In this study, I use social constructionist feminist and queer theory and narrative analysis to identify messages about gender, sexuality, and sexual violence in both the book versions and film adaptations of The Hunger Games trilogy, the Divergent trilogy, and the Vampire Academy series. These three series are representative of a major pop culture trend in which young adult novels are not only popular and financially successful, but in which these types of novels are being adapted into major films. In this study, I demonstrate that the book and film series all generally privilege whiteness, able-bodiedness, and heterosexuality, and in doing so, these texts reproduce a narrow worldview and privilege normative ways of knowing and being. However, while the films strictly reinforce normative understandings of gender, sexuality, and sexual violence, each book series reimagines gender in important ways, disrupts normative scripts that denigrate women’s ownership over their sexuality, and represents sexual violence in graphic but not exploitative ways that portray the real life consequences and complexity of sexual violence. My analysis of these texts reveals that the book series employ a variety of mechanisms that empower the women protagonists including establishing their narrative agency and representing them as gender fluid, while the film series utilize a variety of mechanisms that both objectify and superficially empower women including an emphasis on women’s sexualized physical bodies especially in times of vulnerability, the pronunciation of “natural” sexual differences, and the strict regulation of women’s bodies by dominantly masculine men. I argue that the significant alteration of the books’ original messages are a product of logistical, historical, cultural, and economic elements of the film industry, which has continually constructed women’s roles in terms of their sexual availability, victimization, and need to be rescued by heroic men. In this study, I address the institutional imperatives of the film industry that dictate specific representations of gender, sexuality, and sexual violence, and I address what these representations might mean for audiences. / Media & Communication

Iranian documentary filmmakers negotiate their relationship with power centers every step of the way in order to open creative spaces and make films. This dissertation covers their professional activities and their films, with particular attention to 1997 to 2014, which has been a period of tremendous expansion. Despite the many restrictions on freedom of expression in Iran, especially between 2009 and 2013, after the uprising against dubious election practices, documentary filmmakers continued to organize, remained active, and produced films and distributed them. In this dissertation I explore how they engaged with different centers of power in order to create films that are relevant to their society. To focus this topic, my research explores media institutions, their filmmaking practices, and the strategies they use to produce and distribute their films. This research is important because it explores the inherent contradictions in the existence of a vibrant documentary film community in a country that is envisioned as uniformly closed and oppressive in the West. The research is also personally motivated, because I have close connections to the Iranian documentary film world, where I previously made films and produced television programs. I conduct the study with a multi-faceted approach, utilizing participant observation in the field in a four-month period, in-depth interviews with key players, personal reflections, and textual analysis of the films. I focus on about twenty filmmakers and their films, chosen from a pool of more than 500 documentary filmmakers, giving a cross section of this community based on their age, sex, and their professional history and success within Iran and internationally. / Media & Communication

In this dissertation, I explore the implications of the advances in information and communication technology on democracy. In particular, I examine the roles of online institutions—search engines, news aggregators, and social media—in information readership and political outcomes. In Chapter 1, I show that information consumption pattern is more concentrated and polarized in online news traffic than in offline newspaper circulation. I then show that this pattern occurs not because online traffic better reflects people’s demand, but because online institutions generate a cascade. Using this evidence, I argue that online institutions produce a trade-off between the benefits involved when people access information and the costs of the cascade. In Chapter 3, I compare information consumption pattern on various online institutions. In Chapter 2, I explain why the cascade may become increasingly significant over time. An increase in Internet users suggests not only a reduced digital divide but also an even more concentrated and polarized online information consumption pattern as, ceteris paribus, the magnitude of the cascade will increase with an increase in the number of Internet users. I then empirically show a positive association between the traffic to an online institution and the estimated magnitude of the cascade observed on that site. In Chapter 4, I show that the observed concentrated and polarized online information consumption may affect political outcomes. For instance, if such an information consumption pattern affects political behaviors, we can expect the same pattern in measurable political outcomes. I test this prediction by investigating the association between U.S. Representatives using Twitter and their fundraising. Evidence suggests that, after politicians started using Twitter, their individual collected contributions became more concentrated, ideologically polarized, and geographically diverse. Finally, I discuss the implications of these findings for political equality, polarization, and democracy. In sum, online institutions may result in political outcomes becoming more concentrated and polarized. Given that a significant part of the observed concentration and polarization can be attributed to the cascade effect, this paper challenges the notion that Internet-mediated political actions or communications will necessarily promote democracy.

(abstract) The main aim of this diploma thesis is to describe projects of selected Czech media institutions that arised from the beginning 2008 until the end of May 2019 and aimed to develop and support media literacy of the public. It will be primarily about researching of programs of the Council for Radio and Television Broadcasting, the Czech Television and the Czech Radio. We also pay certain attention to projects of other media institutions. For individual projects, the work focuses primarily on the period of origin, format, type and its thematic content. The obtained data will be summarized in a well arranged way at the end. Based on the results and with regard to the current state of media literacy in the Czech Republic, at the end of the thesis, will be proposed other formats for individual institutions that could help the development and support of media literacy. In addition to this systematic research, at the beginning the work will deal with the history of implementation of media education, that means systematic education, to achieve various levels of media literacy in the world and Czech society. In describing the history of media education, particular account will be taken of the role played by the media and media institutions in the process. The thesis will also mention some...

This study of contemporary jazz discourse and gender applies the techniques of critical discourse analysis, inspired by M.A.K. Halliday's systemic functional linguistics and Norman Fairclough's qualitative critical discourse analysis, to explicate the unequal distribution of power in society as represented by the institutions of jazz and mass media, in discourse about jazz vocal artists. Specifically, the study focuses on the way the genres of jazz CD review, jazz performance review, and interviews with jazz artists – disseminated via the institutions JazzTimes and Live New Orleans – represent the artists' identities, roles, achievements and skills. Following Norman Fairclough and the feminist scholar Mary Talbot, the study assumes that institutions of mass media not only discursively construct the gender of jazz vocal artists, but also represent the performers' achievement and skills from a hegemonic standpoint, reflecting the commonsense assumptions about women and men and their roles in patriarchal society.