This thesis is a study of key broadcasting magazines published in the United Kingdom prior to the Second World War. At its centre is the premise that the relationship between broadcasting and the magazine industry evolving around it was symbiotic in nature. The relationship was complex because the broadcasters provided much of the material for the magazines to publish and therefore could potentially use this as a tool for influence and publicity, as they sought to stimulate the demand for their output in the British public. However, the magazines were the mediators of the flow of communication. Their editorial content not only provided a critical commentary on material broadcast but also represented a direct conduit between the readers/audience and the broadcasters by providing a forum for the readers/audience to publish their views. Exploring the history of early broadcasting from the perspective of this material reveals the interdependency between the radio stations/broadcasters, the magazines and ultimately, how they connected to the readers/audience. While there have been other partial studies of broadcasting magazines, particularly the Radio Times, these have not assessed the magazine against other contemporary magazines, nor have they placed the magazine within a broadcasting history context. This study not only considers the magazines against the background of the growing broadcasting industry, it also explores what wireless meant to its first audience. This was a crucial element for understanding how the public responded to the developments which were taking place in the 1930s, when commercial enterprises encroached on the BBC’s monopoly and attempted to poach its listeners.

The Crown Film Unit (CFU) was the British Government’s principal in-house film production facility during the years 1940 to 1952. Over this period it produced around 225 films of different types and lengths ranging from short five minute Public Information Films to feature length cinema exhibited pictures. A very few of the latter, such as Target for Tonight (1941) or Fires Were Started (1943) have become iconic representations of both the bomber offensive and the Blitz during the Second World War. Although these films only represented a very small percentage of the CFU’s entire catalogue they have, in the main, dominated academic discourse about the Unit. This research has sought to explore the full production canon of the CFU and, in particular, to examine its importance and legacy. In doing so it has also engaged with the debates about the role of film propaganda especially as it impacted upon the self-image and morale of the British people during and after the War. It also examines the role and position of the Unit in the development and history of the Documentary Movement. To achieve these research aims the Crown Film Unit is first situated in its historical context and the influences of its predecessors over the previous forty or so years are examined. Subsequently a new classification paradigm is developed which allows the films themselves to be reviewed according to theme. Locating each of the films in a particular dynamic framework enables them to be evaluated from the appropriate social, economic, political or military perspectives. The films are also considered in the context of their reception which, in the case of the CFU was not just cinematic exhibition but also a substantial non-theatrical audience watching, not only in the UK, but across the world. The penultimate chapter examines the legacy of the CFU demonstrating that it had an important impact upon British and overseas feature film making in the 1950s, but it also made a currently undervalued contribution to the subsequent development of both Public Information, training, advertising and instructional films. The research concludes that although perhaps still best described as a Documentary Film Unit the role of the CFU was far more nuanced.

Includes abstract. / Includes bibliographical references (leaves 30-31). / The thesis film project, Mile in My Shoes, is a narrative depiction of a particular South African experience that consists of broader implications. It utilizes the ghetto/township setting to illustrate diverse, counter hegemonic depictions of black and especially black African characters, lifestyles, images, love, gender, and their position/focus in film.

Title of CD-ROM is "Unwritten Letters", written and directed by Alyxia Geanotes. / Includes bibliographical references. / This dissertation sets out to explore the complexities inherent in working with children in a filmic context. The focus is on creating a set of guidelines for other emergent filmmakers to use when and if they choose to work with children in film. It will analyse how the complex dynamics of children and film together create both the obstacles and inspirations in filmmaking. The film Unwritten letters forms the platform for the analysis and discussion around the nature of children and the filmic environment with specific attention to Directorial techniques and Professional practice. It forms the basis for posing a number of theoretical questions about Realism and the intricate dynamics at work when dealing with children in film.

This thesis explores the expansion of British television in the 1950s and 1960s and its relationship to social and cultural change. During this period, television developed into an industry and mass medium and this coincided with a cultural shift from a seemingly consensual society of post-war austerity to a society characterised by fragmentation, individualism and consumerism. By combining a re-examination of existing histories of British television with a discussion of television programmes and sociological theory, this thesis explores the complex relationship between the expansion of television and that social and cultural change. The thesis shows how television represented these changes, and how it presented competing discourses about consumer culture in a range of programmes including action adventure series, pop music and women's programmes. It also demonstrates how television promoted class and cultural conflict in its individual programmes such as situation comedies and dramas, and through juxtaposition of high and low cultural vales, themes and forms in its mixed programme schedule. By looking at issues such as intimacy, performance, authenticity and sociability, the thesis argues that television promoted its own status as an increasingly centralised cultural form. It proposes that television established social categories which became embedded and naturalised over time, and this created the potential to define social experience. The thesis therefore concludes that the examination of the expansion of television in the 1950s and 1960s is of importance for understanding the operation of media power today.

This thesis investigates a variety of uses of actuality (recorded speech), oral history and folklore (vernacular culture) in radio broadcasting in Britain and Newfoundland (Canada). The broadcasting of vernacular culture will be shown to foster intimate and interactive relationships between broadcasters and audiences. Using a theoretical framework that draws upon the work of communications theorists Harold Innis and Walter Ong, the thesis will explore the (secondary) orality of radio broadcasting, and will consider instances in which the normative unidirectional structure and 'passive' orality of radio has been (and can be) made reciprocal and active through the participation of listeners. The inclusion of 'lay voices' and 'vernacular input' in radio broadcasting will be charted as a measure of the democratization of radio, and in order to demonstrate radio's role in disseminating oral history, promoting dialogue, and building and binding communities. The thesis will predominantly focus on local and regional forms of radio: the BBC Regions in the post-war era; regional radio programming serving the Canadianprovince ofNewfoundland both pre- and post-Confederation (which took place in 1949); and the community radio sector in the UK during the last five years. A common theme of many of the case studies within the thesis will be the role of citizen participation in challenging, transgressing or eroding editorial control, institutional protocols and the linguistic hegemony of radio production. Conversely, close attention will be given to the ways in which editorial control in radio production has circumscribed the self-definition of participants and communities. These case studies will provide evidence with which to investigate the following research question - is the democratization of radio possible through the incorporation of citizen voices or messages within radio production or programming, or is it only possible through changing the medium itself through citizen participation in democratic structures of production, management and ownership?

The news media are considered a significant force in conflict situations, capable of influencing antagonists and their actions. Whether this influence is constructive or destructive is determined by the nature of journalism presented to the warring sides. News content that holds the other side responsible for the strife and focuses on violence is likely to exacerbate the situation. Sustained reportage on the possibilities and need for peace, on the other hand, could contribute to a political climate suited for peace negotiations. This India-centric study examines the Kashmir conflict in this context. While the coverage of more recent conflicts such as the Gulf Wars and the 'War on Terror' in Afghanistan has evoked sustained scrutiny from media scholars, there is little empirical work on the news on Kashmir. The objective here is to profile the nature of coverage the Indian and Pakistani press accorded the conflict, which could provide an empirical foundation for future discussions and research on Kashmir. Selected news reportage of 10 major events that appeared in two national Indian newspapers and one Pakistani daily is examined for this purpose. By utilising an original coding scheme that draws on conflict journalism, media effects and agenda-setting theories, this study arrives at an indicative overview of the journalism on Kashmir presented to the two publics over the years. The analysis is more reliant on what appeared in the Indian press, and has been contextualised by data drawn from personal interviews with Indian policymakers. Hence it is largely from an Indian perspective. However, the inquiry provides insights into the Pakistani coverage as well. The conclusion, based on patterns that emerged from the news presented to the two warring societies, is that the coverage was vigorously government-led and intensely 'negative'.

The aim of this thesis is to provide a contribution to knowledge in two areas. Firstly, it seeks to further our understanding of the historical conditions of British television drama production; in particular the constraining and liberating influences of production space on the role of the director, and their decision-making process to bring script to screen. Secondly, the work develops the concept of re-enactment as a practice-based augmentation for archive-based textual reconstruction. As such, the thesis offers deeper discussions on the human context missing from current historiographic approaches to broadcast research. The thesis develops a re-enactment methodology that, via practical realisation, allows researchers to gain insight into the production dynamics of a particular era in history to learn about ‘in the moment’ directing decision-making. This is applied to a practice based experiment that includes creating a simulation of 1960s production conditions in order to explore the following research question: how would the decision-making process of producing contemporary television drama be affected by the conditions of 1960s production space? I argue that contemporary location-based production is as constraining as the studio it purports to rise above, yet without the same possibilities for creative reaction to counteract the limitations that historical conditions allowed. As a flagship BBC series reflecting contemporary industry practice, Doctor Who is used as the vehicle for analysis. The experiment focuses on a historical re-enactment of a 2006 episode of Doctor Who, “Tooth and Claw”, written by series executive producer Russell T Davies. The re-enacted audio-visual text is provided on DVD along with artefacts that encapsulate the process of production, informing analysis and reflection.

Television formats have become a major export product, with Britain alone accounting for nearly half of all format hours broadcast annually worldwide. Yet, there is no such thing as a television format right under copyright law. Any producer is free to develop game, reality and talent shows that are based on similar ideas. This research analyses the paradox of growth in the international trade of formats in the absence of any legal solutions which provide precise and enforceable governance. The research first assesses the limits of copyright law as a means of protecting formats, by creating a bespoke database of 59 format disputes reported in the trade press and in online services. Disputes are categorised by jurisdiction, ground of dispute and decision or settlement. Secondly, theoretical propositions of format protection are developed, based on theories from the diverse fields of cultural theory (production of culture perspective), marketing (brand identity, innovation and extensions) and media economics (distribution dynamics and scale of production). These propositions then are exposed to semi-structured interviews with format sellers at international television trade fairs, as well as senior managers at Fremantlemedia (a leading format originator and distributor). The qualitative data is synthesized into a theory of format trade using IP and market based means of protection. Format developers appear to use three groups of strategies to exploit TV formats internationally. These are (1) Formalization and transaction of know-how (format bibles, flying producers, confidentiality agreements and access control); (2) Managing the brand (brand identity, localisations, brand extensions, innovation, trademarks); (3) Distribution dynamics and industry conventions (scale of production, social networks, retaliation, trade fairs). This research contributes to original knowledge in media and cultural industries management by first empirically illustrating a recurrent, under-researched problem and then advancing a theory to understand industry behaviour to overcome the same.

The first use of recorded sound in a feature film was in Don Juan (Crosland 1926). From 1933 onwards, rich film scoring and Foley effects were common in many films. In this context, Dracula (Browning 1931)1 belongs to the transitional period between silent and sound films. Dracula’s original soundtrack consists of only a few sonic elements: dialogue and incidental sound effects. Music is used only at the beginning and in the middle (one diegetic scene) of the film; there is no underscoring. The reasons for the ‘emptiness’ of the soundtrack are partly technological, partly cultural. Browning’s film remains a significant filmic event, despite its noisy original soundtrack and the absence of music. In this study Dracula’s original dialogue has been revoiced, and the film has been scored with new sound design and music, becoming part of a larger, contextual composition. This creative practice-based research explores the potential convergence of film sound and music, and the potential for additional meaning to be created by a multi-channel composition outside the dramatic trajectory of Dracula. This research also offers an analysis of how a multi-channel composition may enhance or change the way an audience reads the film. The audiovisual composition is original, but it uses an existing feature film as an element of the new art piece. Browning’s Dracula gains a new interpretation due to the semantic meaning provided by associations with major cataclysmic events of the 20th century, namely the rise of two totalitarian powers in Europe. The new soundtrack includes samples from the original that are modified, synthesised and re-worked: elements of historical speeches; quotes from Stoker’s Dracula; references to the sounds of the time period (Nazi rallies, warfare, Soviet prosecution), and the original recordings of Transylvania (similar to the geographical location and season Stoker describes in Dracula). 1 Dracula (in italics) will refer to Browning’s film (1931) throughout this paper. The soundtrack composition also includes elements of a new, specially composed Requiem, which share the same sonic and musical expression tools: music language, varying sound pitch, time stretch, granular synthesising, and vocal techniques such as singing, speech, whispering, etc.).