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1
Camur, Aysel. "Charity Programmes: Representations Of Poverty In Turkish Television." Master's thesis, METU, 2004. http://etd.lib.metu.edu.tr/upload/2/12605061/index.pdf.
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This thesis analyses the representation of poverty in the charity programmes broadcast on Turkish television, namely Deniz Feneri, Kimse Yok mu, Yarinlar Umut Olsun and Yolcu. It examines the continuities, discontinuities and breaks in the representation of poor with reference to Turkish cinema, novel and media. Critical discourse analysis of the charity programmes indicates that poverty is legitimised and naturalised, being made no reference to social, economic and political context of poverty. The construction of the poor as &ldquoobjects of aid&rdquo
given by &ldquo
philanthropists&rdquo
is examined and it is argued that the poor become a means of salvation, self-realisation and self-fulfilment of &ldquo
philanthropist&rdquo
. It is here claimed that Islam and nationalist-conservative discourse serve the internalisation and tranquillisation of poverty in the programmes. The study also analyses the visual and aural representations of the poor in the programmes. The slow-motion, black and white photographs, close-up, limited motion, and the music accompanying the pictures are the most fundamental tools of dramatising poverty in the charity programmes
and they address to &ldquo
conscience&rdquo
of &ldquo
philanthropists&rdquo
. It is also argued that voiceover and subtitling efface the voice of the poor.
2
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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Carey, Mark. "The enhancement of archive television programmes for audience interactivity." Thesis, University of Sunderland, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.490355.
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The work presented in this Thesis details the development and evaluation of a working production methodology for the creation of a prototype television programme for the emerging medium of interactive broadcasting. With few production methodologies available for the creation of interactive television programmes, the research work used exploratory methods to identify suitable provision in the field of interaction that could be adapted for interactive television distribution by present and of future broadcast systems. As well as implementing a form of interaction currently unavailable through interactive television in the UK, the methodology presented utilises existing television stock. Through the constraints imposed in using existing recordings the work identified the steps necessary in implementing a process for converting the 20 material into 3D so that advanced interaction in the form of user control of a virtual camera could be implemented. Through the identification of a unique set of existing software tools and the production of a dataflow.for the successful integration of those software tools, a prototype interactive television programme was created using existing television stock. 80th the methodology and the programme created were evaluated in terms of whether the working methodology was understandable by third parties and in the acceptance of a new form of television content by an audience.
4
Simpson, Neil A. "A study of religious television programmes in the UK." Thesis, University of Edinburgh, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.236232.
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Waller, A. S. "Meta TV in practice : a study of the re-use of television texts within contemporary television programmes." Thesis, University of Salford, 2015. http://usir.salford.ac.uk/34068/.
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This thesis considers how television reflects on its own output in the context of newly created television programmes which seek to reconsider, reframe and re-contextualise the content of television programmes that have already been broadcast. It does this by considering a range of programmes created between 2002 and 2009 as part of my work as a practice based researcher. These programmes cover some of the key genres in contemporary television and reflect the development of forms and themes within the medium. The broad focus of this work is to seek to gain an understanding of what fresh meanings can be derived from re-using existing television content in new programmes that contextualise it with the provision of newly commissioned and created visual content. More specifically the work seeks to explore the role of the implied viewer and his or her proxies on screen and how this affects the construction and delivery of these new programmes. The programmes under consideration include archive based retrospectives of television dramas, lifestyle programmes and property formats. These are viewed from the perspective of key ideas in television studies including fan studies, celebrity culture, intertextuality, hybridity and television history. Taken altogether, it is argued the work constitutes a meta-practice in television.
6
De, Villeneuve Therus Hélion. "Copyright liability for television programmes relayed by satellite : a comparative study." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65348.
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Viertel, Katrin [Verfasser]. "Most watched:Family representations in high-rating programmes on German television / Katrin Viertel." Bremen : IRC-Library, Information Resource Center der Jacobs University Bremen, 2013. http://d-nb.info/1037013506/34.
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8
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.
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9
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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Zamakhshari, Abdulrahman M. S. "Analytical study of parents' awareness and attitude towards television programmes in Saudi Arabia." Thesis, University of Leeds, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.392305.
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Chien, Mei-Ying. "The nature and purpose of the use of television in English primary schools." Thesis, University of York, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265458.
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12
Mabokela, S. E. "The viewers' perception on the portrayal of gays and lesbians in selected television programmes." Thesis, University of Limpopo, 2015. http://hdl.handle.net/10386/1210.
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Thesis ( M.A. (Media Studies)) --University of Limpopo, 2015The visibility of gays and lesbians has predominantly improved in recent years, and the media have been a fundamental tool when measuring the homosexual communities’ social status. This study investigates whether current mainstream television accurately depicts and represents gays and lesbians, and whether gay and lesbian individuals are impacted by these television portrayals. Through in- depth interviews, focus groups and observations, the research findings reveal that gay and lesbian television depictions are not completely accurate and have varying effects on audiences. However, this evidence is significant to the entertainment industry when creating fair gay and lesbian character portrayals that could be positively receptive by the homosexual community.
13
Shobiye, Toyin Esther. "A comparative study of viewers’ attitude towards commercial advertising interruptions in public television programmes." Thesis, University of Zululand, 2017. http://hdl.handle.net/10530/1546.
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A thesis submitted to the Faculty of Arts in fulfilment of the requirements for the Degree of Doctor of Philosophy in the Department of Communication Science at the University Of Zululand, South Africa, 2017This study examines the function and purpose of public television broadcasters across two countries (South Africa and Nigeria) in order to highlight best practices in public broadcasting for the benefit of the public (who ought to be the target audience). The original idea of public broadcasting was aimed at informing the public about the truth without commercial or political provocation and influence. This study examines whether society has come to accept inappropriate broadcasting practices because of prolonged exposure to these practices. When incorrect behaviour is practised continually over a prolonged period, it becomes accepted as normal in society and this is referred to as normalcy. In this regard, the study was further aimed at investigating and comparing the attitude of viewers towards commercial advertising interruptions during public television viewing time. Literature review within this study also focused on factors which influence viewer rating of public television in Nigeria and South African which ought to be informative and educational while providing suitable entertainment. This study employed a survey method and was conducted among the inhabitants of Durban in KwaZulu-Natal, South Africa and Ibadan, South-West, Nigeria. The study was interesting in that viewers’ attitudes across the two countries differed significantly. Generally, South African TV viewers were more accommodating with regards to accepting commercial interruptions during viewing time. On the other hand, Nigerian TV viewers felt that commercial interruptions are disturbances and must not be included in the programmes of public television. The study confirmed that the motives of viewing public TV and behaviour of viewers during the commercial interruptions on the programmes of public TV stations have greatly influenced the attitudes of viewers towards commercial interruptions. Finally, the study offers recommendations guidelines in areas that need more attention based on findings of the study. The study also indicates the limitations of the investigation and provides suggestions for future research.
14
Li, Ming-kit Mandy. "A study of newspaper editorials as read out in TV news programmes in Hong Kong /." View the Table of Contents & Abstract, 2006. http://sunzi.lib.hku.hk/hkuto/record/B36845577.
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Terribas, i. Sala Monica. "Television, national identity and the public sphere : a comparative study of Scottish and Catalan discussion programmes." Thesis, University of Stirling, 1994. http://hdl.handle.net/1893/1932.
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This project examines questions of national identity and democracy in television through the analysis of the production processes of audience discussion programmes. The study of television debates, as public spaces through which members of particular communities discuss topics of common concern, shed some light on two different questions. On the one hand, this project explores whether the (re)construction of national and cultural identity intervenes in the process of programme-making within stateless nations. On the other hand, audience discussion programmes are examined to assess whether they can function as democratic spheres of social representation in the media. These two strands of research are developed through ethnographic insights into two television debates: Scottish Women - produced by the commercial company Scottish Television (STV), and La Vida en un Xip - transmitted through the. Catalan public television channel TV3 and produced by the production company DCo.S.A. A comparative study of these two programmes and their respective broadcasting contexts is provided. Also, the distinctive political status of Scotland and Catalonia within their respective states - Britain and Spain - and the European and international contexts, is examined in relation to the media. The current debates concerning nationalism, the nation and national identity are discussed on the basis of culture as the essential element of the nation-building process. This study explores the process of cultural identity fonnation in Scotland and Catalonia and the role of their respective media structures as potential actors in the (re)construction of collective identities. Thus, the analysis of television production is regarded as a key instrument with which to assessh ow this medium intervenesi n such processes. Audience discussion programmes are examined as television formats with the potential for providing a democratic public sphere in the media. An expansion of the concept of the public sphere, its transformation and its role in contemporary societies is, therefore, essential to develop this argument. Also, the relation between television debates and the community is explored through a survey carried out amongst participants of Scottish Women and La Vida en un Xip. This work provides media studies with some keys to evaluate the role of television debates in the delicate political make-up of two nations without a state, Scotland and Catalonia. Questions of national and cultural identity are crucial to the policy-making of their respective broadcasting, industries. Yet, such questions are difficult to distinguish and define in their programming. The comparative analysis of the two case studies reveals that every person involved in television making reflects to a certain extent his/her own perceptions of the country, and therefore, television debates mirror the ambiguities that may lie behind them. This study provides some clues to reformulate the concept of the 'public sphere' on the basis of a 'dissection' of television production procedures. The findings also reveal the economic, political and social criteria that develop audience discussion programmes into spheres of entertainment rather than rational communicative environments in which a public sphere could function. The concepts of national identity and the public sphere are framed in the context of contemporary societies, in which post-modem values are eroding the role and interest of the individual in the political process.
16
Shen, Sanshan. "Stance realization in sports commentary evidence from Chinese table tennis programmes /." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B36819505.
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Phiphitkul, Wilasinee. "The politics of representations : Thai migrant women's negotiation of identity." Thesis, University of Kent, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.344147.
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Donaldson, Natalie. "Lumberjacks and hoodrats: negotiating subject positions of lesbian representation in two South African television programmes." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002473.
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With the inclusion of sexual orientation in the Equality clause of the post-Apartheid constitution which demands equal rights and protection for all individuals regardless of sexual orientation, South Africa has been praised as one of the most liberal countries in the world. Because of this legal equality, gay and lesbian experiences have become a lot more visible in every day South African lives. This includes visibility in South African television programmes and film. Today, a number of South African produced television programmes have included at least one lesbian character in their storyline and many LGBTIQ activist organisations have deemed this increased visibility as a positive step for LGBTIQ rights. However, discriminatory discourses such as same-sex sexualities as 'un-African ' and unnatural, which often result in brutal hate crimes against LGBTIQ individuals (such as corrective rape), contribute to the social and cultural intolerance of same-sex sexualities. South African research into the lives of lesbian women has often related lesbian experience to that of gay men or has focused on lesbian women as victims of corrective rape and oppressive practices at the hands of the dominant heteronormative culture. This research was a discursive reception study, using three focus group discussions with self-identified lesbian audiences (black and white). The study explored how this audience received (interpreted/talked about) the available fictional representations of 'black' lesbian women and 'white' lesbian women in three clips from two South African television programmes, Society and The Mating Game. Using Wetherell's (1998) critical discursive psychology approach, this research focused on examining the 1) Subject positions made available in/by these representations; 2) Interpretive repertoires used by the audience in appropriating and/or negotiating and/or reSisting these subject positions; and 3) Ideological dilemmas experienced by participants in this negotiation process. The predominant subject positions made available in these representations were differentiated according to binary racial categories of white lesbian women and black lesbian women. For example, participants positioned white lesbian women as "lumberjacks" and "tomboys" while black lesbian women were positioned as "township lesbians" and "hood rats". In working with these subject positions, participants drew on interpretative repertoires of othering and otherness as well as interpretative repertoires of survival. In negotiating with these subject positions and others found in the discussions, ideological dilemmas often arose when participants found themselves having to draw on interpretative repertoires which extend from a heteronormative discourse. These kinds of interpretative repertoires included religion, nature, and compromise which contradicted and created a troubled position when used in relation to the participants' lesbian sexualities. Therefore, when the ideological dilemma and troubled position became apparent, participants had to work to repair the troubled position by justifying their use of these heteronormative interpretative repertoires.
19
Huisman, Rhonda. "Visual music : a study on the role of music in South African children’s television programmes from 1976 − 1994." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80289.
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Thesis (MDram)--Stellenbosch University, 2013.ENGLISH ABSTRACT: This study is aimed at providing useful insights into the field of audiovisual perception and understanding in South African children’s programmes, as well as demonstrating how the Congruence-Associationist framework can be of use when investigating these aspects. Music serves as an important element in children’s television programmes, as it is often used to subconsciously stimulate the viewers’ senses. The purpose of this study is to provide a more complete image of the role of music within the context of South African children’s television programmes from 1976 − 1994, using ethnographic research with a focus on case studies. In the first part of the study, a base is formed for analysing music by addressing general roles of music in audiovisual context, as well as children’s development of musical perception and a possible clarification of its origins. Its origins appear to be closely related to language and could explain why music fulfils such a significant role in a variety of interactive contexts. The Congruence-Associationist framework by Annabel Cohen is used as a suitable framework of analysis of music in children’s television by adapting and expanding it into three sections: the observation phase, the interpretation phase and the results phase. In the second part of the study, case studies and scene analyses of six selected children’s programmes are conducted, according to the three sections of the adapted framework of analysis. The findings indicate that music functions in multiple ways according to the focus of the programme, and that it fulfils an appealing and recognisable role in these programmes. It is argued that music serves to support the visuals on screen, influences the general interpretation of the viewer and ultimately provides understanding while facilitating learning. This information could be used in a variety of subjects, thus opening up endless possibilities for further research into the multiple roles of music.
AFRIKAANSE OPSOMMING: Hierdie studie is daarop gerig om nuttige insigte op die gebied van oudiovisuele persepsie en begrip in Suid-Afrikaanse kinderprogramme te verskaf, asook aan te toon hoe die ooreenstemmings-assosiatiewe raamwerk (Congruence-Associationist framework) van Annabel Cohen van nut kan wees wanneer hierdie aspekte ondersoek word. Musiek dien as ‘n belangrike element in die kindertelevisieprogramme, aangesien dit dikwels gebruik word om onbewustelik die sintuie van die betrokke kykers te stimuleer. Hierdie studie poog om ‘n meer volledige beeld van die rol van musiek te verskaf binne die konteks van Suid-Afrikaanse kindertelevisieprogramme vanaf 1976 − 1994. Dit word gedoen met behulp van etnografiese navorsing met ‘n fokus op gevallestudies. In die eerste deel van die studie word ‘n basis gevorm vir die analise van musiek, deur die algemene rol van musiek binne oudiovisuele konteks te bespreek, asook die ontwikkeling van kinders se musikale waarnemingsvermoë en ‘n moontlike verduideliking van die oorsprong van musiek. Die oorsprong van musiek blyk verwant te wees aan taal en kan moontlik die rede wees waarom musiek so ‘n belangrike rol in ‘n verskeidenheid interaktiewe kontekste speel. Die ooreenstemmings-assosiatiewe raamwerk word gebruik as ‘n geskikte raamwerk van ontleding vir musiek in kindertelevisie deur dit aan te pas en in drie afdelings uit te brei, naamlik die waarnemingsfase, die interpretasiefase en die resultaatfase. In die tweede deel van die studie word gevallestudies en toneelontledings van ses gekose kinderprogramme gedoen volgens die drie afdelings van die aangepaste ontledingsraamwerk. Die bevindinge dui daarop dat musiek op vele maniere funksioneer, afhangende van die fokus van die program, terwyl dit ook ‘n aantreklike en identifiseerbare rol in hierdie programme vervul. Daar word aangevoer dat musiek dien om die visuele beeld te ondersteun, die algemene interpretasie van die kyker te beïnvloed en uiteindelik begrip te verskaf terwyl die leerproses vergemaklik word. Hierdie inligting sou gebruik kon word in ‘n verskeidenheid onderwerpe wat weer eindelose moontlikhede vir verdere navorsing in die veelvuldige rolle van musiek blootlê.
20
Shen, Sanshan, and 沈三山. "Stance realization in sports commentary: evidence from Chinese table tennis programmes." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B36819505.
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Simon, Daniela Patricia. "The food, the cooking and the chef : a comparative study of food representation in British, French and German mainstream cooking programmes." Thesis, Canterbury Christ Church University, 2016. http://create.canterbury.ac.uk/15675/.
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This thesis is a comparative study into contemporary mainstream cooking programmes on British, French and German television, which explores how food and cooking are represented. Since food is an expression of identity (Corti 2012; German 2011; Montanari 2006; Scholliers 2001) this study argues that food representation on television is influenced by national culture. Cooking programmes have become increasingly popular in many countries, and recent years have further seen the emergence of a variety of formats, the characteristics of which also influence how food and cooking are represented. This study applies a multi-method research approach which explores the influence of country of production and format on food representation. While a qualitative grounded theory analysis focuses on the key functions and characteristics of the food, the cooking and the chef, a quantitative analysis explores the food groups represented in the programmes to establish a sense of healthiness. The quantitative analysis has found that 'fruit and vegetables' and 'non-dairy protein' are the largest food groups in the majority of programmes across all countries of production and all formats. The qualitative analysis highlighted that country of production is a determining factor on how food and cooking functions are represented, as the three countries feature considerable differences in these areas. The data further revealed three kinds of chef, as well as a mixed chef scenario each using one of three instruction styles. The analysis showed that the format determines the type of chef presented as well as their instruction style. It further confirms that some programmes are highly instructional, whereas others focus more on celebrity and entertainment. This study thus contributes to our understanding of food representation in contemporary British, French and German cooking programmes and its cultural significance.
22
Pyo, Changwon. "The police and Crimewatch UK : a study of the police use of crime reconstruction and witness appeal programmes in Britain." Thesis, University of Exeter, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390200.
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Nazareno, Claudio. "Regulation and the promotion of national audio-visual content in the era of digital convergence : a comparative analysis of the United Kingdom, France and Brazil." Thesis, University of Roehampton, 2013. https://pure.roehampton.ac.uk/portal/en/studentthesis/regulation-and-the-promotion-of-national-audiovisual-content-in-the-era-of-digital-convergence(c52f8024-66fd-4525-8258-c78532077836).html.
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This research investigates how the production and distribution of nationally produced television programmes, films and other audiovisual content can be promoted by regulation. The study identifies current regulatory tools to promote national content and differences in policy approaches. It also identifies new issues resulting from the substantial transformation the media environment has undergone in recent years. The audiovisual sector today is characterised by an abundance of television channels and telecommunication services and by ongoing digital convergence, all impacting on the effectiveness and rationale of content regulation. Focused on the UK, France and Brazil, this comparative research investigates the political, regulatory, socio-cultural, economic, technological and market changes of the communication services in the recent decades and how this has impacted on the provision of national audiovisual content. The starting point of the analysis are the 1980s, when broadcasting started to be gradually liberalised, and it concludes in the 2000s, when information technologies, telecommunications and broadcasting converge into interconnected, complementary and supplementary services. This research offers a three step method of analysis which contributes to a new understanding of the mechanisms and implications involved in the production and distribution of nationally produced content in digital times. In the first step, the various socio-cultural aims of communication services as enacted in legislation are analysed. The second step explores the consequent regulatory tools for the fulfilment of those objectives. The third step provides a market evaluation of the audiovisual industries, which broadcasters and other distribution platforms provide which kind of content, and also looks at audiences‟ viewing preferences to get a better understanding of what type of content should be supported through legislation. As outcomes, this research proposes to academics, policymakers and regulators a new definition for national content and a series of regulatory actions for fostering national audiovisual industries in times of digital convergence.
24
Kakembo, Frederick. "How youth in Uganda experience televised HIV and AIDS education." Thesis, University of Pretoria, 2010. http://hdl.handle.net/2263/27327.
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This study investigates how youth in Uganda experience televised HIV and AIDS educational programmes. Television is the medium that can be used to address the resurgence of HIV and AIDS in Uganda. The factors responsible for the resurgence include prevention fatigue and the saturation of HIV and AIDS messages in the media. The audio-visual component of television makes it possible to convey HIV and AIDS messages innovatively through education-entertainment. Despite its potential, television has not played a leading role in conveying HIV-related knowledge, skills, and attitudes to urban youths. The study required looking at the televised HIV and AIDS educational programmes from the perspective of young people. In line with the interpretivist and social constructivist framework, the primary source of information about the programmes is the experiences of young people who are the target audience. A qualitative research approach was used in the study and an instrumental case design in particular was employed in data collection. Data were collected through focus group discussions, personal interviews, document analyses and participant observations. Findings have revealed that young people can learn about HIV and AIDS from both educational programmes and television soaps. While they undergo sexual socialisation through television soaps, they have the capacity to distinguish between fiction, fantasy and reality. However, they dislike the didactic and authoritarian approaches that are used in the educational programmes. An important finding is that communication gaps characterise televised HIV and AIDS educational programmes. Some of the prevention messages and the values propagated by television HIV and AIDS education are detached from the experiences and world views of the youths. This could be attributed to insufficient knowledge on the part of HIV and AIDS educators regarding the way in which youth experience televised HIV and AIDS programmes.Thesis (PhD)--University of Pretoria, 2010.
Early Childhood Education
unrestricted
25
Leitao, Ema Sofia Amaral. "Constructed childhoods : a study of selected animated television programmes for children with particular reference to the Portuguese case." Thesis, Cardiff University, 2005. http://orca.cf.ac.uk/55543/.
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This thesis addresses the broad question: To what extent is children's animation culturally specific? Despite the criticism and concerns about the lack of quality imprinted by globalisation and commercialism, children's animation is still a relatively marginal subject of analysis. Thus, the need to perceive what characterises a programme aiming both at home and international markets; the mechanisms underlying the globalisation of the genre; and its implications on cultural identity. The research is based on a triangular model that considers three levels of communication: production, message and reception. It makes use of semiotics, interviews and task-oriented techniques to analyse different moments in the communication process. The aim is to understand how animation professionals construct child audiences, and how such constructions are reflected in the media texts they produce and/or broadcast; while, at the same time, assessing how a group of Portuguese children 'use' animation. The results suggest that creatives of children's animation are aware of the importance of cultural relevant products, but may lack an informed knowledge of the child audiences. As a consequence, children do not always decode cartoon messages accordingly - particularly signifiers of 'cultural specificity'. In relation to the globalisation of children's animation, the data shows that market oriented productions can be made relevant for local audiences, and that their contents are often re-invented by children. The study calls for further research into animation contents and for a greater inclusion of young audiences both in academic studies and in programme production.
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Li, Ming-kit Mandy, and 李明潔. "A study of newspaper editorials as read out in TV news programmes in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B45007603.
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Hughes, Patrick Brian. "The relations between the productions of broadcasting organisations, the social experiences of audiences and the meaning attached to programmes, with particular reference to recent institutional and technical changes in mass communications." Thesis, London School of Economics and Political Science (University of London), 1993. http://etheses.lse.ac.uk/1231/.
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This thesis argues that by the late 1980s, investigations of relationships between the audiences and programmes of broadcasting had been flawed by one or more of the following weaknesses: a focus of inquiry which expressed an unresolved dualism between atomistic and deterministic models of society; assumptions about the relationships between knowledge and its circumstances of production which expressed an unresolved dualism between materialism and idealism; and a disregard for the particular significance of socio-historically-specific cultural forms and institutions. Consequently, it argues that for an investigation of audience-programme relationships to be judged satisfactory, it must meet these three aims: 1. Pose a clear, non-atomistic model of society and thus resolve the individual-society dualism into a new, historically-specific focus of inquiry; 2. Resolve the materialism-idealism dualism into a new model of knowledge-production; 3. Explain the roles of particular cultural forms and of particular cultural and ideological institutions in social change, especially their roles in the commodification of culture. The arguments are based on an examination of pre-1980 broadcasting research projects within the "Media and the Individual" and "Media and Society" traditions, which showed that none had satisfactorily related programmes, audiences' understandings of them and audiences' social-material circumstances. Some influential theories of culture and of ideology were also examined for a means of relating those three elements, but without success. The thesis includes a report on the author's 1981 research into audience-programme relationships, highlighting the practical and conceptual difficulties of meeting those three aims, and the final chapter argues that major 1980s broadcasting research projects also failed to meet the three aims. The thesis concludes by drawing on the lessons of the projects examined to outline a new programme of research explicitly oriented to those three aims, addressing broadcasting as a particular relationship between consciousness and circumstances.
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Mitchell, June. "Skirting Scottish issues : an investigation of how Scottish women explore national and gender identities in contemporary novels, newspaper articles and informational television programmes 1997-2000." Thesis, Glasgow Caledonian University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364826.
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Ferrer, Ceresola Rosa Mª. "Calidad televisiva y “mala” televisión. Los programas contenedores en los canales de televisión españoles." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/399452.
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En los últimos años, los cambios en el sistema televisivo español han modificado notablemente sus rutinas de producción y han desembocado en la polarización de los programas de entretenimiento. Tras la estela de los reality shows y los talk shows, una parte de dichos programas asimilan la información con el espectáculo y recurren constantemente al sensacionalismo, para captar un mayor índice de audiencia. El resto, en cambio, buscan el rigor periodístico y son fieles a los principios éticos de la profesión.
Las investigaciones sobre calidad televisiva ponen de manifiesto, tanto en Europa como en los Estados Unidos, la dificultad a la hora de elaborar criterios comunes aplicables al análisis o, incluso, adecuados para definir la calidad. Se trata de un ámbito donde la mayor parte de los estudios se dirigen a la investigación de la audiencia o se centran en abordar la calidad del sistema televisivo en su totalidad, prestando poca atención al análisis de los criterios que la definen. La ausencia de este tipo de estudios se debe, en parte, a la dificultad de establecer una definición de calidad específica en cada género que se aleje de la subjetividad. A diferencia de lo que ocurre en otros macro-géneros (información y ficción), no hay una bibliografía específica sobre calidad televisiva y entretenimiento, debido a la asociación generalizada con la televisión sensacionalista.
La tesis que se presenta adapta la definición y las variables propias de la calidad televisiva al entretenimiento e intenta establecer los conceptos para identificarla de la televisión de no calidad o telebasura. Todo ello, con el objetivo de determinar si este tipo de formatos del entretenimiento que ofrecen los canales de televisión generalistas se pueden considerar o no de calidad. En este sentido, es necesario preguntarse si se puede obtener una definición de calidad propia de los programas contenedores, que nos permita analizar la calidad de estos formatos, o si, por el contrario, la oferta de entretenimiento de calidad va en detrimento y aumentan los contenidos de “mala” televisión. A partir de estas premisas, surgen otras preguntas más específicas acerca de qué se entiende por calidad; si es posible hacer un programa destinado a una audiencia masiva que cuente con criterios de calidad; por qué se emiten contenidos telebasura; si la información y la formación son compatibles con el entretenimiento; si existe una reflexión sobre entretenimiento de calidad; cuáles son las diferencias entre las características de calidad de los programas contenedores; qué influencia tienen estos programas en los telespectadores y usuarios de la Web 2.0 y cómo se refleja el feedback de los usuarios; y, finalmente, qué relación existe entre la definición de calidad o no calidad, los índices de audiencia que alcanza y la audiencia social que genera.
La parte empírica del estudio aborda el análisis de los mensajes realizados por los usuarios en las páginas oficiales de los programas en Facebook y Twitter, con el objetivo de conocer los comentarios que se realizan en las redes sociales simultáneamente a la emisión del programa y dilucidar cómo influyen este grupo de programas en la percepción de la audiencia.Over the last few years changes in Spanish television programming has notably altered the methods of its production, and the entertainment programs have polarized as a result of these changes. After the wake of reality shows and talk shows, some of these programs identify information with spectacle and use sensationalism in order to captivate a larger audience. However, some others aim at journalistic rigor and remain faithful to the ethical principles of the profession. Studies about television quality both in Europe and in the United States show the difficulty to identify shared criteria that can be used to analyze and even define quality. It is a field in which researchers aim at investigating the audience, or focus on how to approach the quality of the television system in its totality. However, they actually pay little attention to analyzing the criteria that define quality. In part, the absence of this type of studies is due to the difficulty in establishing an objective definition of quality that is specific to each genre. Unlike what happens in the analysis of other macro-genres (news and fiction), there is no specific bibliography for television quality and entertainment due to its general association with trash television. The thesis presented here adjusts the definition and the individual variables that define the quality to entertainment television and sets the concepts to separate it from no quality television or trash TV. Altogether, with the goal of determining whether these types of entertainment formats, available through general TV channels, can be evaluated for quality. In this sense, is it necessary to ask if it is possible to formulate a definition of quality specific for container programs that allows to analyze the quality of this genre. Or whether, on the contrary, the entertainment of quality available occurs at the expense of, and increases, the contents of bad television. Some other more specific questions that arise on how we understand quality are: Since that trash TV was created in order to appeal to a large audience, is it possible to make a program intended for a large audience that is also of a high quality? Why do they broadcast trash TV? Are information and education compatible with entertainment? Does a reflection about entertainment of quality exist? What are the differences among the characteristics of quality in container programs? What influence do those programs have on television viewers and users of the Web 2.0, and how does it reflect the feedback of the users? and, last but not least, what’s the relationship between the definition of quality and no quality, the indexes of audience they achieve, and the social audience that generates? The empirical part of this study analyzes the feedback that the users of Facebook and Twitter post simultaneously to the broadcast of the program, in order to determine how this group of programs influences the audience’s perception.
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Jie, Xiaowei. "Television entertainment as propaganda : a case study of the evolution of the political management of the Chinese Spring Festival Eve Variety Show." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/17622.
Full textAbstract:
This thesis presents a series of three case studies of the Chinese Spring Festival Eve Variety Show selected between 1983 and 2010. The case studies were chosen to exemplify the overall trend in how China’s television has developed against the broader socio-political context of major economic reforms taking place since the late 1970s.
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Leroy, Pascale. "Evolution de l'offre, de la disponibilité et de la réception de programmes télévisuels, en Belgique francophone, de 1980 à 1992." Doctoral thesis, Universite Libre de Bruxelles, 1995. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212495.
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Escudero, i. Royo Avelina. "Programes educatius a TV3." Doctoral thesis, Universitat de Barcelona, 1990. http://hdl.handle.net/10803/670436.
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Tesis de carácter documental que contiene cinco índices, que forman el núcleo del trabajo:
I. Índice general por series programáticas: ofrece una relación ordenada diacrónicamente sin, en principio, hacer ninguna clasificación sobre los programas que pueden servir para la enseñanza. El número de series relacionadas es de 138, que se desglosan de 4.102 programas.
II. Índice temático: Presenta una relación de los programas educativo-culturales por temas o materias (26 apartados temáticos), indicando qué programas o series de programas corresponden a cada tema.
III. Índice conceptual: hace referencia a los conceptos, a las ideas de carácter educativo y cultural (unos 1.500 conceptos), que se relacionan con los programas ya mencionados.
IV. Índice pedagógico: ofrece una relación de carácter pedagógico o educativo en un sentido estricto, en una doble dirección: a) programas de carácter pedagógico-general, institucional y didáctico y b) programas de carácter cultural-informativo.
V. Índice cronológico: presenta una relación cronológica estricta de los programas educativo-culturales de TV3.
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Strange, Niki. "From television programmes to 'projects that have levels of interactivity': the SSG's multi-platforming of public service for a digital era." Thesis, University of Sussex, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487025.
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The impetus of this research was to consider the implications of interactivity and convergence for television's textual and industrial forms in relation to the BBC's status as a public service broadcaster. In particular the thesis focuses on the events of a historical period book-ended by two particularly significant shifts in strategy. In April 2006 the BBC announced Creative Future, its five-year editorial Vision. One of the earliest, and most significant, reforms to be implemented was a profound organisational restructuring to 'enable 360-degree commissioning and production and ensure creative coherence and editorial leadership across all platforms and media' (BBC, 2006a). This institutional transformation represented the full-scale adoption of a mUlti-platform and multi-media approach to commissioning, producing and distributing public service 'content' first embarked upon in the early 2000s. Taking as its springboard the provocative statement made by Ashley Highfield, the BBC's Director of New Media and Technology, in 2001 that: 'The days of commissioning programmes are over. We are now only commissioning projects that have levels of interactivity', the thesis traces the emergence of the BBC's multi-platform 'Project' as industrial strategy, as cultural form and as progenitor of the 360-degree approach to 'building public value'. Following an introduction, chapter one traces the most influential regulatory, industrial, institutional, and cultural moments of the Project's pre-history. The chapter provides a survey. of literature around thorny concepts such as 'interactivity' and 'convergence' and of earlier research into the similarities and differences of the BBC and Channel4's nascent digital strategies at the tum of the millennium. Finally there is a discussion of the impact of Channel 4's Big Brother as pioneering mUlti-platform format on the UK media production landscape: Chapter two outlines how this thesis seeks to address, in some part, the lack of engagement with industrial production within television studies. Drawing on Caldwell's notion of critical industrial practice (2006), the chapter forwards the notion that the productivity of the experimental multi-platform text might actually be understood in terms of its functioning as a site for reflexive practices, and as a 'performance of context'. The chapter also introduces key work on the modelling of viewer/user engagements across and within dispersed textualities, and also how a public service context may serve to re-frame such industrial strategies. The remaining three chapters advance the thesis' aim to originate a chronological typology of early Project textual configurations, each taking a textual configuration and a genre as their focus. Chapter three locates its analysis of a granular Project within the contextual registers of its commission: firstly to experiment with the drama genre using interactivity; secondly to pilot extremely localised content to a discrete viewing group utilising a 'new' technology; thirdly to use these tools to re-connect with a local community seen as part of an estranged audience. Chapter four compares two weblTV game/shows to delineate the woven Project's attempts to marshall and mobilise communities of interest, in particular appealing to an increasingly elusive youth demographic. It also traces an increasing emphasis on the desire to experiment with the harnessing of viewer/user 'play' and creative 'co-production' as means of delivering a re-formulated public service as pUblic value, for the digital age. Chapter five explores the aesthetics and production. practices of bundled Projects as their template developed, engaging in particular with how they mobilise notions of quality as delineated by Charlotte Srunsdon (1997) and, later, Helen Wheatley (2004), of viewer/user participation and of 'Sritishness' in order to drive digital take-up through Ihiking landmark television with digital 'content'. The chapter concludes with an exploration of how bundled Projects contributed to the evolution of the '360degree commissioning' strategy, of its centrality to the SSC's Creative Future vision and of the ramifications of the SSC's adoption of this vision for in-house and independent producers, as well as for its relationship with its viewers/users. The thesis concludes with a reflection on how the work here will help arm television studies' future examination of the second wave of multi-platform Projects that are emerging as Creative Future's 'Find, Play, Share' initiative, launched in late 2007, takes shape.
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Mulonya, Rodrick K. A. R. "The political economy of development aid: an investigation of three donor-funded HIV/AIDS programmes broadcast by Malawi television from 2004 to 2007." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002926.
Full textAbstract:
Development aid in most of the developing countries can sometimes compromise the principles of public service broadcasting (PSB). This may be true when reflected against the tension between donor financed programmes in Malawi and the mandate of Television Malawi (TVM). Although the donor intentions are noble, the strings attached to the funding are sometimes retrogressive to the role of PSBs. A case in point is how donors dictate terms on the HIV/Aids communication strategies at TVM. Producers receive money from donors with strings attached on how the money should be used and accounted for. If producers deviate they are sanctioned through withholding funding, shifting schedules and reducing the funding frequency. The donors also dictate who to interview on what subject, how to conduct capacity building. Some scholars have researched much on the impact of commercialisation of the media. This study is a departure from these traditional interferences; it interrogates the interest of philanthropy tendencies by international donors in the three chosen HIV/Aids programmes broadcast by TVM. The study investigates the extent of pressure exerted by donors on the producers of HIV/Aids programmes in Malawi. Thus, the study seeks to illicit specifics in the power relationship between the donor and the producer hence the study employs the political economy of development aid as applied to the public service broadcasting and communication for development. The study employed qualitative research methods and techniques (in-depth interviews, case study and document analysis). The study reveals how donor ideologies dominate the Aids messages-content output of the texts constructed. The study argues that cultural alienation of the Malawian audiences retards efforts of donors in combating HIV infection rate.
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Alves, Daniela Filipa Ribeiro. "Infoentretenimento nos programas televisivos." Master's thesis, Universidade da Beira Interior, 2013. http://hdl.handle.net/10400.6/1602.
Full textAbstract:
Numa perspectiva financeira, o telespectador é visto cada vez mais como um consumidor e não como um cidadão. As estações televisivas focam-se em oferecer programas que chamem e prendam a atenção das audiências, focando a forma e não o conteúdo, com o objectivo de se tornarem o canal mais visto e, consequentemente, angariar mais publicidade, que se traduz em verbas financeiras. Por estas razões, os programas televisivos foram sofrendo alterações ao longo do tempo, até por uma tentativa de se adaptarem à sociedade actual. Surge, então, uma categoria televisiva, que aos poucos vai ganhando o seu espaço nas grelhas de programação. Falamos de infoentretenimento: programas híbridos, que juntam a informação e o entretenimento.
Nesse sentido, com esta dissertação pretende-se saber de que forma a televisão, em particular os canais televisivos generalistas portugueses (RTP1, RTP2, SIC e TVI), tal como os canais portugueses de informação (RTP Informação, SIC Notícias e TVI24), utilizam o infoentretenimento na sua programação, tentando decifrar quais são as características desde género híbrido para perceber melhor o conceito.
Numa primeira parte desta dissertação faz-se a revisão teórica sobre o conceito de infoentretenimento, o seu surgimento, a sua utilização na televisão e o impacto nas audiências. Numa segunda parte é exposta a metodologia de investigação, assim como a análise de conteúdo e os resultados do estudo empírico, terminando com as conclusões do estudo de investigação.In a financial way, a TV viewer is seen more like a consumer rather than a citizen. The main focus of a TV network is to offer shows that call out and engage the audience attention, mainly focusing on what drives that attention instead of the content of the show itself, only to become the channel with bigger audience, which means more advertising, and therefore more revenue. Because of these reasons, television shows were altered through time, in an attempt to adapt to the current society. Consequently a new television category emerges, which, step by step, is getting more room within the daily program schedules. We’re talking about infotainment: hybrid tv shows which bring together information and entertainment. Following this idea, with this dissertation we want to know which way television – Portuguese main channels in particular (RTP1, RTP2, SIC and TVI), as well as the portuguese main news cable channels (RTP Informação, SIC Notícias and TVI24) -, uses infotainment in its programming grid, so we can unravel which are the main characteristics of this hybrid concept, as well as understanding what it is exactly. In the fisrt half of this dissertation we do a theoretical revision about infotainment, were did it started and how it is used in television and audiences. In the second half we expose all the investigation methodology, as well as all the results of the investigation we did, ending with the respective conclusions.
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Gerbi, Giovanna Maria. "An analysis of racial stereotyping of the South African Police in the television programmes Carte Blanche and Special Assignment from August 2003 to September 2004." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50257.
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Thesis (MPhil)--University of Stellenbosch, 2005.ENGLISH ABSTRACT: The aim of this assignment is to examine two investigative journalism programmes in South Africa, namely Carte Blanche and SpecialAssignment in order to ascertain whether two South African policing organisations have been subjected to racist stereotyping on these two programmes. Both these programmes are held in high esteem within South African and international media circles. Carte Blanche has won many awards, such as the prestigious eNN African Journalist of the Year Award in 2002. Special Assignment won the equivalent award in 2001. The approaches and styles in revealing the truth by using investigative forms of journalism are however slightly different. Both Carte Blanche and Special Assignment have produced stories from August 2003 to September 2004 that have exposed corruption within the South African policing organisations. Many of the perpetrators within the police force were identified as people of colour. This assignment therefore aims to discover whether racist stereotyping exists in this niche of investigative journalism television programmes. This opens up the possibility for these portrayals to be seen as stereotypical, since the dominant press codes in South Africa stipulates that reference to 'race' in news reporting should only be done where it will contribute significantly to understanding the subject matter or if the reference to the race of the person is particularly applicable. This assignment aims to discover whether racist stereotyping exists in this niche of investigative journalism television programmes. The research method comprised analysing programmes on Carte Blanche and Special Assignment that dealt with the South African policing organisations from August 2003 to September 2004. The original transcripts of the programmes were retrieved from the relevant websites of Carte Blanche and Special Assignment and have also been studied. Sources on media ethics as well as newspaper and magazine articles dealing with the South African policing organisations, crime and corruption were scrutinized in order to provide background information for the study. The analyses of the programmes was complemented by interviews conducted with the investigative journalists at the helm of the two programmes, namely, Ruda Landman from Carte Blanche and Jessica Pitchford from Special Assignment.
AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om twee ondersoekende joernalistiekprogramme in Suid-Afrika, naamlik Carte Blanche en Special Assignment, te ondersoek ten einde vas te stelof die Suid- Afrikaanse polisiëringsorganisasies in dié twee programme aan rassestereotipering onderhewig is. Albei dié programme word hoog geag in Suid-Afrikaanse en internasionale mediakringe. Carte Blanche het reeds verskeie toekennings gewen, soos die toonaangewende eNN Afrikajoernalis van die Jaar Toekenning in 2002. Special Assignment het hierdie toekenning in 2001 gewen. Die benaderings en styl wat tydens die bekendmaking van die waarheid gevolg word deur die toepassing van ondersoekende vorme van joernalistiek verskil egter effe. Sowel Carte Blanche as Special Assignment het van Augustus 2003 tot September 2004 stories opgelewer wat korrupsie in die Suid-Afrikaanse polisiëringsorganisasies aan die kaak gestel het. Baie van die skuldiges in die polisiemag is geïdentifiseer as gekleurde mense. Hierdie studie beoog dus om vas te stel of daar rassestereotipering in hierdie afdeling van televisieprogramme met betrekking tot ondersoekende joernalistiek bestaan. Ondersoekende joernalistiek is ongetwyfeld een van die stimulerendste afdelings van die joernalistiek. Dit is 'n uitgesproke vorm van joernalistiek wat die vermoë het om die samelewing te beïnvloed. Ondersoekende joernalistiek maak gewoonlik misdrywe aan die publiek bekend. Die konsekwente uitbeelding van gekleurde mense op 'n negatiewe wyse sou kon lei tot die inboet van etiese waardes en dus tot rassestereotipering. Die navorsingsmetode het behels dat daar van Augustus 2003 tot September 2004 na programme oor die Suid-Afrikaanse polisiëringsorganisasies op Carte Blanche en Special Assignment gekyk is en dat dit op band opgeneem is. Die oorspronklike transkripsies van die programme is van Carte Blanche en Special Assignment se onderskeie webtuistes verkry en word as bylaes by hierdie studie aangeheg. Bronne oor media-etiek asook koerant- en tydskrifartikels wat oor die Suid-Afrikaanse polisiëringsorganisasies, misdaad en korrupsie handel, is noukeurig nagegaan. 'n Persoonlike onderhoud is met Ruda Landman van Carte Blanche gevoer, en met Jessica Pitchford van Special Assignment is 'n onderhoud per e-pos gevoer. Landman en Pitchford was albei betrokke by die samestelling van die betrokke
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Santos, Ana Carolina Franco dos [UNESP]. "Vila Sésamo: o contexto político e educacional das duas edições audiovisuais educativas brasileiras." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/126491.
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000842900.pdf: 2397854 bytes, checksum: 8b49f70df809499d656c19ae3a1136b7 (MD5)Em tempos de mídias digitais e convergentes, a televisão ainda é um meio de comunicação abrangente e predominante entre as camadas sociais populares. Historicamente, a TV apresenta programas que afetam o mundo de conveniência social, ou influenciam a visão de realidade de muitos telespectadores. Em 1972, Vila Sésama estreou na TV brasileira como um programa educativo com grande sucesso de audiência. A série educativa é uma versão do seriado Sesamo Street, produzido nos Estados Unidos há quase meio século, onde preserva uma audiência expressiva entre as crianças. No Brasil, o programa foi produzido por uma parceria entre a Rede Globo e a TV Cultura de São Paulo e era exibido pelas duas emissoras. A parceria durou até 1974, quando a Globo assumiu a produção e o veículo até 1977, quando foi retirado do ar porque produzi-lo era cara demais. Quase quatro décadas depois do final do Vila Sésamo brasileiro, a TV Cultura decidiu relançar o programa no final de 2007, com a finalidade de fortalecer a emissora no segmento da progamação infantil. Essa pesquisa tem o programa infantil Vila Sésamo como objeto de estudo tomando como material empírico os conteúdos veiculados pelos programas nos diferentes períodos em que foram exibidos, buscando verificar o potencial educativo da série em momentos distintos da nossa história. Utilizamos como metodologia a Análise de Conteúdo, estabelecendo uma análise quali-quanti, que codifica e interpreta o recorte do programa, assim como verifica os formatos encontrados correspoderam às necessidades educacionais dos telespectadores infantis. Após elencados os quadros das duas temporadas brasileiras analisamos quais eixos da Educação Infantil eram trabalhados em cada quadro e a importância dessa aprendizagem no desenvolvimento das crianças em idade de Educação Infantil
In times of digital and convergent media, television is still a means of comprehensive and predominant communication between the popular social layers. Historically, TV shows programs that affect social coexistence, or influence of many viewers view of reality. In 1972, Sesame Street premiered on Brazilian TV as an educational program with great ratings success. The educational series is a version of Sesame Street series, produced in the United States for nearly half a century, which preserves a significant audicence among children. In Brazil, the program was produced by a parthership between Globo and TV Cultura of São Paulo and was displayed by the two broadcasters. The partnership lasted until 1974 when the Globe took over production and ran until 1977, when it was taken down because producing was too expensive. Almost four decades after the end of Vila Brazilian Sesame, TV Cultura decided to relaunch the program in late 2007, with the purpose of strengthening the network in the segment of children's programming. This research has the children's programming. This research has the children's program Sesame Street as objects of study taking as empirical material the content carried by the programs in the differents periods in which they were displayed, trying to verify the educational potential series at different times in our history. We will use as a methodology content analysis, establishing a qualitative and quantitative analysis, coding and interprets the program cut, as well as checks that the formats found corresponded to the educational needs of children viewers. After listed the frames of the two Brazilian seasons analyze which axes of early childhood education were worked out in each frame and the importance of learning in the development of children in age from early childhood education
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Santos, Ana Carolina Franco dos. "Vila Sésamo : o contexto político e educacional das duas edições audiovisuais educativas brasileiras /." Bauru, 2015. http://hdl.handle.net/11449/126491.
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Orientador: Maria da Graça Mello MagnoniBanca: Regina Célia Baptista Belluzzo
Banca: Paulo Augusto Nardi
Resumo: Em tempos de mídias digitais e convergentes, a televisão ainda é um meio de comunicação abrangente e predominante entre as camadas sociais populares. Historicamente, a TV apresenta programas que afetam o mundo de conveniência social, ou influenciam a visão de realidade de muitos telespectadores. Em 1972, Vila Sésama estreou na TV brasileira como um programa educativo com grande sucesso de audiência. A série educativa é uma versão do seriado Sesamo Street, produzido nos Estados Unidos há quase meio século, onde preserva uma audiência expressiva entre as crianças. No Brasil, o programa foi produzido por uma parceria entre a Rede Globo e a TV Cultura de São Paulo e era exibido pelas duas emissoras. A parceria durou até 1974, quando a Globo assumiu a produção e o veículo até 1977, quando foi retirado do ar porque produzi-lo era cara demais. Quase quatro décadas depois do final do Vila Sésamo brasileiro, a TV Cultura decidiu relançar o programa no final de 2007, com a finalidade de fortalecer a emissora no segmento da progamação infantil. Essa pesquisa tem o programa infantil Vila Sésamo como objeto de estudo tomando como material empírico os conteúdos veiculados pelos programas nos diferentes períodos em que foram exibidos, buscando verificar o potencial educativo da série em momentos distintos da nossa história. Utilizamos como metodologia a Análise de Conteúdo, estabelecendo uma análise quali-quanti, que codifica e interpreta o recorte do programa, assim como verifica os formatos encontrados correspoderam às necessidades educacionais dos telespectadores infantis. Após elencados os quadros das duas temporadas brasileiras analisamos quais eixos da Educação Infantil eram trabalhados em cada quadro e a importância dessa aprendizagem no desenvolvimento das crianças em idade de Educação Infantil
Abstract: In times of digital and convergent media, television is still a means of comprehensive and predominant communication between the popular social layers. Historically, TV shows programs that affect social coexistence, or influence of many viewers view of reality. In 1972, Sesame Street premiered on Brazilian TV as an educational program with great ratings success. The educational series is a version of Sesame Street series, produced in the United States for nearly half a century, which preserves a significant audicence among children. In Brazil, the program was produced by a parthership between Globo and TV Cultura of São Paulo and was displayed by the two broadcasters. The partnership lasted until 1974 when the Globe took over production and ran until 1977, when it was taken down because producing was too expensive. Almost four decades after the end of Vila Brazilian Sesame, TV Cultura decided to relaunch the program in late 2007, with the purpose of strengthening the network in the segment of children's programming. This research has the children's programming. This research has the children's program Sesame Street as objects of study taking as empirical material the content carried by the programs in the differents periods in which they were displayed, trying to verify the educational potential series at different times in our history. We will use as a methodology content analysis, establishing a qualitative and quantitative analysis, coding and interprets the program cut, as well as checks that the formats found corresponded to the educational needs of children viewers. After listed the frames of the two Brazilian seasons analyze which axes of early childhood education were worked out in each frame and the importance of learning in the development of children in age from early childhood education
Mestre
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Duygu, Oktem. "Impact Analysis Of European Framework Programmes On Turkish Universities Pilot Study On Information And Communication Technologies, Energy, Food, Agriculture And Fisheries And Biotechnology Themes." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614947/index.pdf.
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The purpose of this study is to determine the scientific and technological, economic, social and organizational impacts of the European Framework Programmes (FPs) on Turkish universities by focusing on the projects in Information and Communication Technologies (ICT), Energy, Food, Agriculture and Fisheries and Biotechnology (KBBE) themes in order to understand, monitor and evaluate outcomes and impacts of FPs as well as to help decision makers and policy makers to develop strategies for maximizing benefits of participation.
Data/document review and survey methods were used as evaluation methods. TÜBITAK and EC&rsquo
s data and document were reviewed. An online survey was sent to the academicians who have Seventh Framework Projects (FP7) projects in these themes in Turkey. Data that were gathered by survey were analyzed by using Mann-Whitney U Test Method. We concluded that the impacts of these four categories of FP7 projects were high on the universities. Value additions of scientific and technological impacts are relatively high compared to other impacts. Universities whose roles were coordinator or WP leader have higher impacts in all factors. Turkey'
s participation and success in the FP7 are growing thanks to TÜ
BITAK&rsquo
s effort, but further efforts are needed for meeting competitive participation within a defined strategy. Bearing in mind the results of the impact analyses, the study supports Turkey&rsquo
s continuity to forthcoming FPs but there is need for developing national strategies to maximize benefits of participation and to integrate the outcomes with the national innovation strategy.
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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 SobrinhoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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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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Spiteri, Joanna. "The challenge of achieving impartiality in Maltese TV news programming." Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/21182.
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This study examines some of the challenges that Maltese broadcasting is facing with respect to the news programming produced by the public service broadcaster and by the other two political stations. The thesis also investigates the concepts of balance and objectivity in news reporting and analyzes the extent to which Maltese TV news programmes succeed in providing balanced, impartial and accurate accounts. Special attention is paid to the role of the public service broadcaster, but consideration is also given to the part played by the two Maltese political stations competing with the public service broadcaster. A particular aim of this study is to measure how the requirement to preserve impartiality and balance impinges on the content of TV news bulletins and current affairs programmes produced by PSB and the other two political stations. The study will also consider the impact of current broadcasting regulations and will examine the degree to which such legislation is relevant in the attempt to achieve impartiality and balance in Maltese news broadcasting. As a basis for the study the thesis focuses on a sample of news programming material broadcast on the three television stations in Malta during a Local Council electoral campaign. The aim is to assess how various news messages are communicated to audiences and to consider whether such messages are perceived as impartial and balanced by the viewers. The study explores how news workers and news producers strive to achieve impartiality and balance in their day-to-day practices. Finally the thesis makes one or two tentative suggestions as to how current broadcasting legislation might be amended in order for the Broadcasting Authority can become a more effective watchdog and is able to intervene in cases where news programming is not deemed to be balanced and impartial.
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Cao, Xuenan. "Discourses on urbanism: "Reality televisions" by Jiangsu Satellite Television since 2010." HKBU Institutional Repository, 2014. https://repository.hkbu.edu.hk/etd_oa/46.
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Since 2004, the Chinese media scene has been dominated by what is called the “pan-reality television” trend. Reality television is capable of synchronizing the effects of all the political, economic, and cultural factors into the participants’ actions and becoming a powerful reconstruction of the social environment from which it emerges. The thesis takes Jiangsu Satellite TV (JSTV)’s golden hour reality televisions as the case to address the question of how they express, reflect and formulate the imaginations and understandings of urban living, focusing on the cultural, social, and political specificities of these reality television shows. The thesis is an attempt to bring into discussions ignored aspects of popular television culture that can be potential source for furthering the understanding of urban conditions in China. The thesis finds that the images, the discursive fields, and the procedures of the games in the reality television shows and the governmental regulations imposed on them are part of the mechanisms to dissemble a set of discourses into the colloquial, the practices of urban lives, and possibly the imaginations of urban lifestyles. Emerging out of this dynamic process is the formulation of a way of life in the context of urban China – specifically, the linear, individual progressivity. The main body of the thesis will empirically show how the linear, individual progressivity is installed and enacted in the shows and political implications of that.
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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.
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Orientador: Fernão Vitor Pessoa de Almeida RamosDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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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
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Nyberg, Lovisa, and Nina Jonsson. "Fem pojkar är fler än fyra flickor : – En jämförande studie om jämställdhet i svenska barnprogram 1978, 1992 och 2007." Thesis, University of Kalmar, School of Communication and Design, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-510.
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The purpose of this BA-thesis is to examine how many girls, boys, women and men who appear in children’s programmes in the years 1978, 1992 and 2007. We have also studied if they are described as typical gender role stereotypes and we have looked at the power conditions between girls and boys, women and men and children and adults. From the results we then examined the changes through out the years. We have made this possible by choosing two days each year when most children were watching the programmes.
With the gender role theory we have brought up the important issue of the fact that men appear more frequently in media then women and by doing so the media preserve men as the standard gender. You can also apply this theory on the condition of children and adults, where the adults are the norm in the generation system.
We have analysed the contents of the programmes by using a quantitative method and our results showed us that the equality between the sexes hasn’t improved as much as we had hoped for. The year 1978 sometimes had the same results as 2007 and at some parts the year 1978 was better than 2007. The year 1992 was not equal in any part except in the equality between the sexes in the starring role.
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Fama', Bruno <1995>. "La televisione dei “gaijin”: Programmi televisivi e rappresentazione dell’altro nel Giappone contemporaneo." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/16856.
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Lo scopo di questa tesi è quello di indagare quale sia il rapporto tra coloro i quali si possono definire “giapponesi” e coloro i quali non vengono invece riconosciuti tali, attraverso l’analisi di alcuni programmi televisivi. L’obbiettivo principale sarà quello di indagare come questi programmi televisivi rappresentano questi individui e la loro diversità. Su quali criteri si basa l’immagine che ci danno? Si cerca di assimilare, emarginare o includere queste differenze? Vi sono atteggiamenti che possono in qualche modo rappresentare una forma di discriminazione? Se ci sono, su quali criteri si basano?
In primo luogo, si tratterà quindi delle minoranze visibili e di quelle invisibili presenti nel territorio al fine di delineare quelle differenze che esistono tra chi può essere riconosciuto come giapponese e chi no concentrandosi principalmente su quelle minoranze che potremmo definire “visibili”.
Dopo una breve parentesi sui metodi e i criteri utilizzati in questa tesi, si passerà al cuore di questa tesi rappresentato dallo studio dei programmi campione in cui compaiono come protagonisti dei “non giapponesi”. Si analizzeranno i soggetti, i temi, le immagini e le parole che vengono scelte per interagire con l’altro cercando quale sia il significato che gli viene attribuito e come possa essere decodificato dallo spettatore.
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Besnard, Julien. "Le rôle des conventions dans la diffusion des innovations : synthèse épistémologique, intégration théorique et caractérisation dans le cas des programmes de télévision." Thesis, Paris 2, 2015. http://www.theses.fr/2015PA020019.
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La théorie de la diffusion de l’innovation s’est constituée au cours du XXeme siècle autour de modèles qualitatifs et quantitatifs qui ne prennent pas en compte, sinon à la marge, l’influence des valeurs et des normes dans la genèse de l’adoption des innovations. A partir d’une hypothèse de recherche, la « structure complexe » d’Edgard Morin et Jean-Pierre Dupuy, et d’une synthèse épistémologique, ce travail de recherche propose une échelle de mesure expérimentale des « cités » de Boltanski et Thévenot et l’intégration de l’influence des conventions comme variables antécédentes de l’adoption des innovations dans un modèle d’équations structurelles inspiré d’une modélisation classique de comportement du consommateur, la théorie de l’action raisonnée de Fishbein. Appliqué au terrain des émissions de télévision, ce modèle indique que l’adoption des émissions dites de « téléréalité » et le bulletin télévisé de la météorologie répondent à des influences normatives différentes qui impliquent des comportements différenciés chez le téléspectateur lors de la consommation de ces programmes. La modélisation de l’influence des conventions ouvre la voie à une classification inédite des émissions de télévision, en fonction des influences sociales, et, en lien avec l’audience, à une meilleure anticipation du succès des nouveaux formats télévisuelsThe theory of the diffusion of innovations has been built during the XXth century around qualitative and quantitative models which does not take into account, otherwise barely, the influence of values and norms on the genesis of innovations. From a research hypothesis, the “complex structure” thought by Edgar Morin and Jean-Pierre Dupuy and an epistemic synthesis, this thesis proposes an experimental measure scale of the Boltanski and Thevenot’s “worlds” and the implementation of sociological forms, “the conventions”, as variable of the innovation adoption in a structural equations model inspired from the Fishbein’s Theory of reasoned action. Built on the field of Tv programs, this model shows that the adoption of “reality TV programs” are linked with specific sociological influences. These sociological influences involve atypical behaviors of TV viewers in front of the screen. The model of the influence of the “conventions” on consumer behavior opens the way to a new classification of TV programs as well as an improved prevision of the success of new formats
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De, Montgolfier Clémence. "Représentations des mondes de l'art contemporain à la télévision française de 1960 à 2013. De la médiatisation à la médiation." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA126.
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Cette recherche vise à déterminer comment la télévision française représente les mondes de l’art contemporain de 1960 à nos jours. Grâce à une analyse sémiologique et pragmatique d’un corpus d’émissions sur l’art contemporain, nous avons constaté, d’une part, que l’évolution des programmes télévisés dits « culturels » montre une diminution de la part de ces derniers ainsi que leur relégation dans des heures creuses de la programmation depuis les années 1980. Alors que les programmes des années 1960 à 1980 visent à transmettre l’expérience esthétique des œuvres d’art depuis le terrain, les années 1980 à 2000 voient des programmes plus dialogiques où experts et artistes discutent sur le plateau. Ces échanges présentant peu de critique négative relèvent principalement de la promotion culturelle. D’autre part, depuis les années 2000, les émissions sur l’art contemporain s’inspirent des formes divertissantes de la télé-réalité. Des contradictions idéologiques surgissent entre la mission de médiation culturelle portée par l’ORTF puis les chaînes publiques et ces nouveaux récits de compétition. L’art contemporain se trouve alors au cœur des conflits de définition de la culture. D’un côté, sa médiatisation montre un monde de l’art hégémonique où les inégalités socioculturelles sont légitimées. De l’autre, la médiation opérée par les programmes continue de promettre un idéal de démocratisation de l’art contemporain à travers des récits d’accès au savoir, source d’égalité. La médiation des œuvres d’art, de l’exposition filmée à une télévision « curatoriale », promet plus d’immédiateté tout en multipliant les dispositifs de médiation. C’est dans cette indécidabilité que les programmes sur l’art contemporain ne peuvent tenir leurs promessesThis research aims to determine how French television has been representing the worlds of contemporary art from the 1960’s to nowdays. Through a semiological and pragmatic analysis of a corpus of television programs about contemporary art, we have observed, on the one hand, a decrease of their share and their relegation to less favorable hours of programing since the 1980’s. Whereas the programs from 1960 to 1980 aimed to transmit the aesthetic experience of the artworks as seen from the field, the programs between 1980 and 2000 were more dialogical and hosted discussions between experts and artists in the television studio. Showing few negative critiques, they fell under the discourse of cultural promotion. And on the other hand, since the 2000’s, television shows about contemporary art have been taking on the entertaining forms of reality shows. Ideological contradictions arise, between the cultural mediation mission carried on by the ORTF and later public channels and those new narratives of competition. Contemporary art finds itself at the heart of conflicts regarding the definition of culture. On one side, its media coverage shows a hegemonic world of art where sociocultural inequalities are legitimated. And on the other side, those programs continue to promise an ideal of democratization of contemporary art through narratives of accessing knowledge, source of emancipation and equality. Moreover, the mediation of the artworks, from the filmed exhibition to a “curatorial” television, promise more immediacy while multiplying the dispositifs of mediation. It is within this impossibility to decide what their purpose is that television programs about contemporary art can’t hold their promises
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Tavares, Bruno Rogério. "Mapas dos processos de criação de formatos de programas televisivos: uma proposta metodológica." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20310.
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Bruno Rogério Tavares.pdf: 3006189 bytes, checksum: 6bd1ccb818e34060ac06fa95d9437ec9 (MD5)Made available in DSpace on 2017-08-24T12:53:42Z (GMT). No. of bitstreams: 1 Bruno Rogério Tavares.pdf: 3006189 bytes, checksum: 6bd1ccb818e34060ac06fa95d9437ec9 (MD5) Previous issue date: 2017-08-18
Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
There is a new panorama of audiovisual content construction that has been opened with the expansion of the TV format formats industry in the world. The emergence and popularization of television can be considered one of the most relevant phenomena in the 20th century in social communication, in the context of Brazilian television productions, the present study aimed to create a methodology for creating new formats of television programs, Based on the analysis of the creative processes used by TV channels, broadcasters and producers, with reference to a new market for the export of audiovisual ideas. This research is justified by the fact that Brazil still has a gap to be filled, since it is not configured as an exporter of television formats. The guiding hypothesis of this research was whether the lack of systematization of the creative process for TV program formats inhibits the development of new ideas for entertainment programs. The hypotheses were also analyzed that the vertical model of the TV stations discourages the development of new projects of formats of programs in Brazil; And that most TV stations do not have creative teams because they do not know how to stimulate or evaluate the creations of new programs. The method used to develop this study was qualitative, using the techniques of exploratory research, bibliography, documentary analysis and cartography, including maps and diagrams. The theoretical framework is based on studies of communication, genres and formats, on theories of genetic criticism, creativity, creative processes, innovation, design thinking and business modeling, as well as the interpretation of data from the Brazilian television scenario. The development of the research finds scientific and methodological support in the line of research Creation Processes in the Media and in the Research Group CCM - Communication and Creation in the Media, aligned with approach of the studies of the professor Lucia Leão
Há um novo panorama de construção de conteúdos audiovisuais que foi aberto com a expansão da indústria de formatos de programas para TV no mundo. O surgimento e a popularização da televisão podem ser considerados dois dos fenômenos mais relevantes no âmbito da comunicação social do século XX. No contexto das produções televisivas brasileiras, o presente estudo teve como objetivo criar uma metodologia para criação de novos formatos de programas de televisão, a partir da análise dos processos criativos utilizados por canais, emissoras e produtoras de TV, tendo como referência um novo mercado para exportação de ideias audiovisuais. Esta pesquisa justifica-se pelo fato de o Brasil ainda ter uma lacuna a ser preenchida, já que não se configura como exportador de formatos televisivos. A hipótese norteadora dessa pesquisa foi se a falta de sistematização do processo criativo para formatos de programas de TV inibe o desenvolvimento de novas ideias para programas de entretenimento. Foram analisadas também as hipóteses de que o modelo vertical das emissoras de TV desestimula o desenvolvimento de novos projetos de formatos de programas no Brasil; e que a maioria das emissoras de TV não possuem equipes de criação por não saberem como estimular ou avaliar as criações de novos programas. O método empregado para desenvolver este estudo foi o qualitativo, tendo sido utilizadas as técnicas de pesquisa exploratória, bibliográfica, análise documental e cartografia, incluindo mapas e diagramas. O referencial teórico baseia-se nos estudos da comunicação, dos gêneros e formatos, nas teorias da crítica genética, da criatividade, dos processos criativos, da inovação, do design thinking e de modelagem de negócios, além da interpretação de dados do cenário televisivo brasileiro. O desenvolvimento da pesquisa encontra respaldo científico e metodológico na linha de pesquisa Processos de Criação nas Mídias e no Grupo de Pesquisa Comunicação e Criação nas Mídias – CCM, alinhados com abordagem dos estudos da orientadora Profa. Dra. Lucia Leão
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Delestage, Charles-Alexandre. "L’expérience émotionnelle ou la performance des programmes de télévision : l’horizon de pertinence comme déterminant de la construction de sens par le spectateur." Thesis, Valenciennes, 2018. http://www.theses.fr/2018VALE0026/document.
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La question de la qualité des programmes de télévision est une problématique récurrente tant pour les producteurs de contenu que pour le législateur, qui en a confié le contrôle dans la loi a une institution publique, le CSA. Cependant, la notion même de qualité dans ce contexte est ambiguë, et les outils permettant de l’évaluer sont souvent réduits à la vérification du respect d’obligations contractuelles avec les diffuseurs de contenus. Le seul outil universellement utilisé reste la mesure d’audience, souvent remise en cause depuis sa première utilisation en France dans les années 80. Le téléspectateur, principal intéressé de cette démarche qualité, n’est donc considéré que dans son nombre par cette démarche statistique. Cette étude propose de changer de paradigme pour placer le téléspectateur au cœur de l’évaluation des produits audiovisuels. A partir d’une perspective aux confluents de l’énaction de Francisco Varela et de la méthode de conception relativisée de Mioara Mugur-Schächter, l’étude de l’expérience émotionnelle apporte un regard nouveau et original sur la conception de spectateur dans un cadre d’évaluation des programmes. En s’intéressant a la façon dont le téléspectateur guide sa propre perception en fonction de son histoire personnelle, de sa façon d’interpréter son environnement et de l’influence des émotions dans la construction de sa relation à l’audiovisuel, les travaux menés permettent de replacer le téléspectateur comme acteur de l’évaluation. Les entretiens réalisés démontrent ainsi l’individualité de chaque spectateur dans son approche de l’audiovisuel et la construction de critères d’évaluations qui lui sont propres, mais permettant de définir un protocole a multiples niveaux utilisable comme indicateur de la qualité de la relation à l’audiovisuel dans un contexte plus largeThe quality of television programs is a running problem for the content producers as well as the legislator in France, whom gave monitoring in the law to a public institution, the CSA. However, the very concept of quality in that context is ambiguous, and tools allowing oversight are often reduiced to the verification of owed legal duties with the content providers. The only tool universally used is the audience rating, yet often challenged since its first usage in France in the 1980s. The viewer, having a leading interest in this quality process, is only considered in its numbers by such a statistic approch. This study proposes to initiate a paradigm shift in order to place the viewer in the heart of the audiovisual product’s evaluation. Around the theories of enaction by Francisco Varela and the method of relativized conceptualization of Mioara Mugur-Schachter, the study of the emotionnal experience casts a new and original light on the conception of the viewer in a program evaluation setup. By focusing on the way the viewer guides its own perception through its personal history, its manner to interpret its environment and the influence of emotion in the construction of its relation to audiovisual products, the work exposed in this dissertation allows to place the viewer as an actor of the evaluation. The interviews carried out proove the individuality of each viewer in its personnal approach of audiovisual and the construction of criterias of its own, yet allows to define a multi-layered protocol usable as an indicator of the relation’s quality to audiovisual content in a broader context
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Lourenço, Joana Maria Abreu Oliveira. "A comunicação para a responsabilidade -influência dos programas televisivos infantis nos valores das crianças." Master's thesis, Instituto Superior de Ciências Sociais e Políticas, 2016. http://hdl.handle.net/10400.5/12790.
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Dissertação de Mestrado em Comunicação Social na especialização de Comunicação EstratégicaAtacada por uns e defendida por outros, a televisão está presente no quotidiano dos Portugueses e é responsável pela transmissão de valores, tendo um peso significativo na socialização das crianças e jovens. A presente dissertação de mestrado centra-se na relação entre a comunicação dos valores pelos programas televisivos destinados ao público infantil e os valores atuais das crianças portuguesas. Concedeu-se particular destaque à ecologia, à solidariedade e à poupança, por serem valores crescentemente evocados no discurso público e mediático. Os objetivos foram: 1) avaliar a importância da ecologia, da solidariedade e da poupança nos valores das crianças entre os 5 e 12 anos de idade e respetivos pais; 2) compreender a influência da comunicação televisiva na construção destes valores; 3) analisar conteúdos de programas televisivos infantis sobre estes temas; 4) relacionar a compreensão que as crianças têm desses programas com as suas atitudes do quotidiano relativas à ecologia, solidariedade e poupança. Foram usadas técnicas qualitativas e quantitativas assentes em questionários e entrevistas a trinta crianças e trinta pais, análise de audiências e de conteúdos dos excertos de dois programas da televisão portuguesa – Zig Zag e Ilha das Cores. Conclui-se que as crianças conseguem identificar facilmente os valores da ecologia, solidariedade e poupança nos programas televisivos infantis, muito devido à educação que anteriormente receberam no seio familiar ou escolar. Os media, nomeadamente a televisão, parecem ser estímulos adicionais ao desenvolvimento dos valores nas crianças, não estando porém isentos de um julgamento crítico por parte dos pais e das próprias crianças.
Attacked by some and defended by others, television is present in the daily lives of the Portuguese and is responsible for the transmission of values, having a significant weight in the socialization of children and youth. This dissertation focuses on the relationship between the communication of values by television programs to children and the current values of Portuguese children. Ecology, solidarity and savings are particularly focused on this study because it is increasingly evoked in public discourse and the media. The purposes were 1) to evaluate the importance of ecology, solidarity and thrift the values of children among 5 and 12 years of age and their parents; 2) understand the influence of television communication in the development of these values; 3) analyzing content of children's television programs on these issues; 4) relate the understanding that children have of these programs with their everyday attitudes to ecology, solidarity and thrift. Qualitative and quantitative techniques were used based on questionnaires and interviews with thirty children and thirty parents, audience analysis and content of excerpts from two programs of the Portuguese television – “Zig Zag” and “Ilha das Cores”. It is concluded that children can easily identify the values of ecology, solidarity and thrift in children's television programs, largely due to education that previously received in their families or at school. The media, particularly television, appear to be additional stimulus to the development of values in children, but not being exempt from critical judgment by the parents and the children themselves.
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