Made available in DSpace on 2014-12-17T14:19:45Z (GMT). No. of bitstreams: 1 MirianMFP.pdf: 580584 bytes, checksum: 7f05c56b6294914ad49ded18b2181f44 (MD5) Previous issue date: 2005-09-03 / In the present work we make an incursion about the Reality Show, in a specific study of the program Big Brother 3 (BBB 3) approaching the question of Anonymity and Fame, though of its Narratives Strategic. We search to explain phenomenon of transformations of anonymous people in celebrities, showing all net of relationships established by the participants of BBB 3, during the together in the setting house, stage of the tram that tells the daily one of a group of youngs. Supported in concepts of it and Reality Show, the work is link the theories semiotic of means, proposal for Algirda Julien Greimas. We stand out strategies of the program, showing that they on the basis of structuralize elements fiction that stimulate and seduce the receiving public. How empirical reference, the work bases on the program Big Brother Brazil, shown for the Rede Globo de Televis?o opened canal, in period of January 14 to April 01 of 2003. Ahead of the results gotten in analysis, we verify that BBB 3 is a format of reality and fiction. What although to create the effect of a hurt of real everything to show, its reality artificial, built principally for edition of the images / No presente trabalho fazemos uma incurs?o sobre o Reality Show, num estudo espec?fico do programa Big Brother Brasil 3, abordando a quest?o do Anonimato e Fama, atrav?s da an?lise de suas Estrat?gias Narrativas. Buscamos explicar o fen?meno da transforma??o de pessoas an?nimas em celebridades, mostrando toda rede de rela??es estabelecidas pelos participantes do BBB 3, durante a conviv?ncia na casa cen?rio, palco da trama que narra o cotidiano de um grupo de jovens. Apoiado em conceitos de Comunica??o, Cultura, Televis?o, Narrativa e Reality Show, o trabalho ? vinculado a teoria semi?tica da significa??o, proposta por Algirda Julien Greimas. Ressaltamos as estrat?gias do programa, mostrando que elas se estruturam com base em elementos ficcionais que estimulam e seduzem o p?blico receptor. Como refer?ncia emp?rica, o trabalho fundamenta-se no programa Big Brother Brasil, exibido pela Rede Globo de Televis?o, canal aberto, no per?odo de 14 de janeiro a 01 de abril de 2003. Diante dos resultados obtidos na an?lise, verificamos que o BBB 3 ? um formato misto de realidade e fic??o. Que apesar de criar o efeito de um sentido de real, de tudo mostrar, sua realidade ? artificial, constru?da principalmente pela edi??o das imagens

Resumo: A presente dissertação tem por objetivo analisar o Big Brother - programa freqüentemente caracterizado como o maior destaque dentre os reality-shows - como um produto característico da indústria cultural na era da globalização. Idealizado pela produtora holandesa Endemol, ele foi o primeiro programa do mundo a ser simultaneamente apresentado em TV aberta, TV a cabo (pay-per-view) e pela Internet. Ele se tornou rapidamente um fenômeno mundial tendo sido, até hoje, exibido em 70 países diferentes. Sua principal característica é ser um programa interativo, produzido para ser consumido em diferentes mídias. Assim sendo, a pesquisa procura compreender como se configura a indústria cultural a partir das novas possibilidades trazidas pelo processo de globalização. Portanto, propõe uma avaliação da validade deste conceito no mundo globalizado, após assinalar algumas das principais características da globalização. Considerando que se trata de um programa televisivo, foi realizada uma análise crítica da televisão, a fim de demonstrar a falsidade da tese de que ela é um meio de comunicação neutro, isento e sem conseqüências. Também, a partir das possibilidades abertas pelo processo de globalização, a dissertação assinala as principais características da televisão na era da globalização, dando destaque à convergência entre a televisão e a Internet. Finalmente, demonstra a especificidade da relação entre os realityshows e a globalização, principalmente com o programa Big Brother. Ainda, destaca a proximidade da produtora Endemol com a dinâmica da globalização, que desponta como um importante ator para a compreensão do objeto de pesquisa. Por fim, debate questões importantes suscitadas pelos reality-shows e especialmente pelo Big Brother, relacionadas a proximidade destes programas com a etapa globalizada do capitalismo. / Abstract: This dissertation intents to analyze the Big Brother - a TV show usually presented as the most important among the reality-shows - as a typical product of the culture industry in the globalization age. Idealized by the dutch producer Endemol, it was the first program in the world to be simultaneously presented in broadcast TV, cable TV (pay-per-view) and Internet. It quickly became a global phenomenon and, until today, it has been broadcast in 70 different countries. It's main characteristic is to be a interactive TV show, produced to be consumed in different medias. Therefore, this research intends to comprehend the configuration of the culture industry as a result of the new possibities brought by the globalization process. Consequently, it proposes an evaluation of the validity of this concept in the globalized world, after indicating some of the main characteristic of globalization. Considering that it is a TV show, it was performed a critical analysis about television, intending to demonstrate the falsehood of the thesis that it is a neutral, exempt and without consequences mass media. Besides, through the possibilities brought by the globalization process, this dissertation indicates the main characteristic of television in the globalization age, emphasizing the convergence between television and Internet. Finally, it demonstrates the specificity of the relation between the reality-shows and the globalization, especially the Big Brother. Yet, it emphasizes the proximity involving the producer Endemol with the globalization dinamics, which appears as an important player to comprehend the research object. In conclusion, it discusses important issues brought up by the reality-shows and, specially, by the Big Brother, both related with the proximity of these TV shows with the globalized stage of capitalism. / Orientador: Raul Fiker / Coorientador: Renato Bueno Franco / Banca: José Pedro Antunes / Banca: Luiz Antonio Calmon Nabuco Lastória / Mestre

My dissertation is focused on the issue of reality shows. In the theoretical section of the paper I first address mass media and mass communication, because they are crucial elements in the process of transmisioning information to viewers or listeners. Reality shows would never reach the audience without public brnadcasting. I analyze reality shows as a whole and finally I marginally consider psychology of personality, which is closely tied with this work. In the research part, questions that derive judgmenet from hypothesis are described. I used the quantitative sociologic analysis and questionnaire as a process of collecting information for my research.

5 Abstract My diploma thesis is focused on electronic surveillance in the area of consumption, marketing and media. Electronic surveillance is a form of collecting and evaluating data, which were created as a secondary product of electronic devices. The use of new technologies and internet allows spying their users and saving the received data to both state and commercial databases. Subsequent data use is common in the business or crime prevention area. This practice brings the risk of privacy disruption, influencing and directing people. The diploma thesis consists of three main chapters. The first chapter follows up the history of surveillance and its development. The second part is focused on formation of the electronic surveillance and describes different areas of surveillance. The third chapter relates to one concrete area - consumption and marketing. This chapter includes also practical examples. Key words Surveillance, interactivity, customization, reality show, Panopticon, media

Submitted by (lucia.rodrigues@ufrpe.br) on 2016-12-05T13:55:37Z No. of bitstreams: 1 Flaviano Silva Quaresma.pdf: 1309063 bytes, checksum: ebb401df9d6955c17e4b99b07af5a1e2 (MD5) / Made available in DSpace on 2016-12-05T13:55:37Z (GMT). No. of bitstreams: 1 Flaviano Silva Quaresma.pdf: 1309063 bytes, checksum: ebb401df9d6955c17e4b99b07af5a1e2 (MD5) Previous issue date: 2008-12-05 / This study aims to analyze the identity formation of young persons gotten involved with familiar agriculture, specifically with agro ecological basis, at same time living side by side with contemporary massive culture appeals, as Big Brother Brasil program, broadcasted by Rede Globo and chosen for our analysis made in Itaenga town, Pernambuco, Brazil. To understand the identities creations of these young within a rural context we analyzed their social values appropriations on Big Brother Brasil, with a sense of unveiling how happen contemporary relationships among them, whom live surrounded by hybrid values spread through a agro ecological agriculture base that is proposed where they live, and the world globalized massive cultural communes values, where the technologies produce and making spread symbolic properties on real time and a virtual form, this way, changing habits. Hybrid processes are present on our theoretical perspective, having as main authors Peter Burke and, most recently, Néstor García Canclini, whom guided the studies for cultural hybridization understanding. The most important keyword is identity, because are hybrid elements of its construction the investigation focus. Then, the hybrid plot of this study is between Rural Extension and familiar agriculture with agro ecological basis and the social relationships on Big Brother Brasil program, getting a construction what Zygmunt Bauman named as flexible identities. This author makes debate about the research’s information with Stuart Hall and Manoel Castells. For collecting information were elaborated itineraries of interviews, half‐structured, made with voice recorder, documental research (PNATER/MDA), bibliographic research and field diary (an important element to register daily happenings), also added the young’s personal accounts by means of group dynamic did in a session for making commentaries about the exhibited situations on Big Brother Brasil program. We also elaborated an interview’s itinerary half‐structured aiming to know details about the objective and others matters that involve sensibilities and constructed values on Big Brother Brasil by program team production. Among the results, staid clear that the young cultural identity at Lagoa e Itaenga familiar agriculture preserves experiences that make it more complex. The results point that this identity is distant of being only directed for familiar agriculture work on an ecologic base developed at the community. About social values, the rural young identity, for being flexible and hybrid, is ready for any kind of external situation from rural territory and also wishes to try new situations different of those already lived on the place. / Este estudo teve como objetivo analisar como se constroem as identidades dos jovens da agricultura familiar envolvidos com agricultura de base agroecológica e que, ao mesmo tempo, convivem com os apelos da cultura massiva contemporânea, como o programa Big Brother Brasil da Rede Globo, escolhido para esta análise, no município de Lagoa de Itaenga, microrregião da Mata Setentrional de Pernambuco. Para compreender como são construídas as identidades desses jovens de contextos rurais, analisamos as apropriações feitas por eles, de valores sociais trabalhados no Big Brother Brasil, no sentido de descortinar como se dão as relações contemporâneas desses jovens, que convivem entre os valores híbridos disseminados por uma proposta de agricultura de base agroecológica no meio onde vivem, e os valores das comunas culturais massivas do mundo globalizado, onde as tecnologias produzem e circulam bens simbólicos em tempo real e de forma virtual e, assim, modificando hábitos. Os processos híbridos fazem parte da nossa perspectiva teórica, tendo como principais autores Peter Burke e mais recentemente, Néstor García Canclini, que guiaram o estudo na compreensão da hibridização cultural. A palavra‐chave mais importante é identidade, porque são os elementos híbridos de sua construção os focos de investigação. Então, a trama híbrida deste estudo está entre a Extensão Rural para a agricultura familiar de base agroecológica e as relações sociais do programa Big Brother Brasil, construindo o que Zygmunt Bauman chama de “identidades flexíveis”, autor que dialogou com os dados da pesquisa juntamente com Stuart Hall e Manoel Castells. Para a coleta de dados, foram elaborados roteiros de entrevistas semiestruturados, que foram realizadas com o uso de gravadores de voz. Além da pesquisa documental (PNATER/MDA), da bibliográfica e do diário de campo (elemento de grande importância para o registro cotidiano dos acontecimentos observados), também acrescentamos às nossas técnicas de coleta de dados, os depoimentos dos jovens por meio de dinâmica de grupo numa sessão para o comentário de situações exibidas no programa Big Brother Brasil. Também elaboramos roteiro de entrevista semi‐estruturado, com a finalidade de saber detalhes sobre o objetivo e outras questões envolvendo as sensibilidades e valores construídos no Big Brother Brasil pela produção do programa. Entre os resultados, ficou claro que a identidade cultural do jovem da agricultura familiar de Lagoa de Itaenga carrega experiências que a torna ainda mais complexa. Os resultados apontam que essa identidade está distante de ser unicamente voltada para o trabalho da agricultura familiar de base agroecológica desenvolvido na comunidade. Em relação aos valores sociais, a identidade do jovem rural, por se apresentar flexível e híbrida, está preparada para qualquer tipo de situação externa à área rural e também deseja experimentar novas situações diferentes daquelas já vividas no local.

The Master's thesis is focused on the Slovakian TV show Nákupné maniačky and its' audience. The purpose of the thesis is to reveal the motivations leading to watching this show and to explore, whether the viewers perceive the show as a fashion show which allows them to draw inspiration, or rather as a reality show that should entertain them. The theoretical part introduces the concepts as audience, uses and gratifications and reality show genre. The final analysis of the acquired data is based on these terms but it aims to invent a new hypothesis. The second part is devoted to the research that is based on a qualitative method of a grounded theory. Required data was collected by the semi-structured interviews with viewers divided into two age categories. The result of categorizing data indicates that for all viewers the main motivation for watching the show is to have fun. Participants reported enjoying the program because of its' humour, while fashion plays an irrelevant role. The findings also show that participants are aware of interventions of production and they explained manipulating competitors as a strategy of the broadcasters to entertain audience and attract more viewers. This assumption was confirmed by an informant interview with one of the creators of the show.

Made available in DSpace on 2014-12-17T14:19:58Z (GMT). No. of bitstreams: 1 GustavoHBP_DIISERT.pdf: 1171032 bytes, checksum: 5d5fd4843c7c37f0586a33f89158729b (MD5) Previous issue date: 2010-09-27 / Conselho Nacional de Desenvolvimento Cient?fico e Tecnol?gico / Dans le pr?sent travail, nous faisons une incursion sur l'exposition de la r?alit?, dans une ?tude sp?cifique du programme Big Brother Brasil 9, approcher le sujet de la visibilit? et de l'exposition ? travers les concepts de la culture, corps, ? et communication. Nous avons li? l'him/it ? la th?orie de pouvoir propos?e par Michel Foucault. Le corps, dans notre analyse, est prisonnier ? ordinateur individuel propulse, en camionnant des transformations dans le filet de rapports ?tablis pour les participants de BBB. Nous avons cherch?, ? travers un plurimetodol?gica de l'approche, expliquer comme ils sentent les rapports de pouvoir dans ce televisivo du programme/jeu et la transformation des gens anonymes dans c?l?brit?s, raconter, avec tout ce avec la logique d'une consommation d'images. Dans l??poque contemporain, les images sont mediateurs puissants de la communication et ils servent de support au midiatique des produits, dans la fiction et banalit? ou actions diff?rentes et exp?riences du quotidien. Comme r?f?rence de recherche empirique, le travail est bas? au Big Brother-9, a expos? par le Globe Net de T?l?vision, canal ouvert, dans la p?riode du 13 janvier ? avril 07, 2009. Avant que les r?sultats aient obtenu par l'analyse, nous avons v?rifi? ce BBB-9 ? travers les plusieurs ?preuves, les preuves et situations ont cr?? au-dedans parmi les participants du jeu il met ? jour des rapports de pouvoir et d'exclusion, dans le diff?rend pour le succ?s individuel, le tout co?t. Le publique/telespectateur quand participe ? travers le vote du programme travaille comme un r?gulateur p?dagogique qu'il qualifie, Il classifique et il punit les conduites priv?es des joueurs, en ?tant responsable pour l'acceptation possible, ou pas, des gens, pendant s'?couler du jeu / No presente trabalho, fazemos uma incurs?o sobre o reality show, num estudo espec?fico do programa Big Brother Brasil-9, abordando a quest?o da visibilidade e do espet?culo por meio dos conceitos de cultura, corpo, poder e comunica??o. O vinculamos ? teoria de poder proposta por Michel Foucault. O corpo, em nossa an?lise, encontra-se preso a micro poderes, acarretando transforma??es na rede de rela??es estabelecidas pelos participantes do BBB. Buscamos, atrav?s de uma abordagem plurimetodol?gica, explicar como se d?o as rela??es de poder neste programa/jogo televisivo e a transforma??o de pessoas an?nimas em celebridades, relacionando com a l?gica de um consumo de imagens. Na contemporaneidade, as imagens s?o poderosas mediadoras da comunica??o e servem de suporte aos produtos midi?tico, na fic??o e banalidade ou diferentes a??es e experi?ncias cotidianas. Como refer?ncia emp?rica, o trabalho fundamenta-se no Big Brother Brasil, exibido pela Rede Globo de Televis?o, canal aberto, no per?odo de 13 de janeiro a 07 de abril de 2009. Diante dos resultados obtidos pela an?lise, verificamos que o BBB-9 atrav?s dos diversos testes, provas e situa??es criadas entre os participantes dentro do jogo atualizam rela??es de poder e de exclus?o, na disputa pelo sucesso individual, a qualquer custo. O p?blico/telespectador, ao participar da vota??o do programa, funciona como um regulador pedag?gico que qualifica, classifica e pune as condutas privadas dos jogadores, sendo respons?vel pela poss?vel aceita??o, ou n?o, das pessoas, durante o transcorrer do jogo

This study explores the discursive construction of Chinese women in the Chinese reality show Sisters Who Make Waves, with a special focus on the discursive shifts and their relevance to the wider discourse of and about Chinese women. The analysis is carried out on two levels: the discursive construction of Chinese women in the said reality show and its recontextualisation across other discourses including in the public sphere and semi-private opinions of Chinese women.  This research discusses the discursive construction of Chinese women in the Chinese media field and the discrepancy between “top-down” and “bottom-up” discourse. The project uses a multi-layer theoretical framework situated in media and society, gender and media representation, celebrity culture and digital labour to explore the discursive construction of Chinese women. The study applies to the reality show as the primary context, media perceptions as the recontextualising context, interviews with female employees in the Chinese internet industry as the secondary context. In order to investigate the arguments and discursive strategies in different contexts, this study employs a multilevel model of the Discourse-Historical Approach (DHA) in Critical Discourse Analysis (CDA).  The findings discover that the said reality show focuses on the topos of age and the topos of beauty. These two main topoi cause different representations of social actors in Chinese media perceptions. As the representatives of female digital labour, the female employees in the Chinese internet industry construct three discursive strategies of self and relate their self-perception to those of other women. Furthermore, the study implies the discursive shifts in the discourse on Chinese women. This thesis contributes to understanding the discursive construction of women in the Chinese context, particularly the media and gender representations in the Chinese hybrid media system. In addition, this study stands outside the Western world and expands the understanding of the topic in a non-western setting.

There is only little attention payed to cooking shows in academic world. Mostly only mass media and public give their opinion on this topic. Due to many shows that exist and their spread, it is sufficient to concentrate on them also in academic writings. This diploma thesis tries to define cooking shows as genre. In analytic part it concentrates on one important aspect of cooking shows - their chefs. At first this thesis gives theoretic ground to cooking shows. It describes theories which are dealing with food. Then it takes a look on theories describing processes in contemporary culture. It is followed by chapter about reality TV and reality shows. History part about cooking shows contents also description of most important cooking shows and their chefs, both foregin and Czech production. At the end of theory part the position of cooking shows as TV genre is stated. In this thesis, new and unique term was created - TV chefs' values. It describes set of factors, which are important for TV chefs' to have to suceed. These factors are natural acting, sense of humor, loving food and vocational education in the field. The reseaarch was based on watching three cooking shows and interviews with people responsible for choosing chefs to these cooking shows.

Made available in DSpace on 2016-04-26T18:17:55Z (GMT). No. of bitstreams: 1 Debora Cristine Rocha.pdf: 10899162 bytes, checksum: f83817ee08fe3147d639f3ee751803e7 (MD5) Previous issue date: 2009-05-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The research aims to explore the modelization of verisimilitude among communication systems from the semiotic point of view. Becoming more and more frequent, this form of modelization leads to a text construction which puts emphasis on the the referent blending fiction and reality. Based on such perspective, this work seeks to map the strategies and language resources present on the translation process of such referent, more specifically audiovisual production, taking as study cases television and documentary film. On this work, the lived world is perceived as a natural world, which the signs represent and the midiatic world is also seen as the universe created by such representation. Hypothetically, it is admitted that such modelization simulates, on screen, the lived world through the semiosis of elements from the ethnographic method. In order to accomplish such task, the elements from the ethnographic method, when translated into the communication systems, abandon their ethnographic condition, becoming marks of veracity on the audiovisual text. That is to say, ethnography is modelized by audiovisual communication systems. Another accepted hypothesis is that the modelization of verisimilitude will constitute into the simulation, intending to erase representation marks from public eyes, generating therefore a platform of credibility for these communication systems. The simulation will utilize the phenomena called rear window, that is to say, the public desire to know about the private life of others, as a midiatic voyerism, simultaneously, their willingness to reveal their own lives to others. In this context, one of the strategies and resources put in use by the simulation will be the utilization of life histories of anonymous people. The research corpus will analyse the television aspect, taking as starting point the telenovela Páginas da Vida (TV Globo, 2006-2007), the reality show BBB8 Big Broter Brasil 8 (TV Globo, 2008), as well as the condition of the documentary film, taking examples such as Edifício Master (Eduardo Coutinho, 2002) and Ônibus 174 (José Padilha & Felipe Lacerda, 2002). The analysis is fundamented on the Tartu-Moscow school of the semiotics of culture and Jean Baudrillard thoughts, responsible for the major dialogued concepts reflected on this work: modelization and simulation. It also includes contributions from Bauman, Bateson, Jackobson, Luhman, Certeau, Geertz, Clifford and McLuhan / A pesquisa visa explorar a modelização da verossimilhança em sistemas de comunicação do ponto de vista semiótico. Cada vez mais frequente, essa forma de modelização se volta para a construção de textos que enfatizam o referente e fundem ficção e realidade. Nessa perspectiva, o trabalho procura mapear as estratégias e os recursos de linguagem presentes no processo de tradução daquele referente, em específico no audiovisual, com estudos de caso sobre a televisão e o filme documentário. No trabalho, compreende-se o mundo vivido como o mundo natural que os signos representam e considera-se, também, o mundo midiático como o universo criado pela representação. Como hipótese, admite-se que tal modelização simula, na tela, o mundo vivido pela semiose de elementos do método etnográfico. Para tanto, os elementos do método etnográfico, quando traduzidos para os sistemas de comunicação, deixam a sua condição etnográfica e transformam-se em marcas de veracidade do texto audiovisual. Ou seja, a etnografia é modelizada pelos sistemas de comunicação audiovisuais. Admite-se como hipótese, ainda, que a modelização da verossimilhança construirá a simulação, que pretende apagar as marcas da representação aos olhos do público, de modo a gerar uma plataforma de credibilidade para os sistemas de comunicação. A simulação utiliza o fenômeno janela indiscreta, isto é, o desejo do público de conhecer a vida privada do outro como voyeurismo midiático e, simultaneamente, a sua vontade de revelar a própria vida a terceiros. Nesse contexto, uma das estratégias e um dos recursos utilizados pela simulação será o uso de histórias de vida de pessoas anônimas. O corpus de pesquisa analisa o caso da televisão, com a telenovela Páginas da Vida (TV Globo, 2006-2007) e o reality show BBB8 Big Brother Brasil 8 (TV Globo, 2008), assim como a condição do filme documentário, com Edifício Master (Eduardo Coutinho, 2002) e Ônibus 174 (José Padilha e Felipe Lacerda, 2002). A análise está fundamentada no pensamento da Escola de Tártu- Moscou de semiótica da cultura e Jean Baudrillard, responsáveis pelos conceitos principais que dialogam no trabalho: modelização e simulação. Mas também inclui as contribuições de Bauman, Bateson, Jakobson, Luhman, Certeau, Geertz, Clifford e McLuhan