The principal research question of this study is framed as: Do prevailing, industrially and politically sourced definitions of Digital Exhibition faithfully represent the phenomenon's position within the contemporary media theory framework? Within this work Digital Exhibition is defined as: The practice of presenting moving images, either live or pre-recorded, to paying audiences, in public spaces, by means of digital distribution and projection. The majority of established literatures concerning Digital Exhibition are aimed at producing categorical definitions of the phenomenon. These 'meaning making' discourses commonly stem from potentially ideologically affected sources. To address this issue, the author has investigated the political economy of key commentators, and Digital Exhibition has been impartially researched following a 'case studies' methodology; with an analytical framework based upon a series of 'plausible rival hypotheses'. These hypotheses include that Digital Exhibitionism is: • a form of the cinema • a form of television • a new (new media) medium • multiple media • not a medium. It is presented that each investigated hypothesis can be argued to be legitimate when employing established media theories as the means of rationalisation. Nevertheless, the author concludes that individual industrially/politically charged definitions still do not provide an adequately comprehensive account as to the wealth of interpretations that can be drawn for Digital Exhibition. The author also presents his own perspective as to the subjective nature of contemporary media taxonomies, and ultimately proposes that Digital Exhibition is not a medium, but is a designation offered to a subjectively defined collection of events made possible through the transmission of computational binary pulse signals.

The principal research question of this study is framed as: Do prevailing, industrially and politically sourced definitions of Digital Exhibition faithfully represent the phenomenon¿s position within the contemporary media theory framework? Within this work Digital Exhibition is defined as: The practice of presenting moving images, either live or pre-recorded, to paying audiences, in public spaces, by means of digital distribution and projection. The majority of established literatures concerning Digital Exhibition are aimed at producing categorical definitions of the phenomenon. These ¿meaning making¿ discourses commonly stem from potentially ideologically affected sources. To address this issue, the author has investigated the political economy of key commentators, and Digital Exhibition has been impartially researched following a ¿case studies¿ methodology; with an analytical framework based upon a series of ¿plausible rival hypotheses¿. These hypotheses include that Digital Exhibition isM ¿ a form of the cinema ¿ a form of television ¿ a new (new media) medium ¿ multiple media ¿ not a medium It is presented that each investigated hypothesis can be argued to be legitimate when employing established media theories as the means of rationalisation. Nevertheless, the author concludes that individual industrially / politically charged definitions still do not provide an adequately comprehensive account as to the wealth of interpretations that can be drawn for Digital Exhibition. The author also presents his own perspective as to the subjective nature of contemporary media taxonomies, and ultimately proposes that Digital Exhibition is not a medium, but is a designation offered to a subjectively defined collection of events made possible through the transmission of computational binary pulse signals.

Thesis (M.A.)--Indiana University, 2010. / Title from screen (viewed on February 26, 2010). Department of Communication Studies, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Catherine A. Dobris, Ronald M. Sandwina, Kim D. White-Mills, Kristina H. Sheeler. Includes vitae. Includes bibliographical references (leaves 68-70).

Indiana University-Purdue University Indianapolis (IUPUI) / This thesis sought to understand the messages Black women receive from contemporary images and how these messages may be used to help them develop a sense of womanhood. The framework for the analysis used in this research lies within the feminist standpoint theory and Black feminist thought. The interviews conducted for this research helped to reveal that young Black women recognize patterns within the images of Black women in contemporary media. The images help them to understand the treatment of Black women and about the Black women they want to be.

Recent media scholars have taken, as their focus, relationships between qualitative research methods and examinations of contemporary media texts (e.g., Fox, 2013; Manning, Dunn, & Stern, 2012; Meyer, 2012). The purpose of this panel is to further examine these relationships. Participants will demonstrate how a qualitative research method (e.g., ethnography, autoethnography, narrative analysis, textual or discourse analysis, audience studies) can be used to study contemporary television and film texts (e.g. Coronation Street, Here Comes Honey Boo Boo, Orange is the New Black, Mad Men, Cabin in the Woods, The Butler). Participants will first discuss their particular method and then provide an exemplar of that method as they examine their chosen media text(s). To assist with the audience discussion of these methods and texts, participants will also include a brief clip/excerpt of their chosen texts.

Thirty-three young Black men of the Post-Hip Hop Generation (ages 18-25) in Austin, TX, participated in a qualitative study centering on questions investigating Black manhood, media use, and the consumption of popular cultural products. Further, the researcher examined representations of Black men throughout music videos, films, and MySpace profiles. The purpose of this study was to enhance our knowledge about how Black manhood is being defined, conceptualized, and expressed by young Black men, and how significant media and cultural consumption plays a role in their lives. This study probes six questions: RQ1: How do young Black males interpret the images and messages about Black men from mainstream media? RQ2: What types of cultural products are being consumed by young Black men? Why do they consume them? RQ3: How do young Black males define Black manhood? RQ4: Do these cultural products influence the ways that young Black men define/express Black manhood? If so, how? Focus group sessions were conducted throughout the study, which were video recorded and transcribed. Transcriptions were then imported into a qualitative software program known as Atlas.ti, where statements related to the purpose of the study were coded and analyzed. These coded statements were then compared to observations made by the researcher from the examined media representations. / text

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