scholarly journals Splash and Bubbles for Parents App: Station Study Report

2021 ◽  
Author(s):  
Tiffany Leones ◽  
Danae Kamdar ◽  
Kayla Huynh ◽  
Melissa Gedney ◽  
Ximena Dominguez

This report, prepared for The Jim Henson Company, shares findings of a sub-study investigating the types of support parents and caregivers need when navigating and using the second-screen Splash and Bubbles for Parents app. This study originated from a prior field study finding indicating families would benefit from support around the app since it represents a new kind of digital tool. In partnership with local Public Broadcasting Service (PBS) stations, we provided parents and caregivers more detailed support around the features of the app. Based on survey and interview findings, parents and caregivers found the app helpful for supporting their children’s science learning, thus validating the field study findings. We also found that all sections of the app were used and could help promote conversations between parent/caregiver and child. Moreover, families expressed choosing to use a specific app section when they felt it was more relevant or developmentally appropriate for their child.

2018 ◽  
Vol 11 (3) ◽  
pp. 84-100
Author(s):  
Angharad Valdivia

In this article I explore the Half the Sky (HTS) phenomenon, including the documentary shown on the Public Broadcasting Service (PBS) network in 2014. I explore how the girls in whose name the HTS movement exists are represented in relation to Nicholas Kristoff and six celebrity advocates. This analysis foregrounds Global North philanthropy’s discursive use of Global South girls to advance a neoliberal approach that ignores structural forces that account for Global South poverty. The upbeat use of the concept of opportunities interpellates the audience into participating in individualized approaches to rescuing girls. Ultimately girls are spoken for while celebrities gain more exposure and therefore increase their brand recognition.


1977 ◽  
Vol 8 (1) ◽  
pp. 28-32 ◽  
Author(s):  
E. Keith Byrd ◽  
P. Dianne Byrd ◽  
Conrad M. Allen

Determining the nature of television programming during prime time in 1976 as it relates to the depiction of disability was the purpose of this study. Two judges read program descriptions, each being responsible for six months of the programming year. Both judges held graduate degrees in Rehabilitation Counseling and have professional experience in work with various disabilities. Chi-square analyses were performed on network, program type, disability, days of the week, and months of the year. Significant results at p < .01 are reported for network, program type, and disability. The largest frequency of disability-related programs were presented by the Public Broadcasting Service and were news documentaries. Mental illness was depicted most frequently by the private networks, and the largest portion of programming depicting disability is of a dramatized or comedic nature. There is a need for educating viewers on the realities of disability along with entertainment.


2021 ◽  
Author(s):  
John E. Twomey

This book is very aptly named, for it was Alan Plaunt, more than any other individual, who set the philosophical and organizational foundations of the CBC and its progenitor, the Canadian Radio Broadcasting Commission. Plaunt's pivotal role in the genesis of public broadcasting in Canada was initially set out by Michael Nolan as his doctoral study for the University of Western Ontario where today Nolan teaches at the Graduate School of Journalism. CBC Enterprises published Nolan's work along with several other books in the fall of 1986 in celebration of CBC's 50 years of public broadcasting service. The 162 page narrative is enhanced by its thorough footnoting and seven pages of reference sources on Canadian broadcasting history.


Soul! was a publicly funded cultural affairs television program that aired for five seasons on Public Broadcasting Service affiliates in the United States from 1968 to 1973. Its first season aired on New York public television, and after that it was distributed nationally via the Public Broadcasting Service. A showcase for Black arts, culture, and politics, Soul! was closely associated with the producer and host Ellis Haizlip, a Black gay man, who emphasized a vision of “soul” culture that was eclectic, inclusive, and aligned with the radical political energies of the Black Power movement. Soul! provided a powerful platform for Black musicians and other artists and public figures at a time when their access to national TV was severely constrained. It also employed Black women in significant on- and off-camera roles and helped vault the poet Nikki Giovanni to national prominence. Filmed live in a small New York studio, Soul! included an in-studio audience within its representational frame, giving viewers an opportunity to see audiences reacting to guests. These guests ranged from the gospel singer Marion Williams to the soul singer Al Green; from the dancer George Faison to the spoken-word group The Last Poets; and from the activist and entertainer Harry Belafonte to Black Panthers leader Kathleen Cleaver. Other notable Soul! guests included Nation of Islam leader Louis Farrakhan, writer and activist James Baldwin, singer-actor Novella Nelson, and musicians including Labelle, Earth, Wind and Fire, Rahsaan Roland Kirk, Horace Silver, Gladys Knight and the Pips, and Valerie Ashford and Nick Simpson. As a Black-produced TV show aimed explicitly at Black audiences, Soul!’s trajectory was always precarious. Early funding for the show came from New York public broadcasting and the Ford Foundation, liberal institutions eager to support Black media in the wake of uprisings following Dr. Martin Luther King Jr.’s assassination. However, backlash to the Black Power movement—as represented by the election of “law and order” candidate Richard Nixon in the 1968 presidential election—translated into attempts to silence Black public media. Despite evidence that it resonated powerfully with Black viewers, the show was cancelled in 1973. Soul! inspired innumerable writers, performers, and technicians to seek opportunities in television. It set a mark for television that sought to entertain and educate, keeping an eye on diversity within the Black collective.


2015 ◽  
Vol 39 (1) ◽  
pp. 62-96 ◽  
Author(s):  
Izabela Kisić

For over a decade media legislation, controversial as it was, has been a matter of controversy in Serbia. It was only in 2011 that a newly adopted media strategy developed by European Union and Council of Europe criteria hinted at change for the better as it envisaged the amendment of the entire media legislation (about 18 laws). Consequently, three new laws were passed in 2014: on public information and the media; on broadcast media; and, on public broadcasting service. Ten laws are still pending – either to be amended or adopted. After the change of the regime in 2000, the media legislation was changed but not in line with a democratic value system. This specially refers to media freedoms. Repression against the media characteristic of the 1990s was replaced by “soft censorship” and self-censorship. Serbia’s media market is small and underdeveloped, and under strong influence of the government. The adopted strategy provides against state ownership of the media except in the case of the two public broadcasting services. Media outlets, especially electronic, are too many for such a limited media market; the state has a hand in media businesses in many ways, including subsidies and paid advertisements for large public enterprises. Non-transparent media ownership and money flow are among key problems of media transition.


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