Fragmentary worlds: Unnatural perceptions of and responses to severe weather by people with sensory/mobility impairments.

This study is the first to investigate how people with disabilities perceive and respond to severe weather alerts. Their unfortunate experiences, underscored by the Indian Ocean monster tsunami in 2004 and hurricane Katrina in 2005 reinforced the need to further understand the manner in which people with sensory/physical impairments perceive and respond to severe weather warnings. In this dissertation I argue that people with sensory/physical impairments often demonstrate an unnatural quality to 'natural' hazards in their approach and behavior to severe weather. In order to achieve this objective I use a methodology first developed and implemented by Zimmerman and Wieder (1977), the Diary: Diary-Interview Method, to examine these unnatural personal experiences of 5 research subjects with diverse sensory and physical impairments, between the ages of 24 and 60, during the Spring and Summer months of 2005 and 2006. These experiences are then compared to the experiences of a able-bodied control group. Analysis of the data reveals that a lack of social capital suggests an unnatural hazards component when severe weather events threaten. However, participants with access to social capital exhibit a commonalty with able-bodied participants and demonstrate natural circumstances when dealing with severe weather events. Following this evidence, I conclude from the results of the research that social capital is a necessity for people with sensory and/or physical impairments, and this evidence should be accounted for when considering the theory of unnatural hazards.Key words: people with sensory/physical disabilities, natural/unnatural hazards, personal experiences

Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats

Television format, a tradable program package, has allowed Korean television the new opportunity to be recognized globally. The booming transnational production of Korean reality formats have transformed the production culture, aesthetics and structure of the local television. This study, using a historical and practical approach to the evolution of the Korean reality formats, examines the dynamic relations between producer, industry and text in the context of cultural globalization and suggests a new perspective of television studies challenging the center-periphery model

Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats

Television format, a tradable program package, has allowed Korean television the new opportunity to be recognized globally. The booming transnational production of Korean reality formats have transformed the production culture, aesthetics and structure of the local television. This study, using a historical and practical approach to the evolution of the Korean reality formats, examines the dynamic relations between producer, industry and text in the context of cultural globalization and suggests a new perspective of television studies challenging the center-periphery model

Baltic media in transition

http://www.ester.ee/record=b1643620*es

Broadcasting and time

This thesis brings together work I have published in the last five years in academic journals and edited book collections. All the material presented in the thesis, much of it substantially rewritten, will appear in the trilogy I have been working on since my last published book, Radio, Television and Modern Life (Blackwell 1996). The organising structure of the thesis and its substantive concerns corresponds with that of the three books that will come out of it. The form and content of the thesis, and its relation to the books, is discussed in some detail in its introduction. Its fundamental concern is with human time which I have explored in all my writings since I began research thirty years ago, with my late friend and colleague David Cardiff, into the early history of the British Broadcasting Corporation. The medium of radio is time. Historiography deals with past time. The academic work of writing history on the other, and the temporality of radio and television on the one hand, are the first two themes of this thesis which shows that the orders of time in which they work are divergent rather than convergent. The third section of the thesis attempts their reconciliation through the recovery of meaningful time

The Pacifica Foundation, the New York Times and the propagation of a mature commercial ideology: Objectivity vs. subjectivity and the future of a journalism for the public (Lewis Hill)

Combining the ideas of past and present media theorists and critics from a variety of disciplines, the thesis traces the general evolution of the prevailing system of mainstream news media---from a subjective model that once served to empower portions of the bourgeois public sphere of 18 th and 19th century Europe to the current objective model that prevails within North America and much of Europe. The thesis then proceeds to briefly examine both the implications of the prevailing mature commercial ideology on a remaining public media system that is increasingly scrutinized through the lens of a dominant free market ideology, and the effects that the objective model of journalism has upon the general citizenry. To illustrate these \u27dual\u27 effects, the thesis focuses upon a comparative content analysis of New York Times and San Francisco Bay Guardian coverage regarding the relatively recent attempt at mainstreaming the programming at the five stations comprising the Pacifica Foundation---a US public news system founded more than fifty-years ago by pacifist Lewis Hill for the purpose of empowering local communities and groups through the subjective dissemination of information on a variety of issues. The thesis concludes with a renewed call for a responsible subjective journalism that would allow for the dissemination of myriad opinions concerning issues and events, and simultaneously allow for the creation of a newly-empowered public through a more inclusive public sphere that would facilitate the establishment of an \u27ideal\u27 democracy. Source: Masters Abstracts International, Volume: 43-01, page: 0011. Adviser: Alan Sears. Thesis (M.A.)--University of Windsor (Canada), 2004

Authorship, form and narrative in the television plays of Alan Clarke, 1967-89

This thesis places the themes and approaches of the British director Alan Clarke within various contexts: the institutional contexts in which he worked, critical and theoretical debates on television form, and the methodological problems which are inherent in attributing authorship to a director working within the highly collaborative medium of television. This thesis constitutes the first full-length critical study of a director working within British television drama.Chapter 1 covers Clarke's background, his early theatre work, and several early television plays from his first, Shelter (1967) through to case studies of the drama-documentary To Encourage the Others (1972) and the fantasy Penda's Fen (1974). I demonstrate that his work in this period is more distinctive than its institutional and technological restrictions might suggest. My methodology features a fluid interplay between Television and Film Studies approaches, combining studies of his filmed work with analysis of his television plays in multi-camera studios and on Outside Broadcast, thereby considering vital issues of aesthetics. Chapter 2 explores various plays from the 1970s, sparse studies of institutionalisation like Sovereign's Company (1970) and Scum (1977, 1979). The banning of Scum was a turning point in his career; Chapter 2 contextualises this within academic writing on ideologically progressive form. Chapter 3 covers his work in his auteur period, the 1980s, by discussing the stylistic and narrative strategies of crucial productions like Made in Britain (1983) and his politically and aesthetically radical pieces on Northern Ireland and terrorism, Psy-Warriors (1981), Contact (1985) and Elephant (1989).Throughout this thesis, my interest in histories and aesthetics is predicated upon an ideological analysis, as I explore Clarke's work in terms of the politics of form, demonstrating his experimentation with narrative, his concern with discourse, and his questioning of the interaction between form and content

Authorship, form and narrative in the television plays of Alan Clarke, 1967-89

[From the introduction]: This thesis represents the first full-length critical study of the career of a director working in television drama. It combines a broadly chronological study of the dominant themes and approaches of the British director Alan Clarke with an awareness of various contexts: the institutional contexts in which he worked, critical debates on television form, and the methodological problems which confront critics when they attempt to attribute authorship to a television director. The central and interlinked issues which recur throughout this thesis are the politics of form, realism, narrative and authorship

The spectacle of citizenship: Halftones, print media, and constructing Americanness, 1880--1940

Advances in photography and conceptions of national identity proceeded side by side during the nineteenth century. The introduction of halftone reproductions marks the beginning of an information revolution and is an important moment not only in media history, but in studies of nineteenth and twentieth century cultural history and studies of national identity. Visual representation of differences between people and places was one means by which people identified and validated Americans\u27 belonging because photographs were infused with authority: they seemed to be truthful, to provide infallible evidence of events and of people. as the nineteenth century gave way to the twentieth, and technological advances made the halftone process quick and inexpensive, men and women of the Gilded Age, Progressive Era, Jazz Age, and the Great Depression used photographs for visual storytelling in the pages of newspapers, books, journals, and magazines. Editors embraced the seeming realism of photography in their publications; halftones in print helped Americans see each other in new ways and themselves for the first time on a regular, mass-circulating basis.; The Spectacle of Citizenship examines how three publications and their strong-willed editors used halftones to display and distribute their views of nationhood and belonging in a period when the United States was undergoing significant changes as a consequence of industrialization, immigration, urbanization, and international military and economic crisis. Paul Kellogg, editor of Charities and the Commons, and his brood of social justice progressives used halftones to display and include/exclude immigrants, racial minorities, and workers belying reform-minded middle class Americans claims of sympathy, understanding, and acceptance and instead riddling the journal with images that construct a sense of belonging for white, middle class Americans by explicitly identifying who did and did not belong. Joseph Medill Patterson, blue-blooded founder the Daily News, took a British idea for photograph-based newspapers aimed at the working class and reinvented it as the nation\u27s first tabloid. The newspaper captured Jazz Age New York City with splashy photographs emphasizing crime, scandal, celebrity, politics, and world events and invented a vision of America rooted in popular culture, patriotism, and American values . Patterson\u27s newspaper reinforced the hegemony of white, upper and middle class Americans, but it did so with an acceptance of rapidly changing social and cultural values in the country and the recognition of the importance of the urban working class population. C.K. McClatchy, long-time editor and publisher of the Sacramento Bee, used photographs to reinforce the suffering and make morally-loaded pleas for federal help during the Great Depression, to demonstrate the success of New Deal Programs, and to recast almost all Californians, regardless of their origin, as representative of America and Americans. Yet McClatchy s inclusive vision was problematic: he remained fervently anticommunist; he continued to believe Asian Americans, particularly Japanese Americas, could not be assimilated; and he virtually ignored the plight of Mexican Americans in the pages of the Sacramento Bee during the Great Depression, despite the fact that they were a significant part of the state\u27s population.; The Spectacle of Citizenship is a study of the interplay of technology, society, and culture that offers a new understanding of how notions of national identity were understood, produced, and disseminated and consumed in the late nineteenth and early twentieth centuries. This study analyzes the importance innovative editors placed on visual representations while at the same time demonstrating the necessity of contemporary scholars\u27 understanding those images