The Role of Popular Culture for Queer Teen Identities’ Formation in Netflix’s Sex Education

Queer teenagers are avid readers of popular culture; as numerous audience studies prove, television plays a significant role in identity-formation for LGBTIQ+ youth, providing them with the information about sexuality, gender roles or non-normative relationships usually unavailable in their educational and home environments. In this article we analyze how some of the protagonists of Netflix’s TV show <em>Sex Education </em>(2019-present) utilize popular culture as a tool to explore their desires, forbidden fantasies, and gender expressions, becoming instrumental in the formation of their queer identities in a way that metatextually reflects the role LGBTIQ+ shows play for their audiences. Such is the case of Adam, a bisexual teenager that masturbates to the image of a fictional actor featured in a 1980s action film poster; Lily, whose sexual fantasies of role playing with alien creatures are strongly influenced by spatial sci-fi; and Ola, whose onyric universe is influenced by David Bowie’s genderbending aesthetics. However, the most representative example of how popular culture influences the formation of queer identities is Eric, whose non-conforming gender expression follows the example set by the trans characters in <em>Hedwig and the Angry Inch</em>.

Télévision numérique et séries : étude de cas de TV5MONDEplus

Cette étude propose une réflexion sur les fictions sérielles produites en Afrique par la chaîne de télévision TV5. Ces dernières années, avec l’arrivée de nouvelles chaînes de télévision , on assiste à une multiplication des fictions diffusées en Afrique francophone. Cette multiplication de séries africaines favorise d’une part une concurrence entre les médias locaux. D’autre part, elle favorise également une compétition entre les médias locaux et internationaux. Si la télévision joue un rôle -clef dans les dynamiques culturelles des sociétés africaines, ces flux télévisuels peuvent être utilisés à des fins d’instrumentalisation commerciales ou politiques. Par aileurs, cette instrumentalisation favorise le déploiement de certaines stratégies de conquête qui ne sont pas sans risque. Suivant une approche plus descriptive que théorique, le présent article montre comment ces stratégies favorisent de redoutables attaques dont les fonctions n’ont de limites que l’imagination des attaquants afin de détourner les médias de leur rôle initial. This study proposes a reflection on the serial fictions produced in Africa by the television channel TV5. These last years, with the arrival of new television channels, we witness a multiplication of the fictions diffused in French-speaking Africa. This multiplication of African series favors on the one hand a competition between the local media. On the other hand, it also favors a competition between local and international media. If television plays a key role in the cultural dynamics of African societies, these television flows can be used for commercial or political purposes. Moreover, this instrumentalization favors the deployment of certain strategies of conquest which are not without risk. Following an approach that is more descriptive than theoretical, this article shows how these strategies favor formidable attacks whose functions are limited only by the imagination of the attackers in order to divert the media from their initial role.

THE IMPORTANCE OF FILM AND TELEVISION WORKS TO THE DISSEMINATION OF THE SPIRIT OF THE TIMES

As an important part of culture, film and television plays an important role in the dissemination of the spirit of the times. Film and television works use lens language and three-dimensional visual way to tell the development of the times and highlight the spirit of the times. It is precisely because of the era responsibility of film and television works that how to make film and television works play a greater role in the dissemination of the spirit of the times has become a new research topic.

TVRI Stasiun Riau Kepri: Studi Kasus Keberadaan Media Massa dalam Pembangunan Provinsi Riau (1998-2018)

Today, mass media development is growing rapidly, this can be seen in the variety of choices for people to get news, entertainment and knowledge. One of the growing mass media is television. Television plays a very important role in development. The purpose of this document is: To understand the initial process of the formation and development of the Riau Kepri Station of the Television Republic of Indonesia (TVRI) and the role of the Riau Kepri Station of the Television Republic of Indonesia (TVRI) as a mass media in development. Province of Riau in the field of Social and Economic, Education and Culture. The research method that will be used in this research is the historical method. The television era in Riau province started since 1977 when the TVRI Relay Station Tower was built at that time. The development of TVRI Riau Kepri Station began to appear in 1999, where in 1999 TVRI Riau Station was able to broadcast locally for the first time, exactly in January. The role of TVRI Riau Kepri Station served as a tool used to disseminate information about the public's development. in the province of Riau.

Changing channels: an exploration of disruptive technologies and the challenges they pose to English-Canadian television product

"The audience wants to be able to watch a program when they want - in fact most every technological innovation adopted by the television industry has had some aspect in its design to fulfil that desire. I'm interested in how technologies facilitate audiences in finding a way to watch what they want to, when they want to. I'm also interested in (and to be frank, somewhat anxious since I work in television) what new pitfalls and possibilities the latest technologies pose for the future of television production and distribution in Canada. As we'll lean later, there are technological changes afoot that could sideswipe the effort of generations of Canadian broadcast policymakers and topple the Canadian television industry in their wake. Ours is a fragile television broadcasting system, crippled by a deeply divided policy framework based on two opposing philosophies -- one that puts an emphasis on television's role as a public service and another that emphasizes its commercial purposes and profitability. I will evaluate whether that policy framework is equipped to safeguard Canada's precarious television industry against what some say is an inevitable tidal wave of American domination heading our way. But first I want to investigate whether American domination of our TV sets is such a horror. If television doesn't really matter when it comes to our cultural and national sovereignty, I might as well stop writing right now. But as we'll learn, it does matter. While there is much debate over how television plays a role in our functioning as a sovereign society there is a general consensus that something is happening when we watch TV. It is to the problem of what that something is that I turn to first."--Pages 1-2.

Changing channels: an exploration of disruptive technologies and the challenges they pose to English-Canadian television product

"The audience wants to be able to watch a program when they want - in fact most every technological innovation adopted by the television industry has had some aspect in its design to fulfil that desire. I'm interested in how technologies facilitate audiences in finding a way to watch what they want to, when they want to. I'm also interested in (and to be frank, somewhat anxious since I work in television) what new pitfalls and possibilities the latest technologies pose for the future of television production and distribution in Canada. As we'll lean later, there are technological changes afoot that could sideswipe the effort of generations of Canadian broadcast policymakers and topple the Canadian television industry in their wake. Ours is a fragile television broadcasting system, crippled by a deeply divided policy framework based on two opposing philosophies -- one that puts an emphasis on television's role as a public service and another that emphasizes its commercial purposes and profitability. I will evaluate whether that policy framework is equipped to safeguard Canada's precarious television industry against what some say is an inevitable tidal wave of American domination heading our way. But first I want to investigate whether American domination of our TV sets is such a horror. If television doesn't really matter when it comes to our cultural and national sovereignty, I might as well stop writing right now. But as we'll learn, it does matter. While there is much debate over how television plays a role in our functioning as a sovereign society there is a general consensus that something is happening when we watch TV. It is to the problem of what that something is that I turn to first."--Pages 1-2.

Theatrical Dialogue in the Digital Age: From Director’s Theatre to the Theatre Onscreen

Thanks to its inherent nature, theatre has been better able than other artforms to resist the challenges presented by information and digital culture, which are based on the principle of reproduction. Since a theatrical text is created anew each time, an audience can enter into a real-time dialogue with a concrete group of players recreating an authorial concept. This is true even when, as in director’s theatre, a director’s interpretation is performed by different acting companies.Today, however, the hubris of theatre critics and enthusiasts, who value unmediated dialogue as a pre-condition of theatrical pragmatics, has collided with the novel theatrical practice of live broadcasting, which was preceded by the standalone genres of radio and television plays. As a performance art, theatre possesses characteristics of a virtual object, where the information about such an object exists only in the memories of audiences or professional critics. In becoming digitised, theatre loses its former character – the uniqueness of presence in a concrete theatrical here-and-now that can never be repeated – and acquires a new mode of existence within a movie theatre represented in Russia by the Theatre HD project, which translates the theatrical educational mission into the digital age by involving new participants in creative dialogue.

A Survey Analysis on TV Viewers: Unethical Issues in Telugu Drama Serials

Television in India has proven a most influential infotainment media powerful and popular among its audience. Television plays a vital role in the telecast entertaining program. Fiction has been a popular genre on Indian Television. A common habit among most of the Indian families is watching drama serials in the evening as one of the best time-pass activities i.e. why serials have become part and parcel of most of its viewer's lives. TV drama serials have become one of the most popular offerings. It affects people irrespective of gender, age, and other demographic variables. The study was conducted to throw light towards various Television viewing habits among the Telugu audience. A sample of 316 respondents from Amravati the new capital of the newly formed state of Andhra Pradesh was selected for survey analysis. Structured questioners were distributed to them and the responses were collected. A Chi-square test is used to analyze the collected data. The study also highlighted the opinions of viewers on Telugu drama serials. Focused group discussions have been conducted.

Samuel Beckett and Intermedial Performance

This article analyses two intermedial adaptations of works by Beckett for performance in relation to Ágnes Pethő’s definition of intermediality as a border zone or passageway between media, grounded in the “inter-sensuality of perception.” After a discussion of how Beckett’s own practice might be seen as intermedial, the essay analyses the 1996 American Repertory Company programme Beckett Trio, a staging of three of Beckett’s television plays which incorporated live camera projected onto a large screen in a television studio. The second case study analyses Company SJ’s 2014 stage adaptation of a selection of Beckett’s prose texts, Fizzles, in a site-specific, historical location in inner city Dublin, which incorporated projected sequences previously filmed in a different location, a former power station.

Television and Family Unity in South – South Nigeria

Television plays important role in the family. It serves as source of information, entertainment, cultural propagation, among other functions. It brings family members together and serves as a catalyst for family unity. However, there is the argument that television viewership could also have negative influence on family unity and values. The study therefore investigated the influence of Television viewing on family unity and values in Southern Nigeria. The study adopted the Behavior Imitation, Linkage and Bowen Family Systems theories. The study used survey and questionnaire as method and instrument respectively. The respondents were chosen through a multi-stage sampling process. The data were analyzed using descriptive statistics. The results show that majority of the respondents do not watch television together with other family members at home. Also, watching of television is found to have negative influence on family unity and values. The study recommends that family members should watch television together at home; and avoid adopting negative values they watch on television.