Cultural diversity is a central issue of our times, although with different emphases in the European and Australian context. Media and communication studies have begun to draw on work in translation studies to understand how diversity is experienced across hybrid cultures. Translation is required both for multilingual (multicultural) societies such as Australia and for trans-national entities such as the European Union. Translation is also of increasing importance politically and even emotionally as individual nations and regions face the challenge of globalisation, migration, and the Americanisation of media content. The thesis draws on cultural and media policy analysis. Programming strategies are reviewed and 'conversational' interviews conducted with broadcasting managers and staff at SBS Australia and across multilingual public broadcasters in the EU (BBC WS, Deutsche Welle, ARTE, Radio Multikulti Berlin, Barcelona Televisió). These are used to investigate the issues, challenges, and uses of the multilingual broadcasting logic for Australia's and Europe's cultural realities. This thesis uses the concept of 'translation' as a key metaphor for bridging differences and establishing connections among multicultural citizens in the context of the European Union and Australia. It is proposed that of the two versions of translation - institutional in the EU and mediated in Australia respectively - the mediated version has achieved higher success in engaging ordinary citizens in more affective, informal and everyday forms of cross-cultural communication. Specifically, the experience of the Special Broadcasting Service (Australia's multilingual and multicultural public broadcaster) serves as a model to illuminate the cultural consequences of the failure of the EU to develop translation practices beyond the level of official, institutional and political communication. The main finding is the identification of a need for more mediated interlingual exchange; that is a translation of language policy in Europe into media experience for ordinary citizen-consumers, at both institutional and textual levels.

The study explores how the Swedish public service TV institution imagines a child audience in a societal context where the broadcasting landscape hastransformed greatly over the past thirty years and where TV is seen to  constitute both risks and benefits for children. The concept of TV for children is established to broaden the scope for studying what has been broadcast for a child audience on public service TV. The empirical material consists of both broadcasting policy documents and an extensive selection of public service TV programmes targeting children, selected from 1980, 1992 and 2007, which marked before, during and after the abolishment of the Swedish public service broadcasting monopoly. The policy texts, as well as TV content, TV talk and TV visuality, have been studied to investigate how the imagined child audience is configured. The study shows that when the category ‘children’ is mentioned in the broadcasting legislation, they are seen foremost as being at risk of being harmed by commercial messages and only gradually as explicitly entitled to TV programme content meant for them. The broadcasting companies, however, have broadcast programming for the child audience during the whole research period. Adult notions form how children are represented. In the TV programmes, these notions have remained largely unchanged over the studied years, even if technology, legislative demands and approaches to narration also provide opportunities for change. The imagined child TV audience configured in TV for children is knowledgeable, but wanting and in need of more knowledge. This audience is also imagined as being close to nature, eager to interact with the programmes and activate on basically all occasions, which opposes the discursive view according to which children are passivized by television. This study of public service TV for children points to and questions discursive ideas about what it means to be a child in a mediated society. / Denna studie undersöker hur den svenska public service-TV-institutionen förställer sig en barnpublik i en samhällelig kontext där medielandskapet har genomgått förändringar under de senaste 30 åren och där TV ses som både en risk och en tillgång för barn. I avhandlingen etableras begreppet TV för barn för att visa på och lyfta fram bredden av den TV som riktar sig till en barnpublik. Studiens empiriska material består av lagstiftning, tillstånd och årsrapporter inom TV området och av ett omfattande urval av public service-TV-program för barn. Materialet har valts från 1980, 1992 och 2007, vilket betyder före, under och efter det svenska public service-monopolets upplösning. Dokumenten och TVprogrammen har studerats för att se hur föreställningar om en barn-TV-publik konfigureras. Studien visar att när kategorin barn efterhand nämns i TV lagstiftning och sändningstillstånd ses TV främst som en risk för barn, och då i förhållande till reklam. Först senare skrivs det fram explicit i dessa dokument att barn också ska ha tillgång till TV program. Public service företagen har dock sänt program för en barnpublik under hela undersökningsperioden. I TV-programmen har förställningarna om barn varit mer eller mindre stabila över den studerade tidsperioden, även om ny kommunikationsteknologi, förändringar i sändningstillstånden och sätt att berätta i TV har möjliggjort förändring. Studien visar att den tänkta barn-TV-publiken som konfigureras i TV-programmen är kunnig, men vill och behöver veta mer. Publiken föreställs också vara nära naturen, vilja interagera med TV och vara aktiv i nästan alla situationer. Detta ger en helt annan bild av barn-TV-publiken än den diskursiva föreställningen om det passiva barnet framför TV:n. Den här studien av public service-TV för barn påvisar och ifrågasätter diskursiva idéer om vad det innebär att kategoriseras som barn i ett medierat samhälle.

Made available in DSpace on 2016-08-03T12:29:37Z (GMT). No. of bitstreams: 1 Dirceu Lemos da Silva pg 1_160.pdf: 2528127 bytes, checksum: f8c573f16805a13fad56b9710391dc90 (MD5) Previous issue date: 2012-05-07 / Television programming is the soul of a network. It places a TV channel within the correct identity among the viewing public and can be considered the true product of broadcasting. A network s schedule of programs is built within a strategy to attract the largest possible audience and, especially, to foment loyalty. In the 70 s, TV Globo reached the highest share-of-audience with a television schedule that, in general terms, still applies nowadays, such as the soap opera-news- soap opera formula. But how was Brazilian television programming before Globo? Which genres were the most common? What was broadcasted during the evening prime time? How was the schedule of former leader TV Tupi? Or how was programs scheduling for other networks, such as TV Excelsior and TV Record, from Mr. Paulo Machado de Carvalho? And how about TV Paulista, that operated from a small apartment? During the first two decades of the Brazilian commercial broadcasting television, we witnessed the introduction of audience ratings, videotapes, satellite transmissions and the creation of networks. How some of those technologies did influence TV programming? Through qualitative and quantitative methodologies, based on bibliographical research, data observation and interviews with TV professionals, this exploratory research is based on two structural pivots: 1) Review the main classification criteria for television genres and, with this classification, conduct the second part of the study; 2) Analyze the characteristics of TV programming for the four leading commercial broadcasting networks in São Paulo, during the decades of 1950 and 1960. / A programação é a alma da emissora, ela dá identidade ao canal e é o verdadeiro produto da TV. A grade de programação faz parte de uma estratégia que busca atrair o máximo de audiência possível e, principalmente, mantê-la fiel. Na década de 1970, a TV Globo alcançou o primeiro lugar de audiência com um modelo de grade que, em linhas gerais, permanece até hoje, como por exemplo, o sanduíche novela-telejornal-novela. Mas como era programação televisiva antes da Globo? Quais os gêneros de programas mais comuns? O era exibido no horário nobre? Como era a programação da então líder TV Tupi? Da glamurosa TV Excelsior? Da TV Record de Paulo Machado de Carvalho? E da pequena TV Paulista que funcionava num apartamento? Nas duas primeiras décadas da TV brasileira é que surgiram as pesquisas de audiência, o videoteipe, as transmissões via satélite e o início da formação das redes. Como algumas dessas tecnologias influenciaram a programação? Por meio de uma metodologia quantitativa e qualitativa, baseada em pesquisa bibliográfica, observação de dados e em entrevistas com profissionais do setor, esta pesquisa de caráter exploratório se baseia em dois eixos estruturais: 1) Rever os principais critérios de classificação de gêneros televisivos e, com esta classificação, fazer a segunda parte do estudo: 2) Analisar as características de programação das quatro emissoras comerciais de maior audiência da TV aberta paulista, nas décadas de 1950 e 1960.