Dissertations / Theses on the topic 'Television broadcasting Social aspects Australia'

This thesis examines the role of broadcasting in Canada with regard to developing and maintaining a national identity in the face of United States influence via the media. The subject is examined within the theoretical framework provided by the science of cybernetics and the Laws of Thermodynamics. A historical overview of Canadian broadcasting policy and institutions is provided. The work of the various royal commissions and other investigatory bodies is analyzed. The most important contemporary institutions, the CRTC, the CBC and the federal Department of Communications, are situated within the context. The effects of the most recent technologies, cable television, satellites, Pay-TV and VCRs are examined. Canadian broadcasting is also viewed in the context of the 1989 Canada-United States Free Trade Agreement and the New World Information and Communication Order. Our conclusion suggests that the future of Canada's identity depends primarily on the quality of domestic broadcasting. Finally, we suggest that Canadians and Europeans, who are facing some comparable problems in a united Europe, can learn from each others's experiences.

Bibliography: pages 190-196.
This dissertation develops a syllabus for the study of television literacy in South African secondary schools. There are two natural divisions in the development of the thesis; the section which explores epistemological issues and the section which describes the strategic issues. The first section examines the nature of print literacy. This consists of four elements: mastering the basic language of the medium; being able to decode this language; using the medium for personal creative ends; and having the capacity for critical reflection. It is possible to talk in terms of a language of television and so this definition of literacy can be extended to television as well. There are three main areas for the study of television literacy. These are: the production techniques and effects of television; the conventional forms of the medium; and the nature of television as a mass medium. Once this has been established the dissertation explores the strategic issues of a methodology and areas of knowledge for teaching television literacy. Although there are many methodologies for the study of the mass media, the British Cultural Studies approach, together with Hall's three moments of encoding and decoding, seems to offer the methodology most suitable for teaching critical literacy. Within this theoretical framework it is possible to describe a syllabus for teaching television literacy. This syllabus involves studying the encoding and decoding of television messages within the context of the technical infrastructure of television; the internal and external relations of production, and the frameworks of knowledge which determine the form and content of television.

There exists an embedded assumption that broadcasting must be employed to strengthen the Canadian national identity. Despite efforts to Canadianize our broadcasting system, however, Canadians are watching more and more American television and have more choice of American programming. This has led to a fear of American television as a threat to Canada's continuance as a separate and independent country. By studying the contemporary Canadian context with respect to Canadian drama, the following questions will be addressed: Are Canadian interests dependent on communication policy? Is Canadian dramatic programming essential to the maintenance and enhancement of national identity and cultural sovereignty? Can the illusive quality "Canadian" be defined? Do television dramas made in Canada have distinctively Canadian characteristics and if so, how are these characteristics perceived by audiences? What are the options and alternatives that Canadian policy makers and programmers must face in the midst of the massive internationalization of culture and the onset of the 500 channel universe? In answering these questions, this study sets out to demonstrate how Canadian dramatic programming can be distinctive and unique in a way which still maintains an audience loyalty and a relevance to the Canadian way of life.

This thesis occupies an uneasy space: not within or even at the leading edge of any one tradition, but in the anomalous and almost unoccupied space in which three traditions fail to connect. In keeping with this standpoint, it employs a range of approaches from a cross-paradigm perspective. It draws the main hypothesis that it tests from the cognitive developmental paradigm and develops its main methodological tools from methods of discourse analysis, supplemented by a variety of other instruments, quantitative as well as qualitative. This thesis makes five main claims: (1). Modality judgements, issues and perceptions in relation to television programme content are significant elements in a complex, active and creative process of learning for children in the contemporary world. (2). Children's modality judgements and processes of understanding are significantly different from those of adults in important respects. (3). A further significant developmentally-related phenomenon that emerges from the data is the importance of moments of rupture in developing modality schema and strategies. (4). Children's programme preferences, as refracted through modality structures and strategies typical of different ages, reflect a coherent learning context in which children tackle modality experiences, problems and dilemmas that are well suited to their needs at that point in their development. (5). Children's talk about issues of modality is also a species of social action, in and through which children position and reposition themselves in a variety of social contexts, constructing not only maps and versions of the world, but versions of their selves and tactics to maintain their specific interests. Many of the generalisations in this thesis are still tentative, in need of further development. Some of them, however, are more solidly grounded and would be able to contribute to current debates in education and public life on the role and functions of television in the lives of children.
Doctor of Philosophy (PhD)

Examines the issue of media bias in favor of the Democratic Party during the 2004 Presidential Election. To examine the most far reaching form of media in the United States, this study consisted of the three major television networks (ABC, CBS, NBC) and their weekday nightly newscasts during the entire month of October 2004. Emerging themes and strategies were compared to a study conducted at Sonoma State University of the year's most underreported yet newsworthy events. Results of the study indicate that no evidence exists to support the notion of media bias in favor of the Democratic Party in the media coverage leading up to the 2004 Presidential Election.

This project utilizes a case study approach to explore the various ways in which the portrayals of gay people have changed on American television. Three contemporary programs - Will & Grace, Queer Eye for the Straight Guy and The L Word - are examined as examples of how far American television has progressed in terms of treating gay people with respect. Whether those shows move beyond merely presenting gay characters and into a level of actively challenging mainstream views on gay people is also examined. Findings suggest different factors affect the ability of the individual programs to test said views - including the genres to which each belongs, and their presence on network television (Will & Grace), basic cable (Queer Eye for the Straight Guy) or premium cable (The L Word). While all three programs show some tendencies toward queerness, they also take steps toward negotiating with mainstream culture, indicating that complete queerness may be an unattainable goal on American television.

The implications of globalisation in African societies raise an interesting debate and also pose a challenge to 21st century scholars of media/cultural tradition. While the media/cultural imperialism theory views global media as perpetuating cultural imperialism, revisionist theories of the media such as the audience reception theory argue against this, saying that media texts can be negotiated with. Both sides have always provided facts to argue their cases and the argument between them remains fluid. This study, which is a quantitative survey of some University of Fort Hare students’ perception of the role of global television in cultural homogenisation, has adopted the second phase of revisionism which is a counter to the audience reception theory, arguing that in the process of interaction with media texts, there may be transference of cultural values. This study used the media imperialism theory and the cultivation theory in exploring respondents’ perceptions of whether global television is perpetuating cultural imperialism and consequently cultural homogenisation among receiving cultures. The study adopted the quantitative methodology and a self-administered questionnaire structured according to the Likert Scale of measurement was used to gather data. Four cultural products of language, music, dress and religion were used as the measurable indicators to determine perceptions of global television consumption’s influence in cultural imperialism. The study used the case of University of Fort Hare students since they are a heterogeneous group and because there is not much research done concerning the influence of technological advancement, especially on the youth in remote areas such as Alice town where Fort Hare is situated. Although there were problems in the sampling process, most respondents did seem to perceive the notion that global television consumption does perpetuate cultural imperialism and that this is consequently leading to cultural homogenisation to a certain extent. According to the sampled group, the measure of the extent of homogenisation caused by global television consumption was 67.69%, falling behind by 27.31% from the anticipated standard of 95%. The difference between the anticipated standard and the realised standard was attributed to the dialectical debates emanating from the study findings which were also reiterated in the literature review. Importantly, the respondents indicated their preference for local media productions while at the same time agreeing that they were often unavailable, which leaves them without much choice but to watch those Western programmes that are readily available on both local media stations and on global television. To this end, most students denied that their own cultural values have deteriorated.

This thesis will examine how Australianness is constructed in two contemporary Australian television dramas - Heartbreak High and Blue Heelers. Founded on the critical tradition of "Cultural Studies", this work will employ text analysis to deconstruct these dramas and examine the ways in which they manifest Australian cultural identity. However, this thesis recognises that Australianness is not a constant, tangible phenomenon, but rather a series of constructions, each purporting to be "real". Hence I will be acknowledging that there is not one, singular national identity from which to draw representations, but many different, conflicting cultural identities. Each program constructs a very different view of Australian life and culture. Heartbreak High follows the lives of a group of high school students amidst a multicultural, urban environment and is aimed primarily at a teen audience. On the other hand, Blue Heelers appeals to an older, more conservative audience with its focus on a small police station in rural Victoria. Some of the issues to be addressed in the main body of the text include the programs constructions of "Australian" characteristics such as mateship and egalitarianism, and whether these dramas perpetuate the cultural division between rural and urban Australia. Overall this thesis aims to provide a thorough examination of the images of Australia these two programs construct and to question their origin, meaning and relevance tocontemporary Australian society.

The “tabloid TV” news genre is a relatively new phenomenon in Uganda and Africa. The genre has been criticised for depoliticising the public by causing cynicism, and lowering the standards of rational public discourse. Despite the criticisms, the genre has been recognised for bringing ‘the private’ into a public space and one of the major ‘private’ issues on the public agenda is women and gender equality. Given these critiques, this study set out to interrogate the meanings that young working class women in Kampala make of the tabloid television news programme Agataliiko Nfuufu and to ask how these meanings relate to the contested notions of femininity in this urban space. In undertaking this audience reception study I interviewed young women between the ages of 18-35 years by means of individual in-depth interviews and focus group discussions. The study establishes that Agataliiko Nfuufu is consumed in a complex environment where contesting notions of traditionalism and modernity are at play. The study also establishes that while mediating the problems, discomforts and contestations of these young women’s lives, Bukedde TV1 operates within a specific social context and gendered environment where Agataliiko Nfuufu is consumed. The study concludes that the bulletin mediates the young women’s negotiations and contestations, but it provides them with a window into other people’s lives and affords them opportunities to compare, judge and appreciate their own. Furthermore, the gendered roles and expectations in this context have become naturalised and have achieved a taken-for-grantedness. Therefore, patriarchy has been legitimised and naturalised to the extent that the respondents define themselves largely in relation to male relatives, and marriage. While the women lament the changes that have taken place in their social contexts which disrupt the natural gender order, they construct themselves as subjects of the prevailing discourses of gender relations that see men as powerful and women as weak and in need of protection.

The present study investigates the effects of on-screen messages on viewer perceptions of source credibility and issue valence. Previous research has found that elites utilize framing in order to alter viewer perceptions and change public opinion. An experiment was conducted, which examined whether on-screen messages displayed during a presidential-news conference had any effect on the viewers' perception of sound credibility and issue valence. The results of the study indicate that on-screen messages have no effect on individuals' perceptions of source credibility and issue valence. The study also found that an individual's· political ideology plays a major role in influencing perceptions of source credibility and issue valence.

Este trabalho investiga elementos da narrativa jornalística contemporânea presentes na programação televisiva e discute o caráter híbrido das tecnologias da comunicação. A partir da análise de programas que retratam a tragédia acontecida na cidade de Santa Maria em janeiro de 2013,são utilizadas bases semióticas e analíticas no intuito de compreender referenciais comuns pelos quais esse tipo de comunicação opera na transmissão de suas mensagens e pontos de vista acerca do real. Traz como resultado a comprovação dos usos dessas estratégias de representação desses dentro do recorte analisado, o que serve como evidência da constante reafirmação de discursos generalistas a respeito dos fenômenos sociais, reeditados em novas bases tecnológicas.
This work investigates elements of contemporary journalistic narrative present in television programming and discusses the hybrid character of communication technologies . From the analysis of programs that depict the tragedy that took place in the city of Santa Maria in January 2013,semiotic and analytical bases are used in order to include common reference by which this type of communication operates in the transmission of messages on reality . It brings as a result the evidences of representation strategies within the analyzed cut. The conclusion serves as evidence of the constant reaffirmation of general discourse about social phenomena, reissued in new technological basis.

The consumption of media and television has changed dramatically over the past few years. Proliferation of content and devices means that viewers are no longer bound by traditional linear broadcasting and are making extensive use of time shifted content on their own terms. As a result there has been an in depth focus on the new forms of media consumption. The main objective of this research was to examine the consumer choice of devices to consume time-shifted content, more specifically video-on-demand content. This was examined from a consumer behaviour perspective to determine the choices that viewers make regarding which devices to use; together with an analysis of contextual situations. The research design was of a descriptive nature and ordinal quantitative data were collected through an electronic survey. 188 respondents who had access and made active use of video-on-demand platforms within a pay-tv operator completed the survey. Results revealed moderate statistical relationships for some of the individual values that had been identified from consumer behaviour theory. Descriptively, relationships were noted for certain devices and the widespread consumption of others The research concluded with recommendations for the management of the broadcasting industry based on the findings, as well as direction for further research opportunities.
Dissertation (MBA)--University of Pretoria, 2013.
zkgibs2014
Gordon Institute of Business Science (GIBS)
MBA
Unrestricted

論文(哲學碩士)--香港中文大學硏究院社會學學部,1994.
參考文獻: leaf 225
麥偉文.
Chapter 第一章： --- 觀眾與解碼研究 ´ؤ´ؤ文獻回顧 --- p.1
Chapter 第二章： --- 硏究計劃與分組標準簡介 --- p.18
硏究計劃 --- p.18
「深入訪問」的討論範圍和 具體問題 --- p.21
分組標準 --- p.24
Chapter 第三章： --- 論域位置等因素與解碼 ´ؤ´ؤ初步簡介 --- p.33
類型差別與分歧解碼： 「政治參與人仕」及「政治疏離 人仕」´ؤ´ؤ --- p.39
組別分歧與差異解碼： 「組織人」及其他三組人仕´ؤ´ؤ --- p.43
組別分歧與差異解碼： 「政治犬儒主義者」及 其他三組人仕´ؤ´ؤ --- p.46
社會背景與解碼？ --- p.47
小結 --- p.54
Chapter 第四章： --- 論域位置等因素與解碼 ´ؤ´ؤ兩種類型的差異 --- p.57
論域位置：社會行動的效用 --- p.59
論域位置：政治冷感 --- p.64
論域位置：政治無力感 --- p.68
行動取向：投票選舉 --- p.72
訊息渠道 --- p.79
Chapter 甲、 --- 論域位置等因素與 解碼-有闘本港内 部政治、社會事務的 節目訊息 --- p.85
解碼：嘈都冇用 --- p.85
解碼：直選意義重大 --- p.91
解碼：投票率不理想 --- p.96
Chapter 乙、 --- 論域位置等因素與 解碼´ؤ´ؤ有關中港兩 地事務的節目訊息 --- p.102
解碼：中方參與 --- p.102
解碼：中港關係 --- p.109
Chapter 丙、 --- 論域位置等因素與 解碼´ؤ´ؤ解碼過程 當中的「認和性」問 題 --- p.115
解碼：某些組織是否 「民主派」 --- p.115
解碼：備忘錄與聯合 聲明同樣重要 --- p.121
Chapter 第五章： --- 論域位置等因素與解碼 ´ؤ´ؤ四個組別的差異 --- p.126
Chapter 甲、 --- 組織人和其他三組的差異 --- p.127
甲.一、批判傳媒與解碼 節目製作 --- p.127
論域位置：批判傳媒 --- p.127
解碼：節目製作---大事 選取及次序编排 --- p.135
解碼：節目製作-全面 如實的報導 --- p.140
甲.二、人道主義與解碼 與船民問題 --- p.145
論域位置：人道主義 --- p.145
解碼：越南船民 --- p.151
甲.三、論域位置與解碼 ´ؤ´ؤ闘於支聯會的 節目訊息 --- p.162
論域位置：組織人有關 民主、政治、組 織、社會行動 的理解 --- p.162
解碼：支聯會激進 --- p.164
解碼：支聯會不利 中港關係 --- p.168
Chapter 乙、 --- 政治犬儒主義者和其他 三組的差異 --- p.171
論域位置：政治犬儒主義 --- p.172
論域位置：信任民主 --- p.176
論域位置：親民主派 --- p.180
解碼：評價港同盟 --- p.185
解碼：港同盟是「民主派」 --- p.190
解碼：港同盟上港督府 --- p.194
解碼：評價支聯會 --- p.198
Chapter 第六章： --- 觀眾與解碼´ؤ´ؤ一個 初步分析 --- p.203
觀眾不單是「觀眾」 --- p.203
差異解碼´ؤ´ؤ論域位置等 因素與解碼 --- p.209
節目的主導意識型態 --- p.214
結語 --- p.221
參考書目 --- p.225

Nation-building has always been considered the responsibility of a public service broadcaster while, on the other hand, commercial broadcasters are associated with profitmaking. This study was designed to investigate whether a commercially driven broadcasting venture could be used for the purposes of nation-building; The case of Lesotho Television. Established by the Lesotho Government in partnership with M-net, Lesotho Television informs, educates and entertains, thus attempting to follow the tenets of public service broadcasting. Upon its establishment in 1988, Lesotho Television was mandated to contribute in the nation-building initiatives of the Lesotho leaders. The station, which is embedded within the South African based pay-channel M-Net, was expected to positively contribute in the Lesotho Government's endeavours to re-build the nation divided along political lines. In the discussion I highlight the fact that Lesotho Television encounters some problems due to the paradoxical relationship between it and M-Net (The former aspiring to serve as a public service broadcaster while the latter is a commercial television service). Nevertheless, considering its programming and activities, Lesotho Television contributes in nation-building. Therefore, I conclude that the potential for Lesotho Television to inform, educate and entertain would seem to outweigh the limitations.
Thesis (M.A.)-University of Natal, Durban, 2001.

稿本
論文(碩士)--香港中文大學硏究院新聞學系,1992.
參考文獻: leaves 137-143
黃漢龍.
Chapter 第一章 --- 緒 論 --- p.1
Chapter 一. --- 緒 言 --- p.1
Chapter 二. --- 硏究背景、動機與目的 --- p.2
Chapter 三. --- 研究對象與提問 --- p.5
Chapter 四. --- 研究意義 --- p.7
Chapter 五. --- 硏究方式與内容結構 --- p.8
Chapter 第二章 --- 理論基礎與文獻探討 --- p.12
Chapter 一. --- 大眾傳媒的功能 --- p.13
Chapter 二. --- 媒介效果與潛化分析 --- p.16
Chapter (一) --- 「社會文化模式」與「心理功 力模式」媒效果 --- p.16
Chapter (二) --- 「文化指標」與潛化分析硏究 --- p.20
Chapter 1. --- 「文化指標」與「暴力素描」 --- p.20
Chapter 2. --- 「暴力素描」與「潛化分析」 --- p.21
Chapter 3. --- 「潛化分析」的批評 --- p.23
Chapter 4. --- 「潛化分析」的研究的發展 --- p.26
Chapter 三. --- 國際電視傳播效果硏究 --- p.28
Chapter (一) --- 美國電視跨國傳统效果硏究 --- p.28
Chapter (二) --- 美國電視跨國潛化效果研究 --- p.29
Chapter 四. --- 本文就「潛化分析」分析架構之演化 --- p.33
Chapter 五. --- 本硏究潛化指標之構思過程 --- p.40
Chapter 六. --- 價值觀念與電視效果相關硏究 --- p.42
Chapter (一) --- 羅基價值研究 --- p.42
Chapter (二) --- 電視與價值觀念之傳统效果研究 --- p.44
Chapter (三) --- 電視與價值觀念潛化效果之初探性研究 --- p.46
Chapter (四) --- 個人主義與集體主義價值之分類 --- p.48
Chapter 七. --- 電視與休閒生活方式相關硏究 --- p.57
Chapter (一) --- 休閒的涵義 --- p.58
Chapter (二) --- 休閒生活方式形成的理論 --- p.59
Chapter (三) --- 休閒生活方式與媒介效果硏究 --- p.60
Chapter (四) --- 外來時尚與本土休閒生活方式 --- p.62
Chapter 第三章 --- 硏究設計與分析架構 --- p.66
Chapter 一. --- 研究假設 --- p.66
Chapter 二. --- 研究工具與主要變項之界定 --- p.67
Chapter 三. --- 研究抽樣 --- p.84
Chapter 四. --- 统計方法與分析步驟 --- p.86
Chapter 第四章 --- 硏究結果與資料分析 --- p.90
Chapter 一. --- 樣本特徵 --- p.90
Chapter 二. --- 假設驗證與分析 --- p.95
Chapter (一) --- 收看港視與價值觀念 --- p.95
Chapter 1. --- 受訪者價值之分析 --- p.95
Chapter 2. --- 價值次數分配分析 --- p.97
Chapter 3. --- 收看港視與個人主義價值 --- p.99
Chapter -1 --- 收看港視與個人目標價值 --- p.100
Chapter -2 --- 收看港視與個人能力價值 --- p.102
Chapter 4. --- 收看港視與集體主義價值 --- p.103
Chapter (二) --- 收看港視與休閒生活方式 --- p.105
Chapter 1. --- 受訪者休閒喜好分析 --- p.105
Chapter 2. --- 休閒喜好指標次數分配分析 --- p.108
Chapter 3. --- 收看港視與外來時尚休閒活動 --- p.109
Chapter 4. --- 收看港視與本土傳统休閒活動 --- p.111
Chapter 第五章 --- 結論與討論 --- p.115
註釋 --- p.134
中文書目 --- p.137
英文書目 --- p.138
受訪中學生背景資料
問 卷

通過對香港電視明星在中國內地的跨境粉絲文化研究，我分別和粉絲研究、香港研究對話，並力圖勾連二者。我的「學者粉」位置、九年的民族志經驗、對四十三個粉絲的以面對面為主的深度採訪構成了本文的方法論。文化消費研究應該從經濟交易做起，再擴展到更廣義的社會文化領域。在本案例中，最突出的粉絲實踐是「追星」，粉絲通過這種社會實踐探索和試驗了新型社會關係──粉絲與「粉都對象」、粉絲與粉絲之間的關係。其中，消費模式、學習模式、（同性）情欲模式和粉絲友誼模式是本案例最主要的關係模式。我不是靜態地列出這些關係，而是動態地探測它們在粉絲敘述中被啟動或迴避的過程。我還進一步檢視了粉絲社群，用「網絡化結構」來打破鐵板一塊的社群想像，捕捉流動的組織形態。這樣以來，我更新和發展了粉絲研究中的主導理論取徑「收編抵抗模式」和「人生模式」，指出了它們的缺點，結合了彼此的優勢──既保持對權力關係的質詢，又全面展現粉絲的人生經驗，力圖描繪具有全局觀的跨境文化消費圖景。
在證明了粉都對粉絲來說重要之後，我調轉視角來關注粉絲文化何以對當代社會來說重要。香港研究認為流行文化正是主流文化，娛樂就是政治，這提醒了我把微觀的日常生活消費和宏觀的「香港身份」、「中港關係」問題接合起來。我追問粉絲何以對港劇（明星）情有獨鍾，喜歡的「港味」究竟是什麼？研究發現，粉絲熱愛並生產的「香港性」是一種刻進青春成長的「消費慣性」，亦是一種對「烏托邦感性」的策略性誤認，但會被輕易浮現的「中港衝突」所傷害而成為一種（暴力的）論述。也就是說，「香港性」一直都在否定的層面運作，它只是一個空洞的能指，缺乏充實、本真和周全的內容。但它不能被轻易忽視，正因為空洞，所以內容無限。「香港性」這個空洞的能指是一種飽含感情的象征符號，香港必須被理解為一種感情。本文提供的境外的、以粉絲感情來維繫的「香港性」有著新穎的「位置性」，希望能為持續爭辯的香港研究打開更多空間。
This is a transborder cultural consumption study which focuses on the fan cultures of Hong Kong television stars in contemporary Mainland China. The methodology of this research is composed of my aca-fan position, nine-year’s ethnographic experiences, and forty-three in-depth interviews with the fans. I argue that any cultural consumption study has to begin with the examination of economic transactions and then expand to the wider social and cultural dimensions. It is found that two new types of social relations, which are the F-O (fans and the object of fandom) and the F-F (fans and fans) relations, have been constantly experimented in the processes of star-chasing fan practices. Among these relations, the consuming model, the learning model, the (homosexual) eroticizing model and the fan-friendship model are the most important four models in this case. These models are not listed statically in this paper; rather, I show the dynamic processes in which they are activated or avoided by the fans in the fan talks. Meanwhile, I contend that the structures of the fan communities should be understood in a ‘networking’ way to go beyond the monolithic imagination to envision these fluid fan formations. Therefore, the two predominated theoretical approaches in the previous fan studies, the IRP (Incorporation/Resistance Paradigm) and LP (Life Paradigm), have been re-examined. By interrogating the power relations and fully capturing the fan experiences in their life trajectories at the same time, this paper draws a cultural consumption picture with a holistic vision.
Furthermore, I endeavor to articulate the micro-politics of everyday consumption to the macro-politics of the heatedly debated issues on the Hong Kong identities and the Sino-HongKong relations. In this particular fan culture, if it is the HongKongness which is enjoyed by the fans, what is it exactly? It is found that the HongKongness could be a consumption habit which had been carved into the fans’ growth of youth, and/or a strategic misrecognition of the ‘entertainment utopia sensibilities’; when it comes to the Sino-HongKong conflicts, the HongKongness is a kind of discriminating discourse. In other words, the HongKongess is usually operated through negation in the fan talks, thus, it might be an empty signifier without any concrete, authentic and comprehensive contents. However, it cannot be easily ignored, since it is this very emptiness that could be filled with anything. HongKongness, even as an empty signifier, is an emotion-loaded symbolic sign. In this case, Hong Kong should be understood as a format of emotion. By picturing an out-of-HongKong HongKongness with its unique positionality, which is formed through the popular culture fandom, this research tries to bring with more possibilities in the Hong Kong studies.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
周潞鷺.
Thesis (Ph.D.) Chinese University of Hong Kong, 2014.
Includes bibliographical references (leaves 252-275).
Abstracts also in English.
Zhou Lulu.

Thesis (M.M. (Public and Development Management))--University of the Witwatersrand, Faculty of Commerce, Law and Management, Wits School of Governance, 2016
This study ... explores the role of governance in facilitating community based television stations to achieve effectiveness.The case study is South Africa's most successful community TV station, Soweto TV. [Abbreviated abstract. Open document to view full version]
GR2018

Hong Jiachun.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2004.
Includes bibliographical references (leaves 102-108).
Abstracts in English and Chinese.
Chapter Chapter 1 --- Introduction --- p.1
Chapter 1.1 --- The Spring Festival --- p.1
Chapter 1.2 --- The Spring Festival Gala --- p.2
Chapter 1.3 --- The Spring Festival Gala as a media event --- p.3
Chapter 1.4 --- Approaches to media events --- p.5
Chapter 1.5 --- The approach in present study --- p.7
Chapter Chapter 2 --- Literature Review --- p.11
Chapter 2.1 --- Studies on media events --- p.11
Chapter 2.2 --- Studies on the Spring Festival Gala --- p.15
Chapter 2.3 --- "Studies on gratification, festivity, and national integration" --- p.19
Chapter Chapter 3 --- Research Question --- p.25
Chapter Chapter 4 --- Methodology --- p.29
Chapter 4.1 --- Village of West Port (Fu Xi) --- p.28
Chapter 4.2 --- Sampling methods --- p.30
Chapter 4.3 --- Interview --- p.32
Chapter 4.4 --- Diary --- p.33
Chapter Chapter 5 --- Social Use of the Gala --- p.36
Chapter 5.1 --- Environmental use of the Gala --- p.37
Chapter 5.2 --- Regulative use of the Gala --- p.44
Chapter 5.3 --- Conclusion --- p.53
Chapter Chapter 6 --- The Gala as Televised Festivity --- p.57
Chapter 6.1 --- Four stages of Spring Festival celebration --- p.57
Chapter 6.2 --- Material ingredients of festivity --- p.62
Chapter 6.3 --- Spiritual ingredients of festivity --- p.68
Chapter 6.4 --- Conclusion --- p.73
Chapter Chapter 7 --- The Gala as National Integration --- p.76
Chapter 7.1 --- National integration of the televised festival --- p.77
Chapter 7.2 --- National integration of the pre-televised festival --- p.86
Chapter Chapter 8 --- Conclusion --- p.94
References --- p.102

Television is an extremely powerful and influential medium and if utilized appropriately it could promote literacy and revive a culture of teaching and learning in South Africa. The significance of educational television can only be realized if all role players are equally committed to this powerful medium: the National Broadcaster, the Department of National Education, school management team, parents, learners and perhaps the most important component, the educators in schools. School TV is an ideal vehicle to sustain and promote new teaching and learning strategies such as Outcomes Based Education. This research study concluded, that Educational Television is instrumental in supporting learners and educators in new teaching and learning strategies such as Outcomes Based Education. The research findings from this study provide valuable information on the preference and usage of SABC School TV in foundation phase classrooms.
Thesis (M.Ed.)-University of Durban-Westville, 2000.

This thesis examines the relationship between commercial television and the more than-human world at a time when global ecological degradation challenges human well-being and the survival of other species. In the latter half of the twentieth century, television became the means by which most people got to know about society and publicly important events or issues. As billions of people the world over regularly view television the planet’s ice caps, rainforests, soil and oceans continue to be depleted. The research considers three questions aimed at a fuller understanding of the role of commercial television in Western society’s approach to global ecological degradation. What arises from being immersed in the more-than-human world? What arises from encountering the broadcast of commercial television? What arises from being immersed in the world of producing commercial television? The literature on global ecological degradation is substantial; the reasons why Western society is having difficulty coming to terms with the issue is less understood. While quantitative studies of the environmental content of television output have been undertaken, there has not been research into understanding the relationship between ecological awareness, television viewing and commercial television production. This research takes a hermeneutic phenomenological approach to the questions above. Firstly, the researcher immerses himself in the native woodlands and creeks of his immediate vicinity and gradually peels back layers of his perception. He then immerses himself in the world of watching contemporary commercial television and reflecting on his memories of Australian television since 1956. He juxtaposes the content of twenty-four hours of commercial television with personal recollections that reflect both the invisible and sedimented experiences of commercial television. Thirdly, the researcher observes a range of commercial television production environments (News, Advertising and Drama). In doing so he reflects on conversations with and between television executives, directors and scriptwriters who occupy this world. The main findings are that commercial television scriptwriters and personalities hold the most available tools for delivering an Australian-based ecological message through the plot and actions of characters, via a ‘green mise-en-scène’. However, there are severe constraints on this process because of the over-riding importance of ratings. Commercial television is a ratings hungry ‘third parent’ that has increasingly occupied the everydayness of Australian homes since 1956. The invisible technological nature of television has created a particular distance between the production of commercial television and how its mise-en-scène is perceived in domestic Australia, by a population that is technologically and procedurally removed from the more-than-human world.
Doctor of Philosophy (PhD)

How television entertainment programmes producers in Kenya conceptualise audiences is the primary objective of this study. It begins with a brief examination of how the operations of broadcast media institutions in Kenya have been historically linked to government and commerce. Throughout the history of television in Kenya, producers have conceptualised audiences in line with the political, economic and socio-cultural factors that were paramount in the instituting of broadcasting in this society. This historical background continues to shape the character of television entertainment programmes, and therefore how producers conceptualise audiences for these programmes. During their production practices, producers are also influenced by particular communication dynamics within which television programmes are produced and viewed. The dynamics of 'being the audience of television' include that the 'active audience' is autonomous in its various relationships with programmes content, yet the subjectivity of viewers to the institutional systems within which broadcasting happens constrains the audience‘s freedom in how it relates to entertainment programmes. Programme content hails and guides the audience into 'attending' to given shows in specific ways. This study reveals that the audience multi-facetedly relates with entertainment programmes, but the degree to which the audience can exercise its 'will' over the television text is limited. This is because television programmes are constructed meanings, framed and constricted by the elements that constitute them. Also, structures of culture constrain the plurality of the resources audiences have at their disposal as tools for 'reading‘ the programmes. The research-participant producers conceptualised the audience from a 'value-based‘ socio-cultural perspective. Therefore, they attached a kind of magnanimity to television as an institution for influencing in specific ways the segments of society they imagined watched it. Hence, producers of the particular entertainment programmes considered in this case study intended them to represent quality socio-cultural values for the social development of Kenyan society. In agreement with the producers, the audience respondents cited in this study appeared to consider entertainment programmes as important narratives capable of helping them better understand the social world they live in. They saw entertainment programmes as stories that authenticate their world by reflecting that world back to them. Overall, the findings of this case study established that Kenyan producers of television entertainment programmes technically operated within the political economic conventions of television production. However, a strong philosophical, moral-value code appeared to guide the producers‘ sense of purpose and duty to their audience. Apparently, the producers‘ resolve to embed in programmes meanings that propagated particular socio-cultural ideals was as prominent as the institutional political economic objectives for which they were hired to fulfil. This 'extra‘ sense of purpose catalysed the producers‘ unique regard for entertainment programmes as functional narratives, whose primary objective it should be to elevate society‘s moral fabric. Conclusively, the research-participant producers employed an old-fashioned approach to conceptualizing the audience. They saw the audience as congregated in masses of social categories cemented together by a tangible cultural-national identity.
Thesis (Ph.D.)-University of KwaZulu-Natal, 2010.

This study synthesises three conceptual areas-identity, fictional television programmes and memory to examine what young people remember about their fictional television viewing and how it impacts their identity. Memory is used as a window through which long-lasting identity influencers can be analysed; this takes the analysis beyond the level of 'effects' to a more contextualised view. Focus group research and a quantitative overview work to uncover which fictional programmes stand out in young people's memory and why. Research further interrogates what events, characters or story lines young people recall and why these elements are important. The answers to these two research questions crystallises the ways in which South African youths' memories of fictional programmes impact their identity formation. The hypothesis that young South Africans remember that which directly affirms or contradicts their lived experience, is found to be partially true. Similarly, the second hypothesis that fictional memories of South African 15- to 20-year-olds impact youth identity through a direct link between memory selection, interaction and application is found to be fractionally substantiated. The final conclusion of the study is that while memories of fictional programmes do impact the identity of young people, it must be viewed within the larger context of lived experience.
Thesis (M.A.)-University of Natal, Durban, 2001.

He Huijie.
Thesis submitted in: October 2004.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2005.
Includes bibliographical references (leaves 157-160).
Abstracts in English and Chinese; questionnaire in Chinese.
Chapter Chapter One: --- Introduction --- p.1
An Introduction to Phoenix Satellite Television --- p.3
Television as a Medium --- p.9
Research Questions --- p.13
Chapter Chapter Two: --- Literature Review --- p.15
Review for the Sociological Approach on Media Studies --- p.15
Review of the Perspective of Political Economy of Communication --- p.21
Review for Related Chinese Communication Studies --- p.26
Chapter Chapter Three: --- Methodology --- p.31
Quantitative Research----Content Analysis --- p.31
Chapter 1. --- The Selection of Sample --- p.31
Chapter 2. --- Research Method-´ؤ-Content Analysis --- p.36
Chapter 3. --- Inter-coder Reliability --- p.39
Qualitative Research-Textual Comparison --- p.39
Chapter 1. --- The Selection of Sample --- p.39
Chapter (1) --- "SARS Reports,2003" --- p.40
Chapter (2) --- "July 1st Demonstration in Hong Kong,2003" --- p.41
Chapter 2. --- Research Method´ؤTextual Comparison --- p.42
Qualitative Research´ؤ´ؤIn-depth Interview --- p.43
Chapter 1. --- The Selection of Sample --- p.43
Chapter 2. --- Research Method----In-depth Interview --- p.44
Qualitative Research´ؤParticipant Observation --- p.45
Chapter Chapter Four: --- Content Analysis --- p.47
Frequency Analysis --- p.47
Chapter 1. --- Analysis --- p.48
Inter-coder Reliability --- p.50
Chapter 2. --- Summary --- p.52
Cross-Tabulation Analysis --- p.53
Chapter 1. --- Analysis Between the Internal Division and the Geographical Division --- p.54
Chapter 2. --- "Analysis Between the Geographical Division and the ""Political Perspective""" --- p.56
Comments --- p.59
News Favoring the Government Happening in Mainland China --- p.61
News Favoring the Government Happening in Hong Kong --- p.64
Chapter 3. --- "Analysis Between News Nature and the ""Political Perspective""" --- p.73
Summary and Questions --- p.75
Chapter Chapter Five: --- Organizational Analysis --- p.78
Chapter Part I: --- Textual Analysis and Comparison --- p.78
SARS Reports --- p.79
"Textual Comparison among TVB, Phoenix and CCTV" --- p.89
July 1 st Demonstration in Hong Kong --- p.92
"Textual Comparison among TVB, Phoenix and CCTV" --- p.102
Chapter Part II: --- Interviews Analysis --- p.105
International News & Political News --- p.105
The Pro-China Political Bias------Hong Kong Problem --- p.110
The Technique of Dealing with Sensitive News Issue --- p.113
Pressure & Self-Censorship --- p.118
Chapter Chapter Six: --- Conclusion and Discussion --- p.122
Conclusion --- p.122
Discussion --- p.126
Appendix-1 Coding Record of The Asian Journal --- p.129
Appendix-2 Inter-coder Reliability --- p.152
Appendix-3 Interview Questionnaire --- p.156
References --- p.157

Yizo Yizo, a South African drama series aired in 1999, received extraordinary positive and negative attention for its gritty depictions of township school life. The dissertation explores the relationship between the context, programme/text, the viewers/audiences, the content and the form of Yizo Yizo. Representations of violence and gender relations in Yizo Yizo are the primary concern of the dissertation. Contextual analysis is followed by an outline of the narrative needed to engage viewers' responses. This outline forms the basis for a discussion on representations of violence and gender relations, utilising textual and audience analysis to interrogate the nature of images. Concluding chapters connect issues of representation and reality, completing the critical circle introduced in the opening chapters through an analysis of the programme's title. Yizo Yizo is examined using a cultural studies approach, assessing "the relationship between texts -- representations that produce meanings--- and their contexts" (Tomaselli, 1989:38). The methodology employed to deconstruct representations of violence, gender relations and realism, follows recent work on 'facticity' and essentialism in African-American cultural production (Smith, 1992; Lubiano, 1997). In reference to depictions of violence and gender relations, the dissertation follows the established monographs of the British Broadcasting Standards Council (BSC), the Independent Broadcasting Authority (IBA) of the United Kingdom, and the Human Sciences Research Council (HSRC) of South Africa (Gunter, 1986, 1987; Gunter & Wober, 1988; Cumberbatch & Howitt, 1989; Glanz 1994, respectively). Utilising textual and reception analysis, the study found Yizo Yizo's use of violence is substantiated through its dramatic intent. However, the drama fell short of exposing the 'myths' of township high schools. Thus, the viewer is left with dominant depictions of evil as responsible for the state of disequilibrium, leaving little room for an interrogation of the 'real' issues at Supatselo High. The series also side steps the historical context that impacts the present conditions of township learning. Moreover, the portrayal of female characters in the series perpetuates dominant patriarchal ideology by regurgitation myths and stereotypes. Research also highlighted the problem of viewing Yizo Yizo in an educational framework. The substantial drop in audience ratings for the final episode, which focused on a school that established or restored the 'culture of learning and teaching', indicates the series fell short of its educative potential. The series does not truly interrogate the socio-economic and political context of education in South Africa. Instead, the 'crisis' in education is paralleled with issues of delinquency rather than socio-economic inequalities of an educational system with a history tainted by the legacy of apartheid. A further finding indicates that due to violent content, language and other issues, the SABC should have scheduled the programme after 9pm, during the watershed period.
Thesis (M.A.)-University of Natal, 2000.

Education is considered as an essential tool for the long-term development of most countries. The provision of education to only part of a community or part of the world reinforces relative deprivation. To counteract such an effect, South Africa, a geographically large country, in which the population is scattered, where economic disparities are aligned to race, where qualified teachers and specialists in certain subject areas are scarce, and where there is an illiteracy rate of 29 percent, hope has been expressed that television broadcast based distance education may be a viable alternative to expanding formal education provision extensively and quickly. This study investigates the role of television broadcast-based distance education in South Africa as a possibility for extending the provision of formal education to large numbers of learners and how the South African Broadcasting Corporation (SABC) and the country 's Department of Education fulfils the promise of extending education. This objective was addressed by first giving a critique of conventional education systems and why distance education is an alternative option for provision of education. Further, the study traces a general picture of education in Africa and the educational situation in South Africa, highlighting the distance education scenario in South Africa , and investigates why distance education and particularly television broadcast-based distance education is crucial in the provision of education in developing countries in the face of the globalisation of mass communication and new information technologies. The study also investigates the complex issues involved in the production, distribution and consumption of Liberty Learning Channel Programme (a television programme which offers remedial support for matric (grade 12) and grade 10 to 11 students) by examining whether the producers and partners of the programme created a text which connects with the multi-cultural reality of teachers, learners and other viewers in South Africa; the role of the programme in the service of growth, reconstruction and development; why the programme is not popular among the youth; and what can be done to make it effective in enhancing teaching and learning; and the intertextuality, production and distribution of the programme. Information on the above aspects was gathered through the scannmg of relevant literature and by the use of ethnographic research procedures which included focus group interviews, in-depth interviews and participant observation. The study established that conventional systems of education and current educational practices have fallen short ofpreparing citizens with a strong foundation of general education. The study therefore offers distance education not only as an alternative to conventional education delivery at secondary and higher levels of education, but also as a low-cost alternative to expanding education. Constructivism is suggested as an alternative set of values that may significantly influence learning and that can help develop the kind of citizens who can be able to function successfully in real-word contexts. With regard to effectiveness of television broadcast-based distance education in teaching and learning, the study established that television is an effective means of achieving traditional educational goals, and that television broadcast-based distance education remains important especially in the developing countries in light of the need to increase access to education, redress the disparities caused by globalisation of mass communication and by lack of information and communication technologies. With regard to distance education in South Africa, the study found that there is both significant policy commitment and actual use of broadcast-based distance education in solving many of the country's education problems, but that there is an urgent need to improve the quality of that provision, particularly in formal education. On the complex issues involved in the production, distribution and the consumption of Liberty Learning Channel programme, the study found that the programme (aired live since 1993), is a production of Liberty Learning Channel, an independent company based in Johannesburg, in partnership with the Liberty Life Foundation, and that the SABC is not involved in the production but provided the airwaves. Each subject presenter prepares his or her own lessons, and therefore no services of producers, scriptwriters, or editors are employed in the production of the programme. The programme is then distributed through television, newspapers (the Sowetan), videocassettes, the Internet and in future through CD-ROMs. Additionally, the study found that Liberty Learning Channel relies on audience feedback from audience rating and occasional feedback from comments down the streets or letters from viewers thanking the presenters. This study argues that this kind of monitoring is not sufficient as rating only tells advertisers how many viewers were exposed to a specific programme content on a particular television channel in a certain time slot. Regarding the consumption of the programme, the great majority of the focus group participants liked the programme and used it during revision and in dealing with large numbers of students with different abilities and difficulties. A great majority of the students liked the programme because of the way the presenters explained clearly. However, a great majority of the participants watched the programme sparingly partly because the time slot was ' inappropriate ' and due to a lack of awareness about the programme. Several suggestions for the improvement of the programme were put forward, amongst them: to change the time slot; to have multi-racial presenters ; to give detailed timetables to schools in advance, and to advertise the programme more directly to schools. However, a reluctance or unwillingness to consider some of the audiences ' suggestions for the improvement of the programme, was shown by the manager of Liberty Learning Channel, William Smith. The above results are reported and discussed in detail in chapters 2 to 3, and general conclusions and recommendations presented in chapter 4.
Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2004.

The thesis takes the form of an investigation into the various causes leading to the demise of the English language television single play in South Africa. It does not position the genre within any particular theoretical framework, but argues within the context of a liberal/critical discourse that the single play owes its development and significance to the contribution of its many writers, as well as to the creative input of the various producers, directors, from within and outside the SABC. Furthermore, it evaluates the genre within the bureaucracy of the SABC and the input of the various drama managers, among others, whose decisions have affected the position of the single play. The single play is seen as a development of drama having evolved from the stage play, though moving progressively towards the production values of film. Research will show that in the South African context, the creative practitioners of the single play and technology have intersected with style, reflecting the dominant form of naturalism, mainly evidenced during the early period when many single plays were produced in the studios of Auckland Park. Within a wider sociopolitical context, the single play has been evaluated as a negotiation among writers, censorship, technology, naturalism and bureaucracy. The investigation will show that the major cause for its demise was the SABC's increasing commercialisation of TV -1, with the result that programmes on this channel were evaluated in terms of their ability to deliver large audiences to the advertisers. This placed the single play in competition for transmission space with the more popular drama series and serials. Furthermore, the business principle of cost-effectiveness applied to the single play made it more expensive to produce than series and serials. The author's own practical involvement in the production of video and television programmes, including drama, together with primary source information gleaned from some forty interviews with practitioners and those whose decisions impacted on the genre, have been added to the body of the research.
Thesis (Ph.D.)-University of Natal, Durban, 1993.

Text in Afrikaans
Hierdie studie ondersoek die behoeftes van Afrikaanse televisiekykers aan Afrikaanse televisieprogramme te midde van die veranderinge wat sedert demokratisering aan die Suid-Afrikaanse medialandskap plaasvind. Hierdie behoeftes word ondersoek by wyse van 'n gevallestudie ender graad 10-leerders in Pretoria. Die gebruike- en bevredigingsbenadering dien as teoretiese onderbou vir die studie en die invloed van 'n aantal veranderlikes word ondersoek. Hierdie veranderlikes is televisiegerig (inhoud, aanbod en struktuur van Afrikaanse programme), tegnologiegerig (nuwe mediategnologiee socs satelliettelevisie en die Internet) en kykergerig (sosio-kulturele, persoonlike en demografiese faktore). Die studie bevind dat daar 'n verband is tussen hierdie veranderlikes en respondente se behoeftes aan Afrikaanse televisieprogramme. Die studie bevind dat Afrikaanse programme nie respondente se behoeftes bevredig nie. Nuwe mediategnologiee verbreed respondente se sosio-kulturele horlE;onne sodat hulle gemaklik met programme in Engels omgaan. Te midde van die toenemende aanbod van oorsese programme in Engels, neem die behoefte aan Afrikaanse programme af.
This study investigates the need for Afrikaans television programmes among Afrikaans viewers in the changing media environment in South Africa. Needs are studied by means of a case study among grade 10 learners in Pretoria. The uses and gratifications approach serves as the theoretical framework of the study and a number of variables are investigated. These variables are television driven (supply, content and structure), technology driven (new media technologies such as satellite television and the Internet) and viewer driven (socio-cultural, personal and demographic factors). The study finds that there is a connection between these variables and the need for Afrikaans programmes among respondents. The supply, content and structure of Afrikaans programmes do not gratify respondents' needs. New media technologies broaden respondents' socio-cultural horizons, enabling them to comfortably watch English programmes. Amidst the increasing supply of overseas programmes in English, the need for Afrikaans programmes is diminishing
Communication Science
M. A. (Kommunikasiekunde)

The main goal of this thesis was an investigation into the ways in which whiteness is constructed and positioned in the South African soap opera, 7de Laan, and the Flemish soap opera, Thuis, with the emphasis on the possible implications of these constructions for local as well as global discourses on whiteness in the media. In conjunction with the above, this thesis endeavoured to answer a number of subquestions relating to the origin and history of the construct of “whiteness” and Critical Whiteness Studies (CWS) as a theoretical approach and its relevance in the South African and Flemish contexts, specifically as it pertains to the analysis of mass media texts like 7de Laan and Thuis. It, moreover, sought to explore if and how whiteness functions as an organising principle in the narratives and representations of these soap operas with the emphasis on potential similarities, differences and the kinds of whiteness constructed in these texts. Finally, the goal was to draw conclusions on the possible implications of these differences and similarities in the wider context of the way in which whiteness functions in the media. To that end I conducted a controlled case comparison of a sample from these two community soap opera texts, which was informed by a literature review and deep description of each context as part of the qualitative approach I chose to take. Despite a number of similarities between the two contexts, they still differ significantly, and this afforded me an opportunity to highlight both the consistencies and particularities in the ideological patterning of representations of whiteness, across seemingly unrelated domains, to illustrate its pervasiveness. Added to the emergence of three shared rhetorical devices perpetuating whiteness in both texts, I was also able to draw conclusions about the unique way in which whiteness functions in 7de Laan in particular, since South Africa remains the primary context of the study.
Communication Science
D. Litt. et Phil.(Communication)