This thesis is an analysis of the use and impact of digital communication technology (DCT) in the Gay pub scene in the Kemptown neighborhood of Brighton, East Sussex, UK. The purpose of this work is twofold: to create a snapshot record of the everyday activities in pub spaces at a particular point in the neighborhood's history from the point of view of an American gay man, and to develop an understanding of the impact of digital communications technology (DCT) on the activities in these spaces by investigating the impact of DCT on the idea of 'gay space'. This analysis is broken down into three distinct areas of enquiry: the implementation of DCT in pub spaces by the landlords/owners of the space, the use of DCT by the patrons of these spaces, and an analysis of those spaces that have not directly engaged DCT, neither implementing DCT as a feature of the location, nor limiting its use within the space. This thesis utilizes participant observations, auto ethnographic observations, and interviews made over a period of two years and engages with the theoretical arguments around gay space: its history both within the broad context of UK history, and also with Brighton's special historical status as a gay centre within the UK; its current uses; and the potential for its evolution. This investigation of hof DCT is impacting on gay space also questions to what extent 'gay space' is maintaining a sense of physicality and to what extent an extension of DCT-enabled virtual spaces is altering our relationship to these spaces. The work examines the notion of nostalgia, ownership, and control of space and attempts through its focus on several locations in Kemptown to catalogue the many changes in structure, clientele, locale, and business success that these spaces have gone through in a fairly short time and to determine to what extent the use and influences of DCT has driven these changes. The project includes interviews with landlords and patrons of eight current and former venues in Kemptown and encompasses a group of three key participants in detail through a series of scheduled interviews and group discussions conducted during the duration of the project, and details their particular relationships to the spaces in Kemptown as well as their uses of DCT in these spaces. These participants act as a focal point for the research by helping to create a frame of reference within the work balancing the author's auto ethnographic analysis with the point of view of a local Brighton gay male, as well as contribute to and support the broader narrative of the vicissitudes of smaller pub venues by helping to highlight the historical changes in the pubs being looked at. The specific questions that this research sets out to answer are: • How is digital communicative technology (DCT) affecting self defined gay spaces in Kemptown, Brighton? • How is DCT affecting the behaviours of the patrons and owners/operators in these spaces? • How are the owners/operators of these spaces adapting to DCT? Is there evidence of owners/operators conforming to Winston's theory on the suppression of disruptive potential of new and emerging media technology (1995)? • What are the implications, challenges and opportunities presented to those spaces which are not engaging with DCT in their spaces? • Are “gay spaces” in Kemptown still relevant with the intersection of digital and physical spaces? Do these spaces meet the same requirements as they have in the past? Does DCT have the ability on its own to maintain the relevance of a venue on its own when faced off against other pressures (such as commercial or demographic pressure)? The conclusions reached in this thesis draw attention to the potential for DCT: • Acting as a form of disruptive potential of new communication technologies (Winston, 1995). • The concerns that DCT is suppressing interpersonal communications in favor of mediated discourse (Turkle, 2011, 2012, 2015). • That automobility is creating a privatization of pub spaces, along with the creation of ‘non-places' (Bull, 2004) However, in the author's analysis, there is evidence of cohabitation, and adaptation towards DCT which is reminiscent of Winston's theory of the suppression of disruptive potential of emerging communication technology, as well as a resistance response with nostalgic overtones. The conclusions are also grounded in the larger narratives of pub culture within the UK and note the challenging culture that smaller, brewer-tied and non-tied gay venues have within these changing demographics and cultural acceptance of homosexuality in general. This research adds to the broader field of research into the adaptation of communications technology by drawing attention to the effects of DCT on both spaces and their users and also highlights their effects on a subculture.

Thesis (Ph.D.)--Ohio University, June, 2006. / Title from PDF t.p. Includes bibliographical references (p. 288-302)

Thesis (M.A.) - Carleton University, 2009. / Includes bibliographical references (p. 131-141). Also available in electronic format on the Internet.

<p>Media and culture are interrelated, which shapes what is culturally relevant. War films reflect a culture?s view on war as well as the viability of a culture?s mythology of war. Grounded in the concepts of war myth and genre, this thesis takes the stance that the Iraq and Afghanistan War film genre transforms the image of the American warrior. Iraq and Afghanistan War films, specifically The Hurt Locker, Green Zone, Lone Survivor, and American Sniper illuminate the destructive reality of war and the humanness of the warrior hero. They reaffirm the warrior?s heroism and sacrifice while also acknowledging war as damaging to the warrior?s psyches, hearts, minds, and bodies.

<p> This study examines class and gender representations in Nollywood films through textual analysis of a sample of films retrieved from the website of the largest Nollywood streaming service, irokoTV. The study investigates patterns in class and gender representations in terms of similarities in portrayals, instances of stereotypes, and value assumptions in terms of who has power by answering the following questions: (1) What class stereotypes are portrayed in Nollywood films? (2) What gender stereotypes are portrayed in Nollywood films? (3) What hegemonic ideas of power are portrayed in Nollywood films as a result of class and gender representations? The study uses an exposure approach to select a sample of convenience of the top 5 films most attended to by the audience on iROKOtv and relies on close reading and a distancing technique called the "commutation test" to discuss the meaning of class and gender representations in the films. Findings indicate that even when they appear to subvert dominant ideologies, the films still reinforce long established societal norms about the importance of wealth and female gender stereotypes such as submissiveness in domestic households. The tales are often aspirational but the films lack grand ideological narratives to make them relevant to social transformation. These findings support Stuart Hall's Theory of Ideology which allows for a subversive agenda in media texts while retaining the flexibility needed to critique connections between dominant ideologies and social practices and structures.</p>

<p> Over the years, local television news stations across the nation have seen a dramatic decrease in viewership. Much like newspapers, fewer people are relying on television news for several reasons. Two of the biggest culprits are the age of new technology and social media. These two factors alone have reprogrammed people's daily habits, changing the landscape of television news viewership and resulting in uncertain times at local television news stations. Few studies have been done on the future of local television news. Of the studies that have been conducted, it is clear to see that local news is still relevant even in times of change, uncertainty and evolution, but can it make enough of a profit to survive? The million dollar question TV executives are trying to answer is: How will local TV news stations stay afloat in these uncharted waters? In an attempt to answer this question, qualitative research in the form of ethnography and interview was conducted. The findings in this study reveal television news stations must stay on the cutting edge of technology in order to engage their viewers. They must also think of creative ways to generate revenue besides the traditional way of advertising. Without healthy news ratings, local television news organizations are forced to lower their advertising rates to those seeking to spend money on commercial time. This, in turn, has resulted in a loss of millions of dollars a year for TV stations. The end result will be evident to both stations and viewers. The future of local television news and the direct impact to viewers is discussed. </p>

<p> Utilizing ethnographic methods, this work examines how attendees of computer gaming events held by the Gaming@IU club form a community which uses technology to bring people together rather than isolate them and analyzes the ways attendees perform a unique forms of Whiteness and "nerd masculinity." Known as LAN parties, these computer gaming events are social functions where approximately 200 participants collocate their computers and play videogames with and against each other for up to twenty-four hours straight. Drawing years of fieldwork, this work uses participant observation and in depth interviews to examine how this group uses the computer gaming events to create a third place away from work and school where friendships can be created and maintained. </p><p> Based on this data, I examine the ways in which the statements of the LAN party attendees draw on a discourse of racial colorblindness to avoid dealing with the overwhelming Whiteness of these events which is not reflective of the racial and ethnic diversity of the area. I show how an avoidance of discussion of Whiteness and a general inability to articulate their thoughts about race prevents the attendees from interrogating the role the LAN party's organization may play in the racial makeup of attendees. </p><p> Focusing on issues of sexual harassment within gaming, I also look at the ways in which the games played and the social norms of the LAN party encourage the performance of hegemonic masculinity while playing the videogames but allow the attendees to inhabit a more complicit form of masculinity which is not overtly sexist. I argue that by embracing non-normative masculinity outside the games but discouraging it within the games, the LAN party participants are professing openness and acceptance but are failing to live up to that ideal.</p>

<p> This dissertation seeks to create a vision for virtuality culture through a theoretical expansion of Walter Ong's literacy and orality culture model. It investigates the ubiquitous and multimodal nature of the virtuality cultural phenomenon that is mediated by contemporary technology and not explained by pre-existing cultural conventions. Through examining the theoretical underpinnings of orality and literacy culture, the dissertation explores the cultural shift that is just beginning to restructure human consciousness through the ways that society is connecting, exploring and communicating. Further, this dissertation examines the contrasts between virtuality culture features and those related to traditional literacy and orality types, including the gap between the theory of secondary orality and virtuality culture. This dissertation also proposes three ways that contemporary technology creates human presence related to virtuality culture. Finally, this dissertation describes the broad implications for the evolution of virtuality culture in areas such as education, technology, literacy, philosophy, politics, linguistics, ethics, history, the arts and cultural studies.</p>

Thesis (S.T.M.)--Yale University Divinity School, New Haven, CT, 1992. / Includes bibliographical references (leaves 45-49).

Thesis (Ph. D.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaves 335-340). Also available on the Internet.