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O presente trabalho procura situar-se na convergência dos estudos discursivos, dos estudos culturais e dos estudos jornalísticos voltados para a web. Buscamos examinar como o discurso jornalístico se constrói no meio tela, pois este oferece novas possibilidades de sentidos. Tendo por base a leitura de um grupo de webpages disponibilizadas pelo site da BBC, a British Broadcasting Corporation, pretendeu-se demonstrar quais representações de Brasil são utilizadas ou construídas pelo jornalista estrangeiro. Analisamos como a notícia é veiculada no meio digital recorrendo aos elementos teóricos concernentes ao webjornalismo. Notamos que o modo de veicular conteúdo noticioso favorece o texto escrito em detrimento de uma narrativa hipertextual da notícia e que os links de uma das webpages analisadas podem construir sentidos que contradizem o seu suposto objetivo. Como conclusão, constatamos que embora seja feito uso questionável dos recursos digitais, segundo a visão jornalística adotada, as características hipermidiáticas das webpages, juntamente com a aura de excelência que a instituição veicula no site, camuflam o fato de o enunciador-jornalista naturalizar o modo de representar o outro. / This dissertation is situated in the interdisciplinary convergence between the Discursive and Cultural Studies, and also the research field of Webjournalism. We aimed to show how the journalistic discourse is produced in the screen medium, as it offers new possibilities of meaning. Based on the reading of a series of webpages of the BBC website, we set out to demonstrate how the representations of Brazil are used or built by the journalistic enunciator. The analysis of how the news is issued in the digital medium is based on the conceptual framework of webjornalism. We have observed that although the website is highly hypermidiatic, the way it conveys its contents favors the written text instead of building a hypertextual narrative of the news. We also found that the links in one of the studied webpages can produce meanings that contradict its supposed aim. In conclusion, we have also observed that although the use made of digital resources is questionable, according to the journalistic approach used, the hypermidiatic characteristics of its webpages and the high standard services that the institution is supposed to deliver disguise the fact that the journalistic enunciator naturalizes the way it represents the other.

O presente trabalho procura situar-se na convergência dos estudos discursivos, dos estudos culturais e dos estudos jornalísticos voltados para a web. Buscamos examinar como o discurso jornalístico se constrói no meio tela, pois este oferece novas possibilidades de sentidos. Tendo por base a leitura de um grupo de webpages disponibilizadas pelo site da BBC, a British Broadcasting Corporation, pretendeu-se demonstrar quais representações de Brasil são utilizadas ou construídas pelo jornalista estrangeiro. Analisamos como a notícia é veiculada no meio digital recorrendo aos elementos teóricos concernentes ao webjornalismo. Notamos que o modo de veicular conteúdo noticioso favorece o texto escrito em detrimento de uma narrativa hipertextual da notícia e que os links de uma das webpages analisadas podem construir sentidos que contradizem o seu suposto objetivo. Como conclusão, constatamos que embora seja feito uso questionável dos recursos digitais, segundo a visão jornalística adotada, as características hipermidiáticas das webpages, juntamente com a aura de excelência que a instituição veicula no site, camuflam o fato de o enunciador-jornalista naturalizar o modo de representar o outro. / This dissertation is situated in the interdisciplinary convergence between the Discursive and Cultural Studies, and also the research field of Webjournalism. We aimed to show how the journalistic discourse is produced in the screen medium, as it offers new possibilities of meaning. Based on the reading of a series of webpages of the BBC website, we set out to demonstrate how the representations of Brazil are used or built by the journalistic enunciator. The analysis of how the news is issued in the digital medium is based on the conceptual framework of webjornalism. We have observed that although the website is highly hypermidiatic, the way it conveys its contents favors the written text instead of building a hypertextual narrative of the news. We also found that the links in one of the studied webpages can produce meanings that contradict its supposed aim. In conclusion, we have also observed that although the use made of digital resources is questionable, according to the journalistic approach used, the hypermidiatic characteristics of its webpages and the high standard services that the institution is supposed to deliver disguise the fact that the journalistic enunciator naturalizes the way it represents the other.

This thesis is a retrospective analysis of British social realism. It combines conventional academic research with professional screenwriting practice in the genre. By definition, at its advent Social Realism employed documentary realist devices to explore the inequalities of society with the objective of stimulating socio-political debate about this imbalance and thus social reform. However, contemporary forms of social realism have emerged much more depoliticised, drawing on similar subject matter but using decontextualised narrative strategies. The commitment to truth now seems to consist of an aesthetic, as opposed to a sociological imperative.

Student Number: 0416806D MA Art and Culture Management 2004 Faculty of Humanities / British broadcasting has undergone significant change in recent years, as the nation prepares to switch from analogue to digital broadcasting. This process has already begun, with the full switch over to the digital platform scheduled in Britain for 2012. Appropriately, at the forefront of the development of digital broadcasting in Britain is its public broadcaster: The BBC. In line with both government, and organisational objectives, the BBC has developed a range of new television, and radio channels aimed at providing a service that will continue to be appropriate to audiences further into the twenty-first century. This research examines the output of two BBC music radio stations, Radio One and 1xtra, considering how changes to management, policy, and strategy in each station can affect the output they broadcast. Radio One and 1xtra both use a strategy of broadcasting new music to target a youth audience. However, Radio One is a mixed-genre station broadcasting on analogue radio, while 1xtra is a niche station broadcasting on the digital platform. By comparing the stations I attempt to draw conclusions about the BBC’s digital strategy, and what implications these have for the output of both Radio One and 1xtra in the digital age. Discussion in the first half of the research focuses on the internal operations of the BBC. I consider the BBC’s approach to the diversity of the content it broadcasts, and what this approach reveals about the different priorities of the organisation. Close examination of the management changes made at both an organisational, and individual station level provide further insight into the context guiding priorities and policy decisions made in the BBC, Radio One, and 1xtra. The second half of the research pays greater attention to the actual output broadcast by Radio One and 1xtra, using content analysis methodology to measure similarities, and differences between the two stations. Through the simultaneous examination of management and policy changes, and of the output broadcast by the two stations, I aim to make conclusions about how changes made internally have had a direct impact on the diversity of music broadcast on Radio One and 1xtra.

Drawing on interviews and archival material, this thesis examines how the crisis of the 1970s and the rising power of business under the neoliberal settlement that followed impacted on the BBC’s organisational structure, policies and journalistic practices. Part I focuses on the breakdown of social democracy. Orientated towards and legitimised by the social order that seemed under strain, the politically appointed BBC leadership took a conscious conservative turn and, under pressure from the government, sought to curtail the influence of union militancy and sixties radicalism and to stem its own ‘fiscal crisis’ through wage repression. Meanwhile, despite facing criticism over its economic reporting, which routinely blamed trades unions for the perceived economic decline and crisis, the BBC leadership refused to even seriously question long standing editorial conventions. This, it is argued, left an explanatory vacuum that the New Right were able to skilfully exploit. Part II describes the process of change that the BBC then underwent in the wake of Thatcherism. It argues that the highly unpopular organisational reforms introduced under the leadership of John Birt represented an institutionalisation of the new neoliberal order at the BBC. It describes how business journalism came to displace social democratic patterns of reporting as a result of both top down initiatives and a range of external factors including privatisation and financialisation, the changing political economy of the private media and the power of advertising and public relations. By analysing archival and interview material in the light of scholarly work on neoliberalism, broadcasting and power, the thesis offers an empirically rich account of the subtle ways in which journalistic norms are shaped by wider social forces and a more satisfactory account of the BBC and its role in British society than existing studies.

China’s official media are nearly a decade into a global expansion programme to challenge the dominance of Anglo-American news organisations and their framing of world events. This research tackles the questions of whether Chinese media abroad deserve to be dismissed as channels for Communist Party propaganda, whether their output has journalistic merit, and whether Chinese journalism has a different character from that of the Anglosphere. The focus is on CCTV-News in English, whose ‘hard news’ output is compared with that of BBC World News TV between 2014 and 2016: previous studies of the channel have concentrated on single regions or events, political strategy or current affairs. Comparative quantitative content analysis of five constructed weeks of news is followed by frame analysis of selected events with a framework adapted to accommodate Chinese political and cultural proclivities. Subconscious editorial judgements are made manifest through a pioneering experimental technique, ‘cross-editing’, in which journalists from Britain and China swap broadcast news scripts and re-edit them as if for output on their own channel. Topics of strategic importance to Beijing are the focus of the research: news about China, and coverage of Africa including China in Africa. The empirical analysis confirms that these politically sensitive areas are handled by CCTV-News mainly in ways that are alien to editorial principles in the Anglosphere, either through lack of journalistic rigour (partial reporting and ‘positive news’) or through differences in framing such as solution-focused reporting and aversion to conflict. The analysis demonstrates the uneven editorial imperatives across CCTV-News and the improvised nature of journalistic professionalism, including how far Chinese reporters dare push the boundaries of information control. In the BBC World News output, the comparative methods reveal weaknesses in the Corporation’s professed tenets of balance and impartiality, and highlight the difficulties of telling nuanced, non-pictorial stories from distant countries while shackled by Anglo-American television ‘grammar’. The research confirms the considerable impediments to credibility occasioned by political control over CCTV’s English news output: however, it also indicates that the journalism of the Anglosphere, in the form of BBC World News, is not the universal standard many believed it to be.

No description available.