From the earliest days of English-language Canadian Broadcasting Corporation television (CBC-TV), the military has been regularly featured on the news, public affairs, documentary, and drama programs. Little has been done to study these programs, despite calls for more research and many decades of work on the methods for the historical analysis of television. In addressing this gap, this thesis explores: how media representations of the military on CBC-TV (commemorative, history, public affairs and news programs) changed over time; what accounted for those changes; what they revealed about CBC-TV; and what they suggested about the way the military and its relationship with CBC-TV evolved. Through a material culture analysis of 245 programs/series about the Canadian military, veterans and defence issues that aired on CBC-TV over a 40-year period, beginning with its establishment in 1952, this thesis argues that the conditions surrounding each production were affected by a variety of factors, namely: (1) technology; (2) foreign broadcasters; (3) foreign sources of news; (4) the influence of the military and its veterans; (5) audience response; (6) the role played by personalities involved in the production of CBC-TV programs; (7) policies/objectives/regulations set by the CBC, the Board of Broadcast Governors and the Canadian Radio-Television Commission (later, Canadian Radio-television and Telecommunications Commission); (8) ambitions for program development and the changing objectives of departments within the CBC; (9) economic constraints at the CBC; (10) CBC-TV’s relations with the other producers of Canadian television programming, like the NFB; and, (11) broader changes to the Canadian social, economic, political and cultural scenes, along with shifts in historiography. At different times, certain of these conditions were more important than others, the unique combination of which had unpredictable results for programming. The thesis traces these changes chronologically, explaining CBC-TV’s evolution from transmitting largely uncritical and often positive programming in the early 1950s, to obsession with the horrors of war and questioning of the military’s preparedness by decade’s end, to new debate about the future of the forces and the memory of war in the 1960s, to a complex mixture of activism, criticism and praise in the 1970s and 1980s, and, finally, to controversy and iconoclasm by the 1990s.

This dissertation investigates the mediation of art on Swedish television during the 1950s and 1960s. The aim is to examine how the new medium of television was put to use in the dissemination and promotion of contemporary and modernist art during this time. The primary research question concerns the significance and consequences of television as a media form for the practices of art popularization and art education. The introduction of the new medium coincided with the post-war emergence of the welfare state and ambitions of governmental and non-governmental organizations and initiatives to make modern art an integral part of modern society. This dissertation investigates the role and significance of television in these endeavours from the point of view of Sveriges Radio/TV, by focusing on the actors involved as well as the form and content of arts programming at the time. The study makes use of mediatization theory and the concept of remediation, in order to capture and analyse the dynamics as well as the conflicts between television and art at the time. The study uses the method of media-specific genre analysis, inspired by cultural theory, asserting that arts programming is a cultural category made up of practices and processes and interwoven with ideological structures and power relationships. The dissertation is divided into three chapters investigating different aspects of the phenomenon of art on TV during the specific historical period.  The dissertation shows how the 1950s and 1960s witnessed great hopes for television as a way of disseminating art and educating the public on matters of art, aspirations closely connected to notions of art distribution as a way to achieve cultural democratization. First and foremost, however, the close study of the practices of arts programming shows how the relationship between television and art at the time was also characterized by problems and conflict. Using the terminology of mediatization theory, it is possible to speak of conflicts between distinct logics. These conflicts can further be understood on several levels, adhering to the twin logics of remediation: transparent immediacy and hypermediacy. The actors involved all shared a view of television as the great medium of the future when it came to disseminating and promoting art to the wider public. However, they also shared notions of television’s limitations when it came to the matter of ”doing justice” to a work of art when broadcast. This was first and foremost considered to be purely a matter of technical limitations, such as the lack of colour and the small screen size. It is however also evident that the actors’ view of their task and that of the medium with regard to arts programming, to represent works of art to the viewers as honestly as possible, delimited the form and content of shows and programming. On another level, the conflict between art and television was a matter of art’s supposedly critical and societal value. According to the actors, art was considered something other than regular programming, in the sense that art constituted different ways of seeing and perceiving the world. The function and importance of arts programming, then, was considered to be in the ways it differed from regular programming, making possible to educate the TV-viewing public in critical thinking towards the manipulation of media as well as providing ways of developing the form and aesthetics of the television medium.

This dissertation investigates how history is used in historical documentary films, and argues that the maker of such films constantly negotiates between cognitive, moral, and aesthetic demands. In support of this contention is discussed a number of historical documentaries by Swedish historian-filmmakers Olle Häger and Hans Villius. Other historical documentaries supply additional examples. The analyses take into account both the production process and the representations themselves. The history culture and the social field of history production together form the conceptual framework for the study, and one of the aims is to analyse the role of professional historians in public life. The analyses show that different considerations compete and work together in the case of all documentaries, and figure at all stages of pre-production, production, and post-production. But different considerations have particular influence at different stages in the production process and thus they are more or less important depending on where in the process the producer puts his emphasis on them. In the public service television setting, the tendency to make cognitive considerations is strong. For example, historical documentarists often engage historians as advisors, and work long and hard interpreting visual source materials such as photographs. The Häger and Villius case also indicates that the influence exerted on programmes by aesthetic considerations grows as the filmmaker learns about the medium. Among general conclusions are that it is not always important that the producer be a trained historian. What is crucial is that whoever is to succeed in making fine historical programmes must learn both history and filmmaking, must learn to balance the demands of content and form. Previously, researchers have suggested that historical documentaries function as entertainment, orientation, and restoration; this study adds the functions of interpretation and legitimisation. Finally, the study submits that typically historical documentaries attempt to convey cognitive and moral insights about the past.

This dissertation investigates how history is used in historical documentary films, and argues that the maker of such films constantly negotiates between cognitive, moral, and aesthetic demands. In support of this contention is discussed a number of historical documentaries by Swedish historian-filmmakers Olle Häger and Hans Villius. Other historical documentaries supply additional examples. The analyses take into account both the production process and the representations themselves. The history culture and the social field of history production together form the conceptual framework for the study, and one of the aims is to analyse the role of professional historians in public life. The analyses show that different considerations compete and work together in the case of all documentaries, and figure at all stages of pre-production, production, and post-production. But different considerations have particular influence at different stages in the production process and thus they are more or less important depending on where in the process the producer puts his emphasis on them. In the public service television setting, the tendency to make cognitive considerations is strong. For example, historical documentarists often engage historians as advisors, and work long and hard interpreting visual source materials such as photographs. The Häger and Villius case also indicates that the influence exerted on programmes by aesthetic considerations grows as the filmmaker learns about the medium. Among general conclusions are that it is not always important that the producer be a trained historian. What is crucial is that whoever is to succeed in making fine historical programmes must learn both history and filmmaking, must learn to balance the demands of content and form. Previously, researchers have suggested that historical documentaries function as entertainment, orientation, and restoration; this study adds the functions of interpretation and legitimisation. Finally, the study submits that typically historical documentaries attempt to convey cognitive and moral insights about the past.

Submitted by Wellington Amarante Oliveira null (prof.amarante@gmail.com) on 2017-10-27T08:56:09Z No. of bitstreams: 1 TESE FINAL WELL.pdf: 5251434 bytes, checksum: 4357b26d8c8cced6f2947a6ae8a5d6cc (MD5) / Approved for entry into archive by Monique Sasaki (sayumi_sasaki@hotmail.com) on 2017-10-31T19:21:01Z (GMT) No. of bitstreams: 1 oliveira_wa_dr_assis.pdf: 5251434 bytes, checksum: 4357b26d8c8cced6f2947a6ae8a5d6cc (MD5) / Made available in DSpace on 2017-10-31T19:21:01Z (GMT). No. of bitstreams: 1 oliveira_wa_dr_assis.pdf: 5251434 bytes, checksum: 4357b26d8c8cced6f2947a6ae8a5d6cc (MD5) Previous issue date: 2017-08-31 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / 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 vezes com práticas semelhantes, o que confirma a inserção das emissoras no debate internacional, aberto em vários países, sobre as formas de potencializar os usos educativos da televisão na superação das desigualdades socioeconômicas, mas também na exploração do audiovisual educativo um novo nicho de mercado. A La Cinquième e o Canal Futura se utilizaram constantemente do termo conhecimento, estratégia reveladora da busca por uma imagem de inovação frente às representações de que a veiculação de conteúdos educativos na TV seria algo arcaico e tedioso. A difusão do conhecimento assumiria um ar mais leve, arrojado, moderno, ligado ao mundo da descoberta. Por fim, as tanto a La Cinquième quanto o Canal Futura aproximaram-se definitivamente dos elementos consagrados no campo televisivo, o que se expressou na utilização de artistas renomados, gêneros populares e outros formatos ligados ao entretenimento. / 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. La Cinquième and Canal Futura have constantly used the term knowledge, a strategy that reveals the search for an image of innovation in face of representations that the airing of educational content on television would be archaic and tedious. The diffusion of knowledge would embrace a lighter, enterprising, modern air, linked to a world of discovery. Finally, both La Cinquième and Canal Futura got closer to what would become a definitive relation with the elements consacreted in the television field, which has expressed itself through the use of renowned artists, popular genres and other entertainment-related formats. / FAPESP: 2013/17906-2