Thesis (M.A.)--University of Wisconsin--Madison, 1971. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1959. / Typescript. Abstracted in Dissertation abstracts, v. 20 (1959) no. 3, p. 1099-1100. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 491-502).

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Thesis (Ph. D.)--University of Oklahoma, 1995. / Includes bibliographical references (leaves 85-95).

Thesis (Ph. D.)--University of Wisconsin--Madison, 2002. / Includes bibliographical references (p. 257-272). Also available on the Internet.

Thesis (Ph. D.)--University of Wisconsin--Madison, 2002. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 257-272).

Orientador: Áureo Busetto / Banca: Carlos Alberto Sampaio Barbosa / Banca: Milton Carlos Costa / Banca: Rafael Rosa Hagemeyer / Banca: Edvaldo Corrêa Sotana / Resumo: Esta tese tem por objetivo central analisar histórico-comparativamente o papel das emissoras educativas no campo televisivo francês e brasileiro entre os anos de 1994 e 2002, tendo como eixo-central as relações sociais que tornaram possível a criação da La Cinquième e do Canal Futura. A La Cinquième, canal educativo público, inaugurado em 1994, foi criada com o objetivo de colaborar para suprir as carências educativas francesas e ajudar a retirar o país da crise. O seu surgimento ocorreu em meio a uma reorganização do campo televisivo francês após desarranjos causados pela quebra do monopólio público na década de 1980. O Canal Futura, emissora privada, criada em 1997, possibilitou às Organizações Globo reforçar a imagem de suas empresas, sobremaneira da Rede Globo, dada a simbiose entre as duas emissoras, como eficaz prestadora de serviço social e comprometida com a difusão de conteúdos culturais e educativos para toda a sociedade brasileira. A existência do Canal Futura demonstrava a eficiência do modelo televisivo comercial em garantir produções educativas de qualidade, deslegitimando às experiências públicas em televisão educativa, especificamente a TVE, do Rio de Janeiro e a TV Cultura, de São Paulo. Nesse sentido, buscamos confrontar a hipótese de que a La Cinquième e o Canal Futura, ainda que de naturezas distintas (público e privado), e com atuação em campos televisivos diferentes, enfrentaram, ao longo de suas trajetórias iniciais, os mais variados desafios, muitas ve... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This thesis aims to analyze from an historical comparative perspective the role of educational broadcasters in the French and Brazilian television field between 1994 and 2002, having as central axis the social relations that made possible the creation of La Cinquième and Canal Futura. La Cinquième, public education channel, inaugurated in 1994, was created with the objective of supporting and providing resources in order to meet France's educational needs and help to withdraw its crisis. The foundation of this public education channel arised whilst a reorganization the French television area after the disruption caused by the breaking of public monopoly in the 1980's.The Canal Futura, private broadcaster, created in 1997, enabled Globo Organizations to reinforce the image of their companies, particularly of Rede Globo, given the symbiosis between the two stations, due to its commitment as an effective social services provider responsible for dissemination of cultural and educational content for brazilian society. The existence of the Canal Futura demonstrated the efficiency of commercial television model as way of guaranteeing educational quality productions, invalidating public experiences in educational television, specifically the TVE, in Rio de Janeiro and TV Cultura, in São Paulo. Therefore, this thesis proposal is to confront the possibility that La Cinquième and Futura, although from different natures (public and private) and acting in different television fields, have both faced, throughout their trajectory, the most various challenges, frequently with similar practices, which confirms the insertion of networks in the international debate, opened in several countries, on ways to enhance the educational uses of television in overcoming the socio-economic inequalities but also in exploring the educational audiovisual a new category of market... (Complete abstract click electronic access below) / Doutor

Bibliography: pages 190-196. / This dissertation develops a syllabus for the study of television literacy in South African secondary schools. There are two natural divisions in the development of the thesis; the section which explores epistemological issues and the section which describes the strategic issues. The first section examines the nature of print literacy. This consists of four elements: mastering the basic language of the medium; being able to decode this language; using the medium for personal creative ends; and having the capacity for critical reflection. It is possible to talk in terms of a language of television and so this definition of literacy can be extended to television as well. There are three main areas for the study of television literacy. These are: the production techniques and effects of television; the conventional forms of the medium; and the nature of television as a mass medium. Once this has been established the dissertation explores the strategic issues of a methodology and areas of knowledge for teaching television literacy. Although there are many methodologies for the study of the mass media, the British Cultural Studies approach, together with Hall's three moments of encoding and decoding, seems to offer the methodology most suitable for teaching critical literacy. Within this theoretical framework it is possible to describe a syllabus for teaching television literacy. This syllabus involves studying the encoding and decoding of television messages within the context of the technical infrastructure of television; the internal and external relations of production, and the frameworks of knowledge which determine the form and content of television.

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Sex and the City was a television show that aired on Home Box Office from 1998-2004. The tv show succeeded because of feminist's wanting a modern woman's drama rich in episodes about consumption, women's sexuality, financial independence, fashion and contemporary relationship dynamics. The characters captured and perpetuated just that. The modern take on the ideologies that drive women's perception of personal fulfillment, body image, consumerism, social behavior and values and romantic relationship dynamics made this tv show the phenomena that it became.