Thesis (Ph. D.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 170-195). Available also in a digital version from Dissertation Abstracts.

<p>The purpose of our study was to examine how missing children are portrayed in media. We wanted to see if there are any recurring story patterns and characters in the texts. We also wanted to examine how the relationship between children and adults are framed and which comprehensive view of children is mediated in journalistic texts.Our questions were: how do Swedish newspapers write about missing children? Which narrative pattern are there in the texts? How are children and adults represented in the texts? What relationship between children and adults are made visible in the texts? What a comprehensive approach to children is constructed in the texts?For this study, we used the media discourse, theories of representation, stereotypes and characters. And theories of narrative, dramatic turns and opposites.We chose to make three case studies in which children suddenly disappeared, the case of Bobby Äikiä, the case of Engla Höglund and the case of Sebastian Hedman. We analyzed 93 news articles from Swedish newspapers, which were published in connection with the events. Our method was discourse analysis. We examined the characters and relationships between them, and looked at the dramaturgical construction of the articles.In our conclusion we established that the children are portrayed as helpless and weak in contrary to the adults, who are portrayed as strong and as they who are in power. The mothers of these children all play a major part in these articles while their fathers are made invisible. These texts contribute to a discourse about the vulnerability for the children.  The texts construction of children mediates an image that says that children are helpless, innocent and unprotected. Children are represented as an inferior group to adults, and without authority in the society.</p>

The purpose of our study was to examine how missing children are portrayed in media. We wanted to see if there are any recurring story patterns and characters in the texts. We also wanted to examine how the relationship between children and adults are framed and which comprehensive view of children is mediated in journalistic texts.Our questions were: how do Swedish newspapers write about missing children? Which narrative pattern are there in the texts? How are children and adults represented in the texts? What relationship between children and adults are made visible in the texts? What a comprehensive approach to children is constructed in the texts?For this study, we used the media discourse, theories of representation, stereotypes and characters. And theories of narrative, dramatic turns and opposites.We chose to make three case studies in which children suddenly disappeared, the case of Bobby Äikiä, the case of Engla Höglund and the case of Sebastian Hedman. We analyzed 93 news articles from Swedish newspapers, which were published in connection with the events. Our method was discourse analysis. We examined the characters and relationships between them, and looked at the dramaturgical construction of the articles.In our conclusion we established that the children are portrayed as helpless and weak in contrary to the adults, who are portrayed as strong and as they who are in power. The mothers of these children all play a major part in these articles while their fathers are made invisible. These texts contribute to a discourse about the vulnerability for the children.  The texts construction of children mediates an image that says that children are helpless, innocent and unprotected. Children are represented as an inferior group to adults, and without authority in the society.

This documentary film follows the group NoiseFold as they rehearse and perform their unique style of interactive video art before an enthusiastic audience. Originally hailing from the vibrant art community in Santa Fe, New Mexico, founders David Stout and Cory Metcalf return home to prepare for a special performance along with the addition of collaborator and cellist, Frances-Marie Uitti. Shot in black and white, the film aesthetically borrows from early cinema and incorporates a blend of cinéma-vérité and direct cinema styles for the purposes of creating a film that is both visually and sonically rich.

O presente trabalho estuda as figurações da homossexualidade e da homoafetividade no livro King & King, de Linda de Haan e Stern Nijland, e no filme Orações para Bobby, de Russel Mulcahy. Dialogamos com as duas e apontamos para as suas diferenças e complementaridades. Nossa análise está centrada nas relações de poder e afetividade presentes em seus processos discursivos. Nossa pesquisa fundamenta-se, primordialmente, em dois fecundos teóricos da modernidade, Michel Foucault e Judith Butler, e visa a compreender o exercício disciplinador na construção e manutenção das ordens regulatórias da homossexualidade e da homoafetividade. / The present work studies the figurations of homosexuality and homoaffection in the book King & King, by Linda de Haan and Stern Nijland, and in the film Prayers for Bobby, by Russel Mulcahy. We dialogue with both and point to their differences and complementarities. Our analysis is centered on the relations of power and affectivity presented in their discursive processes. Our research is based primarily on two fecund scholars of modernity, Michel Foucault and Judith Butler, and aims to understand the disciplinary exercise in the construction and maintenance of the regulatory orders of homosexuality and homoaffection.

O presente trabalho estuda as figurações da homossexualidade e da homoafetividade no livro King & King, de Linda de Haan e Stern Nijland, e no filme Orações para Bobby, de Russel Mulcahy. Dialogamos com as duas e apontamos para as suas diferenças e complementaridades. Nossa análise está centrada nas relações de poder e afetividade presentes em seus processos discursivos. Nossa pesquisa fundamenta-se, primordialmente, em dois fecundos teóricos da modernidade, Michel Foucault e Judith Butler, e visa a compreender o exercício disciplinador na construção e manutenção das ordens regulatórias da homossexualidade e da homoafetividade. / The present work studies the figurations of homosexuality and homoaffection in the book King & King, by Linda de Haan and Stern Nijland, and in the film Prayers for Bobby, by Russel Mulcahy. We dialogue with both and point to their differences and complementarities. Our analysis is centered on the relations of power and affectivity presented in their discursive processes. Our research is based primarily on two fecund scholars of modernity, Michel Foucault and Judith Butler, and aims to understand the disciplinary exercise in the construction and maintenance of the regulatory orders of homosexuality and homoaffection.

Mitad Argentina, mitad la republica de Bangkok, de esa mezcla radial entre realidad y la ficción Lalo Mir y compañía gestaron uno de los programas radiales humorísticos más innovadores de la historia de la radio. Corrían los tiempos de la primavera democrática en la Argentina, Daniel Grinbank dirigía la FM Rock & Pop y confió en Lalo para la conducción de un simple programa de discos. Era el furor de pasar música las 24hs del día, un concepto original en los tiempos de la primavera democrática Argentina. Pero la palabra que representaba “la voz de la calle” le ganaría la pulseada a la música, a la seriedad vacía de contenido, a un modo de hacer que estaba contra las cuerdas. Un Renault 12 convertido de manera provisoria en hogar para un Lalo Mir separado, fue el ambiente móvil donde junto a Quique Prossen y Bobby Flores y luego Douglas Vinci, sus compañeros de ruta. Ellos le dieron forma a unas palabras que se asomaron por el eter radial el jueves 23 de Abril de 1987: “Aquí Radio Bangkok”. En el programa “Radio Bangkok” trabaja un ya genial conductor y editor de radio, Lalo Mir, dos musicalizadotes que eran Boby Flores y Enrique (Quique) Prosen, y un creativo, un artista plástico, Douglas Vinci que se integra en tercer término. Tanto Boby como Quique pasaron al aire con Lalo luego de unas semanas con un solo conductor. El programa pasaba a tener tres voces y luego se sumaría Douglas. Era un programa donde las voces dejaban de ser meticulosas y cuidadas como lo venían siendo hasta entonces. El ciclo se identificaba con la trasgresión. Era una época de cambios vertiginosos. Los cuatro eran jóvenes que venían de sufrir una etapa oscura y tenían algo que decir, a su modo, con un lenguaje urbano, como en la casa, adaptado a la radio, con un mensaje cifrado en el código juvenil de trato informal, en confianza, tratando los temas que tocaban os grupos de amigos. Rock & Pop puso en evidencia la fuerte presencia de los jóvenes en la radio, con un humor surrealista destinado a un tipo de joven de clase media ilustrada, porque había un código cómplice que entender y era complejo. Después fue bajando el nivel social y el mensaje se hizo más abierto. El otro tipo de público se sentía identificado dentro de diferentes radios que apostaban a pocas palabras y a una música un tanto más comercial. Bangkok era trasgresor en tanto producía un discurso propio volcado al humor y la ironía, explotando los recursos de la radio con efectos, jingles, producciones artísticas creativas con la tecnología del momento. El lenguaje era trasgresor para lo concebido como forma de hablar al aire. Se expresaban como la gente, hasta incluso si era necesario se escuchaban algunas “puteadas”. La acidez de Lalo Mir se activaba frente al micrófono cada vez que su voz se detiene en observaciones irónicas y absurdas, de lo que pasaba en los noticieros. La provocación que hizo de Bangkok el primer quiebre en el estilo de conducción por frecuencia modulada e inspiró a una nueva generación de conductores, cuyo referente más visible es hoy Mario Pergolini. Lalo Mir, "Ese programa partía siempre del diario, pero visto desde Bangkok, y tomando esa realidad con el absurdo y la ridiculez más grandes." Así resume Mir un estilo que consistía en parodiar las noticias del día, vistas desde la capital de Tailandia. Radio Bangkok lo hacíamos cuatro pibes que éramos de la calle. No estábamos bien organizados para sostener algo “serio”, pero con Lalo, Quique y Douglas teníamos años de radio encima y dentro de ese caos sabíamos perfectamente lo que hacíamos. A favor no teníamos nada: ni plata, ni influencias, ni buena imagen, pero compartíamos el gusto con la gente. Nadie se bancaba más la radio que había en los 80s, era como un boxeador cuando lo ves que tuvo su momento de gloria y ya no gana hace 2 años, la estructura radial era esa y justo aparecimos nosotros. En esa época en la AM habían pesos pesados como Héctor Larrea y Antonio Carrizo, pero cuando arrancamos en FM a la mañana no había nada, era como hoy tener un programa en Internet. No había un plan pensado sobre como lograr un gran éxito, todos teníamos un laburo más importante y nos divertíamos haciendo Radio Bangkok. “Bangkok era genial que estuviera, no éramos genios. Escuchabas temas que la AM no permitía, pasábamos música como The Cult, The Doors y las cosas se decían como la hablábamos nosotros, con el “lenguaje” de la calle. Nosotros habíamos sufrido una dictadura militar donde tenías que comportarte de determinada manera para que no te jodieran, porque si no directamente te mataban, eso generó gente como nosotros: una generación golpeada. Los realizadores de Radio Bangkok ven a la distancia que era una época muy difícil para preproducir, Douglas Vinci recuerda que: “era otro mundo, otro acceso a la música, no había información, no conocíamos la cara de Eric Clapton, no sabíamos si Bob Marley era negro o blanco, hoy con Internet te parece increíble pero era así”. No sé cómo se dio, pero hubo un momento en el qué explotó todo y nosotros ya estábamos adentro. Nunca supimos por donde empezó esa explosión pero sí vivimos los efectos, venía la gente de la tele a hacernos notas, las modelos a sacarse fotos, una verdadera locura. Hay que tener en cuenta que fuimos la primer radio generada en democracia, en ese momento Rock & Pop era lo que la gente quería, alguien tenía que rehacer la radio. Éramos uno de los emergentes de una sociedad callada que catapultó a personajes como Jorge Lanata, Ricardo Piglia, Rodrigo Fresán, Los Redondos y muchos más que hoy son referentes. / Tesis de producción sonora acompañada de una carpeta que complementa el trabajo con una indagación sobre los consumos culturales de los años 80.

This document outlines the research, development and production of a creative work and accompanying exegesis in partial fulfilment of the requirements for the Master of Communication Studies (MCS) programme. It includes the first draft of a feature film screenplay and an exegesis that explores the research conducted, the theoretical context of the work, and analyses the screenwriting process undertaken. The Bobby Calf (2008) is the first draft of a feature film screenplay that uses a non-classical and non-linear narrative structure to tell the story of its main characters and advance the plot. A psychological drama set in rural New Zealand, The Bobby Calf (2008) was originally inspired by the Janet Frame short story The Reservoir (1963), a story based on a group of youngsters who venture forth to discover the forbidden reservoir; a place their parents had forbid them from going. Set in the outskirts of a small farming settlement, the story is a dark and gothic depiction of rural life and the harshness of reality faced by those brought up in a lifestyle they did not choose. The story focuses on the journey of ADAM (21); both as a young boy in 1988 (called JOHNNY) and as a young adult in 1997, and his mother CATH; a woman whose dreams and aspirations for her son and indeed her own life are slowly slipping away. The story centres on Adam as he grows more uncomfortable with how his life has ended up, and his discovery that the life he has been destined to fulfil is not the one he has chosen. Accompanying the screenplay is an exegesis that explores the research conducted previously on the history of non-classical/non-linear narrative structures and the rationale behind the success and limitations of this now-popular form of storytelling. These types of narrative structures are not a new phenomenon, and as many authors have attested, the basis of this form of storytelling is rooted in the history of screenwriting and film making, and borrows many techniques from theatre and literature.

This document outlines the research, development and production of a creative work and accompanying exegesis in partial fulfilment of the requirements for the Master of Communication Studies (MCS) programme. It includes the first draft of a feature film screenplay and an exegesis that explores the research conducted, the theoretical context of the work, and analyses the screenwriting process undertaken. The Bobby Calf (2008) is the first draft of a feature film screenplay that uses a non-classical and non-linear narrative structure to tell the story of its main characters and advance the plot. A psychological drama set in rural New Zealand, The Bobby Calf (2008) was originally inspired by the Janet Frame short story The Reservoir (1963), a story based on a group of youngsters who venture forth to discover the forbidden reservoir; a place their parents had forbid them from going. Set in the outskirts of a small farming settlement, the story is a dark and gothic depiction of rural life and the harshness of reality faced by those brought up in a lifestyle they did not choose. The story focuses on the journey of ADAM (21); both as a young boy in 1988 (called JOHNNY) and as a young adult in 1997, and his mother CATH; a woman whose dreams and aspirations for her son and indeed her own life are slowly slipping away. The story centres on Adam as he grows more uncomfortable with how his life has ended up, and his discovery that the life he has been destined to fulfil is not the one he has chosen. Accompanying the screenplay is an exegesis that explores the research conducted previously on the history of non-classical/non-linear narrative structures and the rationale behind the success and limitations of this now-popular form of storytelling. These types of narrative structures are not a new phenomenon, and as many authors have attested, the basis of this form of storytelling is rooted in the history of screenwriting and film making, and borrows many techniques from theatre and literature.

Thesis (Ph. D.)--Ohio State University, 2005. / Title from first page of PDF file. Document formatted into pages; contains viii, 190 p.; also includes graphics. Includes bibliographical references (p. 186-190). Available online via OhioLINK's ETD Center