Orientador: Ana Maria Klein / Resumo: No Brasil, as violações aos Direitos Humanos são cotidianas e ocorrem em diferentes âmbitos sociais, pela omissão ou negligência do Estado na promoção de direitos, pelas instituições que muitas vezes não reconhecem os direitos das pessoas, ou nas relações interpessoais que se pautam pelas violências e desrespeito à dignidade humana. Tais violações ocorrem em um contexto de ignorância e preconceito em relação a este conjunto de direitos que deveriam ser enfrentados por meio de ações educativas. A mídia é reconhecida como um importante agente de educação informal pelos principais documentos que orientam a Educação em Direitos Humanos no Brasil. Neste sentido, o presente estudo problematiza a abordagem dos Direitos Humanos pelos telejornais brasileiros. O trabalho está estruturado em forma de artigos que buscam responder conceitualmente e empiricamente ao seguinte problema: como os Direitos Humanos são abordados em telejornais das televisões abertas do Brasil? A abordagem empírica do problema se dá no continum qualitativo-quantitativo e as técnicas utilizadas foram pesquisa bibliográfica, pesquisa documental e análise de conteúdo. Foram analisados cinco telejornais: SBT Brasil (SBT), Jornal da Record (Record), Jornal Nacional (Rede Globo), Jornal da Cultura (TV Cultura) e Brasil Urgente (Band). Os dados foram avaliados por meio de uma ficha de análise e categorização das matérias. Os resultados encontrados demonstram ausência de informações ou menções aos Direitos Humanos, embor... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: In Brazil, human rights violations are commonplace and occur in different social spheres, by the State's omission or negligence in promoting rights, by institutions that often do not recognize people's rights, or in interpersonal relationships that are guided by violence and disrespect for human dignity. Such violations occur in a context of ignorance and prejudice in relation to this set of rights that should be faced by educational actions. The media is an important agent of informal education by the main documents that guide Human Rights Education in Brazil. In this sense, the present study problematizes the approach to Human Rights by Brazilian news programs. We structured this work in the form of articles that address the bibliographic review and the analysis of the collected data. The problem approach is in the qualitative-quantitative continuum and the techniques used were bibliographic research, documentary research and content analysis. We evaluated the data using an analysis and categorization sheet. The results found demonstrate the absence of information or mention of Human Rights, although all the matters relates with some of these rights. The news programs do not name or identify Human Rights, contributing to the ignorance and maintenance of existing prejudices in the country and failing to contribute to the formation of the viewer as a subject of rights. / Mestre

This thesis examines the social network Instagram as a means of news coverage, specifically in case of the Czech Television. The theoretical part of the thesis brings a complex description of Instagram including its evolution and the most important terms. The practical part brings results of quantitative analysis of the form and content of posts added to instagram profile ct24zive in 30 following days. For better context we also simultaneously analyze profile bbcnews. The aim of this thesis is to compare two approaches to management of Instagram profile of public service media. The BBC fits the environment of social media by bringing entertaining, soft news content. On the contrary, the Czech TV tries to provide complex news service for young audience for which Instagram is one of the most important sources of information. Description of these different approaches could inspire other media in creating and managing their Instagram profiles. The research also focuses on the way of using defined instagram in- struments. The results are discussed with the Czech TV in order to offer other ideas of managing their Instagram profile ct24zive. 1

Private sector knowledge producers, more commonly known as think tanks or research institutes, are used as authoritative sources in Western media either as interview guests or their research quoted by journalists.  Most studies have focused on their ability to influence government policy, but very little has focused on their role in the public sphere, particularly their visibility in media.  This study will explore how often think representatives appear as authoritative sources or experts in broadcast media during the 2015, 2017 and 2019 UK General Elections.  This will be done through a quantitative content analysis and thematic analysis investigating whether such representatives are accorded preferential access and ascribed primary authority to define narratives.  Additionally, a theoretical model has been designed to detect whether a marketplace of ideas can be detected or whether television news is a site of Habermassian rational-critical public sphere.  Inspired by the work of Anstead and Chadwick, and taking this vital work further, this study investigates whether authority signalling, and primary definition is still a relevant theory by analysing broadcast news coverage across three general elections.

News directors fill, perhaps, one of the most difficult roles within the drama of the news room. In an environment where objectivity and trust are paramount, and where bias must be kept at an absolute minimum, the news director exists as the arbiter, balancing these journalistic ideals with the necessities for financial survival. This scenario presents a conflict, in which the news director must constantly balance the journalistic obligation to inform the public, with the managerial obligation to generate a profit. In an exploration of this conflict, I interviewed three news directors from KUTV, KSL, and KTVX within the Salt Lake City market, who each face different circumstances, but who each personify the conflict mentioned above. Each of these news directors place the most value on maintaining the quality of their news product, while still remaining conscious of the budget requirements set by corporate ownership. When push comes to shove, however, each news director interviewed for this study was of the opinion that news has to come first, even if it means going over budget. When addressing higher management in these over-budget situations, all three news directors tended to shift their conversation to the long-term perspective, reassuring their managers that costs (as a percentage) would drop over time, and revenues would increase. The sacrifice of news content for the sake of the budget was rare for all three news directors. Competition is seen as a way to better serve the community, long term, through increased revenue. Credibility is the balancing factor, keeping the business interests in check with the journalistic ideals.

We design a complete interactive television news system. We develop a news production system that allows for the creation of flexible, content-rich interactive news. This system embraces a general creation process to interactive news that is built on top of a newscast model that evolves from and conforms with the current production newscast model. It allows for content sharing and content reuse. We also create an interactive news viewing system that adapts well to a living room environment. It contains several interactive features designed to give the viewer control and allow them to watch the news when, where, and how they want to. We perform a formative evaluation through a user study and interviews. Our results show that the production system allows fast, quality construction of interactive news. Viewers enjoy the interactivity and control the viewing system provides, but more work needs to be done to improve ease of use. Our system increases extra content visibility and usage over previous studies through additional features, more content, and direct invites to viewers. We also produce and deliver the news over an entire two-week period to a large number of viewers, making it the largest study done according to our knowledge.

This project looks at the development and use of a new delivery system for broadcast television news and its relation to the Uses and Gratifications and Push/Pull Theories. An in-home study of interactive news was conducted for two weeks, allowing people access to three local and 5 national newscasts via one interactive newscast. Users were able to access the interactive newscast whenever and however they wanted via their television or computer, as long as they had an internet connection. The results of this study show how the system was used,what specific actions were taken, and where the potential lies for further research.

[pt] Nesta tese de doutoramento, trabalhamos as mutações do Jornalismo Audiovisual que se intensificaram com a internet e as novas tecnologias digitais, sobretudo no que tange as relações e os usos dos modos de produção, circulação/distribuição e recepção/audiência que se estendem pelo mundo a fora. Neste cenário, reconhecemos que o jornalista de TV precisou ampliar a sua expertisemainstream para as múltiplas telas nas redes, atuando no modelo broadcast e aproximando as linguagens do Jornalismo Audiovisual para o ambiente web. É nesse sentido que, amparados pelos conceitos das teorias transorganizacional, transnacional e de comunidade interpretativa, investigamos as rotinas produtivas televisivas de sete emissoras de TV em língua portuguesa (RTP, prioritariamente, e TVI, SIC, CMTV, Banda TV, Globo e Record), entendendo que a atividade jornalística é vinculada a uma identidade sócio-histórico-cultural reconhecida e compreendida pelos seus sujeitos produtivos e que se apresenta em mutação permanente. Assim sendo, lançamos o conceito de comunidade interpretativa transterritorial, pondo em diálogo a experiência jornalística brasileira com o fazer jornalístico português. Para tanto, o ferramental metodológico utilizado apresenta matizes compostas pela Análise da Materialidade Audiovisual (AMA), observação participante, autoetnografia, além de entrevistas semiestruturadas – num total de 37, totalizando 15 horas, 10 minutos e 4 segundos de gravação. A partir destes já consolidados métodos, ainda propomos uma metodologia própria para analisar o fluxo das produções entre os diversos ecrãs, denominada de metodologia da aposta, com a intenção de assinalar as rupturas, as continuidades e as potencialidades entre os telejornais e as webtelas em Portugal. / [en] In this doctoral thesis, we propose ourselves to work with the changes of Audiovisual Journalism which were intensified by the internet and new digital technologies phenom, most of all, the relations between usage of modes of production, distribution and audience all over the world. In this scenario, we recognize that the TV journalist needed to amplify his mainstream knowledge to multiple screens on social media, using the broadcast model and approaching Audiovisual Journalism language with web environment. Therefore, and sustained by the transorganizational, the transnational and the interpretive community theory, we investigated the TV productive routines of seven TV broadcasts from Portugal (RTP, primarily, and TVI, SIC, CMTV, Banda TV, Globo and Record), acknowledging that journalism activity is linked to a social-historical-cultural identity recognized and comprehended by its productive subjects and is always changing. So, we launched the Transterritorial Interpretive Community concept, articulating the brazilian journalism experience and the portuguese journalism production. In order to do this, the methodological tooling uses hues composed of Audiovisual Materiality Analysis (AMA), participant observation, autoethnography, and semi-structured interviews – total of 37, with 15 hours, 10 minutes and 4 seconds recorded. From that consolidated methods, we also propose our own methodology to analyze the productions flow between multiplied screens, named beting methodology, with the intention of mark the breakups, continuities and potentialities between TV journals and webscreens in Portugal.

After World War II, Europe has only experienced two wars, in the 1990s when Yugoslavia dissolved and now in 2022 when Russia went to war with Ukraine. Regardless of the outcomes of wars, it is clear that wars continue to recur in a continent that prides itself on its peaceful aspirations. During the breakup of Yugoslavia, the war in Bosnia was, in terms of scale,  the most terrible of all wars in the Balkans. In addition, it was the war that received extensive media coverage. This affordance has not been fully utilized. After the war ended, the Bosnians went a long way in rebuilding their devastated community. Based on a semiotic analysis of media representation of war-torn reality in this community, it was found that community subjectivity built up at a similar rate to the media's representation of their reality. The results show the five most commonly used terms to describe Bosnians in connection with the Bosnian War. These terms are 1. Genocide 2. Crime 3. Tragedy 4. Invaders 5. Victims. And,  results show that realistic depictions of war presented in the media reduce victim identification in war-devastated communities.

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看電視新聞，到底看哪裡？除了聽聲音之外，我從電視新聞鏡面裡，可以看到什麼我想要得到的訊息？有天氣、有時間、有不斷在往左跑的跑馬燈、有新聞大標、新聞說明、和播報這一則完全無關的新聞畫面、新聞標題、還有讓人誤解的新聞鏡面（以為下大雨或失大火了）；同一個主播忽換左，忽然右，甚至轉來轉去，一會兒坐一會兒站，台灣電視新聞鏡面，繽紛萬千。 　　這些繽紛萬千的鏡面，產生的原理原則為何？影響產生的動機又是什麼？從1962年台視成立開始，到2005年有線電視多樣的鏡面，電視鏡面又做了什麼樣的改變？形成的生態為何？生態改變的當中，主要環境是如何形成？ 　　透過資料的整理和深度訪談，發現，「競爭」是左右鏡面一項重要的因素；台灣鏡面發展的五個時期，與「競爭」息息相關，三台時期因為競爭因素，開始創造辦公室背景、單雙主播播報；1993年有線電視法通過後，也因為SNG和跑馬燈的廣泛運用，鏡面開始出現不同的元素；到了2003年，更因為媒體環境的激烈競爭，讓新聞鏡面不只充滿服務的元素，更多促銷自己與主播特性明顯的鏡面。只要可以「預告新聞」「留住觀眾」的任何元素，都可以塞進鏡面裡：一則新聞兩個鏡面以上、鏡面像四格漫畫一樣說新聞、把鏡面變成火焰或任何主題等，整個電視鏡面，滿滿都是訊息，超過九個以上的資訊，要在鏡面出現的一分鐘以內，讓觀眾吸收。 　　這樣繽紛鏡面的生態，主要來自於科技支援下的巿場競爭，因為收視競爭，製作人就必需「創造」新的鏡面元素（像是天空標、訊息框等），而新的鏡面元素呈現之後，只要收視率不出現下降的趨勢，各台迫於競爭壓力，開始形成「模仿」與流行，而一旦模仿與流行成為趨勢，製作人或主管，又得為了收視率開始想辦法，創造新的鏡面元素。 　　所以，在本研究，整理出電視鏡面的改變趨勢與時間進程，分析目前電視新聞鏡面的構成元素與產製流程，透過資深電視人的訪談，找出電視新聞鏡面的設計原則、動機與生態系統，希望透過本研究，除了提供業界人士鏡面的缺失和思考的方向以外，能夠為將來鏡面研究，累積資料數，進而發現閱聽人接收端對鏡面的接受程度與態度。 / What do we look at on TV news reports? In addition to audio presentation, what else is presented on the television? Weather reports, current time, continuously updated crawls, news title, news content, as well as the scene, title, and confusing television graphics of a piece of unrelated news (such as about a sudden downpour or a fire accident). The anchor changes his camera angle from left to right, right to left; being seated in one second, and standing in another. The television graphics in Taiwan are really versatile. 　　What is the principle and rule for the production of these versatile graphics? And what is the motivation behind the production? From the establishment of TTV (Taiwan TV Enterprise, Ltd) in 1962 to the development of versatile graphics on cable TV channels in 2005, what has been the change of television graphics and background of the formation? And how the main environment was formed amid the change of the ecosystem? 　　Through data collection and in-depth interviews, it was discovered that “competition” is an important factor for television graphics. There are 5 stages of the development of television graphics in Taiwan, all of which are closely related to competition. During the 3-channel stage, the background of an office, single and duo anchor reporting were innovated. After the CATV Law was passed in 1993, due to the extensive applications of SNG and crawls, different elements of graphics were created. By 2003, under the intensive competition in media, television graphics were not only filled with multiple service elements but also self-promotion messages and features of the anchor. Any element that “previews news” and “retains the audience” can be stuffed into the graphics. A piece of news may contain more than 2 graphics in 4 boxes, like a comic book. The graphic can be a fire or any theme, making the whole television graphic filled with messages. Sometimes, more than 9 messages are presented to the audience in just one minute. 　　This ecosystem is mainly attributed to the competition in the market supported by technologies. Because of the competition for reception, producers have to "create" new graphic elements (such as sky bar, message boxes). And when the new elements are presented, as long as the rating does not decline, bowing to the pressure of competition, every channel starts to "imitate" and prevail the creation. When it has become a popular trend, TV producers or managers have to brainstorm again for new graphic elements. 　　Therefore, this study organized the trend and evolution of television graphics and further analyzed the elements and procedure of production of the current television graphics. Through interviews with senior television producers, it aimed to find out the design principles, motivation, and ecosystem of the television graphics. It was hoped that the study could provide the industry with the flaws of television graphics and a direction of thinking as a reference, accumulate data for future studies, and further discover the degree of acceptance and attitude of the audience toward television graphics.