The dissertation is titled "The trend of zombification in a current film and series production - audience-based research" and is aimed at explaining why people seek zombie themed series and movies. In the theoretical part, the author introduces the concept of a zombie in terms of its dominant position within the popular culture. With the historical background and the theoretical frame of the topic, the results of the audience research, that was focused mainly on the fans of a zombie genre, will be presented. By comparison of the media product discourse and the public discourse, the analysis reve als the hypothesis describing the relationship between the audience and the media content with a zombie theme. The research is based on a qualitative method of grounded theory. The methods of semi-structured interview and participant observation were used to collect the data.

This thesis discusses the ways of how physically handicapped fans of Game of Thrones, a television series, identify with characters like or dislike and answers the questions how physically handicapped fans choose who they favour and who they don't, how they identify with them and how is their interpretation linked to their own experience of being handicapped and how their social reality influences how they perceive the media reality. The research reveals orthodoxies of power of the dominating ideology of being fit, against which "the ill" and "powerless", define themselves, albeit subconsciously; it describes the difficulties, connected with their handicap, which they project into the series, behaviour strategies resulting from this phenomenon and how the world around interferes; and, last but not least, it confirms sociological premises of deepening empathy on the basis of different dimensions of one's own identities and experience. The qualitative research of audience is based on semi- structured interviews and deploys the interpretative approach, while the results are coded using the method of anchored theory. Powered by TCPDF (www.tcpdf.org)

Theoretical part of this thesis is about women's magazines in the Czechoslovakia and in the Czech republic. The introductory chapters are about its characteristics, division and historical development. It describes current state in the Czech magazine's market, stratification of women's magazines, it also describes broadly media influence and apply these theoretical knowledge to women's magazines. The important chapter is chapter Media and Gender, which explains the term gender, compares men's and women's magazines and presents criticism of women's magazines from gender point of view. Methodological part is insight into the choice of method and choice of samples. This part contains also basic characteristic of reasearched magazines. Research part describes the representation of successful woman according to women's magazines, what is the difference in each magazine and it also shows the changes of view of successful woman in reserched period.

The main aim of this thesis are two Czech nationwide daily newspapers Hospodářské noviny and Mladá fronta Dnes. This thesis focuses on graphics relaunches which these newspapers passed in years 2009 and 2010. It deals with question, how the graphics changes influenced appearance of these newspapers, their content and the position on the media market. This composition responsibly took the opportunity to show the reader in detail, how these newspapers have changed the look of the headlines, elaboration of photos, colors and other graphics components. Along with it the thesis analyses the content changes, such as stylistics or the way of submitting information. Last but not least it gives the comparison of the earning power of these newspapers, position of their publishers Economia and Mafra as well as interviews with publishers representatives.

The diploma thesis named "Do we need more information? Using of multiple media at the same time" examines the phenomen of simultaneous media usage in young audience aged 18-35 years. This thesis is based on the hypotheses of international surveys that demonstrate a new trend in consumption of media by which people use multiple media simultaneously. The aim of the thesis is to provide an insight into this issue. The first part defines basic concepts such as the media, media audience and related theories. Furthermore, international studies and their conclusions are presented, serving as a starting point for my own research. The second part presents the research methodology. The thesis makes use of a combination of a quantitative and qualitative approach, the so-called mixed research. The methodological section briefly describes the selected method - survey and an semi-structured interview. The next two sections deal with the implementation of the research itself. The sample consisted of 103 young people for the quantitative part of the survey, and 15 young people for the qualitative analysis section. The conclusion summarizes the research results and approaches each thematic area, including the possible hypotheses.

This thesis examines how the potentional future media professionals (students of Institute of Communication Studies and Journalism at Faculty of Social Sciences at Charles University) relate to print media, i. e. daily newspapers and printed magazines. It is based on the concept of active audience, uses and gratification theory and studies that try to explain the decline of interest in print media. The thesis tries to describe the role of print media in lives of the studied group at the time when print media go through a long-term crisis. Massive expansion of the electronic media is the most important factor of this crisis. The research tries to answer the question whether print media are still attractive for the researched group, despite the constant wave of information from the Internet, what motivates this group to the use of print media and contrarily what discourages them.

Theme of this diploma work are news related to selected socialist and communist countries in the Czech press. Characteristic works are the specifics of media countries with the socialist (or communist) government in the Czech press. Theoretical work is beyond theory Frankfurt and Birmingham schools. The basis of the analysis work will stereotypes concerning the socialist and communist countries, the Czech news media contents. The findings will then be the basis for in-depth interviews with the news media workers and the staff representative bodies of the countries. The goal is to reveal the motives and the construction of stereotypes at the production of media content.

BARTOŠOVÁ, Radka. Parasociální interakce jako vztah mezi mediálními postavami a publikem. Praha, 2016. 67 s. Diplomová práce (Mgr.) Univerzita Karlova, Fakulta sociálních věd, Institut komunikačních studií a žurnalistiky. Katedra mediálních studií. Vedoucí diplomové práce PhDr. Irena Reifová, Ph.D. Abstract This thesis in its theoretical work focuses on the topic parasocial interaction, a specific relationship between fans and celebrities. This fundamental concept is initially set in a broader context. Closer are characterized by celebrities as a publicly-known media figures, and the audience as active recipients of stimulus. There is a concept called. Ordinary stars, as well as focus on issues not only fandom, but also specific terms such as adoration and celebrity stalking celebrities. After outlining the basic theoretical insight is explored basic concept - parasocial relationship. The practical part with respect to the overall theme of the work is carried out using semi-structured interviews with rock stars, fans steady on one side and ordinary fans of the stars on the other. Based on the results and authentic materials are analyzed each category. The work aims to explore how similar concepts related to celebrities, as well as different approaches to media stars.

The thesis "Audience reception to the paradoxical narrative in the series Game of Thrones" focuses on the research of the audience and its reactions to the unusual plot twists in the series Game of Thrones producted by HBO. The Audience and its reactions to specifically selected twists were researched through qualitative methods of deep semi-structured interview which was carried out with ten respondents. "Primary" audience, i.e. the viewers who had not read any books from the Ice and Fire saga before watching the show, was choosen as a research sample for this study. Reactions of this audience are more spontaneous and unpredictable. The primary aim of the research is to find out how viewers react to the newly defined paradoxical narrative in the Game of Thrones series and why they keep watching this series despite its unusual plot twists.

The present work attempts to highlight the difference in perception among the audience in digital and analog arenas by comparing the play Offending the Audience by Peter Handke, the filmed staged version thereof, directed by Claus Peymann in 1966 and the video performance #allesdichtmachen (2021). The aim is to discern in what respects these works are similar, where they diverge and whether there is a lowest common denominator, which makes a particular aesthetic representation of the content relevant to the audience. Furthermore the question is raised whether, and how, a new sense of responsibility for the creators and audiences arises from new habits of reception. Can the digital consumer provide a significant opportunity for live theatre, struggling in the shadow of the Covid-19 crises, by helping it regain its role as a brilliant entertainer, important custodian and mediator of arts and culture? / Die vorliegende Arbeit versucht mittels Gegenüberstellung der Publikumsbeschimpfung von Peter Handke bzw. dessen szenischer Umsetzung durch Claus Peymann aus dem Jahre 1966 und der Video-Kunstaktion #allesdichtmachen (2021) aufzuzeigen, welche Erlebnisräume der analogen und digitalen Rezeption entspringen. Hierbei gilt es herauszuarbeiten, wie sich diese unterscheiden, worin sie sich gleichen und ob es einen kleinsten gemeinsamen Nenner gibt, der die ästhetische Spiegelung des Inhalts/Contents zu einem Auftritt von Relevanz werden lässt. Im Zuge dessen soll auch erörtert werden, inwiefern oder ob den Rezipienten bzw. Theatermachern aus veränderten Rezeptionsgewohnheiten eine Verantwortlichkeit erwächst und ob der digitalisierte Teilnehmer in weiterer Konsequenz eine Chance für das Live-Theater darstellt, das im Schatten der Covid-19-Krise versuchen muss, die von ihm verlorene Pole-Position als kultureller Verwalter, pädagogischer Vermittler und genialer Unterhalter zurückzuerobern.