Welcome to the republic

The thesis consists of a video documentary and an exegesis. The video was shot in a number of different styles to explore the complex issues that exist within the genre of documentary.

Media log : a guide to film, television, and radio programs supported by the National Endowment for the Humanities, Division of Public Programs, Humanities Projects in Media.

Shipping list no.: 93-0162-P.

Exposing young children to music through the production and presentation of music-appreciation television programs

This paper reports on a research study of the effectiveness of a series of music-appreciation activities for young children in Hong Kong. These activities were designed using world music and were presented as part of a local early childhood television program for community interest. One-undred-and-sixty-eight local preschool children (mean age 4.25) and their classroom teachers, from 16 childcare centres or kindergartens, participated in this study. Qualitative data was collected using individual structured interviews with both children and teachers. The data showed that these music-appreciation activities enriched children's musical experiences and teachers' musical repertoires in early childhood settings. Teachers also showed positive preferences to learn the activities using multimedia tools. Implications for the curriculum planning and teacher training of early childhood music education are discussed.

Juvenile delinquency (television programs)

Mode of access: Internet.

Kenneth Matiba

The story of the life and times of Kenneth Matiba -- businessman, entrepreneur, sports team executive, and a former government minister and politician during tumultuous times in Kenya.

Public knowledge beyond journalism : infotainment, satire and Australian television

This thesis examines the changing relationships between television, politics, audiences and the public sphere. Premised on the notion that mediated politics is now understood “in new ways by new voices” (Jones, 2005: 4), and appropriating what McNair (2003) calls a “chaos theory” of journalism sociology, this thesis explores how two different contemporary Australian political television programs (Sunrise and The Chaser’s War on Everything) are viewed, understood, and used by audiences. In analysing these programs from textual, industry and audience perspectives, this thesis argues that journalism has been largely thought about in overly simplistic binary terms which have failed to reflect the reality of audiences’ news consumption patterns. The findings of this thesis suggest that both ‘soft’ infotainment (Sunrise) and ‘frivolous’ satire (The Chaser’s War on Everything) are used by audiences in intricate ways as sources of political information, and thus these TV programs (and those like them) should be seen as legitimate and valuable forms of public knowledge production. It therefore might be more worthwhile for scholars to think about, research and teach journalism in the plural: as a series of complementary or antagonistic journalisms, rather than as a single coherent entity.

YouTube versus the national film and sound archive: Which is the more useful resource for historians of Australian television?

This article compares YouTube and the National Film and Sound Archive (NFSA) as resources for television historians interested in viewing old Australian television programs. The author searched for seventeen important television programs, identified in a previous research project, to compare what was available in the two archives and how easy it was to find. The analysis focused on differences in curatorial practices of accessioning and cataloguing. NFSA is stronger in current affairs and older programs, while YouTube is stronger in game shows and lifestyle programs. YouTube is stronger than the NFSA on “human interest” material—births, marriages, and deaths. YouTube accessioning more strongly accords with popular histories of Australian television. Both NFSA and YouTube offer complete episodes of programs, while YouTube also offers many short clips of “moments.” YouTube has more surprising pieces of rare ephemera. YouTube cataloguing is more reliable than that of the NFSA, with fewer broken links. The YouTube metadata can be searched more intuitively. The NFSA generally provides more useful reference information about production and broadcast dates.

'Going live' : establishing the creative attributes of the live multi-camera television professional

In my capacity as a television professional and teacher specialising in multi-camera live television production for over 40 years, I was drawn to the conclusion that opaque or inadequately formed understandings of how creativity applies to the field of live television, have impeded the development of pedagogies suitable to the teaching of live television in universities. In the pursuit of this hypothesis, the thesis shows that television degrees were born out of film studies degrees, where intellectual creativity was aligned to single camera production, and the 'creative roles' of producers, directors and scriptwriters. At the same time, multi-camera live television production was subsumed under the 'mass communication' banner, leading to an understanding that roles other than producer and director are simply technical, and bereft of creative intent or acumen. The thesis goes on to show that this attitude to other television production personnel, for example, the vision mixer, videotape operator and camera operator, relegates their roles to that of 'button pusher'. This has resulted in university teaching models with inappropriate resources and unsuitable teaching practices. As a result, the industry is struggling to find people with the skills to fill the demands of the multi-camera live television sector. In specific terms the central hypothesis is pursued through the following sequenced approach. Firstly, the thesis sets out to outline the problems, and traces the origins of the misconceptions that hold with the notion that intellectual creativity does not exist in live multi-camera television. Secondly, this more adequately conceptualised rendition, of the origins particular to the misconceptions of live television and creativity, is then anchored to the field of examination by presentation of the foundations of the roles involved in making live television programs, using multicamera production techniques. Thirdly, this more nuanced rendition of the field sets the stage for a thorough analysis of education and training in the industry, and teaching models at Australian universities. The findings clearly establish that the pedagogical models are aimed at single camera production, a position that deemphasises the creative aspects of multi-camera live television production. Informed by an examination of theories of learning, qualitative interviews, professional reflective practice and observations, the roles of four multi-camera live production crewmembers (camera operator, vision mixer, EVS/videotape operator and director's assistant), demonstrate the existence of intellectual creativity during live production. Finally, supported by the theories of learning, and the development and explication of a successful teaching model, a new approach to teaching students how to work in live television is proposed and substantiated.

"SporTV" : the legacies and power of television

This chapter begins from the premise that, to date, television remains the dominant communications technology in the digital media sport environment. It argues that sports-related programming is often overlooked in favour of event coverage in the study of sports television. Analysis focuses on three areas - platform interaction, technological innovation, and content ecologies - and describes technological innovations arising from television coverage of sports, with a particular focus on online video, audience measurement, and 3D production and viewing.

Television and the popular: viewing from the British perspective

The academic discipline of television studies has been constituted by the claim that television is worth studying because it is popular. Yet this claim has also entailed a need to defend the subject against the triviality that is associated with the television medium because of its very popularity. This article analyses the many attempts in the later twentieth and twenty-first centuries to constitute critical discourses about television as a popular medium. It focuses on how the theoretical currents of Television Studies emerged and changed in the UK, where a disciplinary identity for the subject was founded by borrowing from related disciplines, yet argued for the specificity of the medium as an object of criticism. Eschewing technological determinism, moral pathologization and sterile debates about television's supposed effects, UK writers such as Raymond Williams addressed television as an aspect of culture. Television theory in Britain has been part of, and also separate from, the disciplinary fields of media theory, literary theory and film theory. It has focused its attention on institutions, audio-visual texts, genres, authors and viewers according to the ways that research problems and theoretical inadequacies have emerged over time. But a consistent feature has been the problem of moving from a descriptive discourse to an analytical and evaluative one, and from studies of specific texts, moments and locations of television to larger theories. By discussing some historically significant critical work about television, the article considers how academic work has constructed relationships between the different kinds of objects of study. The article argues that a fundamental tension between descriptive and politically activist discourses has confused academic writing about ›the popular‹. Television study in Britain arose not to supply graduate professionals to the television industry, nor to perfect the instrumental techniques of allied sectors such as advertising and marketing, but to analyse and critique the medium's aesthetic forms and to evaluate its role in culture. Since television cannot be made by ›the people‹, the empowerment that discourses of television theory and analysis aimed for was focused on disseminating the tools for critique. Recent developments in factual entertainment television (in Britain and elsewhere) have greatly increased the visibility of ›the people‹ in programmes, notably in docusoaps, game shows and other participative formats. This has led to renewed debates about whether such ›popular‹ programmes appropriately represent ›the people‹ and how factual entertainment that is often despised relates to genres hitherto considered to be of high quality, such as scripted drama and socially-engaged documentary television. A further aspect of this problem of evaluation is how television globalisation has been addressed, and the example that the issue has crystallised around most is the reality TV contest Big Brother. Television theory has been largely based on studying the texts, institutions and audiences of television in the Anglophone world, and thus in specific geographical contexts. The transnational contexts of popular television have been addressed as spaces of contestation, for example between Americanisation and national or regional identities. Commentators have been ambivalent about whether the discipline's role is to celebrate or critique television, and whether to do so within a national, regional or global context. In the discourses of the television industry, ›popular television‹ is a quantitative and comparative measure, and because of the overlap between the programming with the largest audiences and the scheduling of established programme types at the times of day when the largest audiences are available, it has a strong relationship with genre. The measurement of audiences and the design of schedules are carried out in predominantly national contexts, but the article refers to programmes like Big Brother that have been broadcast transnationally, and programmes that have been extensively exported, to consider in what ways they too might be called popular. Strands of work in television studies have at different times attempted to diagnose what is at stake in the most popular programme types, such as reality TV, situation comedy and drama series. This has centred on questions of how aesthetic quality might be discriminated in television programmes, and how quality relates to popularity. The interaction of the designations ›popular‹ and ›quality‹ is exemplified in the ways that critical discourse has addressed US drama series that have been widely exported around the world, and the article shows how the two critical terms are both distinct and interrelated. In this context and in the article as a whole, the aim is not to arrive at a definitive meaning for ›the popular‹ inasmuch as it designates programmes or indeed the medium of television itself. Instead the aim is to show how, in historically and geographically contingent ways, these terms and ideas have been dynamically adopted and contested in order to address a multiple and changing object of analysis.

Television viewing habits and time use in Australian preschool children : an exploratory study

The overall aim in this study was to investigate time use in Australian preschool children, paying close attention to the types of television programs and videos/DVDs they watch. Ninety-two mothers of preschool children completed five activity diaries, for three typical weekdays and two weekend days. On average, children spent around just over 1 hour per weekday watching television and 30 minutes watching videos/DVDs; on weekends they spent on average 1 hour watching television and the same amount of time watching videos/DVDs. On weekdays, children spent more time watching child informative television; on the weekend they spent more time watching child animated television programs. When not watching television, children were mainly engaged in general play or in outdoor play. Child informative television was associated positively with time spent outdoors and in general and pretend play on weekdays (and for general play also on weekend days), whereas overall television viewing was correlated negatively with reading. Our findings suggest that the content of television programs may play a critical role in the relationship between television and other daily activities.

Globalisation, television and developmental agenda

Theorising the impact of foreign and private television in India since 1991, does not neatly fit into the old debates about one way flow of news and information as reflected in the demand for the New World Information and Communication Order in the 1970s and early 1980s. In the 1990s, Indian society was invaded from the skies by a number of satellite television signals. However, did this advent of satellite television, vis à vis foreign and private television channels, lead to one way flow of information and entertainment programs from the Western world? Or, did it lead to rapid growth of Indian television industry, resulting in exponential increase in quality and quantity of television programs available to audience?

This paper argues that the de facto de-regulation of the television media since 1991 has led to an enviable growth in local production of programs for more than 450 channels, estimated to be worth Rs30 billion (AS$1 billion), thereby providing an increased level of opportunity for articulation of Indian local stories and culture. This way, the Indian television industry seems to have come full circle – where television, which was launched in the country as a means of development and education but became complacent and the government’s mouth-piece, finally in the past decade-and-a-half has grown sufficiently to potentially provide an outlet for diverse local expressions thereby revitalising democracy in India.

A universidade e o desafio de escrever para professores

The article broaches processes relating to the production of texts aiming primary education teachers, focusing both function and role of the authors on these texts. In the present educational context, the authors of these papers perform an important purpose as their actions integrates the legitimation of specific discourses and new modalities of teacher formation. These academic researchers come across new challenges, e.g. writing for school teachers. The study which data is presented in this article was accomplished under a qualitative approach, starting with documentary analysis, and interviews, having as an empiric reference a special program for graduated working teachers.

Geração de receitas complementares em mídia digital para um programa regional de televisão: estudo de caso do Revista de Sábado

Pós-graduação em Televisão Digital: Informação e Conhecimento - FAAC