Although the relationship between Canadian and American culture is often discussed in terms of dominance and dependency, there is little cultural scholarship that examines how Canadians interpret American cultural products and how Canadian "replicas" of American products encompass infatuation and imitation of American popular culture while simultaneously offering critique, resistance and parody. By comparing the evolution of MuchMusic and MTV and the "supertext" of the two networks---programming philosophy, musical and non-musical shows, VJ's, and television aesthetics---I address how MuchMusic functions as both an example of uniquely Canadian sensibilities and as an example of Canada's complicated relationship with the United States.

Thesis (MFA)--Montana State University--Bozeman, 2008. / Typescript. Includes DVD Sharon Pieczenik's Thesis. Chairperson, Graduate Committee: Walter Metz. Includes bibliographical references (leaves 20-21).

This dissertation is the result of in interest in the progression of media-technologies within the urban context. Large media billboards scattered along major vehicular routes, also advertisements and information displayed on the facades of buildings have become synonymous with the urban fabric. The intent of this dissertation is to determine the relationship between media-technologies and the social organizations of the city. Can one consider these technologies as generators for social interaction and the broadening of the urban cultural content? Media-technologies are becoming increasingly popular in the use of public spaces, signifying the ability and opportunity for these systems to create an interactive relationship with the user. The theme of the discourse is the creation of a Music Television production centre in Prinshof, a neglected part of the Pretoria inner city. Establishing an entertainment based development in this already vibrant area, might contribute to the systematic rejuvenation of this lower to middle-income community. The design proposal aims at becoming a social tool, encouraging the development and sustaining of the local cultural identity and realizing the potential of media/interaction technologies within the African context. / Dissertation (MArch(Prof))--University of Pretoria, 2008. / Architecture / unrestricted

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Studies show teenagers are influenced by television. This study tested the hypothesis that students can learn meteorology by viewing a weather forecast on Music Television (MTV). MTV was used because it is the network watched most by adolescents. Two surveys were administered to 175 high school students along with a DVD showing a weather forecast for MTV’s Spring Break. Half of the sample group was told the forecast was for MTV and the other was told it was for Channel One. Results showed that there was no statistically significant difference between MTV and Channel One in information recalled from the forecast. Results also showed the White student population recalled more information from the weather forecast format than the other races surveyed in the study. Additionally a series of concert forecasts was pilot-tested on 15 bands with very positive and promising feedback.

Avec l’apparition des chaînes musicales au début des années 1980, l’industrie musicale investit massivement dans la production de clips vidéo. Pour répondre à la forte demande de clips, de nombreux réalisateurs venant aussi bien de la télévision, de la publicité, que du cinéma mirent tous leur talent au service de ce nouveau format télévisuel. C’est dans ce contexte que différents artistes visuels furent également sollicités ou proposèrent leur service pour réaliser différents clips. Au début des années 1980, le clip apparut à certains artistes comme le format idéal pour diffuser leurs images à la télévision. Il leur permettait par sa diffusion à la télévision de toucher un plus large public que celui des musées ou des galeries d’art. Pour d’autres, le clip fut un format d’expérimentation mais aussi un prolongement possible pour leur pratique artistique. Ainsi cette étude se propose d’analyser une partie de la production de certains artistes plasticiens souvent ignorée par les historiens de l’art et les critiques. À travers leurs travaux artistiques, certains artistes construisirent au contraire une critique et interrogèrent le format tout en remettant en question la pop culture diffusée à la télévision. Si la création de MTV fut une date fondatrice dans l’histoire du clip vidéo, vingt-cinq ans plus tard, l’avènement de YouTube et des sites de partage de vidéos dès 2005 marqua un grand changement dans la production mais aussi dans la consommation de clips vidéo. Nous verrons que cela entraina de nouveaux usages pour les utilisateurs pour les artistes qui s’emparèrent des contenus disponibles pour les détourner. / With the advent of music channels in the early 1980s, the music industry invested heavily in the production of music videos. To meet the high demand of music video, many filmmakers from television industry, advertising, cinema put their talents in this new TV format service. It is in this context that different visual artists were also requested and proposed their services to direct different music videos. In the early 1980s, the clip appeared some artists as the ideal format to distribute their images on television. It allowed them by its broadcast on television to reach a wider audience than museums or art galleries. For others, the clip was an experimental format, but also a potential extension to their artistic practice. So this study will analyze some of the production of certain visuals artists often ignored by art historians and critics. Through their artworks, some artists built instead a critique and questioned the format while challenging pop culture broadcast on television. If the creation of MTV was a funding event in the history of the music video, twenty-five years later, the advent of YouTube and in 2005 marked a big change in production but also in consumption of music videos. We will see that it led to new uses for Internet users and for artists who took possession available content to divert it.

Made available in DSpace on 2016-08-03T12:31:10Z (GMT). No. of bitstreams: 1 Jose Augusto Nascimento Reis1.pdf: 2412832 bytes, checksum: 59febfe0502c667a7e163a548af74712 (MD5) Previous issue date: 2006-04-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The Brazilian MTV is on air for more than 15 years in Brazil and, since the beginning of its transmissions, in 1990, it has considerably evolved the variety of the TV shows it presents day by day, leaving behind the simple broadcast of music videos. However, this variety of the MTV shows is characterized by a discursive unit which differentiates it from other open tv channels. While the other TV channels, especially non cable TV channels, have developed a set of TV shows directed to all sorts of spectators, the MTV channel was able to develop a huge set of TV shows entirely directed to the young spectator. The intent of this work is to perform a qualitative reading of the language of the simbolic material produced by MTV for a specific public, subsidized by the critical speech analysis, the semiotic and the theoretical studies of Social Communication. The analysis corpus is comprised by the shows and vignettes from the week of January 23rd 29th, 2006. Duplicated presentations of the same TV show were not considered. It was demonstrated that it is possible to identify a discursive structure that compounds a language, a speech, which characterizes the MTV channel and differentiates it from the other non cable and cable TV channels. A language that combines elements from the universe of its main spectator the youth. Key words: communication, MTV, speech analysis, semiotic, youth. / A MTV brasileira está no ar há 15 anos no Brasil e desde o início de suas transmissões, em 1990, evoluiu consideravelmente a variedade de programas que oferece diariamente em sua grade de programação, saindo da simples reprodução de videoclipes. Essa variedade de programas, no entanto, é caracterizada por uma unidade discursiva que diferencia a MTV das outras emissoras de televisão aberta. Enquanto outras emissoras trabalham com gêneros diferentes de programas, em especial as que compõem a grade de programação de televisão aberta, a MTV consegue criar uma grade de programação diversificada, sempre direcionada a um público específico: o universo jovem. Objetivou-se realizar uma leitura qualitativa da linguagem do material simbólico que esta emissora produz a uma faixa de público especializada, subsidiada pela análise crítica de discurso, a semiótica e os estudos teóricos da Comunicação Social. Compõem o corpus de análise, os programas e vinhetas inéditos da semana de 23 a 29 de janeiro de 2006. Não foram consideradas as reprises. Demonstrou-se que é possível identificar uma estrutura discursiva que compõe uma linguagem, um discurso, que caracterizam a MTV e a diferenciam de outros canais de televisão aberta e a cabo. Uma linguagem que combina elementos do universo de sua principal audiência, os jovens. Palavras-chave: comunicação, MTV, análise de discurso, semiótica, jovem.

Nous présentons dans cette thèse une adaptation de la technique de vélocimétrie par marquage moléculaire (MTV) aux micro-écoulements gazeux. Les effets de luminescence de l’acétone gazeuse excitée par un rayonnement UV, mis en jeu dans la MTV, ont été analysés en vue d’une application en vélocimétrie à basse pression. La phosphorescence de l’acétone diminue fortement avec la pression, pour devenir non détectable à des pressions de l’ordre du kPa. En revanche, la fluorescence reste détectable à des pressions de l’ordre de la dizaine de Pa. L’analyse des déplacements de molécules luminescentes au sein de l’écoulement porteur a montré que les effets de la diffusion moléculaire sont importants et augmentent avec la raréfaction du gaz. Une méthode de reconstruction, basée sur l’équation d’advection diffusion, a été développée. Elle permet d’extraire le profil de vitesse à partir de l’analyse du déplacement et de la déformation de la zone marquée, en prenant en compte la diffusion des molécules luminescentes. L’analyse d’un écoulement de Poiseuille dans un canal de section rectangulaire et de dimensions millimétriques, sous des pressions de l’ordre de 100 kPa, a montré la capacité de la MTV à extraire avec précision la vitesse locale en écoulements confinés, lorsque la méthode de reconstruction est appliquée. Une feuille de route pour l’analyse future par MTV des écoulements raréfiés, notamment dans le régime glissant, est finalement proposée. / In the present thesis we present an adaptation of Molecular Tagging Velocimetry (MTV) to gas microflows. The photo-luminescence effects of gaseous acetone excited by UV light, implemented in MTV, have been analyzed in various pressure conditions. The acetone phosphorescence shows a drastic decrease with pressure and becomes non measurable for pressures lower than 1 kPa. On the other hand, fluorescence shows a slower decrease and remains clearly detectible at pressures as low as 10 Pa. The motion of tracer molecules within the carrier flow has been studied. The analysis of the displacement of the tagged molecules has shown the strong influence of molecular diffusion, this influence being increased with the gas rarefaction. A reconstruction method based on the advection-diffusion equation has been developed. It allows to extract the velocity profile from the analysis of the displacement and deformation of the tagged region, taking into account the diffusion of tracer molecules. This reconstruction method has been successfully implemented to analyse a Poiseuille flow in a rectangular millimetric channel, under atmospheric pressure conditions, and the capability of MTV to accurately extract the local velocity in confined gas flows has been demonstrated. Finally, some short term perspectives have been proposed with the aim to help achieving rarefied flows analysis by MTV.

This study examined how young women audiences may make sense of music videos and how they relate music video messages to their own femininity. Studies of the representation of women in music videos mostly have focused on critiquing content, rather than audience interpretations. This study, using focus groups, looked at how young women interpret music videos featuring women artists and showed that young women perceive sexist and/or stereotypical depictions presented in the videos. During six focus groups, three music videos were reviewed by 49 college students, mostly consisting of young women in their early 20s. The researcher found themes emerging from the discussions recorded during the focus groups. Such themes reaffirmed previous critical scholarship on the content of music videos that women are presented as sex objects and objectified body parts in music videos, that portrayals of women function as unrealistic masculine fantasies, and that the videos contain narratives about cultural expectations for femininity. The results did support prior critical work, but they also uncovered interpretations filled with irony, contradiction, and paradox. This study examined women audience members' interpretations of feminine stereotypes in music videos and found that the women participants felt pressure to meet an impossible standard of an ideal feminine form, as defined by men. The results revealed the participants' concern about their own inadequacies in comparison. Participants generally observed that the women artists in the treatment music videos are not real women, but participants demonstrated a wistful desire to be more like the artists. The present study adds interpretive audience research to the literature on music video content analysis and supports prior conclusions based on content analysis.

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