Bibliography: leaves 453-490.

University of Macau / Faculty of Social Sciences and Humanities / Department of Communication

Not available / text

多元文化是目前社會的主流價值，事實上，每個文化都有其優勢，在不同時代都可以有貢獻。但族群文化常在傳播過程中出現矛盾與爭議，本研究試圖從文化傳播的觀點，找出製作族群電視台節目時，應掌握的原則和精神，並以原住民電視台為例，探討不同文化間如何有效的溝通。 本論文主要是以漢文化和原民文化為主，並透過社會學、人類學和文化傳播等文獻探討進行理論上的對話；同時，也探討原民文化重要的核心價值與內涵，期盼在文化傳播時能達到最佳效果。本研究採社會科學中的質性研究法，以深度訪談與焦點團體進行資料蒐集、分析與討論。 研究發現，在文化傳播歷程中族群電視台會遭遇下列幾種困難：閱聽人期待不同、文化節目製作團隊素質要高、族語和文字保留不易、文化衝突降低傳播效果、族群捍衛文化產生防衛心；但透過幽默、靠近、善用刻板印象、建立顧問團隊和政府刻意的協助，能突破困難，讓不同文化有良性溝通；除此之外，本研究也發現，族群文化反而可以為主流文化的瓶頸找一條出路，例如原住民文化中對大自然的尊重、部落意識、樂舞教導、和自然幽默的性格，與目前的全球思維等議題有密切關聯。 最後本研究提出三點建議：建議政府籌備第二台原住民電視台、主動培訓原住民傳播人才、學術界的文化學者應積極投入族群文化節目之製作團隊。筆者相信，如此必能提升文化傳播的效益，也能使多元文化的普世價值得到彰顯。 / Multi-culture is the mainstream in nowadays. Actually, each culture has its own advantages. There are conflicts and disputes of tribal culture in the communication process. This research aims the principles and the spirits of producing tribal television programs in the point of interculture communication. Taiwan Indigenous Television is taken as the example to discuss how to communicate effectively among different cultures. This research focuses on the Han culture and aboriginal culture and studies the theory through the documents of sociology, anthropology and interculture communication. At the same time, it also studies the core values and intensions of aboriginal culture. This research, gathering, analyzing, and discussing the data by deeply-interview and focus groups interview, takes the qualitative methods of sociology. The research finds out that tribal television stations may encounter the following problems: the different expect from audience, the quality of tribal television program producing team, the keep of the provin- cial speech and words, the ineffective communication results due to conflicts between different cultures, and the defend of indigenous people for their own culture. However, the problems would be solved by the help of humor, touching, breaking stereotypes, building consulting team, and the assistance from the government. The study also finds that tribal cultures may provide the solution for mainstream culture which is under the limits by itself. The advantages of aboriginal culture are the respect of the environment, tribal recognition, the teaching of music and dance, and the humor. They all are closely related to the global issues. There are three suggestions in the research. First, the government should plan to establish the second indigenous television station. Second, We should actively train indigenous media experts. Third, the scholars in the culture academic circle should eagerly involve producing tribal television programs. It is convinced that by doing so, the culture communication would be more effective, and the society would emphasize on multi-culture value much more.

Univ., Diss.--Hamburg, 2007.

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.

The “tabloid TV” news genre is a relatively new phenomenon in Uganda and Africa. The genre has been criticised for depoliticising the public by causing cynicism, and lowering the standards of rational public discourse. Despite the criticisms, the genre has been recognised for bringing ‘the private’ into a public space and one of the major ‘private’ issues on the public agenda is women and gender equality. Given these critiques, this study set out to interrogate the meanings that young working class women in Kampala make of the tabloid television news programme Agataliiko Nfuufu and to ask how these meanings relate to the contested notions of femininity in this urban space. In undertaking this audience reception study I interviewed young women between the ages of 18-35 years by means of individual in-depth interviews and focus group discussions. The study establishes that Agataliiko Nfuufu is consumed in a complex environment where contesting notions of traditionalism and modernity are at play. The study also establishes that while mediating the problems, discomforts and contestations of these young women’s lives, Bukedde TV1 operates within a specific social context and gendered environment where Agataliiko Nfuufu is consumed. The study concludes that the bulletin mediates the young women’s negotiations and contestations, but it provides them with a window into other people’s lives and affords them opportunities to compare, judge and appreciate their own. Furthermore, the gendered roles and expectations in this context have become naturalised and have achieved a taken-for-grantedness. Therefore, patriarchy has been legitimised and naturalised to the extent that the respondents define themselves largely in relation to male relatives, and marriage. While the women lament the changes that have taken place in their social contexts which disrupt the natural gender order, they construct themselves as subjects of the prevailing discourses of gender relations that see men as powerful and women as weak and in need of protection.

Hierdie proefskrif is 'n verkennende ondersoek na kykers se interpretasie van die seep-opera Egoli - Piek van Goud. Die basiese vertrekpunt van die studie is die teks-leserontmoeting waar gelyke status aan die boodskap ('n teks) en die ontvanger ('n kyker) gegee word. Uit so 'n ontmoeting ontstaan kykers se interpretasies. Die tweeledige ondersoek plaas die proefskrif binne die teoretiese en metodologiese raamwerk van resepsiestudie om die komplekse interaksie tussen 'n teks en die ontvanger te ondersoek. Die twee komponente word binne spesifieke historiese en kulturele kontekste geplaas, te wete die veranderende politieke en ideologiese klimaat in Suid-Afrika asook die sosio-kulturele en politieke kontekste van die deelnemers. Die deelnemers van hierdie studie is groepe bruin-, swart- en witvroue. Groeponderhoude (fokusgroepe) is met ses groepe vroue tydens hul etensuur by die werkplek gevoer. Die onderhoude is rondom die volgende temas gestruktureer: romanse, identifikasie, parasosiale interaksie, sosiale interaksie, intertekstualiteit en Egoli as 'n forum vir die uitbeelding van Suid-Afrikaanse werklikhede. Kykers se interpretasie van die temas is ontleed aan die hand van referensiele, onderhandelde en kritiese interpretasierame. Daar is gevind dat die verskillende kultuurgroepe in 'n groat mate dieselfde interpretasierame gebruik in hul interpretasie van die verskillende temas. Die opvallendste verskil tussen die groepe is die wyse waarop die deelnemers die tema Egoli as 'n forum vir die uitbeelding van die SuidAfrikaanse werklikhede vertolk: as gevolg van verskillende sosio-kulturele en politieke omstandighede in Suid-Afrika het die deelnemers waarskynlik interpretasierame ontwikkel wat aan daardie omstandighede gekoppel kan word. In die studie is aangetoon dat die hermeneutiek en resepsieteorie nuttige verklarings gee van die elemente in die seep-operateks wat kykersbetrokkenheid stimuleer en die proses van interpretasie. Die proses verloop soos volg: deelnemers het bepaalde verwagtings oor 'n program; hulle moet die uitgebeelde werklikheid(e) herken en die boodskappe dan toe-eien. Hierna word boodskappe 'n kultuur binnegedra deur middel van sosiale diskoers. Die teoretiese onderbou het voorts aan die lig gebring dat deelnemers se interaksie met en interpretasie van Egoli 'n vorm van spel is. Empiriese bewyse is gevind dat die deelnemers op speelse wyse • oor karakters 'skinder'; • spekuleer oor romantiese assosiasie; • met karakters identifiseer; en • parasosiale verhoudings met karakters aanknoop. / Text in Afrikaans / This thesis is an exploratory study of viewers' interpretation of the soap opera Egoli - Place of Gold. The basic point of departure is the text-viewer encounter where equal status is given to the message (text) and the recipient (viewer). Viewers' interpretations develop from this encounter. This dichotomous investigation places the thesis within the theoretical and methodological framework of reception study where the complex interaction between a text and the recipient is examined. The two components are placed within specific historical and cultural contexts, namely the changing political and ideological climate in South Africa, as well as the socio-cultural and political contexts of the participants. The groups participating in this study consisted of coloured, black and white women. Six group interviews (focus groups) were held with these women during their lunch-hour at the workplace. The interviews were structured around the following themes: romance, identification, parasocial interaction, social interaction,intertextuality and Egoli as a forum for the portrayal of South African realities. Viewers' interpretations of these themes were analysed according to referential, negotiated and critical interpretative frames. It was largely found that the various cultural groups use the same interpretative frames to interpret the various themes. The exception was the way participants interpreted Egoli as a forum for the portrayal of South African realities: because of different socio-cultural and political circumstances in South Africa the participants may have developed interpretation frames that could be linked to these circumstances. Hermeneutics and reception theory provide useful explanations of these elements in a soap opera text that stimulate viewers' involvement and the process of interpretation. This process proceeds as follows: participants have specific expectations regarding a programme; they must recognise the realities depicted and then appropriate the messages. Thereafter messages are incorporated into a culture by means of social discourse. A further important theoretical finding was that the participants' interaction with and interpretation of Egoli takes the form of play. It was empirically determined in this study that participants playfully • speculate about romantic association; • engage in gossip about characters; • identify with characters; and • develop parasocial relationships with characters. / Summaries in English and Afrikaans / Communication Science / D. Litt. et Phil. (Communication Science)

Orientador: Fernão Vitor Pessoa de Almeida Ramos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T11:12:46Z (GMT). No. of bitstreams: 1 Vargas_Heidy_M.pdf: 2014463 bytes, checksum: bb1bace353c62c55d3b3e8afa368481a (MD5) Previous issue date: 2009 / Resumo: Este trabalho busca identificar as condições internas e externas à Rede Globo de Televisão que permitiram o surgimento dos programas Globo-Shell Especial e Globo Repórter e discutir a influência da linguagem e da estética do Cinema Novo no documentário televisivo. O Globo-Shell Especial foi criado em 1971 e, em 1973, foi substituído pelo Globo Repórter, cuja exibição foi suspensa pela primeira vez em 1983. Para mapear essa história, recorreu-se à bibliografia existente sobre o assunto - ainda pouco estudado -, às notícias e críticas publicadas e aos boletins de programação da emissora, bem como a entrevistas realizadas com profissionais envolvidos nesses projetos. Elaborou-se também, a partir de um mapeamento da produção dos doze anos que delimitam a pesquisa, uma planilha com informações primárias (nome, data de exibição, ficha técnica), subdividida em segmentos temáticos, que serve de base para uma análise preliminar do modo de produção, da linguagem audiovisual e da estética adotadas. Essa análise é cotejada com a tradição narrativa documental, a questão da autoria e as revoluções tecnológicas que permitiram a construção do discurso do documentário televisivo. Em ambos os programas, cineastas e jornalistas fizeram parte das equipes, somando competências e gerando contradições. O resultado desse encontro foi a criação de documentários únicos, diferenciados do restante da produção televisiva e cinematográfica do período, tanto nos planos da estética e da linguagem - uma preocupação intrínseca ao trabalho dos cineastas - quanto no da informação - uma marca do trabalho dos jornalistas. / Abstract: This paper seeks to identify the conditions inside and outside of the Globo Television Network that allowed the creation of Globo-Shell Especial and Globo Repórter programs and discuss the influence of Cinema Novo's language and aesthetics on TV documentary. Globo-Shell Especial was established in 1971 and replaced in 1973 by Globo Repórter, which had its transmission suspended for the first time in 1983. To map that history, we appealed to literature on the subject - which is still little studied -, news, reviews and published reports of the broadcast programming, as well as interviews with professionals involved in these projects. Based on a survey of production from the twelve years that are subject of research, we also produced a spreadsheet of primary information (name, date display, fact sheet), divided into thematic segments, which serves as the basis for a preliminary analysis of the adopted mode of production, audiovisual language and aesthetics. This analysis is compared to the traditional documentary narrative, the question of authorship and the technological revolutions that enabled the construction of the television documentary discourse. In both programs, filmmakers and journalists were part of the team, adding expertise and creating contradictions. The result of such a meeting was the creation of unique documentaries, different from the rest of the TV and film production of the period both in terms of aesthetics and language - a concern intrinsic to filmmaking - and in terms of information - a mark of the work of journalists. / Mestrado / Mestre em Multimeios

This study focuses on dark-skinned, Black women's representation in Black sitcoms. Through a mixed-methods use of a comparative textual analysis and focus group, the content and context of episodes from A Different World and Dear White People are explored to illustrate portrayals of dark-skinned, Black women and how these portrayals affect dark-skinned, Black women's self-esteem. Its findings contribute to colorism research by exploring colorism in Black sitcoms. Because this topic is largely unexplored, this study seeks to begin a conversation about dark skinned, Black women's representation in Black sitcoms. The main objective is to ultimately improve their depictions and roles in Black sitcoms and hold Black creatives responsible for the role they play in promoting colorism and its ultimate effect on Black women's self esteem.