稿本 / 論文(碩士)--香港中文大學硏究院新聞學系,1992. / 參考文獻: leaves 137-143 / 黃漢龍. / Chapter 第一章 --- 緒 論 --- p.1 / Chapter 一. --- 緒 言 --- p.1 / Chapter 二. --- 硏究背景、動機與目的 --- p.2 / Chapter 三. --- 研究對象與提問 --- p.5 / Chapter 四. --- 研究意義 --- p.7 / Chapter 五. --- 硏究方式與内容結構 --- p.8 / Chapter 第二章 --- 理論基礎與文獻探討 --- p.12 / Chapter 一. --- 大眾傳媒的功能 --- p.13 / Chapter 二. --- 媒介效果與潛化分析 --- p.16 / Chapter (一) --- 「社會文化模式」與「心理功 力模式」媒效果 --- p.16 / Chapter (二) --- 「文化指標」與潛化分析硏究 --- p.20 / Chapter 1. --- 「文化指標」與「暴力素描」 --- p.20 / Chapter 2. --- 「暴力素描」與「潛化分析」 --- p.21 / Chapter 3. --- 「潛化分析」的批評 --- p.23 / Chapter 4. --- 「潛化分析」的研究的發展 --- p.26 / Chapter 三. --- 國際電視傳播效果硏究 --- p.28 / Chapter (一) --- 美國電視跨國傳统效果硏究 --- p.28 / Chapter (二) --- 美國電視跨國潛化效果研究 --- p.29 / Chapter 四. --- 本文就「潛化分析」分析架構之演化 --- p.33 / Chapter 五. --- 本硏究潛化指標之構思過程 --- p.40 / Chapter 六. --- 價值觀念與電視效果相關硏究 --- p.42 / Chapter (一) --- 羅基價值研究 --- p.42 / Chapter (二) --- 電視與價值觀念之傳统效果研究 --- p.44 / Chapter (三) --- 電視與價值觀念潛化效果之初探性研究 --- p.46 / Chapter (四) --- 個人主義與集體主義價值之分類 --- p.48 / Chapter 七. --- 電視與休閒生活方式相關硏究 --- p.57 / Chapter (一) --- 休閒的涵義 --- p.58 / Chapter (二) --- 休閒生活方式形成的理論 --- p.59 / Chapter (三) --- 休閒生活方式與媒介效果硏究 --- p.60 / Chapter (四) --- 外來時尚與本土休閒生活方式 --- p.62 / Chapter 第三章 --- 硏究設計與分析架構 --- p.66 / Chapter 一. --- 研究假設 --- p.66 / Chapter 二. --- 研究工具與主要變項之界定 --- p.67 / Chapter 三. --- 研究抽樣 --- p.84 / Chapter 四. --- 统計方法與分析步驟 --- p.86 / Chapter 第四章 --- 硏究結果與資料分析 --- p.90 / Chapter 一. --- 樣本特徵 --- p.90 / Chapter 二. --- 假設驗證與分析 --- p.95 / Chapter (一) --- 收看港視與價值觀念 --- p.95 / Chapter 1. --- 受訪者價值之分析 --- p.95 / Chapter 2. --- 價值次數分配分析 --- p.97 / Chapter 3. --- 收看港視與個人主義價值 --- p.99 / Chapter -1 --- 收看港視與個人目標價值 --- p.100 / Chapter -2 --- 收看港視與個人能力價值 --- p.102 / Chapter 4. --- 收看港視與集體主義價值 --- p.103 / Chapter (二) --- 收看港視與休閒生活方式 --- p.105 / Chapter 1. --- 受訪者休閒喜好分析 --- p.105 / Chapter 2. --- 休閒喜好指標次數分配分析 --- p.108 / Chapter 3. --- 收看港視與外來時尚休閒活動 --- p.109 / Chapter 4. --- 收看港視與本土傳统休閒活動 --- p.111 / Chapter 第五章 --- 結論與討論 --- p.115 / 註釋 --- p.134 / 中文書目 --- p.137 / 英文書目 --- p.138 / 受訪中學生背景資料 / 問 卷

How television entertainment programmes producers in Kenya conceptualise audiences is the primary objective of this study. It begins with a brief examination of how the operations of broadcast media institutions in Kenya have been historically linked to government and commerce. Throughout the history of television in Kenya, producers have conceptualised audiences in line with the political, economic and socio-cultural factors that were paramount in the instituting of broadcasting in this society. This historical background continues to shape the character of television entertainment programmes, and therefore how producers conceptualise audiences for these programmes. During their production practices, producers are also influenced by particular communication dynamics within which television programmes are produced and viewed. The dynamics of 'being the audience of television' include that the 'active audience' is autonomous in its various relationships with programmes content, yet the subjectivity of viewers to the institutional systems within which broadcasting happens constrains the audience‘s freedom in how it relates to entertainment programmes. Programme content hails and guides the audience into 'attending' to given shows in specific ways. This study reveals that the audience multi-facetedly relates with entertainment programmes, but the degree to which the audience can exercise its 'will' over the television text is limited. This is because television programmes are constructed meanings, framed and constricted by the elements that constitute them. Also, structures of culture constrain the plurality of the resources audiences have at their disposal as tools for 'reading‘ the programmes. The research-participant producers conceptualised the audience from a 'value-based‘ socio-cultural perspective. Therefore, they attached a kind of magnanimity to television as an institution for influencing in specific ways the segments of society they imagined watched it. Hence, producers of the particular entertainment programmes considered in this case study intended them to represent quality socio-cultural values for the social development of Kenyan society. In agreement with the producers, the audience respondents cited in this study appeared to consider entertainment programmes as important narratives capable of helping them better understand the social world they live in. They saw entertainment programmes as stories that authenticate their world by reflecting that world back to them. Overall, the findings of this case study established that Kenyan producers of television entertainment programmes technically operated within the political economic conventions of television production. However, a strong philosophical, moral-value code appeared to guide the producers‘ sense of purpose and duty to their audience. Apparently, the producers‘ resolve to embed in programmes meanings that propagated particular socio-cultural ideals was as prominent as the institutional political economic objectives for which they were hired to fulfil. This 'extra‘ sense of purpose catalysed the producers‘ unique regard for entertainment programmes as functional narratives, whose primary objective it should be to elevate society‘s moral fabric. Conclusively, the research-participant producers employed an old-fashioned approach to conceptualizing the audience. They saw the audience as congregated in masses of social categories cemented together by a tangible cultural-national identity. / Thesis (Ph.D.)-University of KwaZulu-Natal, 2010.

Television is an extremely powerful and influential medium and if utilized appropriately it could promote literacy and revive a culture of teaching and learning in South Africa. The significance of educational television can only be realized if all role players are equally committed to this powerful medium: the National Broadcaster, the Department of National Education, school management team, parents, learners and perhaps the most important component, the educators in schools. School TV is an ideal vehicle to sustain and promote new teaching and learning strategies such as Outcomes Based Education. This research study concluded, that Educational Television is instrumental in supporting learners and educators in new teaching and learning strategies such as Outcomes Based Education. The research findings from this study provide valuable information on the preference and usage of SABC School TV in foundation phase classrooms. / Thesis (M.Ed.)-University of Durban-Westville, 2000.

No description available.

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

No description available.

The proposition that television viewing may serve as a functional alternative to some forms of face-to-face interaction with other people was investigated. Under such a proposition, the amount of viewing should relate to a person’s environmental conditions, i.e., the opportunities provided for social contact with others. People in deprived environments should watch more television than those not so situated, as television viewing may represent an alternative means of achieving the desired ends of unavailable social interaction. Likewise, personality should affect viewing habits; some people may be less competent or comfortable interacting with others directly, hence should have to turn to a medium that may compensate or substitute for direct interaction. Objective and subjective reports of environmental constraints, social support, and several objective personality measures were obtained from subjects via questionnaires. In addition, subjects answered questions regarding how and the reasons why they watched television. Logs of all programs viewed over a week period were recorded. Correlational and regression techniques served as the basis of analysis. Results were supportive of the basic proposition. Less reported social support was significantly related to viewing more television. The personality trait sensation seeking was significantly negatively related to viewing television. The relationship between these results and reported reasons for watching television, and viewing specific program types, was also discussed. Finally, several methodological issues involving stability of uses of television and measures involving preferences versus behaviors were examined. / M.S.

Nation-building has always been considered the responsibility of a public service broadcaster while, on the other hand, commercial broadcasters are associated with profitmaking. This study was designed to investigate whether a commercially driven broadcasting venture could be used for the purposes of nation-building; The case of Lesotho Television. Established by the Lesotho Government in partnership with M-net, Lesotho Television informs, educates and entertains, thus attempting to follow the tenets of public service broadcasting. Upon its establishment in 1988, Lesotho Television was mandated to contribute in the nation-building initiatives of the Lesotho leaders. The station, which is embedded within the South African based pay-channel M-Net, was expected to positively contribute in the Lesotho Government's endeavours to re-build the nation divided along political lines. In the discussion I highlight the fact that Lesotho Television encounters some problems due to the paradoxical relationship between it and M-Net (The former aspiring to serve as a public service broadcaster while the latter is a commercial television service). Nevertheless, considering its programming and activities, Lesotho Television contributes in nation-building. Therefore, I conclude that the potential for Lesotho Television to inform, educate and entertain would seem to outweigh the limitations. / Thesis (M.A.)-University of Natal, Durban, 2001.

The problem of this research is to discover viewer response to the television series, "Roots," as revealed through newspapers and magazines published from December, 1976, to June 20, 1977. Thirty-seven articles and 134 interviewee responses were analyzed. The responses with the highest frequency of occurrence in the sample provided eight major categories (listed in the order of highest to lowest frequency of response): inaccuracy/oversimplification, increased awareness, future race relations, white guilt, black anger, future prime time television programming, black pride, and sadness. The predominant appeal of "Roots" was to the emotions of the viewers. Despite the criticism of inaccuracy and/or oversimplification, "Roots" was a timely presentation relating to a current social concern with justice and heritage.

There exists an embedded assumption that broadcasting must be employed to strengthen the Canadian national identity. Despite efforts to Canadianize our broadcasting system, however, Canadians are watching more and more American television and have more choice of American programming. This has led to a fear of American television as a threat to Canada's continuance as a separate and independent country. By studying the contemporary Canadian context with respect to Canadian drama, the following questions will be addressed: Are Canadian interests dependent on communication policy? Is Canadian dramatic programming essential to the maintenance and enhancement of national identity and cultural sovereignty? Can the illusive quality "Canadian" be defined? Do television dramas made in Canada have distinctively Canadian characteristics and if so, how are these characteristics perceived by audiences? What are the options and alternatives that Canadian policy makers and programmers must face in the midst of the massive internationalization of culture and the onset of the 500 channel universe? In answering these questions, this study sets out to demonstrate how Canadian dramatic programming can be distinctive and unique in a way which still maintains an audience loyalty and a relevance to the Canadian way of life.