Dissertations / Theses on the topic 'TALK-SHOW -TV SHOW'

Thesis (Ph. D.)--University of California, San Diego, 2006.<br>Title from first page of PDF file (viewed June 27, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 347-379).

This paper examines the function of narrative discourse in television talk shows. Basing our analysis on five episodes of the Swedish talk show Skavlan, we illustrate how narratives are initiated and elaborated by the participants of the show. The analysis shows that the institutional roles are challanged and that the roles vary between the host ant the guests. The analysis also shows that when guests introduce and elaborate stories they use the same discursive actions and resources as the host. When participants enter an actvie role in their storytelling the hos takes a more restrained role in which he lets the the conversation evolve spontaneously. The analysis identifies yet another participant role which was not included in the studies of Ochs &amp; Taylor and Thornborrow. The role appears when the host uses indirect form of address to both the studio audience and the overhearing audience. This role is relevant in the study of broadcast talk because of the very nature of television.

Made available in DSpace on 2015-05-14T13:27:08Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1661235 bytes, checksum: 2cde177e82dc8371b38730579943c624 (MD5) Previous issue date: 2013-05-14<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>This work is based on a case study: a policial news TV program produced in João Pessoa. This show is well known for its shocking and violent images and its presenter is also a kind of local celebrity for his role. This TV show elaborates ideas of necessary truth‟ and justice‟ supposedly not guaranteed by the government. In this way, it intends to recreate media as a kind of public space where justice requests are solved. Based on a participant observation, the research aims to understand the news elaboration and, particularly, how the public connects with the presenter and his conceptions of justice.<br>Este trabalho está baseado no estudo de um programa de notícias policiais produzido na cidade de João Pessoa. Conhecido por apresentar imagens cruas e chocantes de crimes ocorridos na cidade, e tendo um apresentador que é uma 'celebridade' local, o programa estudado busca elaborar um sentido de "verdade" e "justiça" que, supostamente, seria negado ao público pelos poderes públicos. Nesse sentido, o programa é elaborado a partir da idéia de que o Correio Verdade‟ seria um espaço público de resolução de conflitos e do alcance da justiça. A partir de uma observação participante da produção do programa, buscou-se entender o processo de construção das notícias e, principalmente, como o público freqüentador se relaciona com a imagem do apresentador e suas idéias de justiça construindo uma experiência moral a partir do programa.

La pandemia di COVID-19 sarà senza dubbio ricordata come un evento spartiacque nella storia mondiale, che ha avuto un innegabile impatto su diversi aspetti della vita quotidiana e su diversi settori produttivi. Anche l'industria televisiva ha subito gli effetti della pandemia, e nel corso dei mesi si è dovuta più volte adattare alla situazione in costante sviluppo. Con questa tesi si intende analizzare l'impatto della pandemia di COVID-19 su questo settore, offrendo una panoramica delle difficoltà affrontate dalle diverse categorie di programmi durante l'emergenza sanitaria e le tipologie di soluzioni adottate. Nella prima parte si analizzeranno gli effetti immediati dell'interruzione delle attività lavorative e sociali e il confinamento in casa, quali i cambiamenti nei livelli di ascolti o nei numeri di abbonati a piattaforme streaming. Si rifletterà inoltre sulla centralità della televisione in questo periodo e sulle modalità con cui diversi programmi hanno continuato la produzione a distanza o sono stati creati da zero nell'ottica del distanziamento sociale. Nella seconda parte si analizzerà la graduale ripresa delle normali attività produttive e il modo in cui la realtà della pandemia è stata affrontata serie scripted, oltre alle misure di sicurezza adottate nella ripresa di programmi unscripted. Nella terza parte si prenderanno in considerazione i cambiamenti nella produzione, la distribuzione e il consumo che si sono verificati durante l'emergenza sanitaria e si tenterà di capire in base alle opinioni di studiosi e professionisti del settore quali tra questi saranno con buone probabilità permanenti e cosa questo potrebbe comportare a medio-lungo termine. Nell'ultima parte, infine, si prenderà in considerazione il caso specifico del talk show Che tempo che fa e si analizzeranno le modifiche da esso messe in atto durante i mesi di emergenza, tanto dal punto di vista produttivo quanto da quello dei contenuti.

This work deals with irony in popular television genre, entertaining talk show. The first partdefines the basic concepts which we work with (public communication, cooperative principle, politeness, irony). In the second part there is characterized the media dialogue, specifically talk show. The third part deals with particular public television's talk show - Všechnopárty. This thesis examines, on selected examples, how irony works in the show, how it manifests itself and how it is used by participants in talk show. The main finding is that irony in Všechnopárty is used as a communication game, mostly as a specific variant of irony called teasing (banter). It is a communication acting describable as pretended threatening of face of communication partner or of your own face, resp. communication which intentionally and transparently for the viewer violates Leech's courtesy maxima (most often tactfulness and modesty maxima).Teasing irony in Všechnopárty is used as a fun element increasing attractiveness of the show for spectators and participants of the talk show are usually knowingly involved in it. KEYWORDS communications, media dialogue, talk show, cooperative principle, politeness, irony, teasing

碩士<br>世新大學<br>公共關係暨廣告學研究所(含碩專班)<br>94<br>The noun “product placement” had appeared since the 30’s. Not until the past decade, however, the researchers had started to study the effect of product placement. Nowadays in Taiwan, we can see more and more product placement strategy to be used as a part of the marketing plan; for example, we can easily find the mineral water drink which produced by Heysong, had been used widely in a very popular Taiwanese trendy drama “My secret garden II”. And through the planned dialogue in the drama, like “Give me a bottle of Fin”、”Drink Fin wouldn’t bring you edema, even in the evening”, the messages about the product had been delivered to the audience successfully. In the past, the Environmental Protection Administration use the concept of product placement to embed government policies; such as “Non-smoking”、”Rubbish bag usage reduction”, in the TV programs in order to success their propaganda.. The studies of “product placement” were mainly focus on the audiences’ /consumers’ remembrance、recognition and attitude toward the products, but not on the effects of “product placement” in the TV show. This research is also dedicate to the analysis of consumers’ behavior, and to discover if the consumers would increase their consuming desires because of the exploitation of product placement strategy, which we can explain it another way of advertisement. Different from the product placement researches in the past that targeted on the movies or TV dramas series, this research is the first one to analyze the product placement in TV talk show, and which hopefully would be the advertisers’ product placement strategy references. This research adopts the qualitative research oriented methods, and the clips that excerpted from the TV programs of product placement are used to reveal the consumers’ subjective cognitions toward the product placement and the effects of their consuming behavior.

碩士<br>銘傳大學<br>傳播管理學系碩士班<br>100<br>People in Taiwan are more willing to participate in political affairs, and the society has been growing into a high-level democracy since the very first presidential election took place in 1996. As a result, the media industry has been undergoing a tremendous change. In the past, there were only three wireless TV channels; however, audiences now have choices up to literally hundreds of different channels. What’s more, political commentary program has become a very crucial method for television stations to make profits. Political commentary programs thus become a platform for Taiwanese audiences to have access to political affairs, or even form their point of view towards events besides newspapers and TV news. From previous researches, we learnt that the motivation, ranking number one, of audiences to watch the program is “gaining knowledge.” And many of audiences thought that having experts/professors to discuss and analyze political events on TV shows gives them more opportunities to have more information and to understand whole situations better. It is clear that political commentary program is no longer just a platform to discuss public and political affairs, it has become a method teaching people how to interpret public events. We hope this study can Defining the audiences that how to use Political commentary programs and their evaluation. We want to know Taiwan audiences how to employ the media implement. The study is search by Academia Sinica 「Taiwan Social Change Survey」, sampling Taiwan audiences that viewing behavior and Evaluation. The Anticipated result is that sex and age will be difference in viewing behavior. Educational Background also will effect audiences’ Evaluation.

碩士<br>國立中山大學<br>傳播管理研究所<br>96<br>In recent years, the Taiwan’s TV talk shows about the political topic have a bias in favour of party. In Taiwan, there are two property of party, one is called Blue property of party, the other is called Green property of party. In order to get more audience rating, theTV stations make the program by the means of antagonism. In this background, it becomes more important that audience how to response the genus of TV program. In order to investigate the phenomenon, we use two main directions. One way is stimulus response, it assumes the audience is influnced by TV progarm. In this way, we apply the broaden-and-build theory of positive emotion. The other way is audience’s subjectivity, it assumes that audience can reflex what TV program want to talk to them. In this way, we apply the political philosopher-Hannah Arendt’s doctrine. We found that audience’s emotion be influenced by TV talk show, and no matter what party identification they belong to, most emotions are negative. But, when the TV talk show has a bias in favour of party which is the same with their party identification, they have moer higher positive emotion than which is no the same. And when the TV talk show has a bias in favour of party which is not the same with their party identification, they have moer higher positive emotion than which is no the same. But we can’t justify the the broaden-and-build theory of positive emotion. No mater what party indentification they are and no matter what TV talk show of property of party they watch, we can’t found obvious subjectivity of audience. It’s a crisis of public sphere.

碩士<br>世新大學<br>廣播電視電影學研究所(含碩專班)<br>102<br>In recent years on Taiwanese television one of the most popular styles of T.V. shows is the "talk show" format, which could encompass politics, news and current events, entertainment, economics and investments, marriage and social issues.All these shows invite experts, special guests and entertainers, then ask everyone to discuss a specific topic.This phenomenon can be seen on all major broadcasting channels, furthermore most shows try to use amateur with real life topics as this attracts a large audience.Some common themes are singing competitions, skits with imitations of famous stars, parenting skills.Therefore this research article will focus on the production of amateur in a talk show as the main topic. It is an undisputable fact that talk shows produced in Taiwan often provoke controversy, especially the content of what special guests say, the host&apos;s ability to appropriately handle the situation, from behind the scenes to recording and afterwards, there are many incidents of disputes.Once this kind of behavior is discovered by the general audiences it is seen as a corruption of the media.Being a working member of the media, is it possible to be untouched?Having been in charge of production topics, and intimately involved can one stand on the sidelines in silence?With hands on experience in the production of WTO Sister Show, from all aspects of filming, organization, and team members duty allocations, and also a wealth of experience with amateur taking part on the show.Making a step forward analysing the agenda setting and self-regulation, what is the media controls? This research shows that with the tight budget faced by T.V. stations, in an environment with pressure from competition making top quality shows with amateur being received well, will need to abide by the following 4 points: 1. Top quality, excellent employees, is the guiding principle for the best shows: the production department&apos;s organizational skills, will ensure high quality talk shows of a long broadcasting life. 2. Patience while communicating will keep the groups spirit high: guests come from many different countries, cultures and languages.The team members need to be prepared to face difficulties. 3. Recognize and acknowledge differences between people.The production department will set the topics according to a moral standard however the show host is at liberty to making changes during recordings. 4. Media is responsible for it&apos;s integrity as a premise.The production process should adhere to a standard, this way the media can be accountable for it&apos;s actions.

碩士<br>國立中山大學<br>傳播管理研究所<br>99<br>This interpretive study uses hermeneutic phenomenological methodology to understand the experience of six college students in Taiwan who participate in TV talk show as studio audience. Texts were collected from in-depth interviews. The result indicated a dramatic interaction framework toward the whole experience: participants as performers must ‘act’ like undergraduate students, though the show – from script, setting to personal front – must be ratified by producer. Furthermore, two transformative effects are found in participants. First, they were socialized in the studio through the performance, and learned more social-performing skills and scripts. Second, they are bothered by mixing up their drama-roles with social-roles. It was the producer’s purpose to represent ‘a world beneath’ of college students in University. However it became ‘a public trial’ on TV after excessive entertainment manipulation.

碩士<br>國立臺北科技大學<br>經營管理系<br>107<br>Digital cable TV becomes diversified nowadays. In order to discuss what kind of topics would be the most popular and attract more audience, the type of political talk show is one of TV programs. Thus, the program should choose the suitable attributes to its viewers and make them want to keep watching the program. The method of the study is binary logit regression model. To analysis discrete viewing data, we infer the variables which have influence on viewer decision through Bayesian Statistic. For overall, the issue variables and guest variables both have strong influence on viewing decision. It also confirms that the guests and issues attributes have impact on political talk show.

碩士<br>輔仁大學<br>大眾傳播學研究所<br>99<br>In 5/20/2009, there was a first confirmed case of H1N1 which was immigrant overseas in Taiwan. After Centers for Disease Control announced information of vaccine injections, citizens and news shifted the focus from whether the H1N1 vaccine is sufficient to the safety of H1N1 vaccine. Because more cases about having illness after inoculating H1N1 vaccine showed up, the debate about whether the H1N1 vaccine is safe became harder and harder, media even started to discuss the safety of H1N1 vaccine on TV shows. Due to the concern of safety of H1N1 vaccine, the percentage people injected H1N1 vaccine is low. The former Hygienic bureau chief Yaung C.L. said more than once in public that he was worried about H1N1 will infect more quickly and reach the peak because of the low percentage of H1N1 vaccine injection, he even pointed out some specific media and reporters which exaggerated the negative effect of H1N1 vaccine when he was questioning in the legislative Yuan of Republic of China. Therefore, this research choose two talk shows：「Da Hua Xin We」and「Yu Hua Hao Shuo」to analyze and make comparisons of different frame analysis on different talk shows. The study shows that「Da Hua Xin We」likes to use negative topic to describe「politicians and government administrative positions concurrently」and「government administrative officials not serve political party positions concurrently」.And the components of talk show visitors are always「journalists」or「scholars」.Instead, when the visitors of「Yu Hua Hao Shuo」discuss about the topic of H1N1 vaccine, they just specifically focus on the topic and always use the neutral terms to avoid misleading the audiences. Besides, the career of visitors in「Yu Hua Hao Shuo」change frequently according to their topic.

O conceito de infotainment é sobretudo utilizado na literatura para se referir ao que se crê ser a contaminação dos espaços noticiosos por conteúdos de entretenimento. No caso da televisão podemos, contudo, observar também o inverso, ou seja, que programas de entretenimento, como os talk shows, se têm focado em conteúdos informativos. Saúde, justiça, desemprego e outros temas sociais, preenchem, atualmente, grande parte da grelha dos programas daytime da televisão portuguesa, sobretudo quando são assuntos que se encontram na ordem do dia e que afetam diretamente o cidadão comum. Informar não acontece apenas nos noticiários ou em programas de debate, sendo algo visível em formatos televisivos classicamente associados ao entretenimento. Perante tal realidade, torna-se importante compreender a deslocação da informação para o entretenimento, apurando como se constroem os conteúdos de carácter informativo emitidos em programas cujo principal objectivo é entreter. Tal implica apurar a existência ou inexistência de regras orientadoras para a produção deste tipo de conteúdos, bem como a presença ou ausência de valores jornalísticos. Tendo então por base uma análise da produção de conteúdos de índole informativa emitidos no programa televisivo Você na TV!, o presente relatório verificou, de facto, a existência de método de trabalho. Este baseado em práticas classicamente associadas ao jornalismo e às quais são aglomeradas ferramentas próprias do entretenimento, falamos do recurso ao grafismo e do apelo à emoção, por exemplo. Todos estes componentes acabam por contribuir para a produção de conteúdos que informam a entreter e que entretêm a informar.<br>The concept of infotainment is mainly used in literature to refer to what is believed to be the contamination of news spaces by entertainment content. In the case of television, however, we can also observe the reverse, that is, entertainment programs, such as talk shows, have focused on informational content. Health, justice, unemployment and other social issues currently fill a large part of the daytime schedule of Portuguese television programs, especially when they are matters that are relevant nowadays and have a direct impact on citizens. Informing does not just happen in the news or in debate programs, it happens in television formats classically associated with entertainment as well. Faced with such reality, it is important to understand the presence of news content on entertainment shows, ascertaining how to construct informative content issued in programs whose main purpose is to entertain. This implies determining the existence or nonexistence of guidelines for the production of this type of content, as well as the presence or absence of journalistic values. Based on an analysis of the production of informative content broadcast on the TV show Você na TV!, this report verified the existence of a method of work which integrates news information in an entertainment based show. It was, therefore, concluded that several elements associated with news departments, as well as values and journalistic techniques, are used together with tools typical of entertainment, programmes such as the use of graphics and the appeal to emotion, for example. All these components end up contributing to the production of content that inform to entertain and entertain to inform.