Content Analysis of Television Drama Programs

Head, Sydney W.

doi:10.2307/1209974

Cited by 51 publications

(10 citation statements)

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“…For example, the world presented on television contains more police officers (DeFleur, 1964;Gerbner et al, 1986;Potter, 2014), criminals (Head, 1954;Hetsroni & Tukachinsky, 2006), lawyers (DeFleur, 1964;Gerbner et al, 1986;Potter, 2014), and doctors than in reality (DeFleur, 1964;Potter, 2014). The world of television also contains more danger and crime (Gerbner, Gross, Jackson-Beek, Jeffries-Fox, & Signorielli, 1978;Eschholz, Mallard, & Flynn, 2004;Potter, 2008) along with greater affluence than the real world (O'Guinn & Shrum, 1997).…”

Section: Introductionmentioning

confidence: 99%

Blurred world view: A study on the relationship between television viewing and the perception of the justice system

et al. 2016

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Previous studies suggest that distorted representations of reality on television can lead to distorted perceptions of reality among viewers. In this study, 322 individuals in Austria reported their weekly television consumption and whether they believe that there is active practice of capital punishment in Austria, which has been abolished since 1968. The more television participants watched, the more likely they mistakenly believed that there is, or recently was, capital punishment in Austria, even when controlling for participants' age and education. It seems that television has the potential to influence viewers' perception and knowledge of core aspects of society.

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Section: Introductionmentioning

confidence: 99%

Blurred world view: A study on the relationship between television viewing and the perception of the justice system

et al. 2016

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“…For instance, Dallas Smythe (1953) found that television drama under-represented the very old (those over 60) and the young (those under 20). He found that white-collar jobs were heavily over-represented Head (1954) found that 68 per cent of the television drama population was male, and that only 15 per cent was of lower class. He compared crime in the world of television with crime in society and found that murder constitutes 14 per cent of crime in the television world, but only 0.65 per cent of crime in the real world.…”

Section: Women On Televisionmentioning

confidence: 99%

The ideological octopus: an exploration of television and its audience

Lewis

1992

Choice Reviews Online

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The discipline of communication studies is now firmly established in the academic marketplace. This classic text is a lucid introduction to the main authorities in the field, aimed at students coming to the subject for the first time. It outlines a range of methods of analysing examples of communication, and describes the theories underpinning them. Thus armed, the reader will be able to tease out the latent cultural meanings in such apparently simple communications as news photos or popular TV programmes, and to see them with new eyes. This second edition includes new material on the theory, methods, and applications of structuralism, ideology, and audience ethnography.

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“…The stories are delivered mainly through the characters' verbal and nonverbal behaviors, which manifest who they are, what they are doing, and how they feel. Thus, studies of the TV series have been centered around the story it delivers or its content [1]- [4].…”

Section: Introductionmentioning

confidence: 99%

Exploration of the Characteristics of Emotion Distribution in Korean TV Series: Common Pattern and Statistical Complexity

Kim

Lee

2020

IEEE Access

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The series is one of the most popular formats of television programs, but the emotional aspects of its content have not attracted much attention from researchers. Furthermore, the cinemetric approach, in which move data are quantitively examined, has not been used to analyze affective content in television series. Therefore, this study focused on emotion distribution in Korean television series. In all, 337 episodes from 20 series were divided into shots, then keyframes were selected from the shots. Facial emotions on the keyframes were measured using an online artificial intelligence service. Emotion distributions were obtained from each episode and then were observed for common patterns. In addition, the statistical complexity of the distributions were calculated and compared by the temporal phase of the episode, channel type, genre, ratings, and season. The results show that the emotion distributions of all episodes in all series had the same form: an asymmetric U-shaped distribution biased toward zero. The statistical complexity of emotion distribution was greater in early episodes than in later episodes of a series, and it was higher in episodes with higher ratings. In addition, the complexity of emotion distribution was higher in hard genres and during the summer season. There was no significant difference between terrestrial television channels and cable/general programming channels.

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Content Analysis of Television Drama Programs

Cited by 51 publications

References 1 publication

Blurred world view: A study on the relationship between television viewing and the perception of the justice system

Blurred world view: A study on the relationship between television viewing and the perception of the justice system

The ideological octopus: an exploration of television and its audience

Exploration of the Characteristics of Emotion Distribution in Korean TV Series: Common Pattern and Statistical Complexity

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