Submitted by Pedro Barros (pedro.silvabarros@ufpe.br) on 2018-09-13T20:52:14Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO Ricardo Barbosa Fernandes de Sousa.pdf: 4964292 bytes, checksum: c90559e73c0b4cce4cd007fd2305afe0 (MD5) / Approved for entry into archive by Alice Araujo (alice.caraujo@ufpe.br) on 2018-09-13T21:19:59Z (GMT) No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO Ricardo Barbosa Fernandes de Sousa.pdf: 4964292 bytes, checksum: c90559e73c0b4cce4cd007fd2305afe0 (MD5) / Made available in DSpace on 2018-09-13T21:19:59Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO Ricardo Barbosa Fernandes de Sousa.pdf: 4964292 bytes, checksum: c90559e73c0b4cce4cd007fd2305afe0 (MD5) Previous issue date: 2015-02-24 / FACEPE / No ambiente de convergência de mídias e digitalização dos meios, uma das tendências da televisão brasileira tem sido a adoção de estratégias transmídias, sobretudo, em formatos com grande apelo à interatividade, como o reality show. Apoiados em Fechine e Figueirôa (2011), entendemos a transmidiação como um modelo de produção que se funda na “reiteração, pervasividade e distribuição em distintas plataformas tecnológicas (TV, cinema, internet, celular, etc.) de conteúdos associados cuja articulação está ancorada na cultura participativa estimulada pelos meios digitais”. Partindo desse conceito e levando em consideração o cenário da cultura da convergência, descrita por Jenkins (2008), este trabalho tem por objetivo problematizar as estratégias transmídias no Big Brother Brasil, principal reality show da televisão brasileira, exibido pela Rede Globo desde 2002. Baseado nos estudos do audiovisual, da convergência e da transmidiação, o trabalho propõe uma categorização das estratégias e dos conteúdos transmídias do Big Brother Brasil baseada na observação sistemática das edições de 2013 e 2014. / In media convergence environment and digitization of media, one of the Brazilian television trends has been the adoption of transmídias strategies, especially in formats with great appeal to the interactivity, as the reality show. Based in Fechine and Figueirôa (2011), we understand the transmediation as a production model that is based on the "repetition, pervasiveness and distribution in different technological platforms (TV, cinema, internet, mobile, etc.) content associated whose pivot is anchored in participatory culture stimulated by digital means". Based on this concept and taking into account the convergence culture scene, described by Jenkins (2008), this research aims to analyze the strategies transmídias in Big Brother Brazil, main reality show on Brazilian television, broadcast by Rede Globo since 2002. Based in audiovisual studies, convergence and transmediation, the paper proposes a categorization strategies and transmídias content of Big Brother Brazil based on systematic observation of the 2013 and 2014 editions.

La presente investigación aborda la problemática de los factores que perjudican la existencia de la imparcialidad en el ejercicio profesional del periodismo. Para el desarrollo de la presente temática se toman dos casos representativos. El primero de ellos, concierne a la entrevista televisiva realizada en Canal N por el periodista peruano, Augusto Thorndike, al otrora abogado de los expulsados comerciantes del entonces mercado “La Parada”, Malzon Urbina, durante el 2014. Un segundo caso tomado como referencia es la también entrevista televisiva realizada en RPP por la periodista peruana Patricia Del Río a los escritores argentinos Agustín Laje y Nicolás Márquez, a razón del entonces lanzamiento de “El libro negro de la nueva izquierda” y su alusión a la ideología de género y el feminismo, durante el 2017. / This research includes the problematic of the factors that damage the existence of objectivity, or impartiality, in the professional practice of journalism. To illustrate this problem, it has been taken as a reference two specific cases. The first of them, is the television interview made on Canal N by the peruvian journalist, Augusto Thorndike, to the former lawyer of the traders expelled from the market "La Parada", Malzon Urbina, during 2014. A second case is the interview in RPP by the peruvian journalist Patricia Del Río to the argentine writers Agustín Laje and Nicolás Márquez, for the launch of "The black book of the new left" and its allusion to the ideology of gender and feminism, during 2017. / Tesis

During fiscal years 2006 and 2007, nearly 1 in 4 Veterans failed to keep their individual nutrition appointments, impeding clinic workflow, productivity, and management of weight and nutrition related health conditions. The purpose of this study was to identify determinants of nutrition appointment attendance in the Veteran population. This study examined the cognitive and structural factors that influence nutrition appointment attendance. Specifically, the study sought to determine: Veteran reported reasons for non-attendance and factors associated with appointment attendance. The research design entailed sequential use of qualitative and quantitative methods. Individual, semi-structured interviews and a mail survey were used to identify factors associated with outpatient nutrition appointment attendance. Seventeen individuals were purposively selected to represent appointment attenders (8 individuals) and non-attenders (9 individuals) in the following age groups: 18-44, 45-64, and 65 and older. Individual interviews were analyzed using constant comparative analysis. For the survey portion of the study, 349 surveys were collected. Descriptive statistics were used to summarize demographic characteristics of the survey sample. Bivariate comparisons of attenders and non-attenders revealed significant relationships between appointment keeping and the following variables: past nutrition appointment attendance, non-VA insurance, health status, income, BMI, forgetting, satisfaction, perceived importance, understanding of scheduling system, RD knowledge, family support, how referred, reminders, input to appointment time, travel, weather, difficulty with transportation, family care, feeling well, cost, parking time, and preferred day. Regression analyses suggest that only perceived family support, past attendance history, health status, and BMI remained correlated with appointment keeping when controlling for other factors. The results of this study will be used to identify ways to reduce no-shows thus increasing clinic efficiency of ambulatory care nutrition programs. The impact of increasing nutrition appointment attendance includes: improved access to nutrition appointments, more efficient use of resources, improved management of nutrition related conditions, and improved patient satisfaction.

It has been shown that popular crime television series can have an impact in the behavior and perception of viewers. Forensic evidence, or evidence that is gathered through scientific methods, is often central to the plot of these shows. Exposure to forensic evidence in these shows has impacted the legal system by changing perceptions and opinions towards evidence presented in courtrooms, a consequence termed the CSI effect. A subset of the CSI effect named the Police Chief's Effect refers to the ability of criminals to learn about forensic evidence from these shows. Although understudied, the Police Chief's effect has the potential to increase the difficulty of criminal investigations if criminals are better able to plan their actions and conceal evidence. The intent of this thesis is to explore a relationship between forensic techniques portrayed in television and the forensic knowledge an individual obtains from it. Previous studies have looked at the Police Chief's effect in the context of a non-violent crime, even though most of the television shows highlight crime of a violent nature. The present study evaluates the ability of participants to consider forensic evidence when planning a murder, taking into account their crime show viewing history. The results revealed that the overall number of crime shows, percentage of those episodes and involvement in the shows was not associated with forensic evidence. However, a moderate correlation was found between the number of crime shows watched and forensic evidence in female participants.

No description available.

<p dir="ltr">As Smart TV devices become more prevalent in our lives, it becomes increasingly important to evaluate the security of these devices. In addition to a smart and connected ecosystem through apps, Smart TV devices expose a WiFi remote protocol, that provides a virtual remote capability and allows a WiFi enabled device (e.g. a Smartphone) to control the Smart TV. The WiFi remote protocol might pose certain security risks that are not present in traditional TVs. In this paper, we assess the security of WiFi remote protocols by first identifying the desired security properties so that we achieve the same level of security as in traditional TVs. Our analysis of four popular Smart TV platforms, Android TV, Amazon FireOS, Roku OS, and WebOS (for LG TVs), revealed that <i>all these platforms violate one or more of the identified security properties</i>. To demonstrate the impact of these flaws, we develop Spook, which uses one of the commonly violated properties of a secure WiFi remote protocol to pair an Android mobile as a software remote to an Android TV. Subsequently, we hijack the Android TV device through the device debugger, enabling complete remote control of the device. All our findings have been communicated to the corresponding vendors. Google <i>acknowledged our findings</i> as a security vulnerability, assigned it a CVE, and released patches to the Android TV OS to partially mitigate the attack. We argue that these patches provide a stopgap solution without ensuring that WiFi remote protocol has all the desired security properties. We design and implement a WiFi remote protocol in the Android ecosystem using ARM TrustZone. Our evaluation shows that the proposed defense satisfies all the security properties and ensures that we have the flexibility of virtual remote without compromising security.</p>

Cette thèse étudie les talk-shows, ces émissions sociopolitiques « dialogiques » qui ont marqué la scène médiatique et politique durant les dernières années du règne de Moubarak, jusqu’à la nouvelle donne politique post-juillet 2013. La question principale qui a guidé cette recherche était : dans quelle mesure les talk-shows ont-ils constitué une arène de parole dissidente ? La thèse démontre, à travers l’étude du processus qui a permis l’émergence de ces émissions, de leurs acteurs et de leurs modalités de fonctionnement, que ce dispositif s’est inscrit dans un espace public dessiné par des dynamiques particulières et caractérisé par un autoritarisme adaptif et libéralisé. Ce dispositif a également permis la manifestation de processus sociaux, notamment des mouvements d’opposition, en leur permettant de s’exprimer et de gagner en visibilité. Les talk-shows ont fait partie de différentes dynamiques politiques et les ont alimentées, défiant ainsi le pouvoir politique. Ils ont gagné des rôles et un espace de parole que le pays n’avait pas connu depuis 1952, dépassant leur fonction première qui était conçue par le pouvoir. Ce processus a pu avoir lieu malgré les outils de contrôle que le pouvoir a conservés pour garantir un minimum de mainmise sur les médias, élargissant ainsi les domaines de luttes et les espaces de contentieux. La thèse observe ensuite les dynamiques des révoltes de janvier 2011. Partant d’une approche interactionniste, d’un travail issu d’une enquête de terrain de plusieurs années, menée aussi bien auprès de professionnels de la télévision que d’invités de ces émissions et d’une analyse d’un corpus d’émissions, nous démontrons que le rôle des talk-shows fut incontournable dans le conflit médiatique doublant celui sur le terrain. / The subject of this thesis is the talk-shows, those socio-political tv shows that marked the media and political scene during the last years of Mubarak’s regime till the new political era post-July 2013. The main question that guided this research was: to what extent have the talk shows been an arena of dissident speech? The thesis demonstrates that this mechanism was a part of a public space designed by specific dynamics and branded by a liberalized and adaptive authoritarianism. It allowed the manifestation of social practices including counter movements endorsing them to express themselves and to gain visibility.Thus, through the study of the process that allowed the appearance of such shows, its actors and its operating methods, we observe how these broadcasts were a part of different political dynamics and served challenging the political power. They acquired roles and a freedom of expression that the country hadn’t experienced since 1952, exceeding their initial function as designed by the regime despite the means of control that the latter kept in order to maintain a minimum control on media and hence widening the fields of struggles and spaces of contentious. Then, the thesis studies the dynamics of January 2011 uprisings. Based on an interactionist approach and a work of several years field study of both television professionals and guests of these shows and an analysis of a record of broadcasts. We demonstrate that the talk-shows role was fundamental in the media conflict which doubled the conflict in the field.

Cette thèse porte sur l’émergence des groupes subalternes, particulièrement des minorités ethnoraciales et des femmes, sur la scène télévisuelle de l’humour, depuis Coluche jusqu’à nos jours. Elle interroge l’état des discours au moment de leur apparition et les capacités d’agir de l’humour. Elle articule le passage du comique en humoriste. Dans les années 1970, le comique bouffon incarne une figure de contestation d’un système de pouvoir centralisé, dont il est un observateur critique. Il se transforme avec la montée de l’individualisme en acteur d’un monde dont il produit une vision subjective. L’analyse d’un corpus de sketches tirés de douze émissions de talk show montre que les humoristes femmes proposent des personnages aux identités de genre fluctuantes et multiformes, à la charnière du masculin et du féminin, à travers des procédés parodiques et un jeu d’incarnation basé sur le corps. Les humoristes issus des minorités ethnoraciales proposent des contre-modèles à l’intégration républicaine avec des récits « authentiques ». Ils ouvrent la voie à l’expression de subjectivités non blanches et à la dénonciation des discriminations sur la base de la couleur de peau. Leur humour s’actualise en 2006 avec l’appropriation du stand-up, la mise en scène de la diversité et des multiples territoires de l’identité. Cette thèse conclut sur un processus de contre-offensive, ou backlash, contestant aux groupes subalternes les avancées conquises durant la période précédente. Ce backlash se manifeste à partir de 2007 par un humour basé sur des commentaires d’actualité et des caricatures. Il favorise les visées hégémoniques blanches et masculines dans l’humour et l’éviction des politiques des identités. / This thesis deals with the emergence of subaltern groups in mainstream television, from Coluche until today. It focuses on two groups, female humorists and ethnic minorities. It questions the agency of humour and its power of displacement of hegemonic media representations, as well as the state of discourses at the moment of the appearance of subaltern groups. It articulates the transformation of comedian into humorist. The buffoon of the late 1970s stands for the figure of contestation of a centralized power, which it comments with a critical gaze. The growth of individualism and expressions of identities turn the comedian into a humorist that assumes a role of actor of the world and a subjective gaze. The analysis of sketches in television talk shows reveals that female humorists expose multiple subjectivities and destabilize the binary system masculine-feminine, by resorting to body acts as parts of humoristic mechanisms. Humorists from ethnic minority groups denounce discriminations and perform hybrid bodies and identities that destabilize the republican model of integration. Their appropriation of stand-up comedy genre renews in 2006 the staging of diversity and of the multiple territories of identities. The period 2007-2010 shows a counter-offensive, a backlash that marks the return to dominant values in the field of humour and denies to subaltern groups the advantages they’ve gained during the previous period. It is characterized by a renewal of humour based on news comments and caricatures, by the hegemonic power of masculine white humorists and the eviction of identity politics.

[pt] Este trabalho trata do personagem, partindo das origens desta figura, com os estudos de Aristóteles, seguindo por seu papel na indústria do entretenimento, principalmente no que diz respeito ao star-system. Segue a análise do cinema documentário, das reportagens de televisão e, finalmente do reality-show como um gênero novo, capaz de atrair pela identificação, um grande público. É abordada também a construção de um personagem midiático e a dinâmica para encontrá-lo e selecioná-lo. No capítulo final é feito o estudo do reality Big Brother Brasil, especialmente de sua quinta edição, relacionando-o com a teoria descrita anteriormente e a partir da fala do vencedor do programa, Jean Wyllis, e de pessoas que trabalham no mesmo. / [en] This work is about the character, and it begins from his origins, with the studies of Aristoteles, going to his roll in the entertainment industry, especially regarding the star-system. Next we analise documentary cinema, television reports and, finally, the reality-show as a new genre, capable of atracting, through identification, a large number of viewers. This work is also about the construction of a mediatic character and the dymanics to find him and select him. The final chapter, is a study about the reality-show Big Brother Brasil, especially the fifth edition, relating it to the theory described before and through the interview of the winner of the show, Jean Wyllis, and part of the crew.

Wise the Wizard is a feature-length documentary by Daisy Sara Blakelock, made as part of the requirements for earning a Master of Fine Arts in Entrepreneurial Digital Cinema from the University of Central Florida. The film focuses on the late Harry Wise, a magician from Sanford, Florida, as remembered by the people who knew him best. Interview subjects include the following: author and TV Producer Charlie Carlson, who wrote a biography about Harry Wise entitled A Wizard's Tux and Tales (Luthers Press, New Smyrna Beach: 2004); Brendan and Anna McWilliams, who accompanied Harry on countless adventures throughout Sanford and the surrounding areas; Art Litka, who dedicated a portion of his Halloween Village to Harry Wise; filmmaker and magician Gary Lester, who studied magic under Harry Wise and acquired and restored many of Harry's former props; and Lynn Ashe, Harry Wise's best friend.