School of Culture and Communication - Theses

Permanent URI for this collection

Search Results

Now showing 1 - 10 of 14
  • Item
    Thumbnail Image
    Privacy Concerns about Personalised Advertising on Facebook in Cambodia: The Correlation between Privacy Concerns and the Privacy Paradox
    Chan, Seyha ( May 2023)
    Over the last two decades, the media industry revolution has been transformed from a web-as-information source to a web-as-participation platform called ‘social media’. Social media platforms are broadly characterised by lower barriers to creating and distributing media content by users. Public and individual expression has tremendously contributed to digital footprints in aggregating personal data for behavioural prediction and personalised advertising on social media sites, for example, Google, YouTube, Instagram and Facebook. In the emergence of the digitalisation revolution, business models relied on digital platforms to communicate and connect with their customers’ communities through personalised advertising. Businesses have relied on social media’s personal data collection to understand a marketing predictive trend in which businesses can purchase access to segment and target audiences for personalised advertising. This personal data collection has triggered privacy concerns when individuals’ life details were collected and converted into digital data for the sake of industrial capitalism’s profits without users’ consent. To gain more insight into these issues, this study explored Facebook users’ privacy attitudes and behaviour towards personalised advertising. Additionally, the study evaluated users’ concerns about privacy-related issues and their understanding of personal data aggregation in relation to personalised advertising. To address this gap, this study focused on Cambodian university students aged between 18 and 39, and who were considered digital natives, public activists and e-commerce users. The data were collected through a mixed-method approach by conducting an online survey with 155 respondents and five in-depth semi-structured interviews. To gain comprehensive insights into consumers’ privacy attitudes and behaviours, survey data were analysed in conjunction with the interview results. The study indicated that most respondents were concerned about their personal information being aggregated and monetised by Facebook without consent. Most survey respondents never/rarely clicked on Facebook advertising formats such as photographs, videos, stories, messenger, carousel, slideshow, collection and playable advertising. However, survey and interview data divulged that they sometimes clicked on and engaged in influencer advertising because they regarded this content as informative, attractive and reliable for product review. The study discovered that respondents felt ambivalent towards personalised advertising and sometimes traded off their privacy to gain immediate benefits from that advertising. Their privacy decision-making process was affected by cost-benefit calculation, and it resulted in a ‘privacy paradox’, which depicts an individual’s intention to divulge personal information on social media despite stating privacy concerns. The results showed that most respondents understood how Facebook utilised their personal data for maximising advertising’s target audience, reach, direct advertising and tracking. However, while most participants appeared to understand the general strategies, they were less clear on precisely how their personal data were utilised for the technical operation of big data and algorithms, particularly Facebook Pixel and Facebook Offline Conversions. This study also suggests that future researchers should consider individuals’ socio-demographic factors—including age group, educational level, employment and income—to investigate their understanding of privacy-related issues on Facebook and the motives of advertising engagement and avoidance.
  • Item
    Thumbnail Image
    (Re)defining recovery: exploring poetry as a therapeutic tool in recovery from severe mood episodes and associated suicide attempts in bipolar disorder
    Lacey, Felicity ( 2020)
    The critical component of this thesis explores the value of poetry as a therapeutic tool in recovery from severe mood episodes and associated suicide attempts in individuals diagnosed with bipolar disorder. Through literary analysis of Shira Erlichman’s Odes to Lithium and Jeanann Verlee’s Said the Manic to the Muse, I suggest that poetry allows a therapeutic space for dynamic reclamation of subjective narrative experiences of bipolar disorder from the medical discourse. Poetic devices such as personification and juxtaposition support the decentralisation of narrative in the subjective dialectic, thus creating scope for the productive tolerance of polarities, fragmentation and disorder. In doing so, poetry can facilitate emotional healing whilst eschewing redemptive narrative arcs. This provides valuable alternate readings and renderings of ‘recovery’ as part of an ongoing management of chronic mental illness which prioritises the experiential perspective, and thereby posits poetic process as a dynamic therapeutic tool in bipolar and attempted suicide contexts. The creative component of this thesis is a collection of poetry exploring my own recovery.
  • Item
    Thumbnail Image
    Conceptual metaphor for COVID-19 in Australian newspapers
    Almutairi, Hend ( 2020)
    It is important to understand how news sources communicate information about pandemics to the public, and a central aspect of news is the use of metaphors. This study analyses cognitive frames and conceptual domains that metaphorically characterise COVID-19 as a concrete reality for the masses. Data were drawn from a corpus of Australian newspapers in the online Coronavirus Corpus (n.d.). Data were filtered, edited, and classified into three cohorts of corpora, each targeting one of three keywords: coronavirus, COVID-19, and virus. Through the KWIC tool and concordances in the cohorts, metaphoric linguistic expressions (MLEs) were identified. The textual analysis showed spreading and moving were the most common MLEs, followed by impede, force, drive, fight, and battle. The contextual analysis of the MLEs helped identify conceptual metaphors, such as COVID AS A MOVING ENTITY, COVID AS A WAVE, and COVID AS A KILLER. Based on the conceptual coherence between conceptual metaphors, four cognitive domains were classified: COVID AS A LIVING BEING, COVID AS A TSUNAMI, COVID AS A CRIMINAL, and COVID AS AN ENEMY. The findings differ slightly from previous research that found the WAR domain was a dominant source domain for disease metaphors, and many framing options for COVID-19 were used in Australian newspaper discourse. More research is required to better understand the representation of COVID-19 in media discourse to improve the government and public response.
  • Item
    Thumbnail Image
    The impact of the Biennale of Sydney on the collecting habits of the Art Gallery of New South Wales
    Werkmeister, Sarah ( 2019)
    The aim of this research is to examine the impact of the Biennale of Sydney on the collecting habits of the Art Gallery of New South Wales. While there is research within the area of Biennales and their impact on local economies, there is little research into their impact on how local (in this context, Australian) art is collected by public (State or Federal) institutions, whose role it is to keep safe the culture of the locality they are meant to represent. Biennales are often researched in the context of the Global internationalisation of art, with the ‘type’ of art shown being known as ‘biennale art’ - often spectacular, internationalising, and heeding little attention to the context in which the art is being shown. It can be argued that eventually, artists in the areas where Biennales have become either a source of civic pride or a tourist destination for global visitors, tend to adapt their artistic styles to mimic the work of those artists shown in such arenas. In Australia, this raises questions on how Australian artists see themselves in an international context and how this impacts on national narratives. With this in mind, I am examining, as a case study, the collection of contemporary art in the Art Gallery of New South Wales in correlation with art exhibited in the Biennale, from six years prior to the Biennale’s inception through to Australia’s Bicentennial year of 1988.
  • Item
    Thumbnail Image
    "I lost the world where I belonged. Now I don't belong anywhere": writing Third Culture experiences
    Liew, Eunice ( 2007)
    In 1990 the Hubble Telescope was launched into outer space, and for the first time, human beings were able to see the universe more clearly. It was also the year that I started to understand myself in relation to the rest of the world. I have always felt like an outsider because I left my country of origin when I was an infant. However, 1990 was the year that my family began moving from country to country more frequently. I eventually lost my ability to identify with my first culture. I was thirteen and I became a Third Culture Kid. I am now a Third Culture Adult (or Adult Third Culture Kid). This thesis explores the writing of Third Culture experiences. I have chosen to discuss Isabel Allende’s work because, as a diplomat’s daughter, she has lived in Latin America, Europe, and the Middle East during her childhood (Allende 2003: 106-109). Specifically, I will discuss her memoir of her first culture, My Invented Country (2003) and her novel, The House of the Spirits (1985). I will discuss Allende’s writing in relation to what Julia Kristeva calls “the stranger within”, by which she means the uncanny within the self that Sigmund Freud also calls the unheimlich or “unhomely” (Kristeva 1991: 191). Allende’s writing, particularly The House of the Spirits, which is full of magical images, is an example of the uncanny stranger within as it might be expressed through storytelling. I will discuss Allende’s writing in relation to Jerome Bruner’s storied self because Allende’s stories are undoubtedly affected by her Third Culture self. Lastly, I will discuss my own writing in relation to the Third Culture experience. I will also relate all of these things to David C. Pollock and Ruth E. Van Reken’s discussion of the experience, its challenges and benefits, and its defining link to the life of the Global Nomad.
  • Item
    Thumbnail Image
    When romance is dead: vampires in romance narratives for girls
    Tealby, Alison ( 2018)
    In this thesis, I examine how the archetype of the vampire in Western literature continues to evolve within contemporary Young Adult vampire romance narratives. Building on Auerbach’s contention that vampires mutate according to the social demands of their time, I argue that the late twentieth and early twenty-first century proliferation of romantic vampire figures in Young Adult narratives for girls is a response to cultural anxieties concerning rapidly changing societal expectations of femininity following second-wave feminist movements in the twentieth century. I study three contemporary vampire romance narratives, Whedon’s Buffy the Vampire Slayer (1997-2003), Meyer’s Twilight (2005-2008) and Mead’s Bloodlines (2011-2015). Through my analysis of these texts, I demonstrate different ways in which the romantic vampire archetype has responded to Western anxieties concerning contemporary femininity, and I argue that the romantic vampire continues to evolve, drawing on conventions that have been set up in preceding vampire romance narratives to address changing social environments. The creative component of this thesis is an opening extract of a Young Adult vampire romance narrative titled The Blood Pact. In this extract, I explore ways in which the romantic vampire archetype can continue to transform in response to contemporary cultural concerns.
  • Item
    Thumbnail Image
    Extreme males: autistic masculinity in three bestsellers
    Kelly, Peter ( 2015)
    Inspired by Simon Baron-Cohen’s theory that autism can be understood as an extreme version of typical male behaviour, this thesis will examine whether this view is reflected in the representation of autistic males in best-selling fiction (“Extreme Male Brain” 248). It will investigate autism representations in the context of hegemonic masculinity, by comparing the behaviour of Christopher Boone from The Curious Incident of the Dog in the Night-Time, Jacob Hunt from House Rules, and Don Tillman from The Rosie Project to Linda Lindsey’s masculinity norms. These include anti-femininity, emotional reticence, success, intelligence, toughness, aggressiveness and an obsessive heterosexuality (Lindsey 241-7). While Christopher's surprising violence, extreme intelligence, insensitivity and stubbornness are masculine traits, his asexuality disqualifies him from being an extreme male. Jacob’s masculinity is shown in his aggressiveness, intellect and physique, but is undermined by his ambiguous sexuality and patchy career history. Don’s physical appearance, heterosexuality, stoic attitude and intellect are all masculine qualities, unlike his need for social guidance and apparent virginity at the novel’s beginning. All three characters are white and compensate for a lack of emotional awareness with hyper-rationality. Their paradoxical masculinity may account for their novels’ success. This thesis finds that these three fictional autistics are not extreme males by the standards of hegemonic masculinity.
  • Item
    Thumbnail Image
    A creative nation is a productive nation: a theoretical and contextual exploration of Tasmania’s Collect Art loan scheme
    Buckley, Caroline ( 2015)
    Tasmania’s Collect Art loan scheme enables eligible consumers to take out an interest free loan from the Tasmanian Government in order to purchase works of art. As the first scheme of its kind in Australia, Collect Art presents an interesting and real life case study of a market facilitating instrument of government subvention. With the aim to explore and establish its significance as such, this thesis discusses the Collect Art loan scheme within relevant theoretical and contextual frameworks. It explores the implications of Collect Art with respect to its impact on artists, government and consumers, and under these circumstances, assesses its efficacy. I have determined that the efficacy of Collect Art is located predominantly in its economic outcomes. To this end, I have concluded that the scheme’s significance lies in its orientation toward the consumer, and in its establishment as a consequence of the economic paradigm that permeates the contemporary arts ecosystem.
  • Item
    Thumbnail Image
    The mediatization of Malcolm X
    Petropoulos, Nash ( 2010)
    In the aftermath of the end of Cold War, the ideological restructuring that took place fundamentally affected the representation of one of the African American public figures of the 1970’s that was portrayed as deviant by the media and yet up that until that enjoyed time relative obscurity: Malcolm X. After the Spike Lee biopic, interest in his figure was rekindled albeit in an entirely new direction after the Watts Riots of 1992. Due to this shift, a cultural commodification of his figure undermined the subversiveness of his message and two decades later, there is still need for an extensive discussion to re-conceptualize the subtle reinforcement of hegemonic structures in the mediatization process and address the political context in the commodification of Malcolm X. In that vein. this article applies the notion of mediatization of the figure of Malcolm X on film and television as analyzed through the lens of cultural commodification.
  • Item
    Thumbnail Image
    Performance studies as a discipline?: a Foucauldian approach to theory and practice
    D'cruz, Glenn ( 1993)
    This thesis has three major purposes: firstly, to describe and analyse the institutional power/knowledge relations operating in the constitution of the academic ‘discipline’ of performance/theatre studies. I deploy Michel Foucault’s conceptions of ‘discursive formation’, ‘discursive practice’, and ‘power/knowledge’; in an attempt to demonstrate the ways in which the academy distinctively articulates the discipline. The second purpose of the thesis is to map and critique specific conceptions of the ‘discipline’s’ epistemological profile, through an examination of the discursive practice of theatre at the University of Melbourne from the mid-fifties to the present. Third, I go on to prioritize a specific performance oriented articulation of the field’s epistemological profile, based on an interdisciplinary pedagogy. I describe the techniques, methods and theoretical justifications for such an articulation of the discipline by offering a critical account of The Killing Eye project - a multi-media performance which deals with the topic of serial murder - which was initiated in the context of a third year performance studies course. I conclude with an analysis of the academy’s institutional enablements and constraints in the areas of theatre practice and pedagogy.