British Youth Television

Lury, Karen

doi:10.1093/acprof:oso/9780198159704.001.0001

Cited by 29 publications

(10 citation statements)

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“…Whereas the imagery of the charity football match earlier dramatized the game of the campaign, the tables are ‘images which demonstrate’ (Lury, 2005: 18): graphs are often used on television news as evidence supporting truth claims expressed by a voice-over, which in this case was suggesting that Alex Salmond was the winner of the debate and that his performance impacted voting intentions. Referencing an official poll contributed to the credibility of the visual.…”

Section: The Role Of Setting and Actors In Conveying The Game Frame: mentioning

confidence: 99%

“…In the leaders’ debate and the coverage of the campaign trail, which were both discussed in the previous section, long shots were used often to depict leaders, especially when moving from one to the other or from them to the audience, which was rarely shown in long shots. According to Lury (2005), choosing to present someone in long shot can have the effect of placing ‘the viewing audience away from the performer/character/ individual, as if they were on a stage’. In both these examples, the leaders were actually on a stage, as seen in the previous section, and the camera perspective reinforced their framing as performers.…”

Section: The Role Of Camera Movement and Props In Conveying The Game mentioning

confidence: 99%

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Visualizing the game frame: constructing political competition through television images in referendum coverage

Dekavalla

2018

Visual Communication

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The strategic game frame, which is a media construction of political events as strategic competition between opponents, has so far been operationalized and measured primarily through verbal indicators. This study extends the operationalization of the frame to television visuals. The article argues that visuals are just as powerful as words in conveying the game frame; however, this can go unnoticed and thus unchallenged, if we focus on analyzing verbal content alone. Visuals should thus be problematized and systematically embedded in empirical studies of the game frame. This qualitative analysis shows how this can be done and, specifically, identifies elements of mise-en-scène, such as setting, actors, camera movement and props, which can constitute empirical indicators for the strategic game frame in television texts. The article uses data from the coverage of a recent referendum in Scotland to illustrate these indicators in use with examples.

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Section: The Role Of Setting and Actors In Conveying The Game Frame: mentioning

confidence: 99%

Section: The Role Of Camera Movement and Props In Conveying The Game mentioning

confidence: 99%

Visualizing the game frame: constructing political competition through television images in referendum coverage

Dekavalla

2018

Visual Communication

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“…In doing so, sex acts are amplified and result in the most outrageous of hyperbole – ‘I thought it was going to smash the walls down – bosh bosh bosh’. If there is a pornographic aesthetic to Geordie Shore , of the kind Lury (2005) talks about in serial dramas such as CSI , it is one in which the kinetic editing of the scene and the commentary exaggerate the act as comedic cartoon, rather than a scene for arousal. This hyperbole frees the event from anything that might actually have happened, since it is the process of making sex more noticeable , rather than the sex itself, that is prized.…”

Section: Immoral Exteriority: Hyper-sexual Animationmentioning

confidence: 99%

The politics of hyperbole on Geordie Shore: Class, gender, youth and excess

Wood

2016

European Journal of Cultural Studies

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This article discusses MTV's Geordie Shore against the backcloth of current social conditions for working-class youth. It suggests that the aesthetic, physical and discursive features of excess represent hyperbole, produced from within an affective situation of precariousness and routed through the labour relations of media visibility. Hyper-glamour, hyper-sex and hyper-emotion are responses to the ideologies of the future-projected, self-governing neoliberal subject and to the contemporary gendered contradictions of sexually proclivity and monogamous heteronormativity. By 'flaunting' the realities of self-work and making the labour of themselves more/most visible, the participants of Geordie Shore are claiming an animated type of ill/legitimate subjectivity.

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“…In contrast, as Moseley asserts, in Britain 'the teenager was constructed as a problem to be addressed and to be educated, but is rarely the focus of specific provision (apart from pop and rock music programming) other than this remit ' (2007: 191-2). This is reflected in television scholarship on British youth and television, which tends to focus on magazine and music formats (Lury 2001;Osgerby 2004). Historically, there has been a dearth of dramatic programming aimed specifically at older British teenagers.…”

Section: Skins In Contextmentioning

confidence: 99%

‘Doing it for the kids’? The Discursive Construction of the Teenager and Teenage Sexuality inSkins

Berridge¹

2013

Journal of British Cinema and Television

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Abstract:The teen series is often regarded by television scholars as an inherently American genre. Indeed, the genre is marked by US constructs, such as the cheerleader, jock, homecoming dance and prom and, in turn, teen television scholarship has focused almost exclusively on US texts. However, more recent years have seen the emergence of British teen drama series, most notably Skins (E4, 2007-), which has been so successful that it has spawned an (albeit shortlived) US version which aired on MTV. In an attempt to redress the dearth of academic study of British teen dramas, this article explores Skins in more detail. Journalistic discourse on the programme has frequently emphasised the series' nihilism in contrast to the didacticism that characterises its US generic counterparts, which the series' creators justify by claims for its authenticity. This article moves beyond the authentic/inauthentic debate to explore instead the discursive construction of the teenager and teenage sexuality in the specific context of broadcasting in the UK. Thus, after situating Skins in relation to the history of youth programming in Britain and, specifically, on Channel 4, the article will explore issue-led storylines involving teenage sexuality in more detail. It will argue that despite the programme's nihilistic ethos, Skins is underpinned by more conservative ideologies, particularly regarding the depiction of gender and sexuality. In turn, this ambivalence makes it difficult to discern the programme's ideological stance on sexual issues.

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British Youth Television

Cited by 29 publications

References 0 publications

Visualizing the game frame: constructing political competition through television images in referendum coverage

Visualizing the game frame: constructing political competition through television images in referendum coverage

The politics of hyperbole on Geordie Shore: Class, gender, youth and excess

‘Doing it for the kids’? The Discursive Construction of the Teenager and Teenage Sexuality inSkins

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