To see the other types of publications on this topic, follow the link: Television images.
Dissertations / Theses on the topic 'Television images'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Television images.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Someren, Nicolas van. "High quality de-interlacing of television images." Thesis, University of Cambridge, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339448.
Full text
2
Rieger, James L., and Sherri Gattis. "Draft Standard for Digital Transmission of Television Images." International Foundation for Telemetering, 1988. http://hdl.handle.net/10150/615074.
Full textAbstract:
International Telemetering Conference Proceedings / October 17-20, 1988 / Riviera Hotel, Las Vegas, NevadaThis paper describes the characteristics of the HORACE digital protocol intended for transmission of black-and-white standard television images and associated data through a digital channel and reconstruction of an NTSC standard television picture at the receiving end, using adaptive transmission to allow maximum picture quality at a selected data rate. Tradeoffs are discussed for transmission rates in the range from near DC to over 40 Mbits/second. The HORACE protocol will be a government test range standard to be issued by the Telecommunications Group [TCG] of the Range Commanders' Council as RCC Document 209.
3
Westwell, Guy. "History-in-images/images in history : American cultural memory and film representations of the Vietnam War." Thesis, University of Glasgow, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340278.
Full textAbstract:
This thesis charts points of convergence between the fields of historical studies and film studies that generate a line of inquiry which questions how the development and dissemination of film and television have significantly shaped historical conscIOusness. Taking this line of inquiry as a starting point, this thesis identifies the ways in which film (and television) representations have informed American cultural memory of the Vietnam War. The thesis describes how the reporting of the war in newspapers and on television results in the production of a number of vivid and powerful 'nodal images'; these images enable their viewers to locate themselves in relation to the larger event and offer guidance regarding how other representations produced in response to the war might be understood. The thesis goes on to explore how these images play a significant. role in secondary film and television representations, including Hollywood feature films, whereby the initial connotations of the image are recirculated, reenacted and re-scripted. The thesis also indicates how other film representation of the war - such as the film records produced by the American military for tactical and strategic purposes and amateur film produced by American military personnel- are side-lined by the dominance of these nodal images. This study closes by proposing a taxonomy of the key features of these film (and television) representations and profiles the ways in which these features determi~e American cultural memory of the war and mediate historical experience more generally. The conclusion arrived at is that the historical consciousness engendered by these representations encourages the meaning of the Vietnam War to be located in relation to individual phenomenological experience and that the priVileging of this experience above all others marginalises the wider frames of reference - politics, history, economics and so on - which might make that experience meaningful.
4
FIUZA, SILVIA REGINA DE ALMEIDA. "IMAGES OF FEMININE: THE CONSTRUCTION OF GENDERS ON BRAZILIAN TELEVISION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2010. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=16709@1.
Full textAbstract:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROEssa tese analisa as representações femininas na ficção seriada da Rede Globo, a partir dos seriados Malu Mulher e Mulher, e das minisséries Anos Dourados e Hilda Furacão. Ao considerar a televisão um veículo que se caracteriza pela velocidade, fragmentação e simultaneidade dos conteúdos, é possível encontrar nessas narrativas a presença de múltiplos ethos e identidades regidas por dois princípios antagônicos - um hierárquico e outro igualitário. Geradas por matrizes narrativas diversas que se mesclam como o melodrama, o realismo e o naturalismo, essas ficções híbridas constroem tipos ideais de gênero, em particular o feminino, que também são marcados pelo fracionamento e convivência de valores, visões de mundo e estilos de vida heterogêneos. Criam, ainda, uma sociabilidade entre indivíduos e coletividades separados do ponto de vista objetivo - idade, sexo, posição social, econômica e cultural - e subjetivo - biografias, códigos morais e comportamentais -, em um diálogo polifônico que envolve autor, personagens, diretor, produtor e público. Esse dialogismo leva a dois movimentos simultâneos e, aparentemente, opostos: a mimese, a identificação com os aspectos que são familiares; e a aspiração, o desejo de alcançar aquilo que está distante. Essa dupla faceta conduz a um acordo ficcional que dá verossimilhança à narrativa. Todos esses elementos fazem com que a ficção seriada televisiva brasileira possa ser pensada como uma espécie de moldura para o comportamento do homem contemporâneo, articulando as dimensões interna e externa de sua vida e estruturando suas experiências passada e presente.
This thesis analyzes the female representations in the serial fictions produced by Globo TV Network studying the series Malu Mulher and Mulher, and the miniseries Anos Dourados and Hilda Furacão. Considering the television set as a means of transmission which is characterized by its velocity, fragmentation, and simultaneity of contents, one is able to identify in these narratives the presence of multiple ethos and identities ordered by two opposite ideas: one is hierarchical; the other is equalitarian. Originated through different ways of narratives that intermix such as the melodrama, the realism and the naturalism, these hybrid fictions construct ideal types of gender, particularly the feminine, that are also identified by fragmentation and heterogeneous values and style of life. These produce a sociability between individuals and social groups separated by objective aspects - age; sex; social, economical and cultural positions -, and subjective points - biographies; moral and behavioral conducts. That conviviality creates a polyphonic dialogue which incorporates author, characters, director, producer, and the audience. This dialogism leads to two simultaneous tendencies, apparently in opposite directions: the mimesis, the identification with familiar issues; and the aspiration, the desire to reach what is so distant. This double feature allows a fictional agreement that gives verisimilitude to the narrative. All of these elements make the Brazilian television serial fiction to be thought of as a frame for the behavior of the contemporaneous individual, articulating the objective and subjective dimensions of life and structuring their past and present experiences.
5
FOURNIER, JEROME. "Etude de la qualite visuelle des images stereoscopiques en television." Rennes 1, 1995. http://www.theses.fr/1995REN10177.
Full textAbstract:
L'objectif principal de cette these est la definition des recommandations relatives aux facteurs humains en termes de qualite visuelle des images stereoscopiques. En effet, au cours d'une visualisation stereoscopique, l'observateur recoit deux images differentes d'une meme scene, une pour chaque il. Toutefois, la reproduction de l'information visuelle de la scene peut comporter des distorsions de diverses natures dues a des imperfections technologiques ou des ajustements incorrects, de la prise de vue a la restitution. En effet, les utilisateurs de systemes stereoscopiques se plaignent parfois d'une gene visuelle ou de l'apparition d'un mal de tete. Ce phenomene est aisement explicable par le fait que les technologies stereoscopiques actuelles sont incapables de reproduire tous les aspects de la vision binoculaire humaine dans un environnement naturel. Pour cela, cette these decrit le fonctionnement de la vision binoculaire, les methodes d'evaluation psychovisuelles objectives et subjectives utilisees en television ainsi que le modele de jugement emis par thurstone. Elle synthetise aussi les tolerances requises sur les parametres qui influencent directement la qualite visuelle des images, de la prise de vue a la restitution. Ensuite, le travail est consacre a l'elaboration de lois de conformite des images stereoscopiques afin de maitriser la geometrie de l'espace restitue. Enfin, la derniere partie analyse les resultats issus d'asymetries geometriques, optiques et electriques realisees lors de l'acquisition ainsi que les tolerances requises sur la reduction de bande passante d'une des deux vues du couple stereoscopique, dans le cas d'un schema de codage asymetrique
6
Sabbag, Lucia Maria. "O olhar atraves da televisão : formas de construção de sentidos para a cidade." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/271075.
Full textAbstract:
Orientador: Monica Graciela Zoppi-FontanaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-04T03:28:19Z (GMT). No. of bitstreams: 1 Sabbag_LuciaMaria_M.pdf: 356192 bytes, checksum: ce8ff9f22b5f99d9101b987948f2e161 (MD5) Previous issue date: 2005
Resumo: A partir de determinada forma de olhar, obtemos diferentes efeitos de sentido, em particular, quando se trata de um olhar panóptico através de um programa de televisão. Na medida em que o discurso jornalístico é constituído embasado nas crenças da obj eti vidade e da verdade, perceberemos que tais mitos vão desmoronar no processo de re-consti tuição da realidade que a televisão apresenta. O programa _Cidade Alertafl, da Rede Record de Televisão, constrói uma realidade através de imagens exibidas pelo helicóptero _Águia Douradafl e por algumas _motolinksfl. De tais imagens, vemos surgir uma cidade construída a partir do olhar da televisão e que sobrevive das próprias relações conflituosas exibidas. Realidade e verdade adquirem caracteres de uma ilusória transparência, devido à força do impacto das imagens em tempo real. A união entre helicóptero e mídia confere um aspecto de poder totalitário à segunda para não apenas falar sobre, como também para se tornar uma estrela. . O programa seleciona imagens da cidade, que se torna também cenário produzido pela edição, mas com a ilusão que a televisão faz parecer realidade una e inequívoca. Dessa maneira, um real de cidade é produzido e explorado em detalhes, de forma que o funcionamento do olhar panóptico sempre se faça presente. Assim, o que podemos perceber é que ficção e realidade diluem-se através das imagens, mas de forma que o telespectador não questione aquilo que vê. De tal forma, o telespectador garante, cada vez mais, audiência, e a televisão, cada vez menos, qualidade
Abstract: According to the perspective proposed in this dissertation, which is base don the French school of Discourse Analysis, images transmit various meanings, including silence. The program transmits images to confirming the truth of the facts. But the midia contradicts i tself through images, the city is constructed like personage, scenery, labyrinth and movement. The program turns the press a spectacle, the press is the show
Mestrado
Analise do Discurso
Mestre em Linguística
7
Cermak, Irene V. "Seeing red : images of Soviet and Russian hockey in US and Canadian Olympic broadcasts /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/6161.
Full text
8
Bain, Jessica Margaret. "Europe at 6pm: Images of the EU on New Zealand Television News." Thesis, University of Canterbury. National Centre for Research on Europe, 2007. http://hdl.handle.net/10092/989.
Full textAbstract:
Contributing to the broader debate on the nature and identity of the European Union (EU), this thesis is a study of the EU from the outside looking in: an examination of how this novel process of integration among the nations of Europe is viewed by its partners around the world, in particular in New Zealand through its television news media. While there are many studies which examine how the EU is understood and represented within its borders, there is an absence of parallel studies which consider the image of the EU from an external perspective. Recognising that the television news media plays a particularly important role in influencing the knowledge and perceptions of people on foreign matters, the thesis presents an analysis of the entire EU television news coverage in New Zealand's two prime-time television news bulletins throughout 2004. The primary research question that the thesis investigates is, how is the EU framed in the television news media of New Zealand, an external 'Other' of the EU? The study was multi-methodological in nature and analysed each of the relevant news items using content analysis, as well as undertaking deeper analysis of the metaphorical categorisations and the visual images of the EU, to detect the entire range of EU representations and the overall image of the EU these created for New Zealand television news audiences. These findings were then compared against corresponding research from Australia, South Korea and Thailand, as well as to the perceptions of New Zealand's leading newsmakers, in order to account for the most important trends in EU image formation in New Zealand. In particular it was found that the EU was often entirely absent from the New Zealand television news space, and when it was visible, was often presented in a way which ignored the extensive domestic relevance of the Union for New Zealand and its immediate region.
9
Dunn, David Richard. "Home truths from abroad : television representations of the tourist destination." Thesis, University of Birmingham, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343895.
Full text
10
Artwick, Claudette Guzan. "Local television crime news visuals and concern about crime : exploring the cultivation process through recall and meaning of visual images /." Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/6192.
Full text
11
Weiss, Jacques. "Amelioration de l'aspect subjectif des images de television par traitement spatio-temporel adaptatif." Rennes 1, 1988. http://www.theses.fr/1988REN10017.
Full textAbstract:
Pour ameliorer la qualite des images de television restituees sur les nouveaux formats utilises en transmission video, il est necessaire d'augmenter le cadencement des trames a 100 hz au lieu de 50 hz. Afin de permettre au systeme visuel humain d'integrer la modulation temporelle de l'affichage. Ce changement de cadence au sein du recepteur autorise des modifications du format de l'information correspondant a la conservation ou non de l'entrelacement des trames. La phase essentielle du calcul reside dans l'adaptation du traitement applique au point courant en fonction de l'information sur le mouvement dans l'image obtenue par detection inter et intra-image. La caracterisation des differents traitements analyses est faite sur des criteres objectifs. Comme le calcul de spectre et par appreciation de l'aspect subjectif des images restituees a l'aide d'un banc de simulation
12
Malik, Sarita. "Representing Black Britain : a history of Black and Asian images on British television /." London : Sage, 2002. http://catalogue.bnf.fr/ark:/12148/cb37742086d.
Full text
13
Meyer, Cordula 1971. "Foreign images: A content analysis of international coverage in American television network news." Thesis, The University of Arizona, 1996. http://hdl.handle.net/10150/291506.
Full textAbstract:
How does television news present the world to American viewers? This study employs a content analysis of selected international news stories reported by the four major American networks between October and December 1995 to answer this question. International news has been the target of much critique, which this study puts to an empirical test. Specifically, claims about unfairly negative coverage of the Third World were supported, but not in the entirety in which they are often voiced. Coverage of international events is primarily crisis-oriented and secondarily politics-oriented and focuses on events with American involvement. The prevalence of episodic international coverage and the corresponding lack of stories conveying substantive information makes television a less than ideal source to learn about the "big picture" in global events. Methodologically, this study uses new, more precise measuring techniques, including the often omitted visual analysis of newscasts and the concept of unifying story themes.
14
Giese, Jon Mark. "Father knows best: one corporation's use of televised images and rhetoric of family and fairness for control of employee population." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc798466/.
Full textAbstract:
This thesis is a close textual analysis of three videotapes produced at Texas Instruments. The first chapter outlines the background of corporate video and some of the methods used in the analysis. Chapter II discusses the origins of televisual conventions and traces their migration to the corporate sector's video production efforts. Chapter III is the analysis of three videotapes produced at Texas Instruments. Chapter IV contains conclusions and discussion of the findings, including how cultural myths are articulated and produced, The appendix contains freeze frame examples of the shows analyzed and representative frames from Father Knows Best and The Donna Reed Show for use as a basis of comparison.
15
Yates, Rachel S. M. "Images of dissent, persistence of an ideal, gender in television sitcoms in the 1950s." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22430.pdf.
Full text
16
Irving, Mark H. "The unreality of "reality-based" policing: American television, images of crime and law enforcement." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0014/MQ28429.pdf.
Full text
17
Cai, Xiao. "Television advertising and idealized images of the "good life" among adolescents in rural China." HKBU Institutional Repository, 2008. http://repository.hkbu.edu.hk/etd_ra/874.
Full text
18
Malik, Sarita. "Representing Black Britain : Black images on British television from 1936 to the present day." Thesis, n.p, 1998. http://ethos.bl.uk/.
Full text
19
Ping, Xiaomeng. "Model-based enhancement of moving facial images." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0002/MQ42421.pdf.
Full text
20
Black, Audrey. "The Russian Woman as Sexual Subject: Evolving Images in U.S. Television and Film, 2012-2016." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20504.
Full textAbstract:
In American entertainment media Russian women overwhelmingly appear in sexualized contexts. For the past 25 years, since the Soviet Union was dissolved, there has been a consistent drive to represent on only a handful of narrative categories. These can be reduced essentially to sex trafficking, mail-order brides, and sexual espionage. Despite this limited repertoire, over the past five years there has been significant variation in approaches taken to those categories. This study offers a surveyed textual analysis of how the construction of the Russian woman as sexual subject has evolved to meet new understandings and imperatives. Many of these texts take on challenging topics with unprecedented levels of discursive and rhetorical sophistication, often subverting popular imagination. Driven by feminist media studies and critical cultural theory, I isolate the elements of these texts that interact with geopolitics and socioeconomic realities, in order to deconstruct the mythologies and ideologies behind these stereotypes.
21
Davies, Paul G. "Consuming images, how television commercials that elicit stereotype threat can restrain women academically and professionally." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ53990.pdf.
Full text
22
Koga-Browes, Scott. "Reading News Images in Japan : Visual Semiosis in the Context of Television Representation Volume 1." Thesis, University of Sheffield, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521957.
Full text
23
Schutte, Barend-Christiaan. "Images of a new German identity : the portrayal of the unification process in documentary and feature films since 1990." Thesis, Southampton Solent University, 2005. http://ssudl.solent.ac.uk/593/.
Full textAbstract:
German unification is frequently seen as an event and a date October 3, 1990 - on which a divided people could finally live as one, restored to a natural state of togetherness. Within Germany, however, the experience since 1990 has been one of realisation of deep inner division, and recognition that unification is in fact a long term process, and perhaps even an uncertain goal in Europe, where, everywhere else, new regional consciousnesses are questioning old national identities. Since the future role of Germany in Europe is a major and controversial issue in economic, political and cultural circles, the critical construction of realistic and authentic portrayals of post-unification Germany is of considerable importance. The concept, size and location of a 'German nation' have been contested and fought over from outside and within since its 19th century forging under the leadership of Bismarck, but if one proceeds on today's dominant assumption that between 1949 and 1989 the German people existed as one nation, though they were separated by one of the most tightly guarded borders in world history - a border that separated more than just two countries, but rather served as the confrontational line between two superpowers with opposing ideological, economic and political systems - one can come to the logical conclusion that German unification in 1990 was merely an event which enabled 'the German Nation' to live in the same, unified country once again. However, if one recognizes the fact that 40 years of separation superimposed on more complex historical and contemporary mappings inevitably led to the development of two distinct collective identities, it becomes clear that German unification was - and still is - in fact an on going process of attempting to merge the peoples of two states into one, or one into the other. This is a process that will reach deep into the 21st century, involving the development of a new German national identy within the European Union in a rapidly changing world. This thesis does not try to speculate on or define a 'general' or 'essentialist' sense of what the new German national identity might be. It rather analyses texts of a selection of Germany's image makers since 1990, and examines critically a range of constructions of the new identity from documentaries and docudramas to feature films. The project does not ask to be judged as a contribution to film studies in the narrow sense of that term, seeing itself instead as an interdisciplinary undertaking which derives its insights from a fruitful mix of approaches used in Critical Discourse, Analysis, History, Cultural Studies and Film Studies. Just as it may be said that the German Democratic Republic to some extent talked itself out of existence through its people's acceptance of Western discourse, and images of a Western consumer paradise, so it is now worth analysing how the new Germany is, in complex and sometimes contradictory and sceptical ways, attempting to talk itself into existence through discourse and imagery. The thesis examines whether and how, through the medium of film, opinion formers and creative minds, with their various agendas are seeking to influence public perceptions of the post-1990 confrontation between idealised projections of German identity and recalcitrant reality.
24
Jackson, Nicole E. "The Tyler Perry effect examining the influence of black media images on the black identity." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4938.
Full textAbstract:
This study investigated the influence of Tyler Perry's House of Payne and Meet the Browns on black viewers' racial identity, based on a survey of 145 members of four predominantly African American churches in the Central Florida area. Mirroring Allen, Dawson, and Brown's (1989) model of an African American racial belief system, this study proposed that both shows would positively influence three dimensions of the black identity including closeness to blacks, black separatism, and the belief in positive stereotypes about blacks, while negatively influencing the dimension that emphasizes negative stereotypes about blacks. Socioeconomic status and religiosity were also hypothesized to predict exposure to both shows. The results show that while House of Payne positively influenced two dimensions of the black identity including closeness to blacks and the belief in positive stereotypes about blacks, Meet the Browns did not have a statistically significant relationship with any of the dimensions of the black identity. Additionally, results showed mixed support for the relationship between socioeconomic status, religiosity, and show exposure. While education had a negative relationship with exposure to both House of Payne and Meet the Browns, the income variable revealed no significant results with either show. Lastly, religiosity was shown to be a significant predictor of exposure to House of Payne, but not Meet the Browns. The findings suggest that Perry's shows may be considered by viewers as more beneficial than harmful to viewers to their racial identity and experience, which contradicts the critiques of his images as reverberating with negative stereotypical images of the past. Findings also suggest the importance of education and religion to black socialization patterns.ID: 030423203; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 87-96).
M.A.
Masters
Nicholson School of Communication
Sciences
25
Jones, Shaheen L. "Young Muslims' perceptions of television news coverage of Muslims and how their Islamic school teachers inoculate them against those images." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2007. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.
Full text
26
Helmbrecht, Brenda M. "A Mediatic Pedagogy: Rhetoricizing Images within Composition Curriculum." Oxford, Ohio : Miami University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1089742902.
Full text
27
Ryan, Joelle Ruby. "Reel Gender: Examining the Politics of Trans Images in Film and Media." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1245709749.
Full text
28
Neves, Camila Portella. "Televisão e deficiência visual: o sonoro na produção de imagens mentais." Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/4487.
Full textAbstract:
Made available in DSpace on 2016-04-26T18:12:47Z (GMT). No. of bitstreams: 1
Camila Portella Neves.pdf: 1294543 bytes, checksum: fb5c8abf586b4637bd5af0321cfb2631 (MD5)
Previous issue date: 2012-12-11Conselho Nacional de Desenvolvimento Científico e Tecnológico
The object of this work is the visuality formed by the blind people when watching television. The objective of this research is to analyze the sound as a resource to forming mental images to understand and generate knowledge of the world passed through what is on television for the visually impaired. As specific objectives, intends to examine the TV as a way of understanding the world and as a means of information for the visually impaired, also noting the extent to which the sound replaces the image in the apprehension of which is transmitted by TV. It also aims to analyze to what extent the visually impaired can reproduce the world through sound and identify what kind of visuality is produced by the visually impaired while watching TV. In TV programming, there is a perfect union of image and sound, playing a central role in Brazil in the knowledge of individuals. However, this unique feature in the union of the TV picture and sound, while it can reach a higher percentage of fans, also limits access to those who do not have the feature imagery. This is the case of the blind, which receive only the character of the sound that is transmitted. In view of this, this research has the following problem: being the eyes a sense of excellence in the mass mediation of images, how the blind people experience mental images while watching television? It starts with the hypothesis that the mental visuality produced by blind people can lead to understanding what is televised. In such case, it is believed that through the perception and discrimination of sound, the blind people can produce mental images. Another hypothesis is that, through a polisensitive discrimination, the visually impaired are developing another kind of learning supported by a system of analogies. In view of this, the fourth hypothesis is that through the sound the blind people can elaborate images by expansion of cognitive operations. It is a qualitative research which uses the abductive-inductive method, and for its development, we intend to conduct an empirical illustration with people with visual impairments. For the development of this dissertation will be discussed about the representation as a sign (Charles Sanders Peirce); about the mental representations produced by the blind (Antonio Damasio), entering the enclosure of Cognitive Sciences; on perception (Lucia Santaella), and how the sound is seen by the blind people as a way of thinking in the absence of the image, passing in front of it, by the concept of compensation (Semionovitch Lev Vygotsky)
O objeto do presente trabalho é a visualidade formada pelo deficiente visual ao assistir televisão. O objetivo da pesquisa é analisar o som como formador de imagens mentais no sentido de compreender e gerar um conhecimento do mundo através do que é repassado pela televisão aos deficientes visuais. Como objetivos específicos, pretende-se verificar o papel da TV na compreensão do mundo e como meio de informação para os deficientes visuais, constatando também em que medida o som substitui a imagem na apreensão do que é repassado pela TV. Pretende-se ainda analisar em que medida o deficiente visual consegue reproduzir o mundo através do som e identificar que tipo de visualidade produzem os deficientes visuais ao assistirem TV. Na programação da TV, observa-se o perfeito casamento entre a imagem e o som, desempenhando no Brasil um papel central no conhecimento dos indivíduos. Contudo, essa característica singular da TV na união entre imagem e som, ao mesmo tempo em que consegue atingir um maior percentual de adeptos, também limita àqueles que não possuem acesso do recurso imagético. É o caso dos deficientes visuais, os quais apenas recebem o caráter sonoro do que é transmitido. Em vista disto, a presente pesquisa parte do seguinte problema: considerando os olhos um sentido por excelência na mediação massiva das imagens, como os deficientes visuais experimentam imagens mentais ao assistirem televisão? Parte-se das hipóteses de que a visualidade mental produzida pelo deficiente visual pode levar a compreender o que é transmitido pela televisão. Assim, acredita-se que através da percepção e discriminação do som, o cego consegue elaborar imagens mentais. Outra hipótese é de que, através de uma discriminação polissensível, o deficiente desenvolve outro tipo de aprendizagem apoiada no sistema de analogias. A quarta hipótese é de que através do som o cego consegue elaborar imagens pela expansão de operações cognitivas. Trata-se de uma pesquisa qualitativa cujo método utilizado é o abdutivo-indutivo, e para o seu desenvolvimento, pretende-se realizar uma exemplificação empírica junto às pessoas com deficiência visual. Assim, discute-se acerca da representação como relação sígnica (Charles Sanders Peirce); sobre as representações mentais elaboradas pelos cegos (Antônio Damásio), entrando no cerco das Ciências Cognitivas; sobre a percepção (Lúcia Santaella), passando pela questão da maneira em que o som é utilizado pelos deficientes visuais como modo de pensar na ausência da imagem, abordando, diante disto, o conceito de compensação (Lev Semionovitch Vigotski)
29
Fritsche, Kelli An. "A critical analysis and comparison of historical and emerging stereotypes of African American females on television." Scholarly Commons, 2015. https://scholarlycommons.pacific.edu/uop_etds/243.
Full textAbstract:
Although diversity on television has ebbed and flowed in recent years, many new shows have recently emerged that feature either predominantly black female casts, or that feature a black female in the lead role. Reality television often sends forth angry, physical images of African American women, while non-reality television tends to express alleged relationship and sexual values of African American females that are uncomfortable for many. Not everyone embraces these images. What are modern television images saying about African American women? Using the lens of critical race theory to view images of African American women aired on highly rated reality and non-reality television shows, this study examines and compares emerging negative stereotypes of African American women, and explores and identifies what historical negative stereotypes of black females continue to be perpetuated today via the small screen. Furthermore, in order to fill a gap in the current available research, this analysis also considers and exemplifies the frequency and definition of positive representations of African American women on reality and non-reality television.
30
Ito, Murilo Alves de Almeida. "The transformations of Brazillian television news and its implications on local daily newscast: a study of Paraná TV 1ª Edição." Universidade Estadual de Londrina, 2014. http://www.uel.br/revistas/uel/index.php/discursosfotograficos/article/view/20671.
Full textAbstract:
This essay proposes the comprehension of mechanisms that act in the right moment when the picture is taken; the profile is the analysis of photographic images from Japanese immigrants in the development of the photographs in Londrina City – state of Paraná, between 1930 and 1960. It aims to analyze the photographs and verify which of the three conditioning synecdoche factors acted on the Japanese photographers in the photo capture. The factors are: 1st Conditioning Synecdoche Factor – Grammar Literacy (the image elements are unconsciously framed by the initial direction of the individual language literacy, or from the left to the right or from the right to the left). 2nd Conditioning Synecdoche Factor – Kodak Manual (the image elements are unconsciously framed on the center of the frame by paradigm and also by a technical limitation imposition from the time, that conducted centering the main object to preserve a secure register of the event, once there was a risk of burning the images edge). 3rd Conditioning Synecdoche Factor – Technology + Rule of Thirds (the image elements are consciously framed in any part of the frame since it’s possible to fulfill the edges of the frame by technology, added to the options of positioning the objects in the golden ratio spots, revealing a graphic pattern tuned with the aesthetic harmony).Esta dissertação propõe compreensão dos mecanismos que agem no momento da captura fotográfica; o recorte é a análise das imagens fotográficas dos imigrantes japoneses, no desenvolvimento da fotografia no município de Londrina-PR, entre os anos de 1930 a 1960. Tem o objetivo de analisar as fotografias e detectar qual dos três fatores sinédoque condicionantes agiu sobre os fotógrafos japoneses na captura fotográfica. Os fatores são: 1º Fator Sinédoque Condicionante – Alfabetização Gramatical (os elementos da imagem são enquadrados inconscientemente pela direção inicial da alfabetização do idioma do indivíduo, ou seja da esquerda para direita ou da direita para a esquerda). 2º Fator Sinédoque Condicionante – Manual Kodak (os elementos da imagem são enquadrados inconscientemente no centro do fotograma por paradigma e também por uma imposição da limitação técnica da época, que orientava centralizar o objeto principal para preservar um registro seguro do evento, pois corria-se o risco de queimar as bordas da imagem). 3º Fator Sinédoque Condicionante – Tecnologia + Regra dos Terços (os elementos da imagem são enquadrados conscientemente em qualquer parte do fotograma, sendo possível através da tecnologia preencher as bordas do fotograma, somadas as opções de posicionamento dos objetos nos pontos áureos, revelando um padrão gráfico sintonizado com a harmonia estética).
31
Horn, Birte [Verfasser], and Josef [Akademischer Betreuer] Raab. ""Superwomen" and the Function of Ancient Myths and Archetypal Images in American Popular Television at the Turn of the Millennium : Xena / Birte Horn. Betreuer: Josef Raab." Duisburg, 2015. http://d-nb.info/107698066X/34.
Full text
32
Baptista, Maria Gabriela de Seiça. "A imagem da informação no pequeno ecrã." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2018. http://hdl.handle.net/10400.5/16421.
Full textAbstract:
Dissertação de Mestrado em Design, com a especialização em Moda apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.O foco da presente investigação é o campo do Design de Moda, e mais especificamente no que se relaciona com as questões referentes ao Styling | Consultoria de Imagem Televisiva. O enfoque principal deste estudo incidiu nas inquietações relativas à modernização da indumentária dos pivots de programas de informação televisivos portugueses, em conexão com o contexto global (com incidência na sociedade ocidental) e segundo os códigos profissionais do vestuário. Foram examinados casos de programas informativos de referência, assim como as respectivas estações televisivas, a fim de identificar e contribuir para a minimização das desconexões entre o styling dos pivots nacionais relativamente às práticas das grandes cadeias de notícias estrangeiras. O mundo em que vivemos valoriza cada vez mais a imagem dos grandes protagonistas de interação com o público, à semelhança de todas as outras áreas de grande visibilidade pública, visto que estes são considerados como o elemento central nos blocos de informação estabelecendo em primeira mão a ligação primordial com o público. Assim, toda a comunicação visual possui um papel preponderante na relação entre telespectador - programa. No encerramento desta investigação e em função dos resultados decorrentes deste processo, desenvolveu-se uma proposta de Styling Editorial/Vídeo Editorial, que reflecte as conclusões deste estudo cujo principal objectivo é actualizar a Imagem dos Apresentadores Portugueses, em articulação com o set - design.
ABSTRACT: The focus oh the current research is connected with the Fashion Design, studies, and more specifically on all the questions concerning the Fashion Styling field. The main focus oh this study is the concerns involved with the contemporization of image of anchors operating in portuguese news televisions shows aiming to connect them to the global context and mainly in the eastern world following, however less orthodox professional dress codes. We will reputable news shows and anchors in order to identify gaps and contributing on the minimization of desconnections. In the modern society, we increasingly value the appearance of all the public figures who interact with us and so pushing us towards the establishment of “private” trust connections between viewers and anchors, the faces of those who everyday let us know in a serious way, what is going on around the world. The conclusions achieved during the all research process aim to support the development of a video and editorial “ghost” proposal which main objective is contributing the update of the Portuguese news anchors appearance.
N/A
33
Chirol, Jean-Loup. "Les motifs de perception visuelle de l'espace en profondeur des images animees planes au cinema et a la television, leur variation suivant la technique de diffusion de l'image." Paris 1, 1988. http://www.theses.fr/1988PA010561.
Full textAbstract:
Notre etude tente de decrire les mecanismes nuances qui determinent la propre incidence du medium sur la profondeur des images qu'il transmet. Son objet consiste a proceder a l'analyse topologique de deux courts extraits tires de feuilletons destines a la television. Si l'espace cinematographique se construit autour d'une essence homogeneifiante, leguee par les perspectives lineaire (ordonnance des lignes) et aerienne (ordonnance des lumieres) dans la visee principale de restituer le realisme d'un artifice de profondeur dans sa plus grande purete, l'espace televisuel vise quant a lui l'heterogeneite du symbole. L'espace televisuel contient l'espace cinematographique. En ce sens, il est plus grand que lui parce qu'il determine la dispersion des intervalles geometriques, le telescopage des distances de reference, l'ambivalence du proche et du lointain, la juxtaposition arbitraire ou projective de synecdoques ordonnees non plus suivant la repartition rigoureuse des luminances accordees par la coherence de l'eclairage mais suivant l'agrement de taches colorees abstraites. L'espace cinematographique possede une essence figuree principalement par la perspective, il est globalement illusionniste. L'espace televisuel possede une essence figuree principalement par l'eparpillement rythmique des symboles, il est globalement metaphorique.
34
Altafaja, Vela Silvia. "La construcción de la imagen de la mujer china y japonesa a través de los canales de televisión internacionales estatales de China, CCTV, y Japón, NHK." Doctoral thesis, Universitat Autònoma de Barcelona, 2017. http://hdl.handle.net/10803/457574.
Full textAbstract:
La globalización ha traído consigo la internacionalización de los medios de comunicación. Esta conexión directa posibilita la circulación de información en todas las direcciones y provoca un intercambio cultural e informativo muy importante abriendo un nuevo escenario. Esta tesis analiza la construcción y representación de la mujer en dos canales asiáticos internacionales estatales, el de China, CCTV, y el de Japón, NHK, cuya proyección es la ventana que da a conocer al mundo una parte de la realidad social de estos países. A pesar de ser grandes potencias económicas mundiales, China y Japón son dos países donde las tradiciones aún están profundamente arraigadas y conviven con unas sociedades aparentemente modernas y avanzadas; sin embargo, las desigualdades y desequilibrios de género son todavía un mal endémico que tienen mucho camino por recorrer antes de desparecer por completo. Comparar ambos países aporta nuevas reflexiones sobre los prejuicios y el desconocimiento que desde occidente se tiene de estas culturas y de sus realidades actuales. Los objetivos se han planteado en la línea de analizar la programación de ambos canales para delimitar qué tipos de contenidos incluyen. Los contenidos se han clasificado en macrogéneros y géneros televisivos. Se ha investigado y analizado la representación de la mujer y los estereotipos de género que se transmiten a través de estos canales y se ha establecido una comparación de la imagen representada por cada uno de estos países. Se han detectado las diferencias en los roles representados por hombres y mujeres, así como la visibilidad o invisibilidad de las mujeres en los programas analizados. Para ello se ha utilizado la metodología de análisis de contenido con el objetivo de delimitar y cuantificar una serie de categorías que definen en qué géneros televisivos es mayor la presencia de hombres y mujeres, cuándo éstos o éstas son protagonistas o no de la acción, en qué ámbitos o profesiones están inscritos ambos géneros y qué roles tienen asignados. En definitiva, nos ofrece una visión global de la representación de las mujeres en estos canales que después hemos comparado para establecer similitudes y diferencias entre ambos.Globalization has brought the internationalization of the media. This direct connection enables the circulation of information in all directions and yields a very important cultural and informative exchange, thus opening a new scenario. This thesis analyzes the construction and representation of women in two international Asian state channels: CCTV from China and NHK from Japan, whose projection is the window that shows to the world a part of the social reality of these countries. Despite being great world economic powers, China and Japan are two countries where traditions are still deeply rooted and coexist with seemingly modern and advanced societies. However, gender inequalities and imbalances are still an endemic evil that have much to go before disappearing completely. Comparing both countries brings new reflections on the prejudices and the ignorance that the west has on these cultures and their current realities. The main aim of this thesis has been to analyze the programming of both channels to delimit what types of content they include. The contents have been classified in televisión macrogenres and genres. The representation of women and gender stereotypes that are transmitted through these channels have been investigated and analyzed. A comparison of the image represented by each of these countries has been established. Differences in the roles played by men and women have been detected, as well as the visibility or invisibility of women in the analyzed programs. In order to do so, the content analysis methodology has been used to delimit and quantify a series of categories that define in which genres the presence of men and women is greater, when they are protagonists of the action or when they are not, what fields or professions are registered each of both genders and what roles are assigned. In short, it offers us a global vision of the representation of women in these channels that we have then compared to establish similarities and differences between the two.
35
ALEXANDRE, CHRISTOPHE. "Contribution a l'etude des erreurs residuelles dans une diffusion par satellite de television numerique : modelisation, strategies de masquage et influence sur la qualite subjective des images et du son." Paris, CNAM, 1995. http://www.theses.fr/1995CNAM0271.
Full textAbstract:
Cette etude a pour objet d'etudier les erreurs residuelles dans une diffusion numerique par satellite de programmes de television. Elle concerne la modelisation, les strategies de masquage et l'influence sur la qualite subjective des images et du son de ces erreurs. Nous avons d'abord etudie et simule un systeme complet de transmission simplifie de bout en bout afin de modeliser les erreurs residuelles. Puis nous avons calcule et implante ces modeles pratiques dans un generateur d'injection d'erreurs logiciel simulant la diffusion. Nous nous sommes ensuite interesse aux strategies de masquage que nous avons implante dans un decodeur video. La premiere solution est utilisee par les constructeurs de codeurs mpeg-2: elle utilise un lien entre la couche systeme et le decodeur. En cas d'erreur, elle avertit le decodeur de sauter le paquet de transport errone et de se resynchroniser sur un code de debut. Dans une deuxieme solution plus originale, le decodeur analyse le train binaire quel que soit son etat et utilise des tests internes pour detecter les erreurs et se resynchroniser. Nous avons ensuite mis en place une salle de tests subjectifs. Nous avons etudie les differents protocoles de test normalises et choisi la methode a double stimulus a echelle a cinq notes de qualite. Nous avons effectue de nombreux tests afin d'estimer la precision des resultats obtenus. Nous avons finalement teste les deux decodeurs video ainsi qu'un decodeur audio mpeg couche ii. Nous avons ainsi pu determiner le seuil de perception aux erreurs et la limite de fonctionnement du decodeur complet
36
Barbosa, Maria Cristina Brito. "Indústria cultural da violência: uma análise da cobertura telejornalística do assassinato de 12 estudantes no bairro de Realengo, Rio de Janeiro, abril 2011." Universidade Presbiteriana Mackenzie, 2013. http://tede.mackenzie.br/jspui/handle/tede/1863.
Full textAbstract:
Made available in DSpace on 2016-03-15T19:42:26Z (GMT). No. of bitstreams: 1
Maria Cristina Brito Barbosa.pdf: 7243990 bytes, checksum: 6a82efdbdca23c737be4c484443ee932 (MD5)
Previous issue date: 2013-02-07Universidade Presbiteriana Mackenzie
This is an insight on television generated violence deriving from the image production techniques and the news treated as merchandise. Following thoughts of Régis Debray, Theodor Adorno, Max Horkheimer, Marcia Tiburi and Vilém Flusser, the author approaches the subject starting from a theoretical dialogue between the image idolatry, the consumer s view and the television set. The research is then widened by exploring the upbringing of the news-violence tandem, found not only in the popular media but also in the upper class media considered as serious . As an empiric subject of analysis, this work looks at the news on the Realengo Massacre as produced by the night television news and the Sunday entertainment programmes featured by the Jornal Nacional, Jornal da Record, Fantástico and Domingo Espetacular.
Esta é uma reflexão sobre a violência exposta pela televisão com enfoque na produção e no consumo de imagens técnicas na lógica de mercantilização da notícia. Sob a ótica de conceitos dos filósofos Régis Debray, Theodor Adorno, Max Horkheimer, Marcia Tiburi e Vilém Flusser, a pesquisa aborda o tema a partir do diálogo teórico entre idolatria da imagem, olhar consumista e aparelho televisão. Busca-se ampliar a investigação da construção da notícia-violência, muitas vezes restrita aos programas sensacionalistas, ao trazer a análise de noticiários diários e semanais qualificados de "sérios", que não têm no sensacionalismo da violência sua principal matéria-prima. Como objeto empírico de análise, o trabalho traz a observação da notícia produzida a partir do massacre de Realengo pelos telejornais noturnos e programas dominicais Jornal Nacional, Jornal da Record, Fantástico e Domingo Espetacular.
37
Gomes, Elisa da Silva. "Casos de família: a conjugalidade nas antenas da TV." Universidade do Estado do Rio de Janeiro, 2007. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=1912.
Full textAbstract:
Conselho Nacional de Desenvolvimento Científico e TecnológicoEste texto analisa a imagem de família e, principalmente, de conjugalidade apresentada em um talk show, a saber, Casos de Família. Os talk shows aproximam-se de outro formato em grande expansão na atualidade os reality shows. Rompendo com as fronteiras entre o público e o privado, entre realidade e ficção, Casos de Família exibe diariamente conflitos familiares de pessoas comuns. O uso de um especialista em comportamento (psicólogo), a proposta de harmonização e solução dos conflitos apresentadas no palco são a marca do programa. A solução dos conflitos, na percepção da produção do programa, é uma adaptação, uma redefinição de papéis conjugais de acordo com uma divisão por gênero.
This text is about familys image, specially, the conjugalitys image, presented in a talk show named Casos de Família ( Family`s Cases ). The talk shows s model is similar to another TV show format currently with a broad appeal: the reality shows . Breaking up the borders between private and public, reality and fiction, Casos de Família shows ordinary people domestic conflicts. The main characteristics of this program are the participation of a specialist in behaviour (a psychologist) and the proposal of harmonizing and dealing solutions for the conflicts. This solution, under the producers perceptions, is a "adaptation", a "redefinition" of roles according to a gender division.
38
Garcia, Santiago Naliato [UNESP]. "A imagem digital da TV na copa do mundo de 2010." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/99806.
Full textAbstract:
Made available in DSpace on 2014-06-11T19:30:21Z (GMT). No. of bitstreams: 0
Previous issue date: 2011-11-28Bitstream added on 2014-06-13T19:00:19Z : No. of bitstreams: 1
garcia_sn_me_bauru.pdf: 646811 bytes, checksum: 8cc651c05c7fcc5f3f7b273d90d3c907 (MD5)Universidade Estadual Paulista (UNESP)
Após 60 anos de desenvolvimento a televisão brasileira - TV - enfrenta novo desafio: atualizar-se a partir de modelos televisivos definidos ao longo de seis décadas de transmissões terrestres adequando-se aos novos modelos e características que os meios digitais proporcionam. No caso da televisão brasileira de transmissão terrestre, o novo modelo a ser implantado traz consigo a necessidade de adaptações necessárias tanto para manter a audiência broadcasting quanto para sobreviver a este novo campo dos meios e veículos multimidiáticos digitais. Ao digitalizar o processo de se fazer televisão, têm-se mudanças substanciais na transmissão e sua melhoria de sinal, na aplicação de recursos interativos e também na produção e geração de conteúdos para a TV digital e seus diversos recursos potenciais. Altera-se, portanto, a relação espectador/emissor no processo comunicational até então estabelecido pela TV em seu formato clássico. Esse upgrade da telinha, já microprocessada e plugada na rede mundial de computadores, implica uma redefinição da comunicação e da forma de se relacionar com o receptor, agora ator mais ativo deste processo de comunicação. O elemento mais visível desta mudança, a imagem, também passa por modificações. Este trabalho faz uma análise da imagem digital tomando como aporte teórico e metodológico a semiótica da imagem, e investiga como se processa a formação da imagem nesse ambiente digitalizado da televisão digital brasileira, elencando os modelos adotados e estabelecendo discussões pertinentes ao meio e a sua adequação ao sistema digital. Utilizaremos como objeto deste estudo imagens em alta definição captadas durante a última Copa do Mundo de Futebol - a Copa de 2010 - em transmissões realizadas por emissoras brasileiras
After 60 years of development the brazilian television - TV - faces a new challenge: to update models from television set over six decades of terrestrial adapting to new models and features that provide digital media. In the case of Brazilian television terrestrial broadcasting the new model to be implemented brings the need for adjustments necessary to keep both the audience and broadcasting to survive in this new field of digital media and vehicles multimidiáticos. Upon scanning the process of making television there have been substantial changes in the transmission signal and its improvement, also in the application of interactive features and in the production and content generation for digital TV and its various potential resources. Changes, therefore, the relation viewer/sender in the communication process so far established by the tv in his classic format. This upgrade of screm, and microprocessor plugged into the global computer network implies a redefintion of communication and how to relate to the receiver being more active actor in this process of communiation. The most visiable element of this change, the image also undergoes modifications. This paper analyzes te high definition image, so the feature can be generated and captured by new equipment and uses this new model of television. Using as a theoretical tool semiotics of the image, this analysis investigatesw how the formation of this takes place in this environment scanned image of Brazilian terrestrial television by listing the models adopted and setting discussions relevant to the environment and its suitability for the digital system. Used as objects of studying in high-definition images captured during the last World Cup Soccer - the 2010 World Cup - in a transmissions made by Brazilian issuers
39
Vasconcellos, Ellen Maria Martins de. "Entre (ou além) (d)o real e a ficção: a televisão em Realidad, de Sergio Bizzio e Bajo este sol tremendo, de Carlos Busqued." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-05042017-090640/.
Full textAbstract:
Esta dissertação de mestrado apresenta como corpus de análise as obras publicadas em 2009, Realidad, de Sergio Bizzio, e Bajo este sol tremendo, de Carlos Busqued, ambos autores argentinos. O objetivo é fazer uma leitura crítica de como a televisão e determinados formatos televisivos (o reality show e o documentário) possuem sua estrutura e argumento apropriados por essas narrativas literárias. Nelas, arquivos de imagens se armam e se desmontam, se abrem e se articulam, entre fotografias militares oficiais e confissões banais espetacularizadas, implicando, no trabalho do narrador, um posicionamento, um comprometimento ético e estético, crítico e criativo, ao compartilhar uma história cheia de detalhes (embora cheia de lacunas) com o leitor/espectador. Por isso, em um jogo metonímico entre o visível e o não visível, o explorado e o camuflado, a imagem da violência e a imagem violenta, qualquer semelhança com fatos históricos, imagens reais e materiais ou personagens de ficção não é mera coincidência, é matéria e questão centrais de certas práticas artísticas latino-americanas contemporâneas, como as de Bizzio e Busqued.This dissertation presents as analysis corpus the works published in 2009 by the Argentinian authors Sergio Bizzio, Realidad, and Carlos Busqued, Bajo este sol tremendo. The aim of this study is to make a critical reading of how television and certain television formats (the reality show and documentary) have structure and plot conformed by these literary narratives. In those works, archives are assembled up and taken to pieces, opened and articulated, among military official photographs and spectacular banal confessions, involving, in the narrators work, an ethical and aesthetic, critical and creative commitment, in sharing a story full of details (although full of loopholes) with the reader/viewer. On account of a metonymic role between the visible and non-visible, the exploitation and the camouflage, the image of violence and the violent image, any similarity with historical facts, real images and fictional materials or characters is not a simple coincidence, it is a central matter of some contemporary Latin American art practices, such as Bizzio and Busqued.
40
Capoano, Edson. "Globo Reporter: Imagens veladas da natureza." Pontifícia Universidade Católica de São Paulo, 2006. https://tede2.pucsp.br/handle/handle/4783.
Full textAbstract:
Made available in DSpace on 2016-04-26T18:15:36Z (GMT). No. of bitstreams: 1
Edson_Capoano_Mestrado.pdf: 1327952 bytes, checksum: 109b0c3d624f47d0d5e639ced6348b2b (MD5)
Previous issue date: 2006-06-12O trabalho analisa as imagens da natureza produzidas por um programa de TV jornalístico, o Globo Repórter, que trata do meio ambiente, uma de suas principais pautas. Para tanto, propomos discutir quais são os discursos culturais vigentes sobre a natureza e como eles são alterados pela intermediação de suportes eletrônicos de comunicação. Buscaremos as origens e os formatos consagrados de GR para, em seguida, analisar um de seus episódios, como consideraremos seus aspectos audiovisuais, o roteiro de edição e as falas do repórter. Para instrumentarmos a análise, tomaremos como base a Agenda 21, carta mundial de intenções sobre os recursos naturais, bem como um breve histórico sobre o movimento ambientalista brasileiro e alguns conceitos desenvolvidos durante a modernidade, que alteraram o modo de pensar e agir sobre o meio ambiente. Igualmente embasador serão os conceitos que demonstrarão outras formas de mediação cultural do homem com seu meio, como o descolamento das representações de suas bases materiais e o conseqüente culto às imagens de natureza produzidas pela cultura, conceitos retirados dos estudos de Harry Pross e Dietmar Kamper, entre outros autores ligados à Teoria da Mídia e à Teoria da Cultura. O resultado da análise apontará as imagens ambientais se desligam do objeto real e originário, e funcionam segundo outros padrões e referências. O objetivo é o de reter a atenção do telespectador por meio de vinculação emocional com as imagens de natureza. E, assim, a atenção do público é desviada a outros discursos culturais, como o culto à beleza e ao medo das perdas ambientais, que geram uma ameaça à vida na Terra. As imagens, consideradas janelas para o mundo, tornam-se véus que chamam a atenção para si mesmas e não estimulam a reflexão do público sobre a temática
41
Bunn, Derek L. "Interactive Television News." Diss., CLICK HERE for online access, 2010. http://contentdm.lib.byu.edu/ETD/image/etd3397.pdf.
Full text
42
Bunai, Dominique Christabel. "If This Is a "Real" Housewife, Who Are All These Women Around Me?: An Examination of The Real Housewives of Atlanta and the Persistence of Historically Stereotypical Images of Black Women in Popular Reality Television." Thesis, Virginia Tech, 2014. http://hdl.handle.net/10919/49683.
Full textAbstract:
Stereotypical images of blacks have persisted throughout multiple forms of media for decades, with one of the most recent arenas being reality television programming. This study examines the Bravo Television network series The Real Housewives of Atlanta to consider the impact of reality television on the image of black women in America today. This increasingly popular show is the most viewed in The Real Housewives franchise, and demonstrates that black women in America do not embody any one historical or contemporary stereotype of black women in particular, but rather are a compilation of these stereotypes depending on the situation at hand.Master of Science
43
Portari, Júnior Sérgio Carlos [UNESP]. "Um sistema para extração automática de keyframes a partir de fluxos de vídeo direcionado à reconstrução tridimensional de cenários virtuais." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/89563.
Full textAbstract:
Made available in DSpace on 2014-06-11T19:24:06Z (GMT). No. of bitstreams: 0
Previous issue date: 2013-04-25Bitstream added on 2014-06-13T20:09:04Z : No. of bitstreams: 1
portarijunior_sc_me_bauru.pdf: 1375429 bytes, checksum: 55957c89fe49d551d28ecadf740b82ff (MD5)Utilizar um cenário virtual em TV Digital tornou-se comum com o avanço das tecnologias de hardware e software. Mas para se obter um cenário virtual que convença o telespectador pode-se utilizar reconstruções tridimensionais foto-realísticas como uma possível alternativa. Este trabalho apresenta uma proposta de um método para o pré-processamento de um vídeo, capturado, no mundo real, onde são extraídos frames adequados à reconstrução 3D (keyframes) pelo método SFM (Structure From Motion). Desta forma o processamento para a reconstrução 3D utiliza apenas os frames considerados essenciais, diminuindo as redundâncias e falhas. Com a utilização deste método conseguiu-se reduzir o tempo de processamento durante a reconstrução 3D. Neste trabalho também comparou-se o método proposto com os métodos tradicionais, onde não existe uma prévia seleção de keyframes, utilizando-se diferentes ferramentas de reconstrução baseadas no método SFM
Using a virtual scenario on Digital TV became common with the advance of hardware and software technologies. However, to obtain a virtual scenario that persuades the viewer, photorealistic three-dimensional reconstructions can be used as a possible alternative. This work proposes a method for the pre-processing of a video, captured in the real world, where frames which are appropriate for 3D reconstruction (keyframes) by the method SFM (Structure From Motion) are extracted. Thus the processing for 3D reconstruction use only the frames considered essential, reducing redundancies and gaps. Using this method it was possible to reduce the processing time for the 3D reconstruction. In this work, the proposed method was compared to traditional methods, where there is no prior selection of keyframes, using different tools of reconstruction based on the SFM method
44
Portari, Júnior Sérgio Carlos. "Um sistema para extração automática de keyframes a partir de fluxos de vídeo direcionado à reconstrução tridimensional de cenários virtuais /." Bauru, 2013. http://hdl.handle.net/11449/89563.
Full textAbstract:
Orientador: Antonio Carlos SementilleBanca: Wilson Massashiro Yonezawa
Banca: Idelberto Aparecido Rodello
Resumo: Utilizar um cenário virtual em TV Digital tornou-se comum com o avanço das tecnologias de hardware e software. Mas para se obter um cenário virtual que convença o telespectador pode-se utilizar reconstruções tridimensionais foto-realísticas como uma possível alternativa. Este trabalho apresenta uma proposta de um método para o pré-processamento de um vídeo, capturado, no mundo real, onde são extraídos frames adequados à reconstrução 3D (keyframes) pelo método SFM (Structure From Motion). Desta forma o processamento para a reconstrução 3D utiliza apenas os frames considerados essenciais, diminuindo as redundâncias e falhas. Com a utilização deste método conseguiu-se reduzir o tempo de processamento durante a reconstrução 3D. Neste trabalho também comparou-se o método proposto com os métodos tradicionais, onde não existe uma prévia seleção de keyframes, utilizando-se diferentes ferramentas de reconstrução baseadas no método SFM
Abstract: Using a virtual scenario on Digital TV became common with the advance of hardware and software technologies. However, to obtain a virtual scenario that persuades the viewer, photorealistic three-dimensional reconstructions can be used as a possible alternative. This work proposes a method for the pre-processing of a video, captured in the real world, where frames which are appropriate for 3D reconstruction (keyframes) by the method SFM (Structure From Motion) are extracted. Thus the processing for 3D reconstruction use only the frames considered essential, reducing redundancies and gaps. Using this method it was possible to reduce the processing time for the 3D reconstruction. In this work, the proposed method was compared to traditional methods, where there is no prior selection of keyframes, using different tools of reconstruction based on the SFM method
Mestre
45
Vargas, Heidy. "Globo-Shell Especial e Globo Reporter (1971-1983) : as imagens documentarias na televisão brasileira." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284091.
Full textAbstract:
Orientador: Fernão Vitor Pessoa de Almeida RamosDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-14T11:12:46Z (GMT). No. of bitstreams: 1 Vargas_Heidy_M.pdf: 2014463 bytes, checksum: bb1bace353c62c55d3b3e8afa368481a (MD5) Previous issue date: 2009
Resumo: Este trabalho busca identificar as condições internas e externas à Rede Globo de Televisão que permitiram o surgimento dos programas Globo-Shell Especial e Globo Repórter e discutir a influência da linguagem e da estética do Cinema Novo no documentário televisivo. O Globo-Shell Especial foi criado em 1971 e, em 1973, foi substituído pelo Globo Repórter, cuja exibição foi suspensa pela primeira vez em 1983. Para mapear essa história, recorreu-se à bibliografia existente sobre o assunto - ainda pouco estudado -, às notícias e críticas publicadas e aos boletins de programação da emissora, bem como a entrevistas realizadas com profissionais envolvidos nesses projetos. Elaborou-se também, a partir de um mapeamento da produção dos doze anos que delimitam a pesquisa, uma planilha com informações primárias (nome, data de exibição, ficha técnica), subdividida em segmentos temáticos, que serve de base para uma análise preliminar do modo de produção, da linguagem audiovisual e da estética adotadas. Essa análise é cotejada com a tradição narrativa documental, a questão da autoria e as revoluções tecnológicas que permitiram a construção do discurso do documentário televisivo. Em ambos os programas, cineastas e jornalistas fizeram parte das equipes, somando competências e gerando contradições. O resultado desse encontro foi a criação de documentários únicos, diferenciados do restante da produção televisiva e cinematográfica do período, tanto nos planos da estética e da linguagem - uma preocupação intrínseca ao trabalho dos cineastas - quanto no da informação - uma marca do trabalho dos jornalistas.
Abstract: This paper seeks to identify the conditions inside and outside of the Globo Television Network that allowed the creation of Globo-Shell Especial and Globo Repórter programs and discuss the influence of Cinema Novo's language and aesthetics on TV documentary. Globo-Shell Especial was established in 1971 and replaced in 1973 by Globo Repórter, which had its transmission suspended for the first time in 1983. To map that history, we appealed to literature on the subject - which is still little studied -, news, reviews and published reports of the broadcast programming, as well as interviews with professionals involved in these projects. Based on a survey of production from the twelve years that are subject of research, we also produced a spreadsheet of primary information (name, date display, fact sheet), divided into thematic segments, which serves as the basis for a preliminary analysis of the adopted mode of production, audiovisual language and aesthetics. This analysis is compared to the traditional documentary narrative, the question of authorship and the technological revolutions that enabled the construction of the television documentary discourse. In both programs, filmmakers and journalists were part of the team, adding expertise and creating contradictions. The result of such a meeting was the creation of unique documentaries, different from the rest of the TV and film production of the period both in terms of aesthetics and language - a concern intrinsic to filmmaking - and in terms of information - a mark of the work of journalists.
Mestrado
Mestre em Multimeios
46
Galbiatti, Maria Odete. ""A gente se vê por aqui": a captura do sujeito através das imagens na televisão." Pontifícia Universidade Católica de São Paulo, 2006. https://tede2.pucsp.br/handle/handle/4724.
Full textAbstract:
Made available in DSpace on 2016-04-26T18:15:17Z (GMT). No. of bitstreams: 1
MARIA ODETE GALBIATTI.pdf: 618970 bytes, checksum: 4a391e063a35cf7dd113bb4859cae4f0 (MD5)
Previous issue date: 2006-03-10This paper aims on thinking over the slogan power of Globo TV network, considering a semiotics perspective and also the psychoanalytical listening. The purpose is to show that TV works as an alienating discourse in constructing the experience of the psycho reality replacing the living actions with the passive contemplation of images. Thus entailing a whole lifestyle towed by the market as well as by an esthetic pattern orchestrated by the communication technology. Through a semiotic view the TV and the public mix themselves up because when in front of the TV set we are captured by images which dominate the appearance of our body, our ego, our imagination. Such images which multiply infinitely make us lose our sight of the esthetic value of life. The message from TV determines the social ideals and heads the audience wishes. Excessive TV however swells the imaginary and it may be viewed as a cultural symptom.
Este estudo visa refletir sobre o poder dos slogans da Rede Globo, lidos segundo uma perspectiva semiótica, e escutados psicanaliticamente. O objetivo é mostrar que a televisão funciona como um discurso alienante na construção da experiência da realidade psíquica, substituindo o vivido pela contemplação passiva de imagens; implicando todo um estilo de vida, a reboque do mercado e da estetização orquestrada pela tecnologia comunicacional. Semioticamente, a televisão e o público terminam confundindo-se, pois na frente dela, estamos capturados por imagens que dominam a aparência do nosso corpo, nosso Eu, nossa imaginação; multiplicando-se infinitamente, essas imagens nos fazem perder de vista o valor estético da vida. Sua mensagem determina os ideais sociais, e norteia os desejos da audiência. Seus excessos, porém, inflacionam o imaginário, e isto pode ser lido como um sintoma da cultura.
47
Truong, Huy S. "Signal compression for digital television." Thesis, Curtin University, 1999. http://hdl.handle.net/20.500.11937/1837.
Full textAbstract:
Still image and image sequence compression plays an important role in the development of digital television. Although various still image and image sequence compression algorithms have already been developed, it is very difficult for them to achieve both compression performance and coding efficiency simultaneously due to the complexity of the compression process itself. As a results, improvements in the forms of hybrid coding, coding procedure refinement, new algorithms and even new coding concepts have been constantly tried, some offering very encouraging results.In this thesis, Block Adaptive Classified Vector Quantisation (BACVQ) has been developed as an alternative algorithm for still image compression. It is found that BACVQ achieves good compression performance and coding efficiency by combining variable block-size coding and classified VQ. Its performance is further enhanced by adopting both spatial and transform domain criteria for the image block segmentation and classification process. Alternative algorithms have also been developed to accelerate normal codebook searching operation and to determine the optimal sizes of classified VQ sub-codebooks.For image sequence compression, an adaptive spatial/temporal compression algorithm has been developed which divides an image sequence into smaller groups of pictures (GOP) using adaptive scene segmentation before BACVQ and variable block-size motion compensated predictive coding are applied to the intraframe and interframe coding processes. It is found the application of the proposed adaptive scene segmentation algorithm, an alternative motion estimation strategy and a new progressive motion estimation algorithm enables the performance and efficiency of the compression process to be improved even further.Apart from improving still image and image sequence compression algorithms, the application of parallel processing to image sequence compression is also investigated. Parallel image compression offers a more effective approach than the sequential counterparts to accelerate the compression process and bring it closer to real-time operation. In this study, a small scale parallel digital signal processing platform has been constructed for supporting parallel image sequence compression operation. It consists of a 486DX33 IBM/PC serving as a master processor and two DSP (PC-32) cards as parallel processors. Because of the independent processing and spatial arrangement natures of most image processing operations, an effective parallel image sequence compression algorithm has been developed on the proposed parallel processing platform to significantly reduce the processing time of the proposed parallel image compression algorithms.
48
Garcia, Santiago Naliato. "A imagem digital da TV na copa do mundo de 2010 /." Bauru : [s.n.], 2011. http://hdl.handle.net/11449/99806.
Full textAbstract:
Orientador: Ana Silvia Lopes Davi MédolaBanca: Laura Fernanda Cimino
Banca: Francisco Machado Filho
Resumo: Após 60 anos de desenvolvimento a televisão brasileira - TV - enfrenta novo desafio: atualizar-se a partir de modelos televisivos definidos ao longo de seis décadas de transmissões terrestres adequando-se aos novos modelos e características que os meios digitais proporcionam. No caso da televisão brasileira de transmissão terrestre, o novo modelo a ser implantado traz consigo a necessidade de adaptações necessárias tanto para manter a audiência broadcasting quanto para sobreviver a este novo campo dos meios e veículos multimidiáticos digitais. Ao digitalizar o processo de se fazer televisão, têm-se mudanças substanciais na transmissão e sua melhoria de sinal, na aplicação de recursos interativos e também na produção e geração de conteúdos para a TV digital e seus diversos recursos potenciais. Altera-se, portanto, a relação espectador/emissor no processo comunicational até então estabelecido pela TV em seu formato clássico. Esse upgrade da telinha, já microprocessada e plugada na rede mundial de computadores, implica uma redefinição da comunicação e da forma de se relacionar com o receptor, agora ator mais ativo deste processo de comunicação. O elemento mais visível desta mudança, a imagem, também passa por modificações. Este trabalho faz uma análise da imagem digital tomando como aporte teórico e metodológico a semiótica da imagem, e investiga como se processa a formação da imagem nesse ambiente digitalizado da televisão digital brasileira, elencando os modelos adotados e estabelecendo discussões pertinentes ao meio e a sua adequação ao sistema digital. Utilizaremos como objeto deste estudo imagens em alta definição captadas durante a última Copa do Mundo de Futebol - a Copa de 2010 - em transmissões realizadas por emissoras brasileiras
Abstract: After 60 years of development the brazilian television - TV - faces a new challenge: to update models from television set over six decades of terrestrial adapting to new models and features that provide digital media. In the case of Brazilian television terrestrial broadcasting the new model to be implemented brings the need for adjustments necessary to keep both the audience and broadcasting to survive in this new field of digital media and vehicles multimidiáticos. Upon scanning the process of making television there have been substantial changes in the transmission signal and its improvement, also in the application of interactive features and in the production and content generation for digital TV and its various potential resources. Changes, therefore, the relation viewer/sender in the communication process so far established by the tv in his classic format. This upgrade of screm, and microprocessor plugged into the global computer network implies a redefintion of communication and how to relate to the receiver being more active actor in this process of communiation. The most visiable element of this change, the image also undergoes modifications. This paper analyzes te high definition image, so the feature can be generated and captured by new equipment and uses this new model of television. Using as a theoretical tool semiotics of the image, this analysis investigatesw how the formation of this takes place in this environment scanned image of Brazilian terrestrial television by listing the models adopted and setting discussions relevant to the environment and its suitability for the digital system. Used as objects of studying in high-definition images captured during the last World Cup Soccer - the 2010 World Cup - in a transmissions made by Brazilian issuers
Mestre
49
Surman, Phil. "Head tracking two-image 3D television displays." Thesis, De Montfort University, 2003. http://hdl.handle.net/2086/10745.
Full textAbstract:
The research covered in this thesis encompasses the design of novel 3D displays, a consideration of 3D television requirements and a survey of autostereoscopic methods is also presented. The principle of operation of simple 3D display prototypes is described, and design of the components of optical systems is considered. A description of an appropriate non-contact infrared head tracking method suitable for use with 3D television displays is also included. The thesis describes how the operating principle of the displays is based upon a twoimage system comprising a pair of images presented to the appropriate viewers' eyes. This is achieved by means of novel steering optics positioned behind a direct view liquid crystal display (LCD) that is controlled by a head position tracker. Within the work, two separate prototypes are described, both of which provide 3D to a single viewer who has limited movement. The thesis goes on to describe how these prototypes can be developed into a multiple-viewer display that is suitable for television use. A consideration of 3D television requirements is documented showing that glassesfree viewing (autostereoscopic), freedom of viewer movement and practical designs are important factors for 3D television displays. The displays are novel in design in several important aspects that comply with the requirements for 3D television. Firstly they do not require viewers to wear special glasses, secondly the displays allow viewers to move freely when viewing and finally the design of the displays is practical with a housing size similar to modem television sets and a cost that is not excessive. Surveys of other autostereoscopic methods included within the work suggest that no contemporary 3D display offers all of these important factors.
50
Wakim, Melissa de Melo. "Leitura da imagem televisiva : uma investigação sobre possíveis diálogos entre o ensino de arte e a televisão." reponame:Repositório Institucional da UFPR, 2014. http://hdl.handle.net/1884/36996.
Full textAbstract:
Orientador: Prof. Dr. Gilberto de CastroDissertação (mestrado) - Universidade Federal do Paraná, Setor de Educação, Programa de Pós-Graduação em Educação. Defesa: Curitiba, 30/09/2014
Inclui referências
Resumo: Esta pesquisa, de natureza qualitativa, está centrada no debate acerca da leitura da imagem desenvolvida na escola como um dos mais importantes processos destinados ao ensino formal de arte. Apresenta discussões para redimensionar a leitura de imagem enquanto processo voltado ao ensino e aprendizagem em Arte, considerando estudos sobre leitura e meios de comunicação, realizados a partir da interface dos campos educacional e comunicacional. Afirma a importância dessa leitura como via de interação com o universo imagético contemporâneo, a fim de sustentá-la como prática da linguagem e destacá-la em seu potencial de experiência entre subjetividades e de produção de sentidos. Tem como fundamentação teórica as contribuições do Círculo de Bakhtin, junto à linha dos Estudos Culturais britânicos, no campo da Literatura e nos recentes estudos no campo da Comunicação, na América Latina. Tem como principais teóricos/autores, além de Mikhail Bakhtin (2003; 1998), Valentín Volochínov (2006), Raymond Williams (1992), Jesús-Martín Barbero (2008); Jesús-Martín Barbero e Gérman Rey (2004) e Guilhermo Orozco Gómez (2005; 2001; 1998). A partir desse conjunto teórico, esse estudo buscou: evidenciar outras perspectivas à leitura de imagem, a partir de estudos sobre a interface escola e televisão, a fim de destacá-la em seu potencial de interação; destacar aspectos dialógicos da leitura de imagem para se considerar a possibilidade de diálogo com a imagem televisiva na escola e apresentar reflexões a respeito da leitura de imagens provindas da televisão, levando-se em conta as percepções dos docentes de Arte. A pesquisa almeja, com essa trajetória, contribuir com um referencial teórico ao campo educacional, compreendendo a leitura da imagem como possibilidades de diálogo entre a escola e a televisão. Esta pesquisa se baseou em perspectivas metodológicas bakhtinianas, recorrendo a princípios dialógicos para trazer, por meio de relatos, ideias externas sobre as práticas de ensinar Arte na rede pública estadual, envolvendo a imagem televisiva, a fim de serem associadas às principais discussões levantadas neste estudo. Essas ideias se apresentaram como complementação a essa pesquisa e contribuíram para a formação de compreensões sobre a experiência com imagens cotidianas e para o levantamento de aspectos que falaram muito sobre como a escola vem se relacionando com a televisão. Palavras-chave: Mikhail Bakhtin. Diálogo. Leitura de Imagem. Imagem Televisiva.
Resumen: Esta investigación, de naturaleza cualitativa, está centrada en la lectura de la imagen desarollada en la escuela como uno de los procesos más importantes para la enseñanza formal del arte. Presenta discusiones para cambiar la dimensión de la imagen mientras que el proceso dirigido a la enseñanza de la lectura y el aprendizaje en el arte, teniendo en cuenta los estudios de la lectura y los medios de comunicación, realizados desde la asociación de los campos educativos y comunicacionales. Afirma la importancia de esa lectura como medio de interacción con el universo imaginario contemporáneo, para sostenerlo como una práctica de la lengua y resaltarlo en su experiencia de potencial entre la subjetividad y la producción de significado. Tiene como fundamentación teórica las contribuciones del círculo de Bakhtin, junto a la línea de los estudios culturales británicos, en el campo de la literatura y en los recientes estudios en el campo de la Comunicación, en Latinoamérica. Tiene como principales teóricos/autores, además de Mikhail Bakhtin (2003, 1998), Valentín Voloshínov (2006), Raymond Williams (1992), Jesús Martín-Barbero (2008); Jesús Martín-Barbero y Germán Rey (2004) y Guillermo Orozco Gómez (2005, 2001, 1998). De este conjunto teórico, ese estudio buscó: evidenciar otras perspectivas a la lectura de imagen, a partir de estudios sobre la interfaz escuela y televisión, con el fin de destacarla en su potencial de interacción; poner de relieve los aspectos dialógicos de la lectura de la imagen para considerar la posibilidad de diálogo con la imagen televisiva en la escuela y presentar reflexiones sobre la lectura de las imágenes venidas de televisión, teniendo en cuenta las percepciones de los profesores de Arte. La pesquisa quiere, con esa trayectoria, contribuir con un referencial teórico al campo de la educación, comprendiendo la lectura de la imagen como posibilidades de diálogo entre la escuela y la televisión. Esta pesquisa se basó en perspectivas metodológicas de Bakhtin, recorriendo a los principios dialógicos para traer, por medio de relatos, ideas externas sobre las prácticas de enseñar el arte en la red pública del estado, envolviendo la imagen televisiva, con el fin de asociarse a las principales discusiones planteadas en este estudio. Esas ideas se presentaron como complemento a esa pesquisa y han contribuido para la formación de entendimientos sobre la experiencia con las imágenes cotidianas y para el levantamiento de los aspectos que hablaron mucho sobre cómo la escuela viene relacionándose con la televisión. Palabras clave: Mikhail Bakhtin. Diálogo. Imagen. Lectura de la imagen. Imagen Televisiva.