[pt] O programa Esquadrão da Moda, transmitido pelo SBT, está no ar há 8 anos. A participante é denunciada por algum conhecido, que considera suas roupas inadequadas. Os apresentadores e especialistas em moda, Isabella Fiorentino e Arlindo Grund, abordam a indicada e a oferecem doze mil para renovar seu vestuário. Eles sugerem novos looks adequados ao seu corpo e para cada ocasião e o programa ainda disponibiliza assessoria de maquiagem e cabelo. Ao final do programa com o visual repaginado, a participante se declara mais satisfeita com o seu novo estilo. Percebe-se, então, que o programa proporciona a construção de uma nova subjetividade da participante a partir do consumo de moda. Este trabalho tem o objetivo de analisar a reconstrução da participante do reality show a partir do processo de adequação visual através da moda, que veste um corpo. A partir da análise dos vídeos disponibilizados no site do Programa, no segundo semestre de 2016, definiu-se a classificação das participantes em 2 grupos divididos em: Excesso ou Falta de adequação. Uma régua media os episódios entre não adequados por excesso ou falta na escolha do vestuário. Realizou-se uma análise mais aprofundada de uma representante de cada grupo, utilizando os conceitos de corpo - capital de Mirian Goldenberg e Marcelo Ramos (2007), de Habitus de Bourdieu (1976), de corporeidade relacionada à classe social de Boltansky (1984) e de Estereótipo de Stuart Hall (2016). E concluiu-se que a narrativa da participante é construída por estrutura melodramática pela qual viabiliza e simula o ritual para a transformação de uma subjetividade mais adequada a um modelo estético legitimado e disseminado pela mídia a partir da prática do consumo. / [en] The Esquadrão da Moda tv show has been on for 8 years, broadcast by SBT Network. The show guests are denounced by some acquaintance, which considers their clothing inappropriate. The hosts and fashion experts, Isabella Fiorentino and Arlindo Grund, address the issue and offer the amount of twelve thousand in cash to renew their clothing. They suggest new looks, more suited to the guest s body on every occasion and in addition offer some make up and hairstyle advice. At the end of the show with a renew look, the guest declares to be more satisfied with the new style. It s clear then that the tv show provides to the guest the construction of new subjectivity through fashion consumption. The work aims to analyze the reconstruction process of the reality show guest visual adaptation through fashion that suites a body. Based on the analysis of videos made available on the shows website, in the second half of 2016, the guests were classified into 2 different groups: Excess or Lack of adequacy. A ruler mediates the episodes between not adequate by excess or lack in clothing choice. One representative of each group makes a detailed analysis using the concepts of Mirian Goldenberg and Marcelo Ramos capital body (2007), of Bourdieu s Habitus (1976), Boltansky s corporeity related to social status and Stuart Hall s Stereotype (2016). It was concluded that the guest s narrative is constructed by a melodramatic structure through which it enables and simulates the transformation ritual for more adequate subjectivity to a legitimized aesthetic model and disseminated by the media through out consumption practice.

[pt] Hoje em dia, como em um passe de mágica, o aparecer na televisão pode reconfigurar o significado da própria existência (para si mesmo e para os outros). Talvez por isso, ser o foco dos olhares tenha virado uma prioridade de muitos, sendo quase como um emprego: uma forma de ganhar dinheiro, subir na vida, alcançar a tão almejada fama, ou se preferir, virar uma celebridade. Não importa muito o nome que se dá a este tipo de conquista, mas a que preço ela é obtida. Neste estudo, analisamos um reality show, que - semelhante à maioria dos programas televisivos atuais - tem como principal finalidade conquistar audiência. A fórmula do sucesso desta atração uniu o útil ao agradável, tornando o privado, público e, ainda, garantindo a satisfação da curiosidade sobre a intimidade alheia. O interesse do espectador por consumir os bastidores de outros cotidianos em seu grau mais restrito, de certa forma, se expressa pelo desejo de comparar-se e observar o quanto sua própria intimidade se aproxima de outras. O Big Brother Brasil vem mostrar que todos têm chance, e estimula a possibilidade de concretização deste sonho ao convocar pessoas comuns e anônimas para fazer parte do seu cenário em troca do confinamento por alguns meses e da exposição estereotipada de diversos comportamentos. Se essa troca é justa ou não, não pretendemos julgar, mas o fato é que ela existe, é aceita e desejada. / [en] Nowadays, as if by magic, to be on a television show could change the meaning of one´s life. That is maybe the reason why, for many people, it is now a priority to be in focus. It is somewhat like having a job, a way of getting money, of climbing socially, of rising to fame, or, one may say, of becoming a celebrity. It does not really matter how to label this kind of achievement, but what matters is at what cost it is achieved. This study aims to analyze a reality show whose main purpose is to reach a wide audience - as happens with most of the current television shows. The success of such a show lies in turning the private public and, in the process, satisfying one´s curiosity about other people´s intimacy. The viewer´s interest in peering at other people´s life in a way expresses his wish to make comparisons with his own life and to observe how much people´s intimacy resembles his own. Big Brother Brazil shows that everybody has opportunities and encourages the achievement of one´s dreams by recruiting ordinary, anonymous people to be part of it. In exchange, they have to be confined for some months and show a stereotyped kind of behavior. We can not judge whether this exchange is fair, but it is actually real and it is approved and anticipated.

published_or_final_version / Architecture / Master / Master of Architecture

Les séries télévisées policières américaines ont envahi les grilles de programmation des chaînes françaises et leur assurent les meilleures audiences. Les Experts, Les Experts : Miami, Les Experts : Manhattan, NCIS, NCIS : Los Angeles, Cold Case, Mentalist, FBI Portés Disparus, Bones, Dexter, Esprits Criminels, The Closer, la liste des séries policières américaines diffusées en prime time sur les six grandes chaînes nationales françaises est longue. Ce travail de thèse avait pour objectif de mieux comprendre la manière dont les téléspectateurs donnent sens à ces séries policières et les intègrent dans leur vie quotidienne en utilisant la notion d’interprétation comme fil conducteur du raisonnement. L’enquête repose sur trente-cinq entretiens individuels, sept entretiens de groupe et la distribution de deux questionnaires auprès d’une centaine de téléspectateurs qui affirmaient apprécier ou non les séries policières américaines. Ont ainsi été mis en lumière les éléments constitutifs des univers fictionnels de ces séries policières américaines qui permettent de créer une complicité durable avec les téléspectateurs interrogés. / French TV channels place a lot American cop shows on their schedule especially on prime time because these shows always bring them the best audience ratings. CSI, CSI : Miami, CSI : NY, NCIS, NCIS : Los Angeles, Cold Case, The Mentalist, Without a trace, Bones, Dexter, Criminal Minds, The Closer, the list of shows on the air is long. We would like to understand how viewers interpret all these TV shows and how they use them in their daily life. The notion of interpretation was the central point of our survey based on thirty five interviews, seven focus groups and two questionnaires delivered to hundreds of viewers who sometimes didn’t like watching American cop shows. We have discovered which elements of these shows are able to create a strong complicity with viewers.

Thesis (MBA (Business Management))--University of Stellenbosch, 2009. / ENGLISH ABSTRACT: China are one the fastest growing major markets in the world. Since joining the World Trade Organisation in 2002 China is officially open for business to the rest of the world. China is both a very lucrative market and a dangerous market to enter for various reasons. Trade fairs are an age old tradition in China and are still a very effective and widely used medium of trade in China. To the new entrant to the market, the trade fair offers a very effective and relatively inexpensive way for promoting your product to a wide and interested audience. / AFRIKAANSE OPSOMMING: China is een van die snel groeiende ekonomieë in die wêreld. Sedert sy aansluiting by die Wêreld Handelsorganisasie in 2002 is China amptelik oop vir besigheid vir die res van die wêreld. Om verskeie redes is China 'n baie winsgewende sowel as 'n gevaarlike mark om te betree. Handelskoue is 'n eeue ou tradisie in China en is steeds 'n algemene en baie effektiewe vorm van handel dryf. Vir die nuwe toetreder tot die mark bied die handelskou 'n relatiewe goedkoop manier om sy produk aan 'n wye gehoor bekend te stel.

Thesis (MA)--Stellenbosch University, 2008. / ENGLISH ABSTRACT: This study was initiated to gain insight into cabaret as a form of theatre for the migration of singers with a classical singing orientation. It researches a form of music theatre known as entertainment cabaret, which is individual by nature, as it is not bound by convention. The study entails a discussion of the nature of cabaret as a diverse form of theatre. It illustrates the role of the artist and the genre’s music style in researching structure, to determine differences and similarities in the frameworks of cabaret and opera, with specific reference to classical singing. Currently there is an abundance of musical theatre genres, and cabaret is not differentiated as an individual genre. This leads to problems in the definitive classifying of cabaret, as well as the bridging of a singer with a classical singing orientation migrating to cabaret. The study researches the concept of, and reasons for, this migration in South Africa. The qualitative research method, which makes use of in-depth interviews to gain insight, generated a wealth of information about the realities in South Africa. This method introduces a new method of acquiring information, where the changes of the last few years had a tremendous impact on the careers of performing artists in South Africa. For this reason, artists with a classical singing orientation must have a choice to take action; to generate their own opportunities. The main findings and the need for multi-talented artists to adapt to the different styles of genres were analysed in the theoretical section, followed by a discussion of the respondents’ feedback selected to contribute to this study. The gap in skills between the cabaret artist and the classical singer is identified to showcase and define the possibility of cabaret as a form of theatre for classical singers. New categories are generated in which ideas of how development can be adapted are laid out. / AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om insig te verkry in kabaret as moontlike teatervorm vir die migrasie van sangers met ’n klassieke sangoriëntasie. Dit ondersoek die vermaaklikheidsvorm kabaret, ’n eiesoortige vorm van musiekteater deurdat dit nie deur konvensies begrens word nie. Die studie behels ’n bespreking van die aard van kabaret as diverse teatervorm, en illustreer die rol en vaardighede van die kabarettis asook die genre se musiekstyl om die ooreenkomste en verskille in die raamwerk van kabaret en opera, met betrekking tot klassieke sangoriëntasie, te ondersoek. Tans oorvloei die musiekteatergenres, en word kabaret nie as eiesoortige genre onderskei nie. Dit maak die onderskeid van kabaret, asook die oorbrugging van ’n klassieke sanger wat na kabaret migreer, uiters problematies. Die studie stel ondersoek in na die konsep van en redes vir die migrasie van sangers met ’n klassieke sangoriëntasie na kabaret in Suid-Afrika. Die kwalitatiewe metode, wat met behulp van diepte-onderhoude insig verkry, het ’n magdom inligting oor die werklikhede in Suid-Afrika opgelewer. Hierdie metodologie is ’n nuwe manier om inligting in te samel, veral in die lig van veranderinge in die laaste paar jaar in die land, wat ’n geweldige impak op die loopbaan van Suid-Afrikaanse uitvoerende kunstenaars gehad het. Kunstenaars met ‘n klassieke sangoriëntasie moet kan kies om tot aksie oor te gaan; om hulle eie geleenthede te genereer. Die hoofbevindinge en die behoefte dat veelsydige kunstenaars by verskillende genrestyle moet kan aanpas word in die teoretiese afdeling ondersoek, gevolg deur ’n bespreking van die respondentterugvoering wat vir die doel van die studie geselekteer is. Die gaping tussen die vaardighede van die kabarettis en klassieke sanger word geïdentifiseer om sodoende die moontlikheid van kabaret as teatervorm vir klassieke sangers te definieer. Nuwe kategorieë word geskep waarin idees vir die moontlike aanpassing van ontwikkeling neergelê word.

My thesis is focused on construction of gender roles in Czech TV shows of the year 2012. First part of the thesis consists of theoretical background, where the principle of feminine and masculine roles, which are constructed by media too, is presented. The thematic foreign and domestic studies, which are introduced there, show how the experts look at this issue. Other chapters are formed by this view and present the most frequented image of women and men on TV or the media principles. Last sections of the theoretical frame are about consumers' everyday habits of watching TV and about impact, which this programmes could have. Second part of this thesis has metodological character. The objective to decode which gender roles are formed by selected programmes Sama doma, Top Star Magazín, menZONE or Těžká dřina and which signs participate on this constructions are described in this part. The research method is semiotic analysis with description of the narrative, thanks to which the hidden myth is revealed more precisely. The quantitative content analysis is also used in analytic part, however, only in a prototypical form. This probe refers to the other possibilities of further extensions of this thesis. All the results demonstrate that the programmes of current domestic production construct women and...

Esta dissertação dedica-se à análise das séries televisivas brasileiras Cidade dos Homens (2002-2005) e Antonia (2006-2007), tomadas aqui como obras privilegiadas para se debater o lugar simbólico que a periferia adquire no universo audiovisual e na dinâmica social atual. Interessa particularmente compreender como tais programas se colocam perante as assimetrias de poder, a dominação e a desigualdade social, abordando as implicações éticas, estéticas e políticas da representação. Destaca-se padrões e divergências entre os projetos, localizando-os num repertório cinematográfico e televisivo e interpretando-os dentro do campo de tensões sociais contemporâneas. / The following dissertation analyses the Brazilian television shows Cidade dos Homens (2002-2005) and Antonia (2006-2007). Such productions are in a privileged position to discuss the simbolic place that poverty in urban outskirts develops in the audiovisual environment and nowadays social dynamics. This study is particularly interested in understanding how these programmes portrait power asymmetries, social domination and inequity, at the same time they confront ethical, esthetic and political implications of such representation. I highlight patterns and differences, as I look upon them in the light of a broader movie and television production spectrum, interpreting each object minding the paradigms of contemporary social tension.

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. / Tesis

All of the protagonists in this collection of stories are starving. The world around them buzzes with the electric hum of modern society, a siren song that tempts these girls and women with the promise of love, opportunity, affluence, and dreams. Instead, they find themselves lost somehow, left behind, victims of circumstance, confused by dysfunctional families, and romanced by the media. They no longer know themselves, and stumble in their quest for happiness. They are lured into competitions with imaginary adversaries, and sometimes lose. The less control they have in their own lives, the more desperate they become, often going to great lengths to satisfy their hunger for love, acceptance, and security. A little girl wants nothing more than a normal, loving family in "Raylene," and when she tires of dreaming her life were different, she decides to do something about it. The protagonist of "The Broken Lamp" is plagued by the desire to be free of her financial concerns, and loses herself in this desire to the point that her marriage is threatened. The pursuit of love, in "Management Material," leads a movie theater employee to find happiness, although not in the way she expected. Old friends attempt to rekindle their connection in "Common Ground," desperate to regain the closeness of their adolescence. "Daughter of the Moon" features a woman with a family secret that she has kept since childhood, a secret that she now must dig up if she ever wants to move forward. And, in "Falling," a woman longing for acceptance devises an unconventional plan to win the adoration that she has always yearned for. The characters in these stories occupy the same psychic state. They are wounded, fragile, idealistic, and painfully self-conscious. Disillusionment with an impervious world serves only to resurrect repressed feelings, leaving the characters with a cognitive dissonance that they work tirelessly, if aimlessly and foolishly, to reconcile. Unable to satiate themselves, they cannot avoid feeding the darkest dreams that always lurk in the shadowy corners of consciousness.