Кинопросмотры россиян на телеканалах: социологический анализ
In the context of increasing digitalization of media-space, the analysis of broadcasting films on Russian leading TV channels is of intense interest. The article examines the specific character of movie broadcasting in general and the films preferred by Russian TV audience. The analysis is based on the viewing grids of 22 Russian channels in the July of 2018 taking into account the main data of film repertoire on TV and the preferences of the audience in accordance with the age categories.
The article (Continued from #8) deals with the issues connected with the impact of the interior institutional, cultural and communicative matrices on the functioning of Russian media and television in particular, as the most popular and influential resource of public communication. The author reveals the link between institutional matrices, defining the life of the society in general, communicative matrices, regulating social communication, and media matrices setting the limits of professional activity in the sphere of television.
The collection contains articles presented by authors in frame of the XI All-Russian Scientific Conference "Modern Screen Worlds : Myths and Reality" which was held at the State Institute of Art of the Russian Federation Ministry of Culture in Moscow on 21-23 April, 2014. Different issues discussed relating to the latest trends in the field of screen arts (film, television, digital video, et al.) in a variety of aspects - art criticism, phylosophical, sociological, etc.
The article examines some issues connected with the impact of the interior institutional, cultural and communicative matrices on the functioning of Russian media and television in particular, as the most popular and influential resource of public communication. The author reveals the link between institutional matrices, defining the life of the society in general, communicative matrices, regulating social communication, and media matrices setting the limits of professional activity in the sphere of television.
This book is the first to explore the composition of television ratings in a cross-cultural, comparative manner. Using both communication history and the sociology of quantification, Television Audiences Across the World illuminates why the whole television industry, the television audiences themselves, refer to ratings as the main way to represent the television-watching public. It shows how a specific technology, the peoplemeter, has become a "state of the art" in very different cultural contexts, including major non-Western countries. It analyses how television audience measurement succeeds in homogenizing diverse ways of watching television among different populations, creating "apparent nations", and at times ignoring entire regions or parts of the population. The chapters in this volume discuss why television audience measurement has become the dominant model for the evaluation of popularity in the post-modern world, the true "voice of the masses", still powerful in supposedly fragmented societies.
The article is devoted to the problem of communicative features of the constructive structure of the font identity in the city branding sphere. This problem is considered in the framework of the nonlinearity of visual communication based on typology, comparative and structural analysis of the font identity of the world's cities. The article analyzes the brand identity of the city of Murmansk (2015) with the use of qualitative research methods: an expert interview with the designer of Murmansk identity.
This paper explores, mainly from a legal perspective, the extent to which the Russian regulations of traditional TV and online audiovisual media policies have been consistent with the Council of Europe (hereinafter CoE) standards. The study compares between the CoE and Russian approaches to specific aspects of audiovisual regulation including licensing, media ownership, public service media, digitalization, and national production. The paper first studies the CoE perspective through examining its conventional provisions related to audiovisual media, the case law of the European Court of Human Rights as well as the CoE non-binding documents. The paper then considers Russian national legislation governing audiovisual media and the Russian general jurisdiction courts’ practice on broadcast licensing. The paper suggests that the Russian audiovisual regulations are insufficiently compatible with the CoE standards and more in line with the Soviet regulatory traditions.
Systems Thinking in Museums explores systems thinking and the practical implication of it using real-life museum examples to illuminate various entry points and stages of implementation and their challenges and opportunities. Its premise is that museums can be better off when they operate as open, dynamic, and learning systems as a whole as opposed to closed, stagnant, and status quo systems that are compartmentalized and hierarchical. This book also suggests ways to incorporate systems thinking based on reflective questions and steps with hopes to encourage museum professionals to employ systems thinking in their own museum. Few books explore theory in practice in meaningful and applicable ways; this book offers to unravel complex theories as applied in everyday practice through examples from national and international museums.