More recent theories of the 'revolutions' of 1989 in the societies of Eastern and Central Europe now suggest that the underlying dynamic was continuity rather than disjuncture in terms of social and political relations. Yet such theories fail to explain the nature of and the reasons for this continuity in terms of gender relations in the public sphere. The thesis suggests that the clue to understanding the nature of the gendered transformation in Poland's public sphere in its mediated aspects between the years 1980 and 1994 lies in the role of 'socially inherited memory'. Socially inherited memory is the dialectical and gendered process by which a given society both remembers and forgets past events, feelings, thoughts and knowledge through representations. The key to Poland's social memory concerns the repressed stories of political right developed during the nation's period of identity formation in the nineteenth century and interwar years. Certain aspects of this social inheritance were recalled by the Polish United Workers' Party and then by Solidarity to legitimize their power: Because Poland's social memory was formed around the public exclusion of women and Poland's ethnic minorities this resulted in the continuation of exclusionary mechanisms and public ghettoization after World War Two, and, in the 1980s and 1990s. However, the evidence of the thesis also suggests that there were sub-plots of women's resistance and inclusion within the public sphere from at least the nineteenth century onwards. Thus the exclusionary impact of socially inherited memory is not an inevitable historical process: At particular historical moments inclusive representations of women and ethnic minorities are recalled or reenacted in the form of Public organisations or alternative cultural productions. Socially inherited memory it is suggested may provide a useful concept for examining the (en)gendering of the public sphere in other societies.

Thesis (Ph.D.)--Bowling Green State University, 2007. / Document formatted into pages; contains x, 167 p. Includes bibliographical references.

Thesis (Ph. D.)--Georgia State University, 2006. / Title from title screen. Gregory Smith,committee chair; Angelo Restivo, Ted Friedman, Kathryn Fuller-Seeley, Emanuela Guano, committee members. Electronic text (310 p. : ill. (some col.)) : digital, PDF file. Description based on contents viewed July 13, 2007. Includes bibliographical references (p. 303-310).

Thesis (Ph. D.)--University of Texas at Austin, 2004. / Supervisor: Elizabeth A. Vandewater. Vita. Includes bibliographical references.

Thesis (M.S. Ed.)--Northern Illinois University, 2007. / Includes bibliographical references (leaves [65]-68).

The approach that emphasises the active audience, and the subversive potential of audience encounters with texts, has greatly influenced the study of media fandom which has tended to see media fans, and the cultures they produce, as set in opposition to writers and producers. My thesis challenges this view of the relationships between fans and producers by examining fan-producers in contemporary television. This research challenges the influential theoretical models that see authorship as a major source of social control and thus sees audiences that 'poach' meanings from texts as engaged in rebellion. The approach that perceives fandom as in opposition to the meanings of production falls short in representing the complexity of fan and producer interactions and thus curtails our understanding of these relationships. My thesis moves beyond the untenable opposition between fans and producers and, in doing so, paves the way for an understanding of fan studies more suitable for the contemporary, and still developing, climate of audience interactions. I believe that the practices of fandom demonstrate that consumption and authorship are more closely linked than previous tendencies to divide them would suggest. Previous works have served to both underestimate fandom, as powerless rebels or dupes, or exaggerate its position as a force of political or cultural resistance. My research engages with the contemporary developments within fan culture, and emphasises the importance of deconstructing monolithic ideas of the media industry in order to better understand the influences and pressures placed on the figure of the fan-producer. I argue that the media industries are not as homogeneous as previously implied, and that the fan-producer is forced to negotiate the complex and often conflicting relationships within the worlds of both fandom and official production.

Title: Olympic Broadcast Rights Objectives: The main objective of this thesis is to analyse the revenue derived from the sale of the broadcasting rights to the Olympics by Olympic Movement. In the thesis are analysed the total sum of revenue, selected territory and compared the proportion that belongs to the International Olympic Committee and the Organizing Committee of the Olympic Games. The secondary objective is to adapt and calculation of the conversion mechanism for the transfer of amounts reported in different currencies in different periods. Methods: Data collection is performed a secondary analysis of documents. The basic aggregate consist of the Summer Olympic Game held 1960 - 2012. The observed variables are: total revenue from broadcasting rights, revenue from broadcasting rights from Europe, the revenue from broadcasting rights from the U.S., revenue from broadcasting rights in Canada, revenue from broadcasting rights from Australia, revenue from broadcasting rights from Japan, the revenue from broadcasting rights in others countries, the number of hours produced from OH, the percentage distribution of revenues from broadcasting rights in the Olympic Movement. The transfer to the same currency using the conversion mechanism which is based on the consumer price index , purchasing power...

This dissertation examines a commercial media culture as articulated by a television production company in Stockholm, Sweden, and is based on nine months of extended fieldwork. The dissertation discusses the production process, its problems and constraints, and the role of the producer using a theoretical framework elaborated by Pierre Bourdieu. The TV producers are involved in a constant process of interpretation, evaluation and negotiation related to the symbolic and economic power relationships that determine the field. The practical production cannot be reduced to a one-way communication system. Commercial TV production involves more than supplying the channels with those programs they demand and attracting the desired target groups; programs produced at the company must be "good" and give a "value" to the viewers. The production process implies a tightly interwoven relationship between the producer and the audience, conceived of in terms of "the average person". The producers create an image of an audience based on statistical figures, reference persons, viewer ratings and of themselves functioning as surrogate audience. This constructed viewer wants something more than pure entertainment. The public-educator ideal that has been a reason for the Swedish public-service-television's authority and legitimacy, has come to be an important component of the television produced at the described television company. A public-service tradition is reformulated to fit into a modern, commercial context, at the same time as it legitimizes and gives meaning to its own enterprise. The created viewer's demand for entertaining knowledge and information is satisfied.

No description available.

Thesis (M.A.)--University of Delaware, 2006. / Principal faculty advisor: Nancy Signorielli, Dept. of Communication. Includes bibliographical references.