Influence Of Television Viewing On Children Media Essay

Influence Of Television Viewing On Children Media Essay Introduction This essay is about the extent, justification and concerns that adult citizens have about the influence of television viewing on children. Adults in the context of this essay encompass parents, journalists, policy makers, media researchers and human right activists among other citizens. The discussion is covered over five sections. Each section attempts to give the perspective of a loose category of adult citizen concerns. The first section begins by situating the topic in media effects research theory-a concern for social scientists and media theorists. Here it underscores the various foci of effects research over the years notably; media texts as powerful agents of social change (Hovland et.al., 1953; Galician, 2004 and McQuail, 2005), media texts have an influence on peer relations (Moreno, 1934), there is a role of mediating factors (Klapper, 1960 and Moss, 1996) among other concerns. The second section attempts to justify the question of the essay by providing some evidence of w hy the influence of television might be considered more important than other media a concern for media owners, human rights activists and policy makers. Here contributions are made on the distribution and coverage of television (Lichter, 1990), its accessibility (Burton, 2004) and extent of usage by children (Buckingham, 2007) among other arguments. The third section focuses on a range of specific concerns about the actual effects of television- of interest to parents, media researchers and human rights activists. These concerns include, aggressive behaviour (Bandura, 1994), gender stereotyping (Ingham, 1997) and citizenship (Selznick, 2008) among others. The fourth section critically discusses some of the methodological approaches to examining the influence of television on children that would be of possible interest to media researchers and policy makers. Here it briefly highlights possible theories of how children react when exposed to a media text through perceived processes of cultivation (Newbold, 1995), acculturation and socialization (Goonasekera, 1996) and varying intellectual development (Buckingham, 1998) among other theories. The fifth section is the authors perspective of the kind of effective action that should be taken to contribute to better effects research and healthy television viewing among children. The conclusion summarises the main elements of the essay. Situating the influence of television viewing on children in media effects research theory The early part of the 20th century saw a pristine effort in the study of mass media effects that began when public concern about the impact of movies on children and adolescents was prompted by the privately funded Payne Studies (Galician, 2004, p84). These and other media studies helped establish the notion that mass media messages are indeed powerful agents of social change (e.g. Hovland, et.al., 1953;Galician, 2004 and McQuail, 2005). The influence of television viewing on children is an important issue to examine because as McQuail in Newbold (2005, p9) argues, the media is a powerful shaper of opinion and beliefs. For Hovland, et.al. (1953, pp260-266), two personality factors appeared to play a significant role in determining variations in the degree of effect of a media text; intellectual ability and motivation. In even earlier work, Moreno (1934) underscored the importance of peer relations and the bonds they form based on values within the group that are perhaps influenced by media texts. Lazarsfeld et al. (1948, p151) argued that the process of attitude and opinion formation within the broader public sphere of say a community owed more to the influence of other people the opinion leaders, than the media itself. Within media effects research, the opinion leaders are considered the primary group whose relevance is not merely its existence but rather their influence on behaviour and attitudes of individuals that make up the group (Newbold, 2005, p17). Hovland and his colleagues were not only concerned with personality factors but more so with the message itself. They argued that its apparent trustworthiness and how it influences the learning of facts indeed invoked different reactions (Newbold, 2005, p15). For Klapper (1960, p8), mass communication does not ordinarily serve as a necessary or sufficient cause of audience effects, but rather functions through a nexus of mediating factors, an argument that emphasizes the total situation. Moss (1996, p5) see ms to allude to this when she stipulates that audience studies can be examined by establishing the social context in which texts are distributed and consumed. The disparity in effects research approaches perhaps provides an indication of the complexity of the emphasis of issues and concerns by mass communication scholars in demarcating the field. The next section provides some illumination on this latter concern by comparing the influence of television versus other media on audiences from the collective adult citizen perspective of human right activists, journalists and policy makers. The influence of television versus other media Lichter, et. al. (1990, p8) views effects of television as greater than the print media or even radio because it clearly provides its audience with a sense that what it views is true and real. They further argue (p8) that television has broken down class and regional boundaries to a far greater extent than other media (during the 1990s); as compared to say, the print media that is segregated by area of distribution and readership. For Burton (2004, p93), television is the most accessible media to most people, including young children, where television is their most favourite form of media. Buckingham (2007, p75) further illuminates Burtons assertion by arguing that if schools have remained relatively unaffected by the advent of new technology, the same cannot be said of childrens lives after school. He also argues that childhood is permeated and in some respects defined by modern media -television, video games, mobile phones, the internet that make up contemporary consumer culture. G avin (2005) asserts that within a year an average American child would have spent about 900 hours viewing television in school compared to and nearly 1,023 hours in front of a television at home. Kellner (1990, p1) supports the latter assertions and argues that 750 million television sets across 160 countries worldwide are watched by 2.5 billion people every day; underscoring the obvious ubiquity and centrality of television in our everyday lives. Television influence separates itself from other media influences by the extent of its central role in the lives of the contemporary child and perhaps the fact that this is coupled with frequent audio visual stimulation. Media convergence in the current advanced IT age has given rise to internet television and mobile phone television tuning that technically changes the perceived coverage and possible influence of television. Surrounding these postulations is a range of specific concerns that are briefly discussed in the next section; looke d at from the collective perspective of concerned parents, social scientists and possibly media theorists. Concerns about the influence of television viewing on children The debate about the influence of the media on children has been wide-ranging and at times fierce (Robinson Willett, 2006, p6) with concerns about violence, sexual content, advertising and its developmental and educational implications (p6). The Australian Psychological Society Ltd Factsheet (2000, p1) claims that prolonged exposure to television violence is among the factors which lead to children to display aggressive behaviour in both the short and long term. Some aggressive effects research evidences that up to 88% of children readily imitate aggressive behaviour seen earlier on television (Bandura, 1994 in Cumberbatch, 2008, p23). Other concerns revolve around the power of advertising. Buckingham in Dickinson, Harindranath and Linnà © (1998, p134) contend that advertising is often accused of promoting false needs, irrational fantasies or even reinforcing exaggerated gender stereotypes and; children are at risk because of their apparent inability to recognise its underlying per suasive intentions. Some authors attribute this to the effectiveness of advertising. Halford, et.al. (2004) argue that because food is the most frequently advertised product on childrens television programming, exposure to these advertisements effectively promotes consumption of the advertised products. Gunter and McAleer in Robinson and Willett (2006, p11) do not agree with the latter assertion and argue that objective evidence is much less conclusive as to the effect of advertising. For Coon, et.al. (2001), excessive TV viewing during childhood and adolescence contributes to higher intakes of energy through snacks and carbonated beverages and lower intakes of fruit and vegetables. Other authors (e.g. Gortmaker, et. al., 1996; Hancox, et.al., 2004) suggest that watching excessive television contributes to sedentarism in both children and adults by taking the place of more energetic activities. Some concerns have been reflected in childrens perception of traditional gender stereotyp ing on television that is perhaps no longer appropriate for the contemporary roles taken on by the sexes. Ingham (1997, p2) reports that women in the home are frequently represented via the housewife-type role, with the man as the strong, bread winning husband. She further argues (p3) that when women are portrayed as successful; it tends to be at the expense of their personal life, which invariably tends to be unhappy. From a philosophical perspective Goonasekera (1996,p41) argues that communications technology (including television) has greatly increased cultural contacts among people of different nations; providing unprecedented opportunities for the establishment of closer cultural linkages and identities. He further argues that this very opportunity raises fears of cultural domination and obliteration of ethnic identities. For Van Evra (2004, p66), the concerns have gone beyond looking at only the negative effects and argues that although television may displace study time or af fect reading habits and study skills; it can also stimulate interest in new topics, provide background material for school projects and stimulate classroom discussions. For Selznick (2008, p108), television teaches citizenship. A plethora of views exist on the perceived influence of television on children. As noted by some authors (e.g. Buckingham, 1998, p.137; Newbold, 2005, p15) and Klapper,1960, p8), intervening variables mediate between television and its audience. Selznick (2008, p108) also argues that whether the effect of television on children is seen as positive or negative, most scholars agree that television affects the way that children build their own identities, specifically how they understand who they are, what they like, their place in the world and their goals. The next section provides a critical exploration of some approaches and models in effects research around the influence of television on children by expressing the more prominent concerns that scholars have had of their peers. A critique of evidence and methodology around effects of television on children The development of effects research has largely been in the direction of emphasizing the role of intervening variables (Buckingham p136 in Dickinson, Harindranath and Linnà ©, 1998). Taking this as a starting point, Robinson and Willett (2006, p9) argues that the way we interpret physical phenomena is not constant across cultural boundaries. Cumberbatch (2008,p33) alludes to Robinson and Willets latter argument when he asserts that research evidence on the effects of viewing violence suffers from various methodological evidence. Moss (1996, p30) alludes to these latter arguments from a Vygotskian perspective when she asserts that children grow up accommodating themselves to the existing social forms of thinking, shaped through words (Moss 1996, p18) and perhaps by proxy; through what they see through different media. Perhaps at this point a small illustration might serve to stimulate the discussion. Recently in Uganda, horror was experienced when a group of school children witnessed one of their peers plunge to his death in a deep topless latrine after boasting to his friends about being Tinky Winky one of the Teletubbies on childrens television often seen to emerge or drop down a hole in the ground. The Tinky Winky illustration peripherally suggests that negligence might have caused such an unfortunate situation for the kids. But as some of the Ugandan community seemingly believed; television implanted a fatal irrational fantasy described by Buckingham in Dickinson, Harindranath and Linnà © (1998, p134). Gerbner and Gross (1976) in Newbold, 1995, p30) prefer to call the latter case cultivation that places emphasis on long-term effects of the media. Perhaps, what creates a fair amount of separation in effects research and perspectives is not only linked to the way we interpret physical phenomena but also to the way that populist views (Robinson Willett, p9) are taken as gospel truth. The elite Ugandan community called for a total ban of the teletubbies -a d emand that spread to human rights groups. Could peers perhaps have influenced their unfortunate friend through secondary transfer of their television experience with the teletubbies? For Moss (1996), children sense of the media is mediated through talk with peers, parents and teachers. Goonasekera (1996, p26) attempts to demarcate the process that leads to anti-social behaviour that he contends happens through a process of acculturation and socialization, where values such as respect for the sanctity of human life become weaker and values promoting short-term hedonistic behaviour become stronger. Does this latter postulation apply to the Ugandan tragedy above? Some authors think otherwise. Gauntlett in Dickinson, Harindranath and Linnà © (1998, p124) criticises the effects model for its media depictions of anti-social acts that he says is limited to fictional productions. The weakness with this latter assertion of the effects model is that other anti-social activities which appear in other media do not have similar effects on the same audiences. If also, as McKenna (1995,p25) asserts that public service broadcasting tends to be dominated by the elites, then how can one account for the violence that is prevalent in many rural areas in Africa that are not exposed to the media? Can this perhaps be controlled when testing hypotheses? McQuail (2005, p16) alludes to this when he asks; which aspect of the medium is being regulated? This latter assertion has connotations for media effects research methodology; especially testing hypotheses. Buckingham (2008, p31) recommends that research should contribute to the wider debates about the aims and methods of media education. For Moss (1996, p24), this kind of research could explore on a macro level, the influence of media products on society and its culture or the socio-psychology of the process for individuals. Buckingham in Dickinson, Harindranath and Linnà © (1998, p136) however notes that effects models assume that effects can simply be read off from the analysis of content. This latter assertion appears to undermine the mediating factors paradigm that he further argues, has a weakness of viewing the audience as a mass of undifferentiated individuals. However, Buckingham (p.137) also validates mediating factors research approaches that underscore the dependence of the socializing influence of television on diverse and variable meanings which its users attach to it (uses and gratifications) and where viewers construct meaning (constructivist). Anderson and Lorch (1983), allude to an active relationship between children and television as they view them as actively making the choice to pay attention to television which in turn influences the way they understand what they watch and on the activities available in their viewing environment. This approach appears not to account for future similar anti-social behaviour that children exhibit after recently watching television. Indeed, Buckingham (1998 , p139) expresses this latter concern with the ways in which childrens understanding of television changes along with their intellectual development and uncertainty over their ability to distinguish between reality and fantasy on television. But for Cumberbatch (2008, p13 p32) doubts remain over the validity of empirical evidence to the case of causality in effects research into media violence that he argues; fails to raise the question of investigating why many people seem unaffected by television violence. On the other hand Moss (1996, p30) postulates that through social activities, childrens interpretation of media text goes through a transformation as they represent what they know in the current context, and renegotiate its significance in the light of others comments to generate and sustain their talk. For Robinson and Willett (2006,p25), both popular and academic research view children as passive receivers of whatever messages the media offers, with little ability to resist t he effects. These hypotheses in the underlying models of communications create a separation in the evidence generated by effects research of the media on audiences. The variegated demarcation of concerns in this and other sections only adds to the complexity of the issues around televisions influence and further raises the question of kind of effective action that needs to be taken. The next section attempts to illuminate this latter question from the authors perspective. Effective action for better effects research and healthy television viewing among children The concerns laid out in previous sections are based on the premise that watching television might have both positive and negative effects. This said, there appears to be vast inconclusive literature on anti-social effects such as violence compared to pro-social influence that television might have on children. Research might better serve in demarcating the field by illuminating the more positive aspects of television influence on audiences. With global processes such as the current economic recession and globalization unfolding or deepening, it might be useful for research to investigate the effects of television viewing on cultural practices or on economic status of audiences across an array of ethnic groups. Also investigating the effectiveness of mediating factors in influencing the resulting effect(s) might be an interesting area for research e.g. does someones religious beliefs rein-in or promote potential anti-social behaviour? Can say criminal anti-social behaviour have a gen etic link that manifests under a threshold of specific media exposure? How can research separate media and non-media influences across different audience age groups by first establishing a baseline of what children already know about the media? In terms of the presumed effects of advertising, media violence and so forth, parents or guardians need to review the balance of the childs daily activity based on some anti-social indicators. For example, if a child always chooses to watch television instead of play with friends or only talks only about television programs and characters, or is not performing well in school, it would be prudent to cut back on the amount of time spent in front of the television. Television viewing time should be negotiated together with the child. Parental Guidance locks should also be instituted on undesirable programmes. It is also helpful for adults, media text producers and regulation to help children interpret and critique the viewed material in order to promote constructive ways that life and values should be interpreted. Conclusion This essay has benefited by examining some of the salient issues around adult citizens concerns about the influence of television viewing on children. It focused on loosely defining the category of adult citizens and their specific interest in aspects of the topic. The discussion was demarcated by situating the topic in media theory, justifying the importance of examining the influence of TV versus other media and then specifically highlighting the plethora of concerns that were mainly negative. These concerns then spilt over into a separate section that focused on a critique of some of the existing methodological approaches and concerns. This was important to examine because methodological approaches inform the existing evidence and facts that a range of adult citizens base their understanding of the issue on. The essay then underscored the fact that mostly negative evidence exists around examining the influence of TV viewing on children and inconclusive in its findings. The essay t hen recommends future research to look into more positive facets when examining the issue and to incorporate the interesting dimensions of genetics, ethnicity and spirituality. This complex essay would have benefited more from an in-depth examination of the causal link between ethonographic, child development and economic issues and critical distancing in the influence TV television viewing on children.

Pestel on Winchester Theatre

PESTEL Political- The theatre is subsidized by the public purse in the form of local authorities and the arts council (Arts council, 2010). However, funding is under continual pressure after cuts made to the arts budget by the coalition government (Mintel, 2012). This has been evident since 2008 where the arts council of England stopped funding of the theatre meaning it is only supported by Winchester City Council, Hampshire city council, sponsors and friends of Theatre Royal Winchester (Burn, 2008), for example, sponsorship from the Hampshire Chronicle and wave FM (Theatre Royal Winchester, 2012).This could have an impact on the Theatre industry as it may mean they are forced to take a more commercial approach and lead to increased prices to ensure that they stay afloat. A recent 2012 survey on local authority arts spending by Arts Development UK has revealed there is a decline in partnership work between Arts Councils and local authorities. Also, 47 local authority arts services ha ve closed since 2003 and average expenditure on the arts is 16% down on 2010 and 38% down since  2008 and 15% of local authorities in England and Wales have lost their arts services since  2000.The outlook is also looking bleak as Chief Cultural and Leisure Officers Association reveals a planned 15% cut to arts services for  2012-13. The local Government Association is warning that unless central government policy changes, local funding for arts in England and Wales will have practically disappeared by  2020. The distribution of Arts Council funding across the English regions reveals a considerable imbalance: London gets over 50%, Midlands 12% and South East only 4% (2010-11 figures) (Gillet, 2013).Economical Due to the UK market slipping back into recession, this continues to restrain consumer spending and the performing arts as a whole are not immune from this common trend as the spending power of customers is hindered. It is also evident that household incomes have been r estricted by high inflation and static earnings further hindering spending power and consumer confidence (Mintel, 2012), meaning that consumers have less disposable income to spend on items such as the theatre.However, because of this trends in recent years have seen a fall in holiday trips taken abroad and therefore seen an increase in domestic holidays and theatre breaks are a popular form of weekend break and tourists spend is an important source of revenue for the theatre business (Mintel, 2012) as the west end enjoyed record box sales in 2011 for the 8th consecutive year (BBC, 2011). SocialThe theatre is seen to be most popular with those ranging from 35-55+ who account for 66% of theatre attendees showing that they are an ageing demographic with a strong female bias (Mirror, 2012) suggesting that the theatre is struggling to attract younger audience members as it may not be seen as attractive too them. Danny Boyle was quoted saying â€Å"†Theatre sustains local communit ies and does very positive things for local economies. But it also gives a sense of belonging† (Youngs, 2012) and are therefore hugely important part of the UK and British culture. TechnologicalNew technology is having a huge affect on the theatre industry. The ownership of mobile devices such as smartphones and Tablets are playing there role in this age of technology, as is the quality of TV’s, HD, 3D and the content that you can see within your own home that is most threatening to the theatre industry (Mintel, 2012). Technology is also being used in the form of multiple camera angles and high-definition technology, allowing Digital Theatre (2013) to bring the drama and emotion of each production to a global online audience to those who otherwise would not have seen the performance.Environmental- Environmental issues for the theatre can take several shapes and forms. For example they can include things such as energy bills and sets being scrapped at the end of performa nces especially for smaller theatres, as they cannot afford the storage. Bus miles generated by companies on tour and the audiences travelling into town are also factors that can be linked in with the theatre. There is also paper for the flyers, posters, programs and scripts that may be wasted and demands on power from theatre foyers, bars and offices, as well as the many exit signs that, by law, must be lit round he clock (Fisher, 2007) all add up and can prove costly for the theatre. There are several licenses that a business such as a theatre need to adhere to and these are monitored by bodies such as the Environmental Agency (2013) who aim to â€Å"protect and improve the environment, and to promote sustainable development. † Legal- Health and safety law applies to theatres as it does to other businesses. The Health and Safety at Work Act 1974 and related legislation places duties on employers, employees, the self-employed and those in control of premises.The responsibili ties include things such as working at height and manual handling as these are the two areas where most accidents/injuries occur (HSE, 2013) The Winchester theatre also holds 14 licenses ranging from food to alcohol licensing which must be handled with care responsibility. There are also important contracts between the theatre itself and the touring company’s/performers that must not be breached (Courtice, 2013). Reference List BBC, (2011) West end ticket sales hit ? 528 Million in 2011. Available at: http://www. bbc. co. uk/news/entertainment-arts-16795432 [Accessed 01/03/2013] Courtice, Mark (2013).Lecture at Oxford Brookes University. 19/03/2013 Digital Theatre, (2013). Available at: http://www. digitaltheatre. com [Accessed 01/03/2013] Fisher, M. (2007). The Guardian. Alas, Poor Planet. Available at: http://www. guardian. co. uk/environment/2007/feb/07/energy. theatre [Accessed 01/03/2013] Gillet, John. (2013). Local Authority Cutbacks: A report on Theatres 18/01/2013. Av ailable at: http://www. lost-arts. org/local-authority-cutbacks-theatres/ [Accessed 06/03/2013] Environmental Agency (2013). About us. Available at: http://www. environment-agency. gov. uk/aboutus/default. spx [Accessed 03/03/2013] HSE. (2013). Theatre. Available at: http://www. hse. gov. uk/entertainment/theatre-tv/theatre. htm [Accessed 03/03/2013] Mintel (2012) Performing arts UK, July 2012. Mirror, (2012) Theatre Goers Available at: http://audiences. visualdna. com/mirror/audience/entertainment/theatre_goers [Accessed 01/03/2012] Theatre Royal Winchester, (2012). Available at: http://www. theatre-royal-winchester. co. uk [Accessed 01/03/2013] Young’s, I. (15th Nov 2012) â€Å"Danny Boyle voices regional theatre fears†. Available at http://www. bbc. co. uk/news/entertainment-arts-20338771 [Accessed 03/03/2013]

How is Stanhope Represented in the First Two Acts of ‘Journey’s End’?

Stanhope is the captain in command of an infantry company on the front line. Although he is a highly ranked officer, Stanhope is still only a boy. He has been out in the trenches for nearly three years, (having come straight form school at he age of eighteen) and has commanded his company for a year. The character of Stanhope is fundamental to the play as a whole; we learn this almost straight away as he is spoken about before he appears on stage. The play begins with a conversation between two officers – Osborne and Hardy – and it is from them that the reader gains a first impression of Stanhope. His drink problem is immediately addressed as Hardy asks, ‘Drinking like a fish, as usual? ‘ This presents him in a fairly negative light however; this feeling is soon displaced as Osborne begins to defend him and offers some reasoning as to why Stanhope seeks solace in alcohol. We learn that he is in fact an extremely competent and well respected commander – ‘He's a long way the best company commander we've got' and this point is emphasised in Act two as Raleigh writes in his letter, ‘He's the finest officer in the battalion, and the men simply love him. Sherriff presents Stanhope as hard working, and this is mentioned various times throughout the two acts. Osborne says (when defending him against Hardy) – ‘He's commanded this company or a year – in and out of the front line. He's never had a rest. Other men come over here and go home again ill, and young Stanhope goes on sticking it, month in, month out. ‘ He is precise and meticulous in his duties as captain. When Trotter asks if he can go on duty half an hour later so he can finish his meal Stanhope refuses, unwilling to risk upsetting the schedule. He is also horrified at the state in which Hardy leaves the trenches, commenting that they smell like cess pits; all this adding to the image that Sherriff creates of him as a fine officer. Stanhope is extremely worried about Raleigh's appearance as he is frightened he will write to his sister and tell her what he has become. His quick temper becomes apparent as he demands Raleigh hands his letter over – he shouts, ‘Don't ‘Dennis' me! Stanhope's my name! ‘ and even snaps at Osborne. Raleigh describes an incident at school, ‘I remember once at school he caught some chaps in a study with a bottle of whisky. Lord! the roof nearly blew off. He gave them a dozen each with a cricket stump. ‘ This is ironic considering what Stanhope has become, yet it gives the reader an insight into what he was like before the war and how it has affected him. It quickly becomes apparent that Mason is scared of Stanhope; we see an example of this when Mason accidently gets apricots instead of pineapples – he is extremely concerned about what the captains reaction may be. This further enforces the idea of Stanhope having a short temper. Stanhope has a close relationship with Osborne, much like that of a father and son. Being twice his age, calm and level headed, Osborne is there to look after Stanhope when he gets too ‘tight' or to comfort him when he fears for his sanity. The scene where Osborne tucks Stanhope into bed shows his vulnerability. He is only a boy after all, and this is demonstrated effectively as he says, ‘Yes – I go sleep. ‘ Osborne defends Stanhope against Hardy and says, ‘I love that fellow. I'd go to hell with him. ‘ Stanhope is a deep thinker – ‘It's a habit that's grown on me lately – to look right through things, and on and on – til I get frightened and stop. He see's beneath the surface of things, one of the qualities that make him a fantastic captain. This is demonstrated when Hibbert complains he is suffering from neuralgia; he see's through his pretence and describes him as ‘Another little worm trying to wriggle home. ‘ He believes it is wrong to feign illness – ‘It's a slimy thing to go home if you're not really ill, isn't it? ‘ Despite his disliking for Hibbert, after his initial threat to shoot him he is understanding and comforting, even offering to accompany him on patrol. He has a real sense of decency, evident throughout the two acts. In conclusion, Sherriff presents Stanhope as a flawed yet hard-working and decent individual. Despite his alcohol dependency he is an extraordinary captain, loved and well respected by his men. The reader learns all this through Stanhope's actions, stage directions, what the other characters tell us about him and their responses to him. Sherriff presents him as a tragic hero, troubled and hardened by his experiences.

Profile of Murder Victim Carlie Brucia

On Sunday, February 1, 2004, in Sarasota, Florida, 11-year-old Carlie Jane Brucia was on her way home from a sleepover at her friends house. Her stepfather Steve Kansler left to pick her up en route but never found her. Carlie had decided to cut through a carwash not far from her home. She was approached by a man and led away, never to be seen alive again. The surveillance camera at the carwash showed a man in a uniform-type shirt approaching Carlie, saying something to her, and then leading her away. NASA, using technology employed in the investigation of the Space Shuttle Columbia disaster, assisted the investigation by working with the video to enhance the image. The FBI also worked to help find Carlie and the man who abducted her. Responding to tips, Sarasota police questioned Joseph P. Smith, who had been in their custody on an unrelated parole violation since the day after Carlie was abducted. A woman who said she lived with Smith was one of the tipsters. Smith refused to admit to any involvement with Carlies disappearance. On February 6, it was announced that Carlies body had been found. She had been murdered and left in a church parking lot just miles from her home. History of Kidnapping Smith, a 37-year-old car mechanic and father of three who had been arrested in Florida at least 13 times since 1993 and previously had been charged with kidnapping and false imprisonment, was taken into custody as the main suspect in Carlies murder. On February 20, Smith was indicted on a charge of first-degree murder; separate charges of kidnapping and capital sexual battery were filed by the state attorneys office. Trial During the trial, the jury saw the carwash videotape and heard testimony from witnesses who said they recognized Smith when they saw the video on television. The video also revealed tattoos on Smiths arm, which were identified during the trial. Evidence was presented that identified semen found on the girls clothes as matching Smiths DNA. The jury also heard testimony from Smiths brother John Smith, who led police to Carlies body after his brother confessed the crime to him during a jail visit. He told jurors that his brother said he had rough sex with the 11-year-old girl before he strangled her to death. He also  testified that he had recognized his brother in the videotape that pictured Carlie being lead away by a man behind a car wash. Closing Arguments In his closing statement, prosecutor Craig Schaeffer reminded jurors of the videotape showing Smith leading Carlie away, of Smiths DNA being found on her shirt, and of taped admissions that he killed her. How do we know this man killed Carlie? Schaeffer asked the jurors. He told us. Smiths defense attorney shocked the courtroom when he declined to give a  closing statement. Your honor, opposing counsel, members of the jury, we waive closing argument, Adam Tebrugge said. Found Guilty On October 24, 2005, the jury took less than six hours to find Smith guilty of the first-degree murder, sexual battery, and kidnapping of Carlie Brucia. In December, the jury voted 10 to 2 for the death sentence in Carlies murder. During a sentencing hearing in February 2006, Smith cried while apologizing to the court for murdering  Carlie and said that he had tried to kill himself by taking overdoses of heroin and cocaine on the day of the murder. He asked the judge to spare his life for the sake of his family. But on March 15, 2006, Circuit Court Judge Andrew Owens sentenced Smith to death by lethal injection for Carlies murder and to life in prison without the possibility of parole for assault and kidnapping. Owen said before sentencing: Carlie endured unspeakable trauma, which began at the time of her kidnapping...The image of the defendant taking her arm and leading her away will no doubt forever be etched in our minds...During the sexual and physical abuse Carlie was subjected to, at 11 years of age, there is no doubt she was aware of her dire predicament and that she had little or no hope of survival...Her death was consciousless and pitiless...calculated and premeditated. Death Sentence Vacated On July  18,  2017, County Court Judge Charles Roberts vacated Smiths death sentence  based on a 2016 U.S. Supreme Court ruling that a unanimous jury verdict is required to impose the death penalty. A new sentencing hearing was scheduled for October 2019, but months before the hearing a delay was requested by the prosecution and defense. As of September 2019, Smith was in the Union Correctional Institution in Raiford, Florida. Sources Kuizon, Kimberly. Carlie Brucias Killer to Be Resentenced. Fox 13 News.Munoz, Carlos R. Death Sentence for Carlie Brucia’s Killer Is Vacated. Sarasota Herald-Tribune.