"Die Einführung bietet eine systematische Übersicht über die das Medium Film konstituierenden Elemente wie Bild, Montage, Ton, Erzählperspektive etc. Gestaltung und Wirkung dieser Elemente werden nicht nur theoretisch erläutert, sondern auch anhand signifikanter Beispiele aus einschlägigen Fil
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men auf DVD visuell nachvollziehbar gemacht. Fragen machen das Verständnis des Gelesenen und Gesehenen überprüfbar. Der Leser/Betrachter schult die Fähigkeit kritisch zu schauen – eine Kompetenz, die heute ebenso wichtig ist wie das Vermögen, kritisch zu lesen." (Verlagsbeschreibung)
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"The first six chapters of this book give you the background information you need to understand how to do an audience survey to a high standard. The explanation is based on the standard face-to-face survey method, where trained interviewers speak directly to audience members. You can use the informa
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tion in Part I in several ways: to organize your own survey, or to commission an expert to do a survey for you, and understand most of the decisions that they and you will face, or to help decide whether you need a survey, or some other type of research. If you are interested doing your own research, but after reading these six chapters you realize that it may be too difficult, slow, or expensive to complete a face-to-face survey, try Part II of the book, which describes some other types of survey, and several methods of qualitative research." (Page 5)
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"The text focuses on the process of genre analysis, using the selected approaches discussed. The book provides examples and analyses of genres in an effort to support, illustrate, and extend any abstract concepts that have been introduced. More important, it gives students the theoretical tools to c
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onduct their own primary research into genres. In that sense, the methodology is expansive rather than reductive. Presumably, two students could conduct an analysis of the same genre using different approaches and come up with divergent interpretations. In all cases, for an interpretation to be valid: (1) the analysis must be systematically applied, and (2) the analysis must be supported with concrete examples from the text (i.e., film, television episode, newspaper). It must be emphasized, however, that depending on the specific area of study, one approach may be more useful than another." (Preface, page xiii)
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"Der Band ist eine systematische und grundlegende Einführung in die Medieninhaltsforschung in Deutschland. Der erste Teil beschäftigt sich mit der quantitativen Inhaltsanalyse als Methode und gibt dem Leser Kriterien an die Hand, die ihm die Beurteilung der Qualität und die Interpretation von inh
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altsanalytischen Befunden erleichtern sollen. Der zweite Teil stellt die wichtigsten Ergebnisse inhaltsanalytischer Studien in den Bereichen aktuelle Berichterstattung (z.B. Politikdarstellung, Gewaltanteil, Darstellung von Risiken), unterhaltende Medieninhalte sowie Werbung zusammen. Ziel des Lehrbuchs ist ein systematischer Überblick über die Medieninhalte in Deutschland." (Verlagsbeschreibung)
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"The manual is organised to follow the major phases of the monitoring process chronologically. Its first aim is to present and discuss a possible way of developing a research instrument appropriate for the content analysis of the newspaper press. References throughout the text relate the monitoring
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conducted as a part of manual preparation. The introduction provides elementary information about that research. The second section of the manual deals with the project design. Setting up a monitoring mission is a complex process, which includes methodological considerations that have to be worked out in the initial phase. Along with project objectives, it deals with the formulation of research questions, material selection, sampling and the development of coding instruments. The third section refers to organisation of the monitoring mission itself. It emphasises the importance of training, setting inter-coding reliability procedures and the pilot study. The data collection discussion concludes with control and data preparation for processing. Data processing is a focus of the fourth section. It indicates how raw data is transformed into research findings, and explains procedures of cross-referencing. Once processed, data is ready for interpreting and reporting. The final stage of the research is the report along with a finalised presentation of the major findings in an appropriate form. Its structure follows from the research purposes, and if necessary, there can be more than one report from the project." (Structure of the manual, page 13)
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"Popular films and television series tell stories in an entertaining, easily comprehensible fashion. They seem simple, yet often the audience must keep track of several characters, multiple plot lines, motifs, and thematic meanings. Television viewers often face the additional challenge of frequent
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interruptions—for commercials, for week-long gaps between episodes, and even for stretches of time between seasons. Yet they manage, remarkably, to keep track of not only a single long-running narrative, but often several simultaneously. How do film and television writers juggle the need for graspable, enjoyable stories with the many restrictions imposed by their respective commercial formats? How do those two art forms differ in the ways they tell stories? [...] Because television programs typically face far greater restrictions of time and format than films, the storytelling tactics of television often appear extremely simple, especially in situation comedies and dramas with only one or two plotlines. Since the 1980s, dramas with multiple storylines have been praised as introducing complexity into narrative television. I shall argue, however, that good situation comedies and “simple” dramas often in fact also have an underlying complexity. Indeed, many of the interesting aspects of storytelling are hidden in television in a way that they are not in most other arts. We watch television via single episodes, and those episodes may be unremarkable. Yet television is structured in ways that become apparent only if we take the long view. Multiple-episode programs structure narratives within episodes, across seasons, and across a potentially lengthy succession of seasons. To some extent, both classical films and television programs hide their own cleverness in a show of simplicity. In television particularly, the complexity fades into the tenuous connections across a series. Similarly, the virtues of the individual episode— compact exposition, swift progression from cause to effect, establishment of material for future entries in the series—make little impression unless one pays keen attention or undertakes actual analysis, either of the episode or across the season. My first chapter tackles the issue of how one might do that sort of close narrative analysis within episodes ..." (Preface, page ix-x)
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"The book is designed to provide introductory techniques that allow students to engage immediately in their own research projects, and in so doing they learn various ways of conducting communication research both in theory and practice. The author has added new chapters on experimentation, historica
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l research, comparative research and participant observation." (Publisher description)
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