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The influence of new media on theatrical practice over the past fifty years has spurred a movement towards theatrical forms which are increasingly organized around the sensory elements of performance. This change is most noticeable in the visual approaches to theatre, and it has produced what I have labeled a theatre of visuality. This thesis argues that the tendencies for visualization found in visual media have extensively marked the performance strategies of contemporary theatre practice, resulting in a shift away from the logocentric dramatic text and towards theatre performance organized around the visual. Looking at four contemporary productions of Georg Buchner’s Woyzeck –Thomas Ostermeier’s Woyzeck (2005), Vesturport’s Woyzeck (2005), Robert Wilson’s Woyzeck (2000), and Josef Nadj’s Woyzeck ou l’Ébauche du Vertige (1994)– this thesis produces a preliminary typology of four distinct visualities/theatrical forms which make up the theatre of visuality: hyperrealism, synesthesia, superficiality, and visual narration. This thesis contributes to the conceptualization and understanding of postdramatic theatre by linking the theatre’s rejection of the text to the increased centrality of the visual in performance, and by tracing these shifts to the influence of visual media.

Thesis (Ph. D.)--Miami University, Dept. of English, 2004. / Title from second page of PDF document. Includes bibliographical references (p. 94-98).

The influence of new media on theatrical practice over the past fifty years has spurred a movement towards theatrical forms which are increasingly organized around the sensory elements of performance. This change is most noticeable in the visual approaches to theatre, and it has produced what I have labeled a theatre of visuality. This thesis argues that the tendencies for visualization found in visual media have extensively marked the performance strategies of contemporary theatre practice, resulting in a shift away from the logocentric dramatic text and towards theatre performance organized around the visual. Looking at four contemporary productions of Georg Buchner’s Woyzeck –Thomas Ostermeier’s Woyzeck (2005), Vesturport’s Woyzeck (2005), Robert Wilson’s Woyzeck (2000), and Josef Nadj’s Woyzeck ou l’Ébauche du Vertige (1994)– this thesis produces a preliminary typology of four distinct visualities/theatrical forms which make up the theatre of visuality: hyperrealism, synesthesia, superficiality, and visual narration. This thesis contributes to the conceptualization and understanding of postdramatic theatre by linking the theatre’s rejection of the text to the increased centrality of the visual in performance, and by tracing these shifts to the influence of visual media.

South Africa has been witnessing an escalation in drug use amongst adolescents in high school. Thus, the main question that motivated this research was: How can a psycho-educational programme, using a selected audio-visual media resource, assist teachers and parents in an effort to prevent adolescent students’ substance abuse problem behaviour? Social cognitive theory (SCT) and self-efficacy theory (SET) were used as a conceptual framework. The study explained these theories in-depth. Adolescent substance abuse was also studied as well as programmes to address this problem. This was followed by a perusal of numerous audio-visual resources for their possible incorporation into prevention programmes. The ‘Above The Influence’ (ATI) resource was selected for the psycho-educational programme which was designed for the study. The programme was put into action during seven sessions over a period of about two months, and implemented with a group of 26 Grade 10 and Grade 11 students in Pietermaritzburg, South Africa, to evaluate its relevance for adolescent substance abuse prevention. To evaluate the programme, a qualitative approach was used. The data were gathered during the programme implementation by means of in-person and online focus groups, individual interviews, written open-ended questions, observation notes and follow-up interviews some time after the programme had ended. Eleven principles were identified from the literature to evaluate the potential of the programme to be effective in preventing adolescent substance abuse. In particular the programme needed to increase adolescents’ skills related to studying, communication, peer relationships, self-efficacy, assertiveness, and drug resistance. The programme also had to employ interactive techniques and needed to address the type of drug abuse problem in the local community, for example, the ‘gateway’ substances of marijuana, alcohol and tobacco. In addition, the programme potential was evaluated in the light of SCT and SET. The findings indicated that the psycho-educational programme, using ATI as audiovisual medium, can be used very effectively by teachers to raise students’ awareness and develop particular skills that could contribute towards the prevention of adolescent substance abuse. It is recommended that the programme should be used in the long-term with repeated reinforcing sessions over time. / Psychology of Education / D. Ed. (Psychology of Education)

Am 28. April 2009 überreichten Repräsentanten der deutschen Archive und Bibliotheken Bundespräsident Horst Köhler eine Denkschrift der Allianz Schriftliches Kulturgut erhalten. Barbara Schneider-Kempf (Staatsbibliothek zu Berlin), Thomas Bürger (Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresden), Bernd Kappelhoff (Landesarchiv Hannover) und Michael Knoche (Herzogin Anna Amalia-Bibliothek Weimar) hatten im Jahr 2008 diese Denkschrift erarbeitet, die nun gedruckt vorliegt und im Schloss Bellevue vorgestellt wurde.

En kombination av ljud och bild, audiovisuell media, har under en längre tidsperiod varit ett sätt att skapa uppmärksamhet kring en artist. Den teknologiska utvecklingen har förbättrat de audiovisuella verktygen och gjort de mer tillgängliga. Dock har denna utveckling även skapat fler digitala kommunikationskanaler och ett informationsbrus som kan vara svårt för en artist att nå igenom. Utifrån detta kan artister behöva nå sin publik på ett djupare plan, vilket eventuellt kan uppnås genom sinnesmarknadsföring. Denna uppsats har därför som syfte att undersöka hur och varför artister använder audiovisuell media i sin kommunikation via sociala medier samt vilken betydelse samspel mellan flera sinnen har för att förmedla artistens identitet. Undersökningen har tillämpat en kvalitativ forskningsstrategi med hermeneutik som kunskapsteoretisk utgångspunkt. Utifrån denna har studien antagit en abduktiv ansats. Datainsamling för studien utfördes genom semistrukturerade intervjuer, varav två genomfördes personligen, tre via telefon och två respondenter besvarade intervjufrågor via e-mail. Respondenter valdes genom ett målstyrt urval med kriterierna att respondenterna skulle inneha kunskap eller erfarenhet om ämnet genom sitt arbete och inkludera olika åldrar, könstillhörigheter och geografiska hemvister. Resultatet av denna undersökning är att artister kan använda audiovisuell media på ett mångfacetterat sätt som beror på artistens genre, sammanhang och målgrupp. Studien har identifierat tre typer av audiovisuell media: kortare videor, fullskaliga musikvideor samt livestreaming. Artister använder audiovisuell media utifrån olika syften som kan innefatta att kommunicera sin varumärkesidentitet, att addera till ett konstnärligt uttryck eller att etablera närmare relationer till sin målgrupp. Semantisk kongruens mellan flera sinnen är av betydelse för att förmedla en autentisk helhetsbild av artisten. I framtiden kan audiovisuell media få ökad betydelse genom en allt snabbare konsumtionskultur och mer tillgänglig teknik. Denna teknik kan även komma att möjliggöra inkludering av fler sinnen och därmed bidra till en starkare immersiv upplevelse för konsumenten. / A combination of sound and image, audio-visual media, has for a long time been a way to create attention around an artist. Technological developments have improved the audio-visual tools and made them more accessible. However, this development has also created more digital communication channels and an information noise that can be difficult for an artist to get through. Based on this, artists may need to reach their audience on a deeper level, which can possibly be achieved through sensory marketing. This study therefore aims to investigate how and why artists use audio-visual media in their communication via social media and the importance of interplay between several senses in conveying the artist's identity. The study has applied a qualitative research strategy with hermeneutics as the epistemic foundation. Based on this, the study has adopted an abductive approach. Data collection was performed through semi-structured interviews, of which two were conducted in person, three by telephone and two respondents answered interview questions via e-mail. Respondents were selected through a goal-directed selection with the criteria that the respondents would have knowledge or experience of the subject through their work and include different ages, genders and geographical residences. The result of this study is that artists may use audio-visual media in a multifaceted way that depends on the artist's genre, context and target group. The study has identified three types of audio-visual media: shorter videos, full-scale music videos and live streaming. Artists use audio-visual media for various purposes that may include communicating their brand identity, adding to an artistic expression or establishing closer relationships with their target audience. Semantic congruence between several senses is important for conveying an authentic holistic picture of the artist. In the future, audio-visual media may become more important through an ever-intensifying consumer culture and more accessible technology. This technology may also enable the inclusion of more senses and thus contribute to a stronger immersive experience for the consumer.

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This thesis focuses on the question of preferential treatment by U.S. national newsmagazines of presidential candidates in the 2004 election as evidenced by their visual coverage. Using content analysis, all the visual depictions of candidates George W. Bush and John Kerry were analyzed for 10 visual attributes to determine whether one had received better pictorial treatment. This study asked if the newsmagazines had printed greater amounts of visuals overall for one candidate and if one candidate's visuals were more or less positive than the other. The author concludes that more coverage was given to Bush over Kerry in a 60/40 ratio in all three magazines, and overall, the pictures published for each candidate were positive and neither candidate was given preferential treatment by any of the magazines. The newsmagazines were not deemed biased for publishing more visuals of Bush because, though more visuals were of the president during September, the newsmagazines published nearly equal numbers of visuals in October and November, often pairing them in layouts. The magazines were also not biased in their selection of visuals. All three tended to publish more positive or neutral visuals and rarely did any significantly differing patterns emerge to show that the editors favored one candidate over the other. Those attributes that did reach significance had weak associations. This study is a replication and a continuation of visual media content analyses of the 1984, 1988, and 1996 campaign coverage by Moriarty and Garramone (1986), Moriarty and Poppovich (1989), and Waldman and Devitt (1998) respectively. This research adds to the body of media bias and agenda-setting among newspapers and magazines and visual media.

The media is not only a source of entertainment, it is also a way to better understand ourselves and a means to shape our identities. The purpose of different types of communication are never neutral, there is always a discourse and an underlying meaning at work. By continually portraying women as stereotypical characters, the patriarchal discourse is reproduced and perpetuates an unequal view of women in society. It is possible to reconstruct the hegemonic male domination and representation is key if there is a change to be had in this area. Thus, it is of utter importance to create productions that showcase a vast variety of social and gender roles. The purpose of this essay is to analyse female representation in visual media with a primary focus on women’s history, exemplified by how gender is created by female characters in the miniseries Fröken Frimans krig. The analysis has a basis in multimodal critical discourse analysis as well as critical narrative analysis, and also takes into consideration Mulvey’s theories on the male gaze. The theoretical framework is based on poststructural feminist theory with an aim to deconstruct notions of what constitutes a woman and a man.