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Social Reality in Enjoyable Productions that Television Broadcastings Prefer: Humor Requirement

Year 2014, , 18 - 35, 21.06.2014
https://doi.org/10.15869/itobiad.64054

Abstract

Television is the most common media of 21.st century and billions of people watch television in the world. Television takes people from problem worlds to imaginary worlds to make people happy and fine. People who left their traditional values and traditional entertainment ways in modern life evaluate that television is a easy reachable and cheap entertainment instrument. People who can not find satisfacted communication and entertainment ambiences, watch television to feel good and to have fun. People watch television to response their humor requirements. Television sets enjoyable worlds for people who suffer problems of modern life. Therefore most of people prefer to watch television to spend enjoyable time and to have fun. Television channels aim to address larger masses to gain more and use entertainment to reach their aims.

References

  • Adesokan, Akin, “Flora Gomes, Filmmaker in Search of a Nation”, Black Camera, 3 (1), (2011): 51-53. Anderson, Daniel R., ve Huston, Aletha C. ve Schmitt, Kelly L. ve Linebarger, Deborah L. ve Wright, John c. ve Larson, Reed, “Early Chilhood Television Viewing and Adolescent Behavior: The Recontact Study”, Monographs of the Society for Research in Child Development, 66 (1), (2001): 1-154. Aquinas, Thomas, Varlık ve Öz. Çev: Oğuz Özügül, İstanbul: Say, (2007). Baar,K. Kevvne, “”What Has My Union Done for Me?” The Screen Actors Guild, the American Federation of Television and Radio Artists, and Actors’ Equity Association Respond to McCarthy-Era Blacklisting”, Film History, 20 (4), (2008): 437-455. Birchard, Robert S., “Nitrate Machos vs. Nitrate Nellies: BuccaneerDays at thr UCLA Film and Television Archive”, The Moving Image: The Journal of the Association of Moving Image Archivists, 4 (1), (2004): 119-129.
  • Cereci, Sedat, Televizyonda Program Yapımı. İstanbul: Metropol, (2001). Cheung, Chauikiu ve Leung, Kwan-kwok, “Retrospective and Prospective Evaluations of Environmental Quality under Urban Renewal as Deteminants of Residents’ Subjective Quality of Life”, Social Indicators Research, 85 (2), (2008): 223-241. Cooper, Cecilly D., “Just Joking around? Employee Humor Expression as an Ingratiatory Behavior”, The Academy of Management Review, 30 (4), (2005): 765-776. Cooper, Evan, “Decoding Will and Grace: Mass Audience Reception of A Popular Network Situation Comedy”, Sociological Perspectives, 46 (4), (2003): 513-533. Cücioğlu, İbrahi,. “MPEG & JPEG”, Broadcasterinfo, 39, (2007): 99Çakır, Vedat, “Bir Sosyal Etkinlik Olarak Eğlence ve Televizyon (Konya Örneği)”, Selcuk Universitesi Sosyal Bilimler Enstitusu Dergisi, 1 (2005): 123-142. Çüçen, Kadir, Martin Heidegger: Varlık ve Zaman, İstanbul: Sentez Yayınları, (2012). Denham, Bryan E. ve Jones, Richelle N., “Survival of the Stereotypical: A Study of Personal Characteristics and Order of Elimination on Reality Television”, Studies in Popular Culture, 30 (2), (2008): 79-99. Ellul, Jack, Sözün Düşüşü, Çev: Hüsamettin Arslan, İstanbul: Paradigma, (1998). Eschen, M. V., “Globalizing Popular Culture in the “American Century” and Beyond”, OAH Magazine of History, 20 (4), (2006): 56-63. Foster, E. Michael ve Watkins, Stephanie, “”The Value of Reanalysis: TV Viewing and Attention Problems”, Child Development, 81 (1), (2010). 368-3 Frosh, P. “The Face of Television”, Annals of the American Academy of Political and Social Science, 625, (2009): 87-102.
  • Gerber, Alan S. ve Gimpel, James G. ve Green, Donald P. ve Shaw, Daron R., “How Large and Long-Lasting Are the Persuasive Effects of Televised Campaign Ads? Result from a Randomized Field Ezperiment”, The American Political Science Review, 105 (1), (2011): 135-150. Hall, Jeanne, “The Benefits of Hindsight: Re-Visions of HUAC and the Film and Television Industries in “The Front” and “Guilty in Suspicion””, Film Quarterly, 54 (2), (2001): 15-26. Hartley, J., “Daytime T”, The Television Genre Book. Ed. Glen Creeber. P. 92-94, London: British Film Institute, (2005). Johnson, James, “Why Respect Culture?”, American Journal of Political Science, 44 (3), (2000): 405-418. King, Neal, “Dea-End Days: The Sacrifice of Displaced Workers on Film”, Journal of Film and Video, 56 (2), (2004): 32-44. Kompare, Derek, “Conference Report: Futures of Entertainment 3. November 21-22.November.2008, Maassachussts Institute of Technology, Cambridge, MA”, Journal of film and Video, 49 (1), 2009: 116-120. Koven, Mikel J., “Folklore Studies and Film and Television: A Necessary Critical Survey”, The Journal of American Folklore, 116 (460), (2003): 176-195. Lees, Andrew, “Urban Development in European and American Discourse in the Nineteenth and Early Twentieth Centuries”, OAH Magazine of History, 5 (2), (1990): 38-42. MacDonald, Fred J., “Radio and Television Studies and American Culture”, American Quarterly, 32 (3), (1980): 301-317. May, Richard P., “Restoring “The Big Parade””, The Moving Image: The Journal of the Association of Moving Image Archivists, 5 (2), (2005): 140-1 Mccarty, A., “The Front Row is Reserved for Scotch Drinkers: Early Television’s Tavern Audience”, Cinema Journal, 34 (4): Summer 1995, (1995): 31-49. Meulemann, Heiner, “Information and Entertainment in European Mass Media Systems: Preferences for and Uses of Television and Newspapers”, European Sociological Review, 28 (2), (2012): 186-202.
  • Mumme, Donna L. ve Fernald, Anne, “The Infant as Onlooker: Learning from Emotional Reactions Observed in a Television Scenario”, Child Development, 74 (1), (2003): 221-237. Nutku, Özdemir, Sahne Bilgisi. İstanbul: Kabalcı, (2002). Oudshoorn, N., ve Rommes, E., ve Stienstra, M., “Configuring the User as Everybody: Gender and Design Cultures in Information and Communication Technologies”, Science, Technology & Human Values, 29 (1), (2004): 30-63. Peter C. Rollins, “Film, Television, and American Studies: Questions Activities, Guides”, American Quarterly, 31 (5), (1979): 724-749. Roberts, B. R., “Urbanization, and Development”, Sociological Forum, 4 (4), December 1990, (1990): 665-691. Rodgers, Nigel – Thompson, Mel, Sıradışı Filozoflar. Çev. Nur Küçük. İstanbul: İthaki, (2007). Stein, Maurice C. ve Dandaneau, Steven P. Ve East, Elizabth A., “Listening to Sociological Elders: An Interview with Maurice R. Stein”, The American Sociologist, 42 (1), (2011): 129-144. Yanarella, Ernest J. ve Blankenship, Susan, “Big House on the Rural Landscape: Prison Recruitment as a Policy Tool of Local Economic Development”, Journal of Appalachian Studies, 12 (2), (2006): 110-239. Walbry, Kevin, “How Closed-Circuit Television Surveillance Organizes the Social: An Institutional etnography”, The Canadian Journal of Sociology, 30 (2), (2005): 189-214. Willis, Evan ve Burns, Edgar, “The Empty Shops Project: Developing Rural Students’ Sociological Insight”, 39 (1), (2011): 27-41.
  • Künye: Cereci, Sedat, “Televizyon Yayınlarının Yönlendiği Eğlenceli Yapımlardaki Toplumsal Gerçek: Gülmece Gereksinimi”, İnsan ve Toplum Bilimleri Araştırmaları Dergisi I, (2014): 17-35.

Televizyon Yayınlarının Yönlendiği Eğlenceli Yapımlardaki Toplumsal Gerçek: Gülmece Gereksinimi

Year 2014, , 18 - 35, 21.06.2014
https://doi.org/10.15869/itobiad.64054

Abstract

Televizyon 21. yüzyılın en yaygın medyasıdır ve dünyada milyarlarca insan her gün televizyon izlemektedir. Televizyon, insanları içinde yaşadıkları sorunlu dünyalardan alıp, onları mutlu etmek ve kendilerini iyi hissettirmek için imge dünyalarına götürmektedir. Modern yaşamla birlikte geleneksel değerlerinden, geleneksel eğlenme biçimlerinden uzaklaşan insanlar, kolay ulaşılabilen ve ucuz bir eğlence aracı olarak televizyonu görmektedir. Kentsel yaşam alanlarında doyurucu iletişim ve eğlence ortamı bulamayan insanlar rahatlamak ve eğlenmek için televizyon izlemektedir. İnsanlar modern dünyada, gülmece gereksinimlerini karşılamak için televizyon izlemektedir. Televizyon, modern yaşamın sorunlarından bunalan insanlar için eğlenceli dünyalar kurmaktadır. Bu nedenle insanların çoğu eğlenceli zaman geçirmek ve oyalanmak için televizyona yönelmektedir. Televizyon kanalları daha çok kazanmak için daha büyük kitlelere seslenmeyi amaçlamakta, bunun için de eğlenceyi temel materyal olarak kullanmaktadır.

References

  • Adesokan, Akin, “Flora Gomes, Filmmaker in Search of a Nation”, Black Camera, 3 (1), (2011): 51-53. Anderson, Daniel R., ve Huston, Aletha C. ve Schmitt, Kelly L. ve Linebarger, Deborah L. ve Wright, John c. ve Larson, Reed, “Early Chilhood Television Viewing and Adolescent Behavior: The Recontact Study”, Monographs of the Society for Research in Child Development, 66 (1), (2001): 1-154. Aquinas, Thomas, Varlık ve Öz. Çev: Oğuz Özügül, İstanbul: Say, (2007). Baar,K. Kevvne, “”What Has My Union Done for Me?” The Screen Actors Guild, the American Federation of Television and Radio Artists, and Actors’ Equity Association Respond to McCarthy-Era Blacklisting”, Film History, 20 (4), (2008): 437-455. Birchard, Robert S., “Nitrate Machos vs. Nitrate Nellies: BuccaneerDays at thr UCLA Film and Television Archive”, The Moving Image: The Journal of the Association of Moving Image Archivists, 4 (1), (2004): 119-129.
  • Cereci, Sedat, Televizyonda Program Yapımı. İstanbul: Metropol, (2001). Cheung, Chauikiu ve Leung, Kwan-kwok, “Retrospective and Prospective Evaluations of Environmental Quality under Urban Renewal as Deteminants of Residents’ Subjective Quality of Life”, Social Indicators Research, 85 (2), (2008): 223-241. Cooper, Cecilly D., “Just Joking around? Employee Humor Expression as an Ingratiatory Behavior”, The Academy of Management Review, 30 (4), (2005): 765-776. Cooper, Evan, “Decoding Will and Grace: Mass Audience Reception of A Popular Network Situation Comedy”, Sociological Perspectives, 46 (4), (2003): 513-533. Cücioğlu, İbrahi,. “MPEG & JPEG”, Broadcasterinfo, 39, (2007): 99Çakır, Vedat, “Bir Sosyal Etkinlik Olarak Eğlence ve Televizyon (Konya Örneği)”, Selcuk Universitesi Sosyal Bilimler Enstitusu Dergisi, 1 (2005): 123-142. Çüçen, Kadir, Martin Heidegger: Varlık ve Zaman, İstanbul: Sentez Yayınları, (2012). Denham, Bryan E. ve Jones, Richelle N., “Survival of the Stereotypical: A Study of Personal Characteristics and Order of Elimination on Reality Television”, Studies in Popular Culture, 30 (2), (2008): 79-99. Ellul, Jack, Sözün Düşüşü, Çev: Hüsamettin Arslan, İstanbul: Paradigma, (1998). Eschen, M. V., “Globalizing Popular Culture in the “American Century” and Beyond”, OAH Magazine of History, 20 (4), (2006): 56-63. Foster, E. Michael ve Watkins, Stephanie, “”The Value of Reanalysis: TV Viewing and Attention Problems”, Child Development, 81 (1), (2010). 368-3 Frosh, P. “The Face of Television”, Annals of the American Academy of Political and Social Science, 625, (2009): 87-102.
  • Gerber, Alan S. ve Gimpel, James G. ve Green, Donald P. ve Shaw, Daron R., “How Large and Long-Lasting Are the Persuasive Effects of Televised Campaign Ads? Result from a Randomized Field Ezperiment”, The American Political Science Review, 105 (1), (2011): 135-150. Hall, Jeanne, “The Benefits of Hindsight: Re-Visions of HUAC and the Film and Television Industries in “The Front” and “Guilty in Suspicion””, Film Quarterly, 54 (2), (2001): 15-26. Hartley, J., “Daytime T”, The Television Genre Book. Ed. Glen Creeber. P. 92-94, London: British Film Institute, (2005). Johnson, James, “Why Respect Culture?”, American Journal of Political Science, 44 (3), (2000): 405-418. King, Neal, “Dea-End Days: The Sacrifice of Displaced Workers on Film”, Journal of Film and Video, 56 (2), (2004): 32-44. Kompare, Derek, “Conference Report: Futures of Entertainment 3. November 21-22.November.2008, Maassachussts Institute of Technology, Cambridge, MA”, Journal of film and Video, 49 (1), 2009: 116-120. Koven, Mikel J., “Folklore Studies and Film and Television: A Necessary Critical Survey”, The Journal of American Folklore, 116 (460), (2003): 176-195. Lees, Andrew, “Urban Development in European and American Discourse in the Nineteenth and Early Twentieth Centuries”, OAH Magazine of History, 5 (2), (1990): 38-42. MacDonald, Fred J., “Radio and Television Studies and American Culture”, American Quarterly, 32 (3), (1980): 301-317. May, Richard P., “Restoring “The Big Parade””, The Moving Image: The Journal of the Association of Moving Image Archivists, 5 (2), (2005): 140-1 Mccarty, A., “The Front Row is Reserved for Scotch Drinkers: Early Television’s Tavern Audience”, Cinema Journal, 34 (4): Summer 1995, (1995): 31-49. Meulemann, Heiner, “Information and Entertainment in European Mass Media Systems: Preferences for and Uses of Television and Newspapers”, European Sociological Review, 28 (2), (2012): 186-202.
  • Mumme, Donna L. ve Fernald, Anne, “The Infant as Onlooker: Learning from Emotional Reactions Observed in a Television Scenario”, Child Development, 74 (1), (2003): 221-237. Nutku, Özdemir, Sahne Bilgisi. İstanbul: Kabalcı, (2002). Oudshoorn, N., ve Rommes, E., ve Stienstra, M., “Configuring the User as Everybody: Gender and Design Cultures in Information and Communication Technologies”, Science, Technology & Human Values, 29 (1), (2004): 30-63. Peter C. Rollins, “Film, Television, and American Studies: Questions Activities, Guides”, American Quarterly, 31 (5), (1979): 724-749. Roberts, B. R., “Urbanization, and Development”, Sociological Forum, 4 (4), December 1990, (1990): 665-691. Rodgers, Nigel – Thompson, Mel, Sıradışı Filozoflar. Çev. Nur Küçük. İstanbul: İthaki, (2007). Stein, Maurice C. ve Dandaneau, Steven P. Ve East, Elizabth A., “Listening to Sociological Elders: An Interview with Maurice R. Stein”, The American Sociologist, 42 (1), (2011): 129-144. Yanarella, Ernest J. ve Blankenship, Susan, “Big House on the Rural Landscape: Prison Recruitment as a Policy Tool of Local Economic Development”, Journal of Appalachian Studies, 12 (2), (2006): 110-239. Walbry, Kevin, “How Closed-Circuit Television Surveillance Organizes the Social: An Institutional etnography”, The Canadian Journal of Sociology, 30 (2), (2005): 189-214. Willis, Evan ve Burns, Edgar, “The Empty Shops Project: Developing Rural Students’ Sociological Insight”, 39 (1), (2011): 27-41.
  • Künye: Cereci, Sedat, “Televizyon Yayınlarının Yönlendiği Eğlenceli Yapımlardaki Toplumsal Gerçek: Gülmece Gereksinimi”, İnsan ve Toplum Bilimleri Araştırmaları Dergisi I, (2014): 17-35.
There are 5 citations in total.

Details

Primary Language Turkish
Journal Section Articles
Authors

Sedat Cereci This is me

Publication Date June 21, 2014
Published in Issue Year 2014

Cite

APA Cereci, S. (2014). Televizyon Yayınlarının Yönlendiği Eğlenceli Yapımlardaki Toplumsal Gerçek: Gülmece Gereksinimi. İnsan Ve Toplum Bilimleri Araştırmaları Dergisi, 3(1), 18-35. https://doi.org/10.15869/itobiad.64054
İnsan ve Toplum Bilimleri Araştırmaları Dergisi  Creative Commons Atıf-GayriTicari 4.0 Uluslararası Lisansı (CC BY NC) ile lisanslanmıştır.