The present paper is based on a case study and investigates the relationships between the religious beliefs of a group of international students (age 18-24) and their taste for supernatural as a TV genre.
Starting from the assumption supported by the literature that every religion presents several aspects related to the sphere of supernatural, the study ultimately tries to reveal possible inconsistencies between the professed faith of the individuals and their take on alleged supernatural phenomena, either believed or even reportedly witnessed and experienced.
Finally, the paper addresses the relationship between religion – which is here meant as both cultural and identity-forming factor – and supernatural under the possible influence of certain TV series appreciated and regularly consumed by those young individuals who took part in the study. In this regard, it is investigated whether the belief in supernatural phenomena is affecting the way the world is interpreted in terms of good vs evil.

O presente estudo tem como objetivo analisar de que forma a imagem da mulher é utilizada no papel de assistentes de palco, também nas funções de dançarinas ou bailarinas, nos programas de auditório da TV brasileira, buscando traçar um paralelo com a imagem do sexo feminino formada em uma sociedade machista e patriarcal e aprofundar a discussão sobre o sexismo presente na mídia, explorando a objetificação e a inferiorização da mulher. Para tornar possível tal análise, quatro programas de auditório foram selecionados: “Cassino do Chacrinha”, “Domingo Legal”, “Pânico na TV” e “Caldeirão do Huck” e suas respectivas dançarinas. Neles, foram avaliados a papel das assistentes de palco no programa e suas roupas e exposição dos seus corpos, e, assim, buscando as relações e diferenças em suas origens com o cancã e o teatro de revista nascidos em Paris, que também influenciou a textualidade do rádio brasileiro, presentes até hoje nos programas de auditório da TV.

Girls (HBO, 2012-17) é uma série de dramédia estadunidense que desde seu lançamento suscitou muitos debates de diferentes vieses. Ao longo de suas temporadas é perceptível uma mudança de um viés predominantemente cômico para um aumento de carga dramática na narrativa. A proposta desse trabalho é analisar como essa dinâmica de tensionamentos entre euforia versus disforia, que enxergamos como intrínseca à dramédia, causa impactos diretos na tipificação cômica (BERGSON, 1983; JAUSS, 2005) da protagonista e em sua Jornada do Herói (CAMPBELL, 1949; VOGLER, 2006), o que vemos que reflete também em sua estrutura narrativa quanto a uma lógica mais episódica ou serializada (MITTEL, 2006; NERI, 2015). Assim, nos propomos a analisar como o imbricamento entre drama e comédia impacta diversos elementos textuais do nosso objeto de pesquisa.

Interviews and talk shows are two journalist genres based on a conversation between a journalist and invited guests. The dialogue, common to both formats, make it, at times, difficult to categorize the broadcasts as one or the other genre. Television makes it all the more so complicated due to its multi-sensuousness which increases the distortion effect. The article attempts to compare the theoretical assumptions of an interview and a talk-show and to present their various similarities and differences as broadcasted in Polish TV programmes. Additionally, presented is a short historic overview of both genres in which the author describes the modern programmes exhibiting traits characteristic to these types of formats.

В статье анализируются структурно-композиционные схемы общественно-политических ток-шоу, выходивших в эфир федеральных каналах российского телевидения в 2000-20lб гr. Структурно-композиционная схема определяется через приоритетный жанр, к которому обращаются журналисты при подготовке проекта, а также постоянные и вариативные элементы формата.

This research addresses the potential of political comedy and satire as television genres in the construction of democracy and civic culture in Colombia. Through a set of elite interviews with representative individuals in the media, political humor and media scholarship circles of the country; and through genre-based and political, economical and cultural analyses, this research underscores the real reasons for the absence of domestic political comedy on Colombian television. The discussions take into account constraints such as media ownership issues, censorship, economic bans, power struggles, the assassination of the comedian Jaime Garzón, and the Colombian audiences’ TV consumption habits. At the same time, it is explained how the telenovela TV genre adopted some aspects of political comedy, thus helping to the survival of satirism in the medium.

Also, this research discloses how entertaining politics can provide useful input to the formation of cultural citizenship, and explores the civic skills that a society would develop if political comedy shows were produced. Furthermore, a new approach is suggested to understand the political cynicism concept used by political communication scholars to explain the citizens’ apathy and political disengagement resulting from the consumption of media contents -particularly entertaining ones. By bringing into the debate a contextual re-signification of the term cynicism, this research finds that a sort of ‘good cynicism’, represented by more analytical and critical stances towards the powers, can politically engage the potential viewership of political comedy and satirical shows on Colombian television.

La relativa juventud de la investigación académica sobre televisión ha favorecido la asunción, a la hora de enfrentarse a sus propios retos, de las teorías establecidas en el estudio de artes y medios de comunicación de nacimiento más temprano. El presente artículo aborda la complejidad de adaptar una teoría de los géneros tradicional y heredada a las peculiaridades propias de un medio distinto, con unas dinámicas particulares de distribución y consumo por parte del espectador.

This introduction sketches the book's six chapters in Bourdieu-type terms of texts, producers, and institutions: memory and working through (Cuéntame), the classic serial (Fortunata and La Regenta), Francoist film and TV (NoDo, Crónicas de un pueblo, Cine de barrio), the urban sitcom (No hay quien viva), telebasura, talk and reality (Crónicas marcianas), and Almodóvar on television. It also gives an account of two approaches to TV, one British and one Spanish.

An autistic youth, a North Korea refugee, a vampire, a girl’s high school dropout who fights like a gangster, and a discredited professional: Why are South Korean hospital TV dramas so focused on the figure of the outsider and the Other? In addressing this question, I present an analysis of Good Doctor (KBS, 2013), Doctor Stranger (SBS, 2014), and Doctor Romantic (SBS, 2016), with additional references to Doctors (SBS, 2016), Blood (KBS, 2015), and Life (JTBC & Netflix, 2018). I take a genre studies approach in an attempt to understand medical/hospital drama as distinct sub-genre of Korean TV drama. Tracing the social contradictions and ideological functions of the dramas, I establish the Korean medical drama as a morality play that negotiates the antinomies at the heart of South Korean modernity. The figure of outsider doctor draws on a hybrid modern/popular Confucian value system to stand firm against the maelstrom of neoliberal financialization in the medical sector, and transforms corrupt corporate systems to bring about both justice and harmonious social integration.

In this paper, I analyse how expertise is discursively negotiated in TV documentary programmes. While previous research has explored the relationship between the ‘lay’ and the ‘expert’ dimensions in various public participation programmes, this paper focuses on a TV programme format that is based on the cooperative interaction between professionals who differ in the extent of their knowledge and experience. The paper notes that while expertise is unevenly distributed between the voiceover, the presenter and the expert, these parties complement each other in explaining complex phenomena for the benefit of the audience. Using data from the documentary series How Britain Worked, I argue that as long as the presenter possesses some technical expertise, he may be positioned as a semi-expert between the true expert and the lay audience, even when he simultaneously acts in other contexts as a novice acquiring the specialized expertise needed for his quest. Thus, rather than demonstrating his own knowledge and skills, the presenter mediates expertise for the benefit of the audience. The mediating role is attested by the presenter׳s frequent shifts of footing in and out of the conversational interaction with the true expert, who may end up assuming a background role of expert support.

La presencia masiva de la TV está obligando a estudiar histórica y teóricoempíricamente la relación de entretención o aburrimiento que entablan los televidentes con los mensajes televisivos, tema poco estudiado especialmente en relación con el espectáculo lúdico y la ficción televisivas. De partida, es necesario constatar un prejuicio negativo general hacia la entretención, el cual ha actuado como el tradicional horizonte conceptual despectivo, y disuasivo para una mejor comprensión.

Reality TV is a genre of television programming which started in the 1990s but goes back to hidden camera shows, documentaries, and theory concepts under realism. Among the characteristics of this television genre, are the presence of various aspects of real-life elements and picturing ordinary people rather than actors. The new generation of this genre with a different style and in the form of a program called "Big Brother" created a new-flow in this kind of television programming and gained numerous fans worldwide. This paper — while reviewing the patterns of realism, documentary, and recognizing the reality TV shows — attempts to have an analytic reading of this television-style based on the Erving Goffman’s dramaturgical theory. Goffman, as one of the contemporary theorists in the field of sociology, applied some concepts such as performance, scene, and mask and so on out of theatrical terminology to interpret the individuals’ interactions in their everyday lives and the social interactions. According to this approach, sometimes when the reality TV actors appear in the front stage and in front of their audiences, they present a different "self" and act like a professional actor. However, the dramatic aspect of reality TV shows owes its existence to such presentations of masking on the face and showing various selves and the successful performance of the non-professional actors (ordinary people) starring in the front stage and in front of the camera.

L’écrivaine Marguerite Abouet et le dessinateur Clément Oubrerie ont conçu un roman graphique afro-européen en six volumes : Aya de Yopougon, publié en français entre 2005 et 2010. Cet article se propose de montrer comment Aya de Yopougon essaye de transformer l’image de l’Afrique subsaharienne dans l’imaginaire du public européen en racontant une histoire africaine qui se déroule surtout dans des zones urbaines et en évoquant de nombreux moments de la vie quotidienne de la classe moyenne et ouvrière en Côte d’Ivoire à la fin des années 1970 et au début des années 1980. Aya de Yopougon mélange des outils et des procédés issus de différents genres médiatiques afin de faire évoluer les stéréotypes européens sur l’Afrique. Le succès de ce roman graphique franco-ivoirien a contribué à « l’émergence » de la bande dessinée d’Afrique francophone et d’un intérêt croissant à son égard de la part du public, du secteur des médias, ainsi que du monde de la recherche académique.

El propósito de este artículo consiste en analizar la evolución de convenciones estétiCas, asi como el significado ideológico de los géneros de la televisión peruana y su relación con lós discursos históricamente situados en torno a clase, sexo y etnicidad.

Geographies of the ersatz: Authenticity, Adaptation, and the European city in HBO’s Game of Thrones

In Screening European Heritage, Rob Stone writes on the interaction between tourists and the filming locations of the popular medieval-set television series Game of Thrones. Stone’s analysis aligns the consumption of text as heritage tourism with medieval tradition by comparing it to acts of religious pilgrimage. By drawing such parallels, his argument reflects a prevalent trend in scholarship, one that considers reinterpretations of the medieval in contemporary society, art and media to be inheritors of progenitor rituals and artefacts from the Middle Ages. In Northern Ireland, the ‘stones and thrones’ tour offers tourists the chance to visit sites of historical or natural heritage, such as The Giant’s Causeway (the stones), alongside shoot locations from the television show (the thrones), which showcases the area’s contemporary culture in the form of its thriving media industry. However, the intellectual problem arises when the latter form of cultural heritage becomes inseparable from the former. Certainly, this is true of the promotion and recreational consumption of heritage tourism derived from a pop-culture phenomenon like Game of Thrones. This paper will examine how such tourist sites operate as cultural palimpsest, whereby geographies of past and present are fused with what Jean Baudrillard calls the hyperreal to create an anti-archive of space and place, one that problematises the notion of filmic space as reliable archive.
Furthermore, this paper will redress some omissions in Stone’s argument, which overlooks the impact of the generic and thematic devices of the television series upon its presentation in heritage tourism. Fundamentally, a tension lies within the interaction, or lack of coherent interaction, between text and tourism as consumption of text. Game of Thrones conforms to a set of generic expectations: showrunner D.B Weiss has described it as ‘The Sopranos in Middle Earth,’ while it constructs the city as dirty and dangerous premodern space. Furthermore, the series evokes elements derived from horror cinema and, congruent with this, it presents an uncivilized wilderness as antithetical to the city space. The territory ‘beyond the wall,’ with its undead ice zombies, subscribes to readings of the Freudian uncanny and the archaic mother that have their literary roots in the gothic tradition. Few of these textual attributes are promoted in tours of the sites. Instead, the focus is on elements of the television series that conform to the ethos of an ‘authentic’ heritage experience, which seamlessly blends real and unreal cultural histories. Therefore, this paper will also argue that heritage tourism is highly selective in its interaction with the film text; it embraces the light and shuns the night. Thus, the tourism that surrounds Game of Thrones conforms to what Alan O’Leary refers to as a ‘post-card style’ of heritage tourism, which is based upon a limited, carefully crafted, and often fragmentary set of iconographic registers.
Speaker’s Bio
Daniel Clarke is a PhD student at the University of Sheffield and Associate Fellow of the Higher Education Academy. He is part of the White Rose Doctoral Training Partnership and its network on ‘European history and identity in cinema’, which works across the Universities of Sheffield, Leeds, and York. His thesis, Wearing Historicity, examines the ideological usage of medieval Europe as imagined time and place in Hollywood film and contemporary American television.
Bibliography
Aronstein, Susan, Hollywood Knights: Arthurian Cinema and The Politics of Nostalgia, 1st edition (London: Palgrave MacMillan, 2005).
Finke, Laurie A., and Shichtman, Martin B., Cinematic Illuminations: The Middle Ages on Film, 1st edition (Baltimore: The Johns Hopkins University Press, 2010).
Haydock, Nickolas, Movie Medievalism: The Imaginary Middle Ages, 1st ed. (Jefferson, North Carolina: McFarland, 2008).
Higson, Andrew, ‘The period film and the British Past’, in Medieval Film, by Bettina Bernau and Anke Bildhauer (eds.), 1st edition (Manchester: Manchester UP, 2009) pp. 203-24, (p. 207).
Larrington, Carolyne, Winter is Coming: The Medieval World of Game of Thrones, 1st edition (London: I.B. Tauris, 2015).
Stone, Rob, ‘Cinematic Pilgrimages: Postmodern Heritage Cinema,’ in Rob Stone and Paul Cooke (eds.) Screening European Heritage, 1stedition (London: Palgrave, 2016), pp. 257-78.

Este texto efectuará una revisión limitada a algunos cambios ocurridos en la temática de Educación para la Comunicación, la cual tuvo un importante auge en los años „80 en América Latina. Recordemos que el medio en donde se trabajó con mayor esfuerzo ha ...

Se recopilan, cuantifican, clasifican y caracterizan las 545 series y miniseries de ficción de producción española, emitidas
por los canales de televisión lineal, digital y las plataformas de vídeo bajo demanda, en el período 2000-2020. Se propone una metodología con un diseño mixto: cuantitativa y cualitativa. Se ha creado una base de datos que incluye los campos: año de estreno, formato, género, plataforma, canal, número de episodios y temporadas, duración y valoración. De esta manera se propone, por vez primera, una taxonomía que considera la caracterización completa del total de las ficciones seriadas españolas emitidas en España durante la era digital. Los resultados distinguen tres periodos por: el desarrollo de la ficción televisiva, la crisis económica de 2008, y la llegada de las plataformas de vídeo bajo demanda al país. Se concluye que las comedias han sido desbordadas por otros géneros mayoritarios, como los dramáticos o los policiales. La ficción de televisión se adapta a la nueva sociedad que las consume, retratando a través de temáticas novedosas sus debates sociales, sus miedos y sus aspiraciones. Se ha reducido su duración, mezclando unos géneros con otros y concediendo cada vez más presencia y protagonismo a personajes de mujeres en detrimento de los hombres.

This article examines discourses on identity and bodily plasticity in the forensic crime drama CSI: Crime Scene Investigation (2000–). It argues that CSI engages with the same cultural debates as makeover reality TV, but in ways that articulate a number of oppositional perspectives on self-transformation practices governed by the programme' s investment in an essentialist and determinist understanding of genetics. The article traces CSI's reconfi guration of the motif of disguise and inverted use of generic tropes from makeover reality TV, as well as its tendency to worry about the increased possibilities for biomedical alterations of our bodies. It concludes that the programme problematises selftransformation practices as a new type of' identity crime' .

Abstract. Iwona Kasperska, reseña de Marcin Florian Gawrycki: "Podglądając Innego. Polscy trawelebryci w Ameryce Łacińskiej" [review of Marcin Florian Gawrycki: "Podglądając Innego. Polscy trawelebryci w Ameryce Łacińskiej"], Studia Romanica Posnaniensia, Adam Mickiewicz University Press, Poznań,
vol. XL/2: 2013, pp. 167-172. ISBN 978-83-232-2597-3. ISSN 0137-2475. eISSN 2084-4158.