On the surface level, Fowles’s novel sets the trust in the timelessness of art and the possibility of a recourse to some kind of ‘true self’ against American hyperreality. Though the novel’s verdict on the American scopic regime of simulacra is devastating, England’s morbid theatricality does not represent an alternative. However, a novel which criticizes visuality only to accord Rembrandt’s “Self- Portrait” a place of utmost importance necessarily runs into problems of self-contradiction: Rembrandt’s self-portrait refuses any one-dimensional functionalization and contains self-reflexive/revocative elements pertaining to its capitalist dimension and to the dangers of commodification/narcissism/serialization. Moreover, Rembrandt’s portrait is located at the centre of a whole series of mises en abyme and contains significant autotelic elements which link it with the criticized American scopic regime, question its representational dimension by stressing the pure materiality of the work of paint and revoke Fowles’s novel and its didactic media-theoretical underpinnings.

<p>In year 2000 the Swedish Public Service television started a new series of programmes named Mediemagasinet. The purpose was to expose the work of journalism through the eyes of a journalist. The programme showed different types of tasks and problems that have to do with journalistic reporting. The form of Mediemagasinet wasn’t anything new but the content was presented as the very first of its kind. </p><p>The interesting part of the program was that it was journalists themselves doing the media critisism. Is that actually possible? And what does it look like? By using discourse analysis this study try to answer these questions by analyses of the presentations of the television programmes. What is at stake and how does the website of the program interact with the program itself? As a complement to the study there is an interview with the editor and the manager of the project that show their point of view, which are also a part of the media critical discourse that this essay examins.</p> / <p>Hösten 2000 startade Sveriges Television sitt program Mediemagasinet. Syfet var att journalister skulle granska sin egen kår, sina egna kollegor. Programmet tog upp olika ämnen och problem som kan uppstå i och med journalistisk rapportering. Formen var välkänd för tv-tittarna, medan innehållet presenterades som det första i sitt slag. </p><p>Men vad händer när medlemmar av en yrkeskår granskar varandra? Är det överhuvudtaget möjligt? Genom ett diskursanalytiskt angreppssätt försöker denna uppsats svara på dessa frågor. Studien vilar på analyser av hur programmet presenteras av programledaren och vilka anspråk som görs i programmet. Även den hemsida som etablerades i samband med programmet integreras i analysen. Som komplement till studien gjordes även en deltagande observation vid ett inspelningstillfälle av Mediemagasinet. Då genomfördes även en intervju med redaktören och projektledaren för programmet. Deras åsikter och funderingar kring produktionen är även de en del av den mediekritiska diskurs som Mediemagasinet ingår i. Och det är denna diskurs och hur den skapas som undersöks i denna uppsats. </p>

This study examines the production of masculinity in the advertisements of South Africa’s two most popular men’s lifestyle magazines, FHM and Men’s Health. I specifically focus on advertisements, as I argue that they play a crucial role in the re‐production of prominent discursive formations. Informed by a poststructuralist framework this study adopts Foucault’s notions of discourse, power and the constitution of the subject. Gender is conceived of within power relations, with a hierarchical relationship between masculinities and femininities. The gendered subject is also viewed as being constantly in process and being constructed performatively through material forms of practice. Focusing on group representations to establish gender hierarchies, I argue that these representations of people are performative acts, hailing the subjects who view them and producing reality through discourse. Hegemonic masculinity, which is argued to be prominent in advertising, is located at the highest point in the gender hierarchy. However, there is not one universal hegemonic masculinity, for it can vary across three discrete political contexts: the local, which is constructed in the immediate face‐to‐face interactions of families, organisations and social structures; the regional, which is constructed at the level of culture or the nation state; and the global, which is constructed in supra‐national locations. In the advertisements of FHM and Men’s Health there is interplay between the latter two as global and regional brands both advertise in these magazines. To investigate the portrayal of masculinities in these publications, this study first undertakes a content analysis to survey the “general landscape” of representation in the advertisements and then performs a critical discourse analysis to uncover “thick description” of the production of masculinity. The content analysis, finds that the advertisements in the sample validate both white and heterosexual forms of masculinity. The sample is comprised mostly of white males, white females and black males, generally proposing forms of hegemonic masculinity, emphasised femininity and complicit masculinity respectively. The representation of white males and black males is different both in terms of the frequency of representations and in the types of representations. I argued that a certain tension inhabits the resulting representations, which try to be inclusive of a multi‐racial South Africa, yet do so within a clearly hierarchical structure. An in‐depth analysis of eight texts, informed by Fairclough’s model of critical discourse analysis and Kress & van Leeuwen’s framework for visual analysis, finds similar results to the content analysis while providing insight into how various discourses produced the representations, particularly within non‐narrative advertisements.

Development aid in most of the developing countries can sometimes compromise the principles of public service broadcasting (PSB). This may be true when reflected against the tension between donor financed programmes in Malawi and the mandate of Television Malawi (TVM). Although the donor intentions are noble, the strings attached to the funding are sometimes retrogressive to the role of PSBs. A case in point is how donors dictate terms on the HIV/Aids communication strategies at TVM. Producers receive money from donors with strings attached on how the money should be used and accounted for. If producers deviate they are sanctioned through withholding funding, shifting schedules and reducing the funding frequency. The donors also dictate who to interview on what subject, how to conduct capacity building. Some scholars have researched much on the impact of commercialisation of the media. This study is a departure from these traditional interferences; it interrogates the interest of philanthropy tendencies by international donors in the three chosen HIV/Aids programmes broadcast by TVM. The study investigates the extent of pressure exerted by donors on the producers of HIV/Aids programmes in Malawi. Thus, the study seeks to illicit specifics in the power relationship between the donor and the producer hence the study employs the political economy of development aid as applied to the public service broadcasting and communication for development. The study employed qualitative research methods and techniques (in-depth interviews, case study and document analysis). The study reveals how donor ideologies dominate the Aids messages-content output of the texts constructed. The study argues that cultural alienation of the Malawian audiences retards efforts of donors in combating HIV infection rate.

In year 2000 the Swedish Public Service television started a new series of programmes named Mediemagasinet. The purpose was to expose the work of journalism through the eyes of a journalist. The programme showed different types of tasks and problems that have to do with journalistic reporting. The form of Mediemagasinet wasn’t anything new but the content was presented as the very first of its kind. The interesting part of the program was that it was journalists themselves doing the media critisism. Is that actually possible? And what does it look like? By using discourse analysis this study try to answer these questions by analyses of the presentations of the television programmes. What is at stake and how does the website of the program interact with the program itself? As a complement to the study there is an interview with the editor and the manager of the project that show their point of view, which are also a part of the media critical discourse that this essay examins. / Hösten 2000 startade Sveriges Television sitt program Mediemagasinet. Syfet var att journalister skulle granska sin egen kår, sina egna kollegor. Programmet tog upp olika ämnen och problem som kan uppstå i och med journalistisk rapportering. Formen var välkänd för tv-tittarna, medan innehållet presenterades som det första i sitt slag. Men vad händer när medlemmar av en yrkeskår granskar varandra? Är det överhuvudtaget möjligt? Genom ett diskursanalytiskt angreppssätt försöker denna uppsats svara på dessa frågor. Studien vilar på analyser av hur programmet presenteras av programledaren och vilka anspråk som görs i programmet. Även den hemsida som etablerades i samband med programmet integreras i analysen. Som komplement till studien gjordes även en deltagande observation vid ett inspelningstillfälle av Mediemagasinet. Då genomfördes även en intervju med redaktören och projektledaren för programmet. Deras åsikter och funderingar kring produktionen är även de en del av den mediekritiska diskurs som Mediemagasinet ingår i. Och det är denna diskurs och hur den skapas som undersöks i denna uppsats.

Cosmopolitan and For Him Magazine (FHM) are, at present, both the most widely read and, therefore, the most popular "white" consumer magazines in South Africa. They both appeal to young audiences of between 18 and 34 years of age, approximately, and target middle-class, educated groups of readers. My interest in Cosmopolitan and FHM lies in their ability to influence and shape their readers' actions, values, identities and relationships, in particular with the other gender. My analysis is focused on the cover pages and the Editor's letters of six copies of each magazine, ranging from April to September 2003, providing me with a corpus of 12 cover pages and 12 Editor's letters. I adopt a critical perspective through the use of Fairclough's (1989) Critical Discourse Analysis, supported by Mills (1995) Feminist Stylistics, McLoughlin's (2000) textual analysis of cover pages and Kress & van Leeuwen's (1996) visual analysis tools. By combining these different methodologies my research falls into what is newly termed Feminist Critical Discourse Analysis (Lazar 2005). The cover page analyses used primarily McLoughlin and Kress & van Leeuwen and provides an element of pure genre analysis, while the analysis of the Editor's letters were subject to Fairclough's three inter-related stages of analysis, namely: a Description of the formal textual elements of the letters, an Interpretation which analyses the processes of text production and interpretation, and lastly an Explanation of the socio-historical context. Through an analysis of these magazines, whose interests are being served and how the readers are shaped and positioned by the magazines can be identified. My analyses revealed conflicting discourses within each magazine, however it was Cosmopolitan that revealed more tension and conflict in terms of identifying and representing women, while FHM subscribed, for the most part, uniformly to the "new lad" ideology. However, while Cosmopolitan attempted to show a forward-thinking and emancipatory view of the roles of men and women in society, both magazines covertly sustain patriarchal dominance and hegemonic masculinity. In conclusion, I reveal the need for consumers of the mass media to become more critically aware of the ideologies that are promoted through the differing tools of the media and that only through this critical awareness can any further movement towards equal relations between men and women be made. / KMBT_363 / Adobe Acrobat 9.54 Paper Capture Plug-in

This study investigates how the Swedish far-right alternative media's criticize the Swedish mainstream media and discusses the contemporary phenomenon of “deplatforming”. Deplatforming refers to when a user or uploaded content is banned from a social media platform. The study investigates linguistic features of these questions, through the method of corpus linguistics and the software AntConc. Altogether, 72515 tokens from four Swedish online far-right alternative media are analyzed, showing that the far-right alternative media criticize the mainstream media in a highly politicized way, posing a binary antagonist relationship where power is a central theme. Regarding deplatforming, the study shows how the Swedish far-right alternative media focus on deplatforming especially when it regards far-right activists or politicians, and then have a jeering attitude towards the given reasons for the seclusion. The study also includes a theoretical discussion, wherein the chosen Swedish far-right alternative media showed an overestimation of the power and influence of the mainstream media (as theoreticized by Nick Couldy, 2014). Likewise, the scrutinized data showed signs of relational anti-systemness (as theoreticized by Kristoffer Holt, 2018).

This master thesis explores the media representation of deepfakes. The first part summarizes previous research followed by a comprehensive review of deepfakes, including the technology allowing for their emergence, current uses and methods of regulation and detection. The second part connects the phenomenon with important theoretical concepts such as social construction of reality and the crucial role of media in this process. The empirical part consists of research combining two methods - quantitative content analysis and qualitative critical discourse analysis. The research analysis is focused on media articles dealing with deepfakes in order to find out how the media represent this phenomenon. The results show that current media discourse of deepfakes is strongly negative as the media frame them as a security threat. This negative representation is highly speculative since journalists often invent their own stories of future disastrous consequences of the technology for national security due to lack of current examples. The findings show an apparent hierarchy of the harms posed by deepfakes which is present in media coverage, and reflects gender sereotypes and inequality in the current society. Harm in the form of non-consensual fake pornography targeting women is neglected in the media...

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Thesis (M.A.)--Miami University, Dept. of Communication, 2008. / Title from first page of PDF document. Includes bibliographical references (p. 97-105).