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Dissertations / Theses on the topic 'Television in literature'

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Published: 4 June 2021

Last updated: 12 February 2022

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1

Ma, Eric Kit-Wai. "Television ideologies and cultural identities : the case of Hong Kong television." Thesis, Goldsmiths College (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.294793.

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2

Kroener, Oliver. "Engaging television characters : a cognitive approach to contemporary television." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/30875/.

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To what degree is the viewer’s engagement with a television character triggered by the distinct narrative context of a programme? As with other types of storytelling (e.g. film, literature), engaging with a television character is an integral part of the overall experience of watching television. More specifically, television characters provide an emotional focal point for the audience. They invite us to imagine ourselves in their situation, challenge our sense of morality, and encourage us to consider how we would react if we were to encounter them in our everyday life. Whereas in the past relating to television characters has been somewhat of a private phenomenon, our relationship with television characters has become increasingly public within the last decade. The ever-growing recap culture around all types of television programmes on websites such as The AV Club, Uproxx, and IndieWire, and the lively discourse around television characters on social media (e.g. Twitter, Instagram, Facebook) underline this increased public interest in television characters. Given the current popular interest in viewer engagement with television characters, it is surprising that only a limited number of scholarly works have previously explored this subject. Furthermore, most existing studies on the viewer/character relationship in contemporary television exhibit little variation in their focus on genre and character type. More specifically, as a result of the impact of The Sopranos (1999 - 2007) and Breaking Bad (2008 – 13) on popular culture, scholarly discourse around television characters has been dominated by studies on the morally corrupt antihero protagonists of contemporary television drama. Aside from a few notable exceptions (e.g. Gorton, 2009; Blanchet and Vaage, 2012; Mittell, 2015), most existing studies on viewer engagement with television characters ignore the way in which narrative characteristics inherent to the television medium influence the viewer/character relationship. The main aim of this thesis is to establish a medium- and programme-specific, text-based theoretical model for the study of viewer engagement with television characters. Various television formats are examined, including wrestling, contemporary drama, animated series, and late-night chat programmes. Also examined are the specific modes of engagement (e.g. antipathy, parasocial engagement, long-term viewer engagement) that shape the viewer-text relationship. The methodological approach is primarily based in cognitive media theory and television studies, however, studies on viewer engagement from a wide range of disciplines (e.g. literary studies, psychology, sociology) are also considered. By examining viewer engagement in this way, this thesis challenges and builds upon existing theoretical approaches, and seeks to provide the reader with a deeper understanding of a relationship that, despite its growing importance in the everyday lives of many television viewers, has thus far only received limited scholarly attention.

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3

Alves, Stefanie Hesse. "A vida como ela é : Nelson Rodrigues no palimpsesto televisivo." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284598.

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Orientador: Gilberto Alexandre Sobrinho
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-21T07:34:39Z (GMT). No. of bitstreams: 1 Alves_StefanieHesse_M.pdf: 1981641 bytes, checksum: dac84046436f38b8c4b1f63ef6400538 (MD5) Previous issue date: 2012
Resumo: Este estudo busca compreender o processo de adaptação de textos de Nelson Rodrigues para a televisão, por meio da análise dos episódios da série A Vida como ela é, dirigida por Daniel Filho, roteirizada por Euclydes Marinho, a partir de textos extraídos da coluna homônima de Nelson Rodrigues, publicada no jornal Última Hora, na década de 1950 e que foi exibida no programa Fantástico, da Rede Globo de Televisão, no ano de 1996. Interessou-nos investigar, a partir de um olhar direcionado aos aspectos narrativos e discursivos, componentes da linguagem audiovisual, como o meio televisivo foi explorado em suas estratégias e singularidades na tradução da obra rodriguiana. Tratamos, portanto, de discutir a presença de elementos característicos da poética rodriguiana nos textos da coluna jornalística, as características gerais da série dentro do panorama televisivo, considerando seu aspecto formal singular, sua inserção em um programa de variedades, a função ocupada pela série na estratégia da emissora no período em que foi exibida, de que maneira os textos de Nelson Rodrigues receberam da equipe de criação da série uma roupagem de cores, formas, figurinos, maquiagens, enquadramentos, músicas, vozes e efeitos sonoros, e como essa construção é ativada na construção de sentido da obra
Abstract: This study intend to understand the process of adapting Nelson Rodrigues texts to the television media, by analysing the episodes from the serie A vida como ela é, directed by Daniel Filho, scripted by Euclydes Marinho, based on texts taken from the column with the same name written by Nelson Rodrigues, published in the newspaper Última Hora, during the 1950 decade, and broadcasted during the program Fantastico, by Rede Globo de Televisão, in 1996. We were interested in studying, from a view directed to the narrative and discursive aspects, components of audiovisual language, how television media was explored in its strategies and singularities in the translation process of Nelson Rodrigues texts. We intend, therefore, to discuss the presence of elements from Nelson Rodrigues writing in the newspaper column, the general characteristics of the series within the television scenery, considering its singular formal aspect, its insertion into a variety show, the role taken by the series in the strategy of the TV station during its exhibition, how Nelson Rodrigues writing received colors, shapes, costumes, makeup, frameworks, music, voices and sound effects by the creative crew, and how this scenario is activated in the serie's comprehension
Mestrado
Artes Visuais
Mestre em Artes Visuais

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4

Lecomte, Monia Rolande Marie. "L'Europeanisation de la television Francaise." Thesis, University of Bath, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268193.

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5

Keirstead, Phillip O. "Changing television news : a comparative historical study of the automation of British and American television newsrooms." Thesis, City University London, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307870.

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6

Mullin, Romano Francis. "Reimagining the Renaissance : afterlives in literature, film and television." Thesis, Queen's University Belfast, 2017. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.728197.

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7

Kreuz, Jill. "Shakespeare on South African television." Master's thesis, University of Cape Town, 1992. http://hdl.handle.net/11427/21692.

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This study undertakes the analysis of the eight productions of Shakespeare that were produced for television by the South African Broadcasting Corporation (SABC) between 1977 and 1988. The plays that were selected for production are Much Ado About Nothing (1977) Macbeth (1980) Twelfth Night (1981), A Midsummer Night's Dream (1982), Hamlet (1983), and The Merchant of Venice (1987). The SABC has also televised two stage productions by performing arts councils; these are Romeo en Juliet (1982) and The Winter's Tale (1988). The approach I have taken is a cultural materialist one. The television productions are analysed within the context of the SABC as a social, political and cultural institution, whose policies and practices are in turn shaped by the wider national political, economic and social context. The cultural role of the SABC is a dominant one, not least because of its monopoly over South African broadcasting until 1986. Its perception of its role and function is based on the passive "mirror" theory of media communication whereby "reality" is simply reflected within the operations and by the products of radio and television. In contrast, my approach to broadcast media incorporates the view that a broadcasting institution has a mutually active relationship with the community it addresses itself to, that this relationship undergoes change through historical development and that its products engage with their audience as it engages with them; they are as much informed as informing. In exploring the conditions of production of the SABC's television Shakespeares, I have undertaken to interview as many people as possible involved in their production. Analysis of their approach to the production of Shakespearean drama in South Africa combined with (semiotic) analysis of the message of production leads to an interpretation of the ideological reference of these productions. I conclude that the eight television productions of Shakespeare (separately and together) reinforce the traditional idealist attitudes towards Shakespeare instilled by critical orthodoxy. To a large extent, these attitudes are maintained by the educational, theatrical, and popular cultural background which produces the "Shakespeare myth" in South Africa.

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8

Giaccardi, Chiara. "Advertising on television : a comparative sociosemiological analysis." Thesis, University of Kent, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303325.

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9

Jacobs, Jason. "Early British television drama : aesthetics, style and technology." Thesis, University of East Anglia, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296562.

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10

McNair, Brian. "Television news coverage of defence and disarmament issues." Thesis, University of Glasgow, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333600.

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11

Carrie, Douglas George. "Patterns of audience appreciation ratings for television programmes." Thesis, London Business School (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.266082.

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12

Adamou, Christina. "Screening the unrepresentable : Samuel Beckett's plays for television." Thesis, University of Reading, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288772.

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13

Taylor, Paul Alan. "Theories of laughter and the production of television comedy." Thesis, University of Leicester, 1985. http://hdl.handle.net/2381/8433.

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In order to examine the context of entertainment (through studying the particular form of television situation comedy) it was felt necessary to review the literature referring to humour in general. Chapters 2, 3, and 4 look at contributions from the fields of psychology, philosophy, and sociology. Psychology has little to offer if an understanding of the mass media is sought; philosophy places man in society but concentrates on the individual perception of humour; ‘sociology’ confirms the useful concept of comedy as dealing with values and conventions. The audience may be asked to laugh at what is determined to be unacceptable behaviour in society, just as it may applaud correct ways of acting. Chapter 5 contains a discussion of approaches to the mass media and concludes that studies of production may be more relevant than studies of effects. Chapter 6 offers a perspective of the development of situation comedies, from music hail sketches through radio to television. The views of producers and writers of comedy are reported in Chapter 7; the major conclusion is that they are not free agents but work to provide entertainment as demanded by the television companies. Chapter 8 gives two approaches to the audience. An analysis of information about programmes suggests that major themes may be identified. An examination of the 'studio audience' brings the thesis back to its main drift - that laughter is social communication of an order above mere response to joking and comedy.

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14

Creeber, Glen. "Between two worlds : the television plays of Dennis Potter." Thesis, University of East Anglia, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338060.

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15

Buckingham, David. "The development of television literacy : talk, text and context." Thesis, University College London (University of London), 1993. http://discovery.ucl.ac.uk/10019083/.

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This thesis seeks to contribute to a theory of 'television literacy' - that is, of the understandings and competencies children employ in interpreting and using the medium - which is both social and developmental. The main focus of the research is on the way s in which these competencies are mobilised and defined in small-group talk. The data are drawn from a series of interviews with a core sample of ninety children in three different age groups, aged between seven and twelve. The groups were varied in order to provide for systematic comparisons in terms of age, social class, gender and ethnicity. Analysis of the data draws particularly on approaches derived from discourse analysis, and is related to hypotheses raised in previous research, particularly within the fields of cognitive psychology and media studies. The thesis begins with a review of the theoretical paradigms which have been employed in analysing the relationship between children and television, and a critical account of previous definitions of 'television literacy' within educational and psychological research. The second section of the thesis discusses some methodological problems associated with the status and interpretation of small-group interviews in this field. It goes on to offer an alternative analytical framework, which considers the relationships between the content of talk, the subject positions of speakers and the social relations of the interview group. The third section considers children's use of 'higher order' concepts which are the focus of media education, namely those of genre, representation, modality and agency. In each case, the analysis of empirical data is related to a critical review of previous research in the field. In the final section, conclusions and implications for future qualitative audience research and for media education are considered.

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16

Lavender, Andrew Mark. "Thatcher's thrillers : British television thriller serials of the 1980s." Thesis, Goldsmiths College (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.481497.

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17

Al-Kheraiji, Fahad Abdulaziz. "The culture of television advertising : an historical and empirical analysis of the content of television commercials and of the Saudi viewers' responses to advertising." Thesis, University of Leicester, 1992. http://hdl.handle.net/2381/34829.

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This exploratory study is to fill in some of the gaps in the current state of knowledge about the cultural exports of Multinational Corporations and Multinational Advertising Agencies. Another primary purpose of this research has been to investigate the nature of the relationship between advertising culture and Saudi television audiences and how this is reflected in both the content of television commercial and audience responses'. This study provides, firstly, a link between the past and present history of advertising in Saudi Arabia; secondly, it follows the detailed development of television advertising in Saudi Arabia from its inception in 1986 until 30th December 1989; thirdly, it indicates that the content of television commercials does not focus mainly on the selling intent (physical benefits and economic values) of products and services, but rather on the creation and enforcing of a global culture - a multinational culture - which plays on emotions, and social and personal values to achieve its ultimate goals; fourthly, it explores, empirically, the theoretical arguments about the effects of advertising on cultural values and national identity and the claim that it helps to implant Western ideology in less developed societies. This study raises concerns about the loss of cultural and national identity within Third World communities. The fear is that the threat arises not only from Western ideology but also from that of neighbouring countries, with their inexpensive production and opportunities for MNC manipulation at the expense of local culture, as in the case of Egypt and Lebanon's effect on Saudi Arabia culture. This concern is explained through the interaction between television commercials (senders) and Saudi society (receivers). Finally, the study encourages the use of more than one technique to tackle the complexity of studying advertising and culture. Two instruments, content analysis and survey, were used to bridge the gap between the sender and the receiver, or in other words, the gap between television presentation and viewers perceptions. The researcher hopes that this study is the seed for future work which can provide a more complete picture of advertising culture in the Third World.

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18

Collins, Richard. "Culture, communication and national identity : the case of Canadian television." Thesis, University of Strathclyde, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314576.

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19

Bignell, Jonathan. "The moving image : narrative construction in film and television fiction." Thesis, University of Sussex, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303240.

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20

Oduko, Olusegun A. "Television drama in a developing society : the case of Nigeria." Thesis, University of Leicester, 1985. http://hdl.handle.net/2381/34604.

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21

Kurz, Lindsey H. "The Queer "Third Species": Tragicomedy in Contemporary LGBTQ American Literature and Television." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1525170405649783.

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22

Chen, Jie. "Chinese television broadcasting in transition : between the Party and the market." Thesis, University of Sussex, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262181.

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23

Han, Heeju. "Galdosian novels adapted in film and television 1970-1998 /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3264320.

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Thesis (Ph.D.)--Indiana University, Dept. of Spanish and Portuguese, 2007.
Source: Dissertation Abstracts International, Volume: 68-05, Section: A, page: 1958. Adviser: Maryellen Bieder. "Title from dissertation home page (viewed Jan. 12, 2008)."

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24

Eberts, Jane F. "Adaptation: Is the Book Really Better Than the...Television Series?" Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/105.

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When the topic of ‘adaptation’ is brought up, more often than not the coupling of a novel and its most recent Hollywood hit come to mind. Although it may not be at the forefront of the general population’s mind, adaptation is something that we encounter often, and consciously or not, we all have our own theory on the subject. While it may seem that the evolution of book series, to film adaptation, to booming franchise may be recently trending with the acceleration of blockbusters such as Harry Potter, adaptation has been a fundamental part of the advancement of media. This paper looks at film and television adaptations founded outside of the literary canon, exploring the discourse of what constitutes high or mass culture and how the medium of the adaptation fits or breaks the conventions that “classic” film adaptation has established. In addition, the medium-specific differences between film and television will be examined for how they limit or enhance a literary adaptation, whether it is a single novel or a series. What happens to the critique of an adaptation when it extends past the narrative created in the source text, opposed to the adaptation that begins and ends with the source narrative? In addition, adaptations will be looked at through a contextual and historical lens, rather than a moralistic or hierarchical lens, producing a criticism that incorporates the differences among the media involved in adaptations.

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25

Fanthome, Christine Anne. "Channel 5, 1987-2001 : an institutional analysis of Britain's fifth television channel." Thesis, University College London (University of London), 2002. http://discovery.ucl.ac.uk/10020382/.

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26

Huang, Yu. "Media reform and democratization in post-Mao China : a television case study." Thesis, University of Westminster, 1993. https://westminsterresearch.westminster.ac.uk/item/94qv7/media-reform-and-democratization-in-post-mao-china-a-television-case-study.

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Social reform movements in the communist state are a simultaneous, dialectical Process of the revival of socioeconomic dynamism on the one hand, and the abandonment of Party-state praxes on the other. As a result, the Party-controlled media system is bound to proceed to organic transformation. However, by using the medium of television as a key example, this thesis seeks to demonstrate that, under the conditions of Deng Xiaoping's particular and contradictory reform programme and in the context of Chinese society, Chinese mass media have created their own pattern of media transition that is unparalleled by that of other communist states, particularly those under the Gorbachev-style reform programme. The main characteristic of the Chinese case is that the growth of the industry and the reform of the media institutions have spontaneously become a twofold theme governing the whole process of post-Mao media development. Therefore, its adopted policies and strategies, institutional transactions, media performance, structural changes and the ways of delivering resources and increasing productivity, have all been conducted and constrained within that framework. The style of media transition in post-Mao China is not radically revolutionary, but evolutionary. It entails growth that incrementally redefines reality, producing its own dynamics and conflicts. The evidence of the thesis suggests that Deng Xiaoping's reform formula for the Chinese mass media --- an unintended contradiction of promoting the growth of the media industry and rationalizing its performance without allowing the parallel development of institutional democratization and fundamental changes of the power structure of Party's media --- cannot obtain its intended objective. Rather, it tends to produce a boomerang effect: although it can protract the process of media democratization, the new social forces, the changing economic relations and political culture in post-Mao China have provided the solid foundation for a further change with the overall media reform tendency continuously gaining momentum. The historical logic and irony become explicit here: Deng's reform programme, as a desperate resort to save the Party-state system and to prevent the advent of democracy, has turned out to be the midwife of far-reaching societal transformation and democratization in China. Thus, despite the sufferings and frustration of the 1989 Beijing pro-democracy movement, the present course of social reform is almost impossible to reverse.

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Oxoby, Marc C. "American literary fiction in a televisual age /." abstract and full text PDF (free order & download UNR users only), 2005. http://0-wwwlib.umi.com.innopac.library.unr.edu/dissertations/fullcit/3209131.

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Thesis (Ph. D.)--University of Nevada, Reno, 2005.
"August, 2005." Includes bibliographical references (leaves 217-227). Online version available on the World Wide Web. Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2005]. 1 microfilm reel ; 35 mm.

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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/.

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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.

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Koai, Kuang-Wu. "Television regulation in Taiwan, 1962-1995 : state control, media autonomy and regime transition." Thesis, London School of Economics and Political Science (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244801.

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Burnett, Susan E. "A thin blue line : tracing the emergence of the BBC television police series." Thesis, University of East Anglia, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297479.

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Lorenzo-Dus, Nuria. "The discursive co-construction of participants' identities in the television talk show Kilroy." Thesis, Cardiff University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269492.

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Barker, Christopher John. "The culture industry in contemporary Britain : the possibility of political drama in television." Thesis, University of Leeds, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.280873.

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33

Murrell, Rachel Kerys. "Constructing science for the camera : science and technology programmes on British popular television." Thesis, University of Sussex, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.317258.

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34

Ding, Grace T. "The Circuit: An Original Television Series." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/881.

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Between good and evil there's a whole lot of gray: Welcome to The Circuit. A shady private security firm recruits criminals straight out of prison and sells its services to the highest bidder, saint and sinner alike (mostly sinners). Through the trials and tribulations of a diverse ensemble cast, the show explores some of my absolute favorite themes in storytelling: gray morality, found families, and unlikely heroes. Follow our gritty and guarded lead Shaye as she struggles to tame a group of talented and contentious ex-cons under the shadow of her ambitious and manipulative father, all the while struggling to maintain her integrity in a world where nobody's the good guy. This thesis is an original television drama series, and consists of two full episodes as well as thirteen episode synopses for season one. It is also a work in progress, so feedback is welcome.

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Tsaliki, Liza. "The role of Greek television in the construction of national identity since broadcasting deregulation." Thesis, University of Sussex, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.360590.

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36

Brunsdon, Charlotte Mary. "The feminist, the housewife and the soap opera : feminist television criticism and soap opera." Thesis, University of Birmingham, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.396230.

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37

Bonner, Frances Jane. "Stories of what is to come : the future in film and television 1959-1989." Thesis, Open University, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.304683.

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Bell, Stuart. "'Don't stop' : re-thinking the function of endings in narrative television." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/7282/.

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This thesis argues that the study of narrative television has been limited by an adherence to accepted and commonplace conceptions of endings as derived from literary theory, particularly a preoccupation with the terminus of the text as the ultimate site of cohesion, structure, and meaning. Such common conceptions of endings, this thesis argues, are largely incompatible with the realities of television’s production and reception, and as a result the study of endings in television needs to be re-thought to pay attention to the specificities of the medium. In this regard, this thesis proposes a model of intra-narrative endings, islands of cohesion, structure, and meaning located within television texts, as a possible solution to the problem of endings in television. These intra-narrative endings maintain the functionality of traditional endings, whilst also allowing for the specificities of television as a narrative medium. The first two chapters set out the theoretical groundwork, first by exploring the essential characteristics of narrative television (serialisation, fragmentation, duration, repetition, and accumulation), then by exploring the unique relationship between narrative television and the forces of contingency. These chapters also introduce the concept of intra-narrative endings as a possible solution to the problems of television’s narrative structure, and the medium’s relationship to contingency. Following on from this my three case studies examine forms of television which have either been traditionally defined as particularly resistant to closure (soap opera and the US sitcom) or which have received little analysis in terms of their narrative structure (sports coverage). Each of these case studies provides contextual material on these televisual forms, situating them in terms of their narrative structure, before moving on to analyse them in terms of my concept of intra-narrative endings. In the case of soap opera, the chapter focusses on the death of the long running character Pat Butcher in the British soap EastEnders (BBC, 1985-), while my chapter on the US sitcom focusses on the varying levels of closure that can be located within the US sitcom, using Friends (NBC, 1993-2004) as a particular example. Finally, my chapter on sports coverage analyses the BBC’s coverage of the 2012 London Olympics, and focusses on the narratives surrounding cyclists Chris Hoy and Victoria Pendleton. Each of these case studies identifies their chosen events as intra-narrative endings within larger, ongoing texts, and analyses the various ways in which they operate within those wider texts. This thesis is intended to make a contribution to the emerging field of endings studies within television by shifting the understanding of endings away from a dominant literary model which overwhelmingly focusses on the terminus of the text, to a more televisually specific model which pays attention to the particular contexts of the medium’s production and reception.

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39

Sparks, Richard John. "Crime, television and social anxiety : moral tales and the place of crime in public life." Thesis, University of Cambridge, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385852.

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40

Harrison, Jackie L. "British television news in the 1990s : newsworthiness in a multi-organisational and multi-programme environment." Thesis, University of Sheffield, 1995. http://etheses.whiterose.ac.uk/3003/.

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This study is concerned with the constituent features of television news in Britain in the 1990s. It examines both the content of television news and production strategies employed by television journalists in the context of the changing structural and cultural relations of British television during the 1980s and 1990s. An underlying theme of this thesis is the important role that television news has to play in relation to citizenship rights and as an important institution of the public sphere in Britain. A process of fragmentation of the television news genre has in recent years, resulted in the evolution of a variety of different news programmes which exhibit different concepts of newsworthiness and public interest journalism. Such fragmentation is challenging long established notions of quality and public interest progranmiing and replacing them with a more populist approach emphasing entertainment. In addition the ability of televison news to play an important role in enabling the public to play an active part in a democracy is being further restricted and undermined in the mid- 1990s through the increasing commercialization of broadcasting institutions. To date analyses of news content and news production have tended to ignore the complexity of the news genre itself and have assumed that television journalism can be analysed as a unitary practice, neglecting the competitive diversity and dynamic technological change occurring in British broadcasting. However it is a theme of this thesis that the critical analysis and interpretation of television news remains incomplete without an in-depth study of the multiplicity of news programmes and news orgamsations which exist in Britain in the 1990s. This thesis shows, using content analysis and observational analysis, that television news in the 1990s has reached a critical juncture. Key vectors of change, politico-economic (including the new wave of commercialization of television news in the 1990s), technological and transnational influences have strongly affected the broadcasting environment in Britain over the last decade and increased the pressure on news providers. News values are becoming more tied to particular contractual specifications made upon news programmes. Newsworthiness itself is constructed within journalistic professional culture, by the journalist's zone and mode of operation, and is adapted to the designated style of an organisation or programme. The variety and diversity of "mid-ranking stories" and the differences in treatment of "big news stories" by different news programmes - processes which are revealed in the empirical studies in this thesis - illustrate clearly how newsworthiness can be adapted and changed to fit particular programme epistemologies.

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Ribeiro, Rondinele Aparecido. "De O Berço do Herói a Roque Santeiro : análise da transposição do herói para a teleficção /." Assis, 2019. http://hdl.handle.net/11449/190956.

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Orientador: Francisco Cláudio Alves Marques
Banca: Luciana Brito
Banca: Gabriela Kvacek Bettella
Resumo: No cenário contemporâneo, marcado pela mobilidade, as relações entre literatura e audiovisual ocupam grande importância no ideário da sociedade como destaca Ivete Walty (2011). Podemos afirmar que esse vínculo entre o audiovisual e o literário se notabiliza por um laço profícuo, que, recentemente, adentrou o meio acadêmico sob novas perspectivas por eliminar o arraigado binarismo constitutivo das hierarquizações empregadas para se referir a esse processo. Destaca-se, nesse contexto, a produção de Dias Gomes. Dramaturgo responsável pela adoção de uma linguagem mais cotidiana na teledramaturgia nacional, adotava a concepção de que sua arte deveria manter um diálogo crítico com a realidade. Assim, nesse cenário tratado por Walty (2011) como a era da mobilidade, intentamos, a partir do fenômeno da adaptação, apontar como ocorreu a transposição da personagem protagonista da peça teatral O Berço do Herói (1965) para a telenovela Roque Santeiro (1985). Nosso estudo centra-se na transposição da personagem e objetiva apontar as conjunções e disjunções ocorridas nesse processo. Para tanto, vale-se da Literatura Comparada como arcabouço metodológico devido seu aspecto inter e transdisciplinar, que concebe a relação entre literatura e outras expressões como uma forma legítima de expressão cultural
Abstract: In the contemporary scenario, marked by mobility, the relations between literature and audiovisual have got great importance in the ideals of society as highlighted by Ivete Walty (2011). We can say that this link between the audiovisual and the literary is notable for a successful bond that has recently entered the academic world under new perspectives by eliminating the entrenched binarism as part of hierarchies employed to refer to this process. In this context, the production of Dias Gomes stands out. The playwright responsible for adopting a more everyday language in national television drama adopted the conception that his art should maintain a critic dialogue with reality. Thus, in this scenario treated by Walty (2011) as the era of mobility, we intend, from the phenomenon of adaptation, to point out how the protagonist character of the play O Berço do Herói (1965) transposed to the soap opera Roque Santeiro (1985). ). Our essay focuses on character transposition and aims to point out the conjunctions and disjunctions that occurred in this process. To this end, it makes use of Comparative Literature as a methodological framework due to its inter and transdisciplinary aspect, which conceives the relations between literature and other expressions as a legitimate form of cultural expression
Mestre

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42

Diaz, Christina. "'Modernization' or cultural imperialism and dependency through media aid? : a case study of television in Sudan." Thesis, University of Sussex, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.276352.

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The establishment of television in one of the world's "least developed" countries, the Sudan, was almost entirely a West German venture. The lion's share of the necessary equipment, training and "expert" personnel for the national channel, the Sudan Television Service (STV), and the Gezira Rural Educational Television (RTV) was provided by the Federal Republic of Germany's technical aid, which also played a major role in the maintenance of both services over a long period (nearly two decades in the case of STV). The decision to undertake a case study of these two 'aid' projects was initially prompted by the shortage of studies examining the impact of "media aid" (usually supplied as parts of technical aid programmes) on the 'aid'-receiving countries. The following questions essentially remained unanswered: Put in very simple terms, could media aid be shown to keep the promises of the 'aid' -suppliers, namely that media aid in general, and television in particular, would contribute to the well-being of the receiving country and its population? Or was it more likely - as some authors insisted - to increase or consolidate various forms of dependence and act as a cultural imperialist agent7 Were such 'aid'-projects entirely altruistic ventures, as tended to be claimed by their suppliers, or could they, rather, be shown to be primarily self-interested? Could television, and rural educational television in particular, be shown to be conducive to promoting "modernization", as not only the 'aid'-supplying countries but also Unesco-publications had long claimed, and what exactly was meant by "modernization"? This thesis will attempt to provide answers to these questions by reference to STV and RTV as German 'aid' projects. Both were explicitly put in the service of "modernization" not only by the 'aid' administration but also by the respective Sudanese governments.

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43

Piper, Helen. "Questions of value and problems of critical judgement : British television drama serials, Autumn 1997 - Autumn 2000." Thesis, University of Bristol, 2001. http://hdl.handle.net/1983/3221a608-b770-4399-83b4-af4487db3df4.

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44

Weiss, Katherine. "Book Review of Samuel Beckett’s Plays on Film and Television by Graley Herren." Digital Commons @ East Tennessee State University, 2008. https://dc.etsu.edu/etsu-works/2289.

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45

Souza, Anny Ribeiro. "Bentinho é Capitu: a autotraição do narrador de Dom Casmurro." Universidade do Estado do Rio de Janeiro, 2015. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=8298.

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Bentinho não é um personagem completamente inocente em suas memórias autobiográficas. Apesar de se colocar na posição de vítima, algumas atitudes suas dentro do romance Dom Casmurro, de Machado de Assis, são capazes de acusar o narrador de primeira pessoa de outras coisas além da imagem que pretende fazer de marido traído. Desta forma, este trabalho vai investigar como o personagem, através de sua versão casmurra, sai da posição de acusador para a de réu. Veremos como o personagem, que tem o poder da narrativa nas mãos, ironicamente trai a si mesmo, deixando-se mostrar, mesmo que sem claramente perceber, suas características acusatórias. Assim, encontraremos nele não só um personagem ciumento com toques de loucura, mas também uma pessoa tão dissimulada e manipuladora quanto Capitu, sua namorada e depois esposa a quem julga e condena ao longo do romance. Ser como ela leva Bento ao mesmo destino da moça: a solidão e o exílio que, no caso dele, acontece, em sua própria terra natal. Há ainda um segundo corpus sobre o qual esta análise se debruça: a microssérie Capitu (2008), exibida pela TV Globo em comemoração ao centenário de morte de Machado de Assis. Mostraremos como o trabalho audiovisual dirigido por Luiz Fernando Carvalho levou para a televisão as orientações de Machado de Assis, mantendo o mistério do Bruxo do Cosme Velho. Além disso, a microssérie também traduz em imagens a ideia de que Bentinho é um reflexo, um desdobramento de Capitu.
Bentinho is not a completely innocent character in his autobiographical memories. Despite posicioning himself as victim, some attitudes of him inside the novel Dom Casmurro, written by Machado de Assis, are able to accuse the first-person narrator of other things besides the image of betrayed husband that he wants to show. Thus, this study will investigate how the character, through his cranky old version leaves the accuser position for the defendant. We will see how the character, who has the power of the narrative in his hands, ironically betrays himself, showing, even without clearly see, his accusatory characteristics. Thus, we will find in him, not only a jealous character with some madness, but also a person who is as disingenuous and manipulative as Capitu, his girlfriend, an then, the wife who is judged and sentenced throughout the novel. Being like her, gives Bento the same destination of the girl: loneiness and exile that, in his case, happens in his own homeland. There is a second corpus on which this analysis focuses: the miniseries Capitu (2008), displayed by TV Globo in celebration of the centenary of the death of Machado de Assis. We will show how this audiovisual work directed by Luiz Fernando Carvalho presented on television the Machado de Assis guidelines, keeping the mystery of the Bruxo do Cosme Velho. In addition, the miniseries also translates into images the idea that Bentinho is a reflection, a breakdown of Capitu.

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46

Holder, Laura L. "Common Christs| Christ Figures, American Christianity, and Sacrifice on Cult Television." Thesis, University of Louisiana at Lafayette, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3687688.

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Shifts in social attitudes towards American Christianity have resulted in a changed representation of Christ figures, specifically in their representation on television. Traditional Christ figures, those who believed in unconditional love and self-sacrifice for the greater good, clung to the church view and were figures of virtue and innocence. Modern Christ figures have become what I call "Common Christs"—people who are less likely to be the image of sinless perfection and more often violent and profane saviors. These modern stand-ins are usually from blue-collar or lower class backgrounds; they are the Christs of the common man. Generally, these Common Christs are in opposition with the dogmatic authority of the Christian church. The storylines that have Common Christs as their heroes often depict the organized religion of the church as an enemy, a negative institution trying to prevent the salvation of the common man by the common man. The purpose of my dissertation is to examine Common Christs as they appear in cult television shows that embrace and make strong use of Christian mythology without being considered Christian television, specifically The X-Files, Buffy, the Vampire Slayer, and Supernatural, to show how this changed image works as evidence of what I call the development of a textual religion. Ultimately, I hope that my discussion of Common Christs and textual religion will lead into a larger discussion between the academic camps of religious studies, pop culture studies and literary criticism about the importance of cross-disciplinary focus.

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47

Ko, Yuni Jeongyun. "Catching up with "New Asia" and its diasporas transnational representations and imaginations /." Diss., Online access via UMI:, 2007.

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48

Johnson-Smith, Jan. "Between the candle and the star." Thesis, Bournemouth University, 2001. http://eprints.bournemouth.ac.uk/417/.

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This dissertation explores the limits and possibilities of science fiction at the level of television. It examines the narrative strategies of the television series Babylon 5, arguing that the programme has created a radical new sf discourse for television. In doing so, Babylon 5 has also created a new form of television narrative. The Introduction establishes the parameters of the study. Part One examines science fiction in context, considering how the genre may be identified, and in Part Two, examines its possible precursors and the influences of the epic, the Romantic novel (particularly the Gothic) and Sublime. It also considers the role and visualisation of the Western and the epic settlement of the frontier in American mytho-history. Part Three establishes the general criteria for an aesthetics of television, discussing television narrative, and examining episodic and serial drama, soap opera, before considering issues of authorship and industry. It also explores representations of sf on television with series such as Star Trek; Star Trek: The Next Generation, Deep Space Nine, Voyager, Dr Who, The X Files, Space: Above and Beyond and Stargate: SG-1. Part Four examines the five-season text of Babylon 5, arguing that in form and content it creates an ideological break with the binary ideology of the past, creating a new form of television which is both epic and novelistic, serial and episodic in nature. Part Five concludes the dissertation, proposing that Babylon 5 offers the first television epic and creates a discourse where the ideology of the past and the values of traditional television sf are questioned and subverted, resulting in a new mythos based upon the infinite discourse of diverse humanity.

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Biressi, Anita Ruth. "True crime : a study of contemporary books and magazines in context." Thesis, University of East London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322426.

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50

Saaris, Natalie Potok. "Refashioning the Novel in the Age of Image Media." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11477.

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This dissertation examines how the contemporary French novel is responding to television. While much has been written regarding the threat that television poses to books, narrative, and language, the survival strategies of writers have been largely overlooked. Rather than lamenting the novel's decline, this study asks how writers are rethinking the purpose and form of the novel to better represent televisual subjectivity and to adapt the genre to a new cultural paradigm. Contemporary novelists must negotiate a tension between distinguishing the novel from the medium of television while also integrating their work into mainstream culture in order to remain relevant. How can the novel both rival television and borrow from it?
Romance Languages and Literatures

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