Periods of crisis communication are uncertain, at best, for any organization dealing with a product tampering. This study examined how the public would use the media to gain information about the product tampering, if there would be a difference between newspaper and television usage, and what gratifications the public would seek from the media.The hypothesis stated that there would be no significant difference in media use during product tampering cases between newspapers and television. Three hundred eighty-eight households, the number needed for statistical reliability, were surveyed by telephone in the Muncie, Indiana, area. Results of the data supported the hypothesis. / Department of Journalism

Within the context of debates concerning the impact of media on audiences, this study takes the form of a qualitative audience reception analysis; to investigate how a particular group of female audiences situated in Zimbabwe interprets televised HIV/AIDS prevention advertisements. It examines the extent to which the social context influences the audiences’ acceptance or rejection of preferred readings encoded in the texts. The study is situated within the broad theoretical and methodological framework of both the communication for development and the cultural studies approaches to the study of the media. Data for the investigation was collected through the focus group and in-depth interview methods as well as through the websites and organisational documents produced by the encoders of the advertisements. The findings indicate that the female audiences’ interpretative strategies were informed by their lived experience as well as pre-existing knowledge. Based on the findings it can be deduced that, contrary to earlier beliefs and media theories such as that of the “hypodermic needle” theory the audience of public communication is not a passive homogenous mass that easily succumbs to media influences, rather the audience is active in the production of meaning, but under determinate conditions in particular contexts. The texts, the producing institutions and the social history of the audiences supply these conditions.

M.A. (Communication Studies) / To firstly formulate, from the literary review, an integrated model which describes the mass communication process. Specifically the relationship between orientation needs, media usage and agenda-setting in the broader context of the individual, the media, and society. The model was delineated to define the woman as individual, Rapport as medium, and orientation needs and agenda-setting in terms of media figures. The second aim was to conduct an empirical investigation using 197 female subjects (99 Rapport-readers and 98 non-readers). Two factorial scales for personal and social orientation needs in respect of media figures were constructed. Media usage in terms of media ,figures was measured with frequency scores. The agenda-setting effect with regard to specific media figures were determined by means of the Kendall correlation coefficient and Spearman rank order correlation. Media usage of Rapport by Rapport- . readers was determined. In addition, a factorial structure of Rapport-reader gratification in terms of media figure representation in Rapport was measured. In this investigation the importance of information about media figures in orientation needs, media usage and agenda-setting has been reaffirmed. Specific orientation needs (personal and social) and their respective dimensions have been identified. A marked agenda-setting effect with respect to media figures was determined, and possible relationships between orientation needs, media usage and agenda-setting were pointed out. Certain areas do, however, require further research. One fruitful area for investigation is the explanation of significant relationships between individual orientation need gratification, media usage and agenda-setting (with regard to media figures) within a specific societal context

Zhang Yong. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2000. / Includes bibliographical references (leaves 121-130). / Abstracts in English and Chinese. / Abstract --- p.i / Acknowledgements --- p.iii / Chapter Chapter 1 --- Introduction: The Problem of Ideational Change --- p.1 / The Articulation of Ideas and Practices --- p.2 / Thesis Organization --- p.9 / Methodology --- p.10 / Chapter Chapter 2 --- Audience and Masses: Articulating with Different Media Institutions and Practices --- p.13 / Social Construction of Audience --- p.14 / The Reification of Masses and the Birth of Media Ideology --- p.22 / The Institutionalization of Masses --- p.30 / Legitimacy Crisis --- p.40 / Chapter Chapter 3 --- "The Introduction of ""Audience"": Localization and Transformation.……" --- p.42 / Localization --- p.43 / Transformation --- p.57 / Hybridization: Mixing of Masses and Audience --- p.65 / Chapter Chapter 4 --- Audience Survey: The Legitimation of Audience --- p.69 / Capitalist Democracy: Three Types of Surveys in the US --- p.71 / Rescuing the Political Authority: Three Types of Surveys in China --- p.76 / Appropriation --- p.80 / Incorporation --- p.88 / Institutionalization --- p.98 / Chapter Chapter 5 --- Conclusion and Discussion --- p.109 / Appendix --- p.117 / References --- p.121

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Health is an organising principle of contemporary neoliberal citizenship, particularly evident in the political rhetoric of individual responsibility articulated around the privatisation of public health and welfare systems. The popular culture of these political technologies is expressed via the discourses of self-help and self-care, exemplified by the commercial success of consumer health magazines, and the responsibilising strategies of public health interventions. This thesis investigates the contemporary function of health magazines by examining both the content and the context of reader letters published between 1997 and 2000 in six Sydney-based 'commercial' and 'community' publications, and incorporating interviews with magazine editors. The three commercial magazines address the health media 'publics' of women (Good Medicine), men (Men's Health) and alternative health consumers (Nature & Health), whereas the three community publications address the 'counterpublics' of people living with HIV/AIDS (Talkabout), sex workers (The Professional) and illicit drug users (User's News). Despite their different social contexts, these six magazines are all exemplary of the advanced liberal health imperatives of Australian popular culture, although the community magazines also empower audiences to facilitate social change. Reader letters are approached via the interpretive lens of cultural studies, in which the specific local characteristics of each text is seen to have wider global implications. Each magazine's letters are positioned within a complex cultural, political and economic context that includes the rise of consumer culture, the social function of narrative disclosures, the increased validation of exhibitionism and the gendered politics of health and medicine. This research advocates for interdisciplinary dialogue between media/cultural studies, health/medical sociology and political theory, suggesting that health magazine reader letters can help to identify the role of popular and alternative media in constructing ideals of 'citizenships' within advanced liberalism.

This thesis examines the changing relationships between television, politics, audiences and the public sphere. Premised on the notion that mediated politics is now understood “in new ways by new voices” (Jones, 2005: 4), and appropriating what McNair (2003) calls a “chaos theory” of journalism sociology, this thesis explores how two different contemporary Australian political television programs (Sunrise and The Chaser’s War on Everything) are viewed, understood, and used by audiences. In analysing these programs from textual, industry and audience perspectives, this thesis argues that journalism has been largely thought about in overly simplistic binary terms which have failed to reflect the reality of audiences’ news consumption patterns. The findings of this thesis suggest that both ‘soft’ infotainment (Sunrise) and ‘frivolous’ satire (The Chaser’s War on Everything) are used by audiences in intricate ways as sources of political information, and thus these TV programs (and those like them) should be seen as legitimate and valuable forms of public knowledge production. It therefore might be more worthwhile for scholars to think about, research and teach journalism in the plural: as a series of complementary or antagonistic journalisms, rather than as a single coherent entity.

Debates concerning the veracity, ethics and politics of the documentary form circle endlessly around the function of those who participate in it, and the meaning attributed to their participation. Great significance is attached to the way that documentary filmmakers do or do not participate in the world they seek to represent, just as great significance is attached to those subjects whose participation extends beyond playing the part of eyewitness or expert, such that they become part of the very filmmaking process itself. This Ph.D. explores the interface between documentary practice and participatory culture by looking at how their practices, discursive fields and histories intersect, but also by looking at how participating in one might mean participating in the other. In short, the research is an examination of participatory culture through the lens of documentary practice and documentary criticism. In the process, however, this examination of participatory culture will in turn shed light on documentary thinking, especially the meaning and function of ‘the participant’ in contemporary documentary practice. A number of ways of conceiving of participation in documentary practice are discussed in this research, but one of the ideas that gives purpose to that investigation is the notion that the participant in contemporary documentary practice is someone who belongs to a participatory culture in particular. Not only does this mean that those subjects who play a part in a documentary are already informed by their engagement with a range of everyday media practices before the documentary apparatus arrives, the audience for such films are similarly informed and engaged. This audience have their own expectations about how they should be addressed by media producers in general, a fact that feeds back into their expectations about participatory approaches to documentary practice too. It is the ambition of this research to get closer to understanding the relationship between participants in the audience, in documentary and ancillary media texts, as well as behind the camera, and to think about how these relationships constitute a context for the production and reception of documentary films, but also how this context might provide a model for thinking about participatory culture itself. One way that documentary practice and participatory culture converge in this research is in the kind of participatory documentary that I call the ‘Camera Movie’, a narrow mode of documentary filmmaking that appeals directly to contemporary audiences’ desires for innovation and participation, something that is achieved in this case by giving documentary subjects control of the camera. If there is a certain inevitability about this research having to contend with the notion of the ‘participatory documentary’, the ‘participatory camera’ also emerges strongly in this context, especially as a conduit between producer and consumer. Making up the creative component of this research are two documentaries about the reality television event Band In A Bubble, and participatory media practices more broadly. The single-screen film, Hubbub , gives form to the collective intelligence and polyphonous voice of contemporary audiences who must be addressed and solicited in increasingly innovative ways. One More Like That is a split-screen, DVD-Video with alternate audio channels selected by a user who thereby chooses who listens and who speaks in the ongoing conversation between media producers and media consumers. It should be clear from the description above that my own practice does not extend to highly interactive, multi-authored or web-enabled practices, nor the distributed practices one might associate with social media and online collaboration. Mine is fundamentally a single authored, documentary video practice that seeks to analyse and represent participatory culture on screen, and for this reason the Ph.D. refrains from a sustained discussion of the kinds of collaborative practices listed above. This is not to say that such practices don’t also represent an important intersection of documentary practice and participatory culture, they simply represent a different point of intersection. Being practice-led, this research takes its procedural cues from the nature of the practice itself, and sketches parameters that are most enabling of the idea that the practice sets the terms of its own investigation.

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