The main goal of this thesis was an investigation into the ways in which whiteness is constructed and positioned in the South African soap opera, 7de Laan, and the Flemish soap opera, Thuis, with the emphasis on the possible implications of these constructions for local as well as global discourses on whiteness in the media. In conjunction with the above, this thesis endeavoured to answer a number of subquestions relating to the origin and history of the construct of “whiteness” and Critical Whiteness Studies (CWS) as a theoretical approach and its relevance in the South African and Flemish contexts, specifically as it pertains to the analysis of mass media texts like 7de Laan and Thuis. It, moreover, sought to explore if and how whiteness functions as an organising principle in the narratives and representations of these soap operas with the emphasis on potential similarities, differences and the kinds of whiteness constructed in these texts. Finally, the goal was to draw conclusions on the possible implications of these differences and similarities in the wider context of the way in which whiteness functions in the media. To that end I conducted a controlled case comparison of a sample from these two community soap opera texts, which was informed by a literature review and deep description of each context as part of the qualitative approach I chose to take. Despite a number of similarities between the two contexts, they still differ significantly, and this afforded me an opportunity to highlight both the consistencies and particularities in the ideological patterning of representations of whiteness, across seemingly unrelated domains, to illustrate its pervasiveness. Added to the emergence of three shared rhetorical devices perpetuating whiteness in both texts, I was also able to draw conclusions about the unique way in which whiteness functions in 7de Laan in particular, since South Africa remains the primary context of the study. / Communication Science / D. Litt. et Phil. (Communication)

This thesis is an ethnographic study of the soap opera viewing patterns and interpretations of Zulu-speaking students living in residences on the Natal University's Durban campus who watch The Bold and the Beautiful (an American soap opera) and Generations (a South African soap opera). It presents an analysis of how the viewing practices of the students compare with the findings of soap opera audience studies conducted abroad. The students' motivations and reasons for watching both soap operas are investigated. The reason for choosing black students as subjects is that I wanted to determine how a soap opera (Generations) which is comprised largely of black cast members and designed with a young black audience in mind, is interpreted and impacts on the lives of said audience, when compared with an American soap opera (The Bold and the Beautiful) which has an almost exclusively white American cast, and is popular with young black viewers in spite of the fact that it appears on the surface to be unrelated to their everyday lives. Individual one-on-one interviews were conducted with 40 students, 20 male and 20 female. The interviews were analysed to gauge how the viewing behaviour of the students differs from, or is similar to, soap opera studies conducted elsewhere in the world. It emerged that the students watch in groups and not alone, and that watching Generations and The Bold and the Beautiful is a social activity, not motivated from loneliness or isolation. The ways in which the students relate to the characters and situations of both soap operas is also examined, in an attempt to establish the role that these two shows play in the creation of the students' identities. The students displayed a tendency to be more critical of Generations than of The Bold and the Beautiful in the sense that they compared it (unfavourably) in terms of quality of production, to its American counterpart, as well as in the sense that they analysed storylines in terms of their own lived experiences and were quick to criticise Generations when they felt that it did not conform to their notions of the reality of being a black South African. They accepted situations and characters on The Bold and the Beautiful far less critically, although they did voice objections to certain characters and situations which they felt were morally questionable in terms of their understanding of right and wrong. It also became apparent that there was a greater emotional involvement with the characters on The Bold and the Beautiful than with those on Generations. The students interpretations of (and level of involvement with) situations, characters and storylines are examined, as well as the ways in which they derive pleasure from both soaps and incorporate them into their own lives. In summary, this thesis examines the consumption of an American and a South African soap opera by a black South African audience . / Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2002.

A research report submitted to the Faculty of Commerce, Law and Management, University of the Witwatersrand, in partial fulfilment of the requirements for the degree of Master of Management in Strategic Marketing 2016 / The purpose of this research was to identify the effectiveness of branded content integration as a marketing and communication strategy. The main objective was to find out whether the branded content integration in soap operas had an effect on consumer attitudes and purchase intent. A quantitative experiment was designed for the study using customers that watch TV soap operas and those who do not watch soap operas. A total of 150 respondents were used for the experiment. The data was analysed using a Chi Squared test to accept or reject the hypothesis. The findings of the study revealed that branded content integration has a positive influence when characters of a soap opera use a brand familiar to the viewers. The implications of the results of the study are that marketers are able to use branded content to create a positive change in consumer attitudes and to drive purchase intent. Using branded content integration as a marketing communication tool in soap operas can have a positive impact on how messaging is displayed. / GR2018

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-12-04T11:47:15Z No. of bitstreams: 1 Gabriela Nascimento Silva.pdf: 3013833 bytes, checksum: b86fe9743d4f131f5dfc9ba27344f8b1 (MD5) / Made available in DSpace on 2018-12-04T11:47:15Z (GMT). No. of bitstreams: 1 Gabriela Nascimento Silva.pdf: 3013833 bytes, checksum: b86fe9743d4f131f5dfc9ba27344f8b1 (MD5) Previous issue date: 2018-09-28 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The aim of the present dissertation is to analyses the censorship in two soap operas displayed by Rede Globo that reached high rating points, attracting the public with their relaxed scenarios and, in parallel, their dense dramas retracting family issues, moral values and upward mobility. Dancin’ Days and Água Viva were transmitted in the end of the Military Rule, in the years of 1978 and 1980, respectively. With a comparative approach, illustrating similarities and differences of censorships, the research intention is to identify and discuss agents that build the many social representations in the studied soap operas, inserted in a context of marketing expansion and, simultaneously, forced to attend to the highest pressions of the Government by preserving good moral. With the support of collected data – censured scripts, censors and network view and DVDs of the studied soap operas – the research, that has as it's main problematic the concern and interest of an authoritarian government about the soap operas, and the censorship through the narrative of Dancin' Days and Água Viva, will get the effort to clarify the symbolic contest of power on different moments from the government. In conclusion, the fundance of this work consists on the pertinence of understanding an era in which mostly is said about censorship and little's been researched about it. Therefore, it is of the utmost importance that further more studies are realized about soap operas, product that remains as a great influence on Brazilian people, studying the process of censorship and the use of soap operas as an instrument of repression of the Military Rule – even in the end of its command – hiding words, rallies, information’s and representations / A presente dissertação visa analisar a censura em duas telenovelas exibidas pela Rede Globo que alcançaram altos índices de audiência, atraíram o público pelos seus cenários de descontração, seus dramas pesados que cercavam sobre as questões familiares, valores morais e ascensão social. São elas: Dancin’ Days e Água Viva, transmitidas no final do Estado Autoritário, nos anos de 1978 e 1980, respectivamente. Por meio de uma abordagem comparativa, ilustrando as semelhanças e diferenças das censuras, à pesquisa tem como objetivo na identificação e no exame dos agentes que constroem as várias representações sociais das telenovelas em questão, inseridos em contexto de expansão mercadológica ao mesmo tempo das mais altas pressões do Estado pela preservação da moral e dos bons costumes. Com o auxílio documentação levantada – constituída de scripts censurados, pareces dos censores, pareceres das emissoras e DVDs das duas telenovelas estudadas em questão - a pesquisa que tem como problemática a preocupação e o interesse do governo autoritário quanto às telenovelas, e a atuação das censuras nas narrativas de Dancin’ Days e Água Viva, se esforçará em esclarecer a disputa simbólica de poder em momentos distintos dos governos. Por fim, a justificativa para este trabalho consiste na pertinência de compreender uma época que muito se falou sobre a censura e que pouco foi estudado sobre ela. Portanto é de suma importância que se manifestem mais estudos que levantem, principalmente em telenovelas, produto esse que se manifesta até hoje de grande influencia sobre a população brasileira, acerca do processo e utilização do instrumento de repressão do Estado Autoritário, mesmo que no final dele, que oculta palavras, manifestação, informação e representação

Made available in DSpace on 2016-03-15T19:43:49Z (GMT). No. of bitstreams: 1 Fernanda Areias de Oliveira.pdf: 3556147 bytes, checksum: c5797ae75bdb4eceaf819c63bde5be6e (MD5) Previous issue date: 2010-02-11 / Fundo Mackenzie de Pesquisa / The research casts a look on the academic question of soap operas language in the context of short series, specifically A Pedra do Reino (The Kingdom Stone), highlighting the state of the art of such a gender. For that purpose, researchers of the area of communication and media were our theoretical support dialoguing with think-ers associated with artistic languages. The monograph is supposed to call the atten-tion for a media product that was able to articulate the unconventional languages, such as drama, fantastic and non-linear narrative, with television environment. For that a dialogue involving the author of the novel, Ariano Suassuna, the director of the short series, Luiz Fernando Carvalho, and literature on television was structured. This work was developed to make clear the discourses of the novel's author and the director of the short series in order to explore the complexity contained in an unconventional product to the support in which it presents itself. In this context, anal-ysis of the short series A Pedra do Reino was explored as support for evidences of a possible link between soap operas and artistic languages. / A pesquisa aqui apresentada busca lançar um olhar acadêmico sobre a ques-tão da linguagem teledramatúrgica no contexto da minissérie, especificamente em A Pedra do Reino, destacando nela o vanguardismo presente no gênero. Para isso, utilizamos como suporte teórico pesquisadores ligados à área de comunicação e mí-dia em diálogo com pensadores associados a linguagens artísticas. O trabalho pre-tende chamar a atenção para um produto midiático que conseguiu articular lingua-gens pouco convencionais ao meio televisivo, como o teatro, o gênero fantástico e a narrativa não linear. Para isso, nesta dissertação se estruturou um diálogo entre o autor do romance, Ariano Suassuna, o diretor da minissérie, Luiz Fernando Carvalho, e a literatura sobre o ao gênero televisivo. Esta dissertação se desenvolveu no sentido de expor com clareza os dis-cursos do autor do romance e do diretor na minissérie, no sentido de explorar a complexidade contida em um produto pouco convencional ao suporte em que se a-presenta. Neste contexto, análise da minissérie A Pedra do Reino foi explorada co-mo suporte para comprovação de uma articulação possível entre teledramaturgia e linguagens artísticas.

This study updates prior examinations of sexual content on daytime soap operas by investigating verbal references, implied sexual acts and mentions of sexually transmitted diseases. In addition, it extends earlier work by analyzing the commitment level and age of those involved in the sexual content. Finally, this study will attempt to obtain a clear picture of what adolescents perceive while viewing these shows. This was investigated by conducting adolescent and adult focus groups to see how they talk about soap operas. Also, comparisons were made of adult and adolescent coding of the sexual content on soap operas. All daytime soap operas were recorded twice per month for a six month period in 1995. From this sample, 36 hours of programming were coded for sexual content. For the adolescent and adult comparison studies, six adolescents and six adults from the Portland metropolitan area were selected to take part in focus groups and soap opera coding. Each of these subjects is a current soap opera viewer and all watched Days of Our Lives. The findings in this study do not support a social learning theory account, according to which the content of television programming provides a basis for undesirable effects. This study shows that soap operas provide both positive and negative depictions of sexual activity. It suggests that the age and/or background of the viewer has a more significant influence on what the viewer gets from the viewing experience.

Televizija yra viena iš socializacijos priemonių, kurią žiūrima tam, kad sužinoti svarbią informaciją arba norint gerai praleisti laiką. Be to, televizija suteikia ir savotišką pasitenkinimo jausmą, kai kiekvienas žiūrintysis turi galimybę tapatintis su vaizduojamų personažų herojais, kuriuose gali identifikuoti save. Per paskutinius metus, Lietuvoje išleidžiama po kelis lietuviškus serialus, kurie susilaukia teigiamo žiūrovų įvertinimo (TNS Gallup duomenimis serialas „Moterys meluoja geriau patenka į populiariausių laidų penketuką). Nenuostabu, kad žiūrovas renkasi lietuvišką muilo operos variantą, kuriame išvysta priimtinus kultūrinius modelius, artimus vyriškumo ir moteriškumo modelius su kuriais gali tapatintis ir atrasti dalelę savęs. Todėl šiame darbe siekta išanalizuoti ir pateikti moteriškumo reprezentacijų sampratų įvairovę serialuose „Emilija“ ir „Moterys meluoja geriau“. Pirmojoje literatūros analizės dalyje aptariama feministinio moteriškumo samprata, išskiriami pagrindiniai radikaliojo, liberaliojo, socialistinio ir psichoanalitinio feminizmo autorių požiūriai. Antrojoje darbo dalyje išskiriama psichoanalizės įtaka feministiniuose tyrimuose, pristatoma vizualinio malonumo svarba kine, aptariami feministinio įgalinimo būdai žiniasklaidoje. Trečiojoje darbo dalyje pristatomos moterų reprezentacijų problematikos, pristatomi moterų ir muilo operų žiūrėjimo ypatumai, nagrinėjami moterų stereotipų vaidmuo žiniasklaidoje ir feministinėje literatūroje. Tyrimo... [toliau žr. visą tekstą] / Television is one of the agent tools that are playing socialization role. People are watching TV in order to receive relevant information or to spend a leisure time. Therefore, television provides particular delectation; in the meantime, everyone has opportunity to identify themselves in pictorial characters. In the recent years, screens are showing several new Lithuanian soap operas, and it has congenial viewer’s assessment (TNS Gallup records that serial “Moterys meluoja geriau” is one of the popular watching program and rating between five best programs). No, wonder why people are choosing to watch Lithuanian soap operas versions, where they can find acceptable cultural models, familiar masculinity and femininity patterns in which they can identify an element of themselves. This research seeks to analyze and to propose diversions of women femininity concepts in the serials “Emilija” and “Moterys meluoja geriau”. The first theoretical part of this work is discussing about feministic femininity concepts, excluding radical, liberal, socialistic and psychoanalytic essential scholarship approaches. The second part is about psychoanalytic viewpoint influence in feministic studies, including visual pleasure significance and feministic empowerment in the media. The third part of this research is representing women’s agency proposition, analyzes women and soap opera’s particularity and examines women’s stereotypes in the media and feministic theory. The research results has... [to full text]

It was argued that the social psychology of person perception, mass communications and cultural studies can be related to viewers' representations of television characters. Mass communications needs to incorporate viewers' interpretations and programme structure. Social cognition could satisfy the former need and cultural studies the latter. A literature review showed little research on viewers' interpretations of television programmes. There is a considerable body of research on person perception, gender stereotypes, the effects of viewing and programme structure. A study of viewers' accounts of viewing soap opera showed that they become involved with the characters and find the programmes realistic. Soap opera plays an important role in their lives. Viewers' representations of soap opera characters were examined using multidimensional scaling. This revealed stable, replicable character representations for Dallas, Coronation Street and EastEnders. The representations were compared with the oppositions which structure the programmes, Implicit Personality Theory and Gender Schema Theory. Dallas characters were represented by themes of morality and power/activity. Power was correlated with gender, with some counter-stereotypic females. Coronation Street characters were organised around morality/potency, gender (matriarchal) and approach to life. This related to person prototypes and contrasted with interaction patterns between characters. EastEnders characters were represented by themes of morality/power, gender and approach to life/centrality. Free descriptions validated the attribute ratings and showed further features of the representation. No socio-structural group differences in representation were found. Viewers' character representations were a constructive integration of programme structure and social knowledge. The application of abstract knowledge to a structured domain was discussed. Textual analysis of a narrative identified the 'role of the reader' and textual openness. This was related to stereotypes, narrative expectancies, myth and character representation. Distinct types of divergence in viewers' interpretations of narrative were discovered. Further, a narrative containing two readings was interpreted in four distinct ways by viewers, depending on their perceived relationships with characters. The conclusions and limitations of the research were discussed. Implications for person perception, stereotyping and textual analysis were examined. A taxonomy of factors relating to the interpretation and representation of television drama was presented.

Thesis (Ph. D.)--University of Adelaide, 1990. / Includes bibliographical references (leaves 453-490).

Thesis (Ph. D.)--University of Washington, 2000. / Vita. Includes bibliographical references (leaves 120-127).