Television News

Leif Kramp untersucht erstmals umfassend die Gedächtnisrelevanz des Massenmediums Fernsehen sowie den archivischen und musealen Umgang mit der Fernsehgeschichte. Anknüpfend an die interdisziplinären Zweige der Gedächtnisforschung analysiert der erste Band die Bedeutung des Fernsehens seit Beginn des regelmäßigen Programmbetriebs in Deutschland und Nordamerika unter gedächtnistheoretischer Perspektive. Damit legt dieser Band den Grund für eine differenzierte Bewertung des Fernsehens als Medium des Erinnerns und Vergessens. Auf Basis einer breiten empirischen Erhebung bei zahlreichen Institutionen in Deutschland, Kanada und den USA befasst sich der zweite Band mit dem Status Quo und den Perspektiven der Verwaltung und Nutzung von Überlieferungen aus der Fernsehgeschichte. Kramp analysiert die maßgeblichen Problemstellungen, mit denen sich Museen und Archive konfrontiert sehen: von Fragen der Auswahl, Bewahrung und Zugänglichkeit von Fernsehüberlieferungen bis hin zu ihrer Präsentation und dem Medienwandel, und diskutiert Strategien für die Arbeit von Fernsehmuseen im digitalen Medienzeitalter.

Parlamento Europeo: CENSURA DE LOS MEDIOS IMPUESTA A LOS ESTADOS MIEMBROS POR UN REGLAMENTO DE LA UE • 20 MARZO DE 2022 - Pregunta formulada por SANDRA PEREIRA – [E-001139/2022]

Respuesta de la Vicepresidenta Jourová en nombre de la Comisión Europea (13 de mayo de 2022):

Taking into account the image and narrative analysis akin to film studies, as well as discourse as per the long-standing tradition of print analysis, this article suggests a dedicated triadic multimodal methodological approach for television news analysis. The precise methodology for best practice qualitative text analysis is as yet poorly defined (Macnamara 2005, 16), but this article proposes a solution to that very concern. This article engages with the methodological challenges of studying television news, and critically reviews several established methods - semiotics, discourse analysis, and the context of media production – but calls for a more holistic approach that better integrates the multimodal nature of television news. I propose a method which allows a blend of the different tracks of television news, from audio and visual to the political economy of these texts. I do so with a view to providing tools for media and journalism students to carry out a beginner’s analysis, but also for more established research to engage with the requirements of studying television news. I then provide an example of how this triadic method can be operationalised by analysing a television news broadcast in relation to the coverage of violence in the context of the 2014 South African election.

The power of actors in contemporary conflicts is no longer simply defined by military​ equipment and the outcome of tactical operations but by the support of the public at home and within the area of operations. Russia has mastered the ability to conduct an information war—as shown during its conflict with Ukraine—in which media campaigns are targeted toward both domestic and international audiences. In this context, the concept of strategic narratives has become relevant as they are used to construct activities, themes and messages in a compelling storyline with the aim of explaining events, obtaining legitimacy and gaining public support (Dimitriu, 2012). The objective of this chapter is to examine how (and if ) the strategic narratives of the Ukrainian crisis are different on Russian television when they are broadcast to different audiences: domestic and foreign.

Este artigo apresenta como a emoção é problematizada por pesquisadores do jorna-lismo que a entendem como parte intrínseca da atividade jornalística e de seus discursos. Apresento uma revisão de pesquisas que tomam a emoção como conceito de alto valor epistemológico ao estudos da área, dividindo-as em dois eixos: aquelas que a investigam como componente da relação entre público e jornalismo e aquelas que se preocupam em observar a emoção no discurso produzido pelo campo. Defendo que a emoção, enquanto efeito de sentido que circula no espaço discursivo do jornalismo, organiza o enquadramento das reportagens por meio da apresentação de uma avaliação moral.

Öz
Bu çalışmanın amacı televizyon kanallarının izlenme oranı (rating) yarışının haberlerin sunum şekillerinden biri olarak kam spiker tercihlerine etkisini araştırmaktır. Çalışma, izlenme oranı baskısının televizyon haber editörlerini daha sansasyonel bir tarza sevk edip etmediğini, sevk ediyorsa bunun derecesini ortaya çıkarmak bakımından önem taşımaktadır. TV haberciliği literatüründe kam spiker'ler üç türde sınıflandırılabilir: doğrudan ve sert girişli kam spiker (hard lead), dolaylı girişli ve merak uyandıran kam spiker (soft lead), çarpıcı bir alıntıyla başlayan kam spiker (quote lead). Bu kam spikerlerden hangisinin ne oranda kullanılacağına ilişkin editoryal karar alırken çeşitli kriterler göz önünde tutulur: kanalın türü, yayın kuşağının türü, haberin türü. Çalışmada Türkiye'de genel TV kanalları ile tematik haber kanalları arasında kam spiker türü tercihi ve kullanım ağırlığı karşılaştırmalı olarak incelenmektedir. Genel TV kanalları olarak Show, Star ve ATV; haber kanalları olarak da NTV, Haber Global ve HaberTürk'ün ana haber bültenlerinin içerik analizi yapılmıştır. Görece daha yoğun "izlenme oranı baskısı" altında çalışan genel kanalların ana haber bültenlerinde, tematik haber kanallarının ana haber bültenlerine göre 'dolaylı ve merak uyandıran kam spiker'lerin daha fazla tercih edilmesi beklenebilir. Çalışmanın sonuçları bu varsayımı desteklemiştir.
Abstract
This study aims at research of effects of rating competition of television channels on news lead choices as a news presentation style. The importance of the study is to determine whether rating pressure leads editors to a more sensational style, and if so, how strong this tendency is. In broadcast announcing leads can be classified in 3 types: hard leads, soft leads and quote leads. When making editorial decisions on which of them and how much to use, there are some criteria to be considered: type of television channel, type of slot, type of news.
In this study news lead choices and use rates are analyzed comparatively between generalist channels and news channels in Turkey. Content analysis of night newscasts of Show, Star, ATV (as generalist channels) and NTV, Habertürk, Haber Global (as news channels) was accomplished. Generalist channels under heavy rating pressure are expected to give more place for soft leads in their newscasts compared to thematic news channels. The results of this study supported this thesis.

The purpose of this study was to analyse the media framing of the JNU issue by the television news channels in India. The JNU sedition controversy that first broke out on February 9, was fueled largely by the way it was propagated in media by channels like Zee News that led to the arrest of the leader of student union, Kanhaiya Kumar. The issue was covered fiercely in media while some supporting the JNU cause and some opposing it. Keeping in mind the scale of the issue and the way it was portrayed in Indian media, it makes for an excellent option for frame analysis. The analysis is of the media narrative and not how the audience perceived the issue. The intention was to analyze how the TV news channels Zee and ABP, largely at the center of the controversy, framed the issue from the day it broke out till few days after its culmination. For this purpose the news in the time frame of February 9, 2016 to March 2, 2016 was analysed. On March 2, Kanhaiya was granted interim bail of six months by the Delhi High Court. A sample of two weeks of the video clips uploaded on YouTube was analysed using inductive framing analysis. The results demonstrated that there were four frames present in Zee News: condemnation, guilty, action and nationalism; and two frames present in ABP News: Condemnation and not guilty. The frames present in Zee News and ABP News were found to be at contrast and represented the two ideological sides of the same story.

La televisión ha alcanzado tan enorme implantación en todo el mundo, que podemos considerarla como el medio más universal. Son pocos los hogares que no disponen, al menos de un televisor; incluso aquellos de renta más baja. En los países ricos, como Estados Unidos, los estudios indican que la televisión sigue siendo el medio de mayor implantación, a pesar de la gran competencia que suponen los llamados «nuevos medios». En este país, casi todos los hogares tienen al menos un televisor y casi la mitad disponen de cuatro o más receptores,
mientras que sólo el 16% utiliza dispositivos modernos, como las tabletas (Nielsen, 2013). En muchos países, ver la televisión se ha convertido en la actividad de ocio a la que dedicamos más tiempo. Las encuestas señalan que el consumo medio se sitúa entre tres y cuatro horas por persona y día (Nation Master, 2013). En los países
donde más se ve la televisión, como Estados Unidos, el tiempo que el ciudadano medio pasa frente al televisor es de casi 4 horas y 50 minutos por día, muy por delante del dedicado a internet y al resto de los medios (Nielsen, 2013). Estos datos ponen de manifiesto que estamos ante un medio de comunicación que ha adquirido una gran importancia en la vida cotidiana de muchas personas. Pero, ¿dónde reside su fuerza?, ¿a qué debe su éxito?

Trump’s election laid bare structural flaws in our news and information systems. As mainstream news media sensationalized and trivialized what was at stake in the elections, social media amplified misinformation and propaganda. These media pathologies paved the way for the triumph of a demagogue. While criticism of such problems has escalated since the election, the underlying policies that enabled them have largely escaped scrutiny.

Different strategies are used by media organizations to attract consumers. The technological revolution favored the emergence of unprecedented competitive dynamics, which led to a change in how
media products are consumed. An unprecedented competitive dynamics stroke after a technological revolution appeared in the field, a fact that led to a change in how media products are consumed. The Romanian audiovisual market “is one of the most developed audiovisual markets in Central and Eastern Europe” (Cerban, 2012), with around 700 operating TV channels. The televisual consumption level in Romania is growing by the day, with almost double the world average level, and the 24 hour news channels have been occupying the first place in the preferences of the viewers with a percentage that reached 77% (Olteanu, 2017). In this context, news televisions do not only compete among themselves, on
their niche, but try to get as much profit as possible from the broadcast advertising income in general. This research aims to analyze the strategies used by the news stations in Romanian to position itself into
the mass media market. The data presented in this material are part of
the doctoral research “Publishing and Marketing Strategies of Romanian Television News” conducted by the author in his capacity as PhD student at the Faculty of Journalism and Communication Sciences,
University of Bucharest.

The use of social media by journalists raises new ethical and professional dilemmas. As a result, news outlets are implementing policies addressing what is and what is not permitted on social media platforms. Through a nationwide survey of local television news directors, this study examines the prevalence of social media policies in TV newsrooms, the source of those policies, and how they are implemented. This study also investigates if and how the policies address emerging matters related to five specific areas: personal and professional social media activity of reporters, social media sourcing and content, audience complaints on social media, use of social media while reporting in the field, and ownership of social media accounts.

This paper examines the ‘going out’ project, launched by the Chinese Communist Party and PRC government in 2001, in terms of one of the major public organs for dissemination of PRC publicity abroad, CCTV International (CCTV-I). The paper uses original documents and content analysis of a representative sample (28 days of programming divided into two 14-day periods over 28 weeks) of CCTV-I programming from 2004 to show the strengths and weaknesses of the going out project in television. Utilizing concepts primarily derived from Edward Said (Orientalism) and Kai-wing Chow (Narrating Nation, Race, and National Culture), I analyze the production within Chinese media of ‘appropriate’ representations of China for foreign audiences. Control over China’s image abroad is a key component of the ‘going out’ project. How successful that part of that project has been can be seen from analysis of the content of CCTV-I and comparison of those findings with original unpublished government documents outlining the government’s plans for CCTV-I as part of the ‘going out’ project.

George Romero’s Night of the Living Dead (1968) began filming in June and
July of 1967, the same months that riots were occurring in 164 US cities as
African Americans expressed their anger en masse against police brutality.
The film challenges the veracity of news coverage of these riots and America’s
subsequently violent response by depicting the creation of news in the field
and studio, and its reception in the living room, as well as showing film view-
ers important events that the media fails to cover. This critique permeates
the film’s diegetic newscasts and the film’s narrative and anti- racist message.

Die Bachelorarbeit am Institut für Medienkulturwissenschaft der Uni Freiburg befasst sich mit dem Thema Storytelling in den
Fernsehnachrichten und geht der Frage nach, wie sich die Verhältnisse zwischen journalistischdeskriptiven und narrativen Filmberichten in den Hauptnachrichten der Sender ARD, ZDF und RTL gestalten.

Zadatak ovog rada je bio da dekonstruiše isključivo TV priloge koji su sačinjavali dio projekta „Reportaže o Evropskoj uniji“ na kojem su radili sva tri javna bh. servisa (BHT, RTRS i FTV – radio i TV pokrivenost) od marta do polovine juna 2012. godine.  Uzorak je sadržao 51 prilog, i to po 17 priloga sa svake televizije. Broj priloga na svakom servisu bio je drugačiji, ali je za potrebe ovog istraživanja odabran jednak broj priloga po svakoj televiziji prvih 17 emitovanih priloga. Imajući u vidu cilj ovog projekta (informisanje građana i građanki BiH o evropskim integracijama, Evropskoj uniji te trenutnom stanju u BiH) cilj rada je bio da se cjelokupnom analizom što sveobuhvatnije sagledaju izdvojeni TV prilozi i odgovori na ključno pitanje:
Kako prilozi bh. javnih TV emitera unutar projekta „Reportaže o EU“ portretišu BiH i EU. Kako bi se isto postiglo korištena je kompresovana kvantitativna analiza sadržaja i kritička analiza sadržaja. U rezultatima su se izolovale ključne karike diskurzivne matrice čijim analizama se došlo do zaključka da se EU najčešće prezentuje pozitivno ili neutralno, dok je BiH nejčešće predstavljena u negativnom kontekstu.

Ključne reči: analiza sadržaja; Bosna i Hercegovina; dnevnik; EU; novinarstvo; TV; 2012.

The task of this paper was to deconstruct TV stories that were a part of project „Reports on the European Union”, which was put together by all three public service in BiH (BHT, FTV and RTRS - radio and TV coverage) from March until mid-June of 2012. The sample contained 51 reportages, at 17 reportages from each television. Number of contributions on each public service was different, but for the purposes of this research, an equal number of reportages (first 17 reportages) for each braodcaster was selected. Keeping in mind the goal of this project (informing citizens of BiH about European integration, the European Union and the current situation in BiH) the task was to produce the overall comprehensive analysis of selected TV reportages and to obtain an answer to the question: In which manner did the reportages made by selected public TV broadcasters within the project „Reports on EU” portrayed the EU and Bosnia and Herzegovina. In order to find the answer, paper included compressed quantitative content analysis and critical discourse analysis. The results contained isolated key links of used discursive matrix which helped in concluding that the EU is often presented in positive or neutral way, while BiH was most often presented in a negative context.

Key words: Bosnia and Hercegovina (BiH); content analysis; EU; journalism; news program; TV; 2012

This dissertation explores the news making process at CCTV-9, the Beijing-based global English language service of China Central Television (CCTV). My interest in this topic was triggered by the strange manner in which so much debate about media reform in the People’s Republic of China (PRC) elides any real discussion of the contribution of journalists themselves to reform, which is almost invariably treated as something that happens to media from outside of, or regardless of, what journalists do. My aim in this research was to address this lapsus and foreground the work of journalists to show how it contributes to the changing institutional framework in which their work is embedded and therefore contributes to media reform. Drawing on ground-breaking work on bounded innovation and resistance by Pan Zhongdang and Lu Ye in this emerging field, I utilize concepts derived from their use of Michel de Certeau and discuss these concepts in light of the works of Antonio Gramsci, Pierre Bourdieu and Michel Foucault to show how journalists at CCTV-9 exercised control over their work, despite their function as mouthpieces of the news and publicity system operated by the Communist Party of China and PRC government. I am not suggesting that PRC journalists are dissidents. However, my research did suggest that the mundane practice of journalism, even in so constrained a media environment as that of the PRC news system, can alter the manner in which news is made and thereby contribute to media reform. Utilizing participant observation of the CCTV-9 newsroom in 2004-2005, interviews with a range of news makers, in-house documents and a survey of content, I construct a picture of news making at CCTV-9 that foregrounds what to more macro-oriented analyses of media reform in the PRC has remained inaccessible, the minutiae of everyday life in the newsroom, and the tiny, but not inconsequential changes brought about by the ordinary work of journalists.

İletişimin küreselleşmesi enformasyon ve bilgi akışını çok yönlü ve hızlı hale getirerek farklı toplumların, coğrafyaların haberlerini birbirine taşımıştır. Günümüzde yerel ve küresel düzeyde yoğun ve hızlı bir haber akışı gerçekleşmektedir. Enformasyon, bilgi ve haber akışı kontrolünü büyük oranda elinde bulunduran ülkeler uluslararası platformlarda başta diplomasi olmak üzere çok sayıda alanda güç ve etki sahibi bir konumdadır.
Çalışmada Türkiye’nin tezlerini uluslararası alanda savunmak amacıyla kurulmuş olan TRT World kanalının kuruluşu, işleyişi, yayın politikası ve dijital hizmetleri incelenmiştir. Uluslararası televizyon haberciliği hizmeti veren yayıncı bir kuruluşun ürettiği içeriğin dijital mecralara yansıtılma biçimlerinden yola çıkarak televizyon haberciliğinin, izleyici kitlesinin ve yayıncı kuruluşların dijital dünyaya uyum sağlama sürecinde geçirdiği dönüşüm çalışmada ortaya konulanlar arasında yer almaktadır.
Çalışmanın ilk üç bölümünde literatür tarama, son bölümünde ise görüşme yöntemi uygulanmıştır.

Anahtar kelimeler: Televizyon haberciliği, küreselleşme, yeni medya, dijital, haber

Television news channels in India do not cover rural population adequately. The issues related to development like education, health, electricity, water, food, agriculture, infrastructure, unemployment and poverty do not feature in their preference. In place of representing whole nation proportionally television channels actually project country only as ‘urban Indian middle class’. This is highly questionable especially when ‘democratic media’ is operating in a developing country like India. Television reporters do cover villages only when some sensational event like heinous crime, accident or natural calamity occurs. Television news lacks positive reporting from rural India. This paper is an effort to discuss the issue of diversity in media news content in specific context to the coverage of vast rural population. It has been argued that how market forces are dictating news people in framing their news values. How our ‘national channels’ have been reduced to become metro channels.

Kebebasan media tidak pernah dipinggirkan dalam wacana dan perbincangan ilmiah. Baru-baru ini, indeks kebebasan akhbar di Malaysia telah dilaporkan jatuh dua kaki tangga ke kedudukan 147, berbanding dengan 145 pada tahun sebelumnya (Reporters Without Borders, 2014). Perkara ini telah menunjukkan betapa pentingnya untuk pengkaji meneliti ruangan kebebasan media, khusunya terhadap kewartawanan dan pemberitaan bahasa Inggeris di televisyen tidak berbayar (free-to-air television), iaitu TV2 dan NTV7. Berita bahasa Inggeris yang dilaporkan di kedua-dua televisyen telah dijadikan sampel kajian dan rujukan dalam kajian ini. Walau bagaimanapun, kajian ini bukanlah sebuah kajian kuantitatif yang melibatkan kajian kandungan. Namun, artikel ini menggunakan analisa konteks yang menumpu kepada asal usul kewartawanan di Malaysia dengan meneliti dasar dan akta negara ini seiring dengan pemilikan saluran televisyen di Malaysia. Seterusnya, sampel kajian telah dianalisa ikutan daripada pemerhatian terhadap mitos-mitos seperti nasionalisme dan perpaduan kebangsaan. Dapatan kajian menunjukkan bahawa output berita yang bertindak sebagai agen penstabilan dan pembangunan kebangsaan ialah berkait rapat dengan kawalan dan pemilikan terhadap televisyen di Malaysia. Oleh itu, usaha dalam memperolehi ruang kebebasan media merupakan suatu proses yang berterusan dan hanya akan berhasil dengan melangkaui kesemua isu yang dibincangkan dalam artikel.

There is no doubt that dense networks of social communication have persisted in modern India. The long lineage and persistence of vibrant and organic tradition of public reasoning, dissent, debate and oral tradition cuts across classes, castes, religions and communities. The development of news channels as a prominent genre of satellite television can be understood in this context. After the barriers due to state monopoly were lifted, there was a special liberating resonance. News television, for the first time, provided air waves as a mass platform to extend the Indian propensity for argumentation and political debate. The boom in Indian TV news channels is no short of a revolution. The way the content and presentation have diversified in the last decade speaks volumes of how TV news has carved a niche in the audience’s lifestyle and mindspace. The 24x7 news relay has gratified the viewers’ demand and need of being informed and entertained simultaneously. From the non-glamorous days of Doordarshan in India to the more dynamic Zee news in 90s, there has been a noticeable tilt towards sensationalism in Indian news media with the advent of a new Hindi news channel India TV. What started as a ripple effect to boost TRPs has now cascaded into a chain reaction with every new channel using the card to raise its popularity index. However popularity does not necessarily imply credible public perception of either the news content or the news channel. This paper attempts to explore the relationship between news sensationalism and perceived credibility in the minds of the audience. The paper would use a combination of the case study approach and analytical survey to establish the aforementioned relationship. The research would consist of a case study of at least three news channels and a survey on 50 respondents. The objective of the paper is to make a comment on the novae-kultur of sensationalism and exaggeration that has become both the means and end of news presentation on the Indian telescreen. The paper seeks to address the issue of ‘breaking news syndrome’ in the context of viewers’ perception of the same. It would attempt to seek answers about the credibility of news content in the public’s psyche. Keywords: Television, popularity, credibility

Nobel laureate Niko Tinbergen coined the term ‘supernormal stimulus’ after discovering that birds who lay small, pale blue eggs speckled with grey prefer to sit on larger, bright blue eggs with black polka-dots. He found that he could exaggerate the key qualities of any natural stimulus to produce a stronger reaction yet--be it nurturance, courtship, fear or aggression.
    Animals encounter supernormal stimuli mostly when experimenters build them.  Humans can generate their own and media are awash with them: friendly smiling faces more consistently welcoming than ones own friends, animated cartoon characters with wider eyes than any real child’s, seductive bodies exceeding any proportions found in nature, and a huge array of supernatural menaces.
    This chapter examines film, television, spectator sports, video games, and social websites as well as more traditional media such as print and musical performance in terms of the concept of supernormal stimuli.

Öz Türkiye'de mültecilerle ilgili " misafir " yaklaşımı üzerinden üretilen olumlu söylemler, mültecilerin kalıcı olduklarının anlaşılmasıyla birlikte yerini olumsuz söylemlere bırakmıştır. Mültecilerle ilgili olumsuz algının kamuoyunda yaygınlaşması, diğer toplumsal dinamiklerin yanında, televizyon başta olmak üzere haber medyasındaki temsillerle de yakından ilişkilidir. Bu çalışma, mültecilerin televizyon haberlerindeki temsil biçimlerine odaklanmakta, bu temsil biçimlerinin toplumda var olan egemen söylemleri ne ölçüde yeniden üretip güçlendirdiğini ortaya konmayı amaçlamaktadır. Çalışmada, büyük sermaye gruplarına ait olan ve " yeni liberal " ideolojiyi temsil eden Show TV ve Kanal D, dini söylemlerin yaygın olarak kullanıldığı " yeni muhafazakâr " ideolojiye sahip Kanal 7 ve " sol " ideolojiye (sosyal demokrat) sahip Halk TV ana haber bültenleri örneklem olarak seçilmiştir. Söz konusu ana haber bültenleri Teun van Dijk'ın eleştirel söylem çözümlemesinden yararlanılarak analiz edilmiştir. Araştırma bulguları, farklı ideolojik konumlarına rağmen televizyon kanallarının dışlayıcı temsil biçimlerinde ve sorunlu söylemlerde genel olarak benzeştiklerini ortaya koymaktadır. Ancak yine de, kanalların ideolojik çizgilerini yansıtan birtakım temsil biçimleri ve söylem unsurlarını ürettikleri de görülmektedir.

The graphics used by news televisions is one of the factors that can determine the positioning of the media institution on the news field market. This article aims to analyze how the Romanian news televisions use graphics to position themselves on the market.The context in which this process takes place is generated by technological development that favored an unprecedented competitive dynamics, which has led to audiences fragmentation and has changed the way media products are consumed. On the other hand, TV consumption in Romania is increasing, with an almost double cota compared to the world average.At the same time, the number of young people returning to traditional media is on an upward trend, according to the latest study of television consumption in Romania achieved in 2017 by  Mercury Research Romania.
Romanian TV viewers have the choice of over 700 broadcasters, and Romania is positioned among the most developed audiovisual markets in Central and Eastern Europe (CNA, 2012). According to the same data, news stations remain in consumer preference, ranking on the first place based on a 77% of respondents' preferences, compared to 81% in 2016.The use of television graphics is associated with branding,
Tuggle et al. (2014), emphasizing that "almost every graphic that covers the screen has the potential to support the brand of the news organization" (p. 119). The same authors point out that TV stations have done a practice of covering graphic screens with the sole purpose of branding (Ibidem, p. 119).
The graphic concept has, first of all, a role to differentiate from competition, then to inform, illustrate and organize the information presented to consumers, and also to signal the type of product being broadcast (Bardan, 2012, p. 21). Used in the editorial field, graphic representations have a role to support, complement and reinforce the
product's journalistic content, being "intentionally created in order to express information" (Engelhardt, 2002, p. 2) or to "describe, explain , inform or train "(Richards, 1984 apud Engelhardt, 2002, p. 2).Regardless of the way in which the graphic package is presented or used, televisions are pursuing the same thing: shaping and consolidating a distinct visual identity on the market to attract the viewer (Merritt, 1987, Fogg et al., 2004, Tuggle et al. , 2014). The graphic concept is closely related to
the editorial policy of the post, being "one of the few elements of television production that is involved in each program" (Merritt, 1987, p. 11). In the process of positioning the television on the market, the graphic package can sustain the unique selling proposition as mentioned by Bardan (2012, p. 35). This article tracks the extent to which graphics are a differentiating attribute in channel positioning strategy on the market and whether it can be considered as a tool for attracting audiences.
The data presented in this material are part of the doctoral research "Publishing and Marketing Strategies of Romanian Television News" conducted by the author in his capacity as PhD student at the Faculty of Journalism and Communication Sciences, University of Bucharest.

Öz Bu çalışmanın amacı Türkiye'de kadınlara yönelik şiddetin televizyon haberlerindeki temsil biçimlerini incelemek, söz konusu temsil biçimlerinin erkek egemen söylemle bağlantısını ortaya koymaktır. Bu amaç doğrultusunda, farklı yayın çizgilerine sahip üç televizyon kanalının (Kanal D, Kanal 7, TRT1) ana haber bültenleri üç aylık (1 Ocak-31 Mart 2015) bir araştırmayla ele alınmıştır. Çalışmada eleştirel söylem çö-zümlemesi yöntemi kullanılmıştır. Haber analizinin makro düzeyinde haber başlıklarında ve ana metinde esas olayın ve arka plan bilgilerinin nasıl sunulduğu incelenmiştir. Mikro düzeyde ise, sözcük seçimleri, sözdizim, mecazlar, benzetmeler, deyimler, tonlamalar vb. ele alınmıştır. Ayrıca retorik bir öğe olarak görüntü de analiz konusu haline getirilerek, haber metinlerinin söyleminde verilen mesajların, görsel an-latıda verilen mesajlarla ne ölçüde güçlendirildiği üzerinde durulmuştur. Çalışmanın sonuçları, incelenen televizyon kanallarının dışlayıcı temsil biçimlerinde ve sorunlu söylemlerde genel olarak benzeştiklerini ortaya koymaktadır. Kadınlara yönelik şiddeti daha çok adli bir olay olarak ele alan, 'kriminal' bir dille su-nan, dramatik yapıyı öne çıkaran, duygu sömürüsüne ve magazinleştirmeye dayanan haberlerde, şiddete gerekçeler yaratılmakta ve şiddete maruz kalan kadınlar 'kurban' gibi gösterilmekte, hatta suçlanmakta-dır. Söz konusu haberlerde kadınların yerine erkekler konuşturulmakta, devletin-hükümetin sorumluluğu görünmez kılınmakta, 'diğer ülkelerde de var' anlayışıyla kadınlara yönelik şiddet normalleştirilmektedir. Sonuç olarak, televizyon haberleri kadınlara yönelik şiddetin önlenmesine katkıda bulunmak bir yana, kadın karşıtı söylemi yeniden üreten, pekiştiren bir işlev görmektedir. Abstract This paper investigates how the representations of violence against women in Turkish television news sustain and reproduce the dominant misogynist discourse. A three-month-long study (January 1 to March 31, 2015) was conducted on the coverage of the violence against women in the prime-time news bulletins of three Turkish television channels with different broadcasting policies (Kanal D, Kanal 7, and TRT1). Employing critical discourse analysis, the study focused upon the ways in which violence against women is constructed in news headlines and main stories and examines the vocabulary choice, word order , tropes, metaphors, idioms, and intonations, etc. therein. Moreover, images in the news as a rhetorical device are examined with particular attention to how the messages conveyed by the news texts and those conveyed by visual representations reinforce each other. Research findings reveal that these television channels have similar exclusionary forms of representation and discourse. It is also found that news stories dramatize violent events and foreground their sensational dimensions, turning them into criminal cases, often victimizing the women in question, or accusing them by producing some justification for the violence. The news coverage makes the state's responsibility invisible, silences women's voices, and let men speak in place of them. Furthermore, it tends to normalize this form of violence by making reference to similar events in other parts of the world. Consequently, the television news does not contribute to the solution of this social problem; on the contrary, it serves to perpetuate the dominant perceptions.

A body of scholarship has begun to chart the influence of “chat” modes of news delivery on discourse quality as part of what is termed the internal fragmentation of news: the shift from monological to dialogical modes of news delivery (Ben-Porath, 2007). This article investigates the democratic costs and benefits of political discourse contained in these “political talk” news formats. It focuses on four New Zealand programmes and is structured in terms of market (commercial) and non-market (public service) performance. Discourse quality is measured quantitatively by content analysis; the results identify some important democratic trade-offs that market and non-market modes of political talk make. This paper adds to international scholarship by contributing empirical data to research investigating the democratic values of public service and commercial news content; it also enables critical engagement with the issue of the internal fragmentation of news formats by providing a more nuanced account of political talk than previous criticisms.

The Indian national election of 2014 has been studied intensely mainly because of the scale of the Bharatiya Janata Party (BJP) victory and the ingenious ways new technologies were employed for political communication. The role of news television in democratic politics has been questioned in the context of Indian media’s unbridled efforts towards profit-maximization since private television began in the 1990s, and the impact of these efforts on media credibility. This article asserts that television still shapes and directs political discourse, even in the age of new technologies, but that the role of news television in political communication needs to be rethought. It argues that the evaluation of news television’s agenda setting functions must be placed not only within the context of the dramatic changes that have swept the Indian media landscape but within broader changes in the political and social environments. A critical discourse analysis of Frankly Speaking, the popular weekly political interviews shown on the English news channel Times Now, reveals the subtle ways by which television transfers salience from the media’s agenda to the public agenda.

The last two decades in India have seen an enormous growth of satellite television. News has established itself in the meanwhile not merely as a source of information but also of entertainment. Available in all regional languages through several competing channels, and presented elaborately, television news has come to establish a mode of address, which defines one’s sense of time and space, and configures one’s sense of the dramatic situated in others’ stories. This article engages with the implications of “liveness”—as material and as affect—toward convergence of news narratives. Discussing two of the most widely covered recent stories—Aarushi Talwar’s murder and Baby Falak—the article foregrounds the class antagonism and scandalous anxieties of Indian televisual publics, and argues that news television invites us to trade liveness for news. Thus, news media not only liberates itself of the rigor of news production but also entertains us by reaffirming our deepest anxieties and competing with other modes of intertextual entertainment available on rival channels.

With most political journalism research focusing on Western elections, one tends to forget that mediatization exists in non-Western reportage too. Television news is still a powerful political tool, especially in developing democracies and particularly in South Africa – the case of this research. This article investigates the sources used on television news during five democratic South African elections, 1994–2014, and aims to shed light on the type of mediatized political reporting in and about a non-Western country. The main finding of this research is that news sources during the South African elections were made up increasingly of pundits and decreasingly of political leaders and citizens. The importance of ‘listening’ directly cannot be overstated, especially in developing democracies like South Africa. A solid link between journalist and politician as well as journalist and citizen is crucial to implement substantive information necessary to enable the media’s democratic duty. When journalists ignore citizen voices in favor of interpretive and evaluative sources, this link is steadily degraded. This article suggests reasons for the drop-off of political and citizen sources in South African election reporting, and, on the eve of the sixth general election in May 2019, argues a case for more ‘straight from source’ voices in political journalism.

Richard Schechner’s 1985 essay ‘News, Sex and Performance Theory’ suggests that if there is a perceptible overarching structure of news television communicating to a nationwide audience, it becomes intellectually productive to understand the structure as bearing legacies of certain performative practices and forms. Schechner’s overlapping concerns with theatre, arts and performance thus offers us a discursive framework to understand the communicative form of news television. This essay, beginning with an analysis of Schechner’s ideas of news television as performance and locating them briefly in the context of analyses by pioneering television scholars like Raymond Williams, tries to engage with the polemics around what lends legacy to the current form of news television, particularly prime time studio debate. We pay special attention to Schechner’s understanding of the ‘liminoid’ nature of news television, where a peculiar mélange of ‘facticity’ and ‘framed’, of performance and non-performance, operates. Taking cue from his
suggestion that the ‘liminoid’ performances undermine classic Euro-American aesthetics, I turn to the Indian context to examine whether the legacy debate can therefore be reframed from a non-Euro-American perspective. This is where I am drawn towards Nalin Mehta’s insights on
the oral culture of 'adda' and the tradition of ‘argumentative Indian’ (proposed by Amartya Sen) that Mehta thinks lend special charge or popular appeal to Indian news television’s studio debates. I propose that existence of structures of leisurely oral exchange and strong cultures of
debate may not be true for only the Indian context. I also question the way traditions have been interpreted here as smoothly passing into the 21st century institution of news television. I suggest that news studio performance draws its popular appeal from the modern democratic institutions of the parliament and the courtroom, from the modern codes of meetings and assemblies, from even structures of government intervention into crime (police interrogation for instance). My final submission is that by constantly using the codes of such institutions and spaces, news television tries to appropriate the functions of the three institutions of the state: The Executive, the Legislative and the Judiciary. It is through such appropriation that news television stages a
theatre of democracy based on certain communicative and performative codes.

"Urban-Public Space Crisis: Personalized  Tele-Visual Spaces; A News Agenda on Reminding and Making Forget" 17 th International Symposium Communication in the Millennium CIM 2020 November 5-6 2020 p. 236 (Bildiri Özeti)

Özet
Örgütlü ve siyasi bir yapılanma şekli olarak kamusal alanın ilk tasarımı Antik Yunanda yer almaktadır. Emek yoğun üretimin ve köleliğin kurumsallaştığı Polis, sadece özgür erkek yurttaşların kamusal alana katılımını sağlayan bir mekân örgütlenmesi olarak idealize edilmiştir. Kent ve kamusal alan etkileşimi bu tarihten itibaren benzer şekilde emek yoğun üretimin yapıldığı Orta Çağ Avrupa’sında bazı sembolik değişimler olsa da özel alan ve kamusal alan birbirinden tam ayrılmamıştır. Kamusal alan Avrupa’da 17. Yüzyıl sonrası modern dönem boyunca, kamusallaşmış olayların kamusal bir alanda eleştirel denetimine tabii tutmak olarak biçimlenmiştir. Oysa ki günümüzde neoliberal ekonomik sistemin toplumun her alanında etkisini hissettirdiği postmodern dönemle birlikte, kamusal alandaki yapısal dönüşüm teknoloji merkezli bir denetim alanına kaymıştır. Geleneksel toplumlarda bir yere bağlı olan zaman ve mekân örgütlenmesi postmodern dönemle birlikte şekil değiştirerek yer duygusunun yitirildiği sanal ekosistemlerin topoğrafyalarına doğru yönelim göstermektedir. Bu toplumsal yapı içerisinde televizyon yayıncılığı da yeni medya olarak adlandırılan dijital teknolojiler ile eklemlenerek kültürel içeriklerin aktarılma ve alımlama süreçlerinde dijital ortamın aktif izleyicisi kavramını öne çıkarmıştır. Post-kapitalizmin dinamiklerinin ivmelendirdiği gündelik yaşamın televizyondaki bilgi ve haber içerikleri, dijital teknolojiler yoluyla herhangi bir kısıtlama olmaksızın dolaşıma girmektedir. Kişiselleştirilmiş tele-görsel mekânlarda kişisel ilgileri temelinde biçimlenen haber içeriklerine yönelimde, toplumsal hafıza kaybolmuş, hatırlama ve unutmalar medyanın çoklu denetim ve temsil alanlarına terkedilmiştir. Televizyon üzerinden yaratılan yapay kamusallıklar üzerinden oluşan tarafgirliklerle ekonomik ve politik sorunlar gerçek toplumsal bağlamlarından uzaklaştırılırken, haber içerikleri hatırlatma ve unutturma mekanizmaları üzerinden işlerlik kazanarak bütünsel bir gösteri söyleminin parçası haline gelmektedir. Bu çalışmada postmodern kentsel mekan içerisinde kamusal alanın dönüşümü tarihsel gelişimi göz önünde bulundurularak tartışılırken, televizyon haberlerinin oluşturduğu gündemin süreçteki rolü ve önemi eleştirel bir paradigma içinde teorik olarak değerlendirilmektedir.
Anahtar Kelimeler: Kamusal Alan, Postmodern Kent, Televizyon Haberleri, Tüketim Toplumu

Abstract
The first design of the public space as an organized and political structure was first seen in Ancient Greece. The Polis, where labor-intensive production and slavery were institutionalized, had been idealized as a spatial organization that allows only free male citizens to participate in the public space. Even though there have been certain symbolic changes in this interaction between the urban and the public space since these dates, the private space and public space have not been completely separated from each other also in Middle Age Europe, where labor-intensive production was carried out. The public space was used in Europe during the modern period after the 17th century for civil society to criticize and control the events that became public. However, in today's world, along with the postmodern period when the neoliberal economic system makes its impact felt in all areas of society, the structural transformation in the public space has shifted to a technology-centered control area. The organization of time and space, which depends on a place in traditional societies, changes shape with the postmodern period and tends towards the topographies of virtual ecosystems where the sense of place is lost. Within this social structure, television broadcasting has been articulated with the digital technologies that are called as the new media, bringing forward the concept of active audience of the digital environment in the transfer and reception processes of cultural contents. The information and news contents on television regarding daily life, accelerated by the dynamics of post-capitalism, are circulated without any restrictions through digital technologies. In the orientation towards news contents in personalized tele-visual spaces that are shaped on the basis of personal interests, social memory has been lost and reminding and making forget have been left to the multiple control and representation areas of the media. While the economic and political problems are removed from their real social contexts with the prejudices formed over artificial publicities created on television, the news contents become part of a holistic demonstration discourse by gaining function through mechanisms of reminding and making forget. In this study, while the transformation of the public space within the postmodern urban sphere is discussed by considering its historical development, the role and significance of the agenda formed by television news is evaluated theoretically within a critical paradigm.

Keywords: Public Space, Postmodern City, Television News, Consumption Society

Donald Trump’s election exposed structural pathologies in America’s media system. This commentary addresses three broad media failures that combine to imperil democratic society: the news media’s extreme commercialism; Facebook’s proliferation of misinformation; and the crisis of newspaper journalism. I then outline a policy program that can begin to address these structural pathologies.

THE CONTINUOUS NEWS ECONOMY On the conditions of production at news channels in general and at Euronews in particular
This article, based on two areas of inquiry, shows how the appearance of national and international continuous news channels has helped to transform the general economy of production and broadcasting of news. After defining the characteristics of the conditions of news production at these channels, the authors show how those conditions have established new models of labour organization, occupations and professional frames of reference: for example, working in conditions of urgency and the development of "seated" and versatile journalism. Finally, they briefly analyse some of the effects of these conditions of production on the processing of information.