This master's thesis is focused on reception analysis of Czech TV series "Život je ples". It is a family TV series produced by Česká televize. Its central topic are lives of clients of a retirement home, their families and employees of the facility, who are taking care of them. The analysis of reception is mainly devoted to how elderly, the social group which this TV show is about, perceived the series. The theoretical part introduces three approaches of audience research, the most emphasis is put on sociocultural research, which refused the power of text and admitted, that media texts are open to several possible interpretations in dependence on particular social context of every recipient and other conventions. From this approach arose reception research, which this thesis also introduces. It also describes problems of lives of the elderly and therefore puts forth a theoretical basis for subsequent analysis. The final point deals with construction of identity based on media fiction. In the empirical part the thesis focuses on several selected topics, which came from qualitative content analysis of individual episodes of the series. It is about dreams and education, family ties, relationships of elderly and specifics of a life in retirement home. This thesis through the method of focus groups...

Uppsatsen undersöker feministisk argumentation i två artiklar publicerade av Expressen. Syftet har varit att ta reda på hur diskussionen om ett slags normerande feministisk kvinnlighet tar form. Analysen är uppdelad i två delar: i den första används Lloyd Bitzers teori om den retoriska situationen samt en pragmadialektisk teori och metod. Den information som utvinns i analysens första del kontextualiseras sedan med hjälp av olika genusvetenskapliga ingångar.  I den första delen skisseras argumentationens utgångspunkter och sedan dess argumentationsstruktur. I analysens andra del knyts den ena artikelförfattarens argumentation till en radikalfeministisk tradition, och den andra till en mer postmodern feministisk hållning. Argumentationsstrukturen var till stor nytta för att identifiera hur den första artikelförfattaren räknar upp flera egenskaper som ett kvinnligt subjekt inte kan inneha om hon ska erhålla rätten att kalla sig för feminist. Uppsatsen diskuterar sedan feministers möjligheter att skava, göra fel, och på så sätt tänja gränserna för vad som anses vara respektabelt. Också möjligheter för en bredare feminism som kan inkludera fler och en eventuell dekonstruktion av begreppet feminism är ämnen som uppsatsen argumenterar för. Slutligen resoneras kring de faktorer som samverkar för att skapa normer som både inkluderar och exkluderar kvinnliga subjekt.

Made available in DSpace on 2016-04-27T19:31:06Z (GMT). No. of bitstreams: 1 Icaro Picerni.pdf: 2363875 bytes, checksum: be46e722144c3ec41ec60caac14a35be (MD5) Previous issue date: 2015-04-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work aims to study the television series O Vigilante Rodoviário in dialogical and synchronous way. In the first field, we studied their relations with the literary narrative, as the melodrama, through the affiliation to the classic Hollywood movies. In the second field, we analyzed the ways of Brazilian television, a period marked by many trials and fed by numerous serial American productions vying with national programs. Surviving after the bankruptcy of Film Company Maristela, Ary Fernandes and Alfredo Palacios created a television series that attracted the interests of the multinational Nestlé and that was broadcast on TV Tupi. This process does reflect on what being a pioneer within an even television in training and shows how the work sought to fit into hegemonic discourses to share some values with the urban middle class, who owned public capital to acquire an expensive receiver and inaccessible to the masses and do not constitute, therefore, a product of the culture industry. Internally, the representations of the series were studied in their cultural and pedagogical dimension. There is in it a Manicheans view of the world according to which the criminal evil never triumphs. On the other hand, the show presents the viewer values as legalism, respect for elders and hierarchies, the love of animals, the importance of collective security and the exaltation of the São Paulo State Highway Patrol. O Vigilante Rodoviário, on the one hand, conveys values of the urban upper middle class, and on the other, was established as an attempt to create a national industry pioneer series of programs. It can be seen as a quest to recover the national cinema, but limited by competition from American cinema hegemonic even in Brazil / Este trabalho tem como objetivo estudar o seriado televisivo O Vigilante Rodoviário nos sentidos dialógicos e sincrônico. No primeiro campo, levantamos suas articulações com a narrativa literária, como o melodrama, passando pelas filiações ao cinema clássico hollywoodiano. No segundo campo, analisamos os caminhos da televisão brasileira, numa fase marcada por diversas experimentações e alimentada por inúmeras produções americanas seriadas que disputavam com os programas nacionais. Procurando sobreviver após a falência da Companhia Cinematográfica Maristela, Ary Fernandes e Alfredo Palácios criaram um seriado televisivo que atraiu os interesses da multinacional Nestlé e que foi transmitido pela TV Tupi. Esse processo faz refletir sobre o que é ser um pioneiro no interior de uma televisão ainda em formação e mostra como a obra procurava se encaixar em discursos hegemônicos ao compartilhar alguns valores com a classe média urbana, público que possuía capital para adquirir um aparelho receptor oneroso e inacessível às massas, não se constituindo, assim, um produto da indústria cultural. No âmbito interno, as representações do seriado foram estudadas em sua dimensão cultural e pedagógica. Há nele uma visão maniqueísta sobre o mundo segundo a qual o mal criminoso jamais triunfa. Por outro lado, o seriado apresenta ao telespectador valores como o legalismo, o respeito aos mais velhos e às hierarquias, o amor aos animais, a importância da segurança coletiva e a exaltação da Polícia Rodoviária do Estado de São Paulo. O Vigilante Rodoviário, portanto, de um lado, transmite valores da alta classe média urbana e, do outro, constituiu-se como uma tentativa de criar uma indústria nacional de programas seriados de forma pioneira. Ele pode ser visto como uma busca por recuperar o cinema nacional, mas limitada pela concorrência do cinema norte-americano hegemônico até mesmo no Brasil

Certaines séries télévisées américaines proposent un traitement riche et problématique des voix féminines. Ainsi, Ally McBeal (Fox, 1997-2002), Sex and the City (HBO, 1998-2004), Desperate Housewives (ABC, 2004-2012) et Gossip Girl (The CW, 2007-2012) utilisent une voix-off féminine, mettent en scène des discussions entre femmes et ont pour personnages principaux des femmes qui prennent la parole dans la sphère publique. L’analyse de ces voix multiples démontre comment les dispositifs centrés sur la voix et le discours participent de la représentation des femmes, de la féminité et des rapports de genre à la télévision américaine. Cette recherche s’inscrit dans les études télévisuelles féministes en proposant une synthèse des courants qui constituent cette approche. L’analyse des contenus est associée à une prise en compte du contexte de production tout en ébauchant une étude des processus de réception. Ces trois dimensions permettent d’envisager les séries comme des « actes-en-société ». Les études filmiques et télévisuelles, l’histoire et les sciences de l’information et de la communication notamment sont convoquées pour étudier les représentations du genre dans un corpus d’épisodes de séries, d’entretiens avec des professionnels et de réactions de téléspectatrices et téléspectateurs.Si les voix des femmes n’ont pas toujours eu droit de cité dans les médias américains, elles émergent massivement dans les séries depuis les années 1990 notamment grâce à l’héritage du soap opera, genre audiovisuel féminin mettant au premier plan des relations interpersonnelles et des dilemmes moraux. La pratique du commérage apparaît comme un modèle pour de nombreux récits sériels mettant en scène l’intimité. Les séries inscrivent ainsi les voix des femmes dans une économie médiatique en réseaux proposant une réactualisation des représentations du genre. / Several recent American TV series offer an original treatment of women’s voices. Ally McBeal (Fox, 1997-2002), Sex and the City (HBO, 1998-2004), Desperate Housewives (ABC, 2004-2012) and Gossip Girl (The CW, 2007-2012) use female voiceovers, emphasize women’s talk and center on female characters who have a public voice. Analyzing these voices shows how audiovisual apparatuses centered on voice and speech convey specific representations of women, femininity and gender on American television.This research mobilizes feminist televisual studies in focusing not only on contents, but also on production and reception. Thus TV series can be understood as « social acts », that have a direct impact on society. Borrowing tools from film and television studies, history and media studies is necessary to analyze the series’ episodes, several interviews conducted with TV writers and online reactions from viewers.American media contained women’s voices for a long time. They started to appear in TV series in the 1990s, in part through the influence of the soap opera genre, which focuses on interpersonal relations and moral dilemmas. Gossip is a gendered practice linked to the soap opera, it is a model for many contemporary serial narratives that foreground intimacy. The series set women’s voices in a networked economy and thus re-actualize gendered representations.

<p>Uppsatsens syfte är att se hur homosexuella diskurser är framställda i utvalda japanska tecknade TV-serier för barn, samt hur dessa ändrats när dessa TV-serier importerats till USA.</p><p>Med utgångspunkt från Norman Faircloughs diskursanalytiska modell har nyckelscener från de utvalda TV-serierna Cardcaptor Sakura och Sailor Moon analyserats från ett queerteoretiskt perspektiv.</p><p>I de anime jag analyserat är homosexuella respektfullt gestaltade och det är sällan fokuserat på homosexualiteten. Dock förekommer vissa heteronormativa mönster som att maskulint och feminint kompletterar varandra även i samkönade par. Homosexualitet är dessutom inte alltid så tydligt framställt vilket kan tyda på osynliggörande eller inkludering på samma villkor som heterosexualitet. I de amerikanska versionerna har homosexualitet helt censurerats genom klipp i scener och ändrade dialoger. I ett fall har en man gjorts om till kvinna så att förhållandet istället blivit heterosexuellt och i ett annat fall har ett kärlekspar gjorts om till kusiner.</p> / <p>The purpose of the thesis is to explore how homosexual discourses are represented in chosen japanese children’s cartoons (anime) and how these have been altered when imported to the USA.</p><p>With benchmark of Norman Fairclough’s discourse analysis model, key scenes from the chosen anime Cardcaptor Sakura and Sailor Moon have been analysed from a queer theoretical perspective.</p><p>In the anime I have studied, homosexual characters are represented with respect and it's rarely focused on homosexuality. However, some heteronormative patterns appear in the sense of masculinity and femininity being supplements also when it comes to same-sex couples. Moreover homosexuality is not always obvious in it's representations, which can either be a sign of trying to make it invisible or include it on the same conditions as heterosexuality. In the American versions, homosexuality has been totally censored with methods such as scene cuts and altered dialouges. In one case a man was made into a woman, making the relationship heterosexual. In another case a couple was made into cousins instead of lovers.</p>

Uppsatsens syfte är att se hur homosexuella diskurser är framställda i utvalda japanska tecknade TV-serier för barn, samt hur dessa ändrats när dessa TV-serier importerats till USA. Med utgångspunkt från Norman Faircloughs diskursanalytiska modell har nyckelscener från de utvalda TV-serierna Cardcaptor Sakura och Sailor Moon analyserats från ett queerteoretiskt perspektiv. I de anime jag analyserat är homosexuella respektfullt gestaltade och det är sällan fokuserat på homosexualiteten. Dock förekommer vissa heteronormativa mönster som att maskulint och feminint kompletterar varandra även i samkönade par. Homosexualitet är dessutom inte alltid så tydligt framställt vilket kan tyda på osynliggörande eller inkludering på samma villkor som heterosexualitet. I de amerikanska versionerna har homosexualitet helt censurerats genom klipp i scener och ändrade dialoger. I ett fall har en man gjorts om till kvinna så att förhållandet istället blivit heterosexuellt och i ett annat fall har ett kärlekspar gjorts om till kusiner. / The purpose of the thesis is to explore how homosexual discourses are represented in chosen japanese children’s cartoons (anime) and how these have been altered when imported to the USA. With benchmark of Norman Fairclough’s discourse analysis model, key scenes from the chosen anime Cardcaptor Sakura and Sailor Moon have been analysed from a queer theoretical perspective. In the anime I have studied, homosexual characters are represented with respect and it's rarely focused on homosexuality. However, some heteronormative patterns appear in the sense of masculinity and femininity being supplements also when it comes to same-sex couples. Moreover homosexuality is not always obvious in it's representations, which can either be a sign of trying to make it invisible or include it on the same conditions as heterosexuality. In the American versions, homosexuality has been totally censored with methods such as scene cuts and altered dialouges. In one case a man was made into a woman, making the relationship heterosexual. In another case a couple was made into cousins instead of lovers.

I processi di digitalizzazione e convergenza hanno avuto un forte impatto sulle modalità di produzione, distribuzione e fruizione dei contenuti audiovisivi. Ma tale impatto non si è limitato ai suddetti ambiti. Fenomeni come il transmedia storytelling, le narrazioni distribuite, l’intertestualità, l’ibridazione delle forme discorsive, l’integrazione di elementi di game-playing all’interno di strutture narrative tradizionalmente lineari, e la crescente rilevanza del world-building all’interno del processo creativo di una storia dimostrano che il cambio di paradigma non sta avvenendo solo a livello delle strutture economiche, produttive e comunicative, ma anche a livello narratologico. Scopo di questa ricerca è mappare tale cambio di paradigma, approfondendo in modo particolare l’emergere delle forme narrative transmediali. / The processes of digitalization and media convergence have had a major impact on the procedures of production, distribution and reception of audiovisual content. However, the impact has not been limited to those areas. The emergence of cultural phenomena such as transmedia storytelling, distributed narratives, intertextuality, the hybridization of forms of discourse, the integration of elements of game-playing within the traditionally linear narrative structures, and the growing importance of world-building within the story development process attest that the paradigm shift is not only occurring at an economical, industrial and communicational level, but also at a narratological one. The aim of this research is to map this paradigm shift, with particular focus on the emergence of transmedia narrative forms.

La thèse comporte deux parties. Dans la première, constatant, d’une part, que les publications de référence à l’égard de la fiction télévisuelle québécoise sont rares, et que, d’autre part, les études télévisuelles souffrent d’un manque à penser l’esthétique de la fiction, elle avance une approche nouvelle. La fiction télévisuelle est l’objet d’une évolution esthétique portée par ses deux dispositifs et scandée en trois degrés d’expression. Elle évolue d’un dispositif où le son prévaut dans le cadre de la télé-audition à un autre dispositif où l’image prédomine au sein de la télé-vision. La fiction télévisuelle réalise ce parcours en trois degrés d’expression: du degré zéro, la monstration de la parole, nommé la télé-oralité, au second degré, l’image énonciative, nommé la télé-visualité, en passant par le premier degré, une oscillation transitoire, nommé la télé-dualité. Elle remédiatise le trajet du cinéma de fiction des premiers temps à l’auteurielité, un demi-siècle plus tard. Dans la seconde partie, la thèse applique le modèle théorique au corpus téléromanesque. Elle démontre que la fiction télévisuelle québécoise connait une évolution du téléroman à la sérietélé, en passant par la télésérie et par une trilogie épistémique. Au terme du parcours réflexif, une conclusion s’impose: le téléromanesque actuel participe de plain-pied à ce qui semble être, depuis le nouveau millénaire, l’Age d’art de la fiction télévisuelle. / The thesis has two parts. In the first, noting, on the one hand, that reference publications on Québec’s television fiction are rare, and, on the other hand, that television studies suffer from a lack of works on aesthetics, it advances a new approach. The televisual fiction is the subject of aesthetic evolution driven by two apparatus and punctuated by three degrees of expression. It evolves from an apparatus where the sound prevails through tele-hearing to an apparatus where the image predominates within the tele-eying. The televisual fiction achieves the journey through three degrees of expression: from the zero-degree, the monstration of the speech, called the tele-orality, to the second-degree, the enunciative image, called the tele-visuality, through the first-degree, a transilient oscillation, called the tele-duality. It remediates the aesthetic path of the fiction film from earlysm to auteurism half a century later. In the second part, the thesis applies the theoretical model to the téléromanesque corpus. It shows that Québec’s television fiction evolves from téléroman to sérietélé, through the télésérie and an epistemic trilogy. At the end of the reflexive journey, a conclusion emerges: the current Québec’s television fiction is taking full part in what appears to be since the new millennium the television's art age.

Depuis la fin des années 90, la plupart des animes n'arrivent en Europe qu’en DVD, alors qu’ils ont occupé largement les programmes pour enfants, il y a 30 ans. Rompant avec le circuit marketing habituel qui impose un passage à la télévision avant d'être éditées pour le marché de la vidéo, les animes édités en DVD illustrent une forme de « démédiation » des séries TV. De rendez-vous télévisuels, ils sont "re-conditionnés" en œuvres vendues directement au public pour qu'il les collectionne. Cette thèse étudie la manière dont les publics acceptent d’entrer dans cette logique de collection. L’hypothèse suivie a été celle de la ciné-vidéophilie qui postule une convergence entre des pratiques autrefois distinctes de cinéphiles et de vidéophiles. Cette recherche combine les études de réception et la sociologie des usages, permettant d'éclairer sous cet angle spécifique le développement des stratégies transmédia à l’œuvre dans les industries du divertissement audiovisuel. / Since the end of the 1990’s, most Japanese animated TV series have been arriving in Europe as DVDs, even though they used to be the main content of children TV programs 30 years ago. Breaking away from the usual marketing circuit which usually imposes a television broadcasting of a series before it is edited for the video market, animes on DVD illustrate a form of TV series « demediation ». Through this “repackaging” process, they are turned from regular TV programs into collectibles, directly sold to consumers . This dissertation studies the ways anime publics accept or not this logic of collecting TV series. The hypothesis offered is that of cine-videophilie, based on the premisse of a convergence of formerly distinct cinephile and videophile practices. This research combines reception studies and sociology of technology, thus highlighting under this specific angle some present developments in the transmédia processes at work within the audiovisual entertainment industries.

Made available in DSpace on 2016-06-02T20:23:15Z (GMT). No. of bitstreams: 1 5539.pdf: 15158253 bytes, checksum: d6cc57168e18018f0fbd4a7f5770b16c (MD5) Previous issue date: 2013-10-17 / Universidade Federal de Minas Gerais / This dissertation aims to analyze the world-building process as spaces of transmidiatic communication. We listed information from the distinct media utilized on the development of the TV series Lost, including it internal narrative complexity. We studied and classified distinct factors that congregated the user interaction in an online community. We investigated the conditions of meaning production and the discursive and ideological formations enounced in a complex system of communicational interaction. We also observed how the authorfunction acts in collaborative ambient from the web 2.0. This research is qualitative and exploratory, and examines the Darkufo online community, constituted by users that were fans of the TV-series Lost. Based on the netnographic methodology and using the discourse analysis studies, we tried to systematize the processes that involve users and the online community interactive ambient. / A presente dissertação propõe-se a analisar o processo de construção de mundos online como espaços de comunicação transmidiática. A pesquisa relaciona as informações provenientes dos distintos meios utilizados para o desenvolvimento da narrativa seriada do programa televisivo Lost, bem como sua complexidade narrativa. Através deste estudo, puderam ser classificados os diferentes fatores que congregaram a interação dos usuários em uma comunidade online. Também foram investigadas as condições de produção de sentidos e as formações discursivas e ideológicas enunciadas dentro de um sistema complexo de interação comunicacional. Também observamos como o modo de produção da função-autor pode ser estabelecido em ambientes colaborativos da web 2.0. De natureza qualitativa e exploratória, essa pesquisa é um estudo sobre a comunidade online de fãs da série televisiva norteamericana Lost, intitulada DarkUfo, e buscou estabelecer relações entre o processo de construção de mundos textuais e as postagens feitas na comunidade. Com base na metodologia da Netnografia e da Análise do Discurso, buscou-se sistematizar o conhecimento dos processos que envolvem os usuários e o ambiente interativo proporcionado pela comunidade online.