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.

The aim of the present study was to investigate how the impermanence of contract work affects working lives, self-perceptions and the career strategies of Swedish screenwriters of finding and keeping work. Furthermore, it also explored how screenwriters experience their abilities to exercise authorial leverage over media content. Introducing the concept of “career authoring” to cover different aspects of the professional lives of screenwriters such as managing a career, establishing authorship and contractual negotiations, the study was able to embrace various mind-sets and strategies for career success. Combining ethnographical studies and textual analyses the study was able to ascertain that the contingency of the Swedish film and television industries necessitates strategies to cultivate reputations, industrial visibility, consciously receive writing credits and conform to a traditional division of labour. Moreover, the study illuminated the importance of contractual negotiations for career success in terms of both retaining and wavering rights to their work. Strategies for exercise increased authorial leverage were not only confined to the script, but extended beyond the page, where the latter  accentuated processes of reconfiguring traditional conceptions of screenwriters’ abilities to influence media content.

The Qatari-funded channel, Al-Jazeera Arabic (AJA) has been subject to criticism as being in favour of the Muslim Brotherhood (MB) in Egypt. The approach taken by AJA Satellite Television to represent the MB, the Mubarak regime and other political actors in Egypt, during its coverage of four key electoral moments - before and after the 2011‘revolution’- is reviewed in this research. Critical Discourse Analysis (CDA) is applied to study the constructive effects of AJA’s language in an interpretive way (Parker & Burman, 1993). The effect of the language used by two predominant AJA TV programmes, Without Borders بلا حدود and Opposite Direction الاتجاه المعاكس has been investigated and a number of current and former AJA journalists have been interviewed. Van Dijk’s Ideological Square and Pier Robinson’s Framing Model, in conjunction with Chouliaraki’s Three Rhetorical Strategies (Verbal Mode, Agency and Time Space) have been used as analysis tools to study the process of AJA’s representation of different political ideologies: the MB’s Islamic ideology and the Mubarak regime’s secular ideology. Van Dijk’s Ideological Square helps to identify the boundaries between ‘us’ (the good) and ‘them’ (the bad), and to classify people according to their support of specific ideology against another - the ‘in-group’ or the ‘outgroup’. AJA positively framed the Islamic MB movement on the basis that the group and its members were democratic, Islamic and victims, whereas it negatively framed the Mubarak regime and the Military Council in Egypt as repressive, secular and villains. The assigned role of different actors (including; the Egyptian people and opposition parties) in AJA TV programmes changed from one electoral moment to another. While the Mubarak regime, its supporters and the Military Council were represented as the ‘out-group’ at all times, the role allocated to the Egyptian people and the opposition shifted between the ‘in-group’ and the ‘out-group’, depending on the political mood they held towards the MB.

Este artículo busca analizar el poder expresivo del silencio, específicamente el verbal, y cómo éste es representado en el cine sonoro contemporáneo. Es importante investigar el silencio como herramienta expresiva en la cinematografía, ya que muestra el impacto de la comunicación no verbal, abre las puertas al entendimiento de las dimensiones más internas del ser humano y a los aspectos latentes de la existencia. Asimismo, otorga sentido a la historia e incrementa el poder de los elementos visuales. El silencio significativo merece ser estudiado por su riqueza en contenido comunicacional y se plasma de forma sobresaliente y original en las realizaciones de los directores que son materia de análisis para esta investigación: Béla Tarr, Wong Kar-Wai y Lucrecia Martel. / Trabajo de investigación

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Das Internet wird zunehmend zur IuK-Plattform für Lehre und Forschung. Vom Wandel der Hochschulen sind auch die Hochschulbibliotheken und deren Strukturen sowie Dienstleistungen betroffen. Doch sind sie für diesen Wandel gerüstet? In Deutschland ist eine regional verteilte Informationsinfrastruktur im Bereich der Film- und Medienwissenschaft anzutreffen. Verteilte Ressourcen, seien es Medien oder Internetangebote, sind zwar vielfältig vorhanden, jedoch nur vereinzelt nachgewiesen. Ziel der in 2001 durchgeführten Exploration war es, ein Konzept für eine Virtuelle Film- und Medienbibliothek (Virtual Library Film and Media Studies) zu erstellen. So wurde der differenzierten Informationsbedarf von Dozenten. Es erwies sich als sinnvoll, als ersten Analysepunkt einzelne Internetangebote von vorhandenen ausgewählten virtuellen Fachportalen (DFG gefördert) zu untersuchen. Experteninterviews mit der Fokussierung auf die Lehrenden von den zwei größten Filmhochschulen in Deutschland (Potsdam und München) waren dabei der zentrale Kern. Bei dieser Exploration wurde anhand der Interview-Auswertungen mittels Transkription und anschließender Inhaltsanalyse ein genaues Bedarfsprofil der wissenschaftlichen Zielgruppe herausgearbeitet. Abgerundet wurden diese Untersuchungen durch die quantitative Methode der Fragebogen, die an Filmbibliothekare versendet wurden. Es sollte herausgefunden werden, wie diese Intermediäre den Informationsbedarf der Filmdozenten einschätzten. Sechs Portalsegmente wurden auf diesen Ergebnissen entwickelt. Bei der rasanten Entwicklung der digitalen Fachinformation, gerade im Internet, müssen Bibliothekare die Veränderungen permanent beobachten, um Ihre Dienstleistungen zu aktualisieren. / More and more the internet becomes the information and communication platform for teachings and research. University libraries and their structures as well as their services are concerned with the changes of universities in general. But are the university libraries prepared for this change? In Germany a regionally distributed infrastructure of information within the range of film and media science to be found. Distributed resources in the form of media or offers in internet are variously present, but only occasionally detectable. One of the aims of the exploration accomplished in 2001 was to provide a concept for a VIRTUAL LIBRARY FILM AND MEDIA STUDIES. For this reason the different demands of lectures for informations were investigated. Therefore a mix of qualitative and quantitative methods were used. As the first point of analysis a comparison of the individual internet offers was used on available selected virtual specialized portals (DFG promoted). Expert interviews to bring into focus the lecturers of the two largest film universities in Germany (Potsdam and Munich) formed the central intention. With this exploration analysing the interviews by means of transcription and following analysis of contents an exact need profile has been worked out. These investigations were rounded off by the quantitative method of the questionnaires, which were sent to film librarians. It had to be found out, how the intermedians assess the lecturers need of media information. With the rapid development of digitally specialized information, also in the internet, librarians must permanently observe the changes, in order to update their services.

<div> <p>The idea of “the book” overflows with extraneous significance: books are presented as windows, gateways, vessels, lighthouses, and gardens. Books speak to us and feed us, and they are a method of escape. The book has long represented much more than a static, hinged, bound, covered object inscribed with words. Even when a book is not performing an elaborate, imaginative function, the word “book” very often signifies the text it holds or even the text’s author: You can open <i>The Bluest Eye</i> or carry Toni Morrison in your bag. Fourteenth-century author Geoffrey Chaucer invokes a “book” by “Lollius” as authoritative source of his<i> Troilus and Criseyde</i>, though no person exists; likewise, to conclude the same text, Chaucer asks directs his project to “go, litel bok, go.” When a book makes an appearance in narrative, it is rarely j<i>ust a book</i>—without legs, the book moves, and without breath, it lives. This dissertation asks what about the shape of the codex has helped the book become such a metaphorically rich signifier.<br></p> <p>This dissertation attempts to unravel the various threads of meaning that make up the complex “idea of the book.” I focus on one of these threads: the book as a material object. By focusing on how the book as object—not the book as idea—functions within narrative, I argue that we can identify what about the book object enables its metaphorical range. I analyze moments in literature, television, and film when metaphorical functions are assigned, not to an ephemeral, complex idea of the book, but rather to the material realities of the book as an object. In these moments, the codex’s essential, material shape (what I am calling its bookishness) enables metaphorical functioning; I show that, by examining when mundanely physical bindings, pages, covers, and spines initiate metaphorical action, we can identify how the material book has come to mean so much more than itself.</p> <p><a></a>Indeed, despite a renewed appreciation for the book as both material and cultural object, books have become so significantly meaningful that attempts to define “the book” evade simplicity, rendering books as everything and nothing at the same time. My inquire explores this complexity by starting with a simple premise: Metaphors are based on some element of physical truth. Though the book has sprouted in a variety of metaphorical directions, many of those metaphors are grounded in the book’s material realities. Acknowledging this, especially in an age of fast-evolving media and bookish fetishism, offers a valuable and novel perspective on how and why books are both semantically rich and culturally valued objects.</p> </div> <br>

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