The role of the OFCL is not to monitor those who seek to disabuse other citizens of political abuses, Sinclair urges, but instead it plays the role of the warning system for when those expressions are either in opposition to the social standards of the Australian society or at odds with the expectations of parents' for the government to protect the most vulnerable of the population, the children. Yet at the same time, the regulations limit exposure to sexuality, violence, and other inappropriate, lewd, or criminal acts, frequently integral to the expression of art or a social point that cannot be made without their presence. Moran concludes that, by structuring a system that prevents full exposure to the natural tendencies of society and instead closing them off as mature or socially off-color.

McKee illustrates the regulatory system of the media under the OFCL through the 'textual analysis" of all media as interpreted by the audience. The two movements between structuralism and poststructuralism, he argues, do not reflect the world they represent, but instead construct that representation. Bowles' concept of "product and process"

relays an image of the media that, if in its construction of society, creates a societal image of violence and sex. As a direct extension of that, the OFCL extends its guidelines to the MA15+, R18+, X18+ rating system that captures the supposed quality of the content and rates its accordance to society by acceptability. If McKee's conclusions are correct, the regulations administered by the OFCL are not in action protecting society from unwarned exposure to maters of a culturally held concept for maturity, they are in the business of creating the ideological tenants by which social expectations are constructed and construed.

With the booming Internet age expanding the confines of information dissemination and the increasing spread of ideas, the convergence of the media environment brings the role of the OFCL and the tenuous idea of liberated expression into new light. "It is no longer possible to try to understand the role of media in society," Barr explains, "without an analysis of its relationship with other key segments of the communications environment."

With new restrictions in place by the OFCL, the nature of the environment is increasingly more colored by policy. As Schulz explained, "the ethos of the press continues to influence the culture of these companies, even as they become irrevocably entertainment driven, constantly exploring new technologies, methods and means of communication"

New forms of communication all come under the auspice of the Declaration and the provisions there monitored by the OFCL, but it is not culture they seek to construct, merely warnings of social aspects discordant with standard social trends. It is in their earnest goal to maintain an operable connection with the citizenry of Australia and fall in line with their expectations of media and society that they gain their legitimacy. Consequently, their oversight of Australian media and their limitation of exposure to sex and violence is not invalid, but instead ratified in every election the Australian voters make their democratic voice heard.

Cunningham, S. & Graeme, T. 2002, The Media & Communications in Australia.

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Liebert, Herman. 1941, "International Communications." The Public Opinion Quarterly. Vol. 5, No. 1. P. 114-129.

Moran, Albert. 1996, Film Policy: International, National, and Regional Perspectives.

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Office of the High Commissioner for Human Rights. 1997, "The Universal Declaration of Human Rights: A Magna Carta for All Humanity."

New York: United Nations Department of Public Information.

Spitulnik, Debra. 1993, "Anthropology and Mass Media." Annual Review of Anthropology Vol. 22. P. 293-315.

United Nations. 1948. Universal Declaration of Human Rights. Ratified in Paris, France.

Office of the High Commissioner for Human Rights. 1997, "The Universal Declaration of Human Rights: A Magna Carta for All Humanity." New York: United Nations Department of Public Information. P. 1.

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Moran, Albert. 1996, Film Policy: International,…