The global trends of democratisation and privatisation that swept much of the developing world in the 1980s and 1990s led to significant changes in the conceptualisation, organisation and performance of the media. In Africa democratisation attained a new meaning with associated processes of liberalisation of broadcasting to end the monopoly of broadcasting by the state. The private media of the liberalised market is increasingly putting the public media system, both broadcast and print, under serious competition, and forcing them to adjust to changing circumstances. The New Vision newspaper in Uganda is one such public service media organisations that are owned by the state and yet have to compete in the new more democratic and liberalised environment. This study set out to explore the extent to which state-ownership impacts on The New Vision’s social role. Using both qualitative and quantitative methods of date collection, I have established the that although The New Vision is a public service medium for which government remains the major source of news, it does not in most cases give the state more or preferentially prominent coverage at the expense of other interest groups in society. On contrary, basing of the amount of coverage of civil society I established that The New Vision enabled the various groups public sphere to interact. The newspaper to an extent also plays the democratic role of monitoring government although there was little evidence of monitoring of corporate abuse. The nature of The New Vision Statute, and the global trends that have changed the conduct of official and private business, have rendered the theories on the 1980s’ development media theories increasingly inapplicable, forcing The New Vision to develop its own version of development journalism that is socially relevant. The study recommends that whereas much of The New Vision Statute is progressive, sections of it should be removed to protect the newspaper from being manipulated by government functionaries, if the it is to continue enabling the public sphere. The newspaper should also increase its monitoring of corporate abuse, and make internal reforms to improve the coverage of development related issues.

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Eli Lotar décède en 1969 à Paris après avoir poursuivi une longue et difficile carrière de photographe et de cinéaste. Alors qu’il fait partie des pionniers de la Nouvelle Vision photographique française aux côtés de Germaine Krull, il faut attendre 1993 pour qu’une première exposition monographique posthume lui soit consacrée par le musée national d’art moderne-Centre Pompidou. Entre temps, son documentaire Aubervilliers (1945) et son travail de directeur de la photographie auprès de Luis Buñuel et d’Alberto Cavalcanti lui ont assuré une solide réputation dans les milieux cinéphiles après la Seconde Guerre mondiale.Son identité de photographe moderne prend quant à elle plus de temps à se forger. En parallèle de cette réévaluation initiée à la fin des années 1970, dans le champ des études sur le surréalisme la série des Abattoirs de la Villette qu’il publiait dans la revue Documents (1929) lui permet de faire son entrée dans le panthéon visuel du mouvement d’avant-garde.Le surréalisme, le cinéma d’avant-garde, la Nouvelle Vision : Lotar a livré dans chacun de ces champs des images emblématiques tout en demeurant, encore aujourd’hui, une figure opaque et complexe. À partir de sources inédites, cette étude se propose d’envisager son parcours d’une part dans le réseau élargi des avant-gardes parisiennes et européennes, d’autre part à l’aune de sa deuxième identité, celle de cinéaste et de cinéphile. Sujet marginal dans le champ des études de l’entre-deux-guerres photographique française, ces rapports de la photo et du cinéma fondent, en partie, le nouveau paradigme visuel moderniste de l’époque dont Eli Lotar serait l’une des figures exemplaires à Paris. / Eli Lotar passed away in Paris in 1969 after a long but low-key career as a photographer and filmmaker. While one of the pioneers of the New Vision in France alongside Germaine Krull, one has to wait year 1993 for a first solo show to be devoted by the Centre Pompidou. Meanwhile, his documentary Aubervilliers (1945) and his work as director of photography with Luis Buñuel and Alberto Cavalcanti ensured him a solid reputation in cinephile circles after the Second World War.His identity as a modern photographer, on the other hand, takes more time to take shape. In parallel with this revaluation initiated in the late 1970s, in the field of studies on surrealism, the series of the Abattoirs de la Villette he published in the review Documents (1929) allows him to become one of the icons of the avant-garde.Surrealism, avant-garde cinema, New Vision: Lotar delivered in each of these fields iconic images while he remains an opaque and complex figure. From unpublished sources, this study proposes to consider his career the one hand into the expanded network of Parisian and European avant-garde, the other in the light of its second identity as a filmmaker and cinephile. Peripheral subject in the field of studies of inter-war French photography, links between photography and cinema partly establish the new modernist visual paradigm of the era whose Eli Lotar would be one of the exemplary figures in Paris.

On July 29 2000, Uganda held a referendum to decide whether to continue with the ruling Noparty Movement system or to revert to the Multi-party platform. This research entails a qualitative content analysis of the role the media played in driving debate and understanding of the referendum and its role in the country’s democratisation process. The research is informed by Jurgen Habermas’s public sphere paradigm as well as the sociological theory of news production. The research covers Uganda’s two English dailies – The New Vision and The Monitor, examining whether they provided a public sphere accessible to all citizens and devoid of ideological hegemony. It concludes that the newspapers were incapable of providing such a sphere because of the structural nature of Ugandan society and the papers’ own capitalistic backgrounds and ownership interests. The research concludes that such English language newspapers published in a country with a low literacy rate and low income levels, can only provide a public sphere to elite and privileged sections of society. A case is then made that multiple public spheres would be better suited to represent the views of diverse interest groups.

The purpose of this thesis is to bring forward and discuss the American vision for space exploration found at NASA's homepage, how the vision is popularised and why. NASA's homepage is analyzed as popularized science and the theoretical perspective emanates from the field of popular science and especially the work of Johan Kärnfelt. The historical reference is made up by Howard E McCurdy and he's thoughts about space and the American imagination. The analysis is based on a number of documents that popularize the vision for space exploration and is intended for the public. These documents describe the future plan for NASA and US space exploration. / Syftet med denna uppsats är att undersöka hur de amerikanska rymdvisionerna gestaltats på NASA:s hemsida, hur dessa populariseras samt vilka de bakomliggande drivkrafterna kan tänkas vara. NASA:s hemsida kommer att ses som populariserad vetenskap och det teoretiska perspektivet utgår från den populärvetenskapliga genren där en stor del av det teoretiska underlaget utgår från docenten Johan Kärnfelts tankar om populariseringen av vetenskap. Som historisk referens används professor Howard E. McCurdys tankar om den amerikanska rymdvisionen. Materialet som ingår i analysen är hämtat från NASA:s hemsida. Samtliga dokument handlar om den amerikanska visionen om rymden och USA:s fortsatta aktiviteter i rymden.

<p>The purpose of this thesis is to bring forward and discuss the American vision for space exploration found at NASA's homepage, how the vision is popularised and why. NASA's homepage is analyzed as popularized science and the theoretical perspective emanates from the field of popular science and especially the work of Johan Kärnfelt. The historical reference is made up by Howard E McCurdy and he's thoughts about space and the American imagination. The analysis is based on a number of documents that popularize the vision for space exploration and is intended for the public. These documents describe the future plan for NASA and US space exploration.</p> / <p>Syftet med denna uppsats är att undersöka hur de amerikanska rymdvisionerna gestaltats på NASA:s hemsida, hur dessa populariseras samt vilka de bakomliggande drivkrafterna kan tänkas vara. NASA:s hemsida kommer att ses som populariserad vetenskap och det teoretiska perspektivet utgår från den populärvetenskapliga genren där en stor del av det teoretiska underlaget utgår från docenten Johan Kärnfelts tankar om populariseringen av vetenskap. Som historisk referens används professor Howard E. McCurdys tankar om den amerikanska rymdvisionen. Materialet som ingår i analysen är hämtat från NASA:s hemsida. Samtliga dokument handlar om den amerikanska visionen om rymden och USA:s fortsatta aktiviteter i rymden.</p>