Yizo Yizo, a South African drama series aired in 1999, received extraordinary positive and negative attention for its gritty depictions of township school life. The dissertation explores the relationship between the context, programme/text, the viewers/audiences, the content and the form of Yizo Yizo. Representations of violence and gender relations in Yizo Yizo are the primary concern of the dissertation. Contextual analysis is followed by an outline of the narrative needed to engage viewers' responses. This outline forms the basis for a discussion on representations of violence and gender relations, utilising textual and audience analysis to interrogate the nature of images. Concluding chapters connect issues of representation and reality, completing the critical circle introduced in the opening chapters through an analysis of the programme's title. Yizo Yizo is examined using a cultural studies approach, assessing "the relationship between texts -- representations that produce meanings--- and their contexts" (Tomaselli, 1989:38). The methodology employed to deconstruct representations of violence, gender relations and realism, follows recent work on 'facticity' and essentialism in African-American cultural production (Smith, 1992; Lubiano, 1997). In reference to depictions of violence and gender relations, the dissertation follows the established monographs of the British Broadcasting Standards Council (BSC), the Independent Broadcasting Authority (IBA) of the United Kingdom, and the Human Sciences Research Council (HSRC) of South Africa (Gunter, 1986, 1987; Gunter & Wober, 1988; Cumberbatch & Howitt, 1989; Glanz 1994, respectively). Utilising textual and reception analysis, the study found Yizo Yizo's use of violence is substantiated through its dramatic intent. However, the drama fell short of exposing the 'myths' of township high schools. Thus, the viewer is left with dominant depictions of evil as responsible for the state of disequilibrium, leaving little room for an interrogation of the 'real' issues at Supatselo High. The series also side steps the historical context that impacts the present conditions of township learning. Moreover, the portrayal of female characters in the series perpetuates dominant patriarchal ideology by regurgitation myths and stereotypes. Research also highlighted the problem of viewing Yizo Yizo in an educational framework. The substantial drop in audience ratings for the final episode, which focused on a school that established or restored the 'culture of learning and teaching', indicates the series fell short of its educative potential. The series does not truly interrogate the socio-economic and political context of education in South Africa. Instead, the 'crisis' in education is paralleled with issues of delinquency rather than socio-economic inequalities of an educational system with a history tainted by the legacy of apartheid. A further finding indicates that due to violent content, language and other issues, the SABC should have scheduled the programme after 9pm, during the watershed period. / Thesis (M.A.)-University of Natal, 2000.

À la fin des années ’90, les modes de consommation et de production qui caractérisent l’industrie télévisuelle subissent une transformation de taille. Parce qu’elle a su s’appuyer sur les nouveaux médias et explorer de nouveaux horizons, l’industrie télévisuelle a complètement changé de visage. Les programmes télévisés – autrefois linéaires et conçus pour un public indifférencié – ont considérablement changé, bouleversant de ce fait même les habitudes des téléspectateurs. L’émergence des nouvelles technologies et la sophistication de la demande ont contraint l’industrie à développer de nouveaux concepts, en misant de plus en plus sur des produits forts singuliers, complexes sur le plan narratif. Les meilleurs sitcoms sont aujourd’hui conçus comme des objets hybrides, influencés tout à la fois par les engouements et les phénomènes populaires, la télé-réalité et le documentaire. C’est le cas de la défunte série Arrested Development, encensée par la critique pour son originalité et son impertinence. L’exubérance histrionique, l’éclatement du récit, l’humour autoréférentiel et l’intertextualité ont fait la réputation de cette série culte, devenue très influente dans le monde des séries télévisées. Ces éléments remarquables – décriés par les premiers commentateurs qui les trouvaient perturbants – montrent que l’avènement de pratiques nouvelles au sein de l’univers télévisuel a radicalement transformé l’expérience du téléspectateur. / At the end of the 1990’s, the television industry experienced drastic changes to consumption and production practices. Through the exploitation of new media and exploration of new horizons, the industry has undergone a complete transformation. The nature of television programs, which were traditionally linear and designed for a general audience, has changed considerably too, deeply affecting the experience of the viewers. With the emergence of new technologies and the sophistication of public demand, the industry has to rely on brand new concepts, henceforth developing unique and complex narratives. Some of the best sitcoms are now designed as hybrid products, influenced by cultural fads, popular phenomena, reality shows and documentaries. Praised by viewers and critics for its unconventional format, the television show Arrested Development is characterized by its histrionic exuberance, non sequitur storytelling, self-referential lines and intertextuality that have become very influential in contemporary television. This television product contains unique features – considered by contemporary commentators as being somewhat disruptive and controversial – which show how the advent of new practices within the television industry has ultimately transformed the viewer’s entire experience. / Pour respecter les droits d'auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et archives de l'Université de Montréal.

Within the context of debates concerning the reception and interpretation of media texts by television audiences, this qualitative reception study explores how a sample of Bulawayo students negotiate meanings from Zimbabwe's first health communication soap opera, Studio 263. The study thus examines the reasons behind the popularity of this programme with this target audience. The findings of the study reveal that meaning making is a complex process that is dependent on a variety of factors which include, among others, the socio-cultural context of media consumption, gender, economic disposition and age. It particularly maintains that gender and lived realities influence the interpretation and negotiation of meanings in this particular study. / Adobe Acrobat Pro 11.0.0 Paper Capture Plug-in

The implications of globalisation in African societies raise an interesting debate and also pose a challenge to 21st century scholars of media/cultural tradition. While the media/cultural imperialism theory views global media as perpetuating cultural imperialism, revisionist theories of the media such as the audience reception theory argue against this, saying that media texts can be negotiated with. Both sides have always provided facts to argue their cases and the argument between them remains fluid. This study, which is a quantitative survey of some University of Fort Hare students’ perception of the role of global television in cultural homogenisation, has adopted the second phase of revisionism which is a counter to the audience reception theory, arguing that in the process of interaction with media texts, there may be transference of cultural values. This study used the media imperialism theory and the cultivation theory in exploring respondents’ perceptions of whether global television is perpetuating cultural imperialism and consequently cultural homogenisation among receiving cultures. The study adopted the quantitative methodology and a self-administered questionnaire structured according to the Likert Scale of measurement was used to gather data. Four cultural products of language, music, dress and religion were used as the measurable indicators to determine perceptions of global television consumption’s influence in cultural imperialism. The study used the case of University of Fort Hare students since they are a heterogeneous group and because there is not much research done concerning the influence of technological advancement, especially on the youth in remote areas such as Alice town where Fort Hare is situated. Although there were problems in the sampling process, most respondents did seem to perceive the notion that global television consumption does perpetuate cultural imperialism and that this is consequently leading to cultural homogenisation to a certain extent. According to the sampled group, the measure of the extent of homogenisation caused by global television consumption was 67.69%, falling behind by 27.31% from the anticipated standard of 95%. The difference between the anticipated standard and the realised standard was attributed to the dialectical debates emanating from the study findings which were also reiterated in the literature review. Importantly, the respondents indicated their preference for local media productions while at the same time agreeing that they were often unavailable, which leaves them without much choice but to watch those Western programmes that are readily available on both local media stations and on global television. To this end, most students denied that their own cultural values have deteriorated.

Made available in DSpace on 2016-06-02T20:02:49Z (GMT). No. of bitstreams: 1 3757.pdf: 5979711 bytes, checksum: 967d825ccdd183c8d872fbb4f672ce4e (MD5) Previous issue date: 2011-08-18 / This paper describes the development of a virtual learning environment for teaching functions, with viewers created using the GeoGebra, constituting one of the products developed in the Professional Masters Program of the University of São Carlos. It is available in Moodle of the Mathematics Department of UFSCar, was created in four topics, one for each learning situation provided in the student diary volume 3 of the third grade of High School of the Secretaria of Education of the State of São Paulo .Each topic consists of activities like lessons, quizzes, sending files and participation in specific forums. The lessons seek to lead the student to acquire the skills provided in the Student notebook. The questionnaires are used to strengthen and verify that learning. The purpose of sending files and participating in the forums is to provide a self-evaluation and development of students' writing skills The environment does not change the principles guiding the curriculum of the State of São Paulo, keeping the content and context of encouraging the development of personal skills, especially those related to reading and writing mathematics. It is expected that the application of the environment, the use of the viewers, the participation in the forums and execution of activities and exercises with the aid of technology, encourage, motivate and facilitate the teaching and learning of mathematics, leading each participant to resize their concepts and knowledge. The participation of undergraduated students in the activities of virtual learning environment seeks to provide grants to train a teacher who can act as mediator, facilitator and challenger of learning, ready to work with students to construct their knowledge through manipulation, exploitation, navigation and communication with the "objects" presented. / O presente trabalho relata a elaboração de um ambiente virtual de aprendizagem (AVA) para o ensino de Funções, com a utilização de visualizadores criados no GeoGebra, se constituindo em um dos produtos do Mestrado Profissional desenvolvido na Universidade Federal de São Carlos. Disponibilizado no Moodle do Departamento de Matemática da UFSCar, o AVA foi idealizado em 4 tópicos, um para cada situação de aprendizagem prevista no caderno do aluno volume 3 da 3a série do Ensino Médio, da Secretaria de Estado da Educação do Estado de São Paulo. Cada tópico é formado por atividades do tipo lições, questionários, envio de arquivos e a participação em fóruns específicos. As lições procuram levar o aluno a adquirir as habilidades previstas no Caderno do Aluno. Os questionários servem para reforço e verificação dessa aprendizagem. Já o envio de arquivos e a participação nos fóruns propiciam a auto-avaliação dos estudantes e o desenvolvimento das habilidades de escrita. O ambiente não altera os princípios norteadores do currículo do Estado de São Paulo, mantendo a contextualização dos conteúdos e favorecendo o desenvolvimento de competências pessoais, especialmente as relacionadas à leitura e a escrita matemática. Esperase que a aplicação do ambiente, a utilização dos visualizadores, a participação nos fóruns e a execução de atividades e exercícios com o auxílio da tecnologia incentive, motive e facilite o ensino e a aprendizagem da Matemática, levando cada participante a redimensionar seus conceitos e conhecimentos. A participação de alunos de Licenciatura nas atividades do AVA busca fornecer subsídios para formar um professor que possa atuar como mediador, facilitador e desafiador da aprendizagem, preparado para trabalhar com alunos que constroem o conhecimento por meio da manipulação, exploração, navegação e comunicação com os objetos apresentados.

Parce qu’ils sont les premiers à avoir réalisé un long métrage en images de synthèse, Toy Story, dont le succès artistique et populaire – qui ne se dément pas - a été le déclencheur d’un nouveau cycle de films d’animation, les studios d’animation Pixar occupent une place importante dans le paysage culturel actuel, et représentent une bonne opportunité d’étudier la manière dont les objets des industries culturelles sont créés et consommés. Au travers d’une étude du dessin animé américain, abordé du point de vue historique et esthétique, il s’agit tout d’abord de déterminer l’évolution du système de production et des techniques, qui sont en lien avec les évolutions stylistiques, pour comprendre dans quel système émergent puis s’établissent les films d’animation Pixar. Alors que la manière dont les films sont faits et dont ils sont vus a changé à la fin du XXe siècle, la trilogie Toy Story sera l’objet privilégié d’une étude des mutations du cinéma, et des usages qui en sont faits. Par le statut culturel élevé spécifique à Pixar, par l’ambiguïté textuelle qui les caractérisent et qui sont l’occasion d’interprétation très variées, ou grâce aux nouveaux modèles de féminité et de masculinité qu’ils proposent, les films d’animation tendent à devenir des films "comme les autres", laissant aux spectateurs la possibilité de les appréhender comme ils le veulent. / As the first studio to have created a CGI animated feature film, Toy Story, whose success initiated a new era in animation production, Pixar Animation Studios occupy a significant position in the actual cultural landscape, and present a great opportunity to study the ways in which objects from cultural industries are produced and consumed. By examining the animated cartoon, from historic and aesthetic perspectives, I intend to determine the evolution of the production system and of the technics, which are related to stylistic changes as well. This study will help us understand the studio system in which Pixar’s movies have taken place. While the ways films are made and seen changed at the end of the last century, Toy Story’s films are the privileged object for an analysis of the transformations of cinema and its uses. By Pixar’s high cultural status, by the textual ambiguity that characterized them or the new representations of masculinity and femininity that they share, animated feature films tend to become "ordinary films", letting viewers grasp them as they want.

Les séries télévisées policières américaines ont envahi les grilles de programmation des chaînes françaises et leur assurent les meilleures audiences. Les Experts, Les Experts : Miami, Les Experts : Manhattan, NCIS, NCIS : Los Angeles, Cold Case, Mentalist, FBI Portés Disparus, Bones, Dexter, Esprits Criminels, The Closer, la liste des séries policières américaines diffusées en prime time sur les six grandes chaînes nationales françaises est longue. Ce travail de thèse avait pour objectif de mieux comprendre la manière dont les téléspectateurs donnent sens à ces séries policières et les intègrent dans leur vie quotidienne en utilisant la notion d’interprétation comme fil conducteur du raisonnement. L’enquête repose sur trente-cinq entretiens individuels, sept entretiens de groupe et la distribution de deux questionnaires auprès d’une centaine de téléspectateurs qui affirmaient apprécier ou non les séries policières américaines. Ont ainsi été mis en lumière les éléments constitutifs des univers fictionnels de ces séries policières américaines qui permettent de créer une complicité durable avec les téléspectateurs interrogés. / French TV channels place a lot American cop shows on their schedule especially on prime time because these shows always bring them the best audience ratings. CSI, CSI : Miami, CSI : NY, NCIS, NCIS : Los Angeles, Cold Case, The Mentalist, Without a trace, Bones, Dexter, Criminal Minds, The Closer, the list of shows on the air is long. We would like to understand how viewers interpret all these TV shows and how they use them in their daily life. The notion of interpretation was the central point of our survey based on thirty five interviews, seven focus groups and two questionnaires delivered to hundreds of viewers who sometimes didn’t like watching American cop shows. We have discovered which elements of these shows are able to create a strong complicity with viewers.

This thesis explores the stereotypes of Texans portrayed in American entertainment media, and attempts to identify the reasons for both the existence, and persistence of these images. The study includes a brief history of Texas, and background information on the formulation of stereotypes. Cultivation theory is used to explain the process of stereotypes formed through television viewing. Content analysis of the responses from an on line survey involving 52 participants revealed that people outside the state of Texas have strong perceptions about Texans that are consistent with media representations. As the level of television viewership increased, so did the indelibility of the impressions. Those who watch more television were more likely to perceive the image of Texans as negative, and less likely to change their opinions of Texans after visiting the state.

En el presente trabajo de investigación se busca describir la experiencia cinematográfica en las salas de cine de Miraflores y Cercado de Lima, y en los años 80, 2000 y 2019. Los cortes de tiempo y de espacio responden a una intención por explorar, generacionalmente, la forma en cómo los espectadores viven las dinámicas individuales y colectivas que surgen por el peculiar espacio de las salas de cine. Se busca llegar al objetivo, teniendo en cuenta la escasez de investigaciones al respecto, al delinear los conceptos de la experiencia cinematográfica y el consumo del arte, para luego interactuar con los mismos espectadores en el recojo de sus experiencias vividas. / This research work seeks to describe the cinematic experience in the cinemas of Miraflores and Cercado de Lima, and in the 80s, 2000s, and 2019. The time and space delimitations respond to an intention to explore, generationally, how viewers live the individual and collective dynamics that arise from the peculiar space of the movie theaters. It seeks to reach the objective, considering the lack of research in this regard, by delineating the concepts of the cinematic experience and the art consumption and then interacting with the same viewers in the collection of their lived experiences. / Trabajo de investigación

We will discuss here the issue of manipulation in the digital era of photojournalism. At first we will describe the relation between photography and its referent inculding its ability to represent the reality. Depicting the contrast between analogue and digital photography we will point out the independent position of digital photography from its referent, which is creating better possibilities for manipulation and decreasing the credibility of photography. Then we will analyze the text The Dusk of Photojournalism? that is reflecting these perspective and offering the solution increasing the position of the relation between photography and its referent. By contrast we will analyze the text called Photojournalism is dead, long live photojournalism. Why digitization can increase the credibility of journalistic photography? which considers this perspective as obsolete and offers us the new perspective of the relation between photography and its viewers, that could increase the credibility of photography in photojournalism. According to these two major perspectives we will point out whether it is possible to consider this option of photography - viewers relation as a relevant alternative. Based on these conclusions we will point out the major point of credibility of journalistic photography and imply...