The topic of the diploma thesis is the encoding of an ideological message in normalization series of Czechoslovak Television, specifically in the series Matka (Mother). This nine-part television saga was filmed in 1975 on the occasion of the XV Congress of the Communist Party of Czechoslovakia, planned for April 1976. Most normalization series had one thing in common - through the story of ordinary people, with whom the viewers could easily identify - they passed to the viewers the attitudes, the system of rules or the interpretation of history seen through the prism of the ruling party. The series Matka also followed this practice, and using the story of a woman - a laundress - showed the development of the labour movement in Bohemia. The theoretical part of the thesis consists of clarifying the concepts - ideology, propaganda and normalization; at the same time, it reflects the history of Czechoslovak Television and its importance as one of the most powerful tools of propaganda in the period of normalization. In this respect, television series, due to the immense popularity with TV viewers, were very effective. Therefore, their essence and thematic focus in the context of the social climate are analyzed in the theoretical part, too. The used methodology, identifying and interpreting the...

Notre mémoire se veut une lecture de la version américaine de la série à succès The Office (NBC, 2005-2013) à travers la métaphore dramaturgique du sociologue Erving Goffman (1922-1982). Ce rapprochement permet une riche analyse, puisque la série comme le penseur placent le malaise au cœur de leurs projets respectifs. En ayant comme prémisse fictive d’être un documentaire, ainsi qu’en se faisant une satire de l’auto-spectacularisation des participants de télé-réalité, The Office explicite la métaphore dramaturgique goffmanienne. Les personnages de la série, et particulièrement le protagoniste Michael Scott, rendent constamment sensible le fait qu’ils sont en représentation. Le malaise étant une émotion fondamentalement désagréable, la série semble désigner les règles qu’elle considère comme essentielles à la cohésion du groupe en nous faisant subir leur transgression. Le malaise que nous éprouvons deviendrait l’occasion pour nous d’expérimenter les conséquences sociales de transgressions, nous apprenant du même coup l’importance de respecter les normes. D’abord, nous essayerons de déterminer si la série permet quelque chose comme un apprentissage par la négative des règles sociales. Dans un deuxième temps, nous tenterons de prouver que certains épisodes présentent un discours différent de celui de Goffman sur la transgression des normes sociales, présentant des moments où le malaise peut être vécu par les personnages comme des opportunités d’approfondir certaines relations interpersonnelles ou de faire des gains politiques. / Our study is intended as a reading of the American version of the successful series The Office (NBC, 2005-2013) through the dramaturgical metaphor of sociologist Erving Goffman (1922-1982). This rapprochement allows for a rich analysis as both the series and the sociologist place social embarrassment at the heart of their respective projects. With the fictional premise of being a documentary, as well as satirizing the self-spectacularization of reality TV participants, The Office makes Goffmanian dramaturgy explicit. The characters in the series, especially protagonist Michael Scott, constantly make us sensitive to the fact that they are in performance. Embarrassment being a fundamentally unpleasant emotion, the series seems to point to the rules it sees as essential to group cohesion by making us suffer their transgression. The discomfort we feel could become an opportunity for us to experience the social consequences of transgressions, teaching us the importance of upholding norms. First, we'll try to determine if the series allows for something like "negative learning" of social norms. Second, we will try to prove that some episodes convey a different narrative than Goffman's on the transgression of social norms, presenting moments when embarrassment can be experienced by the characters as opportunities to deepen some interpersonal relationships or to make political gains.

The Norwegian Tv-series Exit displays the lives of four rich financiers that has it all: money, careers, and families. However, they are bored and escape their family lives by the use of drugs, sex and violence. The Tv-series display badly treated women in various scenes, they are either prostitutes or housewives. Exit has been watched by 1,3 million people in Norway and been called “this year's most disgusting Tv-series” and “chock porn”. The attention and major reactions this Tv-series has been given led to this analysis of the power relations between men and women. This study examines how power is constructed in relation to gender, with a critical discourse analysis with semiotic elements. The theoretical framework includes theories concerning gender, power, master’s suppression techniques and The Male Gaze. The eight scenes that the empirical material was based upon demonstrates power relations and gender inequality: men are portrayed as powerful and women are portrayed as subordinated and/or as objects, rather than individuals. On the other hand, two of the men are portrayed as weak and passive in two of the scenes, this indicates that power is changeable. The male dominance is often exercised by the use of master suppression techniques like derision, objectification and imposition of guilt and shame. The male dominance exercised is legitimized by the gender system and by men’s financial advantage which gives them power over the women in the series. Aspects was also found which show the producers’ critique against the male characters' behavior. A risk, however, is that the critique does not reach the viewers and instead reproduces the critique that they want to communicate.

Ce mémoire porte sur la représentation et la fétichisation des femmes trans dans les médias audiovisuels. Cette étude décrit tout d’abord l’évolution de la représentation trans-féminine des années 1950 aux années récentes. Les femmes trans racisées sont pour ainsi dire invisibles lors des premières décennies. Le mémoire distingue la représentation anti-assimilationniste de la représentation intégrationniste. Le film Paris Is Burning (1991, Livingston) apporte un changement à cet effet et présente une nouvelle réalité dans les médias. L’influence du documentaire du Nouveau Cinéma Queer est encore majeure. Près de trente ans plus tard, la série télévisée Pose (Ryan Murphy, Brad Falchuk, Steven Canals, FX, 2018-2021) rend hommage au film de la réalisatrice Jennie Livingston. Le mémoire se penche sur la théorie féministe, intersectionnelle et queer des années 1990 afin de comprendre l’évolution de ces études. Cette analyse interroge la remise en question des rôles de genre et l’impact de la performance et de la performativité dans les images médiatiques trans. / This master's thesis focuses on the representation and fetishization of trans women of color in audiovisual media. This study first describes the evolution of trans-feminine representation from the 1950s to recent years. Trans women of color were virtually invisible in the early decades. The thesis distinguishes anti-assimilationist representation from integrationist representation. The film Paris Is Burning (1991, Livingston) announces a change and a new reality in media. The impact of the New Queer Cinema documentary is still significant to this day. The television series Pose (Ryan Murphy, Brad Falchuk, Steven Canals, FX, 2018-2021) pays homage to director Jennie Livingston's film almost thirty years later. The thesis examines the feminist, intersectional and queer theory of the 1990s to understand these studies' evolution. This analysis questions the subversion of gender roles and the impact of performance and performativity in trans* media images.

[pt] Esta dissertação irá discutir a série de televisão A Grande Família, exibida na TV Globo em dois períodos distintos, 1972-1975 e 2001-2014. O objetivo é avaliar como se relacionam os elementos cômicos e melodramáticos na série e o quanto estes são afetados pela ideologia individualista e pelo sentido atribuído à maternidade na sociedade ocidental moderna e contemporânea. Para esse fim, vou examinar a personagem Nenê, que representa na série a mítica mãe de uma grande família, sempre agindo para o bem comum em detrimento de seus desejos individuais. No percurso de análise foram separados seis roteiros, um do primeiro período e cinco do segundo período da série, que permitem um aprofundamento da questão enunciada. / [en] This dissertation will discuss the television series A Grande Família, broadcasted by TV Globo during two distinct timepoints, 1972-1975 and 2001-2014. The objective is to evaluate the comical and melodramatic elements of this series, how they are impacted by individualist ideology and by the meaning attributed to the notion of motherhood in a modern and contemporary Western society. For this purpose, I will examine a character called Nenê, who represents the mythical protective mother of a big family, always prioritizing the greater good over her personal desires. Throughout this analysis, six scripts were assessed, one of the first period and the other five of the second period of this series, allowing for an in-depth analysis of the main question of this dissertation.

Denna uppsats utforskar förhållandet mellan filmtekniska aspekter av klipptempo och en mors ilska i avsnitt 6 Fishes av TV-serien The Bear. Genom en kvalitativ analys, med en kvantitativ tabell som bas, granskas avsnittet med hjälp av semiotisk teori om symboler och genusteori om mom rage för att upptäcka kopplingar mellan timern som symbol och mammans ilska. Resultaten visar på en medveten användning av tempo och timer för att gestalta mammans stress och ilska. Användningen av tempo och timer i köksscenerna i The Bear bidrar till att skapa en känsla av intensitet och stress som speglar mammans upplevelse av händelserna.  Detta dokument inkluderar även en designdokumentation vid namn Stranger Things - en titelsekvens som var en del av examensarbetet för Visuell kommunikation. Projektet är en animation på hur en titelsekvens till TV-serien Stranger Things hade kunnat se ut. Designdokumentationen börjar från sida 31. / This paper explores the relationship between filmic aspects of editing pace and a mother's anger in Episode 6, Fishes, of the TV series The Bear. Through a qualitative analysis, supported by a quantitative table, the episode is examined using semiotic theory of symbols and gender theory of mom rage to uncover connections between the timer as a symbol and the mother's anger. The findings demonstrate a deliberate use of tempo and timer to portray the mother's stress and anger. The utilization of tempo and timer in the kitchen scenes of The Bear contributes to creating a sense of intensity and stress that mirrors the mother's experience of the events.

The diploma thesis "Construction of the imagination of the first republic era from the point of view of two generations explained by an example of the Czech TV series První republika" focuses on the mechanisms in which the TV series co-constructs the audience perception of the given era. The series was broadcasted from January 2014 untill June 2014 on the Czech Televisions program. The thesis aims to show how the younger generations of TV viewers construct the period in which they did not live through their consuming of media content. This is compared with the old-timers who could compare their own experience with the series. The audiences of both generations are equally scrutinized and consequently compared. The theoretical part introduces the theses about social and media construction of reality accompanied by audience cultivation theories. The final analysis of the acquired data is based on these theories but it aims to invent a new hypothesis. The subject matter of the research part is analysed by the qualitative method of the grounded theory as Strauss and Glaser understand it. For the questioning the semistructured and group interviews were used .

The TV series represent a specific phenomenon in Egypt and other Arab countries. Albeit generally regarded as an uninteresting part of popular culture rather than a sort of art, the TV dramas should be seriously taken into consideration by all of social, history, and art scientists. Firstly, because of the extreme popularity among the large majority of the Egyptians, the series are often used by authorities for spreading certain ideological and political messages. The questions of national unity and the rise of militant Islam were chosen as examples to prove this in the thesis. Secondly, the Egyptian TV series reflect the social changes in Egyptian society and promote modernisation. This is shown in the thesis on the cases of marriage and the woman status. The production of TV series in Egypt is enormous and watching them is very widespread. Therefore, the TV dramas represent a powerful means to influence Egyptian society. Keywords: TV series, television, Egypt, popular culture, film, television drama, Egyptian society, social changes, satellite broadcasting, media.

The following thesis, The Judas Iscariot figure, as seen by media and the public, in the 21st century in the context of the state graduation exam and contemporary pop culture, deals with the biblical figure who has betrayed Jesus Christ. The apostle, whose name has become a synonym for betrayal, was mentioned in one of the questions of the didactical test regarding Czech language and literature in the state graduation exam in the Czech Republic in 2015. The pupils were supposed to recognize Judas with help of his cognomen and other hints. Many students have complained about this task, saying that it was too difficult, while others have claimed that the question was not related to the subject. The complaint became an issue frequented in all the significant media and heavily discussed in society. The first chapters of the thesis describe the official requirements for the state graduation exam and the study plans for secondary schools, where the Bible is listed. The following chapters highlight and discuss the media coverage of the affair in the printed and online media, as well as in the radio and TV stations. Additionally, the student's opinions about the issue are mentioned, together with the jokes related to the topic, reactions of the experts and internet users commenting the topic under the internet...

This diploma thesis is an addition to the discussion on media literacy development, which also deals with the effectiveness of children's education via a television program. The work offers a brief content overview of public broadcasting television channel ČT:D, focusing on shows that enlighten the viewers about facts from various fields (which are thus regarded educational). The television program Wifina is described in detail and is the center of later research. The first part of this document defines the factors that affect reception of information from television broadcast. The thesis introduces different variations of key media literacy concepts, including the specific way they are handled in the Czech setting. The objective of this work is to determine, whether the show Wifina enhances development of media literacy through its content, and whether this content helps to broaden general knowledge and education of the viewers. Based on content analysis of the program and subsequent qualitative comparative analysis of two groups of children - viewers and non-viewers - the author ascertains, whether Wifina educates its viewers about media-related subjects, as well as other areas. Evaluation of the research offers not only specific cases of broadcast (non-)affected viewers, but also a debate on...