Dissertations / Theses on the topic 'Minorities on television'

Taiwan Indigenous Television (TITV) was established on December 1, 2004. TITV is the first ‘indigenous television station’ in Asia and broadcasts programs 24 hours daily for indigenous audiences. Nevertheless, a newly established station has many operational and management difficulties especially for a minority culture media. In the face of numerous difficulties and challenges, I am interested in what perspective and ways the TV station will achieve its sustainable development to shoulder the mission of reviving the mother tongue and conveying the indigenous culture? The purpose of this study is (1) to explore the social environment for indigenous cultural communication and the development of indigenous media in Taiwan; (2) to analyze the model of operation rights for TITV; (3) to analyze the government’s policies which influence TITV’s operation; (4) to analyze the TITV’s operation strategy as well as its organizational structure; and (5) to develop suggestions for TITV’s operation management and design of programs. Research methods include a literature review, analysis of TV programs, and an in-depth interview. In addition, the study will also examine the effectiveness of TITV in representing indigenous culture.

This cultural research explores the relation between racial representation and emotions/affects as part of the struggle for racial minorities’ visibility. It is informed by conjunctural theory in cultural studies, with the use of textual narrative and affective analysis. It focuses on Hong Kong’s television culture as a site for context configuration, or conjuncture, for constructing the inter- and intra-ethnic relations between the dominant ethnic Chinese and ethnic minorities (EMs), via the production of emotions. Chapter One introduces a conjunctural understanding of the construction of EMs in Hong Kong through revisiting some of the most prominent theoretical works that explore the transformation of Hong Kong identity, in order to point out an underlying Hong Kong-Chineseness as a cultural center, and to argue that the demand of the present conjuncture is to respond to the necessity of generating an alternative “EM- context suitable for reimagining Hong Kong identity. Chapter Two attempts to map out this “EM-context by reviewing the major popular non-Chinese figures on TV, namely Louie Castro, Gregory Rivers (known as “Ho Kwok-wing) and Gill Mohinderpaul Singh (known as “QBoBo) in order to study how their particular cultural visibility can open up ways to rethink the problems surrounding visibility. The narrative affective approach to study racial relations is applied to the reading of No Good Either Way (TVB) in Chapter Three and Rooms To Let (RTHK) in Chapter Four. Together, these two core chapters explore the affective configuration of “anxieties and “shame in the two TV programmes. It is suggested that these affective landscapes help position EMs as either a “sweetened trouble-maker (in the work place) or “assimilating neighbor (in the domestic sphere), both of which fall short of being able to construct a new context/conjuncture for understanding the cultural presence of EMs. This research rejects the study of race/ethnicity through content analysis of stereotype, and opts for an approach that reads affects and narratives in the search not for representational visibility, but for what is termed “conjunctural visibility. Ultimately, Chapter Five concludes with a discussion of the dynamics of “soft and “hard representations of the ethnic other: the former in the mode of “sugarcoated racism which involves the figure of EM as the sweetened troublemaker appealing for audience’s sympathy, and the latter in the form of public pedagogy aimed at educating the audience (through shaming) to treat their EM neighbor as the assimilated other. This research study aims at making a small contribution to the understanding of the struggle for conjunctural visibility among EMs in Hong Kong.

Summary: Implemented in 2003, the TVNZ Charter is a one-page document that outlines the broadcaster�s objectives to deliver programming that represents New Zealand�s ethnically and socially diverse population. This thesis will examine issues surrounding the representation of diversity especially in the context of the state-commercial television network. Using the notion of �cultural citizenship�, or the demand from minority groups within a society to be represented and included in the institutions of the state, I will examine how TVNZ is attempting to meaningfully represent New Zealand as a bicultural society and a multicultural society, while remaining commercially focused. This thesis argues that institutions of the state, of which the media is the most visible and, possibly, the most pervasive, always function as a tool of society�s dominant culture, therefore any bicultural or multicultural inclusion represented on TVNZ will always be controlled, and be at the discretion, of that singular dominant cultural force.

Thesis (M.A.)--University of Akron, School of Communication, 2006.
"December, 2006." Title from electronic thesis title page (viewed 10/15/2007) Advisor, Dudley B. Turner; Faculty readers, N. J. Brown, Kathleen D. Clark; Director, School of Communication, Carolyn Anderson ; Dean of the College, James Lynn; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.

This thesis examines changes which have occurred since the late 1980s and early 1990s with respect to the representation of cultural diversity on Australian popular drama programming. The thesis finds that a significant number of actors of diverse cultural and linguistic background have negotiated the television industry employment process to obtain acting roles in a lead capacity. The majority of these actors are from the second generation of immigrants, who increasingly make up a significant component of Australia's multicultural population. The way in which these actors are portrayed on-screen has also shifted from one of a 'performed' ethnicity, to an 'everyday' portrayal. The thesis develops an analysis which connects the development and broad political support for multicultural policy as expressed in the National Agenda for a Multicultural Australia to the changes in both employment and representation practices in popular television programming in the late 1990s and early 2000s. The thesis addresses multicultural debates by arguing for a mainstreaming position. The thesis makes detailed comparison of cultural diversity and television in the jurisdictions of the United States, the United Kingdom and New Zealand to support the broad argument that cultural diversity policy measures produce observable outcomes in television programming.

This thesis examines changes which have occurred since the late 1980s and early 1990s with respect to the representation of cultural diversity on Australian popular drama programming. The thesis finds that a significant number of actors of diverse cultural and linguistic background have negotiated the television industry employment process to obtain acting roles in a lead capacity. The majority of these actors are from the second generation of immigrants, who increasingly make up a significant component of Australia's multicultural population. The way in which these actors are portrayed on-screen has also shifted from one of a 'performed' ethnicity, to an 'everyday' portrayal. The thesis develops an analysis which connects the development and broad political support for multicultural policy as expressed in the National Agenda for a Multicultural Australia to the changes in both employment and representation practices in popular television programming in the late 1990s and early 2000s. The thesis addresses multicultural debates by arguing for a mainstreaming position. The thesis makes detailed comparison of cultural diversity and television in the jurisdictions of the United States, the United Kingdom and New Zealand to support the broad argument that cultural diversity policy measures produce observable outcomes in television programming.

This cultural research explores the relation between racial representation and emotions/affects as part of the struggle for racial minorities’ visibility. It is informed by conjunctural theory in cultural studies, with the use of textual narrative and affective analysis. It focuses on Hong Kong’s television culture as a site for context configuration, or conjuncture, for constructing the inter- and intra-ethnic relations between the dominant ethnic Chinese and ethnic minorities (EMs), via the production of emotions. Chapter One introduces a conjunctural understanding of the construction of EMs in Hong Kong through revisiting some of the most prominent theoretical works that explore the transformation of Hong Kong identity, in order to point out an underlying Hong Kong-Chineseness as a cultural center, and to argue that the demand of the present conjuncture is to respond to the necessity of generating an alternative “EM-context” suitable for reimagining Hong Kong identity. Chapter Two attempts to map out this “EM-context” by reviewing the major popular non-Chinese figures on TV, namely Louie Castro, Gregory Rivers (known as “Ho Kwok-wing”) and Gill Mohinderpaul Singh (known as “QBoBo”) in order to study how their particular cultural visibility can open up ways to rethink the problems surrounding visibility. The narrative affective approach to study racial relations is applied to the reading of No Good Either Way (TVB) in Chapter Three and Rooms To Let (RTHK) in Chapter Four. Together, these two core chapters explore the affective configuration of “anxieties” and “shame” in the two TV programmes. It is suggested that these affective landscapes help position EMs as either a “sweetened trouble-maker” (in the work place) or “assimilating neighbor” (in the domestic sphere), both of which fall short of being able to construct a new context/conjuncture for understanding the cultural presence of EMs. This research rejects the study of race/ethnicity through content analysis of stereotype, and opts for an approach that reads affects and narratives in the search not for representational visibility, but for what is termed “conjunctural visibility.” Ultimately, Chapter Five concludes with a discussion of the dynamics of “soft” and “hard” representations of the ethnic other: the former in the mode of “sugarcoated racism” which involves the figure of EM as the sweetened troublemaker appealing for audience’s sympathy, and the latter in the form of public pedagogy aimed at educating the audience (through shaming) to treat their EM neighbor as the assimilated other. This research study aims at making a small contribution to the understanding of the struggle for conjunctural visibility among EMs in Hong Kong.

The problem with which this investigation is concerned is the description of the social map that is presented to the viewers of public television. Using content analysis methodology, the study describes how different genders, racial groups, and age groups are being portrayed on PBS programming. The sample consisted of one week of PBS 1984 fall programming broadcast on KERA-TV, the PBS station in Dallas-Ft. Worth, Texas. Research questions addressing proportions of groups, types of roles, length of scenes, occupational variation, conversational behaviors, conflict management modes, and cultural norms were answered. All coding was accomplished by the principal investigator. Upon completion of the coding sub-totals for the variables under study by program types and a grand total for the entire sample were then tabulated. After this extensive content analysis, the report concludes that females are still extremely underrepresented in PBS programming, accounting for only 32.7% of the total participants. Blacks and Hispanics are also underrepresented except in children's programming. Occupational variation for white males is evident for all types of PBS programming. Occupational variation for white females is evident in children's programming and informational/documentary programming. Minorities with delineated occupations are extremely limited in all types of programming except for children's programming. The exchange of information is the major conversational behavior that occurs on PBS programming with minority characters receiving orders considerably more than their white counterparts. Verbal aggression is the conflict management mode chosen most frequently on PBS programming. Explicit messages regarding racial and sexual equality and prosocial behavior occur on PBS programming. Implicit messages such as frequency of appearances, number of major roles, and prevalence of power cues suggest a white male domination of television programming on PBS. The findings of the study reveal that major inroads have been made by women and minorities in children's programming. This comprehensive analysis confirms, however, the virtual exclusion of minorities in major segments of PBS programming.

The purpose of this study was to examine the effects of television violence and cultural identity on international students' perceived vulnerability. A total of 73 international students who registered at Ball State University spring semester 1999 participated in the survey research project. MANOVA revealed a significant relationship between perceived vulnerability and television exposure. Although no significant relationship was found between perceived vulnerability and cultural identity levels, there was a significant interaction effect between television exposure and cultural identity. International students who were heavy viewers and had assimilated identity exhibited the greatest perceived vulnerability. Theoretical and methodological implications of the findings were discussed for future research.
Department of Speech Communication

Det har under senare år flitigt debatterats om Public Service vara eller inte vara. Vissa hävdar att Public Service är en föråldrad kvarleva av monopoltiden som borde avvecklas och att TV-utbudet ändå skulle hålla en hög kvalitet. Andra däremot menar att Public Service idag är ”viktigare än någonsin”. Vad man än tycker om programutbudet som SVT, SR och UR har kan man inte förneka att det ligger mycket tid och arbete bakom deras produktioner.

Uppsatsen behandlar ämnet Public Service i relation till det samiska programutbudet i Sveriges television. Syftet med denna studie är att granska Public Service-relaterade dokument, så som propositioner rörande ämnet, vilka krav Sveriges television har på sig samt om de uppfyller dessa. Med den nationella minoritetsgruppen samer som exempel har vi för avsikt att skildra komplexiteten runt minoritets-ansvaret. Exempel på frågor som behandlas är:

Vem formulerar detta minoritetsansvar och vad innebär det?

Hur definierar staten och SVT vem som är same, om man utgår ifrån styrdokument för Public Service?

Via systematisk undersökning av dessa texter, med hjälp av kvalitativ innehållsanalys samt kritisk granskning, har vi analyserat innehållet utifrån våra frågeställningar.

Cette thèse interroge les représentations de la diversité et des identités collectives au sein de séries télévisées françaises et britanniques. Les problématiques de la construction identitaire, des imaginaires nationaux et médiatiques, ainsi que les différents imaginaires du métissage et de la communauté arabo-musulmane dans l’espace public européen, retiennent particulièrement l’attention ici. La pluridisciplinarité inhérente à l’approche choisie s’appuie sur la richesse des paradigmes et méthodologies propres aux Sciences de l’Information et de la Communication, ainsi qu’aux études médiatiques dans leur ensemble. Sont ainsi pris en compte les contextes de production (professionnels, techniques, législatifs, esthétiques et socio-politiques), mais aussi les pratiques et usages de réception. Toutefois, c’est bien l’analyse de contenu (aux niveaux figuratif, narratif et thématique) qui se trouve au centre de cette étude. Ce travail s’appuie principalement sur l’étude du personnage de fiction et une typologie des stéréotypes. Les réflexions menées empruntent également aux théories de l’imaginaire, aux études de réception et à la sémiotique du récit. L’hypothèse de départ est que les imaginaires nationaux britannique et français, l’un de tradition multiculturaliste, l’autre régit par l’idéal universaliste républicain, influencent les imaginaires collectifs et les constructions identitaires parmi les différentes communautés de citoyens. Les imaginaires médiatiques, en tant que transmetteurs et en tant qu’arènes des discours et opinions, participent de ce phénomène. Ces imaginaires nationaux laissent des indices parmi les représentations médiatiques, notamment au sein des fictions télévisées, qu’il est possible de repérer et d’analyser. Il ne s’agit pas ici d’opposer les deux modèles. Les cas français et britannique, s’ils diffèrent sur certains points, connaissent des questionnements et difficultés similaires. Les étudier simultanément permet de brosser un plus large tableau des possibles et de chercher d’éventuelles solutions en s’appuyant sur les expériences menées dans ces deux pays
This thesis examines representations of diversity and collective identities in French and British television series. The issues of identity construction, national and media imaginary, as also the various imaginary of interbreeding - or melting pot - and Arab-Muslim communities in the European public space, particularly hold attention. The pluridisciplinarity, related to our approach, benefit from the paradigmatic and methodological wealth of Information and Communication Sciences, as well as all of Media Studies. We thus take into account production contexts (professional, technical, legal, aesthetic and socio-political) but also reception uses and practices. However, it is the content analysis (at figurative, narrative and thematic levels) that is central to this study. We primarily rely on the study of fictional character and a stereotypes typology. We refer also to imaginary theories, reception studies and narrative semiotics. Our assumption is that the British and French national imaginary, one of multiculturalist tradition, the other governed by the ideal of Republican universalism, influence collective imaginary and identity construction, among the different communities of citizens. The media imaginary, as transmitters and arenas, for speeches and public opinions, participate of this phenomenon. These national imaginary leave clues within media representations, especially inside television dramas, that is possible to identify and analyze. It doesn’t matter of opposing these two models. French and British cases, if they differ on some issues, experience and survey similar difficulties. This simultaneous review helps to paint a wider landscape of possibilities, and to seek possible solutions, based on experiments in these two countries

Although children’s programming has been considered to be at the forefront of incorporating racial and ethnic diversity, the roles on television for racial and ethnic minorities have continued to be limited or based on stereotypes, and sheer presence in numbers for non-whites is still lacking in comparison to white characters. Television programming during the 1990s and early 2000s became a key period in history for racial and ethnic representation, as programming as a whole reflected a greater non-white presence than ever before, with children’s programming as no exception. This thesis focuses on how race and ethnicity were depicted on the children’s cable networks Nickelodeon and Disney Channel during this time period. My study focuses on three programs, The Mystery Files of Shelby Woo (Nickelodeon, 1996-1998), Taina (Nickelodeon, 2001-2002), and The Proud Family (Disney Channel, 2001-2005), all of which placed racial and ethnic minorities as lead characters, diverging from the standard in casting for children’s television programs. In observing whether these programs portrayed race in an assimilationist, color/culture conscious, or post-racial manner, my study provides insight into the overarching narrative constructed about race and ethnicity for youth viewing two of television’s most successful networks committed to programming for kids in this time period.
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O presente relatório de estágio tem como objetivo perceber o papel dos media na representação e inclusão das minorias, particularmente a cobertura jornalística da comunidade LGBTI+ (lésbicas, gays, bissexuais, transgénero, intersexo e outras orientações sexuais, identidades e expressões de género) na Rádio e Televisão de Portugal (RTP). Em 2018, a estação de serviço público português recebeu o prémio Arco-Íris da ILGA Portugal pela a defesa dos direitos LGBTI+ na informação e entretenimento. No entanto, de que forma é que a informação da RTP, enquanto serviço público de rádio e televisão, se distingue na representação deste grupo minoritário? De modo a investigar a cobertura de acontecimentos ligado a esta comunidade, utilizou-se uma metodologia baseada na análise de forma e conteúdo dos artigos publicados no site RTP Notícias, complementada com entrevistas à direção das associações ILGA Portugal e Opus Gay, bem como a jornalistas da RTP. No total, ao longo de 2018, foram analisados 105 conteúdos jornalísticos. Concluiu-se que, embora exista espaço na informação da RTP para esta comunidade, a cobertura ainda pode ser melhorada ao nível da utilização de ferramentas multimédia, terminologia adequada e criação de mais reportagens. No geral, salvo raros casos, a informação da RTP é rigorosa. No entanto, é necessário apostar em mais jornalistas com formação nesta temática, de modo a criar mais artigos exclusivos e menos de agência.
This internship report aims to understand media’s role in the representation and inclusion of minorities, particularly the coverage of the LGBTI+ (lesbian, gay, bisexual, transgender, intersex and other sexual orientations, identities and gender expressions) community in RTP. In 2018, ILGA Portugal awarded Rádio e Televisão de Portugal (RTP) for the defense of LGBTI+’s rights in information and entertainment. However, how does RTP’s information, as a public service network, represent this minority group? To investigate the coverage of this community during 2018, we used a methodology based on form and content analysis of articles published on the RTP Notícias, complemented with interviews (ILGA Portugal, Opus Gay and RTP’s journalists). In total, we analyzed 105 journalistic contents. We concluded that the coverage of this community is increasing in RTP’s information. However, the coverage can still be improved with the use of multimedia tools, adequate terminology, and the creation of more reportages. In general, with rare exceptions, the news is accurate. Still, there is a need for more specialized journalists to create more exclusive content