Children's comprehension of visual formal features in television programs

A review of previous studies on children's comprehension of visual formal features did not warrant predictions about children's understanding of the formal features as used in three items from Sesamstraat, the Dutch version of Sesame Street. Therefore, a study was designed in which 45 children in the age range of 4–6 years watched the items and were interviewed. In the first item, a split screen was used to visualize simultaneity of actions. The second item used a subjective camera to suggest the construction of a home video by one of the characters. Version 1 of this item did not show the character while making home video, whereas Version 2 did show the character while filming. The third item contained a dissolve (Version 1) or a cut (Version 2) to indicate the end of a dream. A general conclusion was that although older children (mean AGE=5.9 years) understood the visual formal features better than younger children (mean AGE=4.4 years), the extent to which children in both age groups understood the visual formal features appeared to vary between items and versions. Most children in both age groups understood the split screen in the first item. The younger age group did not understand the subjective camera if the making of the home video was not shown. Both the younger and the older age group understood the version with the cut better than the original version with the dissolve. In the discussion, the question was addressed what the findings of this study and previous studies teach us about children's understanding of visual formal features in general.     

Gender differences in visual attention to television form and content

Formal features (i.e., rapid action, dialogue, and animation) and content variables (i.e., violence, theme, and sex of characters) were analyzed as possible determinants of gender differences in children's television viewing. Two studies are reported. In Study 1, 5- and 7-year-old boys' and girls' visual attention was observed during four animated programs representing four combinations of high and low action with high and low violence. Boys' visual attention was greater than girls'. Attention was higher to high violence than to low violence. Boys' attention did not vary across treatments, but girls attended more to programs with low action than with high action. In Study 2, nine earlier laboratory studies, each with an independent sample, were subjected to a secondary analysis. The procedures were similar to Study 1; the samples ranged from 3 to 11 years old. Across experiments, boys attended significantly more than girls. The secondary analysis was designed to identify program form and content variables that might account for gender differences. Most content and form attributes failed to account for the pattern of gender differences in attention across or within studies. There was weak support for the notion that violent content and animation appeals more to boys than girls. Boys' greater visual attention was not associated with greater comprehension relative to girls'. It was proposed that girls focus more on the verbal auditory content of television, and boys focus more on the visual content.     

Preferential looking: A sudden shift in visual fixation pattern at 32 months of age

Observations of eye movements of young children in a modified preferential looking task suggest a change in the visual looking pattern taking place during a very brief time between 32 and 33 months of age. In the younger children, a grating stimulus elicited eye movements towards the target followed by a few seconds of focused attention; in the older children a visual avoidance behavior was observed where subjects looked consistently in the opposite direction of the target. An analysis of video recordings suggests that this avoidance pattern was a composite of a very brief initial target-directed eyemovement which was quickly arrested, and followed by eye movements in the opposite direction, initiating a search of the visual scene.     

The effect of television day part on gender portrayals in television commercials: A content analysis

Gender portrayals in 2,209 network television commercials were content analyzed. To compare differences between three day parts, the sample was chosen from three time periods: daytime, when the audience is mostly women; evening prime time, when the sex of the audience is more evenly distributed; and weekend afternoon sportscasts, when men are a large percentage of the audience. The results indicate large and consistent differences in the way men and women are portrayed in these three day parts, with almost all comparisons reaching significance at the .05 level. Although ads in all day parts tended to portray men in stereotypical roles of authority and dominance, those on weekends tended to emphasize escape from home and family. The findings of earlier studies which did not consider day part differences may now have to be reevaluated.     

Form and content in semantics

This paper continues a strain of intellectual complaint against the presumptions of certain kinds of formal semantics (the qualification is important) and their bad effects on those areas of artificial intelligence concerned with machine understanding of human language. After some discussion of the use of the term epistemology in artificial intelligence, the paper takes as a case study the various positions held by McDermott on these issues and concludes, reluctantly, that, although he has reversed himself on the issue, there was no time at which he was right.     

Children's auditory and visual processing of narrated and nonnarrated television programming

Two experiments with 5- and 7-year-old children tested the hypotheses that auditory attention is used to (a) monitor a TV program for important visual content, and (b) semantically process program information through language to enhance comprehension and visual attention. A direct measure of auditory attention was the latency of the child's restoration of gradually degraded sound quality. Restoration of auditory clarity did not vary as a function of looking. Restoration of visual clarity was faster when looking than when not looking. Restoration was faster for visual than auditory degrades, but audiovisual degrades were restored most rapidly of all, suggesting that dual modality presentation maximizes children's attention. Narration enhanced visual attention and comprehension including comprehension of visually presented material. Auditory comprehension did not depend on looking, suggesting that children can semantically process verbal content without looking at the TV. Auditory attention did not differ with the presence or absence of narration, but did predict auditory comprehension best while visual attention predicted visual comprehension best. In the absence of narration, auditory attention predicted visual comprehension, suggesting its monitoring function. Visual attention indexed overall interest and appeared to be most critical for comprehension in the absence of narration.     

Portrayal of body weight on children's television sitcoms: a content analysis

Television programs portray characters with idealized body types that for most viewers are unattainable. These body types have become a common source of comparison for many young viewers who evaluate their own self-worth and bodies based on the models they see on television. This study examines body weight, both in terms of frequency and portrayals, focusing on how preadolescent and adolescent characters’ bodies are presented on the sitcoms from three children's television networks. The results indicate that while children's situation comedies have relatively few overweight characters, this small percentage closely parallels national figures. Male and female characters do not differ in their distribution across weight categories. However, when character ethnicity is factored, significant shifts occur. Surprisingly, no differences were observed in the portrayal of physical and mental attributes among weight categories except in social popularity where overweight characters were not as embedded in social networks. Compared to other relevant studies, this research provides some evidence that the treatment and portrayal of overweight characters in children-targeted sitcoms is more positive, equitable, and less stereotypical than in other programming venues and that children are experiencing body type diversity in these fictional portrayals. Nonetheless, above average weight characters still suffer some social marginality and ethnic misrepresentation.     

Consumption of sexual dialogue and content on television and adolescent sexual outcomes: multiethnic findings

The purposes of this study were to examine group differences in sexual media consumption and to explore how well adolescents' sexual attitudes and behavior can be explained by viewing of sexually suggestive dialogue (SD) and explicit sexual content (SC) in television media. Participants were 473 male and female high school adolescents who were racially, economically, and age diverse. Television viewing was coded for SD and SC. Both length of time spent watching SD and SC and explicitness of the SD and SC to which adolescents were exposed were factored into the coding scheme. In this sample, SD and SC consumption varied by subgroup and explained variance in some sexual attitudes and behavior variables but not others, and in some demographic subgroups but not others.     

Presence and television.

Film and a number of emerging entertainment technologies offer media consumers an illusion of nonmediation known as presence. To investigate the possibility that television can evoke presence, 65 undergraduate students were shown brief examples of rapid point‐of‐view movement from commercially available videotapes on a television with either a small screen (12 inches [30.5 cm], measured diagonally) or a large screen (46 inches [116.8 cm]). Participants' responses were measured via a questionnaire and a computer‐based recording of arousal (electrodermal activity). Viewers of both televisions reported an enjoyable sense of physical movement, excitement, involvement, and a sense of participation. Furthermore, as predicted, participants who watched the large screen television thought the movement in the scenes was faster, experienced a greater sense of physical movement, enjoyed the movement to a greater extent, found the viewing experience more exciting, and were more physiologically aroused. Practical and theoretical implications are discussed.     

Feature-based memory-driven attentional capture: visual working memory content affects visual attention

In 7 experiments, the authors explored whether visual attention (the ability to select relevant visual information) and visual working memory (the ability to retain relevant visual information) share the same content representations. The presence of singleton distractors interfered more strongly with a visual search task when it was accompanied by an additional memory task. Singleton distractors interfered even more when they were identical or related to the object held in memory, but only when it was difficult to verbalize the memory content. Furthermore, this content-specific interaction occurred for features that were relevant to the memory task but not for irrelevant features of the same object or for once-remembered objects that could be forgotten. Finally, memory-related distractors attracted more eye movements but did not result in longer fixations. The results demonstrate memory-driven attentional capture on the basis of content-specific representations.     

Messages about sex in the workplace: A content analysis of primetime television

Because television has the potential to shape cultural beliefs about both sexual norms and appropriate workplace behavior, it seems important to examine TV’s portrayal of “sexual etiquette” in the workplace. In a content analysis of two episodes of every primetime comedy aired on all broadcast and cable networks during fall 2000, we coded every sexual remark and behavior made in a workplace scene. Across all networks, 85 percent of programs and one in four workplace interactions contained some type of sexual content. Overall, a viewer is likely to hear eleven sexual remarks and see two to three sexual behaviors in a workplace setting per hour; this jumps to twenty-three remarks and nine behaviors on cable networks. Sexual remarks were mostly explicit, made in an office setting, by White men, and were rarely (1.4%) about sexual harassment or discrimination. Although sexual content in the workplace was generally less common on broadcast than cable networks, a broadcast network (Fox) actually had the highest overall rate, with sexual content in 38 percent of workplace scenes. Given that research suggests that TV teaches youth about sexuality and cultivates sexual attitudes and beliefs consistent with televised portrayals, it is alarming that youth may learn from television that sex in the workplace is not only commonplace, but also to be tolerated and enjoyed.     

Indirect aggression in the media: A content analysis of british television programs

The purpose of this study is to determine how much indirect aggression occurs in television programs popular among British adolescents. Previous research has mainly focused on violence in the media rather than examining this more manipulative and subtle type of aggression. A content analysis of 228 hours of television programming revealed that indirect aggression was portrayed in 92.04% of all episodes analyzed. It was portrayed more frequently than physical and verbal aggression. Females were more likely to be shown as indirect aggressors than were males, while males were more likely to be portrayed as physical aggressors. Attractive aggressors were more likely to use indirect than other types of aggression. Indirect aggression was often found to be justified, realistic, and rewarded. We conclude that programs that are not considered violent may still contain a large amount of other types of aggression. Aggr. Behav. 30:254–271, 2004. © 2004 Wiley‐Liss, Inc.     

Ontology of early visual content

The main goal of the paper is to sketch an ontological model of visual content at the low- and medium-level of visual processing, relying on psychological conceptions of vision. It is argued that influential cognitive models contain assumptions concerning “objects of content,” that is, objects whose presence is a necessary condition of the adequacy of visual representations. Subsequently, the structure of considered objects of content is presented, and its development through the perceptual process is described. In addition, during the course of the article I present some connections between analytic metaphysics and the ontology of visual content.     

Anticipation and variation in visual content

This article is composed of three parts. In the first part of the article I take up a question raised by Susanna Siegel (Philosophical Review 115: 355–388, 2006a). Siegel has argued that subjects have the following anticipation: (PC) If S substantially changes her perspective on o, her visual phenomenology will change as a result of this change. She has left it an open question as to whether subjects anticipate a specific kind of change. I take up this question and answer it in the affirmative. By appealing to a widely held view of perceptual content, the view that we represent ‘factual’ properties in perception, I argue that (PC) can be refined as follows: (PC’) If S substantially changes her perspective on o, her visual phenomenology will present different views of o’s factual properties. In the second part of the article I argue that (PC’) implies that there are cases in which normal perceivers have different perceptual content under identical viewing conditions. The differences in perceptual content are due to differences in the determinacy of visual anticipation. I draw the conclusion that perceptual content is rich in the sense that it includes a unique contribution from individual perceivers. In the final part of the article, I discuss some open issues regarding the way in which (PC’) relates to the personal/sub-personal distinction, empirical models, and the distinction between perception and cognition.     

The influence of location and visual features on visual object memory

In five experiments, we examined the influence of contextual objects’ location and visual features on visual memory. Participants’ visual memory was tested with a change detection task in which they had to judge whether the orientation (Experiments 1A, 1B, and 2) or color (Experiments 3A and 3B) of a target object was the same. Furthermore, contextual objects’ locations and visual features were manipulated in the test image. The results showed that change detection performance was better when contextual objects’ locations remained the same from study to test, demonstrating that the original spatial configuration is important for subsequent visual memory retrieval. The results further showed that changes to contextual objects’ orientation, but not color, reduced orientation change detection performance; and changes to contextual objects’ color, but not orientation, impaired color change detection performance. Therefore, contextual objects’ visual features are capable of affecting visual memory. However, selective attention plays an influential role in modulating such effects.     

The portrayal of men and women in U.S. television commercials: A recent content analysis and trends over 15 years

This article summarizes the content analyses of male and female portrayals in U.S. television commercials that have been published since 1971. The paper also includes the results of a content analysis of television commercials conducted on a 1985 sample. Where possible, the data from the present study are compared to the findings of previous research to illustrate trends over time. The results reveal several differences between the portrayal of men and women, but many of the gaps seem to be narrowing. Men and women now appear equally often as central characters in prime-time commercials. Although a prior study indicated a difference between male and female primary characters' use of arguments, the present data revealed no differences in this regard. A lower percentage of female than of male central characters are depicted as employed, but males are being presented in increasing numbers as spouses and parents, with no other apparent occupation. Women are still more likely than men to be seen in domestic settings, advertising products used in the home. Although the difference seems to have become smaller, women are more likely than men to be shown as users of the products they advertise. The most striking gap persists with regard to narrators. Consistent with other content analyses conducted over the past 15 years, approximately 90% of all narrators are male. The findings are discussed in terms of the potential effect of exposure to stereotyped depictions on viewers' sex role attitudes.