Syftet med min deduktiva och kvalitativa studie är att skapa förståelse för visuell representation av HBTQIA+ personer i ett kommersiellt tv-program. Hur historiska subjektspositioner kan tänkas vidhålla gamla normer inom en subkultur. Genom en kritisk diskursanalys kommer jag att titta på både det som visas och det som saknar i bilden. Resultatet blev fyra olika teman som fick representera olika delar av mina observationer utifrån hierarki, privata berättelser, en nedärvd kultur och extrem objektifiering. Slutsatsen är att där finns en komplexitet i att göra kommersiell tv av en historisk händelse som ballroom-kulturen, som hade som syfte att skapa aktivistisk förändring. Representationen av deltagarna bygger på en förlegad och stereotyp bild från en historisk tid. För att lyckas förändra samhällsnormer måste vi alla, oavsett sexualitet vara villiga att bidra till dem. / The purpose of my deductive and qualitative study is to create an understanding of visual representation of LGBTQIA + people in a commercial television program. How historical subject positions can be thought to maintain old norms within a subculture. Through a critical discourse analysis, I will look at both what is shown and what is missing in the picture. The result was four different themes that could represent different parts of my observations based on hierarchy, private stories, an inherited culture, and extreme objectification. The conclusion is that there is a complexity in making commercial television of a historical event such as the ballroom culture, which aimed to create activist change. The representation of the participants is based on an outdated and stereotypical image from a historical time. To succeed in changing societal norms, we must all, regardless of sexuality, be willing to contribute to them

This diploma thesis deals with the development of TV listings of major Czech commercial channels, TV Nova and TV Prima, during 2002 - 2012. It focuses solely on their own production and covers the shift in aired genres, which has changed from the earlier variety shows and quiz shows to reality shows and soap operas that run the listings nowadays. Most TV production is based on so-called reality TV; there the emphasis is on capturing reality in a way, which is attractive for viewers and goes across many genres and styles. Consequently, the line between genres is becoming very thin and is no longer determining. The approaches these two channels took to structuring their TV listings are also very important since each had its own specific way. This thesis draws on theoretical grounds and covers important mechanisms affecting TV in the Czech Republic in three basic areas (global, technological and economic). It points out that globalization has brought about homogenized culture and international integration, which means many programmes are of foreign license. Moreover, we can see the trend of internetisation and convergence of TV content, which is increasingly influenced by modern technologies. The purpose of all this is high ratings that affect profits from advertising. And economic profit is for...

La théorie de la diffusion de l’innovation s’est constituée au cours du XXeme siècle autour de modèles qualitatifs et quantitatifs qui ne prennent pas en compte, sinon à la marge, l’influence des valeurs et des normes dans la genèse de l’adoption des innovations. A partir d’une hypothèse de recherche, la « structure complexe » d’Edgard Morin et Jean-Pierre Dupuy, et d’une synthèse épistémologique, ce travail de recherche propose une échelle de mesure expérimentale des « cités » de Boltanski et Thévenot et l’intégration de l’influence des conventions comme variables antécédentes de l’adoption des innovations dans un modèle d’équations structurelles inspiré d’une modélisation classique de comportement du consommateur, la théorie de l’action raisonnée de Fishbein. Appliqué au terrain des émissions de télévision, ce modèle indique que l’adoption des émissions dites de « téléréalité » et le bulletin télévisé de la météorologie répondent à des influences normatives différentes qui impliquent des comportements différenciés chez le téléspectateur lors de la consommation de ces programmes. La modélisation de l’influence des conventions ouvre la voie à une classification inédite des émissions de télévision, en fonction des influences sociales, et, en lien avec l’audience, à une meilleure anticipation du succès des nouveaux formats télévisuels. / The theory of the diffusion of innovations has been built during the XXth century around qualitative and quantitative models which does not take into account, otherwise barely, the influence of values and norms on the genesis of innovations. From a research hypothesis, the “complex structure” thought by Edgar Morin and Jean-Pierre Dupuy and an epistemic synthesis, this thesis proposes an experimental measure scale of the Boltanski and Thevenot’s “worlds” and the implementation of sociological forms, “the conventions”, as variable of the innovation adoption in a structural equations model inspired from the Fishbein’s Theory of reasoned action. Built on the field of Tv programs, this model shows that the adoption of “reality TV programs” are linked with specific sociological influences. These sociological influences involve atypical behaviors of TV viewers in front of the screen. The model of the influence of the “conventions” on consumer behavior opens the way to a new classification of TV programs as well as an improved prevision of the success of new formats.

Since TV became the most influential medium globally, the media content followed and as a result, a variety of programmes became international. When it came to entertainment, reality game show Survivor became a pioneer in crossing national borders when the programme’s format was licensed and sold worldwide. The ability of a single reality TV show format to appeal to different nations is remarkable and noteworthy, which consequently makes it an interesting field of research. Therefore, this essay focuses on analysing the narrative structures of the Survivor format productions in Sweden, the USA and Russia in pursuance of revealing representations and reproductions of the nations. It answers the questions about the narrative structures of the programmes, as well as about their common construction, and describes how the national identities are portrayed in a transnational reality game show format. In order to make the study extensive but at the same time significant, a structural narrative analysis with a comparative approach was chosen as a method. The selection was based on the importance of analysing the content of narratives in order to comprehend their illustrations of reality and, among other things, national identities. Mainly referring to a theory of nations as “imagined communities” and a theory about “banal nationalism”, the essay presents an analysis of the narrative structures. These structures, in their turn, expose the nation-specific elements that represent and reproduce the idea of nation. It is argued that national expressions are in general based on traditions and rituals of the nations. These representations are frequently unnoticed in everyday life; however they become noteworthy in the context of reality TV game shows such as Survivor.

The purpose of this thesis is to examine how power structures concerning gender and sexuality emerge through the use of language in the Swedish reality show Paradise Hotel. Of particular interest is the representation of heterosexual relations in the show. Because of its interest in the relationship between power, gender and sexuality, the thesis is based on theories from gender and discourse studies. The specific theories referred to are Michel Foucault’s understanding of power, stereotypes according to Stuart Hall, Yvonne Hirdman’s gender system and contract theory, Judith Butler’s heterosexual matrix and R.W. Connell’s theory of hegemonic masculinity. The empirical data consists of eight episodes of Paradise Hotel from 2014, which has been transcribed and analysed through the use of Norman Furlough’s critical discourse analysis (CDA). The results showed that Paradise Hotel portrays the male and female participants as fundamentally different and therefore they are allowed to behave in different ways. Among other things, it appeared that men have a high sex drive and they expect to get this need satisfied. The women on the other hand are discredited if they have sex with many partners. As a part of the concept of Paradise Hotel is to share rooms with a partner of the opposite sex there are certain expectations of intimacy. The male participants exercise power by claiming their partners as possessions. Neither do they respect the female boundaries regarding their bodies and sexuality. The women also participate in maintaining the patriarchal order in the show. However, some of the female participants oppose to a norm saying women should be sexually passive. For competition purposes they use their bodies and cunning in order to influence the men. Notably, while some of the discourses that emerged in the analysis reflect social power structures, others are reserved to Paradise Hotel since there are rules that only apply to the show.

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In my dissertation I survey the historic progress of the reality TV and the reality show, focussing on the specific genre of the talent shows, which stands for the current phenomenon of the entertainment industry in TV broadcasting. Using the method of the oral history I'll explain in detail the principals of running these shows on chosen formats and point out how different or same strategies can appear in shows all over the world. Further I'll focus on the structure and the level of a production, main features of the audience personality and behaviour, for example forming the relationship between the viewer and the participants on the basing on personal stories or praising and idealising the competitors. The next step of my analysis will be a depiction of the economic thesis and rules, which run the talent shows, which give them a direction and drive them on the TV market. I'll give an insight into the terms as the affective economics, building lovemarks or an inspiring fan, which are characteristic for the era of the convergence of media, which are considerably covered by talent shows. In the end my work depicts also the role of the jury and their specific trail, which are necessary for the viewer ratings and potential success of the certain show. Further my work will point out the typical marks...

Healthy lifestyle is a phenomenon that is inseparably connected to the current society - to people's everyday life, to habits, culture and last but not least to the media. This master thesis is focused on how media comprehend not only healthy lifestyle but also how they present individuals who do not respond to current beauty ideal - individuals suffering from overweight and obesity. First part of the thesis theoretically describes obesity as a medicinal and social problem. It shows broad spectrum of aspects connected with the diagnosis of obesity taken from medicinal view. It also points out the so called idealization of slenderness, or cult of slenderness, which in a certain way makes obesity discriminative element. Part of the text is an original Michael Foucault interpretation, who considers health to be a disciplinary power technology. Following is the description of health communication (communication in the area of health), description of the basics of fat studies, media as a healthy lifestyle platform and also the media genre reality show. In practical part, based on the theoretical foundation, the thesis applies quantitative content analysis and frame analysis of two television shows - Czech "Jste to, co jíte" and American "The Biggest Loser." Through mutual comparison are presented...

There is only little attention payed to cooking shows in academic world. Mostly only mass media and public give their opinion on this topic. Due to many shows that exist and their spread, it is sufficient to concentrate on them also in academic writings. This diploma thesis tries to define cooking shows as genre. In analytic part it concentrates on one important aspect of cooking shows - their chefs. At first this thesis gives theoretic ground to cooking shows. It describes theories which are dealing with food. Then it takes a look on theories describing processes in contemporary culture. It is followed by chapter about reality TV and reality shows. History part about cooking shows contents also description of most important cooking shows and their chefs, both foregin and Czech production. At the end of theory part the position of cooking shows as TV genre is stated. In this thesis, new and unique term was created - TV chefs' values. It describes set of factors, which are important for TV chefs' to have to suceed. These factors are natural acting, sense of humor, loving food and vocational education in the field. The reseaarch was based on watching three cooking shows and interviews with people responsible for choosing chefs to these cooking shows.

This thesis focuses on matters of Reality TV that share a main element - fear. The theoretical part of the thesis first introduces the genre itself, its history and classification. Secondly, the team fear is defined and analysed as a phenomenon through literature overview of the term in sociology, anthropology, philosophy and psychology. The thesis also outlines how fear was depicted in arts throughout history. The practical part of the thesis starts with a description of the methodology of the research and its design. Afterwards there are introduced Reality TV shows about fear which are subjects of the thesis, followed by analysis of their form and style. The final part of the practical part of the thesis consists of a research report revealing results acquired by qualitative survey on the basis of a grounded theory method. .