Transnational audience reception as a theater of struggle: young Filipino women's reception of Korean television dramas

This study examines the ‘theater of struggle’ in young Filipino women's reception of Korean television dramas in view of the American cultural imperialism that is deeply entrenched in the Philippine society. Mainly anchored on Gramsci's concept of hegemony and Stuart Hall's encoding-decoding theory, the researcher conducted a reception analysis through a textual analysis of selected Korean television comedy-dramas and focus group discussions with young Filipino women in different colleges. The young Filipino women expressed cultural affinity with the culture, storylines, values, and environment in Korean and other Asian television dramas that have invaded the Philippines in the twenty-first century. ‘Negotiation, resistance, and struggle’, in Hall's sense, against both the liberalism in American dramas and the pre-modern themes in local dramas were manifested in the young women's discourses. Consequently, American cultural imperialism in the Philippines was undermined, challenged, and to some extent subverted. The study also looked into the young women's dominant, negotiated, and oppositional readings of the dominant capitalist patriarchal values and ideologies that were embedded in selected Korean dramas. While there were young female participants who subscribed to global capitalist values showing their cooptation within Western cultural hegemonic domains, the young women largely articulated negotiated readings of capitalist values and oppositional readings with regard to the dominant ideology of capitalist patriarchy. In reading the selected Korean dramas reflexively, the young women identified social pathologies of poverty, class inequality, and capitalist patriarchal values and constructed emancipatory discourses with regard to these.     

Rhetoric and realities Malaysian television policy in an era of globalization

This paper identifies and evaluates Malaysia's television policy in a period of change. A period, that is, which sees the transnational media becoming more dominant and influential in this region. A period, on the other hand, which also sees Malaysia's policy makers arguing in the international arena for ‘Asian’ values and, domestically, for ‘Islamic’ values.

By locating the development of Malaysian television and its contents within these wider proclamations of intent by the powers that be, this paper argues that while these declarations give the policy makers much political mileage and may help them ‘look good’ in the local and international arenas, in reality, all is not what it seems with Malaysian television.

What this paper argues is that while the rhetoric of ‘Western media/ cultural imperialism’ is constantly evoked by the policy makers in Malaysia to imply that they are ‘Malaysianizing’ the medium of television, current practices and trends indicate that it is very much ‘business as usual’, with Malaysian television being led further and further into the international marketplace and the attendant pressures this entails.     

‘No hugging please,we are Muslims’: Akademi Fantasia,Malay television audiences and the negotiation of global popular cultural forms

This paper analyses the audience reception of the Malaysian reality television programme Akademi Fantasia (AF), which first aired in 2003 and completed its ninth season in 2011. AF has been an influential pioneer in the national television industry, inaugurating the trend of local reality shows and weathering intense competition from similar shows to remain at the top of the ratings chart over the last decade. Based on the Mexican talent search show, La Academia, Malaysia's AF is a unique hybrid blend of an Idol-style talent contest and Big Brother observational spectacle. The article draws on primary audience research to investigate the ways in which Malay audiences interpret the potentially incommensurable cultural meanings generated within the context of a localised version of a global television format. Chua's concept of ‘identification and distancing’ is employed as a framework to analyse the complex ways in which perceived Malay ‘cultural norms’ assume primacy as interpretative lenses for audience evaluations of the show and measures of its local difference from similar global cultural products. The research also reveals how these cultural norms are themselves being negotiated by the audience as part of the everyday experience of inhabiting coexisting local and global popular cultural spaces. The analysis focuses on audience understandings and pleasure in the programme in relation to fashion and taste; the behaviour of the official judges; voyeurism and conflict in ‘backstage’ coverage; and emotional intimacy onstage in the public performance component of the programme.     

RESEARCHING THE HISTORY OF TELEVISION FOR WOMEN IN BRITAIN, 1947–1989

This report details the aims, methodology and selected findings of the Arts and Humanities Research Council (AHRC)-funded project ‘A History of Television for Women in Britain, 1947–1989’, running between 2010 and 2013 at the University of Warwick and De Montfort University. Here, we consider the difficulties of conducting historical television research and the ways in which we have tried to use a method which is attentive to production research, textual analysis and audience work in a dialogic relationship. We discuss the work of Doreen Stephens, the BBC's first Editor, Women's Programmes, the ‘discovery’ of the daytime women's arts programme Wednesday Magazine and the ways in which the women who have participated in our study have described the significance of television for women in their lives. Finally, we discuss the ways in which the project has attempted to engage with constituencies outside the academy.     

A Dialectic With the Everyday: Communication and Cultural Politics on Oprah Winfrey's Book Club

This essay explores the cultural politics of television talk-show host Oprah Winfrey's Book Club. Because women constitute both the primary Oprah television audience and the largest United States book buying public, it focuses specifically on women's involvement in the club and their modes of engagement with its selections. The Book Club's astonishing success was attributable in part to the carefully considered communication strategies through which participants, Winfrey, and Oprah producers collectively articulated the value of books and reading specifically for women. Their de-emphasizing of purely literary considerations, I contend, enabled women to strategize how to use Book Club selections simultaneously to distance themselves from and to engage more intensively with the demands of living in a patriarchal and otherwise socioeconomically stratified society – a relationship I call a “dialectic with the everyday.” This essay thus traces the communicative processes/practices through which those involved in Oprah's Book Club articulated a highly sophisticated economy of cultural value around books and reading and the implications of that economy to a possible feminist cultural politics.     

From Prime-Time to Daytime: The Domestication of Ellen DeGeneres

Ellen DeGeneres was celebrated. She was chastised. And then she was cancelled. Her current success makes it easy to forget how short-lived her lesbianism initially lasted on television (less than two years). Ironically, in the aftermath of Ellen's, demise we witnessed a profound increase in queer characters, themes, and programming as well as her own spectacular comeback. Moving beyond most academic consideration of Ellen DeGeneres’ initial emergence as lesbian celebrity, I highlight the cancellation of her sitcom as a particularly crucial moment for understanding the fierce multilayered disciplining of Ellen's public persona. Further, I consider the disparate discourses and entertainment journalism that articulated a public/private DeGeneres with her television character(s), working to shape her public persona in the interest of preserving prevailing cultural norms.     

Television—the Housewife's Choice? The 1949 Mass Observation Television Directive,Reluctance and Revision

This article considers the responses of women, many of whom describe themselves as housewives, in the 1949 Mass Observation Television Directive, in order to interrogate some of the broader assumptions around television's relationship with ‘the housewife’ as key to its success. Against the backcloth of social histories revising ideas about gender, modernity and suburbia in the post-war period, this article considers some of the ways in which initial reluctance towards television was recorded and negotiated. It presents three themes around tensions between home and leisure, the domestication of entertainment and ‘going out’, and the appreciation of particular genre, which suggest that the adoption of television as mass entertainment by women might not have been as smooth a process as we have come to understand.     

Educating Students About Global Media Regulation

As Mexico's government undertook neoliberal reforms to join the North American Free Trade Agreement (NAFTA) in 1994, a number of scholars questioned the cultural consequences of closer media ties to the United States and Canada. Government officials countered that Mexico's strong identity needed no protection. This study situates the disagreement within cultural policy traditions, and examines how Mexican television broadcasting changed under globalization forces—including domestic competition, international market expansion, and new technology development—during the 1990s and early 2000s.Thestudy concludes that insufficient attention was given NAFTA's impact on Mexico's own television industry, which strongly influences culture.     

THE MATERIAL FORM OF THE TELEVISION SET

This article offers a unique study of the material form of the television receiver between the 1930s and 1960s. Very little has been written to date on the history of the television set as an artefact. Yet its design and appearance played a major role in the acceptance of television in the home. The meanings of television sets are explored, from the design of wooden cabinets as family furniture to the shaping of portable sets as symbols of progress. A case study of British events is conducted, with reference made to American and other nations’ developments in so far as they relate to Britain's television receiver history. The article confirms that the material form of the television receiver contributed to a narrative of domesticity and progress by reconfiguring the relationship between home and communication technology. The fusion of craft and futurist ideas in design reflected tensions about the receiver as an expression of traditional domestic values, of progress and modernity, and as an icon.     

Parental Mediation of Preschool Children's Television Viewing

This study examines parental mediation of preschool children's television viewing. Becker's (1981) theory of parent-child relations is used to frame mediation in terms of parenting resources. A survey of 129 parents of preschool children (ages 1-5) reveals that when resources are in highest demand, attitudes toward television are a factor in deciding whether television mediation will benefit children. Demographic variables, parents' attitudes about television, and parents' involvement with children all significantly predicted restrictive and instructive mediation. The findings are discussed in light of young Children's needs for mediation as a guide to television's novel set of technical and cultural codes.     

An Exploratory Study of Factors Influencing Audience's Attitudes Toward Imported Television Programs in Taiwan

The diffusion of international television programs has been an important area of international communication research. In this article, we use theoretical constructs from country-of-origin and cultural proximity literatures and develop a model to explain audience's attitudes toward and willingness to watch imported television programs from China. Our study used a questionnaire survey method to collect data from 553 respondents in Taiwan. We examined television programs imported from China, a country that has tried to invade Taiwan to destroy its democracy in the past decades. Regression analyses found that, whereas cultural proximity was an important predictor, animosity turned out to be a more powerful predictor of Taiwanese audience's attitudes toward television programs from China. The results also demonstrated that if the Taiwanese audience perceived China as holding less animosity and more cultural proximity, they had more positive attitudes and were more willing to watch television programs imported from China.     

Navigating the Maze: Sources for press historians

Television history channels and programming have seen considerable growth in recent years, yet empirical research on television history audiences remains limited. This essay argues that media history scholars need better to understand what happens when audiences consume television history, examining the critical debates concerning the genre's specific modalities of rendering the past on screen before exploring what opportunities and problems it affords viewers. The essay draws on original qualitative, empirical research on audiences of historical reality television through a specific, small-scale case study of BBC Wales' Coal House at War (Indus 2008). It argues for the need to retain a dual focus upon such programming's historical content and its televisuality if we are to appreciate the intricacies of viewers' cultural consumption. The essay concludes by demonstrating that audiences' own oral and written responses to television history reveal something of how people, situated in their specific times and places, understand both their past and their present.     

Mormon "Family Values" Versus Television: An Analysis of the Discourse of Mormon Couples Regarding Television and Popular Media Culture

This research is premised on Stuart Hall's encoding/decoding model and on Berger's concept that religiosity is socially constructed. However, unlike the early Birmingham studies' emphasis on socioeconomic status as a “cultural code” through which audience members would decode media texts, this study examines the readings of television texts from the perspective of audience members who are, because of their religious practices, ideologically situated to the right of much that is offered on television. The findings in this case are consistent with Hall's notion that individuals bring contradictory and conflicting discourse into their readings of media texts.     

Heshang (River Elegy) a television orchestration of a new ideology in China

This paper analyses the extensive reactions and intensive discussions generated by Heshang, a six‐part documentary series aired in June 1988 in China. The documentary, advocating a ‘full‐scale adoption of Western ideas’, and ‘total abandoning of Chinese traditional culture’, stirred up party leaders' displeasure.

Furthermore, the paper also analyses the presentation rationale and strategy (such as use of symbols, emotional appeal, etc.) used in Heshang. The analysis suggests that the programme producers' experiment of conveying complex social, cultural and historical contents in a documentary format is successful and innovative. Additionally, Heshang has enormous implications for contemporary Chinese politics, in particular the use of television as a public forum on controversial issues. As such, this paper enhances our understanding of the role and impact of the mass media in China.     

Expanding the Unidirectional View on Parental Television Mediation: Children’s Guidance of Their Parent’s Television Use

Compared to parental mediation research, much less is known about how children influence and guide their parents’ media use. This study examined whether children also mediate the television use of their parents. Measures of an existing television mediation scale were reversed to the perspective of the child guiding the parent’s television use. A sample of 187 parent-child dyads completed a cross-sectional survey in Flanders (Belgium). Factor analyses showed that the original subscales were reproduced with high internal validity. Both parents and children had congruent views about children’s television mediation; television mediation and children's restrictive mediation was positively associated with conflict in the family.     

Urbanizing folklore,Folkloricizing the urban: cultural communication between the urban poor and popular music in Dhaka

This article explores how a particular kind of popular music of Dhaka city called ‘urban folk’ and the cultural identity of the rural migrants have been producing each other in an ongoing process of cultural communication. Following a discussion on the historical background of urban migration and its depiction in the prevailing pop music culture, this article uses the concepts of ‘cultural hybridity’ by Homi K. Bhabha and ‘political society’ by Partha Chatterjee to argue how the fluid structure of this hybrid form of music and its unconventional mobility between the folk and the pop have been in close association with the urban poor's formation of political society in contemporary Dhaka.     

Understanding Celebrity Endorsers in Cross-cultural Contexts: A Content Analysis of South Korean and US Newspaper Advertising

Based largely on McCracken's ‘cultural meaning transfer’ model (1989), which stresses the cultural meanings of celebrity endorsers, this study explores the characteristics that differentiate celebrity-endorser strategies in South Korean newspaper ads from those in US newspaper ads. With Hofstede's cultural typology—uncertainty avoidance and power distance—as a theoretical framework, this study finds that ads in South Korea with a high uncertainty avoidance and a high power distance culture present a higher proportion of celebrity endorsers than those in the US with a low uncertainty avoidance and a low power distance culture. However, US ads have a greater proportion of product-related celebrity endorsers in both high- and low-involvement product ads. The study also provides detailed information on foreign celebrity endorsers presented in international product ads.