Background and Objectives: Stress is a ubiquitous aspect of modern life that affects both mental and physical health. Clinical care settings can be particularly stressful for both patients and providers. Kindness and compassion are buffers for the negative effects of stress, likely through strengthening positive interpersonal connection. In previous laboratory-based studies, simply watching kindness media uplifts viewers, increases altruism, and promotes connection to others. The objective of the present study is to examine whether kindness media can affect viewers (...) in a real-world, pediatric healthcare setting.Methods: Parents and staff in a pediatric dental clinic were studied. Study days were randomized for viewers to watch either original kindness media or the standard televised children’s programming that the clinic shows. Participants scored self-rated pre-media emotions in a survey, watched either media type for 8 min, and then completed the survey. All participants were informed that they would receive a gift card for their participation. After completion of the survey, participants were asked if they wanted to keep the card or donate it to a family in need.Results: Fifty participants completed the study; 28 were parents and 22 were staff. In comparison to viewers of children’s programming, participants who watched kindness media had significant increases in feeling happy, calmer, more grateful, and less irritated, with trends observed in feeling more optimistic and less anxious. Kindness media caused marked increases in viewers’ reports of feeling inspired, moved, or touched. No change was observed in self-reported compassion, although baseline levels were self-rated as very high. People who watched kindness media were also more generous, with 85% donating their honoraria compared to 54% of Standard viewers.Conclusions: Kindness media can increase positive emotions and promote generosity in a healthcare setting. (shrink)

Introduction. Analyzing the popularity of television series in the XXI century makes it possible to conclude that this format of video production has changed significantly in comparison with the second half of the XX century: the fascinating (seductive, enchanting) function in it dominates over the narrative-entertaining one. At the same time, not only the individual performer becomes the instrument of fascination, but the entire specially created visual environment of the series. This situation makes it possible for a researcher, on (...) the one hand, to identify the most significant emotional and psychological needs of modern society and thereby clarify some of the philosophical and anthropological aspects of today’s culture. On the other hand, it makes it possible to classify serial production on the basis of hedonistic values, that is, to identify the basic models by which the fascinating environments of popular serials are created. One of such models, the existential one, becomes the subject of special attention in the article. The purpose of the study is to present the existential model as one of five generative models of the screen spectacle on the basis of analyzing visual cues from the 2020 television series (Tales from the Loop. Amazon Studio, Fox 21 Television Studios, USA, 2020); to consider «Tales from the Loop» as a screen model that gives a viewer the experience of philosophical and anthropological reflection. Methods: In the course of the study, the authors use general scientific methods of analysis and synthesis; the method of phenomenological reduction, which makes it possible to record the sensually perceived qualities of object-spatial screen images; a hermeneutic method that makes it possible, on the basis of visible sign structures, to reveal the deep intentions of a visual image. The scientific novelty lies in the fact that we consider the television series as an anthropological phenomenon, not only reflecting the interests, aspirations and values of the society, but also modeling the society through a deep suggestive (fascinating) influence. A typology of such environments is created, corresponding to basic hedonistic needs and reflecting the degree of demand for certain states of pleasure in modern society. The method of creating a visual environment that draws a viewer into a state of philosophical reflection, which in this case is interpreted as a way to achieve «the fulfillment of being» (Aristippus), is specially clarified. Results. In the course of the analysis, the authors applied to television production a hedonistic-ontological typology of a visual image, which includes five generative models; a targeted analysis of the popularity of the most influential television series of the 2000s – 2020s was carried out, taking into account the level and causes of spectator fascination; as exemplified by the television series «Stories from the Loop» and in the course of the analysis of its visual components, it becomes clear how the modern series succeeds in involving a viewer in a state of philosophical reflection. Conclusions. The philosophical and anthropological analysis of the modern television series shows that the entertainment and narrative functions that are relevant for the twentieth century have been replaced by the function of fascination, a deep influence on a viewer at a suggestive level. In this case, the purpose of fascination is to involve a viewer not only in hedonistic states of pleasure, but also in states of faith or philosophical reflection. (shrink)

An in-depth study of several films and television shows to demonstrate the difficulties of conveying the experience of viewing cinema.

Modern television is awash in programs that focus on the rough hero, a protagonist that is explicitly depicted as immoral. In this paper I examine why audiences find these characters so compelling, focusing on archetypal rough heroes in two programs: The Sopranos and Breaking Bad. I argue that the ability of rough-hero programs to engender a certain degree of empathy for morally deviant characters despite viewers' resistance to empathizing with these characters' moral views is an aesthetic achievement. In (...) addition, I argue that empathy for the rough hero has cognitive value in that it enables us to reflect on the nuances of the psychology underlying moral deviance. In defending these claims, I offer my view as an alternative to A.W. Eaton's robust immoralist view that the aesthetic value of rough-hero programs lies in their ability to make audiences empathize with immoral perspectives; my claim is that empathy for rough heroes does not extend to their moral outlooks. My view also provides an alternative to Matthew Kieran's cognitive immoralist view that a work's depiction of immorality has cognitive value insofar as it imparts a normative lesson; my claim is that rough-hero programs are cognitively valuable not because they teach us about the perils of acting immorally, but because they help us understand the moral psychology that underlies immoral behavior. I defend an interpretation of rough-hero programs that incorporates insights from Eaton's and Kieran's immoralist views but does not support immoralism. (shrink)

The stories we tell and show, in whatever medium, play varied roles in human cultures. One such role is to contribute to moral understanding. Moral understanding goes beyond moral knowledge; it is a complex cognitive achievement that may consist of one or more of the following: the ability to understand why, to ask the right questions, categorization, the application of models to specific incidents, or the capacity to make connections between morally charged situations that have a common underlying meaning. -/- (...) While the disciplines of communication, psychology, philosophy, and film and media studies have all made significant scholarly progress on this issue, they make different grounding assumptions and use different terminologies. Screen Stories and Moral Understanding approaches the topic from an interdisciplinary perspective and explores the conditions under which stories we view on screens-movies, streamed series, and television-can lead to moral understanding in viewers. -/- In five sections, this book explores the nature of moral understanding in relation to screen stories, the means by which moving image fictions can transfer knowledge to and cultivate perspectives in viewers, the role of affect in generating moral understanding, the viewer's engagement with characters, and what we do with screen stories after viewing them. (shrink)

_Screen, Culture, Psyche_ illuminates recent developments in Jungian modes of media analysis, and illustrates how psychoanalytic theories have been adapted to allow for the interpretation of films and television programmes, employing Post-Jungian methods in the deep reading of a whole range of films. Readings of this kind can demonstrate the way that some films bear the psychological projections not only of their makers but of their audience, and assess the manner in which films engage the writer’s own psyche. Seeking (...) to go beyond existing theories, John Izod explores the question of whether Jungian screen analysis can work for ordinary filmgoers - can what functions for the scholar be said to be true for people without a background in Jung’s ideas? Through detailed readings of a number of films and programmes, John Izod builds on the work previously done by Jungian film analysts, and moves on to contemplate the level of audience engagement. Offering deep readings of films directed by Kubrick and Bernardo Bertolucci, as well as satirical comedy, documentaries and twenty-first century Westerns, the book explores the extent to which they manage to make the psychological impact on spectators that films of a similar kind have done on Jungian writers. The author concludes that the screen texts with the best likelihood of impacting the culture of the audience through their collective psychological force fall at opposite ends of the size and budget range: highly personal documentaries, and the most affecting of mainstream genre movies. This innovative text will be essential reading for psychoanalysts and therapists, as well as students and scholars of film with an interest in understanding how screen products work psychologically to engage the viewer. (shrink)

ExcerptDrawing on the quasi-legal human experimentation programs designed and implemented by the CIA between the 1950s and 1970s, the television series Severance envisions the possible corporate uses of brainwashing and mind control. The narrative centers on employees of a technology company, Lumon Industries, who agree to undergo a medical procedure (“severance”) that separates non-work memories from work memories by implanting a microchip into the brain. Unfolding like a science fiction psychological thriller, the narration falls somewhere between omniscient and restricted. (...) Viewers at the outset know only slightly more about the non-work lives and histories of the characters than the characters’ work-day versions, while the gradual increase of viewer knowledge parallels that of the characters’ paths toward self-discovery. (shrink)

In recent years many scholars seem to agree that viewers’ interpretations play a prominent role in the influence of television news. However, a clear concept of ‘interpretation’ is still missing. This article proposes to conceptualize interpretation as the ‘representation’ of a news item as constructed and reported by a news viewer. More specifically, we look at this representation in terms of its complexity. Two aspects are important: first, the fundamental elements viewers use in their interpretation, and second, (...) how the viewer relates these elements to one another on a more abstract level. Together, differentiation and integration represent the complexity of the viewer’s interpretation of a television news item. The article provides definitions of these concepts and argues that interpretive complexity can be useful in studying the influence of television news. It concludes by outlining research questions in the field of television news using interpretive complexity. (shrink)

Ethical sensitivity is a precursor to mora1 judgment in that a person must recognize the existence of an ethical problem before such a problem can be resolved. It is an important concept, yet it has received little attention from ethics scholars. This preliminary and exploratory study indicates that ethical sensitivity can be identified in viewers' reactions to and evaluations of ethically controversial television news stories, that diferent levels of ethical sensitivity are evident in discussions of television news (...) stories, and that there are at least 3 dimensions by which ethnic sensitivity may be evaluated: time, breadth, and depth. (shrink)

The way we communicate with each other is vital to preserving the cultural ecology, or wellbeing, of a place and time. Do we listen to each other? Do we ask the right questions? Do we speak about each other with respect or disdain? The stories that we convey on screens, or what author Carl Plantinga calls 'screen stories,' are one powerful and pervasive means by which we communicate with each other. Screen Stories: Emotion and the Ethics of Engagement argues that (...) film and media studies needs to move toward an an approach to ethics that is more appropriate for mass consumer culture and the lives of its citizens. Primarily concerned with the relationship between media and viewers, this book considers ethical criticism and the emotional power of screen stories that makes such criticism necessary. The content we consume-- from television shows and movies to advertisements-- can significantly affect our welfare on a personal and societal level, and thus, this content is subject to praise and celebration, or questioning and even condemnation. The types of screen stories that circulate contribute to the cultural ecology of a time and place; through shared attention they influence what individuals think and feel. Plantinga develops a theory of the power of screen stories to affect both individuals and cultures, asserting that we can better respond ethically to such media if we understand the sources of its influence on us. (shrink)

If television news viewers are conceived as active audience members, their interpretations should be a crucial factor in the study of the ‘effects’ of television news. Here, viewers’ interpretations are understood as subjective constructions of a news item. In a previous contribution, we argued that interpretations can vary both within and between viewers in regard to the level of complexity. Complexity is the degree to which interpretations are a) differentiated, and b) integrated. In this contribution, (...) we will operationalize the concept of differentiation of television news interpretations by its viewers. Furthermore, we will present a procedure for measuring differentiation based on the thoughts viewers reported while they watched a television news program. Results of a small-scale study provided first indications that the procedure is able to discriminate between viewers with varying levels of differentiation in interpreting television news. (shrink)

Our aim in this paper is to identify the ways in which the new Romanian television has removed itself from its former (communist) status and orienta- tion, and has tuned in to the global media, in turn undergoing changes prompted, on the one hand, by new communication technologies and, on the other hand, by geopolitical changes per se occurring world- wide. We intend to show how the new types of media, particularly television, having interconnected consumers everywhere into a (...) global village, and having facilitated the segmentation of audiences and the targeting of audiences with narrowly focused messages, have impacted young Romania television viewers. We will also try to track the ways in which global media symbols interact with local specificities and are socially mediated with the direct intervention of culturally situated local young audiences. In addition, we hope to prove that young Romanian television viewers are adept managers of the multivalent televi- sion messages, which they successfully decode in ways that serve their subcultural interests and needs. (shrink)

The research programs of empirical aesthetics and neuroaesthetics have reflected deep concerns about viewers' sensitivities to artworks' historical contexts by investigating the impact of two factors on art perception: viewers' developmental (and educational) histories and the contextual histories of artworks. These considerations are consistent with data demonstrating that art perception is underwritten by dynamically reconfigured and evolutionarily adapted neural and psychological mechanisms.

This study examined the recall of car and food advertisements within either a car or food television program to investigate the relationship between recall, program content, and viewer involvement. The participants, 92 sixth-form students, aged between 16–17 years, were randomly assigned to one of four conditions. As predicted, advertisements placed within a program of dissimilar content were recalled significantly better than if placed within a program of similar content. A gender bias in recall was found with females recalling female-orientated (...) products significantly better than males. Viewer-involvement ratings factored onto three factor clusters: enjoyable, cheerful, and humorous. Negative correlations were shown between cheerfulness and recall in the car program, and positive correlations were shown between cheerfulness and recall in the food program. Finally, implications of the results were considered. (shrink)

Although interpretation is often considered a vital factor in the effects of news, its conceptualization and operationalization have been problematic. In this study, interpretation is defined in terms of the structural attribute of complexity. In a previous contribution, one aspect of interpretive complexity, differentiation, was operationalized and measured to test the usefulness of the concept in news research. This follow-up study introduces a method for measuring and analyzing a second aspect of interpretive complexity: Integration. Whereas differentiation represents the broadness of (...) interpretations, integration refers to the cohesiveness of interpretations. This contribution describes two dimensions of integration, called micro-integration and macro-integration, and attempts to test their utility by operationalizing and measuring them in a small-scale study. Results illustrate that the method yields data that are helpful in systematically exploring and comparing how viewers interpret television news by assessing differences in cohesiveness. The merits of the concept and method and their use for the study of news effects are evaluated. (shrink)

The article presents a methodological update on the lexical profile of informal spoken English with the emphasis on movies, television programs, and soap operas. The study analyzed Mark Davies’s mega-corpora with data containing approximately 625 million words and employed Paul Nation’s comprehensive and up-to-date British National Corpus/Corpus of Contemporary American English wordlists. Data from the analyses showed that viewers would need a vocabulary knowledge at 3,000 and 5,000 words frequency levels to understand 95 and 98% of the words (...) in scripted dialogs, respectively. Soap operas were found to be less lexically demanding compared to TV programs and movies. Findings are expected to fill in the methodological gaps between vocabulary assessment and vocabulary profiling research. (shrink)

Becoming a crime victim is often associated with the development of psychological distress symptoms. In turn, these symptoms have been found to be related to a decrease in perceived social support by the victim. From a uses and gratifications point of view, the increase in distress and the decrease in perceived social support could well affect a victim’s television use. Furthermore, the compensation hypothesis proposes that people with little social contact use mass media to compensate for social isolation. It (...) could therefore be hypothesized that increased use of television for reasons of companionship is related to higher levels of psychological distress and lower levels of perceived social support. The present study used a structural equation model to test this hypothesis. The sample consisted of 212 Flemish victims of crime. The results confirm the proposed relationships and hypotheses. Directions for future research are discussed. (shrink)

As several studies, along with a book and movie depicting the true story of a former clinic director, have recently brought to the public’s attention, fetal ultrasound images dramatically impact some viewers’ normative judgments: a small but non-negligible proportion of viewers attribute increased moral status to fetal humans and even form the belief that abortion is impermissible. I consider three types of psychological explanation for a viewer’s shift in beliefs: increased bonding or empathy, various forms of cognitive bias, (...) and type of cognitive processing involved. I consider the normative implications of each explanation, arguing that in each case the viewer’s judgment is presumptively rational. (shrink)

A relatively under-analysed theme in the sociology of the media is the moral consequentiality for television viewers of representations and reports of the suffering of others. The theme has been broached by Michael Ignatieff, and this article uses an essay by him as an opportunity to develop the thesis that any consideration of the relationship between television and morality must centrally concern itself with the complex exchanges between television and its viewers. The article seeks to (...) offer some initial themes and theses about the moral consequentiality of television. (shrink)

L’émission Loft Story représente l’apogée de la néo-télévision. Elle a instauré un contrat de communication avec le public qui a mêlé la plupart des éléments caractéristiques de la télévision contemporaine. Participation du public au programme, symbolisée par la présence à l’écran de personnes anonymes issues de la société civile et par une interactivité poussée exprimée par les votes. Imbrication difficile à décrypter pour le téléspectateur entre réalité et fiction. Dimension ludique du programme et vécu en direct qui entretiennent le double (...) phénomène d’identification et de distanciation. Mise en scène de la dimension relationnelle de la vie privée. Écho de la culturelle adolescente, surtout dans son aspect interrelationnel. Utilisation du média comme acteur de la vie sociale, et notamment comme agent de promotion professionnelle.The show Loft Story represents the most extreme form of « neotelevision ». The communication contract it proposes to its audience brings together most of the elements that characterize modern television. 1) Public participation in the programme . 2) Unability for viewers to clearly sort out what pertains to reality and what belongs to fiction. 3) Playful dimension of a live broadcast that simultaneously triggers identificatory and distancing processes. 4) Focus on the private realm and on its relational dimension. 5) Particular attention paid to adolescent cultures, especially in their interrelational aspects. 6) Transformation of the medium into a social actor in its own right, specially as an agent of professional promotion. (shrink)

Global television has enabled cultures across the world to meet within the virtual space and interact in terms of decoding, meaning making and appropriating messages. It is also the case of the Romanian audience, a local community of viewers who have long been exposed to highly censored and restrictive programming (under the communist regime) and who are now enabled to identify with the (western) communities they have aspired to. We intend to illustrate our case with TV advertisements, which, (...) generally, provide abundant material for television viewers, with socio-culturally determined profiles, to re-construct meanings into either coincidental or disjunctive semantic outputs. Since the act of consumption is productive, we aim to show that in spite of the possibly conflicting readings of the poly- and multi-semantics of the ads, viewers can coalesce into interpretative communities irrespective of their cultural make and cooperate towards the production of a joint meaning. We consider that this is an illustration of transculturalism at the level of a local audience interacting with the symbolic representations of cultures elsewhere on television. (shrink)

This primer of research on how television affects children and families is organized around the perceptions and insights of four ordinary families who are raising their children without any television in their homes. Readers will learn about the methods and findings of over 40 years of research on TV and, in the process, may change the way they look at television forever.

Written by one of the foremost and widely-respected writers in the field, this volume sheds new light on the forms and premises of the communicative experience. In doing so, it challenges the theoretical positions of marxist and "political economy of media" analysts who focus largely on the structure of economic and social power within the media. Instead, Scannell explores the structuring of engagement of the viewer/listener with the broadcaster by analysing the communicative intentions of the broadcaster and the understanding by (...) the audience of those intentions. This powerful and accessible book makes an important contribution to media studies in showing students how the history of the media can be enriched by communications theory. (shrink)

As the development of artificial intelligence technology, the deep-learning -based Virtual Reality technology, and DL technology are applied in human-computer interaction, and their impacts on modern film and TV works production and audience psychology are analyzed. In film and TV production, audiences have a higher demand for the verisimilitude and immersion of the works, especially in film production. Based on this, a 2D image recognition system for human body motions and a 3D recognition system for human body motions based on (...) the convolutional neural network algorithm of DL are proposed, and an analysis framework is established. The proposed systems are simulated on practical and professional datasets, respectively. The results show that the algorithm's computing performance in 2D image recognition is 7–9 times higher than that of the Open Pose method. It runs at 44.3 ms in 3D motion recognition, significantly lower than the Open Pose method's 794.5 and 138.7 ms. Although the detection accuracy has dropped by 2.4%, it is more efficient and convenient without limitations of scenarios in practical applications. The AI-based VR and DL enriches and expands the role and application of computer graphics in film and TV production using HCI technology theoretically and practically. (shrink)

This paper argues that American television fiction with supernatural themes offers Danish teenage audiences a playground for exploring different religious imaginations in a continuous process of internal negotiations; thereby transforming their imaginations. This process of the mediatization of religion is strengthened by three dominating factors: the absence of a homogenous religious worldview in Danish culture, the importance of high production values and visual credibility to supernatural concepts in these shows, and the appeal of transformed religious content in open-structured serial (...) narratives. This essay presents the findings of an empirical qualitative study of seventy-two Danish teenagers and considers two primary parameters for the case-based reception study: the teenagers' levels of fandom and their connection with institutionalized religion. In other words, how are religious imaginations transformed in relation to viewers' level of commitment to the television fiction and to traditional institutionalized religion? (shrink)

In this article I will present two arguments. First, the argument that the time travel television series historically provided viewers with a spectacular temporal and spatial alternative to the routine of everyday life, the regulation of television scheduling, and the small-world confines of domestic subjectivity. Taking the decades of the 1970s and 1980s, predominantly in a UK viewing environment, I will suggest that the special effect rendering of the time travel sequence expanded the viewer’s material universe, and (...) affectively wrenched the television set free from the strictures of scheduling and realist programming. Further, the time travel series readily and regularly took the domestic space, the ordinary day and the everyman/person into awesome environments and situations that suggested alternative lifestyles and behaviours, with a different existential tempo and rhythm. At a narrative, thematic, meta-textual, and aesthetically spectacular level, television time travel saw to the wonderful end of the working day. Case studies include Sapphire and Steal, Dr Who, and Quantum Leap. Second, the article will argue that rather than the contemporary time travel television series being an extraordinary alternative to ordinary life, they instead articulate convergence culture, deregulation, multiple channel viewing, and time-shift culture where there is no such thing as an ordinary working day or domestic viewing context. (shrink)

Television content that contains non-stereotypical representations of ethnic minorities and models positive intercultural interactions may potentially aid in reducing the prejudices of its viewers. However, the exact effect has yet to be demonstrated. Furthermore, the cognitive mechanisms behind such an effect remain unclear. This article tests hypotheses derived from social identity theory and social learning theory that attribute this effect to the identification patterns with ingroup and outgroup characters in television drama. In an experiment, participants either watched (...) episodes of a multicultural drama or a regular soap series. Results showed that viewers of multicultural drama had lower perceptions of ethnic threat. Moreover, this effect was mediated by identification with characters, namely, increased identification with outgroup and lowered identification with ingroup characters resulting in lower ethnic threat. The results suggest that short term viewing effects are best explained with social identity theory. The implications for long term effects and the possible role of social learning are analyzed in the discussion. (shrink)

In cognitive research, metaphors have been shown to help us imagine complex, abstract, or invisible ideas, concepts, or emotions. Contributors to this book argue that metaphors occur not only in language, but in audio visual media well. This is all the more evident in entertainment media, which strategically "sell" their products by addressing their viewers’ immediate, reflexive understanding through pictures, sounds, and language. This volume applies cognitive metaphor theory to film, television, and video games in order to analyze (...) the embodied aesthetics and meanings of those moving images. (shrink)

The antihero prevails in recent American drama television series. Characters such as mobster kingpin Tony Soprano, meth cook and gangster-in-the-making Walter White and serial killer Dexter Morgan are not morally good, so how do these television series make us engage in these morally bad main characters? And what does this tell us about our moral psychological make-up, and more specifically, about the moral psychology of fiction? Vaage argues that the fictional status of these series deactivates rational, deliberate moral (...) evaluation, making the spectator rely on moral emotions and intuitions that are relatively easy to manipulate with narrative strategies. Nevertheless, she also argues that these series regularly encourage reactivation of deliberate, moral evaluation. In so doing, these fictional series can teach us something about ourselves as moral beings—what our moral intuitions and emotions are, and how these might differ from deliberate, moral evaluation. (shrink)

Advertising is a tool by which the audience who may be the viewers, readers or listeners are communicated and convinced to buy or taking any action regarding the products, or getting information about the services provided. The TV advertisements influence the consumers’ buying behaviour. The need of TV advertisement has increased with the fast growth of mobile phones industry in Pakistan. This paper investigates the relationship between independent variable of advertisement with dependent variables of consumer choice, consumer awareness, consumer (...) perception, and consumer motivation by getting the responses of 250 respondents using questionnaires based on 5-point Likert scale from the graduating students of various faculties at University of Karachi. The main results of the study show a strong association between the independent and dependent variables. It is a fact that the brands which are advertised on TV are purchased more because people become emotionally attached with such brands or products. This study is very useful for producers, distributors, wholesalers and retailers as well engaged in mobile business in Pakistan. (shrink)

~Et h i c a l sensitivity is investigated in an illustrative analysis of two female television nezos viewers. Transcripts of structured, in-depth interviews were analyzed according to four critical content dimensions of ethical sensitivity reflecting interviewees' mentions of story characteristics, ethical issues, consequences, and stakeholders. Cognitive maps illustrate the reasoning processes ofthe two viewers, one with relatively high and the other with relatively low ethical sensitivity. This study provides a detailed description of a new application of (...) a research procedure, and gives detailed examples of how subdimensions of ethical sensitivity interact and relate to a person's reasoning processes. The study is a pilot demonstration of a promising methodology and a precursor to more investigations on more viewers, more types of content, and more media. (shrink)

Live streaming commerce as a popular marketing method has attracted wide attention, but little is known about why consumers continue to watch live streaming. To fill this research gap, this study draws on social presence theory to examine the impact of sense of community, emotional support, and interactivity on viewers’ social presence, which, in turn, influences their live streaming watching. Furthermore, the moderating role of streamer attractiveness is also investigated. The authors collected survey data from 386 live streaming (...) class='Hi'>viewers and used the structural equation model to test the research model. The results reveal that sense of community, interactivity, and emotional support positively affects viewers’ social presence, leading to viewers’ watching live streaming. Furthermore, streamer attractiveness plays a significant moderating role between social presence and live streaming watching. This study provides a unified theoretical framework to explain the intention to watch live streaming based on social presence theory. (shrink)

This article presents the findings of an audience research conducted with 86 young Spanish people aged 15 to 29 years. The investigation examines the modes of reception of television fiction, and the impact of the shows on the viewers. Friends’ influence on the choice of program, and the tendency to use social networks to comment on the shows and to talk about themselves, underline the crucial role played by TV fiction and new technologies in socialization processes. While most (...) participants criticized the propensity of television fiction to build extreme stereotypes, they also showed a clear predilection for Spanish programs, and admitted that their characters often offer inspiration to face everyday problems. (shrink)

The application of 2 sets of ethical guidelines in this article leads to the conclusion that readers and viewers can know what they need to know about capital punishment without television or still pictures of the actual execution. The press can maximize compassion for stakeholders and minimize emotional suffering, while at the same time fulfilling its truthtelling duties.

The present study shows the influential role of TV on all spheres of human life and very type of environments that is surrounding of us. This research attempts to discuss the powerful character of television in depth on the social, moral, political, economical, religious and all other factors, which make full use of this most exceptional and constructive invention. It concluded the challenges that faced viewers which lie in variety of contents that are offering television in forms (...) of news, current affairs, entertainment and social welfare programmes. Furthermore, television is contributing to the benefit of masses in making the awareness of their environment, rights, duties, privileges and above all, patriotic affection and religious proximity in our beloved country. (shrink)

My aim in this paper is to explore the appeal of contemporary television serial drama. I argue that there are four main aspects of serials that inspire viewers’ interest and long-term commitment: serials’ overall aesthetics, its narrative complexity, strong emotional pull and serious mimetic aspect. I analyse each of these and I show how each stimulates our more general interests and emotional dispositions, primarily those related to aesthetic reward, intellectual challenge, moral clarity and entertainment. My analysis shows how (...) these four elements unite and how their union inspires and maintains viewers’ long-term commitment to the show. In the process, I explore viewers’ emotional engagement with the characters, suggesting it is of secondary importance for their long-term commitment to the show. This commitment, I argue, is motivated by viewers’ sense of care for the work developed in response to its repeated providing of pleasurable stimuli. (shrink)

Once the province of film and media scholars, today the moving image is of broad concern to historians of art and architecture and designers of everything from websites to cities. As museums and galleries devote increasing space to video installations which no longer presuppose a fixed viewer, urban space becomes envisioned and planned through "fly throughs," and technologies such as GPS add data to the experience of travel, moving images have captured the attention of geographers and scholars across the humanities (...) and social sciences. Their practice of "mobility studies" is remaking how we understand a contemporary world in relentless motion. Media theorist and historian Anne Friedberg (1952-2009) was among the first practitioners of visual studies to theorize the experience of vision in motion. Although widely influential beyond her own discipline, Friedberg's work has never been the subject of an extended study. The Moving Eye: Film, Television, Architecture, Visual Art and the Modern gathers together essays by renowned thinkers in media studies, art history, architecture, and museum studies to consider the rich implications of her work for understanding film and video, new media, visual art, architecture, exhibition design, urban space, and virtual reality. Ranging from early cinema, to works by Le Corbusier, Sergei Eisenstein, Gordon Matta-Clark, and Pierre Huyghe, to theories of the image in motion informed by psychoanalysis, theories of the public sphere, and animal studies, each of the nine essays in the book advances the lines of inquiry commenced by Friedberg. (shrink)

This study compares two local television newsrooms during sweeps ratings periods. Sweeps pose an ethical dilemma for newsworkers and their organizations in that the explicit goal of sweeps is to maximize audiences and profits, which strongly increases the pressure to produce sensationalistic or sleazy news to attract viewers. But sweeps also present the opportunity to produce more ethical and substantive news by giving reporters more time both off and on the air to explore issues. This study examines whether (...) newsworkers and their organizations can resolve this dilemma in such a way as to serve both market interests and the public interest. (shrink)

It is well-established that party identity biases the processing of political information and the evaluation of political actors. This is presumed to avoid cognitive dissonance and achieve positive affect. What happens, however, when individuals diverge from this pattern and do make identity-inconsistent evaluations of political actors – how does this translate into positive and negative emotions toward the candidates? The paper addresses this question using large-N data from the main televised debate of the 2017 German national election by combining survey (...) responses with viewer perceptions measured during the debate. The findings suggest that candidate ratings made during the debate have different valence depending on a person’s party identity. Strikingly, a stronger party identity does not mean a reduced impact of identity-inconsistent evaluations on emotional responses toward a candidate. Rather, only evaluations in accordance with one’s party identity, and hence with lower information value, show a reduced effect on emotional responses. (shrink)

On the reality TV program Long Island Medium and in public performances, professional spirit medium Theresa Caputo interprets messages she says she receives from the spirits of the deceased. Based on interviews with people who have seen her on television or in a live stage performance, I sought to learn more about how viewers experience, interpret, and are affected by these readings and by her presentation of life after death. For viewers who believed in this television (...) medium's abilities, I was interested in how her interpretation of the spirit world corresponded with theirs. While some viewers were quite skeptical, for others the program provided a level of comfort about lost relatives and/or offered a means of validating or further understanding their own personal experiences with nonempirical phenomena. In this article, I explore how Long Island Medium may offer a cultural framework for interpreting perceptions of spirit entities that is not available in mainstream U.S. culture or religion. (shrink)

The year 2012 is forever associated with protest from Occupy Wall Street protesters in America to the Arab Spring in Tunisia and Egypt, and popular unrest in the face of austerity measures in Greece and Spain. The evening news covers these events in one-and-a half minute segments, accompanied by a flood of images, making them difficult for viewers to assess.

This study extends the examination of moral content in the media by exploring moral messages in television programming and viewer characteristics predictive of the ability to perceive such messages. Generalisability analyses confirmed the reliability of the Media’s Moral Messages (MMM) rating form for analysing programme content and the existence of 10 moral themes prevalent in television media. Standard regression analyses yielded evidence indicating viewers’ moral expertise, as measured by the Defining Issues Test (DIT), familiarity with the programme (...) and level of education predicted their ability to perceive moral messages in a television drama popular in the USA at the time of data collection. Identification of patterns in moral content represented in television programming, as well as knowledge of how viewer characteristics relate to their ability to perceive such content, can provide parents and educators with a means for better comprehending messages regarding human interaction to which they or their children are exposed. (shrink)

This essay examines the connections between the Miss America pageant and reality makeover television shows. We argue that televised performances of gender have shifted focus from the intensely scripted, out-of-touch Miss America to reality makeover shows that normalize cosmetic surgery as a means to become the ‘ideal’ woman. While both spectacles offer their viewers performances of femininity, these performances need to be understood as emerging from the cultural and political conditions in which they are produced. This difference in (...) presentation of the subjects of beauty pageants and makeover programmes speaks respectively to the changing role of media in the normalization of performances of femininity, as well as to the affiliation of many young women with post-feminist politics in the United States. (shrink)

Amid the action of the 2013 Super Bowl aired the usual array of high-priced advertisements. Most ads were original. Some were unusual. One regional ad, however, seemed distantly familiar. The 30-second commercial promoted the NJOY King electronic cigarette1 to at least 10 million viewers in several major markets. It featured an attractive male model taking a drag from what looks like a cigarette. He then slowly blows smoke to the tune of Foreigner’s “Feels Like the First Time.” Of course, (...) the “smoke” does not come from burning tobacco. Rather, it is the water vapor produced by an e-cigarette as part of its nicotine delivery process. This, however, was not evident from the imagery. For those watching the broadcast, including thousands of minors, NJOY’s advertisement depicted what tobacco companies have not portrayed on television for decades: a person engaged in smoking behavior. (shrink)

This is primarily a sociological study of the impact on the viewer of television coverage of particular key events. Singled out especially are: MacArthur day in Chicago in 1951, the 1952 political conventions, and the Kennedy-Nixon debates of 1960. The impact of television on political opinion and the effect of nationally televised voting returns on late voters are also explored. Relying on the method of questionnaires and interviews with strategically placed eye-witnesses and television watchers, the Langs discovered: (...) that there is a difference between being there in person and "being there" via T.V., that the major networks differ, often markedly, with respect to the impression of the event conveyed, and that in spite of seeming to be a "see for yourself" news medium, T.V. can't help but introduce some "refraction," some inadvertent bias, into the actuality it conveys. Although there is occasional passing reference to McLuhan, there is little discussion of T.V. as medium. Rather, content, and content of news coverage specifically, is the primary focus. However, in the last chapter, and here and there throughout the book, there are more speculative reflections on what the authors have discovered. For example, they speculate on the way television coverage becomes an event in its own right and on the way television "manufactures" actuality, transforming the viewers' quest for truth into a quest for trust. The book is a helpful, feet-on-the-ground reference point for the exploration of the problems of media and messages.--S. O. H. (shrink)