Animationsserien sind ein fester Bestandteil der deutschen Fernsehlandschaft und sollen vor allem Kinder als Zielgruppe ansprechen. Vor diesem Hintergrund stellt sich zum einen die Frage, welche Wirkungen und Funktionen von Animationsserien auf und während der Sozialisation zu erwarten sind. Zum anderen möchte diese Arbeit aber auch die Seite der Produzierenden von Animationsserien näher beleuchten, die gerade in der Trias „Produktion, Distribution, Rezeption“ eine zentrale Rolle einnehmen und an wesentlichen Entscheidungsprozessen beteiligt sind. Mit Hilfe von qualitativen ExpertInneninterviews sollten verschiedene Fragen beantwortet werden: Welche subjektiven Wirkungs- und Funktionsannahmen besitzen ProduzentInnen von Animationsserien und welchen Einfluss haben diese auf die Gestaltung der Serie? Und wie werden individuelle künstlerisch-ästhetische Vorstellungen mit den Anforderungen des Marktes „Animationsfilm“ in Einklang gebracht?

The aim of the study is to identify possible differences regarding how men and women pay attention to product placement. The overall issue underlying the study is as follows: ● How does the attention of product placement differ between men and women? In this study, the authors have chosen to use a multimethod research, which combines qualitative and quantitative methods. In order to fulfil the purpose and answer the main question, quantitative data was initially collected in the form of questionnaires. The data from the surveys were compiled and then mapped to provide a basis for the qualitative focus groups held with ten people, five women and five men. The choice of methodology fell naturally since the aim of the study was to identify possible differences regarding how men and women pay attention to product placements. The result shows that there are similarities as well as differences between the sexes within product placements dimensions, attitude, memory and brand recognition.

Ce travail de recherche s’attache à analyser la visibilité des lesbiennes au cinéma américain et dans les séries télévisées et les web-séries américaines. Bien qu’ayant été globalement invisibles ou mal représentées dans le cinéma classique hollywoodien, elles apparaissent de plus en plus fréquemment sur le petit et le grand écran. Toutefois, cette visibilité est construite à partir d’un certain nombre de normes, privilégiant donc une image particulière des lesbiennes à travers notamment la figure de la lesbienne féminine. En outre, cette visibilité repose sur des stratégies de réappropriations et d’emprunts qui visent à « queeriser » les représentations existantes, et, possiblement, à créer un regard lesbien / The purpose of this work is to investigate lesbian visibility in American cinema, TV series and web series. Although lesbians have remained broadly invisible or misrepresented in classical Hollywood Cinema, they now increasingly appear on both the big screen and the small screen. However, this visibility is shaped according to a precise set of norms, thus favoring a specific image of lesbians, particularly through the figure of the feminine lesbian. Furthermore, this visibility is grounded on strategies of reappropriation and borrowings aiming to queer existing representations, and, possibly, to create a lesbian look

Le but de ce travail est d'analyser les représentations des pirates dans la culture populaire anglophone, représentations qui s'inspirent en premier lieu d'un contexte historique et tendent à montrer les pirates comme des révoltés aux prétentions démocratisantes face aux puissances absolutistes, faisant de l'élection un principe maître qui fait écho à différentes visions de l'implication politique des XXe et XXIe siècles. En parallèle se développe la notion d'une attirance inévitable pour la piraterie due aux liens du sang, un héritage qui mène souvent à diverses formes d'hybridation en mettant sans cesse en question les contenus ainsi transmis. Enfin, que l'on parle d'élection ou d'héritage, ce qui est transmis doit être appris, et les modalités de cet apprentissage sont variables bien que s'inscrivant dans un schéma reconnaissable à travers les artefacts culturels examinés. / The purpose of this work is to analyze the representations of pirate in English-speaking popular culture, representations whose foremost source of inspiration for such works is a historical context, and they tend to show pirates as rebels with claims to forms of democracy facing absolutist powers, turning election into a major principle that echoes different visions of political involvement in 20th- and 21st-century America. Along this tendency, the notion of an irresistible attraction towards piracy, due to blood ties, is developed into a form of legacy often leading to diverse forms of hybridization endlessly questioning the contents thus transmitted. Finally, whether election or legacy be dealt with, what is transmitted must be learnt, and the modalities of such learning vary even though they are embedded in a pattern recognizable throughout the cultural artifacts under examination.

Understanding the communication strategies adopted by U.S. television network HBO in the context of digital networks is the goal of this study. The case study contemplates the online and at a distance observation of an intentional sampling which covers multiple products and services of the network along its history. In the first part of the paper, HBO s strategic course is studied from the perspective of Reeves, Rogers and Epstein (1996, 2002, 2006, 2007) about the ages of TV I, II and III. HBO was the first U.S. cable network to offer exclusive content to its subscribers and, later, initiated the production of made for TV movies, series and miniseries among the subscription-based television networks. The second part of the research discusses the strategies used by HBO starting from the mid-2000s, when the network starts to consider the digital landscape in which the flow of content produced by television networks and the mutual exchanges by the public occur among multiple media platforms (Lotz, 2007; Gabriel 2010). The strategic actions of HBO point to some of the characteristics of the current television context, which includes strategies that encourage active participation and conversation among viewers in digital networks, the strengthening of the television network s own digital presence and the search for complementary platforms for content distribution and for additional sources of income in the context of the Long Tail (Anderson, 2006). The strategies adopted by HBO in the last decade allows us to identify the specific dynamics that rule television in the convergence culture (Jenkins, 2008), which characterize the fourth phase of American television proposed in this study, the age of TV IV. / Compreender as estratégias comunicacionais adotadas pela rede televisiva norteamericana HBO no contexto das redes digitais é o objetivo deste trabalho. O estudo de caso contempla a observação online e à distância de uma amostragem intencional que abrange múltiplos produtos e serviços da emissora ao longo de sua trajetória. Na primeira parte do trabalho, o percurso estratégico da HBO é estudado a partir da perspectiva de Reeves, Rogers e Epstein (1996, 2002, 2006, 2007) sobre as eras da TV I, II e III. A emissora foi a primeira rede a cabo norte-americana a oferecer conteúdo exclusivo para seus assinantes e, mais tarde, inaugurou a produção de filmes para a televisão, séries e minisséries entre as redes televisivas de acesso fechado. A segunda parte da pesquisa aborda as estratégias utilizadas pela HBO a partir de meados dos anos 2000, quando a emissora passa a considerar o cenário digital no qual o fluxo de conteúdos produzidos pelas redes de televisão e as trocas recíprocas por parte dos públicos ocorrem entre múltiplos suportes midiáticos (Lotz; 2007; Gabriel, 2010). As ações estratégicas da HBO apontam para algumas das características da presente configuração televisiva, as quais incluem as ações que incentivam a participação ativa e a conversação entre os espectadores em redes digitais, o fortalecimento da presença digital própria da rede de televisão e a busca por plataformas complementares de distribuição de conteúdo e por fontes adicionais de renda no contexto da Cauda Longa (Anderson, 2006). As estratégias adotadas pela HBO na última década permitem identificar as dinâmicas específicas que regem a televisão na cultura da convergência (Jenkins, 2008), as quais caracterizam a quarta fase televisiva norte-americana proposta neste trabalho, a era da TV IV.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-06-29T13:47:21Z No. of bitstreams: 1 lilianwerneckrodrigues.pdf: 10142462 bytes, checksum: d440c292d0d560e1e8841dc5122abaa3 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T15:50:02Z (GMT) No. of bitstreams: 1 lilianwerneckrodrigues.pdf: 10142462 bytes, checksum: d440c292d0d560e1e8841dc5122abaa3 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T15:50:15Z (GMT) No. of bitstreams: 1 lilianwerneckrodrigues.pdf: 10142462 bytes, checksum: d440c292d0d560e1e8841dc5122abaa3 (MD5) / Made available in DSpace on 2016-07-13T15:50:15Z (GMT). No. of bitstreams: 1 lilianwerneckrodrigues.pdf: 10142462 bytes, checksum: d440c292d0d560e1e8841dc5122abaa3 (MD5) Previous issue date: 2012-09-13 / A partir do mapeamento das conexões entre novas mídias, séries de TV, interações colaborativas na Internet e lesbianidades, este trabalho de dissertação interroga as interseções que podem ocorrer entre mídias através de um estudo de caso das audiências em torno da série The L Word. Considerada a primeira série dramática da televisão norteamericana a apresentar um grupo de mulheres lésbicas como protagonistas de sua narrativa, The L Word pode ser vista como um exemplo de produto cultural transmidiático, produzido para a TV, mas que estabeleceu uma relação peculiar com suas espectadoras dentro do que Henry Jenkins chama de Cultura da Convergência. Através deste estudo, pretende-se questionar tanto as especificidades desta relação ambientada na convergência dos meios de comunicação, quanto as características particulares do comportamento das fãs brasileiras dentro da cultura participativa, movimento alimentado pela inteligência coletiva criada a partir do seriado. A busca pelas respostas a essas questões serve, ao longo do texto, à verificação da hipótese de que The L Word, enquanto transmídia, estabelece uma interlocução com suas fãs no ambiente da convergência dos meios, ou seja, ao mesmo tempo em que as personagens da série tentam pautar certos traços das lesbianidades em trânsito, a narrativa se adapta às pautas demandadas pelas espectadoras que buscam a visibilidade, em um fluxo que levou as fãs brasileiras a se envolverem tanto no compartilhamento de conteúdos da série, quanto nas redes sociais lésbicas criadas a partir dela, movimento que ocasiona implicações sociais, culturais e políticas. / From the mapping of connections between new media, TV series, and on the Internet collaborative interactions lesbianidades, this dissertation interrogates the intersections between media that can occur through a case study of audiences around the series The L Word. Considered the first dramatic series of American television to present a group of lesbian women as protagonists of his narrative, The L Word can be seen as an example of cultural product transmidiático produced for TV, but it established a special relationship with their spectators in what Henry Jenkins calls Convergence Culture. From this study, we intend to question both the specifics of this relationship set in the convergence of media, as the particular characteristics of the behavior of the fans inside the Brazilian participatory culture, collective intelligence powered by the movement created from the show. The search for answers to these questions serves, throughout the text, to verify the hypothesis that The L Word, as transmedia, establishes a dialogue with their fans in the environment of media convergence, while the characters series of guided attempt traits of lesbianidades in transit, the narrative fits guidelines demanded by viewers who seek visibility in a stream that led the Brazilian fans to be involved in both the sharing of content of the series, as the social networks created lesbians from it, move that causes social, cultural and political.

Målet med denna studie är att med hjälp av en semiotisk innehållsanalys av två svenska tv-serier skapa medvetenhet kring genusutvecklingen. Detta genom att undersöka hur kvinnor framställs i tv-serierna Andra Avenyn och Bonusfamiljen. Framställningen av två kvinnliga huvudkaraktärer från vardera serie granskas i avseende på könsroller, stereotyper och normer för att besvara frågan om och hur framställningen skiljer serierna åt. Studien syftar även på att besvara om Bonusfamiljen är normbrytande i jämförelse med Andra Avenyn, detta med tanke på deras olika produktionsår. Frågorna besvaras genom analys av utvalda scener. Dessa granskas utifrån en denotativ och en konnotativ nivå. Som stöd till analysen har även ett analysschema utformats. Detta baseras på två teman: ”interaktioner” och ”personlighet”. Det teoretiska ramverk som används innefattar genusteori och feministisk teori.  Resultatet visar att karaktärerna är skapta med stor medvetenhet kring genus och feminism. Kvinnorna är självständiga och starka och återspeglar således ”den moderna kvinnan”. En av de kvinnliga huvudkaraktärerna i Bonusfamiljen speglar dock en mer könsstereotyp bild i jämförelse med karaktärerna i Andra Avenyn. Gemensamt för serierna är att de bryter könsmaktsordningen. / The goal with this qualitative semiotic analysis is to enlighten awareness regarding gender development. This, by examining how women are pictured in two Swedish tv series, Andra Avenyn and Bonusfamiljen. Two female main characters from each series are examined in terms of gender roles, stereotypes and norms in order to see if and how the female role differs between the series. The study also aims to answer whether Bonusfamiljen is normative or not in comparison to Andra Avenyn. This, in consideration to their different production years. The questions are answered through analysis of selected scenes. These are examined based on a denotative and a congenational level. In support to the analysis, a schedule has been developed. This is based on two themes: "interactions" and "personality". The theoretical framework used in this study includes gender and feminist theory.  The result shows that the characters are created with great awareness regarding gender and feminism. The women are independent and strong and thus reflect the "modern woman". However, one of the female main characters in Bonusfamiljen reflects a more gender stereotypical image compared to the characters in Andra Avenyn. Although, both series show a more modern look on gender roles.

This thesis concerns teaching aspects of connected speech. The theoretical part briefly introduces aspects of connected speech from a phonetic and didactic point of view. It further scrutinizes the relation between teaching aspects of connected speech and the development of decoding skills. The practical part presents research aimed at the effects of explicit instruction and training in selected aspects of connected speech on understanding of authentic speech. The results indicate that twelve 45-minute lessons based on authentic TV series may have had a significant positive influence on the development of the students' listening skills. They further show that the students found the training enjoyable and useful.

Cette thèse porte sur l’émergence d’une figure hégémonique de « bonne » mère dans les séries télévisées françaises et sur les impératifs à caractère injonctif qui la caractérisent. Cette recherche en sciences de l’information et de la communication adopte une démarche au croisement de la sociologie des médias, des Cultural studies et des études de genre. Elle s’appuie sur un corpus de séries familiales, produites et diffusées par les chaînes historiques françaises entre 1992 et 2012, constitué à l’aide des outils de l’Inathèque. La méthodologie et le cadre théorique fournissent le socle à une analyse des représentations fictionnelles de la parentalité, de ses discours et des politiques de représentations à l’œuvre.L’analyse qualitative du corpus montre que ces fictions mettent en avant une figure valorisée et légitimée de « bonne » mère. Cette figure consensuelle se caractérise par des impératifs de responsabilité, de communication, de disponibilité, d’amour, de réflexivité ou encore de culpabilité. L’articulation des identités féminines et maternelles se fait sous contrainte, tant la maternité vient phagocyter les autres dimensions identitaires des femmes devenues mères. L’exercice du métier de mère renvoie à des performances, de genre comme de parentalité, tant les héroïnes s’attachent à mettre en pratique les attendus d’une « bonne » maternité. Une approche intersectionnelle, enfin, permet de mettre en lumière que la « bonne » mère, de surcroît, est blanche, de classe moyenne ou supérieure, et hétérosexuelle. Cette thèse montre ainsi que les politiques de représentation à l’œuvre viennent réassigner les femmes à leur genre en faisant la promotion d’identités féminines centrées sur la maternité tout en transformant en injonctions les attentes normatives vis-à-vis de la maternité, participant par là à un mouvement de backlash. La maternité construite par ces fictions est hégémonique dans la mesure où elle est ponctuellement discutée et remise en question par des figures humoristiques contre-hégémoniques. Cependant, la transgression que pourrait constituer l’humour – nombre de ces séries sont des comédies – sert finalement une réaffirmation des normes de genre et de parentalité. Ces séries deviennent ainsi les complices de la promotion d’une parentalité policée et de la normalisation de la vie familiale. / This thesis deals with the emergence of a hegemonic mother figure in French TV series and its imperious exhortation. The research is based on a corpus of family TV series, produced and broadcasted by historic TV channels between 1992 and 2012, gathered with help of the INA (Audiovisual National Institute) archives. The qualitative analysis of this material is at the crossroads of information and communication sciences, media studies, sociology, cultural studies and gender studies. The methodology and the theoretical framework make up the basis for an analysis of fictional representations of parenthood, of its discourse and its politics of representation.The qualitative analysis shows a valuable and legitimated figure of « good » mother. This consensual mother is characterized by imperative duties such as duties of communication, responsibility, availability, love, reflexivity or guilt. The articulation between feminine and maternal identities is complex: the maternal dimension swallows up the other ones. The mother’s job becomes a performance of gender and of parenthood. Indeed heroines intend to perform the model of good mother along with the social expectations about motherhood. Intersectionality encourages us to consider the articulation of gender, race, class and parenthood. Thus, the “good” mother is also a White middle or upper class, heterosexual one. This analysis suggests a phenomenon of backlash against mothers. This thesis shows that the ongoing politics of representation reassign mothers to their gender by promoting women’s identities centred on motherhood; they turn normative expectations about motherhood into injunctions. These TV series construct a hegemonic motherhood that is discussed into the margins by counter-hegemonic and comic figures. However, the transgressive opportunity of humour eventually reaffirms the norms of gender and parenthood. These family TV series thus become abled allies for the promotion of a gendered and controlled parenthood. They support the normalization of family life.

The purpose of this study was to identify how the leading male characters in the Netflix series Sex Education were represented through a qualitative content analysis. The theories used in this thesis are Stuart Hall’s representation theory and R.W Connell's theory of hegemonic masculinity. They were further applied to the essay in order to investigate whether the chosen male characters were portrayed in a stereotypical or an unconventional way. The analysis part of the study was created through an analysis tool by Selby and Cowdery. By adapting and using essential parts of the chosen analysis methods, Mise-en-scèneand TheThree-stage Model,we were able to gradually break down a total of 12 sequences from the first two seasons of the series. Findings from this study showed that there were several carriers of Connell's concept of hegemonic masculinity. But there was seldom a complete representation of the various categories of masculinity. Our study also shows that all four of the chosen characters showed signs of stereotypical traits but were given deeper, more groundbreaking personalities as the show progressed.