BSA NEWS No 31
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Imagereal Capture
The Right to Protection of Religious Feelings Rex Tauati Ahdar* Introduction Do religious people have a legal right to have their feelings protected? When publications, films, radio and television broadcasts, artwork and so on, deeply offend and upset the religious sensibilities of devout citizens, should the state intervene? Should insulting religious material be banned? This question was, of course, acutely raised, but not necessarily answered, on the world stage with the furore over the Danish newspaper editorial cartoons depicting the Prophet Muhammad in a highly unflattering light.' In New Zealand, a controversy over a satirical television programme generated similar feelings of outrage and indignation on the part of certain believers - fortunately without any violence erupting - and this event provides the impetus for this article. In February 2006, Canwest TV Works Ltd screened "Bloody Mary", an episode in the American Soufl~Park satirical cartoon series, on one of its television channels. In brief, the episode featured a statue of the Virgin Mary spraying menstrual blood on a cardinal and the Pope. Many complaints ensued, including one from the New Zealand Catholic Bishops Conference that charged that the show was deeply insulting and that it demeaned icons and practices venerated by Catholics. It said great pain and offence had been caused not only to the Catholic community, but also to members of other Christian denominations, Muslims and many non-Christians. In that last respect it is interesting that nonc other than the Prime Minister, Helen Clark, a self-confessed agnostic, said that, as a woman, she was offended: "I personally find it quite revolting."' The numerous complaints to CanWest did not lead it to change its mind and, indeed, it brought forward the scheduled date of screening by three months. -
Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak
Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak. by Rose Ann Ko2inski Thesis presented as a partial requirement in the Master of Arts (M.A.) in Human Development School of Graduate Studies Laurentian University Sudbury, Ontario © Rose Ann Kozinski, 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-57666-3 Our file Notre reference ISBN: 978-0-494-57666-3 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Drugs, Guns and Gangs’: Case Studies on Pacific States and How They Deploy NZ Media Regulators
‘BACK TO THE SOURCE’ 7. ‘Drugs, guns and gangs’: Case studies on Pacific states and how they deploy NZ media regulators ABSTRACT Media freedom and the capacity for investigative journalism have been steadily eroded in the South Pacific in the past five years in the wake of an entrenched coup and censorship in Fiji. The muzzling of the Fiji press, for decades one of the Pacific’s media trendsetters, has led to the emergence of a culture of self-censorship and a trend in some Pacific countries to harness New Zealand’s regulatory and self-regulatory media mechanisms to stifle unflattering reportage. The regulatory Broadcasting Standards Authority (BSA) and the self-regulatory NZ Press Council have made a total of four adjudications on complaints by both the Fiji military-backed regime and the Samoan government and in one case a NZ cabinet minister. The complaints have been twice against Fairfax New Zealand media—targeting a prominent regional print journalist with the first complaint in March 2008—and twice against television journalists, one of them against the highly rated current affairs programme Campbell Live. One complaint, over the reporting of Fiji, was made by NZ’s Rugby World Cup Minister. All but one of the complaints have been upheld by the regulatory/self-regulatory bodies. The one unsuccessful complaint is currently the subject of a High Court appeal by the Samoan Attorney-General’s Office and is over a television report that won the journalists concerned an investigative journalism award. This article examines case studies around this growing trend and explores the strategic impact on regional media and investigative journalism. -
Damian Golfinopoulos
Damian Golfinopoulos. Phone: 021-023-95075 Email: [email protected] Website: damian.pictures Work History • News Video Editor at Mediaworks New Zealand • Freelance Sound Technician / Stage Management March 2013 - Present (3 years 6 months) 2006 - 2012 News and current affairs video editing for all of TV3/NewsHub News Corporate to mayhem - Ive done the lot. I have worked as a venue Programmes: Firstline, 12News, 6 O Clock, Nightline, Campbell Live, technician for Mainline Music (2006), The International Comedy Fes- The Nation, 360 and The Nation. tival (2007 /2008), Kings Arms, Bacco & Monte Cristo Room,Wham- my Bar, Wine Cellar, The Powerstation, Leigh Sawmill, DogsBollix, Big • Media Exchange Operator at Mediaworks New Zealand Day Out (2010) and more! I have worked with international perform- ers, bankers through to Tool Cover bands. March 2012 - Present (1 year 1 month) General ingest and data wrangling duties for TV3/NewsHub News. Honors and Awards • Director/Writer at Candlelit Pictures • The Sun Hates Me - Vimeo Staff Pick 2014 January 2013 - Present (3 years 8 months) • Show Me Shorts - Semi Finalist ‘Best Music Video’ I joined Candlelit Productions in 2013 to help edit and Direct ‘The Sun Hates Me’ which was staff picked on Vimeo and since then have gone through the Candlelit ‘Emerging Directors Program’ where I pitched for, and won 4 NZ On Air Music Video projects. From this ex- Education perience I have been lucky to work as a Director with many profes- sional film crews. Candlelit is currently helping me develop a short • AUT - 1 year Communications film to go into production. -
Television Current Affairs Programmes on New Zealand Public Television
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by AUT Scholarly Commons Death of a Genre? 1 The Death of a Genre?: Television Current Affairs Programmes on New Zealand Public Television Sarah Baker School of Communication Studies, Auckland University of Technology Abstract “We need the angry buzz of current affairs programmes” (Professor Sylvia Harvey in Holland, 2006, p. iv) “In a public system, television producers acquire money to make programmes. In a commercial system they make programmes to acquire money” (Tracey, 1998, p.18). Television current affairs programmes have from their inception been a flagship genre in the schedules of public service broadcasters. As a television form they were to background, contextualise and examine in depth issues which may have appeared in the news. They clearly met the public broadcasters' brief to 'inform and educate' and contribute to the notional 'public sphere'. Over the past two decades policies of deregulation and the impact of new media technologies have arguably diminished the role of public broadcasting and profoundly affected the resources available for current or public affairs television with subsequent impacts on its forms and importance. This paper looks at the output of one public broadcaster, Television New Zealand (TVNZ), and examines its current affairs programming through this period of change Communications, Civics, Industry – ANZCA2007 Conference Proceedings Death of a Genre? 2 Introduction From their inception current affairs programmes have played an important part in the schedules of public broadcasters offering a platform for citizens to debate and assess issues of importance. They are part of the public sphere in which the audience is considered to be made up of thoughtful, participating citizens who use the media to help them learn about the world and debate their responses and reach informed decisions about what courses of action to adopt (Dahlgren & Sparks, 1991). -
Instructor's Guide
DRAWN TO THE GODS Religion and Humor in The Simpsons, South Park, and Family Guy Instructor’s Guide Dives into a new world of religious satire illuminated through the layers of religion and humor that make up the The Simpsons, South Park, and Family Guy. Drawing on the worldviews put forth by three wildly popular animated shows – The Simpsons, South Park, and Family Guy– David Feltmate demonstrates how ideas about religion’s proper place in American society are communicated through comedy. The book includes discussion of a wide range of American religions, including Protestant and Catholic Christianity, Judaism, Islam, Buddhism, Native American Religions, New Religious Movements, “Spirituality,” Hinduism, and Atheism. Along the way, readers are shown that jokes about religion are influential tools for teaching viewers how to interpret and judge religious people and institutions. Feltmate develops a picture of how each show understands 304 pages | Paper | 978-1-4798-9036-1 Religion and communicates what constitutes good religious practice as well as which traditions they seek to exclude on the basis of Contents: race and ethnicity, stupidity, or danger. From Homer Simpson’s • Chapter Summaries with Discussion Questions spiritual journey during a chili-pepper induced hallucination to and Recommended Episodes South Park’s boxing match between Jesus and Satan to Peter • Questions for Reflection Griffin’s worship of the Fonz, each show uses humor to convey • Supplementary Assignments a broader commentary about the role of religion in public life. Through this examination, an understanding of what it means to "Without a doubt, I will use this delightful, well-researched, well-crafted monograph in my media, religion, and popular culture courses. -
CRL Mediaworks
IN THE MATTER of the Resource Management Act 1991 AND Notices of Requirement by AUCKLAND TRANSPORT pursuant to section 168 of the Act to the Auckland Council relating to the proposed City Rail Link in Auckland ______________________________________________________________ EVIDENCE OF PETER CROSSAN ON BEHALF OF MEDIAWORKS NZ LIMITED (IN RECEIVERSHIP) AND TVWORKS LIMITED (IN RECEIVERSHIP) Dated: 26 July 2013 ______________________________________________________________ CEK-100742-1-31-V4 INTRODUCTION My full name is PETER GARY CROSSAN and I am the Chief Financial Officer at MediaWorks NZ Limited (in receivership). 1. I joined MediaWorks NZ Limited in December 1999 following a 15 year career in various manufacturing industries. After 13 years at MediaWorks NZ Limited, I believe I have insight and in-depth knowledge of the wider television industry. 2. I am a qualified Chartered Accountant and have a B Comm from Auckland University. 3. I am authorised to give evidence on behalf of MediaWorks NZ Limited and TVWorks Limited (in receivership) (collectively referred to in this statement as “MediaWorks”) in relation to the City Rail Link Project (“the Project”). TVWorks Limited is a wholly owned subsidiary of MediaWorks NZ Limited. MEDIAWORKS 4. MediaWorks is an independent commercial (non-state funded) broadcaster. It provides TV, Radio and Interactive services: a. MediaWorks TV encompasses the national stations TV3 and FOUR. b. MediaWorks Radio operates out of 23 markets and consists of the nationwide brands MORE FM, RadioLIVE, The Sound, The Edge, The Breeze, The Rock, Mai FM, George FM, LiveSPORT and Kiwi FM, as well as Times FM in Orewa, Radio Dunedin and Coromandel FM. c. -
Epochality, Temporality and Media-Communication Ownership in Aotearoa-New Zealand
MEDIANZ VOL 17 NO 1 • 2017 https://DOI.org/10.11157/medianz-vol17iss1id179 - ARTICLE - Epochality, Temporality and Media-Communication Ownership in Aotearoa-New Zealand Wayne Hope Abstract Amidst academic policy debates over the proposed Fairfax-NZME and Sky-Vodafone mergers, the historical patterns of media-communication ownership received little mention. The purpose of this article is to explain, firstly, how the very possibility of such mergers eventuated and, secondly, why associated epochal reconfigurations in the political economy of New Zealand capitalism eluded public depiction. Initially I examine the repercussions which arose from: the restructuring of Radio New Zealand and Television New Zealand into State-Owned Enterprises (1987); the arrival of TV3 (1989); the formation of pay-subscription Sky Television (1990); and the abolition of all legal restrictions on foreign media ownership (1991). Together these events signalled the hollowing out of New Zealand’s media-communication system and the unfolding ownership patterns of conglomeration, transnationalisation and financialisation. Behind this critical narrative, I explore how the simultaneous restructuring of the national political economy, mediated public life and the vocabulary of economics obfuscated the epochal shift that was taking place. An ongoing lack of public awareness about this shift has debilitated normatively-grounded critiques of the contemporary media landscape and the ownership patterns which came to prevail. Prologue: From National to Transnational Media Ownership in Epochal Context In simple terms, an epoch is an identifiable period of history marked by special events. Natural-scientific conceptions of evolutionary epochal change can be distinguished from the idea that epochs are brought into historical being by manifestations of collective self- consciousness. -
Gruda Mpp Me Assis.Pdf
MATEUS PRANZETTI PAUL GRUDA O DISCURSO POLITICAMENTE INCORRETO E DO ESCRACHO EM SOUTH PARK ASSIS 2011 MATEUS PRANZETTI PAUL GRUDA O DISCURSO POLITICAMENTE INCORRETO E DO ESCRACHO EM SOUTH PARK Dissertação apresentada à Faculdade de Ciências e Letras de Assis – UNESP – Universidade Estadual Paulista para a obtenção do título de Mestre em Psicologia (Área de Conhecimento: Psicologia e Sociedade) Orientador: Prof. Dr. José Sterza Justo Trabalho financiado pela CAPES ASSIS 2011 Dados Internacionais de Catalogação na Publicação (CIP) Biblioteca da F.C.L. – Assis – UNESP Gruda, Mateus Pranzetti Paul G885d O discurso politicamente incorreto e do escracho em South Park / Mateus Pranzetti Paul Gruda. Assis, 2011 127 f. : il. Dissertação de Mestrado – Faculdade de Ciências e Letras de Assis – Universidade Estadual Paulista Orientador: Prof. Dr. José Sterza Justo. 1. Humor, sátira, etc. 2. Desenho animado. 3. Psicologia social. I. Título. CDD 158.2 741.58 MATEUS PRANZETTI PAUL GRUDA O DISCURSO POLITICAMENTE INCORRETO E DO ESCRACHO EM “SOUTH PARK” Dissertação apresentada à Faculdade de Ciências e Letras de Assis – UNESP – Universidade Estadual Paulista para a obtenção do título de Mestre em Psicologia (Área de Conhecimento: Psicologia e Sociedade) Data da aprovação: 16/06/2011 COMISSÃO EXAMINADORA Presidente: PROF. DR. JOSÉ STERZA JUSTO – UNESP/Assis Membros: PROF. DR. RAFAEL SIQUEIRA DE GUIMARÃES – UNICENTRO/ Irati PROF. DR. NELSON PEDRO DA SILVA – UNESP/Assis GRUDA, M. P. P. O discurso do humor politicamente incorreto e do escracho em South Park. -
Cliff Harrington
“I have shaken the hand of Moses, Michelangelo and Ben Hur.” Cliff Harrington Cliff interviewing Charlton Heston, Imperial Hotel, 1976 Cliff Harrington (1932 — 2013), traveler, writer, English teacher, friend Interviewed by Allan Murphy, Tokyo 26 March, 1998 Text copyright Allan Murphy, 2017 http://www.finelinepress.co.nz "1 Preface I met Clifford (Cliff) Harrington when we both worked for an English language school in Tokyo. The English Language Education Council (ELEC) had its own seven-storey building, next to Senshu University, for over 40 years before moving to smaller premises in Jimbocho. We worked together for at least 10 years. The school's foreign teachers basically fell into one of two camps. There were the older teachers with 20 or more years of time here and to whom Japan was home. And there were the younger teachers with a maximum of five years or so here. Most were in Japan for the travel experience or what Australians refer to as "the gap year" — a break after graduating from university and before taking a full-time job at home. Needless to say, Cliff was in the former group, and I was in the latter. Of all the old hands, to me anyway, it seemed that only Cliff could truly relate to the younger staff. Typically on a Friday night after work, Cliff and half a dozen other teachers would go to a nearby pub. Along with the beer, soon travel stories would be pouring out. Everyone had some interesting experiences to share. But, whenever it became Cliff's turn, he'd easily trump all of us and then hold the floor. -
The Decline and Redefinition of New Zealand Current Affairs Television Programmes
The Political Economy of Communication 5(2), 67–81 © The Author 2017 http://www.polecom.org The decline and redefinition of New Zealand current affairs television programmes Sarah Baker, Auckland University of Technology, New Zealand Key words: current affairs television programmes, critical political economy, broadcasting, deregulation, neo-liberalism Abstract This article explores New Zealand current affairs programmes from a critical political economy perspective. Many critics believe the current affairs television genre is in terminal decline in most Western countries. They argue that current affairs programmes have changed to focus on entertainment and news values with combative, personality- focused programmes, rather than political and serious subject matter. Previous research carried out in New Zealand demonstrated that the news media significantly changed after the election of the fourth Labour government in 1984, which instituted a neo- liberal policy agenda. The result was a more commercially-oriented media environment which, many critics argue, reduced the quality of news and current affairs programmes. This reflects the fact that the public sphere has been seriously diminished and that television current affairs no longer functions as it should. In this article, I discuss both the historic and contemporary state of television current affairs programmes in New Zealand. Building on previous research into such programmes, content analysis is employed to ascertain the extent to which the current affairs television genre continues to be shaped by the commercial pressures on New Zealand broadcasting. Current affairs television programmes in many western countries were conceived as a central feature of broadcasting “filling in the background to the news and serving as a key location for network identity, and for the discharge of television’s public information responsibility and for shaping debate” (Turner, 2005:1). -
4. When Is a Journalist Not a Journalist? Negotiating a New Form of Advocacy Journalism Within the Environmental Movement
CLIMATE CHANGE IN ASIA-PACIFIC 4. When is a journalist not a journalist? Negotiating a new form of advocacy journalism within the environmental movement Commentary: A New Zealand broadcast journalist of 25 years’ experience comes under fire from former colleagues after joining the environmental campaigning organisation Greenpeace. The ensuing criticism provides insight into how the mainstream media views itself and how sensitive it might be to any perceived threat to its credibility. It opens up an argument about what constitutes a ‘journalist’ in a contemporary context. A troubling epoch for journalists facing tight newsroom budgets, news trivialisation, fragmented media spheres and dwindling public confidence in the profession. This com- mentary examines the argument for new terminology to describe the kind of investigative journalism which might be practised within non-government organisations (NGOs) for a mainly digital audience. It also challenges views on objectivity and bias, positing whether advocacy journalism with strict ethical guidelines produced from within an organisation with a known agenda, may serve the public interest more ably than a fragmented mainstream journalism compromised by less obvious biases. Keywords: advocacy journalism, bias, credibility, digital media, environmental journalism, ethics, Greenpeace, investigative journalism, newsrooms, New Zealand, NGOs, non-government organisations, objectivity PHIL VINE Journalist at Greenpeace NZ, Auckland HE OTHER day, as part of my new role, I found myself interviewing a 30-year-old Greenpeace activist. It was a fascinating deposition of quiet Tradicalisation. She had decided to do something that was, by her own as- sessment, completely out of character. After a lifetime of obeying the norms of society, this model citizen without a parking ticket to her name, was preparing to get arrested.