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 (Ed.D.)--Teachers College, Columbia University, 1992. / Typescript; issued also on microfilm. Sponsor: Jensen Leichter. Dissertation Committee: William C. Sayres. Includes tables. Includes bibliographical references (leaves 220-227).

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

When considering the effects of cultural policy on international trade in television programming there is an area that is frequently overlooked, that of classification and censorship. The role that classification and censorship play as tools of cultural policy is poorly understood, as is their impact on the ease with which television programs can be traded. A broad definition of cultural policy has been used here, in order to encompass both its theoretical and practical elements. Cultural policy as expressed through television classification and censorship is seen here as having three layers. These layers are legislative policy such as local content quotas, the content gate keeping carried out by television producers prior to production, and program classification, that is the implementation of local programming codes by broadcasters. It is important to understand the effects of television regulatory regimes, including those that govern content classification, on the international trade in programs for two reasons. One is the precedence international economic agreements generally take over cultural policy, because classification and censorship can quietly undermine this precedence in a way which currently receives little attention. The second is the importance of the export market to the Australian television production industry, which is unable to fully fund its program output from local markets. Australian children's drama and its export to the UK are the focus of this research as this provides an excellent example of the current tensions between cultural policy and economic imperatives. Australian children's drama is tightly regulated through government policy, particularly the demands of the 'C' (children's) classification. It is argued here that the demands of current Australian cultural policy are making it extremely difficult for Australian producers to internationalise their product and thus cultivate a competitive advantage in international markets. With the advent of digital technology and the end of spectrum scarcity, the television landscape is changing rapidly. Australian producers of children's programming are facing commercial challenges that have been created by the proliferation of children's channels in the UK and particularly the popularity on those channels of American animation. While the need to cultivate a competitive advantage is pressing, Australian producers of children's programming are also having to accommodate the three layers of cultural policy described earlier, that is the demands of government policy regarding the 'C' classification, the local programming codes of their export market, in this case the United Kingdom, and their own internalised cultural values as expressed through their gate keeping roles. My Industry experience in a senior compliance role in the pay television industry led to an awareness of the impact of local classification procedures on international trade in programming and provided the initial starting point for this research. Through scholarly investigation and interviews with three key producers of Australian children's programs and a senior UK programmer, certain findings regarding the impact of regulatory regimes on the export of Australian children's programs have been reached. The key findings of this research are firstly, that the rationales and operations of national classification schemes seem to be fundamentally untouched by supranational trade agreements and arguably are able to act as restraints on international trade. Additionally, programs that do not conform to the societal values of the countries to which they are being exported, will not sell. Secondly, multi-channelling is having the unexpected effect of driving down prices achieved for children's programs which is a cause for concern, given the importance of international sales to Australian producers. Part of this decline in pricing may be attributed to the rise in popularity of inexpensive animation, which now dominates children's channels in the UK. Thirdly, this research finds that Australian cultural policy is preventing Australian producers cultivating a competitive advantage in international markets, by making demands regarding content and quality that render their programs less attractive to overseas channels. If the Australian government believes that certain culturally desirable forms of television such as high quality, children's programming should continue to exist, it may in future have to modify its cultural policy in order to attain this objective.

This diploma thesis discusses the possible influences that media especialy television has on langugage development in pre-school children. In first part we talk about speech development, speech difficulties, history of media, studies about influence of watching TV on the personality of the child. Practical part examines influence of watching TV on child and his speech.

Source: Dissertation Abstracts International, Volume: 70-03, Section: B, page: 1619. Advisers: Steven H. Kelder; Ross Shegog. Includes bibliographical references.

Thesis (M.S.)--Florida State University, 2004. / Advisor: Dr. Arthur A. Raney, Florida State University, College of Communication, Dept. of Communication. Title and description from dissertation home page (viewed June 16, 2004). Includes bibliographical references.

This diploma thesis is an addition to the discussion on media literacy development, which also deals with the effectiveness of children's education via a television program. The work offers a brief content overview of public broadcasting television channel ČT:D, focusing on shows that enlighten the viewers about facts from various fields (which are thus regarded educational). The television program Wifina is described in detail and is the center of later research. The first part of this document defines the factors that affect reception of information from television broadcast. The thesis introduces different variations of key media literacy concepts, including the specific way they are handled in the Czech setting. The objective of this work is to determine, whether the show Wifina enhances development of media literacy through its content, and whether this content helps to broaden general knowledge and education of the viewers. Based on content analysis of the program and subsequent qualitative comparative analysis of two groups of children - viewers and non-viewers - the author ascertains, whether Wifina educates its viewers about media-related subjects, as well as other areas. Evaluation of the research offers not only specific cases of broadcast (non-)affected viewers, but also a debate on...

兒童的電視暴力行為模仿是存在的，常人由個人經驗和媒體的顯著個案報導對此現象建立表象的印證；而學者透過研究也證實電視暴力具有不良示範作用，和閱聽人─尤其是兒童─日常生活的攻擊行為脫離不了關係。但學界卻忽視了兒童的認知節目能力與電視暴力訊息的互動關係：兒童看過有暴力訊息的節目後，電視暴力訊息在兒童腦海裡會留下什麼印象；並進一步告訴常人如何扼止這些印象可能引起的不當後果。 　　本研究企圖應用故事基模理論於電視暴力訊息的研究，探討電視暴力訊息如何透過故事基模的運作，在兒童腦海中留下何種的印象。研究方法為場地實驗法配合問卷調查及深度訪談等多重方法設計。 　　研究發現，兒童的電視故事基模具有層級效果，愈上層回憶愈抽象。電視暴力訊息的高低和呈現方式，對兒童組織故事的方式沒有顯著的影響；但視覺呈現的高暴力訊息會使兒童對故事產生較多的推論；如果故事一開始就出現大量的高暴力畫面，則能強化兒童對故事開始情節的記憶。年齡和先備知識是有力的解釋變項。年長的、先備知識豐富的兒童電視故事基模較強，回憶數多、理解高、偏差少、推論多，顯見故事基模的形成一方面是自然的成熟因素，同時也受環境經驗因素的作用。 　　然而年幼兒童對於最易產生暴力訊息的反應和企圖事件的回憶數及詳細層次，與年長兒童無顯著差異，但對行為後果（施暴下場）記憶較簡略，可能因此產生施暴並無不可的解禁心理。此外，父母教育程度高、社會成績好、電視知識豐富的兒童故事基模亦較佳，尤其是男生可能因興趣使然，對本研究的故事記憶更好，且詳細記得反應和企圖事件。 　　根據研究發現，本研究建議未來電視暴力研究觀察互動情形、加強實驗設計、進行特定對象研究、進行長期研究；並對電視節目製作者提出加強故事張力減少暴力情節、不得不保留的暴力情節應淡化處理、發展電視識讀材料等實質建議。 / This study applied story schema theory to understand how children decoded the violent messages in television cartoon by a multi-method design. in-depth interviews were conducts with 60 subjects immediated after watching a TV cartoon with different violent level and media presented in a experiment. The same interviews were conducts again after one week. 　　The study demonstrate the 'effect level'in childern's TV story schema and find the top recall level is more abstract. No significant relationship between story schema and violence decoding were found, but visual-presented high violence may increase inferene and enhance memory on the beginning episode. These results correlated closely with age and story-relevant previous knowledge. Finally, the author make some suggestions to TV program producedr.