The three print series I completed within the past two years appear hardly related at first. However, these individual bodies of work, when examined chronologically, are continually informed by similar ideas. The most obvious of these is the act of piecing elements together to form something that had previously not existed, yet still influences the original source. In all three series, images are taken from an original source and re-contextualized. The idea of cultural or anthropological landscapes is also a theme throughout my work. Each individual series toyed with the idea of an imaginary or theoretical anthropological landscape in direct comparison to its pre-existing model. These humorous and oftentimes puzzling images are influenced by my over-active imagination, fueled by equal parts pop culture, playful cynicism, and desperate idealism.

Title: Fashionspace Portal Author: Jindřich Flídr Department: Department of Software and Computer Science Education Supervisor: RNDr. Tomáš Holan, Ph.D. Abstract: The aim of this thesis is to design architecture and implement web application "Fashionspace". This application allows user to create virtual fashion shows based on videos in an interactive environment. The client application is implemented using the Adobe Flash platform and communicates with the CMS Drupal using services. The application is integrated with many technologies, such as online user communication using the XMPP protocol or HD video streaming. The architecture of this application is modular and is built on the principles of MVC. Keywords: web technologies, RIA, Adobe Flex, CMS Drupal, video streaming

The aim of the thesis is to map and describe changes that have taken place in the field of political debates on the Czech Television (in the period from 1989 to the present). The work describes changes regarding the form and the content of programs and its debates. There also appears a critical assessment of that development (and of some prevailing trend) of the political issue programs (on Czech TV) in the thesis. Hypothesis relates to the assumpiton that a given period occured significant changes in the form and content of the broadcasted. Description of those changes is the main aim. The author proceeds in five steps. First, the introduction sets the theme in context, mentions a historical overview of political discussion programs broadcasted on Czech Television (from 1989 to the present) and consequently characterizes them. The first chapter will bring the presentation of the works from the field of political science and media- science, which will serve as a theoretical guide in analyzing the contents. The second chapter brings the key analysis of the programs using the theory and designed methodology. The third chapter evaluates the analysis, summarizes the empirically observed data and confirms or rejects the hypothesis. The thesis is closed by the fifth part, in which the author performes the final...

The aim of the thesis is to map and describe changes that have taken place in the field of political debates on the Czech Television (in the period from 1989 to the present). The work describes changes regarding the form and the content of programs and its debates. There also appears a critical assessment of that development (and of some prevailing trend) of the political issue programs (on Czech TV) development in the thesis. The first research question relates to the assumpiton that a given period occured significant changes in the form and content of the broadcasted. Description of those changes is the main aim. The second question 1 relates to the assumption that the applied media-scientific theories are applicable to the issue of television political debate. The author proceeds in five steps. First, the introduction sets the theme in context, mentions a historical overview of political discussion programs broadcasted on Czech Television (from 1989 to the present) and consequently characterizes them. The first chapter will bring the presentation of the works from the field of political science and media- science, which will serve as a theoretical guide in analyzing the contents. The second chapter brings the key analysis of the programs using the theory and designed methodology. The third chapter...

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Made available in DSpace on 2016-04-26T18:10:30Z (GMT). No. of bitstreams: 1 Cleber Vanderlei Rohrer.pdf: 2181843 bytes, checksum: 8415ebffb725b5ac16b4ce1bfd37fefc (MD5) Previous issue date: 2010-11-26 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / On this research the artistic trajetory of the presenting Aberlardo Barbosa, also known as Chacrinha, is presented, from the beginning of his career on the radio until he entered his ideal vehicle as a communicator: the television. The presenting is considered by many televisual language criticals as one of the most polemicals and outstanding characters from this set. Chacrinha s importance for the brasilian television is due to his irreverence, criativity and also due to some of his unconventional behavior (anarchic ones) that made him different from the other ones acting at that time. Aberlardo Barbosa s career starts on the radio in the fourties bunching all the popular scenary as cassinos, circus and popular parties, which are a couple of activities that influenced him until his arrival on the TV. Once on the TV his trajetory throghout the TV stations, mainly Tupi TV, Globo TV, and Bandeirantes TV is introduced lightning up his resources to capture the audience, including the tenderfoot performances, his own performing dancers, who were known as chacretes, a description of his audience and some problems he has had with the censorship. The theorical references concentrates on authors as Décio Pignatari who has analysed different TV programs in the late senventies, among them the Chacrinha s ones, and Arlindo Machado who has presented a thesis about the tv and a detaled anlyses made yet in the beggining of the seventies when Muniz Sodré does a critical observation about the brasilian culture and the communication vehicles. Chacrinha aesthetics and his televisual language are approached in a very specific way in which it is introduced as a spilling from other means of communication that have influenced him and made him become a unique presenting, besides the fact that he has been an icon for tropicalism. In order to head into an end it is outstanded that it might be a legacy left by Chacrinha in our television, and his importance in this set has been kept on even after his very last show / Nessa pesquisa, apresenta-se a trajetória artística do apresentador Abelardo Barbosa, o Chacrinha, o início de sua carreira no rádio, até o encontro do seu veículo ideal como comunicador: a televisão. O apresentador é considerado por muitos críticos da linguagem televisual como uma das figuras mais polêmicas e marcantes desse meio. A importância de Chacrinha na televisão brasileira é atribuída à sua irreverência, criatividade e também a algumas atitudes não convencionais (anárquicas) que o diferenciaram de outros apresentadores no mesmo período em que atuou. A carreira do apresentador se inicia no rádio, ainda na década de 1940, somando todo o restante do cenário artístico popular dessa época, com cassinos, teatros de revistas, circo e festas populares, um conjunto de atividades que o influenciaram até a sua chegada à televisão. Já na televisão brasileira, a sua trajetória pelas emissoras, priorizando a TV Tupi, TV Globo e a TV Bandeirantes, é apresentada destacando-se os seus recursos para conquistar o público, incluindo as performances dos calouros e de suas dançarinas, as chacretes, uma descrição do seu auditório e alguns de seus problemas com a censura. Os referenciais teóricos concentram-se em autores como Décio Pignatari, que analisou diversos programas de televisão no final da década de 1970, entre eles os do Chacrinha, e Arlindo Machado, que faz uma defesa da televisão, e em uma análise detalhada feita ainda no início da década de 1970, quando Muniz Sodré faz crítica à cultura brasileira e aos veículos de comunicação. A estética de Chacrinha e sua linguagem televisual são abordadas de uma maneira específica em que se apresentam como vertentes de outros meios de comunicação que o influenciaram e o tornaram um apresentador único, além de ter sido um ícone do Tropicalismo. Para finalizar aponta-se que poderá haver um legado deixado por Chacrinha em nossa televisão, e que sua importância no meio manteve-se mesmo após o término de seu programa

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

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Les spectacles ethnologiques victoriens mettent en scène des milliers de colonisés dans des zoos, cabarets, appartements privés et institutions scientifiques. Cette thèse se penche sur deux spectacles sud-Africains en particulier : les « Zulu Kafirs » et les « Earthmen », montés à Londres dans les années 1850. Prenant pour point de départ « The Noble Savage » de Charles Dickens, écrit après qu’il a vu les « Zulus », ce travail porte sur le fantasme victorien d’un « muséum humain ». Après une étude des concepts de « race » et de « sauvagerie » aux XVIIIe et XIXe siècles, nous abordons l’évolution des pratiques muséologiques et la fascination de Dickens pour un muséum humain monstrueux. Nous passons ensuite aux spectacles ethnologiques victoriens et au « spécimen » Africain comme « métonyme ethnographique » et mythe, évoluant dans un « fantasme hétérotopique ». Ce fantasme est réalisé dans le Département d’Histoire Naturelle du Palais de Cristal de Sydenham, dans lequel des moulages des « spécimens » sont exposés dans des « théâtres écologiques ». La visite y permet l’exploration sociale et pose le problème d’un cannibalisme moral, quand le colonialisme et l’impérialisme victoriens se heurtent à leurs propres contradictions. Ces dernières sont développées dans Bleak House (1853), où Dickens attaque la « philanthropie télescopique », alors que la « préférence ethnologique » semble aller aux esclaves américains, dont les récits sont publiés et mis en scène. A Tale of Two Cities (1859) pourrait ainsi être lu comme la réalisation de la crainte dickensienne de voir les pauvres s’ensauvager, si les philanthropes persistent à les exclure de leur muséum humain. / Nineteenth-Century ethnological shows involved the display of thousands of colonised people in a variety of urban settings, including zoos, cabarets, private apartments, and scientific institutions. This dissertation focuses on two South African shows in particular: the “Zulu Kafirs” and “Earthmen”, both staged in London in the 1850s. Taking its lead from Charles Dickens’s pamphlet “The Noble Savage”, written after he saw the “Zulus”, this thesis looks at the Victorian fantasy of a “human museum”. Following a historical study of the concepts of “race” and “savagery” in the 18th and 19th centuries, we retrace the evolution of museological practices and look at Dickens’s fascination with a (monstrous) human museum. We then move on to consider Victorian ethnological shows and the African “specimen” as “ethnographical metonym” and myth, displayed in a true “heterotopic fantasy”. This fantasy was realized in the Natural History Department of the Crystal Palace in Sydenham, where casts of the “specimens” on show were arranged in “ecological theatres”. There, the museum visit allowed for social exploration among the visitors, and raised the issue of (moral) cannibalism, at the point at which Victorian capitalism and imperialism met their own contradictions. These are further explored in Bleak House (1853), where Dickens attacks “telescopic philanthropy”, as the “ethnological preference” seemed to go to American slaves, whose narratives were published and staged. In this light, we might read A Tale of Two Cities (1859) as the realisation of the writer’s fear that the Poor might revert to a state of “primitive” savagery, if they remain overlooked in the philanthropists’ human museum.

In Gerichtsshows wie „Richter Alexander Hold“, „Richterin Barbara Salesch“ und „Das Strafgericht“ agieren Laiendarsteller semi-spontan als Teilnehmer einer fiktiven Gerichtsverhandlung. Hier wird also eine kommunikative Gattung aus der öffentlichen Kommunikation – die Gerichtsverhandlung – als Folie für eine Unterhaltungssendung genutzt. In dieser Arbeit wird die Gerichtsshow mithilfe des Konzeptes der kommunikativen Gattung beschrieben. Die Darstellung findet auf den verschiedenen Ebenen der kommunikativen Gattung "Binnenebene", "situative Realisierungsebene" und "Außenstruktur" statt. Außerdem wird dem Modell der kommunikativen Gattung als weitere Ebene die "mediale Außenstruktur" hinzugefügt, um die Beschreibbarkeit des Mediengesprächs "Gerichtsshow" zu verbessern. Die Analyse der Gerichtsshow zeigt, dass hier durch die Beteiligten eine Kontextualisierung als Gerichtsverhandlung aufgebaut wird. Die Teilnehmer müssen jedoch zugleich Aufgaben bewältigen, die denen einer Unterhaltungssendung entsprechen. Eine zentrale Aufgabe der Beteiligten ist daher das ständige Aushandeln zwischen der Produktion der Kontextualisierung als Gerichtsverhandlung einerseits und der Erfüllung der Anforderungen einer Unterhaltungssendung andererseits. In diesem Aushandlungsprozess entsteht eine gerichtsshowspezifische Darstellung von Kommunikation vor Gericht, die in dieser Arbeit mithilfe von rechtssoziologischen Konzepten wie dem der "Verfahrensgerechtigkeit" in ihrer Bedeutung im Diskurs um Recht und Gerechtigkeit eingeordnet wird. Die Analyse findet anhand von transkribierten Ausschnitten aus den Sendungen „Richter Alexander Hold“, „Richterin Barbara Salesch“ und „Das Strafgericht“ statt. / In German court room shows like “Richter Alexander Hold”, “Richterin Barbara Salesch“ and “Das Strafgericht“, amateur actors perform semi-spontaneous as participants of a fictional trial. The present thesis analyzes court room shows as communicative genres, using the concept of “Kommunikative Gattungen” as introduced by Beger/Luckmann (1988) and Günthner (1995). The analysis shows that court room shows' participants use court-specific contextualization cues to contextualize their interaction as a trial. At the same time, they have to fulfil tasks which are typical of shows and especially talk shows. Participants thus have to negotiate between producing a court-contextualization on the one hand and managing talk show tasks on the other hand. This negotiation produces a representation of court room communication that is typical of court room shows.