The article deals with the issue of positive and negative impact of television on the development of a child. It describes the results of direct and indirect stimuli on the emotions of a very young viewer. The author analyses the threats posed by prolonged time spend on watching television to psychophysical child development.
We would like to analyze TV news report. This term is frequently used, the researchers do not specify which charakteristics of this genre are the most specific and essential. We understand news as a component of television newscast, regularly scheduled TV program. The form of the news bulletin is apparently unchanged because the sending-receiving mechanisms are constant, with telegenic newscasters, aproperly arranged studio, two-, three-minute long news reports, and the roles the spectators are cast in. These tricks, however, only serve the senders’ strategies, which make it necessary to define the television news report in adynamically changing media reality. Since the genre is an open and dynamic structure and seamlessly adapts to current needs, it is possible to approach it “diachronically” and present its evolution — mild, fluid, predictable change, and revolution — radical, abrupt change.
The paper deals with the presence of verbonominal analytical constructions on Polish TV at the beginning of the 21st century. It is a continuation of the research on such constructions carried out in the 70ies of the 20th century and at the turn of the century. The author deals with verbal analytical constructions on Polish TV. To create a contrast, she gives examples of collocation in poetry. The author proves that analitisms are used on TV in the following functions: 1) retarding (slowing down speech pace), 2) imitating (use of cliches), 3) demonstrative (image creation), 4) metalinguistic (conscious selection of collocations instead of verbs) and for 5) stylisation and 6) euphemisation of speech. The conducted research proved that analitisms are used both by TV programme hosts and their invited speakers. It also occurred that the frequency of analitisms on TV is another specific function of the TV language. Earlier, it was proved that TV language is predominantly colloquial.
The figure of the single mother has played an important role in Japanese television drama over several decades. In the 1960s and 1970s, the figure of the single mother was often used to uphold traditional, patriarchal notions of family and gender, which stressed the importance of the mothers role in childrearing and running the household, and limited the role of women to the domestic sphere. However, as female participation in all areas of society has increased, and women have begun to question the assumption that marriage and motherhood are an essential part of their lives, so Japanese television drama has responded, reflecting and sometimes anticipating these changes. Today, single mothers in Japanese television dramas are actively rejecting patriarchal structures by forming women-only support networks or forging new identities as independent career women. However, very little academic attention has been paid to these representations. This paper hopes to make a small contribution towards rectifying this situation by analyzing the representations of single motherhood in contemporary television drama.
This article discusses issues of forming and developing media skills in children in a family setting. Research on the role of media (mainly television) in a child’s life has been conducted for many years and indicates a necessity to develop a child’s media skills early (Izdebska, 1996, 2007; Kossowski 1999; Braun-Gałkowska 2003). There is a shortage of data on the role of parents in preparing children for formal media education (at school or preschool). It is the parents’ responsibility to ensure that a child’s first contact with media is handled properly. In light of this, the following questions arise: Do parents know about the risks, and also opportunities, resulting from the use of media by children? Do they teach children how to choose which media to use and manage the amount of time spent doing it? Do they teach children proper ways of using media for play? I attempt answering these questions by referencing opinions of media experts, psychologists and educators on the topic of media influence (“media childhood”), the significance of media education in developing media literacy in children, and by presenting the conclusions of my research that inspire further insightful analyses into media education of children at home.
The paper discusses the news on Polish TV channels. The author argues that the process of selection of information and their aesthetics are governed by laws similar to those that govern every other commodity on the trade market. Together with information, a viewer is sold a full package of ideas, a certain attitude to the world, whose essence is consumerism. An important part of the text provides a detailed analysis of one edition of the evening news station TVN24, which supplied arguments in favour of the thesis presented.
In this article, I tried to find out and compare the possible effects of television on children and adults, and also to follow the ethical and psychological characteristics of recipients.
In the case of television images, and the meanings they carry, symbolic interaction mainly concernshuman communities. At the moment when signs and things do not match each other, when theimage, in this case – television, no longer reflects the truth about reality, participation in the space ofthe text and image becomes complex and difficult to read. In the new media space in which old andnew media collide, it becomes necessary to have specific skills in reading messages, ways of seeingand perceiving media images, and competences in various reception areas referred to as media literacy.The lack of time for ourselves makes it easy for television stations to influence our receivingpreferences and attitudes by means of the audiovisual productions they broadcast. A given image isalways associated with some social context which, in turn, has an impact on this image. A particulargroup of viewers brings specific interpretations and observations to a given image, thus influencingits meaning and impact. Carried out in terms of both hermeneutics and semiotics, the analysis andinterpretation of television visual representations will depend on the contexts taken from the life ofthe recipient.
The aim of the paper is to critically analyse the documentary series Wracajcie, skąd przyszliście [Go Back to Where You Came From], broadcast by the commercial television station TVN in December 2018. The people participating in the pro-gramme were supposed to represent/embody the polarised opinions of the Polish society on (accepting) refugees, so they were according to the “three for/three against” model. The group, together with Piotr Kraśko who conduct-ed the programme, visited refugee camps and centres in Germany, Austria, Serbia, Greece and Iraq to confront their opinions with the people they met there. The declared aim of the programme, in fact, was to find an answer to the main question: should Poland accept refugees or, as the title says, should they go back to where they came from?
While media coverage of the 2008 South Ossetia War in Ukraine has been explored a little, the domestication of it has not yet become an object of research. Th e concept of news domestication is relatively new and underdeveloped in Ukrainian media studies. Previous research of media coverage of the 2008 South Ossetia War was either limited to the period of the war or was devoted only to its press coverage. Current research intends to fi ll the gap in the study of media discourse in Ukraine and to present an insight in the 2008 South Ossetia War TV coverage and its domestication.
The article deals with documentary soap operas, or the Polish version of docusoaps. This is a television genre that is a hybrid of observational documentary and elements typical of soap operas. In the introduction the author presents up to date research on docusoaps: she defines, following Margaret Lünenborg, the conditions that had to be met, in order for the genre to come into the existence, and she shows the circumstances in which it first appeared. She refers to the work of Richard Kilborn in order to present characteristic features of docusoap, and she uses the staging strategies for reality TV described by Elisabeth Klaus and Stephanie Lücke, in order to show staging strategies in docusoaps. In the main part of the article Kosińska-Krippner presents a short history of documentary soap operas, classification of its various types and the analysis of its components. She then defines this genre and describes its features. In the conclusion the author compares docusoaps and documentary soap operas, and shows the similarities and differences between the two genres, she also comments upon the value and usefulness of this genre.
One of the primary tasks of local (but also regional) media is “to promote the local culture”. Analysis of two cycles of historical programmes produced by TVP Łódź by Piotr Słowikowski, Biała broń (1986) and Rekwizyty historii (1994–1999) shows that regional television programs are exceeding the limits of locality, both at the level of content (in their presentation of Polish material culture and traces of history) and implementation (documentation and shooting took place outside the province of Lodz). These programmes can be seen as an attempt by regional television to contravene local parochialism.
The purpose of this article is to examine whether the work of Hermogenes can be useful in the analysis of the media. The Polish translation of the Byzantine textbook becomes an opportunity to reflect on the universality of the principles of creating persuasive messages. According to Hermogenes, rhetoric is the practical, civic skill of persuasion on important matters. Today, his ideas can be applied to television news. His textbook teaches us how to analyse the structure of television programmes, how to find – at a verbal and visual level – rhetorical figures.
This paper aims to analyze TV news of selected public information magazine programs in Poland and Germany. The contrastive analysis encompasses TV news of the first German national channel ARD and the first Polish national channel TVP1. The focus of the analysis lies on the comparison of framed programs and information service topics broadcast in the two countries’ TV stations during the time when the main topie of all TV news both in Poland and Germany was the radical change in Egypt (selected information services in January and February in 2011). The following aspects have been thoroughly analyzed: service format, share of the hard news and the soft news as well as the national and intemational news of the information magazine during the given time as well as time dedicated to the main topie of the day.What can be inferred from the contrastive analysis of the information services of the national channels in Poland (TVP1) and Germany (ARD) is that the same information function performed within the same format may show many various differences. While the news on TVP1 seems to compete for larger audiences (i.e., greater share of the sensational news and soft news, the role of the anchor person), the ARD-news continues to prefer a certain sound tradition by offering a classical type of information service, stressing a serious national and intemational information. The decision to keep an unchanged TV news presentation guarantees the ARD-news a strong market share in the information sector among other public and commercial TV stations.
The history of pirate, illegal television stations in Poland is presented here against the broader background of systemic transformations (both political and legal). According to the author of the article, it was an inevitable phenomenon, closely linked to the creation of the foundations of a democratic, lawful state with free-market economy. They were a factor which enforced acceleration of political change, legislative works and affected the change of the programming offer. Although pirate television stations were a short-lived phenomenon, they had huge impact on the later development of electronic media in Poland.
The article is demonstrating the situation of the documentary on television. The documentary at contemporary television is an inherent element of showing reality, however species mutations of this form caused, that for her the clean form belonged to the exceptional subject matter. Documents found their place mainly in thematic or film channels. However the place of the document not only very much changed, but also her status. An expansion of many subspecies of television improved the exclusiveness of the documentary nonfictional on television. Today they are dominating, documentary fictionalised series, mockumentary whether widely comprehended forms realites TV.
This article discusses the subject of Gothic television based on the example of American Gothic and American Horror Story series. By referring to the domestic dimension of American Gothic, it analyses the motif of home invasion and a traumatized family, while pointing to its contribution to the debate about the negative impact of television. The main objective of this work is to demonstrate that by the subject of families terrorized by unrealistic forces, Gothic series take up very real issues. The article is concluded by the observation that the omnipresent Gothic fiction in these series explores the much more terrifying horror of the commonplace.
Współczesny kształt rynku telewizyjnego w Polsce wykreowały administracyjne decyzje podejmowane przez Krajową Radę Radiofonii i Telewizji w 1994 roku. Chociaż zmienił się ilościowy obraz tego rynku, to – przynajmniej na razie – w niewielkim stopniu – układ sił i pozycja na nim największych graczy. Stabilna wydaje się również wartość rynku telewizyjnego, mimo że zmalało znaczenie reklamy na rzecz sprzedaży dostępu do różnorodnych form dystrybucji treści telewizyjnych. Internet, który zrewolucjonizował modele biznesowe tradycyjnych mediów i sposób ich konsumpcji, wpływa także na telewizję. Przełamuje linearny model jej percepcji i zwiększa liczbę dostawców treści audiowizualnych oraz rozpowszechnianych treści.
EN
Contemporary structure of the Polish television market was created by administrative decisions made by the National Broadcasting Council in 1994. Although the quantitative picture of this market has changed significantly, the balance of power and the position of the major players – at least so far – has changed to only a little extent. The worth of the television market also seems stabledespite the decline in the importance of advertising in favour of selling the access to various forms of distribution of television content. The internet, which has revolutionised business models of the traditional media and methods of their reception, influences also the television. It breaks the linear model of its perception and increases the number of audio-visual and circulating content providers.
Televised political advertising appears in very different national political communication contexts. Sweden is an interesting case study. For many years, political ads on TV were not allowed at all. However, with the transition from analog to digital terrestrial television the public service obligations of the “hybrid” channel TV4 were dismantled. In the 2010 national election campaign, all Swedish parliamentary parties bought advertising time on TV4. This article intends to shed new light on political TV ads as a new campaign feature in a rapidly transforming political communication environment. The study relates to the concept of hybridization of election campaigns and intends to increase knowledge about hybridization processes by focusing on a critical case where one of the most adopted campaign practices worldwide is finally implemented within a specific national context and deviating political culture.
From August 1975 to August 1976 the Indian space agency’s world-leading Satellite Instructional Television Experiment, known as SITE, broadcast to 2,400 villages across the country. This early project of the Indian Space Research Organisation (ISRO) defined a societal remit still considered the formational imaginary behind the space agency’s range of remote sensing and planetary activities. The paper focuses on a brief span of time following SITE when opportunities opened for village residents to take control of the media, and this came about in part through initiatives in which creative practitioners working with the space agency introduced methods of co-production. The shift in creative agency from producers to audiences carried radical possibilities for social mobility and locally determined, rather than state-led, development initiatives. The purpose of this short paper is to highlight how creativity coincided with audience-led innovation. Opportunities for audiences to use the technical equipment opened as creative methods of co-production became more commonplace, such that innovation reflected the cultural values, or cognitive matrix, of the audience. Although the shift in agency from producer to audience was unprecedented, it was swiftly suppressed when the national satellite broadcast system INSAT finally became operational in the 1980s, in spite of-or perhaps because of-this flourish of social innovation. Applying the concept “cognitive innovation” to this context foregrounds the limited opportunities available for rural television audiences to use the technology instrumentally for their own purposes. Displacing creativity, by dismantling the project and putting a halt to its emerging methods of co-production, was a way of delinking the audience from the technology and thereby imposing a different order. By indicating how creative activity accesses cognitive innovation, the paper introduces the notion of “displacing creativity” as a transferable measure of agency. It argues that where creativity is displaced, crucial mechanisms by which subalterns gain agency to act and to innovate are lost.
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