Criminologists and sociolegal scholars have become increasingly interested in studying media representations of crime in popular culture. They have studied representations using content analyses, often examining their “accuracy” against academic research. Alternatively, these scholars have also studied media effects. In contrast to these studies, I focus on the television production process of making entertaining, dramatic representations of crime. In doing so, I empirically address the following research question: how do TV writers know about crime, and how do they transform that knowledge into fictional representations? I answer this question using a triangulation of methods to gather data – specifically, ethnography, archival research, and interviews with writers and producers – and through the juxtaposition of several case studies. My case studies include the following Canadian crime television programs: 1) the police drama 'The Bridge,' 2) an original Canadian drama about insurance fraud, 'Cra$h and Burn,' and 3) crime docudramas, such as 'F2: Forensic Factor' and 'Exhibit A: Secrets of Forensic Science.' Taking cues from Bruno Latour’s actor-network theory, I focus on the site-specific, concrete, dynamic processes through which each television production makes fiction. I conceive of the writers’ room as a laboratory that creates representations through collaborative action and trial and error. This research demonstrates that, during the production process, representations of crime are unstable, constantly in flux as various creative and legal entities compel their revision. Legal entities, such as Errors and Omissions insurance and broadcasters’ Standards and Practices, regulate the content and form of representations of crime prior to their airing. My findings also reveal the contingency of (commercial) success, the heterogeneity of people who make up television production staff, and the piecemeal state of knowledge that circulates between producers, network executives and writers.

Criminologists and sociolegal scholars have become increasingly interested in studying media representations of crime in popular culture. They have studied representations using content analyses, often examining their “accuracy” against academic research. Alternatively, these scholars have also studied media effects. In contrast to these studies, I focus on the television production process of making entertaining, dramatic representations of crime. In doing so, I empirically address the following research question: how do TV writers know about crime, and how do they transform that knowledge into fictional representations? I answer this question using a triangulation of methods to gather data – specifically, ethnography, archival research, and interviews with writers and producers – and through the juxtaposition of several case studies. My case studies include the following Canadian crime television programs: 1) the police drama 'The Bridge,' 2) an original Canadian drama about insurance fraud, 'Cra$h and Burn,' and 3) crime docudramas, such as 'F2: Forensic Factor' and 'Exhibit A: Secrets of Forensic Science.' Taking cues from Bruno Latour’s actor-network theory, I focus on the site-specific, concrete, dynamic processes through which each television production makes fiction. I conceive of the writers’ room as a laboratory that creates representations through collaborative action and trial and error. This research demonstrates that, during the production process, representations of crime are unstable, constantly in flux as various creative and legal entities compel their revision. Legal entities, such as Errors and Omissions insurance and broadcasters’ Standards and Practices, regulate the content and form of representations of crime prior to their airing. My findings also reveal the contingency of (commercial) success, the heterogeneity of people who make up television production staff, and the piecemeal state of knowledge that circulates between producers, network executives and writers.

M.Bibl. / Television producers form a unique user group that mainly requires information regarding audio-visual material in order to produce or to enhance a television programme Information services can contribute to the successful completion of a programme by making information available. The aim of this study is to determine whether information services can enhance information for producers by adding value. The question is also asked which value-added level of information is required. A literature study was done to -examine the term "value-added" in order to be able to apply it to the information needs of television producers; -study the work environment of television producers in order to determine their information needs. An empirical investigation was executed by means of a layered random sampling test. Structured interviews were conducted by means of a questionnaire with a random portion of the television producer corps of the SABC. Personal details were gathered, as well as the use of information sources and services within the SABC and to which value- added level of information they require for a production. Value-added levels were based on Taylor's value-added continuum which consists of information that is enhanced to level two, Information Knowledge, followed by level three, Productive Knowledge, which leads to level four, Action. A television production is completed in four phases, that is the planning and research phase, filming phase, editing phase and final mixing phase .. The results showed that during the planning and research phases television producers require access to all possible information sources and services within the SABC. The information specialist can add value to the first level of value adding. In certain cases the television producers require information during the editing phase, during which the information specialist can add value up to the third level. The results of the research were distilled into a matrix, structured to indicate the levels of added-value to the television producer. Recommendations were made in order to provide a better information service.

No description available.

This thesis project is about a television engineer in the Department of Radio, Television and Film at the University of North Texas. This project records the engineer's activities in the Department and interviews him about his career path. An accompanying written production report describes the pre-production, production and post-production processes of this project.

This investigation attempted to answer the following research questions, based upon student participation in "hands on" television production activities: (1) What shifts in the students' perceived acceptance of themselves occurred, (2) what shifts in the students' perceived acceptance of others occurred, and (3) what shifts in the students' perceived acceptance of school occurred? In seeking answers to the above three questions, the investigator located seven volunteers from a high school dropout retrieval program. As it developed, all of them were of Mexican American heritage. This investigation was based upon a theoretical framework drawn from perceptual psychology, education, and television. The framework consisted of television as a perceptual experience tending to effect acceptance of self, others, and school. A small n research design with multiple measures was used during this investigation. Data were collected with a student self-report measure using a modified Likert-type response mode. Qualitative data were collected from student interviews and investigator observations recorded as fieldnotes. The research results indicated no significant patterns in acceptance of self and others as a group. The qualitative data revealed the variety of individual shifts in acceptance of self, others and school. Certain unanticipated results occurred because the participants were Mexican American. These included cultural-related observations. The data indicated that "hands on" television production activities involve "learning in context" processes which might have important implications for dropout retrieval programs. The investigator recommended further "learning in context" TV or video studies with multicultural groups of students.

The study concerns the inter-relationship between media reform and civil society in Thailand between 1995-2000. It examines case studies of two selected television organisations - the production company Watchdog and the broadcast channel Independent Television (iTV) - and analyses their internal production decision-making processes, their public affairs programs and their urban and rural audiences. Debates about civil society and media reform between 1995-2000 influenced the government's media regulation policies to the extent that more attention was paid to media freedom as intended by Articles 39, 40 and 41 in the 1997 Constitution. Non-governmental Organisations (NGOs) took an important role in monitoring government policies on media reform under the Constitution and issues about media re-regulation and ownership were canvassed, although the drawn out National Broadcasting Commission (NBC) selecting process delayed media reform. The transparency of the selection process of the NBC has been widely debated among NGOs, media scholars and media professionals. Most Thai public affairs programs in the period were shown on iTV, Channel 9 and Channel 11 and were in the minority compared with entertainment. Thai television stations normally screened entertainment programs to make profits, while they usually would not allow producers to air open debates critical of the government. Also, public affairs programs that were screened often were given inappropriate airtimes. Watchdog and iTV treated public affairs programs in different ways. Watchdog, originating from an NCO, the Creative Media Foundation, emphasized public participation in local community-oriented programs - such as Chirmsak Pinthong's Lan Ban Lan Muang - which exemplified civic journalism on television. In contrast, iTV was created in 1996 to meet the promise made in 1992 after Black May that a non-state commercial channel would be introduced. It was organised by journalists from the Nation Multimedia Company and focused on current national news issues which seldom allowed public participation. Both organisations attempted to maintain their professionalism despite political and business pressures. Chirmsak and Watchdog were accused of bias favoring the Democrat Party and often encountered program censorship. ITV staff, especially in the news department led by Suthichai Yoon and Thepchai Yong, unsuccessful fought. Shin Corps 2000-2001 takeover of the station that had been brought on by the financial problems of iTV and the Siam Commercial Bank after the economic crisis of 1997. There were three main concepts of civil society in the period 1997-2000 - Communitarianism, Self-sufficiency and Good Governance. These ideas were advanced by reformers such as Dr. Prawase Wasi and Thirayut Boonme, and were reinforced by His Majesty King Bhumibol's December 1997 Birthday Speech that endorsed the ideal of national self-sufficiency. Thai civil society debates often were involved with rural people, while the 8th National Development Plan and the Chuan government's policy on decentralisation aimed to strengthen the rural sector as an antidote to the 1997 crisis. However, the aims of civil society reformers were at times too idealistic and were viewed with skepticism by some middle class urban critics. The continuing influence of electoral corruption in rural areas also obstructed civil society ideals, while decentralisation and community development still maintained a top-down way of development and depended on government support. These difficulties in implementing pro-civil society reforms in the political process were paralleled by difficulties in developing public interest programs on Thai television. Current affairs and investigative journalism programs, such as iTV Talk, Tod Rahad and Krong Satanakarn, did not often open public discussion on the programs. Rather, the regular format of panel discussions, consisting of elites and some celebrities, tended to focus on national topics rather than local issues. The hosts of many of these public affairs programs depended on their own celebrities status and tended to invite well-known guests, whereas community-oriented programs such as Lan Ban Lan Muang and Tid Ban Tang Muang promoted civic journalism and deliberative democracy more effectively. The latter programs allowed the public to participate in the programs as the main actors and even proposed their own agendas. However, a limited study of three audience focus groups - an expert urban group, a young middle class urban group, and a rural group - found considerable scepticism about the possibility of developing public interest awareness via television programs. The expert and young middle class groups criticised both the hosts and the style of a selection of current affairs programs, which they thought were too serious and also biased. Some also considered that current affairs programs were a platform for the people in power rather than providing a space for the public. Therefore, they rarely watched them. In contrast, the rural group who participated in Lan Ban Lan Muang, believed that the program was useful for development communication. The audience gained information about other communities and used the media as the means to publicise their own community. However, they rarely watched it because the airtime of the program was the same as a popular entertainment program on Channel 3. The researcher used qualitative research methods to collect data, including indepth interviews, focus groups, participant observation, program recording and document analysis. Theoretically, the study has attempted to combine the approaches of western and Thai scholars. The main approach used to explain the relationship between the media and civil society is media and public sphere theory, as introduced by Habermas, and combined with the perspectives on media re-regulation of the Thai scholar Ubonrat Siriyusak. In terms of analysing Watchdog and iTV, the researcher used political economy perspectives to understand decision-making in both organisations. In addition, an organisational culture approach was used to explore conflicts of interest that arose in both organisations due to their different sub-cultures. Civic journalism, framing theory and development communication theory were further employed to examine the television programs and their roles in promoting the public interest and development projects, while the audience groups were considered in the context of participatory communication theory and reception theory.

Il presente lavoro di tesi si propone di ricostruire le “logiche mediali” dell’editoria promossa dalle minoranze etniche attraverso un approccio etnografico. Nella prima parte si ricostruisce lo scenario mediale, culturale, istituzionale entro il quale si dipanano le attività editoriali, con particolare attenzione alle profonde trasformazioni indotte dalle dinamiche globali e dalle migrazioni internazionali. Nella seconda parte, si ricostruisce il dibattito sulle culture mediali etnico-minoritarie a partire dall'analisi dei contributi più significativi, con un approfondimento meta-teorico sugli approcci metodologici più ricorrenti e, infine, la descrizione della realtà editoriale italiana. Nella terza parte, si indaga il significato del processo di framing in relazione alla capacità dell’istituzione giornalistica di fornire definizioni della situazione sociale e, al contempo, produrre un allargamento delle forme di cittadinanza. Nella quarta e ultima parte, si espongono i risultati di una ricerca etnografica che ha coinvolto un campione composto da sei redazioni impegnate nella produzione di contenuti televisivi. Dall’indagine qualitativa emerge una panoplia di culture produttive, in cui la professionalità e l’etnicità del soggetto vengono ri-negoziate sulla base delle peculiarità di ciascun assetto produttivo. Nondimeno, le culture mediali etnico-minoritarie rappresentano un punto d’osservazione privilegiato dal quale cogliere le complesse dinamiche che investono il mediascape contemporaneo nell’epoca della convergenza. / The dissertation is an attempt to reconstruct ethnic minority publishing media logic through an ethnographic approach. The first part is a depiction of the media, cultural, institutional scenario, where publishing practices unfold, with a specific focus on meaningful transformations provoked by both global dynamics and international migrations. The second part is a reconstruction of the debate upon ethnic media culture, or rather, an analysis of the most salient approaches and a meta-theoretical examination of the most recurring methodologies. The third part provides an insight on the process of framing with relation to the journalism, and the possibility to offer a definition of the social situation and to produce an enlargement of the concept of citizenship. The fourth part is a presentation of the ethnographic results of a research upon a sample compounded by six newsroom. Qualitative outcomes reveals a huge range of productive cultures, in which both professionalism and ethnicity are negotiated in base of the specific features of each organization. Nevertheless, ethnic minority media culture represents a privileged viewpoint from where to observe the complex dynamics affecting the contemporary mediascape in the convergence era.

Made available in DSpace on 2015-05-07T14:46:48Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 3391922 bytes, checksum: 512cad9880f5f6b2ceae9aa114c11bb6 (MD5) Previous issue date: 2010-02-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / In Brazil, the TV news had its origins in 1950, in a simple struture, without many audiovisual resources. However, as time goes by, transformations get introduced in the production of TV journalism, proved principally by the following characteristics: the use of the videotape, the emission of contents at a distance, the diffusion in colors, the beginning of the TV by subscription, the appearing of the Internet. Such innovations ensure the advent of the new technologies for a proper television, as a result, the development of the TV journalism, pushing it to revise its concepts and paradigms. An example that certificates this issue is the fact that the TV news show the need of the establishment of new formats, making available the spectator participation, based on the interactive assumption of the cyberspace, encouraging potential of content, where is valued the Internet user autonomy. In the meantime, could be said that this participation still find limitations in the analog technology, what push us to mention that to have the dialogue between the transmitter and the audience, this has to cover the other coexisting medias. In this context, the Brazilian digital TV had its origins, one media with a resolution superior than the one of the conventional TV and that allow the simultaneous emission of more information and interactive services, been these principals differentials, enabling to the users experiences more ―actuating‖, revealing inclusive, the unidirectional nature of the television. In this type of TV, the digital TV journalism, already operating in many countries, is multimedia, interactive and multidimensional. Because so, this dissertation proposal intent to produce reflections about the journalism to be disseminated by this new TV, recently even in Brazil, pointing the perspectives of development of interactive platforms. / No Brasil, o telejornal teve origem em 1950, em uma estrutura simples, sem muitos recursos audiovisuais. Contudo, ao longo dos anos, incidiram-se transformações na produção dos telejornais, evidenciadas principalmente pelas seguintes características: o uso do videotape, a emissão de conteúdos a distância, a difusão em cores, o início da televisão por assinatura, o surgimento da Internet. Tais inovações asseguram que o advento das novas tecnologias para televisão propicia, em consequência, o desenvolvimento do telejornalismo, forçando-o a rever seus respectivos conceitos e paradigmas. Um exemplo que atesta esta questão é o fato dos telejornais revelarem a necessidade de estabelecerem novos formatos, disponibilizando a participação dos telespectadores, baseados nos pressupostos interativos do ciberespaço, potencial fomentador de conteúdo, onde se valoriza a autonomia do internauta. Entretanto, cabe ressaltar que essa participação ainda encontra limitações na própria tecnologia analógica, o que significa mencionar que para haver o diálogo entre emissora e audiência, esta tem que recorrer às outras diversas mídias coexistentes. Neste contexto, tem origem a TV digital brasileira, uma mídia com resolução superior a da TV convencional e que permite a emissão simultânea de mais informações e serviços interativos, sendo estes os principais diferenciais, por permitirem aos usuários experiências muito mais atuantes, desvelando-se, inclusive, do caráter unidirecional da televisão. Neste tipo de TV, o telejornalismo digital, já em operação em variados países, é multimídia, interativo e multilinear. Assim sendo, esta proposta de dissertação intenta produzir reflexões acerca do jornalismo a ser veiculado por esta nova TV, ainda recente no Brasil, apontando as perspectivas de desenvolvimento de plataformas interativas.

看電視新聞，到底看哪裡？除了聽聲音之外，我從電視新聞鏡面裡，可以看到什麼我想要得到的訊息？有天氣、有時間、有不斷在往左跑的跑馬燈、有新聞大標、新聞說明、和播報這一則完全無關的新聞畫面、新聞標題、還有讓人誤解的新聞鏡面（以為下大雨或失大火了）；同一個主播忽換左，忽然右，甚至轉來轉去，一會兒坐一會兒站，台灣電視新聞鏡面，繽紛萬千。 　　這些繽紛萬千的鏡面，產生的原理原則為何？影響產生的動機又是什麼？從1962年台視成立開始，到2005年有線電視多樣的鏡面，電視鏡面又做了什麼樣的改變？形成的生態為何？生態改變的當中，主要環境是如何形成？ 　　透過資料的整理和深度訪談，發現，「競爭」是左右鏡面一項重要的因素；台灣鏡面發展的五個時期，與「競爭」息息相關，三台時期因為競爭因素，開始創造辦公室背景、單雙主播播報；1993年有線電視法通過後，也因為SNG和跑馬燈的廣泛運用，鏡面開始出現不同的元素；到了2003年，更因為媒體環境的激烈競爭，讓新聞鏡面不只充滿服務的元素，更多促銷自己與主播特性明顯的鏡面。只要可以「預告新聞」「留住觀眾」的任何元素，都可以塞進鏡面裡：一則新聞兩個鏡面以上、鏡面像四格漫畫一樣說新聞、把鏡面變成火焰或任何主題等，整個電視鏡面，滿滿都是訊息，超過九個以上的資訊，要在鏡面出現的一分鐘以內，讓觀眾吸收。 　　這樣繽紛鏡面的生態，主要來自於科技支援下的巿場競爭，因為收視競爭，製作人就必需「創造」新的鏡面元素（像是天空標、訊息框等），而新的鏡面元素呈現之後，只要收視率不出現下降的趨勢，各台迫於競爭壓力，開始形成「模仿」與流行，而一旦模仿與流行成為趨勢，製作人或主管，又得為了收視率開始想辦法，創造新的鏡面元素。 　　所以，在本研究，整理出電視鏡面的改變趨勢與時間進程，分析目前電視新聞鏡面的構成元素與產製流程，透過資深電視人的訪談，找出電視新聞鏡面的設計原則、動機與生態系統，希望透過本研究，除了提供業界人士鏡面的缺失和思考的方向以外，能夠為將來鏡面研究，累積資料數，進而發現閱聽人接收端對鏡面的接受程度與態度。 / What do we look at on TV news reports? In addition to audio presentation, what else is presented on the television? Weather reports, current time, continuously updated crawls, news title, news content, as well as the scene, title, and confusing television graphics of a piece of unrelated news (such as about a sudden downpour or a fire accident). The anchor changes his camera angle from left to right, right to left; being seated in one second, and standing in another. The television graphics in Taiwan are really versatile. 　　What is the principle and rule for the production of these versatile graphics? And what is the motivation behind the production? From the establishment of TTV (Taiwan TV Enterprise, Ltd) in 1962 to the development of versatile graphics on cable TV channels in 2005, what has been the change of television graphics and background of the formation? And how the main environment was formed amid the change of the ecosystem? 　　Through data collection and in-depth interviews, it was discovered that “competition” is an important factor for television graphics. There are 5 stages of the development of television graphics in Taiwan, all of which are closely related to competition. During the 3-channel stage, the background of an office, single and duo anchor reporting were innovated. After the CATV Law was passed in 1993, due to the extensive applications of SNG and crawls, different elements of graphics were created. By 2003, under the intensive competition in media, television graphics were not only filled with multiple service elements but also self-promotion messages and features of the anchor. Any element that “previews news” and “retains the audience” can be stuffed into the graphics. A piece of news may contain more than 2 graphics in 4 boxes, like a comic book. The graphic can be a fire or any theme, making the whole television graphic filled with messages. Sometimes, more than 9 messages are presented to the audience in just one minute. 　　This ecosystem is mainly attributed to the competition in the market supported by technologies. Because of the competition for reception, producers have to "create" new graphic elements (such as sky bar, message boxes). And when the new elements are presented, as long as the rating does not decline, bowing to the pressure of competition, every channel starts to "imitate" and prevail the creation. When it has become a popular trend, TV producers or managers have to brainstorm again for new graphic elements. 　　Therefore, this study organized the trend and evolution of television graphics and further analyzed the elements and procedure of production of the current television graphics. Through interviews with senior television producers, it aimed to find out the design principles, motivation, and ecosystem of the television graphics. It was hoped that the study could provide the industry with the flaws of television graphics and a direction of thinking as a reference, accumulate data for future studies, and further discover the degree of acceptance and attitude of the audience toward television graphics.