In this study, 248 university students completed questionnaires measuring their perceptions of and responses to their favorite and least desired characters in their favorite TV serial. Firstly, the respondents named their favorite serial character and then rated their favorite character on several attributes (physical attractiveness, positive social behavior, strength and humor) and indicated their level of agreement to the items of the parasocial interaction scale. Secondly, the participants named the character they desired the least in their favorite TV serial, rated that character on several attributes (physical repulsiveness, negative social behavior, weakness) and responded to the items of the negative parasocial interaction scale. Regression analyses predicting the sub-dimensions of parasocial interaction, namely companionship, empathic involvement and interest, and negative parasocial interaction, namely, boredom, anger, disturbance and amazement were performed. Different attributes of the characters were found to be important in predicting different dimensions of parasocial and negative parasocial interaction. The predictors of the sub-dimensions of parasocial interaction were determined. Significant predictors of companionship sub-scale were found as the positive social behavior, humor and strength of the character. In terms of empathic involvement, the perceived attributes of positive social behavior, physical attractiveness, strength and humor were found as significant predictors. For the interest sub-scale, the significant predictors were found as humor, strength and physical attractiveness. The newly-formed scale named as Negative Parasocial Interaction Scale was factor analyzed and interpretable factors were determined. The predictors of these factors were also examined. Significant predictors of boredom sub-scale were found to be the perceived weakness and physical repulsiveness of the character. Negative social behavior of the character was found to be a significant negative predictor of boredom sub-scale. In terms of anger sub-scale, only negative social behavior was found to be a significant predictor. For the disturbance sub-scale, significant predictors were found as negative social behavior, physical repulsiveness and weakness. Finally, the amazement sub-scale was significantly predicted only by the physical repulsiveness of the character. The implications of the findings, the strengths and weaknesses of the study are discussed.

The thesis propounded below is based upon a presumption that one of the significant means of socialization is mass media. It represents a source of information since an early age of a child, constitute the models of a socially acceptable behaviour and depict the values and norms that are applicable to the society. In continuation to the ambiguous character of socialization, on one hand allowing an individual to integrate fully into the society, on the other hand, however, producing the present inequalities, the author enquires into the way how villains are portrayed in television cartoons, that is, those who violate these commonly accepted norms. In the theoretical part of the thesis the author builds predominantly on the sociological reflections of the character of the modern society, the character of socialization and social norms. In the chapters dealing with the socialization potential of media she employs primarily the modelling theory that stems from the more universal social learning theory. In the empirical part the author, using qualitative research, tries to describe how villains are portrayed in television cartoons and besides other statements, she proves that their world has a strictly dichotomic and exclude character. One of the outcomes of the thesis is a typology of villains who can...

Cette thèse est une approche du feuilleton télévisuel sentimental sud-coréen de prime time, connu sous le nom de k.drama (korean drama) à l’étranger, en tant que genre fictionnel télévisuel. Dans une première partie présentant l’évolution du système télévisuel sud-coréen, nous montrons comment ce dernier s’est construit autour de la concurrence des chaînes généralistes KBS et MBC avec une nette accélération du phénomène à la suite de la fondation de la chaîne commerciale SBS, puis avec le début d’un phénomène d’engouement pour les contenus audiovisuels coréens en Asie (Vague coréenne). Après une présentation générale du feuilleton télévisuel en Corée (drama) à travers sa typologie et son histoire, nous procédons à une étude de la programmation de prime time entre 1992 et 2005, presque entièrement consacrée à la diffusion de dramas et constatons la place importante de fictions sentimentales courtes appelées « miniseries » par les diffuseurs et« trendy drama » par les spécialistes. Ensuite, nous interrogeons ces deux termes génériques, les rapprochons et concluons sur leur incongruité. Après cette première approche définitoire, nous analysons un corpus de quinze dramas diffusés pendant la période d’étude et sélectionnés parmi les plus représentatifs et les plus populaires.Cette analyse qui a pour but de mettre sur pied une formule générique, nous conduit dans un premier temps à rapprocher l’histoire de celle du roman sériel sentimental avec une spécification quant à la localisation et au nombre de fils narratifs secondaires. Ensuite une analyse du récit permet de montrer son caractère extrêmement fluide et ancré dans le temps présent. La troisième partie portant sur la mise en images et en sons du récit permet de souligner le soin apporté au choix des images et des musiques et de confirmer l’accentuation sentimentale.Une dernière partie consacrée à la médiatisation du récit audiovisuel porte sur le phénomène d’hybridation, le caractère genré du contenu et l’aspect commercial appuyé du drama dont la spécificité réside dans le placement de produits. / This study investigates the genre of Prime Time South Korean Romantic TV serials (TV dramas),known as k.drama abroad. The first section introduces the history and evolution of the Korean television system.It shows how the system emerged from the influence of general-interest TV channels, such as KBS and MBC,but especially took shape after the foundation of the private TV Channel SBS, which helped to trigger the crazefor Korean audiovisual content in Asia (Korean Wave). The second section describes the history and typology of Korean TV Drama, which sets up my analysis of the Prime-Time TV Schedule from 1992 to 2005. The analysis shows the predominance of TV Dramas and short romantic serials, called “miniseries” by distributors but “trendy dramas” by specialists. I then question those two generic labels, compare them and show their incongruity. After problematizing these labels, I conduct an analysis of fifteen Prime Time TV dramas airedduring the study period and selected because of their audience or representative aspects. By trying to discover ageneric formula, I show the similarities with serial literary romance but differences regarding location and number of secondary narratives. I then demonstrate that the narrative process contains some particular qualities,with a focus on the fluidity of the narrative and the representation of time (coincidence of narrative time withviewing time). The third section of the analysis of the generic process shows the attention to displaying musicand images with an emphasis on sentimental tone. The final section deals with the “mediatization” of theaudiovisual narrative. The process entails the hybridization of content, the consideration of gender in messagingand the strong emphasis on marketing which concentrates on product placement.

本文是以處在文化全球化發展進程下的台灣社會現況做為研究背景，針對十四位現年二十三歲到二十九歲的台灣青年世代觀眾的美國影集收視經驗，進行深度訪談研究。這群台灣的青年觀眾因為熟稔網際網路與電腦科技操作，善於以下載數位檔案、燒錄光碟、以及購買DVD的方式，自行且主動安排出個人的電視收視方式與內容。本文關注這群青年觀眾利用各種傳播科技工具進行休閒娛樂，他們對諸多來源地區的外國電視節目做出取捨時，電視節目的出品地區是否對他們的消費心態有任何影響。筆者以Mittell（2004）所倡議的電視節目類型研究建議，結合全球化理論、消費理論、電視觀眾等研究傳統，設計出本文的研究架構。 本文的提問有二：其一是在全球化的文化情境背景下，主動且大量收看美國影集的台灣青年觀眾，在生活中利用什麼工具與方法、付出多少時間在收視美國影集一事上，而收看美國影集對於這群觀眾生活的其他部分有何影響。其二是關於受訪者是基於怎樣的品味標準，養成了獨鍾美國影集的收視選擇與收視習慣，對於生活中其他國家的電視劇又抱持怎樣的想法。 本文發現，美國影集在受訪者生活裡扮演的功能歷經數次重要的轉變，隨著年紀增長，受訪者對美國影集的收視態度也從被動到主動。受訪者喜歡在看美國影集時尋獲看見真實美國社會的感受，而他們認為日、韓、台三地的電視劇都無法提供這樣的寫實感。本文更進一步發現，這些受訪者的文化認同狀況，遠較單純地被美國文化洗腦來得複雜許多。他們是以不斷重覆消費腦中虛構的美國印象為工具，並以此鑑賞力為榮，他們認為自己的品味獨到，優於其他台灣民眾。 本文的研究發現有三：首先，本文認為吾人在思考文化全球化問題時，應避免以二分的對立觀點去看待全球化和在地化；我們應該思考個人是如何在權衡全球和在地兩方的力量之後，創造符合個人認知的生活方式。其次，本文認為收視節目的選擇有宣示個人品味的消費功能，而本文受訪者貴遠賤近的心態，也顯示區域文化商品的文化鄰近性優勢應被重新評估。最後，本文發現受訪者對個人虛構出來的美國印象產生文化認同，而且他們不經客觀事實查證也確信從美國影集中所得的資訊為美國社會之真實，證明電視的收視樂趣涉及感覺的消費，而受訪者希望以對美國影集的長期收視與喜愛，來與在地的其他地區電視節目收視品味區隔，以達成在文化資本上的秀異宣稱。