Vol 11, No 1 (1992)

Besluite oor die toekoms van die uitsaaiwese In Suid-Afrika is nie maklik nie. Kyk 'n mens na wat in die bulte land gebeur blyk dit dat regerings deur 'n aantal faktore forseer word om deregulering en privatisering as 'n ultweg te aanvaar. Die faktore wat 'n herdefiniëring van openbare ult saalkommunikasle afdwing is die onhaalbaarheid van objektiwiteit, ontwikkelinge op die gebied van die ultsaaltegnologie, die polimiese van televisie, professionalisering in die uitsaalberoepe en die ontwikkeling van die demokrasie. Hierdie faktore, wat in 'n groot mate deur die uit saalmedia self dikteer word, maak die aanvaarding van pluralisme as onafwendbaar. Dit beteken egter nie dat openbare uitsaaldienste soos mis voor die son verdwyn nie. Trouens, juis die bogenoemde fak- tore gee daartoe aanleiding dat openbare uitsaaldienste sterker na vore tree en beskerm moet word as opvoedkundige, kulturele en on- twikkeingsmedia. Slegs deur 'n ge- sonde balans tussen private en openbare ultsaaldienste te bewerk- stellig, kan die besluitnemers oor die toekomstige Suid-Afrikaanse ult saalwese reg laat geskied aan die uitsaaiwese as handelsproduk, maar ook as 'n geestesproduk. Die huidige debat oor die Suid-Afri- kaanse uitsaaiwese word teen die agtergrond van die bogenoemde geskets.

Social responsibility has developed Into an Important Issue for companies and Industries A redefinition of the public relations practitioner's role with regard to the Interpretation of social change as well as to a broadening of the public relations practitioner's functions. A new organisational relationship between top management and the public relations practitioner needs to be established. The nature and scope of the public relations practitioner's involvement in the implementation of social responsibility programmes or actions. This study was to determine what the nature and frequency of social responsibility programmes amongst a group of East Rand industrialists is, as well as to determine to which extent the publicrelations practitioner plays an Integrating role in the design and implementation of social responsibility programmes and actions. However, most of these companies do not possess the necessary Infrastructure of a small or medium sized public relations department. The implementation of social responsibility programmes was therefore found not to be dependent upon the existence of the public rellations function. The authors conclude that social responsibility should be viewed as an integrated part of public relations practice at a strategic level and that it should be considered as a specialist function In which the public relations practitioner should specialise on a tertiary level.

A overview of the development of movements in art and music during the twentieth century is given to place music videos in perspective as cutural phenomena reflecting certain artistic, philosophical and social tendencies of the present. Music videos, are seen against the back ground of the semiological view that a cultural artefact does not simply reflect society, it also acts as a "signifying practice with its own determinate product: meaning" (Hall 1980:30). A semiological approach Incorporating concepts from structuralism, psychoanalysis, feminism and post-structuralism is used to construct a theoretical model for the analysis of meanings in the visual images of music videos. In the theoretical model three levels of meaning, namely denotative, connotative and mythical, are distinguished with certain qualititative elements defined on each level The denotative level or the level of reality contains iconic signs, indexical signs and symbolical signs. Other qualitative elements include characters, setting, and descriptions of primary movements. The connotative level or the level of representation includes television codes (non-filmic and filmic), narrative codes and intertextual codes The level of myth or the level of ideology includes stylistic or textual devices such as metaphors, allegories, fetishism, voyeurism and parody. This article is that music videos function as mod- ern artefacts which have the potential to express complex cultural meanings to signal a new Weltanschauung (Lorch 1988:143)

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