by Paul Siu-nam Lee. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1979. / Bibliography: leaves 98-102.

This dissertation investigates the dynamics of production surrounding United States Spanish-language television by analyzing the strategies followed by newcomer Azteca America in it attempts to become an attractive television option for Latinos. Given the scarcity of research on the production approach of U.S. Latino media, this study interrogates the site of production of Spanish-language Television--that is, the site in which professional routines and presumably legitimate knowledge about audiences are the basis for the reproduction of particular representations of Latinos in the United States. The incursion of Azteca America into this realm allows me to reflect on the structural and complex relationship between the U.S. Latino and Mexican television industries. Azteca America's process of creating a network identity, along with strategies of production, representations, and distribution reveal longstanding assumptions about television's formulas of success, which are the result of the way in which U.S. Latinos are imagined by the corporation. My analysis is informed by the cultural economy perspective that evaluates corporate practices as relevant cultural objects with economic value; it is also informed by Pierre Bourdieu's theory of logic of practice, which allows me to situate the corporation as a social space as I evaluate its corporate routines as a site of the expression of larger social dynamics. A global approach gives me the theoretical tools to think about the transnational character of the U.S. Latino industry, its audiences, and the crossborder nature of Azteca America's venture. The presence of Azteca America in U.S. broadcasting television reaffirms, on some level, the ways in which Latin Americans claim "authentic" knowledge regarding the programming and representations delivered to Latino audiences. This process is possible because of the fluid identity with attendant flexible meanings that accompanies the hybrid and multilayered identities of the Latina/o population in the U.S. / text

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This creative project provides basic orientation information needed by a person first beginning in television news at station WRTV, Indianapolis, Indiana.The structure of the television station's news department is outlined and tasks usually assigned to interns are explained. Guidance is offered as to the importance of deadlines, the use of personal initiative, and the establishment of a dependable work record. There is an explanation of the pre-printed forms used in assembling the script for the news broadcast. Illustrations are offered throughout the paper to help familiarize the intern with newsroom locations and equipment. He is introduced to the technical jargon of the trade. A simplified breakdown of film and video tape shooting and editing techniques is included. There is a discussion of the proper approach to a reporting assignment with details concerning preparation, communications with producers, writing, and final assembly of the video story. Legal requirements facing newsmen are discussed and benchmarks are provided so that the intern can measure his progress.

This study has presented an analytic comparison of interactivity between CNN and YTN. In the circumstance that traditional media are suffering difficulty in attracting audience, CNN and YTN adopted a timely relief to break through a slump. It was interactivity. The most authoritative and oldest news networks in each country, America and Korea, CNN and YTN began the first interactive news shows at similar time. CNN’s Rick’s List and YTN’s Topic News did interactivity with audiences in real-time. Viewer’s texting messages to specific topics were on screen and anchors responded to them. The first interactive news shows gained steady popularity even under the decreasing rating period of CNN and YTN While Rick’s List has advanced, Topic News stopped after twenty months. This study analyzed why the different results and dissimilarities have been generated in terms of culture, inveterate media custom and business circumstance. / Department of Telecommunications

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.

Thesis (Ph. D.)--University of Texas at Austin, 2007. / Vita. Includes bibliographical references.

Thesis (doctoral)--Technische Universität Darmstadt, 2000. / Includes bibliographical references (p. 185-194) and index.

No description available.

This study focuses on the relationship between Western transnational broadcasters and East Asian media. It analyzes 1) the processes through which Western media players are localized and 2) the impact of media globalization on local broadcasters in East Asia. Recent developments in the People's Republic of China are the primary focus in the discussion of local media.