This study examines talk-radio relations in advance of digitisation, testing the continuity of patterns of listener formation, to assess the accuracy of claims that 'interactivity' and individuated informational flows are demand-driven. Australian talk broadcasters are shown discursively creating a living 'thirdspace' or 'real virtuality' of transactional locations. Listener-caller participation arrays varying social orders across this imagined-yet-real terrain. Radio talk thus becomes a 'euphemised' form of social pre-dispositioning power, differentially locating power across communities. Four sets of talk-radio texts are examined in detail, using a socially contextualised form of linguistic analysis. Transcripts from 2UE's 'The Stan Zemanek Show' reveals an openly-gendered and more covertly classed discourse. The address to private rather than to public 'selves' in late-night sex-counselling talkback is examined. The study then examines programming from the community radio sector of volunteer-produced, local radio transmission. Finally, the study examines 'The prison show', a community radio music request and message programme for Aboriginal prisoners. The study concludes by suggesting that talk radio's role within cultural formation is complex in its articulations, but deeply implicated within the major cultural formational activities of contemporary consumer culture, on which are being modelled digital audio broadcasting's newly intensified flows of interactivity / Doctor of Philosophy (PhD)

No description available.

No description available.

Thesis (Ph. D.)--Open University. BLDSC no. DX231422.

Originally presented as the author's thesis--Universität Tübingen, 2005. / Includes bibliographical references.

Cette thèse étudie les talk-shows, ces émissions sociopolitiques « dialogiques » qui ont marqué la scène médiatique et politique durant les dernières années du règne de Moubarak, jusqu’à la nouvelle donne politique post-juillet 2013. La question principale qui a guidé cette recherche était : dans quelle mesure les talk-shows ont-ils constitué une arène de parole dissidente ? La thèse démontre, à travers l’étude du processus qui a permis l’émergence de ces émissions, de leurs acteurs et de leurs modalités de fonctionnement, que ce dispositif s’est inscrit dans un espace public dessiné par des dynamiques particulières et caractérisé par un autoritarisme adaptif et libéralisé. Ce dispositif a également permis la manifestation de processus sociaux, notamment des mouvements d’opposition, en leur permettant de s’exprimer et de gagner en visibilité. Les talk-shows ont fait partie de différentes dynamiques politiques et les ont alimentées, défiant ainsi le pouvoir politique. Ils ont gagné des rôles et un espace de parole que le pays n’avait pas connu depuis 1952, dépassant leur fonction première qui était conçue par le pouvoir. Ce processus a pu avoir lieu malgré les outils de contrôle que le pouvoir a conservés pour garantir un minimum de mainmise sur les médias, élargissant ainsi les domaines de luttes et les espaces de contentieux. La thèse observe ensuite les dynamiques des révoltes de janvier 2011. Partant d’une approche interactionniste, d’un travail issu d’une enquête de terrain de plusieurs années, menée aussi bien auprès de professionnels de la télévision que d’invités de ces émissions et d’une analyse d’un corpus d’émissions, nous démontrons que le rôle des talk-shows fut incontournable dans le conflit médiatique doublant celui sur le terrain. / The subject of this thesis is the talk-shows, those socio-political tv shows that marked the media and political scene during the last years of Mubarak’s regime till the new political era post-July 2013. The main question that guided this research was: to what extent have the talk shows been an arena of dissident speech? The thesis demonstrates that this mechanism was a part of a public space designed by specific dynamics and branded by a liberalized and adaptive authoritarianism. It allowed the manifestation of social practices including counter movements endorsing them to express themselves and to gain visibility.Thus, through the study of the process that allowed the appearance of such shows, its actors and its operating methods, we observe how these broadcasts were a part of different political dynamics and served challenging the political power. They acquired roles and a freedom of expression that the country hadn’t experienced since 1952, exceeding their initial function as designed by the regime despite the means of control that the latter kept in order to maintain a minimum control on media and hence widening the fields of struggles and spaces of contentious. Then, the thesis studies the dynamics of January 2011 uprisings. Based on an interactionist approach and a work of several years field study of both television professionals and guests of these shows and an analysis of a record of broadcasts. We demonstrate that the talk-shows role was fundamental in the media conflict which doubled the conflict in the field.

Cette thèse porte sur l’émergence des groupes subalternes, particulièrement des minorités ethnoraciales et des femmes, sur la scène télévisuelle de l’humour, depuis Coluche jusqu’à nos jours. Elle interroge l’état des discours au moment de leur apparition et les capacités d’agir de l’humour. Elle articule le passage du comique en humoriste. Dans les années 1970, le comique bouffon incarne une figure de contestation d’un système de pouvoir centralisé, dont il est un observateur critique. Il se transforme avec la montée de l’individualisme en acteur d’un monde dont il produit une vision subjective. L’analyse d’un corpus de sketches tirés de douze émissions de talk show montre que les humoristes femmes proposent des personnages aux identités de genre fluctuantes et multiformes, à la charnière du masculin et du féminin, à travers des procédés parodiques et un jeu d’incarnation basé sur le corps. Les humoristes issus des minorités ethnoraciales proposent des contre-modèles à l’intégration républicaine avec des récits « authentiques ». Ils ouvrent la voie à l’expression de subjectivités non blanches et à la dénonciation des discriminations sur la base de la couleur de peau. Leur humour s’actualise en 2006 avec l’appropriation du stand-up, la mise en scène de la diversité et des multiples territoires de l’identité. Cette thèse conclut sur un processus de contre-offensive, ou backlash, contestant aux groupes subalternes les avancées conquises durant la période précédente. Ce backlash se manifeste à partir de 2007 par un humour basé sur des commentaires d’actualité et des caricatures. Il favorise les visées hégémoniques blanches et masculines dans l’humour et l’éviction des politiques des identités. / This thesis deals with the emergence of subaltern groups in mainstream television, from Coluche until today. It focuses on two groups, female humorists and ethnic minorities. It questions the agency of humour and its power of displacement of hegemonic media representations, as well as the state of discourses at the moment of the appearance of subaltern groups. It articulates the transformation of comedian into humorist. The buffoon of the late 1970s stands for the figure of contestation of a centralized power, which it comments with a critical gaze. The growth of individualism and expressions of identities turn the comedian into a humorist that assumes a role of actor of the world and a subjective gaze. The analysis of sketches in television talk shows reveals that female humorists expose multiple subjectivities and destabilize the binary system masculine-feminine, by resorting to body acts as parts of humoristic mechanisms. Humorists from ethnic minority groups denounce discriminations and perform hybrid bodies and identities that destabilize the republican model of integration. Their appropriation of stand-up comedy genre renews in 2006 the staging of diversity and of the multiple territories of identities. The period 2007-2010 shows a counter-offensive, a backlash that marks the return to dominant values in the field of humour and denies to subaltern groups the advantages they’ve gained during the previous period. It is characterized by a renewal of humour based on news comments and caricatures, by the hegemonic power of masculine white humorists and the eviction of identity politics.

No description available.

As from 2000, the &ldquo / daytime woman talk shows&rdquo / with the contents of family tragedies, personal disasters and discussions increasingly draw audience&rsquo / s attention, particularly women&rsquo / s, became a popular TV genre with almost every private TV channel having one of its own in the year 2005 in Turkey. Defining themselves as &ldquo / reality shows&rdquo / presenting only &ldquo / reality&rdquo / and &ldquo / spontaneity&rdquo / , the basic claim of these programs is that the ordinary people are hosted to the programs, the problems in their everyday lives are deal with in an enlightening and educational manner, and solutions are brought to them with thanks of the programme. These daytime woman talk shows that led to various discussions in the country&rsquo / s agenda with some death events experienced and their controversial functions form the subject of this study. The principal purpose of the thesis is to understand which production practices and dynamics why and how play a role in the content formation and the production process of the programs and in this manner to explain the place and significance of the programs in the Turkish television industry. In the thesis, three programs are analyzed as the pioneering and confrontational shows of this genre in Turkey. The specific features and the world wide historical developments of the daytime woman talk shows are handled on, along with their fundamental elements, and also the interviews with show producers and participants, and the observations about the production processes are included in the analysis.

Thesis (M.S.)--West Virginia University, 2001. / Title from document title page. Document formatted into pages; contains vi, 357 p. Includes abstract. Includes bibliographical references (p. 134-137).