<p> The purpose of this research is to critically analyze Orange is the New Black (OITNB) by conducting an intersectional analysis of seasons 1 and 2. Imprisoned women are excluded from discussions about their oppression. Incarcerated women lack: 1) the four domains of power, which are hegemonic, interpersonal, disciplinary, and structural; and 2) control of their representations. Media&rsquo;s representations about imprisoned women are accessible through movies, television news, television shows, and newspapers; which have consistently depicted women in prison inaccurately as &ldquo;bad&rdquo;, violent, and sexually insatiable. The women who write prison narratives books are not representative of the female prison system, often reflecting their personal experience. </p><p> OITNB is an internationally famous and award-winning show with a readily accessible and influential platform (Netflix). OITNB is relevant to the current discussion of imprisoned women and their representation of females; thus, it is important to ask how the show presents and depicts the women&rsquo;s Federal prison system. An intersectional analysis will examine how women of different racial/ethnic groups and criminal offenses are represented in OITNB. To establish whether OITNB is disrupting or reinforcing these images for women imprisoned as a whole, or for specific racial/ethnic groups, or criminal offense types.</p>

The topic of this thesis is Film as a Reflection of the Social Situation (in the Perspective of Sociological Analysis). Its aim is to look at the issue of the film from a sociological point of view. This work consists of a theoretical and practical part. The theoretical part describes basic approaches to the film as they appeared during the 20th century in selected disciplines and sociology. Thus, the theory contains rather a basic overview of the possible starting-points for working with film. The next part of this work is a practical research project, which is dealing with a specific area of the Czech historical film in the late sixties of the 20th century. The aim of the second part is to link theoretical principles with their practical use in the sociological analysis of the film, which is set within the contemporary culture and the social context of the Czechoslovakia in the sixties of the 20th century. The practical part, in which four Czech historical films were analyzed, confirms the essential idea of this thesis - the film is the reflection of the social reality. Key words: media, film, sociological analysis, visual sociology, collective memory

Cette thèse montre comment les imaginaires cinématographiques de la menace d’origine naturelle, technologique ou sociale traduisent le climat mental qui se développe à notre époque. L'émergence d'un héros postmoderne semble être le signe d'une mutation du social. La recherche s'appuie sur différentes analyses sociologiques du cinéma, sur l'analysede contenu d'un corpus de trente films réalisés durant la première décennie du XXIe siècle, sur des réponses à des sondages d'opinion auprès de jeunes et sur des textes d'observateurs du monde contemporain. Ceci afin de mettre en évidence les interactions qui lient le cinéma et le monde réel. Ces films constituent un terrain d'observation des obsessions du temps présent. / This thesis shows how the imaginaries in films concerning the threat inherent to nature, technology or social issues emphasizes the mental climate developing nowadays. The emergence of a postmodern hero seems to indicate a deep change in the social sphere. This research uses different sociological analysis of film-making, the analysis of the contentof a corpus of thirty films directed during the first decade of the twentyfirst century, youth answers to opinion polls and texts from contemporary world observers. In so doing it reveals the interactions linking cinema and reality. These films constitute a ground of observation of the nowadays obsessions.