Senior thesis (B.A.)--University of Nebraska-Lincoln, 1949. / Title from title screen (site viewed Jan. 28, 2008). Duration: 48 mins., 12 secs. Small sections drop out near the end of the recording.

This thesis examines the extent to which the BBC was able to shape the output of popular culture on radio in Britain, according to its own system of beliefs, between the years 1933 and 1967. This research will show that from the outset, the BBC was an institution with a mission to inform, educate and entertain the nation. While it was not opposed to entertainment, its focus was didactic and supported a mission to improve its audience both culturally and intellectually. This policy was not always welcomed by the audience but, with the exception of the war years, persisted into mid 1950s. The Variety Department was formed in 1933 to produce all forms of light entertainment and this research will examine how its policies shaped the production of popular culture over the period concerned. This study looks not only at the workings of the Variety Department but also the topics of Americanisation and vulgarity, the two areas in which the BBC had particular sensitivities. It analyses the BBC's strategies to counteract the American effect on popular music and spoken-word programmes and how it provided its own particularly British form of entertainment in order to produce programmes it considered suitable for British audiences. It also investigates programme censorship imposed by the BBC to mitigate vulgarity in programmes, so as to produce those it considered suitable for its audiences. This thesis will contend that for over 40 years the BBC Variety Department produced popular entertainment programmes on radio which became an integral part of people's daily lives until, within a few years radio was superseded by television as the nation's principal provider of domestic entertainment. There has been no discrete study of the BBC Variety Department and it is intended that this research will add to the existing scholarship in BBC history and contribute to the analysis of radio's place in domestic popular culture in the period examined.

Submitted by Mariana Dornelles Vargas (marianadv) on 2015-03-16T18:50:37Z No. of bitstreams: 1 tradicoes_contemporaneidade.pdf: 2890087 bytes, checksum: b8541487cb4fd17d2be97415557ee46f (MD5) / Made available in DSpace on 2015-03-16T18:50:37Z (GMT). No. of bitstreams: 1 tradicoes_contemporaneidade.pdf: 2890087 bytes, checksum: b8541487cb4fd17d2be97415557ee46f (MD5) Previous issue date: 2011 / Nenhuma / Esta pesquisa faz um delineamento do tecido comunicacional que se institui entre as construções humorísticas de um programa radiofônico e o imaginário identitário de sua audiência. Analisam-se os diferentes tipos sociais e cenários, estratégias humorísticas e relações com os ouvintes construídos no humorístico Top Show, exibido pela Rádio Peperi Top 104 FM, de São Miguel do Oeste (SC), bem como as relações com o contexto mediado/midiatizado da recepção. O objetivo é investigar como o programa de humor articula em suas construções humorísticas elementos simbólicos presentes no cotidiano cultural dos seus ouvintes e entender como se constituem os sentidos, as apropriações, os pactos e as recusas dessas construções na recepção do programa. Procura-se, então, analisar a construção discursiva das identidades regionais, expressa nos elementos caricatos e paródias apresentados no programa e nas operações simbólicas realizadas pelos ouvintes. Para a análise dos âmbitos de produção/produto/recepção adotou-se uma perspectiva multimetodológica que atenda essas diferentes dimensões do processo comunicacional. Os resultados apontam para uma mescla de referenciais vinculados à experiência midiatizada e às matrizes da cultura regional, como é o caso do sotaque, da tradição, do espaço rural e das identidades étnicas, os quais permeiam os dispositivos comunicacionais que constituem o produto midiático investigado, além de constituir pactos de leitura com a recepção. / This dissertation discusses the communicational texture instituted between the comedic constructions of a radio program and the identitarian images of its audience. It analyzes the different social types and scenarios, humor strategies and relationships with listeners that are constructed in the radio comedy program called Top Show, broadcast by Rádio Peperi Top 104 FM, an FM radio station in São Miguel do Oeste, state of Santa Catarina, Brazil, as well as the programs relations with the media-related context of reception. The dissertations goal is to investigate how that radio program includes in its comedic constructions symbolic elements that are present in the daily culture of its listeners and to understand how the meanings, appropriations, alliances and refusals of those constructions are constituted in the program?s reception. It also analyzes the discoursive construction of regional identities as expressed in the caricatural and parodistic elements that are presented in the program and the audiences symbolic operations. For the analysis of the areas of production/product/reception the author adopts a multi-methodological approach that covers these various dimensions of the communication process. The results show a blending of referents connected to the media-related experience and to the matrices of regional culture, such as accent, tradition, rural space and ethnic identities, which permeate the communicational devices that make up the radio program and establish reading alliances with the reception.