Analyzing the public discourse on works of fiction – Detection and visualization of emotion in online coverage about HBO’s Game of Thrones

This paper presents a Web intelligence portal that captures and aggregates news and social media coverage about “Game of Thrones”, an American drama television series created for the HBO television network based on George R.R. Martin’s series of fantasy novels. The system collects content from the Web sites of Anglo-American news media as well as from four social media platforms: Twitter, Facebook, Google+ and YouTube. An interactive dashboard with trend charts and synchronized visual analytics components not only shows how often Game of Thrones events and characters are being mentioned by journalists and viewers, but also provides a real-time account of concepts that are being associated with the unfolding storyline and each new episode. Positive or negative sentiment is computed automatically, which sheds light on the perception of actors and new plot elements.     

我国电视纪录片的种群研究——以主流电视纪录片种群为例

我国电视纪录片经历了从单一种群时代到多种群时代的发展过程,本文在媒介生态学种群研究的视域下,以主流电视纪录片种群为例,从数量、空间、遗传和系统四大特征对其进行分析,从而明确种群研究的意义,为纪录片研究提供一种新的思路。     

以优秀的新闻资讯节目突出重围——谈西部城市电视台的生存发展之路

中国电视市场竞争日趋激烈,在中央、省、市三级竞争格局中,央视和省级卫视凭借明显的政策、资源和覆盖优势,在市场化和产业化进程中获得长足发展,而为数众多的城市电视台,尤其是实力较弱的西部城市电视台,则面临收视、广告创收双重下降的危机。对于西部城市电视台来说,只有找准自身定位,发挥地缘优势,以贴近群众的优秀新闻资讯节目,才能拓宽生存和发展的空间。     

The Parasocial Contact Hypothesis

We propose a communication analogue to Allport's () Contact Hypothesis called the Parasocial Contact Hypothesis (PCH). If people process mass-mediated parasocial interaction in a manner similar to interpersonal interaction, then the socially beneficial functions of intergroup contact may result from parasocial contact. We describe and test the PCH with respect to majority group members' level of prejudice in three studies, two involving parasocial contact with gay men (Six Feet Under and Queer Eye for the Straight Guy) and one involving parasocial contact with comedian and male transvestite Eddie Izzard. In all three studies, parasocial contact was associated with lower levels of prejudice. Moreover, tests of the underlying mechanisms of PCH were generally supported, suggesting that parasocial contact facilitates positive parasocial responses and changes in beliefs about the attributes of minority group categories.     

新疆电视栏目品牌化策略初探

市场经济的发展使电视商品化成为一个必然的趋势。面对区外、甚至国外同行业及其他传媒越来越激烈的竞争,新疆电视只有适应现代电视商品化的潮流,发挥新疆的特殊优势,倾力打造品牌栏目,进而带动新疆电视的整体发展水平,才能在激烈的电视市场竞争中立于不败之地。     

符号学与电视研究

在符号学家的眼中，人类文化是一个庞大的符号文本，而符号学则是解读此文本的“万能工具”．从语法、语义及语用三个层面展示如何用符号学工具来剖析由视听符号建构的电视文化，探讨符号学理论在电视文化研究中的运用。具有十分重要的理论与现实意义.     

Comparing effect coded models of choice shifts

Two studies compare social comparison, persuasive argument, and dual process models of the choice shift. The data are consistent with the dual process models and are discussed in terms of their consistency with Isenberg's (1986) meta‐analysis of the choice shift literature.     

Understanding the psychometric properties of the humor assessment instrument through an analysis of the relationships between teacher humor assessment and instructional communication variables in the college classroom

The purpose of this study was to examine the psychometric properties of the newly developed Humor Assessment (HA) instrument. Previous research (Wrench & McCroskey, 2001) noted a construct validity problem with the Humor Orientation (HO) scale created by M. Booth‐Butterfield and S. Booth‐Butterfield (1991). This study examined the relationships between the HA, which corrects the construct validity problem seen in the HO, and affective learning, nonverbal immediacy, cognitive learning, learning loss, student motivation, and teacher credibility.     

The Typhoid Marys of the Left: Gender,Race, and the Broadcast Blacklist

Scholarly accounts of gender, race, and television in the 1950s have mainly focused on the ideological content of programming that ultimately made it onto the air. This research has played an important role in reckoning with the political and cultural legacies of 1950s television. But the focus on ideology and content has prevented us from fully understanding the repressive nature of anti-communist thought and action, both in terms of the powerful ways in which the broadcast blacklist made the production of progressive themes and images impossible, and in terms of how the fear that followed from the blacklist repressed the memory that such alternatives had ever existed. Counter to the images of white suburban women we have inherited from the 1950s, the first two casualties of the broadcast blacklist were professional women who were politically active—white actor Jean Muir and African American musician Hazel Scott—whose involvement in civil rights was deemed evidence of their communist sympathies. This essay builds on earlier research on gender and 1950s television not by analyzing the absence of strong women, people of color, immigrants, and working-class families from the televisual landscape, but by looking at the elimination of the very cultural workers writing, agitating, and fighting to broadcast these representations.