This thesis recognises the incompleteness of early television history, specifically as it is articulated in media archeological explorations. Through the process of reenactment, a series of tropes, conceits and insights are suggested which oblige us to reappraise the ontology of television. These insights are not by imitation but by a multiplicity of readings in the viewing of a historical act in the present day through a laboratorial media archaeological arts practice. The thesis interrogates a perceived gap in media archaeology’s body of knowledge through creative, playful and experimental practice borne of archival and historical research, developed from the proposition that both contemporary media archaeology and television historiography do not concentrate on how television is and can be used, only on how it has been used. The practical elements of the thesis focus on one of the formative moments, John Logie Baird’s first television drama (in collaboration with the BBC): The Man with the Flower in his Mouth. The thesis draws upon Media Studies and the discipline of Media Archaeology which both suggest that historical fragments have stable readings and meanings, recognising that both miss the crucial aspect of artistic license, playfulness, and that a laboratorial media archaeological approach, aligned to a considered reenactment process can create a televisual arts practice to tease out the hidden and forgotten. This activated historical account through reenactment keeps the theatrical, the cinematic and the teleportation in a simultaneous presence, digging into the past to address present and future television through this televisual arts practice.

Orientador: Áureo Busetto / Banca: Solange Ramos de Andrade / Banca: Ricardo Gião Bortolotti / Resumo: A proposta deste estudo é historiar e analisar as possibilidades de criação da primeira emissora de televisão de inspiração católica no Brasil, a Rede Vida de Televisão. Assim foram identificadas e analisadas as diretrizes comunicacionais católicas e o debate em torno da questão a partir de documentos oficiais da Igreja, de pensadores, leigos e eclesiásticos ligados a ela, entre 1989 a 1995. Procurou-se posicionar o debate católico ante os meios de comunicação social e, sobretudo, focar os olhares para o meio televisivo, identificando de que forma os pensadores e intelectuais católicos expressavam-se e debatiam sobre o tema Igreja e Mídia. A pesquisa mostra que, ao contrário do que é divulgado pela literatura especializada, a Rede Vida só foi possível ser formada pela ação de alguns poucos agentes que atuavam na interseção de dinâmicas próprias do âmbito político, do religioso e comunicacional, compreendidas durante o período de transição democrática brasileira. Buscou-se identificar os debates oriundos dos círculos católicos acerca da comunicação social, da ação política nacional e regional da chamada Nova República e da interface destas no universo de empresários da mídia regional e nacional. Por fim, remonta-se historicamente a programação inicial exibida pela Rede Vida, analisando-a em uma dupla chave: a programação religiosa e a generalista. / Abstract: The purpose of this study is to chronicle and analyze the possibilities of creating the first television station in Brazil Catholic inspiration, "Rede Vida de Televisão". So were identified and analyzed the guidelines and communication Catholic debate on the issue from official Church documents, thinkers, lay and clergy attached to it, from 1989 to 1995. It was tried to position the Catholic debate before the media and, above all, focus their eyes to the television medium, identifying how the Catholic thinkers and intellectuals expressed themselves and debating on the subject Church and Media. Research shows that, contrary to what is disclosed in the literature, "Rede Vida de Televisão" was only possible to be formed by the action of a few agents who worked at the intersection of their own dynamics of the political, religious and communication, understood during the Brazilian democratic transition. It was sought to identify the debates coming from Catholic circles about the media, the action of national and regional policy called the New Republic and the interface of these entrepreneurs in the population of the regional and national media. Finally, historically goes back to the original programming aired by Rede Vida, analyzing it in a double switch: the general and religious programming. / Mestre

This thesis examines how the first 10 seasons of CSI: Crime Scene Investigation (CBS, 2000–) engage with discourses on science. Investigating CSI’s representation of scientific practices and knowledge, it explicitly attempts to look beyond the generic assumption that forensic crime dramas simply ‘celebrate’ science. The material is analysed at three different levels, studying CSI’s wider cultural discursive context, genre linkages, and audio-visual form. In order to fully account for the series’ specificity, the thesis undertakes comparative analyses of earlier forensic crime dramas and other relevant audio-visual material. Close textual readings of certain thematic tropes, narrative devices and visual imagery in CSI are thus supplemented by historical studies of their extended generic backgrounds. This textual-historical approach generates a general argument that CSI dramatizes and evokes a number of different, and often contradictory, scientific ideas, perspectives and discursive shifts. The thesis concludes that CSI stages a transnational cultural forum, simultaneously engaging with residual, dominant and emergent discourses on science.  Throughout, close attention is paid to the multiple perspectives and viewpoints that allow the series to appeal to a wide and heterogeneous global audience. Furthermore, the thesis asserts that CSI specifically articulates a post-genomic structure of feeling, which begins to express the wider cultural implications of an emergent discursive shift whereby the instrumentalisation of molecular science seemingly offers more possibilities for human intervention into biological processes. Thus, the study demonstrates how CSI’s discourse on science treats recent scientific developments as engendering a cultural process of redefinition, questioning foundational concepts such as truth, identity, body, kinship and emotions.

Obiettivo della tesi è stato quello di ricostruire una storia culturale della televisione italiana delle origini, concentrandosi sui percorsi attraverso i quali il medium è diventato parte integrante delle routine quotidiane del suo primo pubblico, cercando di dare senso a come la prima audience del piccolo schermo abbia sperimentato l’arrivo della televisione nello spazio della casa, nel corso degli anni di istituzionalizzazione del medium in Italia (1954-1960). Dopo una ricognizione della letteratura scientifica sul tema della domestication dei mezzi di comunicazione, della biografia culturale degli oggetti tecnici e dell’analisi storica delle “culture di visione” della tv, la seconda sezione della tesi prende in esame come il sistema dei media popolari (il discorso pubblicitario, il dibattito pubblico sulla stampa popolare, i paratesti aziendali della Rai) abbia attribuito significati alla televisione, "insegnando" al suo primo pubblico come collocarla nello spazio della casa. La terza sezione della tesi è dedicata a una ricostruzione storica del primo consumo televisivo domestico, svolta attraverso una ricerca etnografica condotta con venti interviste a testimoni che hanno vissuto in prima persona la prima diffusione dei ricevitori e la loro prima collocazione nello spazio della casa. / This dissertation is aimed to outline a cultural history of early Italian television, focusing on the pattern by which TV became part of its first audience’s daily routines, and trying to give sense of how the first public of the small screen experienced the arrival of the television in the space of their homes, in the years of institutionalisation of the new medium (1954-1960). After an overview of the scientific literature that has dealt with the topic of “media domestication”, cultural biography of technical objects, and historical analysis of television’s culture of viewing, the second section of the thesis examines how the system of popular media (mainly advertising, popular press, and broadcaster’s house organs) ascribed meanings to television as a domestic medium and advised its public how to use it. A third section of the dissertation is devoted to understanding the television viewing and consumption in historical perspective, through a ethnographic research developed with twenty in-depth interviews to witnesses that participated directly in the first diffusion and domestication of the TV sets in Italy.

Diploma thesis "Analysis of the mixed public-private system of the TV broadcasting in France from the aspect of news" deals with the TV broadcasting in France, its development and its present. In the experimental part of this work the author tried to describe the principal TV news broadcast of the two most powerful French TV stations and to compare it to the two corresponding TV stations in the Czech Republic. The goal of this comparison was to find out whether the public and private TV stations news have some features in common, concerning for example its content, types of the reports and other universally established methods, how to attract the TV viewers and to increase the ratings. The author tried to find these principles via the research, to describe them by the comparison of the main evening news broadcast in the chosen nationwide private TV station in France and its corresponding counterparts in the Czech Republic and the subsequent comparison with the parallel pair of public stations. The author of this thesis also deals with the premise, that the private TV stations tend to the "infotainment" - the "funny" way of presenting the news in order to attract the viewers to the screens, often at the expense of its information value. This is also the reason why this diploma thesis deals in one...

Oggetto della ricerca è la riflessione sullo sport nella sua dimensione mediale, argomento che ha trovato solo recentemente una riconosciuta significatività all'interno delle scienze sociali. Attraverso un approccio multidisciplinare, il lavoro si propone di delineare una mappatura delle linee di riflessione riconducibili a un corpus organico individuabile nei media sport studies. La convinzione che esista uno specifico dello sport (inteso come substrato comunicativo ma anche come linguaggio) ha orientato l'indagine sulla sua rappresentazione televisiva, e sulle modalità di ospitalità o di appropriazione che si definiscono anche nei termini di reciprocità. L'indagine è stata condotta sia seguendo un percorso di tipo diacronico, nella ricostruzione dei vincoli e dei condizionamenti che lo sport ha esercitato nell'evoluzione del sistema radiotelevisivo italiano, sia di tipo sincronico, nell'osservazione del prodotto televisivo recente, individuato come vero e proprio sovra-genere. Ne emerge che lo sport si sottopone a una messa in discorso da parte della televisione che segue la linearità temporale dello svolgimento della gara, nella quale trovano una piena realizzazione comunicativa le fasi della preparazione, della performance e della celebrazione. / Aim of the research is to reflect on sport in its media dimension, a subject which has only recently achieved an acknowledged meaning in the field of social sciences. Through a multi-disciplinary approach, the research aims to outline a map of the reflection lines leading to an organic individual corpus in media sport studies. Believing in specifics of sports as communicative substrate, but also as a language, has directed the research on television representation and on the formalities of hospitality and appropriation to be defined even in terms of reciprocality. The research has followed a path of diachronic type, rebuilding the conditioning exerted by sport on the evolution of the Italian radio-television system and of a synchronic type, observing recent television products, identified as acknowledged true super-genres. Sport is thus object of a presentation by television following time linearity in the development of the game; here the stages of preparation and progress of the performance find a complete communicative realization.

The thesis follows the preparation of Czechoslovak TV's Channel Two, covering a period of twelve years from the start of the preparation process in 1958 till the first day of Channel Two's regular broadcast on May 10th 1970. The thesis' area of interest covers the proposals, plans and ensuing organisational measures that resulted in the historical event of launching a multi-channel television broadcast in Czechoslovakia. The period of 1958-1970 is split into sections, according to the stages of preparation for the launch. The introductory part of the thesis deals with the political grounding for the implementation of a multi-channel broadcast in Czechoslovakia, as well as with the initial steps in creating the technological support for Channel Two. The second part introduces the evolution and finalisation of the Channel Two project and its organisation in relation to the majority Channel One. The following chapter(s) focus on the formation of Channel Two's independent head division as well as the department's evolution until the launch of the regular broadcast. This section covers the changes in personnel within the department, an outline of its key creative collaborators and supplies a schema of how Channel Two's production was organised. The final part of the thesis offers an overview of...

This research analyses how the medium of television has taken up the question of art history through the historical and critical review of series that have been acclaimed by their mass audiences. Viewed from a historical perspective, a number of milestone series have left their mark on the history of television and art. Some of them have contributed to the construction and dissemination of art-historical discourse, often formal and sometimes critical. This work examines film and television production on art in the developed countries of North America and Western Europe, notably the United States, France and the United Kingdom, at the time of the emergence and institutionalization of the medium of television, between 1945 and 1970, and then looks at the resonances in subsequent and contemporary programs. And, secondly, in a spirit of critical analysis, to try to understand what "television is doing to art and its history" in order to identify the specific discourse of television art history. In practical terms, the aim is to add to the literature on a subject that has so far received very little attention from art historians, and to help legitimize the medium as an object of art criticism. / Cette recherche analyse comment le média télévision s'est emparé de la question de l'histoire de l'art à travers l'examen historique et critique de séries plébiscitées par le grand public. Dans une perspective historique, un certain nombre de séries phares ont marqué l'histoire de la télévision et de l’art, dont certaines ont contribué à la construction et à la diffusion d'un discours sur l'histoire de l'art, souvent formel, parfois critique. Cet ouvrage examine d’une part, la production cinématographique et télévisuelle sur l'art dans les pays développés d'Amérique du Nord et d'Europe occidentale, notamment les États-Unis, la France et le Royaume-Uni, au moment de l'émergence et de l'institutionnalisation du média télévisuel, entre 1945 et 1970, puis leur résonance dans les programmes ultérieurs et contemporains. D'autre part, dans un esprit d'analyse critique, il s’agit de comprendre ce que "la télévision fait à l'art et à son histoire" afin d'identifier le discours spécifique de l'histoire de l'art télévisuelle. Concrètement, cette thèse vient enrichir la littérature sur un sujet jusqu'ici peu traité par les historiens de l'art et des médias, et contribuer à légitimer le média comme objet de la critique d'art.