Thesis--PlanB (M.S.)--University of Wisconsin--Stout, 2004. / Includes bibliographical references.

Thesis (Ph.D.)--Murdoch University, 2005. / Thesis submitted to the Division of Arts. Bibliography: leaves 325-368.

Thesis (M.A.)--Carleton University, 2007. / Includes bibliographical references (p. 133-136). Also available in electronic format on the Internet.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1981. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 563-579).

This study has three objectives: 1) to explore the social background of current youth films, 2) to identify the characteristics of youth films, and 3) to indicate the relationships between the five-attribute concept of diffusion of innovation (DOI) and promotion strategies for youth films. A total of 20 individuals, including seven film scholars, eight film promotion practitioners and five filmmakers were interviewed. This paper concludes that eleven characteristics are prominent in youth films. Specifically, these characteristics are IP film, fan film, consistency, emotional resonance, nostalgia, campus life, youthfulness, networkedness, new media, topicality and timeliness. These characteristics were categorized into the five attributes of DOI theory. Eight promotion strategies corresponding to five attributes of DOI theory were summarized from interviews with film industry practitioners. This study found that the attributes of relative advantages and compatibility are enhanced with strategies such as promotion materials, trailers and clips and topic setting and theme songs, whereas complexity, trialability and observability are often influenced by campus preview, new media promotion, O2O ticketing applications, collaborative marketing and word-of-mouth management. Furthermore, emotional resonance is perceived to be essential in both youth films and the corresponding promotion.

No description available.

Latin American telenovelas have been exported to more than a hundred countries across the globe. While they are popular in their country of production because their messages resonate with their audience’s everyday experiences, their popularity amongst global audiences with whom they share neither a social nor a cultural history is unexplained. Kenya has been importing and airing Latin American telenovelas since the early 1990s, and telenovelas have permeated many aspects of Kenyan daily life, when compared to other foreign globally-distributed media products that are aired on Kenyan television. As global media products, telenovelas remain open to criticisms from the media imperialism thesis. This research adopts an ethnographic approach to the study of audiences, and looks at the reception of a Mexican telenovela, Cuando Seas Mia, by a group of young Kenyan women in Nairobi. It reflects upon the media imperialism thesis from an African perspective by investigating the meanings that these women make from Cuando Seas Mia, and how these shape their changing local identities and cultures. The young women in this study, most of whom have moved to the city from the rural areas, are influenced by traditional, patriarchal Kenyan society and by the modern, Western influences of an urban environment. They experience a tension between their evolving rural and urban roles and identities and are drawn to telenovelas because their exploration of rural-urban themes holds a relevance to their own lives. They negotiate their contemporary African youth identities, gender roles and heterosexual relationships in relation to representations in the telenovela, questioning and destabilising African and Western definitions. These women select aspects from their traditional, African cultures and from their modern, Western experiences (and consumption of global media) and reconstruct them into a transitional youth identity which suits their day to day lives as young women living in an urban African environment.

Chan, Pui Shan. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 113-118). / Abstracts in English and Chinese; appendixes includes Chinese. / Acknowledgements --- p.ii / Abstract --- p.iii / Chapter Chapter 1: --- The Political and Social Influence on the Development of Hong Kong Film Industry and the Cantonese Cinema in the 1950s and the 1960s --- p.1 / Chapter Chapter 2: --- Defining the Genre: Three Characteristics of Hong Kong Cantonese Youth Film --- p.24 / Chapter Chapter 3: --- The Functions and Characteristics of Song in Cantonese Youth Film --- p.53 / Chapter Chapter 4: --- The Modernity of Cantonese Cinema and the City (Hong Kong) --- p.87 / Chapter Conclusion: --- Hong Kong Cantonese Youth Film and the Construction of Identity --- p.104 / Appendix 1 --- p.107 / Appendix 2 --- p.109 / Appendix 3 --- p.111 / Bibliography --- p.112