「選秀節目」風潮近幾年來再度席捲台灣，也成功地進入部分網路閱聽人的生活之中，成為一種習以為常的收視經驗，然而，近期節目收視率的滑落並無法斷然宣告網路閱聽人對「選秀節目」失去興趣，為求貼切地理解其動態的收視經驗，本研究從「日常生活理論」面向切入網路閱聽人之選秀節目收視經驗，研究選秀節目如何在網路閱聽人的生活中佔據特定的空間／時間，並結合相關的閱聽人研究，從「主動閱聽人」、「接收分析」面向，歸納出網路閱聽人結合網路使用所具有的「非同步收視」、「強調互動參與感」、「兼具傳播者身分」之收視特質，形構其動態的日常收視形式，並構成收視實踐模式之基礎，藉以詮釋屬於個體微觀的收視實踐戰術。 本研究以台大批踢踢實業坊【SuperStarAve】BBS板作為研究個案，嘗試運用「網路民族誌」(Netnography)－結合網路文本分析、參與觀察、線上訪談之研究方法，試圖描述網路閱聽人日常生活中的選秀節目收視經驗。研究結論指出，網路閱聽人藉由個人與生活脈絡協商、配置的「戰術」，與節目產製「策略」相對地收視著「超級星光大道」，本研究認為，其日常收視經驗需考量個人所處的生活脈絡與網路傳播情境所造成的收視變動性，並因個人對節目「真誠性」的解讀而變動對「超級星光大道」的日常收視形式；藉網路使用之便，重新組配收看節目之生活空間與時間，也各自建置個人迂迴的收視戰術－兼具反制與延伸之意義。是以，網路閱聽人之選秀節目日常收視經驗乃成為動態的過程，從中展現如de Certeau所指游擊式的收視「戰術」，藉以反制節目產製策略，從中找尋獲致個人收視愉悅與意義之機會。 / Recently, “Talent TV Show “ has become such a popular program genre in Taiwan. This study aims to understand how Internet audiences combine heterogeneous elements of their lives. de Certeau’s theory of everyday practices will be applied to serve as the analytical framework, and concretely describe the modalities of watching TV and the formalities of interpret practices. This is a case study that makes use of the research methodology of Netnography to analyze BBS “ SuperStarAve ”. And the main argument of this study shows what Internet audiences’ tactics of watching TV are. Internet audiences alternate different media tactically to fit in with their life arrangements, and they make a detour to interpret the authenticity of the program. In addition, Internet audiences contemplate to seek for opportunities of establishing the trajectory of watching TV to pleasure themselves. As a result, it can be concluded that the feature of diversity existing among individual Internet audiences shapes the movement of the everyday experience of watching TV.

The thesis "The cult of youth and the old age denial on the media image of celebrities: Content analysis of the Top Star Magazine TV show" explores the ways in which the values of the cult of youth exhibit and reproduce on the media image of celebrities. The analyzed material is a TV show about celebrities called Top Star Magazín which is broadcasted by Czech TV channel Prima Family. The research is based on the content analysis of the TV show and consists of two methodologically different surveys: a simple quantitative content analysis of episodes aired in 2012 and a qualitative content analysis of two randomly selected episodes. The research part of the thesis is supported by the theoretical and methodological parts. The methodological part describes the research techniques: choice of research method, setting of research questions and defining the sample. The theoretical part introduces all the essential theories, especially the media construction of reality, and also attends to the issues of age categories and social perception of people in different periods of life. The conclusion is that the media image of celebrities in the Top Star Magazine TV show is unified and significantly affected by the values of the cult of youth. One of the main symptoms is denial and repression of any signs of the...

Viktiga frågor konstrueras på olika sätt, inom fiktion, utefter producentens uppfattningar om världen. Genom att undersöka maktrelationerna kan man ta reda på vilken betydelse makt har i viktiga frågor som hat, ras, klass. Syftet med studien har varit att undersöka och analysera hur maktrelationer opererar i den populärkulturella tv-serien Orange Is the New Black. För att utföra studien analyserades ett avsnitt, det sjunde ur säsong 4, som släpptes i juni år 2016. De frågeställningar som ställdes till materialet var: Hur konstrueras maktrelationer inom fältet Orange Is the New Black?”, ”I vilka situationer är dessa maktrelationer tydliga?”, samt ”Är dessa situationer positiva/negativa och i sådana fall på vilka sätt?”. Dessa frågeställningar utformades för att ge en helhetsbild av maktrelationerna inom avsnittet. För att utföra studien tillämpades Pierre Bourdieus klassperspektiv, där begreppen fält, habitus och kapital användes. I uppsatsen diskuterades även Marx definition av begreppet klass, då klass-begreppet är mest associerat till honom. Även Goffmans teori angående stigma användes för att kunna gå in med en förståelse av vad de utsatta kan ha för attribut som kan påverka hur andra ser på dem. För att utföra studien tillämpades även Bourdieus metodologi. Analysen visade att maktrelationer konstrueras på olika sätt. Genom att producenten skapar situationer där karaktärerna tävlar om makt och kapital får tittaren se vilken betydelse makt har inom viktiga frågor. Kamper om makt och kapital visades på flera olika sätt. Slutsatsen som drogs var att maktrelationer konstrueras på flera olika sätt, att dessa händelser och situationer inte enbart är negativa, utan även positiva och hur situationerna konstrueras kan påverka människors tankar då det är en populärkulturell serie som når ut till en massa. / Important subjects in fictional tv-series are being constructed in different ways, depending on the producers view on the world. By examining power relationships you can find out what role power plays within subjects like hate, race and class. The purpose of this study was to analyze how power relationships operate on the popular cultural tv-show Orange Is the New Black. The seventh episode of season 4 was analyzed, which aired in June 2016. The questions that were asked to the material were: ”How are power relationships constructed within the field of Orange Is the New Black?”, ”In what situations are these power relationships clear?”, and ”Are these situations positive/negative, and if so, in which way?”. These questions were asked to get the whole picture of the power relationships within the episode. In this study the theory of class by Pierre Bourdieu was used, where the concept of field, capital and habitus took a lot of space. Marx definition of class was also discussed in the study, because class is mostly associated with him. Another theory that was discussed was Erving Goffman’s theory about stigma. The purpose of using this theory was to understand what attributes a prisoner can have that could affect how other people view them. In this study, the methodology of Bourdieu was used. The analysis showed that power relationships are being constructed in different ways. When the producer creates situations where the characters are fighting about power and capital, the viewer is able to see how power is operating within important questions. Fights about capital and power were shown in different ways. The conclusion that was made is that power relationships are being constructed in different ways, that these situations are both positive and negative and that they can affect peoples mind due to being a popular cultural tv-show that is seen by many.

Conselho Nacional de Desenvolvimento Científico e Tecnológico / This study focuses on understanding popular class youngsters and their relationship with the communication media television. We have investigated the social representation of youth and, therefore, have a rich example in Malhação whose narrative is guided specifically to that audience. The purpose of this work is to understand what are the representations of youth and social class built by "Malhação" and in which way they collaborate in the construction of social representations of the young. The specific objectives of the work are to verify how the representation of youth and class is constructed in "Malhação"; to demonstrate how the TV show represents the relationship between young people with family and affective relationships, consumption and school empirical categories; to verify how the reception of the TV show is done, from the television, by low income youth, emphasizing the role of social class; to see how the young people find themselves represented in the TV show and how they construct juveniles representations from that, with regard to their relationship with each of the empirical categories mentioned above. The research will be developed through a study of reception based on the ethnography methodology. The techniques used are the in-depth interview, participant observation, field diary, informal conversations, the visual record and the watching of the TV show with the interviewees. As a theoretical basis, we use the cultural studies approach and the Communicative Cultural Mediations model of Jesus Martin-Barbero. The study is developed with six popular class youngsters in the city of Santa Maria. We realized that the 18th season focuses on relations between different social classes. Nevertheless, the season does not use the term class to refer to the social position of the characters. So, it is still masking the real class conflicts, easing the discussion about these differences and showing that they do not matter, since all young people represented in the TV show have equal access to consumer goods and leisure activities. So "Malhação" does not critique the inequality and the youth accept this vision presented in the TV show, because they see themselves represented in it. Thus, despite the reality of middle and upper class largely represented, those interviewed see themselves represented in the TV show mainly regarding consumption and the relationship with family and friends. The disagreement occurs with regard to school (they do not see themselves represented in the relationship of union between teachers and students presented in "Malhação"), the love affairs (some youngsters do not assimilate the relation of love between the protagonists with situations of their reality) and leisure (some young people do not see themselves represented in "Malhação" with regard to leisure habits). But this disagreement is not related, in general, with the issue of social class, and when seeing themselves represented in the TV show, this identification with characters, families and idols of the TV is preferably made by subjective questions, which do not relate to popular culture. / Este estudo centra-se no entendimento de jovens de classe popular e de sua relação com o meio de comunicação televisão. Investigamos a representação social juvenil e, por isso, temos em Malhação um exemplo rico cuja narrativa se pauta especificamente neste público. O objetivo da dissertação é compreender quais são as representações de juventude e de classe social construídas por Malhação e de que modo elas colaboram na construção da representação social do jovem. Os objetivos específicos do trabalho consistem em verificar como é construída a representação de juventude e de classe em Malhação; demostrar como o programa representa a relação do jovem com as categorias empíricas família e relações afetivas, consumo e escola; verificar como se dá a recepção do programa, a partir da televisão, por jovens de classe popular, enfatizando o papel da classe social; verificar como o jovem se vê representado no programa e como constrói representações juvenis a partir disso, no que diz respeito à sua relação com cada uma das categorias empíricas citadas acima. A pesquisa será desenvolvida através de um estudo de recepção com base na metodologia da etnografia. As técnicas adotadas são a entrevista em profundidade, a observação participante, o diário de campo, as conversas informais, o registro visual e a assistência ao programa junto das entrevistadas. Como base teórica, utilizamos a abordagem dos estudos culturais e o modelo das Mediações Comunicativas da Cultura de Jesus Martín-Barbero. O estudo é desenvolvido com 6 jovens de classe popular da cidade de Santa Maria. Percebemos que a 18ª temporada foca nas relações entre diferentes classes sociais. Apesar disso, a temporada não utiliza o termo classe para se referir à posição social dos personagens. Assim, continua mascarando os reais conflitos de classe, amenizando a discussão acerca destas diferenças e mostrando que elas não importam, já que todos os jovens representados no programa têm acesso igualitário aos bens de consumo e às atividades de lazer. Portanto, Malhação não faz uma crítica à desigualdade e as jovens aceitam esta visão apresentada no programa, pois se veem representadas nele. Assim, apesar da realidade da classe média e alta ser representada majoritariamente, as entrevistadas veem-se representadas no programa principalmente no que se refere ao consumo, à família e à relação com os amigos. A discordância ocorre no que se refere à escola (elas não se veem representados na relação de união entre professores e alunos apresentada em Malhação), às relações amorosas (algumas jovens não assimilam a relação de amor entre os protagonistas com situações de sua realidade) e ao lazer (algumas jovens não se veem representadas em Malhação no que se refere aos hábitos de lazer). Mas esta discordância não está relacionada, em geral, com a questão da classe social e, quando se veem representadas no programa, esta identificação com personagens, famílias e ídolos da TV se dá preferencialmente por questões subjetivas, que não se relacionam com a cultura popular.

The diploma thesis focuses on communication and marketing strategies of the Herbář TV show. The main aim of the theoretical part is to introduce the topic therefore it contains the characteristics and categorization of the show and its position among other culinary programs. It also summarizes the basic theory of internet communication, social networks and marketing. The methodological part presents research questions, goals and research methods. Research variables are explained here. The practical part includes the research itself. It aims to map the communication channels of Herbář with the help of descriptive analysis, quantitative content analysis and qualitative analytical-comparative methods. It also aims to describe in which ways and in what language the show communicates with its audience and what type of content it offers. The work summarizes which marketing trends can be traced in the case of the show with a special focus on social media. All the findings are supported by specific examples. KEYWORDS electronic communication, media, social networks, Herbář TV show, language resources, advertising, gastronomy

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This thesis investigates the motivation, engagement and experiences of men as they interact with the selected television shows, which are presented or conceived as shows for women. The purpose of this thesis is to examine, identify and evaluate the motivation of men as a perceived non-target audience for watching the shows. Using gender theories and the audience in media theories as the background of this thesis, it then presents full- scale research on the TV shows "Sex and the City", "Desperate Housewives", "2 Broke Girls" through fifteen in-depth interviews, discovering narrators' viewing experience and reactions. The empirical analysis of this thesis is conducted in light of perceived and reported demographic groups, keeping in mind the sociocultural context of each series. This thesis examines both socio-economic and gender topics, which are represented in the shows by product placement on the first hand, and emancipatory themes on the other.

Made available in DSpace on 2016-04-26T18:10:49Z (GMT). No. of bitstreams: 1 Carolina Fernandes da Silva Mandaji.pdf: 6465946 bytes, checksum: 48f527d337b42619d67a775d40ea4747 (MD5) Previous issue date: 2011-05-12 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The object of this research is to study the sense effects generated by the infant televised show Cocoricó, produced and broadcast by the TV Cultura. For that the relationship between the show and its viewers was investigated. It is about understanding the object in its syncretic nature by approving the verbal, visual, and sound languages, both in content and expression plans - and according to entertainment and educative discourses, found in contemporary children's televised universe. The show consists of five seasons, among narratives and music clips, and presents a discursive construction based on linguistic syncretism for its apprehension modes: on one hand, the intelligible guided on theatrical performance, on the cognitive doing/knowing, on prescriptive duty and on volitional wanting; on the other hand, the sensitive, meaning these discourse procedures which explore the child s aesthesia competence through making it feel. It was thus identified that the program presents to its public sense effects ranging from the manipulating procedure based on intentionality and creation of the habit of watching Cocoricó, passing through programming, in regulating the being a child, faithful to the trademark and its different products, and to adjusting, in which the sense apprehension possibilities of this show are given in its own aesthesia qualities, as it makes sense to the child by means of aesthesia, that is, the reactive contagion. This study allowed us to introduce the TV Culture in its style of doing TV, as a social determiner: 1) in the formation of values: educative, ecological and being a paulista ; 2) of social behaviors ranging from the stereotype to social living and; 3) in the formation of the consumption taste of the trademark of the TV itself as well as its shows. Thus, what we have here in the relation between enunciator and enunciatee of Cocoricó is the child s identity formation, not only sociocultural but also forming the child to become a viewer, as it apprehends the meaning of whatever it sees on TV. The investigations and analysis proposals have followed the theorical-methodological outline of the Semiotics developed by Algirdas Julien Greimas, and the studies of Eric Landowski s with the Social Semiotics, especially the interaction methods / Esta pesquisa tem como objeto estudar os efeitos de sentido gerado pelo programa televisivo infantil Cocoricó, transmitido e produzido pela TV Cultura, investigando para isso, a relação construída entre o programa e seus telespectadores. Trata-se de compreender o objeto em sua natureza sincrética - pela homologação das linguagens verbais, visuais, sonoras, nos planos do conteúdo e expressão e segundo os discursos de entretenimento e educativo encontrados no universo televisivo infantil da contemporaneidade. O programa soma cinco temporadas, entre episódios e clipes musicais, e apresenta uma construção discursiva fundada no sincretismo de linguagens pelos seus modos de apreensão: por um lado, o inteligível pautado no fazer performático, no poder/ saber cognitivo, no dever prescritivo e num querer volitivo; e por outro lado, o sensível, quer dizer, esses procedimentos do discurso que exploram a competência estésica da criança pelo fazer sentir. Identificou-se, pois, que o programa propõe ao seu público determinados efeitos de sentido que perpassam as interações entre eles, pelo: a) procedimento da manipulação baseado na intencionalidade e na criação do hábito de assistir Cocoricó; b) procedimento da programaç~o, na regulaç~o do ser criança fiel { marca e aos seus diferentes produtos; c) procedimento do ajustamento, nas quais as possibilidades de apreensão do sentido desse programa televisivo são dadas em suas próprias qualidades estéticas, no fazer sentido para a criança por meio da estesia, ou seja, do contágio reativo. Este estudo possibilitou-nos apresentar a TV Cultura em seu estilo de fazer televisão, como destinadora social: na construção dos valores: educativo, ecológico e ser paulista; de comportamentos sociais que vão da estereotipia ao viver social e; na formação do gosto para o consumo da marca da própria TV e de seus programas. Tem-se, pois, na relação entre destinador-enunciador e destinatário-enunciatário de Cocoricó uma formação identitária da criança, tanto sociocultural, quanto uma formação para ser telespectador, no apreender o sentido do que se vê na televisão. As investigações e propostas de análises seguiram o arcabouço teórico-metodológico da Semiótica desenvolvida por Algirdas Julien Greimas e os estudos de Eric Landowski com a Sociossemiótica, em especial os procedimentos de interação

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present investigation aims at examining the trajectory of televisual products that do not have, beforehand, estimated completion date, that means, for its time slot exclusion, paying special attention to the course changes realized by them, aiming at staying on air. For this purpose, the show Esquenta!, that between the years 2011, 2012 and early 2013 was broadcast by seasons, but, from May 2013 onwards, became a part of the fixed time slot of Rede Globo television network, was elected as object of study. We move from the hypothesis that many televisual shows, depending on the subgenre to which they belong, in the attempt of staying on air, operate, throughout its existence course, structural transformations and/or adopt new configurations: articulate other contexts, propose new themes, new segments, changing, if necessary, their own identity in search of constructing a more permanent television viewer. The research realized seeks, thus, to answer questions formulated about the trajectory of televisual products, inquiring when, how and why transformations of structural character are operated on a televisual product, changing its function, proposal and trajectory on the slot of a broadcaster. How do such changes affect the identity of the show and the image and brand of a television network? And what relations do such changes have with the social context? So, the main objective of the present research is to verify what strategies could be virtually employed by a televisual product, related to the subgenre auditorium show, for staying on air throughout the years. In order to meeting such broader objective, the following specifiec objectives were established: a) mapping a historic of the emergence of auditorium shows in the Brazilian televisual context; b) setting up the communicative and enunciative context of Esquenta!, from the launch of the show to the current moment, after it became a part of the fixed time slot of the broadcaster, describing its sociocultural and enunciative surroundings, production core and staff responsible for its realization; c) analyzing the intertextual relations of paradigmatic character contracted by Esquenta! with its subgenre auditorium shows; d) presenting a general setting of Esquenta!, examining the show, by seasons and emissions, regarding the adopted formats, segments, preferred themes, form of spatial, temporal and tonal structure, form of actors configuration conductor/animator, fixed participants, eventual guests, audience, etc; e) identifying structural changes by which Esquenta! went through in terms of the interests that guide the action of Rede Globo; f) examining the communicative and discursive strategies employed by the show in the configuration of its identity, image and target audience to meet its course changes and simultaneously adapt to the image and brand of Rede Globo; g) examining the intertextual relations of syntagmatic character contracted by the show with other televisual products it reclaims. Considering the issue raised and the objectives established, a discursive analysis of semiotic inspiration, of different emissions of the show, was realized. / A presente investigação propõe-se a examinar a trajetória de produtos televisuais que não têm, de antemão, data prevista para término, ou seja, para sua exclusão da grade de programação, conferindo especial atenção às alterações de percurso por eles efetuadas com vistas à sua permanência no ar. Com essa finalidade, elegeu-se como objeto de estudo o programa Esquenta!, que, entre os anos de 2011, 2012 e início de 2013, foi exibido por temporadas, mas que, a partir de maio de 2013, passou a fazer parte da grade fixa de programação da Rede Globo de Televisão. Parte-se da hipótese de que muitos programas televisuais, dependendo do subgênero a que pertencem, na tentativa de se manterem no ar, operam, ao longo de seu percurso de existência, transformações estruturais e/ou adotam novas configurações: articulam outros contextos, propõem novas temáticas, novos quadros, alterando, se necessário, sua própria identidade na busca de construir um público telespectador mais permanente. A pesquisa realizada procura, assim, respostas para algumas questões formuladas sobre a trajetória dos produtos televisuais, indagando-se sobre quando, como e por que são operadas transformações de caráter estrutural em um produto televisual, modificando suas funções, proposta e trajetória na programação de uma emissora. De que forma essas alterações incidem sobre a identidade do programa e da própria imagem e marca de uma emissora de televisão? E que relações essas alterações têm com o contexto social? Assim, o objetivo geral da pesquisa é verificar que estratégias poderiam ser virtualmente empregadas por um produto televisual, ligado ao subgênero programa de auditório, para permanecer no ar, ao longo dos anos. Com a finalidade de dar conta desse objetivo mais amplo, estabeleceram-se os seguintes objetivos específicos: a) traçar um histórico do surgimento dos programas de auditório no contexto televisual brasileiro; b) configurar o contexto comunicativo e enunciativo do Esquenta!, quando do lançamento do programa e no momento atual, depois que passou a fazer parte da grade fixa da emissora, descrevendo seu entorno sociocultural e enunciativo, núcleo de produção e equipe responsáveis pela sua realização; c) analisar as relações intertextuais de caráter paradigmático contraídas pelo Esquenta! com o seu subgênero os programas de auditório; d) apresentar uma configuração geral do Esquenta!, examinando o programa, por temporadas e emissões, quanto aos formatos adotados, quadros, temáticas preferenciais, forma de estruturação espacial, temporal, tonal, forma de configuração dos atores condutor/animador, participantes fixos, convidados eventuais, plateia, etc; e) identificar as alterações estruturais pelas quais passou o Esquenta! em função dos interesses que pautam a ação da RGT; f) examinar as estratégias comunicativas e discursivas empregadas pelo programa na configuração de sua identidade, imagem, público-alvo para dar conta de suas alterações de percurso e simultaneamente adequar-se à imagem e marca da RGT; g) examinar as relações intertextuais de caráter sintagmático contraídas pelo programa com outros produtos televisuais que ele recupera. Considerando a problemática levantada e os objetivos estabelecidos, realizou-se uma análise discursiva, de inspiração semiótica, de diferentes emissões do programa.

Made available in DSpace on 2016-06-02T19:39:54Z (GMT). No. of bitstreams: 1 6637.pdf: 2082461 bytes, checksum: d9c0f98b28ef8dc109c03c8ae37aabe9 (MD5) Previous issue date: 2015-02-11 / The sea of real-time images, the instant access to latest news and the contemporary demand that praises and requires the so-called positive social values pass by the exhausting and brutalized affirmation process of this established culture. Television, in this regard, can become a powerful vehicle of ideology exchange, due to its global reach. However, television could be an education tool, provided that its content and form are properly prepared to this end. Following these discussions, and guided by readings of texts by Theodor W. Adorno and Herbert Marcuse, we propose the analysis of the content of educational television program, transmitted by television and Internet, Salto para o Futuro (Leap into the Future, in Portuguese), on TV Escola (Ministry of Education), as well as the observation of technical changes, in other words, the way the information are structured and transmitted by this mean of communication, born as a result of the digital technology emergence. Analysis has demonstrated that there is Form predominance over Content since the analyzed episode articulates its messages via TV newscast format, which beforehand tends to ensure spectators adhesion by its serious aspect. Another important aspect comes from the presence of a discursive pattern in the messages: the hero specialist teacher cliché who in the future, by magically jumping over the historical and material contradictions in the present days, will save education by using technology. Finally, we conclude that the general format of the Salto Para o Futuro TV show (Leap into the Future, in Portuguese) does not allow the offer for explanatory information. However, through the radical change of its dynamics - disruption of the formal hierarchy by dialectic relation tension of the Formation concept - the program could envision an educational horizon: an aid to reveal the mechanisms that prevent the refusal and resistance of what is presented as if it were real. / O oceano de imagens em tempo real, o acesso imediato às últimas notícias e a demanda contemporânea que exalta e exige os valores sociais ditos positivos, perpassam pelo exaustivo e embrutecedor processo de afirmação da cultura estabelecida. A televisão, nesse sentido, pode se converter em um poderoso veículo de contrabando ideológico em decorrência de seu alcance global. No entanto, a televisão poderia ser um instrumento de formação, desde que seus conteúdos e sua forma fossem devidamente preparados para esta finalidade. Nessa perspectiva e orientados pelas leituras de Theodor W. Adorno e Herbert Marcuse, propomos um exame acerca do conteúdo do programa de televisão educativa veiculado pela televisão e internet: Salto para o Futuro , da TV Escola (Ministério da Educação), bem como a observação das alterações técnicas, ou seja, da forma como são elaboradas e transmitidas as informações desse meio de comunicação em decorrência da emergência da tecnologia digital. O exame demonstrou que há predominância da Forma em relação ao Conteúdo uma vez que o episódio analisado articula suas mensagens por meio do formato de telejornal, que de antemão tende a garantir a adesão dos espectadores pela aparência de seriedade. Outro aspecto importante decorre da presença de um padrão discursivo das mensagens: o clichê do professor especialista herói que no futuro, por meio de um salto mágico sobre as contradições históricas e materiais do presente, salvará a educação com o uso da tecnologia. Com efeito, concluímos que o formato geral do programa Salto Para o Futuro não permite a oferta de informações de esclarecimento. Contudo, por meio da mudança radical da sua dinâmica o rompimento da hierarquização formal pela relação tensional dialética do conceito de Formação o programa poderia vislumbrar um horizonte pedagógico: um auxílio para revelar os mecanismos que impedem a recusa e a resistência do que é apresentado como se fosse real.