Translating “l’esprit Canal” into comedy screenplays: Canal+’s role in the development of French comedy film trends

2021 ◽  
Vol 46 (3) ◽  
pp. 329-354
Author(s):  
Isabelle Vanderschelden
Keyword(s):  
Television Shows ◽  
The Media ◽  
French Comedy ◽  
Comedy Film

This article retraces the trajectories of three selected groups of comedy actors, screenwriters, and directors discovered on Canal+ in the context of the evolution of the media group’s policies for comedy development practices for cinema. The article focuses on artists and television shows that served as platforms for entry into the cinema, including “Les Nuls,” “Les Robin des Bois,” Jamel Debbouze and Philippe Lacheau’s “La Bande à Fifi.”

Visualizing Winchester: a brand history through iconic Western images

2018 ◽  
Vol 10 (4) ◽  
pp. 383-419 ◽  
Author(s):  
Terrence H. Witkowski
Keyword(s):  
Twentieth Century ◽  
Visual Culture ◽  
Cultural Analysis ◽  
Primary Data ◽  
Content Type ◽  
Wild West Shows ◽  
Television Shows ◽  
Lever Action ◽  
The Media ◽  
Heroic Narrative

Purpose This paper aims to present a visually documented brand history of Winchester Repeating Arms through a cultural analysis of iconic Western images featuring its lever action rifles. Design/methodology/approach The study applies visual culture perspectives and methods to the research and writing of brand history. Iconic Western images featuring Winchester rifles have been selected, examined, and used as points of departure for gathering and interpreting additional data about the brand. The primary sources consist chiefly of photographs from the nineteenth century and films and television shows from the twentieth century. Most visual source materials were obtained from the US Library of Congress, the Smithsonian Institution, the Buffalo Bill Center of the West and the Internet Movie Firearms Database. These have been augmented by written sources. Findings Within a few years of the launch of the Winchester brand in 1866, visual images outside company control associated its repeating rifles with the settlement of the American West and with the colorful people involved. Some of these images were reproduced in books and others sold to consumers in the form of cartes de visite, cabinet cards and stereographs made from albumen prints. Starting in the 1880s, the live Wild West shows of William F. Cody and his stars entertained audiences with a heroic narrative of the period that included numerous Winchesters. During the twentieth century and into the present, Winchesters have been featured in motion pictures and television series with Western themes. Research limitations/implications Historical research is an ongoing process. The discovery of new primary data, both written and visual, may lead to a revised interpretation of the selected images. Originality/value Based largely on images as primary data sources, this study approaches brand history from the perspective of visual culture theory and data. The research shows how brands acquire meaning not just from the companies that own them but also from consumers, the media and other producers of popular culture.

Turkey’s failed coup as an ‘ongoing media event’ and the formation of public affect

2018 ◽  
Vol 41 (1) ◽  
pp. 149-157 ◽  
Author(s):  
Ergin Bulut ◽  
Başak Can
Keyword(s):  
The Political ◽  
National Unity ◽  
The Past ◽  
Political Work ◽  
Television Shows ◽  
The Media ◽  
Pedagogical Relationship ◽  
Media Event ◽  
Coup Attempt

Following the coup attempt in Turkey, former Gulenists made appearances on various television channels and disclosed intimate and spectacular information regarding their past activities. We ask: what is the political work of these televised disclosures? In answering this question, we situate the coup within the media event literature and examine the intimate work of these televised disclosures performed as part of a media event. The disclosures we examine were extremely spectacular statements that worked to reconstruct a highly divided and polarized society through an intimate language. Consequently, these television performances had two functions: ideological and affective. First, these disclosures and television shows chose to foreground sensation and therefore mystified the illegal networks that historically prepared the coup. Second, using a language of regret and apology, these disclosures aimed to teach the audience how to be purified and good citizens through a mediated, pedagogical relationship. Within the vulnerable context of a hegemonic crisis, these disclosures intended to form their own publics where citizens were invited to sympathize with those who made mistakes in the past, ultimately aiming to create national unity and reconciliation.

scholarly journals Cosplay on Demand? Instagram, OnlyFans, and the Gendered Fantrepreneur

2021 ◽  
Vol 7 (3) ◽  
pp. 205630512110423
Author(s):  
Lauren Rouse ◽  
Anastasia Salter
Keyword(s):  
Economic Viability ◽  
Sample Analysis ◽  
Digital Platforms ◽  
Brand Building ◽  
On Demand ◽  
Television Shows ◽  
History Of ◽  
The Media ◽  
Favorite Television

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.

10. The letterless canon

2021 ◽  
pp. 104-111
Author(s):  
Ilan Stavans
Keyword(s):  
Twentieth Century ◽  
Popular Culture ◽  
Graphic Novels ◽  
Jewish Literature ◽  
Comic Strips ◽  
Stand Up Comedy ◽  
Television Shows ◽  
Comedy Film ◽  
Film Scripts ◽  
The Way

“The letterless canon” argues that Jewish literature from the mid-twentieth century onward is not restricted to fiction, poetry, and theater. The book as a tool for the dissemination of knowledge has undergone a metamorphosis. Along the way, the border between high-brow and popular culture has been erased. Comic strips like Superman and graphic novels can be viewed as literary artifacts. Indeed we should consider the work of Will Eisner (A Contract with God), Art Spiegelman (Maus), and Alison Bechdel (Fun House), each of whom offers different contributions. There is also the matter of stand-up comedy, film scripts, and television shows which examine, from a Jewish perspective, gender, racial, and class issues.

scholarly journals Le discours médiatique parlé et la norme en français

2021 ◽  
Vol 13 (1) ◽  
pp. 35-50
Author(s):  
Primož Vitez
Keyword(s):  
Language Change ◽  
Visual Media ◽  
Language History ◽  
Television Shows ◽  
Short Period ◽  
Single Speaker ◽  
The Media ◽  
Vocal Intensity ◽  
Language Strategies ◽  
The Impact

The system of French accentuation is a relevant case of a language change, observable in a relatively short period of time in a stable synchrony. Since the mid-twentieth century, the formation of linguistic norms has largely depended on a specific type of utterance, media discourse, continually available in spoken audio-visual media. The impact of spoken media on the development of linguistic expression in the last few decades is unprecedented in language history. It is based on a communicational model in which speech is produced by a single speaker and instantly perceived by a multitude of receivers who have no possibility of intervening in the communicational process. Thus the receivers are passively exposed to an exclusive speaker and to language strategies conceived by the media and its linguistic authority. The analysis of two professional spoken interventions, uttered on French television, shows an important modification of the traditional accentual system: conserving the final accent (FA), the speakers systematically introduce an initial accent (IA), a landmark in the evolution of the French language and its normative features. The IA affects the first syllable of a stressed lexeme or the first syllable of an extended accentual unit, regardless of the syntactic function of the stressed morpheme. The FA is operated by the intonational action, while the IA seems to be realized by an accentual augmentation of vocal intensity. The automatism of lexical stressing is generating a systematic accentuation of the first syllable of the accentual unit. The IA mostly affects lexemes that speakers insist on because of their informative value (numerals, adverbs, proper names), but an important part of IA concerns different proclytics, such as deictic elements, articles and determinants. Accentual limitation of the unit on both sides is a specific feature of the speech in French audio-visual media. In recent decades it has found its echo in the normative speech of French linguistic communities.

scholarly journals Mediamorfosis Industri Media Televisi: Studi Lembaga Bisnis EMTEK pada Platform Digital vidio.com

2021 ◽  
Vol 1 (1) ◽  
pp. 1
Author(s):  
Achmad Budiman Sudarsono ◽  
Helen Olivia
Keyword(s):  
Digital Media ◽  
Free Market ◽  
Business Strategies ◽  
Digital Television ◽  
Media Industry ◽  
Television Programs ◽  
Mobile Media ◽  
Television Shows ◽  
Technological Developments ◽  
The Media

Changes in communication technology are currently changing the behavior of society in general, this is indicated by the use of mobile media, which has been used as a communication medium, is now used as a medium for watching television programs. This mediamorphosis phenomenon is used by MNC Group and Emtek Group to transform conventional media into digital media. This change encourages media owners to make digital changes in the broadcasting sector in Indonesia. The MNC group has digital television broadcasting under the name MeTube, while the Emtek group has the name Vidio.com. Not many televisions in Indonesia have changed conventional media broadcasting to digital media, benefiting the MNC group and the Emtek group. The perspective of this study is referred to as a channel for the process of exchanging commodities in the free market in order to compete and provide benefits and satisfaction to the public. As for this study using a qualitative method with a constructivist paradigm, while the aim of the researcher is to try to explore the problem of changes made by the media industry from conventional to online streaming broadcasts that change people to watch television shows anywhere. While the results of this study are changes in technological developments, especially communication and information technology, giving impetus to the media to change their business strategies. With the development of convergence technology, media are required to adapt by distributing content through many platforms at the same time as the current media industry terminology changes.

Introduction: Nordic Genre Film and Institutional History

2015 ◽  
pp. 1-18
Author(s):  
Tommy Gustafsson ◽  
Pietari Kääpä
Keyword(s):  
Popular Culture ◽  
Small Region ◽  
Institutional History ◽  
Global Consciousness ◽  
Film And Television ◽  
Television Shows ◽  
Danish Version ◽  
The Media ◽  
The Uk ◽  
The Guardian

The demand for all areas of Nordic film and television culture outside the borders of the Nordic countries may come as no surprise. The popularity of television shows such as The Killing (Forbrydelsen, 2007) and The Bridge (Bron|Broen, 2011) both domestically and internationally have increased the profile of Nordic media while the crime novels of Henning Mankell and Stieg Larsson have penetrated the American market – the barometer for global Commercial ‘relevance’. The Guardian in the UK has published several articles on the craze, noting how the protagonist of the original Danish version of The Killing, detective Sarah Lund, has become an unlikely fashion icon with her knitted sweaters. While a certain type of Nordic film – the existential artistry of a Dreyer, a Bergman or a Kaurismäki – has existed at the periphery of this global consciousness, such perceptions are clearly shifting as the contemporary situation seems to be more characterised by Nordic contributions to global popular culture instead of the more traditional frameworks of artistic or experimental relevance. How did we get to this situation? In short, how did the media products of this small region of the world become part of global popular culture?

scholarly journals Broadcasting Applications of Local Wisdom Character on Coastal Environment in Communication Media

2019 ◽  
Vol 125 ◽  
pp. 09007
Author(s):  
Riris Tiani ◽  
M. Suryadi
Keyword(s):  
Negative Impact ◽  
Verbal Abuse ◽  
Talk Shows ◽  
Television Programs ◽  
Broadcast Regulation ◽  
Television Shows ◽  
Depth Interview ◽  
The Family ◽  
The Media ◽  
Advertising Content

This study aims to determine the effect of television shows on people's verbal behavior. Natnography used as a research method, to find out the types of television programs that are seen by many people of all ages. Cultural studies methods also used to determine the negative impact of television broadcast content. How the influence of television shows on the style of public communication in forming the character of millennial society. In-depth interview techniques with KPID and representatives of national television stations. Based on research in the field, television shows are present for 24 hours in the family room. Culture that accepted in society that television has not become a spectacle but has become a demand. Broadcasting institutions control the formation of mental, social, and cultural. The results of this study include many Impoliteness television shows. The reality in broadcasting shows that FTV content, talk shows, and advertisements have the most verbal abuse (VA) frequencies. Form (VA) is dominated by abuse, swear, invective, and (nonVA). 60% of the broadcasting composition in the media must be educative with local wisdom, 20% national or international public broadcasting, 20% broadcast advertising content. Forms of impertinence are influenced by frequency, television cognition, and broadcast regulation.

Building identity in humorous media interactions

2015 ◽  
Vol 5 (1) ◽  
pp. 107-127
Author(s):  
Stanca Măda
Keyword(s):  
The Other ◽  
Relational Identity ◽  
Television Shows ◽  
The Media

This article presents an analysis of conversational humour (Attardo 1994) occuring in two Romanian television shows with the purpose of demonstrating that journalists use humour to build their own identity in relation to their interlocutors and to their audience. The types of strategic moves identified in media situational humour are two-fold: one directed at a participant in the conversation, having the potential of biting; the other that is directed at an absent other (in this case, the audience), having the potential of bonding (Boxer and Cortes-Conde 1997, 275). A relational identity is developed among participants in conversational joking which can be identified and described in accordance with the communicative norms and expectations that are considered appropriate in the media context in which individuals interact.

scholarly journals Quality Standards or Censorship? Language Control Policies in Cable TV Subtitles in Brazil

2013 ◽  
Vol 57 (2) ◽  
pp. 464-477 ◽  
Author(s):  
Carolina Alfaro de Carvalho
Keyword(s):  
Quality Control ◽  
Cable Television ◽  
Service Providers ◽  
Quality Standards ◽  
Military Regime ◽  
Cable Tv ◽  
Television Shows ◽  
History Of ◽  
The Media ◽  
Language Control

This study seeks to understand the origins and reasons behind the grammar and style guidelines elaborated by Brazilian broadcasters and video producers and applied to the translated subtitles of cable television shows. The language of the translation is often controlled, and coarse or scatological vocabulary tends to be curbed or avoided, among other restrictions. Brazil was under a military regime from 1964 to 1985, when the media was subjected to strict censorship. Could it be that this heritage still casts a shadow over current policies applied to audiovisual translation (AVT)? To approach this issue, this study outlines the history of censorship applied to content and language during the Brazilian military regime, describes the evolution of the AVT industry in the context of cable television in Brazil, and finally conveys first-hand insights and experiences on language control by quality control professionals. The ultimate goal is to bring these rulemaking processes to light, in an attempt to help improve the dialogue between end clients and service providers, for the benefit of the viewers.

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