This study examines public relations practice in a developing country by looking at two Indonesian organisations - a commercial television station (RCTI) and a state university (UGM) - using a case study approach complemented with a qualitative analysis of the history of public relations practice at a societal level. Two theories about advanced public relations practice have been borrowed for the framework of the study. They are Grunig's model of public relations and Broom's public relations role theory. However, given the less developed practice of public relations in Indonesia, the present study did not intend to test these theories in a rigorous manner. Rather, the theories have been mainly used as guidance in analysing public relations practice in Indonesia. Modern public relations has been practiced in Indonesia as early as the 1940s. Public relations was used as part of Indonesia's struggle for independence, while the arrival of multinational corporations, and recent changes in national economic policy, has since extended public relations practice into the wider corporate world. While it is clear that both RCTI and UGM considered public relations important, they treated public relations in different ways. RCTI, as a private sector company, located its public relations department in the higher level of its organisational structure with the purpose of promoting the interests of the organisation and defending itself in the marketplace of ideas. UGM, as a public sector agency, located its public relations department in the lowest level of the organisational structure. Overall, public relations as an organisational activity was more important in RCTI. However, both organisations practiced the first two models of public relations, namely, the press agentry and the public information model, and public relations practitioners in both RCTI and UGM predominantly played the role of technicians.

Since their inception in the early 1960s, Australian content requirements for commercial television have been subjected to considerable scrutiny through a series of formal inquiries. Over the last ten years this process has intensified. In recent years there have been a number of academic criticisms regarding the state of debate about the regulation of Australian content on commercial television and the capacity of the debate to generate genuine criticism and embrace change. This thesis examines the dynamics of debate about Australian content. It focuses on the ABT's Inquiry into Australian Content on Commercial Television (ACI) which ran from 1983 to 1989. It takes as its basic point of reference Jurgen Habermas' concept of the 'public sphere'. This concept refers to a realm of social life, separate from the state and private spheres, in which 'public opinion' can be formed. Habermas has argued that, with the refeudalisation of the public sphere, the state and private interests have increasingly collaborated to close off the public sphere. The thesis concludes that in many respects Habermas' concept of a refeudalised 'public sphere' is a useful explanatory tool for understanding the dynamics of the ACI and the limited degree of criticism generated by it. However, Habermas' model is limited in so far as it fails to accord adequate recognition to the complexities and significance of the mediation of the 'public interest' by key participants in the inquiry and the strategic role of rhetoric for these participants. Habermas concludes that with the refeudalisation of the public sphere and the disappearance of the historical conditions which supported its operation, the public sphere must now be reconstructed on a case by case basis. Attempts to achieve this, have tended to focus on the facilitation of citizen participation in public policy debate. However, as this analysis of the ACI demonstrates, the dynamics of the debate itself appear to limit I the degree to which 'public opinion' can be elevated above 'private interest'. This thesis demonstrates that the mediation of the 'public interest' assumed a central role in the rhetoric and strategy of the ACI. Each of the key players represented distinct interests and were largely unaccountable to the 'public' they claimed to serve. This thesis concludes that in order to gain a more detailed understanding of how communication works in such a context, and in order to conceive of alternative participatory forms, we need to focus on those aspects of public discourse which Habermas neglects: the rhetoric and the strategic nature of public representation. It suggests that fruitful avenues for further study may lie with Bantz's notion of communicative structures or Luhmann's systems approach to communication.

Prime Time Postzionism - Negotiating Israeliness through Global Television Formats looks at the Israeli reality competition show – Kohav Nolad (“A Star is Born”) as a key text to help explore the ways in which Israeli broadcasters in the contemporary commercial television environment, adapt globally dominant televisual forms as models for the production of extremely popular local series. This program, widely perceived as epitomizing contemporary Israeli national identity, is simultaneously also debated as the product of globalization, and as marker of a post-national/post-Zionist era. In these discussions, perceptions of the proper Israeli national culture and identity are juxtaposed with assumptions about the nature and perceived influence of the shift from public state monopoly in television broadcast to a globalized commercial multichannel broadcast environment. Combining production ethnography with analysis of industry, texts, and public reception discourses, this project explores the significance of global format adaptations for marginal and belated broadcast systems like Israeli television. / text

No / Maurizio Nichetti¿s comedy, Ladri di saponette/The Icicle Thief (1989) has been read as a mordant satire on commercial television and the world of consumerism it represents in late-1980s Italy. The context in which Nichetti¿s cinema was originally created and consumed is examined here in some detail. This is followed by an analysis of how a new frame of reference (the television screening of the film on commercial UK television in the 1990s) impacted on this work and what this can tell us about spectatorship and the problematic intermedial relationship between film, television and advertising.

This thesis is an exploration of the fate which has befallen the regional commercial television industry in North Queensland in the wake of the aggregation policy introduced by the Federal Labor Government in 1990. More specifically, it examines the effectiveness of policy outcomes which stem from the Australian Broadcasting Authority's 2001 inquiry into the adequacy of regional and rural commercial television news and information services. The research is primarily concerned with the quality of local content provided by regional commercial broadcasters in response to the implementation of the Australian Communications and Media Authority's points system for broadcast of matters of local significance. The policy outcomes are balanced against an historical context, which traces the regional commercial television industry in North Queensland back to its very beginning. Regulatory reform has resulted in a basic level of news content being maintained. However the significance of elements of this news content to local viewers is minimal. The reduction in local information content, despite being identified in the earliest stages of the ABA investigation, has not been adequately addressed by the reform process.

本論文主旨在於探討美國公共電視的過去、現在與未來發展，希望能作為我國公共電 視發展的參考。 論文共分為六章，第一章緒論，介紹美國電視的發展，探討商業電視的流弊，引出本 文的研究動機，即公共電視的功能及其存在價值。 第二章簡史，研究公共電視的前身─教育電視、公共電視的起源和發展。 第三章現狀，首先說明經費的來源分配，其次說明電視台的成長和類型，最後是節目 的製作和傳送。 第四章問題和影響，公共電視實施已有十七年，產生什麼問題和影響都將在本章探討 。 第五章展望，由於傳播科的發展，公共電視應多樣化，因此從有線電視、衛星傳送、 錄影機等方面來說明。 最後一章結論，盼能給予我國公共電視有益的建議。

This thesis aimed to report on the qualitative research conducted which identified the role played by international television soap operas in identity formation and cultural change in relation to Kurdish women. Currently, Kurdish women live in a cultural context where traditional values often conflict with modern values when it comes to behaviour deemed appropriate for their gender. Through the impact of international television soap operas, Kurdish women come to identify themselves as being 'traditional' while at the same time they attempt to integrate non-traditional beliefs into their value system. This study looked at the relationship between Kurdish women's exposure to international television, soap operas and consumerism, as well as the problems which they create in terms of non-Western women's identity formation. This thesis has documented the lives and experiences of 21 female Kurdish participants, aged between 18 and 40, through in-depth interviews and observations. The thesis assumes that the views recorded are representative of the general viewpoint of viewers of the international soaps. Open-ended, in-depth interviews about women were used to explore viewing habits and preferences for various soaps. This thesis incorporates and expresses the ideas which were recorded with regards to the accepted 'typical' characteristics of men and 4 women - it is these characteristics which play an important role in selfformation. It became evident that these women had incorporated values from the traditional Kurdish culture and the modern way of life. The Kurdish women cannot be said to have a 'modernist' outlook on gender-appropriate behaviour, as they are still endemically entrenched in traditional Kurdistan worldviews. The qualitative research analysed the level in which the soap operas act as a kind of medium between the values of modernity and those of tradition. This study, in addition, demonstrates the appeal that soap operas can have on the norms, and other aspects, in the Kurdistan Region, and therefore illustrates that the soaps have an active role as a mechanism of change in Kurdistan. Thus, the research demonstrates the power of the soap operas and their effects on the Kurdish people in this region. Furthermore, this research explored the current media environment in the Kurdistan Region by reviewing the dependency of Kurdish viewers, and the Kurdish television channels, on foreign and imported television programmes into the region.

This thesis aimed to report on the qualitative research conducted which identified the role played by international television soap operas in identity formation and cultural change in relation to Kurdish women. Currently, Kurdish women live in a cultural context where traditional values often conflict with modern values when it comes to behaviour deemed appropriate for their gender. Through the impact of international television soap operas, Kurdish women come to identify themselves as being ¿traditional¿ while at the same time they attempt to integrate non-traditional beliefs into their value system. This study looked at the relationship between Kurdish women¿s exposure to international television, soap operas and consumerism, as well as the problems which they create in terms of non-Western women¿s identity formation. This thesis has documented the lives and experiences of 21 female Kurdish participants, aged between 18 and 40, through in-depth interviews and observations. The thesis assumes that the views recorded are representative of the general viewpoint of viewers of the international soaps. Open-ended, in-depth interviews about women were used to explore viewing habits and preferences for various soaps. This thesis incorporates and expresses the ideas which were recorded with regards to the accepted ¿typical¿ characteristics of men and 4 women ¿ it is these characteristics which play an important role in selfformation. It became evident that these women had incorporated values from the traditional Kurdish culture and the modern way of life. The Kurdish women cannot be said to have a ¿modernist¿ outlook on gender-appropriate behaviour, as they are still endemically entrenched in traditional Kurdistan worldviews. The qualitative research analysed the level in which the soap operas act as a kind of medium between the values of modernity and those of tradition. This study, in addition, demonstrates the appeal that soap operas can have on the norms, and other aspects, in the Kurdistan Region, and therefore illustrates that the soaps have an active role as a mechanism of change in Kurdistan. Thus, the research demonstrates the power of the soap operas and their effects on the Kurdish people in this region. Furthermore, this research explored the current media environment in the Kurdistan Region by reviewing the dependency of Kurdish viewers, and the Kurdish television channels, on foreign and imported television programmes into the region.

ÚSTAV HOSPODÁŘSKÝCH A SOCIÁLNÍCH DĚJIN ANOTACE DIZERTAČNÍ PRÁCE V zajetí televize Aktéři, televizní žánry a programy v USA a Československu v 2. polovině 20. století CAPTURED BY TELEVISION ACTORS, TELEVISION GENRES AND PROGRAM IN THE US AND CZECHOSLOVAKIA IN THE SECOND HALF OF THE 20TH CENTURY Mgr. Michaela Blažková Vedoucí dizertační práce: Doc. PhDr. Michal Pullmann, Ph.D. Praha 2018 Summary Against the backdrop of political, economic and cultural changes, changes have been taking place in the United States of America in the 1950s, even at the level of whole society. One of the crucial changes was the entrance of television broadcasting into the environment of social relations and relationships. Television, as a new form of media that aims to entertain, inform and educate, had very quickly found its way to the most of households where it has settled adamantly. Initially, however, a programmed composition was not firmly established, which sought its stable image at this time in the form of trial and error. In the Czechoslovakia, and later also in the Czech Republic, TV has also won many supporters. The technical form of the broadcasting scheme was formed on the basis of the actual technical possibilities and the range of the transmitting time. In addition to political influence on broadcasting until 1989,...

This thesis looks at the subject of sports television programming in two European markets, the UK, one of the biggest and most developed in the continent, and the Greek, one of the smallest in Europe. With the help of case studies over a period of eight years and qualitative interviews of television executives and professionals who are involved in sports television rights agreements, it analyses and compares the strategies and decision making of television organisations, the factors that affect their decisions and their success within the chosen markets. A distinction will be made between public service, commercial and pay-TV and the reasons why different sports may suit different channels and at different points in their development. The findings should help to appreciate that there is not one strategy that works universally better than another. Its outcome depends on the value of the content, the particular characteristics of the organisation and the external environment where it operates. Most importantly, the thesis highlights the importance and limitations of the TV sports content, its crucial role in the decision making process and the necessity of more academic research into the area of sports television by people in content-driven disciplines, i.e. journalism and the media.