This research study sets out to identify and examine the ways in which the white majority have traditionally comprehended ethnic minority coninunities with particular reference to the role played by television in representing such coninunities. In the British context, television has come to dominate social and cultural life to the extent that the Reithian principles for television (that is, to educate, inform and entertain) have become crucially important in the maintenance, if not absolute creation, of notions of national culture. Given the concentration of ethnic minority corrinunities in mainly inner-city areas, for the majority of white people, their only contact with such corrrnunities is through the vicarious experience afforded by television. The medium's role in representing ethnic coninunities honestly and realistically is thus vital and if for no other reason deserves careful examination. My principal hypothesis is that television, through its characterisations of ethnic minority comunities, maintains, reinforces and perpetuates stereotypical assumptions already held by the white majority about such corrinunities, which hinder the pursuit of a harmonious and multi-cultural society. In order to test this hypothesis, a survey was conducted with 650 white students attending further education colleges in the Midlands which sought to ascertain their attitudes towards ethnic stereotypes and television. Professionals working in the television industry were also interviewed and a short monitoring study of contemporary television fiction was later conducted. The survey findings suggest, inter alia, that young white people do make stereotypical judgments about ethnic minority people which conform to traditional assumptions; that inter-ethnic friendship tends to mediate the propensity to make more unfavourable assessments of ethnicallyspecific characteristics; and that the perception of ethnic minority coninunities in the real world closely parallel those which exist in the world of television fiction. The specific merit of this study lies in its detailed examination of a significant and important sample population, the study both identifying general attitudes towards ethnic minority coninunities and also relating these general beliefs to student attitudes towards the ethnic portraits typically found in television. The study is thus able to establish that the ethnic stereotypes which exist in the popular white consciousness are regularly rehearsed through the contemporary medium of television.

This thesis has two broad aims: 1) to explore the history and regulatory structure surrounding television advertising, particularly in relation to issues of ‘harm and offence’; and 2) to examine the regulatory discourses featured in adjudications responding to complaints of (alleged) offensive and/or harmful gender and sexuality portrayals in television advertising. Advertising has been a primary focus for a feminist criticism since, at least, the 1970s, arguing that it features and promotes sexist portrayals of women. However, little academic attention has been paid to the regulation of sexism in advertising, despite its long history. My work seeks to address the lack of research in this area. Using archival research I explore the historical trajectory of regulatory approaches to issues of harm and offence in British television advertising since the establishment of commercial television to present day. I argue that these have, historically, taken a paternalistic, moral stance, whilst issues of sexism have been largely overlooked or misinterpreted as issues of sexual morality. Moreover, through a discourse analysis of adjudications featuring complaints concerning gender and sexuality portrayals – published between 1990 and 2012 – I examine the regulatory discourses constructed in response to public claims of sexist advertising. Here, I make two separate, albeit interlinked, arguments. Firstly, that the regulatory discourse on the sexualisation of women in advertising lacks critical engagement with the meaning of sexual speech, particularly concerning issues of gender. Secondly, I explore, drawing on speech act theory, how regulatory discourse contribute to an ‘undoing’ of sexism, emphasizing a postfeminist reading of sexism as an ironic ‘fantasy’ of a distant past. In this way, I argue that sexist speech comes to be understood as a ‘failed performative’, no longer enacting that which it speaks in the wake of feminist success.

This thesis provides an original contribution to ongoing research on so-called Islamic State (‘IS’) by using a multiple case-study approach to offer an in-depth analysis of Arabic and English language narratives related to four atrocities committed by the group: (1) the mass killing of hundreds of Iraqi soldiers, known as the Speicher massacre, (2) the captivity and sexual enslavement of Ezidi girls, known in Arabic as sabi, (3) the executions of a number of western, Arab, and Kurd victims, and (4) the destruction of cultural artefacts in Nineveh province. The analysis engages with the discourses of ‘IS’, western, Arabic, Iranian, and Kurdish media, survivors, ‘IS’s’ religious opponents, and other actors. The dissertation uses a social narrative theory as its conceptual framework that I seek to develop by focusing on the fragmentation in narratives, on one hand, and on the multimodal resources through which narratives circulate, on the other. To this end, I combine the theory with Boje’s (2001) notion of antenarrative and Kress’(2009) understanding of the three resources of discourse, genre, and mode, to investigate ways in which narratives first unfold and how they later change as they are translated. Translation is understood in the thesis as a multi-directional movement that simultaneously takes place across multiple resources without necessarily crossing language boundaries. The findings of this study reveal that the aforementioned resources contribute to transforming narratives. In translation, ‘IS’s’ narratives can be delegitimized and confronted, or the opposite. Examining the changes in these narratives as they are translated in multiple directions is a novel contribution to the field of translation studies in relation to the digital media environment.

No description available.

A recent pattern has emerged amongst some of the top television production companies in the world – a global investment in a new style of television show format. Food television show formats such as Channel 4’s The Great British Bake Off in the UK and Fox’s Hell’s Kitchen in the US have consistently topped television ratings and attracted millions of viewers in every episode aired in their home counties and abroad. A range of publications argue that there has been a global demand for factual television formats, yet existing literature has focused primarily on dramas, talent shows and game show television format genres. From a production perspective, this thesis aims to respond to these industry changes and the gap in the literature by examining the media branding techniques employed by media managers that have contributed to the development of international food television show formats. It analyzes the distinct challenges and opportunities food television format producers of shows such as Endemol Shine Group’s MasterChef undergo when adapting food formats in international markets. Furthermore, it investigates production decisions around multi-platform strategies. This includes the adaptation of food television show formats onto multi-platform distribution channels such as catch up television like Netflix, Amazon Prime, format brand websites and social media channels like Facebook, Twitter, YouTube, and Instagram in order to acquire additional revenue streams. This thesis examines the managerial decisions that have helped aid the cooking show into becoming a successful, global television format. The research findings are based on a mixed-method qualitative approach featuring 15 qualitative interviews with industry experts from major production companies such as Endemol Shine Group and FremantleMedia and celebrity television chefs, such as BBC One’s MasterChef’s Gregg Wallace and former Food Network star, Paula Deen. The outcomes of this research provide an empirical analysis of the complex relationship between new media technologies, food television and the internationalization of global television formats. Furthermore, this thesis provides a snapshot of a specific and current media trend that exists within a wide scope of media industry practices and aims to provide valuable insights and build on existing media management, multi-platform, and media production theory.

The starting point of this thesis is that British television coverage of the developing world is increasingly limited, both in terms of quantity and the lack of background information. There tends to be very little coverage of developing countries, and what there is doesn't explain them very well. This thesis aims to use this starting point as a basis for exploring ways in which television coverage might be improved in order to develop public knowledge and enable audiences to place issues affecting developing countries in a wider context of globalisation. Television is the focus of this research because it remains the key source of news information in Britain. A key aim is to assess how far the neo-liberal ideology that supports globalisation is replicated in television reporting of the South. The other side of this assessment is the availability of alternative views and explanations. The analysis will examine these questions empirically. The empirical work undertaken for this research involved a detailed examination of television coverage of the global South, and of audience responses to it. One of the aims here is to identify the contextual information that helps make sense of such world affairs. To do this, the thesis is divided into three parts. Part One will discuss the context of capitalist globalisation, including economic, political and cultural aspects. The second part of this thesis examines how television covers the majority world and how it explains events and their relation to globalisation. Part Three consists of the audience reception component of this research.

The thesis is a qualitative account of the much neglected issues of the bottom-up, and interconnected organization of the Cross-Industry Network (CIN) phenomena within the Audiovisual Sector (AVS). The aims are achieved by exploring the why and how of the independent screen content producers in developing CIN during the production process. By conceptualizing the CIN phenomenon as a Complex Adaptive System (CAS), I used its theories as analogies to analyze the multi-case and multi-level studies conducted at two scenarios of independent TV production sector in the UK/ the developed, and the independent film production sector in Taiwan/the developing. My research produced the following four conclusions. 1. From Top-Down Industry Disintegration to Bottom-up Production Reconfiguration The industrial disintegration of the media industry has resulted in the reconfiguration of content production networks and intense self-adaptation of creative producers who are facing multi-directional connections within the CIN during their production process. Such adaptation reveals tensions between the producers’ self-perception as ‘independent’ and ‘creative’ producers and their networking decisions and actions. 2. From Managing the Creative Project to Managing the Creative and Commercial Venture The evolution of the CIN in the creative and media production is not entirely top-down/linear/serial, but more accurately, bottom-up/ non-linear/parallel. These internal self-organizing dynamics enable the production network to radiate outwardly, which induces trade-offs between and beyond commercial and creative priorities. 3. From Distribution-led Value System to Production-led Microcosm The production process has evolved its own diverse CIN, involving different types of relationships, a higher degree of complexity and structural tensions inherent in the value-creating system. Such production-led networking functions are the most fundamental source for developing broader CIN and the economic return for creative producers. 4. From Network Adaptation to Complex Adaptive System The networking activities of independent and creative producers radiate and interact outwards to connect and affect all levels of the network, resulting in unexpected directions and complex collaborations. In particular, the elements of multi-directional adaptation and tensions of the involved network actors have an important impact on the emergence and organization of the network. The main contributions of the research are firstly to have taken a bottom-up analysis by integrating the micro-level organizational complexity of the independent production into the theorizing about the AVS; and secondly, to have placed the intangible values and real practice of creative producers at the centre of the network study.

The relationship between television institutions and film in Britain has a complex history, influenced by profound changes in both industries over time. The involvement of public service broadcasters (PSBs) in British cinema has been a regularly-acknowledged, but under-examined phenomenon. There is a dearth of up-to-date scholarship dealing with the relationship, particularly as it unfolded over the turbulent decades of the 1990s and 2000s. This thesis updates and expands the existing field on the relationship between British television and film cultures. It does so by examining the ways in which PSBs have been involved in film culture, as producers, distributors and exhibitors. It also discusses the significant changes to this relationship wrought by the coming into dominance of digital technologies, and the responses of the PSBs to digitalisation. The body of the thesis is separated into two parts. Part One examines the relationship between television and film at the end of the analogue era, ending roughly in 2002. The first chapter explores the historical background to television films in Britain, discussing the semantic turn from describing single dramas shown on television as ‘plays’ and ‘films’. The second chapter outlines three case studies which explore the relationship between television and distribution. The third chapter discusses the industrial relationship between film and television, and the distinct discourses of ‘quality’ applied to each form. The second part of the thesis discusses the effects of digital technologies on the PSB’s role as producer, distributor and exhibitor of films. Chapter Four explores the position of the PSB as patron of low-budget, digital production schemes. In Chapter Five, the opening night and subsequent decade of broadcasting on the FilmFour digital television channel is analysed. Chapter Six takes as its subject the online film output of the BBC, particularly via its iPlayer platform, and its short film distribution network, the BBC Film Network.

This thesis examines creative industries policy in film and television in Scotland. It explores the impact that different approaches to creative industries policy have on creative practice in two media industries, BBC Scotland and Scottish Screen, and reflects on how each of these bodies articulates its role as a „national‟ institution. BBC Scotland is the Scottish branch of the UK‟s largest public service broadcaster, while Scottish Screen exists on a far smaller scale, to serve the screen industries in Scotland. The thesis examines the role of BBC Scotland in sustaining the creative economy and contributing to the cultural life of Scotland. The study of Scottish Screen examines a key early aim of the agency, that of establishing a national film studio. The work investigates the connections between UK and Scottish levels of creative industries policy in light of the debates over the future of public service broadcasting and the Scottish Executive‟s cultural policy framework. The study outlines how ideas of cultural creativity and its economic significance have developed, charts how these ideas have affected policy debate, and explores the extent to which devolution has affected film and television policy. By mapping the historical, sociological and political terrain, the research analyses the specificity of Scotland within the UK context and explores areas in which ideas of „the national‟ become problematic. In order to investigate how policy has impacted on the production of creative goods, a further three case studies are explored. These are the feature film Red Road (Arnold, 2006), an independent production company called The Comedy Unit, and a BBC Scotland television series, River City (BBC, 2002-date). The work concludes with an examination of the impact of contemporary policy developments, including the establishment of Creative Scotland and the Scottish Broadcasting Commission.

This thesis examines the factors which influenced how social issue story lines were developed in the areas of sexual violence, breast cancer and mental distress in British soap opera in the mid to late 1990's. The soap opera production process was examined by conducting interviews with members of production teams from different programmes. This core study was contextualised by additional interviews with production personnel working in other areas of television (e.g. documentary). Spokespeople from different organisations who consulted on story lines or lobbied around different issues were also interviewed. In total, 64 interviews were conducted. The influence of soap story lines on public understandings of an issue was explored in an audience reception study of sexual violence in Brookside (12 focus groups). The soap opera production study identified a number of factors which influence story line development (socio - cultural positioning of the substantive topic, broadcast hierarchy and commercial imperatives). The comparative study of mental distress identified some cross genre constraints (narrative pace, commercial imperatives) and some genre specific issues (access to people with mental health problems). The audience study revealed that people bring their social knowledge of an issue to their viewing experience. Research participants 'read' the meanings of Brookside's story line in remarkably uniform ways however some participants responded differently to certain elements of the story (rejecting empathy with the 'collusive' mother). The story line was demonstrated to have made a lasting impact on Brookside viewers (in relation to the conflicting emotions of the abused child). There were also identifiable links between the intentions of the production team, the nature of representation and audiences responses.