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Political satire on French television

Modern & Contemporary France, 1999
Abstract French television was characterised from the beginning by a commitment to a serious, pedagogical approach. The added dimension of political censorship left little room for satire, especially if aimed against the government. Inspired originally by the chansonniers on radio, satire slowly found its place in programming.
Annie Collovald, Erik Neveu
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Audience Engagement with Malayalam Television Political Satire Shows: A Qualitative Study

Journal of Communication and Management, 2023
Satire is a sword that keeps the audience alert and involved in recent political developments when other forms of traditional media have failed to communicate politics effectively. This qualitative study was done among the people who watch Malayalam political satire shows.
Afaq Ahmad, Sanuja Salim
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Three Satiric Television Decoding Positions

Communication Studies, 2012
This essay explores viewer meaning-making with an ironic and satiric television text, analyzing focus group discourse from Chappelle's Show viewers. Participants’ interpretations of Chappelle's Show's representation repeated historical mediated stereotypes of a “Black and White” world that includes violent Black characters and “dorky” White characters.
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British television satire

Recherches anglaises et nord-américaines, 2003
Satire is a regular feature of British television, both in fiction and topical comedy. Its contribution to contemporary culture and politics deserves to be taken seriously but it has attracted little academic interest. An exception is Wagg’s analysis of post-war British satirical comedy (1992) where he argues that satire has had a negative effect on ...
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The changing production culture of television satire

Northern Lights: Film & Media Studies Yearbook, 2012
This article argues for a genre approach in the analysis of changing production cultures. It supports the fruitfulness of this approach using results from a study of satirical sketch comedy production in Danish public service television. The article outlines the paradigmatic changes to the production practices of satire in the period from 1999 to 2009,
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