Presents systematic evidence that violent, fictional television stories trigger imitative deaths and near-fatal accidents. In 1977, suicides, motor vehicle deaths, and nonfatal accidents all rose immediately following soap opera suicide stories. (AM)

Contributes to research on schema theory and media effects by examining how violence is portrayed in comedy programs. Finds a high rate of violence (especially verbal forms) on comedy programs; and the combination of humor, minor acts of violence, and program context tend to trivialize its presence. Suggests that viewers' schema for comedy uses…

A study was conducted in which half-hour segments of prime-time network dramatic programing were tabulated for such violence-related items as: the seriousness and significance of violence, the number of violent actions in the program, and the duration of violence. Other factors considered were: audience size, share of audience, program duration,…

This is an annual report on violence in prime-time television. The tabulations, based on 13 weeks of monitoring prime-time programs on three networks, indicate a decline in violence by 24% and a decline in the rate per hour of dramatic violence to 1.9 incidents per hour since last season. The study also indicated that the introduction of the…

Indicates that prime-time television presents a remarkably consistent portrayal of the world across program genres and that it offers few scheduling alternatives to avoiding violence-laden adventure programs. Finds that the average viewer has little opportunity to exercise any kind of choice in viewing. (JD)

Concludes that the amount of time children and adults spend viewing television has little to do with their perceptions of violence. (FL)

Present the results of a study conducted to determine the correlation between children's selection of television programs and aggression. The regression analysis suggests that the relationship between viewing and aggression may be attributable to selective exposure rather than the reverse viewing-causes-aggression sequence. (Author/JVP)

Examines the relative relationship of heavy and light television viewing and anxiety. Studies the effect of action adventure programs in which justice triumphs and those with a preponderance of injustice on anxiety and on viewers' voluntary selective exposure to further action adventure fare. (JMF)

Investigates the validity of the television industry's labeling of sensitive program content following the advent of the V-chip television ratings system. Examines programs for the nature and extent of portrayals of violence, sexual behavior and dialogue, and adult language. Suggests there are substantial limitations in the ability of the V-chip…

A study was conducted to explore the hypothesis that heavy television viewing, particularly the viewing of a great deal of violence, cultivates certain misconceptions about social reality. Four counties in Florida were selected for the study on the basis of geographical location and amount of violent crime. Survey questionnaires were administered…

The independent contributions of action and violence in television programs to children's attention and social behavior were investigated. Pairs of preschool children were assigned to one of four television conditions (1) high action-high violence, (2) high action-low violence, (3) low action-low violence, or (4) no television. Action was defined…

Describes a study measuring the amount and kind of violence and sex presented in prime time music videos during a seven-week period. Compares sex and violence on music television to known data on conventional TV. (MS)

Concludes that adolescent aggression increases with perceived reality of television violence. (FL)

Examines the extent to which violence contributes to the size of the audience for a television program. (FL)

Presents a taxonomy of formal features of television and examines ways in which these features are used in current productions for children. Coding categories for formal features include action, pace, visual events, and auditory features. Concludes that commercial producers stress formal features as much or more than content. (PD)