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Kurumsal sosyal sorumluluk iletişiminin (KSSİ) bir aracı olarak reklam; içerdiği mesajları yaratıcı göstergelerle, kısa zamanda geniş kitlelere ulaştırabilme özelliğine sahiptir. Söz konusu bu avantajlar, reklamı kurumsal sosyal sorumluluk (KSS) anlayışının topluma benimsetilmesinde etkin bir yere taşımaktadır. Bu düşünceden hareketle, çalışmanın odağında, ticari markalarca tasarlanan KSS içerikli reklamlar yer almaktadır. Çalışmanın amacı, içerik analizi yöntemiyle, KSS vurgusuna sahip reklamlarda yararlanılan anlatım tekniklerini ve görsel/işitsel stratejileri belirlemektir. Bu doğrultuda, prime time kuşağında yayınlanan KSS içerikli reklamların, tüm reklamlara göre oranı belirlenerek, söz konusu reklam filmlerinde vurgulanan mesajlar, KSS alanı, türü, konusu ve paydaşlar açısından incelenmiş; reklamlarda öne çıkan karakter/canlılar, renkler, nesneler ve seslerin KSS mesajıyla ilişkileri sorgulanmıştır. Araştırma sonucunda; incelenen reklam filmlerinin yalnızca yüzde 5’inin KSS mesajı içerdiği görülmüştür. Söz konusu bu reklamlarda, markaların çoğunlukla sosyal sorumluluklarına vurgu yaptıkları, özellikle sosyal amaç destekli pazarlama mesajlarına yer verdikleri, projenin paydaşları olarak tüketicilerin ve markanın konumlandırıldığı, çevre ve toplum konularındaki sosyal sorumluluk projelerinin ön plana çıktığı görülmüştür. Reklam tasarımında yararlanılan ünlü sesi kullanımı, projeyi çağrıştıran, duygusal nitelikli ses kullanımı, ünlü karakterlere ve çocuk karakterlere yer verilmesi, marka/kurumun görsel kimliği ile sosyal sorumluluk projesinin renklerini içeren görsel tasarım ögelerinin kullanımı sayesinde KSS mesajının etkinliğinin arttırılmasının hedeflendiği belirlenmiştir.

Technological convergence has affected the media context of generalist television, modifying access and the consumption of content. The design of the scheduling of the general-interest linear television is a key element in understanding the policies that the operators follow when offering genres and formats, and in observing the similarities and differences between public and private ownership. This article analyses the television schedules of 25 generalist channels, public and commercial, operating in Germany, Spain, France, Italy and the United Kingdom. Some of the findings of this investigation show a) little diversity of genres, b) that the editorial policy of public broadcasters clearly differentiates them from private ones by prioritizing informational offerings, national fiction, and documentary info-shows, and c) strategic differences of genres by ownership in each country. [ABSTRACT FROM AUTHOR]

This article examines the ways in which depictions of race and racism in some prime-time historical dramas promote contemporary postracial ideologies. Focusing on the portrayals of overt racism and interracial relationships in Hell on Wheels (2011–2016) and The Knick (2014–2015), the author argues that the use of morally ambiguous white, male protagonists in contexts associated with morally unambiguous racism allows these shows to acknowledge the centrality of racism in American history while simultaneously presenting racism in interpersonal rather than systemic terms. This representational strategy differs from the politically correct depictions of race and racism in historical dramas like Mad Men (2007–2015). As such, Hell on Wheels and The Knick reflect the paradox of postracial popular culture whereby depictions of racial animus and violence support viewers’ desires to forget about both race and racism. In contrast, the racial caste system in Deadwood (2004–2006) presents white supremacy and American history as inseparable. This article concludes by discussing some of the connections between these representational strategies and the shifting economic landscape of the post-network-era television.

Despite the increasing visibility of variations in sex/gender identities, society maintains a strict sex dichotomy. The commitment to the female/male sex distinction and the resistance to acknowledge or accept sex variability results in the silencing of people born intersex, the medicalization of the various "conditions," and their stigmatization. Although activists and scholars are beginning to educate the public and the medical community, sex and gender reassignment protocols and surgeries upholding the sex dichotomy remain intact. Due to contemporary trends and medical approaches, the authors argue it is necessary to explore how intersex is represented and communicated to the public by the mass media. Using textual analysis, the study examines how primetime television programs portray contemporary intersex patients, specifically in medical dramas that feature a storyline about the identification of intersex variation in infants and adolescent children. Altogether six episodes from five shows are analyzed. The authors find that, although some storylines "possibilize" some progressive portrayals of intersex, the shows' representations of sex variations are treated as violations of established sex and gender binaries, ultimately portraying intersex in such ways as a social transgression or medical threat, thereby neutralizing the existence of intersex attributes and recuperating and normalizing the sex dichotomy. [ABSTRACT FROM AUTHOR]

In this study, older characters that appeared in all the episodes of the first seasons of eight most popular Turkish TV series on prime-time televisions in Turkey and those appeared in all the episodes of the first seasons of eight "original" Turkish series on Netflix were submitted to a comparative quantitative and qualitative content analysis. In this sense, the aim of this study was to reveal what kind of old age is promised to viewers by such media environments as TV and Netflix. Findings revealed that, when compared to the Turkish population, older people were significantly underrepresented in prime-time series and that, in other words, they were symbolically eliminated and exposed to age discrimination. Another finding is that older people were portrayed more fairly on Netflix than TV. Although older individuals were inadequately represented on Netflix as well, the difference between the two platforms was not statistically significant. On the other hand, while older women are significantly less represented than older men on both platforms, the study found no significant difference in gender representation between Netflix and prime-time TV. The findings also indicated that no older character, when evaluated qualitatively, was represented as the major character on either platforms and that, especially when it comes to having a profession, older people, specifically older women, were portrayed more negatively on both platforms, which means that older women faced a double jeopardy. • Reflections of ageism in Turkish prime-time TV series and Netflix series. • Differences of gender-based age discrimination in the context of TV and Netflix. • Double dose of discrimination against older women on both platforms. • The isolation of older women from working life in both platforms. [ABSTRACT FROM AUTHOR]

Watching the commercials depends on the choice of the viewer. Most of the television viewing takes place during “Prime-Time” unfortunately; many viewers opt to zap to other channels when commercials start. The television viewers’ demographic characteristics may indicate the likelihood of the zapping frequency. Analysis made by using Multinomial Logit Model indicates how effective the demographic variables are in the watching rate of the first minute of the television commercials.

When television is being watched the most, commercials reach much more audience. Television viewers constantly face the dilemma of changing the channel or not when commercials appear on their favorite shows. Networks strategically time their commercials in such a way that content viewers have to decide whether they should wait for the commercials to end or start flipping the channels in the hope of finding a better program. If it is accepted the commercials shown in the first minute of breaking up television shows, is being watched the most, then whether there is a significant difference in changing of the amount of viewers among the channels. This article uses the factors such as gender, age, and socio-economic status, and channels-four national television channels in Turkey, to compare the watching ratings during first minute of television commercials in each television channels by using descriptive statistics techniques and chi-square criterion. The paper can be useful for commercial owners especially first minute to determine the types of people watching. In addition to this, it determines Turkish people's attitudes in most widely towards television commercials. [ABSTRACT FROM AUTHOR]

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This study examines portrayals of acts and consequences of sexual intercourse on prime-time television programs. Results indicate that few types of consequences of intercourse are presented, headed by emotional outcomes. Both acts of intercourse and their consequences receive only minimal focus within programs. Consequences are nearly equally positively and negatively valenced, but have a slight leaning toward being portrayed as transient and emotionally insignificant. Movies include the greatest number of acts of sexual intercourse and the most consequences for this behavior. Generic differences are also identified in the contextual presentation of consequences. Findings are discussed in light of effects on viewers. [ABSTRACT FROM AUTHOR]