青少年電視媒體的語類術(shù)語

青少年電視媒體的語類術(shù)語

“電視”這個詞的字面意思是“遙遠(yuǎn)的光”。 但正如我們所知道的，當(dāng)我們看電視時，我們實(shí)際上只是看到了一些東西，我們稱之為電視機(jī)前的玻璃上的圖像。 換句話說,“電視”是一個隱喻,旨在描述這個出現(xiàn)圖像的盒子,這是關(guān)于人們一些體驗(yàn)而產(chǎn)生的溝通方式。 ”(格瑞普思若 1998 )

 

斯圖亞特·霍爾在1996年定義了電視是一個發(fā)起者或載體,導(dǎo)致操縱和兩種物質(zhì)變換。約翰在1995年關(guān)于電視產(chǎn)生了三個有用的觀點(diǎn)。他談到政治進(jìn)入電視公共領(lǐng)域時，他指的是媒體：“媒體是一個密集或復(fù)雜的知識管理領(lǐng)域;一個代表世界，去通過視覺和聽覺的公約援引現(xiàn)實(shí)信譽(yù)，而不是批判工作；政治也是被個性化主導(dǎo)的。”(約翰·角落,2005)

 

電視被認(rèn)為是我們的社會和我們的日常生活的重要組成部分,無論是我們把它充當(dāng)背景或給它100%的注意力。 不管怎樣,一個電視節(jié)目總是上映。 這有很多的理論來支持。 也可以認(rèn)為,電視對焦慮環(huán)境的觀點(diǎn)想法會對社會產(chǎn)生影響,這表現(xiàn)在蒸汽時代的現(xiàn)代主義和1940年代馬克思主義。 馬克思主義是經(jīng)濟(jì)和政治理論的馬克思卡爾和恩格斯弗里德里希提出的，它認(rèn)為，這是由人類的行動和機(jī)構(gòu)的經(jīng)濟(jì)決定的。霸權(quán)是由馬克思主義批評家安東尼奧葛蘭西用來描述人們?nèi)绾斡绊懡邮軝?quán)力精英們強(qiáng)加自己的意志和世界觀對其他人口優(yōu)勢的概念，關(guān)系到觀眾。霸權(quán)是馬克思主義評論家安東尼奧·葛蘭西所使用的概念來描述人們?nèi)绾瓮ㄟ^接受主導(dǎo)地位的權(quán)力精英對他們的意志的強(qiáng)加，并以通過觀眾來影響全球其余的人。

 

The Terms Of Genre In Youth Television 

 

The word 'television' literally means 'distant light'. But as we all know, when watching television we are actually just seeing something a few feet away  an image on the glass front of the box we call a TV set. 'Television' is in other words a metaphor, intended to describe what this box, this experience, this form of communication, is all about.' (Jostein Gripsrud, 1998, pg. 17)

 

Stuart Hall (1996) has defined television as either an 'originator or a carrier'; resulting in manipulation and transformation of material in both cases. John Corner (1995) has produced three useful points regarding television. He talks about the moves of politics into the public area of television when he refers to the medium as:"A sphere of intensive or sophisticated knowledge management; one which represents the world through visual and aural conventions which work to invoke realist credibility rather than critical engagement; one in which politics is dominated by strategic personalisation." (John Corner, 2005, p.3)

 

Television is considered a huge part of our society and our day-to-day living; whether it is on in the background or with us giving it 100 per cent attention. Either way, a television programme is on. There are many theories to support this. It can also be argued that the idea of television can be referred to the anxiety surrounding television and its effects, steaming from the period of early modernism and Marxism in the 1940's. Marxism is the economic and political theories of Karl Marx and Friedrich Engels that hold that human actions and institutions are economically determined. Hegemony is the concept used by the Marxist critic Antonio Gramsci to describe how people are influenced into accepting the dominance of power elite who impose their will and worldwide view on the rest of the population, in relation to audiences. 

 

It can be argued that the ideological role of the media is to persuade us that it is in our best interests to accept the dominance of the elite. Television studies are a set of academic disciplines that deals with critical approaches to television. Usually, it is distinguished from mass-communication research, which tends to approach the topic from an empirical perspective.

 

"Television today assumes some of the functions traditionally ascribed to myth and ritual (i.e. integrating individuals into the social order, celebrating dominant values, offering models of thought). Douglas Kellner (Media Culture 1995)

 

The role of audiences has changed dramatically throughout the assertion that youth television cannot be explained in terms of genre. Audiences are also an important factor when concerning whether assertion that youth television cannot be explained in terms of genre. An audience is considered a group of people who contribute in an understanding or encounter a work of art, literature, theatre, music, film or academics in any medium. McQuail (1969) suggests that this engagement with television and other mass media constitutes 'at least a mark and possibly even a requirement of membership of modern society'. One theory that is particularly effective in supporting the ways in which audiences is an important part of television is the Uses and Gratifications Model; suggesting that the audience were merely the receivers of messages. There are many areas that are identified in this model. Some of these include: the need for identity and finally, the need for information about our geographical and social world (news and drama).

 

Much of our media consumption is specialized, private and motivated by specific enthusiasms and prejudices. Our choice not to consume certain media forms - for example tabloid newspapers or comics - may be informed by prejudices about form and culture value. However, a medium such as comic - which has been a victim of such value judgments - is as much a part of 'the media' as newspapers or cinema are. (Adam Briggs and Paul Cobley, 1998, p.11)#p#分頁標(biāo)題#e#

 

One way in which the assertion of youth television can be explained is through the use of genre. The term 'genre' refers to a category of films that are grouped together based on subject matter, theme or tone. Film genres include action, drama, comedy, horror, musical, western, documentary, or science fiction. According to Graham Roberts and Heather Wallis (2001), the understanding of genre - whether it be by audience or critic - is predicated upon the understanding/expectation of conventions and characteristics. It is an advantage to film-makers and audience alike that this produces and economy of storytelling. One of the most popular genres of television that is most popular in the category of 'youth television' is the crime genre. This is because with there being an element of truth there, this also allows the audience to use their own imagination in regards to the storyline; involving the mystery and drama genres to be involved. This is something that appeals to the youth audience as it keeps the particular programmes with this genre fresh and original in regards to material. One television programme that fits into this hybrid genre very well, and that is extremely popular with the television audiences, including the youth audiences is CSI: Crime Scene Investigation (2000). This is a US drama that follows the activities and whereabouts of a team of forensic experts or 'criminalists'. Their purpose in the majority of episodes is to solve investigations into cases of accidental death or murder. The team of characters is made up of many roles. Some of these include: police detectives, the coroner, amongst the small group of laboratory analysts. Some may argues that these are the most prominent characters in the programme. There are many key aspects that may CSI: Crime Scene Investigation the show it is today, as well as the show that keeps many viewers, including the youth audience key members of the target audience. Some of these key aspects of the show include: the 'crime scene', which may include locations like, casino or bar, a house, a city street or a kitchen. Another key aspect that is clearly defined running through each episode is then the team of forensic experts then collect as much evidence as they can find from the crime scene and take it to the laboratory for the laboratory analysts to look at the evidence collected. The evidence collected could be objects like: bodies, body parts, clothing, hair, dust, bullets, insects, blood, fingerprints, footprints, DNA samples, photographs or surveillance footage. With the audience watching closely and intensively as the characters on screen come to a verdict, the show is ended by some sort of arrest or conviction being made. In conclusion to this, this is enjoyed by the target audience of the youth and young adults as CSI: Crime Scene Investigation highlights issues that are gruesome or explicitly sexual or disgusting, therefore keeping the audience gripped throughout, keeping the US television show fresh and original for viewers to keep on watching and enjoying.

 

There is an intimacy to murder and at CSI we owe it to the families to face that intimacy. I approach with a true reverence. I don't look away. I don't let the camera look away.' (Ann Donahue, executive producer CSI, LaTempa, 2002)

 

Another one of the most popular genres of television that is most popular in the category of 'youth television' is the comedy genre or the drama. This is because when watching a comedy for example, it improves the audience's mood as the material within a specific programme would make you either smile or laugh and therefore is a very popular type of genre with all target audiences and age ranges, from child right through to adult, involving the youth audience greatly. Also with the genre type drama, it allows the audience to either feel realism from the material within the specific programme concerned or escapism from what is happening. Whatever the viewer takes from the experience in watching the specific programme, it is therefore a positive factor in keeping the audience gripped. One television programme that fits into this hybrid genre very well, and that is extremely popular with the television audiences, including the youth audiences is Gossip Girl (2007). Gossip Girl is a hit television in the United States, based on a hit book series of the same name written by Cecily von Ziegesar (www.imdb.com). The story follows a group of privileged teenagers living in the Upper East Side of Manhattan, New York. It follows the highs and lows of what modern day teenagers go through, including social and economical issues. Some of the controversial issues that are raised in the episodes of Gossip Girl are issues such as: divorce, murder, bankrupts, adultery, love and friendship. This is shown to be extremely popular within the youth audiences as it is already on its third season on the television series, clearly showing there is a gap in the market for an audience to enjoy watching this. Also, as all the main protagonists and characters in Gossip Girl are teenagers, this allows the audience to relate to each character and their problems more and therefore enjoying the programme more.

 

In conclusion to the debates that are raised in the statement that the assertion of youth television cannot be explained in terms of genre; it is clearly shown that the type of genre that a specific television programme is, whether it be a crime, drama, comedy, romance or reality, defines the type of audience that chooses to watch, as they have their own needs and desires that are require to be met. Therefore, this changes the idea to the statement that the declaration of youth television can be explained in terms of genre.