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Marx, Hannelie. "Narrative and soap opera a study of selected South African soap operas /." Diss., Connect to this title online, 2007. http://upetd.up.ac.za/thesis/available/etd-05192008-162153/.
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Brown, L. R. "Woman and telenovelas (soap operas) in northeast Brazil." Thesis, University of Cambridge, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.597019.
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In this dissertation I look at the consumption of one of the most popular forms of entertainment in Latin America: the <i>telenovela. </i>My research is based in Brazil, which has the most successful and most profitable <i>telenovela</i> industry in Latin America. Current research into <i>telenovelas </i>has reached an impasse. It either posits the <i>telenovela </i>as an ideological tool to brainwash the masses, or as a symbolic site at which 'culturally competent' agents negotiate with the text and are involved in the construction of meaning and culture. I argue that this impasse is the result of dependence either on textual analysis or on interviews rather than immersion into a particular context. In order to overcome this, I adopt the technique of ethnographic immersion into the lives of viewers in a particular environment. Moreover, I focus on viewers who have been neglected in the scant account of in-depth work into <i>telenovelas</i>: unemployed women living in low-income neighbourhoods in one of the poorest regions of Brazil, the Northeast. I begin the dissertation with an in-depth description of the women's lives, and I show how the <i>telenovelas </i>are an important form of sociability and pleasure in these lives. Strikingly, the women say that the world of wealth and opportunity portrayed in the <i>telenovelas</i> is like real life. What they find so pleasurable about the programmes is the suffering that the female protagonists have to endure. I investigate this in terms of the Christian glorification of suffering, which I argue is apparent in the women's real lives and in the <i>telenovelas. </i>I connect this cult of suffering to a system of valuation in which women are treated not as whole people but as body parts for others. I then illustrate how the majority of women mobile the <i>telenovelas </i>to overcome this fragmenting system. However, given their conditions of existence this is achieved only at the level of imagination or fantasy. My analysis reveals the gendered ideas and practices that connect the women's real lives to the <i>telenovelas. </i>It also demonstrates how the women use their creative powers to affirm a social world in which they are oppressed.
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Humberstone, Nicola. "Older people, sexualities and soap operas : representations of lesbian, gay, bisexual sexualities and transgender identity in television soap operas, and older audiences' responses." Thesis, Middlesex University, 2010. http://eprints.mdx.ac.uk/6517/.
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The thesis investigates the responses of older audiences to representations of lesbian, gay, and bisexual sexualities and transgender identities in British prime time television soap operas between1986 and 2002. It combines cultural research, in relation to theories of soap opera and audience engagement and social research into the responses and views of older audiences to such representations and the life experiences of the participants which inform their views. The thesis recognises that the voices of older people are underrepresented in socio-cultural research, especially when investigating sexuality. Soap opera constitutes a genre which functions as a vehicle for social issues, including sexualities. Soap operas draw large audiences across generations and gender; they have high profile publicity and intertextual material to engage viewers' interests, and broadly accessible scheduling. They therefore provide an accessible means of engagement with these issues with older people. Chapter 1 outlines the social context of the research and reviews selected discourses and research, noting that much recent research is directed to issues of care and therefore tends to address the needs and preferences of older people rather than their active engagement with, and potential contribution, to popular culture and issues of sexualities and gender identity. Chapter 2 identifies and evaluates cultural theories and issues around textual analysis. The relevance and validity of these general themes are examined in Chapter 3 by means of 'close readings' of two selected episodes with relevant narratives and representations through textual analysis and in relation to everyday social interaction. Chapter 4 addresses the epistemological issues involved in combining cultural research into the meanings and significance of these representations and narratives with social research into the meanings, associations and value derived from them by older audiences. The methodological framework for social research and the qualitative research methods are discussed and evaluated. The research focuses upon five groups of older people, two from an Inner London Drop- in Centre and an Outer London Day Centre and three from Campaign groups who identify as members of a London based Older Lesbian Group, Older Gay Men's Group and Male to Female Transgender Group. More self-conscious readings of the narratives and representations could be expected from groups with a campaigning history or trans-gender identity than the other two groups. Differences and commonalities between and within groups are noted and analysed in Chapter 5 and the analysis of the data is structured by the theories and themes identified and demonstrated in Chapters 2 and 3. The thesis supports and develops recent research which recognises that older people are diverse and demonstrate strong opinions. It also shows that as television audiences and in conversation older people actively engage with issues of non-normative sexualities which are too frequently regarded as peripheral for older people, if not taboo. This could usefully be further investigated.
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De, Montigny Michelle C. (Michelle Chantal). "Pleasure, popularity and the soap opera." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56928.
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This thesis uses the concept of pleasure as it has been applied to cultural artefacts in order to give a description of various characteristics of the soap opera genre. The concept of pleasure is applied to soap opera narrative, characters, visual style and viewing attitudes. Three soap operas, The Young and the Restless, General Hospital, and Another World, are described in detail according to these various types of pleasures. The Young and the Restless is a soap that relies largely on visual pleasures and melodrama. General Hospital's strongest pleasures are related to its character development and use of humour. Another World, the most traditional of the three soaps, is best at stimulating the pleasures associated with talk. Through analysis of viewer commentary supplied by letters sent to Soap Opera Weekly and Soap Opera Update and Nielsen ratings, it can be concluded that the pleasures that most soap opera viewers seem to value the most are related to visual style, romance and a delicate balance between realistic characters and fantasy in narrative.
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La, Pastina Antonio Carmino. "The telenovela way of knowledge : an ethnographic reception study among rural viewers in Brazil /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Adams, Sarah Jane. "Hell Hath No Fury like a Scorned Soap Fan: A Case Study of Soap Opera Fan Activism." Thesis, North Dakota State University, 2012. https://hdl.handle.net/10365/26500.
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Soaps operas, or daytime serials, have long been a staple of American culture. In April 2011, ABC-Disney announced the cancellation of All My Children and One Life to Live. Cancellations propelled the fans of these programs to launch efforts to save not only the shows, but the genre. Through the use of social media, websites, and traditional off-line activities that included calling and letter-writing, fans strived to make their voices heard. The study examines the creation of an online community and discourse through a textual-analysis case study of blogs on two fan activist websites. Dahlberg?s criteria for presence in an online public space and Habermas? public sphere allows for the presentation of ideas within a group to encourage a sense of democracy in a grassroots effort to be heard against corporate interests. The case study will examine a fan website, Sudz.Tv, as a group organized in a virtual public space.
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Mark, Amanda. "Soap opera subculture : emotional realism and empathic identification." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56790.
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Popular feminine narratives, domestic, emotion-based texts through which communities of women have traditionally practiced feminine discourse, have been marginalised by dominant masculine cultures throughout their long history. This continues in the postmodern era, in which the culturally dominant postmodern aesthetic has declared the death of the social, narrative and affect, all intrinsic to the popular feminine narrative. Nevertheless, these narratives persevere in such forms as the daytime television soap opera. Using a reader-oriented model, American soap operas are discussed as a site for the generation of women's pleasure, and as a forum for the raising, sharing and addressing of problems which affect women's lives. Soap opera fan magazines further extend the already social soap opera experience, which celebrates emotion and empathy in a culture which often negates them.
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Páramo, Ricoy María Teresa. "Social identity, telenovelas and the reading process : ten case studies among Hispanic in Texas /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Madouvalou, Katerina. "Textualising tradition : the fear of the modern in two Greek soap operas." Thesis, Glasgow Caledonian University, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.443438.
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Al-Sayed, Rami. "Sex and Sexuality : a content analysis of soap operas on British television." Thesis, University of Leicester, 2011. http://hdl.handle.net/2381/9405.
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Over the last decade soap operas shown on British television have been constantly facing severe criticism from the public, politicians and the press for allegedly containing ‘too much sex’; and in the context of rising teenage pregnancies and the spread of STDs and HIV in the UK, concerns over the role of television’s sexual content in general, and that of soap operas’ in particular, in potentially influencing young people’s perception, attitudes and behviours are most accentuated. The overall objective of this study is to comprehensively identify and analyse, using the method of content analysis, the amount, frequency, type, nature and contexts of sexual activity portrayed across a four-week sample of British and Australian soap operas shown on the UK‘s five main terrestrial channels: the sample analysed include the three most popular British soap operas, Coronation Street (ITV), EastEnders (BBC One), and Emmerdale (ITV), the UK‘s soap operas most popular with teenagers, Hollyoaks (Channel 4) and its late night spin-off Hollyoaks in the City (Channel 4), and the two day-time Australian soap operas, Neighbours (BBC One) and Home and Away (Channel Five). The study also provides a comprehensive quantitative analysis of, first, some of the important thematic aspects and contextual elements of soap operas‘ portrayal of sex and sexuality, such as themes of sexual intercourse and other behaviours, accompanying behaviours and outcomes of sexual activity, and, second, the attributes and general profiles of all characters involved in sexual activity. Furthermore, the study aims to identify whether or not soap operas contain safe-sex messages and any references to sexual Risks and Responsibilities (R & R) and provide a detailed analysis of soap operas‘ treatment of the various aspects of safe-sex and sexual risks and responsibilities. The main findings in this current research clearly indicate that day-time and prime-time soap operas: (a) contain relatively moderate amounts of sexual portrayals, compared with post-watershed serialised drama programmes and general TV programming, (b) rarely portray overt and explicit intimate sexual behviours, (c) rely primarily on narrative devices in their portrayal of sex and sexuality, (d) place primary and substantial emphasis on sexual activity, and (e) dedicate substantial numbers of portrayals and storylines to highlight sexual risks and responsibilities and disseminate safe-sex messages. For instance, in some soap operas, Coronation Streets and EastEnders, around four out of every ten scenes with sexual content revolved around sexual Risks and Responsibilities.
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Qasmi, Hosai. "Representations of Gender Relations in Turkish Soap Operas and Afghan Audiences' Reception." Thesis, Université d'Ottawa / University of Ottawa, 2020. http://hdl.handle.net/10393/41594.
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Although efforts have been made by the Afghan government and its international partners to promote the tents of gender equality in Afghan society, biases against women and other marginalized groups persist in the society and media sector, particularly. The current study is a timely research because feminist media studies are an under-researched field in the context of Afghanistan. My research aims to be a contribution to this field and open a path for Afghan feminist media studies. The current study explores the representations of gender relations in transnational television soap operas broadcast on Afghan television stations, audiences’ decoding of the representations, and the role of the media in promoting social change. The selected soap operas for the study are Paiman and Qesay Maa, Turkish television soap operas dubbed in the Dari language. The current study is based on feminist theory and feminist methodology, providing a balance of content and reception analysis. Drawing on feminist media studies and focusing on media representations, the content analysis of transnational soap operas echoed previous studies on representations of gender relations and indicated that gender relations are often portrayed in stereotypical and traditional manners. The content analysis further demonstrated that women are objectified in different ways and are often represented as domestic, passive, selfless beings in men’s service. Moreover, relationships between women are often based on rivalry, hatred, and shaming and often without any particular reason. The study also found that contrary to women, men are often represented at outdoor and professional settings. Additionally, grounded on encoding/decoding model through a feminist lens, the thematic analysis of focus group discussions demonstrated that audiences constantly interact with media text and actively make meaning. Interestingly, FGD findings further indicated that as active viewers, both female and male participants, derive multiple and often diverse meanings from the media text. Although both female and male participants problematize the content of transnational soap operas, their interpretations of representations of gender relations and gender equality are dissimilar. The study concludes that transnational soap operas, and the media in general, can play an important role in promoting social change in Afghanistan, particularly gender parity through the Entertainment-Education strategy. However, an intersectional framework is essential in designing EE programmes for promoting gender equality in a diverse society like Afghanistan.
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Schachter, Tammy. "As her world turns : women and soap opera." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21264.
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Mass produced narratives that have been designed and targeted for predominantly female audiences have been marginalized by dominant culture. Throughout the history of art and English literature, women have been both objectified and misrepresented. All that has been deemed domestic, emotional and of the personal sphere has been declared valueless by patriarchy. The soap opera genre reverses this negative valorization. It is one that perpetuates the feminine tradition of creating communities through words---talk, gossip, testimony. In this work, the American soap opera is discussed as a venue for the exploration of issues that concern women's lives, as a site for the generation of female pleasure, and as the mother of subcultural networks that inform a female community. While the narratives address women's concerns, the soap opera fan magazines and fan clubs celebrate a form that highlights orality, emotion and empathy in a culture that often depreciates them.
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Moodley, Prevan. "An exploration of the psychological significance of soap opera viewing." Thesis, Rhodes University, 1998. http://hdl.handle.net/10962/d1002532.
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In traditional research approaches, soap opera viewing has been studied quantitatively. Such studies ignore the subjectivities, the sociocultural contexts, and life contexts of individual viewers. To account for such shortcomings and to offer a qualitative research approach, an investigation was conducted into the engagement that viewers have with a particular soap opera, The bold and the beautiful. The collective case study research method was used. Three subjects were interviewed using in-depth phenomenological interviewing and the data obtained was subjected to.a hermeneutic method of investigation. This involved using a reading guide that extracted firstly, how pleasure is experienced in soap opera viewing, and secondly how the viewers' interpretations of the soap opera are linked to their everyday life contexts. Pleasure was found to be related to experiencing the soap opera world as real, the social context of the viewer, the openness of the text, selecting textual elements, identification and opening up the viewer's world. The viewers' interpretations were related to their life contexts in terms of the meanings that were constructed around emotions, identities, interpersonal relations and a cultural interface. Most notable for the South African context, is that viewing The bold and the beautiful provides a cultural interface because African identities are brought to this practice.
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Couldry, Nicholas Ian. "Sites of power, journeys of discovery : place and politics within the hierarchy of the media frame." Thesis, Goldsmiths College (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287883.
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Brown, Mary Ellen. "The colonization of prime time: Soaps and the question of pleasure." Thesis, Brown, Mary Ellen (1990) The colonization of prime time: Soaps and the question of pleasure. PhD thesis, Murdoch University, 1990. https://researchrepository.murdoch.edu.au/id/eprint/461/.
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The Colonization of Prime Time: Soaps and the Question of Pleasure analyzes the conversations of adult and teenage fans of Australian, British and American soap operas in order to understand how fans may deal with ideological constructions with in their fanship networks, particularly with dominant notions of femininity and the family. Like women's domestic labor which is invisible in economic statistics, soap opera audiences have been similarly invisible or marginalized and stigmatized in dominant discourse by virtue of the fact that they watch soap operas. These fans, however, exist as part of a secondary oral culture which exists among women. Soaps texts are highly influenced by the oral characteristics of this culture. In addition to clarifying the oral characteristics of soaps, I have theorized that when feminine subjects, in this case soap opera fans, understand their subordinate position with in a society and speak to each other with this type of knowledge, they are speaking what I have called feminine discourse.
The discursive position involved establishes boundaries for women's oral culture and legitimizes the experience of women as soap fans. In the marginalized discourse of soap opera fanship, part of the pleasure which fans experience in watching and talking about soaps is the affirmation of their subjectivity, even though their position in society is subordinate. Another aspect of pleasure in soap opera fanship is the mutual strengthening which comes from the power of talk outside of the control of dominant discourses. In addition, gossip among women has the potential for keeping women from being politically isolated, giving them space and time to talk with each other without the constraints imposed by dominant culture. While soaps knowledge marks the boundaries of this aspect of women's culture, laughter and irony seem to place these women in some ways outside of dominant discourse. Although feminine soap opera audiences are structured by the producers as consumers in and for the home and the patriarchal family, in these interviews they negotiate spaces for their own critical interpretations of patriarchical conventions.
The private discourse of soap opera audienceness in which these viewers of soap operas engage is further negotiated in this work with the public discourses about soap opera audiences which struggle to contain the meanings of femaleness within patriarchical culture. What I call the ideology of dependence works discursively on multiple levels to assure that women and girls conform to dominant notions of feminity in order to live comfortably in a world that is full of contradictions for women. Multiple cultural discourses reinforce the expected codes of behavior, but particular sites provide spaces where discursive containment leaks through narrative seams. This happens in soap opera texts and soap opera fanship networks partially because of the impossibility of fully containing orality. This dissertation examines both public and private, academic and less formal, written and oral discourses for evidence of discursive ruptures where meaning evades containment
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Brown, Mary Ellen. "The colonization of prime time : soaps and the question of pleasure /." Access via Murdoch University Digital Theses Project, 1990. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20061122.154001.
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Swarts, Elsonia. "Disability representation and portrayal in selected South African soap operas: a content analysis." Master's thesis, Faculty of Health Sciences, 2020. http://hdl.handle.net/11427/34006.
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The absence of or stereotypical portrayal of persons with disabilities in the mainstream media has negative and far-reaching consequences not only for an identity of disability but for how non-disabled persons relate to persons with disabilities. Conversely, positive media portrayal and representation has the potential to challenge stereotypes and spread counter-narratives on a wide scale. This study was motivated by a perceived dearth of research into the representation of persons with disabilities in soap operas, which has been studied minimally in South Africa. The goal of the study is to contribute towards an understanding of media representation of disability and its implications in South Africa, specifically through soap opera, by investigating how South African television soap operas represent and portray disability and disability issues daily to their viewers. Drawing on relevant disability identity theory, this study used a qualitative content case study analysis of portrayal and representation of disability in two South African local soap operas, namely 7de Laan and Generations: The Legacy. These soap operas are popular among South African television audiences. The soap opera content was interpreted using qualitative content analysis by exploring the implicit and explicit representation of disability in the soap opera scenes and episodes. Contrary to the historical representation of persons with disabilities, the data revealed that persons with actual disabilities were used in the soap operas as opposed to non-disabled persons acting as if they had a disability. This positively gives a voice to persons with disabilities. However, the scenes and episodes where these characters appear are minimal and short in duration, diminishing any positive intent envisioned by including these characters in the first place. In addition, the themes that emerged from the study indicate a positive representation of persons with disabilities as contributors to the economy through their participation in work and business. At the same time, the stereotypical portrayal of ‘super cripple' in the same scenes shows how the positive representation can be rendered futile with a negative one in the same episode or scene, highlighting the importance and necessity of engaging with media representations on how they may impact individuals with disabilities in a very diverse society like South Africa.
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Ngehndab, Delphine. "When cultures meet : a study of Bamenda market women's consumption of foreign soap operas." Thesis, Brunel University, 2016. http://bura.brunel.ac.uk/handle/2438/13117.
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Since the liberalisation of the audiovisual sector and the upsurge of private commercial televisions in Cameroon, there has been a frequent broadcast of foreign soap operas, known locally as “series”. Qualitative methods were employed to investigate the meanings some market women in Bamenda obtain from their consumption of foreign soap operas and to understand the reason behind the broadcast of foreign soap operas in Cameroon. The participants of the study reveal reading their favourite transnational texts in various ways, both as individuals and as a collective whole. In some instances, market women are seen to copy foreign practices, yet, the emulation of some foreign practices contribute to empowering these women both economically and emotionally. In other moments, some market women resist some of the meanings within imported foreign soap operas. The sharing and discussion of meanings obtained from foreign soap operas arguably work to neutralise the lingual, tribal, religious, educational, and marriage differences that exist among market women. This thesis combines political economy, and cultural studies approaches to capture these contradictory realities of cultural exchange.
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Hernández, Omar Danilo. "A case of global love telenovelas in transnational times /." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3037498.
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Martinger, Henric. "Terms of endearment in American Soap Operas : A corpus study of honey, sweetheart and darling." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-24299.
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This thesis investigates three terms of endearment in soap operas, namely honey, sweetheart and darling. The purpose is to determine how these terms are used and in what context. 200 tokens were taken from the Corpus of American Soap Operas which contains 10 different soaps. The results indicate that more women utilize terms of endearment overall in soap operas, both to men and to other females. However, women are also mostly addressed with these terms. Honey is used mostly woman-to-woman, sweetheart most man-to-woman and darling is used mostly by women addressing men. Furthermore, honey occurs most frequently and almost all terms are used in a positive way, but there were some few exceptions however. In general, a term of endearment is mostly utilized at the end of a sentence, and individuals who are addressed with honey, sweetheart or darling do not usually respond with a similar term in return. An analysis of the social relationships between the characters/speakers of terms of endearment was also conducted, and it indicated that romantic couples and mother-to-son were common constellations where these terms often occurred. Furthermore, no instances were found where men used terms of endearment to other men. Moreover, the portrayal of men and women in soaps are not that stereotypical that one may suspect, but there are still stereotypical characteristics to find. This paper also suggests that terms of endearment are more common in soap operas than in authentic speech. The conclusion is that the findings in this thesis are important but further and more comprehensive studies have to be conducted in order to establish that the results presented here are reliable and accurate.
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McEachern, Charmaine. "Down on the farm : soap opera, rural politics and Thatcherism." Title page, table of contents and synopsis only, 1990. http://web4.library.adelaide.edu.au/theses/09PH/09phm141.pdf.
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Bloom, Elliot Paul. "Women's perception of fashion comparing viewers and non-viewers of evening soap operas : the cultivation effect." Scholarly Commons, 1988. https://scholarlycommons.pacific.edu/uop_etds/2163.
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The cultivation effect is defined as the distorted view of reality which results from the heavy viewing exposure to a certain type of programming content. The assumption behind the cultivation hypothesis is that the more hours an individual exposes himself or herself to a particular type of program content. the more the individual's view of reality will be consistent with the "reality" shown in the program.
It is no mystery that for the past half-century, millions of Americans have made the broadcast soap opera a daily habit. In response to the heavy interest exhibited by this strong audience, social scientists have begun to systematically study this area of broadcast programming.
The purpose of this study is to investigate the relationship between women's perceptions of how other women dress based on their amount of viewing exposure to nighttime dramas. ln addition, this study will investigate the relationship between viewing exposure and the use of nighttime dramas for fashion information, and the importance of dressing like the characters in the nighttime dramas.
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Mårtensson, Vahlqvist Sabine. "Sociolinguistics of Swearing : A corpus-based investigation of male and female use of damn, darn, hell and heck in soap operas compared to real life." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-24093.
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This essay will investigate male and female usage of four swear words: hell, heck, damn and darn. A minor part of the essay focuses on comparing real life speech (by using the Longman Corpus of Spoken American English) with scripted language in soap operas (the SOAP corpus). The main part of the essay focuses on a detailed investigation of the four swear words in the SOAP corpus to see how they are used considering gender. Preliminary hypotheses were both correct and incorrect. Even though it was true that women use the milder forms of swearing in the company of men, men however use the harsher forms in the company of women. Moreover, heck seems to be a very neutral swear word used by men and women equally. Hell was most frequently used by men, and darn was very frequent among women. Overall, there was very little female to female swearing, and the category with the highest instances of usage of three of the four swear words was in fact male to female.
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Mushambatwa, Iñutu. "An investigation into the popularity of Latin soap operas among Zambian viewers: a reception study of Lusaka women." Thesis, Rhodes University, 2017. http://hdl.handle.net/10962/7702.
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This study explores the way Zambian women make sense of the representations and discourses in the Latin soaps that they watch daily. The study seeks to find out what pleasures and values Zambian women get from these soaps given that the Latin and Zambian cultures are very different. This is in the context of Zambia being a socially conservative patriarchal and Christian nation, where the legal and traditional practices focus on the authority of the man in relationships, particularly in marriages. The lens through which this study is conducted is provided by the media imperialism thesis and its critiques. The study explores the underlying proposition of the thesis that global media are uncritically received by people in the Third World which contributes to global cultural homogenisation. Drawing on ethnographic critiques of this position, my study provides a close examination of actual viewers in actual contexts in order to understand the complex relationships that often exist between global media and local audiences. Using qualitative methods rooted in reception analysis, the study explores the pleasures women get from these soap operas and in particular, the symbolic means that these soaps provide for what has been referred to as ‘symbolic distancing’. Symbolic distancing foregrounds the way local audiences use global media to distance themselves from the cultural confines of their local environments, exposing them to other worldviews and understandings from which they can critique their own lived conditions of existence. In line with this, the study evaluates whether the viewers’ perceptions and values have been changed by the viewing of these Latin soaps.
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Smith, Edward. "A discursive thematic analysis of audience response towards the portrayal of mental distress in United Kingdom soap operas." Thesis, University of East London, 2012. http://roar.uel.ac.uk/1859/.
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The potential for stigmatising public attitudes to have a negative impact on the wellbeing of individuals identified as experiencing mental distress has been widely documented. The contribution of the mass media towards public attitudes surrounding mental distress has attracted particular interest, particularly that of television portrayals. Research into the influence of the media towards public attitudes has focused on a ‘strong media’ model that assumes a direct influence of the content on viewer attitudes. Recent theory has suggested an ‘audience response’ model whereby audience attitudes towards the subject matter, genre and purpose of viewing can influence their understanding of the content; however this approach is under-represented in research. In the United Kingdom the soap opera genre in particular is positioned to have a potential role in influencing public attitudes towards mental distress, frequently depicting mental distress within a realist frame and being presented as having a public service function. This thesis aims to explore the ideas that viewers take from soap opera portrayals of mental distress within an audience response approach. Soap opera viewers were interviewed about the ideas of mental distress they developed from storylines they had watched, and these interviews were analysed using a discursive thematic analysis, taking into account their beliefs about mental distress, the soap opera genre and their viewing purposes. These constructions drew attention to the presentation of mental distress as socially undesirable and incomprehensible, the validation of mental distress storylines as socially responsible by programme makers and viewers, and the purpose of these storylines as cautionary tales against dissent from professional opinion. This research supports calls for greater diversity in television representations of mental distress; in particular a stronger representation of positive or heroic qualities in characters portrayed with mental distress, and a greater role for psycho-social explanations of their distress. This research also questions whether positive representations of mental distress are best served through explicit ‘anti-stigma’ campaigns.
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Deiner, Catherine Anne. ""Soap operas as a platform for disseminating health information regarding ART and the use of 'reel' versus 'real' role models"." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017783.
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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.
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Dentlinger, Lindsay. "The representation of "South Africanness" in the locally produced television production, Generations." Thesis, Rhodes University, 2000. http://hdl.handle.net/10962/d1002878.
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The aim of this study is to analyse selected episodes of the locally produced television programme Generations, in order to identify specific ways in which the programme seeks to forge a South African identity, and in so doing, 'flag' our nationhood as South Africans. These elements of 'South Africanness' are broadly defined as connections to a South African way of life, context, values and experiences. Generations is a programme produced under South African broadcasting local content provisions. These provisions arise out of the need, inter alia, to reflect the identity and multi-cultural nature of South Africa in order to foster 'national identity' and 'national culture'. These elements of 'South Africanness' are extracted through a genre and ideological analysis of selected sample episodes, taking into consideration the theoretical frameworks of the politics of representation and identity. The production context of, and representations made, in Generations, are found to be situated largely within the context of the South African discourses of the ‘rainbow nation', 'African renaissance' and 'black economic empowerment'. The analysis concludes that through the various categories of representations of 'South Africanness' in the selected episodes of Generations, specific instances of identity, that of national culture and national identity are formed.
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Pryor, EmmaLee Elizabeth Haight. "Making Friends to Last A Lifetime: An Ethnographic Study of Parasocial Relationships and Soap Opera Characters." BYU ScholarsArchive, 2002. https://scholarsarchive.byu.edu/etd/5055.
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The purpose of this study was to build theory about parasocial relationships and to examine what affect, if any, religion had on parasocial relationships. Using qualitative methods, the researcher watched the show three times with five women followed by an in-depth interview. The women chosen were LDS stay-at-home moms who had watched a soap opera for at least a year. From this data came several surprising findings about religion and soap opera viewing. The women said they did not feel guilty about the content of the shows, rather the time required to watch. This guilt was alleviated by structuring their daily tasks around watching the shows. Also, since the women viewed the show as entertainment, they were less likely to judge the actions of the characters as harshly as if it were real-life. Current life situation was also the biggest factor in whether or not a parasocial relationship existed and how strong that relationship is. This thesis illustrates the need for a comprehensive theory about parasocial relationships. As the media becomes more prominent in our lives, parasocial relationships will need to become understood in greater detail in order to understand what possible effect, if any, they could have.
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Nostramaitė, Milana. "Moteriškumo reprezentacijos lietuviškuose serialuose." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100615_154129-31027.
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Televizija yra viena iš socializacijos priemonių, kurią žiūrima tam, kad sužinoti svarbią informaciją arba norint gerai praleisti laiką. Be to, televizija suteikia ir savotišką pasitenkinimo jausmą, kai kiekvienas žiūrintysis turi galimybę tapatintis su vaizduojamų personažų herojais, kuriuose gali identifikuoti save. Per paskutinius metus, Lietuvoje išleidžiama po kelis lietuviškus serialus, kurie susilaukia teigiamo žiūrovų įvertinimo (TNS Gallup duomenimis serialas „Moterys meluoja geriau patenka į populiariausių laidų penketuką). Nenuostabu, kad žiūrovas renkasi lietuvišką muilo operos variantą, kuriame išvysta priimtinus kultūrinius modelius, artimus vyriškumo ir moteriškumo modelius su kuriais gali tapatintis ir atrasti dalelę savęs. Todėl šiame darbe siekta išanalizuoti ir pateikti moteriškumo reprezentacijų sampratų įvairovę serialuose „Emilija“ ir „Moterys meluoja geriau“.
Pirmojoje literatūros analizės dalyje aptariama feministinio moteriškumo samprata, išskiriami pagrindiniai radikaliojo, liberaliojo, socialistinio ir psichoanalitinio feminizmo autorių požiūriai. Antrojoje darbo dalyje išskiriama psichoanalizės įtaka feministiniuose tyrimuose, pristatoma vizualinio malonumo svarba kine, aptariami feministinio įgalinimo būdai žiniasklaidoje. Trečiojoje darbo dalyje pristatomos moterų reprezentacijų problematikos, pristatomi moterų ir muilo operų žiūrėjimo ypatumai, nagrinėjami moterų stereotipų vaidmuo žiniasklaidoje ir feministinėje literatūroje.
Tyrimo... [toliau žr. visą tekstą]<br>Television is one of the agent tools that are playing socialization role. People are watching TV in order to receive relevant information or to spend a leisure time. Therefore, television provides particular delectation; in the meantime, everyone has opportunity to identify themselves in pictorial characters. In the recent years, screens are showing several new Lithuanian soap operas, and it has congenial viewer’s assessment (TNS Gallup records that serial “Moterys meluoja geriau” is one of the popular watching program and rating between five best programs). No, wonder why people are choosing to watch Lithuanian soap operas versions, where they can find acceptable cultural models, familiar masculinity and femininity patterns in which they can identify an element of themselves. This research seeks to analyze and to propose diversions of women femininity concepts in the serials “Emilija” and “Moterys meluoja geriau”.
The first theoretical part of this work is discussing about feministic femininity concepts, excluding radical, liberal, socialistic and psychoanalytic essential scholarship approaches. The second part is about psychoanalytic viewpoint influence in feministic studies, including visual pleasure significance and feministic empowerment in the media. The third part of this research is representing women’s agency proposition, analyzes women and soap opera’s particularity and examines women’s stereotypes in the media and feministic theory.
The research results has... [to full text]
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DORNELES, ROGERIO DE ABREU. "THE DESIGN IN THE TELEVISION: ONE TO LOOK AT ON THE VIGNETTES OF OPENING OF THE SOAP OPERAS OF THE TV GLOBO." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=11172@1.
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Em sua origem, o termo vinheta designava representações
visuais de caráter
simbólico que ornamentavam as iluminuras. As vinhetas
ganham identidade
gráfica com o aparecimento da imprensa. A vinheta será uma
das primeiras
manifestações da programação visual - tendo sua origem nas
iluminuras. No
início do século XX, a linguagem cinematográfica
incorporou as vinhetas, tanto
como recurso para a abertura dos filmes quanto para os
cartazes que passavam
informações escritas entre as diferentes seqüências, no
cinema mudo. Originárias
das aberturas de filmes, as vinhetas de abertura da
teledramaturgia da TV Globo
apresentam uma linguagem específica, cujo teor estético
pode ser relevante.
Enquanto nos filmes o espectador vê as vinhetas de
abertura apenas uma vez, na
televisão as vinhetas são repetidas a cada programa ou a
cada capítulo da
telenovela, o que permite uma outra espécie de
envolvimento. O telespectador é
capaz de perceber melhor as vinhetas de abertura das
telenovelas dada a sua
repetição; poderá analisá-las e, então interpretá-las.
Nesse caso, o caráter estético
das vinhetas pode ser mais bem avaliado, uma vez que a
repetição propicia a
existência maior das imagens, liberta, portanto, da
imediaticidade do instante da
apresentação única do cinema. A cada repetição, o olhar do
telespectador encontra
novas possibilidades de associações, que lhe permitem
fazer inferências
significativas, bastante próximas às de um trabalho
interpretativo do espectador
diante de uma obra de arte. Após as primeiras vinhetas
criadas pelo videographics
(Departamento de criação e produção em Design da TV
Globo), o Brasil tem se
destacado mundialmente em termos de produção de vinhetas
televisuais.
Atualmente, o refinamento das técnicas permite efeitos
diversificados, com
movimentos rápidos, com a ilusão da tridimensionalidade,
com as metamorfoses
das imagens, grafismos, jogos cromáticos e sonoros - todos
eles, entretanto,
dependentes da supervisão e do envolvimento de um
designer, que acrescenta uma
dimensão poética aos efeitos programados pelo computador.<br>The term vignette, originally, assigned the visual representations that
decorated the iluminures and that they presented symbolic character. The
vignettes gains graphical identity with the appearance of the press. The vignette
goes to be one of the first manifestations of the visual programming, having its
origin in the iluminures, That shows that a style form is the consequence of other
already used previously art forms. Caming originary from the openings of the
movies, the TV Globo soup-opera opening vignettes present a specific language,
whose aesthetic text can be extremely relevant. In the beginning of century XX
the cinematographic language incorporated the vignettes, as much for the opening
of the films, how much for the posters that passed information written between
different sequences, in the dumb cinema. While in the films the spectator sees the
opening vignettes only one time, in the television the vignettes is repeated to each
program or each chapter of the soap-opera, what allows another kind of
envolvement. In this in case, some vignettes aesthetic characters can be better
evaluated, a time that appears a time of perception of its images. It shows,
therefore, a perception while duration - it frees, therefore, the instant immediate of
the unic cinema presentation. The look of the viewer finds, to each repetition, new
possibilities of associations that ahead allow significant inferences it sufficiently
next to the interpretation work of a work of art. After the first vignettes created by
videographics, (Department of creation and production in Design of the TV
Globo) Brazil if has detached world-wide in terms of production of vignette
televiews. Currently, the refinement of the techniques allows diversified effect,
with fast movements, the three-dimensional illusion, the metamorphoses of the
images, the design, the chromatic and sonorous games - all they, however,
dependents of the supervision and envolvement of designers, that adds it the
poetical dimension to the effect programmed for the computer.
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Oliveira, Fernanda Areias de. "Um novo olhar para a teledramaturgia: A Pedra do Reino: um diálogo televisivo por Luiz Fernando de Carvalho (12/06/07 a 16/06/07)." Universidade Presbiteriana Mackenzie, 2010. http://tede.mackenzie.br/jspui/handle/tede/2055.
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Previous issue date: 2010-02-11<br>Fundo Mackenzie de Pesquisa<br>The research casts a look on the academic question of soap operas language in the context of short series, specifically A Pedra do Reino (The Kingdom Stone), highlighting the state of the art of such a gender. For that purpose, researchers of the area of communication and media were our theoretical support dialoguing with think-ers associated with artistic languages. The monograph is supposed to call the atten-tion for a media product that was able to articulate the unconventional languages, such as drama, fantastic and non-linear narrative, with television environment. For that a dialogue involving the author of the novel, Ariano Suassuna, the director of the short series, Luiz Fernando Carvalho, and literature on television was structured. This work was developed to make clear the discourses of the novel's author and the director of the short series in order to explore the complexity contained in an unconventional product to the support in which it presents itself. In this context, anal-ysis of the short series A Pedra do Reino was explored as support for evidences of a possible link between soap operas and artistic languages.<br>A pesquisa aqui apresentada busca lançar um olhar acadêmico sobre a ques-tão da linguagem teledramatúrgica no contexto da minissérie, especificamente em A Pedra do Reino, destacando nela o vanguardismo presente no gênero. Para isso, utilizamos como suporte teórico pesquisadores ligados à área de comunicação e mí-dia em diálogo com pensadores associados a linguagens artísticas. O trabalho pre-tende chamar a atenção para um produto midiático que conseguiu articular lingua-gens pouco convencionais ao meio televisivo, como o teatro, o gênero fantástico e a narrativa não linear. Para isso, nesta dissertação se estruturou um diálogo entre o autor do romance, Ariano Suassuna, o diretor da minissérie, Luiz Fernando Carvalho, e a literatura sobre o ao gênero televisivo. Esta dissertação se desenvolveu no sentido de expor com clareza os dis-cursos do autor do romance e do diretor na minissérie, no sentido de explorar a complexidade contida em um produto pouco convencional ao suporte em que se a-presenta. Neste contexto, análise da minissérie A Pedra do Reino foi explorada co-mo suporte para comprovação de uma articulação possível entre teledramaturgia e linguagens artísticas.
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Hampton, Kathryn Elizabeth. "El Uso de la Propaganda Pol¿¿tica en las Telenovelas de Una Venezuela en Crisis." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1342408798.
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Moran, Kristin Clare Engstrand. "Mexican telenovelas and Latina teenagers' understanding of romantic relationships : a reception analysis /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/6200.
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Winter, Jenelle Gay. "Adolescents and Sex on the Soaps: A Content Analysis." PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5211.
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This study updates prior examinations of sexual content on daytime soap operas by investigating verbal references, implied sexual acts and mentions of sexually transmitted diseases. In addition, it extends earlier work by analyzing the commitment level and age of those involved in the sexual content. Finally, this study will attempt to obtain a clear picture of what adolescents perceive while viewing these shows. This was investigated by conducting adolescent and adult focus groups to see how they talk about soap operas. Also, comparisons were made of adult and adolescent coding of the sexual content on soap operas. All daytime soap operas were recorded twice per month for a six month period in 1995. From this sample, 36 hours of programming were coded for sexual content. For the adolescent and adult comparison studies, six adolescents and six adults from the Portland metropolitan area were selected to take part in focus groups and soap opera coding. Each of these subjects is a current soap opera viewer and all watched Days of Our Lives. The findings in this study do not support a social learning theory account, according to which the content of television programming provides a basis for undesirable effects. This study shows that soap operas provide both positive and negative depictions of sexual activity. It suggests that the age and/or background of the viewer has a more significant influence on what the viewer gets from the viewing experience.
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Silva, Gabriela Nascimento. "“Sugerimos o corte”: as censuras das telenovelas Dancin’ Days e Água Viva em tempos de Estado Autoritário (1978-1980)." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21672.
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Previous issue date: 2018-09-28<br>Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>The aim of the present dissertation is to analyses the censorship in two soap operas displayed by Rede Globo that reached high rating points, attracting the public with their relaxed scenarios and, in parallel, their dense dramas retracting family issues, moral values and upward mobility. Dancin’ Days and Água Viva were transmitted in the end of the Military Rule, in the years of 1978 and 1980, respectively. With a comparative approach, illustrating similarities and differences of censorships, the research intention is to identify and discuss agents that build the many social representations in the studied soap operas, inserted in a context of marketing expansion and, simultaneously, forced to attend to the highest pressions of the Government by preserving good moral. With the support of collected data – censured scripts, censors and network view and DVDs of the studied soap operas – the research, that has as it's main problematic the concern and interest of an authoritarian government about the soap operas, and the censorship through the narrative of Dancin' Days and Água Viva, will get the effort to clarify the symbolic contest of power on different moments from the government. In conclusion, the fundance of this work consists on the pertinence of understanding an era in which mostly is said about censorship and little's been researched about it. Therefore, it is of the utmost importance that further more studies are realized about soap operas, product that remains as a great influence on Brazilian people, studying the process of censorship and the use of soap operas as an instrument of repression of the Military Rule – even in the end of its command – hiding words, rallies, information’s and representations<br>A presente dissertação visa analisar a censura em duas telenovelas exibidas pela Rede Globo que alcançaram altos índices de audiência, atraíram o público pelos seus cenários de descontração, seus dramas pesados que cercavam sobre as questões familiares, valores morais e ascensão social. São elas: Dancin’ Days e Água Viva, transmitidas no final do Estado Autoritário, nos anos de 1978 e 1980, respectivamente. Por meio de uma abordagem comparativa, ilustrando as semelhanças e diferenças das censuras, à pesquisa tem como objetivo na identificação e no exame dos agentes que constroem as várias representações sociais das telenovelas em questão, inseridos em contexto de expansão mercadológica ao mesmo tempo das mais altas pressões do Estado pela preservação da moral e dos bons costumes. Com o auxílio documentação levantada – constituída de scripts censurados, pareces dos censores, pareceres das emissoras e DVDs das duas telenovelas estudadas em questão - a pesquisa que tem como problemática a preocupação e o interesse do governo autoritário quanto às telenovelas, e a atuação das censuras nas narrativas de Dancin’ Days e Água Viva, se esforçará em esclarecer a disputa simbólica de poder em momentos distintos dos governos. Por fim, a justificativa para este trabalho consiste na pertinência de compreender uma época que muito se falou sobre a censura e que pouco foi estudado sobre ela. Portanto é de suma importância que se manifestem mais estudos que levantem, principalmente em telenovelas, produto esse que se manifesta até hoje de grande influencia sobre a população brasileira, acerca do processo e utilização do instrumento de repressão do Estado Autoritário, mesmo que no final dele, que oculta palavras, manifestação, informação e representação
36
Livingstone, Sonia M. "Social knowledge and programme structure in representations of television characters." Thesis, University of Oxford, 1987. http://ora.ox.ac.uk/objects/uuid:2adf1878-f117-4c32-870c-9d0ec539bb11.
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It was argued that the social psychology of person perception, mass communications and cultural studies can be related to viewers' representations of television characters. Mass communications needs to incorporate viewers' interpretations and programme structure. Social cognition could satisfy the former need and cultural studies the latter. A literature review showed little research on viewers' interpretations of television programmes. There is a considerable body of research on person perception, gender stereotypes, the effects of viewing and programme structure. A study of viewers' accounts of viewing soap opera showed that they become involved with the characters and find the programmes realistic. Soap opera plays an important role in their lives. Viewers' representations of soap opera characters were examined using multidimensional scaling. This revealed stable, replicable character representations for Dallas, Coronation Street and EastEnders. The representations were compared with the oppositions which structure the programmes, Implicit Personality Theory and Gender Schema Theory. Dallas characters were represented by themes of morality and power/activity. Power was correlated with gender, with some counter-stereotypic females. Coronation Street characters were organised around morality/potency, gender (matriarchal) and approach to life. This related to person prototypes and contrasted with interaction patterns between characters. EastEnders characters were represented by themes of morality/power, gender and approach to life/centrality. Free descriptions validated the attribute ratings and showed further features of the representation. No socio-structural group differences in representation were found. Viewers' character representations were a constructive integration of programme structure and social knowledge. The application of abstract knowledge to a structured domain was discussed. Textual analysis of a narrative identified the 'role of the reader' and textual openness. This was related to stereotypes, narrative expectancies, myth and character representation. Distinct types of divergence in viewers' interpretations of narrative were discovered. Further, a narrative containing two readings was interpreted in four distinct ways by viewers, depending on their perceived relationships with characters. The conclusions and limitations of the research were discussed. Implications for person perception, stereotyping and textual analysis were examined. A taxonomy of factors relating to the interpretation and representation of television drama was presented.
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Cotte, Suzanne. "Léone Vigneault, ou, La construction d'un personnage téléromanesque." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq25540.pdf.
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Ferreira, Raquel Marques Carriço. "A experiência da audiência das telenovelas em Portugal: um modelo a partir da teoria fundamentada em dados." Doctoral thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2010. http://hdl.handle.net/10362/5105.
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This research is about the spectatorship of Brazilian and Portuguese soap
operas in Portugal. The Grounded Theory approach was employed to
derive a “SOAP OPERAS SPECTATORSHIP MODEL” firmly rooted in the
perspectives of 49 soap operas viewers. The resulting model reveals three
groups of motives for viewing soap operas: a) mood management, b)
habit, and c) social integration/ learning. Within the model, each
motivation group is associated with a particular strategy and level
of exposure to soap operas, as well as predominant choices about the
soap opera’s national or foreign origin. With regard to Portuguese soap
operas, particular attention is paid to the receptor´s social integration and
learning, the latter allowing him/her to use the contents in his/her
personal context: The receptor is being counseled in the taking of
decisions, given the opportunity to evaluate feelings and
behaviors, and to confirm or adjust attitudes, styles and behaviors. With
regard to Brazilian soap operas, the motive of mood management is
highlighted, though not excluding the other above mentioned groups of
motives. Establishing the relationships between the concepts
identified in the research, the study presents the viewers´ experiences
with soap operas in Portugal.<br>Assistir às telenovelas brasileiras/portuguesas em Portugal é o tema investigado neste trabalho. A abordagem da “teoria fundamentada em dados” foi empregada na investigação para prover um “MODELO DA AUDIÊNCIA DAS TELENOVELAS” firmemente enraizado na perspectiva de quarenta e nove receptores entrevistados. O modelo resultante revela três grupos de motivos para a audiência: a) Gerenciamento do humor, b) hábito e c) Aprendizagem/Integração social. Cada grupo de motivos no modelo se associa a particular estratégia e intensidade de exposição às telenovelas, como também se associa as escolhas preponderantes das telenovelas por sua origem, se nacional e/ou estrangeira. Em destaque para a seleção das telenovelas portuguesas é identificado o uso dos seus conteúdos para integração social e aprendizagem/aconselhamento, este último permitindo ao receptor verificar a validade de sentimentos e comportamentos, aconselhamento para tomada de decisões, reforço/ajuste de atitudes, estilos e condutas para incremento da credibilidade e posição pessoal. Em destaque para a seleção das telenovelas brasileiras é identificado os motivos de Gerenciamento de Humor, muito embora de forma não excludente às outras categorias de motivos mencionadas. Com o estabelecimento das relações entre os conceitos surgidos na pesquisa indutiva, o estudo representa as experiências dos receptores das telenovelas em Portugal.<br>Lisboa
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Santos, Julian Bruno Gonçalves. "Valores Morais: comparando telenovelas (décadas de 1980 e 2010)." Universidade Federal da Paraíba, 2014. http://tede.biblioteca.ufpb.br:8080/handle/tede/6986.
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Previous issue date: 2014-02-27<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>The aim of this study was to analyze a soap opera of 2010s, using the Lawrence Kohlberg s typology of moral values, and compare these results with a similar analysis done in three consecutive soap operas of the 1980s. Two studies were conducted: the first consists of the analysis of moral values conveyed by the soap opera Avenida Brasil (2012) and the second consists of a comparison of the results obtained in this analysis with those obtained in the analysis of the 1980s soap operas. The sample was composed of 90 chapters of the soap opera Avenida Brasil (2012) and the results of Camino e Cavalcanti (1998). For the analysis, three classifications were made: 1) according to Kohlberg's moral stages, 2) according to the intentions (Purpose) which issued the characters and the actions planned or undertaken to achieve this porpose (tactics) and 3) in accordance with the agreement, which is the appreciation, protection, acceptance and issuance of a certain moral reasoning, and the unconformity, which are transgressed behaviors and utterances that demonstrate a criticism, disagreement or rejection use of certain type of morality. The data were subjected to content analysis of Bardin (2010). The results of the first study showed that the most conveyed moral values by Avenida Brasil (2012) were those corresponding to stages 1 and 2; disagreements were related to higher stages - 4:05; purposes values were categorized in stages 1 and 2 and means values focused on actions that are committed against the other. The results of the second study showed that both the Avenida Brasil as soap operas of the 1980s, had higher frequencies related to lower stages - 1 , 2 - while the lower frequencies corresponded to higher stages - 3a, 3c , 4 5 [3] , 5 and 6. The soap opera Avenida Brasil (2012) showed a higher percentage values for stage 1 and stage 2, while the soap operas of the 1980s had a higher percentage of the values for stage 3a, 3c, 4, 5 and 5[3]. The agreement with stages 1, 2 and 3a was very high as soap opera Avenida Brasil as in the soap operas of 1980s. As for disagreements, the soap opera Avenida Brasil stands out in relation to the stages 3a and 4 and the soap operas of the 1980s in relation to stages 2, 3c, 5 [3] and 5. The soap opera Avenida Brasil had a higher percentage for purposes connected with the stage 1 and 3 conventional, while the soap operas of the 1980s have higher percentages of purposes related to stages 2, 3 affective, 4 and 5; Results showed that in the soap opera Avenida Brasil actions against others got higher percentage compared to soap operas of the 1980s. These, however, had more shares to the other and also more actions in defense of conventions or laws. It is believed that the social context in which the soap operas of the 1980s were created may have influenced the placement of more advanced moral content, since this was a period of social, political and economic openness. In the soap opera Avenida Brasil (2012), we find the author's intention in highlighting the theme of revenge, emphasizing the law into their own hands and this may be related to a public outcry for legality with emphasis on punishment and that this may have contributed to the propagation of lower moral values.<br>O objetivo do presente estudo foi analisar uma telenovela da década de 2010, a partir da tipologia Kohlberguiana, e comparar os resultados com os de uma análise semelhante feita em três telenovelas consecutivas da década de 1980. Foram realizados dois estudos: o primeiro consta da análise dos valores morais veiculados pela telenovela Avenida Brasil (2012), e o segundo consta de uma comparação dos resultados obtidos nesta análise com aqueles obtidos na análise das telenovelas da década de 1980. A amostra foi composta por 90 capítulos da telenovela Avenida Brasil (2012) e pelos resultados da pesquisa de Camino e Cavalcanti (1998). Para a análise, foram feitas três classificações: 1) de acordo com os estágios morais propostos por Kohlberg; 2) de acordo com as intenções (Fins) das personagens que as emitiram e com as ações planejadas ou realizadas para alcançar esses fins (Meios), e 3) de acordo com a Concordância, que é a valorização, a defesa, a aceitação e emissão de um certo raciocínio moral; e na Discordância, que são os comportamentos ou verbalizações de crítica, desacordo ou rejeição ao uso de determinado tipo de moral. Os dados referentes às verbalizações e comportamentos dos personagens foram submetidos à Análise de conteúdo de Bardin (2010). Os resultados do primeiro estudo mostraram que os valores morais mais veiculados pela telenovela Avenida Brasil foram aqueles correspondentes aos estágios 1 e 2; as discordâncias relacionaram-se aos estágios mais elevados 4 e 5; os valores fins foram categorizados nos estágios 1 e 2 e os valores meios se concentraram em ações que são cometidas contra o outro. Os resultados do segundo estudo mostraram que tanto a telenovela Avenida Brasil quanto as telenovelas da década de 1980, apresentaram frequências mais elevadas referentes aos estágios inferiores 1, 2 enquanto que as frequências mais baixas corresponderam aos estágios mais elevados 3a, 3c, 4, 5[3], 5 e 6. A telenovela Avenida Brasil (2012) apresentou uma maior porcentagem para os valores do estágio 1 e do estágio 2, enquanto as novelas da década de 1980 apresentaram uma maior porcentagem para os valores dos estágio 3a, 3c, 4, 5 e 5[3]. A concordância com os estágios 1, 2 e 3a foi muito elevada na novela Avenida Brasil e nas da década de 1980. Quanto às discordâncias, a telenovela Avenida Brasil se destaca em relação aos estágios 3a e 4 e as telenovelas da década de 1980 em relação aos estágios 2, 3c, 5[3] e 5. A telenovela Avenida Brasil apresentou maior porcentagem para os fins ligados ao estágio 1, e 3 convencional, enquanto as telenovelas de 1980 apresentam maiores porcentagens de fins ligados aos estágios 2, 3 afetivo, 4 e 5; Os resultados mostraram que na telenovela Avenida Brasil as ações contra o outro obtiveram maior porcentagem em comparação com as telenovelas da década de 1980. Estas, em contrapartida, apresentaram mais ações a favor do outro e também mais ações em defesa de convenções ou leis. Acredita-se que o contexto social no qual as telenovelas da década de 1980 foram criadas pode ter influenciado a veiculação de conteúdo moral mais avançado, uma vez que tratava-se de um período de abertura sociopolítica e econômica. Na telenovela Avenida Brasil (2012), percebe-se a intenção do autor em destacar o tema da vingança, dando ênfase à justiça com as próprias mãos e isso pode estar relacionado a um clamor social por legalidade com ênfase na punição e que isso pode ter contribuído para a veiculação de valores morais mais baixos.
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O'Shea, Catherine Mary. "Making meaning, making a home: students watching Generations." Thesis, Rhodes University, 2005. http://hdl.handle.net/10962/d1002934.
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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.
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Bhebhe-Mpofu, Adilaid. "An investigation into the popularity of Zimbabwe's first health communication soap opera, Studio 263 : a qualitative reception study of Bulawayo students aged between 15 and 20 years." Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1013310.
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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.<br>Adobe Acrobat Pro 11.0.0 Paper Capture Plug-in
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Filho, Paulo Negri. "Vinhetas de Abertura de Telenovelas Brasileiras: uma cartografia do horário nobre." Universidade do Vale do Rio dos Sinos, 2017. http://www.repositorio.jesuita.org.br/handle/UNISINOS/6642.
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Previous issue date: 2017-06-20<br>Nenhuma<br>No Brasil, não se pode imaginar uma telenovela sem uma vinheta de abertura, objeto de pesquisa deste trabalho. Como objetivo geral se busca analisar se e de que forma as características próprias das vinhetas de abertura de telenovelas podem ter seu percurso histórico apresentado de maneira gráfica. As perguntas norteadoras para a pesquisa são: Quais características constituintes das vinhetas de abertura de telenovelas podem ser destacadas? Como apresentar graficamente o percurso histórico das vinhetas de abertura de telenovelas, evidenciando o que é próprio dessas vinhetas? O primeiro elemento constituinte das vinhetas que foi percebido é o hibridismo, pela convergência de linguagem de outros meios, especialmente o cinema, recursos da publicidade e influência das séries televisivas, webséries e outros produtos audiovisuais da internet. Para alcançar o objetivo, foi realizado estudo exploratório, por meio da cartografia de Deleuze e Guattari, que exigiu outros procedimentos para que o objeto fosse construído, como bibliográfico e documental. A escolha pelas vinhetas para análise se deu tomando com base todas as telenovelas da Rede Globo (da década de 1965 a 2015), do horário nobre e com 200 ou mais capítulos, totalizando um corpus de análise com vinte e sete vinhetas. As características constituintes das vinhetas de abertura de telenovelas destacadas neste trabalho foram a trilha da sonora (instrumental, nacional ou internacional), formato da vinheta (bidimensional, mista ou tridimensional), os cortes ao longo da vinheta (curtos, longos ou plano-sequência), a técnica de produção (live-action, mista ou CGI), o elenco (protagonistas/antagonistas, outros atores
ou sem atores) e a saturação (monocromática, mista ou colorida), aqui denominados de elementos de composição audiovisuais. A construção desses elementos de composição das vinhetas foram fundamentais para que as vinhetas fossem transcritas e apresentadas de maneira gráfica.<br>In Brazil, one can not imagine a soap opera without an opening credit, the latter of which is the object of research of this work. As a general objective, the aim is to analyze if and how the characteristics of the soap opera's opening credits can be presented in a graphical way. The guiding questions for the research are: What constituent characteristics of the soap opera's opening credits can be highlighted, and how to graphically present the historic route of the soap opera's opening credits, highlighting what is characteristic of these credits? The first constituent element of the credits was hybridity, by the convergence of language from other media, especially cinema, advertising, and the influence of television series, webseries, and other audiovisual Internet products. To reach the objective, an exploratory study was carried out, through the cartography of Deleuze and Guattari, which required other procedures for the object to be constructed, such as bibliographical and documentary. The choice of the credits for analysis was based on all of Globo TV´s soap operas (from 1965 to 2015´s), prime time, and with 200 or more episodes, totaling a corpus of analysis with twenty-seven opening credits. The constituting characteristics of the soap opera´s opening credits highlighted in this work were the sonorous track (instrumental, national or international), credit format (two-dimensional, mixed or three-dimensional), cuts along the
credit (short, long or plane-sequence ), the technique of production (live-action, mixed or CGI), cast (protagonists/antagonists, other actors or without actors), and saturation (monochromatic, mixed or colored), here called audiovisual elements of composition. The construction of these elements of composition for the credits were fundamental for the transcription and presentation graphically.
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Souza, José Glaydson Pereira de. "Blogs de personagens de telenovelas: convergências entre o real e o ficcional." Universidade Federal da Paraíba, 2014. http://tede.biblioteca.ufpb.br:8080/handle/tede/7910.
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Previous issue date: 2014-08-27<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>The convergence culture has led to significant changes in the forms of production and consumption of fictional narratives. In this context, the blogs of characters emerge as one of the forms of narratives that lead transmídias the fictional TV content into cyberspace. Thus, it is important to analyze the configuration of this new communications ambience involving fictional narratives and not fictional, character and surfer, as well as the relationship that builds between them. Thus, this dissertation is to investigate general purpose, in the process of transmediação of soap operas for internet, similarities between the fictional and the real. We selected as the unit of analysis Blog Indra, the soap opera “Caminho das Índias” (Passage to Indias) (Rede Globo, 2009). The specific research objectives were: to analyze, from blog posts as they are constructed identity of the character and the identity profile of the public; identify the forms of sociality explored at the blog for the relationship characters/public and investigate how these forms of sociality promote convergences between presential and fictional world. The research, qualitative and interpretative nature, was conducted in two stages. At first, with reference to the concept of “Communication Contract” (CHARADEAU
2006, 2012), we did a descriptive and discursive approach to the blog, in which we demonstrate how the television narrative, blog, articulates the fictional and non-fictional. In the second step, we seek to understand the forms of sociality involved in the blo g, from the notions of presenteism (emphasis on everyday), ethics, aesthetics (sense of belonging) and tribalism (IDs). In this direction, we seek theoretical support in the comprehensive sociology of Michel Meffesoli (MAFESOLLI, 2007, 2010). The analysis of the posts in the first phase showed us that the identity of the character becomes Indra from discursive strategies that "simulate" the existence of a "blogger real world", being the identity profile of the Internet audience designed according to this perspective. The second step of the analysis showed that the identification of Internet users with the character extends to the "everyday" presented on the blog, thus indicating that the public creates links with the fictional: also sharing their stories, their feelings and affinities. Accordingly, we conclude that sociality is a majo r factor on the similarities between the fictional and the real of transmedia narratives.<br>A cultura da convergência vem provocando significativas transformações nas formas de produção e consumo de narrativas ficcionais. Nesse contexto, os blogs de personagens surgem como uma das formas de narrativas transmídias que levam o conteúdo ficcional da TV para o ciberespaço. Desse modo, faz-se relevante analisar como se configura essa nova ambiência comunicacional envolvendo narrativas ficcionais e não ficcionais, personagem e internauta, bem como a relação que se constrói entre ambos. Nesse sentido, esta dissertação tem como propósito geral investigar, no processo de transmediação das telenovelas para a internet, convergências entre o ficcional e o real. Para tanto, selecionamos como unidade de análise o Blog do Indra, da Telenovela Caminho das Índias (Rede Globo, 2009). Os objetivos específicos da pesquisa foram: analisar, a partir das postagens no blog, como são construídas a identidade do personagem e o perfil identitário do público; identificar as formas de socialidade deflagradas no blog para a relação personagens/público e investigar como essas formas de socialidade promovem convergências entre o mundo presencial e o ficcional. A pesquisa, de natureza qualitativa e interpretativa, foi realizada em duas etapas. Na primeira, tendo com referência o conceito de Contrato de Comunicação (CHARADEAU, 2006, 2012), fizemos uma abordagem descritiva e discursiva do blog, na qual demonstramos como a narrativa televisiva, no blog, articula o ficcional e o não ficcional. Na segunda etapa, buscamos compreender as formas de socialidade implicadas no blog, a partir das noções de presenteísmo (ênfase no cotidiano), ética da estética (sentimento de partilha) e tribalismo (identificações). Nessa direção, buscamos aporte teórico na sociologia compreensiva de Michel Maffesoli (MAFESOLLI, 2007, 2010). A análise das postagens na primeira fase nos mostrou que a identidade do personagem Indra se faz a partir de estrat égias discursivas que “simulam” a existência de um “blogueiro do mundo real”, sendo o perfil identitário do público internauta projetado em função desta perspectiva. A segunda etapa da análise demonstrou que a identificação dos internautas com o personagem se estende ao “cotidiano” apresentado no blog, indicando assim que o público cria vínculos com o ficcional: compartilhando, também, suas histórias, seus sentimentos e afinidades. Nesse sentido, concluímos que a socialidade é um fator preponderante nas convergências entre o ficcional e o real das narrativas transmidiáticas.
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Brunsdon, Charlotte Mary. "The feminist, the housewife and the soap opera : feminist television criticism and soap opera." Thesis, University of Birmingham, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.396230.
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Martins, Débora Souza Cruz. "A prostituição televisionada em "Gabriela" : tempo presente, história e política no audiovisual brasileiro de 1975." Pós-Graduação em História, 2014. https://ri.ufs.br/handle/riufs/5661.
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The present study describes and analyze how the |prostitution´s world| was presented to TV viewers through de first version of the soap opera |Gabriela|, displayed by RedeGlobo in the year of 1975. Beyond the audio-visual as the primary source, we used magazines and newspapers of that time ( magazine Amiga, magazine Contigo, magazine Veja and newspaper Folha de São Paulo) to comprehend a little of the repercussion of the teledramaturgy. We also aimed, through the speech and actions of the characters, understand and contextualize the time that |Gabriela| was produced and televised. To seize this, we analyze the intern language and the mechanisms presents in the soap opera, trying to understand the reasons of the adaptations and omissions occurred. We think that like any other type of historic documents, the audio-visual sources reveal a kind of reality, porting tensions and representations and are produced with internationalities. Therefore, the simple fact that |Gabriela| being inserted in a spectacle of entertainment, doesn t make it invalid as a historical discourse.<br>O presente estudo descreve e analisa como o mundo da prostituição foi apresentado ao telespectador através da primeira versão da telenovela Gabriela , exibida pela Rede Globo no ano de 1975. Além do audiovisual como principal fonte, utilizamos revistas e jornais de época (revista Amiga, revista Contigo, revista Veja e jornal Folha de São Paulo) para compreendermos um pouco sobre a repercussão da teledramaturgia. Buscamos também, por meio das falas e ações dos personagens, entender e contextualizar a época em que Gabriela foi produzida e televisionada. Para isso, analisamos a linguagem interna e os mecanismos presentes na telenovela, procurando compreender os motivos das adaptações e omissões recorrentes. Entendemos que assim como qualquer outro tipo de documento histórico, as fontes audiovisuais revelam uma dada realidade, são portadoras de tensões e representações e são produzidas com intencionalidades. Sendo assim, o simples fato de Gabriela ser inserida em um espetáculo de entretenimento, não faz com que a mesma seja invalidada como discurso histórico.
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Piqueira, Mauricio Tintori. "Representações das relações entre classes sociais em duas novelas brasileiras: Cheias de Charme e Avenida Brasil." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20513.
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Previous issue date: 2017-09-25<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>This doctoral thesis aims to analyze the ‘soap operas’ Cheias de Charme and Avenida Brasil, transmitted throughout Brazil in the year of 2012. It takes both of them from the point of view of the representations on the Brazilian sociability, in a context marked by increase of the income of part of working class – which supposedly elevated their status to the “new middle class”. This was due through social policies of assistance to the poor, to creation of formal job vacancies in industry, commerce and services, and to the recognition of labor rights guaranteed by legislation for precarious jobs during the Luiz Inácio Lula da Silva (2003-2010) and Dilma Rousseff (2011-2016)’s governments. From the audiovisual narratives of the two “telenovelas”, we conclude that the main Brazilian cultural industry company (TV Globo), transformed into a show the contradictions of a reality in which the “social inclusion by consumption” were insufficient to guarantee the basic rights of citizenship for groups historically relegated to poverty. This has boosted the reaction of the elites as to the alleged “lose of their privileges” that distinguish them from the exploited groups<br>Esta tese tem por objetivo analisar as telenovelas Cheias de Charme e Avenida Brasil, transmitidas para todo o Brasil no decorrer do ano de 2012, sob o ponto de vista das representações da sociabilidade brasileira, em um contexto marcado pelo aumento da renda de parte da classe trabalhadora – que supostamente ascenderam à condição de “nova classe média” – por meio das políticas sociais de assistência às camadas paupérrimas da população, à criação de vagas de emprego formal na indústria, comércio e serviços e ao reconhecimento dos direitos trabalhistas previstos pela legislação para os ofícios precarizados, efetivadas durante os governos de Luiz Inácio Lula da Silva (2003-2011) e Dilma Rousseff (2011-2016). A partir da narrativa audiovisual das duas telenovelas, concluímos que a principal empresa da indústria cultural brasileira transformou em “espetáculo” as contradições de uma realidade na qual a inclusão social via consumo foi insuficiente para garantir os direitos básicos de cidadania para as classes historicamente relegadas à carência, mas impulsionou a reação das classes privilegiadas quanto à suposta ameaça de perderem os “privilégios” que a distinguem das classes exploradas
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Ferreira, Raquel Marques Carriço. "A experiência da audiência das telenovelas em Portugal: um modelo a partir da teoria fundamentada em dados." Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2010. http://ri.ufs.br/jspui/handle/riufs/8710.
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This research is about the spectatorship of Brazilian and Portuguese soap
operas in Portugal. The Grounded Theory approach was employed to
derive a “SOAP OPERAS SPECTATORSHIP MODEL” firmly rooted in the
perspectives of 49 soap operas viewers. The resulting model reveals three
groups of motives for viewing soap operas: a) mood management, b)
habit, and c) social integration/ learning. Within the model, each
motivation group is associated with a particular strategy and level
of exposure to soap operas, as well as predominant choices about the
soap opera’s national or foreign origin. With regard to Portuguese soap
operas, particular attention is paid to the receptor´s social integration and
learning, the latter allowing him/her to use the contents in his/her
personal context: The receptor is being counseled in the taking of
decisions, given the opportunity to evaluate feelings and
behaviors, and to confirm or adjust attitudes, styles and behaviors. With
regard to Brazilian soap operas, the motive of mood management is
highlighted, though not excluding the other above mentioned groups of
motives. Establishing the relationships between the concepts
identified in the research, the study presents the viewers´ experiences
with soap operas in Portugal.<br>Assistir às telenovelas brasileiras/portuguesas em Portugal é o tema investigado neste trabalho. A abordagem da “teoria fundamentada em dados” foi empregada na investigação para prover um “MODELO DA AUDIÊNCIA DAS TELENOVELAS” firmemente enraizado na perspectiva de quarenta e nove receptores entrevistados. O modelo resultante revela três grupos de motivos para a audiência: a) Gerenciamento do humor, b) hábito e c) Aprendizagem/Integração social. Cada grupo de motivos no modelo se associa a particular estratégia e intensidade de exposição às telenovelas, como também se associa as escolhas preponderantes das telenovelas por sua origem, se nacional e/ou estrangeira. Em destaque para a seleção das telenovelas portuguesas é identificado o uso dos seus conteúdos para integração social e aprendizagem/aconselhamento, este último permitindo ao receptor verificar a validade de sentimentos e comportamentos, aconselhamento para tomada de decisões, reforço/ajuste de atitudes, estilos e condutas para incremento da credibilidade e posição pessoal. Em destaque para a seleção das telenovelas brasileiras é identificado os motivos de Gerenciamento de Humor, muito embora de forma não excludente às outras categorias de motivos mencionadas. Com o estabelecimento das relações entre os conceitos surgidos na pesquisa indutiva, o estudo representa as experiências dos receptores das telenovelas em Portugal.<br>Lisboa
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Jonker, Francois. "The men in our living room : masculinities and the struggle for a 'new' South African hegemony in 'Egoli: place of gold' 1994." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96873.
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Thesis (MA)--Stellenbosch University, 2015.<br>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.<br>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.
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Schachter, Tammy. "As her world turns, women and soap opera." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0026/MQ50571.pdf.
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Henderson, Lesley M. "Social issue story lines in British soap opera." Thesis, University of Glasgow, 2002. http://theses.gla.ac.uk/6541/.
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This thesis examines the factors which influenced how social issue story lines were developed in the areas of sexual violence, breast cancer and mental distress in British soap opera in the mid to late 1990's. The soap opera production process was examined by conducting interviews with members of production teams from different programmes. This core study was contextualised by additional interviews with production personnel working in other areas of television (e.g. documentary). Spokespeople from different organisations who consulted on story lines or lobbied around different issues were also interviewed. In total, 64 interviews were conducted. The influence of soap story lines on public understandings of an issue was explored in an audience reception study of sexual violence in Brookside (12 focus groups). The soap opera production study identified a number of factors which influence story line development (socio - cultural positioning of the substantive topic, broadcast hierarchy and commercial imperatives). The comparative study of mental distress identified some cross genre constraints (narrative pace, commercial imperatives) and some genre specific issues (access to people with mental health problems). The audience study revealed that people bring their social knowledge of an issue to their viewing experience. Research participants 'read' the meanings of Brookside's story line in remarkably uniform ways however some participants responded differently to certain elements of the story (rejecting empathy with the 'collusive' mother). The story line was demonstrated to have made a lasting impact on Brookside viewers (in relation to the conflicting emotions of the abused child). There were also identifiable links between the intentions of the production team, the nature of representation and audiences responses.