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What Ideas Do Viewers Have About
A Discursive Thematic Analysis of Audience Response Towards the Portrayal of Mental Distress in United Kingdom Soap Operas EDWARD SMITH A thesis submitted in partial fulfillment of the requirements of the University of East London for the doctoral degree in Clinical Psychology July 2012 ABSTRACT The potential for stigmatising public attitudes to have a negative impact on the wellbeing of individuals identified as experiencing mental distress has been widely documented. The contribution of the mass media towards public attitudes surrounding mental distress has attracted particular interest, particularly that of television portrayals. Research into the influence of the media towards public attitudes has focused on a ‘strong media’ model that assumes a direct influence of the content on viewer attitudes. Recent theory has suggested an ‘audience response’ model whereby audience attitudes towards the subject matter, genre and purpose of viewing can influence their understanding of the content; however this approach is under-represented in research. In the United Kingdom the soap opera genre in particular is positioned to have a potential role in influencing public attitudes towards mental distress, frequently depicting mental distress within a realist frame and being presented as having a public service function. This thesis aims to explore the ideas that viewers take from soap opera portrayals of mental distress within an audience response approach. Soap opera viewers were interviewed about the ideas of mental distress they developed from storylines they had watched, and these interviews were analysed using a discursive thematic analysis, taking into account their beliefs about mental distress, the soap opera genre and their viewing purposes. -
PRESS RELEASE 12 May 2016
PRESS RELEASE 12 May 2016 City of Birmingham Symphony Orchestra announces its 2016-17 Birmingham concert Season Inaugural season with Mirga Gražinytė-Tyla as CBSO Music Director Mirga Gražinytė-Tyla conducts 6 programmes throughout the season Pianist Steven Osborne is CBSO’s Artist in Residence The Spirit of England series explores the many facets of English identity, with artists including Tasmin Little, Nicholas Collon and comedian Adil Ray The CBSO Chorus performs Mozart’s Idomeneo under Mirga Gražinytė-Tyla Guest artists include Alison Balsom, Nicola Benedetti, Benjamin Grosvenor, Roderick Williams, Sarah Connolly, Jean-Guihen Queyras, Barbara Hannigan and Stephen Hough Guest conductors include Andris Nelsons, Richard Egarr, Karina Canellakis, Edward Gardner, Alpesh Chauhan, Ben Gernon and John Wilson Friday Night Classics and Christmas concerts include programmes presented by Jessica Hynes, Mark Kermode, John Suchet, Adil Ray and Anne-Marie Minhall The City of Birmingham Symphony Orchestra (CBSO) is delighted to announce its 2016-17 Birmingham Concert Season at Symphony Hall, Birmingham, the first with Mirga Gražinytė-Tyla as Music Director. The season includes an exploration of different perspectives of Englishness; British pianist Steven Osborne performs a number of concerts as Artist in Residence; and the Orchestra welcomes an array of top international artists in a season with something for everyone. Osborn Music Director Mirga Gražinytė-Tyla Following her phenomenally successful debut with the CBSO last season and subsequent appointment as Osborn Music Director, Mirga Gražinytė-Tyla directs six programmes in her inaugural season. The CBSO is known for performing the widest range of orchestral and choral music, and Gražinytė-Tyla continues this tradition in her new role. -
Introduction: the New Journalist
Intoduction.qxd 4/23/2007 12:27 PM Page 1 INTRODUCTION: THE NEW JOURNALIST Journalism is changing – and so are journalists. As someone considering enter- ing the trade, or just taking your first steps in it, you are in an enviable posi- tion. Enviable, certainly, to those who have spent some time in the job and are struggling to keep up with the speed at which things are now moving. Enviable because you will take for granted the new realities of journalism. Realities such as that, where once journalists tended to consider themselves as newspaper journalists, or magazine journalists, or broadcasters, the new journalist is likely to work in several media instead of just one. What has brought about this change? In a word, or rather two: the internet. Because of the internet, the way news is obtained is undergoing a transfor- mation which is nothing short of revolutionary. Increasingly, the internet is the news medium of choice for many people – particularly young people. Don’t give up. I didn’t even get an interview at the BBC after university. MARTHA KEARNEY, POLITICAL EDITOR BBC2 NEWSNIGHT AND PRESENTS RADIO 4 WOMAN’S HOUR Almost all publishers of newspapers and magazines, and broadcasters of radio and television programmes, now have a web version of their product. And those websites, increasingly, use elements from all the traditional media in order to tell their stories: text and still pictures from the newspapers and magazines, audio and moving images from broadcasting. So, whereas the old journalist only learned the specific skills required to tell a story in one medium, the new journalist is likely to learn techniques from various media. -
Pocketbook for You, in Any Print Style: Including Updated and Filtered Data, However You Want It
Hello Since 1994, Media UK - www.mediauk.com - has contained a full media directory. We now contain media news from over 50 sources, RAJAR and playlist information, the industry's widest selection of radio jobs, and much more - and it's all free. From our directory, we're proud to be able to produce a new edition of the Radio Pocket Book. We've based this on the Radio Authority version that was available when we launched 17 years ago. We hope you find it useful. Enjoy this return of an old favourite: and set mediauk.com on your browser favourites list. James Cridland Managing Director Media UK First published in Great Britain in September 2011 Copyright © 1994-2011 Not At All Bad Ltd. All Rights Reserved. mediauk.com/terms This edition produced October 18, 2011 Set in Book Antiqua Printed on dead trees Published by Not At All Bad Ltd (t/a Media UK) Registered in England, No 6312072 Registered Office (not for correspondence): 96a Curtain Road, London EC2A 3AA 020 7100 1811 [email protected] @mediauk www.mediauk.com Foreword In 1975, when I was 13, I wrote to the IBA to ask for a copy of their latest publication grandly titled Transmitting stations: a Pocket Guide. The year before I had listened with excitement to the launch of our local commercial station, Liverpool's Radio City, and wanted to find out what other stations I might be able to pick up. In those days the Guide covered TV as well as radio, which could only manage to fill two pages – but then there were only 19 “ILR” stations. -
Robin Whenary Resume
ROBIN WHENARY - Director of Photography ON THE BEACHES (Short) Director: Luke Rodgers. Producers: Jesse Algranti and Harry Cherniak. Starring: Bella Ramsey, Toby Woolf, Nicholas Woodeson, Simon Paisley Day and John Dalgleish. Walnut Pictures / UK Jewish Film. ACKLEY BRIDGE (Series 3, Episodes 1 & 2) Director: Penny Woolcock. Producer: Jo Johnson. Starring: Amy Leigh Hickman, Poppy Lee Friar, Jo Joyner, Sunetra Sarker and Robert James-Collier. Channel 4 Television. RACHEL (Short) Director: Caroline Bartleet. Producer: Ania Nakov. Starring: Jodie Whittaker, Kate Ashfield and Clara Read. Stefan Allesch-Taylor / The Ridley Scott Creative Group. Encounters Short Film Festival 2019 Aesthetica Short Film Festival 2019 Underwire Film Festival 2019 DELICIOUS (Series 3) Director: Robin Sheppard & Amit Gupta. Producer: Phillippa Giles. Starring: Dawn French, Emilia Fox, Sheila Hancock, Iain Glen and Vincent Regan. Bandit Television / Sky. ACKLEY BRIDGE (Series 2, Episodes 9 & 10) Director: Penny Woolcock Producers: Alex Lamb Starring: Amy Leigh Hickman, Poppy Lee Friar, Liz White, Jo Joyner, Adil Ray and Sunetra Sarker. The Forge / Channel 4 THANKS FOR THE MEMORIES (Television Mini-Series) Director: Amit Gupta. Producer: Simon Lewis. Starring: Tom Wlaschiha, Tamzin Merchant, James Fleet, Paul Bazely Sally Bretton and Tom Bennett. Gate Television Production / ZDF. 4929 Wilshire Blvd., Ste. 259 Los Angeles, CA 90010 ph 323.782.1854 fx 323.345.5690 [email protected] ALL THE DEVIL’S MEN (Feature) Director: Matthew Hope. Producers: Amory Leader and Hannah Leader. Starring: Milo Gibson, Silvia Hoeks, Gbenga Akinnagbe and William Fichtner. Graceway Films Ltd. THE ARRIVAL (Short) Director: Annetta Laufer Producer: Joy Gharoro-Akpojotor Starring: Naomi Ackie, Anthony Welsh and Sharlene Whyte. -
Commissioning Brief
RADIO COMMISSIONING FRAMEWORK Commissioning Brief Commissioning Brief No: 107001 Production of BBC Radio 5 Live’s new ‘Sport Entertainment’ podcast for BBC Sounds CONTENTS SECTION A: EDITORIAL OPPORTUNITY........................................................................... 3 SECTION B: THE COMMISSIONING PROCESS ................................................................. 8 1. TIMETABLE .......................................................................................................... 8 2. THE FIVE STAGES ................................................................................................. 9 3. ASSESSMENT CRITERIA ..................................................................................... 11 SECTION C: FULL PROPOSALS ...................................................................................... 12 1. WHAT WE NEED FROM YOU ............................................................................. 12 2. WHAT TO EXPECT FROM US ............................................................................. 13 3. IMPORTANT POINTS TO NOTE .......................................................................... 14 SECTION D: KEY CONTRACT TERMS…………………………………………………………………………15 2 of 15 SECTION A: EDITORIAL OPPORTUNITY Commissioning Brief 107001 Sports Entertainment Podcast Commission contact Richard Maddock Duration Average 30-60 minutes per episode Number of programmes available Minimum initial run of 15 eps with option to extend. Transmission period Starting early 2020 Guide price per episode £2k -
Monstrous Aunties: the Rabelaisian Older Asian Woman in British Cinema and Television Comedy
Monstrous Aunties: The Rabelaisian older Asian woman in British cinema and television comedy Estella Tincknell, University of the West of England Introduction Representations of older women of South Asian heritage in British cinema and television are limited in number and frequently confined to non-prestigious genres such as soap opera. Too often, such depictions do little more than reiterate familiar stereotypes of the subordinate ‘Asian wife’ or stage the discursive tensions around female submission and male tyranny supposedly characteristic of subcontinent identities. Such marginalisation is compounded in the relative neglect of screen representations of Asian identities generally, and of female and older Asian experiences specifically, within the fields of Film and Media analysis. These representations have only recently begun to be explored in more nuanced ways that acknowledge the complexity of colonial and post-colonial discoursesi. The decoupling of the relationship between Asian and Indian, Pakistani and Bangladeshi heritage, together with the foregrounding of religious rather than national-colonial identities, has further rendered the topic more complex. Yet there is an exception to this tendency. In the 1990s, British comedy films and TV shows began to carve out a space in which transgressive representations of aging Asian women appeared. From the subversively mischievous Pushpa (Zohra Segal) in Gurinder Chadha’s debut feature, Bhaji on the Beach (1993), to the bickering ‘competitive mothers’ of the ground-breaking sketch show, Goodness, Gracious Me (BBC 1998 – 2001, 2015), together 1 with the sexually-fixated grandmother, Ummi (Meera Syal), in The Kumars at Number 42 (BBC, 2001-6; Sky, 2014), a range of comic older female figures have overturned conventional discourses. -
PDF (Thesis Document)
The impact of physical and mental reinstatement of context on the identifiability of facial composites by Cristina Fodarella A thesis submitted in partial fulfilment for the requirements for the degree of Doctor of Philosophy at the University of Central Lancashire July 2020 !i ! STUDENT DECLARATION FORM Concurrent registration for two or more academic awards *I declare that while registered for the research degree, I was with the University’s specific permission, a registered candidate for the following award: ‘Associate Fellow of The Higher Education Academy’ Material submitted for another award *I declare that no material contained in the thesis has been used in any other submission for an academic award and is solely my own work Collaboration Where a candidate’s research programme is part of a collaborative project, the thesis must indicate in addition clearly the candidate’s individual contribution and the extent of the collaboration. Please state below: *Not applicable Signature of Candidate Type of Award Doctor of Philosophy School Psychology !ii Abstract Numerous studies demonstrate that memory recall is improved by reflecting upon, or revisiting, the environment in which information to-be-recalled was encoded. The current thesis sought to apply these ‘context reinstatement’ (CR) techniques in an attempt to improve the effectiveness of facial composites—likenesses of perpetrators constructed by witnesses and victims of crime. Participant- constructors were shown an unfamiliar target face in an unfamiliar environment (e.g., an unknown café). The following day, participants either revisited the environment (physical context reinstatement) or recalled the environmental context in detail along with their psychological state at the time (mental context reinstatement, Detailed CR); they then freely recalled the face and constructed a facial composite using a holistic (EvoFIT) or a feature system (PRO-fit). -
Phoebe Cummings Named Winner of the Inaugural Woman's Hour Craft
8 NOVEMBER 2017 FOR IMMEDIATE RELEASE Phoebe Cummings named winner of the inaugural Woman’s Hour Craft Prize Clay artist Phoebe Cummings was named the winner of the inaugural £10,000 Woman’s Hour Craft Prize in a live broadcast this morning from the V&A, where she was awarded the prize by a judging panel made up of Rosy Greenlees, Executive Director of the Crafts Council; Tristram Hunt, Director of the V&A; Martha Kearney, BBC journalist and broadcaster; Susie Lau, fashion writer and style influencer; and Jacky Klein, art historian. Rosy Greenlees, Executive Director, Crafts Council, said: “Phoebe’s work is truly original. It encompasses performance art and studio ceramics and defies easy categorisation. Working exclusively with raw clay to create site-specific pieces that change subtly day-to-day, her staggeringly beautiful work asks us to celebrate rather than mourn the passing of time. She challenges ideas of what craft is with work that is almost impossible to possess but delights in the physical process of making and shows a highly skilled understanding of the material. And so despite stiff competition from 11 other exceptional makers, she has been awarded the inaugural Woman’s Hour Craft Prize.” Phoebe uses unfired clay to create temporary sculptures and installations that gradually disintegrate, challenging expectations of what craft is. Intricate and detailed, her work responds to the natural world and lasts only for the duration of an exhibition after which the clay is, where possible, reclaimed and reused on future pieces. For the Craft Prize she created a fountain that dissolves as the water flows, which has been on display at the V&A since 7 September 2017 alongside work by the other 11 finalists. -
THE BBC and BREXIT
THE BBC and BREXIT The ‘Today’ Programme’s Coverage of the UK General Election 6 November – 11 December 2019 1 Contents SUMMARY .....................................................................................................................................................3 PART ONE: MONITORING STATISTICS..................................................................................................6 1.1 OVERVIEW – THE BBC, THE ROYAL CHARTER AND OFCOM ......................................................6 1.2 THE POLITICAL BACKGROUND ....................................................................................................... 13 1.3 MAIN UK PARTIES IN THE 2019 GENERAL ELECTION ................................................................ 15 1.4 TODAY’S EU COVERAGE .................................................................................................................. 24 1.5 SPEAKERS AND CODING ................................................................................................................. 24 1.6 CONCLUSION ..................................................................................................................................... 31 PART TWO: CONTENT ANALYSIS ........................................................................................................ 35 SUMMARY OF ISSUES RAISED BY PRO-BREXIT COVERAGE ............................................................ 35 SECTION 1: WITHDRAWAL CONTRIBUTIONS ................................................................................... -
Berry, Richard (2013) Radio with Pictures: Radio Visualization in BBC National Radio
Berry, Richard (2013) Radio with pictures: Radio visualization in BBC national radio. The Radio Journal, 11 (2). pp. 169-184. ISSN 1476-4504 Downloaded from: http://sure.sunderland.ac.uk/id/eprint/5210/ Usage guidelines Please refer to the usage guidelines at http://sure.sunderland.ac.uk/policies.html or alternatively contact [email protected]. Radio with Pictures: Radio Visualisation in BBC National Radio Richard Berry University of Sunderland Abstract. Radio has always had pictures. The ones the listener created in their own minds and this is, most of us agree, one of the medium's greatest strengths. However, radio is increasingly consumed on a digital platform (such as DAB Radio, Digital TV, a mobile device or a computer) on devices with screens, rather than a dial. This creates a problem for radio because when we look at the device we are listening to we see a screen that often lacks rich content. The process of Radio Visualisation is about filling this space. This papers focus, though, is the other ways in which radio is visualising itself online in a process that deploys transmedia storytelling techniques that build relationships with the audience, builds brands and helps broadcasters to tell stories in ways never before possible. In the spring of 2011 2.84 million British TV viewers watched a radio programme on their Televisions. They were tuning in via interactive television (or the 'red button') services to watch the BBC Radio One breakfast presenter Chris Moyles attempt to break a world record for the longest radio programme. The BBC installed a series of fixed cameras in the programme’s regular studio at the BBC's Yalding House studios, with added 'roving' cameras to allow the presenters to broadcast from other parts of the building and a cafe across the street. -
Report Title Here Month Here
Alcohol & Soaps Drinkaware Media Analysis September 2010 © 2010 Kantar Media 1 CONTENTS •Introduction 3 •Executive Summary 5 •Topline results 7 •Coronation Street 16 •Eastenders 23 •Emmerdale 30 •Hollyoaks 37 •Appendix 44 Please use hyperlinks to quickly navigate this document. © 2010 Kantar Media 2 INTRODUCTION •Kantar Media Precis was commissioned to conduct research to analyse the portrayal of alcohol and tea in the four top British soap operas aired on non-satellite television, Coronation Street, Eastenders, Emmerdale and Hollyoaks. The research objectives were as follows: •To explore the frequency of alcohol use on British soaps aired on non-satellite UK television •To investigate the positive and negative portrayal of alcohol •To explore the percentage of interactions that involve alcohol •To explore the percentage of each episode that involves alcohol •To assess how many characters drink over daily guidelines •To explore the relationship between alcohol and the characters who regularly/excessively consume alcohol •To look further into the link between the location of alcohol consumption and the consequences depicted •To identify and analyse the repercussions, if any, of excessive alcohol consumption shown •To explore the frequency of tea use on British soaps aired on non-satellite UK television •Six weeks of footage was collected for each programme from 26th July to 6th September 2010 and analysed for verbal and visual instances of alcohol and tea. •In total 21.5 hours was collected and analysed for Emmerdale, 15.5 hours for Coronation Street, 15.5 hours for Hollyoaks and 13 hours for Eastenders. © 2010 Kantar Media 3 INTRODUCTION cont. •A coding sheet was formulated in conjunction with Drinkaware before the footage was analysed which enabled us to track different types of beverages and their size (e.g.