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Dissertations / Theses on the topic 'Television – History'
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Irwin, Mary. "BBC television documentary 1960-70 : a history." Thesis, Glasgow Caledonian University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492389.
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In recent years British television drama of the 1960s has been the subject of significant academic scholarship and popular retrospective interest. The British television documentary of the period is, in contrast, markedly under researched. Initial investigation suggested that while the independent television network produced two very influential documentary series in Granada's World in Action (1963-1998) and ABC/Thames This Week (1956-1992), both of which have already been the subject of academic study, it was, in the main, at the BBC that the most critically acclaimed and popularly remembered documentaries of the period were produced. Beginning by tracing the televisual climate of the late 1950s and early 1960s out of which the documentaries developed, this thesis aims to construct the first scholarly narrative history of the development of the BBC television documentary between 1960 and 1970. It examines and re evaluates some of the most significant and influential BBC television documentaries or documentary series of the period, whilst examining the lack of status afforded other particular BBC television documentaries.
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Gordon, James Thomas. "A history of local television news presentation." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343754433.
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Sills-Jones, Dafydd. "History documentary on UK terrestrial television, 1982-2002." Thesis, Aberystwyth University, 2009. http://hdl.handle.net/2160/ce5f1edf-1dba-4b89-b0c3-7f70cbcc00c8.
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This thesis is an examination of the connection between the changes in the political economy of television, and changes in history documentary form, between 1982 and 2002 on UK terrestrial television. It reviews the literature on the political economy of the media, including public service broadcasting (PSB), and on documentary form, including history documentary form. The thesis then poses three research questions which aim to explore changes in the political economy of television, the effect these changes had on the production of history documentary, and the effect these changes in production had on the form of history documentary. The thesis used official documentation, television listings, practitioner interviews and textual analysis to answer these research questions. The thesis then lays out a historical narrative of the developments in the production of history documentary on UK terrestrial television between 1982 and 2002, and analyses the causes and results of these developments. It argues that a direct link exists between changes in the political economy of television and changes in the form of history documentary between 1982 and 2002. The thesis demonstrates that the shift from traditional PSB values towards a market-driven broadcasting ecology affected the production, and form, of history documentaries. These changes in turn challenged traditional notions of quality and history documentary‘s function as a form of PSB. The thesis also demonstrates that the effect of political economic change on history documentary form was not as simple as had hitherto been implied in the academic literature. In particular, there was a parallel between the tension between public service and commercial aims, in both the structures of television production, and the form of history documentary.
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Sandonato, Nicole. "The History of Gender Representations in Teen Television." Thesis, Boston College, 2014. http://hdl.handle.net/2345/3869.
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Thesis advisor: William StanwoodThis research examines the history of gender representations in television programs designed for adolescents to discover how these portrayals have developed and changed over time in order to determine the perceived messages about stereotypical gender norms and roles for adolescents. These messages are important to decode as adolescent males and females can learn gender roles and behaviors from the teen programming that they watch on television. The study investigated the most popular teen television programs from each of the last three decades including Beverly Hills 90210, Buffy the Vampire Slayer, Smallville, One Tree Hill, Pretty Little Liars and Teen Wolf. The first part of the study completed was a textual analysis of the episodes. Secondly, a content analysis was performed on all of the examples from the episodes. The codes used for this study include Language, Sex Roles, Emotionality, and Traditional Roles. Although the majority of gender messages present were normative in that they reinforced gender roles and stereotypes, the findings also suggest that gender representations are becoming less normative as the genre continues to grow and develop
Thesis (BA) — Boston College, 2014
Submitted to: Boston College. College of Arts and Sciences
Discipline: Communication Honors Program
Discipline: Communication
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Chun, Jayson Makoto. "A nation of a hundred million idiots : a social history of Japanese television, 1953-1973 /." view abstract or download file of text, 2004. http://wwwlib.umi.com/cr/uoregon/fullcit?p3120616.
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Thesis (Ph. D.)--University of Oregon, 2004.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 405-428 (v. 2)). Also available for download via the World Wide Web; free to University of Oregon users.
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Osei-Hwere, Enyonam M. "Children's Television in Ghana: History, Policy, Diversity, and Prospects in a Changing Media Environment." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1218685896.
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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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Westwell, Guy. "History-in-images/images in history : American cultural memory and film representations of the Vietnam War." Thesis, University of Glasgow, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340278.
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This thesis charts points of convergence between the fields of historical studies and film studies that generate a line of inquiry which questions how the development and dissemination of film and television have significantly shaped historical conscIOusness. Taking this line of inquiry as a starting point, this thesis identifies the ways in which film (and television) representations have informed American cultural memory of the Vietnam War. The thesis describes how the reporting of the war in newspapers and on television results in the production of a number of vivid and powerful 'nodal images'; these images enable their viewers to locate themselves in relation to the larger event and offer guidance regarding how other representations produced in response to the war might be understood. The thesis goes on to explore how these images play a significant. role in secondary film and television representations, including Hollywood feature films, whereby the initial connotations of the image are recirculated, reenacted and re-scripted. The thesis also indicates how other film representation of the war - such as the film records produced by the American military for tactical and strategic purposes and amateur film produced by American military personnel- are side-lined by the dominance of these nodal images. This study closes by proposing a taxonomy of the key features of these film (and television) representations and profiles the ways in which these features determi~e American cultural memory of the war and mediate historical experience more generally. The conclusion arrived at is that the historical consciousness engendered by these representations encourages the meaning of the Vietnam War to be located in relation to individual phenomenological experience and that the priVileging of this experience above all others marginalises the wider frames of reference - politics, history, economics and so on - which might make that experience meaningful.
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Bevan, Carin. "Putting up screens a history of television in South Africa, 1929-1976 /." Diss., Pretoria : [S.n.], 2009. http://upetd.up.ac.za/thesis/available/etd-05212009-182219.
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Maloney, Christopher John. "Lights, Cameras, Quorum Call: A Legislative History of Senate Television." W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625611.
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McHugh, Richard D. "High definition television HDTV's effect on television history and the adjustments the industry must make for a digital future /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2000. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.S.)--Kutztown University of Pennsylvania, 2000.Source: Masters Abstracts International, Volume: 45-06, page: 2715. Typescript. Includes bibliographical references (leaves 175-180) and abstract.
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Harrison, S. R. "American society, cinema and television, 1950-1960." Thesis, University of Manchester, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356104.
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Wentz, Kaleb Q. "The Reality of COMBAT!: An Analysis of Historical Memory in Broadcast Television." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/333.
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This thesis is an analysis of the World War II television drama COMBAT!, which ran from 1962 to 1967, and how this program dealt with and addressed the national memory of the Second World War. The way in which the “Good War” is remembered has changed over time. In the years of the conflict and immediately following its conclusion, there was a sense of zealous patriotism surrounding the war, but as our culture changed, a more critical approach was taken.
This paper examines the way in which the show deals with its two main subjects – the American forces and the Germans which opposed them. This depiction is analyzed and deconstructed through the lens of historical or collective memory, a concept which deals with how a group of people view their past. Particularly, COMBAT! uses an air of complexity and nuance in how the combatants are treated that was not found in many earlier depictions of the war.
It is important for the reader to understand the thinking behind the way in which this program deals with the memory of World War II. This thesis dissects the intended messages that arise from the show’s portrayal. The paper concludes with an examination of how this more critical view can be applied to the portions of the war outside of COMBAT’s scope. Attention is also paid to the way in which this attitude of remembrance has continued on into future works that deal with both World War II and the wars that followed.
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Franklin, Ieuan. "Folkways and airwaves : oral history, community and vernacular radio." Thesis, Bournemouth University, 2009. http://eprints.bournemouth.ac.uk/15995/.
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This thesis investigates a variety of uses of actuality (recorded speech), oral history and folklore (vernacular culture) in radio broadcasting in Britain and Newfoundland (Canada). The broadcasting of vernacular culture will be shown to foster intimate and interactive relationships between broadcasters and audiences. Using a theoretical framework that draws upon the work of communications theorists Harold Innis and Walter Ong, the thesis will explore the (secondary) orality of radio broadcasting, and will consider instances in which the normative unidirectional structure and 'passive' orality of radio has been (and can be) made reciprocal and active through the participation of listeners. The inclusion of 'lay voices' and 'vernacular input' in radio broadcasting will be charted as a measure of the democratization of radio, and in order to demonstrate radio's role in disseminating oral history, promoting dialogue, and building and binding communities. The thesis will predominantly focus on local and regional forms of radio: the BBC Regions in the post-war era; regional radio programming serving the Canadianprovince ofNewfoundland both pre- and post-Confederation (which took place in 1949); and the community radio sector in the UK during the last five years. A common theme of many of the case studies within the thesis will be the role of citizen participation in challenging, transgressing or eroding editorial control, institutional protocols and the linguistic hegemony of radio production. Conversely, close attention will be given to the ways in which editorial control in radio production has circumscribed the self-definition of participants and communities. These case studies will provide evidence with which to investigate the following research question - is the democratization of radio possible through the incorporation of citizen voices or messages within radio production or programming, or is it only possible through changing the medium itself through citizen participation in democratic structures of production, management and ownership?
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Chan, Wing-hung Jeffrey, and 陳永雄. "The television station that failed to sparkle: a study of the turnaround of Asia Television Limitedduring 1988-93." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31265972.
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Gaal-Holmes, Patricia. "Decade of diversity : a history of 1970s British experimental film." Thesis, University of Portsmouth, 2011. https://researchportal.port.ac.uk/portal/en/theses/decade-of-diversity(5130421f-c0de-4588-9aa1-d8232a9113a8).html.
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This thesis sets out to demonstrate the diversity in 1970s British experimental filmmaking, and acts as a form of historical reclamation. The intention is to integrate films that have not received adequate recognition into the field alongside those that stand as accepted texts. In accounts of the decade structural and material film experimentation, taking place predominantly at the London Filmmakers’ Co-operative (LFMC), has tended to dominate the histories, at the expense of overshadowing more personal, expressive and representational forms of filmmaking. This thesis therefore seeks to redress the balance by demonstrating that 1970s filmmaking was far more complex and diverse than has previously been acknowledged. It importantly also challenges the belief that more expressive, personal forms of filmmaking returned at the end of the decade, to argue that these were in existence throughout the decade. Evidence of diversity is provided through the range of approaches to filmmaking and individual films discussed. Written evidence of the ‘return to image’ thesis is also provided, demonstrating how this has problematically perpetuated a flawed account of the decade. Relationships to the visual arts are closely considered as experimental filmmaking essentially emerged from this field, as opposed to the dominant, commercial cinema. Filmmaking is, however, also considered within the wider contexts of independent film production, particularly where intersections occurred with institutional or organisational frameworks. Theoretical, socio-political and cultural influences informing filmmaking have also been deliberated, as these significantly informed filmmaking. The framing of 1970s experimental (and independent) filmmaking within Marxist discourses has also been recognised as potentially supporting the problematic ‘return to image’ thesis, particularly as collectivist Marxist ideologies potentially militated against more personal, individual and expressive forms of filmmaking. The first half of the thesis (Chapters One to Three) considers the institutional frameworks and organisational strategies informing and shaping filmmaking. This includes a focus on education, funding and film exhibition; as well as the efforts made by individuals and groups to ensure that experimental filmmaking received the recognition it required to develop and flourish. In the second half of the thesis (Chapters Four to Seven) more detailed studies of the films are made in relation to relevant theoretical or socio-political discourses contextualising filmmaking. These include discourses in the visual arts; countercultural influences and more personal expressive approaches to filmmaking; theoretical discourses related to experimentation with structure and material and feminist discourses related to women’s filmmaking. A range of methodological approaches has been used to uncover the diversity in filmmaking. The film texts themselves have provided the most singular evidence for proof of diversity. Both primary and secondary written texts have been consulted in order to facilitate an understanding of the films and recognise the theoretical and socio-political contexts informing filmmaking and to comprehend the complex nature of the field. The intention throughout has been to provide an understanding of this diverse, vibrant and rich history.
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Jewett, Lorraine E. "Technological innovations and the evolving role of the television news broadcaster : towards a U.S. history." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63805.
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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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Sobotka, Tamara Jo. "An examination of the evolution of US television commercials to explore how stereotypical depiction's of women have changed through history." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1998. http://www.kutztown.edu/library/services/remote_access.asp.
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PENATI, CECILIA. "Il focolare elettronico. Una storia culturale dell'ingresso della televisione nello spazio domestico (1954-1960)." Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1100.
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Obiettivo della tesi è stato quello di ricostruire una storia culturale della televisione italiana delle origini, concentrandosi sui percorsi attraverso i quali il medium è diventato parte integrante delle routine quotidiane del suo primo pubblico, cercando di dare senso a come la prima audience del piccolo schermo abbia sperimentato l’arrivo della televisione nello spazio della casa, nel corso degli anni di istituzionalizzazione del medium in Italia (1954-1960).
Dopo una ricognizione della letteratura scientifica sul tema della domestication dei mezzi di comunicazione, della biografia culturale degli oggetti tecnici e dell’analisi storica delle “culture di visione” della tv, la seconda sezione della tesi prende in esame come il sistema dei media popolari (il discorso pubblicitario, il dibattito pubblico sulla stampa popolare, i paratesti aziendali della Rai) abbia attribuito significati alla televisione, "insegnando" al suo primo pubblico come collocarla nello spazio della casa. La terza sezione della tesi è dedicata a una ricostruzione storica del primo consumo televisivo domestico, svolta attraverso una ricerca etnografica condotta con venti interviste a testimoni che hanno vissuto in prima persona la prima diffusione dei ricevitori e la loro prima collocazione nello spazio della casa.This dissertation is aimed to outline a cultural history of early Italian television, focusing on the pattern by which TV became part of its first audience’s daily routines, and trying to give sense of how the first public of the small screen experienced the arrival of the television in the space of their homes, in the years of institutionalisation of the new medium (1954-1960). After an overview of the scientific literature that has dealt with the topic of “media domestication”, cultural biography of technical objects, and historical analysis of television’s culture of viewing, the second section of the thesis examines how the system of popular media (mainly advertising, popular press, and broadcaster’s house organs) ascribed meanings to television as a domestic medium and advised its public how to use it. A third section of the dissertation is devoted to understanding the television viewing and consumption in historical perspective, through a ethnographic research developed with twenty in-depth interviews to witnesses that participated directly in the first diffusion and domestication of the TV sets in Italy.
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PENATI, CECILIA. "Il focolare elettronico. Una storia culturale dell'ingresso della televisione nello spazio domestico (1954-1960)." Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1100.
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Obiettivo della tesi è stato quello di ricostruire una storia culturale della televisione italiana delle origini, concentrandosi sui percorsi attraverso i quali il medium è diventato parte integrante delle routine quotidiane del suo primo pubblico, cercando di dare senso a come la prima audience del piccolo schermo abbia sperimentato l’arrivo della televisione nello spazio della casa, nel corso degli anni di istituzionalizzazione del medium in Italia (1954-1960).
Dopo una ricognizione della letteratura scientifica sul tema della domestication dei mezzi di comunicazione, della biografia culturale degli oggetti tecnici e dell’analisi storica delle “culture di visione” della tv, la seconda sezione della tesi prende in esame come il sistema dei media popolari (il discorso pubblicitario, il dibattito pubblico sulla stampa popolare, i paratesti aziendali della Rai) abbia attribuito significati alla televisione, "insegnando" al suo primo pubblico come collocarla nello spazio della casa. La terza sezione della tesi è dedicata a una ricostruzione storica del primo consumo televisivo domestico, svolta attraverso una ricerca etnografica condotta con venti interviste a testimoni che hanno vissuto in prima persona la prima diffusione dei ricevitori e la loro prima collocazione nello spazio della casa.This dissertation is aimed to outline a cultural history of early Italian television, focusing on the pattern by which TV became part of its first audience’s daily routines, and trying to give sense of how the first public of the small screen experienced the arrival of the television in the space of their homes, in the years of institutionalisation of the new medium (1954-1960). After an overview of the scientific literature that has dealt with the topic of “media domestication”, cultural biography of technical objects, and historical analysis of television’s culture of viewing, the second section of the thesis examines how the system of popular media (mainly advertising, popular press, and broadcaster’s house organs) ascribed meanings to television as a domestic medium and advised its public how to use it. A third section of the dissertation is devoted to understanding the television viewing and consumption in historical perspective, through a ethnographic research developed with twenty in-depth interviews to witnesses that participated directly in the first diffusion and domestication of the TV sets in Italy.
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Magee, Sara C. "That's Television Entertainment: The History, Development, and Impact of the First Five Seasons of "Entertainment Tonight," 1981-86." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1217427973.
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Sandon, Emma Cathy. "From vision to mundanity : television at Alexandra Palace, London 1936-1952 : memories of production : an oral history approach to the reassessment of the early period of British television history." Thesis, University of Sussex, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400025.
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Roush, Edward W. (Edward Wesley). "The Emergence of Christian Television: the First Decade, 1949-1959." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc504286/.
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The purpose of this research was to describe the relationship and to compare the programming of major Christian ministries during the first decade of Christian television. A historical perspective was the method used in identifying and explaining the events and activities that constituted Christian television from 1949 to 1959. The results of the research concluded that Christian television began at a time of social trauma, unrest, and confusion in America. Competition for a viewing audience was not a factor. Leading personalities presented themselves as independent thinkers who also saw themselves as "preachers" with a strong desire to succeed. Motivation was provided by a sense of "dominion" that emerged from the Great Awakenings within the churches of America that became a driving force in the first three decades of this century.
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Fain, Rob Jason. "Uncovering local history : 16 mm TV news film remaining in U.S. television stations /." Online version of thesis, 2007. http://hdl.handle.net/1850/5957.
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Thesis (M.S.)--Rochester Institute of Technology, 2007.Typescript. Accompanying CD-ROM contains versions of the thesis in Word document and PDF forms. Includes bibliographical references (leaves 35-42).
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Hackett, Gable. "That 80's Show! - The Politics, Film, and Television of the Reagan Years." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3048.
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The 1980’s were a transformative era for the United States of America. The nation had been through a very tumultuous and difficult period following the Kennedy assassination, the Vietnam War, Watergate Scandal, and recession that had plagued the late 1970’s. The fortieth President of the United States, Ronald Reagan, sought to alter this direction by bringing the United States back into a conservative renaissance. He accomplished this in part by using his history in and knowledge of Hollywood. Films and television shows were used by President Reagan to paint the image he had of a better America. A return to classical, conservative family values, a strong, effective military, and the strong opposition and denunciation of communism all became synonymous with the 1980’s and with Ronald Reagan. He left office as one of the most popular and successful Presidents in the history of the country and cast a shadow upon the American political scene that is still seen today.
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Burgh, Hugo de. "The beliefs and practices of Chinese regional television journalists." Thesis, Nottingham Trent University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343543.
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Bangert, Axel. "Reviewing the German experience : the Third Reich in post-reunification cinema and television." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608915.
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Preston, Alison. "The development of the UK television news industry 1982-1998." Thesis, University of Stirling, 1999. http://hdl.handle.net/1893/1425.
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This thesis examines and assesses the development of the UK television news industry during the period 1982-1998. Its aim is to ascertain the degree to which a market for television news has developed, how such a market operates, and how it coexists with the 'public service' goals of news provision. A major purpose of the research is to investigate whether 'the market' and 'public service' requirements have to be the conceptual polarities they are commonly supposed to be in much media academic analysis of the television news genre. It has conducted such an analysis through an examination of the development strategies ofthe major news organisations of the BBC, ITN and Sky News, and an assessment of the changes that have taken place to the structure of the news industry as a whole. It places these developments within the determining contexts of Government economic policy and broadcasting regulation. The research method employed was primarily that of the in-depth interview with television news management, politicians and regulators: in other words, those instrumental in directing the strategic development within the television news industry. Its main findings are that there has indeed been a development of market activity within the television news industry, but that the amount of this activity has been limited by the particular economic attributes of the television news product. What makes the provision of television news a worthwhile venture for news organisations is the degree to which television news confers status and political legitimacy upon its provider. To this end, 'public service' programming goals continue to be present in commercial news outlets.
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Gonzalez, de Bustamante Celestine. "Tele-Visiones (Tele-Visions): The Making of Mexican Television News, 1950-1970." Diss., The University of Arizona, 2006. http://hdl.handle.net/10150/195895.
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Between 1950 and 1970 television emerged as one of the most important forms of mass communication in Mexico. An analysis of television news scripts and film clips located at the Televisa (the nation’s largest television network) Archives in Mexico City exposed tensions and traditions in television news. The tensions reveal conflicts between: the government and media producers; modernity and the desire to create traditions and maintain those already invented; elite controllers of the media and popular viewers; a male dominated business and female news producers and viewers; an elite (mostly white) group of media moguls and a poor mestizo and indigenous viewers; and the United States and Mexico in the midst of the Cold War. In contrast to the trend in scholarship on Mexican television, this dissertation demonstrates that media executives such as Emilio Azcárrraga Milmo and high ranking government officials within the Partido Revolucionario Institucional (PRI) maintained close connections, but the two groups did not always walk in lock-step. Analysis of newscast scripts and film clips located at Televisa’s (Mexico’s largest network) Archive reveal a more complex picture, which shows there were several and sometimes competing visions for the country's future. Examining the first twenty years of television news in Mexico City, the author focuses on production, content, and interpretations of the news. The dissertation finds evidence to prove that news producers and writers formed tele-traditions that influenced news production, content, and interpretation well into the 1980s. Unprecedented access to Televisa Archives allowed the author to ask and answer questions, that to date scholars have not treated, such as, what makes Mexican television news Mexican? The dissertation is grounded in a theoretical framework called hybridity of framing, which combines the concepts of cultural hybridity and news framing. The dissertation concludes that although news producers and writers attempted to frame events in certain ways, viewers often interpreted the news differently.
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Warner, Kathleen Marie. "Historical theory, popular culture and television drama /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19144.pdf.
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Petruska, Karen C. PhD. "The Critical Eye: Re-Viewing 1970s Television." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/communication_diss/38.
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In my dissertation entitled “The Critical Eye: Re-Viewing 1970s Television,” I argue that TV scholars would benefit greatly by engaging in a more nuanced consideration of the television critic’s industrial position as a key figure of negotiation. As such, critical discourse has often been taken for granted in scholarship without attention to how this discourse may obscure contradictions implicit within the TV industry and the critic’s own identity as both an insider and an outsider to the television business. My dissertation brings the critic to the fore, employing the critic as a lens through which I view television aesthetics, media policy, and technology. This study is grounded in the disciplines of television studies, media industries studies, new media studies, and cultural studies. Yet because the critic’s writing reflects the totality of television as an entertainment and public service medium, the significance of this study expands beyond disciplinary concerns to a reconsideration of the impact of television upon American culture.
This project offers a history of the television critic during the 1970s, a decade in which the field of criticism professionalized and expanded dramatically. Methodologically, I am incorporating three approaches, including historical research of the 1970s television industry, textual analysis of critical writing, and interviews with critics working during that decade. I’ve identified the 1970s for a variety of reasons, including its parallels with today’s significant technological and industrial transformations. My central texts will be the industry trade publications, Variety and Broadcasting, and national daily newspapers including the New York Times, Los Angeles Times, Washington Post, and Chicago Tribune. Viewing TV criticism as a profession, a historical source, and a site of scholarly analysis, this project offers a series of interventions, including a consideration of how critical writing may serve as a primary source for historians and how television studies has overlooked the significance of the critic as an object of analysis in his/her own right.
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Bernardi, Daniel. "Star trek and history : race-ing toward a white future /." New Brunswick, NJ [u.a.] : Rutgers University Press, 1999. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=018615232&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Joseph, Robert Gordon. "Playing the Big Easy: A History of New Orleans in Film and Television." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522601211962016.
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Malik, Sarita. "Representing Black Britain : a history of Black and Asian images on British television /." London : Sage, 2002. http://catalogue.bnf.fr/ark:/12148/cb37742086d.
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AlFardi, Abdullah A. A. "The Development of Commercial Advertising in Saudi Television from 1986-1988." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc501034/.
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The story of Saudi television began in 1962 when King Faisal, who was then the crown prince, pointed out that the government intended to utilize the medium of television as a tool for information, guidance, culture, and recreation (Saudi Arabia, Ministry of Information, 1985). From July 17, 1965, when the first transmission signal went out simultaneously from stations in Riyadh and Jeddah until the transfer to the new Riyadh Television Complex in 1982. Saudi television has gone through many phases of development. The most recent development was the introduction of commercial advertising in 1986. Saudi television commercials have taken the form of 10 to 20 minute blocks which are taped and then aired many times during the broadcasting hours. Because Saudi television is a governmental operation, all of the funds required to maintain its expenditures are provided by the Saudi government, and commercial advertising is a new development. Thus, there was a need for a study which told the story of commercial advertising's development in Saudi television.
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Findlay, James Daniel. "Caught on Screen: The Convict Experience in Film and Television." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17582.
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Since the origins of Australian cinema, filmmakers have told stories about convicts: those men, women and children transported from their homelands whose role as founding settlers was often viewed as a stain on the country’s reputation. This thesis argues that with the rise of screen culture, convicts emerged as key historical figures who shaped and defined ideas and attitudes about Australia’s colonial past. It navigates a way through the popular representation of the convict experience in an unprecedented collection of convict-related film and television programs, from silent epics to musical melodramas and reality television. The thesis demonstrates the critical role their production and reception has played in ascribing meaning to convictism, and more broadly to the processes of colonisation that established white Australia. The research focuses on a range of important mythologies appearing on screen and examines their interaction with other cultural works such as literature, visual art and theatre, as well as intellectual thought. These include a focus on convict victimology, convicts as nation builders and convicts as agents of colonisation. As filmmakers negotiated, and audiences responded to, these often problematic histories, their visions of the past powerfully shaped a wide range of historical discourses relating to race, class and gender in Australia. Their mass appeal disrupts the historical orthodoxy that a desire to suppress the convict ‘birth stain’ was a dominant force shaping Australian history-making during the first half of the twentieth century. For many Australians, going to the movies or watching television defined the convict era and its legacies for modern nationhood.
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Hamada, Ahmad. "The Integration History of Kuwaiti Television from 1957-1990: An Audience-Generated Oral Narrative on the Arrival and Integration of the Device in the City." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/4066.
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This study attempts to compose an account of television history in Kuwait, one that focuses on its integration into society and is told from the audience's perspective and experience. This study represents a cultural alternative to the overwhelmingly national, institutional, and biographical focus that accompanies television history works in Kuwait and the Arab world.
The narrative is gathered and generated through the individual oral stories of 25 Kuwaitis over the age of 50, who generally represent the six geographical districts of Kuwait. Through their oral stories, the narrators examine the different areas in which television has integrated itself into society from 1957 to 1990. These include television’s succession to cinema, television’s novelty, television’s familiarization into society, television’s domestication, television’s interaction with modernity, and television’s content.
The oral stories of the narrators regarding each area reveal a wide range of microscopic topics about living in early Kuwait and television’s integration with it, including the people’s initial “miraculous” conception of the device, television’s relation with Kuwaiti urban growth, and the early economical gap of television ownership in Kuwait.
Besides the general exploration, discussing the research areas indicates a somewhat linear narrative of television’s integration into culture, where television was preceded by the cinema technology that had semiotically paved the way for the device, before an abrupt novelty period in which television was settling in an ever-changing Kuwait, followed by a familiarity period in which the device had lost its gimmicky association, interrelated with all the other sociocultural factors of society, and spatially corresponded with both the extinct and the surviving components of the Kuwaiti house. Kuwaiti television had also corresponded with the social, economical, and urban alterations of Kuwaiti modernity, with its content nostalgically reflecting different stages of Kuwaiti cultural life. In the end, an overarching theme could be found in the “foreshortening” of television’s integration journey into Kuwaiti culture, with the narrators using television to express their yearning to the values of yesteryear.
Future studies suggest more focus on contextuality, qualitative data, and interdisciplinarity in television history.
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Marshall, Paul. "Inventing television : transnational networks of co-operation and rivalry, 1870-1936." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/inventing-television-transnational-networks-ofcooperation-and-rivalry-18701936(3b368b90-9755-4511-9b77-7edc9644f91f).html.
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In this thesis, I seek to understand what shaped the development of television, tracing the technology back to its earliest roots. In existing literature, the history of television in its formative years (before World War II), has largely been presented in technologically deterministic terms, culminating in the ‘goal’ of adding ‘sight to sound’ – producing a wireless set with pictures. Most of the existing literature focuses on ‘hero’ figures such as British inventor John Logie Baird and his electro-mechanical television systems, or on corporate narratives such as that of RCA in the United States in developing all-electronic television. In contrast to such an approach, I will concentrate on the transnational networks linking individuals and companies, and on the common external factors affecting all of them. Some networks could operate simultaneously as rivals and collaborators, as was the case with companies such as Marconi-EMI in Britain and RCA in the United States. Senior managers and researchers such as Isaac Shoenberg at Marconi-EMI and Vladimir Zworykin at RCA played significant roles, but so too did relatively obscure figures such as Russian scientist Boris Rosing and British engineer Alan A Campbell Swinton. I will draw on newly available sources from Russia and the USSR, on over-looked sources in Britain and the United States, and on replicative technology to re-examine the story. The new material, coupled with the transnational networks approach, enables fresh insights to be gained on issues of simultaneity of invention and on contingency in the development and initial deployments of the technology. By using these fresh primary sources, and by re-interpreting some aspects of the numerous existing secondary sources, I will show that the ‘wireless with pictures’ model was not inevitable, that electro-mechanical television need not have been a technical cul-de-sac, and that in Britain at least, it was the political desire to maintain and extend the monopoly of the BBC, which effectively funnelled the technology into the model so familiar to us today.
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Bratslavsky, Lauren. "From Ephemeral to Legitimate: An Inquiry into Television's Material Traces in Archival Spaces, 1950s -1970s." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/13445.
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The dissertation offers a historical inquiry about how television's material traces entered archival spaces. Material traces refer to both the moving image products and the assortment of documentation about the processes of television as industrial and creative endeavors. By identifying the development of television-specific archives and collecting areas in the 1950s to the 1970s, the dissertation contributes to television studies, specifically pointing out how television materials were conceived as cultural and historical materials "worthy" of preservation and academic study. Institutions, particularly academic and cultural institutions with archival spaces, conferred television with a status of legitimacy alongside the ascent of television studies in the 1960s and 1970s. Institutions were sites of legitimation, however, television's entrance into these archival spaces depended on the work of various individuals within academic, archival, and industrial structures who grappled with defining television's intangible archival values and dealt with material obstacles. In examining several major institutions and the factors at play in archiving television, we can trace how television was valued as worthy of academic study and conceptualized as historical evidence. The following research questions structured this historical inquiry: How did different institutions approach television as archivable in the 1950s to the 1970s? Who were the determinators within these institutions, who could conceptualize television as archivable? What were the factors that enabled television's material traces to enter archival spaces? How did television directly or indirectly enter these archival spaces?
Drawing on historical methods, the research primarily examined the archives of the archives, meaning institutional documents that illuminated the archival process and perceptions about television and media. The dissertation focused on five case studies: the Museum of Modern Art, the Mass Communications History Center at the State Historical Society of Wisconsin, the Wisconsin Center for Film and Theater Research, the UCLA Film and Television Archives, and the Museum of Broadcasting. These case studies represent the various institutional contexts that applied an archival logic to television. Cultural institutions, academic archives, and industry-initiated archives worked as sites to legitimate television, transforming ephemeral broadcast moments into lasting historical and cultural material.
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Couture, André Michel. "Elements for a social history of television : Radio-Canada and Quebec Society 1952-1960." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61992.
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Hills, Adrian R. "An early history of British military television with special reference to John Logie Baird." Thesis, University of Strathclyde, 2002. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=21159.
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Since the Publication in 1986 of The Secret Life of John Logie Baird by Tom McArthur and Dr. Peter Waddell the subject of J.L. Baird and his company's involvement with British military technologies has been brought to public attention. There has previously been no comprehensive academic assesment using primary sources of the suggestions offered in these books. Here is recorded British military television investigations from 1926 to 1946, with special reference to J.L. Baird, using previously ignored Public Record Office files and other sources. The precise role of J.L.Baird in Baird Television Limited (BTL) after the mid-1930s is discussed but still remains a matter for debate. This situation is important to the understanding of who was responsible for the variety of military projects undertaken by the Baird organisation. The technology of aerial reconnaIssance usmg television had a strong influence on British military television investigations. Television for aerial reconnaissance was the first military application suggested for the technology and became practical after the fighting services contacted J.L.Baird in 1926. This investigation continued with BTL into the 1930s and later included Marconi-EMI. These activities have had little previous assessment and yet significantly influence British military television history. During World War Two J.L. Baird personally investigated a facsimile system whilst being funded by Cable and Wireless. The technology used by J.L. Baird was based on a rapid processing camera for facsimile transmission. This technology had previously been investigated by his company in collaboration with the Air Ministry and Admiralty from 1937 to 1940 for Television aerial reconnaissance. There can remain no doubt that militarily useful applications of television, particularly for aerial reconnaissance, were a significant part of the investigations of J.L. Baird and his companies.
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Chris, Cynthia. "Watching wildlife : on the nature genre in film and television, its history and meanings /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2002. http://wwwlib.umi.com/cr/ucsd/fullcit?p3044794.
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Rodeheffer, Marielle D. "A study of cult television, Buffy the vampire slayer, and the uses and gratifications theory." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1379437.
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This study builds on the Uses and Gratifications body of knowledge as applies to motivations surrounding television use, specifically the cult television program Buffy the Vampire Slayer. Through the distribution of online survey it was found that respondents who read and/or wrote fanfiction were more likely to engage in the variable of parasocail relationships. One hypothesis was disregarded due to the invalidity of the variable. Through two research questions it was found that the variable of affinity was indicative of a viewer's involvement with the show. The second research question found only two marginally significant variables, personal identity and realism, with regard to the number of years one had been a fan of the show. Age was found to be significant in all the variables and was accounted for.Department of Journalism
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Scott, Alistair James. "Raploch Stories : continuity and innovation for television documentary production." Thesis, Edinburgh Napier University, 2013. http://researchrepository.napier.ac.uk/Output/7245.
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This thesis provides an ‘insider account' of the process of making contemporary ‘observational' documentaries from within the broadcasting industry. Raploch Stories (2002) and Raploch Stories Revisited (2007) are seven television documentary programmes written, produced and directed by me for BBC Scotland. This critical appraisal examines the pathway from the formulation of the creative idea, through project research and development, filming, post-production, delivery and transmission, in order to assess and demonstrate the originality of these published works. This is supported by a reflexive commentary which examines the influence of the wider ‘community of practice' on my development as a film-maker. The study identifies ways in which these films demonstrate innovation and progress in technology and production methods, and examines the development of new hybrid forms of programming in the television documentary genre. These new developments are placed in the context of the history of the documentary film, and the on-going academic debate about the definition of the genre and the question of whether it is possible to achieve an authentic record of real life. By comparing Raploch Stories with other examples of social documentary film-making, such as Housing Problems (1935), Lilybank (1977), Wester Hailes – the Huts (1985) and The Scheme (2010), the thesis analyses how films in this sub-genre have evolved and assesses the ways in which there has been continuity in content and in the approach to filming. Finally, the thesis seeks to establish the significance of the published works and to demonstrate how these programmes contribute to the development of documentary television production in Scotland, and to the representation of Scottish working-class communities by the media. Through the reflexive examination of creativity, practice, production, textual interpretation, cultural impact, institutional history, and policy and regulation, the thesis provides a critical perspective on these overlapping areas of knowledge.
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Bueno, Alex. "Media Consume Tokyo: Television and Urban Place Since the Bubble." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493298.
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Much has been made of the proliferation of fictions in the contemporary city, coming together under the hegemony of globalization to obliterate the particularities of place. The pervasiveness of media in daily life gives the impression of inescapability, and it appears impossible to conceive of the city in “traditional” physical terms. Among the nations of the so-called First World, Japan, the center of which is unquestionably the metropolis of Tokyo, has been at the fore of the social, economic and technological changes that revel in these fictions.
This dissertation is a critique of the culture of Tokyo of the last several decades. Following from the assumption that the city and mass media are inseparable, it examines the representations of urban places in television towards understanding how they function as part of urban development. It is thus an attempt at a history of urban culture incorporating both “concrete” and “virtual” forms of spatial practice, towards a unified understanding of the processes that create the contemporary city, with a particular focus on the role of corporations.
Two specific places in Tokyo that underwent large-scale development have had an exceptional presence in Japanese television: Odaiba and Akihabara. Limited to two types of television, what are known in Japan as “trendy dramas” and anime (animated cartoons), this dissertation examines the roles television programming had in creating or recreating the “placeness” of these two parts of Tokyo. It is separated into two parts for each location. Chapters one and three examine the historical background of each place alongside the media context that applies in each case, and chapters two and four demonstrate how television was used to advertise a particular image of each place.Architecture, Landscape Architecture and Urban Planning
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Attallah, Paul Michael 1954. "TV before TV : the emergence of American network broadcast television and its implications for audiences, content, and study." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=73970.
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Garza, Peña Verónica L. "Presidential rule and the privatization of media in Mexico : the case of television." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=24081.
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This thesis examines the issues behind the Mexican government's decision to privatize television in the 1950s. It will be argued that a private system was thought to respond best to Mexico's economic, social, political and cultural conditions. The president's personal interest in this industry together with his power to do his will strongly influenced his decision to encourage a commercial system. There were other factors that accelerated this process: the structure of the radio industry, which was (and still is) characterized by its commercial tone and the fact that it was highly monopolized and centralized; the government's encouragement of private investment in communications-related ventures; the president's belief that commercial television would best promote the consumption of domestic goods; the relation of reciprocal cooperation established early between the government and the private broadcasters, which turned out to be highly convenient for both sides; and the broadcasters' successful lobbying to establish commercial television. The roles of the government, private initiative and society in the development of media are also studied.
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Essig, Andrew C. "Analyzing Whedon's FireflyAs Impetus for a Development StrategyFor an Alternate History, Sci-Fi Television Series." Ohio University Honors Tutorial College / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1461250504.
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Mahoney, Cathy. "A historical sensibility : television, postfeminism and the Second World War." Thesis, Northumbria University, 2017. http://nrl.northumbria.ac.uk/35041/.
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Postfeminism is not an ideological position or coherent theoretical framework that can be applied externally to the analysis of texts. Indeed popular postfeminism – as distinguished in this thesis from academic postfeminism – is knowable only through its workings in culture, specifically in the representation of gender in “postfeminist” media texts. Therefore, this thesis does not adopt a postfeminist position or approach to analyse the source texts, but rather seeks to identify and deconstruct a postfeminist sensibility within them. This sensibility became apparent in 1990s depictions of characters such as Bridget Jones (Renée Zellweger) and Ally McBeal (Calista Flockhart); however, it prevails in texts created in the current moment and inflects their representation of women. This thesis seeks to identify the themes and characteristics of this sensibility at the site of their creation – media texts representing women – expose the reasons why they are problematic, and show that the same traits exist in the texts considered here. In so doing it seeks to demonstrate that postfeminist ideals are still informing representations of women in the media. Furthermore, it seeks to demonstrate that this postfeminist sensibility, despite being a product of 1990s postfeminism and the current post/post-post-feminist moment, inflects representations of women from different time-periods, specifically from the Second World War and immediate post-war period. Because of the media’s (and specifically television’s) central role in the formation of cultural memory, this creates a lens through which women’s history and women’s historical identities are viewed in the present day. This postfeminist lens, or sensibility (Gill 2007), is thereby dehistoricised as an aspect of essential femininity. In this way the politics of the present are cast onto the past. Through this process, the events of the past are drained of any independent meaning and repurposed/redeployed to meet the needs of the present. The centrality and ubiquity of such postfeminist visions of the past is such that postfeminist discourse has become a central component of what this thesis terms, the Historical Sensibility which informs and structures historical drama on television.