The thesis describes the process of development of an original script. Theory is offered in chapters dedicated to genre, structure, format. I put in categories different types of comic stories and comic characters. In addition the work proposes exercises, presents my personal creative texts and the final version of script is attached. Main goal of this work is to attract readers to develop a comedy script on their own.

UNIVERZITA KARLOVA V PRAZE FAKULTA SOCIÁLNÍCH VĚD Institut komunikačních studií a žurnalistiky Klára Follová Genderová stereotypizace v sitcomu Comeback Diplomová práce Praha 2011 2 Abstract In sitcoms we can find gender stereotypes, as well as other kinds of stereotypes. They are the same as those, which are incorporated in structures of real society. The reason of their existence in sitcoms is the fact that they are incorporated in models of characters, which mutual conflicts are what the sitcom humour is being built on. Because of the fact that the primary aim of sitcom is humour and not the reflexion of society, stereotypes are not as problematical as in the real society: sitcom uses them, but also criticizes them by its humour. On the case of the analyzed Czech sitcom "Comeback" I have found that confirming or denying gender stereotypes has no unified or systematical form in this kind of television output; so, in one single episode of some sitcom we can find both confirmation and denial of the same one stereotype. The reason of it is that stereotypes are used to build up comic situations, which is the main aim of sitcoms; therefore the main frame area of a sitcom is one scene leading to a point. Usually, sitcoms use to be based on situations of common life, therefore in building a joke they must remind...

Since 2007 the American sitcom the Big Bang Theory has spread throughout the world. With its twenty million watchers it is one of the most popular sitcoms of our time. The starting point for this essay is that the humourus series with the more or less geeky main characters is more than just entertainment - it is a part of the mediatization of religion. This means that media is affecting the recipients’ view on religion in general and the personal religion. As we watch TV, we get socialized into how to act in our every day life. In this case, it is about religion depicted as entertainment. Through a film analysis of a number of selected scenes from the first three seasons of the series, this essay stresses the representation of the religious traditions Judaism, Christianity, Hinduism and religion in general. On the basis of etnocentrism, exitocism and a differentiation between religious praxis and religious beliefs my conclution is that Jews are portrayed in a very ”modern” and secular way, Christians are narrow-minded and quite stupid and Hindus are doing strange rituals and believe in very unreasonable phenomena. Religion in general is portrayed as something accepted but it should be rational and religous practice has its own time and place.

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No. of bitstreams: 2 Dissertação - Patrícia Cardoso Moreira - 2017.pdf: 5235531 bytes, checksum: b002a94512f3e02ba0f104c75cff51c1 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-06-19 / This ethnographic case study aimed at demonstrating to what extent the constitutive elements of humor in the discursive level of the languaculture-English (LC2) was appropriated by twelve L2/FL learners. We have also tried to evidence how such learners assess the level of their English discursive knowledge by means of discursive practices involving humor, as well as the implications of such appropriation to their future careers as teachers of English as L2/FL. Data were collected in an English intermediate group of undergraduates of Letras/Inglês of the Universidade Federal de Goiás. Efforts were made to design and integrate activities focusing on the humor of the American situation comedy Friends (BRIGHT; KAUFFMAN; CRANE, 1994-2004) into eight classes of the original course program taking place between November 2015 and February 2106. Four Friends episodes were explored. The data collection was carried out by means of a questionnaire, video and audio recordings of the classes, field notes of the teacher-researcher observations and audios of interviews made with each participant after the classroom work was over. This paper is based on the dialogic perspective of Bakhtin (2011, 2012, 2014), on humor studies with emphasis on L2/FL teaching and learning (BELL; POMERANTZ, 2014; 2015; 2016) as well as on the nexus between humor, language and culture (KRAMSCH, 1998, 2013; RISAGER, 2006; CORBETT, 2003, POPA, 2014; DAVIES, 2014; DICIOCCIO; MICZO, 2014; ATTARDO, 1994, 2014). The data analysis reveals that the participants’ different levels of comprehension and appreciation of humor in Friends depend both on their linguistic proficiency and on their background knowledge on American culture and of world globalized culture. Such factors led to the active and responsive engagement of the undergraduates in dialogical interactions and the collective construction of meanings during the classes. As the participants positioned themselves at different levels of appropriation of the humor in the LC2, they also recognized the importance of such factor in the construction of their subjectivities as future English teachers. / Este estudo de caso etnográfico teve como objetivo demonstrar até que ponto doze aprendizes de inglês como L2/LE se apropriam dos elementos constitutivos do humor no nível discursivo da languaculture-inglês. Buscamos ainda evidenciar como esses aprendizes avaliam o seu nível de conhecimento discursivo do inglês por meio de práticas discursivas envolvendo o humor, assim como as implicações dessa apropriação do humor em inglês para suas futuras práticas profissionais como professores dessa L2/LE. Os dados foram gerados em uma turma de Inglês 4 da Licenciatura em Letras/Inglês da Faculdade de Letras da Universidade Federal de Goiás (FL/UFG). Foi implementado um esforço para desenhar e integrar atividades explorando o humor da comédia de situação estadunidense Friends (BRIGHT; KAUFFMAN; CRANE, 1994-2004) em oito aulas do programa da disciplina entre novembro de 2015 e fevereiro de 2016. Foram explorados quatro episódios de Friends. A geração de dados se deu a partir do questionário aplicado no início do estudo, das gravações em áudio e vídeo das aulas, dos registros das observações da professora-pesquisadora em diário de campo e das entrevistas com os participantes após finalizados os trabalhos em sala de aula. Este trabalho fundamenta-se na perspectiva dialógica de Bakhtin (2011, 2012, 2014), nos estudos sobre humor com ênfase no ensino aprendizagem de línguas (BELL; POMERANTZ, 2014; 2015; 2016) assim como nas inter-relações entre humor, língua, cultura (KRAMSCH, 1998, 2013; RISAGER, 2006; CORBETT, 2003, POPA, 2014; DAVIES, 2014; DICIOCCIO; MICZO, 2014; ATTARDO, 1994, 2014). Os dados revelam que os diferentes níveis de compreensão e apreciação do humor na languaculture-inglês (LC2) ora dependem da proficiência linguística dos participantes, ora de seu conhecimento prévio de fatores da cultura estadunidense e da cultura globalizada. Isso provoca o engajamento responsivo ativo dos licenciandos em interações dialógicas significativas e a construção conjunta de sentidos durante as aulas. Ao se posicionarem de formas distintas quanto ao seu nível de apropriação do humor na LC2, os alunos evidenciam a importância desse fator na construção de suas subjetividades como futuros professores de inglês.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / We realize that the passage of Modernity to Postmodernity worked somewhat problematic for the identities. Specifically about what of the identity is problematic for this new condition is that we dedicate here. To this end, we articulated theories about identity, mediazation and psychoanalysis to propose our understanding of the formation of identities in postmodernity. This link leads to the media as a hegemonic cultural institution and, therefore, proposing the main parameters for the formation of identities in nowadays, what causes it resides our empirical analysis. We analyzed semiotically four sitcoms in search of a sample of these identity parameters from which the identities are forming. It is in possession of such parameters that we reach an answer to our initial question: that it would be to transfer responsibility for conduction of the process of symbolization of identities choices of social institutions to the individual isolate, precisely the difficulty of some in perform this function, the problem of identities in Postmodernity. / Percebemos que a passagem da Modernidade para a Pós-Modernidade resultou de alguma forma problemática para as identidades. Especificamente sobre o que de problemático para as identidades há nessa nova condição é ao que nos dedicamos aqui. Para tal, articulamos teorias sobre identidade, midiatização e referencial psicanalítico para propormos nosso entendimento sobre a constituição das identidades na pós-modernidade. Essa articulação nos leva à esfera midiática enquanto instituição culturalmente hegemônica e, portanto, proponente dos principais parâmetros para constituição das identidades na atualidade, o que faz com que nela resida nossa análise empírica. Analisamos semioticamente quatro sitcoms em busca de uma amostra desses parâmetros identitários a partir dos quais estão se calcando as identidades. É de posse de tais parâmetros que chegamos a uma resposta para nossa questão inicial: a de que seria a transferência da responsabilidade pela realização do processo de simbolização das escolhas identitárias das instituições sociais para o individuo isolado, precisamente a dificuldade de alguns em desempenhar essa função, o problema das identidades na pós-modernidade.

Sitcoms uppgift är att förmedla humor genom att representera stereotyper i samhället (Millis, 2005). Vissa forskare har en mer positiv ingång till användandet av stereotyper i sitcoms (Marcin, 2011), medan andra ställer sig kritiska till det (Biagi, 2001). Den kritiska ingången motiveras med att stereotyper felrepresenteras. Aktuella debatter har bidragit till diskussioner som påvisar att vi lever i ett “PK-samhälle”, där det inte längre är accepterat att skämta om allt (Sharf, 2023). Syftet med denna studie är att studera och jämföra mottagandet av skämt om stereotyper i sitcoms, i olika generationer och vid olika grader av seriekännedom. Detta görs genom en kombination av semistrukturerade intervjuer och receptionsanalys där fem utvalda scener från tv- serien Friends representerar de olika stereotyperna; etnicitet, objektifiering, genus, kroppsideal samt klass. Dessa används för att kunna läsa av tittarens reaktioner och anledningen till dessa, för att sedan kunna ta reda på hur väl sitcoms har åldrats. Studien utförs med stöd i de teoretiska ramverken: stereotyper, representation, receptionsteori, polysemi, intersektionalitet, humorteorier och fandom. Deltagarna i studien var fyra personer födda 1981-2005, benämns “Generation A”, samt fyra personer födda 1945-1980, benämns “Generation B”. Hälften av deltagarna i varje generation har seriekännedom och andra hälften har inte det. Genom att undersöka mottagande av stereotyper i sitcomen Friends mellan generationer kan det påvisa om sitcomen åldrats väl, samt om mottagandet påverkas av seriekännedom eller ytterligare faktorer.  Studien resulterade i att mottagandet varierade på grund av respondenternas tidigare bakgrund och erfarenheter samt seriekännedom. Den humoristiska faktorn utgörs av element som överraskning, igenkänning, att känna sig överlägsen en person eller situation samt att ha undertryckta känslor och rädslor. Vid avfärdade skämt hittades bakomliggande faktorer som avsaknad av seriekännedom, överraskningsmoment samt konsekvenser av problematiska skämt. Viss skillnad kunde ses i hur de olika generationerna resonerade och värderade stereotyper, men båda generationerna enades i att majoriteten av de stereotypa skämten inte hade fungerat i dagens “PK-samhälle”. Den tydligaste avvikandet i mottagandet var på stereotypen klass där samtliga respondenter accepterade skämt om detta. Baserat på resultatet dras slutsatsen att sitcomen inte åldrats väl. / The task of the sitcom is to convey humor by representing stereotypes in society (Millis, 2005). Some researchers have a more positive approach to the use of stereotypes in the sitcom (Marcin, 2011), while others are critical of it (Biagi, 2001). The critical input is justified by the misrepresentation of stereotypes. Current debates have contributed to discussions that show that we live in a "politically correct society", where it is no longer acceptable to joke about all topics (Sharf, 2023). The aim of this study is to examine and compare the reception of jokes about stereotypes in sitcoms, in different generations and at different degrees of serial knowledge. This is done through a combination of semi-structured interviews and reception analysis where five selected scenes from the tv series Friends represent the different stereotypes; ethnicity, objectification, gender, body ideals and class. These are used to read the viewer's reactions and the reason for these, in order to then find out how well the sitcom has aged. The study is carried out with support in the theoretical frameworks: stereotypes, representation, reception theory, polysemy, intersectionality, humor theories and fandom. Participating in the study were four people born 1981-2005, labeled “Generation A”, and four people born 1945-1980, labeled “Generation B”. Half of the participants in each generation have serial knowledge and the other half do not. By examining the reception of stereotypes in the sitcom Friends between generations, it can show whether a sitcom has aged well, and whether the reception is influenced by series awareness or additional factors. The result of the study shows that the reception varied due to the respondents' previous background and experiences as well as serial knowledge. The humorous factor consists of elements such as surprise, recognition, feeling superior to a person or situation, and having repressed emotions and fears. If jokes were dismissed, underlying factors such as lack of serial knowledge, elements of surprise and consequences of problematic jokes were found. Some differences appeared in how the generations reasoned and valued the stereotypes, but both generations agreed that the majority of the stereotypical jokes had not worked in today's “politically correct society". The clearest deviation in reception was regarding the stereotype class where all respondents accepted jokes about this. Based on the results, it is concluded that sitcoms have not aged well.

<p><strong>Date: </strong>May 28, 2009</p><p><strong>Program: </strong>MIMA – International Marketing</p><p><strong>Course name:</strong> Master Thesis (EFO705)</p><p><strong>Title:</strong> Consumer responses to product placements in Thai television sitcoms</p><p><strong>Authors:</strong> Chalinee Ketrattanakul           ckl08001@student.mdh.se</p><p>Pimmanee Pongpatranon        ppn08004@student.mdh.se</p><p><strong>Tutor: </strong>Tobias Eltebrandt</p><p><strong>Problem:</strong> How Thai consumers identify the advertising strategy of product placements in Thai sitcoms?</p><p><strong>Purpose:</strong> To examine the responses of Thai customers toward product placements in Thai sitcoms and measure how product placements in Thai sitcoms have influential effects on Thai consumers’ attitudes.</p><p><strong>Method:</strong> The study is mainly based on quantitative research using experiment and survey methods. Relevant secondary data are also collected. The major framework used in the study is the Multicomponent Model of Attitude.</p><p><strong>Conclusion:</strong> Product placements in Thai sitcoms have influential effects on the attitudes of Thai consumers depending on the category used in practice and execution style. Implicit product placement seems to be the most suitable and acceptable technique to use in Thai sitcoms since it creates positive effects on Thai consumers’ attitude toward brands and their purchase intention.</p><p><strong>Key words:</strong> Product placement, television sitcom, attitude, cognition, affect, behavior</p><p> </p>

Date: May 28, 2009 Program: MIMA – International Marketing Course name: Master Thesis (EFO705) Title: Consumer responses to product placements in Thai television sitcoms Authors: Chalinee Ketrattanakul           ckl08001@student.mdh.se Pimmanee Pongpatranon        ppn08004@student.mdh.se Tutor: Tobias Eltebrandt Problem: How Thai consumers identify the advertising strategy of product placements in Thai sitcoms? Purpose: To examine the responses of Thai customers toward product placements in Thai sitcoms and measure how product placements in Thai sitcoms have influential effects on Thai consumers’ attitudes. Method: The study is mainly based on quantitative research using experiment and survey methods. Relevant secondary data are also collected. The major framework used in the study is the Multicomponent Model of Attitude. Conclusion: Product placements in Thai sitcoms have influential effects on the attitudes of Thai consumers depending on the category used in practice and execution style. Implicit product placement seems to be the most suitable and acceptable technique to use in Thai sitcoms since it creates positive effects on Thai consumers’ attitude toward brands and their purchase intention. Key words: Product placement, television sitcom, attitude, cognition, affect, behavior

Made available in DSpace on 2014-06-12T18:38:01Z (GMT). No. of bitstreams: 2 arquivo8435_1.pdf: 3670000 bytes, checksum: ef6758e2dfcc1f8d48e28719dd0f943b (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2005 / Este trabalho propõe uma análise da construção do sentido durante um programa de TV. Muitos estudos já se debruçaram sobre a problemática da interação.O ineditismo do nosso estudo se dá por analisarmos o sentido que se constitui em uma interação pré-produzida ou idealizada no sitcom, classificado como gênero discursivo televisivo. O corpus analisado foi a comédia de situação Os Normais, exibida pela Rede Globo de televisão, entre 2001-2003, que se tornou um modelo-padrão para outras produções do gênero. A perspectiva da Análise do Discurso, que nós utilizamos, enfoca o aspecto sócio-pragmático do discurso, particularmente, no tocante às estratégias argumentativas, utilizadas na preservação e manutenção do jogo de linguagem entre os interactantes. Nosso referencial teórico fundamenta-se na ótica sócio-interacionista e dialógica de Mikhail Bakhtin ([1979]2000) e ([1929]2000), na análise do discurso sóciopragmática de Dominique Maingueneau (2002/2005), e nas observações teóricas de Ingedore Koch ([1993] 2003) e ([1997]2002), relativas à perspectiva interacional da conversação face a face para a construção de sentido de textos orais e escritos. Objetivamos neste trabalho refletir sobre quais são os mecanismos lingüístico-discursivos, considerando suas condições de produção, em que o sitcom se baseou para constituir o efeito de sentido do humor privilegiado pelos telespectadores. Outros fatores, também, foram considerados em nossa análise como formato de programa televisivo diferenciado, interpretação e autonomia dos atores que contribuíram para uma interação híbrida nas fronteiras do escrito com o oral pelas quais flutua o gênero televisivo que investigamos

This thesis is a cultural study of Jewishness in network sitcom television. Sources for the study included: historical film analysis, sociological studies on stereotyping and Jewish culture. The thesis studies how past forms of Jewishness impacted the current depictions of Jewishness on the television sitcom. After an introduction discussing Jewishness in general, the second chapter studies Jewishness in Vaudeville and early Hollywood film. The third chapter studies Jewishness in the first 40 years of network sitcom television. The fourth chapter studies Jewishness in the network sitcoms of the 1990s. The conclusions of the study focus on the state of Jewishness on network sitcom television at present, and ask what must be done within the industry to maintain a viable Jewish identity on network sitcom television in the future.