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Dissertations / Theses on the topic 'History of media'
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Timney, Todd F. "Design History Matters: Visualizing Graphic Design History Through New Media." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/38.
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New media's emerging influence on society and the design profession is profound. Currently unrealized, the intersection of graphic design history and digital media is an area worthy of further examination. For graphic designers trained in the design of fixed content for traditional media, new media's challengeto develop open-ended systems that adapt to dynamic content, customization, and multiple authorshipcan be unsettling. But the potential benefits of this exploration are many. The ability to synthesize video, sound, static imagery, and textual information to present interactive content that adapts to the contemporary history of graphic design student's multi-modal and mobile lifestyle will provide a significant advantage.
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Thorp, Robert. "Historical Consciousness, Historical Media, and History Education." Licentiate thesis, Högskolan Dalarna, Pedagogik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:du-14121.
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This thesis by publication contains an introductory summary chapter and three papers. The first paper presents a study of how the concept of historical consciousness has been defined, applied, and justified in Swedish history didactical research. It finds that there is consensus regarding the definition of what a historical consciousness is, but that there is variation in how the concept is applied. It is suggested that this variation makes historical consciousness a complex and vague concept. The second paper uses the results presented in the first paper as a point of departure and from thence argues for a broadened understanding of the concept of historical consciousness that incorporates its definition, application, development, and significance. The study includes research about historical consciousness primarily from Sweden, the UK, the USA and Canada. The paper presents a typology of historical consciousness and argues that level of contextualisation is what distinguishes different types of historical consciousnesses and that an ability to contextualise is also what makes historical consciousness an important concept for identity constitution and morality. The third paper proposes a methodological framework of historical consciousness based on the theory of historical consciosusness presented in the second paper. It presents arguments for why the framework of historical consciousness proposed can be useful for the analysis of historical media and it discusses how aspects of the framework can be applied in analysis. It then presents a textbook analysis that has been performed according to the stipulated framework and discusses its results regarding how textbooks can be used to analyse historical consciousness and its development.Forskarskolan Historiska Medier (ForHiM)
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Morris, Austin. "YouTube in continuity with broadcast media history." Thesis, Boston University, 2014. https://hdl.handle.net/2144/21223.
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Thesis (M.F.A.) PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.Online streaming video portal YouTube began life with the slogan "Broadcast Yourself" as its guiding ethos. Those words invite a critical exploration of YouTube’s relationship to broadcast media history and the current economic, social, and technological landscape of television. Precedent for the discourses of medium-specific ideologies circulating around YouTube is found in the alternative television production cultures of the late 1960s-early 1980s and the processes of radio regulation and spectrum allocation in 1927-1934. In the final analysis, YouTube operates as a simulation of the established television industry, pretending to be disruptive while developing itself as an industry according to the same capitalist logics that structure mainstream television. Thus, YouTube should not be thought of as a viable alternative structure to the television industry. Particular consideration is given to the impacts of YouTube’s technological and industrial structures on queer media producers and consumers.
2031-01-01
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Seaver, Nicholas Patrick. "A brief history of re-performance." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/59573.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2010.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student submitted PDF version of thesis.
Includes bibliographical references (p. 93-97).
Discussions of music reproduction technology have generally focused on what Jonathan Sterne calls "tympanic" reproduction: the recording and playback of sounds through microphones and speakers. While tympanic reproduction has been very successful, its success has limited the ways in which music reproduction is popularly imagined and discussed. This thesis explores the history of "re-performance," an alternative mode of reproduction epitomized by the early twentieth-century player piano. It begins with a discussion of nineteenth-century piano recorders and the historical role of material representation in the production of music. It continues with the advent of player pianos in the early twentieth century that allowed users to "interpret" prerecorded material, blurring the line between performance and reproduction and inspiring popular reflection on the role of the mechanical in music. It concludes with the founding of the American Piano Company laboratory in 1924 and the establishment of a mechanically founded rhetoric of fidelity. Bookending this history is an account of a performance and recording session organized by Zenph Studios, a company that processes historical tympanic recordings to produce high-resolution data files for modern player pianos. Zenph's project appears futuristic from the perspective of tympanic reproduction, but is more readily understood in terms of the history of re-performance, suggesting a need for renewing critical attention on re-performative technologies. Contemporary developments in music reproduction such as music video games and sampling may make new sense considered in the context of re-performance. This alternative history aims to provide a ground on which such analysis could be built.
by Nicholas Patrick Seaver.
S.M.
5
Borrowman, Shane Christopher. "Making history: Rhetoric, historiography, and the television news media." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/290635.
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Drawing on work in communications, media studies, and history, I argue that the historiographical methods of rhetoric and composition need to move beyond written discourse to consider the use of visual historical representations of the past. To explicate my argument, I analyze multiple examples of local and national television news coverage of the Vietnam War, the Gulf War, and the recent fighting in Kosovo. Based upon these examples, I argue that the television news media work within a dysfunctional, narrative-driven genre that is entirely inadequate in its attempts to analyze current world events, particularly warfare, because of heavy reliance upon culturally recognizable images of the past drawn from both fictional and non-fictional sources. Ultimately, my argument demonstrates the need for a critical methodology in rhetoric and composition for examining texts that are visual--such as photographs, video tapes, and multimedia documents on the Web. I begin with an examination of the history and historiography of rhetoric and composition. Using Susan Jarratt's Rereading the Sophists as an extended example, I analyze how history is both written and critiqued in this field--drawing heavily on such sources as Rhetoric Review's Octalogs and the work of James Berlin, Thomas P. Miller, and Robert J. Connors. To move the historiographical methods into the analysis of visual history, I draw on the work of a wide range of scholars in communications, media studies, and history: Walter Lippmann, Thomas E. Patterson, W. Lance Bennett, Noam Chomsky, Jean Baudrillard, H. Bruce Franklin, and others. After applying the methodology I develop to several texts--from both television and the Web--I extend my arguments beyond historiography to American culture. I argue that the ways in which the past is constructed have direct consequences for the ways in which Americans understand the past and present. Specifically, superficial constructions of history limit the ability of viewers/readers to think critically about the past and thus limit the complexity of arguments on which decisions in the present can be based. In this sense, visual history is an example of deliberative rhetoric limited by the constraints under which forensic rhetoric is constructed.
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Kaleba, Casey Dean. "Violent delights a cultural history of media violence debates /." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/2130.
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Thesis (M.A.) -- University of Maryland, College Park, 2004.Thesis research directed by: Dept. of Theatre. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Tang, Wen. "Collective Memory of the Nanjing Massacre : A Case Study on Chinese Social Media--Sina Weibo." Thesis, Uppsala universitet, Hugo Valentin-centrum, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-371916.
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RobbGrieco, Michael. "Media for Media Literacy: Discourses of the Media Literacy Education Movement in Media&Values Magazine, 1977-1993." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/307368.
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Media & CommunicationPh.D.
This dissertation contributes to the history of media literacy by tracing the emergence and development of media literacy concepts and practices in Media&Values magazine (1977-1993), which spoke across discourse communities of scholars, teachers, activists and media professionals to build a media literacy movement in the United States. Media literacy evolved in changing contexts of media studies and education discourses as well as changes in media technologies, industries, politics, and popular culture. Taking a genealogical approach to historical inquiry, this study uses discourse analysis to describe how Media&Values constructed media literacy as a means for reform, as a practice of understanding representation and reality, and as pedagogy of social analysis and inquiry. These constructions position media literacy as interventions in power, articulating agency through addressing institutions, demystifying ideology, and negotiating identities. This history provides perspective on debates across diverse strands of practice in the current field of media literacy education.
Temple University--Theses
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SALMERON, PEREZ MARIA DOLORES, and ARQUES JESUS MORENO. "Media database with web interface for a local history society." Thesis, Karlstad University, Division for Information Technology, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-5859.
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Ruggiero, Colin Ross. "Science and Natural History Film and the Larger Media Environment." Thesis, Montana State University, 2005. http://etd.lib.montana.edu/etd/2005/ruggiero/RuggieroC0805.pdf.
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The purpose of this thesis is to examine the ways in which science and natural history films are affected by the larger media environment and in particular, concentrated ownership structures. This first part of this examination is aimed at establishing that the corporate conglomerates that own the majority of mainstream media outlets and resources have sufficient control over the media environment to warrant speaking about specialized programming like science and natural history within the context of the larger corporate-owned environment. The remainder of the paper discusses the impacts this media environment has on science and natural history film. These impacts consist primarily of excessive commercial influence and a loss of diversity in programming. To explain and describe these effects, the paper uses a model of how the political and economic interests of these media monopolies led to a corporate bias and agenda that serves to filter the films that gain access to mainstream media outlets. This examination relies on a wide variety of data and case studies to support its arguments.
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Spitz, David (David Ethan). "Contested codes : toward a social history of Napster." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/39188.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, June 2001."June 2001."
Includes bibliographical references (leaves 77-83).
In the years since its inception, some interpretations of the software program known as "Napster" have been inscribed into laws, business plans, and purchasing decisions while others have been pushed to the fringes. This paper examines how and why certain assumptions about Napster gained consensus value whereas others did not. The analytical approach involves an examination of discourses about Napster in several arenas - legal, economic, social, and cultural - and is informed by a conceptualization of Napster as an ongoing encounter between, rather than the accomplishment of, inventor(s), institution(s), and interest(s). While acknowledging the importance of empirical examinations of Napster's impact on firms and markets, as well as the proscriptive advice which it supports, the focus here is on providing a contextualized understanding of the technology as an object whose meanings were contested and ultimately resolved, or at least stabilized, within, across, and through a broader systems of power and structured interests.
by David Spitz.
S.M.
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Brown, Ian James Morris. "History as theatrical metaphor." Thesis, Manchester Metropolitan University, 1991. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.290319.
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Fridner, Linda. ""Den som flyr har inget val, ingen människa är illegal" : En kritisk diskursanalys över hur konstruktionen av flyktingbegreppet i politik och media förändrats över tid." Thesis, Karlstads universitet, Fakulteten för humaniora och samhällsvetenskap (from 2013), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-55296.
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Denna uppsats, ”Den som flyr har inget val, ingen människa är illegal” -En kritisk diskursanalys över framställningen av flyktingar i politik och media, handlar om hur begreppet flyktingar konstruerats i den flyktingpolitiska diskursen i regering/riksdag och hur Dagens Nyheter konstruerat begreppet flyktingar i den flyktingpolitiska diskursen under två olika perioder. Som teori och metod används en kritisk diskursanalys för att ta reda på om flyktingar framställts som en belastning eller en resurs och i så fall hur och vem som belastas eller de blir en resurs för. Analysen visar att synen på flyktingar i riksdagen och regeringen är att de i störst utsträckning är belastning för Sverige och den svenska befolkningen under båda perioderna. Flyktingar har framställts som ett hot både ekonomiskt och socialt. Under den senare av de två perioderna framställdes de även som ett hot mot landets och folkets säkerhet. Den framställningen som fanns i riksdagen återspeglades under båda perioderna i Dagens Nyheters artiklar.This paper, " There is nothing illegal about a person, being forced to flee " - A critical discourse analysis of how the construction of refugee concepts in politics and media has changed over time deals with how refugees as concept have been construced in the refugee political discourse in government / parliament and how Dagens Nyheter makes refugees in it Refugee policy discourse for two different periods. As a theory and method, a critical discourse analysis is used to find out whether refugees are presented as a load or resource, and if so, how and who are charged or they become a resource. The analysis shows that the view of refugees in the parliament is that they are to a large extent the burden for Sweden and the Swedish population during both periods. Refugees have been produced as a threat both economically and socially. During the latter of the two periods, they were also produced as a threat to the country and the people's security. The petition that existed in the goverment and the parliament was reflected in Dagens Nyheter's articles in both periods.
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Young, Susan Heather. "Project Think: Transforming history into new knowledge." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3224.
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Project THINK was designed as a classroom project that combined the use of instructional multimedia technology, linked to the California History/Social Science standards, which engaged gifted middle school students in the design of these standards-based video materials.
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Thornton, Joanna Margaret. "Government media policy during the Falklands War." Thesis, University of Kent, 2015. https://kar.kent.ac.uk/50411/.
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This study addresses Government media policy throughout the Falklands War of 1982. It considers the effectiveness, and charts the development of, Falklands-related public relations’ policy by departments including, but not limited to, the Ministry of Defence (MoD). The literature of the 1980s concerning the media during the conflict still dominates the historiography of the subject. This thesis is the first significant reappraisal of the work offered during the decade in which the war occurred. It is informed by recently released archive material and newly conducted interviews, and boasts an extensive analysis of the content of the printed press during the conflict. There are a number of central hypotheses contained in this research (as well as many lesser theories). This thesis argues that media policy observed by the MoD in relation to the Task Force journalists was ill-prepared, reactionary, driven by internal MoD motivation and that ultimately, control of policy was devolved to the men on the ground. This thesis advances that MoD media policy in Britain, while as reactive as that rolled out to the Task Force, became more effective as the war progressed. The MoD failed to adequately cater for the British media until the middle of May 1982, at which time a number of sensible and potentially successful initiatives were introduced – specifically the News Release Group and the Military Briefing Group. It is also the contention of this work that the machinery developed centrally, by the Cabinet Office and No.10 Press Office in the form of the South Atlantic Presentation Unit and Information Group, had the potential to be successful additions to the regular organisation of Government. However, neither had enough authority and were plagued by departmental rivalries. While the media-related initiatives of the MoD ultimately became more successful, those of wider Government became less effective. Finally, this thesis provides a serious analysis of the printed press in order to substantiate the hypothesis that much of what had been argued about the printed press was generalised and oversimplified – its reliance on Argentine source material, its jingoistic nature, the dominance of reports on armed conflict and its aversion to a diplomatic settlement.
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Thorp, Robert. "Uses of history in history education." Doctoral thesis, Högskolan Dalarna, Pedagogiskt arbete, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:du-23027.
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This compilation thesis contains an introductory chapter and four original articles. The studies comprising this thesis all concern aspects of how historical culture is constituted in historical media and history teachers’ narratives and teaching. It is argued that the teaching of history is a complex matter due to an internal tension resulting from the fact that history is both a product and a process at the same time. While historical facts, and knowledge thereof, are an important aspect of history, history is also a product of careful interpretation and reconstruction. This study analyses and discusses how history is constituted in history textbooks and popular history magazines, i.e. two common historical media, and in teachers’ narratives and teaching of history. The study finds that the historical media studied generally tend to present history as void of perspective, interpretation and representation, suggesting this to be the culturally warranted form of historical exposition. Moreover, the teachers studied also tend to approach history as if it were not contingent on interpretation and reconstruction. These results indicate that the history disseminated in historical media and history classrooms presents history in a factual way and disregards the procedural aspects of history. Applying the history didactical concepts of historical consciousness, historical culture and uses of history, this thesis argues that an essential aspect of historical understanding is an appreciation of the contextual contingency that characterises history. All history is conceived within a particular context that is pertinent to why and how a certain version of history is constructed. Furthermore, all history is also received within a particular context by people with particular preconceptions of history that are contextually contingent, in the sense that they are situated in a certain historical culture. Readers of historical media are members of societies and are thus affected by how history is perceived and discussed in these contexts. This thesis argues that an awareness of these aspects of history is an important factor for furthering a complex understanding of history that encompasses the tension highlighted above.
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Kuksa, Iryna. "Scenography and new media technologies : history, educational applications and visualization techniques." Thesis, University of Warwick, 2007. http://wrap.warwick.ac.uk/1156/.
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The endemic presence of digital technology is responsible for numerous changes in contemporary Western societies. This study examines the role of multimedia within the field of theatre studies, with particular focus on the theory and practice of theatre design and education. In the cross-disciplinary literature review, I investigate such primary elements of contemporary media as interactivity, immersion, integration and hyper-textuality, and explore their characteristics in the performing arts before and during the digital epoch. I also discuss various IT applications that transformed the way we experience, learn and co-create our cultural heritage. In order to illustrate how computer-generated environments could change the way we perceive and deliver cultural values, I explore a suite of rapidly-developing communication and computer-visualization techniques, which enable reciprocal exchange between viewers, theatre performances and artefacts. I analyze novel technology-mediated teaching techniques that attempt to provide a new media platform for visually-enhanced information transfer. My findings indicate that the recent changes towards the personalization of knowledge delivery and also towards student-centered study and e-learning necessitated the transformation of the learners from passive consumers of digital products to active and creative participants in the learning experience. The analysis of questionnaires and two case studies (the THEATRON and the VA projects) demonstrate the need for further development of digital-visualization techniques, especially for studying and researching scenographic artefacts. As a practical component of this thesis, I have designed and developed the Set-SPECTRUM educational project, which aims to strengthen the visual skills of the students, ultimately enabling them to use imagery as a creative tool, and as a means to analyze theatrical performances and artefacts. The 3D reconstruction of Norman Bel Geddes' set for The Divine Comedy, first of all, enables academic research of the artefact, exposing some hitherto unknown design-limitations in the original set-model, and revealing some construction inconsistencies; secondly, it contributes to educational and creative practices, offering an innovative way to learn about scenography. And, thirdly, it fills a gap in the history of the Western theatre design. This study attempts to show that when translated into digital language, scenographic artefacts become easily retrievable and highly accessible for learning and research purposes. Therefore, the development of such digital products should be encouraged, but care should also be taken to provide the necessary training for users, in order to realize the applications' full potential.
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Wexelblat, Alan Daniel. "Footprints : interaction history for digital objects." Thesis, Massachusetts Institute of Technology, 1999. http://hdl.handle.net/1721.1/29146.
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Thesis (Ph.D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts & Sciences, 1999.Includes bibliographical references (p. 139-143) and index.
Digital information has no history. When we interact with physical objects, we are able to read the traces left by past interactions with the object. These traces, sometimes called "wear," form a basis for the interaction history of the object. In the physical world, we make use of interaction history to help come up with solutions and guidance. This is not possible in the digital realm, because the traces are missing. This dissertation describes a theoretical framework for talking about interaction history. This framework is related to work in anthropology, ethnomethodology, architecture, and urban planning. The framework describes a space of possible history-rich digital systems and gives properties which can be used to analyze existing systems. The space consists of six properties: proxemic/distemic, active/passive, rate/form of change, degree of permeation, personal/social, and kind of information. We also present an implementation of these ideas in a system called Footprints, a toolset for aiding information foraging on the World Wide Web. Our tools assume that users know what they want but that they need help finding it and help understanding - putting in context - what they have found. Footprints is a social navigation system, designed to show that information from past users can help direct present problem-solvers. We present results from informal use of the tools over the last two years, and from formal surveys and experiments on a controlled task. These experiments showed that people could achieve the same or better results with significantly less effort by using our tools.
by Alan Daniel Wexelblat.
Ph.D.
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Schrier, Karen L. "Revolutionizing history education : using augmented reality games to teach histories." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/39186.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2005.Includes bibliographical references (leaves 154-162).
In an ever-changing present of multiple truths and reconfigured histories, people need to be critical thinkers. Research has suggested the potential for using augmented reality (AR) games- location-based games that use wireless handheld devices to provide virtual game information in a physical environment-as educational tools. I designed "Reliving the Revolution" as a model for using AR games to teach historic inquiry, decision-making, and critical thinking skills. "Reliving the Revolution" takes place in Lexington, MA, the site of the Battle of Lexington (American Revolution) and simulates the activities of a historian, such as evidence collection and interpretation. Participants interact with virtual historic figures and gather virtual testimonials and evidence on the Battle, each triggered by GPS to appear on the handheld devices depending on one's specific location on or around the Lexington Common. The participants collect differing evidence based on their historic role in the game (Minuteman soldier, loyalist, African American/Minuteman soldier, or British soldier) and then collaboratively evaluate who fired the first shot to start the Battle of Lexington.
(cont.) I envision "Reliving the Revolution" not as a standalone educational solution, but as an activity integrated into a broader history curriculum that teaches students how to approach and evaluate complex social problems. This thesis provides a detailed rationale for each of my design choices, as well as an assessment of each choice based on the results of iterative game testing. In my analysis of the game's design, I focus specifically on four game elements: (1) collaborative, (2) role-playing, (3) storytelling or narrative elements; and (4) kinesthetic and mobility. Results of trials of the game suggest that "Reliving the Revolution" and similar AR games can enhance the learning of: (1) historical name, places, and themes; (2) historical methodology and the limits to representations of the past; and (3) alternative perspectives and challenges to "master" historical interpretations. The game motivated participants to gather, evaluate, and interpret historical information, devise hypotheses and counter-arguments, and draw informed conclusions.
(cont.) My trials also suggested that AR games such as "Reliving the Revolution" can enhance learning because it can: 1. Create an authentic "practice field" for solving problems and using real-world contexts and tools. 2. Increase the potential for collaboration among participants, and enhance opportunities for reflection. 3. Enable participants to take on and express new identities through role-playing. 4. Encourage participants to explore more deeply a physical site and to consider interactions between the real and virtual worlds.
by Karen L. Schrier.
S.M.
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Crylen, Jonathan Christopher. "The cinematic aquarium: a history of undersea film." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1839.
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This dissertation investigates undersea cinema from its origins to the present. Addressing a range of documentaries, narrative fiction films, and sound recordings made undersea, this project emphasizes ocean cinema’s ties to the histories of ocean exploration, conquest, and conservation—contexts from which undersea films cannot be extricated.
For over a century, undersea films have brought the distant world of the deep up close to the eyes and ears of a broad public; they have been a major influence on popular understanding of the ocean, which today is of great environmental significance and a powerful symbol of a fragile global ecology. This project aims to show how the ocean as a cinematic site of ecological consciousness is, as a condition of its production, intimately linked to environmentally unfriendly histories of technology. The often-dazzling images of marine life shown on film can increase viewers’ sensitivity to the other forms of life with which they share the planet. At the same time, producing these images has historically relied on exploratory technologies built for the purpose of better exploiting the marine environment economically and militarily. This contradiction between films’ meanings and their conditions of possibility is not limited to ocean cinema; it characterizes a wide range of environmental films. By focusing on ocean cinema, a particularly rich case of unseen worlds, environmental consciousness, and destructive techno-scientific commitments coming together, this dissertation aims to illuminate a tension that pervades environmental cinema in general.
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Eronen, Linnéa. "En silvermedalj kring halsen ellermidsommarblommor i håret? : Sportslig framgång och framställning av det svenska damlandslaget i media." Thesis, Uppsala universitet, Ekonomisk-historiska institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-448247.
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King, Larry Jene. "A history of the Department of Communication at the University of Oklahoma : a case study in the history of the discipline /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1990.
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Okon, Patrick Edem. "Changes in media policy in Sub-Saharan Africa : the role of community media." Thesis, Edinburgh Napier University, 2014. http://researchrepository.napier.ac.uk/Output/7556.
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This thesis considers the role of community media in contemporary media policy developments of Anglophone Sub-Saharan Africa. The study is broadly located within the discourse on ‘shapers' of media policy developments. The empirical materials draw upon various case studies of media regulation and community press and broadcasting media campaigns in South Africa, Ghana, and Nigeria. The case studies were conducted using mixed methods approach in a qualitative way. The methodological logics underpinning data presentation and analysis are explanation building and cross-case synthesis. The thesis shows that there have been substantial media policy changes with progressive effects across Anglophone Sub-Saharan Africa in the last two decades. Enabled by the growing deregulation of media environments, there is a robust and complex culture of community media in the region. Community media institutions, working alongside a plethora of allies and drawing on a range of communication and participatory platforms, are exerting significant impacts on media policy decisions. The degree of their effectiveness, however, is affected by political, legislative, and economic processes, as well as by differences in technology, business philosophies, available funding regimes, and structures for audience participation. The engagements of community media with governments in media deregulations have established a new model for understanding media policy and for media deregulations. But, regardless of the changes in media policy, there are still specific policy concerns that underline what brings additional pressures to community media. The study concludes, firstly, that the contribution of community media to policy making still requires greater public recognition. Secondly, that there is need for the pressures on community media to be quickly redressed in order to improve their effectiveness as policy activists. This could be achieved through: a new understanding of media policy as advanced by alternative media organizations; an ‘open' administrative approach to inform participatory policy decision-making; the expansion of protective frameworks for small media in a bid to preserve their emancipatory potency; and the use of social and digital media to strengthen campaigns for policy reforms.
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Malik, Hamdi. "Media, gender and domestic relations in post-Saddam Iraq." Thesis, Keele University, 2018. http://eprints.keele.ac.uk/5102/.
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The regime change of 2003 transformed the media environment in Iraq from one that was strictly limited and monopolised by the state, to one without any restrictions imposed by state agencies. Gender culture and ‘family values’ have especially been contested as a consequence of the transformation of access to the media. The common assumption is that sexualised media content, and also the increasingly privatised nature of media technologies, are contributing towards the transformation of gender culture, with worries that Iraqi women in particular are turning into Western women and becoming estranged from their genuine Iraqi identity. The aim of this research is to investigate the nature of the evolving relationship between media and gender culture in post-Saddam Iraq. The importance of this investigation lies in the fact that since 2003, most research on Iraq has focused on war. This is also true of studies on gender relations. This research, however, focuses on other developments that happened as a result of the regime change, paving the way for struggles over many issues, including gender culture and Iraqi identity. The project was carried out using the qualitative method of semi-structured interviews. The interviews were carried out in Baghdad and Erbil, giving a perspective of the urban middle class Iraqi Arabs and Kurds on the subject. The research demonstrates that although the media provides windows for Iraqi women to distance themselves from prevalent patriarchal rules that control their sexuality, the ‘realities’ of local life have not allowed for the ‘Westernisation’ of gender relations in post-Saddam Iraq. Since the media is viewed as a threat to the sexual honour, an important element of Iraqi gender culture, there is a tendency to reassert this notion in the processes of the redefinition of the cultural identity of Iraqi people that was triggered by the 2003 war. This thesis offers new insights into gender relations in post-Saddam Iraq, focussing especially on the update on media in this period, and how this relates to the constitution of Iraqi identity and gender relations in families. It also offers a re-working of the concept of ‘honour’; one that embeds this into an analysis of Iraq’s hegemonic masculine system.
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Molwantwa, Flora Majweng. "The selection and integration of instructional media for the teaching of history / Flora Majweng Molwantwa." Thesis, Potchefstroom University for Christian Higher Education, 1997. http://hdl.handle.net/10394/9330.
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With the new technological advances on the eve of the end of the 19th century, a multitude of
intrinsic and extrinsic instructional media became available to both teachers and pupils. For
effective use of the available instructional media it became increasingly necessary to become
both audio and visually literate in order to interpret and understand messages from audio-visual
materials/instructional media. This, however, confronted teachers with the urge to become more
acquainted with the ways of how to address media selection and integration in a proper way.
History as a subject taught at school lends itself to the application of instructional media in a
variety of forms. Since the selection of the appropriate or the available media for the teach•
ing situation is no easy task, a literature study was undertaken with the purpose of identifying
factors that become apparent from media selection models and that need to be considered
when instructional media are selected for the teaching of history. Apart from the prob•
lem of the lack of an instructional media selection model designed specifically for history
teaching, it was possible to propose suitable guidelines based on research findings for the
selection of instructional media for history teaching.
As far as the empirical research contained in chapter three is concerned, a questionnaire
has been developed to determine to what extent history teachers in the present school
situation use instructional media, and whether the media available is used effectively. A random
sample of fifty (50) schools in the northern region of the Free State was used. Teachers with
three years or more experience were asked to complete the questionnaire. An evaluation of the
situation was created from the results. One of the most important findings was that a limited
number of teachers received training in the effective use of instructional media, or in instructional media science. It appears that the choice of instructional media is considered no easy
task by them.
Chapter four is devoted to the practical application of instructional media in the teaching of
history at the junior secondary level. There lessons have been prepared according to the model
that has been developed in this project, which contain aspects of the new outcomes based on
education. During the process a selection of media has also been made, ranging from what
would be applicable in a school that is fairly adequately equipped with media, to schools that are only partially equipped with media.
The study is concluded with a synthesis of all the findings as set out in chapters one through four, where the applicable guidelines for the teaching of history are confirmed.Thesis (MEd (Vakdidaktiek))--PU vir CHO, 1997
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Noorzai, Roshan. "Communication and Development in Afghanistan: A History of Reforms and Resistance." Ohio : Ohio University, 2006. http://www.ohiolink.edu/etd/view.cgi?ohiou1154640245.
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Roark, Jessica A. "History and technology : the creation of the Ball State Jazz Media Archive." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1397649.
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This creative project details the process involved in the creation of the Ball State Jazz Media Archive. This archive will contain oral histories collected from individuals involved with the Ball State jazz program, photographs that are otherwise unavailable for study and other historical materials relevant to jazz at Ball State University. The historical significance and academic uses of such an archive have been described as well as a thorough overview of other major jazz media archives in the United States and other academic projects involving oral history. This project also includes the plans for future collection and population of the archive through the efforts of Sigma Alpha Iota, an international fraternity for women in music.Department of Telecommunications
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McCormick, Paul Douglas. "American Cinematic Novels and their Media Environments, 1925 - 2000." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1324671316.
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Yemm, Rachel. "Immigration, race, and local media in the Midlands, 1960-1985." Thesis, University of Lincoln, 2018. http://eprints.lincoln.ac.uk/34577/.
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The passing of the Television Act in 1954 introduced commercial television to British screens for the first time; ITV was formed as a network of regional channels that broadcast content aimed specially at the regions they served. The arrival of regional television also coincided with mass immigration from Britain's former colonies, a significant proportion of which settled in the Midlands. Scholars of both twentieth-century British history and media history have tended to underplay regional variation. There is a growing but small field of historians who have examined race and media in the same frame but even they have generally not acknowledged the important role of local and regional media in shaping the public response to post-war immigration. This study addresses this absence by examining depictions of immigrants on ATV, ITV's regional Midlands channel, from 1960 to 1985, focusing primarily on ATV's news programme through a series of case studies, as well as the production of Here and Now, an ethnic minority arts and culture magazine programme broadcast by ATV (later Central Television) throughout the 1980s. It also examines the previously underexplored role of the local press in the formation of public responses to immigration, highlighting significant links between different forms of local and regional media in post-war Britain by arguing that ATV was, at times, influenced by local press reporting of immigration. ATV and the local press played a crucial role in forming local responses to immigration within the region, one that differed at times to that of the national press, television news and current affairs programming. Unlike the national television news, which reported immigration from a national perspective, ATV broadcast local content which focused specifically on local issues, for example the impact of immigration on local services, employment and housing. This content also crucially provided images of immigrants within the audience's towns, neighbourhoods and streets. Despite the large immigrant community in the Midlands during the period, ATV failed to properly represent black and Asian people. In doing so, ATV played an important role in defining the boundaries of exclusion and inclusion within Midlands communities. A comparison of regional and national television news and current affairs programming also indicates that ATV understood neutrality differently than the BBC and ITV, often resulting in far more negative representations of race and immigration. By examining the role of local and regional media in public responses to post-war immigration, this study adds depth to our existing understanding of the uneven development of race relations in post-war Britain.
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Barriga, Maria Fernanda. "Deconstructing Feminist Art and The Evolution of New Media." Thesis, Prescott College, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10255533.
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Feminist artists during the second wave movement wanted to gain the same rights as men in a historically male-dominated art world, a world that was being influenced more and more by modernist ideals. It was during this precise moment that postmodernists helped transform art, in addition to the fields of literature, music, architecture, law, and philosophy. The synthesis between postmodernism and feminism helped art evolve in non-traditional ways. In this thesis, I seek to answer the question: “How did postmodernism influence feminist artists from 1970-1982 to create the adaptation of new media?” Evidence of this influence is seen in the evolution of new media such as performance, decorative arts, video, photography, femmage, and collage. As I examine the synthesis between postmodernism and feminist art, I will also show evidence of how second wave feminist movement influenced the evolution of postmodernism, and how the mixture of postmodern and feminist ideals influenced these women artists.
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Miller, Bayard Louis. "When Old Media Was New: Learning From the Past, Archiving For the Future." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/197386.
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HistoryM.A.
This paper examines recent advances in new media technology and the profound effect that the digital turn has had on the way in which archivists and public historians preserve and present the past. Included is an investigation of the process of digitization, and the creation of digital databases that addresses concerns regarding authenticity in the digital age. As the history consuming public has grown increasingly reliant on digital technology it is essential for public historians to use new media as a way to embrace the public in a historical dialogue. Yet, the public is interested in a history that is far different than that which is produced in the academy and it seems as though historians have drifted away from the public eye. So how should historians connect with a public that finds their work largely inaccessible without having to compromise the integrity of their scholarship? This thesis argues that new media technology can help bridge the gap between the professional history done in the academy and public history that relies on community engagement. Looking to public science at the turn of the twentieth century, this paper shows how including the public in scholarly discourse has been a point of contention for over a century. Understanding how men of science attempted to blend professional and vernacular science in the nineteenth century provides insight for public historians trying to reach out to diverse publics today. Lastly, this paper will show how one institution in particular, the Wagner Free Institute of Science, has used new media throughout its existence as a way to bridge the gap between professional and public science.
Temple University--Theses
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Simpson, Jenna Anne. "Screening the Revolution: "Williamsburg, the Story of a Patriot" as Historic Artifact, History Film, and Hegemonic Struggle." W&M ScholarWorks, 2006. https://scholarworks.wm.edu/etd/1539626506.
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Stuart, Charles. "The Mohawk Crisis: A crisis of hegemony. An analysis of media discourse." Thesis, University of Ottawa (Canada), 1993. http://hdl.handle.net/10393/6505.
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The subject for this thesis was the Mohawk Crisis at Oka, Quebec during the summer of 1990. The theoretical framework underlining the study was Antonio Gramsci's concept of a crisis of hegemony or legitimation crisis as applied by Stuart Hall et al. (1978). Within this theoretical framework the media are viewed as an ideological mechanism perpetuating the existing hegemonic relationship. The research undertook to apply this social theory to the Mohawk Crisis and examine the ideological discourse in the media coverage of the Crisis. Press reports taken from the Globe and Mail and Montreal Gazette were analyzed using quantitative content analysis and a qualitative exploratory technique. The following two general theses were examined: firstly, that ideological discourse would be apparent in media coverage of the 1990 Mohawk Crisis and, secondly, that the media supported an official 'law and order' campaign during the Mohawk Crisis. Further, two more specific hypotheses were tested in individual chapters which present the results of the quantitative content analysis. (Abstract shortened by UMI.)
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Davies, Stephanie Mae. "Paying the rite price| Rugby Union, sports media and the commodification of Maori ritual." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527911.
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This thesis examines the commodification of Maori ritual in rugby union that has occurred through the joint processes of colonization and globalization. Since its introduction to New Zealand during the colonial period, rugby has been a significant creator and conveyor of masculine identities. Through colonization and globalization, Maori religion and performing arts have been culturally mapped on Western categories of meaning. This decontextualization of kapa haka in rugby is increasingly an issue as, through new global technologies, people have unprecedented access to Maori intellectual property.
The international popularity of the New Zealand All Blacks and their pre-game haka has created a global platform for the exposure of Maori culture. However, the representations of Maori in rugby union are often from decontextualized sources. Therefore, an examination of haka in New Zealand demonstrates how Maori ritual has been appropriated for capitalistic purposes.
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Lavin, Filip. "Svensk rapportering om amerikanska presidentval : En studie i hur tre svenska tidningar har gestaltat två historiska presidentval." Thesis, Umeå universitet, Institutionen för idé- och samhällsstudier, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-149793.
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Denna uppsats syftar till att undersöka hur gestaltningen av de amerikanska presidentvalen 1860 och 1960 tog sig utryck och förmedlades i de svenska tidningarna Aftonbladet, Göteborgs Handels- och sjöfartstidning och Expressen. De tidningar jag valt har tydliga politiska inriktningar, då jag vill med min undersökning se om tidningarnas ideologi påverkade deras rapportering av valen. Valet 1860 är det Aftonbladet och Göteborgs Handels- och Sjöfartstidning som undersöks. Under denna tid var de båda liberala tidningar. Till valet 1960 byts Göteborgs Handels- och Sjöfartstidning ut mot Expressen då Göteborgs Handels- och Sjöfartstidning hade tappat sin plats som en av Sveriges mest inflytelserika tidningar. År 1960 hade inte Aftonbladet längre en liberal inriktning utan var nu socialdemokratisk. Däremot var Expressen liberal. I undersökningen används en kvalitativ komparativ textanalys för att granska tidningarnas artiklar. Teorin som studien använder är gestaltningsteorin såsom Jesper Strömbäck förklarar den. Uppsatsen kommer titta främst hur kandidaterna, sakfrågorna och bilden av USA beskrevs i tidningarnas rapportering. Undersökningen visar att i båda valen rapporterar alla tidningar utifrån en politisk agenda där de gestaltade en av kandidaterna och hans politik som mer positiv medan den andra kandidaten och hans politik gestaltades som mer negativa. De skillnader som fanns i rapporteringen mellan valen berodde främst på den teknologiska och politiska utvecklingen som skett under de åren som skilde mellan valen. Men jag kunde även se skillnader i hur de gestaltade de olika kandidaterna i sina artiklar.
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Monterio, Carlos Eduardo Ferreira. "Investigating critical sense in the interpretation of media graphs." Thesis, University of Warwick, 2005. http://wrap.warwick.ac.uk/73122/.
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This research explores elements and processes involved in interpretation of media graphs. The investigation was comprised of a literature review and a collection of empirical data. The literature review revealed a lack of qualitative evidence related to the complex relationships between elements and processes which comprise the interpretation of media graphs. This study explores the interpretation of media graphs by primary student teachers who would be involved in teaching about graphing. The main study was composed of two complementary datasets: questionnaires and interviews, which allowed an interplay between qualitative and quantitative data. 218 undergraduate and PGCE student teachers from Britain and Brazil responded to a questionnaire with items related to individual details, reading background and media graph tasks. 13 volunteers gave interviews which explored three types of questions: reading the data, reading between the data and reading beyond the data. The interviews also recalled the questionnaire responses. The data analysis of the questionnaires was software based, and a micro analysis approach was developed with the data from the interviews. The analyses of data gave evidence for the discussion about the notion of critical sense in graphing. It was concluded that critical sense in interpretation of media graphs is related to the mobilisation and balance of several aspects, such as: mathematical knowledge, contextual reference, personal experience and affective exhibition. The discussion of the results might help the reflection about teaching and learning of graphing in ways that will support the development of critical sense.
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Cakars, Janis Kent. "Media, revolution, and the fall of communism Latvia, 1986-1991 /." [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:3330779.
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Thesis (Ph.D.)--Indiana University, School of Journalism, 2008.Title from home page (viewed on Jul 20, 2009). Source: Dissertation Abstracts International, Volume: 69-10, Section: A, page: 3789. Adviser: Owen V. Johnson.
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Ingravalle, Grazia. "Curating film history : film museums and archives in the age of new media." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/16894.
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As analogue film approaches obsolescence and new modes of engaging with moving images through digital media displace traditional cinema-going practices, film archives and museums acquire increasing prominence in the cultural scene. These institutions preserve audiovisual works, apparatuses and techniques from the past, exhibiting them as artefacts and records of a cinematic time before the "digital turn." While media and art scholars have addressed the appearance of film, video and digital media artworks in the contemporary art museum, insufficient attention has been dedicated to film museums as sites of moving-image exhibition and historical mediation. This study explores the work of film archivists and curators, with particular attention to the exhibition of early and silent films through different media, institutional settings and historical narratives, shaping contemporary audience's interpretation. This research examines three institutions-the EYE Filmmuseum (EYE) in Amsterdam, the George Eastman Museum (GEM) in Rochester, NY and the National Fairground Archive (NFA) in Sheffield (UK)-that have recently experimented with innovative film exhibition practices, advancing compelling new models of film curatorship. Through archival research, historical analysis and interviews with curators, this study focuses not just on present curatorial work at these archives, but also on their institutional histories and shifting understanding of moving-image historicity. The EYE, the GEM and the NFA represent three alternative curatorial strategies, respectively exhibiting early and silent films through practices of "crowd-curatorship," "fine art curatorship" and "modern cine-variety pastiche," mediating between these archival records and new media cultures. The present research advances a double contribution. On one hand, it proposes a more refined theoretical framework to understand film curatorship within the context of contemporary film historiographical debates. On the other, it provides film museums with a critical analysis of alternative exhibition strategies, highlighting the cultural politics at play within the historical interpretation and exhibition of archival films.
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Wilkinson, T. M. O. "Transmedial cathedrals : architectural history in and between new media in Germany, 1900-1945." Thesis, University College London (University of London), 2016. http://discovery.ucl.ac.uk/1503865/.
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Architectural history was produced via a number of new media practices in early twentieth-century Germany; this thesis asks why, how, and for whom - and what kinds of knowledge resulted. Existing studies in this area are monographic, focusing on individual media, actors, or objects, whereas this work examines several communication technologies, as well as both avant-garde and conservative protagonists. It is divided into three chapters. The first considers the production of photobooks by figures such as Paul Schultze-Naumburg, Karl Robert Langewiesche, Sigfried Giedion, and Adolf Behne. The second concerns films about Gothic architecture, both fictional (such as Der Golem) and documentary. The final chapter is devoted to radio broadcasts about architectural history, especially those of Walter Benjamin and Wilhelm Pinder. This synoptic inquiry reveals the changes wrought by media during the period, as the parameters of art-historical discourse were reconfigured and new publics were produced. At the same time, by means of this comparative approach, the boundaries of individual media are opened up to investigate a more fluid zone of intermediality in which the image of the building was unsettled and opened to new uses. In the course of such transmediations, the media were hybridised and the knowledge of history was modernised, undermining the attempts of more reactionary authors to reinforce medial boundaries and to redeem the present by reintroducing it to historical architecture using technological means. Others used the media in more productive ways, critically harnessing their qualities or refunctioning them to suit their purposes. However, they too ran up against the obstinacy of the media, which rendered the quest for an oppositional public around art quixotic at best. This situation presents striking parallels to the present day, and this study concludes by considering the ramifications of architectural history's past engagement with new media for an age of smartphones.
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Price, Meredith Michelle. "DNA and the news media : science journalism and the history of DNA research." Thesis, University of Cambridge, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.614088.
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Schütte, Ansel Arjan 1970. "Patina : layering a history-of-use on digital objects." Thesis, Massachusetts Institute of Technology, 1998. http://hdl.handle.net/1721.1/62341.
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Snodgrass, Eric. "Executions : Power and Expression in Networked and Computational Media." Doctoral thesis, Malmö University, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-67285.
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This research looks at questions of power and expression as they are composed in various ways within networked and computationally-informed situations of the present. Drawing from the term as it is originally invoked in practices of computing, the research puts forward execution as a central conceptual framework for its investigations. In a computer program, a program becomes executable when it is able to execute a set of procedures within a designated set of relations and affordances. Similarly, the concept of execution developed here looks at the ongoing negotiations of various formative relations and affordances (technical, cultural, material, political) in practices of execution, describing certain notable techniques applied towards the task of making things executable. The examples looked at include several dominant media and technology practices of the present, as well as several alternative practices that point to other possible modes of execution. In doing so, the research highlights certain politically-orientated issues involved in questions of execution, working to further develop specific approaches aimed at describing, questioning and intervening into practices of execution as they occur in the world.
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Quinn, A. A. "30 years of bad news : the Glasgow University Media Group and the intellectual history of media and cultural studies, 1975-2005." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/2279/.
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This thesis offers a critical history of the Glasgow University Media Group from 1975 to 2005. It argues that, viewed as a whole, the GUMG’s work constitutes a School of media sociology, which can now be recognised as such. The GUMG has lead research into the production, content and reception of public communications and has made a contribution to its field that it as significant as those made by the Birmingham School; the Toronto School and the Chicago School among others. However, there are barriers to that recognition, with which this thesis is also concerned. They are the misperception that the work of the group is biased by Marxist analysis and is motivated by a conspiracy theory of the media. The thesis also looks at the GUMG’s increasingly intimate relationship with broadcasters and examines how that relationship has contributed to a public sociology of the media, which is the most distinctive feature of the Glasgow School of media.
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Grannis, Emily R. "Hard Pressed: The Paraguayan Media and Democratic Transition, 1980s-1990s." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1274923325.
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Pelster-Wiebe, Richard. "In the jaws of death: Leon Caverly’s camera-history of World War I." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6663.
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This dissertation argues that a critical anti-war cinema emerged with the birth of the so-called war documentary during World War I. Focusing on Leon Caverly, the first official war cinematographer of the United States military, I that argue America’s first war propaganda films gave birth to America’s first anti-war cinema. Military-produced images of World War I are available in various archives such as the Library of Congress, the National Archives, and the Marine Corps History Center. In addition to unedited reels of war related footage, the archives hold propaganda films such as Pershing’s Crusaders (1918), America’s Answer (1918) and Under Four Flags (1918). These feature films were shot by cameramen in the Marines or the Signal Corps and then edited into works of propaganda by the United States Government’s Committee on Public Information. Caverly was the first cameraman to join the effort of filming at the front. While he was a Marine and an instrumental player in America’s propaganda program, he also completed a cinematic history of the Great War through his creative nonfiction camerawork that was more subtle and critical than conventional war documentaries would suggest.
Previous studies of World War I propaganda provide context for America’s cinematic efforts or profiles of individual cameramen. But little or no attention has been paid to formal analysis of the films themselves. Furthermore, scholars have not yet regarded these films as anything other than examples of early documentary or government propaganda. The same holds true concerning Leon Caverly. Not only was Caverly the first United States war cinematographer, but the most significant work of propaganda made during the war was composed of footage shot entirely by him. Released in 1918, America’s Answer captivated audiences in America and Europe, providing inspiration for the home front to support the war. However, a striking discrepancy exists between the content of Caverly’s shots and the rhetorical editing structure of the film. In contrast to the pro-war sentiment articulated by the editing and its intertitles, America’s Answer’s individual shots reveal a practice of camera-writing that represents an aesthetics of anti-war cinema at odds with pro-war propaganda.
Caverly’s work does not show the horrors of war with documentary realism. Nor does his work openly critique America’s war effort. Rather, Caverly aspires to be a camera-historian whose moving images and photographic work demonstrate a preoccupation with writing history steeped in the temporal aesthetics of the camera arts. This dissertation considers still and moving image practices that “write with time” such as double-exposures, shots that emphasize duration, moving camera shots that evoke temporal relationships, and framing that gives metaphorical expression to time. The fact that these practices appear in Caverly’s wartime work indicates that World War I footage has a greater significance for film history than simply exemplifying documentary realism or propaganda. This dissertation shows that, while the most harrowing aspects of World War I combat remain unseen in Caverly’s work, his creative camera-writing approaches war and the fragility of life in unconventional ways.
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Baehr, Leslie G. (Leslie Gail). "Troubled waters : the battle over shipwrecks, treasure and history at the bottom of the sea." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/83833.
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Thesis (S.M. in Science Writing)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2013."September 2013." Cataloged from PDF version of thesis.
Includes bibliographical references (page 28).
Though shipwrecks and treasure are deeply seductive to the public, the political, ethical, and scientific geography surrounding these sunken ships is not well publicized, except in cases involving large amounts of money. There is a battle for access rights to these objects with some claiming them as public historical commons, and others as commodity. Written for a popular audience, this thesis explores the history, technology and common sentiments surrounding shipwrecks from the people who have dedicated their lives to them: commercial firms (treasure hunters, salvors, etc.), academics (maritime archaeologists, conservators, educators, historians and cultural managers) and hobbyist SCUBA divers.
by Leslie G. Baehr.
S.M.in Science Writing
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Cope, Nicholas. "Northern Industrial Scratch : the history and contexts of a visual music practice." Thesis, University of Sunderland, 2012. http://sure.sunderland.ac.uk/3287/.
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The critical commentary presents and contextualizes a film and video making practice spanning three decades. It locates a contemporary visual music practice within current and emerging critical and theoretical contexts and tracks back the history of this practice to the artist’s initial screenings of work as part of the 1980’s British Scratch video art movement. At the heart of the body of work presented here is an exploration and examination of methods and working practices in the encounter of music, sound and moving image. Central to this is an examination of the affective levels that sound and image can operate on, in a transsensorial fusion, and political and cultural applications of such encounters, whilst examining the epistemological regimes such work operates in. A combination of factors has meant that work such as this, arising in the UK provinces, can fall below the historicizing and critical radar – these include the ephemeral and transitory nature of live performance work; the difficulties of documenting such work; the fragility and degeneration of emerging and quickly obsolescent formats; and a predominance of a London–centric focus on curating, screening and historicizing of experimental film and video art practices. My film and video practice has been screened nationally and internationally over three decades, and has been recognized as exemplary practice both in the early 1980s at the inception of the Scratch movement and in more recent retrospectives. The critical commentary argues that this work contributes new knowledge of the history, contexts and practices of film and video art and audiovisual and visual music practices.
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Fuse, Koji. "Ideological constraints of public opinion polls : history, legitimation, and effects on democracy /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
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Middleton, Steven Anthony, and smi81431@bigpond net au. "A limited study of mechanical intelligence as media." RMIT University. Creative Media, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080717.161751.
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The project investigates mathematics, informatics, statistical analysis and their histories, the history of human engagement with machines, and illustrates some uses of artificial intelligence and robotic technologies as media. It is concerned with, amongst other issues, the sentient and not sentient binaries offered in discourses on machine intelligence. The term intelligence is used to distinguish between human and not human. However, a non-human, the intelligent machine, has become incorporated into the processes by which our culture defines intelligence. Those processes were explored in phases of the project that focused upon various kinds of interactions between people and machines, particularly the ways in which those interactions are mediated by knowledge. The discourses that underpin the field of mechanical intelligence spring from the same sources as the rhetoric that delineates human beings from all other things. We make intelligent machines because we have something to prove regarding our own intelligence. The devices expose attributes considered in our culture to be intelligent. The size and technical sophistication of modern robots result from the expenditure of considerable funds across several disciplines. Such machines signify wealth, power and excess, despite any other significance their makers intend.
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Johansson, Richard. "Storstrejken 1909 i Örebros dagspress : En granskning av media som maktfaktor i kampen mellan arbete och kapital." Thesis, Örebro universitet, Akademin för humaniora, utbildning och samhällsvetenskap, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-9508.
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