Climate change is one of the biggest threats the world is currently facing and it seems that people are able to significantly influence this threat. In order for people to understand the urgency of fighting climate change it is important that they are well informed and that they understand how their actions can matter. In this research, a quantitative content analysis with a discourse analytical approach is used to analyze a selection of articles by the BBC online covering the annual United Nations climate summits between 2008 and 2018 with a focus on their usage of constructive elements. The amount of negative statements in the articles is as big as the positive and hopeful statements together and in most cases the articles lack background information. Although the BBC uses many different perspectives in their articles, there is a lot of room to improve their articles by including more constructive elements. They could provide more background information to issues, quotes, and statements used in their articles and rather than only stating existing and possible problems they could include more solutions and focus more on the future.

This Critical Review discusses the significance of the author’s published works and their impact on the history of the emergence of British television between 1926 and 1936. Although events in television within this period have since been well-documented, the related debates have tended to be specialist in scope and restricted to technology-centric or institution-centric viewpoints. Within this period of complex, rapid technological change, the author’s published works introduce the principle of embracing multiple disciplines for comparative analysis. The author’s application of that principle opens up long-established views for further debate and provides a re-assessment of early British television within a broader context. The rewards of this approach are a view of events that not only avoids nationalistic bias and restrictions of a single institutional viewpoint, but also tackles the complex inter-dependencies of technology, of service provision and of content creation. These published works draw attention to the revolutionary improvements that enabled the BBC’s 1936 service and the re-definition of television, yet also emphasise the significance of the previous television broadcast services. The most important innovation within these works has been the author’s discovery and in-depth study of artefacts from that earlier period. His recovery, analysis and presentation of video recordings of historic early television from 1927-1935 is original and remains unique. It has had a significant impact on the field of Media Archaeology, where Ernst considers the book Restoring Baird’s Image as a ‘seminal’ work and the overall restoration project ‘a brilliant case of “Digital Humanities” research’ (Appendix 2). The author’s curation of content from the period 1927-1935 enhances our understanding of a time where previously no direct television footage was thought to exist. The author extends his forensic-level investigative ‘hands-on’ techniques from this recovery to the analysis of the surviving artefacts from the time of John Logie Baird’s claimed first demonstration of television in 1926. The results clarify not only the functions of the equipment but also the circumstances and validity of the event, and hence its true place in the history of television.

Teknologin har gjort det lättare att nå ut till länder och regioner över hela världen. Det har resulterat i att media har kunnat lämna det lokala planet och nå ut till en större marknad än någonsin. I den här uppsatsen kommer vi att granska hur mediebolagens produktioner ändras när de når ut till främmande områden för att fungera på den nya marknaden. Uppsatsen tittar också på hur nyhetsbolag bevakar olika händelser beroende på om den utspelar sig på ett lokalt eller globalt plan. Resultatet pekar på att de främsta anpassningarna görs på grund av respekt mot gamla traditioner som religion. Vid nyhetsbevakningen hos mediebolagen är det tydligt att mallar för nyhetsvärdeinger stämmer väl överrens med hur bevakningen görs.

Twitter is an online social networking service which functions as an information sharing medium, hence it is perfect for media to convey pieces of news. The British Broadcasting Corporation (BBC) and Al Jazeera English (AJE) are two international news channels that actively use Twitter to share their news stories. Previous investigations have found that depending on the news story, the BBC and AJE convey their pieces of news slightly differently. This study aims to give an analysis of the textual content in these two news channel’s text messages (tweets) on Twitter to see if there are linguistic variations. The tweets were analysed in terms of tone, word choice and information richness. Tweets where the words Syria and kill occurred were chosen for a more thorough analysis, and the results show that the BBC had a slightly more negative tone, provided more detailed news reports and used a more informative language than AJE. It might be that the findings were a result of chance considering the fact that the collection of tweets analysed was rather small and differed in size. Nevertheless, the differences that were revealed by the study were of an apparent nature and occurred too frequently and consistently in this small material to be discarded as merely incidental.

<p>Teknologin har gjort det lättare att nå ut till länder och regioner över hela världen. Det har resulterat i att media har kunnat lämna det lokala planet och nå ut till en större marknad än någonsin. I den här uppsatsen kommer vi att granska hur mediebolagens produktioner ändras när de når ut till främmande områden för att fungera på den nya marknaden.</p><p>Uppsatsen tittar också på hur nyhetsbolag bevakar olika händelser beroende på om den utspelar sig på ett lokalt eller globalt plan.</p><p>Resultatet pekar på att de främsta anpassningarna görs på grund av respekt mot gamla traditioner som religion. Vid nyhetsbevakningen hos mediebolagen är det tydligt att mallar för nyhetsvärdeinger stämmer väl överrens med hur bevakningen görs.</p>

An Ear for an Eye: Greek Tragedy on Radio examines the dramaturgical principles involved in the adaptation of Greek tragedies for production as radio dramas by considering the classical dramatic form’s representational ability through purely oral means and the effects of dramaturgical interventions. The inherent orality of these tragedies and Aristotle’s suggested limitation of spectacle (opsis) appears to make them eminently suitable for radio, a medium in which the visual dimension of plays is relegated entirely to the imagination through the agency of sound. Utilizing productions from Canadian and British national radio (where classical adaptations are both culturally mandated and technically practical) from the height of radio’s golden age to the present, this study demonstrates how producers adapted to the unique formal properties of radio. The appendices include annotated, chronological lists of 154 CBC and BBC productions that were identified in the course of research, providing a significant resource for future investigators. The dissertation first examines the proximate forces which shaped radio dramaturgy and radio listeners. Situating the emergence of radio in the context of modernity, Chapter One elucidates how audiences responded to radio’s return to orality within a visually-oriented culture. Chapter Two then analyses the specific perceptual and imaginative activity of individuals, considering how audiences experience acoustic space. I describe how the audience’s central position in the reception of radio drama is integral to the completion of the dramatic frame of radio. The second part of this dissertation addresses radiophonic dramaturgy and issues in representation. In Chapter Three, the didactic and nationalistic impetus for the adaptation of classics as radio plays is considered and the principles of radio adaptation are outlined. The final two chapters examine the formal properties of productions in adaptation through case studies to illustrate where the play’s inherent orality allows for ease in adaptation or where greater dramaturgical intervention is required. Chapter Four examines the construction of dramatic figures, music and song, the use of paratheatrical materials, and narrative strategies for the representation of action, space, and time. Chapter Five examines productions where greater dramaturgical intervention and innovation is in evidence, including the manipulation of perspective (in the CBC’s 2001 Medea), the use of music to modernize setting (in the 1998 CBC-BBC co-production of The Trojan Women), the use of experimental montage (in the BBC’s 1976 Ag), the introduction of flashback sequences (in the CBC’s 1987 Antigone), and solutions to the problem of what I term “dramaturgical erasure” (the inadvertent removal of silent figures from the perspectival field).

An Ear for an Eye: Greek Tragedy on Radio examines the dramaturgical principles involved in the adaptation of Greek tragedies for production as radio dramas by considering the classical dramatic form’s representational ability through purely oral means and the effects of dramaturgical interventions. The inherent orality of these tragedies and Aristotle’s suggested limitation of spectacle (opsis) appears to make them eminently suitable for radio, a medium in which the visual dimension of plays is relegated entirely to the imagination through the agency of sound. Utilizing productions from Canadian and British national radio (where classical adaptations are both culturally mandated and technically practical) from the height of radio’s golden age to the present, this study demonstrates how producers adapted to the unique formal properties of radio. The appendices include annotated, chronological lists of 154 CBC and BBC productions that were identified in the course of research, providing a significant resource for future investigators. The dissertation first examines the proximate forces which shaped radio dramaturgy and radio listeners. Situating the emergence of radio in the context of modernity, Chapter One elucidates how audiences responded to radio’s return to orality within a visually-oriented culture. Chapter Two then analyses the specific perceptual and imaginative activity of individuals, considering how audiences experience acoustic space. I describe how the audience’s central position in the reception of radio drama is integral to the completion of the dramatic frame of radio. The second part of this dissertation addresses radiophonic dramaturgy and issues in representation. In Chapter Three, the didactic and nationalistic impetus for the adaptation of classics as radio plays is considered and the principles of radio adaptation are outlined. The final two chapters examine the formal properties of productions in adaptation through case studies to illustrate where the play’s inherent orality allows for ease in adaptation or where greater dramaturgical intervention is required. Chapter Four examines the construction of dramatic figures, music and song, the use of paratheatrical materials, and narrative strategies for the representation of action, space, and time. Chapter Five examines productions where greater dramaturgical intervention and innovation is in evidence, including the manipulation of perspective (in the CBC’s 2001 Medea), the use of music to modernize setting (in the 1998 CBC-BBC co-production of The Trojan Women), the use of experimental montage (in the BBC’s 1976 Ag), the introduction of flashback sequences (in the CBC’s 1987 Antigone), and solutions to the problem of what I term “dramaturgical erasure” (the inadvertent removal of silent figures from the perspectival field).

Zugl.: Dresden, Techn. Univ., Magisterarbeit

This study examines the representation of Local Education Authority (LEA) secondary schooling in England and Wales as it was portrayed in non-fiction British Broadcasting Corporation (BBC) programmes in the twenty-one years that followed the 1944 Education Act. The primary sources drawn on for this study include the surviving microfilmed radio scripts, dating from 1944–1965 and held at the BBC Written Archives (BBC WAC). The correspondence files from contributors to programmes also provide a key source from BBC WAC. The majority of the programmes considered are radio broadcast, however some documentary films on the topic of secondary education, made by the BBC and transmitted on television, are also analysed. Where audio-visual copies have survived, the programmes were viewed at the BFI Viewing Services. The study draws on 235 BBC programmes in total, made in the years 1944–1965. The details of these broadcasts can be seen in the three Appendices accompanying this study. The study also employs the use of drawing to present key ideas. This study explores how broadcasts are formed as cultural products. The research questions address: what was the content of these programmes? Who collaborated to create and edit these programmes and how were the programmes devised to inform the public about the provision of secondary education? What was the role of the All Souls Group (ASG) in this collaboration? The public included a domestic audience in England and Wales and an overseas audience for whom distinct broadcasts were usually created. A further element of the research is a scrutiny of the BBC as an organization that positions itself as neutral. The considered programmes enabled a group of eloquent educationalists to use their rehearsed and edited ‘conversation’ on a public stage. As the study unfolds it becomes apparent that the members of the informal education discussion group, the ASG, were lobbying to encourage the topic of secondary education to resurface sufficiently often on air. The study concludes with recognition that the reinforcing of loyalties between overlapping networks, such as the BBC and the ASG, should no longer be approached with reticence in academic research.

This thesis traces the history and development of the facilities for electronic music in the UK. It covers the early attempts to experiment with electronic music and create studios in less than ideal circumstances and the subsequent bids to create a national centre. It also covers some elements of worldwide development of electronic music and sound recording, in particular those which occurred before 1965. The thesis calls upon non-traditional sources and the author was able to access many documents in the personal archives of electronic music pioneers. There is substantial reference to committees and societies for electronic music and their effects on the development of facilities for electronic music in the UK. Some of the early pioneers are studied in detail; these include Daphne Oram, Tristram Cary and Hugh Davies. Unprecedented access to information on Hugh Davies and Daphne Oram was provided by the family estates of these recently deceased composers. This allowed the author to gain valuable insight into the working patterns and methodology of these composers. Many references to later pioneers such as Trevor Wishart are also made but the focus remains on the facilities available to composers rather than the composers and their works.