abstract: This project explores television as the mediation of lived experience through a semiotic phenomenological lens. To do so, this thesis explores representations of gendered violence in self-identified feminist, Sally Wainwright's two shows: Last Tango in Halifax (2012) and Happy Valley (2014). By employing a phenomenological framework to Sally Wainwright's own relationships and experiences, I will seek to examine the semiotic codes embedded in the interactions between women in Happy Valley and Last Tango in Halifax. This will also provide a foundation for discussion on how and why the characters in her shows appear in ways that submit to and subvert the dominant 21st century understanding of 'feminine' on television. / Dissertation/Thesis / Masters Thesis Social and Cultural Pedagogy 2017

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Thesis: The TV series Black Mirror as a substantial creation of British TV production Abstract: ENG The thesis deals with the analysis of the British TV anthology Black Mirror. It examines the program in terms of authorship, processing method, theme, genre, and impact on society. The aim is to determine the basic characteristics of the Black Mirror and to point out its uniqueness in the context of current trends in television content. In individual chapters, it focuses on the role of authorship, the definition of the genre and the definition of the main topic. The program is also subjected to a narrative and stylistic analysis that examines the way the story is constructed, the narrative structure, the work with the characters, the environment and the style. Furthermore this thesis also want to examine the the extent to which the topics of Black Mirror correspond to reality. The result of this research offers a complex picture of Black Mirror, including a comparison with selected British television programs.

This thesis examines how the aesthetic and queer themes in E. W. Hornung’s Raffles stories have been transmediated in the TV-series Raffles. Hornung’s Raffles stories were not only immensely popular in their time, but were also a reflection of the fin-de-siècle and of the cultural role aestheticism played in the late Victorian society. Though a number of adaptations were made in the early 20th century, none of them adapted Hornung’s original stories to the same extent as the 1975-77 Yorkshire TV-series.  In this study, material such as original scripts, notes, and correspondence from screenwriter Philip Mackie’s personal collection are examined from an adaptation theoretical perspective in relation to Hornung’s books and the finished TV-series. At the same time, a queer reading of the screenplays and of the televised series is made and compared to previous academic queer readings of Hornung’s stories. The adaptation is discussed in context with the time period in which it was produced and with the various factors that have formed it, such as financial restraints and medium related conventions.  The study demonstrates that both aesthetic and queer themes that correspond to those found in Hornung’s stories can be found in the TV-series. It argues that the political climate of the 1970s both restrained how Raffles and Bunny’s relationship was portrayed in the series but also allowed for a more faithful adaptation of Hornung’s stories, including their aesthetic and queer themes, than had previously been possible.