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Is television bad for kids? This question has been asked by parents, scientists, and more ever since television sets first entered people's homes, and different people have come up with different answers. As readers are challenged to form their own opinions about the effects of television on young people like them, they strengthen their critical thinking skills and learn to respect a variety of viewpoints. The unbiased main narrative is presented alongside fact boxes that help readers find relevant data to back up their opinions. In addition, a comprehensive graphic organizer and full-color photographs enhance the reading experience.

Television and children --- Educational television programs

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On aurait pu supposer que la double vocation de la télévision, tout à la fois outil de diffusion au service de l'information, de la culture et du divertissement, et moyen de création central dans le paysage audiovisuel depuis les années 1930, la disposait à entretenir des liens privilégiés avec les arts, dans leur pluralité. Or, la réalité du phénomène télévisé est bien différente. Non seulement la télévision réserve peu de place aux arts dans les grilles de ses programmes, mais elle-même exploite et développe peu ses ressources créatives.Et puisqu'elle se tient à la marge de la sphère culturelle "légitime", rares sont les discours qui s'attachent à l'étude qualitative de la production télévisuelle qui est principalement abordée sous les angles sociologiques et historiques. Pourtant, ce constat général mérite d'être nuancé dès lors que le regard se porte précisément sur certaines réalisations, notamment les émissions consacrées aux arts, qui ont été et sont encore, à leur meilleur, des ferments privilégiés d'une réflexion sur les spécificités de la création télévisuelle et d'une pensée sur le rôle du média dans la transmission d'une certaine conception de l'art et de la culture.Nous avons donc choisi dans cet ouvrage de donner la parole à des auteurs et producteurs de films et émissions consacrés aux arts au cours de treize entretiens qui sont l'occasion d'aborder tant les aspects esthétiques des programmes, retenus justement pour la qualité et l'originalité de leur approche, que les aspects concrets de leurs moyens de production et de diffusion qui nous renseignent "de l'intérieur" sur les politiques de programmation des grandes chaînes et sur les ambitions de leurs concepteurs.Cet ouvrage est composé des entretiens de Jean-Christophe Averty, Philippe Collin, Jean-Marie Drot, Thierry Carrel, Alain Jaubert, Jean-Michel Meurice, Paul Ouazan, Dominique Païni, Dominique Rabourdin, Daniel Soutif, Claude Ventura, Carlos Vilardebo, Terry Wehn-Damisch.

Television and the arts --- Cultural television programs --- Télévision et arts --- Émissions culturelles télévisées --- Arts --- Télévision --- Et la télévision --- Émissions culturelles --- Educational television programs --- Educational television programs. --- Television and the arts. --- France. --- Télévision et arts --- Émissions culturelles télévisées --- Et la télévision. --- France --- Film Radio Television --- cinéma --- télévision --- histoire des médias

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As television emerged as a major cultural and economic force, many imagined that the medium would enhance civic education for topics like science. And, indeed, television soon offered a breathtaking banquet of scientific images and ideas-both factual and fictional. Mr. Wizard performed experiments with milk bottles. Viewers watched live coverage of solar eclipses and atomic bomb blasts. Television cameras followed astronauts to the moon, Carl Sagan through the Cosmos, and Jane Goodall into the jungle. Via electrons and embryos, blood testing and blasting caps, fictional Frankensteins and chatty Nobel laureates, television opened windows onto the world of science. But what promised to be a wonderful way of presenting science to huge audiences turned out to be a disappointment, argues historian Marcel Chotkowski LaFollette in Science on American Television. LaFollette narrates the history of science on television, from the 1940s to the turn of the twenty-first century, to demonstrate how disagreements between scientists and television executives inhibited the medium's potential to engage in meaningful science education. In addition to examining the content of shows, she also explores audience and advertiser responses, the role of news in engaging the public in science, and the making of scientific celebrities. Lively and provocative, Science on American Television establishes a new approach to grappling with the popularization of science in the television age, when the medium's ubiquity and influence shaped how science was presented and the scientific community had increasingly less control over what appeared on the air.

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