This diploma work deals with gender and gender stereotypes in the media, in particular in television advertisements. The thesis is written in German and is conceived as theoretical and empirical. The core of this diploma work is both centered around language and content analysis of the TV commercials in Czech and German language. An important part of this work is a cd, which contains all of the analyzed commercials. The aim of this thesis is to find out in which roles women and men are presented in the commercials. On the basis of the analyzed TV commercials it will be determined whether the gender stereotypes in commercials are strengthened or whether the TV commercials are gender-correct.

The globalization of the market place is arguably the most important challenge facing companies. Globilization affects consumer behavior and attitudes in many ways, in that they transcend national borders. Thus, a major challenge facing the international marketer is to identify global market segments and reach them with products, marketing programs, and advertising messages that meet the common needs of the consumers.

In this study the authors have explored the new phenomenon Web-TV and what attitude young adults in Stockholm have towards this media and the applied advertisement. Further the study includes search outs of other studies for the authors to draw parallels to compare their result to be able make conclusions. Finally, Web-TV is discussed how the commercial on Web-TV could be developed to be as responsive as possible regarding the consumers.

Text in Afrikaans / Dit is belangrik vir bemarkingsorganisasies om die effek van bemarkingsaksies en meer spesifiek reklame te meet van wee eskalerende koste-oorwegings. Wat die rol van reklame in verbruikersgedrag betref, is die belewing van of houding-teenoor-reklame konsepte van sentrale be lang. Aangesien die term bel ewing meer beskrywend is oor die impak wat advertensies op verbruikers het word hierdie term algemeen gebruik. Hierdie studie ondersoek die konsep advertensiewaardering en ontleed die invloed daarvan op advertensiebelewing. Die kyker-responsprofiel soos deur Schlinger (1979) ontwikkel, word algemeen gebruik om televisiekykers se houding teenoor televisie-advertensies te meet. Hierdie studie poog om die toepaslikheid en geldigheid van die kyker-responsprofiel onder Suid-Afrikaanse televisiekykers te ondersoek. Die navorsingsmetode het uit twee fases bestaan. Die eerste fase was meer kwalitatief van aard, en ondersoek kykers se kognitiewe struktuur van houding teenoor televisie-advertensies. Die teoretiese uitgangspunt tydens hierdie fase is persoonlike-konstrukteorie. Repertoriumrooster onderhoude is met 50 volwasse televisiekykers (ouer as 16 jaar) uit verskillende taalgroepe gevoer. Daar is bevind dat kykers gemiddeld ses konstrukte gebruik ten einde die waarderingsvlak van advertensies te bepaal. 313 Konstrukte is in totaal deur die 50 respondente ontlok. Hierdie konstruke is deur individuele roosterontledings en ooreenkomsanalise tot 'n aantal konstrukgroepe gereduseer. Beskrywings van konstrukgroepe is aan die hand van n literatuurnavorsing gedoen. Die konstrukgroepe (tevredenheid, vermaaklikheid, interessantheid, sosialiteit, duidelikheid, realiteit, tempo en emosialiteit) toon 'n mate van ooreenstemming met die sewe Schlinger basisfaktore. Die onderliggende indiwiduele konstrukte wat vermaaklikheid, sosialiteit tempo en interessantheid beskryf, toon hoe korrelasies met waardering wat daarop dui dat waardering meer as net vermaaklikheid behels. Fase twee was meer kwantitatief van aard en het die ontleding van 382 kykerresponsprofiele behels. 'n Faktorontleding van die 32 Schlinger-items het sewe basisfaktore tot gevolg. Die eerste vyf faktore (vermaaklikheid, verwarring, relevante nuus, handelsmerkversterking en empatie) beskik oor soortgelyke faktorladings as faktorontledings wat in die V.S.A. gedoen is. Hierdie bevinding dui daarop dat die affektiewe belewingstruktuur van televisiekykers in Suid-Afrika grootliks dieselfde is as kykers in die Verenigde State. Die ander twee faktore (familiariteit en vervreemding) se ladings verskil van die in die Verenigde State maar hierdie verskille kan gegewe die aard van die advertensies ( bestaande en nuwe advertensiekonsepte) en die kruiskulturele aard van Suid-Afrikaanse kykers verklaar word. Die Schlingeritems is statisties beskryf en ontleed deur die rol wat die tipe advertensie (bestaande versus nuwe), produk-kategorie en kulturele teikenmark speel in waardering van advertensies te ondersoeK. Nuwe konsepte is geneig om meer vermaaklik en relevant te wees. Zulu, Sotho en Xhose kykers is geneig om advertensies as meer positief te beleef. Kosmetika en medisinale-, korporatiewe- en motoradvertensies is verder minder vermaaklik as voedsel en handelsadvertensies. Die Schlingeritems wat advertensiewaardering die beste beskryf en voorspel is bepaal deur bondelontledings en meerdimensionele verskaling. Daar is gevind dat waardering die mate waartoe 'n advertensie aan die vermaaklikheids, empatie en relevante nuus doelwitte voldoen sonder om verwarrend, vervreemdend of oorbekend te wees. Dit wil voorkom of daar twee dimensies bestaan wat die meeste variansie in Schlingeritems verklaar naamlik waardering (positief of negatief) en relevansie. Bondelontleding dui verder daarop dat 'n positiewe persepsie van 'n geadverteerde handelsmerk kykers ontvanklik maak om meer van 'n advertensie te hou of te waardeer. / It is important that, given escalating cost considerations, marketing organisations determine the effect that their marketing efforts have. With regard to the role of advertising m consumer behaviour, attitude towards commercials is of utmost importance. This study examined the liking of television advertisement concept and analyses the effect of this concept on attitude towards television advertising. The viewer response profile as developed by Schlinger (1979) is commonly used to evaluate viewer's attitude towards television commercials. This study attempted to investigate the applicability and validity of this instrument amongst South African television viewers. The study consisted of two phases. Phase one was more qualitative in nature and investigated the viewer's cognitive structure of attitude towards television commercials. The theoretical approach used during this phase was personal construct theory. It was found that viewers on average use six constructs to evaluate whether they like or dislike commercials. 313 Constructs were elicited and based on individual grid analyses and correspondence analysis a reduced number of construct groups was identified. These construct groups ( contentness, entertainment, interesting, sociality, clearness, reality, emotionality, and tempo) show a measure of similarity to the seven Schlinger factors or dimensions. The individual constructs, which make up entertainment, sociality, emotionality, tempo and interesting, show high levels of correlation with advertisement liking. This finding suggests that advertisement liking involve more than pure entertainment. Phase two was more quantitative and consisted of analysing 382 viewer response profiles. A factor analysis of the 32 items, which make up the viewer response profile, resulted in seven factors. The first five factors (entertainment, confusion, relevant news, brand reinforcement and empathy) show similar factor loading to factor analytical studies done in the United State of America. The other two factors (familiarity and alienation) show different loading to the United States of America study but these differences could be explained given the nature of commercials tested (existing commercials and new commercial concepts) and the cross cultural nature of South African viewers. The Schlinger items were analysed in greater detail by investigating the role which type of commercial (existing versus new), product category and cultural target market play in liking of commercials. New concepts are proven to be more entertaining, creative and relevant. Zulu and Sotho viewers are likely to be more positively disposed towards television commercials while cosmetic, medicine, corporate and motor vehicle commercials are less entertaining than food and commercial commercials. Those Schlinger items, which best describe and predict commercials liking were determined by using cluster and multi dimensional scaling techniques. It is apparent from this analysis that likability is the extent to which the objective of entertainment, empathy or relevant news is achieved without confusion, alienation or familiarity. Cluster analysis furthermore suggests that a positive perception of an advertised brand predispose viewers to higher levels of commercial liking. Multi dimensional scaling suggest two dimensions explaining most of the Schlinger factor variance namely liking (positive of negative) and relevance. / Industrial and Organisational Psychology / D. Com. (Bedryfsielkunde)

Text in Afrikaans / Dit is belangrik vir bemarkingsorganisasies om die effek van bemarkingsaksies en meer spesifiek reklame te meet van wee eskalerende koste-oorwegings. Wat die rol van reklame in verbruikersgedrag betref, is die belewing van of houding-teenoor-reklame konsepte van sentrale be lang. Aangesien die term bel ewing meer beskrywend is oor die impak wat advertensies op verbruikers het word hierdie term algemeen gebruik. Hierdie studie ondersoek die konsep advertensiewaardering en ontleed die invloed daarvan op advertensiebelewing. Die kyker-responsprofiel soos deur Schlinger (1979) ontwikkel, word algemeen gebruik om televisiekykers se houding teenoor televisie-advertensies te meet. Hierdie studie poog om die toepaslikheid en geldigheid van die kyker-responsprofiel onder Suid-Afrikaanse televisiekykers te ondersoek. Die navorsingsmetode het uit twee fases bestaan. Die eerste fase was meer kwalitatief van aard, en ondersoek kykers se kognitiewe struktuur van houding teenoor televisie-advertensies. Die teoretiese uitgangspunt tydens hierdie fase is persoonlike-konstrukteorie. Repertoriumrooster onderhoude is met 50 volwasse televisiekykers (ouer as 16 jaar) uit verskillende taalgroepe gevoer. Daar is bevind dat kykers gemiddeld ses konstrukte gebruik ten einde die waarderingsvlak van advertensies te bepaal. 313 Konstrukte is in totaal deur die 50 respondente ontlok. Hierdie konstruke is deur individuele roosterontledings en ooreenkomsanalise tot 'n aantal konstrukgroepe gereduseer. Beskrywings van konstrukgroepe is aan die hand van n literatuurnavorsing gedoen. Die konstrukgroepe (tevredenheid, vermaaklikheid, interessantheid, sosialiteit, duidelikheid, realiteit, tempo en emosialiteit) toon 'n mate van ooreenstemming met die sewe Schlinger basisfaktore. Die onderliggende indiwiduele konstrukte wat vermaaklikheid, sosialiteit tempo en interessantheid beskryf, toon hoe korrelasies met waardering wat daarop dui dat waardering meer as net vermaaklikheid behels. Fase twee was meer kwantitatief van aard en het die ontleding van 382 kykerresponsprofiele behels. 'n Faktorontleding van die 32 Schlinger-items het sewe basisfaktore tot gevolg. Die eerste vyf faktore (vermaaklikheid, verwarring, relevante nuus, handelsmerkversterking en empatie) beskik oor soortgelyke faktorladings as faktorontledings wat in die V.S.A. gedoen is. Hierdie bevinding dui daarop dat die affektiewe belewingstruktuur van televisiekykers in Suid-Afrika grootliks dieselfde is as kykers in die Verenigde State. Die ander twee faktore (familiariteit en vervreemding) se ladings verskil van die in die Verenigde State maar hierdie verskille kan gegewe die aard van die advertensies ( bestaande en nuwe advertensiekonsepte) en die kruiskulturele aard van Suid-Afrikaanse kykers verklaar word. Die Schlingeritems is statisties beskryf en ontleed deur die rol wat die tipe advertensie (bestaande versus nuwe), produk-kategorie en kulturele teikenmark speel in waardering van advertensies te ondersoeK. Nuwe konsepte is geneig om meer vermaaklik en relevant te wees. Zulu, Sotho en Xhose kykers is geneig om advertensies as meer positief te beleef. Kosmetika en medisinale-, korporatiewe- en motoradvertensies is verder minder vermaaklik as voedsel en handelsadvertensies. Die Schlingeritems wat advertensiewaardering die beste beskryf en voorspel is bepaal deur bondelontledings en meerdimensionele verskaling. Daar is gevind dat waardering die mate waartoe 'n advertensie aan die vermaaklikheids, empatie en relevante nuus doelwitte voldoen sonder om verwarrend, vervreemdend of oorbekend te wees. Dit wil voorkom of daar twee dimensies bestaan wat die meeste variansie in Schlingeritems verklaar naamlik waardering (positief of negatief) en relevansie. Bondelontleding dui verder daarop dat 'n positiewe persepsie van 'n geadverteerde handelsmerk kykers ontvanklik maak om meer van 'n advertensie te hou of te waardeer. / It is important that, given escalating cost considerations, marketing organisations determine the effect that their marketing efforts have. With regard to the role of advertising m consumer behaviour, attitude towards commercials is of utmost importance. This study examined the liking of television advertisement concept and analyses the effect of this concept on attitude towards television advertising. The viewer response profile as developed by Schlinger (1979) is commonly used to evaluate viewer's attitude towards television commercials. This study attempted to investigate the applicability and validity of this instrument amongst South African television viewers. The study consisted of two phases. Phase one was more qualitative in nature and investigated the viewer's cognitive structure of attitude towards television commercials. The theoretical approach used during this phase was personal construct theory. It was found that viewers on average use six constructs to evaluate whether they like or dislike commercials. 313 Constructs were elicited and based on individual grid analyses and correspondence analysis a reduced number of construct groups was identified. These construct groups ( contentness, entertainment, interesting, sociality, clearness, reality, emotionality, and tempo) show a measure of similarity to the seven Schlinger factors or dimensions. The individual constructs, which make up entertainment, sociality, emotionality, tempo and interesting, show high levels of correlation with advertisement liking. This finding suggests that advertisement liking involve more than pure entertainment. Phase two was more quantitative and consisted of analysing 382 viewer response profiles. A factor analysis of the 32 items, which make up the viewer response profile, resulted in seven factors. The first five factors (entertainment, confusion, relevant news, brand reinforcement and empathy) show similar factor loading to factor analytical studies done in the United State of America. The other two factors (familiarity and alienation) show different loading to the United States of America study but these differences could be explained given the nature of commercials tested (existing commercials and new commercial concepts) and the cross cultural nature of South African viewers. The Schlinger items were analysed in greater detail by investigating the role which type of commercial (existing versus new), product category and cultural target market play in liking of commercials. New concepts are proven to be more entertaining, creative and relevant. Zulu and Sotho viewers are likely to be more positively disposed towards television commercials while cosmetic, medicine, corporate and motor vehicle commercials are less entertaining than food and commercial commercials. Those Schlinger items, which best describe and predict commercials liking were determined by using cluster and multi dimensional scaling techniques. It is apparent from this analysis that likability is the extent to which the objective of entertainment, empathy or relevant news is achieved without confusion, alienation or familiarity. Cluster analysis furthermore suggests that a positive perception of an advertised brand predispose viewers to higher levels of commercial liking. Multi dimensional scaling suggest two dimensions explaining most of the Schlinger factor variance namely liking (positive of negative) and relevance. / Industrial and Organisational Psychology / D. Com. (Bedryfsielkunde)

Submitted by Divanete Paiva (divanete.paiva@utp.br) on 2018-08-01T13:05:08Z No. of bitstreams: 1 DA TV ABERTA.pdf: 121936601 bytes, checksum: 690afb7f076c8e54b3afeda326663afa (MD5) / Made available in DSpace on 2018-08-01T13:05:08Z (GMT). No. of bitstreams: 1 DA TV ABERTA.pdf: 121936601 bytes, checksum: 690afb7f076c8e54b3afeda326663afa (MD5) Previous issue date: 2012-08-31 / This research aims to present the general theoretical and practical information to understand how is the dialogue between 'television commercial open' and 'corporate television', their adaptations and transpositions media. At first it was discussed the specifics of television as a medium of mass communication, focusing on their technical and aesthetic characteristics, then, investigate how the transpositions occur for Corporate TV. The question guiding this thesis is to investigate whether HSBC's Corporate TV there is a 'reinvention' of broadcast television, an 'adaptation' or just a 'transposition' of that media. This study also proposes, from the standpoint of corporate communications, to analyze the use of a mass medium that is television character made with segmented, institutional and corporate, which is built to support internal communication companies and organizations. It appears then, a case study of HSBC's Corporate TV, HSBC TV, with the corpus selected and defined in four phases of its existence and activity, mapping technique, aesthetics and the language used and finally analyzed to the audiovisual media in general and their transpositions media. / Esta pesquisa tem como objetivo geral apresentar subsídios teóricos e práticos para entender como se dá o diálogo entre a ‘televisão aberta comercial’ e a ‘televisão corporativa’, suas adaptações e transposições midiáticas. De início, abordam-se as especificidades da televisão como meio de comunicação de massa, enfocando suas características técnicas e estéticas, para depois, investigar de que modo ocorrerem as transposições para a TV Corporativa. O questionamento norteador desta dissertação está em investigar se na TV Corporativa do HSBC há uma ‘reinvenção’ da TV aberta, uma ‘adaptação’ ou apenas uma ‘transposição’ daquela mídia. Este trabalho também se propõe, a partir do ponto de vista da comunicação empresarial, fazer uma análise da utilização de um meio de massa que é a televisão realizada com caráter segmentado, institucional e corporativo, que se constrói para dar suporte à comunicação interna de empresas e organizações. Apresenta-se então, um estudo de caso da TV Corporativa do HSBC, a HSBC TV, tendo como corpus selecionado e definido em quatro fases de sua existência e atuação, mapeando a técnica, a estética e a linguagem utilizada e, por fim, analisa-se os meios audiovisuais em geral e suas transposições midiáticas.

This essay is a qualitative study of the Swedish joint-stock company Svenska Spel AB’s television commercial from 2008. The commercial is called “Spela lagom - When I grow up”, and is meant to serve as an informational commercial about being underaged in situations regarding gambling. Using semiotics and rhetoric’s, we are analyzing how elements seen in the commerical affects the rhetorical situation the clip is bound to; how the marketing is done to enhance Svenska Spel’s brand; and what strategies are used to make sure the public service announcements regarding persons involved with underage gambling gets acceptance. The results show that arguments using pathos and ethos are used widely in this commercial, to enhance the feeling of responsibility from Svenska Spel. Another conclusion drawn is that the context, together with visual language known to the underaged, makes this commercial fit that target group. The company integrates with the theory of Corporate Social Responsibility (CSR) and by this commercial they show the viewer’s their ideology about the importance of responsibility.

ÚSTAV HOSPODÁŘSKÝCH A SOCIÁLNÍCH DĚJIN ANOTACE DIZERTAČNÍ PRÁCE V zajetí televize Aktéři, televizní žánry a programy v USA a Československu v 2. polovině 20. století CAPTURED BY TELEVISION ACTORS, TELEVISION GENRES AND PROGRAM IN THE US AND CZECHOSLOVAKIA IN THE SECOND HALF OF THE 20TH CENTURY Mgr. Michaela Blažková Vedoucí dizertační práce: Doc. PhDr. Michal Pullmann, Ph.D. Praha 2018 Summary Against the backdrop of political, economic and cultural changes, changes have been taking place in the United States of America in the 1950s, even at the level of whole society. One of the crucial changes was the entrance of television broadcasting into the environment of social relations and relationships. Television, as a new form of media that aims to entertain, inform and educate, had very quickly found its way to the most of households where it has settled adamantly. Initially, however, a programmed composition was not firmly established, which sought its stable image at this time in the form of trial and error. In the Czechoslovakia, and later also in the Czech Republic, TV has also won many supporters. The technical form of the broadcasting scheme was formed on the basis of the actual technical possibilities and the range of the transmitting time. In addition to political influence on broadcasting until 1989,...

Den ökade globaliseringen har resulterat i att många organisationer stiger in på denkonkurrenskraftiga internationella marknaden. Detta har influerat organisationer att spridaderas budskap globalt – oftast genom marknadsföring. Tv-reklam är en mediekanal som anseseffektiv när man tillämpar humor som en kommunikationsstrategi då den enligt tidigareforskning genererar högt medvetande hos konsumenterna. Dock, finns det ett behov av attbelysa de kulturella skillnaderna när reklamen riktas internationellt eftersom humor uppfattasolika beroende på kultur, vilken kan generera negativa effekter. Eftersom att de kulturellaskillnaderna i humoristisk reklam tenderar att bli bortsedda så fokuserar denna kvantitativestudie på att belysa dessa skillnader med hjälp av Hofstedes kulturdimensionsteori. Dennakvantitativa studie fokuserar därför på att belysa karaktärerna av de kulturella skillnaderna ihumoristisk reklam, genom att använda Hofstedes kulturdimensionsteori, eftersom de tenderaratt bli översedda. Länderna Sverige och Kina jämfördes genom att betona kulturen motreaktionerna gentemot de olika humorstilarna i tv-reklam kopplat till uppfattade känslor. Föratt kunna identifiera humortyperna, användes Rod Martins fyra humorstilar affiliative humor,self-enhancing humor, aggressive humor och self-defeating humor.Syftet med studien var att upplysa hur viktiga aspekterna av de kulturella skillnaderna är ihumoristisk reklam med betoning på kultur och hur känslor mottas i svensk och kinesiskkultur. Detta för att se hur humor kan tillämpas effektivt i reklam över internationella gränser.Enkäten utfördes på svenska och kinesiska universitetsstudenter vilket genererade i detinsamlade empiriska materialet. Resultatet visade att affiliative humor och aggressive humorapplicerad i reklamfilm tas emot likadant känslomässigt i både kinesisk och svensk kultur ochpåverkar även köpintentionerna på samma sätt. Medan, self-defeating humor och selfenhancinghumor tas känslomässigt emot likadant i båda kulturera, men de kinesiskakonsumenterna är mer villiga att köpa produkten. / The growth of globalization has resulted in more organizations entering the competitiveinternational market which has influenced organizations to disseminate their message globally- commonly through the use of advertising. Television commercial is a media channelconsidered to be highly effective if applied with humor as a communication strategy. Theeffectiveness of this strategy generates in high awareness according to previous studies.However, there is a need of highlighting the cross-cultural distinctions when promoting acrossinternational boarders as humor is perceived differently depending on culture, which cannegatively affect the results. As the cultural characteristics in this matter tend to beoverlooked, this quantitative research is focusing on highlighting the cross-culturalcharacteristics in humorous advertising, through the use of Hofstede’s framework of nationalculture. The countries Sweden and China were compared with emphasize on cultureassociated to the reaction toward different humor styles in television commercials linked toperceived emotions. For identifying the humor types, Rod Martin’s four humor stylesaffiliative humor, self-enhancing humor, aggressive humor, and self-defeating humor, wereused.The purpose of this research was to disseminate the importance of cross-cultural aspects inhumor advertising with emphasize on culture and how emotions are perceived in Swedish andChinese culture. The importance relied within how to effectively apply humor in commercialsover cross-cultural boundaries. The questionnaires were performed by Swedish and Chineseuniversity students that generated in the collection of the empirical chapter. The researchfindings indicated that affiliative humor and aggressive humor used in commercial is equallyperceived emotionally in both Chinese and Swedish culture and also affects the purchaseintention similarly. Whereas self-defeating humor and self-enhancing humor are emotionallyequally perceived in both cultures, but the Chinese consumers are more willing to purchasethe product.