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The variable tries to capture the degree of realism of the fictional entertainment format. It was used in a systematization of TV series and movies that aimed to structure the field with regard to politics in fictional entertainment (Eilders & Nitsch, 2014, 2015; Nitsch & Eilders, 2014). Field of application/theoretical foundation The perceived degree of realism is usually considered in effect studies (as a moderating variable). However, it can also be applied to the fictional content and helps differentiating the innumerable fictional productions. It might be assumed that fictional entertainment formats with many references to social reality elicit other effects than TV series and movies that do not include aspects that are familiar to the audience from real-life. References/combination with other methods of data collection --- Example study Eilders & Nitsch (2015) Information on Eilders & Nitsch, 2015 Authors: Christiane Eilders & Cordula Nitsch Research interest: empirical classification of movies and TV series regarding their political intensity and degree of realism Object of analysis: 114 movies and 98 TV series Timeframe of analysis: 1990-2013 Information about variable Variable name/definition: degree of realism Degree of realism is indicated through four variables: realism 1) in terms of events, 2) in terms of characters, 3) in terms of time, and 4) in terms of places. Every indicator was coded on a scale ranging from 0 (no realism at all) to 3 (high degree of realism). Realism in terms of events regards the degree to which the plot refers to real-life events (e.g., historical references, bank holidays). Realism of characters captures whether real actors or institutions are addressed in the plot. It was coded whether real characters played no role (0), a marginal role (1), a minor role (2), or a major role (3) in the TV series or movie. Realism in terms of time measures the time between the year of production and the year in which the fictional plot takes place. 0 was coded for plots ...

A crucial variable in the analysis of fictional entertainment formats is the actor/character. The actors/characters that are analyzed vary according to the research interest (e.g., certain occupations, men/women, minorities). Studies often code (mostly on the level of the episode or movie) whether the character has a major or minor/supporting role in the TV-series or movie (e.g., Gerbner et al., 1980; Gietzen et al., 2017). If coding is done on the level of scenes, studies often differentiate between active characters (i.e., fictional characters that do or say something) and characters who are only mentioned by others (e.g., Jandura et al., 2016; Nitsch & Eilders, 2015; Nitsch et al., 2021). Field of application/theoretical foundation The variable can be used to assess the pluralism of actors in fictional entertainment shows and compare it, for example, to non-fictional media content (e.g., Jandura et al., 2016). It can detect which actors/characters (e.g., women, certain occupations or minorities) are over- or under-represented as compared to real-life data. References/combination with other methods of data collection In cultivation research, content analysis is typically combined with survey data in order to analyze if the prevalence of some actors (e.g., certain occupations such as doctors) parallels an overestimation of these actors in real-life. Example study Nitsch, Jandura & Bienhaus (2021) Information on Nitsch, Jandura & Bienhaus, 2021 Authors: Cordula Nitsch, Olaf Jandura & Peter Bienhaus Research interest: depiction of politics in fictional and non-fictional TV-formats Object of analysis: political drama Borgen and political TV-magazin Berlin direkt Timeframe of analysis: 2010-2013 Information about variable Variable name/definition: Politische Akteure [political actors] V9 Akteure Codiert werden alle Akteure, die in der jeweiligen Szene/im Beitrag vorkommen und am Aushandlungsprozess beteiligt sind. Dabei wird unterschieden nach Akteuren, die handeln (etwas sagen oder tun) und solchen ...

The variable examines which political topics are prevalent in fictional entertainment. Studies differentiate either between the two categories political and sociopolitical issues (e.g., Eilders & Nitsch, 2015) or they take a closer look at the presented political topics by differentiating between the three thematic dimensions of politics: polity for the institutional and normative infrastructure, policy for particular political issues, and politics for competition and power relations (e.g., Nitsch et al., 2021; Nitsch & Eilders, 2015). Field of application/theoretical foundation The differentiation between the three dimensions of politics goes back to political science and allows insights into which picture of politics is presented in the media. Analyses show that fictional (and non-fictional) media content tends to have a strong focus on the dimension of politics, i.e. movies and TV-series typically concentrate on negotiation processes between the parties and the power struggle between political camps (e.g., Jandura et al., 2016; Nitsch & Eilders, 2015; Nitsch et al., 2021). References/combination with other methods of data collection --- Example study Nitsch & Eilders, 2015 Information on Nitsch & Eilders, 2015 Authors: Cordula Nitsch & Christiane Eilders Research interest: depiction of politics (centrality of politics, topics, actors, political actions) in political dramas of two different countries (US and Germany) Object of analysis: two political dramas ("The West Wing", US; "Kanzleramt", Germany) Timeframe of analysis: 2004-2005 Information about variable Variable name/definition: Politische Themen [political topics] Pro Szene können bis zu drei politische Themen codiert werden, nämlich jeweils ein Thema aus den drei Bereichen polity, policy und politics. Eine Codierung von zwei Themen innerhalb eines der Bereiche (z.B. zwei policy Themen) ist NICHT möglich. In einer Szene, in der mehrere Themen durcheinander eingeworfen werden (z. B. eine Gruppe von Menschen redet durcheinander), ...

The variable "evaluation of political actors" examines which criteria are addressed in satirical shows to evaluate political actors. Evaluations can be based on role-specific criteria of political actors or on jokes that are related to politically irrelevant aspects such as personal traits, self-deprecation, and stereotypes (Emde & Scherer, 2016; Lichtenstein & Nitsch, 2018). The variable is an indicator for a show's humor conventions as well as for the way the show deals with political content. The unit of analysis is the joke, which targets a political actor. Field of application/theoretical foundation: This variable is used to analyze the extent of substantial political information in satirical shows. It is also used to compare different types of satirical shows (e.g., Late Night Comedy, news satire) or to assess the depiction of different political actors and whether or not they are embedded into different types of jokes. References/combination with other methods of data collection – Example study: Lichtenstein & Nitsch (2018) Information on Lichtenstein & Nitsch, 2018 Authors: Dennis Lichtenstein, Cordula Nitsch Research question/research interest: Depiction of politics in satirical shows Object of analysis: Three popular German satirical TV-shows (Die Anstalt, heute show, Neo Magazin Royale) Timeframe of analysis: 2014-2016 Information about variable Variable name/definition: Criticism V29 KRITIK Kritik am Akteur Hier wird codiert, auf welche Weise der Akteur in dem angesprochenen Themenkontext bewertet wird. Es wird festgehalten, ob die Bewertung positiv oder negativ ausfällt und ob sie sich auf Sachaspekte oder Persönlichkeitsmerkmale bezieht. It is coded, in which way the actor is evaluated in the addressed topic context. It is coded whether the evaluation is positive or negative and whether it refers to role specific criteria or personality traits. Nur Personen-aspekte V.a. Personen-aspekte Gleichermaßen Sach- und Personen-aspekte V.a. Sachaspekte Nur Sachaspekte Weder Sach- noch ...

This variable examines how politics in general or specific political issues are framed in satirical shows. Some studies that aim to analyze the political substance in the shows differentiate between the framing of politics as an issue and the framing of politics as a strategic game (e.g., Brewer & Marquart, 2007; Fox et al., 2007). Studies that aim to analyze how satirical shows differ from other media programs in their perspective on specific policy issues use a more differentiated catalogue of issue specific frames or code frame elements (Nitsch & Lichtenstein, 2019). Field of application/theoretical foundation: The difference between issue and strategy frames has its roots in research on the softening of news (e.g., Lawrence, 2000). Whereas strategy frames are said to attract the audience attention but contribute to political cynicism, issue frames provide substantial political information. Studies that use issue-specific frames are usually interested in satire as an alternative or counter-public media outlet that might challenge mainstream perspectives in politics and the news media. References/combination with other methods of data collection: Content analyses that examine issue-specific frames compare the content of satirical shows with the content of mainstream news media and other media outlets (Lichtenstein & Koerth, 2020). Example study: Nitsch & Lichtenstein (2019) Information on Nitsch & Lichtenstein, 2019 Authors: Cordula Nitsch, Dennis Lichtenstein Research question/research interest: Framing of international crises in satirical shows and whether or not the frame elements parallel official political crisis frames Object of analysis: Three popular German satirical TV-shows (Die Anstalt, heute show, Neo Magazin Royale) Timeframe of analysis: 2014-2016 Information about variable Variable name/definition: Frame Elemente [frame elements] Bezogen auf das Unterthema des Beitrags wird das Framing der Krisen codiert. Dabei werden einzelne Frame-Elemente erfasst, die in dem Beitrag ...

With the variable "targets of jokes" it is analyzed which actors are evaluated in satirical shows (either by criticism or as a target of a joke). Targets of jokes can be celebrities and societal actors, however, the greatest attention is given to political actors. Political actors can either be collective actors such as parties and other political organizations or individual politicians. Due to cultural specifics in the U.S., the coding of political actors as targets of jokes is often expanded to the family and staff of presidential candidates and other high-ranking politicians in American studies (Lichter et al., 2015). Field of application/theoretical foundation: The variable is used to analyze balance in jokes (e.g., distribution of jokes on political actors) and is an indicator for political plurality. References/combination with other methods of data collection: The variable is used in content analysis that have been combined with experimental studies that analyze priming effects (Matthes & Rauchfleisch, 2013) Example study: Nitsch & Lichtenstein (2013) Information on Nitsch & Lichtenstein, 2013 Authors: Cordula Nitsch, Dennis Lichtenstein Research question/ research interest: Depiction of politics (topics and actors) in satirical shows vs. news shows Object of analysis: Satirical Show (Harald Schmidt Show), news show (Tagesschau) Timeframe of analysis: 2009-2010 Information about variable Variable name/definition: Akteure [actors] Gewertet werden nur politisch relevante Akteure, die in der Sendung angesprochen werden oder selbst sprechen. Ein Akteur gilt als politischer Akteur, wenn es sich dabei entweder um eine politische Institution (z.B. EU, Nato, UNO, Parlament) oder um einen demokratisch legitimierten Individualakteur (z.B. Bundespräsident, Politiker unterschiedlicher Parteien) handelt. Pro Thema wird jeder Akteur nur einmal codiert. Enthält ein Thema keinen Akteur, so wird die Variable nicht ausgefüllt. [Only politically relevant actors who are addressed in the satirical shows or who ...

In international crises, the media's information and orientation function is particularly important in the public sphere. While the news media's crisis coverage has been well researched and often criticized, very little is known about the depiction of crises in political satire. This study examines how German satirical shows (n = 154 episodes, 2014–2016) covered the Ukraine, Greek debt, and migration crises and whether or not these depictions corresponded to news media logic. In its attention to the crises, satire follows news media's conflict orientation. Parallels with news media logic also relate to the information function because the predominant frame elements in satirical shows mirror governmental positions. This is different regarding the orientation function. In their evaluation of the frame elements, satirical shows' criticism of governmental positions and their support for minority positions create a counter-narrative for the crises. Thus, satirical shows provide added value for public discourse.

Celebrity political endorsement is an internationally common phenomenon that has substantially increased over recent years. It refers to celebrities who publicly support political candidates or parties, often in election campaigns. Because most studies focus on the United States, little is known about the effects of celebrity political endorsement in Europe. Our study aims to contribute to the European perspective by testing the effectiveness of such endorsements in the context of the 2014 European parliamentary elections. We conducted online experiments in five European countries—Germany, Great Britain, Poland, Spain, and Sweden—to measure effects of celebrity endorsements on attitudes toward the EU and on vote intention. Endorser attributes (political expertise, trustworthiness, and likability) and characteristics of the respondents (political interest and gender) were included as moderating variables. Our results show only a few statistically significant effects, which are furthermore inconsistent with the theoretical assumptions. Given that celebrity political endorsement does not elicit the assumed effects in European countries, we discuss possible explanations for our results.

Digitale Außenmedien wie Infoscreens sind inzwischen fester Bestandteil einer neuen digitalen Öffentlichkeit. Sie befinden sich an hoch frequentierten Orten des öffentlichen Raums (z.B. an Bahnhöfen) und enthalten, wenngleich sie primär als Werbeträger konzipiert sind, auch Nachrichtenbeiträge. Durch diese Nachrichten übernehmen digitale Außenmedien auch eine Informationsfunktion und dürften auch Bürgerinnen und Bürger erreichen, die sonst keine politischen Informationen nutzen. Dieser Beitrag geht daher der Frage nach, welche Merkmale die Nachrichtenberichterstattung digitaler Außenmedien aufweist und inwiefern sie sich von klassischen Nachrichtenmedien unterscheidet. Die quantitative Inhaltsanalyse beruht auf einer Stichprobe von drei künstlichen Wochen im Zeitraum von Dezember 2013 bis April 2014 und untersucht Nachrichtenbeiträge auf Infoscreens und in der Tagesschau. Die Befunde zeigen, dass die Topthemen der Tagesschau auch auf den Infoscreens präsent sind und sich die Themen- und Akteursstrukturen weitgehend ähneln. Unterschiede betreffen insbesondere die Anzahl der Akteurinnen und Akteure und die Darstellungsweise: Die Infoscreen-Beiträge enthalten deutlich weniger Akteurinnen und Akteure und weisen eine stärkere Personalisierung sowie eine positivere Valenz auf. ; Digital signage media, such as Infoscreens, have become an integral part of a new digital public sphere. They are located in highly frequented public spaces (e.g. train stations) and, even though they are primarily designed as advertising media, also contain news stories. With these news stories, digital signage media also assume an information function and are likely to reach citizens who do not otherwise use political information. This article, therefore, examines the characteristics of news reporting in digital signage media and the extent to which it differs from traditional news media. The quantitative content analysis is based on a sample of three artificial weeks in the period from December 2013 to April 2014 and analyses news stories on Infoscreens and in the news show Tagesschau. Findings show that the top issues of Tagesschau are also present on Infoscreens and that issue and actor structures are largely similar. Differences concern particularly the number of actors and the mode of presentation: news stories on Infoscreens contain significantly fewer actors and show a stronger personalization and a more positive valence. ; (VLID)3684030

This article presents conceptual considerations on the classification of TV series and movies according to their political references and introduces an empirical approach for measuring the constituent features. We argue that political representations in fiction vary along two dimensions: political intensity and degree of realism. These dimensions encompass four indicators relating to characters, places, themes, and time. The indicators were coded for a sample of 98 TV series and 114 movies. Cluster analyses showed four clusters of TV series and six clusters of movies. Nonpolitical fiction, thrillers, and fantasy were central types in both TV series and movies. Movies, however, stand out through a greater diversity and a focus on the past that is reflected in three additional types. Based on the identification of different types of movies and TV series, three directions for theory building are suggested.

It is generally agreed upon that fictional stories can serve as sources for the audience's perceptions of reality. This also includes the political realm. Our paper examines the fictional representation of politics in the U.S. series The West Wing and its German adaption, Kanzleramt. The comparative content analysis concentrates on political actors and political themes as key parameters of fictional politics. It investigates whether the national political context is reflected in the political dramas. Results show a rather small impact of national contexts. This indicates that the logic of fictionalization levels out national differences in shaping fictional politics.

In der Forschung wurde nach Meinung der Autoren bisher die Tatsache vernachlässigt, dass die Bürger auch im öffentlichen Raum auf politische Botschaften treffen können. Zu nennen sind hier beispielsweise Plakate, Aufkleber oder Aushänge diverser politischer Akteure. Eine wesentliche Rolle nehmen auch die in den letzten Jahren vor allem im urbanen Raum rasant ausgebauten, digitalen Außenmedien, die sogenannten "Digital Signage"-Medien ein. Die bekanntesten Vertreter sind die sogenannten "Infoscreens" - großflächige Bildschirme und Projektionsflächen, von denen man inzwischen deutschlandweit mehr als 90.000 an Bahnhöfen, Flughäfen oder in Einkaufszentren antrifft. Bei "Digital Signage" handelt es sich in erster Linie um ein Werbemedium, welches aber auch einen signifikanten Anteil an aktuellen, politischen Informationen verbreitet. Für ansonsten informationsvermeidende Personen könnten derartige Kontakte zur einzigen Quelle politischer Information werden. Die Autoren erläutern in ihrem Beitrag zunächst einige zentrale Begriffe im Zusammenhang mit "Digital Signage"-Medien und diskutieren das Informations- und Wirkungspotenzial dieser Medien im öffentlichen Raum. Anschließend stellen sie eine explorative Studie vor, die mittels systematischer Begehungen in vier deutschen Großstädten die im öffentlichen Raum anzutreffenden politischen Informationen erhoben hat. Das empirische Interesse gilt folgenden Fragen: Wo im öffentlichen Raum finden sich politische Informationen? Über welche Kanäle werden diese vermittelt? Welche politischen Akteure, welche Inhalte und Themen sind präsent? Der Beitrag schließt mit einem kurzen Fazit und einem Ausblick auf weitere Forschungsfragen. (ICI2)