Japan's rejection of international norms against whaling

This research is intended to explain the reasons for Japan's rejection of the anti-whaling norms. To investigate this, a qualitative approach was used with document-based data methods, both primary and secondary. Japan is one of the industrialized countries that have stopped hunting for commercial breaks because of the moratorium in 1982. This moratorium is a form of development of the anti-whaling norm. This research found that Japan is a country that chooses not to this norm with several reasons that state as a strong background for not including and not accepting the norm. This is evidenced by the continuing Japanese whaling through the scientific whaling program. If Japan stops this norm, so all Japanese whaling practices will also stop. The Japanese decision was the result of consideration in understanding norms through a better social context by Japan itself and Japanese society in general who could state in the concept of legitimacy of international norms. This decision was taken from Japan to decide to withdraw from the International Whaling Commission (IWC) in December 2018 which is also Japan's behavior after understanding this social context.

Children, media and food. Food advertising aimed at children audience in Spanish TV.

Healthy lifestyle habits provide the basis for optimal development in minors and advertising can affect, positively or negatively, the maintenance of certain of these habits. Even more, the advertising directly related to food. Therefore, this text aims to assess the levels of compliance with the Code of Advertising for Food and Beverages Directed to Minor Children (PAOS Code) during 2018. Analyzing the advertising of food and beverages aimed at children during the protection strip reinforced is evidence of the growing problem of obesity in the child population generated through the food industry. This investigation analyzed a sample obtained through the recording, for 7 days, of the content of commercial breaks in the television broadcast of specialized and generalist channels in Spain with higher audience rates. In this regard, the data reveal a systematic breach of this code that persuades the vulnerable conscience of infants through a business fabric that far from promoting healthy living habits cause malnutrition in society.

ANIMATED 3D GRAPHICS AS VISUAL BRAND COMMUNICATION ON UKRAINIAN TELEVISION

The research of the use of 3D computer graphics in commercials is conducted based on monitoring of the commercial breaks on TV channels «1+1», «Inter» and «Ukraine» in the years 2015-2017. The TV channels for the research were chosen according to their performance and results of the international and Ukrainian festivals of advertising and TV design, as well as to the percentage of usage of 3D computer graphics in the winning projects. There were 27 round-the-clock monitoring sessions conducted. More than 17 000 commercials were defined and classified based on 3D computer graphics usage. The conclusions concerning the urgency of using three-dimensional animation as the means of visual brand communication and the quality level of the 3D computer graphics in the TV commercials are determined herewith.

Neoserial, serial premium czy post soap opera? W poszukiwaniu wyznaczników dla seriali nowej generacji

Borowiecki Artur, Neoserial, serial premium czy post soap opera? W poszukiwaniu wyznaczników dla seriali nowej generacji [Neo series, premium series or post soap opera? In looking for characteristics of the new generation TV series]. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 163–171.ISSN 1731–450X. DOI 10.14746/i.2019.34.11. Modern television series are a product of quality television and thus significantly differ from the models that have been deeply rooted in serial culture since the very beginning of the media’s existence. In the past, television formats were thematically subject to the requirements of television broadcast programming. They were characterized by five-act structures, with climaxes forced by television stations to occur before subsequent commercial breaks. At that time, the dominating category constituted series with an episodic structure closed within one episode. This resulted in the appearance of the currently widespread procedurals. Nonetheless, the three-act structure of sitcom plots dominates nowadays, in the post-network era. Another significant feature of the post soap is its narrative complexity (Mittell), which, in addition to formal procedures, often uses quotes, and autotematic references. The purpose of this article is to analyze the narrative complexity of new generation TV series, called “post soap”. A new genre of TV series has been examined through the examples of a popular show: Ślepnąc od świateł (2018).

American television and off-screen registers: a corpus-based comparison

In this paper, we present an analysis of a corpus of American television programmes, comprising 930 texts from 191 different TV programmes (excluding commercial breaks and infomercials), totalling 5,320,159 tokens. This analysis compares different programme types (live politics, movies, news desk, reality shows, etc.) against one another and against non-televisual registers (face-to-face conversations, telephone conversations, prepared speeches, press reviews, etc.), using the multidimensional (MD) approach to register variation ( Biber, 1988 ). The goal of this analysis is to determine how homogeneous/heterogeneous the language of television is as well as to how it compares to the registers of English ( Biber, 1988 ). We sought to detect both the similarities and differences among the TV registers and with respect to the five major dimensions of register variation previously identified by Biber (1988) . Linguistic studies of television language to date (e.g., Al-Surmi, 2012 ; Bednarek, 2010; Quaglio, 2009 ; and Rey, 2001 ) have generally focussed on few or individual TV registers. This study provides a much more comprehensive view of American television discourse by relying on a large multi-register corpus optimised for representativeness through the application of Biber's (1993) method for sampling adequacy. The results show distinct differences among the registers' dimensions, suggesting that, on the whole, present-day American TV language is varied and patterned. In addition, the findings indicate that several TV registers have close counterparts in off-screen communication, such as conversations, speeches and interviews. All things considered, this study shows in detail the contact and separation points across different TV registers, as well as across TV and off-screen registers.