The portrayal of law in television programs on the example of the series Judge Barbara Dominika Muschaliková Abstract This diploma thesis deals with the depiction of law and lawyers in Czech serial production on the example of the TV show Judge Barbara. It analysis means the creators use to capture the judicial environment and the impressions of the judicial environment viewers get from the show. It also compares this depiction with reality and evaluates the educational potential of the show. The second part seeks to answer the question of whether it is ethically permissible for real judges and lawyers to participate in the production of these programs, draws attention to the complexities of professional advice on television production and gives future legal advisers recommendations how to proceed when asked to partipate in such project. Key words Portrayal, law, television, court proceedings, TV shows, Judge Barbara

The Trends in Czech TV Travel Series Between the Years 2010-2020 diploma thesis outlines the typology and main trends in travel series that premiered on Czech public broadcast television channels between 2010 and 2020. The aim of this thesis is to introduce categories of Czech TV travel series and describe how the viewer is addressed. In the theoretical section, the terms such as TV travel journalism and the issue of celebritization and celebrification are defined. By introducing the concept of the Tourist Gaze, the problematic aspects of TV travel series are defined, be it the stereotypization of a displayed environment or the commercialization of its content. Following the methodology section, the thematical classification of Czech TV travel series is presented. In turn, the main part of the thesis focuses on establishing five typological categories of the travel series. After analysing several randomly selected episodes of the programmes, the thesis then sums up the most important peculiarities of Czech public broadcast production of travel series between the years 2010-2020 and identifies the most crucial development trends within the genre.

Die Beiträge untersuchen den Einsatz von Musik in zeitgenössischen Fernsehserien. / A collection of articles dealing with music in contemporary TV shows.

Late night talk shows have been an integral part of U.S. television since the 1950s, and the genre continues to thrive today in an ever changing media landscape. In my dissertation, I argue that the contemporary programs of Late Night with Seth Meyers, The Late Show with Stephen Colbert, and Jimmy Kimmel Live! make up a category of late night talk shows that I term as satirical network late night. From a visual standpoint, these programs look almost identical to past programs like The Tonight Show Starring Johnny Carson or the Late Show with David Letterman with their sets, house bands, monologues, sketches, desk pieces, and guest appearances. However, these satirical network late night programs produce political content that differs vastly from their predecessors. I assert that these programs are steeped in brazen partisanship, amplify the news media, and function as a sensationalized form of infotainment. This is not the big-tent and “least objectionable programming” offered on past network programs like Carson’s Tonight Show. Additionally, this is not what was offered on cable parody news programs such as The Daily Show with Jon Stewart that presented a veiled partisanship, served as a watchdog over the media and political spheres, and lambasted the entertainment-laden modes of modern news reporting and punditry. In less than a decade, satirical network late night has disrupted genre conventions that existed on network television for over sixty years. This research breaks down what makes these new satirical network late night programs’ political content distinct and helps to decipher why these changes took place in mid-2010s.

Purpose: The purpose of this essay has been to investigate how two male chefs: Per Morberg and Gustav Johansson, use cooking as an expression of their masculinity with a focus on how masculinity is portrayed in relation to meat-based and vegan diets. Research questions: – How do Morberg and Johansson present their masculinity in relation to the food that is cooked? In the form of cuisine, words and body language. – What underlying power structures in masculinity do the cooking shows express? – What possible similarities and differences are there in the representation of masculinity in each cooking show based on Morberg's and Johansson's ways of cooking? Theories: (1) The implicit author (Gripsrud, 2011), (2) Butler’s (1997) performativity theory, (3) Connell's (2008) masculinity theory and (4) Adam's (1990) theory of the sexual politics of meat and the absent referent. Method: A total of ten episodes of two different cooking shows were studied: ”Vad blir det för mat?” and ”Vegansk husmanskost”. The material was conducted using Norman Fairclough’s (1995) model named critical discourse analysis. Conclusion: Morberg’s gender creation is often an expression of what in the western culture is perceived as hegemonic masculinity, where elements such as size, strength and violence, often related to meat, are common. He cooks with a theatrical enthusiast. He is loud, sweaty and chaotic, the expressions exude macho character. These expressions are brought to life in connection with his cooking – especially to meat. In the show, the receiver quickly learn that he cares about hunting, quality products and slaughtering the animals himself, which he then cooks. He peels potatoes with a high-pressure washer, slaps dead animals on the buttocks and makes sexist jokes. His way of communicating his masculinity is related to society’s ideal of masculinity.  With his cooking show, Johansson wants to inspire people to cook without meat. Here one realizes that he clearly distances himself from the traditional discourse around plant-based. He wants to get people to reduce their meat consumption by normalizing the vegan diet, but he hides the dishes in a meat context. It can be interpreted as Johansson wanting to carry out a new form of vegan practice that is intended for more than just vegans. He shows this by cooking plant-based food that supports the concept ”meat is masculine”. He does not want to be associated with the traditional view society has of plant-based foods that are associated with feminist practice. He wants to create legitimacy among the meat norm by cooking plant-based food that looks like traditional home cooking with the taste and texture of meat.

En este estudio se desarrolla un análisis de la estructura narrativa del programa de televisión, de formato reality show, “Esto es Guerra” y su relación con los hábitos de consumo de dos grupos de personas que hacen parte de la audiencia que viven en el distrito de Independencia, Lima. Se pone énfasis en las prácticas sociales de comunicación y en el consumo de televisión por parte de jóvenes hombres entre 20 y 27 años de edad, solteros y sin hijos; y en madres de familia de estado civil diverso entre los 20 y 35 años de edad. Se realiza observación del proceso de consumo televisivo en un espacio privado (vivienda de jóvenes varones) y en un espacio público (área de juegos del mercado FEVACEL). Además, se incluye un análisis del programa televisivo “Esto es Guerra” entre los años 2012 al 2014, cuando se emite a nivel nacional por el canal de televisión América TV de Lima. Entre los principales hallazgos están la caracterización de la relación que existe entre el lenguaje audiovisual utilizado en “Esto es Guerra” (EEG) y la forma de consumo de los grupos observados. Resalta la capacidad narrativa del medio y su consecuente efecto en la construcción del sentido de realidad (una realidad televisiva) así como su capacidad para expandirse y reproducirse en otras plataformas. Se verifica que el sensacionalismo se manifiesta a través de personajes y discursos populares ordenados en una estructura narrativa diseñada para generar controversia en un marco de espectacularidad. El análisis permite establecer una lista de claves del código sensacionalista de la televisión peruana. Estos van desde el lenguaje audiovisual (planos, movimientos de cámara, musicalización e iluminación) hasta la formación de realidad ficcional construida por discursos y estructuras narrativas que definen la figura del cuerpo, del hombre, de la mujer, el amor, el romanticismo, la amistad y la sexualidad (vida privada) de los personajes. En ese sentido, el consumo se organiza en el marco de la “cultura del chisme”, la cual parte de historias mediatizadas dedicadas al escrutinio de la vida privada de los personajes televisivos. Estas historias mediatizadas se configuran como discursos que validan la exposición y el comercio de conflictos entre personajes mediáticos a través de distintas plataformas. / This study develops an analysis of the narrative structure of the television program, reality show format, "Esto es Guerra" and its relationship with the consumption habits of two groups of people who are part of the audience who live in Independencia district, Lima. Emphasis is placed on social communication practices and television consumption by young men between 20 and 27 years of age, single and without children; and in mothers of diverse marital status between 20 and 35 years of age. Observation of the television consumption process is carried out in a private space (housing for young men) and in a public space (game area of the FEVACEL market). In addition, an analysis of the television program “Esto es Guerra" is included between 2012 and 2014, when it is broadcast nationally by the television channel América TV in Lima. Among the main findings is the characterization of the relationship between the audiovisual language used in "Esto es Guerra" (EEG) and the form of consumption of the groups observed. It highlights the narrative capacity of the medium and its consequent effect on the construction of the sense of reality (a television reality) as well as its capacity to expand and reproduce itself on other platforms. It is verified that sensationalism is manifested through popular characters and speeches ordered in a narrative structure designed to generate controversy in a spectacular setting. The analysis allows to establish a list of keys of the sensationalist code of the Peruvian television. These range from audiovisual language (shots, camera movements, music and lighting) to the formation of fictional reality constructed by discourses and narrative structures that define the figure of the body, man, woman, love, romanticism, friendship and sexuality (private life) of the characters. In this sense, consumption is organized within the framework of the "culture of gossip", which starts from mediated stories dedicated to the scrutiny of the private lives of television personalities. These mediated stories are configured as discourses that validate the exposure and trade of conflicts between media characters through different platforms.

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La presente investigación se centra en cómo la trama dramática del programa de televisión peruano Esto es Guerra, el cual se ha ido posicionando en cada espacio de las actividades cotidianas de la familia peruana, es recepcionada y reinterpretada por las adolescentes para construir sus propias narrativas de éxito. La televisión es un medio de entretenimiento masivo y gratuito, una ventana desde tu hogar al mundo que debe divertir, entretener e informar, así como inculcar a los individuos los valores, creencias y códigos de comportamiento que les harían integrarse en las estructuras institucionales de la sociedad. Sin embargo la creencia de la influencia de la televisión en las vidas de las personas como una señal dominante externa la cual empuja a aceptar los códigos de comportamiento cultural como únicos y verdaderos pierden vigencia en los estudios de audiencias contemporáneos. Las audiencias no son un grupo único, son diferentes subgrupos de personas las cuales reaccionan ante un mismo producto cultural, utilizando el contenido y los mensajes de manera particular, a partir de sus propios intereses y gustos. En este trabajo nos encontramos frente a un grupo de adolescentes mujeres en una relación directa y activa con la televisión. Una característica fundamental de la adolescencia es la búsqueda para poder desarrollar un sentido de pertenencia y en este camino reconocerse con otros y a partir de ello agruparse con quienes comparten sus mismos intereses artísticos, intelectuales, deportivos, entre muchos otros; hay cambios fisiológicos a nuevos roles sociales: “que sabes hacer”, “que puedes hacer”; de madurez sexual y comportamiento sexual adecuado.

This diploma thesis discusses the possible influences that media especialy television has on langugage development in pre-school children. In first part we talk about speech development, speech difficulties, history of media, studies about influence of watching TV on the personality of the child. Practical part examines influence of watching TV on child and his speech.

The diploma thesis "Media Construction of the Past: Image of the Period of Normalization in the Czech Non-fiction Television Shows after the Year 2006" looks into media construction during normalization period in television shows, which mark themselves as journalistic. The two following methods are used to analyze chosen thematic units broadcasted between the years 2007-2012: quantitative content analysis and semiotic analysis. Content analysis besides other things provides information about the frequency of occurrence of specialists in the field of social sciences, both movies and period footage as well as Slovak speaking people in non- fiction television shows such as Retro, Historie.cs, Víkend and Střepiny. Semiotic analysis notices denotative meaning of two examined units as well as opening jingle of Retro and Historie.cs shows and subsequently interprets used components. Based on this interpretation myths associated with construction of both normalization and the past are deciphered. Chapters dedicated to research are complemented by methodological part, which familiarizes with the technique of researches and explains differences between quantitative and qualitative methods, as well as the theoretical part, which brings insight into media representation, media construction, and relationship...