faff ◽  
Daniel Mulino ◽  
Richard Scheelings

1988 ◽  
Vol 20 (6) ◽  
pp. 356B ◽  
Author(s):  
Maryfrances L. Marecic ◽  
Madeline Monaco

Comunicar ◽  
2005 ◽  
Vol 13 (25) ◽  
Author(s):  
Enrique Guerrero-Pérez

Television is entertainment. Nowadays the TV show business is identified to the concept of «trash television» to a greater extent. Nevertheless to entertain offering quality programmes is as respectable and necessary as to inform or educate. Among the immense miscellanea of entertainment genres, subgenres and formats, the game show stands out because of its noble spreading of values as the desire of being better and the stimulate of empathy and knowlodge. In spite of being in television since its birth, the game show has never disappeared of the schedule. The reason of this success is based on its structure and scheduling flexibility, its wide margins of profitability and on its capacity for involving to the audience in the programme itself. In Spain, the game show is one of the most frequent genres –since 1996, Spanish TV production companies have produced an average of more than 32 games each season, a number only overwhelmed by the local fiction (sitcoms and TV movies) - and its presence in the most watched programme ranking is constant in every television season. La televisión es fundamentalmente entretenimiento. Hoy día, el espectáculo televisivo se identifica en gran medida con la «telebasura». Sin embargo, entretener con un contenido de calidad debería ser considerada una labor tan respetable y necesaria como la de informar o educar. De entre la inmensa maraña de géneros, subgéneros y formatos de entretenimiento, el concurso destaca por la noble difusión de valores como el afán de superación y el estímulo de la empatía o el conocimiento. A pesar de haber estado presente en la pequeña pantalla desde el nacimiento del medio, nunca ha desaparecido de las parrillas televisivas. La razón del éxito radica en su flexibilidad de estructura y programación, los amplios márgenes de rentabilidad que permite y su capacidad para involucrar a la audiencia en el programa. En España, el concurso es uno de los géneros más producidos –desde 1996, las productoras españolas han producido una media de más de 32 concursos cada temporada, cifra exclusivamente superada por la suma de todos los géneros de ficción- y su presencia en el ranking de los programas más vistos es constante en todas las temporadas televisivas.


Author(s):  
Stefan Schiffer ◽  
Alexander Ferrein

In this work we report on our effort to design and implement an early introduction to basic robotics principles for children at kindergarten age.  The humanoid robot Pepper, which is a great platform for human-robot interaction experiments, was presenting the lecture by reading out the contents to the children making use of its speech synthesis capability.  One of the main challenges of this effort was to explain complex robotics contents in a way that pre-school children could follow the basic principles and ideas using examples from their world of experience. A quiz in a Runaround-game-show style after the lecture activated the children to recap the contents  they acquired about how mobile robots work in principle. Besides the thrill being exposed to a mobile robot that would also react to the children, they were very excited and at the same time very concentrated. What sets apart our effort from other work is that part of the lecturing is actually done by a robot itself and that a quiz at the end of the lesson is done using robots as well. To the best of our knowledge this is one of only few attempts to use Pepper not as a tele-teaching tool, but as the teacher itself in order to engage pre-school children with complex robotics contents. We  got very positive feedback from the children as well as from their educators.


Author(s):  
Mike Miley

This final chapter discusses how the election of Donald Trump to the presidency alters the importance and influence of game shows on American life. The chapter examines works by Chuck Barris, Donald Barthelme, Max Apple, Philip K. Dick, and Jonathan Lethem to explore whether America will ever be free from the game show’s grasp, and how citizens can take control of the Land of the Game Show if escape is impossible. The chapter argues that resistance comes in the form of challenging the increasing triviality of American politics, encouraging readers to demand meaningful exchanges.


Author(s):  
Gary Smith

Jeopardy! is a popular game show that, in various incarnations, has been on television for more than 50 years. The show is a test of general knowledge with the twist that the clues are answers and the contestants respond with questions that fit the answers. For example, the clue, “16th President of the United States,” would be answered correctly with “Who is Abraham Lincoln?” There are three contestants, and the first person to push his or her button is given the first chance to answer the question orally (with the exception of the Final Jeopardy clue, when all three contestants are given 30 seconds to write down their answers). In many ways, the show is ideally suited for computers because computers can store and retrieve vast amounts of information without error. (At a teen Jeopardy tournament, a boy lost the championship because he wrote “Who Is Annie Frank?” instead of “Who is Anne Frank.”A computer would not make such an error.) On the other hand, the clues are not always straightforward, and sometimes obscure. One clue was “Sink it and you’ve scratched.” It is difficult for a computer that is nothing more than an encyclopedia of facts to come up with the correct answer: “What is the cue ball?” Another challenging clue was, “When translated, the full name of this major league baseball team gets you a double redundancy.” (Answer: “What is the Los Angeles Angels?”) In 2005 a team of 15 IBM engineers set out to design a computer that could compete with the best Jeopardy players. They named it Watson, after IBM’s first CEO, Thomas J. Watson, who expanded IBM from 1,300 employees and less than $5 million in revenue in 1914 to 72,500 employees and $900 million in revenue when he died in 1956. The Watson program stored the equivalent of 200 million pages of information and could process the equivalent of a million books per second. Beyond its massive memory and processing speed, Watson can understand natural spoken language and use synthesized speech to communicate. Unlike search engines that provide a list of relevant documents or web sites, Watson was programmed to find specific answers to clues. Watson used hundreds of software programs to identify the keywords and phrases in a clue, match these to keywords and phrases in its massive data base, and then formulate possible responses.


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