This thesis is about the construction and reconstruction of the national identities in Bangladesh, from the Pakistan era to the birth of Bangladesh, to present time. In the light of this political framework, I am looking at the ways in which the state, through the control of the medium of television sought to shift a more syncretic and secular nationalism to a more Islamicist one called Bangladeshi nationalism. I am also looking at Satellite television and the way in which this ruptures the national identities. The study employs the qualitative method to offer an elaborate description of the problem of this national identity by exploring the role of TV officials as cultural artists and the political brokers, as well as the state, in utilising the medium of television for inculcating the certain kinds of identities. The responses of the various professional groups as the middle class viewers of the state television and satellite television in this context has been examined, regarding the question of national identity. The qualitative method has been employed in this work to obtain an in-depth analysis of the problem of nationalism and its association with the history, culture and religion of the middle class in Bangladesh. Through such a procedure this work contributes in demonstrating the fragmentation, multiplicity and plurality of the national identities of the middle class of Dhaka City who find the narrative of the history of the Liberation War and cultural heritage in anomalous ways in various televised programmes under the different political constituencies of Bangladesh.

The research presented here examines a new definitional framework of creative autonomy that was designed with regard to the negotiated nature of creative autonomy and its relationship to the multiple identities of creative labourers. Having identified several limitations in the existing literature on creative autonomy, I argue that there is a need to observe creative labourers through a more appropriate lens—one which understands the paradoxes and dilemmas that today’s creative labourers experience in an undeniably commercial working environment. I suggest that such paradoxes and dilemmas, and the balance that needs to be attained, can be better understood if we consider the concept of the multiple identities of creative workers. Based upon this, I propose a new framework of creative autonomy, which seeks to appropriately reflect the distinctive attitudes of creative workers by taking into account the many concurrent desires manifest in the workplace. To empirically examine the new framework of creative autonomy and the concept of the multiplicities of creative labourers, the case of Main PDs in the South Korean light-entertainment television industry was selected. By observing the lived experiences of Main PDs, I attempt to reveal the negotiated nature of creative autonomy, which is the foundation of the new framework proposed in this study. Consequently, the significant industrial value of individual creative labourers who are able to negotiate and balance various intrinsic and extrinsic needs or demands in the creative production process becomes clear, and I then conclude by suggesting a need to establish a new management strategy so that broadcasting organisations are able to retain and manage professionalised PD labourers in the shifting labour market, for the development of not only organisations but also the creative workforce and the industry as a whole.