At the completion of this chapter you will be able to understand a television report about the man on the street. While carrying out this task must you will have to determine the type of program and think about the use of standard language and dialect.

At the completion of this chapter you will be able to write a response regarding the commercialization of public television. While carrying out this task you will describe your position with regards to television advertising. You will describe the ideal advertising spot and use certain words to formulate your demands.

The television landscape has changed drastically in the past few years; nowhere is this more prevalent than in the American daytime serial drama, one of the oldest forms of television content. This class examines the history of these "soap operas" and their audiences by focusing on the production, consumption, and media texts of soaps. The class will include discussions of what makes soap operas a unique form, the history of the genre, current experimentation with transmedia storytelling, the online fan community, and comparisons between daytime dramas and primetime serials from 24 to Friday Night Lights, through a study of Procter & Gamble's As the World Turns.

In this Wide Angle video, the people behind Kalam Nawaem, or “Sweet Talk,” a popular Arab television, discuss how they must carefully choose their topics and tone to not only increase audience interest, but to keep their program on the air.

At the completion of this lesson you will be able to extract information from a conversation on the French television landscape. First you will correctly identify the titles of the programs. Then you will match the program titles with the correct description, and then you will do a short quiz.

At the completion of this lesson you will be able to answer questions about the first memories of the television. You will look at a number of audio segments that look back on the youth and child programs of the early days.

Students develop their estimation skills while evaluating their television-watching habits and draw conclusions about the influence of television in their lives.

In this lesson, the students will summarize their experiences in the Amazon rainforest by developing and presenting a briefing for a T.V. evening news program.

" This course examines representations of race, class, gender, and sexual identity in the media. We will be considering issues of authorship, spectatorship, (audience) and the ways in which various media content (film, television, print journalism, advertising) enables, facilitates, and challenges these social constructions in society. In addition, we will examine how gender and race affects the production of media, and discuss the impact of new media and digital media and how it has transformed access and participation, moving contemporary media users from a traditional position of "readers" to "writers" and/or commentators. Students will analyze gendered and racialized language and embodiment as it is produced online in blogs and vlogs, avatars, and in the construction of cyberidentities. The course provides an introduction to feminist approaches to media studies by drawing from work in feminist film theory, journalism, cultural studies, gender and politics, and cyberfeminism."

Studies major texts and artistic expressions by analyzing them within the larger context of German cultural history. Investigates the German enlightenment, the culture of German liberalism and its increasingly nationalistic turn in Wilhelmine Germany; explores cultural manifestations of German modernism and anti-modernism, and examines the rise of National Socialism. Readings include: Lessing, Kant, Schiller, Marx, Nietzsche, and Freud. Music by Mozart, Schumann, Wagner, Sch"nberg. Paintings by Friedrich, Kirchner, and Kokoschka. Films by Lang and Riefenstahl. Taught in German.

The topic for Fall 2006 is short film and radio plays. This course investigates current trends and topics in German literary, theater, film, television, radio, and other media arts productions. Students analyze media texts in the context of their production, reception, and distribution as well as the public debates initiated by these works. The topic for Fall 2006 is German Short Film, a popular format that represents most recent trends in film production, and German Radio Art, a striving genre that includes experimental radio plays, sound art, and audio installations. Special attention will be given to the representation of German minorities, contrasted by their own artistic expressions reflecting changes in identity and a new political voice. Students have the opportunity to discuss course topics with a writer, filmmaker, and/or media artist from Germany. The course is taught in German.

The goal of this course is to review grammar and develop vocabulary building strategies to refine oral and written expression. Speaking and writing assignments are designed to expand communicative competence. Assignments are based on models and materials drawn from contemporary media (newspapers and magazines, television, web). The models, materials, topics and assignments vary from semester to semester.

Techniques of creating narratives that take advantage of the flexibility of form offered by the computer. Study of the structural properties of book-based narratives that experiment with digression, multiple points of view, disruptions of time and of storyline. Analysis of the structure and evaluation of the literary qualities of computer-based narratives including hypertexts, adventure games, and classic artificial intelligence programs like Eliza. With this base, students use authoring systems to model a variety of narrative techniques and to create their own fictions. Knowledge of programming helpful but not necessary.

Offers an overview of the social, cultural, political, and economic impact of mediated communication on modern culture. Combines critical discussions with hands-on "experiments" working with different media. Media covered include radio, television, film, the printed word, and digital technologies. Topics include the nature and function of media, core media institutions, and media in transition.

This course offers an overview of the social, cultural, political, and economic impact of mediated communication on modern culture. Combines critical discussions with experiments working with different media. Media covered include radio, television, film, the printed word, and digital technologies. Topics include the nature and function of media, core media institutions, and media in transition.

Op het einde van deze les kun je je mening over de impact van televisie op het gezinsleven verwoorden. In een eerste oefening formuleer je op basis van een leestekst 5 voordelen van de televisie. Daarna lees je de tekst "de invloed van televisie op kinderen" en zoek de substantieven die bij een werkwoord horen. Dan beluister je een gesprek van iemand die zonder en iemand die met tv opgroeide en je antwoordt op de vragen van de eerste; tenslotte formuleer je raad over het goed omgaan met televisie in het gezin.

In this lesson you will learn to listen to news segments about polio and answer questions about this segment.

Seminar designed to provide close case study examinations of specific media or media configurations and the larger social, cultural, economic, political, or technological contexts within which they operate. Subject organized around recurring themes in media history, specific genres or movements, specific media, or specific historical moments. Instruction and practice in written and oral communication. Topic: Comics, Cartoons, and Graphic Storytelling. Meets with CMS.871, but assignments differ.

A woman, probably Segalove, narrates brief dramatizations of six anecdotal stories, each of which relates in some way to watching television. The dramatizations are humorous and mainly autobiographical, featuring performers wearing everyday clothing in everyday environments. Produced and directed by Ilene Segalove. The individual segments are as follow: The Pastrami Sandwich: A child watches the Burns and Allen show and realizes he wants a pastrami sandwich. Dial 116: A child watching television is prompted by an advertisement to call and report a nonexistent fire. Truth on TV: Driving home, a couple listens to the radio broadcast remarks of a child who reached out and caught a ball at an L.A. Dodgers game. Hotel Suite: A couple checks into a hotel. The woman is excited by the cleanliness of the room, even the television has been sanitized. Anatomy in Motion: After experiencing stomach pain, a woman is x-rayed. She drinks a barium milkshake and the nurses whisper descriptions of foods in her ear, encouraging her stomach to create juices and appear on the nearby monitor. The Forbidden Channel. The Forbidden Channel: A young girl's parent's purchase a cable television system that provides access to a pornographic channel; they forbid their daughter to watch the channel and leave for the evening; when surfing the stations, the girl performs an elaborate gymnastic tumbling pass when the forbidden channel comes up, thus averting her gaze. The Contemporary Art Television (CAT) Fund was a joint venture between Boston's Institute for Contemporary Art (ICA) and WGBH's New Television Workshop. Funding came from the Massachusetts Council on the Arts and Humanities' New Works program in 1983. Co-directors were WGBH's Susan Dowling (New Television Workshop Director, 1982-1993), and David Ross (ICA Director). Kathy Rae Huffman served as curator and producer. The Fund's primary objective was to award money to video artists for new works. The goals were to foster excellence in the exploration of television as a creative medium, broaden video arts international audience through broadcast and gallery exhibition, and increase revenues for artists from the distribution of their works in all markets. Many of the works were broadcast as part of 'New Television,' and appeared in festivals worldwide. The Fund was also used to sponsor international symposia among curators, distributors, and producers to help promote the growth of video art. In 1990, the ICA assumed full sponsorship of the Fund, where it continued for another year.