En 1963, le mangaka Osamu Tezuka crée la première série d'animation télévisée de l'histoire. Pour y parvenir, l'équipe du studio Mushi production a tenté de procéder à la refonte des méthodes de fabrication traditionnelles du dessin animé, elles-mêmes tout juste entrevues à travers le modèle américain.Cette recherche consiste à analyser les expérimentations plastiques qui ont donné naissance à cette nouvelle forme d’animation, à en dégager le caractère innovant et à analyser les répercussions techniques, esthétiques et scénaristiques, à l’époque de l’avènement de l’animation à la télévision au Japon.La thèse soutient l'idée que l'oeuvre filmique d'Osamu Tezuka invite à balayer la traditionnelle opposition entre les approches expérimentales et industrielles en art.Même si les productions étudiées inaugurèrent une nouvelle tradition du flm d'animation, Tezuka est-il réellement l'artisan de cette systématisation ? Par quels mécanismes ses fictions se sont-elles imposées comme le symbole de l'essor de l'industrie du divertissement au Japon ? Peut-on y lire les tourments d'une civilisation en mal de valeurs politiques ? Cet aspect serait-il de nature à refondre également les contenus et les structures poétiques du dessin animé ? / In 1963, mangaka Osamu Tezuka created the first animated television series in history. To achieve it, the Mushi production team tried to recast traditional cartoon-making methods, poorly known through the American model.This research propose to explore the experiments which made this new form of animation, to detail its innovative aspect, and to analyse the technical and esthetical impact in the television boom period in Japan.The text argues that Osamu Tezuka's film work encourages us to sweep the traditional opposition between the experimental and industrial approaches. Indeed, Tezuka's work marks the beginning of a new tradition of animation. But is this artist really the architect of this systematization? How did his fictions become the symbol of the boom in the entertainment industry? Do they convey the torments of a civilization missing political values? Do they allow reconsidering the contents of the poetic structures of cartoons?Key-words: Osamu Tezuka, animation, Japanese animation, Japanimation, cel-animation, cartoons, television series, made-for-television animation, art and industry, manga, entertainment, entertainment industry.

nÃo hà / A cada ano/temporada sÃo produzidos diversos seriados televisivos com grande aceitaÃÃo por parte dos espectadores. Estas sÃries veiculam e legitimam, utilizando seu discurso imagÃtico-verbal, representaÃÃes, reforÃando papÃis sociais que podem ser orientados por certas ideologias. Essa construÃÃo e propagaÃÃo de representaÃÃes e ideologias acontece por meio de estruturas linguÃsticas e discursivas presentes no discurso midiÃtico e utiliza recursos simbÃlicos e materiais, levando ao questionamento sobre como ocorre a articulaÃÃo entre construÃÃo discursiva, cogniÃÃo e sociedade, de modo a inserir-se na cadeia discursiva, afetando-a. Baseados na observaÃÃo das transformaÃÃes midiÃticas e nos deslocamentos discursivos no que tange Ãs questÃes de gÃnero e, sobretudo, aos papÃis desempenhados pelas mulheres em nossa sociedade, levamos a cabo uma investigaÃÃo cuja temÃtica à o discurso imagÃtico-verbal do seriado televisivo e as representaÃÃes de gÃnero. Mais especificamente desenvolvemos um trabalho de anÃlise crÃtica do discurso imagÃtico-verbal do seriado televisivo brasileiro A Grande FamÃlia, exibido no perÃodo de 2001 a 2014, com foco no exame da dimensÃo ideolÃgico-discursiva das representaÃÃes sociais do gÃnero feminino. Para tanto, tomamos como base os Estudos CrÃticos do Discurso de van Dijk (2003; 2006; 2008) e seu conceito de Ideologia, os estudos das RepresentaÃÃes Sociais, de Denise Jodelet (2001), de Serge Moscovici (2009) e Doise (2001), bem como os estudos sobre imagem e anÃlise fÃlmica de Aumont (1993), Joly (2007) e Metz (2004), e os estudos de gÃnero de Scott (1995) e Buttler (2010). A partir destes autores traÃamos um construto teÃrico-metodolÃgico com o estabelecimento de categorias discursivas e sociais de modo a desenvolver um estudo analÃtico-interpretativista de abordagem qualitativa, confirmando a proposiÃÃo inicial da pesquisa de que o discurso imagÃtico-verbal do seriado televisivo A Grande FamÃlia constrÃi e partilha papÃis sociais, bem como representaÃÃes, sobretudo do gÃnero feminino, por meio da estereotipaÃÃo das personagens e pelo alinhamento de seus discursos com uma ideologia vigente nos contextos de produÃÃo e recepÃÃo da sÃrie.

This study focuses on all-male dialogues in the popular television series Supernatural. The purpose is to determine if and to what extent some linguistic features that are said to be characteristic of competitive talk among men occur in these dialogues. Do modern, scripted dialogues correspond to the impression given in the literature? Can the principal male characters‟ spoken interaction in Supernatural be considered competitive and thus stereotypically male?The material for this quantitative and qualitative study consists of the entire third season of the series, which comprises 16 episodes that were originally broadcast in 2007-2008. The quantitative analysis consists in counting the occurrences of the linguistic features investigated in the dialogues between two or all three of the main characters. The qualitative aspect was about identifying and interpreting the linguistic features in relation to the contexts in which they occur.The results show that the dialogues between the three main characters in Supernatural do contain some features said to be characteristic of competitive speech among men. While there are no occurrences of verbal sparring, the other phenomena investigated (questions, impersonal topics, monologues and playing the expert) are common. However, the results also show interesting aspects of these features that do not correspond with competitive speech style.

L’originalité de cette thèse, qui s’ancre en Sciences de l’Information et de la Communication (SIC), repose sur le croisement de plusieurs thématiques de recherche et qui pourraient sembler à priori distantes. Cette thèse se positionne sur un terrain précurseur puisque très peu d’études se sont intéressées précisément à l’influence d’une série télévisée à la fois sur l’attractivité touristique d’une région (Bryon-Portet, 2011 ; Mille, 2011 ; Mongin, 2008), et sur des facteurs sociologiques et économiques directement liés à sa diffusion télévisuelle ou cinématographiques. L’étude des effets de réception d’une série télévisée est appréhendée dans ce travail de recherche à la fois du point de vue de la sociologie de la télévision (Macé, 2001 ; 2009), de l’analyse structurelle des médias sociaux (Boyd, et Ellison, 2007 ; Cardon, 2008 ; Burke et al. 2011 ; Cavazza, 2015), de la psychologie sociale de la diaspora maghrébine (Ennaji, 2010 ; Mattelart, 2009) et du tourisme durable (Marcotte, Bourdeau, Doyon, 2006 ; Berriane et Abderghal, 2012) plaçant les acteurs locaux au cœur de l’activité touristique et culturelle dans un contexte d’empowerment (Scheyvens, 1999). Ce travail de recherche propose une approche sociale de ces différentes thématiques ayant pour vocation de nourrir la réflexion scientifique. Cette thèse a donc pour objectif d’étudier le phénomène du succès d’une série télévisée particulière ayant entraîné des comportements sociaux directement liés à cette production audiovisuelle et aux lieux de tournage transformés en destination touristique (Grenier, 2011). Ainsi, dans ce travail de recherche, les interdépendances, les comparaisons et les distinctions entre la télévision et Internet permettent d’appréhender la réception télévisuelle selon une perspective de continuum multi écrans (télévision, appareils mobiles, tablettes, ordinateurs…).Cette thèse analyse les effets de réception télévisuelle d’un feuilleton marocain Bnat Lalla Mennana. Diffusée en arabe dialectal marocain, sur la chaîne 2M (deuxième chaîne nationale marocaine) sur deux saisons, en 2012 et 2013, cette série télévisée a atteint une audience estimée à 5,8 millions de téléspectateurs en 2013. Illustrant ainsi son succès auprès des marocains et de la diaspora maghrébine à travers le monde, cette série télévisée est spécifique car son tournage a eu lieu dans une petite ville pittoresque, rurale et touristique du Nord du Maroc : Chefchaouen. Outre le lieu, la série télévisée, pourtant inspirée d’une pièce de théâtre espagnole de Garcia Lorca (La casa de Bernarda alba, 1936), reprend les us et coutumes traditionnalistes de cette région. La mise en scène folklorique des espaces réalistes de Chefchaouen contraste avec les productions audiovisuelles habituelles sur les chaînes maghrébines (lieu de tournage, dialecte, décor…). La mise en avant de la régionalisation dans un programme télévisuel de divertissement pose la question des rapports entre localismes et globalisation au prisme d’une réception transnationale. La télévision d’une part et Internet d’autre part, avec notamment les réseaux socionumériques (Stenger, Coutant et al, 2011) sont devenus des canaux multimodaux de diffusion et de réception de l’information culturelle. Marqués par l’instantanéité et la rapidité, les flux médiatiques sont désormais transnationaux (Appadurai, 2001 ; 1996). L’objet de ce travail de thèse est de caractériser l’influence des pratiques médiatiques des individus sur la perception des territoires, des imaginaires culturels et des trajectoires identitaires à travers des publics à caractéristiques variées. / At the heart of migration issues, we find concepts of trajectory and mobility in a particular relationship between globalization and localization (Appadurai 1996). These two interrelated processes lead to every movement’s form (human, material, immaterial, financial and cultural). In the 1990s, the term diaspora evolved (Mattelart, 2009) and it was based on the "cosmopolitan vision" (Beck, 2006) and the transnational process. Transnationalism is based on social exchanges across the borders that are possible thanks to Information-Communication-Technology (ICT). This paradigm of communication has allowed the beefing-up of the model of "migrant connected" (Diminescu, 2005). The identity of people from the diaspora is defined on "more than one nation-state" (Glick-Schiller et al., 1994).This thesis focuses first, on the questions of collective identity and media representations in the reception of the television. Widely, we treat sociological impacts, called in our research, externalities. The process of these symbolic representations can be compared to a mirror effect (Cefaï and Pasquier, 2003) between the televised world and reality. These informations’ flows contribute to the symbolic mediation through television and Internet. For the Maghreb Diaspora, the identity process is influenced by the host country and the origin country.Second, we treat the importance of the audiovisual productions in the identity’s construction of the Moroccan Diaspora (Malonga, 2008; Diminescu et al., 2010) and local population of the North Moroccan countryside. It highlights the role of Internet and the satellite channels or the digital broadcasting satellite (DBS) as a vehicle of the Maghreb Diasporas' culture in the world. The Social Network Systems (SNS) (Boyd and Ellison, 2007) offer large web-based services that allow individuals to share content between fans of television. The role of the diaspora in national programs (Nedelcu, 2010) is taken into consideration by the policies of origin countries, that are often developing countries. It is the case of Morocco, which integrates its diaspora population in strategic national area (Daghmi, 2011).This television reception study aims to understand the negative behavior of a specific public after the broadcast of a Moroccan television series Bnat Lalla Mennana, filmed in a rural and touristic locality in the North of Morocco, Chefchaouen. In this work, we present the results of a qualitative survey conducted toward the inhabitants of Chefchaouen.

Trabajo de investigación

Historically, women have been given significantly less space than men on the TV screen andtheir roles have often been secondary to men's. The woman's role has often been a passive supporting role alongside the man's main role that drives the action forward (Greene, 2010, ss.1066–1071). This distribution of gender representation aroused the interest to study a television series from the 2010s with three female lead roles. The choice fell on the American series Suits, which takes place in New York's legal profession, an industry that, according tostatistics, is dominated by the male gender (American Bar Association, 2019). In this essay, a qualitative film analysis is performed, focusing on the three female maincharacters in Suits. The study is based on theories of representation, gender and stereotypes and takes a feminist perspective. The study also delves into Laura Mulvey's psychoanalytic perspective which is used to analyze the female representation. The purpose is to create anawareness of how fiction produces gender and how it affects masculinity and femininity. The study examines how women in a male-dominated profession are portrayed on television and how their roles are consistent with, what according to the study's theories, are considered to be female coded. The material has been analyzed focusing on mise-en-scene, cinematography and editing. The analysis is presented in four different themes based on how the women are portrayed and each theme is exemplified by a number of scenes. The analysis shows that there is an imbalance between the male and female representation. The male characters are dominant and the female usually plays a passive and submissive role. / Historiskt sett har kvinnor fått betydligt mindre plats än män i tv-rutan och deras roller har ofta varit sekundära till männens. Kvinnans roll har ofta varit en passiv biroll bredvid mannens huvudroll som driver handlingen framåt (Greene, 2010, ss. 1066–1071). Denna fördelning av könens representation väckte intresset att studera en tv-serie från 2010-talet med tre kvinnliga huvudroller. Valet föll på den amerikanska serien Suits som utspelar sig i New Yorks advokatbransch, en bransch som enligt statistik domineras av det manliga könet (American Bar Association, 2019). I denna uppsats genomförs en kvalitativ filmanalys av Suits med fokus på de tre kvinnliga huvudkaraktärerna. Studien bygger på teorier om representation, genus, stereotyper och intar ett feministiskt perspektiv. Undersökningen fördjupar sig även i Laura Mulveys psykoanalytiska perspektiv som den kvinnliga framställningen analyserats utifrån. Syftet är att skapa en medvetenhet om hur fiktion framställer genus och hur det påverkar vår syn påmanlighet och kvinnlighet. I studien undersöks hur kvinnor i ett mansdominerat yrkeframställs på tv och hur deras roller stämmer överens med vad som enligt studiens teorier anses vara kvinnligt kodat. Materialet har analyserats med fokus på mise-en-scene, cinematografi och redigering. Analysen presenteras i fyra olika teman baserade på hur kvinnorna framställs och varje tema exemplifieras med ett antal scener. Analysen visar att det råder obalans mellan den manliga och kvinnliga representationen. De manliga karaktärerna är dominerande och de kvinnliga intar oftast en passiv och undergiven roll.

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[pt] O presente trabalho propõe uma análise sobre a publicidade a partir do seriado de televisão Mad Men (2007-2015). O estudo articula questões entre cultura e a publicidade, mais precisamente, a respeito das formas pelas quais a narrativa publicitária se apropria de certos valores culturais no processo de produção dos anúncios. Mad Men traça um amplo panorama das principais mudanças da profissão na década de 1960, sendo um excelente cenário para uma análise das mudanças internas às agências de publicidade. A investigação pretende compreender os acontecimentos históricos daquela época e seu reflexo nos principais anúncios criados pela agência da ficção e analisar as transformações profissionais aconteci-das nas agências de publicidade representadas em Mad Men. Dessa forma, a pesquisa evidencia a contribuição do seriado para construção de uma história da atividade publicitária, agindo como um possível legitimador da profissão. E, além disso, através das representações culturais identificadas nos anúncios, procura estudar como a atividade publicitária pode ser, entre outras coisas, um projeto de captação do imaginário coletivo. / [en] The present work proposes an analysis on advertising from the television series Mad Men (2007-2015). The study articulates issues between culture and advertising, more precisely, about the ways in which the publicity narrative appropriates certain cultural values in the process of production of ads. Mad Men draws a broad panorama of the main changes of the profession in the 1960, being an excellent scenario for an analysis of the internal changes to advertising agencies. The research aims to understand the historical events of that time and their reflections in the main ads created by the Agency of fiction and analyze the changes that happen in the professional advertising agencies represented in Mad Men. In this way, the research highlights the contribution of the show to build a history of advertising activity, acting as a legitimizer of the profession. And, in addition, through the cultural representations identified in ads, seeks to study how the advertising activity can be, among other things, a project to capture the collective imagination.

Main focus of my Master's Thesis is to conduct a research of mythological elements and themes that appear within the narrative structure of selected episodes of BBC television series Doctor Who, deriving from the initial hypothesis that such mythological patterns are still recurring and repeating even in the structure of stories produced by modern show-business industries, which renders their content intrinsically more attractive for any audience. We analyse selected episodes from both arks of the Doctor Who's story individually - the old one, which began in the sixties, and the new one, which is considered to be a reboot of the original series and aired in 2005. The originally intended educative element of the series and its sudden disappearance is also a part of our research. Main analysis of our paper consists of a semiotic analysis of the text of the television series utilizing the point of view of the critical reader that was introduced by Umberto Eco, and deriving from the definition of modern myth that appears in works of Roland Barthes, archaic myth, studied for example by Carl Lévi- Strauss, and Jungian archetypes.

The purpose of this study is to examine how television series can function as a resource for existential reflection in peoples’ lives and thus, be a tool in the creation of a personal view on life. Furthermore, the study aims to investigate how television series can answer existential matters such as life, death, conflicts and finding peace.   The study was based on a survey which was answered by 82 informants and contained 42 questions in which 38 out of these concerned television series explicitly. 25 questions were closed multiple choice questions and 13 were open ended qualitative questions in which the informants were given the opportunity to give examples of different television series and reflect on these. Furthermore, the analysis was based on the reception theory which states that we as viewers are not apathetic to what we see, but reflect on it, both consciously and subconsciously. The results were analyzed from a theoretical framework which categorized the answers into seven different ways a viewer can relate to television series. The dimensions were the following: the contemplative dimension, the problem-solving dimension, the utopian dimension, the senso-motoric dimension, the ethical dimension, the philosophical-existential dimension and the self-reflexive dimension.   The results show that television series do function as a resource for existential reflection in the informants’ lives and can also be a resource for the construction of the informants’ personal view on life. Additionally, the results show that television series, although not always as explicitly, illustrate and provide answers for existential matters.