Thesis (MDram)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: This study is aimed at providing useful insights into the field of audiovisual perception and understanding in South African children’s programmes, as well as demonstrating how the Congruence-Associationist framework can be of use when investigating these aspects. Music serves as an important element in children’s television programmes, as it is often used to subconsciously stimulate the viewers’ senses. The purpose of this study is to provide a more complete image of the role of music within the context of South African children’s television programmes from 1976 − 1994, using ethnographic research with a focus on case studies. In the first part of the study, a base is formed for analysing music by addressing general roles of music in audiovisual context, as well as children’s development of musical perception and a possible clarification of its origins. Its origins appear to be closely related to language and could explain why music fulfils such a significant role in a variety of interactive contexts. The Congruence-Associationist framework by Annabel Cohen is used as a suitable framework of analysis of music in children’s television by adapting and expanding it into three sections: the observation phase, the interpretation phase and the results phase. In the second part of the study, case studies and scene analyses of six selected children’s programmes are conducted, according to the three sections of the adapted framework of analysis. The findings indicate that music functions in multiple ways according to the focus of the programme, and that it fulfils an appealing and recognisable role in these programmes. It is argued that music serves to support the visuals on screen, influences the general interpretation of the viewer and ultimately provides understanding while facilitating learning. This information could be used in a variety of subjects, thus opening up endless possibilities for further research into the multiple roles of music. / AFRIKAANSE OPSOMMING: Hierdie studie is daarop gerig om nuttige insigte op die gebied van oudiovisuele persepsie en begrip in Suid-Afrikaanse kinderprogramme te verskaf, asook aan te toon hoe die ooreenstemmings-assosiatiewe raamwerk (Congruence-Associationist framework) van Annabel Cohen van nut kan wees wanneer hierdie aspekte ondersoek word. Musiek dien as ‘n belangrike element in die kindertelevisieprogramme, aangesien dit dikwels gebruik word om onbewustelik die sintuie van die betrokke kykers te stimuleer. Hierdie studie poog om ‘n meer volledige beeld van die rol van musiek te verskaf binne die konteks van Suid-Afrikaanse kindertelevisieprogramme vanaf 1976 − 1994. Dit word gedoen met behulp van etnografiese navorsing met ‘n fokus op gevallestudies. In die eerste deel van die studie word ‘n basis gevorm vir die analise van musiek, deur die algemene rol van musiek binne oudiovisuele konteks te bespreek, asook die ontwikkeling van kinders se musikale waarnemingsvermoë en ‘n moontlike verduideliking van die oorsprong van musiek. Die oorsprong van musiek blyk verwant te wees aan taal en kan moontlik die rede wees waarom musiek so ‘n belangrike rol in ‘n verskeidenheid interaktiewe kontekste speel. Die ooreenstemmings-assosiatiewe raamwerk word gebruik as ‘n geskikte raamwerk van ontleding vir musiek in kindertelevisie deur dit aan te pas en in drie afdelings uit te brei, naamlik die waarnemingsfase, die interpretasiefase en die resultaatfase. In die tweede deel van die studie word gevallestudies en toneelontledings van ses gekose kinderprogramme gedoen volgens die drie afdelings van die aangepaste ontledingsraamwerk. Die bevindinge dui daarop dat musiek op vele maniere funksioneer, afhangende van die fokus van die program, terwyl dit ook ‘n aantreklike en identifiseerbare rol in hierdie programme vervul. Daar word aangevoer dat musiek dien om die visuele beeld te ondersteun, die algemene interpretasie van die kyker te beïnvloed en uiteindelik begrip te verskaf terwyl die leerproses vergemaklik word. Hierdie inligting sou gebruik kon word in ‘n verskeidenheid onderwerpe wat weer eindelose moontlikhede vir verdere navorsing in die veelvuldige rolle van musiek blootlê.

A research report submitted to the Faculty of Humanities, of the University of Witwatersrand, in partial fulfilment of the requirements for the Degree of Master of Arts in ICT Policy and Regulation October 2016 / In the current era of the digital television (TV) broadcasting dispensation, the relevance of the Public Service Broadcasting (PSB) mandate in South Africa remains critical, to inform and build democracy in the public interest. Recent debates with regard to the relevance and retention of PSB in the digital era seem to suggest that there are divergent views in this regard. These debates gave rise to this study. The study aimed to assess and reconfigure the role of the South African Broadcasting Corporation (SABC) in carrying the public broadcasting mandate in the digital era. Furthermore, the study explored how the PSB remit can be repositioned to meet the needs of South African citizens in the 21st century. In addition, this study investigated the evolution of public service broadcasting policy and the role played by the Department of Communications (DoC), the policy maker in informing policy. The study seeks to ascertain whether the policy direction provided by the DoC is in actual fact in sync with the developments taking place in the TV broadcasting sector. This research followed a qualitative research approach, by exploring the relevance of PSB in the digital era and also by examining South Africa’s 3-tier broadcasting system, with a particular focus on the SABC. The research analysed the SABC (PSBs), MultiChoice (pay-TV licensee), e.tv (Free-to-Air commercial licensee) and Association of Community Television in South Africa (ACT-South Africa), a body representing Community TV licensees, in their attempts to discharge the PSB remit in the digital era. The qualitative paradigm aided in the process of describing and understanding the research topic. The main findings of this study revealed that the PSB mandate still has relevance in the digital era, however weak this may be. The multi-channel and the competitive TV broadcasting landscape will deplete the commercial advertising market share, on which the SABC heavily relies for revenue income. Secondly, the SABC’s mandate can never be upheld unless appropriate funding is secured by government. Lastly, the findings reveal that the DoC has regressed in providing policy and prescriptions and that there is thus a policy vacuum in the implementation of the PSB mandate. / MT2017

The SABC has embraced a mandate that advocates the promotion of cultural diversity within the broader ambit of national identity. Although SABC3 consitutes the commercial wing of the station, it too is required to produce programmes in accordance with the spirit of this mandate. With tight budgets, pressure for audience ratings and an assortment of individual producers with individual production agendas, it may be naIve to presume that the SABC could consistently give priority to this mandate. Nonetheless, this is what it has undertaken. Considering this unifying and optimistic mandate, how then are frightening, troubling or disillusioning social phenomena depicted? The representation of one such phenomenon, crime, has been selected here for examination as it appears in Special Assignment and Expressions programmes. The way in which the SABC tackles essentially negative material and puts it in documentary form for national consumption sends out a message to South African viewers. The nature of this message - and its relation to the broadcaster's mandate - forms the basis for this dissertation. Each of nine selected documentaries is analysed using a mixture of semiotic, discursive and contextual principles. The programmes are examined in terms of four sections. The first is global trends and theories. Criminological, documentary and other theories that are global in scope have been adapted to powerfully, but subtly, underscore all of the documentaries, with implications for the representation of national identity. Secondly, a sociological examination of the way in which the local has been depicted (and whether it is given much attention at all) has implications for the fulfilment of the part of the mandate relating to cultural diversity. Thirdly and fourthly, the overall portrait of national identity in the documentaries is largely dependent on the combined representation of national culture - including values, symbols, rituals and beliefs - and the nation-state. Both of these should be construed in an optimistic light, taking into account, nonetheless, the critical watchdog function of the media. The evaluation remains strictly textual and preferred meaning is determined through theoretically supported analysis rather than via audience research. Issues such as global neoliberalism and its impact on the SABC and newsroom values are touched on and acknowledged, but ultimately, their effect on the fulfilment of the mandate is not examined in this dissertation. The central thrust of the dissertation in thus, strictly, the way in which the levels of the global, national and local, as they are represented in the documentaries, constitute interlocking factors, which impinge on the manner in which the SABC complies with its mandate. The findings of the dissertation were unsurprising in many respects. Overall, there appeared to be no consistent pattern to which documentaries were produced. The immediacies of production pressures and deadlines appear to outdo the broadcaster's mandate in terms of priority. Having said this, however, certain features do recur, such as the prevalence of sensationalism or, on the positive side, the humanising of criminals in a way that offers hope. Consequently, the study isolates approaches that foster national identity and those that do not, noting the frequency with which they occur and thereby implicitly offering a roadmap for future productions. / Thesis (Ph.D.)-University of KwaZulu-Natal, 2005.

Thesis (MA)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: In this study I analyse the 1994 episodes of the popular soap opera Egoli: Place of Gold that coincide with the so-called ‘birth’ of the New South Africa. This moment in media history is characterised by a heightened sense of anticipation surrounding Egoli as the first local soap opera created by Franz Marx at the pinnacle of his career for the relatively new – and only – independent broadcaster in the country, M-Net. Because of the reliance of this genre on perceived realism, Egoli offers a historically significant televisual mediation of the widespread social and political changes that mark this particular period. I argue that the soap opera elicits a non-critical passive spectatorship and should therefore be regarded as a ‘readerly’ medium that transmits a form of pre-negotiated textual hegemony directly into the intimacy of the domestic viewing space. While acknowledging an awareness of the pivotal role played by white Afrikaans men in the safeguarding of cultural hegemony up until this historical juncture, my study diverges from the wealth of research on soap opera as a women’s medium and approaches Egoli with an interest in the programme’s construction of masculinities. An analysis of three contrasting male characters investigates Egoli’s formulation of a social matrix that reflects not only the programme’s attitude towards gender, but also to social power, class and race. I conclude that this specific soap opera lacks the ability to produce or reflect radical change. Egoli merely serves to reiterate the affirmation of the hegemony of an established order of Afrikaner patriarchy on a superficial level. / AFRIKAANSE OPSOMMING: In hierdie studie analiseer ek die 1994 episodes van die populêre sepie Egoli: Plek van Goud wat afspeel tydens die sogenaamde ‘geboorte’ van die Nuwe Suid-Afrika. Hierdie oomblik in media-geskiedenis is gekarakteriseer deur ‘n verhoogde gevoel van antisipasie rondom Egoli as die eerste plaaslike sepie, vervaardig deur Franz Marx tydens die toppunt van sy loopbaansukses vir die relatief nuwe, en enigste onafhanklike uitsaaidiens in die land, M-Net. Vanweë hierdie medium se afhanklikheid op skynbare realisme, bied Egoli ‘n waardevolle historiese televisuele vertolking van die verrykende sosiale en politiese veranderinge van hierdie tydperk. Ek argumenteer dat die sepie ‘n passiewe kritiekloosheid in kykers uitlok en daarom as ‘n ‘leeslike’ teks benader moet word, wat ‘n reeds-onderhandelde hegemonie direk in die intimiteit van die huishouding oordra. As gevolg van die bewustheid van die kritieke rol wat deur blanke Afrikaanse mans vervul is in die beveiliging van kulturele hegemonie tot en met hierdie historiese moment, wyk my studie af van die veelvuldige navorsing oor die sepie as ‘n vroue-medium en benader ek Egoli met ‘n fokus op die konstruering van manlikheid. ‘n Analise van drie kontrasterende manlike karakters ondersoek Egoli se formulering van ‘n sosiale matriks wat nie alleenlik die program se benadering tot geslag blootlê nie, maar so ook tot sosiale mag, klas en ras. Ek sluit af met die bevinding dat dié sepie ontbreek in die vermoë om radikale verandering aan te spoor of te weerspieël. Egoli slaag slegs daarin om op ‘n oppervlakkige wyse die hegemonie van ‘n gevestigde Afrikaner patriargale orde te bevestig en te reproduseer.

A research report is submitted in partial fulfilment of the requirements for the degree of Master of Arts in ICT Policy and Regulation to the Faculty of Humanities, University of the Witwatersrand, 2016 / South Africa has a nascent community television sector, which is legislated as a tier of broadcasting. This sector is important in deepening democracy, creating access to information, giving communities the space to share information, and expanding media ownership to communities beyond the public and commercial television broadcasting sectors. Since 2007, when Soweto TV was the first community television station to be licensed, the processes towards migrating analogue to digital terrestrial television have been beset with delays and the experience of the community TV sector with respect to this migration have been not well understood. The conceptual-analytical framework for this historical study of the period 2007 to 2014 drew on the key themes of sector and institutional governance including the effectiveness of policy and regulation, technological advancement, content and services. Using a constructivist methodology the key documents pertaining to broadcast digital migration were reviewed and interviews were conducted with three community TV stations, Soweto TV, Bay TV and Cape Town TV, as well as with the policy-maker, the regulator and sector experts. The findings revealed that the community television (CTV) sector was faced with problems of sector and institutional governance not being effectively addressed in legislation and regulation, stagnation as a result of lack of spectrum in the analogue television-broadcasting dispensation and limitations on content provision. Using McConnell’s 2010 framework, analysis of the data led to the conclusion that the DTTM programme has failed with respect to the community TV sector. Advances for the CTV sector will require revision to legislation and future regulation to guide the governance of the CTV sector and the digital terrestrial television migration should be concluded without further delay, in order to enable the sector to grow. Although CTV stations are providing content to communities, the opportunity for them to make a greater impact, if digital terrestrial television (DTT) is finally launched, should be prioritised as the new technology can provide them with the scope to expand their content offerings. / MT2017

Yizo Yizo, a South African drama series aired in 1999, received extraordinary positive and negative attention for its gritty depictions of township school life. The dissertation explores the relationship between the context, programme/text, the viewers/audiences, the content and the form of Yizo Yizo. Representations of violence and gender relations in Yizo Yizo are the primary concern of the dissertation. Contextual analysis is followed by an outline of the narrative needed to engage viewers' responses. This outline forms the basis for a discussion on representations of violence and gender relations, utilising textual and audience analysis to interrogate the nature of images. Concluding chapters connect issues of representation and reality, completing the critical circle introduced in the opening chapters through an analysis of the programme's title. Yizo Yizo is examined using a cultural studies approach, assessing "the relationship between texts -- representations that produce meanings--- and their contexts" (Tomaselli, 1989:38). The methodology employed to deconstruct representations of violence, gender relations and realism, follows recent work on 'facticity' and essentialism in African-American cultural production (Smith, 1992; Lubiano, 1997). In reference to depictions of violence and gender relations, the dissertation follows the established monographs of the British Broadcasting Standards Council (BSC), the Independent Broadcasting Authority (IBA) of the United Kingdom, and the Human Sciences Research Council (HSRC) of South Africa (Gunter, 1986, 1987; Gunter & Wober, 1988; Cumberbatch & Howitt, 1989; Glanz 1994, respectively). Utilising textual and reception analysis, the study found Yizo Yizo's use of violence is substantiated through its dramatic intent. However, the drama fell short of exposing the 'myths' of township high schools. Thus, the viewer is left with dominant depictions of evil as responsible for the state of disequilibrium, leaving little room for an interrogation of the 'real' issues at Supatselo High. The series also side steps the historical context that impacts the present conditions of township learning. Moreover, the portrayal of female characters in the series perpetuates dominant patriarchal ideology by regurgitation myths and stereotypes. Research also highlighted the problem of viewing Yizo Yizo in an educational framework. The substantial drop in audience ratings for the final episode, which focused on a school that established or restored the 'culture of learning and teaching', indicates the series fell short of its educative potential. The series does not truly interrogate the socio-economic and political context of education in South Africa. Instead, the 'crisis' in education is paralleled with issues of delinquency rather than socio-economic inequalities of an educational system with a history tainted by the legacy of apartheid. A further finding indicates that due to violent content, language and other issues, the SABC should have scheduled the programme after 9pm, during the watershed period. / Thesis (M.A.)-University of Natal, 2000.

This research examined the representation of homosexual men in soap opera Generations. It reveals that while homosexual characters have been incorporated in the locally produced soap opera Generations, the representation of such characters is revealed as 'other’. This dissertation argued that the representation of homosexual men in soap opera Generations are categorized negatively often being seen to be morally degenerate consequently; the inclusion of homosexual men in Generations is often associated with negative stereotypes. This study argues that homosexual men in Generations are often represented as having problems to be solved. This include homosexual men being faced with secrecy, shame, guilt, homosexual violence, rejection and other negative stereotypes as represented in soap opera Generations. The research highlights the social constructions and gender stereotypes in mainstream media television which consider homosexuality as abnormal, unnatural and sickness. The secrecy of homosexuality implied by mainstream media television representation makes homosexuality to appear as something concealed and related to shame and regret. In addition, the dissertation also looks in-depth into categories of negative stereotypes where being a gay primarily realizes on the rigid gender schemas exploited by the mainstream media television to represent homosexual men as not men enough which appeared as natural rather than socially constructed. This study‟s theoretical frame work brought together the concepts of different area of enquiry such as negative representation of homosexuality, homophobia, secrecy, guilt, shame while using discourse analysis. The major areas addressing the coding includes the representation of homosexuality in the text, soap operas' (Generations) representation of homosexual men and the specific themes and objectives guiding each selected episode of Generations. / Thesis (M.Soc.Sc.)-Unversity of KwaZulu-Natal, Durban, 2012.

MA (Youth in Development) / Institute for Gender and Youth Studies / The purpose of this study was to explore how the portrayal of deviant behaviour in selected television programmes influences the youth to adopt similar behaviour in their lives. In the past, television programmes for young people were meant to nourish the soul and enable the voice of the youth to be heard. However, hip-hop, gangsta rap, R&B videos and some soap operas represent deviant behaviour in a fashionable manner. That the identity of young people is constructed by the portrayal of deviant behaviour in some television programme becomes a source of national concern. Television plays a major role in the lives of young people. Since the dawn of democracy in the 1990s, South Africa has witnessed rapid expansion in the use of television in households. Economic pressures oblige parents to go out to work, which makes it impossible for them to monitor their children’s viewing. Children are left alone and vulnerable to television programmes that promote deviant behaviour. Of course, not all television programme promote deviant behaviour: for instance, there are educational programmes, but the problem is that these are televised in the morning while young people of this study’s target population are at school. Cultivation theory, media theory and social learning theory were used in this study as a theoretical frame to explain the influence that some television programmes featuring deviant behaviour has on the behaviour of young people. The study was located at Madonsi Village, in the Colins Chabane municipality, South Africa. The study employed a qualitative research methodology, involving purposive sampling of a targeted population. The data collection tool used in the study was the semi-structured interview with focus groups. The data collected was analysed through the use of discourse and thematic analysis. The study sample consisted of twelve participants, six female and six male. Ethical considerations such as informed consent, confidentiality, anonymity and voluntary participation were taken into account to protect the participants. The study’s finding revealed that the portrayed of deviant behaviour in some television programmes result in the following forms of deviant behaviour among young people: premarital sex, the perception of women as sex objects, the use of profane language, the abuse of drugs and alcohol, involvement in gangster activities and sexual confusion. The study recommends that the municipality should build a community library in the area which will be programmed to restrict access to YouTube, pornography, etc., / NRF