The primary aim of this Master thesis entitled "Freedom of the Media versus Public Figures' Right to Privacy" is to investigate and analyse the conflict between freedom of the media and right to privacy of public persons. The thesis is formally structured into eight thematical chapters and two parts- theoretical and analytical. The theoretical part of the thesis provides legal, philosophical and media background for further analysis in the special part of the thesis. The analytical part deals with selected case studies of media photography conflicting with right to privacy of public figures. First chapter focuses on the freedom of speech and freedom of the media in historical, legal and philosophical perspective, deals also with the problem of censorship and technological challenges in the postmodern electronic age of the internet. Second chapter critically examines the concept of watchdog journalism in democratic system with special interest in the debate on the current affairs of the British media system. Third chapter deals with right to privacy and reflects also on the fluid concept of privacy in the era of social networking. Fourth chapter analyzes so-called public figure doctrine, celebritization and mediatization of politics and also discusses the collision between free speech and privacy....

A topic of this thesis addresses the media image of three football clubs as this was reflected in the Czech press within 2010/2011 season. The attention is paid to the press coverage of Sparta Praha, Manchester United and Dukla Praha. The specifics of their image are followed in three differently profiled Czech titles. Deník Sport represents the sport - focused newspaper, Mladá fronta Dnes stands for the most widely read Czech newspaper with a special regional sport section and Hospodářské noviny has been chosen because of their specifically economic profile where the sport section represents just a minor part of each issue. The term "media image" is linked to the signs of evaluation and expression of support for a particular team as it is mediated through the articles. This support is analysed through the structure of topics and through the use of subjective language. The aim is to point on how these teams were presented during the season and how their presence kept changing in the press within the time. The possible differences and overlapping are explained more into details. The term "media bias" is related to subjective reporting that stresses negativity or stardom on the contrary. The term is used to point out potential devotion from objective reporting. It is used to address possibly...

本研究以台灣《壹週刊》的影劇新聞為例，以批判論述分析法（Critical Discourse Analysis）的思考精神為啟發，從性別角色、發言權、新聞的語言特色等面向分析《壹週刊》文本。接下來，以明星、經紀人／宣傳的和小報記者的訪談，釐清台灣小報影劇新聞的產製方式，以及明星體系小報文化當中的運作過程，從中分析小報影劇新聞中誰掌握了發言權，明星和經紀人會使用哪些媒體策略來獲得正面助益。 　　本研究結果發現，小報媒體在全球不同文化間依循著類似的軌跡發展，從單元、圖片與題材編排的類似手法，將明星八卦、醜聞、性等細節無限制放大，透過主觀、嘲諷的口語敘事與大量圖片，讓讀者看到明星報導的幕後感與故事性。小報記者參與新聞製作時的立場是正向高度肯定的，因為小報調查式的新聞手法需要長時間籌畫、收集資料、蒐證，因此，記者認為小報才是為讀者揭發社會真相、真正敢言的媒體。另一方面，記者與明星的互動關係是多種權力交織而成的動態協商，多數時間記者掌握了報導發展的詮釋空間，但是，佔上風的角色會隨著藝人實力產生變動。操作過程中，經紀人為了徹底保護明星形象，將明星視為必須保護的文化商品，控制了明星對外發言的權力，也拉開了明星和媒體的距離。面對小報新聞可能造成的傷害，通常經紀人會預先設定立場、準備模板答案，來維護明星聲望在小報文化的侵入下能順利運作。 / Taken the entertainment news of Next Magazine as the example, the main research frame is inspired by Critical Discourse Analysis. The study analyzed the text of Next Magazine from the roles of gender, the voices and the linguistic characters of news to clarify the production logic of Taiwanese tabloid news. Next, from the interviews of entertainers, agents /publicists and tabloid journalists, the study tried to figure out how celebrity news production and Star system work within tabloid culture. Who take the initiative of speech and utilize what kind of strategy to manipulate media relations. The study found that, the tabloid media has developed along a similar path even in different cultures around the world. By using similar manners of the arrangement of units, images and subjects, the tabloids unlimitedly enlarge the details of the gossip, scandals and sex affairs of entertainers; additionally, a colloquial description in a subjective and mocking way and plenty of pictures are utilized to give readers a feel of behind-the-scene and narrative to the entertainers’ news. Nowadays, tabloid journalists hold a positive attitude toward the manner of digging out newsworthy materials, which requires a long time planning, information-gathering and evidence-collecting. On the other hand, the interaction between journalists and entertainers is a dynamic negotiation established by a variety of powers. What’s more, the agent may regard stars as a cultural goods, then control the power of speech of stars in order to completely protect the media image of stars. At the same time, agents block the normal communication between stars and media. To prevent the harm caused by tabloid, the agents might pre-set position and answer the template answer to maintain the reputation of stars.

殘酷時尚議題已成為當代的芒刺，對動物保護團體及人權組織形成挑戰。善待動物組織(People for the Ethical Treatment of Animals：PETA)是目前規模最大、發展最完善的動物權利組織，其廣告往往能在人們心中喚醒善待動物的意識。PETA首次在時尚雜誌上發起的反對毛皮廣告活動，即獲得「非營利組織最佳廣告獎(Best Ads Produced by a Nonprofit)」。 本研究的宗旨為，展示公益內容廣告運動可在任何市場導向的經濟體中運作。本研究列舉PETA的PSA廣告範例如下：「我寧願裸體」（“I’d rather go naked”, 1992年) 、「毛皮代表死亡」(“Fur is dead”, 2001年)、「對皮膚感到自在」(“Be comfortable in your own skin”, 2003年)、「拯救海豹」(“Save the seals”, 2009年)。「毛皮」 （“Skins”）主題上述廣告皆由知名女性代言。 本研究為質量研究，採用射影技術(projective technique)及深入訪談，調查結合訊息與圖像的PSA廣告在傳達動物權力相關議題時的效果。本研究將指出這些廣告可如何透過1.有創意、逼真的圖像、2.說服力的寓意訊息及3.知名代言人，加強傳遞人與自然關係的概念。 本研究發現，具說服力的訊息必須擁有逼真、富含寓意、簡潔、清楚等特性，且僅有在搭配適當的圖像時，才能發揮效力。此類圖像必須擁有不含混、非情色誘因、有創意、外來風或暗中使用性訴求等特性。廣告必須同時訴諸感性訴求及現實主義，並由知名、受人敬重的代言人出演。當公益廣告意圖以幽默感營造有利的風趣情境時，就不應使用嚴肅形象，或要求觀眾訴諸行動。至於訴諸恐懼類的公益廣告，則結合令人反感的圖像特徵及寓意訊息，仍可營造有利觀眾回應的情境，然而太過強烈的反感特徵有時會造成觀眾無法掌握寓意，導致觀眾無法回應。訴諸恐懼類平面廣告所引起的觀眾回應差異，以及本研究的局限性，可歸因於應答者的文化差異。 本研究做出結論為，擁有優良公眾形象及正面背景的知名代言人，可成功向大眾傳遞寓意訊息。再者，有創意、逼真，但不過度暴力、過度情色的圖像可吸引觀眾目光，促使大眾意識並做出反應。 / In the Modern Age the problem of killing fashion has become a thorny issue for the fashion industry, animal rights protection organizations, animal world and humanity. In this respect, People for the Ethical Treatment of Animals (PETA) performs as the largest and most highly developed animal rights institution in modern countries. PETA’s advertising has made a revolution in people’s minds concerning the ethical treatment of animals and already the first advertising campaign by PETA received the “Best Ads Produced by a Nonprofit” Award for its anti-fur advertising campaign in fashion magazines. The purpose of the study is to show how such social content advertising campaigns can work in all countries that are learning to live under market-driven economies. This research concerns properly selected print PSA samples of “I’d rather go naked” (launched in 1992), “Fur is dead” (launched in 2001), “Be comfortable in your own skin” (launched in 2003), and “Save the seals” (launched in 2009) campaigns presented by a number of celebrity spokeswomen posing for PETA’s “Skins” print advertisements. Based on qualitative research with the use of projective techniques and in-depth interviews, the study investigates the impact of a combination of PSA specific messages and image characteristics concerning animal rights using Public Service Print Advertising. The research will show how these ads hopefully can improve their effectiveness in order to achieve more respect for the human-nature relationship by using 1) Creative, realistic images, 2) A powerful educational message, and 3) A highly respected and appreciated celebrity spokesperson. The study found that a strong persuasive message is defined as realistic, educational, laconic, clear and the advertisement is ultimately effective only when used with proper image characteristics. Such image characteristics are non-vulgar, non-sexually distracting, but creative, exotic, or latent in sexual appeal. An advertisement should use emotional appeal and realism, presented by a celebrity spokesperson with a respected personal background. While PSA uses a high degree of humor to produce favorable and amused attitude, they do not present a serious image or promote a call to action. Regarding using fear appeal, strongly unpleasant image characteristics combined with educational messages still may produce a favorable and responsible attitude. However, it was found that unfavorable perceptions caused by strongly unpleasant images sometimes distracted viewers from the educational message or failed to produce a responsible reaction. The striking differences among public responses regarding fear appeal in print ads and study limitations can be attributed to cultural differences within respondents. The study has concluded that strong educational messages spoken by highly trustworthy celebrities with positive background activity makes the public listen. Furthermore, creative, realistic, but not overly-violent or overly-sexual images catch the viewer’s attention, makes the public more aware and encourages responsible thinking.

本研究是為了比較電視媒體和網路社交媒體在名人與粉絲間的類社會互動程度與後續情感及行為效果上是否有差異。藉由蒐集314份網路問卷，以類社會互動程度為自變項、情感效果與行為效果為應變項，分別比較這兩種媒體。研究結果顯示：第一、不同媒介在引發粉絲對名人的類社會互動上的確存在差異，且以電視的影響力較大。第二、在類社會互動程度引發的情感、行為反應方面，電視都顯著地高於網路社群。第三、整體來說類社會互動程度在預測網路社群上的情感、行為反應是有效的預測變數，與過去電視媒體的文獻結果一致。此外，本研究也發展出粉絲類型量表，以量化的方式將粉絲依照對名人的感興趣程度分成低、中、高三類。進一步將三類粉絲分開檢視，發現粉絲類型確實會調節類社會互動程度與情感、行為效果。 / This research was done to study the relationship between the level of fans’ parasocial interaction and the effects caused by television and online social media. This study collected 314 online questionnaires. The independent variable was the level of parasocial interaction and the dependent variables were affective effects and behavioral effects, including the importance of celebrities, emotions of celebrities’ disappearance, activity, and adaption.The findings of this study indicate that television produced significantly greater influence on the level of parasocial interaction toward celebrities than online social media.Furthermore, the affective effects and behavioral effects caused by parasocial interaction from TV are more significant than the result from social media. Generally speaking, the level of parasocial interaction effectively predicts fans’ affective and behavioral in the context of online social media, which is consistent with the result found in the past television studies. Besides, this study developed a fan scale to classify fans into three levels, including low-interest fans, moderate-interest fans, and high-interest fans. The result reveals that the level of fans can moderate the effects of the level of parasocial interaction, affective effects, and behavioral effects of television and online social media.

No description available.

This thesis explores how a group of 17 male youth athletes, and their families, experience competitive hockey. Many of the youths seem to forge fantasy relationships with hockey celebrities, heroes, and stars -- e.g. Sidney Crosby -- emulating them with regard to the "best" attitudes, equipment, and styles of play to have or use. Their parents invest considerable amounts of money and time into their sons' participation in hockey, not because they necessarily share their sons' dreams of athletic stardom, but because they hope that it will help instill community-defined "positive" values into their sons--tools needed to become "successful" youths and, eventually, adults.

“Big in Japan: The Novel” chronicles the struggles of American Kent Richman, has-been gaijin-tarento. The novel alternates between a collage of tabloid articles, letters, YouTube video, excerpts from an unfinished memoir, manga story boards, botched interviews, notes scribbled on napkins, and a third-person narrative. Set primarily in central Japan, “Big in Japan” is at once a satire of celebrity, a study of personality, a romance and a mystery. Kent Richman—John Lennon look-a-like known as RI-CHU-MAN-SAN! and husband to popular model Kumiko Sato—was a regular on the nightly game show The Strange Bonanza, despite having little talent beyond his resemblance to the popular Beatle. Following a foolish affair with a young Quebecois named Monique Martine, Kent and Kumi’s celebrity world is shattered when Monique’s husband, Australian Denis Ozman—an edgy, violent shock comic—seeks his revenge on Kent and, by default, Kumi. The “Ozman Incident,” as it becomes known in the Asian press, escalates Kent and Kumi to new levels of celebrity, but impels them to abandon stardom and Japan for a new beginning on an island in the Gulf of Thailand. In Thailand, Kent and Kumi try to make a new start, but Kumi is unable to forgive Kent for what Ozman did to them and paradise quickly goes sour. In the frenzy of a passing storm, Kumi disappears with a local entrepreneur named Darren. Kent’s search for her leads him to Bangkok and a painful but puzzling discovery. When we first meet Kent, he has returned from Thailand without Kumi, who has vanished. He is unemployed, abandoned by his once adoring public, and penniless, living in a capsule hotel. Kent’s failings are aggravated by a minor drug habit that leads him to often comical, painful, and revealing extremes. At the heart of Kent’s troubles are the unanswered questions about Kumi’s disappearance and his fall from grace. Once a star, he both abhors and misses his former life. What begins as an attempt to exorcise nagging questions becomes an aimless and dangerous plunge into obsession: why did Kumi disappear, where did she go and what will he do now?

This thesis explores how a group of 17 male youth athletes, and their families, experience competitive hockey. Many of the youths seem to forge fantasy relationships with hockey celebrities, heroes, and stars -- e.g. Sidney Crosby -- emulating them with regard to the "best" attitudes, equipment, and styles of play to have or use. Their parents invest considerable amounts of money and time into their sons' participation in hockey, not because they necessarily share their sons' dreams of athletic stardom, but because they hope that it will help instill community-defined "positive" values into their sons--tools needed to become "successful" youths and, eventually, adults.

No description available.