Group items tagged

When comparing the size of this negative association with other predictors of cognitive decline, watching television for >3.5 hours a day had a greater sized negative association (standardised beta = −0.034) than being in the lowest wealth quintile (as compared with the median quintile: standardised beta −0.027), while watching television for >7 hours a day had a greater sized association (standardized beta = −0.048) as being in the highest wealth quintile (compared with the median quintile: standardised beta = 0.043) or having no educational qualifications (standardized beta = −0.058).

associations between television viewing and verbal memory remained even when considering a range of variables relating to sedentary behaviours, suggesting that it is not just the sedentary nature of television watching that is responsible for its relationship with cognition.

Television involves fast-paced changes in images, sounds and action and, unlike other screen-based activities such as internet use and gaming, television is the most passive way of receiving such stimuli

television leads to a more alert but less focused brain

In addition to any potential cognitive stress created through the alert-passive interaction while watching television, the content of the programme itself can be stressful, such as through the depiction of graphic scenes, violence or the creation of suspense. Analyses of UK television from 2001–2013 (covering the country and much of the period of the data collection for the study reported here) have shown between 2.1 and 11.5 violent scenes per hour in UK soap operas, with 40% of these being categorised as moderate or strong violence22. It has even been proposed that the vividness of such experiences is greater than real-world experiences of events such as violence, conflict or disasters, as the drama is enhanced for entertainment purposes23. Chronic stress is known to lead to increased levels of glucocorticoids, which can have a direct effect on the hippocampus due to the presence of glucocorticoid receptors in that region of the brain. Consequently, stress has been shown to lead to atrophy of the hippocampus and impaired neurogenesis24, alongside impairments in cognition25.

excessive television could be linked with verbal memory through displacing other, cognitively beneficial activities such as playing board games, reading and engaging with cultural activities11,26. This theory implies that the relationship between television viewing and memory is not entirely down to television having negative effects per se, but rather television reducing the amount of time that people spend on more activities that could contribute to cognitive preservation

This study is not suggesting that watching television in older adulthood confers no benefits. Indeed, research with adults has suggested that TV dramas in comparison with TV documentaries can increase performance in tests of theory of mind, suggesting that television can enhance understanding of others27. Educational television can be an efficient way of learning when programmes are designed appropriately28. Television has also been shown to be a form of escapism from difficult life circumstances29. Further, research investing the effects of television viewing in the context of people’s daily lives has found that adults routinely report television as a means of relaxing30 (although this should be considered in relation to the potentially stress-inducing effects of television viewing discussed earlier). Nevertheless, this study suggests that watching substantial amounts of television is longitudinally associated with poorer verbal memory in older adults.

it remains unclear whether television viewing might affect other components of executive function

one must go back to the outset of the crisis, nearly three years ago. Back then, there were over 30 series released every season, produced under a diverse range of production houses and addressing a wide array of subjects. The industry cycle was more or less stable, starting with producers in competition with each other, to satellite channels racing to purchase the best series’ screening rights and advertising revenues being the central source of profit. The main issues concerned increasing production budgets and the skyrocketing salaries of certain stars.

the state was preparing a plan to exert control over the entire market. The first signs of this plan emerged in June 2017, with statements by the president and a number of government officials voicing their displeasure with the content offered on Ramadan TV series, and their desire to remedy the situation. This remedy manifested in the form of extreme censorship measures, including the establishment of the Drama Committee within the Supreme Meda Regulatory Council, designed to monitor the TV drama industry.

The effects of these directives became apparent last year in the striking similarity of the content of the series released, as well as the ubiquity of police and army officers as characters in most of them

satellite channels, many of which — including ONtv and Al Hayah — are currently controlled by EMG, owned by Eagle Capital for Financial Investment, a private equity fund founded by Egypt’s General Intelligence Services (GIS)

Television channels, sources say, will fill up the remaining airtime — previously overflowing with series — with variety television shows, including talk and game shows, instead. Tawfiq Okasha, the controversial media personality who made his comeback in March — courtesy of  Synergy Productions and EMG — recently dedicated a segment on his show (which airs on Al Hayah) to criticizing actors and “the obscene sums of money they demand.” Okasha then proceeded to discuss a plan to bring down the number of series airing this Ramadan to 18, with each television channel airing only three.

as a result of this monopoly, many producers are out of work this year, including Beelink’s Mohamed Mashish, El Adl Group’s Maha Selim, and producer Ahmed Al Sobky, when the three of them combined had eight series screening last Ramadan

The initial outcome of Morsy’s monopoly over the Egyptian drama market became clear last year with the elimination of certain series from Egypt’s Ramadan season, including El Adl Group’s We Have Other Statements (starring Youssra) and Land of Hypocrisy (starring Mohamed Heneidy), which were only aired on non-Egyptian channels, as well as Beelink Productions’ What Came to Pass (starring Ruby), which was not broadcast at all. Now, with Morsy’s newly acquired control over more channels, in addition to EMG’s acquisition of shares in the CBC television network and Morsy’s partnership with D Media, it appears that other producers will no longer have access to air their series in Egypt. Both D Media and DMC, another prominent television network, are owned by the GIS.

difficulties the company faced when filming last year’s Eagle of the South, as a result of excessive military intervention in the series’ content and production process. Members of the Armed Forces were often present on set and would interfere in most details during the shoot, not to mention that the show’s star, Mohamed Ramadan, would often miss shoots because his military conscription service overlapped with shooting times. Sometimes, he would arrive to the shooting location in a military vehicle

Shaaban believes that the current setback in television production has been primarily brought on by declining economic conditions, which have led to a decrease in advertising budgets. The industry, he says, is built on the flow of money from advertising agencies to satellite channels to production companies. If channels were reaping advertising revenues, they would be able to buy series from producers, who in turn would be able to produce more series, and so on. However, given the current economic climate, corporations haven’t been spending as much on advertising as they used to, and this has definitely affected the production cycle.

prominent actor Adel Imam, who could potentially miss his first Ramadan season in seven years, due to alleged censorial objections to the subject matter of his new series, in which he was reportedly set to play the president’s physician

most seem to attribute it to the president, who appears to be irked by the scale the industry had come to operate on and the high salaries paid to TV stars

It is possible that, for the first time in history, the Egyptian drama sector will produce less work than its counterparts in Lebanon, Syria and Kuwait, who produce 10 to 20 works on average each Ramadan season.

2 million Egyptian workers of all stripes who contribute to and depend upon this industry, patiently waiting for the Ramadan season from year to year

Medhat estimates that the industry spends about LE2 billion annually and brings in about LE4 billion in revenue — all of which, in the 2019 season, will go almost entirely to one entity

One interpretation of these recent developments is that the Egyptian state — nostalgic for the heyday of state television, when the state alone was in control of all television productions — is planning a comeback under new terms, tailored to fit the demands of the current moment. After exerting its control over satellite TV channels, it now seeks to control production as well, in order to keep the media and entertainment sectors securely under its wing, only for the state to emerge once again as the only player on the local scene.

“What I fear is that this pool of currently unemployed talent will switch careers, which will come at the longtime expense of the industry since these are trained professionals. I do not believe that the military [Synergy] sees this; they simply have one clear goal: to control the industry. The government has effectively, through the institutions it runs, carried out the first monopolization process in the history of neoliberalism.”

In June 2018, the authorities banned a film examining a love affair between a Muslim man and a Christian woman before it hit the cinemas, although director Khaled Youssef said he obtained the necessary licenses. The decision was later revoked, but was alarming to many given rising censorship levels

While over fifty shows typically aired during the peak Ramadan season, even during economically turbulent years as in 2017 and 2018, only twenty-four shows aired last Ramadan, and over two-thirds of them are produced by Synergy. Production powerhouses like El Adl Group and Beelink Productions were notably absent this season from their regular Ramadan run, while regionally acclaimed megastars like Yossra, Adel Imam and Laila Elwy uncharacteristically did not star in any shows during the peak season either, likely due to the dramatic, forced budget cuts which make casting an A-lister virtually impossible. Compensation levels for many of these lead faces could often be as high as EGP 50 million (~USD 3 million), the currently imposed budget cap for aggregate production costs of a Ramadan soap opera’s full season

“For a producer, the direct client of drama series is television channels, and several factors have negatively impacted their purchasing power. The GCC-owned channels are struggling in light of the economic difficulties there, primarily due to the war in Yemen, so the main overseas market for selling television series is not that great. Add to this that privately owned channels in Egypt were never highly profitable, and media budgets generally were slashed with Egypt’s high inflation levels [during the past couple of years], and you have a situation where many production companies are struggling to stay afloat.”

Over the course of the past year, EMC CEO Tamer Morsy also gradually gained majority ownership of key television networks such as CBC, ONTV, DMC and Al-Hayat, a move facilitated through the recent launch of EMC affiliate United Group for Media Services. Moreover, state-owned entities effectively gained control of both the production and purchasing sides of the business as these unprecedented levels of regulation and government ownership were put in place.

in early May United Group for Media Services launched paid streaming app WatchiT and prohibited the longtime convention of shows airing online on YouTube for those who couldn’t catch them on satellite television channels. Widely accessed streaming app EgyBest, among other free online streaming services, were also blocked to allegedly mitigate “piracy”, granting government intelligence-affiliated WatchiT a monopoly over streaming services. Since digital finance and financial inclusion levels are low in the most populous Arab country, the decision came to the dismay of throes of viewers regardless of political affiliations or regulation concerns. For those following television series on satellite channels, short broadcast announcements interrupt episodes to denounce a May 28 Human Rights Watch report on enforced disappearances, killings and torture in North Sinai. Other broadcasts order audiences to pay heed to “threats to terrorism and national security.”

“Because these people [Synergy and EMC] are military men, their mentality is to cut off what doesn’t work, with little concern for the consequences. The military don’t understand or love the arts; they see it as just another industry they can profit off by minimizing losses.”

“It’s understandable that they [the military] would be more concerned with penetrating television production as opposed to the cinema industry, because viewership numbers are higher for television series in comparison to films. Not everyone can afford a cinema ticket, but most Egyptians, be they rich or poor, have access to a television set. There’s nothing to stop them from gaining as much control of the film industry as they have with television, but I believe they’re not investing in it [as much] because it isn’t as lucrative,”

Saudi Arabia is once again opening cinema theaters following a 35-year ban, creating a significant potential box office market for Egyptian films, particularly since plans for the inauguration of 2,000 theatres in the kingdom before 2020 are in the works

our country was once the Hollywood of the Middle East,”

There was a time when everyone in the Arab world recognized Umm Kalthoum and Ismail Yassin, even more so than [our own president] Nasser. We need to work towards reestablishing that, and understanding how entertainment can be used as a tool for soft power

there has been pressure for a long time now to block Turkish programmes that often take up prime time slots from both Lebanese and Egyptian producers and filmmakers

Before the recent - and most likely politically motivated if not sponsored - spate of Turkish Ottoman history-based dramas, Turkish television programming was still a major hit in the Arab world

To many Middle Eastern viewers, drawn-out Turkish soap operas combining love affairs, drama and mystery more than just being quality television productions represented hope that it was possible to harmoniously merge east and west without sacrificing local identity

depiction of a lifestyle choice that is not an option in the Gulf

“Producers and TV/film firms have their costs covered before they commence filming via the deals they make with domestic broadcasters,” he said.“Other than that Turkish television has never been more popular. It has a market in eastern Europe, Africa and even Latin America.”

“There are so many dimensions to this ban. Another one is that Bin Salman has also launched a big drive on restoring historical places in the kingdom. But with their own Saudi interpretation," Hayek said."And then you have these Turkish historical-based programmes being beamed into peoples’ homes who are very keen to learn about their past and heritage. They can’t be happy about that”.

According to a number of Hamas officials interviewed by Al-Monitor, the movement felt that it lacked the proper venue on other Palestinian, Arab and foreign media outlets to express its views, because those outlets are biased toward either the Palestinian Authority (PA) or Israel and limit their coverage to exposing the movement’s negative aspects, without any mention of its positive ones.

Hamas gives great importance to the media, and has tried on more than one occasion to pressure media outlets into adopting its point of view or political line. Its dispute with Fatah also compelled Hamas to try to control the Palestinian Journalists Syndicate in Gaza, where Fatah controlled the majority of board members. Hamas formed its own Journalists Syndicate board of directors in Gaza, composed of journalists affiliated with the movement and Islamic Jihad. But the experiment quickly proved to be a failure when the board announced its resignation several months later.

“The channel’s discourse will be different from the one adopted by other Hamas-affiliated media outlets. It will express the point of view of the government and will not be similar to that of the Hamas-affiliated Al-Aqsa satellite channel. We will try to focus attention on the human aspect and the suffering of people, as well as the positive qualities of Palestinian society in the Gaza Strip,”

“There was a clear mix-up, in Arab and foreign countries, between the stance of the Gaza government and that of Hamas as a movement, after the ouster of President Mohammed Morsi. As a result of satellite channels abroad being agreeable to the Muslim Brotherhood, and our lack of control over their editorial policies, it became necessary for us to have our own television channel that would target Arab and Western audiences and clarify the government’s stance independently.”

the Gaza government still bars the distribution of West Bank newspapers in Gaza, in retaliation for the PA’s ban on the distribution of Hamas-affiliated newspapers in the West Bank. Hamas continues to forbid Fatah-affiliated media offices from conducting business in Gaza, but has allowed some of their reporters to file from Gaza, in return for the Ramallah government allowing Al-Aqsa TV and Al-Quds reporters to work there

his news gathering and curation process is transparent–and that evokes a different level of engagement with the story even if you are only a viewer of the tweet stream and never respond or interact

on Twitter curation feeds, we are often in a position to observe the process by which a narrative emerges, trickle by trickle. “Polished” and “final” presentation of news invites passivity and consumption whereas visibility of the news gathering process changes our interaction with it into a “lean-forward” experience. Carvin’s reporting is not infallible–although most of the stories from citizen-media sources often turn out to be fairly accurate, belying the idea that Twitter is a medium in which crazy rumors run amok—but it wears that fallibility on its sleeve and is openly submerged in a self-corrective process in which reports and points-of-view from multiple sources, including citizen and traditional media, are intertwined in an evolving narrative.

This visibility of the process is a step in the opposite direction from French philosopher Jean Baudrillard’s famous assertion that we are increasingly moving towards a “procession of simulacra” in which the simulation (“the news”) increasingly overtakes any notion of the real and breaks the link between representation and the object –often in the form of spectacle–, ultimately erasing the real. Baudrillard famously wrote a series of essays titled “The Gulf War Did Not Happen” – he was not claiming that bombs were not dropped and people killed. Rather, he had argued that, for the Western audiences, the First Gulf war was experienced merely as green flickers on TV screens narrated by familiar anchors and without much connection with actual reality – reality as inhabited by human beings at a human scale.

the massive censorship of reality and images of this reality by mainstream news organizations from their inception has been incredibly damaging. It has severed this link of common humanity between people “audiences” in one part of the world and victims in another. This censorship has effectively relegated the status of other humans to that of livestock, whose deaths we also do not encounter except in an unrecognizable format in the supermarket. (And if anyone wants to argue that this is all done to protect children from inadvertent exposure, I’d reply that there are many mechanisms by which this could be done besides constant censorship for everyone.) While I cannot discuss the reasons behind this censorship in one blog post, suffice it to say it ranges from political control to keeping audiences receptive to advertisements.

I am not arguing that we would look at hurt children and be unmoved were it not for Carvin’s open display of emotion. I am arguing that traditional news anchors effectively invite us to do just that: to distance ourselves.Humans naturally react to suffering and it takes a very contrived environment to dampen that response.

watching Andy Carvin deal with his own vulnerability to imagining children hurt –children just like his– dramatically creates a mechanism in the opposite direction of that created by traditional news.

Contrary to assumptions, virtually everyone who does not fall into the rare breed of aggressive psychopaths who kill with ease has to be trained to kill. To the chagrin of military trainers and leaders throughout history, humans have an innate aversion to taking of human life. Untrained soldiers are historically averse to killing the “enemy” even when their life is in direct danger. Most will hide, duck, fire in the air, load and unload their weapons repeatedly, fire over the heads of the “enemy” and take other evasive actions, anything, to avoid killing. For example, in World War II, only about 20 percent of the riflemen were found to actually fire their weapons directly at enemy soldiers.

Twitter-curated news often puts us at bayonet distance to others –human, immediate and visceral– while television puts us on a jet flying 20,000 feet above the debris –impersonal, distant and unmoved.

The channel continues to broadcast from the Hamas-controlled Gaza Strip.

On Thursday, Israel's security cabinet discussed ways to tackle the unrest, including "closing Palestinian broadcasters inciting to terror," the prime minister's office said. 

In November, Israel shut down two radio stations in the flashpoint West Bank city of Hebron - Al-Hurria and Al-Khalil - accusing them of fanning the violence.

A day earlier Israeli forces had arrested Al-Quds radio correspondent Sami al-Saee, 36, at his house in the northern West Bank city of Tulkarm, according to a Palestinian NGO.

established shortly after the 2011 revolution and now is the most-watched channel in Tunisia

ongoing legal proceedings against the channel’s director, Sami Fehri, who has been held in jail for months on corruption charges

Riahi is the leader of the Free Patriotic Union party, which he founded in 2011. It has a secular, pro-business agenda and gained one seat in National Constituent Assembly (NCA)

symptomatic of the problems regarding regulation of Tunisian media. “The government has created a legislative vacuum,”

advertising revenue for Tunisian television stations is too meager to actually fund their operations. He questioned why a businessman such as Riahi would want to enter such an unprofitable sector, suggesting that the real motivation is to gain control over a powerful tool to disseminate one’s own messages to the public

The creation of the High Authority for Audiovisual Communication (HAICA) was called for in a November 2011 law. The statute calls for a nine-person body representing the Tunisian government, the journalists’ union, and the audiovisual communications industry. The HAICA would be tasked with regulating the Tunisian media sector, supervising the media during electoral campaigns, and nominating directors of public radio and television stations. The announcement of this body has been repeatedly delayed, however, leaving the sector largely free from regulatory restrictions.

Journalists who are worried that their reporting may lead to arrest find it hard to write unbiased reports

reign in

Rajab appears to be missing the mark by taking aim at social media outlets as a source of false news. The state-controlled and pro-government media disseminated its own false reports during the unrest

Rajab should spend more time attempting to reform mass media outlets and relaxing censorship, rather than enacting legislation to criminalise reports on social media. Given the dominance of the government position in television, radio and newspapers, a move against social media outlets appears designed to simply shut down a vehicle of free expression.

it hasn't just been the past twelve days that has exposed the biased and obsolete agenda of Egyptian state TV--that's been happening gradually for the last 15 years. The model for controlling a people, once a great tool, is "locked in the past, in a world where the government controls the message," according to Lawrence Pintak, a professor, former journalist, and the author of forthcoming book "The New Arab Journalist: Mission and Identity in a Time of Turmoil."

News media in Egypt are "weapons of war," said Pitnak. "Government media is a weapon of pro-Mubarak people; the majority of the rest of the media have become weapons of people."

"As journalists, we're human beings. Once they start shooting at you or beating you up, it's hard not to take it personally. It is no longer objective, unbiased coverage. It has become a struggle between media--Arab and Western--and Mubarak."

Perhaps most indicative of the changing face of Egyptian television is Shahira Amin, whose departure after twelve years at Nile TV drew attention to the network's habit of prioritizing regime solidity over truth. Her resignation became a news story in and of itself, and when she told it to the media, she did so live from Tahrir Square--in an interview with Al Jazeera.

Some private outlets have also thrown their weight behind Egypt’s new leaders. A reporter at one newspaper said that her editor had given his staff explicit instructions not to report on pro-Morsi demonstrations and to make sure that articles indicated that the perpetrators of violence were always Islamists. The reporter requested anonymity, and her claims about the editor’s remarks could not be independently confirmed. A look at Saturday’s articles on the Web site of the newspaper seemed to corroborate her assertions.

State television prepared the public for the earthquake, in soothing segments that made no mention of Mr. Morsi or the Brotherhood, which instead was referred to as “that group.” A host interviewed a retired general, who spoke about the central, critical role of Egypt’s military over decades. Clips of fighter jets screeching through the sky were played, as well as patriotic anthems.

Events stoked the growing sense of victimhood among the president’s supporters at a demonstration in Nasr City, where the sudden loss of privilege was acutely felt. As journalists were warmly welcomed at the sit-in, there was no talk of Mr. Morsi’s own prosecutions of his opponents in the news media, which while less draconian, were just as selective.

public insults to reporters from CNN, the Economist and the BBC, notably when the 2013 Gezi Park protests provided media outlets with gripping images of tear-gassed protesters

While TRT World has hired expensive expatriate talent and technical staff, other Turkish journalists have been jailed, their newspapers closed and their careers ended over material the government deems offensive. In 2015 Reporters without Borders ranked Turkey 149th in the world for press freedom, behind South Sudan and Palestine

most of the foreign employees contacted by the FT privately expressed concern they had signed up to a project that would become halfway between state propaganda and an expression of Turkish soft power. “If we’re not careful, we end up a joke,” says a senior news staffer who is already considering quitting

Mr van Meek, a veteran of Fox News and Al Jazeera, rejects such criticism and says the channel’s coverage will be a measure of its independence: “Watch the content. I think we are fair and objective and credible.”

live broadcasts that are available online and as part of Turkish cable bundles. Yet almost nobody outside the country can yet watch it on television.

The benefits of being under the public broadcaster’s umbrella are apparent. During two recent high-profile terrorism incidents, TRT World was able to break a nationwide ban and broadcast live from the scene, while others had to rely on studio interviews.

its headcount has swelled to at least 220 in Istanbul, with additional centers in London, Singapore and Washington

Industry analysts estimate annual running costs at £50m-£100m, rising further if the channel develops a large network of correspondents. RT’s annual budget is about £125m.

“If you had $100m to improve the state of Turkish media, would you spend it on a glasshouse in the middle of Istanbul?” says Andrew Finkel, founder of P24, an organisation that aims to strengthen independent reporting in Turkey. “Why are public funds being used this way?”

Whereas entertainment channels that do not offer news content can attract a multisectarian and multiethnic viewing base, news channels generally draw upon a particular ethnic or sectarian segment of the population whose coverage it favors, further reinforcing the political divisions that already afflict the media environment. 

 “The Ninth Studio” does not rely for its success on an enormous budget or sophisticated technical capabilities. Rather, it tends to deal frankly and directly with issues that concern the ordinary audience, and to do so with a high degree of independence. “The Ninth Studio” tends to focus on issues pertaining to the corruption and inefficiency of governmental institutions, and generally offers scathing criticism of Iraqi officials, without indulging in the discourse of sectarian prejudice.

Despite the absence of sectarian language on “The Ninth Studio,” and the difficulty of discerning any sectarian bias in its rhetoric, Iraq's Media and Communications Commission temporarily shut down its office in September on the pretext of it being a threat to public peace. Most likely, this decision came in response to governmental pressures, and as a consequence of the show's earlier criticism of the commission.

The problem is that neutral media organizations usually lack sufficient financial support, and are exposed to pressures by officials who are unhappy with their content, without being able to rely on independent institutions capable of defending them.

"[But] compared to print media, TV [incites] more," Dabh argues. "It's a lot easier to play off someone's emotions, it's easier to go on a tirade and get a rise out of people, than it is in print media."

"If [the authorities] applied the same standards that they did to the Islamist channels, there wouldn't be many channels left in Egypt now," Dabh said. Instead, regulation — like the announced media code of ethics — is based on political motivation. "The press code is really only invoked when it’s politically convenient,"

"The usual terms (of the company) prohibit the use of satellite media to broadcast programs which call for violence or racism or incite sectarianism."

"NileSat is trading in flimsy excuses and its claims of inciting discord do not fool anyone."