Thesis (M.A.) - Simon Fraser University, 2006. / Theses (School of Communication) / Simon Fraser University. Also issued in digital format and available on the World Wide Web.

No description available.

Thesis (M.B.A.)--University of Hong Kong, 1985.

No description available.

Thesis (M.A.)--York University, 2005. Graduate Programme in Sociology. / Typescript. Includes bibliographical references (leaves 132-142). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR19657

This is a revisionist audience study examining the everyday media cultures of twenty-four young teenage girls from Melbourne in Australia. It argues that in an era of proliferated and convergent media, audience studies cannot restrict its vision to a single media text, technology, or genre. / It takes a broad approach to girls’ media culture and considers the full range of media that girls engage with on a daily basis. It identifies a hegemonic discourse about girls’ media use which it calls “(feminist) new media effects”. This anxiety takes as its key concern the proliferation of media and mediated representations of girls across the spaces of everyday life. (Feminist) new media effects discourse renders girls passive and unable to cope with such media presence without the guidance of adults to teach them how to correctly engage with the media. In order to challenge this construction, the thesis examines participants’ engagements with a range of convergent media texts and technologies, including Internet social networking, repeat DVD spectatorship, young female celebrities, and discourses of moral panic. It shows how mediated representations of girls across these sites are embedded in the fabric of participants’ everyday lives. Apart from highlighting the challenge that this poses to the practice of conducting audience research, it demonstrates the ways that girls both resist and incorporate mediated constructions of femininity within their everyday negotiations of teenage girlhood. It argues that the representation of girlhood constructed in (feminist) new media effects discourse – the vulnerable girl overwhelmed by toxic media messages – is key to girls’ media culture. My findings indicate that participants are primarily invested in resisting this construction of youthful femininity.

Thesis (Ph. D.)--University of Missouri-Columbia, 2002. / Typescript. Paging starts with leaf 2. There is no leaf 1. Vita. Includes bibliographical references (leaves 165-185). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2002. / Typescript. Paging starts with leaf 2. There is no leaf 1. Vita. Includes bibliographical references (leaves 165-185). Also available on the Internet.

<p>Abstract</p><p>Title: The GI- method –bluff or the path to healthy life?</p><p>Number of pages: 41</p><p>Tutor: Lowe Hedman</p><p>Author: Annika Westlund</p><p>Course: Media and Communication Studies C</p><p>Period: Fall 2006</p><p>University: Division of Media and Communications Studies C</p><p>Purpose/Aim: The aim of this essay was to investigate how the site GI viktkoll describes glycemic index on their website. The intention was also to investigate how the media presented GI through articles and how they used doctors and dieticians to appear trustworthy. Another aim was to investigate what effect GI viktkoll could have on its readers.</p><p>Method/Material: I have chosen a qualitative method where I did a discourse analysis of the articles which were presented on the GI viktkolls website during a period of three weeks. This was my main method in the essay. I also did two interviews with educated professionals. The articles on the website were thereby the main material I used in the essay.</p><p>Main results: My result shows that GI viktkoll do have an underlying aim in wanting to influence its readers ina specific way. Therefore my result shows that it is important as a reader, to be aware of that GI viktkoll might not present a critical way of thinking and every aspect of the phenomenon. GI viktkoll also has influence on people because they have power to change peoples mind about the phenomenon GImethod in the society. GI viktkoll only presents the healthy way of living through the GI method, although there still there is a lot of disagreement from other directions such as doctors and dieticians about the actual effects of the GI method on healthy people.</p><p>Keywords: glycemic index, media culture, encoding/decoding, discourse analysis.</p>

Dans les années 2000, les séries télévisées rencontrent un engouement sans précédent. Ce qui ne constituait qu’une « sous-culture » pour quelques passionnés, devient un genre de plus en plus légitime. Ce succès, attribué par les journalistes au renouveau créatif des séries américaines, est largement alimenté par la programmation des chaînes françaises. La télévision n’est cependant plus leur seul diffuseur : DVD, streaming et échange de fichiers sur Internet ont largement pris le relais. Ces médias participent désormais à la configuration des séries, incitent à de nouvelles stratégies et invitent les spectateurs à des usages diversifiés.Les chercheurs montrent eux aussi un intérêt croissant pour les séries, les considèrent comme un terrain propice à l’étude des représentations sociales (sociologie), des « objets narratifs » (narratologique) ou encore des « programmes télévisés » (sémio-pragmatique).Alors, qu’est-ce qu’une série ? Dans le but de répondre à cette question, nous avons adopté une conception élargie des séries comme objets culturels médiatiques, configurés par l’ensemble complexe des médiations socio-techniques qui leur donnent forme. C’est alors par l’étude compréhensive du point de vue et des pratiques des acteurs de leur communication (professionnels, médias, spectateurs) que nous entendons appréhender les séries et la manière dont se construit leur culture. A la croisée de différentes méthodes (analyse de discours, entretiens compréhensifs, portraits), se dessinent les contours des séries au regard de leurs médiations, se laisse découvrir la complexité de l’objet et entrevoir la nécessité d’une réflexion sur les méthodes à engager dans leur analyse. / During the 2000s, television series met with an unprecedented public infatuation. What had previously constituted but a small "subculture" was rising to become a legitimate genre in its own right. This success, that journalists attribute to a creative renewal in American series, is largely fed by French television network programming. Television, however, is no longer the sole broadcaster : DVD and streaming and sharing online are now heavily present. Henceforth, these media will now participate in the configuration of series, incite new strategies and invite audiences to diversify their usages.Researchers themselves show an increasing interest in series, considering them a rich field for the study of social representations (sociology), "narrative objects" (narratology) or also "televised programs" (semio-pragmatics).So, what is a series ? In order to answer this question we have adopted a broad conception, regarding them as being objects of media culture configured by a complex ensemble of socio-technical mediations which give them form. To understand series how they construct their culture, we implement a comprehensive study of the practices and points of view of their communication actors (professionals, media and audiences). Through the use of different methods (discourse analysis, comprehensive interviews, portraits and transversal analysis) we outline series, with regard to their mediations, allowing us to discover the complexity of the object and the necessity of reflection upon the methods to employ in their analysis.