Dissertations / Theses on the topic 'ABC television'

This thesis is a history of ABC television sports broadcasting, focussing on Test cricket coverage to the 1970s and the reinvention of ABC sport following World Series Cricket (WSC). It charts public broadcasting innovation, using ABC sport to illustrate public broadcasting's role as both a comprehensive and a complementary sports broadcaster, but at different times. The thesis confronts received wisdom of a WSC "revolution" with analysis of ABC production and audience strategies. The thesis places the contemporary era of ABC TV sport in this historical frame, with its focus on sports ignored by commercial broadcasters, including women's and Paralympics sport.

Reporting of international conflict has implications for understanding, political action, and policy formation. This means media coverage can influence the outcomes of conflict. This study investigated reporting of the Arab Spring conflicts by U.S. television networks (ABC, CBS, and NBC). The study examined the time frame between the onset of the uprising and February 29, 2012 when dictators were unseated in Tunisia, Egypt, Libya, and Yemen. Agenda-setting and media framing theory were used to analyze transcripts (N = 316) for dominant issues, sources used, frames and, social media. Results of the study corroborate existing research regarding conflict reporting. Coverage was mostly episodic and dominated by violence, however, attention was paid to the role of social media in overthrowing regimes, violent acts of regime brutality, and democracy. Core causes of the uprising received only marginal coverage. Ordinary domestic citizens were used most frequently as sources. Other findings applicable to U.S. media coverage are presented.

The Mack truck principle is the reason a Standard Operating Procedure (SOP) document is a good idea – so I was told by my boss in my early days working for Disney ABC Television Group. This principle is quite simple: if the one person who knows how to do the job walks out the door and is hit by a Mack truck, we have a problem; no one else knows how to do what that person did. And when it comes to television operations, that is a huge dilemma! Standard Operating Procedures is a document that lists the step-by-step process for completing tasks in order to, in this case, keep a network on the air. This document would be beneficial in cases of disaster recovery, but it might be just as useful for training new employees or for covering for someone who is out sick. There may be various reasons to go to the SOP, but they all have the same goal: to keep operations working to fulfill the business objective. An SOP for the operations of an entire network would likely fill at least one if not multiple books, so in order to keep this project manageable, I limited the development of the SOP to one department, Traffic Inventory, which is responsible for the commercial and promotional assets which are sold and scheduled to air on any of the Disney cable networks (Disney Channel, DisneyXD, and Disney Junior.) In order to develop an SOP, it was necessary to review the different software programs in use, and understand their purpose and application to the overall operations of the cable networks. This will be a “living” document, meaning updates and changes will be anticipated, requiring constant maintenance of the SOP in order to keep it up to the latest development. In an effort to make it truly useful, multiple screen captures are used, as this provides a more user-friendly tutorial and makes for a more effective “blueprint” to comprehend and follow. By having Standard Operating Procedures on hand, anyone in the department will be able to effectively follow the process for handling the commercial and promotional assets in an efficient manner, with minimal impact on the daily operation of the networks. This will then be a valuable document, helping the business to keep its commitment to both advertisers and viewers, without the fear of Mack trucks.

Within the past twenty years, an abundant amount of research has been done on how alcohol advertising and alcohol portrayals affect society. The most common studies have examined the influence alcohol advertising and alcohol portrayals have or do not have on adolescents, the relationship between alcohol content and the level of consumption, and how adults and under-age drinkers perceive drinking incidents.The present study is a content analysis examining how four networks- ABC, CBS, FOX, and NBC vary in the amount of alcohol incidents shown in prime-time programming.The two-week study began on Sunday, May 20, 2001 and ended on Saturday, June 2, 2001 from 8 to 11 p.m. each evening. Alcohol incidents were classified as either a physical or verbal reference, as well as an appearance. Physical references were further categorized as the type of theme represented, the venue of the incident, and the type of drink involved.The findings suggest that the FOX and NBC networks air programs that present more alcohol incidents and themes of socialization than ABC and CBS. Therefore the researcher concludes that because of the target audience age is younger for FOX and NBC, these networks are more inclined to show more alcohol incidents and socialization themes versus the ABC and CBS networks, which have an older target viewing audience.
Department of Journalism

Autism has been declared an urgent public health concern by the U.S. government and an epidemic by some advocacy groups. Determining autism’s diagnostic criteria, prevalence, and causes have been challenging. It is important to examine how the U.S. media have contributed to the public’s understanding of autism. Previous research found that British media coverage of the theory that vaccines cause autism was shown to contribute to the decline of vaccination rates in Britain (Lewis & Speers, 2003). This study examined U.S. television news media coverage using an agenda-setting theory and media framing perspective. A content analysis was conducted of national television evening news broadcasts airing on ABC, CBS, and NBC from 1994, when autism was first recognized as a spectrum disorder through April 2010, the time of this study. Specifically, this study examined the saliency of autism stories and how autism was framed in terms of prevalence and causes.

The following exegesis will detail the key advantages and disadvantages of combining a traditional talk show genre with a linear documentary format using a small production team and a limited budget in a fast turnaround weekly environment. It will deal with the Australian Broadcasting Corporation series Talking Heads, broadcast weekly in the early evening schedule for the network at 18.30 with the presenter Peter Thompson. As Executive Producer for the programme at its inception I was responsible for setting it up for the ABC in Brisbane, a role that included selecting most of the team to work on the series and commissioning the music, titles and all other aspects required to bring the show to the screen. What emerged when producing this generic hybrid will be examined at length, including: „h The talk show/documentary hybrid format needs longer than 26¡¦30¡¨ to be entirely successful. „h The type of presenter ideally suited to the talk show/documentary format requires someone who is genuinely interested in their guests and flexible enough to maintain the format against tangential odds. „h The use of illustrative footage shot in a documentary style narrative improves the talk show format. iv „h The fast turnaround of the talk show/documentary hybrid puts tremendous pressure on the time frames for archive research and copyright clearance and therefore needs to be well-resourced. „h In a fast turnaround talk show/documentary format the field components are advantageous but require very low shooting ratios to be sustainable. „h An intimate set works best for a talk show hybrid like this. Also submitted are two DVDs of recordings of programmes I produced and directed from the first and third series. These are for consideration in the practical component of this project and reflect the changes that I made to the series.

This research presents an insider's account of rage, Australia's longest-running music video program. The research's significance is that there has been scarce scholarly analysis of this idiosyncratic ABC program, despite its longevity and uniqueness. The thesis takes a reflective and reflexive narrative journey across rage's decades, presenting the accounts of the program makers, aided by the perspective of an embedded researcher, the program's former Series Producer. This work addresses the rage research gap and contributes to the scholarly discussion on music video and its contexts, the ABC, public service broadcasting, creative labour, and the cultural sense-making of television producers.

Orientador: Haydee Dourado de Faria Cardoso
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O surgimento do realizador no contexto das novas tecnologias nos anos 80 marca uma década de experiências alternativas com o vídeo, fora das TVs broadcast ao tempo que estas se desenvolviam e se sofisticavam tecnologicamente na América Latina. O vídeo como suporte eletrônico, particularmente o vídeo-tape portátil, chega ao Brasil de forma mais marcante por volta de 1978. Os modelos mais acessíveis eram de formato doméstico, como o VHS -Vídeo Home System, que permitia agilidade e fácil portabilidade. Essas experiências alternativas no Brasil polarizaram-se principalmente em tomo de dois grupos produtores: os independentes e os populares. Ambos contestavam a velhà ordem das comunicações. Esse ponto comum entre realizadores independentes e populares é o deflagrador de várias experiências que se materializaram em documentários que atestavam a preocupação social. Os independentes buscaram dar um tratamento mais cultural aos seus trabalhos e os populares um tratamento mais político, porém ambos visavam um espectador que não fosse passivo como aquele habituado ao sistema de rede. A experiência aqui analisada desenvolveu-se na região do ABC paulista num primeiro momento no CEPS - Centro de Estudos Políticos e Sociais, uma entidade civil em Santo André, Organização Não Governamental (ONG), que visava a produção de conhecimento junto a setores da população. No CEPS o vídeo era usado, principalmente, como registro pedagógico. O segundo momento desenvolveu-se numa instituição sindical também em Santo André, no Sindicato dos Trabalhadores Rodoviários, onde o vídeo era usado como registro/infonT1ativo. Paralelamente acontecia uma experimentação com "câmera aberta", gravando-se e exibindo-se simultaneamente a partir de um ônibus adaptado para este tlm, batizado de "Gabriela Eletrônica". O terceiro momento efetivou-se numa instituição pública, Prefeitura de Santo André, onde o vídeo era usado na produção de institucionais, e numa prática que se desenvolveu num carro utilitário. A"Perua Eletrônica", como foi chamada, visava experimentar uma programação de "TV de rua", que servisse de base para a criação de uma emissora de TV na localidade. Além disso, vários serviços de atendimento ao público foram criados pela coordenação de vídeo, ligada ao Departamento de Cultura (TVSA). Nas considerações finais coloca.se que nesta experiência de três momentos distintos entre sí, o vídeo foi tomado como um importante suporte de mediação entre o realizador e a comunidade local e, para isso, a prospecção de sua especificidade foi considerada prioridade. O vídeo foi se tornando mais eficiente, durante o desenrolar da experiência, na medida em que iam sendo consideradas as particularidades deste meio. No processo constatou-se também a incompatibilidade entre a ação com objetivo de instalar uma TV numa região e a etemeridade que cerca experiências de Tvs de rua. Portanto, uma Tv localizada ampliará consideravelmente suas chances de estruturação, se tiver em conta a especificidade do meio, numa investigação permanente do que seja em essência sua programação e como concebê.la a partir da interação com o público
Abstract: The appearance ofthe maker in the context ofnew technologies at the 80's marks a decade of alternative experiences with video, out of TVs Broadcasting while they were developed and technologically sofisticated in Latin America. Video as eletronic support, particulary portable videotape, anives Brasil with more distinctionaround 1978. The most accessible models were the domestic one, like VHS . Video Home System, that allows agility and easy portability. These alternative experiences in Brasil stayed, principally, around two groups of producers: independents and populars. 80th contested the old order of communication. This commom point among independents and populars makers is the deflagater of many expedences that were materialized in documentaries that showed social preocupation. The independents tried to give a more cultural treatment to their works and the populars a more political treatment. However, both pointed a spectator that wasn't passive as that one accostumated with net system. The experience analised here was developed at ABC, a São Paulo section, first on CEPS -Politics and Sociais Study Center, a civil group of Santo André city, ONG - Non Governamental Organization, that had the objective of producing knowledge beside sectors of the population. At CEPS video was principally used like pedagogic register. At a second moment, it was developed ina sindical institution, in Santo André city, at Highway's Workers Sindicate, where video was used as register/infonnative. Besides, there would be an experimentation with "open camera" recording and exhibiting simulltaneously, by a bus that was adapted for this, called "Eletronic Gabriela". The third moment was brollght about at a public institlltion, the City Hall of Santo André, where video was lIsed in institutionals productions and in a way that was developed at an utilitarium car. The "Eletronic Turkey", as it was called, had the objective of testing the schedule of a "Street TV", that was used to base the creation of a local TV Station. In addition, severals Pllblic attending services was created by the video coordination, connected to Culture Department (TVSA). In final considerations it could be said that in three distinct moments video was used as an important intermediate support between the video maker and the local community and, for this, the search of its specificity was considered priority. Video was becoming more efficient while the experience was done, and at the time that was beeing considered the particularities of this enviroment. In the process also was found out the incompability between the action with the objective of establishing a TV in a region, and the ephemerality that is around the "TV StreetS" experiences. Therefore, a local TV will considerably increase its chances of structuring, if it takes into account the specificity of this enviroment in a permanent investigation of what is its sl:hedule in essence, and how to conceive that &omthe interaction with the spectator
Mestrado
Mestre em Multimeios

O Sistema Brasileiro de Televisão Digital estabeleceu como padrão de codificação de áudio o algoritmo MPEG-4 Advanced Audio Coding, mais precisamente nos perfis Low Complexity, High Efficiency versão 1 e High Efficiency versão 2. O trabalho apresenta um estudo detalhado sobre o padrão, contendo desde alguns conceitos da psicoacústica como o mascaramento até a metodologia de decodificação do stream codificado, sempre voltado para o mercado do SBTVD. É proposta uma arquitetura em hardware para um decodificador compatível com o padrão MPEG-4 AAC LC. O decodificador é separado em dois grandes blocos mantendo em um deles o banco de filtros, considerado a parte mais custosa em termos de processamento. No bloco restante é realizada a decodificação do espectro, onde ocorre a decodificação dos códigos de Huffman, o segundo ponto crítico do algoritmo em termos de demandas computacionais. Por fim é descrita a implementação da arquitetura proposta em VHDL para prototipação em um FPGA da família Cyclone II da Altera.
MPEG-4 Advanced Audio Coding is the chosen algorithm for the Brazilian Digital Television System (SBTVD), supporting the Low Complexity, High Efficiency version 1 and High Efficiency version 2 profiles. A detailed study of the algorithm is presented, ranging from psychoacoustics concepts like masking to a review of the AAC bitstream decoding process, always keeping in mind the SBTVD. A digital hardware architecture is proposed, in which the algorithm is split in two separate blocks, one of them containing the Filter Bank, considered the most demanding task. The other block is responsible for decoding the coded spectrum, which contains the second most demanding task of the system: the Huffman decoding. In the final part of this work the conversion of the proposed architecture into VHDL modules meant to be prototyped with an Altera Cyclone II FPGA is described.

Congestion control is concerned with allocating the resources in a network such that the network can operate at an acceptable performance level when the demand exceeds or is near the capacity of the network resources. These resources include bandwidths of links, buffer space (memory) and processing capacity at intermediate nodes. Although resource allocation is necessary even at low load, the problem becomes more important as the load increases. Without proper congestion control mechanisms, the throughput may be reduced considerably under heavy load. Future applications are expected to require increasingly higher bandwidth and generate a heterogeneous mix of network traffic. ATM network is potentially capable of supporting all classes of traffic (e.g., voice, video, and data) and have multiple service classes allow audio, video and data to share the same network. Of these, the Available Bit Rate (ABR) service class is designed to efficiently support data traffic. Switch algorithms have been the most investigated topic of ABR. This has happened because the specification of ABR given by the ATM Forum allows a diversity of switch algorithms to be implemented. These range from the simplest binary switches to the more complex ER switches. The major part of this thesis has been devoted to ABR. First an introduction to the concept of congestion control and a brief literature survey of congestion control for ABR service of ATM networks are presented. Then two proposed congestion control mechanisms for the ABR service class in ATM networks are examined by means of simulation, showing the different degree of performance and complexity. The simulation results presented in this thesis were obtained using a network simulator written in C++. This network simulator is a small event driven program. Analytical results were derived for different network configurations and different scenarios using this program.

Thesis (M. S.)--Electrical and Computer Engineering, Georgia Institute of Technology, 2008.
Committee Chair: Bing Benny; Committee Co-Chair: Fred B-H. Juang; Committee Member: Gee-Kung Chang. Part of the SMARTech Electronic Thesis and Dissertation Collection.

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A qualidade perceptual alcançada pelos codificadores de áudio depende diretamente da escolha de seus parâmetros. O codificador MPEG-4 AAC (Advanced Audio Coding), utilizado no Sistema Brasileiro de Televisão Digital (SBTVD), possui em sua estrutura uma etapa composta por um laço de iteração para escolher os parâmetros do codificador, de maneira dinâmica durante o processo de codificação. Este processo de escolha pode ser definido como um problema de Pesquisa Operacional, sendo um problema de Seleção de Partes, denominado como o Problema de Codificação AAC. A estrutura existente no codificador de referência, não resolve este problema de maneira ótima. Desta forma, este trabalho propõe o desenvolvimento e implementação de um modelo de uma estrutura de simulação, para encontrar os parâmetros do codificador de áudio MPEG-4 AAC, de maneira a otimizar a qualidade perceptual do áudio, para uma determinada taxa de bits (bit rate). A implementação da estrutura de otimização foi desenvolvida em linguagem C, utilizando as metaheurísticas Busca Tabu e Algoritmo Genético em uma estrutura híbrida. Através da minimização da métrica ANMR (Average Noise-to-Mask Ratio), o algoritmo procura identificar a melhor configuração dos parâmetros internos do codificador MPEG-4 AAC, de maneira que possa garantir uma qualidade perceptual para o sinal áudio. Os resultados obtidos utilizando a estrutura híbrida de otimização apresentaram valores menores para a métrica ANMR, ou seja, uma melhor qualidade perceptual de áudio, quando comparados com os resultados obtidos com o codificador de referência MPEG-4 AAC.
The perceptual quality achieved by audio encoders depends directly on the choice of its parameters. The MPEG-4 AAC (Advanced Audio Coding), used in the Brazilian Digital Television System (BDTS), has a step in its structure that consists in iteration loop to choose the parameters of the encoder dynamically during the encoding process. This selection process can be defined as a problem of Operational Research, being a Part Selection Problem, termed as AAC Encoding Problem. The structure in the reference encoder not solves this problem optimally. Thus, this paper proposes the development and implementation of a model simulation of a structure, to find the internal parameters of the MPEG-4 AAC audio encoder, so as to optimize the perceptual audio quality for a given bit rate. The implementation of the optimization framework was developed in ANSI C programming language, using the Tabu Search and Genetic Algorithm metaheuristics in a hybrid structure. Through the minimization of the ANMR (Average Noise-to-Mask Ratio) metric, the algorithm tries to identify the best configuration of internal parameters of the MPEG-4 AAC. The results obtained using the optimization hybrid structure achieve lower values for the ANMR metric, i.e., an better perceptual audio quality, compared with the obtained with the reference encoder MPEG-4 AAC.

The ABC Family cable network has become a leader in television for the millennial audience through a strategy of increased diversity on screen and an emphasis on complexity in family life. These goals have both been aided by representing Latina/o characters in the network’s flagship series: The Secret Life of the American Teenager, Pretty Little Liars, Switched at Birth, and The Fosters. In this thesis I engage in industrial, textual, and discourse analysis of these series, finding that Latina/o representation is increasing in both quantity and quality as network executives and producers attempt to appeal to the ethnically diverse millennial generation. These attempts, however, are not perfect. This project pinpoints a span of time in which ABC Family shifts towards more Latina/o inclusion both on-screen and behind the camera. At the same time, ABC Family programming dominates ratings in its key millennial demographic, indicating a correlation (of undetermined causation) between increased Latina/o representation and ratings.
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"This dissertation .... looking at the work of four early ABC filmmakers: Max Donnellan, Tom Manefield, Bill Steller and Storry Walton, who variously produced, directed and created the early ABC documentary series, Chequerboard (1969-1975) and A big country (1969-1992)"--Chapter one.

In the late 20th century, the global economy experienced a radical shift due to widespread deregulation and, subsequently, rapid financialization. Examining archival and contemporary trade magazines and corporate reports, this project considers the interconnections between television audience constructions/ratings and financial institutions amid these structural changes. In chapter one, this thesis starts by charting the pre-history of media financialization and financial stakeholders’ early influence over the radio industry and its antecedent industries (i.e., the telegraph and telephone) between 1800 and 1943. After charting a historical overview of media industries’ relationships to Wall Street, the second chapter details the financialization of the American Broadcasting Company (ABC) between 1943 and 1970 and considers the correlation between Nielsen ratings and stock prices. In the third chapter, these theories are brought into the 21st century, examining how media companies like Disney “pitch” their audiences to Wall Street and how financial incentives have led streaming platforms to engage in performative social justice in order to cater to upscale white audiences.

This research reconsiders two ABC programs from the early 1990s, Twin Peaks and My So-Called Life, through the frames of queer-theory based textual analysis, press discourse, and fan reception. I begin by arguing that both programs, which emerged in concert with the solidification of queer studies as an academic field, exist as televisual oddities that provided a temporary space for the exploration of queer subjectivities in primetime; this analysis also invokes the non-normative positioning of showrunners David Lynch and Winnie Holzman based on their previous and subsequent work. Secondly, I posit popular press receptions/retrospectives as undermining the queer centrality of both programs by adhering to heteronormative frameworks such as “quality television.” Lastly, I discuss fan reclamations of both programs through slash fiction and collaborative web forums as illuminating the intrinsic queerness of Twin Peaks and My So-Called Life lost through dominant press narratives.
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This diploma thesis is attempting to analyze the events of November and December 1989 in Czechoslovakia through the eyes of English-speaking witnesses, both at the time and in retrospect, using English language sources. The goal of the thesis is to distill from the analysis notions of freedom and whether there are perceptions of change since 1989. Included in the definition of "freedom" is the means by which it was achieved.