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In 2008, Globe and Mail theatre critic J. Kelly Nestruck made a significant remark about Canadian theatre and the War on Terror, noting a clear absence of stage plays that addressed Canada's participation. There was, however, a long-running CBC radio drama series, Afghanada, which centred fully on the experiences of Canadian soldiers in Afghanistan. Because relatively little research has yet to be published about the radio series, Lindsay Thistle details Afghanada's production history, major players, creative processes and goals. She also considers how the radio medium affected the objectives of the series and its ability to represent war, ultimately arguing that Afghanada was inescapably politicized through its relationship with national institutions, its interest in realistic and true-to-life stories, its focus on everyday soldiers, its casting choices and its inclusion of post-traumatic stress disorder. Throughout this investigation, Thistle raises important questions about the politics of dramatizing war while Canada itself was at war. She concludes by observing that while Afghanada avoids an explicit message in support of or against the Canada's involvement in the War on Terror, it engaged with the political from its inception, through its creation, and in its reception. En 2008, J. Kelly Nestruck, critique de theatre au Globe and Mail, faisait une remarque importante au sujet du theatre canadien et de la guerre contre le terrorisme en soulignant l'absence manifeste de pieces de theatre traitant de la participation du Canada. Toutefois, la CBC a diffuse a l'epoque un feuilleton radiophonique de longue duree intitule Afghanada qui dramatisait des experiences vecues par des soldats canadiens en Afghanistan. Cette serie radiophonique ayant fait l'objet de peu d'etudes, Lindsay Thistle retrace dans cet article l'historique de la production d'Afghanada et decrit ses principaux intervenants, les processus creatifs employes et les objectifs de la serie. Elle examine egalement de quelle facon le medium radio a pu affecter les objectifs de la serie et sa capacite de representer la guerre, faisant valoir, en fin de compte, qu'Afghanada etait inevitablement politisee a travers son rapport avec des institutions nationales, son interet pour les recits realistes et veridiques portant sur de simples soldats, ses choix dans la distribution des roles et sa decision d'aborder le trouble de stress post-traumatique. Au fil de son enquete, Thistle souleve des questions importantes sur la politique de la dramatisation de la guerre a une epoque ou le Canada participait lui-meme au combat. Elle conclut en observant que, si Afghanada evite de communiquer un message explicite pour ou contre la participation du Canada a la guerre contre le terrorisme, la serie a contribue au debat politique, depuis sa creation jusqu'a sa reception., In his 2008 article entitled 'Where's our war on our stages?' Globe and Mail theatre critic J. Kelly Nestruck identified a clear absence of plays that addressed Canada's military involvement [...]

CBC Radio One's 'Canada Reads,' which aims to select a work of Canadian literature 'that all of Canada should read together,' was first broadcast as a network special in 2002. This essay undertakes an ideological analysis of the cultural work that 'Canada Reads' performs, focussing on the first three series and drawing upon original interviews with the show's producers, listeners, and cultural workers. The authors conceptualize the show as both a mass reading event and a media spectacle that reinforces the 'blockbuster culture' of contemporary Canadian literary publishing. They also contend that the model of nation 'imagined' by the content of 'Canada Reads' is problematically, if predictably, conservative (bilingual and uncritically multicultural); however, the authors position this ideological limitation against the potential for creative resistance produced by the show's multiple modes of delivery. L'emission de CBC Radio One intitulee Canada Reads qui choisit une oeuvre litteraire canadienne << que tout le Canada devrait lire ensemble >> a ete diffusee pour la premiere fois lors d'un special du Reseau en 2003. Le present article effectue une analyse ideologique des oeuvres culturelles choisies pour l'emission en mettant l'accent sur les trois premieres series et en se servant d'entrevues originales avec les realisateurs de l'emission, les auditeurs et les agents culturels. Les auteures conceptualisent l'emission comme un evenement de lecture de masse et un spectacle mediatique renforcant la << culture de superproduction >> de la publication litteraire canadienne contemporaine. Les auteures avancent que le modele de nation qui est << imagine >> par le contenu de l'emission est problematiquement, mais de facon previsible, conservateur (bilingue et aisement multiculturel). Toutefois, les auteures placent cette limite ideologique dans le contexte d'une resistance creatrice possible causee par les divers modes de delivrance de l'emission.

A broadcaster with the NBC radio network describes how the NBC radio network was better than every other network, including all of television, in covering the Iran-hostage-release story. The entire team was tired of trying to find something new to say about a situation, which did not seem to change much after weeks and months.

It's 8 o'clock on a crisp winter morning in the mythical state of Jefferson, and public radio devotees in the small city of Ashland, Oregon, start their day with a [...]

Objective: To investigate Australian adults' awareness of the ultraviolet (UV) indexes forecast in the media, and whether these UV forecasts influence their behaviour in the sun. Methods: A self-administered questionnaire was used on two occasions in 1997 to ask about knowledge of UV indexes shown in the media and about possible influence on outdoor behaviour. Setting and participants: Participants were 977 residents (423 men; 554 women) of Nambour originally randomly selected in 1986 from the electoral roll, who have been followed up subsequently. Results: The majority of people - 92% of men and 86% of women - reported having seen or heard the UV indexes forecast during summer. Of these, significantly fewer men (107; 28%) than women (209; 46%) reported that their outdoor behaviour was influenced by knowledge of the forecast (p = 0.001). Neither age nor skin type, nor history of sunburns or skin cancer, affected knowledge of UV forecasts or their influence on behaviour. Conclusions and Implications: Although most people are aware of the forecasts of UV indexes in the media, the majority do not take them into account in their outdoor behaviour. Compared with women, men were more aware of, but less influenced by, forecasts of UV indexes. Better communication of the implications of the UV indexes is needed, particularly to men, if they are to adapt their outdoor behaviour to improve their sun protection.