Portrayal of Parents and Children Behavior: A Study of TV Drama Serials in Pakistan

This paper endeavors to explore the portrayal of parents in prime-time entertainment television dramas of Pakistan. Representation of the parenting style and children's response to their parents in the top three entertainment channels has been analyzed. Total 147 episodes of targeted drama serials of ARY, Hum, and Geo TV were selected through purposive sampling. The study found that the authoritative parenting style was most prevailing in the drama serials. The behavior of the children towards their parents was respectful except in the Drama serials broadcasted by ARY Digital. As Parents' respect is dominant in private entertainment channels of Pakistan, so the findings indicate that Pakistani entertainment television dramas play a vital role in safeguarding cultural norms of the country.

Entertainment publics in the Philippines

Since the late 1980s, Filipino entertainment television has assumed and maintained a dominance in national popular culture, which expanded in the digital era. The media landscape into which digital technologies were launched in the Philippines was largely set in the wake of the 1986 popular movement and change of government referred to as the EDSA revolution: television stations that had been sequestered under martial law were turned over to family-dominated commercial enterprises, and entertainment media proliferated. Building upon the long development of entertainment industries in the Philippines, new social media encounters with entertainment content generate expanded and engaged publics whose formation continues to operate upon a foundation of televisual media. This article considers the particular role that entertainment media plays in the formation of publics in which comedic, melodramatic and celebrity-led content generates networks of followers, users and viewers whose loyalty produces various forms of capital, including in notable cases political capital.

The quest for a successful book-to-series adaptation in the times of SVOD — using the examples of “The Handmaid’s Tale and Alias Grace” by Margaret Atwood

A fascinating factor of so-called mass culture is the ability to adapt to society and its needs. The same pattern seems to be followed by the film industry, as it has been influenced by other branches of entertainment, television included. These are SVODs (Streaming Video on Demand platforms), which offer a growing number of screen adaptations of literary works. The following paper aims to analyse some criteria upon which book-to-series adaptations might be regarded as successful, using examples from The Handmaid’s Tale and Alias Grace.Produced respectively by Hulu and CBC, both based on books by the Canadian female writer Margaret Atwood, the analysed shows confirm that the audience is more inclined to watch (and read) an intertextual production that often reflects and comments on contemporary political and social reality.

Media Rituals and Memory: Exploring the Historical Phenomenology of American Local Television

For more than two decades during the mid-20th century, local entertainment television shaped daily experience across the United States. Although often viewed as trivial by historians, these extinct television genres offer valuable insights into the relationship among media technology, historical consciousness, and cultural memory. Emergent theories of historical phenomenology help facilitate and expand such insights. The phenomenological perspective, which focuses on the sensory experience of media technology in historical settings, illustrates how audience memories inform the historical significance of this programming. The present study utilizes insights from ethnographic data and historical recordings to fortify its findings.

Note sul rapporto tra artisti e televisione italiana delle origini

This paper aims to reconstruct some of the issues that revolve around the role played by artists in early Italian television in a discursive and non-exhaustive way. The principal aim is to discuss how the study of the television experiences of many visual artists can help to re-read some issues in the field of television historiography. First of all, the importance of the sources and their necessary integration in the study of this relationship will be underlined, with particular reference to the problem of accessibility (see the Rai experimental programs produced between 1952 and 1954). Secondly, we will focus on the relationship between arthouse and popular culture, as it emerges from early Italian television and develops, over the following years, in the debate between entertainment television and art television. As a third question, we will focus on a marginalized element, that of the audiences, and we will discuss what kind of negotiations the art consumption through television implies. Through these three issues some possible lines of research will be drawn in order to try to broaden the approaches and perspectives of television historiography.