根據過去研究發現，電視新聞已成為台灣地區民眾主要的消息來源，而轉型期的台灣 社會，各種不同層面的社會衡突正與日俱增，電視以其社會公器的本質所提供的公共 議壇，如何在有限的時間內，讓社會上各種聲音都有機會出現在新聞中，這就牽涉到 消息來源選取的問題；此外，電視媒介對消息來源所作不同程度的處理，亦是一種社 會權力的展現，有其重要的社會意義。 本研究乃以電視新聞中的爭議性新聞為對象，研究新聞中之消息來源以及對於消息來 源的處理方式，並藉此探討不同特性之消息來源的言論導向。 本研究共分四章，約五萬四千字。第一章為研究動機、目的以及文獻探討。第二章為 研究方法，詳述其抽樣與內容分析之類目建構。第三章為研究結果報告。第四章則對 結果提出討論與建議，並說明其研究限制。

數位時代社群媒體的應用，大大改寫媒體生態，21世紀初接連發生在北非、中東的抗議活動，Facebook、Twitter等社群媒體更發揮重要傳播作用，甚至成為政治運動的催化劑，國內外各大新聞組織也開始將這些被社交媒體平台大量分享、轉發的用戶生成內容 (UGC, User-generated content)重製後進行傳播，尤其是發生抗爭等社會運動、人為或意外現場等事件，因為時效性的關係，記者不能第一時間趕到，目擊者手機拍攝的影片或現場監視錄影器的畫面，往往成為重要新聞素材。 　　對於國內外新聞組織尤其是電視台來說，動態影片更同時具有吸引力與新聞說服力，新聞機構如何使用UGC資源，及其日漸普及的趨勢，則同時引發正反兩方意見，除了樂見其協助社會問題發聲，擴展公民參與，甚至打破新聞編輯室權威，讓媒體更加民主化之外；另方面卻也擔心降低新聞標準，尤其截稿時間，更增加電視台新聞記者判斷影片真偽的求證壓力，過度使用也可能造成媒體過度依賴社群媒體資源，瑣碎化的UGC甚至戕害新聞公共領域的發展。 　　本研究試圖剖析電視新聞使用來自目擊者或網友的第三方影音素材(TPV, third party video)的頻率與原因，研究分成兩步驟，首先選舉一家地面電視台一個月的prime time新聞，作為研究樣本，進行內容分析，以量化研究分析電視新聞如何應用TPV素材，研究樣本數共1825則；同時以質化研究中的深度訪談，訪問該電視台的文字、攝影記者，以及新聞室負責調度的大編輯台主管與編輯共九人，透過量化與質化的研究方法，來探究電視台採用TPV素材的動機、意願、標準與目的。 / The media ecology has been rewritten to a great extent by the application of social media in the digital age. In the 21st century, social media has even become a catalyst of social movements as Facebook and Twitter play an important role in disseminating the news on protests which commonly take place in North Africa and the Middle East. In fact, large news organizations at home and abroad have begun to reproduce and broadcast User-generated contents (UGC) that are greatly shared and forwarded on the social media. This applies especially to incidents such as social movements, including protests, and accidents. The video taken by an eye-witness’ mobile phone or the recording of an on-site surveillance camera has often become important news material due to timeliness of the news and the fact that reporters cannot arrive at the scene on time. According to foreign and domestic news agencies, especially TV stations, video is both appealing and persuasive as news materials. The growing popularity of UGC and the approach to make use of such resources have led the emergence of positive and negative viewpoints. It would be delightful to see the voicing-out of social problems through UGC since it could increase citizen participation. UGC could even lead to a breakthrough from pressroom authority, thus creating a more democratic media. However, UGC could also lower the news standard especially when there’s a deadline to meet. Furthermore, it could pile pressure on news reporters as they try to determine the authenticity of the video. The excessive use of UGC could lead to the media’s over-reliance on social media resources. The fragmentary nature of UGC could also be harmful to the development of news media at the public domain. The study attempted to analyze the purpose behind a TV station’s adoption of eyewitness/netizen-provided third-party video (TPV), as well as its frequency of use. The study was divided into two steps. First, research samples for content analysis were collected through a selection of one month’s worth of news reports that were broadcasted by a terrestrial station at prime time. A total of 1825 samples were studied through quantitative research and analysis with regard to the application of TPV by TV news. At the same time, in order to explore a TV station’s motivation, willingness, standard and the purpose in applying TPV, qualitative research was conducted through an in-depth interview with nine representatives from the TV station. This group included journalists, cameramen, editors and seniors who were responsible for ordering daily news in the Newsrooms.

Made available in DSpace on 2016-04-26T18:18:19Z (GMT). No. of bitstreams: 1 Mariana Pimenta Cama.pdf: 1094285 bytes, checksum: feaea7b876b6d9926947835492557d27 (MD5) Previous issue date: 2009-10-23 / The current research intends to reflect in a critical manner about the ways of representation of criminality on audiovisual media, especially on television. The target of this analysis is to point out media processes that highlight and exemplify the way crime is turned into a spectacle, reconfiguring narrative formats of police drama and news currently active. When it comes down to representing images of violence and criminality, the audiovisual media culture has been showing two main slopes: the news that incorporates construction elements typical of soup operas, and the fictional program that intends realism, showing the routine of police in action in big urban areas. Under the eye of speculation promoted by news media, two cases will be analyzed, which took place in 2008: the case of Isabella Nardoni and the young girl Eloá Pimentel, exhaustingly reproduced and detailed on the internet. In the thin line of the crime-spectacle in the universe of fiction, we ll analyze the narrative of TV series CSI: Crime Scene Investigation, highlighting the episodes "Grave Danger" and "Monster in a box". From the methodic point of view, the research bases itself on the audiovisual analysis provided for television and in its versions for Internet and DVD, willing to investigate the connection between the subject in question and the visible object, interpreting the spectator as a morbid voyeur. From the theoretical point of view, the research lays on "real shock" concept by Beatriz Jaguaribe, on the hypothesis of intimacy spectacle by Paula Sibilia, presented on O Show do Eu: a intimidade como espetáculo", and on the "A Sociedade do Espetáculo" by Guy Debord. The arguments concerning the News are anchored by work of Eugênio Bucci and Maria Rita Kehl, "Videologias". The reflexion regarding the spectator with violent images is based on the work by Susan Sontag, "Diante da dor dos outros", and on the works of Arlindo Machado, "A Televisão levada a Sério" and "O Sujeito na Tela". In the end, it is concluded that the persistent shocking images that infest the many diverse ways of informational communication operate through contagious systems, which lead to dramatization elements of the journalism of the real for the fictional and spectacle of crime for the News universe, on television and internet / A presente pesquisa pretende refletir de forma crítica sobre os modos de representação da criminalidade nas mídias audiovisuais, em especial na mídia televisiva. O objetivo da análise é apontar processos midiáticos que evidenciem e exemplifiquem o modo como o crime é transformado em espetáculo, reconfigurando os formatos narrativos de dramas policiais e do telejornalismo vigentes. A cultura das mídias audiovisuais, no que diz respeito à representação das imagens de violência e criminalidade, vem demonstrando duas vertentes predominantes: o telejornalismo que incorpora elementos de construção típicos das telenovelas e a programação ficcional que se pretende realista, retratando o cotidiano da polícia em ação nos grandes centros urbanos. Sob a ótica da espetacularização promovida pela mídia jornalística, serão analisados dois crimes ocorridos no ano de 2008: o caso da menina Isabella Nardoni e o da jovem Eloá Pimentel, fartamente reproduzidos e detalhados na internet. No que tange ao crime-espetáculo no universo da ficção, analisaremos a narrativa seriada televisiva CSI:Crime Scene Investigation, com destaque para os episódios "Grave danger" e "Monster in a box . Do ponto de vista metodológico, a pesquisa baseia-se na análise dos audiovisuais concebidos para televisão e em suas versões para internet e DVD, a fim de investigar a relação entre o sujeito vidente e o objeto visível, entendendo o espectador como voyeur-mórbido. Do ponto de vista teórico, a pesquisa apoia-se no conceito de "choque do real" de Beatriz Jaguaribe, na hipótese de espetacularização da intimidade de Paula Sibilia, apresentada em O show do eu: a intimidade como espetáculo" e na obra "A sociedade do espetáculo" de Guy Debord. As discussões sobre telejornalismo são ancoradas na obra de Eugênio Bucci e Maria Rita Kehl, "Videologias". A reflexão sobre a relação do espectador com as imagens de violência baseia-se na obra de Susan Sontag, "Diante da dor dos outros", e nas obras de Arlindo Machado, "A televisão levada a sério" e "O sujeito na tela". Ao final, conclui-se que as insistentes imagens de choque e violência que assolam os mais diversos meios informacionais de comunicação operam por sistemas de contágio, que levam elementos da dramatização do real do telejornalismo para o universo ficcional e de espetacularização do crime para o universo do telejornal, na televisão e internet

本論文的研究目的在探討影響電視新聞編輯編排的因素，以及24小時新聞台編輯因應這些因素發展出來的編排策略。依照Shoemaker〈1991〉所提的影響守門人因素的五個層次，包括個人層面、常規層面、組織層面、媒介外層面以及社會文化層面，作為分析架構，藉此了解電視編輯對於各層面的因素對其影響的程度，問卷調查總計訪問了127位新聞台的編輯人員，再針對問卷調查的分析結果，以深度訪談的方式訪問7位編輯人員。研究結果發現個人層面對新聞台編輯的影響主要包括：編輯在新聞價值判斷上偏重新聞的話題性及畫面的精采度；而越年輕、職務越低的編輯再編排新聞時越容易受到個人喜好影響；另外「獨家新聞」無論其新聞價值性如何，編輯普遍都盡量會排播。 常規層面部分，最主要影響的因素是「時間」面向，包括到帶時間及新聞播出的時間篇幅限制；而編輯負責的編排時段也會影響新聞的選擇，如是「黃金時段」新聞選擇較多樣化，「一般時段」就會考量「消化」新聞；而編輯一次負責編排的時數也會影響新聞的重複率；另外，晚夜時段編輯較早午時段編輯不偏愛SNG連線。編輯通常會選播做新聞品質較有口碑的記者的新聞；另外，編輯普遍認為一則普通新聞長度最好不要超過90秒；而平衡報導的操作模式已內化在編輯的操作模式中。 組織層面部分，部份編輯認為電視台屬性確實會影響其編排；而年紀輕、資歷淺、職務低的編輯也較會受到長官指示編排新聞；在「以編領採」的新聞室內，其新聞製作及編排方向越會以收視率為導向；而組織文化會影響編輯對於新聞品質的要求；本研究也發現組織獎懲對於編輯編排的影響不大。 媒介外層面部分，有93.7%的編輯認為其編排時會考量收視率，而且教育程度越高、年資越久的編輯影響越高，顯示收視率已逐漸內化成編輯判斷新聞的實考模式，而且前一天的收視率對於新聞規模及擺放位置有關鍵性指標；在禁止「每分鐘收視率」之後，編輯通常是以新聞區塊或新聞節奏思考觀眾喜好的趨向。另外被要求編排「業配新聞」對編輯而言是習以為常的事，通常編輯會將之排在新聞的最後，或依照業配新聞的性質隱藏在其他新聞之間。另外年紀越輕、資歷越淺、職務越低的編輯越容易受到其他媒體議題設定的影響；而本研究也發現，編輯是電視新聞「跟報風」的推手之一。 在社會文化層面，編輯認為若社會環境趨勢也是影響其編排的重大指標。另外編輯也認為馬賽克、消音等製播限制有逐漸增加趨勢，甚至在編播上有自我更加限縮的情況。本研究也發現，媒體自律隱隱成形，對於暴力、色情、自殺新聞的選擇並沒有放寬，尤其是自殺新聞基本上不選用。 比較五個層面的影響程度，編輯普遍認為媒介外層面是最主要的原因，其次為個人層面、接續是社會層面、組織層面及常規層面。 關於編輯編排策略上，研究發現編排模式會融合固定新聞模式及議題分散模式為主；編排節奏也趨於緊湊；新聞編排的重複率降低。除了TVBS恢復「整點開播」之外，其他新聞台仍是提早開播，因TVBS「整點開播」模式對其他台的收視率無明顯受衝擊，因此其他台均認為沒有跟進的必要。「短廣告」策略出現，其目的是為了減低觀眾廣告轉台機率，並且分散每段廣告時間的廣告量；此策略目前僅TVBS使用，其他台為跟進的原因是考量其觀眾的收視習慣不同。本研究也發現監看友台而調動新聞順序的頻率減少；並且插播新聞也已非隨到隨播；另外「假連線」已成目前新聞台的製播常態。 / This thesis aims to investigate the factors affecting TV news editing and the responsive strategy developed by editors in 24-hour news channel. It adopts Shoemaker’s (1991) five levels of gatekeeping decisions and forces, including individual, communication routines, organizational, extramedia, and social system level. Based on this analytical framework, the research was conducted by survey of 127 editors which was followed by in-depth interview of 7 editors. The research findings can be summarized into the five levels respectively. On individual level, editors preferred to evaluate news with the extent of controversy and excitement; the younger and lower-positioned editors were more easily to be subjective in editing news. Furthermore, “exclusive news” enjoyed higher priority to be broadcast regardless of its news value. On communication routine level, the influential factors are “time-related”. First, editors were concerned about the timing of videotape arriving and limited length of broadcasting time. Second, the session for which editors were responsible was also important. The news was more diversified in “prime time”, but more repetitive in “general session”. Third, editors of morning and noon sessions were more likely to conduct SNG connection than editors of late night session. Fourth, editors preferred to broadcast the news reported by reporters with fine reputation. Moreover, the consensus among editors was that general news should not be longer than ninety seconds; the principle of balanced report has been internalized in editors’ operational model. On organizational level, interviewees agreed that attributes of the channel and organizational culture were more consequential than reward system in news editing. The younger, lower-positioned, and junior editors were more likely to follow instructions from supervisors. Generally, the producing and editing of news were rating-oriented. On extramedia level, 93.7 per cent of interviewees would consider rating in news editing, especially the more educated and senior editors. This result indicated that rating has been internalized as the standard of editing. Specifically, the pridian rating is critical in deciding the length and placement of news in the following day. However, after the “rating per minute” was prohibited, editors inferred audience preference from news zone or news rhythm. Furthermore, “product placement” was placed in the end of or among other news according to its characteristics. This study also found that editors partook in promoting the trend of “follow suit” TV news. On social system level, editors thought that the social trend was critical in editing news. Some editors considered that constraints of broadcast such as blurring and muting were increasing which made editors more self-limited. This study also found that media self-regulation was in shape. The news about violence, pornography, and suicide were highly restricted or even abandoned. Based on interviewees’ response, the five levels can be listed in order of the extent of influence. The primary factors were on extramedia level which followed individual level, social system level, organizational level, and the communication routine level. This study found that editing strategies include: combination of fixed news model and issue diffusion model, tighter schedule, lower rate of repetition, and “short advertisement”. The last one was only used by TVBS channel in order to keep audience stay tune and to dilute quantity of advertisement in every intervals. TVBS was the only channel resuming “on the hour” news. Since this broadcast model had no significant impact on TV rating, other channels remained broadcasting a few minutes earlier. Last but not least, this study also found that “fake connection” has been commonly used and emergency news would not be broadcast on time. Fewer changes of broadcasting order due to monitoring news of other channels.

本研究以台灣泛靈化電視新聞為題，探究超自然、非視覺的泛靈化新聞，如何藉由重視影像、感官、並呈現自然界事件的電視新聞媒介再現。 本研究結合人類宗教學之泛靈化理論，並以此為主軸，將人類的宗教儀式行動，應用於媒體行為之中。更進一步，觀察各類超自然新聞，包括算命、靈異等新聞題材，如何在電視媒體中，體現巫術式─情緒化、戲劇性的操控。 研究方法採用內容分析法，統計分析泛靈化新聞之呈現框架，因此對台灣泛靈新聞，做了一次初探性統整。並藉由文本分析，進而對泛靈化電視新聞，做深入的文化解剖。 研究發現：(一)泛靈化新聞透過幻想儀式建構一種慾望與迷思，以天意的塑造、關聯化幻想、宣洩情緒的方式，滿足偷窺的慾望。(二)泛靈化新聞的超真幻想，打破新聞本質。(三)縱欲式幻想，滿足低層次的需求。

全球的電視新聞文化現今都已偏好聳動的主題及令人目眩神移、訴諸感官刺激的綜藝化製作方式。台灣的電視新聞綜藝化自壹週刊、蘋果日報在台出刊後更加明顯氾濫，這種辛辣聳動的刊物成為各家電視新聞台的重要新聞來源。此外，過多的24小時新聞台為了搶收視率亦在視聽覺吸引及口語報導方式上無所不用其極的“吸睛”。值得一探的是，觀眾對於這種綜藝化播報方式的觀感究竟如何，而此種播報方式對於其電視新聞可信度又是否會有影響。 本文從不同變項探討現今台灣電視新聞綜藝化手法對大學生評估新聞可信度的影響及觀感。除人口變項外，亦討論媒介使用習慣、媒體素養與電視新聞可信度評價的關係。研究結果發現，一般來說，媒體素養越高的受測者對台灣電視新聞可信度評價越低，也較不喜歡看綜藝化手法製作的電視新聞。此外，本文除討論現今常使用的綜藝化手法所引發的新聞可信度評價影響，亦發現大多數綜藝化手法應用於硬性新聞較應用於軟性新聞播報中引發較低的新聞可信度評價。 / The phenomenon of infotainment tendency in TV news broadcasting has been rising globally. Taiwan is no exception since last decade, especially a turning point that Apple Daily first published in Taiwan. This sensationalism- oriented publication has become an essential reference for TV news producers and resulted in a revolution of TV news in Taiwan, which from content to format presentation have become relatively infotainment- oriented. The excessive 24-hour news channels is another cause of the infotainment phenomenon in Taiwan, which results in a vicious viewing rate competition. In order to draw audience’s attention, each channel tries hard to be “eye- catching” to please audience instead of providing substantive information. This study investigated the effect of the current prosperous infotainment tendencies in news broadcasting in Taiwan on college audience’s evaluation and perception of TV news credibility through different variables. In addition to demographic investigation, this study also conducted research on the correlation between audience’s media literacy level, media use habit and TV news credibility evaluation. It is found that respondents with more media understanding are more sensitive and critical to the infotainment issue in TV news. Moreover, the results showed that the infotainment applications used in hard news generally lead to lower TV news credibility than used in soft news. The findings of this study contribute reference to the news discipline for TV news producers in Taiwan.

本文主要探討台灣電視新聞的言談結構(discourse structure)，以及標示各單位的言談標記(discourse marker)。本研究分析25則電視新聞，文類限定於社會新聞。首先，在結構上，每一則新聞包含兩大結構︰導語(news kernel)以及旁白與影片(news body)。兩大結構又可細分為七個較小的單位，分別為︰開場白 (opening)、摘要 (abstract of the news)、事件現場畫面 (event scene presentation)、主要新聞事件 (main news events)、後續發展 (follow-up)、評語 (evaluation)、結尾 (routine ending)。而這七個單位還可再細分為更小的單位。此外，本文所探討的言談標記可分為五類︰1. 指涉詞 (referential forms) 2. 連詞 (connectives) 3. 地方副詞 (locative phrase) 4. 話題轉換填充詞 (topic shift fillers) 5. 畫面轉換 (shot shift)。是故，本文研究重點有二︰1.將新聞結構分為三個階層—Level 1、Level 2、Level 3，並探討出現於不同階層的言談標記在類型與數量上是否反映出階層 (hierarchy)？ 2. 標示各個結構的言談標記為何？ 研究結果指出︰1. 三個階層的言談標記在類型上除了Level 1固定有畫面轉換之外，其餘兩個階層皆無固定的言談標記。另外，在數量上僅Level 1可同時出現多個言談標記，Level 2與Level 3在數量上並無差異，顯示出電視新聞為口說語(spoken language)的一種，訊息與訊息之間的連結性比表現出文體結構階層性更為重要 2. 標示各單位的言談標記並無一致性。受到各單位特性影響，言談標記呈現不同的分佈。 / The present study examines twenty five pieces of broadcast news about crimes and damages in Taiwan. The purpose is to examine the relationship between the discourse structures and their corresponding markers. The discourse structure of a piece of broadcast news is divided into seven components and they are categorized into three levels. Level 1 includes news kernel and news body. Level 2 includes abstract in news kernel, main news events, follow-ups, evaluation, and routine ending in news body. Level 3 contains the smaller units in the Level 2 units. The boundary markers to be examined are divided into four categories: topic shift filler, referential forms, connectives, and shot shift. The present study has two major findings. First, the amounts of markers only show significant difference in Level 1. Down to Level 2 and Level 3, linearity overrides hierarchy. Second, the types of markers are decided by the nature of each unit. The opening is always marked by shot shift and speaker shift plus topic shift fillers/temporals/additives. The abstract section is marked by locative phrase plus referential forms. The event scene presentation section is marked by shot shift and speaker shift plus referential forms. The main news events section is marked by shot shift plus temporals which signal the exact time. Then, the follow-up section is marked by shot shift plus referential forms/connectives. The evaluation section is marked by shot shift plus referential forms. The routine ending section is marked by a relatively longer pause.

自2008年Youtube熱潮席捲全球之後，以影音分享為主的媒介消費行為逐漸成為常態，在這股集體協作並開放分享的浪潮下，新聞組織亦不免於其外，開始盛行以取材於眾(crowdsourcing)的新聞產製模式增加新聞素材來源的多樣性。電視新聞工作者取用網友拍攝後上傳的第三方影音內容（third party video,TPV）作為新聞素材的一部分，使得眾多使用者生產內容(User-generated content/ produsage)漸成為電視新聞畫面的一大主軸。 本研究欲瞭解電視新聞工作者取用TPV的過程，因此採內容分析法觀察TPV做成的新聞內容，並深度訪談及實際參與觀察以瞭解電視新聞工作者取用TPV的動機、處理素材的方式與新聞查證的過程。研究結果分成兩部分，首先，在取用情況上發現電視台確實大量使用TPV，但超過半數以上的素材難以辨識來源。題材選定偏好具爭議性的內容，而處理素材的方式則以剪接為主。其次，由於TPV的特性使然，電視新聞工作者在查證時容易面臨原始資料不明、消息來源不確定與情境脈絡斷裂等挑戰，而他們通常採取單一查證方式、尋找單一採訪對象，且最常比對網路資料。此外，在需查證的新聞中，僅半數的記者會到現場勘查與採訪。而在取得報導素材後，為規避查證責任，電視新聞工作者經常以白描畫面、翻攝網友留言與重新議題設定等方式作新聞，藉此模糊具爭議性的部份。 本研究因此針對TPV的查證提供若干建議：（1）從第三方的角度客觀觀察，避免淪為有心人士操弄的工具；（2）設法從發文者的字面敘述中或直接從影像中找到可辨識的地點、物件與人物，據此找到當事者；（3）盡力找到消息來源，若無法與消息來源取得聯繫，則應轉而尋找當事者、公正第三方如警察、或是向媒體同業詢問；（4）到事發現場勘查；（5）題材為各種網路傳言時，可請專家以實驗的方式證實。本研究並整理出幾項適用於各種情境的查證原則：質疑優先、詰問必備、資料比對、邏輯至上與經驗輔助。 / Crowdsourcing is an important trend and affects major parts of our lives. More notably, bulk of our news consumption consists of crowdsourced content; these content are what we call third party video or TPV for short. In recent years, we see an increased use of TPV in the Taiwanese media landscape, especially in news reporting and creation. Using crowdsourced content in news presents two major problems: 1. Over half of the TV news today uses crowdsourced TPV. These content often contain controversial materials. These controversial materials are often selected in bid to manipulate its audience. . 2. Due to the nature of crowdsourced TPV, news reporters have difficulties identifying the source of these content. Since more than half of the news reporting today uses TPV, this makes news highly suspicious. Although this research finds that reporters do attempt to verify its sources, these attempts are far from vigorous: new reporters often adopt one of the following ways in order to verify their news sources: cross validating their data using the Internet, remake opinions based on netizens/cyber-citizens or changing the agenda of the news content. In the worst case, news reporters avoid or skip validation of their news sources altogether. This research provides the following suggestions in solving the above mentioned problems: (1) prevention of content manipulation by malicious parties so that consumer of news content are not manipulated or swayed. This ensures that the news presented is unbiased, objective and fair. (2) Verifying TPV can include attempts to find any recognizable location, object, or figure from TPV as tips to trace origin. (3) News reporters can try their best to get in touch with the news sources. If this cannot be done, try to get in touch with unbiased third parties, such as the police force or people same as your profession.(4) News reporters can also attempt to perform on-site investigation may be contributed to find the truth. (5) If the issue is about rumors on the internet, news reporters may consult experts on the subject matter for clarification. Finally, this study summarized essential factors for verification applied in a various situations: Doubting, Cross-examination, Cross validation, logic, and experience.

Thesis (MA)--Macquarie University (Division of Society, Culture, Media & Philosophy, Dept. of Media and Communications), 2006. / Bibliography: leaves 176-188. / Precursors -- An imperfect war -- Interregnum -- The perfect war -- Conclusions. / This thesis explores how war reporting on Australian television has been dramatically reshaped over the last 40 years, particularly by new technologies. Specifically, it seeks to answer these questions: 1. How did differing cultural, social, political and professional contexts, available technology and battlefield experience affect the attitudes, editorial content and narrative forms of two generations of television correspondents - in Vietnam and Iraq respectively? 2. How did technological and other industry changes over the 30 years between Vietnam and Iraq reshape the power relationship between the war correspondent in the field and his news producers and managers? What impact did these changes have on the resulting screened coverage? What are the longer-term implications for journalism and for audiences? / Mode of access: World Wide Web. / 192 leaves ill. (some col.)

Made available in DSpace on 2016-08-03T12:30:35Z (GMT). No. of bitstreams: 1 Audre Cristina.pdf: 2001141 bytes, checksum: 2d33edfbf7c8c45b59071b848a6f1169 (MD5) Previous issue date: 2007-05-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work researches the covering of Science, Technology and Inovation (ST&I) on brazilian open channel TV news, at prime time (from 7:15 pm to 10 pm), to notice the educational function of media in the approach of the subjects ST&I. The corpus of this research is made up from a clipping from the following TV news: Jornal da Band, Jornal Nacional, Jornal da Record, Jornal da Cultura and SBT Brasil. The proposal was to evaluate comparatively the journalist subjects that specifically deal with ST&I, in relation to the format, the language and the contents of each studied programs. This work made use of the French Discourse Analysis (DA) Methodology. This quality research also englobed a Study of Reception about the selected reportings. The procedure employed for this was the Focus Groups. This way, it attempted to análise the communication process that covers the news subjects of ST&I from messages to reception. This study noticed that ST&I is present subject on brazilian TV news even if there happen unpredictable facts (from others editorials) that influence significatively the covering of the TV news. It also noticed that there isn´t among the selected TV news a deepening standard and contextualization of ST&I subjects but that the approach varies even involving a single edition. The broadcasting channels, even admitting the importance of ST&I, are still oscillate between a contextualized approach and the simple description of the principal fact. The language used on TV news concerned with the subjects of Science, Tecchnology and Inovation is predominantly clear and simple. Nevertheless it was possible to notice some nuances, with the use of specific terms of the scientific language without the subject offering any explanation about such concepts. The experience of the Focus Groups showed that television viewers are not passive in relation to the scientific contents of the telejournalist programs. In general, people are interested in ST&I and know how to evaluate the subjects qualitatively. Analyzing how the subjects about ST&I make sense and what contribution they can give to the Public Understanding of Science, facilitated important reflections about the limitations and the potencials of television and the linked messages as well as the interest and critical vision in respect to the subjects of ST&I.(AU) / Este trabalho investiga a cobertura de Ciência, Tecnologia e Inovação (CT&I) nos telejornais brasileiros de canal aberto, no horário nobre (das 19h15 às 22h), para verificar a função educativa da mídia na abordagem de assuntos de CT&I. O corpus desta pesquisa compõe-se de um recorte dos seguintes telejornais: Jornal da Band, Jornal Nacional, Jornal da Record, Jornal da Cultura e SBT Brasil. A proposta foi avaliar, comparativamente, as matérias jornalísticas que tratam especificamente de CT&I, em relação ao formato, à linguagem e aos conteúdos de cada um dos programas estudados. Este trabalho empregou a metodologia de Análise de Discurso de linha Francesa (AD). Esta pesquisa, de natureza qualitativa, também englobou um Estudo de Recepção sobre as reportagens selecionadas. O procedimento utilizado para isso foi o de Grupos Focais. Dessa forma, buscou-se analisar o processo de Comunicação que envolve as matérias telejornalísticas de CT&I das mensagens à recepção. Este estudo verificou que CT&I é um assunto presente nos telejornais brasileiros mesmo quando ocorrem fatos imprevisíveis (de outras editorias) que influenciam significativamente a cobertura dos noticiários televisivos. Constatou também que não há, entre os telejornais selecionados, um padrão de aprofundamento e contextualização dos assuntos CT&I, mas que a abordagem varia até dentro de uma única edição. As emissoras, mesmo reconhecendo a importância de CT&I, ainda oscilam entre uma abordagem contextualizada e a simples descrição do fato principal. A linguagem empregada pelos telejornais para o tratamento de assuntos de Ciência, Tecnologia e Inovação é, predominantemente, clara e simples. No entanto, foi possível verificar algumas nuances, com o uso de termos específicos da linguagem científica sem que a matéria oferecesse qualquer explicação sobre tais conceitos. A experiência dos Grupos Focais revelou que os telespectadores não são passivos em relação aos conteúdos científicos dos programas telejornalísticos. De modo geral, o público se interessa por CT&I e sabe avaliar qualitativamente as matérias. Analisar como as matérias sobre CT&I produzem sentidos e qual a contribuição que estas podem dar à Compreensão Pública da Ciência possibilitou reflexões relevantes sobre as limitações e os potenciais da televisão e das mensagens veiculadas, assim como o interesse e a visão crítica a respeito dos assuntos de CT&I.(AU)