The Television Entertainment - between Profit and Responsibility (original) (raw)
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INFORMATIONAL VIOLENCE IN THE SYMBOLIC EXCHANGE AND MODERN MEDIAREALITY: THE MODUS DIMENSION
Вісник Житомирського державного університету імені Івана Франка. Філософські науки. Вип. 1 (85), 2019
The article touches upon the media violence as a component of social violence. When classifying violence by subject and orientation (self-directed, interpersonal and collective) we emphasize the latter, since it is expressed in social-political, social-economic and social-cultural forms and is a component of its realization. The dissemination of excessive or false information is part of its implementation. This is due to the fact that its implementation requires the creation of a socio-cultural product, which is a specially selected video series of news, a special procedure and form of presenting these news (violation of the principles of objectivity, coverage of positions of only one side of the conflict, appeal to primitive desires in television programs), aggressive advertising, etc. But the first of these uses elements of information violence in a hidden form. It is emphasized that the term "media violence" denotes, rather than the role of information in the commission of violence acts, but rather the instrumental purpose of the newest media (through films, TV programs, videos, computer games, etc.) in the production of violence, the specificity of the transformation of violence in information to society as a whole. Despite this is also distinguishes such a form of media violence as "streaming violence" (that is, socio-cultural violence that is carried out in a latent form based on the presentation of an untrustworthy world picture by introducing misinformation and increasing information flows at the same time). A form of media violence is "fictional violence" as the production of images and symbols of violence by artistic means and their dissemination through media sphere. Unlike documentary recording of violence acts, which are broadcast in reports or specialized chronicles, fictional violence takes place in films, computer games, literature, etc. Recently, trolling as a form of information violence has become widespread. It often has an organized, targeted nature and is a tool for influencing political, economic or social processes. Trolling can be carried out by special organizations ("bots") and form public opinion on request (in relation to specific persons or events). A form of media violence is advertising violence, which is carried out through false advertising or glut of advertising space in the urban space.
Las emociones que suscita la violencia en televisión
Comunicar, 2011
The effects of TV violence have been widely studied from an experimental perspective, which, to a certain extent, neglects the interaction between broadcaster and recipient. This study proposes a complementary approach, which takes into account viewers’ interpretation and construction of TV messages. Social dimensions influencing emotional experiences to TV violence will be identified and analyzed, as well as the way these emotions are construed in discourse, how they are linked to attitudes, ethical dimensions and courses of action. Eight focus groups (segmented by age, gender and educational level) were the basis of a discourse analysis that reconstructed the way audiences experience TV violence. Results show the importance of a first immediate emotional mobilisation, with references to complex emotions, and a second emotional articulation of experiences regarding repetition of scenes (type, classification and assessment of broadcasts), legitimacy (or lack thereof) of violent acts...
The Role of Television in Shaping Democracy: An Old Dream with a Big Future?
Communication & Society, 2024
"What does the future hold for television?". That was the question we posed to Dominique Wolton. Born in 1947, he needs no introduction in the field of social sciences, especially beyond the Anglo-Saxon sphere. There are 35 works by the French sociologist spread across 26 countries and 23 languages. Outside the academy, his recognition is equally wide, belonging, for example, to the National Order of the Legion of Honour, the highest French distinction established by Napoleon and limited to only 75 living people. With a PhD in Sociology, he admits that his main objective is to study communication in an interdisciplinary fashion, focusing on the relationship between the individual, technique, culture and society. Among the many books published, the following stand out for discussion: Éloge du Grand Public. Une Théorie Critique de la Television (In Praise of the General Public: A Critical Theory of Television; Wolton, 1990); Penser la Communication (Thinking Communication; Wolton, 1997); Internet et Après? Une Théorie Critique des Nouveaux Médias (Internet and Then? A Critical Theory of New Media; Wolton, 1999); Sauver la Communication (Save the Communication; Wolton, 2005); Informer N’est pas Communiquer (Informing Is Not Communicating; Wolton, 2009); and Communiquer, C’Est Négocier (To Communicate Is to Negotiate; Wolton, 2022).
DEBATES ON THE FUNCTION OF TELEVISION AS A SOCIAL FUNCTION DESIGNER1
Television can be said to be the most effective mass communication tool that shapes human life. Although the internet is sen as the most işportant the latest and perheps the most indispensable technological development in communication is used by the vast majority of society, one can not estimatethe television as a majör device in mass communication.In this article, comparing the opinions of the communicative experts from different ideological perspectives, the fact that television has a social transformation-configuration function that affects all sub-groups/ sub-cultures, starting from the partial audience (individual) have been discussed.On the one hand, television, which transforms the masses-by gathering perceptions in one spot and by channelizing the social sense, sometimes concealing it, marks as the technological and ideological impact sphere of naturel and global power struggles. Moreover, this attribute is carried out secretly by feeding it to the functions of entertainin-informing-educating, which it adds to its broadcasts.However, television has the function of being an opposition and signal device that awakens the masses. The thematic channels, especially in the face of mass channels, can create the opposite pole with unity and pluralism against to the matrix of control power/political power/capitalism. It can also become the guardian of the most fundamental human rights. However, in both options, it is important to remember that deconstructing feature of television against the hermeneutic qualities of the old MCTs such as newspapers, magazines and even radio. Perhaps the television earns the power of transformative power in a form that is hostile, re-empowering, in its deliberate attitude toward the single-mindedness of the old mass media, which represents the interpretative approach.
The Message in a New Phase of Television: An Exploration of the Dichotomy of Good and Evil
International Journal of the Sociology of Leisure , 2024
Drawing on the ideas of several key sociologists, and the central argument that reality and representation have become blurred, this conceptual paper sets out to explore how television, one of the Big Seven leisure pursuits, has a damaging impact upon moral sightedness in a world where modernity has entered a state of flux. To link seemingly abstract ideas-those of 'synopticism', 'reterotopia' and 'adiaphorization' for example-and the language of poet-intellectuals with events and consequences occurring in people's everyday lives, a selection of popular reality television shows and TV celebrities are considered. In its second part, the paper goes on to embrace intimations of hope. This is the hope that television can be used in experimental ways to stimulate moral consciousness. To further unpack this suggestion, the paper considers how television networks such as Channel 4, and shows such as Squid Games and Black Mirror, can excite moral impulses for the 'Other'. In its conclusions, the paper explores whether the presiding message of television can be different to encourage viewers to question what is right and wrong.
Decentralization of media has its assumption of fulfillment on the Internet, the network of all networks. At the same time, eo ipso, a logical sequence is the democratization of society as a whole, if it is used as a general social tool, and not as a manipulative form of appearance. Culture of ideology or Ideology of the culture pervades through social networks as a double-edged sword of the game that involves the society aiming towards satisfaction of ideology, although not the culture within its own incidence. The absurdity that social network have corrupted the quality of a healthy society is in conflict with the assumptions of everyday life, because as it is no longer the basic question how technology changed our world, but which social need have been met through the use of modern technologies. Through three levels of understanding of the ideology of the media in this paper I will present that every ideology is imaginary distortion of the real conditions within the appearances of each of us. Exclusively and only because of its own, the current goals of manipulation, without the existence of strategic plans for the shaping of society as a whole but only for the group that supports a given ideology, through the ideological order, with the help of the Network, creates cultural awareness and not vice versa. The answer is in media literacy, first-educators, and then all the other layers of society, regardless of ideology, race, ethnicity and / or gender. And through the Network, above all.
Performing Fear in Television Production: Practices of an illiberal democracy - TOC & Intro
Performing Fear in Television Production: Practices of an Illiberal Democracy, 2022
What goes into the ideological sustenance of an illiberal capitalist democracy? While much of the critical discussion of the media in authoritarian contexts focus on state power, the emphasis on strong states tend to perpetuate misnomers about the media as mere tools of the state and sustain myths about their absolute power. Turning to the lived everyday of media producers in Singapore, I pose a series of questions that explore what it takes to perpetuate authoritarian resilience in the mass media. How, in what terms and through what means, does a politically stable illiberal Asian state like Singapore formulate its dominant imaginary of social order? What are the television production practices that perform and instantiate the social imaginary, and who are the audiences that are conjured and performed in the process? What are the roles played by imagined audiences in sustaining authoritarian resilience in the media? If, as I will argue in the book, audiences function as the central problematic that engenders anxieties and self-policing amongst producers, can the audience become a surrogate for the authoritarian state?
A Sociological Analysis of Television
New genres of programmes appeared on French televisionin the 2000s. They shaped people's relations to entertainment, and to a certain extent the nature of their interests. TVredefined itself under the influence of foreign channels. Until then, France had harshly defended its cultural autonomy; but American formats eventually made their way into the media to become mainstream. Why were these broadcasts so successful? Had viewers been looking forwardto enjoying them? This paper discusses whether reality television has reflectedan evolution of French ethics. A selection of three French broadcasts is scrutinized in this regard –a quiz show (The Weakest Link), a talk show (My Own Decision) and a reality show (Loft Story). These shows reveal aspects of the ways in which television acts upon mentalities. They also threaten, according to sociological studies of the media, the quality of cultural production –in science and in the arts, in philosophy or in law –as well as democracy and political life at large.
Morality and the phenomenology of television
Television offers its viewers access to a 'continuous present' that they can make sense of with the same cultural resources that they use in everyday life to engage with what phenomenologists call 'paramount reality'. The mimetic register of moving images with context relevant sound, provides the viewer with a superabundance of information that makes it realistic. While segments and programmes are structured within a narrative register, viewers do not need to 'decode' or learn a special symbolic language in order to make sense of what they see in the 'mimetic register'. Viewers draw on their moral sentiments to make sense of and respond to the human actions that they interact with through the screen. By the same process, the variable content of television programmes contributes to the changing moral order of modern societies through the observations made by the viewers' internal 'impartial spectator'. It judges actions and behaviours and is modified by experience of action, consequences and the values of others, both in everyday life and in the sub-universes interacted with through the screen.