The aim of the current study was to investigate the way teen pregnancy is portrayed in Seasons 1 and 2 of the television drama The Secret Life of the American Teenager. Framing theory and social cognitive theory were used as guiding frameworks for exploring the way the main character’s pregnancy was presented and the way this presentation may influence the ideas and behaviors of viewers. A qualitative content analysis was conducted to examine portrayals in the first 23 episodes. Results indicated that teen pregnancy was portrayed in five major ways: as Dramatic, as Identity, as Manageable, as Transformative, and as Serious. Overall, the findings suggest that teen pregnancy was presented in ways that encourage viewers to perceive this issue as positive and negative, with clearly positive outcomes.

This study builds on the Uses and Gratifications body of knowledge as applies to motivations surrounding television use, specifically the cult television program Buffy the Vampire Slayer. Through the distribution of online survey it was found that respondents who read and/or wrote fanfiction were more likely to engage in the variable of parasocail relationships. One hypothesis was disregarded due to the invalidity of the variable. Through two research questions it was found that the variable of affinity was indicative of a viewer's involvement with the show. The second research question found only two marginally significant variables, personal identity and realism, with regard to the number of years one had been a fan of the show. Age was found to be significant in all the variables and was accounted for. / Department of Journalism

The aim of the Master thesis "The Transformation of Czech political satire in TV broadcasting after year 1989" is to capture and describe changes of political satire in television shows over last 25 years on sample of six selected shows: Česká soda, Gumáci, S politiky netančím, Politické harašení, Stalo se and 168 hodin. Theoretical part of this work is trying to explain idea of satire itself and to introduce of the topic into more general historical context. Practical part is then, using semiotic analysis, aiming at what expression/aesthetic and thematically variables create satiric constructions in the level of visual picture, press and graphics, language level and music component. Last chapter is dedicated to offer political satire in TV broadcasting after 2010. This work is then connecting results of the analysis and findings from the theoretical part in the conclusion.

Song of Ice and Fire is unarguably one of the most popular fantasy series of all time. Notwithstanding its success, the series has only recently begun to be analyzed critically. George R.R. Martin’s books are often celebrated for breaking many of the tropes common in fantasy literature. Despite this, the series is nonetheless a product of a genre that has been shaped by white, male authors. Using such prominent postcolonial scholars as Edward Said, Gayatri Chakravorty Spivak, Homi Bhabha, and Albert Memmi, I analyze the five published books of Martin’s series. I argue that although Martin seems to be aware of the theoretical background of postcolonial studies and attempts to present a story sensitive to issues of colonization, the book series fails to present a Western representation of the East outside of orientalist stereotypes and narratives that reinforce imperialism. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2016. / FAU Electronic Theses and Dissertations Collection

The problem of this research is to discover viewer response to the television series, "Roots," as revealed through newspapers and magazines published from December, 1976, to June 20, 1977. Thirty-seven articles and 134 interviewee responses were analyzed. The responses with the highest frequency of occurrence in the sample provided eight major categories (listed in the order of highest to lowest frequency of response): inaccuracy/oversimplification, increased awareness, future race relations, white guilt, black anger, future prime time television programming, black pride, and sadness. The predominant appeal of "Roots" was to the emotions of the viewers. Despite the criticism of inaccuracy and/or oversimplification, "Roots" was a timely presentation relating to a current social concern with justice and heritage.

Made available in DSpace on 2014-07-29T16:25:14Z (GMT). No. of bitstreams: 1 martha.pdf: 2005565 bytes, checksum: 23e2b18cc66b291512e9396a074eab55 (MD5) Previous issue date: 2009-03-30 / This study is the result of observation of the television Fruit of the Earth, regional character, which is being produced in Goiania, twenty-five consecutive years. Achieving the overall goal of making a critical analysis and reflective linking the program and its regional proposal in the context of globalized society Goias, and the implications assigned to this context, they acquired this registration form, in which they are exposed to exploitation and Goias indigenous culture, especially music. Therefore, considerations are made on the regional cultural events that the program airs, including traditional and particularly the music, in the process of globalization, including the issue of cultural hybridity and cultural specificities of identifications in the news. The study is systematic in three chapters, s endo that makes each chapter a specific approach, based on the thought of Edgar Morin, the complexity. A reflection on the program Fruit of the Earth gives up way of thinking fragmented portnato, do not take the object apart from its context. It was observed, and the program Fruit of the Earth for a period of eighteen months, was considered the responses obtained in the interviews, we sought in the theoretical studies by social theorists - Hall, Bauman and Canclini - and researchers in the field music - Ulhôa, Nepomuceno and Pimentel. These agents have cultural enlightening replies to the questions that arise during the research. The procedures are found in each chapter of the research. In the first chapter, the discourse is presented by globalization and its issues. The second is devoted exclusively to country music roots, its origin, the transformation in that song now, considering the result of hybridity and cultural reflection of the identifications of Goias. The third chapter presented in detail, the program. It presents the history of the program, a detailed description of some recordings of that program and a summary of the opinions of the individuals: artists, viewers and program staff. In this chapter the reader is shown the importance of the fruits of the earth for society Goiana, since it proposes the recovery, preservation and indigenous culture of Goiás / Este estudo é fruto da observação do programa de televisão Frutos da Terra, de caráter regional, que vem sendo produzido em Goiânia, por vinte e cinco anos ininterruptos. Atingindo o objetivo geral de realizar uma análise critica e reflexiva relacionando o programa e sua proposta regionalista no contexto globalizado da sociedade goiana, bem como as implicações conferidas a esse contexto , adquiriu-se o presente registro impresso, no qual se encontram expostos a valorização e o resgate da cultura goiana, em especial a musical. Portanto, são apresentadas considerações sobre as manifestações culturais regionais que o programa leva ao ar, entre elas as tradicionais e, particularmente, as musicais, dentro do processo da globalização, abrangendo a questão do hibridismo cultural e as especificidades das identificações culturais na atualidade. O estudo está sistematizado em três capítulos,s endo que cada capítulo perfaz uma abordagem específica, tendo como base o pensamento de Edgar Morin, a complexidade. A reflexão em torno do programa Frutos da Terra renuncia a forma de se pensar fragmentada, portnato, não se tomou o objeto separado de seu contexto. Observous-e o programa Frutos da Terra por um período de dezoito meses, considerou-se as respostas obtidas na realização das entrevistas, buscou-se o embasamento teórico em estudos realizados por teóricos sociais - Hall, Bauman e Canclini - e por pesquisadores no campo da música - Ulhôa, Nepomuceno e Pimentel. Esses agentes socioculturais deram respostas esclarecedoras para os questionamentos surgidos no decorrer da pesquisa. Os procedimentos realizados são reconhecidos em cada capítulo da pesquisa. No primeiro capítulo, o discurso apresentado é o da globalização e suas questões. O segundo dedica-se exclusivamente à música sertaneja raiz, sua origem, as transformações pelas quais essa música passou, considerando-a consequência do hibridismo e reflexo das identificações culturais do goiano. O terceiro capítulo apresentada detalhadamente, o programa. Nele é apresentada a trajetória do programa, a descrição pormenorizada de algumas gravações desse programa e uma síntese das opiniões dos sujeitos entrevistados: artistas, telespectadores e funcionários do programa. Neste capítulo é mostrado ao leitor a importância do programa Frutos da Terra para a sociedade Goiana, uma vez que ele propõe a valorização, a preservação e o resgate da cultura de Goiás

This thesis foregrounds a question unanswered in queer theory�s account of the ongoing reproduction of heteronormativity. In Gender Trouble, Judith Butler asks "From where does the performative draw its force, and what happens to the performative whose task it is to undo" that discursively legitimated enacting? (Bodies That Matter 224-5). While queer theory offers a compelling account of how the normative fictions of identity privilege heterosexuality, the first part of Butler�s question remains relatively under-theorised. This thesis addresses this gap and argues that to understand the source of performative authority, we must address the intimate relationship between gay identity and commodity culture. Thus, I investigate the connections between the marketing industry, an historically politicised gay press, and a lesbian and gay politics imagined through the paradigm of identity, and argue that they combine in a citational feedback loop to performatively produce gay identity as the "ideal consumer." I then undertake case studies of two media texts, the website Gay.com and the television series Queer Eye for the Straight Guy, in order to demonstrate how the white, male, middle-class gay aesthete functions hegemonically as gayness in culture. My analysis then turns to the second part of Butler�s question -"what happens to the performative whose task it is to undo?"- and examines the consequences of the absence of an analysis of commodity culture for the notion of queer. To that end, I suggest that alongside their repetitions of gay normativity, both Gay.com and Queer Eye perform queer possibility. However, the case studies I undertake, along with the critical reception of Queer Eye and the internet technologies behind Gay.com, suggests that these media texts fall short of the promise of queerness. This apparent failure to disturb heteronormative reproduction is connected in these critiques to each text�s commercial imperatives. This thesis argues that such critiques tend to rely on determinations of the authenticity of queer performance, and emphasise veracity over queer theory�s potential to exploit the critical potential of deliberate indeterminacy. I argue, instead, that a key part of queer theory�s contingency is its capacity to respond to the changing performative contexts of the normative repetitions it seeks to undo. To put this more simply: If consumer desire defines contemporary gayness, then it is with consumer desire that queer theory must contend. It is precisely the indeterminacy of queer that enables such shifts in its strategies of subversion. Recognition of how queer�s indeterminacy enables those subversive moves returns us to the importance to queer theory of a sustained consideration of the constitutive capacities of commodity culture. What I suggest in this thesis is that if we do no ask "From where does the performance draw its force?" then we cannot answer "And what happens to the performative whose task it is to undo?" the normative framework of identity.

Thesis (M.A.)--Queen's University at Kingston, 2001. / Includes bibliographical references.

This thesis foregrounds a question unanswered in queer theory�s account of the ongoing reproduction of heteronormativity. In Gender Trouble, Judith Butler asks "From where does the performative draw its force, and what happens to the performative whose task it is to undo" that discursively legitimated enacting? (Bodies That Matter 224-5). While queer theory offers a compelling account of how the normative fictions of identity privilege heterosexuality, the first part of Butler�s question remains relatively under-theorised. This thesis addresses this gap and argues that to understand the source of performative authority, we must address the intimate relationship between gay identity and commodity culture. Thus, I investigate the connections between the marketing industry, an historically politicised gay press, and a lesbian and gay politics imagined through the paradigm of identity, and argue that they combine in a citational feedback loop to performatively produce gay identity as the "ideal consumer." I then undertake case studies of two media texts, the website Gay.com and the television series Queer Eye for the Straight Guy, in order to demonstrate how the white, male, middle-class gay aesthete functions hegemonically as gayness in culture. My analysis then turns to the second part of Butler�s question -"what happens to the performative whose task it is to undo?"- and examines the consequences of the absence of an analysis of commodity culture for the notion of queer. To that end, I suggest that alongside their repetitions of gay normativity, both Gay.com and Queer Eye perform queer possibility. However, the case studies I undertake, along with the critical reception of Queer Eye and the internet technologies behind Gay.com, suggests that these media texts fall short of the promise of queerness. This apparent failure to disturb heteronormative reproduction is connected in these critiques to each text�s commercial imperatives. This thesis argues that such critiques tend to rely on determinations of the authenticity of queer performance, and emphasise veracity over queer theory�s potential to exploit the critical potential of deliberate indeterminacy. I argue, instead, that a key part of queer theory�s contingency is its capacity to respond to the changing performative contexts of the normative repetitions it seeks to undo. To put this more simply: If consumer desire defines contemporary gayness, then it is with consumer desire that queer theory must contend. It is precisely the indeterminacy of queer that enables such shifts in its strategies of subversion. Recognition of how queer�s indeterminacy enables those subversive moves returns us to the importance to queer theory of a sustained consideration of the constitutive capacities of commodity culture. What I suggest in this thesis is that if we do no ask "From where does the performance draw its force?" then we cannot answer "And what happens to the performative whose task it is to undo?" the normative framework of identity.

This thesis is a reception analysis using qualitative interviews to investigate black students' watching of a South African soap opera, Generations, taking into account the context of a largely white South African university campus. The findings of this study are that students find pleasure in talking about Generations and hold seemingly contradictory views on whether it is 'realistic' or not. The analysis concludes that watching Generations does serve to affirm these students' black identity, since there is a particular need to do so on a campus where black students witness and experience racial discrimination.