Orientador: Ronaldo Romulo Machado de Almeida / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-22T23:13:42Z (GMT). No. of bitstreams: 1 Canalli_FrancoAugusto_M.pdf: 7098394 bytes, checksum: ddacedc1343f0b28a0f6e28765451635 (MD5) Previous issue date: 2013 / Resumo: Existem aproximações e similaridades entre o trabalho do antropólogo e o de um jornalista? Quais estratégias e técnicas discursivas um programa de reportagens utiliza para que sua narrativa se empenhe, concomitantemente, em marcar posição, se distinguindo no campo, além de funcionar como um mecanismo de defesa a possíveis críticas? Os integrantes de uma mesma empresa telejornalística tendem a seguir linhas de raciocínio e práticas semelhantes em vosso trabalho? O que é necessário para ser um jornalista investigativo? Diante destas questões, este trabalho busca analisar qual o significado e quais as consequências que o processo de produção das notícias (o meio) tem no conteúdo final de um programa de reportagens, isto é, quando exibido na TV. Para tanto, a dissertação tem como objeto de investigação o programa de reportagens Profissão Repórter, da emissora Rede Globo de Televisão, e atua por meio, principalmente, da análise audiovisual do programa desde o período de seu surgimento, em 2006, até o final de 2010 / Abstract: Are there proximities and similarities between the job of an anthropologist and of a journalist? Which strategies and discursive techniques a TV report program utilizes so that its narrative strives, simultaneously, in set a position, distinguing itself in the field, furthermore working as a mechanism of defense to possible criticism? The integrators from the same telenews company tend to follow line of reasoning and similar practice in your job? What does it need for a journalist being investigative? Facing these questions, this paper aims at analyzing what the meaning and what the consequences that the production process of news (the core) has in the final content of a TV report programs, that is, when exhibited on TV. For such thing, a dissertation has as mean of investigation the TV report program Profissão Repórter, from the TV network Rede Globo de Televisão, and acts through, mostly, from audiovisual analysis from the same since the appearance period, in 2006, to the final of 2010 / Mestrado / Antropologia Social / Mestre em Antropologia Social

This study examines stereotypes of fraternities and sororities in the media. Recently the media, particularly movies and television, has produced numerous portrayals of fraternal organi zations. Through thi s study a content analysis of the television show GREEK from ABC Family was conducted. The first seven episodes were analyzed answer the following questions: Were stereotypes of fratern ities and sororities pmirayed through these episodes? If so, what were the stereotypes? Five stereotypes were studied for fraternities and six for sororities. Definitions of the chosen stereotypes are identified in the literature and recorded. Tally markers were used to tabulate each portrayal of stereotypes. An average of the three viewings was then calculated to help maximize the reliability of this study. The results were further manipulated to determine the frequency of both the fraternity and sorority stereotypes individually as well as together. Stereotypes were found throughout the television series. Fraternity stereotypes were recorded more often than sorority stereotypes. This study allows us to better understand the portrayals of fraternity and sorority life as shown in GREEK.

This study sought to provide more up to date information on the way women are depicted on television. Over the last sixty-five years women have played characters that centered around the children, home, and their husband, always in a supportive role to a man such as a wife, girlfriend, or as an assistant such as a secretary. These roles have begun to shift and represent the actual positions that women hold in reality. It has taken decades for this pattern to shift and allow women to be viewed as more than just an accessory to men. Content from the popular show Sex and the City was analyzed using the monologue from the voice overs of the program to determine ifthe focus of the show was on men, women, or men and women as well as if they were shown in a positive, negative or neutral light and to determine if men were dominant, females were dominant or if men and women were shown to be equal. The implications from the study showed that men are a main focus of the show and that both men and women are shown negatively. Women were also found to be dominant figures. Overall the data showed that there have been small changes with the depiction of women on television.

See front file / Communication Science / MA (COMMUNICATION)

Thesis (MA)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: In this study I analyse the 1994 episodes of the popular soap opera Egoli: Place of Gold that coincide with the so-called ‘birth’ of the New South Africa. This moment in media history is characterised by a heightened sense of anticipation surrounding Egoli as the first local soap opera created by Franz Marx at the pinnacle of his career for the relatively new – and only – independent broadcaster in the country, M-Net. Because of the reliance of this genre on perceived realism, Egoli offers a historically significant televisual mediation of the widespread social and political changes that mark this particular period. I argue that the soap opera elicits a non-critical passive spectatorship and should therefore be regarded as a ‘readerly’ medium that transmits a form of pre-negotiated textual hegemony directly into the intimacy of the domestic viewing space. While acknowledging an awareness of the pivotal role played by white Afrikaans men in the safeguarding of cultural hegemony up until this historical juncture, my study diverges from the wealth of research on soap opera as a women’s medium and approaches Egoli with an interest in the programme’s construction of masculinities. An analysis of three contrasting male characters investigates Egoli’s formulation of a social matrix that reflects not only the programme’s attitude towards gender, but also to social power, class and race. I conclude that this specific soap opera lacks the ability to produce or reflect radical change. Egoli merely serves to reiterate the affirmation of the hegemony of an established order of Afrikaner patriarchy on a superficial level. / AFRIKAANSE OPSOMMING: In hierdie studie analiseer ek die 1994 episodes van die populêre sepie Egoli: Plek van Goud wat afspeel tydens die sogenaamde ‘geboorte’ van die Nuwe Suid-Afrika. Hierdie oomblik in media-geskiedenis is gekarakteriseer deur ‘n verhoogde gevoel van antisipasie rondom Egoli as die eerste plaaslike sepie, vervaardig deur Franz Marx tydens die toppunt van sy loopbaansukses vir die relatief nuwe, en enigste onafhanklike uitsaaidiens in die land, M-Net. Vanweë hierdie medium se afhanklikheid op skynbare realisme, bied Egoli ‘n waardevolle historiese televisuele vertolking van die verrykende sosiale en politiese veranderinge van hierdie tydperk. Ek argumenteer dat die sepie ‘n passiewe kritiekloosheid in kykers uitlok en daarom as ‘n ‘leeslike’ teks benader moet word, wat ‘n reeds-onderhandelde hegemonie direk in die intimiteit van die huishouding oordra. As gevolg van die bewustheid van die kritieke rol wat deur blanke Afrikaanse mans vervul is in die beveiliging van kulturele hegemonie tot en met hierdie historiese moment, wyk my studie af van die veelvuldige navorsing oor die sepie as ‘n vroue-medium en benader ek Egoli met ‘n fokus op die konstruering van manlikheid. ‘n Analise van drie kontrasterende manlike karakters ondersoek Egoli se formulering van ‘n sosiale matriks wat nie alleenlik die program se benadering tot geslag blootlê nie, maar so ook tot sosiale mag, klas en ras. Ek sluit af met die bevinding dat dié sepie ontbreek in die vermoë om radikale verandering aan te spoor of te weerspieël. Egoli slaag slegs daarin om op ‘n oppervlakkige wyse die hegemonie van ‘n gevestigde Afrikaner patriargale orde te bevestig en te reproduseer.

This dissertation uses a multiperspectival approach that analyzes production, text, and audience consumption to explore representations of gender and ethnicity in The Home Box Office, Inc. (HBO) original program The Sopranos. I first present the social, political, and economic factors that contributed to the continued critical and commercial success of the show. The hybrid genre of the show - an intermingling of the gangster and soap opera genres - proves particularly significant in its representation of gender and ethnicity. Both textual and audience analyses allow me to respond to the question central to this dissertation: Does The Sopranos reinforce or challenge hegemonic notions of masculinity, femininity, and ethnicity? My textual and paratextual analysis identifies the embodiment of hegemonic masculinity in the male characters, including the ways in which that hegemonic behavior leads to male violence, as depicted in the narrative, and reveals the performances of emphasized femininity and pariah femininities, class, and Italian/Americaness at play amongst the female characters in The Sopranos. Audience analysis reveals that The Sopranos broadly appeals to many Italian/Americans and self-proclaimed feminists, yet the vast majority of fans, particularly those who create fan fiction and frequent chat rooms, are drawn to the show for its violence, sexist imagery, and macho male characters. Thus, the multiperspectival approach of this dissertation proved particularly useful in determining that The Sopranos, in its entirety, ultimately repackages, but yet still reinforces hegemonic notions of gender and Italian/Americaness. / by Niki Caputo Wilson. / Thesis (Ph.D.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

This study aims to analyze three popular U.S. children’s TV shows – Dora the Explorer (Nickelodeon), Maya & Miguel (PBS) and Handy Manny (Disney Channel) – in terms of their incorporation of Spanish. Qualitative and quantitative measures were used to assess the frequency and types of code switching both in the context of bilingualism and language pedagogy. The study revealed different strategies of language choice and socio-cultural objectives for each show. A close analysis of language choice in the three children’s TV programs revealed distinct approaches to TV writing in the name of raising awareness of ethnic diversity, developing cultural literacy, and brand marketing. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection

RuPaul's Drag Race is one of the few realilty television shows focusing on QLGBT (queer, lesbian, gay, bisexual, and transgender) identified individuals that has made it into mainstream consciousness. Drag Race provides a unique perspective on the ways that gender identity, sexuality, size, class, race, and ethnicity intersect and interact in people's lives.The television show augments many of these intersedtions and the challenges related to these identities while still reflecting the daily struggles that people experience.The show works to promote messages of self-love and acceptance ; however, it also promotes many problematic and damaging stereotypes. This thesis conducts a feminist analysis in order to answer the question: How does RuPaul's Drag Race relate to hegemonic and oppressive stereotypes and roles associated with gender identity, sexual orientation, size, class, race and ethnicity? Does it challenge or reinforce such hegemonies? In order to answer these questions, this thesis examines visual imagery, narrative, and dialogue in the show, utilizes theories from cultural and women's studies, English and communications. It concludes that although Drag Race does engage in some subversive behavior, it ultimately reinforces harmful hegemonic stereotypes. / by Sarah Tucker Jenkins. / Thesis (Ph.D.)--Florida Atlantic University, 2013. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-13T13:05:39Z No. of bitstreams: 1 Heron Ledon Pereira.pdf: 1875659 bytes, checksum: 264b87da07d9f083a3c33271a0541d18 (MD5) / Made available in DSpace on 2018-08-13T13:05:39Z (GMT). No. of bitstreams: 1 Heron Ledon Pereira.pdf: 1875659 bytes, checksum: 264b87da07d9f083a3c33271a0541d18 (MD5) Previous issue date: 2018-06-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research investigates Brazilian children's journalism in recent years and proposes a closer relationship between the press, school and children. Therefore, this study reveals how the TV program Castelo Rá-Tim-Bum can serve as an inspiration for this type of journalism in the country. Unveiled from 1994 to 1997, Castelo is one of the leading children's series in the history of Brazilian TV, with high ratings and international recognition of specialists. Produced by TV Cultura, it returned to gain prominence in the cultural scene of the country in 2014, when it completed 20 years of existence, with exhibitions, new plays and materials in the media. This work brings together historical and recent examples of journalism for children – including universities – and the production of children's content on TV, Internet, cinema, radio, music, literature, comics and theater. It also presents summaries of the main children's programs of TV Cultura before and after Castelo. About the series, this dissertation covers details of the characters, paintings and rooms of the enclosure, as well as old products and recent fruits of attraction. The analysis points out elements that can contribute to journalism for children and with them. There are six topics: children's issues; the role of the journalist; investigation and discovery; playfulness; sounds; children want to talk. The understanding of communication is used as link building, according to Baitello Junior. The concept of ecology of communication, according to Romano, bases the reflection on communication practices that involve children. It is understood the field of educommunication from Soares, and the ideas of Leão about hypermedia help sketch an example of how the results are applied / Esta pesquisa investiga o jornalismo infantil brasileiro nos últimos anos e propõe uma maior aproximação entre imprensa, escola e criança. Para isso, observa-se como o programa Castelo Rá-Tim-Bum pode servir de inspiração para esse tipo de jornalismo no país. Exibido ineditamente de 1994 a 1997, o Castelo é uma das principais séries infantis da história da TV brasileira, com altos índices de audiência e reconhecimento internacional de especialistas. Produzido pela TV Cultura, voltou a ganhar destaque no cenário cultural do país em 2014, quando completou 20 anos de existência, com exposições, novas peças teatrais e matérias nos veículos de comunicação. Este trabalho traz panoramas sobre o histórico e exemplos recentes de jornalismo para crianças – inclusive nas universidades – e a produção de conteúdo infantil na TV, Internet, cinema, rádio, música, literatura, HQs e teatro. Também apresenta resumos dos principais programas infantis da TV Cultura antes e depois do Castelo. Sobre a série, abordam-se detalhes dos personagens, quadros e cômodos do recinto, bem como produtos antigos e recentes frutos da atração. A análise aponta elementos que possam auxiliar o jornalismo para a garotada e com ela. Destacam-se seis tópicos: assunto de criança; o papel do jornalista; apuração e descoberta; brincar; sons; criança quer falar. Utiliza-se o entendimento de comunicação como construção de vínculos, segundo Baitello Junior. O conceito de ecologia da comunicação, conforme Romano, baseia a reflexão sobre práticas comunicacionais que envolvem a meninada. Compreende-se o campo da educomunicação a partir de Soares. E as ideias de Leão sobre hipermídia ajudam a esboçar um exemplo de aplicação dos resultados

Celebrities such as Halle Berry, Dave Chappelle, Kathy Griffin, and Don Imus have recently evoked public ire for making what some people have seen as tasteless jokes. Their notorious humorous communication shares two notable qualities: the discourse was mass mediated and the “jokes” were all premised on stereotypes. This two-part dissertation addresses the complicated subject of understanding the meanings viewers co-create with humorous mediated communication that is premised on racial stereotypes. I focus on Chappelle’s Show as my primary text of analysis, but the findings here have applicability to the wider genre of humorous mediated communication that is premised on stereotypes. In the first part of the dissertation I survey humor theory and humor criticism, noting weaknesses in the ways that communication scholars have previously studied humorous mediated texts. I then suggest that humor scholarship can be improved through two principal methods: 1. humor scholars of various academic disciplines need to use a unified set of terms that refer to the humor stimulus, humor motivation, and the possible effects of the humor, and 2. critics of humorous mediated texts need to approach them as a unique genre, with a critical lens that accounts for the polysemy inherent in many humorous texts. In the next part of the dissertation, I model a multi-methodological approach to mining the mélange of meanings in Chappelle’s Show. My in-depth case study of racial stereotype-based humor in Chappelle’s Show incorporates textual analysis of a dozen sketches, qualitative analysis of viewer opinions about the show, and a quantitative analysis of viewing behaviors as well as the relationship between viewing the show and prejudice. This multi-methodological approach helps better mine the polysemic meanings of the text because it explores the spectrum of the communication model from stimulus to receiver. I conclude that Chappelle’s Show can both encourage and reduce prejudice. While inconclusive conclusions are an anomaly in media criticism, I advocate the pursuit of such conclusions in humor criticism. Stereotype-based mediated comedic texts demand an exploration of their multiple meanings, not a definitive statement about how they should be interpreted or how they affect an audience. / text