No description available.

No description available.

This study builds on the Uses and Gratifications body of knowledge as applies to motivations surrounding television use, specifically the cult television program Buffy the Vampire Slayer. Through the distribution of online survey it was found that respondents who read and/or wrote fanfiction were more likely to engage in the variable of parasocail relationships. One hypothesis was disregarded due to the invalidity of the variable. Through two research questions it was found that the variable of affinity was indicative of a viewer's involvement with the show. The second research question found only two marginally significant variables, personal identity and realism, with regard to the number of years one had been a fan of the show. Age was found to be significant in all the variables and was accounted for. / Department of Journalism

by Ip Hak-shiu. / Thesis (M.B.A.)--Chinese University of Hong Kong, 1991. / Bibliography: leaves 54-55. / PROLOGUE --- p.ii / TABLE OF CONTENTS --- p.iv / LIST OF TABLES --- p.vi / Chapter I. --- INTRODUCTION --- p.1 / Chapter 1.1 --- Background --- p.1 / Chapter 1.2 --- Development of the TV Industry --- p.3 / Chapter 1.3 --- History of ATV --- p.8 / Chapter II. --- LITERATURE REVIEW --- p.10 / Chapter 2.1 --- Analytical Framework for Marketing --- p.10 / Chapter 2.2 --- Background to Warfare: Positioning --- p.13 / Chapter 2.3 --- Marketing as Warfare --- p.15 / Bibliography --- p.19 / Chapter III. --- ATV'S APRIL 1990 LAUNCH --- p.20 / Chapter 3.1 --- Basis for the Launch --- p.20 / Chapter 3.2 --- Assessment of the Market --- p.22 / Chapter 3.3 --- Launch Strategy --- p.25 / Chapter 3.4 --- Anticipation of Competitor's Moves --- p.28 / Chapter 3.5 --- Intrinsic Weaknesses --- p.29 / Chapter 3.6 --- TVB's Moves --- p.31 / Chapter 3.7 --- Results of ATV's Launch --- p.32 / Chapter IV. --- EVALUATION OF ATV'S APRIL 1990 LAUNCH --- p.35 / Chapter 4.1 --- Theoretical Options for ATV's Attack --- p.35 / Chapter 4.2 --- Corresponding Response to TVB's Moves --- p.39 / Chapter 4.3 --- Applications of Marketing Warfare Theory --- p.41 / Chapter 4.4 --- ATV's New Direction: Looking for a way to Survive ？ --- p.44 / EPILOGUE --- p.46 / APPENDICES --- p.47

No description available.

Romance reality programming has become a major player in the television field, with the most successful shows garnering huge ratings and massive audiences over the course of numerous seasons. But while the concept of finding love in a competitive environment on the national stage is new, romance reality TV programs seem to regenerate outdated stereotypes which work in a retrograde fashion to envisage love in traditional, pre-feminist heteronormative and patriarchal structures. Combining a background of literature on reality TV which gives insight to the manipulative tendencies of the industry; feminist scholarship on the acculturating and indoctrinating nature of classic fairy tales; and writings on the prevalence of postfeminist ideology that emphasizes self-surveillance/subjectification, the rhetoric of self-empowerment, and natural differences between the sexes, this thesis examines one of the most ubiquitous romance reality shows, The bachelor. Through the lens of nine tropes--beauty, passivity, marriage, victimization, vilification, romance rhetoric, gender roles, consumerism, and the male gaze--I analyze a full season of episodes, tallying the occurrences in each category. Using these tally numbers as general indicators and providing examples of each theme, I argue that the lessons conveyed to audiences by The bachelor and other romance reality programs bear a striking resemblance to classic fairy tales morals in which positive outcomes for heroines directly correlate to their perceived femininity, including conventionally feminine virtues like physical beauty, moral turpitude, and adherence to normative gender roles. The presence of postfeminism in the media contributes to making these outdated fairy tales themes seem congruent with female agency and empowerment by uncritically casting the failure to find love as a personal one. At the same time, men are placed in advantageous positions of authority and power, affirming the inevitability and desirability of patriarchal relationship arrangements. / text

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.

This study seeks to use a dual-theoretical approach, through the use of para-social relationship theory and economic data analysis, to explain the success of reality television since the early 2000s. This study uses both qualitative and quantitative components to understand the growth of reality television. This study includes a literature analysis of both methodologies used. Focus groups were used to seek to find a strong level of para-social interaction in viewers of reality television. Two focus groups were conducted with participants 18-35. There were a total of 16 participants who attended the focus group sessions. The information collected suggested that viewers of reality television formed para-social relationships. It appeared that female viewers were more likely to form para-social relationships than male viewers.

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.

No description available.