This thesis focuses on one of the most appreciated products of the Turkish Television, the TV Series&#039 / production and labor process. Starting from the fact that the production side of this highly attention gathering media product hasn&#039 / t received too much academic concern, by analyzing the workers of the sector, this point is tried to be illuminated. This thesis that analyzes TV series&#039 / working conditions in the perspective of &ldquo / precarious employment&rdquo / departing from this framework, argues the workers of the industry are fragmented into two groups, &ldquo / creative&rdquo / and &ldquo / technical&rdquo / workers. In this context it indicates the creative workers not only as not being affected from the precarious employment conditions too much but also as the executor of the technical workers&#039 / experience of precariousness in the production level.

In the 19th century, photography was often employed in attempts to objectively capture evidence of paranormal phenomena. With the advent of television, this tradition came to be coupled with the apparent mystery of distant communication through electromagnetic waves. The television set has often been depicted as intrinsically occult or even haunted. It is therefore natural that television has proven to be an ideal medium to present beliefs, tales, and investigations about paranormal phenomena. Most such presentations have been openly ficticious, but in television the distinction between fact and fiction is often blurred, and the emergence of shows where the crew claims to pursue a serious investigation was inevitable. One of the most successful such shows is the British Most Haunted, airing since 2001. In this thesis, the presentation of occult phenomena in three episodes of Most Haunted is analyzed and discussed in light of this framework of traditions. One main result is that the distinction between fact and fiction is indeed often blurred in Most Haunted. Reconstructions and purported evidence are similar to each other as well as to the historical ghost pictures, and sometimes the crew's reactions or lack of reactions is the only means to tell them apart. Elements aiming at creating a "ghost feeling" are abundant throughout both investigative and other parts of the show, and include monochrome (and sometimes inverted) imagery, blue or green light tones, modified motion speed, and perspectives that let the spectator "be the ghost". Black and white imagery is also a part of the usage of analogue or pseudo-analogue technology to convey connotations of authenticity. Filming the crew's reactions is the most common means of broadcasting a sense of hauntedness, as is often the case in traditional horror motion pictures.

Syftet med uppsatsen är att undersöka hur lärarrollen karaktäriseras i filmer och TV-serier under 2000-talet. I undersökningen görs en framställning av karaktärernas utmärkande drag samt en indelning i kategorierna: The Good, The Saint, The Sad och The Bad. I resultatet ställs karaktärernas drag i förhållande till människosyn och etiksyn. Sist men inte minst dras några tänkbara slutsatser utifrån resultatet. / The purpose of this essay is to highlight how the popular culture, focusing on film and TV-series during the 2000's, describes the characterization of the teachers' role. The survey gives a description of the character´s significant features and the character´s are placed in one of these four categories: The Good, The Saint, The Sad and The Bad. In the result, these features are set in relation to the vision of human beings and the vision of ethics. Last but not least, some conceivable conclusions are drawn from the result.

In this comparative study research was done into the ways in which youth novels were transformed into a youth series on TV, in order to compile a transformation model. The Afrikaans youth novels Die verklikker and Twee wenners by Marilee McCallaghan and the TV youth series Wenners, that was based on these stories, were used for this comparison. The texts (youth novels and TV script/text) were analysed and interpreted, and the variants and constants that were found in the comparison were used to compile a model according to which the transformation precedes were deduced. The model that had been compiled applies only to this study, as all stories differ and are unique in themselves, and therefore the model has to be adapted for each adaptation and production of a youth series (book) to a TV youth series. In both the youth novels, Die verklikker and Twee wenners as well as in the TV youth series Wenners all the main characters, and especially the two main characters Carl and Jackie, show identity development. Regarding their social identity Carl and Jackie are constantly aware of their positions in the smaller community of the orphanage, and specifically regarding the other characters and their positive and negative social roles. With regard to their personal identities, both Carl and Jackie had established a feeling of continuity in their existence despite the fact that their father had passed away and there mother was in a psychiatric clinic, and despite the fact that they were both initially confused and disrupted. They had undergone many changes and had developed, but despite the many changes around them and within themselves they each contained the core of his/her identity. Although they are twins, the analysis of the stories shows that Carl and Jackie had developed a feeling of individual identity - a feeling of individuality or uniqueness. Each of them, as an individual had a subjective experience of these various aspects of identity, which enabled both Carl and to experience a feeling of a unique, whole (complete) person in their own right. At this stage in the South African television industry many adaptation of books (prose) to film are made, although it is not done for television on a regular base in Afrikaans. The adaptation of a youth novel to a TV series might inspire the adolescent who is already watching the series to read the book from which the adaptation was made. This, in turn, may lead to a possible new edition of the relevant book, as well as the possible rebroadcast, or even the manufacturing of a new version of the current series, depending on its popularity. In the event of a new production of the series the challenge would indeed be not to be the same as its predecessor, but to convey the theme of the story within a new context. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2008.

In this comparative study research was done into the ways in which youth novels were transformed into a youth series on TV, in order to compile a transformation model. The Afrikaans youth novels Die verklikker and Twee wenners by Marilee McCallaghan and the TV youth series Wenners, that was based on these stories, were used for this comparison. The texts (youth novels and TV script/text) were analysed and interpreted, and the variants and constants that were found in the comparison were used to compile a model according to which the transformation precedes were deduced. The model that had been compiled applies only to this study, as all stories differ and are unique in themselves, and therefore the model has to be adapted for each adaptation and production of a youth series (book) to a TV youth series. In both the youth novels, Die verklikker and Twee wenners as well as in the TV youth series Wenners all the main characters, and especially the two main characters Carl and Jackie, show identity development. Regarding their social identity Carl and Jackie are constantly aware of their positions in the smaller community of the orphanage, and specifically regarding the other characters and their positive and negative social roles. With regard to their personal identities, both Carl and Jackie had established a feeling of continuity in their existence despite the fact that their father had passed away and there mother was in a psychiatric clinic, and despite the fact that they were both initially confused and disrupted. They had undergone many changes and had developed, but despite the many changes around them and within themselves they each contained the core of his/her identity. Although they are twins, the analysis of the stories shows that Carl and Jackie had developed a feeling of individual identity - a feeling of individuality or uniqueness. Each of them, as an individual had a subjective experience of these various aspects of identity, which enabled both Carl and to experience a feeling of a unique, whole (complete) person in their own right. At this stage in the South African television industry many adaptation of books (prose) to film are made, although it is not done for television on a regular base in Afrikaans. The adaptation of a youth novel to a TV series might inspire the adolescent who is already watching the series to read the book from which the adaptation was made. This, in turn, may lead to a possible new edition of the relevant book, as well as the possible rebroadcast, or even the manufacturing of a new version of the current series, depending on its popularity. In the event of a new production of the series the challenge would indeed be not to be the same as its predecessor, but to convey the theme of the story within a new context. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2008.

Submitted by Ariel Marcelo Fernández Quiroz (rel.fernandezq@gmail.com) on 2018-07-11T15:45:48Z No. of bitstreams: 1 Dissertação Ariel Fernández.pdf: 5074427 bytes, checksum: 67e509c12de12d41d7b1c49b9590090d (MD5) / Approved for entry into archive by Paula Torres Monteiro da Torres (paulatms@sjrp.unesp.br) on 2018-07-12T12:19:59Z (GMT) No. of bitstreams: 1 quiroz_amf_me_sjrp.pdf: 5074427 bytes, checksum: 67e509c12de12d41d7b1c49b9590090d (MD5) / Made available in DSpace on 2018-07-12T12:19:59Z (GMT). No. of bitstreams: 1 quiroz_amf_me_sjrp.pdf: 5074427 bytes, checksum: 67e509c12de12d41d7b1c49b9590090d (MD5) Previous issue date: 2018-04-20 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / O principal problema da maioria das dublagens de produtos audiovisuais humorísticos são os laugh tracks (sons artificiais de um público rindo), já que toda vez que há trilha sonora de risadas, estas devem coincidir com uma piada para não causar estranheza no público-alvo. Neste trabalho analisaremos, por meio de um corpus paralelo, os problemas de tradução presentes na dublagem de um desses produtos: o seriado “El Chavo del 8” (“Chaves” no Brasil) do espanhol do México para o português do Brasil, com base nas teorias de dublagem fundamentadas por Hurtado Albir (1996); de humor, fundamentadas por Raskin (1987), Bergson (1983), Posada (1995) entre outros; e de técnicas de tradução propostas por Hurtado Albir (2001). Apresentamos uma análise realizada em três etapas: na primeira, criamos um quadro com as minutagens das piadas para cada um dos 18 episódios analisados e uma seção “houve/não houve piada”; na segunda, 12 participantes responderam se houve piada ou não em cada trecho selecionado; finalmente, na terceira etapa, criamos quadros para cada piada nas quais os participantes determinaram que não houve piada e explicamos o motivo dessa perda. Com base na definição dos problemas e nas técnicas de tradução, pretende-se apresentar as possíveis soluções que os tradutores audiovisuais teriam para traduzir as piadas em caso de perda de comicidade. / The main problem with dubbing translation in most humorous audiovisual products is the laugh track, since every time there is a laugh track it must match a joke not to cause any strangeness in the target audience. In this research, we will analyze, through a parallel corpus, the translation problems in the dubbing of the series "El Chavo del 8" ("Chaves" in Brazil) from Mexican Spanish to Brazilian Portuguese, based on theories of audiovisual translation by Hurtado Albir (1996), Humor by Raskin (1987), Bergson (1983) and Posada (1995), and translation strategies by Hurtado Albir (2001).We show an analysis performed in three stages: in the first one, we created tables with the minutes of the jokes in 21 episodes and a “yes / no” joke section; in the second one, 14 participants answered whether or not there was a joke in each selected section; finally, in the third one, we created tables for each joke in which participants determined if there was no joke. Based on the definition of the problems and translation strategies, we intended to offer possible solutions for the audiovisual translators when dealing with jokes. / CNPq:190394/2015-3

Submitted by Erika Demachki (erikademachki@gmail.com) on 2016-08-04T17:58:59Z No. of bitstreams: 2 Dissertação - Victor Hugo de Carvalho Caldas - 2016.pdf: 1875779 bytes, checksum: 16e88aef5001741aa908ab366c41da8b (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2016-08-04T18:04:43Z (GMT) No. of bitstreams: 2 Dissertação - Victor Hugo de Carvalho Caldas - 2016.pdf: 1875779 bytes, checksum: 16e88aef5001741aa908ab366c41da8b (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-08-04T18:04:43Z (GMT). No. of bitstreams: 2 Dissertação - Victor Hugo de Carvalho Caldas - 2016.pdf: 1875779 bytes, checksum: 16e88aef5001741aa908ab366c41da8b (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-06-27 / In this work we investigate the construction of the character of the journalist in HBO series The Newsroom, comparing it with its cinematographic representation. In addition, we present an overview of the emergence and evolution of the TV series in USA, very popular today and available to the public through a variety of channels, which implies the importance of their understanding. / Neste trabalho investigamos a construção da personagem do jornalista em The Newsroom, série de TV do canal norte-americano HBO, comparando-a com a representação desse profissional no cinema. Além disso, apresentamos um panorama do surgimento e evolução das próprias séries televisivas nos Estados Unidos, hoje muito populares e disponíveis para o público por meio de uma variedade de canais, o que implica na importância do seu entendimento.

Gênero é um conceito que se apresenta como fruto de discussões políticas e ideológicas, diversas autoras e autores já problematizaram este conceito que é tão importante dentro das discussões feministas e queer e que, atualmente, gera acaloradas discussões sobre seu uso na escola. As relações de gênero permeiam o campo das artes e diversas representações das feminilidades e masculinidades estão presentes em produtos midiáticos, que dominam grande parte do tempo de uma considerável parcela dos indivíduos. Há aqueles que defendem que as mídias possuem apenas impactos negativos em nossas vidas, mas há também outros tantos que acreditam no seu caráter cultural e pedagógico. Nesta pesquisa, nós refletimos sobre a utilização de um produto midiático específico, as séries televisivas norte-americanas, como porta de entrada para o diálogo sobre relações de gênero com pré-adolescentes. Durante um ano, além de reflexões teóricas, nós realizamos intervenções em uma escola municipal de ensino fundamental localizada na zona leste de São Paulo. As intervenções foram formuladas e realizadas pelo grupo de trabalho E.M.M.A. (Estudos sobre a Mulher e as Minorias na Arte-Ciência), na modalidade A.L.I.C.E. (Arte e Lúdico na Investigação em Ciências na Escola) do projeto Banca da Ciência. Após reflexões teóricas e intervenções, pudemos concluir que, é possível utilizar as séries televisivas como porta de entrada para o diálogo sobre relações de gênero com pré-adolescentes e que, a partir das representações das identidades femininas que estão presentes nessas séries, é possível discutir diversos temas relacionados à questão do sexo, do gênero, da orientação sexual e das identidades de forma eficaz. Assim, nosso objetivo foi apresentar nossas reflexões teóricas e alguns exemplos das atividades realizadas e, acima de tudo, manter um registro histórico do trabalhado já realizado / Gender is a concept that is presented as the result of political and ideological discussions, several authors have already problematized this concept, which is so important in feminist and queer discussions, and which currently generates heated discussions about its use in the school. The gender relations permeate the field of the arts and diverse representations of femininities and masculinities are present in media products, which dominate much of the time of a considerable portion of individuals. There are those who argue that media have only negative impacts on our lives, but there are also so many who believe in their cultural and pedagogical character. In this research, we reflected on the use of a specific media product, the north american television series, as a gateway to dialogue about gender relations with preteens. During one year, in addition to theoretical reflections, we carried out interventions in a municipal elementary school located in the east zone of São Paulo. The interventions were formulated and carried out by the group E.M.M.A. (Studies about Women and Minorities in Art-Science), in the modality A.L.I.C.E. (Art and Leisure in Science Research in the School) of the Banca da Ciência project. After theoretical reflections and interventions, we could conclude that it is possible to use the television series as a gateway to the dialogue about gender relations with pre-adolescents and that, based on the representations of the feminine identities that are present in these series, it is possible discuss various issues related to sex, gender, sexual orientation and identities effectively. Thus, our objective was to present our theoretical reflections and some examples of the activities carried out and, above all, to maintain a historical record of the work already done

Este trabalho apresenta um estudo sobre como séries televisivas reverberam na mente do espectador que as assiste, como interfere - se o faz - na sua capacidade sensorial e perceptiva, que ressonâncias subjetivas são provocadas, em suma, que produção de sentido se realiza no processo mental do espectador, que pode levá-lo a redefinir opiniões, comportamentos e posturas. Para tanto, utilizando, como procedimento de pesquisa, a proposta metapórica, na forma como é exposta pela Nova Teoria da Comunicação, apresentada pelo Núcleo de Estudos Filosóficos da Comunicação, FiloCom, da Escola de Comunicações e Artes da USP. O estudo debruça-se mais especificamente sobre as interfaces que permeiam a relação da identidade daquele que denominamos \"eu-espectador\", em sua relação com a alteridade (de outrem ou de outros objetos), no momento da vivência daquilo que se denomina Acontecimento Comunicacional dentro de uma obra televisiva. Os resultados obtidos desta investigação estão cotejados com proposições do campo teórico, particularmente aquelas que realizam uma reflexão a respeito do sensível como ponto de partida para observar o que atravessa a percepção do espectador em sua relação com as séries de TV. / This work presents a study about how television series reverberate in the mind of the spectator that assists them, how they interfere - if it does - in their sensorial and perceptive capacity, what subjective resonances are provoked, in short, what production of meaning is realized in the mental process of the viewer, which can lead him/her to redefine opinions, behaviors and postures. To do so, we use as a research procedure the metaphorical proposal, as it is exposed by the New Theory of Communication, presented by the Nucleus of Philosophical Studies of Communication, FiloCom, School of Communications and Arts of USP. The study focuses more specifically on the interfaces that permeate the relation of the identity of what we call the \"I-spectator\", in his/her relation to otherness (of others or other objects), at the moment of experiencing what is called \"Communicational event \"in a television work. The results obtained from this investigation are compared with propositions of the theoretical field, particularly those that perform a reflection about the sensitive as a starting point to observe what cross the perception of the viewer in their relation with the TV series.

Submitted by Fabiano Vassallo (fabianovassallo2127@gmail.com) on 2017-04-20T19:09:12Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) DISSERTACAO-LuizaMonteiro.pdf: 3560286 bytes, checksum: ad8c0fa7a9b1fc3a2a2d5137f21a3174 (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-04-25T14:52:26Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) DISSERTACAO-LuizaMonteiro.pdf: 3560286 bytes, checksum: ad8c0fa7a9b1fc3a2a2d5137f21a3174 (MD5) / Made available in DSpace on 2017-04-25T14:52:26Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) DISSERTACAO-LuizaMonteiro.pdf: 3560286 bytes, checksum: ad8c0fa7a9b1fc3a2a2d5137f21a3174 (MD5) / A presente dissertação de mestrado propõe-se a analisar, por meio do aparato da semiótica francesa, a série de televisão Breaking bad, transmitida entre 2008 e 2013 pelo canal norte-americano AMC. Parte da chamada nova “era de ouro” da televisão americana, a série criada por Vince Gilligan apresenta uma narrativa inventiva que conquistou tanto público quanto crítica, sobretudo pelo apelo de seu protagonista, Walter White. A partir do percurso gerativo de sentido de Algirdas Greimas, a análise concentrase nos níveis narrativos e discursivos para acompanhar quais estratégias são empregadas nesta obra audiovisual. Em especial, propomos um estudo sobre as paixões do protagonista e os valores que são postos em jogo por meio da articulação entre recursos verbais e visuais / This work uses french semiotics to analyse the TV series Breaking bad, transmited between 2008 and 2013 on AMC channel in the United States. Identified as part of the so called new american TV “Golden age”, the series created by Vince Gilligan features an inventive narrative that was equally accepted by the audience and TV critics, with its protagonist, Walter White, as the greatest cause of its success. In this work, the narrative and discoursive levels of Algirdas Greimas’ generative meaning trajectory are used to follow which strategies are used in this audiovisual work. In special, we propose a study about the protagonist’s passions and the values that are displayed through the articulation between verbal and visual recourses