La série feuilletonnante occupe aujourd'hui (plus encore qu'hier) une place prépondérante dans la production comme dans la consommation audiovisuelle turque. Elle est à l’intersection de diverses dynamiques, d’ordres politique, socio-culturelle et économique. Sur le plan de la production, elle est un élément majeur du « soft power » national, la Turquie étant le second exportateur de séries (notamment dans le Moyen-Orient) après les États-Unis. Sur le plan intérieur, la production de série obéit aux impératifs de la concurrence, régulée par le gouvernement, chacune des 553 chaînes de télévision (nationales, régionales et locales) étant à la recherche d’une audience maximum. La durée d’écoute quotidienne des Turc.que.s étant de 5h 50min., bien au-dessus de la moyenne européenne, les séries feuilletonnantes représentent une part essentielle de la consommation télévisuelle. Comme nous le verrons, les séries représentent en effet près de 63% de la programmation en prime time dans les années 2013-2014.Notre recherche est centrée sur le travail du Genre à l’œuvre dans les séries feuilletonnantes. Nous considérons en effet que la question des rapports sociaux de sexes est moins « particulière » que « révélatrice » d’un état de la société. Pour ce faire, nous avons privilégié l’étude de la série Poyraz Karayel, pour des raisons de notoriété: En 2015, la série figure en seconde position des émissions les plus regardées. Notre approche, focalisée sur les pratiques de réception, laisse cependant une large place au discours des producteur.rice.s de la série, rencontré.e.s dans le cadre d’entretiens individuels. Des entretiens compréhensifs ont ensuite été menés auprès de spectateurs et de spectatrices, rencontré.e.s dans leur lieu de vie, pendant la diffusion de la série. Ces entretiens ont donné lieu à des portraits, révélateurs d’une façon d’être au monde et singulièrement « d’être au Genre ». Enfin, reprenant les points saillants des portraits, une analyse transversale  traite d’un certain nombre de thématiques comme le corps, l’amour, la famille, etc. Ce zoom sur des pratiques singulières entend contribuer au travail de réflexion sur les relations entre le Genre et les productions culturelles que sont les séries feuilletonnantes, dans le cadre de la Turquie contemporaine. / TV series occupies today (even more than yesterday) a dominant place in Turkish broadcasting consumption. It is at the intersection of various dynamics through political, socio-cultural and economic orders. Regarding production, it is a significant component of national soft power, with Turkey being the second largest exporter of series (particularly in the Middle East) after the United States. On the domestic front, the production of series obeys the imperatives of the competition that is regulated by the government, each of the 553 television channels (national, regional and local) being in search of a maximum audience. The daily listening time of the Turkish people being 5h 50min., well above the European average, the series represents an essential part of the television consumption. As we will see on this work, the series accounted for almost 63% of prime time programming in 2013-2014.Our research focuses on the work of gender at work on the series. We consider that the question of social gender relations is less "special" than "revealing" of a state of society. To do this, we opted for the study of the series Poyraz Karayel, for reasons of good notoriety: In 2015, this series appears in second position of the most watched television broadcasts. Our approach focuses on the reception practices, however leaves ample room for the speeches of the producers of the series through the individual interviews. Comprehensive interviews were then conducted with spectators by meeting them in their place of life, during the broadcast of the series. These interviews gave rise to portraits revealing a way of being in the world and singularly "to be gender". Finally, taking up the highlights of the portraits, a "transverse analysis" took place, which dealt with a certain number of themes such as the body, love, family, etc. This zoom on singular practices aims to contribute to the work of reflection on the relations between the Genre and the cultural productions that are series, within the framework of contemporary Turkey.

Este trabalho procura mostrar aspectos de dois fenômenos contemporâneos que se entrecruzam e que convergem em Israel: a disseminação e importância das séries televisivas e a visibilidade adquirida pela ortodoxia judaica na sociedade israelenses a partir dos anos 1990. Dessa maneira, a partir da análise de uma série produzida para a televisão israelense, Shtisel, busca-se compreender quais são os mecanismos que operam para que audiências das mais diversas, espalhadas pelo mundo, possam se identificar com um grupo tão específico como a ortodoxia judaica. No decorrer do trabalho, para que também se possa entender o fenômeno da visibilidade da ortodoxia nas telas, analisa-se a expansão de um cinema de comunidade, como aqueles produzidos por e para judeus ortodoxos. / This work seeks to show aspects of two contemporary and interwoven phenomena: the dissemination and importance of television series and the visibility acquired by Jewish orthodoxy in Israeli society from the 1990s. Thus, from the analysis of a series produced for the Israeli television, Shtisel, the work seeks to understand what are the mechanisms that operate so that audiences of the most diverse, scattered around the world, can identify themselves with a group as specific as Jewish orthodoxy. In the course of the work, in order to understand this phenomenon of the visibility of orthodoxy on the screen, we analyze the expansion of a community cinema, such as those produced by and for Jewish Orthodoxy.

Este trabalho apresenta um estudo sobre como séries televisivas reverberam na mente do espectador que as assiste, como interfere - se o faz - na sua capacidade sensorial e perceptiva, que ressonâncias subjetivas são provocadas, em suma, que produção de sentido se realiza no processo mental do espectador, que pode levá-lo a redefinir opiniões, comportamentos e posturas. Para tanto, utilizando, como procedimento de pesquisa, a proposta metapórica, na forma como é exposta pela Nova Teoria da Comunicação, apresentada pelo Núcleo de Estudos Filosóficos da Comunicação, FiloCom, da Escola de Comunicações e Artes da USP. O estudo debruça-se mais especificamente sobre as interfaces que permeiam a relação da identidade daquele que denominamos \"eu-espectador\", em sua relação com a alteridade (de outrem ou de outros objetos), no momento da vivência daquilo que se denomina Acontecimento Comunicacional dentro de uma obra televisiva. Os resultados obtidos desta investigação estão cotejados com proposições do campo teórico, particularmente aquelas que realizam uma reflexão a respeito do sensível como ponto de partida para observar o que atravessa a percepção do espectador em sua relação com as séries de TV. / This work presents a study about how television series reverberate in the mind of the spectator that assists them, how they interfere - if it does - in their sensorial and perceptive capacity, what subjective resonances are provoked, in short, what production of meaning is realized in the mental process of the viewer, which can lead him/her to redefine opinions, behaviors and postures. To do so, we use as a research procedure the metaphorical proposal, as it is exposed by the New Theory of Communication, presented by the Nucleus of Philosophical Studies of Communication, FiloCom, School of Communications and Arts of USP. The study focuses more specifically on the interfaces that permeate the relation of the identity of what we call the \"I-spectator\", in his/her relation to otherness (of others or other objects), at the moment of experiencing what is called \"Communicational event \"in a television work. The results obtained from this investigation are compared with propositions of the theoretical field, particularly those that perform a reflection about the sensitive as a starting point to observe what cross the perception of the viewer in their relation with the TV series.

Gênero é um conceito que se apresenta como fruto de discussões políticas e ideológicas, diversas autoras e autores já problematizaram este conceito que é tão importante dentro das discussões feministas e queer e que, atualmente, gera acaloradas discussões sobre seu uso na escola. As relações de gênero permeiam o campo das artes e diversas representações das feminilidades e masculinidades estão presentes em produtos midiáticos, que dominam grande parte do tempo de uma considerável parcela dos indivíduos. Há aqueles que defendem que as mídias possuem apenas impactos negativos em nossas vidas, mas há também outros tantos que acreditam no seu caráter cultural e pedagógico. Nesta pesquisa, nós refletimos sobre a utilização de um produto midiático específico, as séries televisivas norte-americanas, como porta de entrada para o diálogo sobre relações de gênero com pré-adolescentes. Durante um ano, além de reflexões teóricas, nós realizamos intervenções em uma escola municipal de ensino fundamental localizada na zona leste de São Paulo. As intervenções foram formuladas e realizadas pelo grupo de trabalho E.M.M.A. (Estudos sobre a Mulher e as Minorias na Arte-Ciência), na modalidade A.L.I.C.E. (Arte e Lúdico na Investigação em Ciências na Escola) do projeto Banca da Ciência. Após reflexões teóricas e intervenções, pudemos concluir que, é possível utilizar as séries televisivas como porta de entrada para o diálogo sobre relações de gênero com pré-adolescentes e que, a partir das representações das identidades femininas que estão presentes nessas séries, é possível discutir diversos temas relacionados à questão do sexo, do gênero, da orientação sexual e das identidades de forma eficaz. Assim, nosso objetivo foi apresentar nossas reflexões teóricas e alguns exemplos das atividades realizadas e, acima de tudo, manter um registro histórico do trabalhado já realizado / Gender is a concept that is presented as the result of political and ideological discussions, several authors have already problematized this concept, which is so important in feminist and queer discussions, and which currently generates heated discussions about its use in the school. The gender relations permeate the field of the arts and diverse representations of femininities and masculinities are present in media products, which dominate much of the time of a considerable portion of individuals. There are those who argue that media have only negative impacts on our lives, but there are also so many who believe in their cultural and pedagogical character. In this research, we reflected on the use of a specific media product, the north american television series, as a gateway to dialogue about gender relations with preteens. During one year, in addition to theoretical reflections, we carried out interventions in a municipal elementary school located in the east zone of São Paulo. The interventions were formulated and carried out by the group E.M.M.A. (Studies about Women and Minorities in Art-Science), in the modality A.L.I.C.E. (Art and Leisure in Science Research in the School) of the Banca da Ciência project. After theoretical reflections and interventions, we could conclude that it is possible to use the television series as a gateway to the dialogue about gender relations with pre-adolescents and that, based on the representations of the feminine identities that are present in these series, it is possible discuss various issues related to sex, gender, sexual orientation and identities effectively. Thus, our objective was to present our theoretical reflections and some examples of the activities carried out and, above all, to maintain a historical record of the work already done

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-09-13T13:44:48Z No. of bitstreams: 1 Thiara Ribeiro Santos.pdf: 5083039 bytes, checksum: a455035acf193849f87dc2fe74e782ca (MD5) / Made available in DSpace on 2017-09-13T13:44:48Z (GMT). No. of bitstreams: 1 Thiara Ribeiro Santos.pdf: 5083039 bytes, checksum: a455035acf193849f87dc2fe74e782ca (MD5) Previous issue date: 2017-08-28 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Fundação São Paulo - FUNDASP / This research investigates the narratives of television series about serial killers, focusing most attention on the North American show Dexter, broadcast from 2006 to 2013, while at the same time comparing the context of the series to others of the same genre. In order to learn how the fascination of crime is narrativized in this type of program, our aim was to identify the similarities and differences, compare the narratives, and the main conflicts of each series, the protagonism of the serial killer, the relations between the subject-characters and complex issues related to actions and characteristics of each serial killer and the development of the narrative itself – all focused on the protagonist’s compulsion to kill, while taking into consideration their permanent invisibility and the social ties between them and the other characters; thus we look back in time to delve into the discursive processes of old movies with the same theme in order to understand how the world of series was established. We start with the assumption that a transformation has been made to the narrative structure and character of the serial killers in audiovisual productions over recent decades. Under this context, there is a need to understand how audiovisual languages are used within series, how they intensify normal versus abnormal opposition, how the viewers’ complicity is summoned, and how violence and perversion become elements of the social structure and eventually even agents of the actions. In our view, questioning what retains the tension in the narrative of the Serial Killers TV series is one way of assessing our processes of true meaning and civil morality. This theory is based on knowledge of the areas of Audiovisual, Semiotics, Psychoanalysis, Sociology and Philosophy. For the audiovisual area, we benefitted from input from Neale, Arlindo Machado and Sonia Rodrigues who have studied narrative strategies in dramatic series; the studies relating to cinema were enhanced by contributions from Shaviro and Naremore and the studies of series consolidated by Douglas L. Howard; investigations made about cinema and representation by Ismail Xavier also strengthened the analyses of this thesis. The analysis of the generative route toward the meaning of narratives was bolstered by the discursive-semiotic contributions from Eric Landowski and Ana Claudia de Oliveira, and the tensive-semiotics contributions from Claude Zilberberg. With regard to psychoanalysis, particularly to focus on the Lacanian concept of perversion and neurosis, we use texts by Nasio, Žižek, Bond, Philippe Julien and Antonio Quinet, which assist us in explaining the universe of our subject, the serial killer. For the sociological and ethical discussions about abnormality and perversity we adopt the thoughts of Dany-Robert Dufour and Simpson / A pesquisa investiga o tema das narrativas de séries televisivas sobre serial killers, centrando sua atenção na série norte-americana Dexter, produzida no período de 2006 a 2013, sem deixar de examiná-la no contexto de outras séries do mesmo gênero. Para saber como o fascínio do crime é narrativizado neste tipo de série buscamos identificar suas semelhanças e diferenças, comparando as narrativas, os conflitos principais, o protagonismo do serial killer, as relações entre os sujeitos-personagens e questões complexas ligadas às ações e características de cada serial killer e ao desenvolvimento da narrativa em si – todas centradas na compulsão de matar do protagonista, considerando sua permanência na invisibilidade e os laços sociais entre ele e os demais personagens; para isto buscamos recuperar historicamente o processo de construção discursiva de filmes antigos com a mesma temática para compreendermos como se estabeleceu o universo das séries. Partimos do pressuposto de que existe uma transformação da estrutura narrativa e dos personagens serial killers nos audiovisuais das últimas décadas. Há, nesse contexto, uma necessidade de entender como as séries se utilizam das linguagens do audiovisual, como tensionam a oposição normal versus anormal, como se dá a convocação da cumplicidade do espectador e como a violência e a perversão se tornam elementos de estruturação da organização social e eventualmente efetivadoras da sanção. A nosso ver, questionar sobre o que mantém a tensão da narrativa das séries é um modo de avaliarmos nossos processos de significação e moralidade civil. A fundamentação teórica se baseia nos saberes das áreas de Audiovisual, Semiótica, Psicanálise, Sociologia e Filosofia. Para o audiovisual, utilizamos Neale, Arlindo Machado e Sonia Rodrigues em seus estudos sobre as estratégias narrativas em séries dramáticas; os estudos sobre cinema contaram com os aportes de Shaviro e Naremore e os estudos de série com Douglas L. Howard; as investigações sobre cinema de Ismail Xavier também fortalecem as análises desta tese. Na análise do percurso gerativo de sentido das narrativas se fazem necessários os aportes da semiótica discursiva de Eric Landowski e Ana Cláudia de Oliveira, mas nos utilizamos também da semiótica tensiva de Claude Zilberberg. Quanto à psicanálise, para abordar o conceito lacaniano de perversão e neurose, nos utilizamos dos textos de Nasio, Žižek, Bond, Philippe Julien e Antonio Quinet, que nos apoiam na explanação do universo do sujeito serial killer. Para as discussões sociológicas e éticas sobre anormalidade e perversidade adotamos os pensamentos de Dany-Robert Dufour e Simpson

Este trabalho procura mostrar aspectos de dois fenômenos contemporâneos que se entrecruzam e que convergem em Israel: a disseminação e importância das séries televisivas e a visibilidade adquirida pela ortodoxia judaica na sociedade israelenses a partir dos anos 1990. Dessa maneira, a partir da análise de uma série produzida para a televisão israelense, Shtisel, busca-se compreender quais são os mecanismos que operam para que audiências das mais diversas, espalhadas pelo mundo, possam se identificar com um grupo tão específico como a ortodoxia judaica. No decorrer do trabalho, para que também se possa entender o fenômeno da visibilidade da ortodoxia nas telas, analisa-se a expansão de um cinema de comunidade, como aqueles produzidos por e para judeus ortodoxos. / This work seeks to show aspects of two contemporary and interwoven phenomena: the dissemination and importance of television series and the visibility acquired by Jewish orthodoxy in Israeli society from the 1990s. Thus, from the analysis of a series produced for the Israeli television, Shtisel, the work seeks to understand what are the mechanisms that operate so that audiences of the most diverse, scattered around the world, can identify themselves with a group as specific as Jewish orthodoxy. In the course of the work, in order to understand this phenomenon of the visibility of orthodoxy on the screen, we analyze the expansion of a community cinema, such as those produced by and for Jewish Orthodoxy.

Title: “I hope to be your uterus” - A multimodal analysis on surrogacy in scenes from The Handmaid’s tale and Friends Surrogacy is a widely discussed subject both internationally and in Sweden. The opinions on whether it should be legalized or not differ from country to country, which is reflected in how they implement their different laws on the subject. The main issues in the debates about surrogacy is whether a legalization of altruistic surrogacy would lead to safe methods within the medical care and stop the expansion of illegal markets or if there’s risks of opening the doors to a bigger commercial market. Parallel to the political discussion and opinions on the subject, the portrayal of surrogacy has appeared within popular culture, as in TV-series, for a period of time. It can be found in different genres like drama and comedy since the 90s, which makes the subject interesting to observe. The purpose of this essay is to study how the topic of surrogacy is portrayed in two different genres in the TV-series Friends and The Handmaid’s tale. For this purpose we use multimodal analysis to answer if there are similarities and/or differences in the portrayal of surrogacy within our research material. The theoretical framework is based on Richard Dyers theories on stereotypes, Carol Patemans ideas of ‘the sexual contract’ and Brooke Weihe Edges studies on the representation of women in different movie genres amongst others. Our study shows that even if the genres vary there are stereotypical structures in how both infertile women and surrogate mothers are presented to the audience.

<p>Marketing is an important tool for companies to use in today’s consumptions society, to reach out with products and services. The message that has been sent out is also important, because the message can be distort or reach wrong customer group. Above all this the competition and the struggle round the customer’s increases and it has become more common that the customers tend to be less loyal towards the company. To keep and to develop customer relations it has been more common that the companies consider their trademark has become a very important strategic competition means. A strong trademark gives competitor advantages and more loyal customers, and this has led to more efficient ways for companies to find methods to create value around their trademark.</p><p>Many new trademarks and products are presented every year. In the same time market salesmen are working hard to reach out with these and old trademarks and products and old commercial methods are loosing its effect. The company can use different marketing strategies to strength their trademark to reach out to their customers. One way that has been used by many companies is presenting different TV-series.</p><p>The purpose with this paper is to study how companies are using TV-series in their marketing, what image the company wants to mediate and what they want to achieve by marketing through TV-series.</p><p>An abductive way has been used in this study and the authors have chosen to use a qualitative method, because the method agrees with the problem and purpose of the study. Interviews will be used in this study.</p><p>The study shows that the reason why companies choose to present TV-series is to be seen and remind consumers about the company and its products. They also want the consumers to be aware of their trademarks and new products. The companies furthermore want to reach out to as many as possible and create knowledge and an association to their trademark thru the TV-series. The companies choose their TV-series in relation to their target group so that the right target group is reached and can identify with the TV-series and the companies.</p> / <p>Marknadsföring är ett viktigt redskap för företag att använda i dagens konsumtionssamhälle för att nå ut med sina produkter och tjänster. Det budskap som sänds ut av företagen är också av stor vikt, då budskapet kan förvrängas på vägen eller nå ut till fel kundgrupp. Dessutom ökar konkurrensen och kampen om kunderna och det har blivit vanligare att kunderna i större utsträckning tenderar att vara mindre lojala gentemot företagen. För att bibehålla och utveckla sina kundrelationer har det därmed blivit vanligare att företagen betraktar sitt varumärke som ett strategiskt mycket viktigt konkurrensmedel. Ett starkt varumärke ger konkurrensfördelar och lojalare kunder, och har följaktligen lett till att företag försöker hitta effektivare metoder i att skapa värde kring sitt varumärke.</p><p>Varje år introduceras mängder av nya varumärken och produkter. Samtidigt som marknadsförare arbetar för att nå ut med både dessa och befintliga varumärken och produkter avtar den effekt som dagens reklam har. För att stärka sitt varumärke kan företagen använda sig av olika marknadsföringsstrategier för att nå ut till sina kunder. Ett sätt som många företag använder sig av är att presentera olika tv-serier.</p><p>Syftet med denna uppsats är att studera hur företag använder sig av tv-serier i sin marknadsföring, vilken bild företagen vill förmedla av sig själva och vad de vill uppnå genom att marknadsföra sig genom tv-serier.</p><p>I denna studie har ett abduktivt angreppssätt använts och författarna har valt att använda sig av en kvalitativ metod, då metoden bäst överrensstämmer med problemformuleringen och syftet. I denna studie ska intervjuer användas.</p><p>Studien visar att anledningen till att företag presenterar tv-serier är för att de vill synas och påminna konsumenterna om företaget och dess produkter. Dessutom vill de ge konsumenterna en medvetenhet om deras varumärke och nya produkter. Vidare vill företagen nå ut till så många som möjligt och skapa kännedom och association till deras varumärke genom tv-serien. Valet av tv-serie påverkas av företagets målgrupp där rätt målgrupp ska nås så att målgruppen kan identifiera sig med tv-serien och företaget.</p>

<p>In the 19th century, photography was often employed in attempts to objectively capture evidence of paranormal phenomena. With the advent of television, this tradition came to be coupled with the apparent mystery of distant communication through electromagnetic waves. The television set has often been depicted as intrinsically occult or even haunted.</p><p>It is therefore natural that television has proven to be an ideal medium to present beliefs, tales, and investigations about paranormal phenomena. Most such presentations have been openly ficticious, but in television the distinction between fact and fiction is often blurred, and the emergence of shows where the crew claims to pursue a serious investigation was inevitable. One of the most successful such shows is the British Most Haunted, airing since 2001. In this thesis, the presentation of occult phenomena in three episodes of Most Haunted is analyzed and discussed in light of this framework of traditions.</p><p>One main result is that the distinction between fact and fiction is indeed often blurred in Most Haunted. Reconstructions and purported evidence are similar to each other as well as to the historical ghost pictures, and sometimes the crew's reactions or lack of reactions is the only means to tell them apart. Elements aiming at creating a "ghost feeling" are abundant throughout both investigative and other parts of the show, and include monochrome (and sometimes inverted) imagery, blue or green light tones, modified motion speed, and perspectives that let the spectator "be the ghost". Black and white imagery is also a part of the usage of analogue or pseudo-analogue technology to convey connotations of authenticity. Filming the crew's reactions is the most common means of broadcasting a sense of hauntedness, as is often the case in traditional horror motion pictures.</p>

Marketing is an important tool for companies to use in today’s consumptions society, to reach out with products and services. The message that has been sent out is also important, because the message can be distort or reach wrong customer group. Above all this the competition and the struggle round the customer’s increases and it has become more common that the customers tend to be less loyal towards the company. To keep and to develop customer relations it has been more common that the companies consider their trademark has become a very important strategic competition means. A strong trademark gives competitor advantages and more loyal customers, and this has led to more efficient ways for companies to find methods to create value around their trademark. Many new trademarks and products are presented every year. In the same time market salesmen are working hard to reach out with these and old trademarks and products and old commercial methods are loosing its effect. The company can use different marketing strategies to strength their trademark to reach out to their customers. One way that has been used by many companies is presenting different TV-series. The purpose with this paper is to study how companies are using TV-series in their marketing, what image the company wants to mediate and what they want to achieve by marketing through TV-series. An abductive way has been used in this study and the authors have chosen to use a qualitative method, because the method agrees with the problem and purpose of the study. Interviews will be used in this study. The study shows that the reason why companies choose to present TV-series is to be seen and remind consumers about the company and its products. They also want the consumers to be aware of their trademarks and new products. The companies furthermore want to reach out to as many as possible and create knowledge and an association to their trademark thru the TV-series. The companies choose their TV-series in relation to their target group so that the right target group is reached and can identify with the TV-series and the companies. / Marknadsföring är ett viktigt redskap för företag att använda i dagens konsumtionssamhälle för att nå ut med sina produkter och tjänster. Det budskap som sänds ut av företagen är också av stor vikt, då budskapet kan förvrängas på vägen eller nå ut till fel kundgrupp. Dessutom ökar konkurrensen och kampen om kunderna och det har blivit vanligare att kunderna i större utsträckning tenderar att vara mindre lojala gentemot företagen. För att bibehålla och utveckla sina kundrelationer har det därmed blivit vanligare att företagen betraktar sitt varumärke som ett strategiskt mycket viktigt konkurrensmedel. Ett starkt varumärke ger konkurrensfördelar och lojalare kunder, och har följaktligen lett till att företag försöker hitta effektivare metoder i att skapa värde kring sitt varumärke. Varje år introduceras mängder av nya varumärken och produkter. Samtidigt som marknadsförare arbetar för att nå ut med både dessa och befintliga varumärken och produkter avtar den effekt som dagens reklam har. För att stärka sitt varumärke kan företagen använda sig av olika marknadsföringsstrategier för att nå ut till sina kunder. Ett sätt som många företag använder sig av är att presentera olika tv-serier. Syftet med denna uppsats är att studera hur företag använder sig av tv-serier i sin marknadsföring, vilken bild företagen vill förmedla av sig själva och vad de vill uppnå genom att marknadsföra sig genom tv-serier. I denna studie har ett abduktivt angreppssätt använts och författarna har valt att använda sig av en kvalitativ metod, då metoden bäst överrensstämmer med problemformuleringen och syftet. I denna studie ska intervjuer användas. Studien visar att anledningen till att företag presenterar tv-serier är för att de vill synas och påminna konsumenterna om företaget och dess produkter. Dessutom vill de ge konsumenterna en medvetenhet om deras varumärke och nya produkter. Vidare vill företagen nå ut till så många som möjligt och skapa kännedom och association till deras varumärke genom tv-serien. Valet av tv-serie påverkas av företagets målgrupp där rätt målgrupp ska nås så att målgruppen kan identifiera sig med tv-serien och företaget.