Made available in DSpace on 2016-04-26T18:15:17Z (GMT). No. of bitstreams: 1 Mariana Marques de Lima.pdf: 1458081 bytes, checksum: 17c1ef2b2a40c63005b59097c8cd384b (MD5) Previous issue date: 2015-08-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The main objective of the research is to investigate how open television program schedule still persists, in face of new technologies such as Netflix and channels to on demand as well as analyze the slots and their arrangement on schedule; asks also represents this schedule, amid great changes of a technological nature, displays an almost unchanging grid. The research proposes to understand the means adopted by broadcast television for attraction and retention of your audience. For this, the hypothesis elaborated suggests that the grid changes are a mirror to social change, given that the sensitivity of television vehicle, when dealing with stakeholders reinforces the everyday by repeating your grill. In order to analyze how the grid goes and how it is important in the routine of the majority of the population, this study came from an exploratory research on the landscape of television showing its main trends and changes including the good relationship with the internet, and the appropriation of their resources, with the references on the subject the authors: Vera V. France, Yvana Fechine, Esther Hamburger, and Arlindo Machado. Then, in order to introduce a typology of programs, with their genres and formats, we see programming from the grid Globo Television Network, between 2013 and 2015, a period in which the vehicle was in accordance with official release schedule. In light of Gilles Deleuze and Félix Guattari, from the postulates text linguistics, we find the concepts "form of content and expression," a philosophical basis for analyzing the grid and understand how time and the organization of programs are part of this dynamic. Through this approach, we seek to lead to deeper understanding this close relationship that the program schedule of broadcast television shows with social life / O principal objetivo da pesquisa é investigar como a grade de programação televisiva aberta ainda persiste em face das novas tecnologias, como o Netflix e os canais on demand, assim como analisar as faixas horárias e sua disposição na programação. Pergunta-se ainda como essa programação, em meio a grandes mudanças de cunho tecnológico, exibe uma grade quase inalterável. A pesquisa propõe compreender os meios adotados pela televisão aberta para atração e permanência de seu público. Para isso, a hipótese elaborada sugere que as mudanças da grade são um espelho para as mudanças sociais, tendo em vista que a sensibilidade do veículo televisivo, ao tratar com seus públicos, reforça o cotidiano através da repetição de sua grade. Com o intuito de analisar como a grade prossegue e a forma como ela se faz importante na rotina da maioria da população brasileira, o presente trabalho partiu de uma pesquisa exploratória sobre o cenário da televisão evidenciando suas principais tendências e modificações, entre as quais a boa relação com a internet e a apropriação de seus recursos, tendo como referências sobre a temática os autores: Vera V. França, Yvana Fechine, Esther Hamburguer e Arlindo Machado. Em seguida, a fim de apresentar uma tipologia dos programas, com seus gêneros e formatos, visualiza-se a programação a partir da grade da Rede Globo de Televisão, entre os anos de 2013 e 2015, período esse em que o veículo estava em conformidade com o boletim oficial de programação. À luz de Gilles Deleuze e de Félix Guattari, a partir do texto Postulados da Linguística, encontrou-se nos conceitos ―forma de conteúdo e de expressão‖ um embasamento filosófico para analisar a grade e compreender como o tempo e a organização dos programas se inserem nessa dinâmica. Por meio dessa abordagem, buscou-se aprofundar o entendimento dessa estreita relação que a grade de programação da televisão aberta apresenta com a vida social

Ce travail de recherche doctoral en sciences de l'information et de la communication propose d'appréhender un média, la télévision, en France, au printemps 2005. Cette période correspond à un épisode de mutation qui voit l'ancienne télévision analogique migrer vers un environnement numérique et informatique. Notre propos cherche à explorer la notion de média en articulant trois dimensions : le contexte, le discours et le format. Il s'agit d'explorer des mécanismes qui configurent les pratiques médiatiques, au printemps 2005, à travers : la définition d'un contexte d'innovation technique, l'analyse de discours d'actualité qui affirment des lignes éditoriales et enfin, la valorisation de la programmation et la conception de formats de programmes qui intègrent la culture numérique. Les objets construits au cours de cette recherche sont des formes médiatiques, composées de codes identifiables et marquées par le contexte culturel de leur production. En tant que pratique médiatique, la programmation télévisuelle est transversale. Elle assure une continuité entre les trois dimensions : le contexte dans lequel elle est agencée, les discours qui la prennent pour objet, enfin, les codes et formats télévisuels qu'elle intègre. Notre projet consiste à étudier la programmation télévisuelle comme un objet médiatique complexe, configuré par les enjeux techniques, industriels et économiques liés à la diffusion d'une innovation. Ainsi, dans une première partie, les modalités de la médiatisation des choix de programmation seront appréhendées en observant les discours d'actualité produits et diffusés le 31 mars 2005, à l'occasion du lancement en France de la télévision numérique terrestre. La nature éditoriale du média télévision, et la programmation comme objet de discours d'autopromotion seront mises en évidence. Puis, dans une deuxième partie, les nouvelles formes de la médiation de la programmation seront examinées à travers un corpus web, composé des pages des sites des chaînes de télévision pré-numériques. / "Discurses on innovation and broadcast programming mediations. Television in the digital age". This doctoral research in information and communication sciences (Media Studies) offers to understand the functional behaviour of a media, the television, in France, during the spring 2005. This period corresponds to an episode of change that sees the old analog TV migrate to a digital environment. Our work seeks to explore the notion of media articulating three dimensions : context, discourse and format. This is to explore mechanisms that shape media practices in the spring of 2005, through : the definition of a technical innovation context, the analysis of the news discourse which affirms editorial strategies and finally, the development of broadcast programming and programs designs that incorporate the digital culture. The objects built in this research are media forms, composed of identifiable codes and marked by the cultural context of their production. As a media practice, television programming is transversal. It ensures continuity between the three dimensions: the context in which it is arranged, the speeches which are intended, finally, the television codes and formats that are integrated. Our project is to study broadcast programming as a complex media object, configured by the technical, industrial and economic issues related to the diffusion of an innovation. Thus, in a first part, the terms of the media coverage of the scheduling choices will be understood by observing the news discourses produced and distributed on March the 31st 2005, at the launching in France of the digital terrestrial television. The editorial nature of television, and the broadcast programming as an object of discourse of self-promotion will be highlighted. Then, in a second part, the new mediation forms of scheduling will be examined through a web corpus, consisting of pre-digital broadcasters web pages.