This thesis reports the results of a study designed to investigate the influence of exposure to televised medical dramas on perceptions of medical miracles. Four hundred and eighty-one college students participated in a survey in which they responded to different questions about their medical drama viewership and their different beliefs with regard to medical miracles. Results found that heavy medical drama viewers perceived belief in medical miracles to be less normal than non-viewers. Similarly, heavy viewers perceived medical miracles to occur less often than non-viewers. Interestingly, heavy viewers perceived medical dramas to be less credible than non-viewers. In addition, this study found that personal experience with medical miracles affected responses across all three measured viewership levels. The study concludes that, when compared to no exposure to medical dramas, heavy exposure has the potential for creating a more realistic view of medical miracles. Future research should continue to study genre-specific cultivation effects with regard to health perceptions.

Master thesis The Media Image of Nurses in Czech TV Series discusses the ways of depicting nurses in Czech TV series shot from 2003 to 2014, particularly in Rose Garden Surgery 2, Hospital at Town Outskirts 20 Years Later, Hospital at Town Outskirts - New Fates and Doctors from Počátky. The goal of the thesis is to explore how the nurses are presented in the series and how the medial image of the nurses is perceived by medical staff themselves. The first part of the study describes the environment of current health care system, it presents an overview of health care professions and also the roles of doctors, nurses and patients. Attention is paid also to professional associations of health care staff. The second part introduces the environment of media in relation to TV series, specifically the terms genre (with focus to medical drama and soap opera genres), TV series, a character, representation and stereotypes. Chapter no. 3, the practical part of the thesis, deals with the research methodology followed by analysis of the individual series, more specifically by description of the plot of the selected episodes, by analysis of characters of the nurses, by analysis of reception of the nurses' characters by the audience and by a conclusion. For the first series - Rose Garden Surgery 2, where the...

Las series de drama médico estadounidenses se han convertido en un fenómeno social y cultural, logrando acumular un gran número de audiencias tanto locales como extranjeras. Aunque algunos estudios señalan que el rol de la televisión es puramente entretener; otros trabajos advierten que lo que se representa en estas series ha tenido un impacto en el imaginario de las personas sobre cómo son los médicos y su entorno. El presente trabajo aborda este fenómeno desde un enfoque lingüístico, ya que busca analizar la construcción del realismo y dramatismo a través del discurso médico en el doblaje de tres series contemporáneas Grey’s Anatomy, The Good Doctor y New Amsterdam. Para ello, se propone aplicar dos técnicas: el análisis de contenido y el análisis textual-contrastivo. El primero, permitirá describir la función de los diálogos dentro de las narrativas de las series, la construcción de los personajes y el escenario dramático. El segundo, servirá para describir las técnicas de traducción que se utilizaron en el doblaje, así como las normas de naturalización y las restricciones de sincronía. / American medical dramas have become a social and cultural phenomenon, attracting a large number of audiences both locally and abroad. Although some studies point out that the role of television is exclusively to entertain, other studies suggest that what is represented in these programs has had an impact on people's perception of what doctors and their environment are. This paper addresses this phenomenon from a linguistic approach, as it seeks to analyze the construction of realism and drama through medical discourse in the dubbed version of three contemporary series Grey's Anatomy, The Good Doctor and New Amsterdam. For this purpose, two techniques will be applied: content analysis and contrastive-textual analysis. The first technique will describe the function of the dialogues within the narratives of the series, the construction of the characters and the dramatic scenario. The second technique will serve to describe the translation techniques used in the dubbing, as well as the naturalization rules and the synchronization. / Trabajo de investigación

Sans corps, pas d'histoires. Vecteur d'action, instrument de la narration, et support d'un lien d'identification fort entre le spectateur et le personnage, le corps est la principale figure des médiums cinématographique et télévisuel. Si le cinéma a toujours, depuis ses balbutiements, glorifié la vivacité inépuisable des corps, parallèlement déjà, planait la face inversée de cette exposition, la menace muette de la mort. Mais si le dernier souffle avant la mort est bien souvent encore, au cinéma et à la télévision, synonyme d'ultime communion avec la vie et de résistance à la mort, qu'en est-il du corps et du personnage quand la mort s'en est saisi à jamais et qu'il ne reste plus aux vivants, personnages et spectateurs, qu'à se confronter au cadavre ? Figure parasitaire, le cadavre n'est ni un personnage ni même un figurant. A la fois signe vide et noyau narratif, c'est à partir de lui et de son examen pendant l'autopsie ou sur les lieux du crime que va se nourrir et se développer l'intrigue policière. Et s'il peut paraître secondaire, voire accessoire, à regarder les fictions policières sous l'angle de son non-regard fixe et opaque, il donne à voir quelque chose du crime, de son caractère profondément injuste, et des rapports qu'entretiennent les vivants avec une mort qui se présente sur la table d'autopsie, sous ses traits les plus abjects. L'enjeu de cette thèse sera d'envisager la façon dont les fictions policières mettent en scène le cadavre comme le reflet, d'une troublante précision, d'un défaut contemporain de distanciation face à la mort. Il s'agira bien pour nous, et selon un principe analogue à celui qu'applique le philosophe Maxime Coulombe dans son essai sur les zombies, de considérer le cadavre fictionnel comme « analyseur de la société contemporaine » et comme « symptôme de ce qui taraude la conscience de notre époque » / Without bodies, no stories. A vehicle of action, a narrative agent, and the support of a strong identification link between the audience and the character, the body is the main figure of cinematographic and television mediums.If cinema has always, from its early stages, glorified the endless liveliness of bodies, the reverse side of this exposure has simultaneously been lingering: the mute threat of death. However, in films or in television series, if the last breath before death is often synonymous with a ultimate communion with life and with a resistance to death, what happens to the body and the character when death has seized them for ever, and the living – characters and audience – are only left facing the corpse? As a parasite figure, the corpse is neither a character nor even an extra. Both an empty sign and a narrative core, the crime plot will indeed develop from the corpse and its examination, during the autopsy or on the crime scene. And whereas the corpse may seem secondary, even minor, if we look at crime fictions from the angle of its fixed and opaque non-look, it still allows us to see something of the crime and of its deeply unfair nature, and of the relations between the living and a death that appears in its most abject features on the autopsy table. In this study, we will examine how crime fictions stage corpses as disturbingly precise reflects of a contemporary lack of perspective in front of death. Similarly to the philosopher Maxime Coulombe in his essay on zombies, we will consider the fictional corpse as an "analyser of contemporary society" and as a "symptom of what is tormenting the consciousness of our time"