This diploma thesis deals with television entertainment as a phenomenon on Czech television screens. In the theoretical part the thesis provides an overview of entertainment as a term and concept and its definition, further describes its historical forms before the advent of mass media and its subsequent development towards the media entertainment revolution, with emphasis on establishing entertainment on television screens. The thesis then defines the entertainment functions of the media and their importance in society, but also the criticism of entertainment. The thesis also provides the classification of television entertainment genres and formats and examples of penetration of entertainment into other forms of communication. From the point of view of Czech legislation, it also evaluates the legal conditions for the broadcasting of television entertainment in the Czech Republic. The theoretical part concludes with the history of television entertainment on ČST and TV Nova. The practical part of the thesis aims to identify television entertainment at the beginning of the millennium on ČT and TV Nova in comparison with its current form and find the differences or similarities in television entertainment not only across the years, but also between a public and a commercial broadcaster. Based on...

When it comes to human communication, there are several possible ways of expressing the same idea. This is often explained in terms of direct and indirect speech acts. The concept of direct and indirect speech acts is not only of interest to scholars within linguistics, but rather, it has come to serve as a source of entertainment for a wider audience as well. This essay aims to investigate manifestations of directness and indirectness in the unscripted reality TV show Love on the Spectrum. More specifically, the study aims to identify possible functions of directness and indirectness respectively in the TV show as well as to investigate what factors seem to govern the participants’ levels of indirectness. The study retrieved its data from eight episodes spread across two seasons. The study was conducted using a qualitative approach with occasional quantitative elements in order to identify the most frequent functions of directness and indirectness, respectively. The results showed that request for clarification, giving explanations and saving face were all identified as possible functions of directness in the TV show. The possible functions of indirectness identified were politeness and consideration, giving hints and creating figures of speech. The results also showed that Thomas’ (1995) factors said to govern the levels of indirectness correspond with how indirectness was applied by the participants of the show.

Background: To date, there have been several studies conducted on how social media marketing affects customer loyalty. However, they have been narrowed down to specific areas, such as luxury fashion, the airplane industry, and so on. Therefore, there is a literature gap on how social media marketing affects customer loyalty in general. This research seeks to fill that gap though investigating how certain characteristics of social media marketing activities affect customer loyalty in general. Purpose:  The purpose of this paper is to describe the effects social media marketing has on customer loyalty. Methodology:  This research will be conducted by gathering quantitative data through a cross-sectional research design. A survey was performed based on the theoretical concepts in the theoretical framework, which seeks to test the relationship between the independent variables and the dependent variable. An operationalization was created to showcase the theoretical grounds for each question, where each question is bound to a concept/variable. Students in ages 18-30 were used to define the sample population for this research. Conclusion: The purpose of this paper was to describe the effects social media marketing has on customer loyalty. Due to H1 and H2 being approved, and H3 and H4 being rejected, this paper provides evidence that there is a significant positive impact of the SMMA characteristics of entertainment and interaction on customer loyalty. It was also established that there were two SMMA characteristics that did not have a significant positive relationship with customer loyalty; trendiness and customization.

This thesis examines how authenticity is articulated and communicated in contemporary forms of branded entertainment. In a digital media landscape, participatory culture and co-creation has become of primary importance, leading to ‘authentic’ and ‘amateurist’ characteristics being strategically implemented in advertisements and professional media content production. At the same time, research on brand communication and authenticity have overlooked the many ways in which brands extend and mediate authenticity, especially in relation to symbolism and visual semiotics. In this thesis, we explore the way symbolic meaning is constructed in We the Bathers, a documentary produced in 2019 by director Phoebe Arnstein in collaboration with Lush, a cosmetic brand known for their vegan-friendly and cruelty-free products. The study was conducted using visual analysis which allows us to approach the study object in a qualitative and exploratory way. We then apply the theoretical frameworks of cultural myths and digital storytelling to analyze the effects and strategies employed in We the Bathers to communicate authenticity through the filmic medium. By extending Bell & Leonard’s framework for evaluating organizational storytelling, which highlights the role of the communicative codes of affinity, authenticity andamateurism, we argue that the overall notion of authenticity in video content produced for digital environments can be determined through either of these lenses. By examining the intention of the sender in terms of genuineness (authenticity), relatability (affinity), and techniques which lends the story a sense of ‘realness’ (amateurism), our findings indicate that authenticity can be viewed as a tool for producing certain media effects as opposed to arising from the mediation of inherent personality traits.

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This research proposes to investigate the contribution that innovative development projects involving digital games can make to the field of entertainment-education (EE), which has been considered as a communication strategy falling under the media for development approach in the broader field of communication for development (Manyozo, 2012). Studies have shown that EE scholarship and practice is largely rooted in theories of individual behaviour change, but also that new theoretical perspectives deriving from participatory and empowering, as well as cultural approaches to communication are emerging in the field. The prevalence of innovation and of the application of EE principles to new mediums like digital games has also been brought to light (Obregon & Tufte, 2014). Digital games as a vehicle for EE have been analysed through the concept of serious games, or games with a utilitarian purpose, and from a behaviour change perspective (Wang & Singhal, 2009). The present research project aimed at reflecting on serious games and EE from a new perspective through the notion of innovation, and was conducted by means of exploratory and comparative qualitative case study. Findings show that innovation is closely associated with the notions of co-creation and participation. By focusing on a participatory approach to game design, innovative development projects involving digital games fit predominantly in emergent theories in EE, and combine elements of multiple approaches to communication for development, not principally the media for development approach.

Most of work on motion of mobile robots is to generate plans for avoiding obstacles or perform some meaningful and useful actions. In modern robot theatres and entertainment robots the motions of the robot are scripted and thus the performance or behavior of the robot is always the same. In this work we want to propose a new approach to robot motion generation. We want our robot to behave more like real people. People do not move in mechanical way like robots. When a human is supposed to execute some motion, these motions are similar to one another but always slightly or not so slightly different. We want to reproduce this property based on the introduced by us new concept of probabilistic regular expression, a method to describe sets of interrelated similar actions instead of single actions. Our goal is not only to create motions for humanoid robots that will look more naturally and less mechanically, but also to program robots that will combine basic movements from certain library in many different and partially random ways. While the basic motions were created ahead of time, their combinations are specified in our new language. Although now our method is only for motions and does not take inputs from sensors into account, in future the language can be extended to input/output sequences, thus the robot will be able to adapt the motion in different ways, to some sets of sequences of input stimuli. The inputs will come from sensors, possibly attached to limbs of controlling humans from whom the patterns of motion will be acquired.

Lately, personal and entertainment robotics are becoming more and more common. In this thesis, the application of entertainment robots in the context of a Robot Theatre is studied. Specifically, the thesis focuses on the synthesis of expressive movements or animations for the robot performers (Robot Actors). The novel paradigm emerged from computer animation is to represent the motion data as a set of signals. Thus, preprogrammed motion data can be quickly modified using common signal processing techniques such as multiresolution filtering and spectral analysis. However, manual adjustments of the filtering and spectral methods parameters, and good artistic skills are still required to obtain the desired expressions in the resulting animation. Music contains timing, timbre and rhythm information which humans can translate into affect, and express the affect through movement dynamics, such as in dancing. Music data is then assumed to contain affective information which can be expressed in the movements of a robot. In this thesis, music data is used as input signal to generate motion data (Dance) and to modify a sequence of pre-programmed motion data (Scenario) for a custom-made Lynxmotion robot and a KHR-1 robot, respectively. The music data in MIDI format is parsed for timing and melodic information, which are then mapped to joint angle values. Surveys were done to validate the usefulness and contribution of music signals to add expressiveness to the movements of a robot for the Robot Theatre application.

Nowadays the evolution of civilization gives us the opportunity to have more and more free time and fun is taken as just like one of the opportunities how time can be used. Architecture going to be only a tool for developing and promoting business within amusement parks. But how does entertainment affect us? Do we need have fun? And what else can give a person a symbiosis of joy and architecture? The aim of this work is to analyze the problem of relations between fun and architecture and suggest a solution in a specific architectural intention.

This thesis deals with process of creating an artificial celebrity in Czech media context. It demonstrates that it is possible to make an unknown person famous and to become a celebrity who attracts media attention. First two chapters define a celebrity as an institution, its primary social functions and also its origin and creation. Third chapter describes Czech tabloid media market and its changes in last few years. Furthermore, it explains reasons why there is need for new celebrities. Forth chapter analyses in detail conditions that lead to creation of new artificial celebrity. Moreover, it defines a process of such creation and routines used by Czech media to cover celebrities. Last chapter shows a case of Ornella Štiková who was not even publicly known before she became a celebrity. After becoming celebrity, she attracted attention of all main Czech tabloid media. This media interest lasted (including short falls) almost for two years. Such a period is longer than average. As a part of this thesis, the author made a series of interviews with media experts, significant tabloid media professionals and insiders of Czech showbyznys. The main aim of this theses was to obtain knowledge of how Czech media works and how they communicate directly with celebrities. These interviews enrich this thesis...