In an effort to better understand the motivations behind perceived biases in the US cable news industry, 72 hours of CNN, FOX, and MSNBC during the week preceding the 2006 congressional election were analyzed. First- and second-level agenda-setting theories are used to examine how long and in what way federal politicians are portrayed. The results indicate distinct differences in political presentations between the three networks.

The proposition that American network television news coverage of sub-Sahara Africa increased substantially after the 1975-76 Angola conflict is examined in this study of the responsiveness of television to changing news values at the international level. News coverage for two thirty-month periods before and after the Angola conflict is compared using data derived from the Television News Index and Abstracts. The study finds that network news coverage of sub-Sahara Africa increased from 0.36 per cent of total news time before the Angola conflict to 4.46 per cent after, indicating that network news coverage is a reflection of the intensity of United States government activity at the international level.

By virtue of their broadcast licenses, local television stations in the United States are bound to serve in the public interest of their community audiences. As federal regulations of those stations loosen and fewer owners increase their holdings across the country, however, local community needs are subjugated by corporate fiduciary responsibilities. Business practices reveal rampant consolidation of ownership, newsroom job description convergence, skilled human labor replaced by computer automation, and economically-driven downsizings, all in the name of profit. Even so, the people laboring under these conditions are expected to keep their communities informed with democracy- and citizenship-enhancing information. This study uses a critical political economy framework to focus on the labor aspects of working in commercially-run local television newsrooms in the United States. Surveys and interviews with news workers from the 25 largest local television markets highlight the daily challenges of navigating the dichotomy of labor in the space between corporate profiteering and public enlightenment. In addition to their more well-known and well-studied on-air reporter and anchor peers, "behind the scenes" workers and those with newly converged job descriptions also share their news work stories, thus filling a gap in the literature. Corporate capital incentives affect all who gather and disseminate the news. While all of these workers generally strive for high journalistic quality, the pressures of increased workloads and constant deadlines imposed by shrinking news staffs and growing digital media expectations mean journalists have to make craft work compromises in the race to report news faster and first. Owners push experienced news veterans with deep community connections out in favor of younger, cheaper, more tech-savvy workers. Financially beneficial content trumps deep policy investigations. These outcomes not only worry those in the journalistic trenches of local television news, but also potentially deprive the public of the information they seek from these outlets. As local television newsrooms remain the most popular sources of information for Americans, particularly in times of crisis, such outcomes are not in the community's best interest.

Thèse (M.A.)--Université Laval, 2000. / Comprend des réf. bibliogr.

The thesis begins with an examination of the literature on television news, taking particular note of the arguments for and against the 'dominant ideology thesis'. It is the contention of the work that the notion of 'professionalization' is a two sided one: while creating patterns and strategies of repetition and formulaic responses, during the emergency it was conversely used protect the integrity of a cadre of working journalists. In South Africa a State of Emergency was declared on 17 July, 1985, and successively renewed until 2 February 1990. An important element of the Emergency legislation were the stringent media restrictions placed on print and televisual journalists. This thesis examines the content and application of these restrictions, as well as the part played by the Bureau for Information in providing a bureaucratic base for the policy of media containment. The thesis argues that the restrictions, as well as the State of Emergency as a whole, was predicated on the South African Government's understanding that the country was facing a 'Total Onslaught', which could only be countered by a 'Total Strategy'. The empirical section of the thesis examines the manner in which the processes of political violence and reform were imaged on the televisual news broadcasts of South African Broadcasting Corporation, in the period July 1985 to November 1986. Under the discussion of 'Reform' particular attention is paid to P.W. Botha's opening speech to the Federal Congress of the National Party in Durban, 17 August, 1985; as well his opening address to Parliament the following year; followed by an examination of the communication of reforms concerning influx control and urbanisation. In defining political violence a distinction is made between the government's use of the word 'unrest' and 'terrorism', which is contrasted with the critical concepts of 'mass action' and 'insurgency'. The narration of the declaration of the State of Emergency, and some of the main thematic motifs which accompanied reporting in this period, specifically the insistence that the security forces, and through them, the government, was in constant control; and the concept of 'black-on-black' violence as a driving force in the political upheavals, are dissected. This is followed by an analysis of the television coverage of political violence in Durban (August 1985); Crossroads (June 1986) and the contracted 'Unrest Reports' which were regularly broadcast throughout the State of Emergency. In the final chapter, the portrayal of the ANC as a terrorist organisation is examined, together with the attitudes of those who were believed to support them. The thesis concludes with a re-examination of the dominant ideology thesis, specifically as it can be said to have applied to the television news broadcasts discussed in this project. / Thesis (Ph.D.)-University of Natal, Durban, 1992.

The thesis begins with an examination of the literature on television news, taking particular note of the arguments for and against the 'dominant ideology thesis'. It is the contention of the work that the notion of 'professionalization' is a two sided one: while creating patterns and strategies of repetition and formulaic responses, during the emergency it was conversely used protect the integrity of a cadre of working journalists. In South Africa a State of Emergency was declared on 17 July, 1985, and successively renewed until 2 February 1990. An important element of the Emergency legislation were the stringent media restrictions placed on print and televisual journalists. This thesis examines the content and application of these restrictions, as well as the part played 'by the Bureau for Information in providing a bureaucratic base for the policy of media containment. The thesis argues that the restrictions, as well as the State of Emergency as a whole, was predicated on the South African Government's understanding that the country was facing a 'Total Onslaught', which could only be countered by a 'Total Strategy'. The empirical section of the thesis examines the manner in which the processes of political violence and reform were imaged on the televisual news broadcasts of South African Broadcasting Corporation, in the period July 1985 to November 1986. Under the discussion of 'Reform' particular attention is paid to P.W.Botha's opening speech to the Federal Congress of the National Party in Durban, 17 August, 1985; as well his opening address to Parliament the following year; followed by an examination of the communication of reforms concerning influx control and urbanisation. In defining political violence a distinction is made between the government's use of the word 'unrest' and 'terrorism', which is contrasted with the critical concepts of 'mass action' and 'insurgency'. The narration of the declaration of the State of Emergency, and some of the main thematic motifs which accompanied reporting in this period, specifically the insistence that the security forces, and through them, the government, was in constant control; and the concept of 'black-on-black' violence as a driving force in the political upheavals, are dissected. This is followed by an analysis of the television coverage of political violence in Durban (August 1985); Crossroads (June 1986) and the contracted 'Unrest Reports' which were regularly broadcast throughout the State of Emergency. In the final chapter, the portrayal of the ANC as a terrorist organisation is examined, together with the attitudes of those who were believed to support them. The thesis concludes with a re-examination of the dominant ideology thesis, specifically as it can be said to have applied to the television news broadcasts discussed in this project. / Thesis (Ph.D.)-University of Natal, Durban, 1992.

Mémoire (M.Ling.)--Université du Québec à Chicoutimi, 2000. / Document électronique également accessible en format PDF. CaQCU

Thesis (M.A.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaves 189-194). Also available on the Internet.

Thesis (M.A.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaves 189-194). Also available on the Internet.

Thesis (MPhil) -- University of Stellenbosch, 2000. / ENGLISH ABSTRACT: The most neglected element in television reporting is the sound track. The problem is illustrated by the fact that there are currently no specialised textbooks, or training courses, on sound recording for television reporting, anywhere in the world. Textbooks that deal with television reporting dedicate very little space to sound recordings. With the growing competition in television news, news teams are increasingly becoming smaller. It is common practice these days to have a news team consisting of only a cameraperson and a reporter. The cameraperson is also responsible for the sound. Two television stations, namely NYl in New York and Channel One Television in England, have already dispensed with the cameraperson and send out only a reporter. This dissertation addresses the above-mentioned problem by doing research on the sound equipment, recording techniques and production techniques that are useful for effective sound recordings during single camera television reporting. Chapter two explains the functions of the different departments in a television station, as well as the duties of the staff. Chapter three explains basic television principles, terminology and equipment that the sound person uses daily and needs to understand to perform his work optimally. Chapterfour gives the basic terms that are needed to follow a conversation on sound recording. Terms like decibel, stereo and digital sound are explained. The chapter also covers basic electricity and sound equipment. Chapter five covers microphones under three headings, namely: electrical characteristics, acoustic characteristics and microphone design. The chapter also covers associated equipment, explains the sound facilities on video cameras and gives a list of possible sound equipment that can be used during a production. Chapter six covers sound recordings, principles and techniques under the following headings: • Perspective and boom swinging, which deals with sound perspective and boom swinging. • Rigging of cables, which gives practical tips for laying cables inside and outside buildings. • Recording principles, which gives practical tips on sound recordings. • Interviews, which includes recording tips for television interviews and reporting. • Reporting, which covers reporting, media conferences and public events. • Commentary recordings, which deals with the preparation and recording of voice over. • Music recordings, which deals with instruments and bands, and suggests microphone positions. • Telephone lines, which covers the use of telephone lines for reporting. • Location reconnaissance, which gives practical tips on pre-production planning. • Guidelines for sound persons during productions, which concludes the chapter and the dissertation with practical tips on behaviour during local, foreign and/or dangerous productions. / AFRIKAANSE OPSOMMING: Die veranderlike wat die meeste afgeskeep word in televisieverslaggewing, is die klankbaan. Die probleem word onderstreep deur die feit dat daar wêreldwyd tans geen gespesialiseerde handboeke of opleidingskursusse bestaan wat oor klankopnames vir televisieverslaggewing handel nie. Handboeke wat handeloor televisieverslaggewing wy ook baie min ruimte aan klankopnames. Met die groeiende kompetisie in televisienuus raak nuusspanne toenemend kleiner. Dit is reeds algemene praktyk dat die nuusspan slegs uit 'n kamerapersoon en 'n verslaggewer bestaan. Die kamerapersoon moet dus ook die klankopnames doen. Twee televisiestasies, naamlik NYl in New York en Channel One Television in Engeland, het reeds die kamerapersoon uitgeskakel en stuur slegs 'n verslaggewer uit. Hierdie verhandeling spreek bogenoemde probleem aan deur navorsing te doen oor die klanktoerusting, opnametegnieke en produksietegnieke wat nuttig is vir effektiewe klankopnames tydens enkelkameratelevisieverslaggewing. Hoofstuk twee verduidelik die funksies van die verskillende departemente in 'n televisiestasie sowel as die pligte van die personeel. Hoofstuk drie verduidelik basiese televisiebeginsels, -terminologie en -toerusting wat die klankpersoon daagliks mee werk en dus moet verstaan om sy werk optimaal te verrig. Hoofstuk vier gee die basiese terme wat nodig is om 'n gesprek oor klankopnames te volg. Begrippe soos desibel, stereo en digitale klank word verduidelik. Die hoofstuk behandelook basiese elektriese beginsels en klanktoerusting. Hoofstuk vyf bespreek mikrofone onder drie indelings naamlik: elektriese eienskappe, akoestiese eienskappe en mikrofoonontwerp. Die hoofstuk dek ook aanverwante toerusting, verduidelik die klankfasiliteite op videokameras en gee 'n lys van klanktoerusting wat tydens produksies gebruik kan word. Hoofstuk ses is die belangrikste en bespreek klankopnames, beginsels en tegnieke onder die volgende opskrifte: • Perspektief en boomhantering, waaronder klankperspektief en boomhantering behandel word. • Lê van kabels, wat praktiese wenke gee vir die lê van kabels binne en buite geboue. • Opnamebeginsels, wat praktiese wenke gee in verband met klankopnames. • Onderhoude, wat opnamewenke gee in verband met televisieonderhoude en verslaggewing. • Verslaggewing, wat verslaggewing, nuuskonferensies en openbare geleenthede dek. • Kommentaaropnames, wat handeloor die voorbereiding vir, en opneem van kommentaar. • Musiekopnames, wat musiekinstrumente en orkeste bespreek en mikrofoonposisies voorstel. • Telefoonlyne, waaronder die gebruik van telefoonlyne vir verslaggewing bespreek word. • Terreinverkenning, wat praktiese riglyne gee vir voorproduksie-ondersoeke. • Riglyne vir klankpersone tydens produksies, wat die hoofstuk en die studie afsluit met praktiese wenke vir gedrag tydens plaaslike, buitelandse en/of gevaarlike produksies.