By David Morley
"...detailed learn of tv viewing between united kingdom households from various cultural backgrounds.'--Leisure, activity and Tourism AbstractsThis name to be had in booklet structure. click on the following for extra information.Visit our eBookstore at: www.ebookstore.tandf.co.uk.
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Additional resources for Family Television: Cultural Power and Domestic Leisure (Comedia)
Move improperly from the observation that stated programme/channel preference is no direct predictor of actual behaviour to the conclusion that it is of little relevance. I would argue that these factors remain of considerable relevance, but that they need to be understood in the context of the competing demands of work, domestic and social obligations, which will always inflect the effectivity of programme preferences but should not be understood to negate them. In short, having previously argued14 that the critical formula was that of a programme’s ideological problematic plus its mode of address (in relation to audience “tastes”, cultural capital and political views), I now want to extend that formula to include a third term, which is that of audience “availability” (both in terms of physical presence and freedom from competing demands on attention).
35 While the contradictory nature of some of Lull’s findings may give us pause when considering the usefulness of the concept-orientated versus socio-orientated family typology, none the less a number of his other findings reported in this particular article are of considerable interest. What Lull investigates here is “Who is responsible for the selection of television programmes at home, how programme selection processes occur, and how the roles of family position and fundamental point at issue here concerns the fact that viewing is often nonselective.
These are facts which are determined outside of the sphere of television—by family socialisation and by education. I would suggest that one of the main points of interest in this current 34 RESEARCH DEVELOPMENT research is the evidence that is generated about the ways in which particular types of material can be seen to appeal particularly strongly to particular sub-sections of the audience. However, there is a further problem with the Nationwide project, which concerns the relative weight given in that research to understanding the responses which individuals make to types of material which can be shown to them, as against the weight given to understanding which types of material they might see as relevant to them in the first place.
Family Television: Cultural Power and Domestic Leisure (Comedia) by David Morley