The Museum of Modern Art's television project sponsored by the Rockefeller Brother's Fund between 1952 and 1955 was designed to educate a democratic and cultured citizenry through the principles and practices of modern art and liberal humanism. Through a close reading of four television programs, related policy documents and exhibitions, as well as critical, educational and promotional literature, this study will show how within the context of the MoMA's mandate and history, the television project was a decisive, yet highly troubled attempt to forge cultural citizenship through the burgeoning media of modern art and television. This exploration will establish how the television project was an integral aspect of the MoMA's efforts since World War II to situate modern art as essential to the formation of an international polity shaped around the promise of universality, yet dependent on upholding the primacy of free and creative individuals. In addressing such a challenge, this dissertation will contend that television was not necessarily antithetical to modernism, rather it was just one among an array of struggling forces falling within the rubric of the modern. Moreover, this analysis will consider the importance of culture in logics of liberal governance. In order to elucidate the dimensions of cultural democracy as they emerged through the MoMA's television project, this study will be shaped around a discussion of three components crucial to the formation and maintenance of citizenly conduct---civic education, democratic cultural communications, and cross-cultural governance. To these ends, a range of sources from the disciplines of Communications, Cultural Studies and Critical Artistic Studies will be drawn on in order to investigate the provisional links forged between modern art, media pedagogy, and cultural citizenship in the Cold War period.

Orientador: Maria Filomena Gregori / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-10T16:08:58Z (GMT). No. of bitstreams: 1 Aderaldo_GuilhermoAndre_M.pdf: 2580976 bytes, checksum: fc7526e53cdad1580843574296e2e345 (MD5) Previous issue date: 2008 / Resumo: De que maneira as lutas internas ligadas ao campo da televisão sustentam os modos através dos quais o tema da violência é representado em seu interior? Partindo do princípio de que, enxergar a televisão como uma simples transmissora dos "fatos" encontrados no mundo social, ou ainda, como um meio de "manipulação" desses fatos, significa ignorar a luta por uma melhor condição nos processos de distribuição das chances de poder por parte dos agentes no interior do veículo, esta pesquisa visa a um esforço de compreensão das ligações estabelecidas entre o modo através do qual a violência é representada na televisão e as trajetórias individuais dos agentes, cuja notoriedade foi ganha a partir da exploração do tema, no interior dos processos de mudança aos quais se encontram inscritos, de acordo com suas respectivas posições. Proponho que a análise das diferenças nos modos de representar a violência ao longo do tempo por parte dos agentes ligados ao campo da televisão pode nos indicar caminhos mais complexos para pensarmos uma questão consensual em relação aos estudos sobre a representação da violência ne~se veículo, bem como em outros meios de comunicação: a distorção entre os dados comumente aceitos pelas ciências sociais para a retratação "objetiva" do problema da criminalidade no país e a maneira como a violência acaba sendo apresentada na mídia, que costuma privilegiar os traços mais dramáticos de casos isolados ligados às ocorrências policiais / Abstract: In what way the internal struggleslinked to the television field sustain the forms which through the television theme is represented in its interior? From de principIe that seeing TV as a simple transmitter of "facts" found in the social world, ar still, as a way of "manipulation" of this facts, means to ignore the fight for a better condition in the processes of distribution of the chances of power by part of the agents in the vehicle interior, this research aims a comprehension effort on the bounds established between the way trough which violence is represented on television and the agents individual paths, of whom notoriety was conquered from the exploration of the theme, in the interior of the processes of changing that are enrolled, according with their respective positions. I propose that the analysis of this differences in the forms of representing violence throughout time by this agents linked to the television field can point out more complex routs in arder for us to think a consensual issue related to the studies on the representation of violence in this vehicle, as well as in other media: the distortion between data generally accepted by the social sciences for the "objective" . painting of the criminality problem in the country and the way violence ends being represented in the media, that usually privileges the more dramatic traits of isolated cases linked to. Police occurrences / Mestrado / Antropologia Social / Mestre em Antropologia Social

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

This study tested American television effects on Taiwanese Students in uncertainty reduction and stereotype forming. The study consisted of a questionnaire analysis and a focus group discussion. Fifty-five subjects responded to the questionnaires and twenty of them joined two group discussions.

No description available.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-06-14T13:33:49Z No. of bitstreams: 1 fabioricardodosanjosribeiro.pdf: 2362480 bytes, checksum: d78b584b51eeb1467cae0570469cf22a (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T14:04:39Z (GMT) No. of bitstreams: 1 fabioricardodosanjosribeiro.pdf: 2362480 bytes, checksum: d78b584b51eeb1467cae0570469cf22a (MD5) / Made available in DSpace on 2016-07-13T14:04:39Z (GMT). No. of bitstreams: 1 fabioricardodosanjosribeiro.pdf: 2362480 bytes, checksum: d78b584b51eeb1467cae0570469cf22a (MD5) Previous issue date: 2016-04-08 / A partir de argumentação favorável à ideia de que a televisão, enquanto veículo de comunicação de massa, por características que são próprias do meio sócio-técnico, ainda é capaz de em grande medida legitimar representações sociais vigentes em determinada coletividade, este trabalho investiga o papel desempenhado nesse processo por um dos produtos televisivos de maior repercussão no Brasil: os telejornais policiais. Procura-se evidenciar aqui algumas fundamentais constrições próprias ao contexto de produção desses programas a partir de um estudo de caso fruto de etnografia realizada na Redação de um telejornal policial local. Analisa-se, no que é significativo para os propósitos argumentativos deste trabalho, forma e conteúdo da mensagem emitida por esses programas e investiga-se, comparativamente, em dois universos de classe distintos, a recepção dessa mensagem. O objetivo, com essa abordagem, que tenta dar conta dos âmbitos da produção, do texto propriamente dito e da recepção, é o de compreender relacionalmente um complexo mecanismo de construção e legitimação de visões de mundo em determinado universo social. Visões de mundo estas que são de cunho conservador, em correspondência com o lugar no menu da indústria cultural ocupado pelos telejornais policiais, bem como atinente a determinada posição no espaço social ocupado por aqueles que os assistem e que reproduzem opiniões afins às veiculadas nesses onipresentes programas televisivos. / From an argumentation that supports the idea that television, while mass communication vehicle, due to features that are specific of this socio-technical media, can still largely legitimate social representations existing in a certain group, this study investigates the role played in this process by one of the television products of greater impact in Brazil: the police TV newscasts. On attempts here to make evident some fundamental constraints from own context of production of these programs, from a case study fruit of an ethnography held in the newsroom of a local police TV newscast. It is analyzed here, in what is significant for the argumentative purposes of this text, shape and content of the message sent by these programs and is investigated by comparison between two distinct class universes of receiving this message. The goal in adopting this approach, which tries to account for the areas of production, the text itself and the reception, is to understand relationally a complex mechanism of construction and legitimation of world views in a given social universe. And these world views have conservative nature, in correspondence with the place in the cultural industry menu occupied by police TV newscasts, as well as pertaining to a particular position in the social space occupied by those who watch and reproduce opinions similar to that conveyed through those ubiquitous TV programs.

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This study examines the home as a context of viewing for the television programme Intersexions in the township of Ginsberg in the Eastern Cape. The central question asked is whether the household influences the interpretation of the programme. The research was mainly conducted through ethnographical methods of participant observation and focus group interviews. Six families were observed and six gender-based focus groups convened. Drawing from the work of Morley (1986) and Lull (1990) that argues that the home be taken more seriously as a context of viewing; this study posits that the home is a rule-bound micro-society that influences the interpretation of media messages. As a starting point, this study contends with the arguments that the South African government has been slow to acknowledge the extent of the problem presented by the HIV/AIDS pandemic. Much has been written about the inefficiency of state efforts to educate the public, with some pundits suggesting that government communications strategies have largely been outdated and thus resisted by audiences (Treffry-Goatley, Mahlinza & Imrie, 2013). To counter the pandemic, a large number of independent educational television serials have been launched in South Africa, and met with popular appeal since 1994. Furthermore, this development is in line with global trends of high audience ratings for Entertainment- Education (EE) programmes (Singhal et al., 1993). To investigate complex issue of EE reception by audiences in this burgeoning area of study, the programme at the centre of this study, Intersexions, is a good example. The serial, which concluded its second season in August 2013, is second to only the established soap opera, Generations, in television ratings in South Africa. Therefore, the impressive ratings garnered by educational serials in South Africa are a chance for audience studies to study audiences in context. This research investigates Intersexions using the understanding that television audiences must be analysed in "cultural and historic specific" sites because the struggle to make meanings of texts takes place at the moment when the text and subject meet (Fiske, 1987). This research investigates the assumption that the meanings made by audiences depend not just on the text, but also on environment. This means that the research delves into the situational context in which media are used and interpreted. Therefore, the central aim of this study is to analyse television viewing of the entertainment education programme, Intersexions, in the natural setting of the home, which is in line with analysing television viewers in cultural and historically specific sites.