Journalists have insisted that John Oliver has inspired a new kind of journalism. They argue that Oliver's show Last Week Tonight with John Oliver has inspired real-world action, a phenomenon journalists have called the "John Oliver Effect." Oliver, a comedian, refuses these claims. This thesis is the result of in-depth research into journalists' claims through the lens of agenda-setting. By conducting a qualitative content analysis, I evaluated the message characteristics of framing devices used on Oliver's show, then compared those message characteristics to the message characteristics and framing devices employed by legacy media.

Hierdie proefskrif is 'n verkennende ondersoek na kykers se interpretasie van die seep-opera Egoli - Piek van Goud. Die basiese vertrekpunt van die studie is die teks-leserontmoeting waar gelyke status aan die boodskap ('n teks) en die ontvanger ('n kyker) gegee word. Uit so 'n ontmoeting ontstaan kykers se interpretasies. Die tweeledige ondersoek plaas die proefskrif binne die teoretiese en metodologiese raamwerk van resepsiestudie om die komplekse interaksie tussen 'n teks en die ontvanger te ondersoek. Die twee komponente word binne spesifieke historiese en kulturele kontekste geplaas, te wete die veranderende politieke en ideologiese klimaat in Suid-Afrika asook die sosio-kulturele en politieke kontekste van die deelnemers. Die deelnemers van hierdie studie is groepe bruin-, swart- en witvroue. Groeponderhoude (fokusgroepe) is met ses groepe vroue tydens hul etensuur by die werkplek gevoer. Die onderhoude is rondom die volgende temas gestruktureer: romanse, identifikasie, parasosiale interaksie, sosiale interaksie, intertekstualiteit en Egoli as 'n forum vir die uitbeelding van Suid-Afrikaanse werklikhede. Kykers se interpretasie van die temas is ontleed aan die hand van referensiele, onderhandelde en kritiese interpretasierame. Daar is gevind dat die verskillende kultuurgroepe in 'n groat mate dieselfde interpretasierame gebruik in hul interpretasie van die verskillende temas. Die opvallendste verskil tussen die groepe is die wyse waarop die deelnemers die tema Egoli as 'n forum vir die uitbeelding van die SuidAfrikaanse werklikhede vertolk: as gevolg van verskillende sosio-kulturele en politieke omstandighede in Suid-Afrika het die deelnemers waarskynlik interpretasierame ontwikkel wat aan daardie omstandighede gekoppel kan word. In die studie is aangetoon dat die hermeneutiek en resepsieteorie nuttige verklarings gee van die elemente in die seep-operateks wat kykersbetrokkenheid stimuleer en die proses van interpretasie. Die proses verloop soos volg: deelnemers het bepaalde verwagtings oor 'n program; hulle moet die uitgebeelde werklikheid(e) herken en die boodskappe dan toe-eien. Hierna word boodskappe 'n kultuur binnegedra deur middel van sosiale diskoers. Die teoretiese onderbou het voorts aan die lig gebring dat deelnemers se interaksie met en interpretasie van Egoli 'n vorm van spel is. Empiriese bewyse is gevind dat die deelnemers op speelse wyse • oor karakters 'skinder'; • spekuleer oor romantiese assosiasie; • met karakters identifiseer; en • parasosiale verhoudings met karakters aanknoop. / Text in Afrikaans / This thesis is an exploratory study of viewers' interpretation of the soap opera Egoli - Place of Gold. The basic point of departure is the text-viewer encounter where equal status is given to the message (text) and the recipient (viewer). Viewers' interpretations develop from this encounter. This dichotomous investigation places the thesis within the theoretical and methodological framework of reception study where the complex interaction between a text and the recipient is examined. The two components are placed within specific historical and cultural contexts, namely the changing political and ideological climate in South Africa, as well as the socio-cultural and political contexts of the participants. The groups participating in this study consisted of coloured, black and white women. Six group interviews (focus groups) were held with these women during their lunch-hour at the workplace. The interviews were structured around the following themes: romance, identification, parasocial interaction, social interaction,intertextuality and Egoli as a forum for the portrayal of South African realities. Viewers' interpretations of these themes were analysed according to referential, negotiated and critical interpretative frames. It was largely found that the various cultural groups use the same interpretative frames to interpret the various themes. The exception was the way participants interpreted Egoli as a forum for the portrayal of South African realities: because of different socio-cultural and political circumstances in South Africa the participants may have developed interpretation frames that could be linked to these circumstances. Hermeneutics and reception theory provide useful explanations of these elements in a soap opera text that stimulate viewers' involvement and the process of interpretation. This process proceeds as follows: participants have specific expectations regarding a programme; they must recognise the realities depicted and then appropriate the messages. Thereafter messages are incorporated into a culture by means of social discourse. A further important theoretical finding was that the participants' interaction with and interpretation of Egoli takes the form of play. It was empirically determined in this study that participants playfully • speculate about romantic association; • engage in gossip about characters; • identify with characters; and • develop parasocial relationships with characters. / Summaries in English and Afrikaans / Communication Science / D. Litt. et Phil. (Communication Science)

Reality television programming chronicling the daily workings of multiple birth families within American culture has gained notoriety in recent years. Such programs, especially Discovery Health and TLC's 17, 18 Kids and Counting and TLC's Jon and Kate Plus Ei8ht, film, edit and broadcast the "everyday" life of these families. This research study focuses attention on hegemonic ideologies surrounding family values, motherhood, gender roles and religious faith, illuminated through textual and audience analysis. Working from an interdisciplinary approach combining feminist media and cultural studies, this study finds that hegemonic notions of family values, gender representations, religious faith and conceptions of motherhood are evident to varying degrees in the television texts and accepted by fans who negotiate their meanings online. / by Emily M. CIttadino. / Thesis (M.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

This thesis takes a cultural studies approach to representations of post-war U.S. suburbia in Richard Yates’ 1961 novel Revolutionary Road, as well as in the contemporary AMC television series Mad Men. These texts explore the postwar time period, which holds a persistently prominent and idealized space in the collective cultural imagination of America, despite the fact that it was a period troubled by isolationism, containment culture, rampant consumerism, and extreme pressure to conform to social roles. This project disrupts the romantic narrative of postwar America by focusing on the latent anxiety within the suburban landscape—by interrogating the performative nature of the planned communities of the 1950s and 1960s and exposing the tensions that were borne out of the rise of domesticity and consumerism. This project explores the descent into a society obsessed with consumerism and conformity, and seeks to interrogate the culture’s false nostalgia for the time period. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2013.

Submitted by Adriana Alves Rodrigues (aalves@espm.br) on 2018-10-09T13:17:15Z No. of bitstreams: 1 MPCC - AMADEU NOGUEIRA DE PAULA PÓS-BANCA.pdf: 2959871 bytes, checksum: db8244204552cd74638fc99974651f32 (MD5) / Approved for entry into archive by Adriana Alves Rodrigues (aalves@espm.br) on 2018-10-09T13:21:19Z (GMT) No. of bitstreams: 1 MPCC - AMADEU NOGUEIRA DE PAULA PÓS-BANCA.pdf: 2959871 bytes, checksum: db8244204552cd74638fc99974651f32 (MD5) / Approved for entry into archive by Adriana Alves Rodrigues (aalves@espm.br) on 2018-10-09T13:54:52Z (GMT) No. of bitstreams: 1 MPCC - AMADEU NOGUEIRA DE PAULA PÓS-BANCA.pdf: 2959871 bytes, checksum: db8244204552cd74638fc99974651f32 (MD5) / Made available in DSpace on 2018-10-09T14:34:04Z (GMT). No. of bitstreams: 1 MPCC - AMADEU NOGUEIRA DE PAULA PÓS-BANCA.pdf: 2959871 bytes, checksum: db8244204552cd74638fc99974651f32 (MD5) Previous issue date: 2018-03-21 / This study presents an analysis of the general elements in the subtle or non-subtle testemonials represented by individuals hired by advertisers for the promotion of their brands in the mass media, specifically television. The historical definition of product placement had, at first, the clarification that the advertising message should be carried out subtly, incorporating itself in the content so that consumers did not perceive it; because if this perception happened, the tendency would be to reject the advertisement. This argument remained for some time, however a significant variable emerged in the context of women’s television programs, in which the brand presenter dialogues in a non-subtle way, endorsing the consumer experience, strengthening the narrative with lived stories of sucessful experiences. It is the materialization of the product in people’s lives, through entertainment and information, which is a reference for the viewers present in the audience of the program. The main objective of this research was to analyze the use of brands’ testemonials advertisement as a communication tool in women’s programs of open television presented in a non-subtle way by brand communicators, called merchandetes. Thus, the research focused on the analysis of the product placement – better known in Brazil as merchandising – in the television program Mulheres, from TV Gazeta, in São Paulo, setting up a case study in a women’s program broadcast in the afternoon. In addition, it was interviewed managers advertisers of frequent testemonials announcements, merchandetes of others women’s programs and a commnunication manager in social network. The investigation showed the importance and commercial strength of merchandising not only as part of the content of women’s programs, but also in relation to the others formats of advertising. The study emphasizes the importance of the endorsement carried out, either by the merchandete or the program’s TV host, as a fundamental tool to generate the immediate sales of the announced products in real time. The originality of this study consists in the understanding of the permanence in the context of the testimonial merchandising as an effective advertising format in Brazilian television from its origin, where the placement of products was made exclusively through the so-called “brand’s speakers”, who existed because of the transmissions performed exclusively live. The interviews revealed that all the participants in the commercial and artistic structure of the broadcaster that generates the women’s program seek to monetize the arguments and quality of the messages in order to effectively achieve the goals of their advertisers when the ads are broadcasted. This study also demonstrates technically, through audience data, investments and number of insertions, the intense presence of the testemonials advertisers broadcasting in the daytime, where are the greater participation of the investments and concentration of viewers conformed by the audience surveys predominate. / Este estudo apresenta uma análise dos elementos gerais dos testemunhais sutis ou não sutis representados por indivíduos contratados por anunciantes para a divulgação de suas marcas na mídia de massa, especificamente a televisiva. A definição histórica do product placement teve, no início, o esclarecimento de que a mensagem publicitária devia ser realizada de maneira sutil, incorporando-se ao conteúdo para que os consumidores não a percebessem; pois, caso isso ocorresse, a tendência seria de rejeição do anúncio. Permaneceu por algum tempo esse raciocínio, no entanto, surgiu uma variável significativa no contexto dos programas femininos de televisão, na qual o apresentador de marcas dialoga de forma não sutil, endossando a respeito da experiência de consumo, fortalecendo a narrativa com histórias vividas de experiências de sucesso. É a materialização do produto na vida das pessoas, através do entretenimento e da informação, que é referência para os telespectadores presentes na audiência do programa. O objetivo central desta pesquisa consistiu em analisar a utilização das marcas de anúncios testemunhais como ferramenta de comunicação em programas femininos da televisão aberta, apresentados de forma não sutil por comunicadores das marcas, chamados de merchandetes. Desse modo, a investigação centrou-se na análise do product placement – mais conhecido no Brasil como merchandising – no programa Mulheres, da TV Gazeta, de São Paulo, configurando um estudo de caso em um programa feminino transmitido no horário da tarde. Adicionalmente foram entrevistados gestores de anunciantes frequentes dos anúncios testemunhais, merchandetes de outros programasfemininos e uma gestora de comunicação em redes sociais. A investigação permitiu constatar a importância e a força comercial do merchandising não só como parte do conteúdo dos programas femininos, mas também em relação a outros formatos de veiculação. O estudo ressalta a importância do endosso realizado, seja pela merchandete ou pela âncora do programa, como ferramenta fundamental para gerar as vendas imediatas dos produtos anunciados em tempo real. A originalidade deste estudo consiste no entendimento da permanência do contexto do merchandising testemunhal como formato de anúncio eficiente na televisão brasileira desde a sua origem, onde a colocação de produtos era feita exclusivamente através das chamadas “garotas-propaganda”, que existiram em razão das transmissões serem realizadas exclusivamente ao vivo. As entrevistas revelaram que todos os participantes da estrutura comercial e artística da emissora geradora do programa feminino buscam rentabilizar argumentos e qualidade das mensagens para efetivamente alcançar objetivos de seus anunciantes no momento de transmissão dos anúncios. Este estudo evidencia ainda tecnicamente, através de dados de audiência, de investimentos e quantidade de inserções, a intensa presença dos anunciantes de testemunhais veiculando no horário diurno, onde predominam a maior participação dos investimentos e concentração de telespectadoras constatadas nas pesquisas de audiência.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-15T12:20:07Z No. of bitstreams: 1 Osmar Guerra Junior.pdf: 44268628 bytes, checksum: b031b731607b44e9cc8983d71ddcacea (MD5) / Made available in DSpace on 2018-08-15T12:20:07Z (GMT). No. of bitstreams: 1 Osmar Guerra Junior.pdf: 44268628 bytes, checksum: b031b731607b44e9cc8983d71ddcacea (MD5) Previous issue date: 2018-06-28 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Fundação São Paulo - FUNDASP / The current research intends to investigate Vince Gilligan’s creation paths during the development of the character Walter White in the series Breaking Bad. A serial work created for the television is an open work, in constant evolution and development and subject to drastic interventions in its narrative path. The author who draws upon an initial proposition to develop such path must consider possible incoherences throughout the story, which could occur due to external interferences and characteristics of the market. Such aspect is not found in the story and this fact instigates is to investigate the paths which were created by the author in order to establish a natural progression for the character, without losing, however, the identity and the coherence of the narrative. Our focus is on the analysis of episodes of the series, as well as interviews given by the author and specific publications on the backstage of the creation processes, aiming to understand the interactions between script creation procedures and choices regarding the audiovisual resources adopted by the author throughout the seasons. We also discuss the series as a genre in the audiovisual context under the perspective of coherence development throughout time. Our theoretical approach is based on the concepts of author from Machado (2011) and Bakhtin (2010) in relation to criticism of creation process and networks of creation (Salles, 2000; 2006; 2008; 2013; 2017) as well as the semiotic signs developed by Charles Peirce / Esta pesquisa pretende investigar os percursos de criação de Vince Gilligan na construção e desenvolvimento do personagem Walter White, na série Breaking Bad. Uma obra seriada feita para a televisão é uma obra aberta, em constante evolução e construção, e sujeita a intervenções drásticas em seu percurso narrativo. O autor que se vale de uma premissa inicial para a construção deste percurso deve atentar-se para a possibilidade de incoerências no decorrer da história, dado as interferências externas e características deste mercado, fato este que não encontramos no decorrer da narrativa da série e que nos instiga a investigar quais foram os percursos criados pelo autor para estabelecer a evolução natural do personagem, sem perder, porém, a identidade e coerência narrativa. O foco do estudo está na análise dos episódios da série, de entrevistas dadas pelo autor e por publicação especifica sobre os bastidores dos processos de criação da série com a intenção de entender as interações entre os procedimentos de construção de roteiros e as escolhas de recursos audiovisuais adotados pelo autor ao longo das temporadas, adotar a perspectiva de processo para discutir a série ao longo das temporadas e fazer uma reflexão sobre o gênero série no contexto do Audiovisual sob o ponto de vista da construção da coerência narrativa ao longo do tempo. Para tal, a fundamentação teórica apoiar-se-á nos conceitos de autor encontrados nos estudos feitos por Machado (2011) e Bakhtin (2010); em interação com os conceitos da crítica de processos e redes de Criação (SALLES, 2000; 2006; 2008; 2013; 2017); e com os conceitos sobre signos semióticos de Charles Peirce

Bibliography: leaves 453-490.

The media, through development communication and edutainment, plays a critical role in the transformation of societies. In line with this, this thesis discusses the extent to which commercially driven prosocial soap operas can provide a platform for public health messaging, in the context of the HIV/AIDS epidemic in South Africa, for antiretroviral treatment (ART) and for encouraging ART adherence to foster national development. Furthermore, this thesis examined the potential of celebrities as HIV/AIDS ambassadors and the potential of both fictional characters and ‘real-life’ celebrities to disseminate these health messages. Although the HIV/AIDS epidemic in South Africa is stabilising, this is not the time to relax the communication around the disease, particularly regarding adherence to ARVs, considering that South Africa has the largest ARV rollout in the world. The qualitative methodological approach taken for this thesis is a three-step approach examining the intended message, the text and the appropriated message by viewers. Firstly, a thematic content analysis of an episode of Isidingo, that illustrated Nandipha as HIV-positive and the side-effects that came with her ART adherence, and the 3Talk interview with Lesego Motsepe, where she announced that she was weaning herself off ART, was done in order to understand the intended health messaging in the soap opera and the health message disseminated by an HIV-positive actress with regards to ART. Thereafter interview responses by the production team as well as by HIV-positive viewers, using ARVs, were thematised. In addition media texts which provided commentary on the use of a celebrity as a HIV-positive role model were examined. In doing this, this thesis has offered up the meanings of how HIV-positive women taking ARVs and living in Makana experience and understand the media, particularly health messaging relating to ARVs. The findings of this study suggest that commercial soap operas are the perfect platform to address HIV/AIDS and that prosocial health messaging regarding ARV adherence is still necessary in this country. Soap operas have the potential to have an educational angle. Although, HIV-positive individuals serve as better role models as they are authentic; given human nature, fictional characters, such as Nandipha Matabane in Isidingo, may be more sustainable role models as their message can be scientifically-based and well-researched. Realistic characters serve as role models whose behaviour is to be emulated. Soap operas appeal to a wide audience and so storylines can be tailor-made according to the times and the needs in terms of health issues and messaging. Thus, soap operas are not a single platform but rather one which can be exploited to maximum advantage for public health messaging.

Hierdie proefskrif is 'n verkennende ondersoek na kykers se interpretasie van die seep-opera Egoli - Piek van Goud. Die basiese vertrekpunt van die studie is die teks-leserontmoeting waar gelyke status aan die boodskap ('n teks) en die ontvanger ('n kyker) gegee word. Uit so 'n ontmoeting ontstaan kykers se interpretasies. Die tweeledige ondersoek plaas die proefskrif binne die teoretiese en metodologiese raamwerk van resepsiestudie om die komplekse interaksie tussen 'n teks en die ontvanger te ondersoek. Die twee komponente word binne spesifieke historiese en kulturele kontekste geplaas, te wete die veranderende politieke en ideologiese klimaat in Suid-Afrika asook die sosio-kulturele en politieke kontekste van die deelnemers. Die deelnemers van hierdie studie is groepe bruin-, swart- en witvroue. Groeponderhoude (fokusgroepe) is met ses groepe vroue tydens hul etensuur by die werkplek gevoer. Die onderhoude is rondom die volgende temas gestruktureer: romanse, identifikasie, parasosiale interaksie, sosiale interaksie, intertekstualiteit en Egoli as 'n forum vir die uitbeelding van Suid-Afrikaanse werklikhede. Kykers se interpretasie van die temas is ontleed aan die hand van referensiele, onderhandelde en kritiese interpretasierame. Daar is gevind dat die verskillende kultuurgroepe in 'n groat mate dieselfde interpretasierame gebruik in hul interpretasie van die verskillende temas. Die opvallendste verskil tussen die groepe is die wyse waarop die deelnemers die tema Egoli as 'n forum vir die uitbeelding van die SuidAfrikaanse werklikhede vertolk: as gevolg van verskillende sosio-kulturele en politieke omstandighede in Suid-Afrika het die deelnemers waarskynlik interpretasierame ontwikkel wat aan daardie omstandighede gekoppel kan word. In die studie is aangetoon dat die hermeneutiek en resepsieteorie nuttige verklarings gee van die elemente in die seep-operateks wat kykersbetrokkenheid stimuleer en die proses van interpretasie. Die proses verloop soos volg: deelnemers het bepaalde verwagtings oor 'n program; hulle moet die uitgebeelde werklikheid(e) herken en die boodskappe dan toe-eien. Hierna word boodskappe 'n kultuur binnegedra deur middel van sosiale diskoers. Die teoretiese onderbou het voorts aan die lig gebring dat deelnemers se interaksie met en interpretasie van Egoli 'n vorm van spel is. Empiriese bewyse is gevind dat die deelnemers op speelse wyse • oor karakters 'skinder'; • spekuleer oor romantiese assosiasie; • met karakters identifiseer; en • parasosiale verhoudings met karakters aanknoop. / Text in Afrikaans / This thesis is an exploratory study of viewers' interpretation of the soap opera Egoli - Place of Gold. The basic point of departure is the text-viewer encounter where equal status is given to the message (text) and the recipient (viewer). Viewers' interpretations develop from this encounter. This dichotomous investigation places the thesis within the theoretical and methodological framework of reception study where the complex interaction between a text and the recipient is examined. The two components are placed within specific historical and cultural contexts, namely the changing political and ideological climate in South Africa, as well as the socio-cultural and political contexts of the participants. The groups participating in this study consisted of coloured, black and white women. Six group interviews (focus groups) were held with these women during their lunch-hour at the workplace. The interviews were structured around the following themes: romance, identification, parasocial interaction, social interaction,intertextuality and Egoli as a forum for the portrayal of South African realities. Viewers' interpretations of these themes were analysed according to referential, negotiated and critical interpretative frames. It was largely found that the various cultural groups use the same interpretative frames to interpret the various themes. The exception was the way participants interpreted Egoli as a forum for the portrayal of South African realities: because of different socio-cultural and political circumstances in South Africa the participants may have developed interpretation frames that could be linked to these circumstances. Hermeneutics and reception theory provide useful explanations of these elements in a soap opera text that stimulate viewers' involvement and the process of interpretation. This process proceeds as follows: participants have specific expectations regarding a programme; they must recognise the realities depicted and then appropriate the messages. Thereafter messages are incorporated into a culture by means of social discourse. A further important theoretical finding was that the participants' interaction with and interpretation of Egoli takes the form of play. It was empirically determined in this study that participants playfully • speculate about romantic association; • engage in gossip about characters; • identify with characters; and • develop parasocial relationships with characters. / Summaries in English and Afrikaans / Communication Science / D. Litt. et Phil. (Communication Science)

nÃo hà / A prÃtica drag queen diz respeito a um processo de adequaÃÃo que desloca a aparÃncia corriqueira de uma pessoa para uma outra que pode transitar entre gÃneros (masculino, feminino, polimorfo, diversos) e espÃcies (humano e animal, como à o caso de drags que se apresentam como animais e atà alienÃgenas). O presente trabalho tem por objetivo observar e participar dessa prÃtica na cidade de Fortaleza â CE com intuito de absorver seus processos de criaÃÃo, adaptaÃÃo, montagem e desmontagem. Entender as mutaÃÃes as quais essa prÃtica està sujeita, as influÃncias externas e a capacidade de adaptaÃÃo das drag queens estudadas. Usar lentes analÃticas que possibilitem enxergar as prÃticas atravÃs de uma epistemologia da performance que leve em consideraÃÃo a decolonizaÃÃo do pensamento e a apreensÃo crÃtica da tradiÃÃo cientÃfica europeia. O estudo se configura por meio de uma experiÃncia etnogrÃfica embasada no exercÃcio da descriÃÃo densa e de entrevistas pontuais. Os registros foram feitos mediante diÃrio de campo, fotografias, vÃdeos e gravador de voz. Concluiu-se que a prÃtica drag queen na cidade de Fortaleza â CE passou e passa por mudanÃas constantes no que diz respeito à tradiÃÃo e ao surgimento de novas formas de fazer drag. Formas essas impactadas pelo reality show americano RuPaulâs Drag Race e sua tendÃncia de transformaÃÃo da drag queen em um produto passÃvel de ser comercializado mundialmente atravÃs da TV. Observou-se ainda que, ademais da forte influÃncia trazida por esse reality show, o contexto local tem se mostrado resistente Ãs tentativas de suplantaÃÃo da tradiÃÃo, tendo como elementos de resistÃncia o bate- cabelo e o dialeto yorubà que se contrapÃem à forÃa histÃrica de opressÃo conhecida como colonizaÃÃo.