Orientador: Lino Castellani Filho / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação Física / Made available in DSpace on 2018-08-17T08:40:03Z (GMT). No. of bitstreams: 1 Rosa_AlexandreMachado_M.pdf: 815851 bytes, checksum: 1a963b2e494a4399203e8b33593c6f0d (MD5) Previous issue date: 2010 / Resumo: Este trabalho analisa a programação esportiva da TV Brasil desde sua criação em 2007. Ao percorrer os mecanismos ideológicos dominantes, percebemos que a indústria cultural e sua ideologia são aplicadas na forma e no conteúdo da programação esportiva das emissoras abertas comerciais. Há fortes evidências de que este domínio se estende à TV Brasil, apesar de os meandros que permitiram a sua criação implicarem em uma ruptura com o modelo comercial hegemônico. Este pressuposto seria a condição básica para a TV Brasil cumprir seu papel histórico, qual seja: o de construir conteúdos culturais, educativos, de informação, de entretenimento e esporte acessíveis em sinal aberto a toda a população brasileira. Nas raízes do aparecimento da televisão no Brasil, notamos o papel agressivo da iniciativa privada, em 1950. Sob a liderança de Assis Chateaubriand, surgiu o modelo de TV materializada na criação da TV Tupi. Nasceu assim o modelo jurídico hegemônico e o determinismo do mercado de como deve ser a TV no Brasil, dando sequência ao que já havia sido feito na Era do Rádio. O Estado curvou-se durante 60 anos a esta lógica. O entretenimento televisivo se impôs como negócio, absorvendo o esporte e a circulação de informações, chegando a colocar em disputa aberta os interesses das empresas de comunicação, como ocorre entre Globo e Record. Neste devir, a Educação Física perdeu o domínio do esporte que se tornou transversal a todas as áreas do conhecimento, e é um dos maiores fenômenos sociais da humanidade. Na atualidade converteu-se em produto caro na grade das emissoras comerciais. Sua chegada à TV Brasil mistura-se com a falação, a captação e edição de imagens, uma velha receita utilizada pelas TVs. O roteiro reproduzido pelas emissoras comerciais apoia-se no legado deixado por Leni Riefenstahl e aperfeiçoado pelo documentarista Bud Greenspan, responsáveis estéticos pelo primeiro e atuais registros de eventos esportivos. Este trabalho busca, ainda, compreender os detalhes que envolvem as escolhas feitas pela TV Brasil, sempre na perspectiva de alteração desta condição. A experimentação e a ousadia ainda não ocuparam as mentes dos diretores e produtores da programação geral e esportiva da emissora. Arnaldo Mexas, editor de esportes da TV Brasil também concorda com a necessidade de poder ousar mais. A tese está contida nos apontamentos feitos nos documentos dos Grupos de Trabalho, criados no I Fórum das TVs públicas, sobre Programação e Modelo de Negócios, o documento afirma que: "É preciso pensar na formação e na qualificação profissional que faz a TV pública. É preciso formar profissionais com espírito público dentro dessas TVs", e vai além quando aponta que essa política irá impactar a formação crítica dos telespectadores com a mudança de paradigmas que orientam a produção dos conteúdos / Abstract: The paper seeks to analyze the sports programming on TV Brasil since its creation in 2007 through a comparison with the historical and ideological mechanisms that determine the sports programming on commercial stations. The benchmarks takes into consideration the aspects around the advent of television in Brazil, through the private initiative in 1950 until the constitution of the so-called culture industry, a term coined by intellectuals from the Frankfurt School and the emergence of the public TV field centralized by TV Brasil. Under the logic of television entertainment and the deals involving media companies, sports, which is a phenomenon of great social interest, became one of the main products sold in the grid of the commercial broadcasters. But what is its role in the public broadcasting? The details that determine the choices and the sports content that form the current grid of TV Brasil and the identification of possible paths that could change this condition. Experimentation and audacity are the only alternatives to escape the detected common sense that guides the producers of the programming, thesis which receives the consent of the sports editor of TV Brasil, Arnaldo Mexas, and had already been identified by documents from the working groups created at the I Forum of Public TV, which states in item 2 of the working group on Programming and Business Model that "We must consider the training and qualifications that make public television. We need to train professionals in the public spirit of these TVs" and goes further when he points out that this policy will impact the critical formation of the viewers. In addition, it is necessary to involve the area of Physical Education in the understanding and influencing of the concepts presented by the sport on TV Brasil / Mestrado / Educação Fisica e Sociedade / Mestre em Educação Física

This diploma thesis deals with television entertainment as a phenomenon on Czech television screens. In the theoretical part the thesis provides an overview of entertainment as a term and concept and its definition, further describes its historical forms before the advent of mass media and its subsequent development towards the media entertainment revolution, with emphasis on establishing entertainment on television screens. The thesis then defines the entertainment functions of the media and their importance in society, but also the criticism of entertainment. The thesis also provides the classification of television entertainment genres and formats and examples of penetration of entertainment into other forms of communication. From the point of view of Czech legislation, it also evaluates the legal conditions for the broadcasting of television entertainment in the Czech Republic. The theoretical part concludes with the history of television entertainment on ČST and TV Nova. The practical part of the thesis aims to identify television entertainment at the beginning of the millennium on ČT and TV Nova in comparison with its current form and find the differences or similarities in television entertainment not only across the years, but also between a public and a commercial broadcaster. Based on...

Main task of this work is to find out the answers to the questions of the television quiz shows genre development. The work deals with foreign countries development, but the main attention is fixed to Czech republic and Czech full-area broadcasting media, which emphasise general matters. Concretely these television companies: Česká televize, Nova, Prima a Barrandov. The work emphasises the problem of formats originality. The time spread is since January 1993 to April 2012. A quiz shows development before 1993 is mentioned, but the analysis does not contain that. The analysis shows four copied quiz shows development. These examples uncover the variations of the quiz shows formats copying and domestication. They reveal the rules of the copying and domestication. They show the transformation of the quiz shows during recent years. The work tries to solve a few questions about the Czech quiz shows and their partial problems. Has the hosts behaviour changed? What about the hosts gender? Is there more men or women in the quiz shows? Is the number of recently broadcasted quiz shows higher than the number of the quiz shows, which were broadcasted nineteen years ago? What about the relation of the quiz shows production and social changes? Have the western models affected Czech quiz shows production? If so,...

"The transformation of television variety show in Czech lands" tackles the historical development of variety shows and offers an insight into the television entertainment as such in the historical context. For the sake of a more complex approach, the paper also deals with the radio variety shows and touring variety shows as a form of public entertainment. Furthermore, the thesis discusses the history of Czech cabarets, which are also an important source for the TV shows and two period programmes, Televarieté "Television variety show" and Možná přijde i kouzelník "Perhaps a Magician Will Come Too" shall be analyzed. The thesis aims to capture the spectrum of variety shows featured in the Czech television and also outline the form their production has transformed into.

The thesis "Popular Music in Television Entertainment in 90's in Czech Republic" is mainly engaged in the development of music show in this period, namely monitors developments of hit-parades Medúza and Eso. The period of 90's can be talk like a top of this kind of shows that have been an integral part of television entertainment. In connection with their development this study also deals with the history of these formats prior to 1989 and with the period context. The complexity of the topic also forms the theoretical basis in which work is about notions of popular culture, mass and consumer culture and globalization. The concept of globalization is closely related to the developement of television programs. Globalization is going through all the basic components of the production of these programs, both music and the television environment itself, and is just a possible consequence of the decline in the popularity of television hit-parades today. Keywords Television entertainment, popular music, format in TV, music show, hit-parade

The Master's thesis "The Role and Importance of Humorous Television Programs in Czechoslovakia in The Years of Normalization. The Phenomenon of a Comic Pair Lasica and Satinský,"discusses the importance of humorous shows within the program structure of the Czechoslovak Television in 1969-1989. The work deals with the issues of television entertainment and the developments that affect a number of criteria. The work points to the former television entertainment context, the possibility of posting humorous programs, and their position in the television program. The work will identify the type and frequency of various entertainment programs and their presenters as well as discuss their contribution to television entertainment. The paper seeks to deepen its analysis of television entertainment, namely in the humorous sessions of Milan Lasica and Julius Satinský. Their artistic activity compared to television based on criteria such as: frequency, form of humor, specific pairs etc., with other comics CST sessions will be analysed. An important part of the analysis will be means of expression used by comedians in broadcasts.

In my dissertation I survey the historic progress of the reality TV and the reality show, focussing on the specific genre of the talent shows, which stands for the current phenomenon of the entertainment industry in TV broadcasting. Using the method of the oral history I'll explain in detail the principals of running these shows on chosen formats and point out how different or same strategies can appear in shows all over the world. Further I'll focus on the structure and the level of a production, main features of the audience personality and behaviour, for example forming the relationship between the viewer and the participants on the basing on personal stories or praising and idealising the competitors. The next step of my analysis will be a depiction of the economic thesis and rules, which run the talent shows, which give them a direction and drive them on the TV market. I'll give an insight into the terms as the affective economics, building lovemarks or an inspiring fan, which are characteristic for the era of the convergence of media, which are considerably covered by talent shows. In the end my work depicts also the role of the jury and their specific trail, which are necessary for the viewer ratings and potential success of the certain show. Further my work will point out the typical marks...

The thesis "Reflecting the media of the 1970s and the 1980s - in-house periodicals published by Czechoslovak television and Czechoslovak radio" disserts on the content of the quarterlies Televizní tvorba (Television production) and Rozhlasová práce (Radio production). The magazines which were published within two main - in that time already institutionalized - mass media were major tools serving to the KSČ, the communist party in former Czechoslovakia. Through them it was accomplishing its ideological, or more precisely propagandistic performance targeted to both, the citizens of the socialist state and abroad. Within this platform the thesis inspects the topics handled by then TV and radio employees, the following output of the discussions and their conclusions. The qualitative analysis of the two periodicals includes an introduction summarizing the historical facts that illustrate the situation of the end of the 1960's and the beginning of the 1970's. In addition, a list of periodicals published by Czechoslovak television and Czechoslovak radio for its internal use has been attached.