From the beginning of the twenty first century vampires begin to appear in other genres other than the horror and their image in popular media starts to change. The changes begin not only in the image but also the perception of vampire in popular media shifts into new directions. These changes are interconnected and influence each other. The thesis will analyse the ways vampires are portrayed in films and TV series from the end of the twenties century until recent times. The changes happening will be explored across different genres and across time. The thesis will then attempt to examine whether there is a pattern of trends within the observed forms, and whether these trends are common across the different genres.

Euphoria is a popular tv-series that has become a part of popular culture with its dark imagery and strong characters. The characters became a big discussion in social media and mantras that people are taking inspiration from. The series has become a phenomenon in social media where people recreate the characters makeup and outfits. This study looked at how female characters are portrayed in Euphoria from a female stereotypic and gender identity perspective. And we wanted to see if the female characters are challenging heteronormativity that is reflected in our society. We used a narrative analysis and mise-en-scéne to analyze the chosen scenes, the theories we used were gender theory, gender role theory and queer theory. The result showed that three of the characters are shown as the typical female stereotype and two of them are not. The three females that are more like the stereotypes are portrayed in a sexualized way and their bodies are shown for entertainment and selling purposes. Meanwhile the two female characters that challenge heteronormativity are portrayed as norm breaking and they are not sexualized. The gender roles are shining through when some of the feminine women are acting from what is expected of a woman. They are seeking after what the ideals are and how they can be their most beautiful selves based on the stereotypes while some of them do not.

Inspiré par la résurgence en popularité de l’horreur télévisuelle, ce mémoire propose une analyse du processus d’adaptation du « slasher » dans la série Scream : the TV Series (2015-, É.U, MTV et Netflix) de Jill Blotevogel. Naviguant entre le récit cinématographique condensé et la forme longue et épisodique de la télévision, l’apparition du « slasher » au petit écran se positionne dans une reconsidération de l’écriture télévisuelle. Déjà structuré selon des meurtres…en série, le « slasher » est-il le phénomène sériel parfait ? La problématique de cette recherche questionne la définition du phénomène sériel qu’est le « slasher » et de quelle façon celui-ci est importé sur le format télévisuel. Au travers de l’analyse de la dimension sérielle de la trilogie originale de Scream (Craven, 1996, 1997, 2000), nous verrons comment les diverses conventions du « slasher » cinématographique se retrouvent transformées par les spécificités de la télévision. / Inspired by the resurgence in popularity of TV horror, this thesis offers an analysis of the adaptation process of the slasher in Scream: the TV Series (2015-, USA, MTV and Netflix) created by Jill Blotevogel. Navigating between the condensed cinematographic narrative and the long and episodic format of television, the appearance of the TV slasher is positioned in a rehandling of television writing. Already based around serial killers, is the slasher the perfect serial phenomenon? The problematic of this research questions the definition of the serial phenomenon that is the slasher, and how it is imported on the television format. Through the analysis of the serial dimension of Scream's original trilogy (Craven, 1996, 1997, 2000), we will see how the various cinematographic slasher conventions find themselves transformed by the specificities of television.

Negli ultimi dieci anni la Federazione Russa si è lanciata nel mercato globale della produzione di contenuti televisivi, migliorando la qualità dei propri prodotti e distinguendosi per i generi e le storie raccontate. Studiarne il sistema televisivo contemporaneo, con la peculiarità dei remake “made in Russia”, permette di comprenderne il funzionamento e l’evoluzione passata e futura, in un’ottica di economia globale. Capire come e perché sui palinsesti nazionali circolano ancora oggi prodotti che sono una copia di serie televisive originali occidentali (ben lontani dal concetto di scripted format) è alla base dell’analisi del sistema televisivo economico e produttivo. Questi remake sono presenti fin dai primi anni Duemila e, seppur con lievi differenze, sono tuttora presenti, prodotti e trasmessi, nonostante la loro versione originale sia comodamente fruibile sia attraverso la televisione lineare, sia attraverso le piattaforme OTT. Per quale motivo, quindi, non risultano ridondanti? Per quale motivo il pubblico russo ne sente la necessità? Esistono degli iter produttivi standardizzati che ne facilitino la produzione e la categorizzazione? Queste le domande alla base dello studio dei percorsi produttivi che le serie televisive occidentali intraprendono una volta che valicano i confini della Federazione Russa, in un meccanismo che rappresenta un unicum nel sistema televisivo economico globale. / In the last ten years Russian Federation has entered the global market of tv-content production, improving the quality of its products and standing out for the genres and stories told. Studying its contemporary television system, with the peculiarity of its remakes “made in Russia”, helps us understanding its functioning and evolution (past and future), in a global economy perspective. Understanding how and why on national show schedules still circulate products that are a copy of Western original television series (distant from the concept of ‘scripted format’) represents the basis of the analysis of the economic and productive system. These remakes are already present at the beginning of the new Millennium and, even if with slight differences, are still present and broadcast, nevertheless their original version can be found and watched both through DTT television and OTT platforms. From what reason, then, aren’t they redundant? Why Russian audience needs them? Are there any standardized productive paths that simplify their production and organization? These are the questions at the foundation of the study of productive paths that Western television series take once they cross Russian Federation borders, in a mechanism that represents an unprecedented example in the global economic television system.

Магистерская диссертация посвящена сопоставительному анализу реалий в англо- и русскоязычной версиях сериала «Игра престолов». Материал исследования составляют 218 реалий, отобранных методом сплошной выборки. Теоретической базой работы служит классификация С. Влахова и С. Флорина, в соответствии с которой выделены в английском оригинале и соотнесены с русским переводом географические, этнографические и общественно-политические реалии. В границах каждой группы сделаны сопоставительные количественные наблюдения, представленные в виде диаграмм. Результаты исследования могут быть использованы в терминографии при составлении тематических и сопоставительных словарей, в т. ч. для будущих переводчиков исследуемого сериала и книги, а равно как материал для учебных занятий по теории и практике перевода и для спецкурсов по художественному переводу. / This master’s thesis provides comparative analysis of realia in the English and Russian versions of the “Game of Thrones” series. The research material includes 218 realia, selected by the method of continuous sampling. The theoretical basis of the work is S. Vlakhov and S. Florin’s classification, which distinguishes geographic, ethnographic and socio-political realia. All the three types are found in the English original and correlated with the Russian translation. Within each group, there are made comparative quantitative observations, which are afterwards presented in the form of diagrams. The research results can be used in terminography when compiling thematic and comparative dictionaries; the latter can be used for future translators of the series and book studied. The paper can also provide materials for training sessions on the theory and practice of translation and for special courses on literary translation.

Denna uppsats har som avsikt att belysa och problematisera hur rasifierade maktstrukturer konstrueras i representationen av olika etniska grupper i svensk populärkultur. I uppsatsen analyseras den första säsongen av tv-serien Snabba Cash producerad av Netflix Sverige år 2021, med hjälp av en narrativ analys. Rasifiering av grupper har uttryckts i populärkulturen i och med att svarta och bruna respektive vita representeras med rasifierade skillnader, detta har bidragit till att grupperna värderas olika och placeras utifrån en makthierarki. Konstruktionen av skillnaderna är även grundade i stereotyper vilket ger en ensidig bild av de som rasifieras svarta och bruna. Genom åtta utvalda scener undersökte vi därför narrativet i Snabba Cash utifrån hur karaktärer som rasifieras svarta/bruna respektive vita har framställts, men även hur de framställs i jämförelse med varandra enligt teori om rasifiering, representationsteori, stereotyper och populärkultur.   I vår analys har vi kommit fram till två teman i hur karaktärerna har framställts i tv-serien. Det ena menar att karaktärerna har framställts med skillnader gentemot varandra grundat i hur de har rasifierats. I det här temat påvisar vi att de svarta/bruna karaktärerna porträtterades med ofördelaktiga egenskaper medan de vita karaktärerna i motsats har uppfattats med fördelaktiga egenskaper. I och med detta har de svarta/bruna karaktärernas agerande uppfattats som ett icke-önskvärt beteende enligt ett ideal medan de vita karaktärernas agerande i stället har uppfattats som önskvärt i linje med en samhällsnorm. Detta antagande är i enlighet med postkolonialismens perspektiv på hur grupperna rasifieras. Utöver detta fann vi även att de rasifierade skillnaderna förstärker och påverkar andra maktordningar hos karaktärerna vilket har påverkat hur de framställs i tv-serien. De svarta/bruna karaktärerna porträtteras med sämre socioekonomiska faktorer och mindre makt än de vita karaktärerna. Det andra temat tar upp att de svarta/bruna karaktärerna är framställda utifrån etablerade stereotyper om gruppen vilket innebär att karaktärerna går i linje med en förutfattad bild om hur gruppen förväntas agera. Däremot utmanar tv-serien stereotypen om brottsbenägenhet vilket gör att Snabba Cash går emot det välkända mönstret, och i detta fall bidrar till att ge gruppen en mer nyanserad bild. Utifrån vår analys drar vi slutsatsen att Netflixs tv-serie Snabba Cash från år 2021 har konstruerat rasifierade skillnader mellan svarta/bruna och vita karaktärer vilket har bidragit till att upprätthålla och reproducera kunskap om hur olika etniska grupper kontrasteras emot varandra utifrån ett maktförhållande. / This essay intends to highlight and problematize how racialized power structures are constructed in the representation of different ethnic groups in Swedish popular culture. We analyze the first season of the television series Snabba Cash produced 2021 by Netflix Sweden using a narrative analysis. Racialization of groups has been expressed in popular culture where black and brown people have been compared to white people and represented with racialized differences, this has contributed to an unequal treatment of the groups which is based off a power hierarchy. The construction of the differences is also based on stereotypes, which gives a one-sided picture of those who are racialized black and brown. Through eight selected scenes, we therefore examine the narrative in Snabba Cash based on how characters who are racialized black/brown and white have been portrayed, but also how they are portrayed in comparison to each other according to theories of racialization, representation theory, stereotypes, and popular culture.    In our analysis, we have seen two themes in how the characters have been portrayed in the television series. One of the themes says that the characters have been represented with differences from each other based on how they have been racialized. Here, we demonstrate that the black/brown characters were portrayed with unfavorable characteristics while the white characters, in contrast, have been perceived with favorable characteristics. The actions of the black/brown characters have been perceived as an undesirable behavior according to an ideal, while the actions of the white characters have been perceived as desirable in line with a societal norm. This assumption is also in accordance with the post-colonial perspective on racialization. In addition to this, we also found that the racialized differences reinforce and affect other power structures for the characters, which affected their portrayal in the television series. The black/brown characters are portrayed with lower socio-economic factors and less power than the white characters. The second theme addresses that the black/brown characters are based on established stereotypes about the group, which means that the characters are in line with a preconceived image of how they are expected to behave. On the other hand, the tv-series challenges the stereotype of criminality, which means that Snabba Cash is going against the well-known pattern, and in this case contributing to giving the group a more nuanced image. Based on our analysis, we conclude that Netflix's television series Snabba Cash from the year 2021 have been constructing racialized differences between black/ brown characters and white characters, which has contributed to maintaining and reproducing knowledge about how different ethnic groups are contrasted against each other based on a power relationship.

Magistro darbo objektas – lieknumo idealai žiniasklaidoje. Darbo tikslas - išanalizuoti skirtingų šalių visuomenėse ir žiniasklaidoje egzistuojančius lieknumo idealus. Darbo uždaviniai: aptarti teorijas, aiškinančias žiniasklaidos įtaką mitybai; išanalizuoti tarpinius žiniasklaidos poveikio kintamuosius bei žiniasklaidoje poveikį švelninančius veiksnius; apžvelgti istorinę lieknumo idealų raidą; išanalizuoti lieknumo idealus, egzistuojančius skirtingose visuomenėse šiandieniniame pasaulyje; išanalizuoti lieknumo idealus, propaguojamus žiniasklaidoje; atlikti lieknumo idealų, propaguojamų lietuviškuose serialuose, tyrimą; atlikti palyginamąją lieknumo idealų propaguojamų Lietuvos televizijų ir užsienio šalių serialuose analizę. Išnagrinėjus mokslinę literatūrą, išskirtos teorijos (socialinio lyginimo, kultivacijos ir t.t.) aiškinančios žiniasklaidos poveikį mitybai bei nustatyta, kad nė viena iš jų nėra pajėgi savarankiškai paaiškinti žiniasklaidos poveikio mitybai ir lieknumo idealui mechanizmo. Taip pat nustatyti tarpiniai žiniasklaidos poveikio kintamieji, galintys skatinti arba švelninti žiniasklaidos poveikį, bei žiniasklaidos poveikį švelninantys veiksniai. Išnagrinėjus istorinę lieknumo idealų raidą nustatyta, kad skirtingu laikotarpiu egzistavo skirtingi grožio bei lieknumo standartai, kuriems būdinga cikliška kaita. Taip pat nustatyta, kad net ir šiandieniniame pasaulyje skirtingose kultūrose egzistuoja skirtingi moterų bei vyrų lieknumo idealai. Išskirti svarbiausi... [toliau žr. visą tekstą] / Object: body image ideals in the media. Objective: to analyze body image ideals prevailing in different countries. Tasks: review theories, contributing to explanation of media‘s influence on one‘s eating behavior; analyze the moderators and mitigating factors of media‘s influence; review the historical development of body image ideals; analyze modern body image ideals prevailing in different societies; analyze body image ideals in the media; research body image ideals, prevailing in the Lithuanian TV series; compare body image ideals, prevailing in Lithuanian and foreign country’s TV series. Methods: analysis and generalization of related literature; quantitative content analysis of body image ideals portrayed in Lithuanian TV series; comparative analysis of body image ideals portrayed in Lithuanian and USA TV series. Having analyzed the wide scope of science literature, theories contributing to explanation of media’s influence on eating behavior were abstracted, and the conclusion that neither of them is capable of giving the complete explanation of the media’s influence on one’s eating behavior process was drawn. It is only explicit that media does influence our self-esteem and eating behavior as a result. Also, moderators capable of either mitigating or intensifying medias influence were pointed out, as well as mitigating factors, that can be used for reducing negative media influence on eating behavior. Review of the body image ideals throughout the history revealed... [to full text]

Après le succès mondial de la série télévisée prolongé par les films, la franchise Sex and the City est devenue un phénomène de masse. Sujet de plusieurs études académiques qui mettent en évidence l’importance du post-féminisme pour le succès de la franchise, Sex and the City se distingue par la relation particulière qui s’instaure entre les spectateurs et les personnages, et qui est l’objet de la présente étude : relation qui passe par la représentation des thèmes et du quotidien féminins et surtout par la construction des personnages, principalement du personnage principal Carrie Bradshaw. De plus, elle est renforcée par des stratégies médiatiques utilisées pour rapprocher le public féminin à partir des processus de reconnaissance et d’identification qui dirigent la réception de masse. / After the worldwide success of the television series extended by films, the Sex and the City franchise has become a mass phenomenon. Subject of several academic studies that highlight the importance of the postfeminist for the success of the franchise, Sex and the City is distinguished by the special relationship that is established between the audience and the characters, and which is the object of this study: relationship that passes by representation of the subjects and the women's daily and especially by the construction of the characters mainly the main character Carrie Bradshaw. In addition, it is reinforced by media strategies used to bring the women's public recognition and identification with the characters.

Master thesis The Media Image of Nurses in Czech TV Series discusses the ways of depicting nurses in Czech TV series shot from 2003 to 2014, particularly in Rose Garden Surgery 2, Hospital at Town Outskirts 20 Years Later, Hospital at Town Outskirts - New Fates and Doctors from Počátky. The goal of the thesis is to explore how the nurses are presented in the series and how the medial image of the nurses is perceived by medical staff themselves. The first part of the study describes the environment of current health care system, it presents an overview of health care professions and also the roles of doctors, nurses and patients. Attention is paid also to professional associations of health care staff. The second part introduces the environment of media in relation to TV series, specifically the terms genre (with focus to medical drama and soap opera genres), TV series, a character, representation and stereotypes. Chapter no. 3, the practical part of the thesis, deals with the research methodology followed by analysis of the individual series, more specifically by description of the plot of the selected episodes, by analysis of characters of the nurses, by analysis of reception of the nurses' characters by the audience and by a conclusion. For the first series - Rose Garden Surgery 2, where the...

« Plus ça change et plus c’est la même chose » tel est le proverbe qui nous vient à l’esprit lorsque l’on procède à l’étude de la représentation de la famille dans les family sitcoms depuis 1950. Cette expression illustre les tensions que soulève notre thèse, à savoir d’une part la volonté du médium télévisuel en tant que vecteur de l’immédiateté de retranscrire à l’écran l’évolution sociopolitique de la société, et d’autre part la stagnation du support télévisuel engendrée par une norme structurelle et thématique du genre de par l’hégémonie de la famille patriarcale traditionnelle couplée à la circularité de la structure qui en empêche l’évolution. Nous nous proposons ici de mettre en lumière le lien qui unit le modèle de la famille traditionnelle au genre de la sitcom et d’en analyser les évolutions, soit de l’un en fonction de l’autre dans un contexte sociopolitique en pleine mutation.Aussi, dans une perspective sémio-socioculturelle, nous examinerons la famille en tant qu’identité sociale dans un contexte donné, la société américaine de 1950 à 2004, mais également en tant que représentation télévisuelle, la construction de la famille au cœur de la sitcom étant avant tout une mise en scène. / « Plus ça change et plus c’est la même chose ». This French phrase could epitomize the study of the representation of the family in American family sitcoms from the 1950s.In fact, it shows the tensions between the function of television as the medium of immediacy, broadcasting images of the social and political evolution of society, and the stagnation of the sitcom as a genre caused by the norm of its circular structure and its overrepresentation of the traditional nuclear family. In this study, we will analyze the binding connection between the traditionnal family pattern and the sitcom, and we will show their mutual evolutions into a changing society.Thus, in a semiotic and sociocultural perspective, we’ll see the family as a social identity into the American society from 1950 to 2004, and also as a TV representation since the family pattern in the sitcom is a production above all.