教師用書mass-media傳媒英語詞匯解釋、課文及課后翻譯(中傳研究生用)Unit-5

Unit5TelevisionContents:KeytotheexercisesTranslationSupplementaryReadingPartOneKeytotheexercisesPassageAI.Lead-inQuestions:1.Itdepends.2.BigBrother,TheApprentice,AmericanIdoloranyotherfamousrealityTVshows.3.Mostprobablyyes,becauseTVshowsalwaysindicatekindsofvalues,whichinfluenceaudiences’behaviorsandthoughts.ThatiswhyparentsalwaysconcernchildrenbecomemoreviolentafterwatchingviolenceonTV.Andanotherobviousexampleisadvertisements,whicharedirectedtoinfluencebuyinghabitsofaudiences.4.Thisisquiteabigtopic.TVguys,whoseultimatepurposeistomakemostprofitsoutofleastcost,therefore,mayresorttosomesensationalmannerstoattracttheattentionofaudience.Comparingwithinternet,whichfeaturestimelynewsandfreeinteractions,TVbroadcastersmayseekcooperationorintegrationwithinternetgiants,realizingwin-winoutcomes.II.WordsStudyPost-readingActivitiesI.UnderstandingthetextAnswerthefollowingquestions.1．Becauseofthepressureforprofits.Quick-fixandlow-qualityproductiondoesn’tneedexperiencedstaff,whowillaskforahigherpaymentnecessarily.Anotherreasonisthatbossesbelievenewcomersalwaysbringwiththemnewideas.2．Theemployerbelievesso.Buttheauthordoesn’tthinkso.3．Independentproductioncompaniesareproducingprogramsforbroadcasters.4．Withdigitalmedia,everyonecanbecomeaninformationsource.Wecanproduce,editandevenshowourownworks,whichisgiftedwithmorefreedomthantraditionalTVmedia.Differentstudentsmayhavedifferentanswerstowardsthisquestion.5．Definitelyyes,becauseseriousfactualprogramproductionandeditingarefarmoredemandingthantheworkofrealityshows,whichstressmoreonentertainmentelements.6．No,theyneedtoenrichtheirknowledgeanddevelopamoreseriousandall-roundthinkinghabits.Inaword,theyshouldstudyhardtobequalified.7．Answerphonecallsandcontactsponsors.Actually,programresearchersshouldberesponsibleforstudyingthemarketoftheprogram.II.Translation:TranslatethefollowingparagraphintoChinese.1.獨立電視臺執(zhí)行主席麥克爾·格雷德〔MichealGrade〕〔英國播送公司前任主席〕面對受眾指責(zé)獨立電視臺時，反戈一擊，他批評了英國播送公司二臺〔BBC2〕的節(jié)目。他說這些節(jié)目大量聘用缺乏訓(xùn)練和經(jīng)驗缺乏的新手。暴露出種種欺騙觀眾的做法，讓業(yè)內(nèi)人士感到很為難。2.他說：“撤銷對獨立制作公司的管制之前，為播送公司工作要簽訂長期合同。當(dāng)時還有一個正式的培訓(xùn)系統(tǒng)，同時還有一個非正式的培訓(xùn)體系，由像我這樣的制片人或者編輯組織講座，教人們?nèi)绾沃谱鞴?jié)目?，F(xiàn)在任何人都可以涉足播送電視行業(yè)，甚至不需要什么特殊的訓(xùn)練，行業(yè)呈現(xiàn)出隨意化趨勢。競爭非常劇烈，合同都是短期合同，想來工作的人數(shù)比工作時機多得多。”3.因為大家長時間在一起工作，一起吃喝。有一種與世隔絕，被孤立的感覺。你們在一起合作是為了提供產(chǎn)品，不用想太多的問題，根本不用從新聞職業(yè)的角度思考問題，這或許是真實電視的另一面吧。4.這種軟性紀(jì)錄片模式造成了業(yè)內(nèi)的道德問題。因為人們習(xí)慣于制造“戲劇性”的真相，模糊真實情況，以適應(yīng)節(jié)目設(shè)計的需要。播送電視公司需要這樣的節(jié)目，要險象環(huán)生，還有完整的敘事主線和情節(jié)，這些更適用于好萊塢的劇本。B.TranslatethefollowingsentencesintoEnglish,usingtheexpressionsinbrackets.1.Therevelationofhisscandalouspastledtohisresignation.2.Itwasaninnocentdeception,meantasajoke.3．Acasualnewspaperreaderwouldn'tlikearticlesonpoliticseveryday.4．Thishotelisfamousforitsentertainment.5．Hewasbashedupintheplaygroundbysomeolderboys.6.Skillhasbeenmaderedundantbymachine.III.VocabularyactivityTheanswerisopen.IV.OralactivityTheanswerisopen.PassageBPost-readingActivities:I.UnderstandingthetextAnswerthefollowingquestions.1.Thepeoplewhoaregoodatshowingthemselvesratherthanthosewhocanserveasarolemodel.2.TheauthorbelievesrealAmericanidolsonlyexistinreallifebutnotinTVprogram.3.ThetrueAmericanidolsshouldhaveaspiritofgivingandsacrificing.4.Becauseitiscarefullydirectedtocatchsomeprimaryinterestsofhumanbeing.5.Yes,suchasSuperGirl,anationalsingingcontest,coveredbyHunanProvincialTVStation.TranslationA.TranslatethefollowingparagraphintoChinese.1.你們需要美國偶像嗎？我來給你說說，什么樣的人才是美國偶像。在巡邏的警察，在世界各地冒著生命危險執(zhí)行任務(wù)的軍人們，還有那些通過自己的工作和奉獻贏得孩子們尊敬的教師。2.我們應(yīng)該像那些在學(xué)校門口十字路口的保安和恪盡職守的郵遞員敬禮，他們風(fēng)雨無阻，忠實地履行著自己的職責(zé)。美國有各種各樣的真正的偶像。其中包括：為慈善組織捐款效勞的播送電視名人和體育明星、傳教士、收養(yǎng)被虐待的貓、狗和其他小動物的人，他們?yōu)檫@些小動物尋找平安溫暖的家。B.TranslatethefollowingsentencesintoEnglish,usingtheexpressionsinbrackets.1.Agenuinefriendwillnotdesertyouintimeofadversity.2.Theysalutedeachotherbyraisingtheirhats.3.Evenonthemostcharitableanalysis,ithasnotbeenagreatsuccesssofar.4.Weheardthebeatofthedrum.5.Weshouldkeeptrackofinternationalnews,asmoderncollegeman.VocabularyactivityTheanswerisopen.OralactivityTheanswerisopen.PartTwoTranslationSectionAPassageA電視行業(yè)用人標(biāo)準(zhǔn)：訓(xùn)練有素？只要你薪水低就可以了Source:尼古拉·皮爾森〔NicolaPearson〕表示，不要責(zé)怪電視行業(yè)涉嫌造假的年輕新手。這些年輕人面對的是一個質(zhì)量低下、講求多快好省的行業(yè)環(huán)境。他們在向這樣一個行業(yè)學(xué)習(xí)。獨立電視臺執(zhí)行主席麥克爾·格雷德〔MichealGrade〕〔英國播送公司前任主席〕面對受眾指責(zé)獨立電視臺時，反戈一擊，他批評了英國播送公司二臺〔BBC2〕的節(jié)目。他說這些節(jié)目大量聘用缺乏訓(xùn)練和經(jīng)驗缺乏的新手。暴露出種種欺騙觀眾的做法，讓業(yè)內(nèi)人士感到很為難。節(jié)目制作方案縮水是不是讓制作節(jié)目的人也大幅縮水了呢？25歲的麥克是電視臺的一名工作人員，他說制作公司總是在壓榨利潤，電視從業(yè)經(jīng)驗不再被看作是優(yōu)點?！捌赣靡幻率忠畠r得多，付給他們的薪水要少得多，但要求他們什么工作都要做。”麥克在上一份工作中遇到的電視劇制片人只有24歲，那部電視劇就是該制片人唯一的從業(yè)經(jīng)歷。而麥克根本沒有資格發(fā)問，他這樣描述業(yè)內(nèi)普遍存在的工作態(tài)度：“我們是在給你幫助?！痹賮砜纯贷溈说南乱环莨ぷ鳎溈苏f工程研究員的工作就是“接打，拉贊助商?！彼杏X這樣的工作永遠不會讓他做上嚴(yán)肅性時事節(jié)目。博爾頓相信問題由來已久，他認(rèn)為這是行業(yè)內(nèi)“隨意化”的結(jié)果。他說：“撤銷對獨立制作公司的管制之前，為播送公司工作要簽訂長期合同。當(dāng)時還有一個正式的培訓(xùn)系統(tǒng)，同時還有一個非正式的培訓(xùn)體系，由像我這樣的制片人或者編輯組織講座，教人們?nèi)绾沃谱鞴?jié)目。現(xiàn)在任何人都可以涉足播送電視行業(yè)，甚至不需要什么特殊的訓(xùn)練，行業(yè)呈現(xiàn)出隨意化趨勢。競爭非常劇烈，合同都是短期合同，想來工作的人數(shù)比工作時機多得多?！闭f到創(chuàng)作團隊，恩德莫爾公司〔Endemol〕明確表示創(chuàng)意要比經(jīng)驗更重要。一位曾經(jīng)為《老兄》〔BigBrother〕以及其他一些真人秀節(jié)目工作的女制片人說，新調(diào)研員或許可以帶來好的創(chuàng)意，但不一定知道怎樣實現(xiàn)這些創(chuàng)意。爭奪收視率的壓力意味著每家制作公司都很渴望設(shè)計出新的節(jié)目形，但是制作公司更要保證大股東公司提供贊助，尋找制作大片的壓力也更大。“新人總是不斷涌進來，希望他們制作的節(jié)目大獲成功。如果他們不能馬上出成果，就要把位置讓出來?！彼a充說，另一個問題是做娛樂節(jié)目的人通常被提升得更快?！白稣鎸嶋娨暿呛軐I(yè)的，你好似被放在了花房里，扶扶梯子，不需要有多么豐富的經(jīng)驗，在編輯方面無需你作決定。因為大家長時間在一起工作，一起吃喝。有一種與世隔絕，被孤立的感覺。你們在一起合作是為了提供產(chǎn)品，不用想太多的問題，根本不用從新聞職業(yè)的角度思考問題，這或許是真實電視的另一面吧?！边@樣的用人趨勢已經(jīng)從真實電視過渡到了觀察類/紀(jì)錄片節(jié)目中，例如《動物公園》〔AnimalPark〕，具有真實電視經(jīng)歷的人越來越多。下一代電視人怎樣學(xué)習(xí)技術(shù)呢？數(shù)字技術(shù)意味著每個人都可以制作電影。菲爾·斯坦〔PhilSrein〕放棄了英國播送公司的工作，自己制作紀(jì)錄片。他說你可以花時間，用自己的錢做調(diào)研，制作一部嚴(yán)肅的電影，但要找一個適宜的平臺播放，例如YouTube。羅伊·阿克曼〔RoyAckerman〕是DiverseTV一名很有創(chuàng)意的導(dǎo)演，高質(zhì)量真實電視的制作人。他說責(zé)備年輕人為現(xiàn)在的大環(huán)境負(fù)責(zé)是不對的?！袄蠈嵑推返屡c年紀(jì)大小無關(guān)。問題是買家和播送公司帶來了腐蝕性文化，他們需要新型節(jié)目，用更少的錢制作出更受歡送的節(jié)目。這種軟性紀(jì)錄片模式造成了業(yè)內(nèi)的道德問題。因為人們習(xí)慣于制造“戲劇性”的真相，模糊真實情況，以適應(yīng)節(jié)目設(shè)計的需要。播送電視公司需要這樣的節(jié)目，要險象環(huán)生，還有完整的敘事主線和情節(jié)，這些更適用于好萊塢的劇本。真實電視不僅僅需要滿足這些條件，如果你手頭的時間和資金有限，那么你就有可能造假，以到達播送公司的要求。阿克曼和博爾頓都認(rèn)為，如果年輕人接受了這樣一種玩世不恭的文化，那么我們要捫心自問，我們到底教了他們什么，這是整個電視行業(yè)的責(zé)任。阿克曼說：“我們應(yīng)該明確界定什么樣的方法是可以接受的。對不老實行為絕不能姑息縱容。這些消極的東西可以很快傳染給年輕人?！钡侨绻袌鲂枰焖僦谱鞒鰜淼牧餍袏蕵饭?jié)目，那么人們就需要學(xué)習(xí)如何制作這些節(jié)目。博爾頓說：“就像我們看到的那樣，如果這些制作人員需要立刻制作一部關(guān)于年輕人吸毒的節(jié)目，或者關(guān)于英國女皇的節(jié)目，就會露餡了。因此我們需要對新人進行適當(dāng)?shù)呐嘤?xùn)?！盤assageB我有我的美國偶像鮑勃·巴特茲〔BobBatz〕Source:writers/bb086.htm鮑勃·巴特茲，美國密歇根州人，為日報寫稿46年，過去36年一直為俄亥俄州《代頓日報》〔TheDayton(Ohio)DailyNews〕寫稿，1981年獲得普利策獎提名。我不知道《美國偶像》為什么能如此受歡送。根據(jù)收視率調(diào)查結(jié)果，《美國偶像》是美國最受歡送的電視節(jié)目。但就我個人來說，我的美國偶像不包括那些唱通俗歌曲走調(diào)的人，也不包括那些胸圍大于智商的女人。他們把《美國偶像》看成真實電視，但我一點都不這樣看。如果我想要尋找真實的美國偶像，我只要花一點時間去和那些整天奔波在路上的消防員、急救人員或者急救醫(yī)師呆上一會兒就可以了，這些人面對陌生人伸出援助之手，救死扶傷。你們需要美國偶像嗎？我來給你說說，什么樣的人才是美國偶像。巡邏中的警察，在世界各地冒著生命危險執(zhí)行任務(wù)的軍人們，還有那些通過自己的工作和奉獻贏得孩子們尊敬的教師。美國有各種各樣真正的偶像，但是上次我看到有些人通過唱歌跑調(diào)，或者把棒球打到400英尺就贏得了這種地位。如果你愿意，那些滿頭亂發(fā)的搖滾明星也能被捧為美國偶像吧。對我來說，我更尊重護士、善待父母的人和那些退休后志愿在內(nèi)城棚戶區(qū)為無家可歸的人效勞的人。我們應(yīng)該像那些在學(xué)校門口十字路口的保安和恪盡職守的郵遞員敬禮，他們風(fēng)雨無阻，忠實地履行著自己的職責(zé)。美國有各種各樣的真正的偶像。其中包括：為慈善組織捐款效勞的播送電視名人和體育明星、傳教士、收養(yǎng)被虐待的貓、狗和其他小動物的人，他們?yōu)檫@些小動物尋找平安溫暖的家。還有那些效勞站的老板們，他們親自為你加油，還有百貨商店的圣誕老人，還有那些奉獻出自己的時間，從事青少年體育訓(xùn)練工作的成年人。這些都是美國偶像。SectionBI.PrepareforTask脫口秀節(jié)目的幾個要素主持人是脫口秀節(jié)目的中心環(huán)節(jié)之一，負(fù)責(zé)組織和協(xié)調(diào)整個談話過程。主持人要在節(jié)目籌備和調(diào)研階段與制作人員一起籌劃節(jié)目的選題及每一個細(xì)節(jié)。主持人應(yīng)該有自己的風(fēng)格，讓自己的節(jié)目與眾不同。幽默、睿智和健談的主持人特別受歡送，主持人應(yīng)該對話題和故事有足夠的敏感。成功的主持人必須具備迷人的個人魅力和出眾的語言表達能力。選題是準(zhǔn)備脫口秀節(jié)目的主要任務(wù)之一。所選題材應(yīng)該能在感情層面上引起觀眾的興趣。但適宜的選題并不僅僅依靠主創(chuàng)團隊的集體智慧。制作人員應(yīng)該考慮當(dāng)下的重大新聞。不要把脫口秀節(jié)目和世界割裂開。例如參考材料中奧普拉的脫口秀節(jié)目選擇了一位在伊拉克戰(zhàn)場上九死一生的戰(zhàn)地記者及他的家人作為節(jié)目嘉賓。節(jié)目播出時正值美國國內(nèi)反戰(zhàn)呼聲強烈，美軍在伊拉克戰(zhàn)場陣亡人數(shù)不斷增加。這一期節(jié)目表現(xiàn)了戰(zhàn)地記者及其家人強烈的愛國主義和奉獻精神，這也正是美國政府和美國傳統(tǒng)價值觀所看重的。因此選題成功，整個節(jié)目就成功一半了。嘉賓是主持人的談話對象。其實選擇嘉賓和選題是同時進行的，這是節(jié)目調(diào)演階段的主要任務(wù)。嘉賓要在揭幕之前熟悉節(jié)目的每一個環(huán)節(jié)，以確保的現(xiàn)場直播節(jié)目的成功。制作人員應(yīng)該事先與嘉賓談?wù)摴?jié)目中將會涉及的所有話題，并根據(jù)嘉賓和主持人的需要做出適當(dāng)?shù)男薷暮驼{(diào)整。嘉賓應(yīng)該事先熟悉舞臺布景，包括音樂和燈光等。話題成為選題完成后決定節(jié)目成功與否的重要因素，選擇適宜的話題直接決定了脫口秀節(jié)目的傳播效果。25分鐘的節(jié)目中應(yīng)該談到好幾個話題。要確保話題之間的轉(zhuǎn)換自然順暢。每個話題都要引出一局部故事內(nèi)容，展現(xiàn)嘉賓的一個側(cè)面。當(dāng)把所有的話題放在一起的時候，觀眾將得到一個完整的故事?？梢愿鶕?jù)故事的開展安排話題，也可以根據(jù)主持人的風(fēng)格特點安排話題的先后順序。不管采取何種方式，務(wù)必確保每個話題都能抓住觀眾的注意力。觀眾或許是準(zhǔn)備脫口秀節(jié)目過程中最容易被無視的局部。主持人和故事應(yīng)該能夠緊緊吸引觀眾的注意力。觀眾在節(jié)目過程中應(yīng)該給予主持人和嘉賓熱烈的回應(yīng)，幫助營造良好的談話氣氛。觀眾應(yīng)該事先對節(jié)目內(nèi)容和嘉賓有所了解。

II.YourTask參考《范本》文件中的范例一《奧普拉脫口秀劇本》〔OprahTalkShowTranscript〕，及范例二《奧普拉脫口秀》，這段節(jié)目于2007年2月首播。根據(jù)上文中提到構(gòu)成脫口秀節(jié)目的幾個重要因素，自己組織一次脫口秀節(jié)目，要仔細(xì)觀看奧普拉·溫福瑞的節(jié)目視頻和文本。具體活動步驟如下：第一步：確定話題，選出主持人、嘉賓以及觀眾。選擇的話題應(yīng)該能激發(fā)起觀眾的興趣，能夠引起觀眾的共鳴。第二步：設(shè)計類似家庭環(huán)境或者舞臺式的聊天場所，將觀眾的注意力集中在主要表演者身上。注意舞臺的布置，根據(jù)選擇的話題確定燈光和舞臺設(shè)置。第三步：仔細(xì)研究上文中的每一局部。條件允許的情況下，使用攝像機錄制節(jié)目，盡可能多地在舞臺周圍布置機位。選擇適宜的背景音樂，在適當(dāng)?shù)臅r候播放。第四步：觀眾應(yīng)該給與主持人和被采訪者熱烈的回應(yīng)，襯托良好的舞臺氣氛。鼓勵主持人和觀眾之間的互動。第五步：將整個節(jié)目控制在15分鐘之內(nèi)，在節(jié)目結(jié)束后討論參演人員的表現(xiàn)和取得的效果。III.ReferenceforTask脫口秀〔US-TalkShow，Brit-ChatShow〕指一種觀眾聚集在一起討論主持人提出的話題的播送或電視節(jié)目。一般脫口秀都有一列嘉賓出席，嘉賓通常由有學(xué)問的或者對那檔節(jié)目的特定問題有特殊經(jīng)驗的人組成。從各大都市的地方電臺到全國播送的脫口秀包括《拉什·林堡秀》〔RushLimbaughshow〕，各種政治脫口秀在美國非常常見。脫口秀在電視上的播出起源于電視開展的早期階段。深夜脫口秀節(jié)目包括《今夜秀》〔TheTonightShow〕和《大衛(wèi)深夜秀》〔TheLateShowwithDavidLetterman〕等已經(jīng)播出了幾十年,這些知名節(jié)目以名人嘉賓和幽默小品為主要特征。電視新聞先驅(qū)愛德華·默羅〔EdwardR.Murrow〕曾于1950年代晚期主持了《小世界》〔SmallWorld〕,從那時起政治脫口秀占據(jù)了星期天早晨的電視節(jié)目時間。每日聯(lián)合播出的脫口秀包括以家庭受眾為主的《奧普拉·溫弗瑞》〔OprahWinfrey〕和《羅茜·歐丹尼秀》〔RosieO'Donnellshows〕，此外還有《杰瑞·斯普英哥秀》〔JerrySpringerShow〕等眾多節(jié)目。電視網(wǎng)熱衷于脫口秀是因為其制作費用低廉。然而，節(jié)目成功與否很大程度上取決于主持人的個性，也正是這一點使主持人成為價值不菲的商品。PartThreeSupplementaryReadingI.HistoryofTVSource:SamuelF.B.Morseinventedthetelegraph.But,itwasnotuntil1898that,throughfacilitiesprovidedbyMarconi'snewlyfoundedwirelesscompany,theDublinDailyExpresswasabletorecieveminutebyminutecoverageoftheKingstownRegattaandthentheyprovidedwirelesscoverageofAmerica'sCupraces.Forthenexttwentyyears,radiowaslimitedtoonlymilitaryandmaritimeuse.ItwasextensivelyusedbyalliedandcentralpowersinWorldWarIand,atthesametime,byshipsatsea.Thefirstradio"reporters"appearedinthe1920sandthenthenetworksestablishedtheirnewsorganizationsinthe1930s.Bythe1940scame,thestationswerecoveringtheglobalwar.Duringthe1950s,televisionovertookradio.The1960'ssawprofoundtechnologicalchange:videotapearrived,andviewersbeganseeingtheirnewsincolor.Televisionisnowconsideredtobethebestsourceofentertainmentandapowerfulsourceofinformation.Onecanonlyimaginehowdifferentlifewouldbeinaworldwithouttelevision.Ithasbecomesuchapowerfulmediumthat,withoutit,wewouldbedeprivedofmuchinformation,aswellasentertainment.

Someofthefirstmajornewsbroadcasts:-Inthesummerof1925:Thefirstmajortrialcoveredbyradioortelevisionwasthe"monkeytrial",whichittookplaceinDayton,-In1933:PresidentRooseveltbroadcasttothenation.-In1938:"WorldNewsRoundup"airsonCBSforthefirsttime.-In1947:OpeningsessionofCongresstelevisedforthefirsttime.-In1950:MurrowwithFredW.Friendlystarts,"HearItNow"asaradioseries,butthenin1951becomesthefirstprestigioustelevisionnewsshow.-In1952:"Today",thefirstnationwidegravel-to-graveltelecastofnationalconventionsstartsonNBC-TV.-In1963:PresidentKennedy'sassassinationandLyndonJohnson'ssuccessionreceivemassivefour-daycoverage.-In1969:Themoonlandingisviewedin94%oftelevisionhomes.-In1980:TedTurnercreatesCableNewsNetwork(CNN).

Thejournaliststhatmakeithappen:TomBrokaw:

"Thefocusisontheperformanceoftheanchor,creatabilityisahugeissueinananchor."BorninthesmallcommunityofWebster,SouthDakota,butgrowingupinasmallertown,Bristol,BrokawplayedguardatYankton

PeterJennings:

"Theratingshavebecomedakindofmeasurementfortheactualqualityoftelevisionnews."BorninTorontoonJuly29,1938,PeterCharlesArchibaldEwartJenningsgrewupinaprivilegedhousehold.PeterJenningsandhissisterSarah,threeyearshisyounger,weretheonlychildrenofCharlesandElizabethJennings.Attheageofnine,Peterhadhisownshowwhereheplayedsongsthathislistenersrequested.Itwasnotuntiltheearly60'sthatPeterJenningsbecamethefirstvoiceofCanada.HeworkedintheCanadianBroadcastingCorporationasanannouncer.NowMr.Jenningsistheanchormanofoneofthemorepopularnewsbroadcasts,"WorldNewsTonight".

MarleneSanders:Sandershastrulyledthewayforotherwomeninnetworknews.In1976shebecametheonlyfemalenationalnetworkvice-presidentinanynewsdivision.Shefirstappearedinafifteen-minutenewscastintheABCnightlynews,thefirstprime-timenewscastbyawoman.WinnerofthreeEmmyAwards,shehasbeenanABCNewscorrespondent,anchorwoman,documentaryproducer,andvicepresident.

PaulineFrederick:ReporterofABCradiointhelate1940's,PaulinejoinedNBCin1953andretiredin1975.ShewasknownasthefirstnewswomantoworkfulltimeonthestaffofanAmericantelevisionnetwork.

DanRather:BorninWharton,

"Mr.Television"-EdwardR.Murrow:Alsoknownas"Mr.Television",MurrowwasbornonApril25,1908inGuilfordCounty,NorthCarolina.EgbertRoscoeMurrowwastheyoungestofthreesons.Hisfatherwasalocomotiveengineer;hismother,adevoutQuaker.HestudiedinWashingtonStateCollege(nowMr.MurrowisconsideredtohavestartedthewholeconceptofRadioNews,mostwellknownfortheunforgetabledocumentaryseries,"Living",whichlastedforabout4years.Thesehalf-hourradioprograms,airedonSundayafternoons,anddealtwithawidevarietyofsubjectsrangingfromairpollutiontotheOlympicGames.Otherseriesheparticipatedinandproducedare:"SeeItNow","AsOthersSeeUs","CBSViewsthePress","CBSIsThere",and"YouAreThere".Mr.TelevisionwasawellrespectedmanwithinthetelevisionandJournalismworld.HeisalegendandaninspirationtohisaudiencesandtopeopleinvolvedwithBroadcastJournalism.Forallofhishardworkanddedicationtothenews,hewasawardedfiveEmmyAwardsandhewillberememberedformanyyearstocome.

TheThreeMajorNetworks:ABC,CBS,NBC.*CNN-"Newsuntiltheendoftheworld".FoundedonJune1,1980,byTedTurner,CNNwasviewedinmorethan90countriesandaglobalnewsservicebytheyear1990.A24hournewsnetworkthatcoversinternationalevents,lettingitsviewersknowwhat'shappeningaroundtheworldsinjustafewminuteshasproventobeverysuccessful.HavingcorrespondentsineverycountrycoveringimportanteventsmakesCNNanextremelycapablesourceofthenews.Thecompetitionisscarceforthisnationallyviewedandcriticallyacclaimednetwork.

Breakingthelanguagebarriersinbroadcasting:

InacountryasdiverseastheU.S.A,languageisabigbarrier.Manychannelsofferingnewsinotherlanguageshavebeguntodevelop,allowingallcomunitiestohaveaccesstotheinformationtheyneed.KMEX-channel34(Univision)FoundedSeptember29,1962,KMEXhasserveditsSpanish-speakingaudiencefor35years.AwinnerofthefirstEdwardR.MurrowAward,KMEXisknowntobethefirsttelevisionstationtocreateaspanish-languagemorningtalkshow("LosAngelesalDia").TheRadioandTVNewsDirectorsAssociationhavenominatedittobe"America'sBestNewscast."II.WhyDoWeTuneInToRealityTV?Source:Researchers:ViewersEnjoyContrastingThemselvesWithParticipantsAugust17,2005(WebMD)

WhataccountsforthepopularityofrealityTV?Peoplemayfindacertainfascinationincontrastingwhattheythinktheywoulddoinagivensituationtotheactionstakenbythe"real"participants—agroupofindividualstheyperceiveastheirpeers.That'stheconclusionofanewstudythatexaminestheongoingpopularityofrealityTV.Unlikeothershowssuchasnewsprogramsorsitcoms,realityTVallowsviewerstoimaginethemselvesasactualparticipants.

TheresearchappearsintheSeptemberissueoftheJournalofConsumerResearch.BlendingFantasyandRealityInmanyoftherealityshows,"ordinary"peopleareplacedinexotic,unfamiliarsurroundingswheretheyarepittedagainsttheelements.Othersfocusonordinarypeopleengagingincommonactivitiessuchasdatingorhomeredecorating.Inbothinstances,viewersaregiventhechancetocompareandcontrasttheirownliveswiththoseoftheshows'protagonists.Theresultingexperienceisacomplexlyconstructed—andhighlyindividualized—experiencetheresearcherscall"hyperauthenticity."

Thatviewersmaybedrawnbythechancetomentally"test"theirbehavioragainstthatoftheactualparticipantscontrastswiththecommoncriticismofrealityTVviewersaspassivevoyeurs.Researchersinterviewed15realityTVviewers.Theviewerswereaskedtokeepajournalrecordingtheirthoughts,feelings,andexperienceswhileviewingatleastoneofthreerealityTVprogramsthatairedduringthe2000-2001Americantelevisionseason.ExoticLocaleaDraw

Theywereaskedtochooseaprogramtowatch.Thosewithnopreferencewereassignedone.SixparticipantswatchedSurvivorII,whilefoureachwatchedTemptationIslandorTheMole.TheparticipantsalsowroteabouttheirthoughtsonotherrealityTVshows.ParticipantswhowatchedTheMolesaidtheyweredrawntoitsexoticsetting."It'snotlikeSurvivorwhereyouhavetogototheoutback,onadesertisland,eatrats,andcookfood,althoughthathasitsentertainmentvalueaswell.Buttheseguysstayedinfive-starhotelsinSpainandFranceandategrapefruit.That'sgreat,"writesCalvin,oneoftheparticipants,inhisjournal.Atthesametime,CalvinthoughtTheMolehadmorebasisinrealitybecause,unliketheothershows,playersinTheMolecontroltheirownfate.

SomeShowsRejectedas'TooReal'

Gina,anotherparticipant,saidthatalthoughsheenjoyedmostrealityshows,shefoundBigBrother"tooreal.""Itwasjusttoo'oh,we'resittingaroundonthecouch,'andthatwastooreal...There'salinebetween,youknow,truerealityandrealitythat'sentertaining."ToGina,entertainmentvalueresidedintheprogram'sprovisionofasituationthatwasbeyondtheviewer'sdaily"real"life.AbilitytoIdentifyCriticaltoEnjoyment

PriscillaandPam,twootherstudyparticipants,rejectedTemptationIsland,notbecausetheydidn'tlikethefantasyelementprovidedbythelocale,butbecausetheysawthegoalsofthe"characters"asnotbeinggenuineandconsistentwithpersonalstandardsofconduct.Participantsinthestudyagreedthatcharacteridentification,orengagement,couldonlyevolveovertime."WhenyoufirststartwatchingSurvivor,youdon'tknowthepeople...Itgetsmoreinterestingonceyougettoknowthem,"writesShirley,oneoftheparticipants.Shebegantoenjoytheshowonlyaftershelearnedenoughabouttheparticipantstobegintoidentifythesocialrelationsamongthem,shesays-aprocessthatallowedhertodefineherselfthroughsocialcomparison.Participantsagreedthatthepresenceofa"personyoulovetohate"madetheshowsmoreinteresting.

WhatActuallyHappenedvs.WhatMightHaveBeen

WhereassomeweredrawntoshowslikeTemptationIslandbecausetheyfoundthesingles"sobeautiful"and"likepeopletheyknew,"othersfoundtheshowsfuntowatchbecausetheyfeaturedpeoplelikethemselves.MostagreedthatthemainthingthatmaderealityTVshowsmoreinterestingthansitcomslikeFrazieristhat,unlikeFrazier,theyareunscripted.

Inconclusion,saytheresearchers,thesuccessofreality-basedentertainmentmaybethedepictionbycertainshows,suchasTemptationIsland,ofarealitythatistotallyforeigntoviewers."Itmayreflectanostalgiaforauthenticityamongtheclassofconsumerstowhomitismostrigorouslydenied,"theywrite.Accordingtotheresearchers,othersmayappealsimplybecausetheyaresofamiliar,andthereforeunderstandable,toviewers."ShowslikeCopsorBigBrothercouldbeviewedasanechoofmodernistangst,"theywrite.

"Studyparticipantswonderedwhythecastmembersactedorspokeastheydid,theywonderedwhattheywoulddoifinthecastmember'splace,theywonderedwhattheproducerswere'upto,'andtheywonderedwhatactuallyhappenedandwhatmighthavebeen."

Sources:Rose,R.L.JournalofConsumerResearch,September2005;vol32:pp284-296.Newsrelease.

III.OprahWinfreyBiographySource:EntertainmentExecutive

OprahWinfreyDateofbirth:January29,1954BorninKosciusko,Mississippi,OprahWinfreywasrearedbyhergrandmotheronafarmwhereshe"beganherbroadcastingcareer"bylearningtoreadaloudandperformrecitationsattheageofthree.Fromagesixto13,shelivedinMilwaukeewithhermother.Aftersufferingabuseandmolestation,sheranawayandwassenttoajuveniledetentionhomeattheageof13,onlytobedeniedadmissionbecauseallthebedswerefilled.Asalastresort,shewassenttoNashvilletoliveunderherfather'sstrictdiscipline.VernonWinfreysawtoitthathisdaughtermetamidnightcurfew,andherequiredhertoreadabookandwriteabookreporteachweek."Asstrictashewas,"saysOprah,"hehadsomeconcernsaboutmemakingthebestofmylife,andwouldnotacceptanythinglessthanwhathethoughtwasmybest."OprahWinfrey'sbroadcastingcareerbeganatage17,whenshewashiredbyWVOLradioinNashville,andtwoyearslatersignedonwithWTVF-TVinNashvilleasareporter/anchor.SheattendedTennesseeStateUniversity,whereshemajoredinSpeechCommunicationsandPerformingArts.In1976,shemovedtoBaltimoretojoinWJZ-TVnewsasaco-anchor,andin1978discoveredhertalentforhostingtalkshowswhenshebecameco-hostofWJZ-TV's"PeopleAreTalking,"whilecontinuingtoserveasanchorandnewsreporter.InJanuary1984,shecametoChicagotohostWLS-TV's"AMChicago,"afalteringlocaltalkshow.Inlessthanayear,sheturned"AMChicago"intothehottestshowintown.Theformatwassoonexpandedtoonehour,andinSeptember1985itwasrenamed"TheOprahWinfreyShow."SeennationallysinceSeptember8,1986,"TheOprahWinfreyShow"becamethenumberonetalkshowinnationalsyndicationinlessthanayear.InJune1987,initsfirstyearofeligibility,"TheOprahWinfreyShow"receivedthreeDaytimeEmmyAwardsinthecategoriesofOutstandingHost,OutstandingTalk/ServiceProgramandOutstandingDirection.InJune1988,"TheOprahWinfreyShow"receiveditssecondconsecutiveDaytimeEmmyAwardasOutstandingTalk/ServiceProgram,andsheherselfreceivedtheInternationalRadioandTelevisionSociety's"BroadcasteroftheYear"Award.ShewastheyoungestpersonandonlythefifthwomanevertoreceivethehonorinIRTS's25-yearhistory.BeforeAmericafellinlovewithOprahWinfreythetalkshowhost,shecapturedthenation'sattentionwithherpoignantportrayalofSofiainStevenSpielberg's1985adaptationofAliceWalker'snovel,TheColorPurple.Winfrey'sperformanceearnedhernominationsforanOscarandGoldenGlobeAwardinthecategoryofBestSupportingActress.Cri