This thesis occupies an uneasy space: not within or even at the leading edge of any one tradition, but in the anomalous and almost unoccupied space in which three traditions fail to connect. In keeping with this standpoint, it employs a range of approaches from a cross-paradigm perspective. It draws the main hypothesis that it tests from the cognitive developmental paradigm and develops its main methodological tools from methods of discourse analysis, supplemented by a variety of other instruments, quantitative as well as qualitative. This thesis makes five main claims: (1). Modality judgements, issues and perceptions in relation to television programme content are significant elements in a complex, active and creative process of learning for children in the contemporary world. (2). Children's modality judgements and processes of understanding are significantly different from those of adults in important respects. (3). A further significant developmentally-related phenomenon that emerges from the data is the importance of moments of rupture in developing modality schema and strategies. (4). Children's programme preferences, as refracted through modality structures and strategies typical of different ages, reflect a coherent learning context in which children tackle modality experiences, problems and dilemmas that are well suited to their needs at that point in their development. (5). Children's talk about issues of modality is also a species of social action, in and through which children position and reposition themselves in a variety of social contexts, constructing not only maps and versions of the world, but versions of their selves and tactics to maintain their specific interests. Many of the generalisations in this thesis are still tentative, in need of further development. Some of them, however, are more solidly grounded and would be able to contribute to current debates in education and public life on the role and functions of television in the lives of children. / Doctor of Philosophy (PhD)

Thesis (M.A.)--Victoria University of Wellington, 2008. / Includes bibliographical references.

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As a practice, archiving preserves and protects information that would otherwise be lost, offering important resources to researchers to interpret, chart and define what the archives represent, allowing the public to reflect on records held within them. Archiving is open to many disciplines, organisations and institutions with distinctions made in the care and organisation of records maintained under these disciplines. In terms of animation, archiving finished films on various formats is an established practice, and researchers interpret those films within their own research, but the animation production materials, used in the creation of the films are not privy to an established form of archival practice. Whilst these archives – or collections of materials do exist, they are archived without any unified, peer reviewed specialist interpretation of the care and organisation of the collections using a taxonomy that reflects the unique aspects of animation production. There is a clear need to establish the archiving of animation production materials as a distinct practice with its own taxonomy and philosophy. Examining the current practices from other forms of archiving that are applied to animation production collections and developing a distinct model of practice from these models can achieve this. Once archiving animation materials is an established practice and data is managed in a way that reflects the acknowledges the distinctive aspects of animation as a form, data and records created from the collections can then be used as empirical evidence to enhance the study of animation. This thesis begins that work by developing and applying a model of practice, using a collection of previously uncatalogued materials to explore the possible ways in which an animation production archive would best be used as primary research material. The collection is used to conduct an investigation into British children's television animation. As a form, animation is often neglected and often lost in semantics as a children's genre and within that neglect is a disregard even within the study of children's programming itself, a body which would claim to take children's televisual content seriously. Even bodies such as the Office of Communications (Ofcom) and the British Audience Research Board (BARB) have no definition of what an animated television show for children is, and yet continues to provide data with this absent definition present in their research. By using a collection of animation materials to create a taxonomy and studying the records created whilst using this taxonomy it is possible to define the form of children's television animation and in doing so prove the use of a collection of animation materials as a model of research and the practice of animation archiving as worthy of its own district identity, philosophy and practice which can continue to be developed for all types of animation.

Thesis (MDram)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: This study is aimed at providing useful insights into the field of audiovisual perception and understanding in South African children’s programmes, as well as demonstrating how the Congruence-Associationist framework can be of use when investigating these aspects. Music serves as an important element in children’s television programmes, as it is often used to subconsciously stimulate the viewers’ senses. The purpose of this study is to provide a more complete image of the role of music within the context of South African children’s television programmes from 1976 − 1994, using ethnographic research with a focus on case studies. In the first part of the study, a base is formed for analysing music by addressing general roles of music in audiovisual context, as well as children’s development of musical perception and a possible clarification of its origins. Its origins appear to be closely related to language and could explain why music fulfils such a significant role in a variety of interactive contexts. The Congruence-Associationist framework by Annabel Cohen is used as a suitable framework of analysis of music in children’s television by adapting and expanding it into three sections: the observation phase, the interpretation phase and the results phase. In the second part of the study, case studies and scene analyses of six selected children’s programmes are conducted, according to the three sections of the adapted framework of analysis. The findings indicate that music functions in multiple ways according to the focus of the programme, and that it fulfils an appealing and recognisable role in these programmes. It is argued that music serves to support the visuals on screen, influences the general interpretation of the viewer and ultimately provides understanding while facilitating learning. This information could be used in a variety of subjects, thus opening up endless possibilities for further research into the multiple roles of music. / AFRIKAANSE OPSOMMING: Hierdie studie is daarop gerig om nuttige insigte op die gebied van oudiovisuele persepsie en begrip in Suid-Afrikaanse kinderprogramme te verskaf, asook aan te toon hoe die ooreenstemmings-assosiatiewe raamwerk (Congruence-Associationist framework) van Annabel Cohen van nut kan wees wanneer hierdie aspekte ondersoek word. Musiek dien as ‘n belangrike element in die kindertelevisieprogramme, aangesien dit dikwels gebruik word om onbewustelik die sintuie van die betrokke kykers te stimuleer. Hierdie studie poog om ‘n meer volledige beeld van die rol van musiek te verskaf binne die konteks van Suid-Afrikaanse kindertelevisieprogramme vanaf 1976 − 1994. Dit word gedoen met behulp van etnografiese navorsing met ‘n fokus op gevallestudies. In die eerste deel van die studie word ‘n basis gevorm vir die analise van musiek, deur die algemene rol van musiek binne oudiovisuele konteks te bespreek, asook die ontwikkeling van kinders se musikale waarnemingsvermoë en ‘n moontlike verduideliking van die oorsprong van musiek. Die oorsprong van musiek blyk verwant te wees aan taal en kan moontlik die rede wees waarom musiek so ‘n belangrike rol in ‘n verskeidenheid interaktiewe kontekste speel. Die ooreenstemmings-assosiatiewe raamwerk word gebruik as ‘n geskikte raamwerk van ontleding vir musiek in kindertelevisie deur dit aan te pas en in drie afdelings uit te brei, naamlik die waarnemingsfase, die interpretasiefase en die resultaatfase. In die tweede deel van die studie word gevallestudies en toneelontledings van ses gekose kinderprogramme gedoen volgens die drie afdelings van die aangepaste ontledingsraamwerk. Die bevindinge dui daarop dat musiek op vele maniere funksioneer, afhangende van die fokus van die program, terwyl dit ook ‘n aantreklike en identifiseerbare rol in hierdie programme vervul. Daar word aangevoer dat musiek dien om die visuele beeld te ondersteun, die algemene interpretasie van die kyker te beïnvloed en uiteindelik begrip te verskaf terwyl die leerproses vergemaklik word. Hierdie inligting sou gebruik kon word in ‘n verskeidenheid onderwerpe wat weer eindelose moontlikhede vir verdere navorsing in die veelvuldige rolle van musiek blootlê.

Although children’s programming has been considered to be at the forefront of incorporating racial and ethnic diversity, the roles on television for racial and ethnic minorities have continued to be limited or based on stereotypes, and sheer presence in numbers for non-whites is still lacking in comparison to white characters. Television programming during the 1990s and early 2000s became a key period in history for racial and ethnic representation, as programming as a whole reflected a greater non-white presence than ever before, with children’s programming as no exception. This thesis focuses on how race and ethnicity were depicted on the children’s cable networks Nickelodeon and Disney Channel during this time period. My study focuses on three programs, The Mystery Files of Shelby Woo (Nickelodeon, 1996-1998), Taina (Nickelodeon, 2001-2002), and The Proud Family (Disney Channel, 2001-2005), all of which placed racial and ethnic minorities as lead characters, diverging from the standard in casting for children’s television programs. In observing whether these programs portrayed race in an assimilationist, color/culture conscious, or post-racial manner, my study provides insight into the overarching narrative constructed about race and ethnicity for youth viewing two of television’s most successful networks committed to programming for kids in this time period. / text

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