Documentary and docudrama practices have expanded with increasingly convergent media. Cinema, television, and the web conspire to create new vehicles of information and entertainment. Footage is manipulated, reenacted, and narratively altered for viewers who must negotiate flexible and porous parameters of fact and fiction. Bill Nichols began a conversation about documentary’s “blurred boundaries” that has continued and intensified with scholars such as John Corner, Steven Lipkin, Alan Rosenthal, Vivian Sobchack, Derek Paget, and Jonathan Kahana. Documentary and docudrama techniques must be more closely scrutinized and categorized, with particular focus on the importance of reenactment and reflexivity. A phenomenon that illustrates explicit interaction between documentary footage and fictional affect has remained undefined. My project proposes a new term, “documentary adaptation,” to explain the use of documentary films or television programs as source material for a fictional retelling. Films such as Rescue Dawn (2006), Grey Gardens (2009), Devil’s Knot (2013), or Loving (2016) have an uncanny and indeed literary relationship to previous documentary films conveying the same story. My research reads, theorizes, and contextualizes these adaptations. I note industrial and audience demand for narrative that engages with familiar facts. These unique dramas are sites of affective engagement with history as well as contemporary journalism. The project employs cinema and media studies terms and techniques to analyze documentary adaptation, to interpret a distinct merger of cinema and television aesthetics. This dissertation revises the dilemmas of documentary and reveals an invention to confront a new era of flexible media.

HBO's The Wire examines the relationship between institutions and individuals in American society and concludes that institutions restrict the agency of individuals, and series creator David Simon likens the power of institutions to the gods of Greek tragedy. In this project, I argue that shame culture enables institutions to have the social influence described by Simon. The paper's introduction defines the term "shame culture" and distinguishes it from "guilt culture," and I use medieval examples of shame culture to illustrate how shame functions in The Wire. This paper divides its detailed discussion of The Wire into four sections, each of which focuses on a different institution. The essay's first section explores how drug dealers and criminals use their reputations aggressively to build drug empires or simply survive, as the characters Marlo Stanfield, a drug kingpin, and Omar Little, a stickup artist, demonstrate. The second section examines Marlo and Omar's influence on young drug dealers, called corner kids in the series, and I argue that the public schools cannot prevent shame from being ingrained in these children. The third section focuses on police officers and, specifically, eventual police commissioner Cedric Daniels, and I examine how the police department's preoccupation with crime statistics reveals their dependence on shame and reputation—the police force is ineffective since they mirror in many ways the criminals they are trying to arrest. Lastly, the essay's fourth section analyzes politicians in The Wire and how Mayor Carcetti is powerless to respond to and exacerbates the city's social problems due to his need to preserve his public image. The paper concludes that social reform that grants agency to individuals in The Wire is impossible as long as shame culture shapes the various institutions depicted in the series.

This paper presents an analysis of the trailers for a telefiction series originally produced in English and simultaneously distributed in Spanish in Latin America. Looking (aired between 2014 and 2016 by HBO) was a contemporary dramedy series, a hybrid genre typical of the quality TV promoted by HBO, that told the story of three gay friends living in San Francisco. The aesthetics of the series reveals the auteur cinematic work of Andrew Haigh, a film director who applied his visual narrative repertoire to Looking. Using the multimodal analysis model proposed by Kaindl (2020) and the structure of communicative modes proposed by Chaume (2004) and Stöckl (2004), this paper analyzes the translation and Latin American adaptation of two trailers of the series to understand whether the semiotic integration of the paratexts represents or intensifies the narrative aspects of the hybrid genre series.

Understanding the communication strategies adopted by U.S. television network HBO in the context of digital networks is the goal of this study. The case study contemplates the online and at a distance observation of an intentional sampling which covers multiple products and services of the network along its history. In the first part of the paper, HBO s strategic course is studied from the perspective of Reeves, Rogers and Epstein (1996, 2002, 2006, 2007) about the ages of TV I, II and III. HBO was the first U.S. cable network to offer exclusive content to its subscribers and, later, initiated the production of made for TV movies, series and miniseries among the subscription-based television networks. The second part of the research discusses the strategies used by HBO starting from the mid-2000s, when the network starts to consider the digital landscape in which the flow of content produced by television networks and the mutual exchanges by the public occur among multiple media platforms (Lotz, 2007; Gabriel 2010). The strategic actions of HBO point to some of the characteristics of the current television context, which includes strategies that encourage active participation and conversation among viewers in digital networks, the strengthening of the television network s own digital presence and the search for complementary platforms for content distribution and for additional sources of income in the context of the Long Tail (Anderson, 2006). The strategies adopted by HBO in the last decade allows us to identify the specific dynamics that rule television in the convergence culture (Jenkins, 2008), which characterize the fourth phase of American television proposed in this study, the age of TV IV. / Compreender as estratégias comunicacionais adotadas pela rede televisiva norteamericana HBO no contexto das redes digitais é o objetivo deste trabalho. O estudo de caso contempla a observação online e à distância de uma amostragem intencional que abrange múltiplos produtos e serviços da emissora ao longo de sua trajetória. Na primeira parte do trabalho, o percurso estratégico da HBO é estudado a partir da perspectiva de Reeves, Rogers e Epstein (1996, 2002, 2006, 2007) sobre as eras da TV I, II e III. A emissora foi a primeira rede a cabo norte-americana a oferecer conteúdo exclusivo para seus assinantes e, mais tarde, inaugurou a produção de filmes para a televisão, séries e minisséries entre as redes televisivas de acesso fechado. A segunda parte da pesquisa aborda as estratégias utilizadas pela HBO a partir de meados dos anos 2000, quando a emissora passa a considerar o cenário digital no qual o fluxo de conteúdos produzidos pelas redes de televisão e as trocas recíprocas por parte dos públicos ocorrem entre múltiplos suportes midiáticos (Lotz; 2007; Gabriel, 2010). As ações estratégicas da HBO apontam para algumas das características da presente configuração televisiva, as quais incluem as ações que incentivam a participação ativa e a conversação entre os espectadores em redes digitais, o fortalecimento da presença digital própria da rede de televisão e a busca por plataformas complementares de distribuição de conteúdo e por fontes adicionais de renda no contexto da Cauda Longa (Anderson, 2006). As estratégias adotadas pela HBO na última década permitem identificar as dinâmicas específicas que regem a televisão na cultura da convergência (Jenkins, 2008), as quais caracterizam a quarta fase televisiva norte-americana proposta neste trabalho, a era da TV IV.

Streaming services have had a significant gain in popularity over the last decade, with an increasing number of subscribers. Along with digitalization, more households seek accessible entertainment that allows them to choose the type of content they wish to watch. However, as streaming services have grown in popularity, the content library of those services has been increasing, leaving users overwhelmed when deciding what to watch next. A recommendation system is used by the majority of streaming providers to assist its customers find appropriate material to watch. This recommendation system suggests suitable material based on the user's collected data. However, the recommendation systems suggestions are not always perceived to be relevant. The purpose of this thesis is to identify potential perceived problems with the recommendation systems and their causes. This was accomplished by investigating how consumers of those services experience them by conducting a survey and interviews. The identified problems have then been compiled into a basis. The goal of this thesis is to provide a basis that may benefit streaming services, their consumers and be of use by academics to conduct further research within the field. The basis indicates that there are several perceived problems with the current recommendation systems. A total of nine problems have been documented and discussed. / Streamingtjänster har haft en betydande ökning i popularitet under det senaste årtiondet, med ett ökande antal användare. Tillsammans med digitaliseringen söker fler hushåll tillgänglig underhållning som gör att de kan välja vilken typ av innehåll de vill titta på. Men eftersom streamingtjänster har ökat i popularitet, har utbudet för dessa tjänster ökat, vilket gör användarna överväldigade när de bestämmer sig för vad de ska titta på härnäst. Rekommendationssystemen används av majoriteten av streamingtjänsterna för att hjälpa sina kunder att hitta lämpligt material att titta på. Rekommendations systemen föreslår lämpligt material baserat på användarens beteende mönster. Rekommendations systemets förslag uppfattas dock inte alltid vara relevanta. Syftet med denna uppsats är att identifiera potentiella problem som användare uppfattar av rekommendations systemen och vad som kan orsaka dessa problem. Detta åstadkoms genom att undersöka hur konsumenter av dessa tjänster upplever dem genom att genomföra en undersökning samt ett antal intervjuer. De identifierade problemen har sedan sammanställts till ett underlag. Målet med detta examensarbete är att ge ett underlag som kan gynna streamingtjänster, deras konsumenter och vara till nytta för akademiker för att genomföra ytterligare studier inom området. Underlaget tyder på att det finns flera problem med nuvarande rekommendationssystem som upplevs av användare. Totalt har nio problem dokumenterats och diskuterats.

Denna studie har som ansats att diskutera vad populärkulturen har för påverkan. Detta görs genom att anta ett mindre perspektiv och ta upp hur populärkulturella tv-serier om terapi kan påverka och har påverkat de bilder som finns av terapi och terapeuter. Genom att tillämpa en kvalitativ metod har semistrukturerade intervjuer med fyra terapeuter och psykologer genomförts. Detta ger ytterligare ett nytt perspektiv då det är de som omfattas av mediebilden som ges möjlighet att diskutera den. Frågorna som tagits upp är huruvida de populärkulturella skildringarna är att betrakta som representativa och vad det kan ha för betydelse. Dessa resultat har sedan kopplats till medieteorier om påverkan. Genom att analysera materialet som framkommit vid intervjuerna med hjälp av medieteorierna har studien visat att populärkulturens har en konstruktionistisk påverkan. Detta innebär att tv-serierna om terapi har en påverkan men dess inverkan sker subtilt i den meningen att den hjälper till att förstärka normer som statuerats på annat håll, ur den samhälleliga inställningen till ämnet eller nyhetsskildringar. Genom att tv-serier ger en representativ skildring av terapi bidrar detta till att normalisera och förstärka terapin och terapeutens roll i samhället. Detta är möjligt och har varit nödvändigt eftersom det under de senaste 15-20 åren växt fram ett större intresse för psykisk hälsa och dess betydelse har omförhandlats. Den tidigare karikatyriska bilden av terapeuten och patienten har ersatts av en modern representation som gör bägge parter mer rättvisa.

My thesis explores what I call the "Sopranos Experience," which draws upon both the historical conventions of the gangster genre as well as the aesthetics and economics of pay-cable television to complicate The Sopranos' (HBO, 1999-2007) psychological relationship with the 21st-century, neoliberal American audience. The Sopranos Experience explicates how wavering identifications and dis-identifications that develop for the spectator through the series' form and content draw the responsibility of an audience away from moral ultimatums that attempt to finalize their experience with the genre, and towards a more personal ethical entanglement with the characters and their socioeconomic anxieties and desires. The ethical entanglement highlighted by The Sopranos reveals an entanglement that has always existed for the gangster genre throughout its history that has been recognized, but not thoroughly explored by previous gangster scholarship. Because of the The Sopranos' psychotherapy story arc through Tony's (James Gandolfini) relationship with Dr. Melfi (Lorraine Bracco), psychoanalysis plays a key role in the Sopranos Experience. The serial form and narrowcasting develop a more in-depth psychological relationship between the spectator and the characters than seen in previous gangster genre films. Through the psychoanalytic theory of Jean Laplanche, I argue the spectator's closer relationship with the series not only results in the spectator's constitution of self through the fictional characters, but that this constitution of self extends into their lived, everyday experiences with others. In this discussion of the psychological connection between the spectator and the characters, their shared anxieties about and desires for socioeconomic stability in a neoliberal environment mobilizes the spectator's relationship not just with the series, but with others in their lives. In recognizing their atomized role in the viewership experience, The Sopranos allows the spectator to make ethical demands about their atomization and vulnerability in a neoliberal society. Because they can recognize the collective's similar situation, the spectator is situated to make larger demands about socioeconomic systems that atomize the individual.

DANTAS, Ana Karine de Sousa. De King’s Landing a Winterfell: a luta pelo poder como estratégia de construção narrativa em Guerra dos Tronos. 2017. 127f. - Dissertação (Mestrado) - Universidade Federal do Ceará - Programa de Pós-Graduação em Letras, Fortaleza (CE), 2017. / Submitted by Programa de Pós-Graduação em Letras (ppgletrasufc@gmail.com) on 2017-11-03T12:47:07Z No. of bitstreams: 1 2017_dis_aksdantas.pdf: 2751627 bytes, checksum: 4a70cae78609db1841d57b1996630850 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-11-06T13:33:34Z (GMT) No. of bitstreams: 1 2017_dis_aksdantas.pdf: 2751627 bytes, checksum: 4a70cae78609db1841d57b1996630850 (MD5) / Made available in DSpace on 2017-11-06T13:33:34Z (GMT). No. of bitstreams: 1 2017_dis_aksdantas.pdf: 2751627 bytes, checksum: 4a70cae78609db1841d57b1996630850 (MD5) Previous issue date: 2017 / This work carries out an analysis of the struggle for power as a strategic narrative element of Game of Thrones (1996), based on the first book of a series of books written by George R. R Martin called A Song of Ice and Fire (1996-), as well as the first season of the homonymous television adaptation produced by HBO. It aims to identify how this struggle for power that pervades these works is strategically used in the configuration of their narratives. The hypothesis that fosters this perspective is that the narrative universe of Game of Thrones, with transmedia fictional nature, is mainly built from the narrative of these power conflicts, used as a strategy of likelihood composition of the researched work. In this sense, this paper proposes a discussion about the nature of fantastic works, with a view to their adaptation and their consumption by large audiences, in the production context of Home Box Office channel and the concept of Quality TV. As a theoretical basis, discussions on television will be considered, focusing on HBO channel (EDGERTON e JONES, 2008; MITTEL, 2006; 2016), transmedia narratives (EVANS, 2011; JENKINS, 2009) and also narrative and mass culture (BOLTER e GRUSIN, 1995); in addition, in order to problematize the relevance of the conflicting theme of the plot to the composition of the fictional universe of both written and television works, an approach will be taken to the characterization and action of the characters of these works, based on studies on the constitution of the fictional character in the novel (TODOROV, 2006; SEGOLIN, 1978; BRAIT, 1985) and in television (CAMPOS, 2007). Throughout the research, it was observed that the discourses and actions of the characters analyzed are mostly driven by the optional mode of action, which characterizes the complexity of these characters, both in the source text and in television, referring to the format of Quality TV. Finally, it is argued that the struggle for power in Game of Thrones is the main narrative strategy for the composition of verisimilitude and, consequently, of the fictional universe of the work, through the games of actions exercised especially by the eight characters analyzed in this work. / Este trabalho faz uma análise da luta pelo poder como elemento narrativo estratégico de Guerra dos Tronos (1996), baseada no livro um da série de livros de George R. R. Martin denominada de As Crônicas de Gelo e Fogo (1996-), bem como na primeira temporada da adaptação televisiva homônima produzida pela HBO. O objetivo desta dissertação é identificar como essa luta pelo poder que permeia essas obras, através da composição discursiva de suas personagens principais, é estrategicamente utilizada na configuração dessas narrativas. A hipótese que fomenta essa perspectiva é a de que o universo narrativo de Guerra dos Tronos, de natureza ficcional transmidiática, é principalmente construído a partir desses conflitos pelo poder, utilizados como uma estratégia de composição de verossimilhança da obra pesquisada. Nesse sentido, este trabalho propõe uma discussão a respeito da natureza das obras fantásticas, com vistas à adaptação delas e ao seu consumo por grandes audiências, no contexto de produção do canal Home Box Office e do conceito de Quality TV. Como fundamentação teórica, serão consideradas discussões sobre televisão, com foco no canal HBO (EDGERTON e JONES, 2008; MITTEL, 2006; 2016), narrativas transmídia (EVANS, 2011; JENKINS, 2009) e também narrativa e cultura de massa (BOLTER e GRUSIN, 1995); além disso, no sentido de problematizar a relevância da temática conflituosa dos enredos para a composição do universo ficcional das obras escrita e televisiva, será realizada uma abordagem da caracterização e da ação das personagens dessas obras, com base em estudos sobre a constituição da personagem ficcional no romance (TODOROV, 2006; SEGOLIN, 1978; BRAIT, 1985) e na televisão (CAMPOS, 2007). Observou-se, ao longo da pesquisa, que os discursos e ações das personagens analisadas são majoritariamente movidos pelo modo optativo de ações, que acaba por caracterizar a complexificação dessas personagens, tanto no texto de partida quanto na televisão, remetendo ao formato da Quality TV. Finalmente, argumenta-se que a luta pelo poder em Guerra dos Tronos é a principal estratégia narrativa para a composição da verossimilhança e, consequentemente, do universo ficcional da obra, através dos jogos de ações exercitados, especialmente, pelas oito personagens analisadas neste trabalho.

FundaÃÃo de Amparo à Pesquisa do Estado do Cearà / This work carries out an analysis of the struggle for power as a strategic narrative element of Game of Thrones (1996), based on the first book of a series of books written by George R. R Martin called A Song of Ice and Fire (1996-), as well as the first season of the homonymous television adaptation produced by HBO. It aims to identify how this struggle for power that pervades these works is strategically used in the configuration of their narratives. The hypothesis that fosters this perspective is that the narrative universe of Game of Thrones, with transmedia fictional nature, is mainly built from the narrative of these power conflicts, used as a strategy of likelihood composition of the researched work. In this sense, this paper proposes a discussion about the nature of fantastic works, with a view to their adaptation and their consumption by large audiences, in the production context of Home Box Office channel and the concept of Quality TV. As a theoretical basis, discussions on television will be considered, focusing on HBO channel (EDGERTON e JONES, 2008; MITTEL, 2006; 2016), transmedia narratives (EVANS, 2011; JENKINS, 2009) and also narrative and mass culture (BOLTER e GRUSIN, 1995); in addition, in order to problematize the relevance of the conflicting theme of the plot to the composition of the fictional universe of both written and television works, an approach will be taken to the characterization and action of the characters of these works, based on studies on the constitution of the fictional character in the novel (TODOROV, 2006; SEGOLIN, 1978; BRAIT, 1985) and in television (CAMPOS, 2007). Throughout the research, it was observed that the discourses and actions of the characters analyzed are mostly driven by the optional mode of action, which characterizes the complexity of these characters, both in the source text and in television, referring to the format of Quality TV. Finally, it is argued that the struggle for power in Game of Thrones is the main narrative strategy for the composition of verisimilitude and, consequently, of the fictional universe of the work, through the / Este trabalho faz uma anÃlise da luta pelo poder como elemento narrativo estratÃgico de Guerra dos Tronos (1996), baseada no livro um da sÃrie de livros de George R. R. Martin denominada de As CrÃnicas de Gelo e Fogo (1996-), bem como na primeira temporada da adaptaÃÃo televisiva homÃnima produzida pela HBO. O objetivo desta dissertaÃÃo à identificar como essa luta pelo poder que permeia essas obras, atravÃs da composiÃÃo discursiva de suas personagens principais, à estrategicamente utilizada na configuraÃÃo dessas narrativas. A hipÃtese que fomenta essa perspectiva à a de que o universo narrativo de Guerra dos Tronos, de natureza ficcional transmidiÃtica, à principalmente construÃdo a partir desses conflitos pelo poder, utilizados como uma estratÃgia de composiÃÃo de verossimilhanÃa da obra pesquisada. Nesse sentido, este trabalho propÃe uma discussÃo a respeito da natureza das obras fantÃsticas, com vistas à adaptaÃÃo delas e ao seu consumo por grandes audiÃncias, no contexto de produÃÃo do canal Home Box Office e do conceito de Quality TV. Como fundamentaÃÃo teÃrica, serÃo consideradas discussÃes sobre televisÃo, com foco no canal HBO (EDGERTON e JONES, 2008; MITTEL, 2006; 2016), narrativas transmÃdia (EVANS, 2011; JENKINS, 2009) e tambÃm narrativa e cultura de massa (BOLTER e GRUSIN, 1995); alÃm disso, no sentido de problematizar a relevÃncia da temÃtica conflituosa dos enredos para a composiÃÃo do universo ficcional das obras escrita e televisiva, serà realizada uma abordagem da caracterizaÃÃo e da aÃÃo das personagens dessas obras, com base em estudos sobre a constituiÃÃo da personagem ficcional no romance (TODOROV, 2006; SEGOLIN, 1978; BRAIT, 1985) e na televisÃo (CAMPOS, 2007). Observou-se, ao longo da pesquisa, que os discursos e aÃÃes das personagens analisadas sÃo majoritariamente movidos pelo modo optativo de aÃÃes, que acaba por caracterizar a complexificaÃÃo dessas personagens, tanto no texto de partida quanto na televisÃo, remetendo ao formato da Quality TV. Finalmente, argumenta-se que a luta pelo poder em Guerra dos Tronos à a principal estratÃgia narrativa para a composiÃÃo da verossimilhanÃa e, consequentemente, do universo ficcional da obra, atravÃs dos jogos de aÃÃes exercitados, especialmente, pelas oito personagens analisadas neste trabalho.

In the last decade Video on Demand (VOD) services are becoming the centre of audiovisual entertainment consumption. American company Netflix is currently the biggest player on the market. Thanks to growing base of viewers it has become big competitor even for big hollywood studios. Those studios don't want to lose the track in this new, popular segment of on-line entertainment, therefore they are also coming out with their own platforms. Viewer's habits on VOD services has many specifics, for example in ways of consumption or in choosing the content. The subject of this thesis is to capture allround behaviour of czech user on VOD platforms.