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Olivo, Juliana Christina. "Where have all the queer kids gone?How Queers Got Abandoned by Film Then Got Adopted by The Cooler Sibling, TV". Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1620130222346199.
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Razman, Diana Cristina. "Black Sails, Rainbow Flag: Examining Queer Representations in Film and Television". Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22626.
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This thesis aims to present, discuss, and analyze issues relating to queer representations in film and television. The thesis focuses on existing tropes, such as queer coding, queerbaiting, and the “Bury Your Gays” trope that are prevalent in contemporary media, and applies the analysis of these tropes to a case study based on the television series Black Sails (2014-2017). The analysis explores the main research question: in what way does Black Sails subvert or reproduce existing queer tropes in film and television? This then leads to the discussion of three aspects: the way queer sexual identities are represented overall, what representational strategies are employed by the series in a number of episodes, and whether or not these representations reproduce or subvert media tropes.
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Felix, José Carlos. "Film and television adaptation". Florianópolis, SC, 2004. http://repositorio.ufsc.br/xmlui/handle/123456789/87828.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Letras/Inglês e Literatura CorrespondenteMade available in DSpace on 2012-10-22T02:29:14Z (GMT). No. of bitstreams: 0
A presente pesquisa tem como objetivo principal investigar o processo de adaptação de filmes baseados em textos literários em relação ao contexto histórico e social em que eles foram produzidos. Desta forma, a pesquisa apresenta uma análise comparativa de duas versões cinematográficas da peça do dramaturgo Tennessee Williams A Streetcar Named Desire produzidas em momentos históricos distintos, a primeira para o cinema, dirigida por Elia Kazan (1951) e a outra feita para a televisão, dirigida por Glenn Jordan (1995). Uma discussão sistemática sobre o processo de
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Kurz, Lindsey H. "The Queer "Third Species": Tragicomedy in Contemporary LGBTQ American Literature and Television". University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1525170405649783.
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Anthony, Tyler Robert Daniel. "Análisis de la representación de la mujer en la serie Las chicas del cable (Netflix 2017-20XX)". Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu15556849066262.
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Frame, Gregory. "The American president in film and television". Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/57046/.
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This thesis examines the representation of the American president in fictional films and television programmes, as well as documentary film and photography. It engages broadly with the subject’s entire history, but focuses particularly on the past two decades (1992-2012). Its primary method is close textual analysis, departing from pre-existing studies that are largely preoccupied with questions of verisimilitude and historical accuracy. The construction of the cinematic and televisual presidencies requires a simultaneous negotiation of the ‘real’ political/historical record, and the desire to reproduce and reinforce the representational genealogies inherited from cinema and television’s own histories (not necessarily all explicitly ‘political’). My research has found the presidency to be overwhelmingly reliant upon mythological discourses about American national identity, and traditional conceptions of masculinity. How these constructions impact upon the representation of the president in relation to the contexts from which the films and programmes emerge is of crucial importance. The conception of the presidency has undergone enormous change since the early 1990s. The end of the Cold War, the increased scrutiny of the mass media, 9/11 and the ‘war on terror’, and the economic crisis, have either challenged or reinforced the notion that the president is an omnipotent force, able to bend the world to his will. The strategies cinema and television have employed to address these changes is of crucial significance to this thesis. This thesis will establish the manner in which techniques of mainstream film and television production – genre, visual style, iconography, and narrative – have impacted upon the reinforcement or critique of the presidential myth. As the presidency has suffered relative decline in a more diffuse geopolitical environment, this thesis demonstrates the extent to which the myth of the presidency has required the intervention of mainstream cinema and television to ensure its preservation.
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Stoiljkovic, Anna Sofia. "Representation of race, gender and LGBTQ+ on Modern Family". Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21830.
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AbstractThe purpose of this study is to establish the representations of the main characters of Modern Family out of three themes: the representation of genders, race and LGBTQ+, based on theories within the field, such as representation and stereotypes. Earlier research shows that these three social groups often are represented stereotypically in media with more inclusivity in some aspects and less in some. Four episodes have been chosen from different years and have been analyzed from an intersectional perspective. This purpose of this research is to understand what codes have been used when creating the main characters, and it focuses on three research questions:- In what ways are the female, male, Latin and LGBTQ+ characters on Modern Family represented?- Has the representation of race, gender and LGBTQ+ changed over the nine years since Modern Family started broadcasting? If so, in what ways?- What stereotypes replicate on the different characters depending on their race, gender and LGBTQ+?To do this, descriptive text analysis and semiotics have been used to analyze each episode and for better understanding of the stereotypical traits and representation in the analysis, Richard Dyer’s definition of stereotypes and Stuart Hall’s theory of representation have been used. The results show different changes in representation regarding the three themes. In conclusion, the representation of genders has changed over the nine years, thus has the representation of the Latin race and LGBTQ+ community not changed in many significant ways.Heading: Representation of race, gender and LGBTQ+ on Modern Family. Author: Anna Sofia StoiljkovicLevel: Final Exam Project in Media and Communication Studies, 15 hp Institution: School of Arts and Communication (K3)Faculty: Faculty of Culture and Society University: Malmö University Supervisor:Examiner:Term: Spring of 2019Keywords: Media representations, tereotypes, gender, race, LGBTQ+, Modern Family.
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Johns, Jennifer L. "Tracing the connections : Manchester's film and television industry". Thesis, University of Manchester, 2004. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.676506.
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Mullin, Romano Francis. "Reimagining the Renaissance : afterlives in literature, film and television". Thesis, Queen's University Belfast, 2017. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.728197.
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Walsh, Angela. "Obscene intimacies : postmodern portraiture in documentary film and television". Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/54728.
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The past several decades have witnessed a steadily increasing output of documentaries which aim to explore the intimate lives of individual subjects. Although there has been no official scholarly study delineating these films as a documentary sub-genre, they have been variously termed portrait or biographical documentaries, and they are a persistent feature of both documentary film production and non-fiction television programming. This project aims to situate these films and television programs within broader cultural shifts that have occurred in the latter half of the twentieth century, including an upsurge in the ubiquity of images, distrust in the photographic medium’s ability to access the real, and dismantling of taste hierarchies. All of these changes fit under the broad paradigm of postmodern theory and culture, a societal condition that continues to evidence itself in the current age. Despite postmodernism’s proclamation that social relationships and individualism have collapsed, contemporary portraiture documentaries still aim to facilitate a sense of connection between viewer and subject. Postmodernism intersects here with what Richard Sennett has called the “intimate society,” which is characterized by a societal impetus toward personal revelation and emotional expression. I posit that portraiture documentaries represent the collision and working through of these two competing cultural features. Following an overview of the scholarship relevant to my research in Chapter One, Chapter Two will discuss two films by the documentary filmmaker Nick Broomfield, Heidi Fleiss: Hollywood Madam (1995) and Aileen: Life and Death of a Serial Killer (2003). Often maligned in both critical and scholarly circles for failing to interrogate ideology in any meaningful way, I argue that his work operates on a reflexive level to suggest that images fail us when attempting to extract the intimate truth of the individual. In Chapter Three I discuss two examples of reality television series that focus on the lives of individuals, Errol Morris’s First Person (IFC, 2000-2001) and Intervention (A&E, 2005 - ), which demonstrate the persistent need to render the subject in visual terms and make the viewer witness to the most intimate and personal aspects of their lives.Arts, Faculty of
Theatre and Film, Department of
Graduate
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Han, Heeju. "Galdosian novels adapted in film and television 1970-1998 /". [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3264320.
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Thesis (Ph.D.)--Indiana University, Dept. of Spanish and Portuguese, 2007.Source: Dissertation Abstracts International, Volume: 68-05, Section: A, page: 1958. Adviser: Maryellen Bieder. "Title from dissertation home page (viewed Jan. 12, 2008)."
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Maciel, Katia Augusta. "Film, popular music and television : intertextuality in Brazilian cinema". Thesis, University of Southampton, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.494969.
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The thesis examines the effects of the cross-fertilisation between cinematic, musical and televisual texts on depictions of two emblematic Brazilian social space - the favela (shantytown) and the sertão (arid backlands) - in recently released independent and mainstream domestic productions. I argue that through processes of intertextuality recent Brazilian films have gradually transformed the favela into a widely exposed, lucrative but also productively challenging spectacle. Similarly, the iconicity of the sertão has been resignified allowing a new understanding of the region to emerge. My analysis of recent films set in either the favela or the sertão also proposes that different elements, such as traditional and modern, local and non-local cultural forms, are not simply blended into a single hybrid filmic text. As these elements coexist and traverse the cinematic landscape in the contemporary moment, I insist on the fact that the idea of national culture, in Brazil as well as elsewhere, must be considered in relation to ever-changing contexts rather than in relation to prescriptive ideologies. My research contributes to reassessing Brazilian cinema history by exploring key examples of the aesthetic, constitutional and cultural interaction between popular media in the country. The reassessment allows me to challenge established distinctions between art and popular cinema, to propose more productive ways of understanding how different media can support their mutual development, and to highlight the implications of intertextuality for new expressions of brazilidade (Brazilianness). The discussion is based on an intertextual analysis of four recent domestic films: Cidade de Deus (City of God, 2002), Lisbela e o prisioneiro (Lisbela and the Prisoner, 2003), O invasor (The Trespasser, 2001) and Baile perfumado (Perfumed Ball, 1997). I examine elements of the mise-en-scène (mainly set design and performance), editing and soundtrack to identify cross-media references.
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Buckle, Christopher. "The 'War on Terror' metaframe in film and television". Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3014/.
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Following the terrorist attacks of September 11th, 2001, the government of the United States of America declared a ‘War on Terror’. This was targeted not only at the ostensible culprits – al-Qaeda - but at ‘terror’ itself. The ‘War on Terror’ acted as a rhetorical ‘metaframe’, which was sufficiently flexible to incorporate a broad array of nominally-related policies, events, phenomena and declarations, from the Iraq war to issues of immigration. The War on Terror is strategically limitless, and therefore incorporates not only actual wars, but potential wars. For example, the bellicose rhetoric towards those countries labelled the ‘Axis of Evil’ or ‘Outposts of Tyranny’ is as much a manifestation of the metaframe as the ‘Shock and Awe’ bombing of Baghdad. As a rhetorical frame, it is created through all of its utterances; its narrative may have been initially scripted by the Bush administration, but it is reified and naturalised by the news media and other commentators, who adopt the frame’s language even when critical of its content. Moreover, film and television texts participate in this process, with fiction-based War on Terror narratives sharing and supporting – co-constituting – the War on Terror discourse’s ‘reality’. This thesis argues that the War on Terror metaframe manifests itself in multiple interconnected narrative forms, and these forms both transcode and affect its politics. I propose a congruency between the frame’s expansiveness and its associational interconnections, and a corresponding cinematic plot-structure I term the Global Network Narrative. Elsewhere, an emphasis on the pressures of clock-time is evoked by the real-time sequential-series 24, while the authenticity and authority implied by the embedded ‘witness’ is shown to be codified and performed in multiple film and television fiction texts. Throughout, additional contextual influences – social, historical, and technological – are introduced where appropriate, so as not to adopt the metaframe’s claims of limitlessness and uniqueness, while efforts are made to address film and television not as mutually exclusive areas of study, but as suggestively responsive to one another.
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Keene, Rachael. "Channel 4 Television : film policy and programming, 1982-2011". Thesis, University of Portsmouth, 2014. https://researchportal.port.ac.uk/portal/en/theses/channel-4-television(cfa1d56d-dcd1-427f-be25-d9babc817205).html.
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This thesis examines Channel 4’s relationship with British film culture between the years of 1982 and 2011. This is an institutional study, wherein policy is used as a means of interrogating Channel 4’s remit, staffing decisions and changing financial structures. It surveys the channel’s film coverage across a twenty-nine year period, taking a chronological approach. Following assessment of the policy landscape in the first chapter, a series of case studies are used to assess Channel 4’s commissioning and broadcasting practices relating to film and film-related programming throughout the period under examination. Although film has played a key role in Channel 4’s history, remaining at the forefront of shifts in programming policy, it has been underrepresented in academic writing about the channel. This thesis addresses these gaps in scholarship, arguing that it is impossible to offer a comprehensive account of British film culture since 1980 without assessing Channel 4’s contribution to it. This thesis raises key questions relating to definitions of creativity within the broadcasting sector, asserting that individuals working outside of production are capable of expressing creative agency within their areas of employment. The creative practices of television schedulers are evaluated throughout, using assorted programming samples as evidence. In treating the television schedule as a discrete text it has been possible to gain an overview of Channel 4’s strategies relating to particular categories of film and film-related programming throughout the last three decades. The thesis also includes interviews and archival data obtained from Channel 4 during the period under examination. These original primary sources have supplemented existing gaps in literature, contributing to the development of an interdisciplinary methodology, enabling a new approach to evaluating relations between the UK’s film and television sectors.
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Cocarla, Sasha. "Straddling (In)Visibility: Representations of Bisexual Women in Twenty-First Century Popular Culture". Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/34608.
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Throughout the first decade of the 2000s, LGBTQ+ visibility has steadily increased in North American popular culture, allowing for not only more LGBTQ+ characters/figures to surface, but also establishing more diverse and nuanced representations and storylines. Bisexuality, while being part of the increasingly popular phrase of inclusivity (LGBTQ+), however, is one sexuality that not only continues to be overlooked within popular culture but that also continues to be represented in limited ways. In this doctoral thesis I examine how bisexual women are represented within mainstream popular culture, in particular on American television, focusing on two, popular programs (The L Word and the Shot At Love series). These texts have been chosen for popularity and visibility in mainstream media and culture, as well as for how bisexual women are unprecedentedly made central to many of the storylines (The L Word) and the series as a whole (Shot At Love). This analysis provides not only a detailed historical account of bisexual visibility but also discusses bisexuality thematically, highlighting commonalities
across bisexual representations as well as shared themes between and with other identities. By examining key examples of bisexuality in popular culture from the first decade of the twenty-first century, my research investigates how representations of bisexuality are often portrayed in conversation with hegemonic understandings of gender and sexuality, specifically highlighting the mainstream "gay rights" movement's narrative of "normality" and "just like you" politics. Finally, it is in recognizing how representations of bisexuality are framed by specific reoccurring
themes/tropes, as well as how these themes/tropes work together within larger social, cultural, and political climates, that it becomes possible to challenge existing gender and sexuality norms and ideals and create a more nuanced and complex understanding of bisexuality.
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Vogt, Olivia. "(De)constructed Gender and Romance in Steven Universe: A Queer Analysis". Thesis, North Dakota State University, 2019. https://hdl.handle.net/10365/31726.
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As LGBTQ issues come to the forefront of discussion, the acceptance of queer television is becoming more common. However, research has shown that seemingly progressive shows often reinforce dominant ideologies, despite the presence of queer characters or themes. This analysis seeks to understand whether the children's animated series, Steven Universe, is as progressive as reviews would make it seem. Two open-ended research questions are used to explore the constructions of gender and romance in the series. Through the use of queer analysis, this study reveals that the series is indeed queer. The series narrative subverts gender through the deconstruction of societal binaries. Likewise, love is treated inclusively, and is not limited to heterosexual romances. Steven Universe, though not perfect, is an amicable example of how children's cartoons can educate upcoming generations in what it means to defy expectations and go beyond labels.
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Dhinakaran, Sharon. "Behind the Mask| Unveiling a Transgender Story". Thesis, Regent University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10634803.
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?Come to me, all you who are weary and burdened, and I will give you rest? (New International Version, Matthew 11:28). In South India, transgenders are treated as untouchables and part of the least in the society. This restriction that the society places on transgenders has built hurt and regret in their lives. The Bible tells us to treat everyone equal and Jesus asks us to love all unconditionally; at times, it is difficult to put that teaching into practice. This topic was originally chosen to investigate this community and find a biblical approach to them, but working with Seesha, a non-profit, the approach took a different direction. The following research and documentary will focus on the acts of Jesus, that is, educating and empowering. This is in hope to bring awareness to the rejection of the transgender community and possible ways to change the perspective of society by choosing to accept them. The aim of this project is to try to lessen the burden of life in transgenders (stigma), by educating the society of their physical anatomy, lifestyle and daily struggle for a better standard of living.
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Fryers, Mark. "British national identity and maritime film and television, 1960-2012". Thesis, University of East Anglia, 2015. https://ueaeprints.uea.ac.uk/59453/.
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This thesis considers the mythology connected to the maritime sphere and notions of British national identity and collective unity through the projection of the maritime in British film and television. Specifically, it traces the evolution of this myth through the period 1960-2012, a post-Imperialist era characterised by broad social, economic and political changes and internal divisions within the historic Union of Great Britain, demonstrating how British culture continually uses the past to comment on the present. The thesis argues that the maritime remains a vibrant cultural site of British national self-examination and re-examination despite the precipitous decline of both Empire and Royal Navy within this time period. The specific audio-visual properties of the filmic and televisual forms and their position as the most successful cultural industries of the 20th Century suggest themselves as vital components for interrogating national myth and projections of collective unity and the attendant challenges to these. Aligned to this is the manner in which critical reception continues to operate as an indigent of collective memory, morality and communality aligning itself as provision not only of positive cultural taste but also of a wider debate on the merits or de-merits of the specific components of myth and identity. Each text is situated within its specific historical and industrial context and a combination of primary sources, textual analysis and reception studies are unified to argue that both the texts themselves and their reception within critical discourse collectively negotiate the role that media cultures play in constructing and challenging notions of collective identity and myth. Finally, this thesis argues constructively, that the seemingly banal cultural symbols of national identity and mythology, far from being an irrelevance in a globalised age, remain amongst the most vital cultural, social, political and economic discourses of the age.
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McLoone, Martin. "Representation and identity : film, television and the media in Ireland". Thesis, University of Ulster, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.274096.
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Bignell, Jonathan. "The moving image : narrative construction in film and television fiction". Thesis, University of Sussex, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303240.
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Smith, Iain Robert. "The Hollywood meme : transnational appropriation of U.S. film and television". Thesis, University of Nottingham, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546464.
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Findlay, James Daniel. "Caught on Screen: The Convict Experience in Film and Television". Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17582.
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Since the origins of Australian cinema, filmmakers have told stories about convicts: those men, women and children transported from their homelands whose role as founding settlers was often viewed as a stain on the country’s reputation. This thesis argues that with the rise of screen culture, convicts emerged as key historical figures who shaped and defined ideas and attitudes about Australia’s colonial past. It navigates a way through the popular representation of the convict experience in an unprecedented collection of convict-related film and television programs, from silent epics to musical melodramas and reality television. The thesis demonstrates the critical role their production and reception has played in ascribing meaning to convictism, and more broadly to the processes of colonisation that established white Australia. The research focuses on a range of important mythologies appearing on screen and examines their interaction with other cultural works such as literature, visual art and theatre, as well as intellectual thought. These include a focus on convict victimology, convicts as nation builders and convicts as agents of colonisation. As filmmakers negotiated, and audiences responded to, these often problematic histories, their visions of the past powerfully shaped a wide range of historical discourses relating to race, class and gender in Australia. Their mass appeal disrupts the historical orthodoxy that a desire to suppress the convict ‘birth stain’ was a dominant force shaping Australian history-making during the first half of the twentieth century. For many Australians, going to the movies or watching television defined the convict era and its legacies for modern nationhood.
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Pape, Anthony P. "Overdose: Constructing Television from the Cracks in the Superhero Content Conglomerate". Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors162025124846866.
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Harding, Alan James. "Evaluating the importance of the Crown Film Unit, 1940-1952". Thesis, Southampton Solent University, 2017. http://ssudl.solent.ac.uk/3806/.
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The Crown Film Unit (CFU) was the British Government’s principal in-house film production facility during the years 1940 to 1952. Over this period it produced around 225 films of different types and lengths ranging from short five minute Public Information Films to feature length cinema exhibited pictures. A very few of the latter, such as Target for Tonight (1941) or Fires Were Started (1943) have become iconic representations of both the bomber offensive and the Blitz during the Second World War. Although these films only represented a very small percentage of the CFU’s entire catalogue they have, in the main, dominated academic discourse about the Unit. This research has sought to explore the full production canon of the CFU and, in particular, to examine its importance and legacy. In doing so it has also engaged with the debates about the role of film propaganda especially as it impacted upon the self-image and morale of the British people during and after the War. It also examines the role and position of the Unit in the development and history of the Documentary Movement. To achieve these research aims the Crown Film Unit is first situated in its historical context and the influences of its predecessors over the previous forty or so years are examined. Subsequently a new classification paradigm is developed which allows the films themselves to be reviewed according to theme. Locating each of the films in a particular dynamic framework enables them to be evaluated from the appropriate social, economic, political or military perspectives. The films are also considered in the context of their reception which, in the case of the CFU was not just cinematic exhibition but also a substantial non-theatrical audience watching, not only in the UK, but across the world. The penultimate chapter examines the legacy of the CFU demonstrating that it had an important impact upon British and overseas feature film making in the 1950s, but it also made a currently undervalued contribution to the subsequent development of both Public Information, training, advertising and instructional films. The research concludes that although perhaps still best described as a Documentary Film Unit the role of the CFU was far more nuanced.
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Taylor, J. "From sound to print in pre-war Britain : the cultural and commercial interdependence between broadcasters and broadcasting magazines in the 1930s". Thesis, Bournemouth University, 2013. http://eprints.bournemouth.ac.uk/21079/.
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This thesis is a study of key broadcasting magazines published in the United Kingdom prior to the Second World War. At its centre is the premise that the relationship between broadcasting and the magazine industry evolving around it was symbiotic in nature. The relationship was complex because the broadcasters provided much of the material for the magazines to publish and therefore could potentially use this as a tool for influence and publicity, as they sought to stimulate the demand for their output in the British public. However, the magazines were the mediators of the flow of communication. Their editorial content not only provided a critical commentary on material broadcast but also represented a direct conduit between the readers/audience and the broadcasters by providing a forum for the readers/audience to publish their views. Exploring the history of early broadcasting from the perspective of this material reveals the interdependency between the radio stations/broadcasters, the magazines and ultimately, how they connected to the readers/audience. While there have been other partial studies of broadcasting magazines, particularly the Radio Times, these have not assessed the magazine against other contemporary magazines, nor have they placed the magazine within a broadcasting history context. This study not only considers the magazines against the background of the growing broadcasting industry, it also explores what wireless meant to its first audience. This was a crucial element for understanding how the public responded to the developments which were taking place in the 1930s, when commercial enterprises encroached on the BBC’s monopoly and attempted to poach its listeners.
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Ward, Karla. "A depiction of the ghetto in feature film : a cinematic platform for confronting contemporary representations of ghetto occupancy". Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8130.
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Includes abstract.Includes bibliographical references (leaves 30-31).
The thesis film project, Mile in My Shoes, is a narrative depiction of a particular South African experience that consists of broader implications. It utilizes the ghetto/township setting to illustrate diverse, counter hegemonic depictions of black and especially black African characters, lifestyles, images, love, gender, and their position/focus in film.
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Geanotes, Alyxia. ""Don't look at the camera!" : an investigation into directorial methodologies and practise used when working with child actors in film". Master's thesis, University of Cape Town, 2005. http://hdl.handle.net/11427/10545.
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Title of CD-ROM is "Unwritten Letters", written and directed by Alyxia Geanotes.Includes bibliographical references.
This dissertation sets out to explore the complexities inherent in working with children in a filmic context. The focus is on creating a set of guidelines for other emergent filmmakers to use when and if they choose to work with children in film. It will analyse how the complex dynamics of children and film together create both the obstacles and inspirations in filmmaking. The film Unwritten letters forms the platform for the analysis and discussion around the nature of children and the filmic environment with specific attention to Directorial techniques and Professional practice. It forms the basis for posing a number of theoretical questions about Realism and the intricate dynamics at work when dealing with children in film.
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Jones, Joshua B. "TransTV: Transgender Visibility and Representation in Serialized Television". Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1469625819.
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Eberts, Jane F. "Adaptation: Is the Book Really Better Than the...Television Series?" Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/105.
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When the topic of ‘adaptation’ is brought up, more often than not the coupling of a novel and its most recent Hollywood hit come to mind. Although it may not be at the forefront of the general population’s mind, adaptation is something that we encounter often, and consciously or not, we all have our own theory on the subject. While it may seem that the evolution of book series, to film adaptation, to booming franchise may be recently trending with the acceleration of blockbusters such as Harry Potter, adaptation has been a fundamental part of the advancement of media. This paper looks at film and television adaptations founded outside of the literary canon, exploring the discourse of what constitutes high or mass culture and how the medium of the adaptation fits or breaks the conventions that “classic” film adaptation has established. In addition, the medium-specific differences between film and television will be examined for how they limit or enhance a literary adaptation, whether it is a single novel or a series. What happens to the critique of an adaptation when it extends past the narrative created in the source text, opposed to the adaptation that begins and ends with the source narrative? In addition, adaptations will be looked at through a contextual and historical lens, rather than a moralistic or hierarchical lens, producing a criticism that incorporates the differences among the media involved in adaptations.
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Gaal-Holmes, Patricia. "Decade of diversity : a history of 1970s British experimental film". Thesis, University of Portsmouth, 2011. https://researchportal.port.ac.uk/portal/en/theses/decade-of-diversity(5130421f-c0de-4588-9aa1-d8232a9113a8).html.
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This thesis sets out to demonstrate the diversity in 1970s British experimental filmmaking, and acts as a form of historical reclamation. The intention is to integrate films that have not received adequate recognition into the field alongside those that stand as accepted texts. In accounts of the decade structural and material film experimentation, taking place predominantly at the London Filmmakers’ Co-operative (LFMC), has tended to dominate the histories, at the expense of overshadowing more personal, expressive and representational forms of filmmaking. This thesis therefore seeks to redress the balance by demonstrating that 1970s filmmaking was far more complex and diverse than has previously been acknowledged. It importantly also challenges the belief that more expressive, personal forms of filmmaking returned at the end of the decade, to argue that these were in existence throughout the decade. Evidence of diversity is provided through the range of approaches to filmmaking and individual films discussed. Written evidence of the ‘return to image’ thesis is also provided, demonstrating how this has problematically perpetuated a flawed account of the decade. Relationships to the visual arts are closely considered as experimental filmmaking essentially emerged from this field, as opposed to the dominant, commercial cinema. Filmmaking is, however, also considered within the wider contexts of independent film production, particularly where intersections occurred with institutional or organisational frameworks. Theoretical, socio-political and cultural influences informing filmmaking have also been deliberated, as these significantly informed filmmaking. The framing of 1970s experimental (and independent) filmmaking within Marxist discourses has also been recognised as potentially supporting the problematic ‘return to image’ thesis, particularly as collectivist Marxist ideologies potentially militated against more personal, individual and expressive forms of filmmaking. The first half of the thesis (Chapters One to Three) considers the institutional frameworks and organisational strategies informing and shaping filmmaking. This includes a focus on education, funding and film exhibition; as well as the efforts made by individuals and groups to ensure that experimental filmmaking received the recognition it required to develop and flourish. In the second half of the thesis (Chapters Four to Seven) more detailed studies of the films are made in relation to relevant theoretical or socio-political discourses contextualising filmmaking. These include discourses in the visual arts; countercultural influences and more personal expressive approaches to filmmaking; theoretical discourses related to experimentation with structure and material and feminist discourses related to women’s filmmaking. A range of methodological approaches has been used to uncover the diversity in filmmaking. The film texts themselves have provided the most singular evidence for proof of diversity. Both primary and secondary written texts have been consulted in order to facilitate an understanding of the films and recognise the theoretical and socio-political contexts informing filmmaking and to comprehend the complex nature of the field. The intention throughout has been to provide an understanding of this diverse, vibrant and rich history.
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Norris, Van. "'Drawing comic traditions' : British television animation from 1997 to 2010". Thesis, University of Portsmouth, 2012. https://researchportal.port.ac.uk/portal/en/theses/drawing-comic-traditions(f3e59083-7442-4c7a-8ae6-f323fcc08fb1).html.
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This thesis examines the shifts within mainstream British television animation between 1997 and 2010 and it discusses how British animation’s close relationship with live-action television comedy reveals a map of contemporary attitudes and tastes. The British animated texts in this period reacted to their shifting industrial and broadcasting landscape. The historical moment of the late 1990s was determined by the successes of the American animated sitcom The Simpsons, which profoundly affected the way British practitioners conceived of the medium’s capabilities within a mainstream television environment.
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Hagstedt, Julia. "Film as a reality creating force: And Then We Danced (2019) dir. Levan Akin". Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21042.
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In this thesis, I have analyzed and problematized the discourse surrounding And Then We Danced (2019) dir. Levan Akin, by analyzing the film itself by using concepts from Pierre Bourdieu, and investigating what role the film has played in the call for action regarding LGBTQ+ rights in Georgia. I sought out to answer the research questions of how the film And Then We Danced (2019) portrays how one can adapt ones habitus and social field, how the film provoked the political discussion about LGBTQ+ rights in Georgia, and how the reception the film received reflected where Georgia, Sweden and the EU stands regarding the road to LGBTQ+ rights in Georgia. Using Bourdieu, I came to the conclusion that the film portrays how one can adapt ones habitus and social field through Merab’s character arc in the film, and the director used his cultural capital (embodied, institutionalized, and objectified) to not only produce the film itself, but giving a social subfield (Georgia’s LGBTQ+ community) acknowledgment and recognition by involving them in his film. Because of the reaction the film received, it amplified the need for social change in Georgia, reaching news across the globe, putting the rights of LGBTQ+ people in Georgia on the global political agenda. The way the reception the film received reflected where Georgia, Sweden and the EU stands regarding the road to LGBTQ+ rights in Georgia is quite accurate to where they stand politically regarding the issue. Georgia is divided on the issue as they both protested against the film while simultaneously selling out out all of their tickets to see the film, Sweden remained supportive and proud of the film throughout the entire process, and the EU much like Georgia is quite divided as they both funded the film, but does not have a united front on where they stand regarding the issue.
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Martinez, Daniel. "Play the Fool". Digital Commons at Loyola Marymount University and Loyola Law School, 2018. http://www.kaltura.com/tiny/d2h1z.
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Hey, Jessica L. "A New Queer Trinity: A Semiotic, Genre Theory, and Auto-Ethnographic Examination of Reeling: The Chicago LGBTQ+ International Film Festival". The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1493984077068621.
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Stewart, Ian. "Presenting arms : representations of the British Army on film and television". Thesis, University of Reading, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270306.
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Khazaal, Natalie Michaylova. "Sectarianism, language, and language education in Lebanese theater, television, and film". Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1467886891&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Coon, David Roger. "Re-writing the American dream suburbia in contemporary film and television /". [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3332468.
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Thesis (Ph.D.)--Indiana University, Dept. of Communication and Culture, 2008.Title from home page (viewed on May 14, 2009). Source: Dissertation Abstracts International, Volume: 69-09, Section: A, page: 3363. Adviser: Christopher Anderson.
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Sobhani, Mehrnoosh. "Avant-garde film or television series : on Edgar Reitz's cinema utopia". Thesis, University of Edinburgh, 2002. http://hdl.handle.net/1842/23198.
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This thesis examines Edgar Reitz’s internationally acclaimed films Heimat and Die Zweite Heimat in the context of the early avant-garde theories and films, which Reitz developed during his years at the Ulm Film Institute. The two films have been widely analysed in articles, essays, books and PhD theses within the context of the Heimat film genre of the 1950s and the anti-Heimat and critical Heimat film genres of the 1960s and 1970s. They have also been extensively debated for their controversial portrayal of the Third Reich and the Holocaust. Astonishingly, in all the studies on the films, critics have assumed that, apart from an autobiographical relationship, there is no link between Reitz’s Heimat-films and his early avant-garde theories and films. Interpretations, therefore, largely overlook the cinematographic issues brought up by the films. This dissertation attempts to close this gap in the discussion of Reitz’s Heimat-films. Starting with a detailed study of Reitz’s early avant-garde theories and films, it investigates Reitz’s contributions of the New German Cinema, shedding light on his novel approach in exploring a new film language, as well as a new film venue. Critics have debated the question of the venue of Reitz’s Heimat-films, which were made for the cinema but gained success in television. Few, however, have related this debate to Reitz’s earlier attempts to challenge the conventional venue of film. The fact that critics have predominantly focused on the question of history and the meaning of Heimat in the two films has had the unfortunate consequence that references to Reitz’s earlier films have been restricted to those which likewise deal with the topic of National Socialism, namely Die Reise nach Wien and Stunde Null.
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Davies, Elizabeth Anne. "Film, Television and the Urban Experience: A Case Study of Brisbane". Thesis, Griffith University, 2010. http://hdl.handle.net/10072/366301.
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This investigation of Brisbane in film and television is a multidisciplinary research study that links anthropological and film/TV studies to the social consequences of imaging city life. It focuses particularly on how Brisbane is portrayed in post 1950s film and television programs. To date, much of the research into city growth and development has relied on the written sources and those of the built and natural environment. Similarly, research into film and television tends to focus on the narrative or auteur form, overlooking the significance of space and place and the contribution of the built environment. This study, however, demonstrates that a significant link exists between the city on one hand and film and television on the other. Therefore, excluding television and film in the history of the city ignores an integral part of Australian, and especially Brisbane, culture during the latter part of the twentieth century. Thinking about the city in terms of film and television, therefore, increases our understanding of the city, and conversely, thinking about film and television in terms of the city increases our understanding of screen culture and processes.
There are two parts to this study. Part I is a review of literature dealing with the development of the moving image and the city in the nineteenth and twentieth centuries. Contextual chapters on cultural aspects of the city and the development of the moving image in the urban frame form the theoretical foundation of this study. In Part II, a series of case studies present, critically, aspects of film and television as they relate to Brisbane. First, use of film to promote Brisbane’s urban experience to prospective migrants by the Queensland Government in the 1960s and 1970s reveals the extent to which the moving image can manipulate the perceived urban experience of a place. Next, is an analysis of the early years of Brisbane’s television history: undertaken for its contribution to a ‘sense of place’ and which gave rise to a new industry during the 1960s and 1970s. Contrasting that, however, is the sense of placelessness apparent in films set in Brisbane since the 1970s. In the final case study, however, television drama series from the 1990s once again highlight the ‘sense of place’ in this media as opposed to film. Films and television programs, conventional historical sources, such as newspaper reports, industry publications, are examined as well as interviews taken of key players during that period. Thus, the research surveyed confirms that there exists a nexus of film and television on the one hand and the city on the other. Just as film and television informed and influenced the urban experience and the city, so too the city has positioned itself as the site of film and television industries and culture. Therefore, the general framework presented in Part I of this thesis informs and delineates each of the case studies in Part II.
How moving images impact on the developmental trends of the city is a problem that is particularly relevant to the industry partner, the Brisbane City Council. Council decision makers will be in a better position, because of this study, to understand how the city can benefit from television and film exposure and their concomitant industries. Council will be able to include this research in planning its promotional and cultural activities. To that end, the central theme in this study answers the question to what extent Brisbane has featured in moving images and whether this has, and will in the future, influence the type of development that has taken place in the city, and the degree to which this is still occurring.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
Full Text
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Maur, Carleen. "Whether patterns". Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5565.
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My experimental film essay, Whether Patterns explores how the language of weather is used to describe political actions, and, in so doing, naturalize them. I show how the Pride Parade has become a well-established and regular seasonal occurrence, in contrast to its disruptive origin in the Stonewall Riots. When we talk about a political “climate,” as we often do, we imply that the political situation is out of our control, that it is something we must endure or wait out or “weather.” In my film, I juxtapose the sonic and visual effects of weather with footage I have taken at Pride parades throughout the country, and with found footage that documents the history of the gay rights movement. In so doing, I complicate the image of the parade space, and show how it has become untethered from its original radical context.
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Fain, Rob Jason. "Uncovering local history : 16 mm TV news film remaining in U.S. television stations /". Online version of thesis, 2007. http://hdl.handle.net/1850/5957.
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Thesis (M.S.)--Rochester Institute of Technology, 2007.Typescript. Accompanying CD-ROM contains versions of the thesis in Word document and PDF forms. Includes bibliographical references (leaves 35-42).
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Phillips, Dara L. "Dancing Through Film Musicals : Narratives in Motion /". Lynchburg, Va. : Liberty University, 2006. http://digitalcommons.liberty.edu.
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Pillich, Gualberto Simeon. "Invisible virtuosi the deskilling and reskilling of Hollywood film and television studio musicians /". Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1971760581&sid=11&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Collyer, Paddie. "An examination of the development of the British Board of Film Censors seen through the archives of three local authorities from 1912 until 1982 and of the British Board of Film Classification : with a particular focus on 'The Last Temptation of Christ' (1988), 'Natural Born Killers' (1994), and 'Crash' (1996)". Thesis, Southampton Solent University, 2003. http://ssudl.solent.ac.uk/605/.
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Spicer, Paul. "The films of Kenji Mizoguchi : authorship and vernacular style". Thesis, University of Portsmouth, 2011. https://researchportal.port.ac.uk/portal/en/theses/the-films-of-kenji-mizoguchi(8f7ad266-b2bd-4199-acbd-cba4263b6c89).html.
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This thesis explores the work of Japanese film-maker Mizoguchi Kenji (1898-1956) through an analysis of key film texts in their social, cultural and industrial contexts. Since coming to international prominence in the 1950s, Mizoguchi has been placed in western accounts of Japanese cinema, alongside Kurosawa and Ozu, as one of that country’s most celebrated auteurs. As we shall see, this positioning has tended to cast Mizoguchi in a certain critical light which has subsequently been challenged from different perspectives. Mizoguchi’s film career, which began in 1923, spanned the silent era and sound films, continued under Imperialist rule (1930-1945) and the American occupation (1945-1952), but gained world attention only in the last four years of his life. His life and films have since been the subject of academic studies, festival retrospectives and television documentaries, both in Japan and in the west (notably the United States). He is acclaimed, like Federico Fellini, Satyajit Ray and Ingmar Bergman, as one of the handful of film-makers who have had a profound influence upon world cinema, although in the west his reputation has remained under the shadow of his better-known countrymen Kurosawa and Ozu. This study will seek to critique rather than celebrate that legacy. But Mizoguchi’s career as a whole also has much to tell us about the history of Japanese cinema and its relationship to culture and society. And in re-focussing critical attention upon the context which informed his work, this thesis will offer a re-appraisal of his auteurist status, and suggest new ways of considering the issue of authorship.
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Mayne, Laura Margaret Jayne. "Channel 4 and British film : an assessment of industrial and cultural impact, 1982-1998". Thesis, University of Portsmouth, 2014. https://researchportal.port.ac.uk/portal/en/theses/channel-4-and-british-film(9d2b0c2b-18f6-4fe4-a360-d0a948d77f76).html.
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This thesis is an historical investigation of Channel 4’s influence on the British film industry and on British film culture between 1982 and 1998. Combining archival research with interview testimony and secondary literature, this thesis presents the history of a broadcaster’s involvement in British film production, while also examining the cultural and industrial impact of this involvement over time. This study of the interdependence of film and television will aim to bring together aspects of what have hitherto been separate disciplinary fields, and as such will make an important contribution to film and television studies. In order to better understand this interdependence, this thesis will offer some original ideas about the relationship between film and television, examining the ways in which Channel 4’s funding methods led to new production practices. Aside from the important part the Channel played in funding (predominantly low-budget) films during periods when the industry was in decline and film finance was scarce, this partnership had profound effects on British cinema in the 1980s and 1990s. In exploring these effects, this thesis will look at the ways in which the film funding practices of the Channel changed the landscape of the film industry, offered opportunities to emerging new talent, altered perceptions of British film culture at home and abroad, fostered innovative aesthetic practices and brought new images of Britain to cinema and television screens.
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Schutte, Barend-Christiaan. "Images of a new German identity : the portrayal of the unification process in documentary and feature films since 1990". Thesis, Southampton Solent University, 2005. http://ssudl.solent.ac.uk/593/.
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German unification is frequently seen as an event and a date October 3, 1990 - on which a divided people could finally live as one, restored to a natural state of togetherness. Within Germany, however, the experience since 1990 has been one of realisation of deep inner division, and recognition that unification is in fact a long term process, and perhaps even an uncertain goal in Europe, where, everywhere else, new regional consciousnesses are questioning old national identities. Since the future role of Germany in Europe is a major and controversial issue in economic, political and cultural circles, the critical construction of realistic and authentic portrayals of post-unification Germany is of considerable importance. The concept, size and location of a 'German nation' have been contested and fought over from outside and within since its 19th century forging under the leadership of Bismarck, but if one proceeds on today's dominant assumption that between 1949 and 1989 the German people existed as one nation, though they were separated by one of the most tightly guarded borders in world history - a border that separated more than just two countries, but rather served as the confrontational line between two superpowers with opposing ideological, economic and political systems - one can come to the logical conclusion that German unification in 1990 was merely an event which enabled 'the German Nation' to live in the same, unified country once again. However, if one recognizes the fact that 40 years of separation superimposed on more complex historical and contemporary mappings inevitably led to the development of two distinct collective identities, it becomes clear that German unification was - and still is - in fact an on going process of attempting to merge the peoples of two states into one, or one into the other. This is a process that will reach deep into the 21st century, involving the development of a new German national identy within the European Union in a rapidly changing world. This thesis does not try to speculate on or define a 'general' or 'essentialist' sense of what the new German national identity might be. It rather analyses texts of a selection of Germany's image makers since 1990, and examines critically a range of constructions of the new identity from documentaries and docudramas to feature films. The project does not ask to be judged as a contribution to film studies in the narrow sense of that term, seeing itself instead as an interdisciplinary undertaking which derives its insights from a fruitful mix of approaches used in Critical Discourse, Analysis, History, Cultural Studies and Film Studies. Just as it may be said that the German Democratic Republic to some extent talked itself out of existence through its people's acceptance of Western discourse, and images of a Western consumer paradise, so it is now worth analysing how the new Germany is, in complex and sometimes contradictory and sceptical ways, attempting to talk itself into existence through discourse and imagery. The thesis examines whether and how, through the medium of film, opinion formers and creative minds, with their various agendas are seeking to influence public perceptions of the post-1990 confrontation between idealised projections of German identity and recalcitrant reality.
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Hair, Carolyn Houston. "The conversationalization of television talk in the mediated public sphere : an analysis of the British audience participation talk show and the docu-soap". Thesis, Southampton Solent University, 2003. http://ssudl.solent.ac.uk/611/.
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This thesis investigates the daytime audience participation talk show and the docu-soap, in terms of public participation in a televisual public sphere. It is argued that these genres show the conversationalization of television talk where the dichotomies of public/private, citizen/consumer and information/entertainment are played out. On the talk show and the docu-soap laypersons make private revelations in public and in the increasingly commercialised boradcasting environment the citizen-viewer of public service television is addressed as a consumer resulting in the infotainment genre. It is argued that these genres exemplify cultural and social shifts in language usage, commodification and public sphere (Dahlgren, 1995, Scannell, 1989) and this thesis examines 'reality' TV to assess television's potential to improve a democratic televised show as there has been little critical entertainment with non-American shows: Esther, Kilroy and Vanessa. The docu-soap is used as a comparison as it illustrates the conversationalization of the documentary form. Critical discourse analysis (CDA) has been employed as a critical tool in order to analyse the discursive practice of these texts and to ascertain if there is evidence of negotiations in terms of power relations in these forms of 'trash' television. The results indicate that the structures of the genres confine the participants and that the confessional and therapeutic discourses forestall public participation on television. Within hegemonic televisual structures it is posited that, in terms of micro-power relations, there are some forms of negotiation in the talk show site. The genres are compared in terms of performance and the results forma a synthesis of these television texts and theories of the public sphere, drawing on Hanermas and critical revisions of his work. These programmes reveal the problematic nature of public participation through television in the climate of increasing commercialisation. The points when the lay participants resist control are drawn upon in order to illustrate the ways in which television could ameliorate public participation.
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Turnock, Robert Francis. "The expansion of television in the 1950's and 1960's : institutions, society and culture". Thesis, Bournemouth University, 2007. http://eprints.bournemouth.ac.uk/10508/.
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This thesis explores the expansion of British television in the 1950s and 1960s and its relationship to social and cultural change. During this period, television developed into an industry and mass medium and this coincided with a cultural shift from a seemingly consensual society of post-war austerity to a society characterised by fragmentation, individualism and consumerism. By combining a re-examination of existing histories of British television with a discussion of television programmes and sociological theory, this thesis explores the complex relationship between the expansion of television and that social and cultural change. The thesis shows how television represented these changes, and how it presented competing discourses about consumer culture in a range of programmes including action adventure series, pop music and women's programmes. It also demonstrates how television promoted class and cultural conflict in its individual programmes such as situation comedies and dramas, and through juxtaposition of high and low cultural vales, themes and forms in its mixed programme schedule. By looking at issues such as intimacy, performance, authenticity and sociability, the thesis argues that television promoted its own status as an increasingly centralised cultural form. It proposes that television established social categories which became embedded and naturalised over time, and this created the potential to define social experience. The thesis therefore concludes that the examination of the expansion of television in the 1950s and 1960s is of importance for understanding the operation of media power today.
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Franklin, Ieuan. "Folkways and airwaves : oral history, community and vernacular radio". Thesis, Bournemouth University, 2009. http://eprints.bournemouth.ac.uk/15995/.
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This thesis investigates a variety of uses of actuality (recorded speech), oral history and folklore (vernacular culture) in radio broadcasting in Britain and Newfoundland (Canada). The broadcasting of vernacular culture will be shown to foster intimate and interactive relationships between broadcasters and audiences. Using a theoretical framework that draws upon the work of communications theorists Harold Innis and Walter Ong, the thesis will explore the (secondary) orality of radio broadcasting, and will consider instances in which the normative unidirectional structure and 'passive' orality of radio has been (and can be) made reciprocal and active through the participation of listeners. The inclusion of 'lay voices' and 'vernacular input' in radio broadcasting will be charted as a measure of the democratization of radio, and in order to demonstrate radio's role in disseminating oral history, promoting dialogue, and building and binding communities. The thesis will predominantly focus on local and regional forms of radio: the BBC Regions in the post-war era; regional radio programming serving the Canadianprovince ofNewfoundland both pre- and post-Confederation (which took place in 1949); and the community radio sector in the UK during the last five years. A common theme of many of the case studies within the thesis will be the role of citizen participation in challenging, transgressing or eroding editorial control, institutional protocols and the linguistic hegemony of radio production. Conversely, close attention will be given to the ways in which editorial control in radio production has circumscribed the self-definition of participants and communities. These case studies will provide evidence with which to investigate the following research question - is the democratization of radio possible through the incorporation of citizen voices or messages within radio production or programming, or is it only possible through changing the medium itself through citizen participation in democratic structures of production, management and ownership?