Source: Dissertation Abstracts International, Volume: 32-03, Section: A, page: 1544. / Thesis (Ph.D.)--The Florida State University, 1971.

Television news plays an increasingly important role in the interpretation of political events for most Americans, particularly when negative outcomes demand responsibility. The aim of this study was to assess if the major networks attributed more blame to the Republican Congress than to the President in their broadcast coverage of the 1995-1996 federal government shutdowns, to examine the news framing of this event, and to examine the characteristics of the audiovisual messages. Findings suggest that the Republican Congress was blamed more for the shutdowns and received more negative audio and visual attributions than the President. Findings suggest that while the networks presented the shutdowns through more strategy than issue frames, a human-interest frame was identified as a dominant theme throughout the coverage. Results did not support the hypothesized relationship between frames and visual images. Theoretical, methodological and applied implications for political media and suggestions for future research are advanced.

Marcel Duchamp's speech "The Creative Act" and the context of its delivery at the American Federation of Arts (A.F.A.) convention in Houston, Texas, in 1957 reveal the manifold nature of American art discourse during the second half of the 1950s. In contrast to overly-simplified histories of the period which maintain that formal concerns and artist-centered criticism predominated, this paper determines that Duchamp's speech and its acknowledgment of the spectator are not unusual for 1957. Nor is Duchamp as author completely consistent with the ideas of critical "indifference" said to be present in the speech. On the contrary, the artist, his speech, and the 1957 A.F.A. convention are reflective of their complex history: of the political and economic climate of the mid 1950s, of both American and French aesthetic philosophy, of a growing popular interest in the arts, and of the growing media presence within American art discourse.

No description available.

<p> Since reality TV exploded onto the scene at the turn of the millennium, its impact on culture and society has been evaluated within various disciplines. The televisual phenomenon's influence on the art world, however, has been scarcely examined. This thesis rectifies this omission by exploring the uncharted intersection of reality TV and contemporary art history. Examining the artworks of video/installation artists Gillian Wearing, Phil Collins, Alex Bag, Kalup Linzy, Ryan Trecartin, and Keren Cytter through the theoretical frameworks of Jean Baudrillard, Judith Butler, and Gilles Deleuze and F&eacute;lix Guattari reveals the discursive effects of reality TV on areas such as the simulated nature of reality, gender performativity, and binary structures. The artists recontextualize the codes that structure reality TV in order to provide their viewers with the tools to question the reality of reality TV.</p>

<p> Abstract not available</p>

Thesis (Ph.D.)--The University of Alabama, 2005. / (UnM)AAI3193812. Source: Dissertation Abstracts International, Volume: 66-10, Section: A, page: 3502. Adviser: Jennings Bryant.

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2007. / Source: Dissertation Abstracts International, Volume: 68-11, Section: A, page: 4535. Adviser: Daniel Schiller. Includes bibliographical references (leaves 250-259) Available on microfilm from Pro Quest Information and Learning.

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2008. / Source: Dissertation Abstracts International, Volume: 69-05, Section: A, page: 1584. Adviser: Kent Ono. Includes bibliographical references (leaves 288-297) Available on microfilm from Pro Quest Information and Learning.

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2007. / Source: Dissertation Abstracts International, Volume: 68-11, Section: A, page: 4532. Adviser: David H. Tewksbury. Includes bibliographical references (leaves 120-142) Available on microfilm from Pro Quest Information and Learning.