This thesis investigates a variety of uses of actuality (recorded speech), oral history and folklore (vernacular culture) in radio broadcasting in Britain and Newfoundland (Canada). The broadcasting of vernacular culture will be shown to foster intimate and interactive relationships between broadcasters and audiences. Using a theoretical framework that draws upon the work of communications theorists Harold Innis and Walter Ong, the thesis will explore the (secondary) orality of radio broadcasting, and will consider instances in which the normative unidirectional structure and 'passive' orality of radio has been (and can be) made reciprocal and active through the participation of listeners. The inclusion of 'lay voices' and 'vernacular input' in radio broadcasting will be charted as a measure of the democratization of radio, and in order to demonstrate radio's role in disseminating oral history, promoting dialogue, and building and binding communities. The thesis will predominantly focus on local and regional forms of radio: the BBC Regions in the post-war era; regional radio programming serving the Canadianprovince ofNewfoundland both pre- and post-Confederation (which took place in 1949); and the community radio sector in the UK during the last five years. A common theme of many of the case studies within the thesis will be the role of citizen participation in challenging, transgressing or eroding editorial control, institutional protocols and the linguistic hegemony of radio production. Conversely, close attention will be given to the ways in which editorial control in radio production has circumscribed the self-definition of participants and communities. These case studies will provide evidence with which to investigate the following research question - is the democratization of radio possible through the incorporation of citizen voices or messages within radio production or programming, or is it only possible through changing the medium itself through citizen participation in democratic structures of production, management and ownership?

The news media are considered a significant force in conflict situations, capable of influencing antagonists and their actions. Whether this influence is constructive or destructive is determined by the nature of journalism presented to the warring sides. News content that holds the other side responsible for the strife and focuses on violence is likely to exacerbate the situation. Sustained reportage on the possibilities and need for peace, on the other hand, could contribute to a political climate suited for peace negotiations. This India-centric study examines the Kashmir conflict in this context. While the coverage of more recent conflicts such as the Gulf Wars and the 'War on Terror' in Afghanistan has evoked sustained scrutiny from media scholars, there is little empirical work on the news on Kashmir. The objective here is to profile the nature of coverage the Indian and Pakistani press accorded the conflict, which could provide an empirical foundation for future discussions and research on Kashmir. Selected news reportage of 10 major events that appeared in two national Indian newspapers and one Pakistani daily is examined for this purpose. By utilising an original coding scheme that draws on conflict journalism, media effects and agenda-setting theories, this study arrives at an indicative overview of the journalism on Kashmir presented to the two publics over the years. The analysis is more reliant on what appeared in the Indian press, and has been contextualised by data drawn from personal interviews with Indian policymakers. Hence it is largely from an Indian perspective. However, the inquiry provides insights into the Pakistani coverage as well. The conclusion, based on patterns that emerged from the news presented to the two warring societies, is that the coverage was vigorously government-led and intensely 'negative'.

The aim of this thesis is to provide a contribution to knowledge in two areas. Firstly, it seeks to further our understanding of the historical conditions of British television drama production; in particular the constraining and liberating influences of production space on the role of the director, and their decision-making process to bring script to screen. Secondly, the work develops the concept of re-enactment as a practice-based augmentation for archive-based textual reconstruction. As such, the thesis offers deeper discussions on the human context missing from current historiographic approaches to broadcast research. The thesis develops a re-enactment methodology that, via practical realisation, allows researchers to gain insight into the production dynamics of a particular era in history to learn about ‘in the moment’ directing decision-making. This is applied to a practice based experiment that includes creating a simulation of 1960s production conditions in order to explore the following research question: how would the decision-making process of producing contemporary television drama be affected by the conditions of 1960s production space? I argue that contemporary location-based production is as constraining as the studio it purports to rise above, yet without the same possibilities for creative reaction to counteract the limitations that historical conditions allowed. As a flagship BBC series reflecting contemporary industry practice, Doctor Who is used as the vehicle for analysis. The experiment focuses on a historical re-enactment of a 2006 episode of Doctor Who, “Tooth and Claw”, written by series executive producer Russell T Davies. The re-enacted audio-visual text is provided on DVD along with artefacts that encapsulate the process of production, informing analysis and reflection.

published_or_final_version / Literary and Cultural Studies / Master / Master of Arts

This report documents the creative process that resulted in the feature screenplay "Magic Mountain," including the first inspiration for a dramatic thriller, initial attempts to devise character and plot, writing and rewriting script pages, and then the radical change of genre and artistic intention toward surrealist comedy, culminating with the final sequence of rewriting during the thesis semester. / text

The following report describes the development, pre-production, production, and post-production of the short narrative film Good Housekeeping. It also contains the original shooting script, shooting schedule, and cast and crew credits as supplemental material. / text

<p> In 2005, materials from Hungarian composer Mikl&oacute;s R&oacute;zsa's personal collection were donated to Syracuse University. Among them were copies of materials used in the recording of the original film score to the 1946 movie, <i>The Killers</i>. In this report, these materials are analyzed and compared to the concert suite that was orchestrated by Patrick Russ and John Kull at the request of the composer. This comparison is augmented by an analysis of each of the score's themes including their cinematic functions and discussion of <i>The Killers</i>' origin as a short story by Ernest Hemingway. A brief historical overview of Rozsa's life and notable works is also included.</p>

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