Media Trends and Prospects in Educational Activities and Techniques for Online Learning and Teaching through Television Content: Technological and Digital Socio-Cultural Environment, Generations, and Audiovisual Media Communications in Education
Abstract
:1. Introduction
2. Background through Literature Review and/or Related Work
2.1. Socio-Cultural Culture of the Generations and Media-Technological Environment: The Clarification and Archetype of International XYZ
- GenX lived the beginning of technological development mainly as a mere spectator, while they grew up reading books or/and listening to the radio and dancing to disco music [40,82,83]. Additionally, they were, accustomed to the (traditional) television and the acceleration of globalization, while almost all of the younger members around the world have been affected and influenced by the American popular culture, such as Hollywood blockbusters, new musical genres (e.g., hip-hop, rap, etc.), and the appearance of music videos (video clips) on television—that is why sometimes this generation is also called the MTV Generation [40,71,72,82,83]. Finally, the mainly youngest (or the last) members of this generation, such as adolescent students or/and young adults as students/learners, were among the first to have access to personal computers from home or/and in schools/universities [40,82]. In conclusion, the most typical cases for the portrayal of the people who make up GenX as the international archetype in the global market (including the educational market) to create new brands and new models of teaching and learning through the media around the world as global pop culture phenomena are the foreign television series (a) Friends from NBC (1994–2004) as 20-year-olds friends; (b) Sex and the City from HBO (1998–2004) as a group of four women—three in their mid-thirties and one in her forties; and (c) How I Met Your Mother (often abbreviated as HIMYM) from CBS (2005–2014) as a group of five 30-year-olds friends; as well as two of the best school shows of all time based on Internet search engines, (d) Beverly Hills, 90,210 (often referred to by its short title, 90,210) from FOX (1990–2000) as a group of friends living in the upscale and star-studded community of Beverly Hills, California, USA, as they transition from high school to college and into the adult world; and (e) Saved by the Bell from Peacock (1989–2003) as a group of high school friends which has been classified as educational and informational child programming (i.e., children’s educational television) due to the primarily focusing on serious and controversial social issues (e.g., drug use, driving under the influence of alcohol, homelessness, remarriage, death, women’s rights, environmental issues, etc.) [40,83,84,85].
- GenΥ is also known as the Millennium Generation, and is often referred to simply as millennials. The term millennials came from Neil Howe and William Strauss [65], who wanted to refer to the group of young people who would grow up in the early 21st century [40]. Psychologist Jean Twenge described millennials as “Generation Me” in her 2006 book Generation Me: Why Today’s Young Americans Are More Confident, Assertive, Entitled—and More Miserable Than Ever Before [86]. This generation grew up mainly watching (a lot of) television until adulthood [40,42,59]—having a particular preference for American television series about the daily life of GenX television characters, which they often have as behavior pattern [40]. Furthermore, GenY members can be considered as open-minded media users and open-minded media audiences because they acclimatized immediately with the new rapid expansion of media technological developments (e.g., cable television channels, satellite radio, etc.). On the one hand, because of this, nowadays, they seem to be turning more easily to new forms of television viewing from and through the Internet [40], especially during the first wave of the COVID-19 pandemic based on the results of descriptive quantitative statistical researches of (inter)national nonprofit and other organizations (e.g., OECD, Eurostat, etc.) [6,40]. Additionally, GenY grew up discovering and using the Internet—that’s why sometimes is also called the Net Generation (otherwise known as Net-Generation, N-Gen, Net Geners) [60,61,87,88]. Their way of thinking has allegedly changed from the repeated and prolonged exposure to it, with the result that they think, connect, and process various information in different pathways, and gradually acquire an open-minded critical thinking [40,87,88,89,90,91,92]. In addition, due to the direct involvement and preoccupation with the Internet by a portion of its members as online active users—mainly as users/members of the (modern) Internet forums (e.g., torrent community portals/forums) from the mid-1990s and the beginning of the 2000s [39,40]—nowadays, they created two of the most well-known phenomena in our socio-cultural environment. The first phenomenon is that contemporary online socialization with the formal norms, rules, and (sub)culture (e.g., creating online slang, expressions or/and even excerpts/slogans/cues from mainly television series in the form of abbreviations or/and through Internet memes or gifs as Internet phenomenon) governing mainly social media [30,33,38,39,40]. On the other hand, the second one is the revival phenomenon of various audiovisual content in audiovisual/sound Internet applications and services [40]. In this category falls popular and famous (a) television series of recent decades through the reboot or/and sequel in the form of a movie film or/and special episode or season, or/and re-performance/re-enactment with other (young) actors and the same story, and so on; or (b) television productions; and (c) cartoons/animated movies through audiovisual platforms with interactivity (e.g., YouTube, Vimeo, Netflix, etc.), Internet protocol television providers (IPTVs), over-the-top (OTT) platforms, pay-TV platforms of telecommunication providers, the service Web-TV or Video on Demand (VoD) platform of the television channels [40]. Likewise, in the same category of revival fall music/songs or/and sound/audio media through sound platforms or/and the audiovisual platforms with interactivity, and so on [6]. In this case, it was feasible due the rescue of historical and non-historical archives on the Internet in the form of “gift” and sharing for future generations through the Internet forums—something that now tends to disappear, because most of the potential Internet forums were banned or/and closed due to universal legislative reforms and copyright laws mainly in the mid-2000’s worldwide—or/and other audiovisual platforms (e.g., YouTube) [39,40]. Summing up, broadly equivalent names to GenY are, Generation D, Boomerang Generation, and Echo Boomers based on Internet search engines [40,42,88]. In summary, it should be noted that due to the constant technological developments and changes experienced by the majority of this generation mainly as kids or teenagers, as well as that they grew up discovering the use of the Internet as a source of information for research, GenY tends to be less brand loyal, to be just as flexible, and to adapt to environmental changes and new fashion trends, style of consciousness, and where and how it is communicated [84,85,93]. Finally, most of this generation’s members were the first to discover and experiment with various online learning management systems (OLMS) in the context of the learning or/and educational process (such as Blackboard, WebCT, Moodle, as well as Wikis or blogs) as online learner forerunners, during their studies as college or undergraduate or/and graduate students [40]. In conclusion, the most typical cases for the portrayal of the people who make up GenY as the international archetype through the media around the world, as mentioned above for GenX, are the foreign television series (a) The Big Bang Theory from CBS (2007–2019) which follows the life of a GenY members group, most of whom are young, high-intelligence scientists, living in Pasadena, California, USA; (b) Greek (typographically stylized as GRΣΣK) from ABC Family (2007–2011) which follows the GenY students of the fictitious Cyprus-Rhodes University (CRU) with a school’s Greek system, as well as the fictional fraternities Kappa Tau Gamma (ΚΤΓ) and Omega Chi Delta (ΩΧΔ), or the fictional sorority Zeta Beta Zeta (ΖΒΖ), located in Ohio, USA; and (c) Valeria from Netflix (2020–) which follows the life of four women around thirty and over in Madrid, Spain.
- GenZ originated from Tapscott in 1998 [60,61], which was followed by education consultant Marc Prensky in 2001 [19,20,21], who included this generation in the “natives” of the digital world [25,40,42,43,44,46,64]. This generation was born in the digital age (i.e., Internet and social media era) amid significant new technological changes and discoveries (e.g., smart devices, social media, etc.) [23,25,43,44,94], while its communication code is multiple-multimedia and is considered comprehensive multimedia communication [31] (p. 43), as they use text, images, sounds/audio medias, and videos to understand the world [25]. To summarize, this generation is characterized as a technology literate, which has learned using the Internet as a second language, while it ignores the monotonous things and tends to lose interest pretty fast as attention span is getting even lower due to constant updates [6,23,25,43,44,46,64,94,95]. Furthermore, it seems to present a tendency of lesser television viewing compared to other generations due to their habit of constant multi-screening and binge-watching (i.e., through VoD and OTT platforms, etc.) [44,44,64,95]. Additionally, GenZ spend many hours consuming audiovisual content from and through the Internet and specific social media, such as the audiovisual platform YouTube or/and illegal downloading from torrent sources as a legacy and habit of previous generations (i.e., GenY) [40,43,44,46,64]. Although this generation is born in the social media era, however, a majority of its members are very protective of their privacy and use mainly specific social media (e.g., Instagram, Snapchat, and TikTok) or none at all [40]. In conclusion, this generation seems to have a lot in common with the members of the generation born between 1925 to 1945, the so-called Silent Generation [58,96], which are their grandparents or great-grandparents [24,40,82]. Moreover, this generation is mainly responsible for the creation of most global brands, technology products, and (new) trends that we have and use nowadays [40,43,44,64,82,85]. Finally, GenZ members are the youngest current adults (2021), and most of them are still at the learning age mainly in higher education as college or/and undergraduate or postgraduate students or/and in adult education as adult learners, who may be working full time or part time due to socio-economic situations like the financial and austerity crisis [6,23,25,40,43,44]. In conclusion, the most typical cases for the portrayal of the people who make up GenZ as the international archetype through the media around the world from the foreign television series are (a) SKAM from NRK1 (2015–2017) which follows the daily life of GenZ teenagers at the Hartvig Nissen School, a gymnasium in the wealthy borough of Frogner in West End Oslo, Norway; and (b) Elite (Spanish: Élite; stylized as ELITƎ) from Netflix (2018–) which follows the daily life of GenZ teenage students in Las Encinas, a fictional elite secondary school in Spain.
2.2. The Case of the Media in Cyprus and Greece: Uncovering the Socio-Cultural Identity of the Younger Generations from and through Television
2.2.1. Brief Historical Evolution of the Greek-Cypriot and Greek Television
2.2.2. Media Socio-Phenomena and Television Content from Greek-Cypriot and Greek Television
2.2.3. The (Other) Television, Streaming Patterns, and (the Evolution of) Television Content Consumption in the Greek and Greek-Cypriot Media Environment: Past, Present, and Future
3. Methodology, Methods, and Materials from and through Audiovisual Media Communications
3.1. Planning the Research Method and Participants
Lesson Plan and Audiovisual Content
- Small videos scenes from Sailor Moon of Toei with (a) the authentic and classic Greek dubbing by SPK; (b) the Greek dubbing by STAR; and (c) the Greek amateur/nonprofessional dubbing by WoD; (d) the original Japanese dubbing by Toei and (e) the American/English dubbing by DiC Entertainment;
- Video with simple and panoramic shots from the romantic city of Thessaloniki (Greece) and specific well-known and famous scenes from various foreign (a) television series, such as (i) Sex and the City from HBO (1998–2004), (ii) The Walking Dead from AMC (2010–2021), (iii) Coven (2013–2014) and Apocalypse (2018) of American Horror Story (2011–) from FOX, and (iv) 9-1-1 (2018–) from FX; (b) television productions, such as (i) RuPaul’s Drag Race (2009–) from LOGOtv/VH1, (ii) America’s Next Top Model/ANTM (2003–2018) from UPN/The CW/VH1, (iii) Eurovision Song Contest 2019 by EBU (2019), (iv) Eye Contact by Ten Twenty Films (2012), and (v) Non-Verbal Communication—The Documentary by R.O.D. Films (2010); and (c) movies, such as (i) 300 (2006), (ii) Mean Girls 1 (2004), (iii) Sex and the City 1 and 2 (2008 and 2010), (iv) A Thousand Words (2012), and (v) Clueless (1995); enriched with music/songs, sound effects, and Greek voice-over/human speech through music production and editing (Appendix I);
- Small videos scenes from well-known Greek television series (which have been shown or continue to be shown in Greece and Cyprus), such as (i) the sequel of the series S’ Agapo M’ Agapas/I Love You, You Love Me of the private station MEGA Greece from the pay-TV platform of Greek telecommunication provider COSMOTE TV (2019–) (the new episodes are also available through audiovisual platform YouTube), (ii) Sto Para 5/In the Nick of Time, Ichni/Wake (Ίχνη of Greek language) (2007–2008), and Dolce Vita from private channel MEGA Greece, as well as (iii) Konstantinou and Elenis/Constantine’s and Helen’s from private channel ANT1 Greece; and
- Video with scenes from the Greek production of GNTM 2 (2019) from the private Greek channel STAR (which have been shown in Cyprus from the private Greek-Cypriot channel OMEGA); after special processing through video editing and production as well as enriched with music/songs, sound effects, and Greek voice-over/human speech through music production and editing which evoke memories or even nostalgia, feelings, affects, and emotions (Appendix J).
3.2. Data Collection, Processing, and Analysis
- The first part was constituted by eight questions in quantitative format with a five-point Likert scale based on the degree of satisfaction of quality (1 = ‘Very Poor’ to 5 = ‘Excellent’) for the “expectations”, the “organization”, the “interesting suggestions”, the “discussion time”, the “development issues” (if they were interested), the “questions/answers” at the end of the digital educational seminar, the “knowledge” acquired (theoretical background investigation), and the “audiovisual content” (i.e., videos, sounds/audio medias, etc.) which were used;
- The second part, involved one open-ended question (qualitative format) in relation to the views, to provide feedback, retrieve the problems, and evaluate possible solutions of the participants regarding the digital educational seminar through audiovisual media communications (as comments or/and suggestions); and, finally,
- The third part, where questions on the profile and demographics (i.e., gender and age group) of the sample where asked.
4. Results, Findings and Discussion
4.1. Sample Characteristics and Descriptive Statistics
4.2. Digital Educational Seminar
4.3. Generational Cohorts Categorization and Generation Gap from and through the (New) Technologies
4.4. Audiovisual Media Communications
4.5. Concluding Discussion
5. Instead of an Epilogue
Funding
Institutional Review Board Statement
Informed Consent Statement
Data Availability Statement
Acknowledgments
Conflicts of Interest
Appendix A
Appendix B
Appendix C
Appendix D
Appendix E
- Natalia Oreiro in Greece (Part 1)—videos URL: https://youtu.be/crwwsZa7N-g (accessed on 30 July 2021).
- Natalia Oreiro in Greece (Part 2)—videos URL: https://youtu.be/tYOC_Rhdva8 (accessed on 30 July 2021).
Appendix F
Appendix G
Appendix H
Appendix I
Appendix J
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Degree of Satisfaction | Very Poor | Poor | Fair | Good | Excellent | Mean | SD |
---|---|---|---|---|---|---|---|
Expectations | 2–8% | 7–28% | 16–64% | 4.56 | 0.651 | ||
Organization | 9–36% | 16–64% | 4.64 | 0.490 | |||
Interesting Suggestions | 2–8% | 8–32% | 15–60% | 4.52 | 0.653 | ||
Discussion Time | 6–24% | 4–16% | 15–60% | 4.36 | 0.860 | ||
Development Issues | 14–56% | 11–44% | 4.44 | 0.507 | |||
Questions/Answers | 5–20% | 6–24% | 14–56% | 4.36 | 0.810 | ||
Knowledge | 3–12% | 10–40% | 12–48% | 4.36 | 0.700 | ||
Audiovisual Content | 7–28% | 18–72% | 4.72 | 0.458 |
Expectations | Organization | Interesting Suggestions | Discussion Time | Development Issues | Questions/Answers | Knowledge | Audiovisual Content | |||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Mean | SD | Mean | SD | Mean | SD | Mean | SD | Mean | SD | Mean | SD | Mean | SD | Mean | SD | |
CYPRUS | 4.58 | 0.669 | 4.50 | 0.522 | 4.42 | 0.669 | 4.42 | 0.900 | 4.50 | 0.522 | 4.25 | 0.866 | 4.17 | 0.718 | 4.83 | 0.389 |
GREECE | 4.54 | 0.660 | 4.77 | 0.439 | 4.62 | 0.650 | 4.31 | 0.855 | 4.38 | 0.506 | 4.46 | 0.776 | 4.54 | 0.660 | 4.62 | 0.506 |
Expectations | Organization | Interesting Suggestions | Discussion Time | Development Issues | Questions/Answers | Knowledge | Audiovisual Content | |||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Mean | SD | Mean | SD | Mean | SD | Mean | SD | Mean | SD | Mean | SD | Mean | SD | Mean | SD | |
males | 4.38 | 0.768 | 4.54 | 0.519 | 4.23 | 0.725 | 4.46 | 0.776 | 4.31 | 0.480 | 3.92 | 0.862 | 4.08 | 0.641 | 4.69 | 0.480 |
females | 4.75 | 0.452 | 4.75 | 0.452 | 4.83 | 0.389 | 4.25 | 0.965 | 4.58 | 0.515 | 4.83 | 0.389 | 4.67 | 0.651 | 4.75 | 0.452 |
Expectations | Organization | Interesting Suggestions | Discussion Time | Development Issues | Questions/Answers | Knowledge | Audiovisual Content | |||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Mean | SD | Mean | SD | Mean | SD | Mean | SD | Mean | SD | Mean | SD | Mean | SD | Mean | SD | |
CenZ | 4.80 | 0.447 | 5.00 | 0.000 | 5.00 | 0.000 | 4.20 | 1.095 | 4.80 | 0.447 | 4.80 | 0.477 | 4.40 | 0.894 | 4.80 | 0.447 |
GenY | 4.44 | 0.727 | 4.63 | 0.500 | 4.38 | 0.719 | 4.25 | 0.856 | 4.31 | 0.49 | 4.25 | 0.931 | 4.36 | 0.719 | 4.69 | 0.479 |
GenX | 4.75 | 0.500 | 4.25 | 0.500 | 4.50 | 0.577 | 5.000 | 0.000 | 4.50 | 0.577 | 4.25 | 0.500 | 4.25 | 0.500 | 4.75 | 0.500 |
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Nicolaou, C. Media Trends and Prospects in Educational Activities and Techniques for Online Learning and Teaching through Television Content: Technological and Digital Socio-Cultural Environment, Generations, and Audiovisual Media Communications in Education. Educ. Sci. 2021, 11, 685. https://doi.org/10.3390/educsci11110685
Nicolaou C. Media Trends and Prospects in Educational Activities and Techniques for Online Learning and Teaching through Television Content: Technological and Digital Socio-Cultural Environment, Generations, and Audiovisual Media Communications in Education. Education Sciences. 2021; 11(11):685. https://doi.org/10.3390/educsci11110685
Chicago/Turabian StyleNicolaou, Constantinos. 2021. "Media Trends and Prospects in Educational Activities and Techniques for Online Learning and Teaching through Television Content: Technological and Digital Socio-Cultural Environment, Generations, and Audiovisual Media Communications in Education" Education Sciences 11, no. 11: 685. https://doi.org/10.3390/educsci11110685
APA StyleNicolaou, C. (2021). Media Trends and Prospects in Educational Activities and Techniques for Online Learning and Teaching through Television Content: Technological and Digital Socio-Cultural Environment, Generations, and Audiovisual Media Communications in Education. Education Sciences, 11(11), 685. https://doi.org/10.3390/educsci11110685