This project looks at the development and use of a new delivery system for broadcast television news and its relation to the Uses and Gratifications and Push/Pull Theories. An in-home study of interactive news was conducted for two weeks, allowing people access to three local and 5 national newscasts via one interactive newscast. Users were able to access the interactive newscast whenever and however they wanted via their television or computer, as long as they had an internet connection. The results of this study show how the system was used,what specific actions were taken, and where the potential lies for further research.

[pt] Nesta tese de doutoramento, trabalhamos as mutações do Jornalismo Audiovisual que se intensificaram com a internet e as novas tecnologias digitais, sobretudo no que tange as relações e os usos dos modos de produção, circulação/distribuição e recepção/audiência que se estendem pelo mundo a fora. Neste cenário, reconhecemos que o jornalista de TV precisou ampliar a sua expertisemainstream para as múltiplas telas nas redes, atuando no modelo broadcast e aproximando as linguagens do Jornalismo Audiovisual para o ambiente web. É nesse sentido que, amparados pelos conceitos das teorias transorganizacional, transnacional e de comunidade interpretativa, investigamos as rotinas produtivas televisivas de sete emissoras de TV em língua portuguesa (RTP, prioritariamente, e TVI, SIC, CMTV, Banda TV, Globo e Record), entendendo que a atividade jornalística é vinculada a uma identidade sócio-histórico-cultural reconhecida e compreendida pelos seus sujeitos produtivos e que se apresenta em mutação permanente. Assim sendo, lançamos o conceito de comunidade interpretativa transterritorial, pondo em diálogo a experiência jornalística brasileira com o fazer jornalístico português. Para tanto, o ferramental metodológico utilizado apresenta matizes compostas pela Análise da Materialidade Audiovisual (AMA), observação participante, autoetnografia, além de entrevistas semiestruturadas – num total de 37, totalizando 15 horas, 10 minutos e 4 segundos de gravação. A partir destes já consolidados métodos, ainda propomos uma metodologia própria para analisar o fluxo das produções entre os diversos ecrãs, denominada de metodologia da aposta, com a intenção de assinalar as rupturas, as continuidades e as potencialidades entre os telejornais e as webtelas em Portugal. / [en] In this doctoral thesis, we propose ourselves to work with the changes of Audiovisual Journalism which were intensified by the internet and new digital technologies phenom, most of all, the relations between usage of modes of production, distribution and audience all over the world. In this scenario, we recognize that the TV journalist needed to amplify his mainstream knowledge to multiple screens on social media, using the broadcast model and approaching Audiovisual Journalism language with web environment. Therefore, and sustained by the transorganizational, the transnational and the interpretive community theory, we investigated the TV productive routines of seven TV broadcasts from Portugal (RTP, primarily, and TVI, SIC, CMTV, Banda TV, Globo and Record), acknowledging that journalism activity is linked to a social-historical-cultural identity recognized and comprehended by its productive subjects and is always changing. So, we launched the Transterritorial Interpretive Community concept, articulating the brazilian journalism experience and the portuguese journalism production. In order to do this, the methodological tooling uses hues composed of Audiovisual Materiality Analysis (AMA), participant observation, autoethnography, and semi-structured interviews – total of 37, with 15 hours, 10 minutes and 4 seconds recorded. From that consolidated methods, we also propose our own methodology to analyze the productions flow between multiplied screens, named beting methodology, with the intention of mark the breakups, continuities and potentialities between TV journals and webscreens in Portugal.

After World War II, Europe has only experienced two wars, in the 1990s when Yugoslavia dissolved and now in 2022 when Russia went to war with Ukraine. Regardless of the outcomes of wars, it is clear that wars continue to recur in a continent that prides itself on its peaceful aspirations. During the breakup of Yugoslavia, the war in Bosnia was, in terms of scale,  the most terrible of all wars in the Balkans. In addition, it was the war that received extensive media coverage. This affordance has not been fully utilized. After the war ended, the Bosnians went a long way in rebuilding their devastated community. Based on a semiotic analysis of media representation of war-torn reality in this community, it was found that community subjectivity built up at a similar rate to the media's representation of their reality. The results show the five most commonly used terms to describe Bosnians in connection with the Bosnian War. These terms are 1. Genocide 2. Crime 3. Tragedy 4. Invaders 5. Victims. And,  results show that realistic depictions of war presented in the media reduce victim identification in war-devastated communities.

No description available.

看電視新聞，到底看哪裡？除了聽聲音之外，我從電視新聞鏡面裡，可以看到什麼我想要得到的訊息？有天氣、有時間、有不斷在往左跑的跑馬燈、有新聞大標、新聞說明、和播報這一則完全無關的新聞畫面、新聞標題、還有讓人誤解的新聞鏡面（以為下大雨或失大火了）；同一個主播忽換左，忽然右，甚至轉來轉去，一會兒坐一會兒站，台灣電視新聞鏡面，繽紛萬千。 　　這些繽紛萬千的鏡面，產生的原理原則為何？影響產生的動機又是什麼？從1962年台視成立開始，到2005年有線電視多樣的鏡面，電視鏡面又做了什麼樣的改變？形成的生態為何？生態改變的當中，主要環境是如何形成？ 　　透過資料的整理和深度訪談，發現，「競爭」是左右鏡面一項重要的因素；台灣鏡面發展的五個時期，與「競爭」息息相關，三台時期因為競爭因素，開始創造辦公室背景、單雙主播播報；1993年有線電視法通過後，也因為SNG和跑馬燈的廣泛運用，鏡面開始出現不同的元素；到了2003年，更因為媒體環境的激烈競爭，讓新聞鏡面不只充滿服務的元素，更多促銷自己與主播特性明顯的鏡面。只要可以「預告新聞」「留住觀眾」的任何元素，都可以塞進鏡面裡：一則新聞兩個鏡面以上、鏡面像四格漫畫一樣說新聞、把鏡面變成火焰或任何主題等，整個電視鏡面，滿滿都是訊息，超過九個以上的資訊，要在鏡面出現的一分鐘以內，讓觀眾吸收。 　　這樣繽紛鏡面的生態，主要來自於科技支援下的巿場競爭，因為收視競爭，製作人就必需「創造」新的鏡面元素（像是天空標、訊息框等），而新的鏡面元素呈現之後，只要收視率不出現下降的趨勢，各台迫於競爭壓力，開始形成「模仿」與流行，而一旦模仿與流行成為趨勢，製作人或主管，又得為了收視率開始想辦法，創造新的鏡面元素。 　　所以，在本研究，整理出電視鏡面的改變趨勢與時間進程，分析目前電視新聞鏡面的構成元素與產製流程，透過資深電視人的訪談，找出電視新聞鏡面的設計原則、動機與生態系統，希望透過本研究，除了提供業界人士鏡面的缺失和思考的方向以外，能夠為將來鏡面研究，累積資料數，進而發現閱聽人接收端對鏡面的接受程度與態度。 / What do we look at on TV news reports? In addition to audio presentation, what else is presented on the television? Weather reports, current time, continuously updated crawls, news title, news content, as well as the scene, title, and confusing television graphics of a piece of unrelated news (such as about a sudden downpour or a fire accident). The anchor changes his camera angle from left to right, right to left; being seated in one second, and standing in another. The television graphics in Taiwan are really versatile. 　　What is the principle and rule for the production of these versatile graphics? And what is the motivation behind the production? From the establishment of TTV (Taiwan TV Enterprise, Ltd) in 1962 to the development of versatile graphics on cable TV channels in 2005, what has been the change of television graphics and background of the formation? And how the main environment was formed amid the change of the ecosystem? 　　Through data collection and in-depth interviews, it was discovered that “competition” is an important factor for television graphics. There are 5 stages of the development of television graphics in Taiwan, all of which are closely related to competition. During the 3-channel stage, the background of an office, single and duo anchor reporting were innovated. After the CATV Law was passed in 1993, due to the extensive applications of SNG and crawls, different elements of graphics were created. By 2003, under the intensive competition in media, television graphics were not only filled with multiple service elements but also self-promotion messages and features of the anchor. Any element that “previews news” and “retains the audience” can be stuffed into the graphics. A piece of news may contain more than 2 graphics in 4 boxes, like a comic book. The graphic can be a fire or any theme, making the whole television graphic filled with messages. Sometimes, more than 9 messages are presented to the audience in just one minute. 　　This ecosystem is mainly attributed to the competition in the market supported by technologies. Because of the competition for reception, producers have to "create" new graphic elements (such as sky bar, message boxes). And when the new elements are presented, as long as the rating does not decline, bowing to the pressure of competition, every channel starts to "imitate" and prevail the creation. When it has become a popular trend, TV producers or managers have to brainstorm again for new graphic elements. 　　Therefore, this study organized the trend and evolution of television graphics and further analyzed the elements and procedure of production of the current television graphics. Through interviews with senior television producers, it aimed to find out the design principles, motivation, and ecosystem of the television graphics. It was hoped that the study could provide the industry with the flaws of television graphics and a direction of thinking as a reference, accumulate data for future studies, and further discover the degree of acceptance and attitude of the audience toward television graphics.

本研究主要目的在探討，外表光鮮亮麗的電視新聞主播在工作中所面臨的工作倦怠現象，並探討哪些因素可能使電視新聞主播產生工作倦怠感與工作壓力？本研究以半結構式訪問法，共訪問國內十二位電視新聞主播，從主播的個人特質、媒體組織及社會情境三個層面，探討電視新聞主播工作倦怠的成因，並嘗試分析工作倦怠對主播的工作表現及職業生涯規劃的影響。 研究發現，新聞主播的工作倦怠現象是普遍性的存在，其工作倦怠感會受到個人、組織、工作特性與媒體環境變化等因素的影響，其中工作角色職務的不同也會影響主播的工作倦怠程度。 本研究主要發現如下： （一）新聞主播的工作壓力大，工作倦怠感並非單純個人問題，組織支持很重要。 （二）新聞團隊的合作與組織溝通很重要。 （三）新聞主播的工作倦怠感，會因工作職務角色區分而有不同。 （四）台灣的新聞主播角色面臨轉型的重要階段、外界觀感影響主播自我認知。 關鍵字：新聞主播、電視新聞、工作倦怠、工作壓力 / This research mainly conducts the job burnout phenomenon of anchors with glittery outfits, and also conducts the causes of job stress and job burnout of anchors. This research adopts semi-structured interview method, interviewed twelve domestic anchorpersons to figure out the causes of job burnout of anchors in three levels, including personal characteristics, media organizations, and social situation, this research also tries to analyze how the job burnout influence anchors’ performance and career planning. This research finds out that job burnout phenomenon is common among anchorpersons, which is influenced by individuals, organizations, working characters, and the changing media environment, in which working character and identity is also influential to the level of anchors’ tiredness. Findings of this research: 1. Anchorpersons have great job stress, job burnout is not a simple individual problem, it is also important gaining support from organization. 2. It is very important having communication inside organization and teamwork. 3. Job burnout of anchors could be different due to working characters. 4. Anchorpersons in Taiwan now facing an important stage of transforming, external impression influences the self-recognition of anchors. Keywords: anchor、television news、 job burnout、 job stress

本研究以内容分析法分析台灣公共電視與TVBS新聞台晚間新聞中國際新聞的數量、編排、資訊娛樂化與馴化策略的呈現，共分析公共電視140則，TVBS新聞台80則，合共221則國際新聞。 本研究發現：1）台灣電子媒體的國際新聞在内容上依然以嚴肅的政治與經濟主題為主。然而，資訊娛樂化的主題在台灣電子媒體中依然佔相當的比例。2）商業電視台較公營電視台更常以資訊娛樂為主題與以娛樂性角度報導國際新聞。而根據本研究所發展出來的「内在資訊娛樂化指數」，商業電視台之資訊娛樂化程度較公共電視高。3）引用西方媒體如CNN與BBC的國際新聞之「内在資訊娛樂化指數」較低，而引用非西方媒體或沒有引用外國媒體的國際新聞「内在資訊娛樂化指數」則最高。4）本研究發現台灣電視國際新聞中落後國家較的資訊娛樂化程度較已發展國家與發展中國家為低。5）本研究也發現在外在資訊娛樂化的部分，台灣電子媒體在視覺包裝的使用較不常見。 本研究結果同時也指出台灣電子媒體之國際新聞的地域角度中較重視國外新聞。在馴化策略的使用中不管是地圖的使用或影響的説明都偏低，研究同時也發現在本地消息來源的使用上，台灣電子媒體均以名人與專家為主。比較公營電視台與商業電視台則發現公營電視台較重視國際新聞中本地消息來源之聲音。 / Employing content analysis, this study examines the quantity, format, infotainment phenomena and domestication strategies of international news in two Taiwan television stations. This study analyzes a total number of 221 international news, consisting 140 international news from Taiwan Public Broadcast Station, and 80 from TVBS News Channel. From this study, it is concluded that: 1) political related topic dominate Taiwan international news, however infotainment topic such as human interest, entertainment, and sports news also occupied a large part of international news in Taiwan; 2) commercial station are more vulnerable to infotainment both in news topic and news perspective than public station, and according to the “Internal Infotainment Index” developed in this study, commercial station shows a higher degree of infotainment than public station; 3) news material that comes from Western sources such as CNN and BBC shown less degree of infotainment than news material that comes from non-Western sources or original news; 4) news of developed countries and developing countries have higher degree of infotainment than less developed countries; 5) visual package such as background music and animation are not often employ in international news in Taiwan. This study also concluded that international news in Taiwan emphasizes in foreign event. The usage of map and influence as linkage of domestic audience and international news are rare. This study also found that both stations are more likely to refer to or cite local celebrities and professionals to emphasis the importance of certain international affairs; however public station is stress more on voice of local public than the commercial station in international news.

The main aim of the master thesis Transformations of the evening news Události and regional news of ČT since 2007 to 2012 was to introduce news in context of normative theories, television news in context of Czech Republic, their development and current conditions. Theoretical frame of the thesis was political economy of communication, outlining the background of news production, and contributing to understand news issues. Essential part of the thesis was the combination of quantitative and qualitative analysis used as a tool for examining news objectivity at evening and regional news of public television Česká televize since 2007 to 2012, its development and differences between evening and regional news. Objectivity was researched through relevance and uncovering bias by visual balance and neutral presentation. It was found that evening news Události dedicate most of the time to foreign, occasional and political events, 35 % of news showed elements of siding, for example by dramatization, possible reality distortion and using expressive expressions. In terms of regional Brno's news Události v regionech it was found that the highest relevance was assigned to points of interest news and local news, 17 % of news showed elements of siding using mostly evaluative expressions. In case of evening news...

[pt] O grafismo televisual brasileiro é reconhecido como uma importante tendência nas artes visuais. O design gráfico para telejornalismo, no entanto, apresenta uma especificidade. Ele deve considerar os mesmos compromissos com a ética e a veracidade da informação buscadas no texto jornalístico. O selo é o produto gráfico que melhor retrata a vinculação entre informação e estética. Ele é constituído por uma composição de elementos gráficos, colocada ao lado do apresentador ou âncora, com o objetivo de reforçar ou complementar o assunto que está sendo tratado. Nessa pesquisa foram selecionadas aproximadamente quatrocentas imagens de selos do Jornal Nacional, exibidas entre os anos de 1983 e 2002. Na análise do material obtido, identificamos cinco estilos gráficos, relacionados às técnicas empregadas na produção e exibição dos selos. A presente dissertação também avalia os selos como interpretações sintéticas de fenômenos sociais marcantes, além da trajetória estética e tecnológica. / [en] Brazilian graphic design for television is recognized as an important tendency in visual arts. The graphic design made for TV news is, however, very specific. It has to accomplish the same commitment to ethics and truthfulness that belongs to text journalism. The over-the-shoulder is a graphic product that best represents the connection between information and esthetics. It is a composition of graphic elements, placed beside the presenter or anchor, aiming to reinforce or complement the subject that is resented. In this research, four hundred images of Jornal Nacional`s over-the-shoulder images, exhibited between 1983 and 2002, were selected. In the analysis, five esthetic styles were identified, establishing a relationship with the techniques employed in production and exhibition of the over-the- shoulders. The present dissertation also studies the over- the-shoulder as a synthetic interpretation of social phenomenon.

Ce tapuscrit est une contribution à la recherche sur la communication politique concernant les sujets environnementaux en France. Nous nous focalisons dans notre étude sur le cas du « Grenelle de l’environnement » annoncé par Nicolas Sarkozy en 2007. Il nous semble intéressant de dégager deux grands axes dans cette recherche. La première concerne la stratégie de l’action publique du gouvernement, en s’interrogeant sur la méthode du Grenelle et sur les raisons qui ont abouti à l’organiser, et le second est l’axe médiatique où nous nous interrogeons sur la relation entre les deux champs médiatique et politique. Cela conduit à approfondir notre étude en cherchant les raisons pour lesquelles les journalistes se sont intéressé au GDE, et analyser la couverture médiatique du Grenelle. Pour tester nos hypothèses la recherche s’est fondée sur un certain nombre d’investigations empiriques. / This typescript contributes to research in political communication concerning environmental issues in France. We focus in our study on the case of the "Grenelle de l'environnement" announced by Nicolas Sarkozy in 2007. It seems interesting to identify two main areas in this research. The first is the strategy of the government policy, investigating the method of the Grenelle and the reasons that led to its organization and the second axis is the media and our question concerns the relationship between both media and political fields. The later leads us to deeply study the reasons why the journalists were interested in the GDE, and analyze media coverage of the Grenelle. To test our hypotheses the research was based on a number of empirical investigations.