Dissertations / Theses on the topic 'Division for Film and Broadcasting'

This thesis is a detailed examination of the films of Swansea-born poet and BBC Wales documentary filmmaker John Ormond. It examines the uses of the documentary form within the context of a broadcasting institution that many have argued has been one of the central agents in the political and cultural development of this small nation. Given that the thesis is concerned with the work a decidedly creative figure, it seeks throughout to keep in focus Ormond's unique contribution to the documentary form. It begins with an interpretation of Ormond's broad cultural and philosophical framework as embodied in his poetry, and from here goes on to explore the ways in which this thinking impacted upon his approach to film as a medium and, particularly, the documentary as a cultural form. It positions Ormond's approach to documentary within the tradition of the Griersonian 'British Documentary Movement', in particular its post-war manifestations on British television as pioneered by producers such as Denis Mitchell, Norman Swallow and Philip Donnellan. Indeed, the thesis is, in part, an attempt to align Ormond's work with these better-known figures in British television history. The major aim of the thesis, however, is to explore the uses of this peculiarly civic cultural form within a minority national broadcasting context. To this end, it utilizes Jurgen Habermas's notion of the 'public sphere' as a lens through which to examine the ways in which Ormond's wide-ranging oeuvre interacted with and impacted upon a Welsh public sphere at a time of unprecedented political, economic, social, and cultural change. It distinguishes three broad areas of thematic concern - "culture", "historiography" and the "ethnographic" - and examines the ways in which Ormond's films reflect and contribute to a wide and shifting range of national discourses in this pivotal era in the history of Wales.

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.

The rising popularity of Korean contents in Asia known as Hanryu ('Korean Wave'), which was partly supported by Korean cultural policy, has many implications with regard to cultural policy in periphery countries under globalisation and the open-door versus cultural diversity debate. This thesis assesses how recent cultural opening under globalisation in Korea has affected Korea's cultural industries both quantitatively in terms of economic performance and qualitatively in terms of cultural content, identity and diversity. These questions are examined in the context of the changing relationship between the cultural industries and cultural policy in Korea since the end of the 1990s. The research draws upon statistical data, historical material and interviews. By researching how the Korean experience has developed, this thesis attempts to look at Hanryu not just as a phenomenon in its own right, but also considers the secondary impact of this phenomenon on perceptions of culture and identity. In particular the thesis considers Hanryu in terms of the cultural influence on neighbouring countries manifest through tourism and a new interest in Korean language and culture. Such cultural effects are less easily measured than economic data but are important to an understanding of causes and effects of Hanryu. Finally this thesis places the Korean experience in the broader context of cultural policy in periphery countries responding to globalisation and the relationship between national cultural policy and the global cultural economy. It is still too early to reach conclusions on the future of Korean cultural industries based simply on the recent trends However, since the mid 1990s, the Korean cultural industries have been transformed dramatically. Cultural policy has contributed to this trend and strengthened the competitiveness of Korea's cultural industries. At the same time the thesis considers some of the limitations and criticisms of Hanryu, including potential loss of cultural diversity and an anti- Korean backlash in some other Asian countries. The Korean cultural industries have benefited from imitating the Hollywood system and developing a distinctive hybrid cultural content and business model. This has made possible an alternative approach to policy and management which lies between two extremes of protectionism and free market ideology. The thesis comments on some of the difficulties and limitations in sustaining such a balance and concludes by considering the sustainability of Hanryu both in Korea and in the broader Asian context.

As livestreaming has become more ubiquitous in recent years with its expansion over social media platforms, and as mainstream media outlets begin to take advantage of the medium, it is important to recognize that the technology has important roots in the hands of marginalized communities. Specifically, livestreaming has historically been an outlet used by activists in protest settings in order to counter the narratives of mainstream media. This paper seeks to evaluate the counternarrative potential of livestreaming by looking into footage from both the 2012 student protests in Montreal and the 2014 protests in Ferguson in direct comparison to traditional broadcast coverage from these events. Ultimately, I argue that while there are dangers that inherently accompany the use of livestreaming, it nonetheless has the potential to be a powerful and practical tool in the hands of protesters.

During the 1990s the notion of the heritage film has become a taken for granted category of British cinema. Rather than dispute the merits of particular films that lie within this genre I question the construction of the relation between the idea of heritage and contemporary British film and television. Using the critical literature established by the contending cultural histories that address the rise of heritage in British culture, I highlight other, frequently personal and national engagements with inherited pasts. The concentration upon inheritance lends a greater emphasis to what is passed on from the past and endures in the present. The modes of articulating these inherited pasts are formally distinctive and constructed out of the vocabulary of documentary and fiction. The corpus of texts begins with the apparently radical avant garde film-making of Derek Jannan and moves through the work of the Black Audio Film Collective to the apparently conservative television documentaries of Alan Bennett. These key voices are then situated in relation to the hegemonic definition of heritage and current debates concerning British film and television. The persisting opposition which defined British cinema during the 1980s posits an unofficial cinema characterized by dissent and urban decay against an official cinema represented by the heritage film. My corpus of texts challenges this opposition. The different engagements with inherited pasts take place from different speaking positions and represent a diminishing publicly funded tradition of film and television production. The range of positions from margins to centre reveal that there was a contestation of the cultural sources which are aggregated into the construction of heritage during the 1980s and 1990s.

The objective of this thesis is observing the process of launching the small independent movie in the context of big film industry and its hegemony. We will observe the differences between low budget, independent, the auteur film and well known ’blockbuster' entertainment cinema products. In the analysis, we will not focus on the creative aspects of preproduction and production - such as script writing, film directing, casting, photography, and production design. We will observe the film from the pragmatic point of view in postproduction, film placement and distribution, from the last clip to the first introduction to the audience at film festivals. The complexity of the task is to make a distinction between defining free, independent, auteur film as a piece of art and expression, and everything else that auteur film is not, despite the pragmatism in realisation of each film.  This research will focus on film as art and as a sum of artistic teamwork, following its marketing and placement. Our aim is to find the factors that influence the success of launching low budget films of the independent film production in the US.  Analysing the literature and researching the adequate examples, accomplished results will give us an idea of forming a pattern or directions for successfully launching an Independent film in the US film market.  The example given in this paper is the authors' low budget film Boys Don't Cry(1999)produced by Chrisitne Vachon, where we can clearly analyse the way of developing of the film and postproduction activities of the producer, from the utmost postproduction margin, to winning an Oscar for the best female role by Hilary Swank, in the year of 2000. This film was chosen as an example in this thesis for being a successful low budget film with a strong women's author's identity, which finds its path in media from a marginalized queerfilm to a highly ranked film with great market placement. We pay special attention to an important detail - that women are in the role of the director and the producer.

Despite a fairly successful institutional transformation in the early 1990s, the South African Broadcasting Corporation (SABC), in particular its News and Current Affairs division, is widely perceived to lack political independence from the African National Congress-led government and to have neglected its role as a political watchdog in South Africa's young democracy. Most academic studies continue to be concerned with formal factors such as the SABC's institutional structure, media laws, or commercial imperatives -yet have not been able to explain the above anomaly. This paper focuses instead on the institutional culture around editorial independence which is conceptualised as comprising of beliefs (journalists' role perceptions), values (news values and the professional ethos) and internal practices (news decision-making, internal debate etc.). The main focus of analysis lies on the ways dissent is being managed within the corporation. This paper transcends the classical boundaries of political science into the neighbouring disciplines of media studies and sociology and draws specifically on (a) the literature on public broadcasting in young democracies, (b) debates around journalists' roles and professional values, and (c) conceptualisations of institutional culture as well as power and power relations within organisations. In-depth interviews with 17 current and former SABC employees suggest that beliefs and values around editorial independence are highly contested at the SABC - in particular among staff and management and so much so that the struggle around which ones should be dominant has become part of the institutional culture itself. The resulting dissent is being managed both from above (by management and senior editors) and from below (by newsroom staff). The SABC does not seem to be subject to unusual levels of political pressure from outside. Instead, threats to editorial independence seem to originate mostly on the level of the SABC's board and senior news management. They take the form of pressure and rewards which, in combination, effectively stifle independent thinking and hence work against editorial independence and a professional ethos integral to the SABC's public broadcasting mandate. Hirschman's concepts of exit, voice, and loyalty are used to analyse how journalists respond to such pressure and rewards. While exit is not an option for many staff and voice is perceived as costly, loyalty (towards the idea of public broadcasting) does not appear to be very common either. Instead, what I call opportunistic loyalty or quiescence in the face of power seems to be the preferred way of dealing with the dilemma of individually-held values and beliefs and a dominant institutional culture that runs contrary to them. As a result, debate is silenced, staff morale suffers, and routine processes of news decision-making are easily manipulated by senior managers or other powerful individuals with the will to enforce their preferred values and beliefs (which in tum might have little to do with the ideals of public broadcasting). Journalists and editors seem to generally be reluctant to get involved in sensitive news decisions, to take responsibility and exercise their professional judgement which then makes the corporation potentially vulnerable to political interference from outside as well.

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.

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).

This thesis examines the spaces of urban-industrial northern England within the context of post-industrial change. This work combines close textual analysis and an interdisciplinary approach, which includes an examination of sociological, economic and political contexts relating to de-industrialisation and the growth of the service economy. The thesis is organised into four chapters, each dealing with a different manifestation of northern space, including ‘The Red-Brick Terraced Street’, ‘The Council Estate’, ‘The Mill and the Mosque’, and ‘The Gentrified North’. I argue that within a range of texts, the representation of northern space reflects the fragmentation that is a key feature of both the post-industrial experience. Furthermore, it is argued that the gendered balance of northern representation has shifted, spatially and generically, back towards a feminine paradigm. Contrary to surface appearances, it is also argued that important elements of traditional hegemonic representations of northern space are seen to persist within the spaces of the new despite the fragmentation that characterises the post-industrial era.

For centuries, repetition in one form or another has been seen as a significant element in the artistic palette. In numerous formats of expression, duplication and looping became a significant tool utilized by artisans in a multitude of creative formats. Yet within the realm of film, the Griffith and Eisenstein models of cinematic editing techniques (as the most popular-- and near-monolithic--narrative aesthetic criteria) effectively disregarded most other approaches, including looping. Despite the evidence for the consistent use of repetition and looping in multiple ways throughout the course of cinematic history, some theorists and practitioners maintain that the influx of the technique within digital cinema in recent years represents a sudden breakthrough, one that has arrived simply because technology has currently advanced to a point where their utilization within digital formats now makes sense both technologically and aesthetically. This situation points to a cyclical problem. Students of film and video frequently are not taught aesthetical or editorial options other than standard industry procedures. Those who are interested in varying techniques are therefore put in the position of having to learn alternative practices on their own. When they do look beyond visual norms to try applying different approaches in their projects, they risk going against the views of their instructors who are only interested in implementations of the standard methods which have been in the forefront for so long. Yet the loop s importance and prevalence as a digital language tool will only likely grow with the evolution of digital cinema. With this is mind, the dissertation addresses the following questions: To what extent can various forms of repetitive visuals be found throughout film history, and are not simply technical manifestations that have merely emerged within digital cinema? How might current educational practices in the realm of film and video work to inform students of techniques outside of the common narrative means? Finally, what other sources or strategies might be available to enlighten students and practitioners exploring both the history surrounding--and possible applications of--techniques based upon early cinema practices such as the loop?
Ph.D.
Department of English
Arts and Humanities
Texts and Technology PhD

Throughout the middle decades of the twentieth century, a wide range of U.S. fiction writers took jobs--sometimes briefly, but often for several years or more--in the film, broadcasting, publishing, and advertising industries. As a result of their experiences in these industries at a time when corporate employment was on the rise and freelance work was becoming less viable, writers like Raymond Chandler, Norman Mailer, Sylvia Plath, and Ishmael Reed crafted new narrative forms to examine the problems of bureaucratized creativity. While drawing on literary modernism's techniques and strategies, they traded its aesthetics of difficulty and self-sufficiency--its serene disdain for the uninitiated--for a more broadly communicative disposition.

This study focuses on the organisation and operation of the Australian Government’s Department of Information that operated from 1939 to 1950. Equal weighting is given to the wartime and peacetime halves of the Department’s existence, allowing a balanced assessment of the Department’s role and development from its creation through to its abolition. The central issue that the Department had to address was: what was an appropriate and acceptable role for a government information organisation in Australia’s democratic political system? The issue was not primarily one of formal restrictions on the government’s power but rather of the accepted conception of the role of government. No societal consensus had been established before the Department was thrust into dealing with this issue on a practical basis. While the application of the Department’s censorship function attracted considerable comment, the procedures were clear and accepted. Practices laid down in World War I were revived and followed, while arguments were over degree rather than kind. It was mainly in the context of its expressive functions that the Department had to confront the fundamental issue of its role. This study shows that the development of the Department was driven less by sweeping ministerial pronouncements than through a series of pragmatic incremental responses to circumstances as they arose. This Departmental approach was reinforced by its organisational weakness. The Department’s options in its relations with media organisations and other government agencies were, broadly, competition, compulsion and cooperation. Competition was never widely pursued and the limits of compulsion in regard to its expressive functions were rapidly reached and withdrawn from. Particularly through to 1943 the Department struggled when it sought to assert its position against the claims of other government agencies and commercial organisations. Notwithstanding some high profile conflicts, this study shows that the Department primarily adopted a cooperative stance, seeking to supplement rather than supplant the work of other organisations. Following the 1943 Federal elections the Department was strengthened by stable and focused leadership as well as the development of its own distribution channels and outlets whose audience was primarily overseas. While some elements, such as the film unit, remained reasonably politically neutral, the Department as a whole was increasingly employed to promote the message of the Government of the day. This led to a close identification of the Department with the Labor Party, encouraging the Department’s abolition following the Coalition parties’ victory in the 1949 Federal elections. Nevertheless in developing its role the Department had remained within the mainstream of administrative practice in Australia. While some of its staff assumed a greater public profile than had been the practice for prewar public servants, this was not unusual or exceptional at that time. Partly through the efforts of the Department, the accepted conception of the role of government had expanded sufficiently by 1950 that despite the abolition of the Department most of its functions continued within the Australian public sector.

La diffusion de signaux de télévision numérique est soumise à un certain nombre de contraintes. Notamment les niveaux de rayonnements non essentiels (RNE) émis en dehors des fréquences d’émission doivent être inférieurs à un seuil fixé par les instances de régulation afin de ne pas brouiller les autres canaux de diffusion. Compte tenu du caractère non-linéaire des amplificateurs de puissance, l’augmentation de la puissance diffusée permet d’augmenter le rendement des amplificateurs mais augmente en même temps le niveau des RNE. Les diffuseurs doivent donc trouver un compromis entre le niveau des RNE émis et le coût de revient des équipements de diffusion. Jusque là, les programmes DVB-T sont amplifiés en monocanal, c’est-à-dire que chaque multiplex est amplifié par un amplificateur. Le rendement est optimisé en utilisant un précorrecteur numérique afin de limiter les intermodulations dans le canal et dans les canaux adjacents, et en utilisant un filtre de canal afin de nettoyer le spectre. Cette technique de précorrection numérique, simulée dans ce mémoire, permet effectivement d’améliorer les shoulders et le TEB. L’amplification multicanal permettrait un gain important car un seul amplificateur est nécessaire pour traiter plusieurs multiplex. Cependant sans linérisation, il est nécessaire d’utiliser l’amplificateur de puissance avec un recul de puissance très élevé pour que le seuil maximal des RNE ne soit pas atteint. Nous proposons ici un précorrecteur multicanal qui permet de diminuer Digital television broadcasting is subjected to a certain number of contraints
Among others, the spurious levels must be lower than the threshold imposed by regulation authorities to avoid disturbing the other channels. Taking in account the non linearity nature of power amplifiers, increase the emitted power leads to increase the efficiency but also the spurious level. Consequently, broadcasters should reach a compromise between spurious level and transmitters cost. DVB-T programs are currently amplified in mono-channel, i. E. Each multiplex is amplified by its own amplifier. The efficiency is improved using a digital predistorter and a band-pass filter. The digital predistorter minimizes in band and out of band intermodulations, and the filter cleans the spectrum. The digital predistortion method, simulated in this memory, allows a great improvement of the shoulders and the BER. Multi-channel amplification would conduce to a high profit because only one amplifier is necessary to treat several channels. However without linearization, the amplifier must be used with a very high output back-o? in order to keep the spurious level below the fixed threshold. In this thesis we present a multi-channel predistorter that highly improves the shoulders and the spurious level

Estando prevista a introdução da televisão digital terrestre em Portugal para os próximos anos, coloca-se o desafio de projectar o seu desenvolvimento, sendo os aspectos do planeamento de frequências e da cobertura fundamentais para a concepção de um sistema a nível nacional. Dado que em Portugal se irá utilizar Coded Orthogonal Frequency Division Multiplexing (COFDM) 8K (6817 portadoras), com alcances máximos de cerca de 67 km por estação transmissora, neste trabalho, para além de se abordarem os aspectos globais da norma Digital Video Broadcast (DVB) e das suas variantes terrestre, por cabo, via satélite e móvel, abordam-se sistemas de difusão terrestres em particular, identificando-se as características do sistema que terão um forte impacto no planeamento, aspectos de cobertura DVB-T, atribuição e planeamento de frequências e ferramentas gráficas de planeamento recorrendo a sistemas de informação geográfica (SIG). Obtiveram-se resultados do planeamento de uma rede DVB-T em SFN no modo 8K com COFDM em modulação 64-QAM para a área geográfica da Beira Interior, utilizando uma frequência que irá ficar disponível após o “switcth-off”. A tecnologia DVB dá um grande contributo para que no futuro se ocupe menos espectro radioeléctrico com mais e melhores serviços que os prestados actualmente com tecnologia analógica, tal contributo só é possível graças ao desenvolvimento de algoritmos complexos para compressão de vídeo e áudio a transmitir. No planeamento da rede DVB-T Beira Interior chega-se à conclusão que o número de emissores e potências utilizadas são menores, comparando com o sistema analógico actual, conseguindo-se uma cobertura boa de 87% da população, cobertura aceitável de 95% da população e cobertura portátil interior na cidade da Covilhã.
As the introduction of terrestrial digital TV in Portugal is foreseen for the next years, the endeavour of designing its development needs to be faced, and the aspects of frequency and coverage are essential for the conception and deployment of a system with national availability. As in Portugal the option is to use Coded Orthogonal Frequency Division Multiplexing (COFDM) 8K (6817 carriers), with maximum coverage ranges per Station around 68 km, in this work, besides the general aspects of Digital Video Broadcast (DVB) and its terrestrial, cable, satellite and mobile variants, one specifically addresses terrestrial broadcast systems in particular. The characteristics with the strongest impact in the planning process are identified, as well as DVB-T coverage aspects, frequency assignment and planning, and geographical information systems graphical planning tools issues (GIS). Planning results were obtained for a DVB-T OFDM based network operating at Single Frequency Network (SFN), 8K mode, with 64-QAM modulation. The Beira Interior region was considered, and the frequency band that will be available for this Portuguese region after Switch-off of analog TV was considered. DVB gives a strong contribute to the reduction of spectrum wastage in the television broadcast sector while providing more and better services support in comparison to analog TV. This advantage is only possible owing to the development of complex algorithms for the compression of video and audio content to be transmitted. In the region of Beira Interior, Portugal, the number of transmitting stations and the transmitter powers are clearly lower than the ones for the today analog TV system. The following follows were achieved for the actual coverage of the population: “good” coverage of 87% of the population, acceptable coverage of 95% of the population and portable indoor coverage within the city of Covilhã.

Desde comienzos del siglo XXI, los sistemas de radiodifusión terrestre han sido culpados de un uso ineficiente del espectro asignado. Para aumentar la eficiencia espectral, los organismos de estandarización de TV digital comenzaron a desarrollar la evolución técnica de los sistemas de TDT de primera generación. Entre otros, uno de los objetivos principales de los sistemas de TDT de próxima generación (DVB-T2 y ATSC 3.0) es proporcionar simultáneamente servicios de TV a dispositivos móviles y fijos. El principal inconveniente de esta entrega simultánea son los diferentes requisitos de cada condición de recepción. Para abordar estas limitaciones, se han considerado diferentes técnicas de multiplexación. Mientras que DVB-T2 acomete la entrega simultánea de los dos servicios mediante TDM, ATSC 3.0 adoptó la Multiplexación por División en Capas (LDM). LDM puede superar a TDM y a FDM al aprovechar la relación de Protección de Error Desigual (UEP), ya que ambos servicios, llamados capas, utilizan todos los recursos de frecuencia y tiempo con diferentes niveles de potencia. En el lado del receptor, se distinguen dos implementaciones, de acuerdo con la capa a decodificar. Los receptores móviles solo están destinados a obtener la capa superior, conocida como Core Layer (CL). Para no aumentar su complejidad en comparación con los receptores de capa única, la capa inferior, conocida como Enhanced Layer (EL), es tratada como un ruido adicional en la decodificación. Los receptores fijos aumentan su complejidad, ya que deben realizar un proceso de Cancelación de Interferencia (SIC) sobre la CL para obtener la EL. Para limitar la complejidad adicional de los receptores fijos, las capas de LDM en ATSC 3.0 están configuradas con diferentes capacidades de corrección, pero comparten el resto de bloques de la capa física, incluido el TIL, el PP, el tamaño de FFT, y el GI. Esta disertación investiga tecnologías avanzadas para optimizar el rendimiento de LDM. Primero se propone una optimización del proceso de demapeo para las dos capas de LDM. El algoritmo propuesto logra un aumento de capacidad, al tener en cuenta la forma de la EL en el proceso de demapeo de la CL. Sin embargo, el número de distancias Euclidianas a computar puede aumentar significativamente, conduciendo no solo a receptores fijos más complejos, sino también a receptores móviles más complejos. A continuación, se determina la configuración de piloto ATSC 3.0 más adecuada para LDM. Teniendo en cuenta que las dos capas comparten el mismo PP, surge una contrapartida entre la densidad de pilotos (CL) y la redundancia sobre los datos (EL). A partir de los resultados de rendimiento, se recomienda el uso de un PP no muy denso, ya que ya han sido diseñados para hacer frente a ecos largos y altas velocidades. La amplitud piloto óptima depende del estimador de canal en los receptores (ej., se recomienda la amplitud mínima para una implementación Wiener, mientras que la máxima para una implementación FFT). También se investiga la potencial transmisión conjunta de LDM con tres tecnologías avanzadas adoptadas en ATSC 3.0: las tecnologías de agregación MultiRF, los esquemas de MISO distribuido y los de MIMO colocalizado. Se estudian los potenciales casos de uso, los aspectos de implementación del transmisor y el receptor, y las ganancias de rendimiento de las configuraciones conjuntas para las dos capas de LDM. Las restricciones adicionales de combinar LDM con las tecnologías avanzadas se consideran admisibles, ya que las mayores demandas ya están contempladas en ATSC 3.0 (ej., una segunda cadena de recepción). Se obtienen ganancias significativas en condiciones de recepción peatonal gracias a la diversidad en frecuencia proporcionada por las tecnologías MultiRF. La conjunción de LDM con esquemas de MISO proporciona ganancias de rendimiento significativas en redes SFN para la capa fija con el esquema de Alamouti.
Since the beginning of the 21st century, terrestrial broadcasting systems have been blamed of an inefficient use of the allocated spectrum. To increase the spectral efficiency, digital television Standards Developing Organizations settled to develop the technical evolution of the first-generation DTT systems. Among others, a primary goal of next-generation DTT systems (DVB-T2 and ATSC 3.0) is to simultaneously provide TV services to mobile and fixed devices. The major drawback of this simultaneous delivery is the different requirement of each reception condition. To address these constraints different multiplexing techniques have been considered. While DVB-T2 fulfilled the simultaneous delivery of the two services by TDM, ATSC 3.0 adopted the LDM technology. LDM can outperform TDM and FDM by taking advantage of the UEP ratio, as both services, namely layers, utilize all the frequency and time resources with different power levels. At receiver side, two implementations are distinguished, according to the intended layer. Mobile receivers are only intended to obtain the upper layer, known as CL. In order not to increase their complexity compared to single layer receivers, the lower layer, known as EL is treated as an additional noise on the CL decoding. Fixed receivers, increase their complexity, as they should performed a SIC process on the CL for getting the EL. To limit the additional complexity of fixed receivers, the LDM layers in ATSC 3.0 are configured with different error correction capabilities, but share the rest of physical layer parameters, including the TIL, the PP, the FFT size, and the GI. This dissertation investigates advanced technologies to optimize the LDM performance. A demapping optimization for the two LDM layers is first proposed. A capacity increase is achieved by the proposed algorithm, which takes into account the underlying layer shape in the demapping process. Nevertheless, the number of Euclidean distances to be computed can be significantly increased, contributing to not only more complex fixed receivers, but also more complex mobile receivers. Next, the most suitable ATSC 3.0 pilot configuration for LDM is determined. Considering the two layers share the same PP a trade-off between pilot density (CL) and data overhead (EL) arises. From the performance results, it is recommended the use of a not very dense PP, as they have been already designed to cope with long echoes and high speeds. The optimum pilot amplitude depends on the channel estimator at receivers (e.g. the minimum amplitude is recommended for a Wiener implementation, while the maximum for a FFT implementation). The potential combination of LDM with three advanced technologies that have been adopted in ATSC 3.0 is also investigated: MultiRF technologies, distributed MISO schemes, and co-located MIMO schemes. The potential use cases, the transmitter and receiver implementations, and the performance gains of the joint configurations are studied for the two LDM layers. The additional constraints of combining LDM with the advanced technologies is considered admissible, as the greatest demands (e.g. a second receiving chain) are already contemplated in ATSC 3.0. Significant gains are found for the mobile layer at pedestrian reception conditions thanks to the frequency diversity provided by MultiRF technologies. The conjunction of LDM with distributed MISO schemes provides significant performance gains on SFNs for the fixed layer with Alamouti scheme. Last, considering the complexity in the mobile receivers and the CL performance, the recommended joint configuration is MISO in the CL and MIMO in the EL.
Des de començaments del segle XXI, els sistemes de radiodifusió terrestre han sigut culpats d'un ús ineficient de l'espectre assignat. Per a augmentar l'eficiència espectral, els organismes d'estandardització de TV digital van començar a desenvolupar l'evolució tècnica dels sistemes de TDT de primera generació. Entre altres, un dels objectius principals dels sistemes de TDT de pròxima generació (DVB-T2 i el ATSC 3.0) és proporcionar simultàniament serveis de TV a dispositius mòbils i fixos. El principal inconvenient d'aquest lliurament simultani són els diferents requisits de cada condició de recepció. Per a abordar aquestes limitacions, s'han considerat diferents tècniques de multiplexació. Mentre que DVB-T2 escomet el lliurament simultani dels dos serveis mitjançant TDM, ATSC 3.0 va adoptar la Multiplexació per Divisió en Capes (LDM). LDM pot superar a TDM i a FDM en aprofitar la relació de Protecció d'Error Desigual (UEP), ja que tots dos serveis, cridats capes, utilitzen tots els recursos de freqüència i temps amb diferents nivells de potència. En el costat del receptor, es distingeixen dues implementacions, d'acord amb la capa a decodificar. Els receptors mòbils solament estan destinats a obtenir la capa superior, coneguda com Core Layer (CL). Per a no augmentar la seua complexitat en comparació amb els receptors de capa única, la capa inferior, coneguda com Enhanced Layer (EL), és tractada com un soroll addicional en la decodificació. Els receptors fixos augmenten la seua complexitat, ja que han de realitzar un procés de Cancel·lació d'Interferència (SIC) sobre la CL per a obtenir l'EL. Per a limitar la complexitat addicional dels receptors fixos, les capes de LDM en ATSC 3.0 estan configurades amb diferents capacitats de correcció, però comparteixen la resta de blocs de la capa física, inclòs el TIL, el PP, la grandària de FFT i el GI. Aquesta dissertació investiga tecnologies avançades per a optimitzar el rendiment de LDM. Primer es proposa una optimització del procés de demapeo per a les dues capes de LDM. L'algoritme proposat aconsegueix un augment de capacitat, en tenir en compte la forma de l'EL en el procés de demapeo de la CL. No obstant açò, el nombre de distàncies Euclidianes a computar pot augmentar significativament, conduint NO sols a receptors fixos més complexos, sinó també a receptors mòbils més complexos. A continuació, es determina la configuració de pilot ATSC 3.0 més adequada per a LDM. Tenint en compte que les dues capes comparteixen el mateix PP, es produeix una contrapartida entre la densitat de pilots (CL) i la redundància sobre les dades (EL). A partir dels resultats de rendiment, es recomana l'ús d'un PP no gaire dens, ja que ja han sigut dissenyats per a fer front a ecos llargs i altes velocitats. L'amplitud pilot òptima depèn de l'estimador de canal en els receptors (ex., es recomana l'amplitud mínima per a una implementació Wiener, mentre que la màxima per a una implementació FFT). També s'investiga la potencial transmissió conjunta de LDM amb tres tecnologies avançades adoptades en ATSC 3.0: les tecnologies d'agregació de MultiRF, els esquemes de MISO distribuït i els de MIMO colocalitzat. S'estudien els potencials casos d'ús, els principals aspectes d'implementació del transmissor i el receptor, i els guanys de rendiment de les configuracions conjuntes per a les dues capes de LDM. Les restriccions addicionals de combinar LDM amb les tecnologies avançades es consideren admissibles, ja que les majors demandes ja estan contemplades en ATSC 3.0 (ex., una segona cadena de recepció). S'obtenen guanys significatius per a la capa mòbil en condicions de recepció per als vianants gràcies a la diversitat en freqüència proporcionada per les tecnologies MultiRF. La conjunció de LDM amb esquemes MISO distribuïts proporciona guanys de rendiment significatius en xarxes SFN per a la capa fixa amb l'esquema d'Alamouti.
Garro Crevillén, E. (2018). Advanced Layered Divsion Multiplexing Technologies for Next-Gen Broadcast [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/105559
TESIS

El objetivo principal del proyecto "Experiencia Profesional de un Camarógrafo de Prensa en la Construcción de Noticias" es demostrar y revalorar la importancia que tienen los camarógrafos de prensa como personajes importantes en el registro de la historia diaria, (más que el reportero incluso). Todos pueden fallar, menos el camarógrafo; sin su participación no existiría Nota Informativa Televisiva.
Trabajo de suficiencia profesional

Cette thèse a pour objectif l'analyse du système de télévision numérique chinois (DTMB) et l'optimisation de sa fonction d'estimation de canal. Tout d'abord, une analyse approfondie de ce système est effectuée en comparaison du système DVB-T en termes de spécifications, d'efficacité spectrale et de performances. Ensuite, la fonction d'estimation de canal basée sur la séquence pseudo-aléatoire du système est étudiée dans les domaines temporel et fréquentiel, et plusieurs améliorations sont apportées aux méthodes typiques afin de notamment gérer les canaux très dispersifs en temps. Enfin, de nouveaux procédés itératifs aidés par les données et peu complexes sont proposés pour raffiner les estimés de canal. Les fonctions de décodage de canal et d'entrelacement sont exclues de la boucle et des fonctions de filtrage temps/fréquence sont étudiées pour fiabiliser les estimations. Ces nouveaux algorithmes démontrent leur efficacité par rapport aux méthodes courantes de la littérature.

Modelisation de la diffraction des reseaux de volume precisant les processus de codage et de selection de l'information caracterisant les fronts d'onde. Realisation d'un systeme multiplexeur/demultiplexeur de longueurs d'ondes

碩士
國立臺灣科技大學
電機工程系
102
This thesis proposes first the design of the monopole antenna which can operate in digital audio broadcasting(DAB) BandⅢ(174-240 MHz) for digital broadcasting services and in-car entertainment applications. Then doing the further design using the same antenna described above, this monopole antenna can operate in DAB BandⅢ(174-240 MHz) and L Band(1452-1492 MHz). Finally, a monopole antenna for DVB Taiwan band (530-602 MHz) application is presented. All antennas are fabricated in a thin-film type and attached on the windshield of the car. The antennas have a simple structure and proper size, which can reduce blockages to driver’s visions. Based on simulations, good performances in return loss, radiation pattern, radiation efficiency, and gain are obtained. There are good agreements between simulations and measurements. Some of the designs are in mass production now.

碩士
國立臺灣科技大學
電機工程系
100
This thesis proposes first the design of the inverted-F antenna (IFA) which can operate in digital audio broadcasting (DAB) band III (170-240 MHz) for digital broadcasting services and in-car entertainment applications. In this design, a matching stub has been added to a pair of strips resonating at λ/4 lengths for tuning the input impedance to the DAB band. The return loss of the antenna is larger than 6dB in the whole DAB band. The proposed antenna has a simple structure and proper size, which can reduce blockages to driver’s visions. This antenna is fairly appropriate to be implemented into a thin-film type and attached on the windshield of the car. The antenna design is to reduce manufacture cost and allow convenient installations. Moreover, the logo of the collaborating company is used as part of the antenna, which can provide anti-counterfeit, have a better antenna identification and even perform better. Good agreements between simulations and measurements are obtained. Furthermore, for DTV applications, an inverted-F film antenna with the similar structure as the DAB antenna is designed for operating in the DTV band of Taiwan (500-650 MHz). Based on simulations, good performances in return loss, gain, and efficiency are obtained, which may be employed for practical applications.

碩士
輔仁大學
物理學系
89
At present, we are studying a tiny but important part of the DWDM (Dense Wave-length Division Multiplexer), which is the filter. It will influence the quality and stability of communication. I am working on how to use the sputtering-coating skill to make a good filter. In the experiment, some self-remold equipment is used, including four sputter guns, magnetic fluid feedthrough, and transmitted optical thickness monitors. I use the equipment to start the first stage of coating DWDM filter. In the state, the following topics are discussed: the remold of equipment, the study of the thickness of the coating, and how it can be improved in the future.

碩士
國立中正大學
醫療資訊管理研究所
102
The development of information technology as well as advances in communications and network technology, the use of e-learning to obtain knowledge has become the trend of learning nowadays. According to the target differences, the way of e-learning also varies. Part learning can provide learners plenty of time dealing with information from textbooks. Through test function, learners can be reminded the learning priority by each learning materials and inspect learners’ degree of attention as well. The e-learning environment by far still not only lacks of inspection and interaction mechanisms but also deficient in consideration for the learners’ cognitive load of multimedia material design. The study based on theory of cognitive load and multimedia cognitive learning, analysis how "segmented mode interspersed with interactive test" and "the general e-learning" effect on each learners’ learning effectiveness. The research adopted quasi-experimental method. For 72 N1 nurses who tempt to promote to N2 job grade. Put the subjects randomly to group of experimental and control for a 5-week-long experimental study. The research focus on subjects in experimental group, collect the cognitive feelings after using the material. The results showed: (1) The using of segmented interspersed with interactive test courses can effectively help subjects with learning. Besides, the result showed the subjects to have positive attitude in using the interactive digital materials ; (2) Due to personal traits differences (age, educational background, seniority, and the time of using computer), the will of subject to use segmented interspersed with interactive test courses varies.

碩士
逢甲大學
運輸科技與管理學系
100
Among the rise of green energy, the most significant is the solar industry. The March 11th earthquake in Japan has led countries all over the world to re-examine their nuclear power development policies. Additionally, the earthquake enables the governments of each country to significantly enhance solar power goals. Solar energy is clean, safe, and inexhaustible. In addition, with improvements in technology, optical conversion efficiency increases and production costs decreases. Therefore, using solar energy as a renewable energy is undoubtedly one of the effective solutions to resolve nuclear power generation. Looking at the application environment, with their distinguishing feature of weak light tolerance, thin film solar cells can generate electricity in a wide range of conditions. Because it can be suitable for use with various intensities of sunlight, it is less affected by the weather. Therefore, the application of thin film solar cells will be very extensive. Warehouse is the place to store physical goods. Efficient warehouse operations include smooth traffic flow in the warehouse, equipment selection, process planning, no mistakes in inventory control, etc. From the point of view of manufacturers, warehousing is one of the necessary conditions of production and operation. This report is directed to planning the Chising Thin Film Solar Factory Warehouse in Central Taiwan Science Park. It is hoped that, with this warehouse planning, we can make the logistics of the operation more efficient.

The TV series represent a specific phenomenon in Egypt and other Arab countries. Albeit generally regarded as an uninteresting part of popular culture rather than a sort of art, the TV dramas should be seriously taken into consideration by all of social, history, and art scientists. Firstly, because of the extreme popularity among the large majority of the Egyptians, the series are often used by authorities for spreading certain ideological and political messages. The questions of national unity and the rise of militant Islam were chosen as examples to prove this in the thesis. Secondly, the Egyptian TV series reflect the social changes in Egyptian society and promote modernisation. This is shown in the thesis on the cases of marriage and the woman status. The production of TV series in Egypt is enormous and watching them is very widespread. Therefore, the TV dramas represent a powerful means to influence Egyptian society. Keywords: TV series, television, Egypt, popular culture, film, television drama, Egyptian society, social changes, satellite broadcasting, media.

This dissertation examines the historical contexts, major themes, and archival practices of queercore, an anti-normative queer and punk subculture comprised of music, zines, film, art, literature and new media that was instigated in 1985 by Bruce LaBruce and G.B. Jones in Toronto, Ontario. Via their fanzine J.D.s., LaBruce and Jones declared “civil war” on the punk and gay and lesbian mainstreams and conjured queercore as a multimedia subculture situated in pointed opposition to the homophobia of mainline punk and the lifeless sexual politics and assimilationist tendencies of dominant gay and lesbian society. In the pages that follow, I engage wider histories of radical queer politics and punk aesthetics and values to reveal the generative and long-standing symbiosis between these two energies – a symbiosis that informs queercore, but that also extends beyond its temporal and material boundaries. Through close analysis of queercore films (e.g. No Skin Off My Ass, The Lollipop Generation, The Living End, By Hook or By Crook), music (e.g., Pansy Division, Tribe 8, Beth Ditto/The Gossip, Nomy Lamm) and zines (e.g., J.D.s, SCAB, Bimbox, Bamboo Girl, i’m so fucking beautiful), I establish queercore’s primary themes: explicit sexuality (the use of risky, erotic queer punk images and performances to undermine heteronormativity and confront accepted notions of gay and punk identity); imagined violence (the deployment of a threatened, as opposed to actualized, violence in the hopes of frightening and, thus, destabilizing powerful white, bourgeois, heterosexual masculinity); and bodily difference (the circulation of affirmative representations of marginalized queer bodies, and specifically those that are fat, disabled and/or gender non-normative). Finally, I conclude with an exploration of the institutions and individuals currently involved in queercore archival efforts, thus placing my project within a crucial lineage of subcultural preservation. Taken as a whole, this study asserts that queercore articulates and disseminates a set of alternative identities, aesthetics, politics and representations for queer folks to occupy and engage within social space, providing a dynamic anti-normative, anti-corporate, D.I.Y. (do-it-yourself) alternative to a consumer-capitalist hetero- and homo-normative mainstream.
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