Dans les années 2000, les séries télévisées rencontrent un engouement sans précédent. Ce qui ne constituait qu’une « sous-culture » pour quelques passionnés, devient un genre de plus en plus légitime. Ce succès, attribué par les journalistes au renouveau créatif des séries américaines, est largement alimenté par la programmation des chaînes françaises. La télévision n’est cependant plus leur seul diffuseur : DVD, streaming et échange de fichiers sur Internet ont largement pris le relais. Ces médias participent désormais à la configuration des séries, incitent à de nouvelles stratégies et invitent les spectateurs à des usages diversifiés.Les chercheurs montrent eux aussi un intérêt croissant pour les séries, les considèrent comme un terrain propice à l’étude des représentations sociales (sociologie), des « objets narratifs » (narratologique) ou encore des « programmes télévisés » (sémio-pragmatique).Alors, qu’est-ce qu’une série ? Dans le but de répondre à cette question, nous avons adopté une conception élargie des séries comme objets culturels médiatiques, configurés par l’ensemble complexe des médiations socio-techniques qui leur donnent forme. C’est alors par l’étude compréhensive du point de vue et des pratiques des acteurs de leur communication (professionnels, médias, spectateurs) que nous entendons appréhender les séries et la manière dont se construit leur culture. A la croisée de différentes méthodes (analyse de discours, entretiens compréhensifs, portraits), se dessinent les contours des séries au regard de leurs médiations, se laisse découvrir la complexité de l’objet et entrevoir la nécessité d’une réflexion sur les méthodes à engager dans leur analyse. / During the 2000s, television series met with an unprecedented public infatuation. What had previously constituted but a small "subculture" was rising to become a legitimate genre in its own right. This success, that journalists attribute to a creative renewal in American series, is largely fed by French television network programming. Television, however, is no longer the sole broadcaster : DVD and streaming and sharing online are now heavily present. Henceforth, these media will now participate in the configuration of series, incite new strategies and invite audiences to diversify their usages.Researchers themselves show an increasing interest in series, considering them a rich field for the study of social representations (sociology), "narrative objects" (narratology) or also "televised programs" (semio-pragmatics).So, what is a series ? In order to answer this question we have adopted a broad conception, regarding them as being objects of media culture configured by a complex ensemble of socio-technical mediations which give them form. To understand series how they construct their culture, we implement a comprehensive study of the practices and points of view of their communication actors (professionals, media and audiences). Through the use of different methods (discourse analysis, comprehensive interviews, portraits and transversal analysis) we outline series, with regard to their mediations, allowing us to discover the complexity of the object and the necessity of reflection upon the methods to employ in their analysis.

<p>Модерни ентеријер представља у једнакој мери архитектонски као и културни феномен. Последњих деценија XX века, модерни ентеријер се, под утицајем конзумеризма, трансформисао у један облик потрошачког спектакла. У дисертацији се испитује трансформација наративне структуре модерног ентеријера у контексту савременог потрошачког друштва.</p> / <p>Moderni enterijer predstavlja u jednakoj meri arhitektonski kao i kulturni fenomen. Poslednjih decenija XX veka, moderni enterijer se, pod uticajem konzumerizma, transformisao u jedan oblik potrošačkog spektakla. U disertaciji se ispituje transformacija narativne strukture modernog enterijera u kontekstu savremenog potrošačkog društva.</p> / <p>The modern interior is an architectural as well as a cultural phenomena. During the last decades of the 20th century, the modern interior has transformed itself into a form of the consumer spectacle. The dissertation examines the role and transformation of the narrative structure of modern interior in the context of contemporary consumer society.<br />&nbsp;</p>

<p>Purpose/Aim: The aim is to study the critics own views upon their profession and upon the development of criticism, and to thereafter set this in relation to contemporary theory and debates.</p><p>Material/Method: A qualitative study pursued through personal interviews. The results are categorized and split into different themes.</p><p>Main Results: Through media convergence and a changed media culture the conditions for criticism have also been altered. But in spite of various negative prophecies, these changes cause no serious threat to criticism. New forums and new forms of criticism actually increase the importance of the traditional ditto as the authoritative voice that holds the field together. Still, there are questions and fears about a future seemingly less and less predictable. The pace of these changes and the increased influence of the market can pose a threat unless the leadership doesn’t actively choose to uphold and protect traditional criticism.</p>

Purpose/Aim: The aim is to study the critics own views upon their profession and upon the development of criticism, and to thereafter set this in relation to contemporary theory and debates. Material/Method: A qualitative study pursued through personal interviews. The results are categorized and split into different themes. Main Results: Through media convergence and a changed media culture the conditions for criticism have also been altered. But in spite of various negative prophecies, these changes cause no serious threat to criticism. New forums and new forms of criticism actually increase the importance of the traditional ditto as the authoritative voice that holds the field together. Still, there are questions and fears about a future seemingly less and less predictable. The pace of these changes and the increased influence of the market can pose a threat unless the leadership doesn’t actively choose to uphold and protect traditional criticism.

Abstract Title: The GI- method –bluff or the path to healthy life? Number of pages: 41 Tutor: Lowe Hedman Author: Annika Westlund Course: Media and Communication Studies C Period: Fall 2006 University: Division of Media and Communications Studies C Purpose/Aim: The aim of this essay was to investigate how the site GI viktkoll describes glycemic index on their website. The intention was also to investigate how the media presented GI through articles and how they used doctors and dieticians to appear trustworthy. Another aim was to investigate what effect GI viktkoll could have on its readers. Method/Material: I have chosen a qualitative method where I did a discourse analysis of the articles which were presented on the GI viktkolls website during a period of three weeks. This was my main method in the essay. I also did two interviews with educated professionals. The articles on the website were thereby the main material I used in the essay. Main results: My result shows that GI viktkoll do have an underlying aim in wanting to influence its readers ina specific way. Therefore my result shows that it is important as a reader, to be aware of that GI viktkoll might not present a critical way of thinking and every aspect of the phenomenon. GI viktkoll also has influence on people because they have power to change peoples mind about the phenomenon GImethod in the society. GI viktkoll only presents the healthy way of living through the GI method, although there still there is a lot of disagreement from other directions such as doctors and dieticians about the actual effects of the GI method on healthy people. Keywords: glycemic index, media culture, encoding/decoding, discourse analysis.

Thesis (Ph.D.)--Duquesne University, 2005. / Title from document title page. Abstract included in electronic submission form. Includes bibliographical references (p. 179-191) and index.

No description available.

This thesis investigates the role of the term plot in mediating relations between architecture and narrativity. Examining organisational strategies in the creation of real and virtual spaces, it identifies literary works by novelists who have resisted, or subverted, plot conventions in fiction (Joris-Karl Huysmans, Edmond de Goncourt, Xavier de Maistre and Neal Stephenson), and introduces architectural spaces such as Thomas Edison’s film-studio Black Maria, and the plotless productions of early cinematography, to juxtapose concepts of plot and spatiality in a study of the production and consumption of pre-digital virtual spaces. Plot here relates therefore both to narrative sequentiality and spatial organisation – from "storyline" to "ground plan". The "plotless" narrative structure of Huysmans, Goncourt and de Maistre focuses on the interaction between man – the "writerin- residence" – and his domestic interior, functioning as an excitant or stimulant for the production of both material and imagined spaces. The media culture of late 19th century society saw the first significant attempts at moving image technology and its related spatialities – the Black Maria, the kinetoscope, the kinetograph, and the films produced by these, which had yet to find a narrative form. The architecture of the plotless novels and the proto-cinematic experiments of the late 19th century modulate between physical reality and fiction. They are ripe in their descriptive narrativity, expanding in the imagination of the consumer. Stephenson’s imaginative transposition of book media into a "Primer" – a new form of narrative media that develops its narrative content directly from the environmental context of its reader – concludes the discussion of the thesis, highlighting interrelations between fictive and real space, influencing both writer and reader. The refusal of narrative plot deprives the reader of causality, but emphasises the fictitious spatial creation in which the reader becomes immersed. These spaces, by virtue of their disengagement from plot, allow us to revisit the possibilities of virtual space without common preconceptions concerning the creation or experience of digital mediating technology.

Com o passar dos anos, o hábito da escuta musical passou por diversas transformações, comumente relacionadas a tendências sociais e inovações tecnológicas. No início do século XX, a relação homem-máquina-escuta se elevou a um novo patamar. No início do século XXI, o predomínio das mídias portáteis (aqui delimitadas a iPods, tablets e smartphones) promove novas transformações na prática da escuta musical, gerando consequências musicais e sociais consideráveis. Partindo do Walkman, um dos maiores ícones da portabilidade do século passado, esse trabalho analisa a sucessão das principais mídias e formatos - com seus respectivos impactos culturais - até alcançar a década de 2010, dominada pelo formato MP3 e já fundada em uma peculiar prática de escuta musical. Através de extensa pesquisa bibliográfica e audiovisual, este trabalho se dispõe a refletir sobre as principais transformações músico-sociais originadas a partir da utilização massiva das mídias portáteis (como meio predominante de prática da escuta musical urbana), tornando mais visível a relevância de estudos aprofundados na área / Throughout the years, musical listening habits have suffered many changings, usually related to social tendencies and technological improvements. In the beginning of the 20th century, the man - machine- listening relation achieved a new level. During the first decades of the 21th century, the ubiquity of portable media (defined in this work as iPods, tablets and smartphones) promotes new alterations in the listening habits, therefore social and musical impacts. Beginning from the Walkman, one of last century\'s most acclaimed icons of portability, this work analyses the sequence of the following main devices and formats - each one with its particular cultural impacts - until reaching the 2010s, a decade dominated by MP3 and based on a unique musical listening experience. This work intends to reflect, through extensive research and bibliographical discussion, the main musical and social reorganization originated by the massive use of these devices as the urban leading musical listening vehicle, increasing the visibility and the relevance of more detailed researches in this area.

Made available in DSpace on 2014-07-29T16:27:51Z (GMT). No. of bitstreams: 1 Dissertacao Marcia Regina Santos Brisolla.pdf: 1508879 bytes, checksum: 915418bf6e789863ea5811b038514d02 (MD5) Previous issue date: 2006-06-30 / The present essay has as a main objective to analyze the women s representation at the printed advertisements of the campaign for the real beauty Dove, published in Brazil, between 2004 and 2005. The international campaign promoted by Dove provides the stereotype s breaks of the women s images in the media. It uses at its ads common women which are not professional models. I assume, at this essay, that the visual and verbal representation in the advertisement works as an ideological mechanism to the reproduction and construction of the gender s identities. According to this perspective, and working with the theory of the cultural and gender studies, I identified the ways the women are been represented in the Brazilian edition of the campaign for the real beauty Dove. These representation are not only produced , but either reproduced, considering the meaning that surrounds in the media culture, that are related to the forms by which the conception of gender and sexuality are built to justify characteristics , behaviors and attitudes socially attributed to the women. The analyze reveled the Dove real beauty are related to attributes considered naturally female as the sensuality, seduction and the women s body exhibition to the attractiveness. At this sense, the stereotype s breaks of the women s images weren t verified, once the analyze reveled the adds strength the status quo, through the repetition of the social and cultural standards which keep as a reference the white women with straight hair, middle class, with a visually well cared body, even over weight, and excluding those ones who don t adapt to these standards. The image of the women in the campaign follows rules of representation socially accepted. The huge difference is omitted, once it takes to naturalized images of the women s body which strengths its body exhibition related to social projections to contemplation and consume. / O presente trabalho tem como objetivo analisar a representação da mulher nos anúncios impressos da campanha pela real beleza Dove, veiculados no Brasil, no período de 2004 a 2005. A campanha global propagada pela Dove propõe a quebra de estereótipos da imagem da mulher disseminada pela mídia, utilizando em seus anúncios mulheres comuns, que não são modelos profissionais. Assumo neste trabalho que a representação visual e verbal nas mensagens publicitárias funciona como um mecanismo ideológico para a construção e reprodução das identidades de gênero. Sob esta perspectiva, e trabalhando com o referencial teórico dos estudos culturais e de gênero, procurei identificar a forma pelas quais a mulher está sendo representada na edição brasileira da campanha pela real beleza Dove. Tais representações não são apenas produzidas, mas também reproduzidas, considerando os significados que circulam na cultura da mídia, relacionados às formas pelas quais as concepções de gênero e de sexualidade são construídas para justificar características, comportamentos e atitudes atribuídas socialmente às mulheres. As informações obtidas com a análise revelaram que a beleza real proposta pela marca está atrelada a alguns referenciais e atributos considerados naturalmente femininos como a sensualidade, a sedução, a exposição do corpo feminino para contemplação e atratividade. Nesse sentido, não foi constatada a inovação e a quebra de estereótipos proposta pela Dove, pois a análise revelou que os anúncios publicitários reforçam o status quo por meio da prática repetitiva das normas sócioculturais que mantém como padrão de referência a mulher como sendo branca, cabelos lisos, classe média, corpo visivelmente bem cuidado mesmo com alguns quilos a mais, enquanto excluem aquelas que não se adaptam a essas normas. Afinal, a imagem das mulheres na campanha segue um padrão de representação aceito socialmente, a diferença significativa é silenciada, o que remete as imagens naturalizadas do corpo feminino que reforçam a exposição do corpo da mulher submetido a projeções sociais para contemplação e consumo.