Towards an ethnography of the television audience

2003 ◽  
pp. 173-196
Keyword(s):  
Television Audience

Did you call in Mexican? The racial politics of Jay Leno immigrant jokes

2009 ◽  
Vol 38 (1) ◽  
pp. 23-45 ◽  
Author(s):  
OTTO SANTA ANA
Keyword(s):  
Public Policy ◽  
Racial Politics ◽  
Discursive Practice ◽  
Social Boundaries ◽  
Immigrant Rights ◽  
Political Comedy ◽  
Late Night ◽  
Television Audience ◽  
The U.S

ABSTRACTThis article analyzes a set of anti-immigrant jokes with which Jay Leno entertained his national television audience in 2006, when the U.S. public was focused on unprecedented demonstrations urging justice for immigrants. Leno adroitly mocks immigrants and their cause to give his audience emotional release by distancing them from immigrants. It is argued that political comedy can be an insidious discursive practice that reduces its audience’s critical judgment as it signifies social boundaries. It should be carefully scrutinized because, with a few laughs, Leno can steer sentiment about public policy and instantiate divisiveness for an audience of 6 million who, in the words of Leno’s official website, “are drifting off to dreamland.” (Humor, political comedy, late-night television, immigrant rights marches)*

scholarly journals Revisiting Quality Television: Audience Perceptions

2018 ◽  
Vol 20 (3) ◽  
pp. 193-215
Author(s):  
Alberto Bayo-Moriones ◽  
Cristina Etayo ◽  
Alfonso Sánchez-Tabernero
Keyword(s):  
Television Audience

scholarly journals Migration of Television Audience to Digital Media: Impacts on TV Schedule and Journalism

2015 ◽  
Vol 1 (4) ◽  
pp. 275-288 ◽  
Author(s):  
Valdecir Becker ◽  
Daniel Gambaro ◽  
Aline Crisnir ◽  
Samara Coutinho
Keyword(s):  
Digital Media ◽  
Television Audience

scholarly journals “El criado pesado”: La caracterización en la serie Águila Roja

2018 ◽  
Vol 22 (22) ◽  
pp. 57
Author(s):  
Luisa Chierichetti
Keyword(s):  
Discourse Analysis ◽  
Corpus Linguistics ◽  
Contemporary Society ◽  
Television Series ◽  
Cultural Products ◽  
Linguistic Research ◽  
Colloquial Language ◽  
Television Audience

This article, based on the most recent studies on telecinematic dialogue, proposes a contribution to linguistic research on television series, one of the most influential popular cultural products in contemporary society. The work is based on the complete scripts of the successful Spanish series Águila Roja, aired on Radio Televisión Española between 2009 and 2016. Combining techniques of corpus linguistics and discourse analysis, this study examines the characterization of Satur, one of the main characters of this fiction, through the co-construction of the meaning, as processed by the television audience. The results suggest that Satur’s discourse is characterized by the use of contemporary colloquial language and by incongruity; such features create humor and familiarity with the audience.

El Baile Del Pueblo

2020 ◽  
pp. 225-261
Author(s):  
Sean Bellaviti
Keyword(s):  
Popular Music ◽  
Case Studies ◽  
Commercial Music ◽  
Cultural Patrimony ◽  
National Pride ◽  
National Music ◽  
Television Audience

In this final chapter, the author provides a macro perspective of the música típica genre as a form of national music, focusing on the challenges musicians face as performers of a popular commercial music that is, at the same time, firmly rooted in folkloric traditions to which Panamanians remain deeply attached. Through a series of case studies, the author shows that the “pull” of tradition is a constant in música típica musicians’ lives. This is never more evident than in ongoing discussions regarding what to call this music and the challenge of sorting out the demands of baile performance as distinguished from shows patronized by concertgoers, or even viewed by a nation-wide television audience. This sense of música típica’s unchanging nature also lies at the heart of the perplexity and frustration felt by performers when they consider the unrivalled popularity música típica enjoys in Panama even as it is virtually unknown beyond the country’s borders. Finally, when compared to most other forms of popular music in Panama, the sense of national pride provoked by música típica’s connection to folkloric music and the fact that it is embraced by so many Panamanians means that musicians are praised for their contributions to modernizing the genre even as they run the risk of being accused of undermining what is regarded by many Panamanians as the nation’s cultural patrimony.

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