Abe Road: Kuwata Keisuke’s Beatles Parody

In May 2009, when the Japanese LDP government was in a weakened position, Kuwata Keisuke, lead singer of popular rock band Southern All Stars, performed a parody of the Beatles’ Abbey Road on his weekly television show. Backed by a band performing an uncanny cover of the album, he rewrote the lyrics into commentary on corruption in Japanese politics, fiscal problems, the death penalty, and other political issues. This performance was highly unusual: Japanese recording artists rarely engage in politics. The recording and broadcast industries disallow lyrics on controversial topics, and management discourages artists from engaging in politics. Kuwata staged his rebellious gesture as a “mishearing” of a well-known album. Kuwata transformed Abbey Road into political parody through linguistic sleight of hand. Kuwata chose Japanese lyrics with similar vowels and consonants (as demonstrated by their proximities on the International Phonetic Alphabet) to make them sound like the original English lyrics. By presenting his acrid commentary as a parody of this much-loved album and thus framing it as humorous entertainment, Kuwata was able to publicly criticize Japanese politicians.

Commodifying Tragedy

By focusing on the representation of violence against Native American women in Craig Johnson’s "The Cold Dish" and the television show "Longmire," this article demonstrates how these cultural productions perpetuate settler-colonial power relations. Although Longmire is one of the more progressive shows thanks to its development of Native American characters and storylines, the settler-colonial status quo is affirmed in four main ways. Not only do the novel and TV show redeploy the racist stock characters of the Magical Indian and the White Savior, but the TV show especially also reiterates a version of the stereotypical Vanishing American narrative inherited from the Western genre. Furthermore, both cultural productions heavily pathologize the Cheyenne community, depriving them of agency. Finally, the novel and show both transform pain, suffering, and grief into transferable commodities. This allows them to disinvest the pain and tragedy suffered by the Native American characters in order to reinvest this tragic potential in white characters, which serves to reinforce the white characters’ heroism. The commodification of tragic potential and emphasis on its sentimentalization help obscure the settler-colonial origins and systemic perpetuation of violence against Native American women. In sum, this analysis shows that the deeply ingrained and normalized settler-colonial ideology inherent to representational strategies limit the progressive potential of even the most benevolent and well-meaning white cultural productions.

Gegar Vaganza: Persepsi Pengguna dan Penempatan Produk D’Herbs dalam Rancangan Realiti Televisyen di Malaysia

This study examines the types of product placements used in the television show Gegar Vaganza, particularly in its 5th season and looks at the consumer perceptions on the product placements used by D’Herbs Holdings Sdn. Bhd. Qualitative content analysis and in-depth interviews were conducted on eight respondents. The saturation of advertisements in the market has prompted marketers to turn to media product placement to deliver messages to the audiences more effectively. This study found that integrated implicit product placement received positive feedback on the process of recalling a brand or product. On the other hand, integrated explicit placements received positive perceptions in increasing the level of consumer information, however, received negative perceptions towards consumer purchasing intentions.

News & the politics of satire: TV3's 7 Days

<p>As New Zealand’s favoured satirical television show 7 Days reconstitutes the week’s current affairs and offers up a valuable counter narrative to traditional news media through its remixing of the conventions of news and the panel quiz show. Whilst many academics have studied satirical television in the US and UK contexts very little attention has been paid to the collection of New Zealand television satire and local audiences’ preference for satire over other local comedy forms. In comparing the three television systems several characteristics emerge as unique to 7 Days and New Zealand’s satiric tradition; an affinity for self-deprecating humour, the targeting of hubris, and the assailing of tall poppy syndrome; the hailing and sustenance of public feeling, and thereby the nourishment of nationalism and a communal ‘Kiwi’ identity. Television satire dealing in news and review is a well-established practice but is often referred to in academia and popular culture as simply a ‘genre’ when it rather operates as somewhere between a discourse and a genre. Television satire is born of a strong literary tradition but literary criticisms fail to adequately address the functions of contemporary satire; its affective powers, the limits of its uptake, and the ideological footing of its critiques. Examples from US and UK television are considered as precursors to New Zealand satire, and a close analysis of 7 Days reveals that it is not only the conventions of genre that limit satire’s incarnations but also an unstable broadcasting history and an uncertain future.</p>

News & the politics of satire: TV3's 7 Days

<p>As New Zealand’s favoured satirical television show 7 Days reconstitutes the week’s current affairs and offers up a valuable counter narrative to traditional news media through its remixing of the conventions of news and the panel quiz show. Whilst many academics have studied satirical television in the US and UK contexts very little attention has been paid to the collection of New Zealand television satire and local audiences’ preference for satire over other local comedy forms. In comparing the three television systems several characteristics emerge as unique to 7 Days and New Zealand’s satiric tradition; an affinity for self-deprecating humour, the targeting of hubris, and the assailing of tall poppy syndrome; the hailing and sustenance of public feeling, and thereby the nourishment of nationalism and a communal ‘Kiwi’ identity. Television satire dealing in news and review is a well-established practice but is often referred to in academia and popular culture as simply a ‘genre’ when it rather operates as somewhere between a discourse and a genre. Television satire is born of a strong literary tradition but literary criticisms fail to adequately address the functions of contemporary satire; its affective powers, the limits of its uptake, and the ideological footing of its critiques. Examples from US and UK television are considered as precursors to New Zealand satire, and a close analysis of 7 Days reveals that it is not only the conventions of genre that limit satire’s incarnations but also an unstable broadcasting history and an uncertain future.</p>

Code Mixing Used in Masterchef Indonesia Season 5

The study of language in society is known as sociolinguistics. People have varied communication techniques in society since they come from different origins and ethnicities. Because of these distinctions, they are able to blend their languages during an interaction, a process known as code-mixing. Nowadays, code-mixing has become a craze, with people using it all around the world, including on television shows. One of the television shows where the speakers conduct code-mixing throughout their discussion is MasterChef Indonesia season 5. The goal of this study was to identify the different types of code-mixing and to investigate the elements that influence people's decision to code mix throughout their contact with that television show. The study's data consisted of Indonesian-English code-mixing during discussions. The authors employed a descriptive method in their work, and they analyzed the different types of code-mixing using Muysken's (2000) theory. Beardsmore's idea (1982) was also utilized to investigate the causes that led to people mixing codes. Based on the data analysis, the insertion kind of code-mixing was found to be the most common in this program, and vocabulary was shown to be the most influential factor in persons who code mixed.

Trauma, Gender, Love, and Teen Drama

Research suggests that past trauma can contribute to the downfall of long-term romantic partnerships. This study implemented a content analysis of a television show 13 Reasons Why to examine the realism of the depiction of adolescents’ romantic attitudes and quality of relationships. The show is intended to depict real, unfiltered experiences of adolescents in today’s society. The specific goal of the present study was to examine the relationship between the depictions of adolescents’ romantic expressions and their experiences with trauma. Additionally, the study examined differences in the depiction of romantic expressions based on the gender of the characters. Statistical analyses revealed that past traumatic experience was the only significant predictor of romantic expressions. Specifically, characters who had experienced the most trauma were the least likely to express romantic ideals.

Postmodernism: The American T.V. Show, 'Family Guy, As a Politically Incorrect Document

Postmodernism is a movement that grew out of modernism. Movements in art, literature, and cinema focused on a particular stance. The visual artists who created entertainment focused on expressing the creator herself/himself beginning from German expressionism to modernism, surrealism, cubism, etc. These art movements played an important part in what an artist (literature, art, and visual) portrayed to his or her audience. As perspectives played an important part, an understanding of what the artist needed to portray was critical. Modernism dealt with this portrayal, which came about due to the changes taking place in society. In terms of the industry, where the overall product dealt with features like individualism, experimentation and absurdity, modernism dealt with a need to overthrow past notions of what painting, literature, and the visual arts needed to be. "After World War II, the focus moved from Europe to the United States, and abstract expressionism (led by Jackson Pollock) continued the movement's momentum, followed by movements such as geometric abstractions, minimalism, process art, pop art, and pop music." Postmodernism helped do away with these shortcomings. An understanding of postmodernism is explored in this paper. The main point which sets it apart is concepts like pastiche, intersexuality, and spectacle. Concerning pop culture, an understanding of referencing is a constant trait used by postmodern art. Postmodern television and the central part of this study applied to the popular animated American TV show, 'family guy' is a postmodern show in its truest form, while attempting to use certain aspects of postmodernism tropes to help emphasize that visual art can be considered a historical document while doing an in-depth analysis of the visual text of 'family guy by itself, several other research papers were used to help further put in stone that 'family guy' is a true representation of postmodern television. It is divided into two phases of data collection: context analysis, which involves a qualitative study. The second being in-depth interviews (also qualitative) which in itself helps give a subjective view of participants between the ages of 20 and 28. These comprise students who are familiar with the show and the concepts of the show. All of them, both frequent viewers of the show and those also politically informed of world politics, helped further emphasize the concept of the paper, which was the idea of how a television show in all its absurd narrative and pastiche functions as a historical document. The purpose of this study, along with the results for this research, is to help bring about the comprehension of how postmodern shows are influenced by other past events, figures of history, etc.; this understanding can explain how a television show like 'family guy could be considered a historical document – by its narrative, by the cultural references connected to these said events, and also with the help of paintings, which the makers of the show use to design the episode of the show, and which reflect and refer to the actual historical figures. Historiography is being proven to be biased in more ways than one, which leads us to an understanding of a different narrative depending on one’s own opinions of history and historical documents as we know it.

Logical Fallacy Argumentation on Testimonials on Homeshopping Television Show

The decision to purchase a product is inseparable from the buyer's trust in a product. Testimonials are a tool for marketers to eliminate consumer barriers about the product to be purchased. Testimonials on home shopping television products tend to be controllable. The selection of sources, the use of scripts, and the editing process can be a form of media control over the information received by the public. This study focus on analyzing testimonials from the logical side of the testimony content. The method used to analyze this logical fallacy is qualitative content analysis. The text is separated using Toulmin's model into three parts, namely claim, ground, and warrant. This research uses a logical fallacy as a tool to evaluate the logic of the testimony in terms of content. The results of this study found that there was a logical fallacy in the testimony content. The fallacies include generalization fallacy, fallacy fallacies, fallacy of composition, appeal to wealth fallacy, appeal to pity, dan appeal to force.