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Dissertations / Theses on the topic 'Television series'
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1
Ding, Grace T. "The Circuit: An Original Television Series." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/881.
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Between good and evil there's a whole lot of gray: Welcome to The Circuit.
A shady private security firm recruits criminals straight out of prison and sells its services to the highest bidder, saint and sinner alike (mostly sinners). Through the trials and tribulations of a diverse ensemble cast, the show explores some of my absolute favorite themes in storytelling: gray morality, found families, and unlikely heroes. Follow our gritty and guarded lead Shaye as she struggles to tame a group of talented and contentious ex-cons under the shadow of her ambitious and manipulative father, all the while struggling to maintain her integrity in a world where nobody's the good guy.
This thesis is an original television drama series, and consists of two full episodes as well as thirteen episode synopses for season one. It is also a work in progress, so feedback is welcome.
2
Quick, Shayne P. "World series cricket, television and Australian culture /." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487683401442143.
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3
Sander, Johanna. "The television series Community and Sitcom : A case study aimed at the genre of contemporary American Sitcom television series." Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-15067.
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This thesis is asking whether the television series Community (2009-) can be defined as a Sitcom, combined with a look at how other genres that generally are considered to be non-comic are incorporated in the series and how those are identifiable as well as whether or not they compromise Community’s possible label as a Sitcom. In seeking to define this show’s place in its own genre I found that whilst Community does not follow the archetypal technical conventions of Sitcom, it still does follow some of its setups, tropes and ideas. It does not suffice as a classical Sitcom, but it does lean on some of the genres conventions and has not yet passed over the line where it would be part of a completely different genre. Instead I state that the series fits the term New Comedy, as devised by Antonio Savorelli, not a genre but a term representing the heightened use of metatextuality on four levels in Comedy. Thus Community suffices as a part of an evolved version of the Sitcom genre.
4
Berridge, Susan. "Serialised sexual violence in teen television drama series." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/2326/.
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This thesis examines the kinds of stories about teenage sexual violence that are enabled (or not) by US and British teen television drama series between 1990 and 2008. This genre is centrally concerned with issues of sexuality and, in particular, sexual vulnerability as teenage characters negotiate the transition from childhood to adulthood. Sexual violence narratives are common within this context. This thesis argues that a fuller understanding of representations of sexual violence is enabled by contextualising these narratives in relation to overall series’ and generic contexts. I employ a structural methodology to map where these storylines occur within series’ and generic structures across fourteen texts, uncovering striking patterns that point to the value of analysing several programmes alongside one another. This then provides the starting point for a deeper textual analysis of how sexual violence functions narratively and ideologically. Through doing this, I am able to provide insights into a variety of different forces that shape how these narratives are framed. Contextualising my analysis of representations of sexual violence allows me to account for the specificities of episodic and serial narrative forms, the generic hybridity of individual programmes, the wider conventions of the teen drama series genre, the gender of the series’ protagonist and US and British contexts. Additionally, I identify the genre’s dominant sexual norms and explore how these norms intersect with representations of sexual violence.
5
Schneider, Florian. "Visual political communication in popular Chinese television series." Thesis, University of Sheffield, 2009. http://etheses.whiterose.ac.uk/14525/.
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This thesis argues that the content of popular Chinese TV dramas helps construct and reenforce social and political reality in China by defining what is true. With the increasing liberalisation of the Chinese TV drama market, this construction process is becoming more and more complex: it is not merely influenced by the political interests of state and party institutions, but also by the commercial interests of producers and broadcasters, as well as by the viewing habits and interests of audiences. Consequently, Chinese TV dramas create ideas concerning Chinese society which are simultaneously popular and politically 'healthy'. Based on qualitative interviews with Chinese media experts and production crew members conducted in 2007, my research shows how various actors and institutional factors influence the production of political discourses in Chinese TV dramas. This thesis also offers a qualitative analysis of how the discourses on two political concepts (governance and security) are depicted in three particularly popular dramas, one historical epic, one crime drama, and one teen drama. This analysis shows that these programs all link their political message to patriotic sentiments or conservative gender discourses, and that this is not the result of political directives but instead of market dynamics and of audiences' viewing preferences. In this sense, the present research shows how the apparent liberalisation of the drama market in reality imposes a whole framework of new cultural, political, and economic restrictions, which in tum leads to the production of TV content that is firmly rooted in hegemonic discourses. This discourse is then not primarily reproduced because it is politically opportune, but because, it is popular.
6
Costa, Sarah Moralejo da [UNESP]. "Supernatural na web: produção e reprodução audiovisual em suporte convergente." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/89376.
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A diversidade de suportes e mídias que povoam o mercado tecnológico atualmente desperta preocupações por parte dos produtores de conteúdo cultural comercial devido principalmente à necessidade de atender a um novo público que busca cada vez mais interagir com narrativas, com os produtores e com demais consumidores. A web, com suas ferramentas de interatividade e construção coletiva de conhecimento, se destaca como ponto de união de interesses tanto de produtores, com a maior variabilidade de suas narrativas, quanto dos consumidores, com suas diversas formas de fruição de conteúdo. Partindo da hipótese de que as ferramentas da web interferem na forma de fruição, o objetivo da pesquisa se volta para a identificação dessas ferramentas e análise crítica de sua utilização na transmissão de conteúdo audiovisual na web. A pesquisa se debruça sobre um produto audiovisual, a série de TV Supernatural, buscando observar quais são as ferramentas envolvidas no processo de convergência midiática entre televisão e internet, mais especificamente, a apropriação feita pelo público do conteúdo audiovisual para sua transmissão na web, originalmente produzido para a TV. O objetivo é compreender criticamente esse deslocamento de conteúdo e qual a importância das características da web para essa dinâmica, buscando responder quais recursos midiáticos estão disponíveis para transmissão de conteúdo audiovisual. Esta observação se faz a partir da análise de três sites distintos, com formas diferentes de disponibilização do conteúdo de série Supernatural, buscando uma gama maior de ferramentas disponíveis próprias da web
The diversity in media and supports which populate the technology market nowadays brings about some worry on the part of the producers of culturally commercial content due, mainly, to the need of catering to a new public who looks more and mor to interact with the narrative, with said producers and with other consumers of such media. The web, with its interactivity tools and collective construction of knowledge, comes across as union focus of of interests from the part of the producers, with a greater varibility of its narratives, and also from the part of the consumers, with its many ways of fruition of such content. Coming from the bypothesis that the web-tools interfere in the ways of fruition, the aim of this research is to turn is focus on the identification of these tools and on the critical analysis of its usage in the transmission of audiovisual content over the web. The research focu on an audiovisual product, the TV series Supernatural, aiming to observe what are the tools involved in the media convergence process between television and the internet, more specifically, the appropriation made by the public of the audiovisual content for its transmission on the web, originally produced for the TV. The goal is to critically understand such content displacement and what is the importance of the web characteristics for this dynamic, trying to answer what media resources are available for the transmission of audiovisual content. This observation is made by the analyses of three distinct websites, with different ways of release of the content of the series Supernatural, trying to achieve e bigger frame of reference on the tools available over the web
7
Costa, Sarah Moralejo da. "Supernatural na web : produção e reprodução audiovisual em suporte convergente /." Bauru : [s.n.], 2012. http://hdl.handle.net/11449/89376.
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Orientador: Marcelo Magalhães BulhõesBanca: Rogério Ferraraz
Banca: Mauro de Souza Ventura
Resumo: A diversidade de suportes e mídias que povoam o mercado tecnológico atualmente desperta preocupações por parte dos produtores de conteúdo cultural comercial devido principalmente à necessidade de atender a um novo público que busca cada vez mais interagir com narrativas, com os produtores e com demais consumidores. A web, com suas ferramentas de interatividade e construção coletiva de conhecimento, se destaca como ponto de união de interesses tanto de produtores, com a maior variabilidade de suas narrativas, quanto dos consumidores, com suas diversas formas de fruição de conteúdo. Partindo da hipótese de que as ferramentas da web interferem na forma de fruição, o objetivo da pesquisa se volta para a identificação dessas ferramentas e análise crítica de sua utilização na transmissão de conteúdo audiovisual na web. A pesquisa se debruça sobre um produto audiovisual, a série de TV Supernatural, buscando observar quais são as ferramentas envolvidas no processo de convergência midiática entre televisão e internet, mais especificamente, a apropriação feita pelo público do conteúdo audiovisual para sua transmissão na web, originalmente produzido para a TV. O objetivo é compreender criticamente esse deslocamento de conteúdo e qual a importância das características da web para essa dinâmica, buscando responder quais recursos midiáticos estão disponíveis para transmissão de conteúdo audiovisual. Esta observação se faz a partir da análise de três sites distintos, com formas diferentes de disponibilização do conteúdo de série Supernatural, buscando uma gama maior de ferramentas disponíveis próprias da web
Abstract: The diversity in media and supports which populate the technology market nowadays brings about some worry on the part of the producers of culturally commercial content due, mainly, to the need of catering to a new public who looks more and mor to interact with the narrative, with said producers and with other consumers of such media. The web, with its interactivity tools and collective construction of knowledge, comes across as union focus of of interests from the part of the producers, with a greater varibility of its narratives, and also from the part of the consumers, with its many ways of fruition of such content. Coming from the bypothesis that the web-tools interfere in the ways of fruition, the aim of this research is to turn is focus on the identification of these tools and on the critical analysis of its usage in the transmission of audiovisual content over the web. The research focu on an audiovisual product, the TV series Supernatural, aiming to observe what are the tools involved in the media convergence process between television and the internet, more specifically, the appropriation made by the public of the audiovisual content for its transmission on the web, originally produced for the TV. The goal is to critically understand such content displacement and what is the importance of the web characteristics for this dynamic, trying to answer what media resources are available for the transmission of audiovisual content. This observation is made by the analyses of three distinct websites, with different ways of release of the content of the series Supernatural, trying to achieve e bigger frame of reference on the tools available over the web
Mestre
8
Baluch, Jamila. "Representations of race in contemporary U.S. television drama series." Thesis, University of Reading, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.658005.
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This thesis examines quantitative and qualitative representations of race in contemporary U.S. drama series with a focus on network television and the two largest minority groups in the United States, Latinos and African Americans. The analysis of quantitative representations of whites and non-whites in American network dramas is based on the February 2011 television schedule of the five broadcast networks ABC, CBS, Fox, NBC and The CW, with a focus on regular characters as represented on the networks' official websites. The results show that Latinos are dramatically under-represented in U.S. network drama series, while whites and black males are overrepresented. Furthermore, due to structural changes in the American television landscape and an increased focus on non-scripted reality programming, black-themed and Latino-themed programmes have been completely eliminated from primetime network television so that African-American and Latino characters are generally portrayed in white settings. The second part of the thesis provides a critical analysis of the three internationally successful American quality dramas CSI, House and Desperate Housewives. Among their otherwise white regular casts, CSI and House each include one black male character, while Desperate Housewives features a Latina as one of the four female protagonists. Based on a critical analysis of individual episodes as well as on a contextualisation of the characters within each series, representations of whiteness and non-whiteness are discussed in the context of traditional Western conceptions of racial dilference.
9
Dias, Branco Sergio. "Strung pieces : on the aesthetics of television fiction series." Thesis, University of Kent, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.582014.
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As layered and long works, television fiction series have aesthetic properties that are built over time, bit by bit. This thesis develops a group of concepts that enable the study of these properties, It argues that a series is made of strung pieces, a system of related elements. The text begins by considering this sequential form within the fields of film and television. This opening chapter defines the object and methodology of research, arguing for a non-essentialist distinction between cinema and television and against the adequacy of textual and contextual analyses as approaches to the aesthetics of these shows. It proposes instead that these programmes should be described as televisual works that can be scrutinised through aesthetic analysis. The next chapters propose a sequence of interrelated concepts. The second chapter contends that series are composed of building blocks that can be either units into which series are divided or motifi that unify series and are dispersed across their pans. These blocks are patterned according to four kinds of relations or principles of composition. Repetition and variation are treated in tandem in the third chapter because of their close connection, given that variation emerges from established repetition. Exception and progression are also discussed together in the fourth chapter since they both require a long view of these serial works. The former, in order to be recognised as a deviation from the patterns of repetition and variation. The latter, In order to be understood in Its many dimensions as the series advances. Each of these concepts is further detailed with additional distinctions between types of units, motifs, repetitions, variations, and exceptions, using illustrative examples from numerous shows. In contrast, the section on progression uses a single series as case study, Camioal« (2003-05), because this is the overarching principle that encompasses all the others. The conclusion considers the findings of the research and suggests avenues for their application.
10
Dettleff-Pallete, James-Anthony. "Fragilidad masculina en la ficción televisiva peruana : el caso de la reina de las carretillas." Bachelor's thesis, Universidad de Lima, 2016. http://repositorio.ulima.edu.pe/handle/ulima/2983.
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Karadag, Yeliz. "Television Series and Tourism : Impacts of a television series on its screened location and the relationship between the film production and the location." Thesis, Södertörns högskola, Institutionen för ekonomi och företagande, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-9838.
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Film tourism is a widely growing phenomenon with various benefits the filmed location can take advantage of. This study examines the impacts of a Turkish television series named Kavak Yelleri on its screened location, a Turkish Aegean Seaside town named Seferihisar. Besides the impacts of the series, the relationship between the screened location and the film crew is studied. This case includes a further particular feature; the screened location in Kavak Yelleri is named after another existing town, Urla, in the storyline, while it is actually filmed in Seferihisar. A qualitative case study approach has been implemented in order to scrutinize the subject. The empirical data was conducted through interviews with the municipality of Seferihisar and its local people, local people of Urla, and an interview with a member from the film crew of Kavak Yelleri. a) It becomes evident that the television series has positive social and economical impacts on Seferihisar. The power of media and the presence of the film crew are the main contributors. b) The discrepancy of location name between reality and storyline has affected the path of the film tourists. c) A well handled relationship between the screened location and film crew can have valuable implications for tourism.
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Pierson, David P. (David Paul). "A Historical/Critical Analysis of the TV Series The Fugitive." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501081/.
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In many respects, the popular 1960's television series, The Fugitive perfectly captured the swelling disillusionment with authority, alienation, and discontent that soon encompassed American society. This historical/critical study provides a broad overview of the economic, social, and political climate that surrounded the creation of The Fugitive. The primary focus of this study is the analysis of five discursive topics (individualism, marriage, justice & authority, professionalism, science and technology) within selected episodes and to show how they relate to broader cultural debates which occurred at that time. Finally, this study argues that The Fugitive is a part of a television adventure subgenre which we may classify as the contemporary "wanderer-hero" narrative and traces its evolution through selected television series from the last three decades.
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Eberts, Jane F. "Adaptation: Is the Book Really Better Than the...Television Series?" Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/105.
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When the topic of ‘adaptation’ is brought up, more often than not the coupling of a novel and its most recent Hollywood hit come to mind. Although it may not be at the forefront of the general population’s mind, adaptation is something that we encounter often, and consciously or not, we all have our own theory on the subject. While it may seem that the evolution of book series, to film adaptation, to booming franchise may be recently trending with the acceleration of blockbusters such as Harry Potter, adaptation has been a fundamental part of the advancement of media. This paper looks at film and television adaptations founded outside of the literary canon, exploring the discourse of what constitutes high or mass culture and how the medium of the adaptation fits or breaks the conventions that “classic” film adaptation has established. In addition, the medium-specific differences between film and television will be examined for how they limit or enhance a literary adaptation, whether it is a single novel or a series. What happens to the critique of an adaptation when it extends past the narrative created in the source text, opposed to the adaptation that begins and ends with the source narrative? In addition, adaptations will be looked at through a contextual and historical lens, rather than a moralistic or hierarchical lens, producing a criticism that incorporates the differences among the media involved in adaptations.
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Reichelt, Susan. "The sociolinguistic construction of character diversity in fictional television series." Thesis, Cardiff University, 2018. http://orca.cf.ac.uk/114837/.
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This thesis investigates the language used in six fictional television series (1997 – 2014). The overall aim is to find out how linguistic patterns contribute to distinguishing features of characters and character groups. Throughout the thesis, I answer three overarching questions: 1.How are individual linguistic variables used for purposes of characterization? 2.How do linguistic variables interact to create linguistic character styles? 3.Are characterization patterns used in similar ways across characters within individual series, as well as across series? The thesis presents an interdisciplinary study of sociolinguistically meaningful stylization and produces a useful account of the underused fictolinguistic approach that links concepts of variationist sociolinguistics with stylistics. Through quantitative analysis and informed by previous sociolinguistic findings on the uses of five pragmatic forms (pragmatic markers, hedges, general extenders, modal adverbs, and intensifiers), I trace how language variation and change ties in with the individualization of fictional characters. Findings suggest that linguistic patterns that link to character qualities are consistent across a variety of investigated features. Further, some features (e.g. pragmatic markers) appear to be used with greater variance than others (e.g. general extenders), suggesting that there are distinctions in terms of saliency and availability of characterization cues. Further findings show linguistic variation correlating to particular character types, series production and genre, and character background (in particular nationality). Linguistic change is investigated through apparent time analyses for all features, as well as a brief real time analysis for selected contexts. Throughout the thesis, I touch upon concepts of indexicality, saliency, and authenticity. Finally, the thesis concludes that the present study of fictional television dialogue adds to our understanding of current language use and linguistic perception and that more studies of this kind might further enhance our knowledge of the intrinsic relation between language and identity.
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Davidson, Daryl Malarry. "Joey Connor Larry Darrell: A Television/Streaming Series a Clef." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1578318342890128.
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Marshall, John E. ""HOMEworkHelp" a practical study in developing an effective, efficient and transferable interactive television series to assist students with their homework /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1998. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.S.)--Kutztown University of Pennsylvania, 1998.Source: Masters Abstracts International, Volume: 45-06, page: 2808. Typescript. Abstract precedes thesis as preliminary leaves [1]-3. Includes bibliographical references (leaves 68-73).
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Konuslu, Firat. "Production And Labor Process Of The Contemporary Turkish Private Television Series." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614688/index.pdf.
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This thesis focuses on one of the most appreciated products of the Turkish Television, the TV Series'production and labor process. Starting from the fact that the production side of this highly attention gathering media product hasn'
t received too much academic concern, by analyzing the workers of the sector, this point is tried to be illuminated. This thesis that analyzes TV series'
working conditions in the perspective of &ldquo
precarious employment&rdquo
departing from this framework, argues the workers of the industry are fragmented into two groups, &ldquo
creative&rdquo
and &ldquo
technical&rdquo
workers. In this context it indicates the creative workers not only as not being affected from the precarious employment conditions too much but also as the executor of the technical workers'
experience of precariousness in the production level.
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Sobhani, Mehrnoosh. "Avant-garde film or television series : on Edgar Reitz's cinema utopia." Thesis, University of Edinburgh, 2002. http://hdl.handle.net/1842/23198.
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This thesis examines Edgar Reitz’s internationally acclaimed films Heimat and Die Zweite Heimat in the context of the early avant-garde theories and films, which Reitz developed during his years at the Ulm Film Institute. The two films have been widely analysed in articles, essays, books and PhD theses within the context of the Heimat film genre of the 1950s and the anti-Heimat and critical Heimat film genres of the 1960s and 1970s. They have also been extensively debated for their controversial portrayal of the Third Reich and the Holocaust. Astonishingly, in all the studies on the films, critics have assumed that, apart from an autobiographical relationship, there is no link between Reitz’s Heimat-films and his early avant-garde theories and films. Interpretations, therefore, largely overlook the cinematographic issues brought up by the films. This dissertation attempts to close this gap in the discussion of Reitz’s Heimat-films. Starting with a detailed study of Reitz’s early avant-garde theories and films, it investigates Reitz’s contributions of the New German Cinema, shedding light on his novel approach in exploring a new film language, as well as a new film venue. Critics have debated the question of the venue of Reitz’s Heimat-films, which were made for the cinema but gained success in television. Few, however, have related this debate to Reitz’s earlier attempts to challenge the conventional venue of film. The fact that critics have predominantly focused on the question of history and the meaning of Heimat in the two films has had the unfortunate consequence that references to Reitz’s earlier films have been restricted to those which likewise deal with the topic of National Socialism, namely Die Reise nach Wien and Stunde Null.
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de, Wasseige Mathieu. "A critical analysis of ideological narratives in contemporary US network television series." Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209843.
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This critical study unveils the ideological underpinning of contemporary network series narratives through a thematic approach combined with the analysis of the strategies of representation that support the ideological inclination of the series/Cette analyse critique dévoile l'idéologie sous-jacente des séries télévisées contemporaines des networks américains par une approche thématique combinée à une analyse des stratégies de représentations qui appuient la tendance idéologique de ces sériesDoctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
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Bidlingmeyer, Lisa Marie. "Agent + Image : how the television image estabilizes identity in TV spy series." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/41244.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2007.Includes bibliographical references (leaves 105-107).
This thesis explores the intersection of the television image with the presentation of self-identity. I examine two TV series in the spy genre -- Alias (2001 - 2006) and The Prisoner (1967 - 1968) -- discussing how each employs strategies of visual representation to present its protagonist as decentered or unfixed; in so doing, these programs complicate and problematize within their narratives the terms by which "subject" and "agency" have been traditionally understood and represented to popular TV audiences. This problematizing in turn opens up possibilities for detecting new modes of subject formation. This paper argues that television, communication tool and historical and cultural artifact, must be regarded equally as a visual medium. In fact, the TV image brings the enacted identity theorized by Judith Butler into direct contact with Henri Bergson's formulations of memory and image, creating characters and spaces within TV stories that vividly illustrate the limitations to and potentials for creativity within the domains of action and identity. In addition to Butler and Bergson, this paper turns additionally to Gilles Deleuze for an understanding of cinematic image and time, and to the concept of masquerade developed within feminist theory. In The Prisoner, a modern hero must make sense of a landscape of discontinuities and repetitions that challenge his ability to act, react, move, and escape. In Alias, a postmodern heroine must master the art of changing selves in order to move across spaces that, like her own identity, are conditional and are never what they initially appear.
(cont.) In both series, the television image, freed from an obligation to represent only one thing while ruling out others and made multiple by the TV episode format, assumes a resonance over its duration that creates the conditions for the depiction of fluid and changeable spaces and characters. In both cases, the TV image repeated enables a paradigm shift where the depiction of a decentered protagonist, once exceptional, now becomes a normative subject on television. KEYWORDS: Alias -- Bergson -- Butler -- decentered subject -- Deleuze -- feminism identity -- image -- Jennifer Garner -- Patrick McGoohan -- The Prisoner -- spy shows -- television -- visual theory
by Lisa Marie Bidlingmeyer.
S.M.
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Ranzato, Irene. "The translation of cultural references in the Italian dubbing of television series." Thesis, Imperial College London, 2013. http://hdl.handle.net/10044/1/14622.
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This research describes the strategies adopted by dubbing professionals (mainly translators) in their translations for dubbing of television series, from English into Italian. More specifically, it means to account for the norms governing the work of the translators in this field. In order to draw substantial conclusions, the analysis is conducted on a corpus of television fiction shows, which is not only sufficiently large but also varied in terms of genre, content, language use, and target audiences. The main focus of the analysis is the translation of culture specific references; a subject that has widely been recognised by scholars as being one of the most problematic translation issues, not only in the case of translation for dubbing but also in other areas such as literary and drama translation. One of the hypotheses presented is that the social and historical context in which dubbing originally came to be in Italy had an impact on its subsequent evolution and can still be relevant when dealing with issues of censorship and manipulation of contents. The methodological foundations of this research rest on Toury’s (1980, 1995) notion of norms in translation. Toury (1980: 51) considers norms to be central to the act and the event of translating. The ultimate aim of this study is, therefore, to map out the strategies activated by translators in response to the cultural environment in which they operate, and to detect the norms that are prevalent in the case of dubbing television series into Italian. The analysis is carried out on a corpus of over 95 hours of television programmes, whole episodes of three fiction series belonging to different genres: Friends (sitcom, USA); Life on Mars (science fiction/police procedural drama, UK); Six Feet Under (drama, USA). All the culture specific elements present in the corpus have been detected and their adaptation into Italian analysed from a quantitative and qualitative point of view in order to highlight the prevalent translational behaviours.
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McQueen, Kate. "An empirical investigation into the 'piracy' of television series in South Africa." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/12228.
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Includes abstract.Includes bibliographical references (leaves 78-83).
The end-user 'piracy' of television series, particularly of those produced by USA television networks such as HBO, NBC, ABC and FOX, is a growing trend in South Africa. This paper aims to identify why South Africans want to view television series this way and contribute to the research recognising it as a significant trend in media consumption. The key questions that are examined in this paper include: Who are these individuals, what is their viewing behaviour and why? This paper thus examines the literature available surrounding the profile, the motivations, and the viewing patterns of these revolutionary series viewers.
23
Bedir, Semih. "Exploring Local, Experimenting with Transnational: Understanding Global Popularity of Turkish Television Series." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1597141652839587.
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Berrios, Cynthia Gredel. "The design, implementation and production process of creating a viable series of Latin shows in Hollywood, Florida." FIU Digital Commons, 2004. http://digitalcommons.fiu.edu/etd/1711.
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The purpose of this research was to design and implement a Series of Latin Shows to be featured at the Satine Restaurant located in The Diplomat Hotel in Hollywood, Florida.
Three shows were created: "Electro Tango," "Bossa Nova Jazz," and "Piel Canela Night" to help generate interest for not only the Satine Restaurant but also for the surrounding area. The artistic concept included big bands, costumes, dancers and a DJ.
A production book was created and included the most important aspects of the individual shows such as budgets, costumes, and ground plans, to assure the success of each event. Careful analysis was done for the demographic area and a marketing plan was designed and implemented.
The research and practical application of similar shows in the industry determined that the production of these particular shows, although costly, have a qualifiable chance to succeed in this venue.
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Ward, Michael P. "ABC television sport: Public broadcasting, innovation and nation building." Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/115247/1/115247_9773053_michael_ward_thesis.pdf.
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This thesis is a history of ABC television sports broadcasting, focussing on Test cricket coverage to the 1970s and the reinvention of ABC sport following World Series Cricket (WSC). It charts public broadcasting innovation, using ABC sport to illustrate public broadcasting's role as both a comprehensive and a complementary sports broadcaster, but at different times. The thesis confronts received wisdom of a WSC "revolution" with analysis of ABC production and audience strategies. The thesis places the contemporary era of ABC TV sport in this historical frame, with its focus on sports ignored by commercial broadcasters, including women's and Paralympics sport.
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Burnett, Susan E. "A thin blue line : tracing the emergence of the BBC television police series." Thesis, University of East Anglia, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297479.
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Yu, Hoi Man. "Representations of unmarried women in the Hong Kong reality television series 'Bride Wannabes'." Thesis, Lancaster University, 2017. http://eprints.lancs.ac.uk/88317/.
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Over the past decade, with the increasing gender imbalance in Hong Kong, unmarried women in their 30s and 40s are often stigmatised as ‘leftover women’. Despite being a popular media topic, this phenomenon has attracted little scholarly attention. My research illuminates this under-researched topic by unmasking ideologies through which unmarried women are stigmatised and the media’s role in reproducing such ideologies. Informed by feminist theories, especially Gill (2007a, b), and critical discourse studies, especially van Dijk (1998a), I examine representations of unmarried women in the Hong Kong reality television series Bride Wannabes (all ten episodes), in which five single women look for a boyfriend under some ‘experts’’ guidance. First, I look at how they are talked about in relation to how they are referred to and the types of actions involving them using van Leeuwen’s social actor framework (2008) and the transitivity system in systemic-functional grammar (Halliday and Matthiessen, 2014), respectively. Second, I investigate how they talk about themselves in terms of self-appraisals using Martin and White’s appraisal framework (2005). Last, I explore how they are talked to in terms of impoliteness using Culpeper’s impoliteness model (2011). The analysis demonstrates that the series characterises the participants as different kinds of women and shapes views on them vis-à-vis their marriageability. The only participant who could find a partner in the show is characterised as a ‘hyperfeminine’ woman and a success story, whereas the other participants, who deviate from traditional femininity differently, are represented as undesirable for men. Concerning how unmarried women talk about themselves, while some mainly express their worries about their marriage prospects or problematise themselves according to traditional gender expectations, some articulate resistance to traditional gender norms. As regards how unmarried women are talked to, the analysis indicates that impoliteness is mainly used by the ‘experts’ to transform the participants. However, Bride Wannabes is exploitative in that only several participants are targeted for humiliation, and the show seems to deliberately include only impolite exchanges leading to the participant’s submission, in which case impoliteness also functions to foster traditional femininity and promote the beauty centre involved. The findings suggest that representations of unmarried women in Bride Wannabes are underpinned by the ideologies of patriarchy, postfeminism and ageism. While egalitarianism can be identified in the self-representations of the participants higher on the socio-economic ladder, it is clearly suppressed. The programme fosters sexism against social changes favouring women. I think the stigmatisation of unmarried women in Bride Wannabes relates to (1) women’s shrinking ‘marriage market’; (2) the enduring force of the conventional heterosexual life script, despite its waning influence; and (3) the impact of cultural globalisation.
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Graour, Kristina. "Story, in progress: considering new methods for the analysis of ongoing television series." Doctoral thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/30366.
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The formal analysis of ongoing television series brings with it many challenges. And despite significant contributions to this area of inquiry, it still remains an aspect of television studies that receives less critical attention than the analysis of a programme’s content. This thesis hopes to make a contribution to the field by developing flexible and comprehensive analytical tools that will allow scholars to analyse television series that are vast and, often, still in the process of ‘construction’. Specifically, I want to define some of the core structural principles that allow a series to engage in what I term ‘coherent expansion’: that is, the process of multiplying narrative elements such as plotlines, characters and settings, while still attempting to retain a coherent formal identity. I will demonstrate that such coherence emerges not from any immovable arrangement of parts, but rather from a systematic ability to rearrange parts. Governing this process are the show’s serial narrative dynamics – a term I develop to define the shifting relations between individual characters and the collective communities they form. Drawing on discussion of narrative form in relation to television as well as literature and film, I examine how theoretically boundless potential is shaped into a bounded spectrum of possibilities for narrative generation in any given series. Although the foundational characteristics of television narrative have long been acknowledged – their reliance on recurring characters, their extended temporalities and, consequently, their exposure to contingency – less attention is paid to how these characteristics come to operate as they do. And it is precisely the question ‘how’ that is the recurring question of this thesis: how characters’ placements within a community helps to define and delimit the identity of each, including delineating the possibilities of character change; how established dynamics between characters and communities allow for the generation of new plotlines; how hierarchies within the dynamics allow a series to adapt to (sometimes unplanned) change; and how the deconstruction of these dynamics can help achieve closure in a series’ finale. Crucially, the concepts developed in this thesis are intended to be applicable across a wide range of television narratives, both episodic and serial, ‘traditional’ and ‘complex’. In doing so, I hope to transcend the discourses around ‘quality’ and ‘complex’ television that sometimes isolate these modes from more ‘simple’ and ‘traditional’ narratives. Instead, I want to trace a kind of structural heritage that runs through television narratives. Using detailed case studies of Cheers, Glee, Orange is the New Black and Mad Men, as well a broad range of other examples, I wish to demonstrate how the same fundamental structural principles can be shaped into a wide array of possible forms.
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Lameira, Sofia Lourenço. "O sexo e a Cidade e as marcas: análise dos efeitos do product placement nos jovens portugueses." Master's thesis, Instituto Superior de Ciências Sociais e Políticas, 2016. http://hdl.handle.net/10400.5/11607.
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Dissertação de Mestrado em Comunicação SocialEsta dissertação tem como objeto de estudo a série de televisão O Sexo e a Cidade, transmitida repetidamente entre 2013 e 2015 no canal temático Fox Life, e pretende analisar o fenómeno product placement e o seu impacto nos espetadores. Deste modo, pretende analisar os efeitos do product placement nos hábitos de compra e comportamentos de consumo dos jovens adultos portugueses, estudando uma amostra de estudantes universitários na cidade de Lisboa. A nossa perspetiva considera que o entretenimento em televisão é uma forma de distribuir conteúdo, valores e visões do mundo. Consideramos também que, através das séries de televisão, os espectadores podem modificar a sua mentalidade, devido ao contacto com diferentes contextos, referências e valores, do qual advêm, posteriormente, interesses comerciais. Neste sentido, de acordo com as ideias apresentadas, este estudo propõe como objetivos analisar os efeitos do product placement nos hábitos de compra dos jovens portugueses; analisar o brand recognition e brand perception das marcas presentes na série O Sexo e a Cidade e determinar se o product placement consegue criar brand awareness e, em último caso, ajudar na criação da identidade do consumidor.
This study focuses on brands and product placement in television: Sex and the City and Portuguese young adults are our objects and are examined to understand potential effects of product placement on purchasing habits and consumption behaviors. Our framework considers television entertainment as a way to deliver content and values, world-views and minds-capes. Our proposition recognizes that through television series, audience can improve their mindset by getting in touch with different contexts, references and values, with effects on viewers that favor commercial interests as a way of matching brands and consumers. Taking these ideas into account, we propose as objectives to account for the effects of product placement in purchasing habits; to analyze brand recognition and brand perception of product placement in Sex and the City, and, at last, if product placement phenomenon can create “brand awareness” and ultimately create consumers’ identity.
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Silva, Peterson de Santis. "A TV híbrida como oportunidade de negócios para as emissoras regionais de televisão aberta no Brasil /." Bauru, 2017. http://hdl.handle.net/11449/151195.
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Orientador: Francisco Machado FilhoBanca: Marcos Americo
Banca: Fernando Carlos Moura
Resumo: O presente estudo visa analisar e apontar a TV híbrida como oportunidade de negócios para as emissoras regionais de televisão aberta no Brasil. O advento da TV Digital e das SmartTVs, entre outras, que permitem o acesso de conteúdos broadband (sinal por IP - internet protocol), em conjunto com a tradicional transmissão broadcast (sinal por ar) apresentam uma tendência de convergência tecnológica e comportamental que une o broadcast e o broadband, a que pode-se denominar "TV híbrida". A TV híbrida surge não apenas como uma possível convergência natural da cultura da sociedade atual, mas também como oportunidade para uma nova maneira de fazer e ver televisão. Este estudo, por meio de uma metodologia que combina a pesquisa exploratória e o modelo de reconhecimento de oportunidade, identificou a TV híbrida como uma oportunidade de negócios para emissoras regionais de televisão aberta no Brasil, e encontrou no uso da segunda tela oportunidades de negócios para mensuração da audiência, publicidade estratégica, conteúdos extras, ensino à distância (EaD) e edutretenimento, e relacionamento e fidelização da audiência
Abstract: The present study aims to analyze and point out the hybrid TV as a business opportunity for regional broadcasters in Brazil. The advent of Digital TV and SmartTVs, among others, which allow the access of broadband content (using a signal enabled by IP - internal protocol), together with the traditional broadcast transmission (signal enabled by air) present a trend of technological and behavioral convergence that unites the broadcast and the broadband, which can be called "Hybrid TV". This said Hybrid TV arise not'only as a possible natural convergence of the culture in today's society, but also as an opportunity for a new way of making and watching television. This study, using a methodology that combines exploratory research and the opportunity recognition model, has identified hybrid TV as a business opportunity for regional open television broadcasters in Brazil, and found in the use of the second screen business opportunities for Audience measurement, strategic adversitising, extra content, distance learning (EaD) and edutainment, but also to enhance audience relationship and loyalty
Mestre
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Ireland, Andrew. "'Conditions of time and space' : a re-enactment experiment with the British TV series Doctor Who." Thesis, Bournemouth University, 2012. http://eprints.bournemouth.ac.uk/20444/.
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The aim of this thesis is to provide a contribution to knowledge in two areas. Firstly, it seeks to further our understanding of the historical conditions of British television drama production; in particular the constraining and liberating influences of production space on the role of the director, and their decision-making process to bring script to screen. Secondly, the work develops the concept of re-enactment as a practice-based augmentation for archive-based textual reconstruction. As such, the thesis offers deeper discussions on the human context missing from current historiographic approaches to broadcast research. The thesis develops a re-enactment methodology that, via practical realisation, allows researchers to gain insight into the production dynamics of a particular era in history to learn about ‘in the moment’ directing decision-making. This is applied to a practice based experiment that includes creating a simulation of 1960s production conditions in order to explore the following research question: how would the decision-making process of producing contemporary television drama be affected by the conditions of 1960s production space? I argue that contemporary location-based production is as constraining as the studio it purports to rise above, yet without the same possibilities for creative reaction to counteract the limitations that historical conditions allowed. As a flagship BBC series reflecting contemporary industry practice, Doctor Who is used as the vehicle for analysis. The experiment focuses on a historical re-enactment of a 2006 episode of Doctor Who, “Tooth and Claw”, written by series executive producer Russell T Davies. The re-enacted audio-visual text is provided on DVD along with artefacts that encapsulate the process of production, informing analysis and reflection.
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Smit, Teresa. "Identiteitsontwikkeling in Marilee McCallaghan se Die verklikker en Twee wenners as jeugverhale en Wenners as TV-jeugreeks : 'n analise van tekstransformasie / Teresa Smit." Thesis, North-West University, 2008. http://hdl.handle.net/10394/1846.
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In this comparative study research was done into the ways in which youth novels were transformed into a youth series on TV, in order to compile a transformation model. The Afrikaans youth novels Die verklikker and Twee wenners by Marilee McCallaghan and the TV youth series Wenners, that was based on these stories, were used for this comparison. The texts (youth novels and TV script/text) were analysed and interpreted, and the variants and constants that were found in the comparison were used to compile a model according to which the transformation precedes were deduced. The model that had been compiled applies only to this study, as all stories differ and are unique in themselves, and therefore the model has to be adapted for each adaptation and production of a youth series (book) to a TV youth series.
In both the youth novels, Die verklikker and Twee wenners as well as in the TV youth series Wenners all the main characters, and especially the two main characters Carl and Jackie, show identity development. Regarding their social identity Carl and Jackie are constantly aware of their positions in the smaller community of the orphanage, and specifically regarding the other characters and their positive and negative social roles. With regard to their personal identities, both Carl and Jackie had established a feeling of continuity in their existence despite the fact that their father had passed away and there mother was in a psychiatric clinic, and despite the fact that they were both initially confused and disrupted. They had undergone many changes and had developed, but despite the many changes around them and within themselves they each contained the core of his/her identity. Although they are twins, the analysis of the stories shows that Carl and Jackie had developed a feeling of individual identity - a feeling of individuality or uniqueness. Each of them, as an individual had a subjective experience of these various aspects of identity, which enabled both Carl and to experience a feeling of a unique, whole (complete) person in their own right.
At this stage in the South African television industry many adaptation of books (prose) to film are made, although it is not done for television on a regular base in Afrikaans. The adaptation of a youth novel to a TV series might inspire the adolescent who is already watching the series to read the book from which the adaptation was made. This, in turn, may lead to a possible new edition of the relevant book, as well as the possible rebroadcast, or even the manufacturing of a new version of the current series, depending on its popularity. In the event of a new production of the series the challenge would indeed be not to be the same as its predecessor, but to convey the theme of the story within a new context.Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2008.
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Gustafsson, Tereze. "Det hemsökta vardagsrummet : Gestaltning och förmedling av ockulta fenomen i TV-serien 'Most Haunted'." Thesis, Karlstad University, Faculty of Arts and Education, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-484.
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In the 19th century, photography was often employed in attempts to objectively capture evidence of paranormal phenomena. With the advent of television, this tradition came to be coupled with the apparent mystery of distant communication through electromagnetic waves. The television set has often been depicted as intrinsically occult or even haunted.
It is therefore natural that television has proven to be an ideal medium to present beliefs, tales, and investigations about paranormal phenomena. Most such presentations have been openly ficticious, but in television the distinction between fact and fiction is often blurred, and the emergence of shows where the crew claims to pursue a serious investigation was inevitable. One of the most successful such shows is the British Most Haunted, airing since 2001. In this thesis, the presentation of occult phenomena in three episodes of Most Haunted is analyzed and discussed in light of this framework of traditions.
One main result is that the distinction between fact and fiction is indeed often blurred in Most Haunted. Reconstructions and purported evidence are similar to each other as well as to the historical ghost pictures, and sometimes the crew's reactions or lack of reactions is the only means to tell them apart. Elements aiming at creating a "ghost feeling" are abundant throughout both investigative and other parts of the show, and include monochrome (and sometimes inverted) imagery, blue or green light tones, modified motion speed, and perspectives that let the spectator "be the ghost". Black and white imagery is also a part of the usage of analogue or pseudo-analogue technology to convey connotations of authenticity. Filming the crew's reactions is the most common means of broadcasting a sense of hauntedness, as is often the case in traditional horror motion pictures.
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Clarke, E. "Underneath the blue lamp : Television police series and the politics of law and order." Thesis, Open University, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.376049.
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Brennan, Niall. "The Brazilian television mini-series : representing the culture, values and identity of a nation." Thesis, London School of Economics and Political Science (University of London), 2012. http://etheses.lse.ac.uk/505/.
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This thesis investigates the Brazilian television mini-series as a cultural form in the media landscape of Brazil, examining it as a reflection of the political, cultural and social history of Brazil. The research question asks in what ways does the Brazilian television miniseries represent continuity and change in Brazilian national culture, values and identity. In this thesis, I construct a theoretical framework based on two strands of the concept of hybridity: the sociocultural dimensions of hybridity in the postcolonial context, and the textual-generic implications of hybridity for popular texts, their producing institutions,and their readers and viewers. Methodologically, my sample consists of 41 mini-series from a twenty-five year production history. I also engage with press commentary on the mini-series and conduct interviews with mini-series creators. The analysis examines the discourses that these sources produce in tandem with tools from television studies. In this study, I find that Brazilian national culture is represented by geography and gender. Geography serves as a physical and symbolic mode of representation in the mini-series. We witness historical and contemporary negotiations of the temporal and spatial divides that separate the foreign from the Brazilian, and we often follow stories about ‘becoming Brazilian’. Gender appears through a practice-based discourse that informs the difference between the emotional and educational dimensions of the genre. Gender also appears in the mini-series narratives through the archetypes of sufferer and malandro, who in turn reflect the transgressions and the limits of gendered representations in Brazilian popular culture. In relation to national values, I find a continuous dialectical exchange between authority and resistance in the mini-series’ historical and contemporary representations of Brazil. Not only do authority and resistance transcend the value frameworks of class, family, morals and politics in the mini-series narratives, but they also inform the ways in which creators assert their position in the space of Brazilian television production. Critics express resistance to the narratives and the institutions producing the mini-series as well, which enables us to recognize a wariness of the historical tendency of Brazilian television to insert its values into the public sphere. Finally, I find that Brazilian national identity is represented by a mix of foreign and national traditions in the mini-series form, and by strategies that differ from conventional narrative modes. These qualities demonstrate the persistence of tensions between the foreign and the national and imitation and originality that have defined negotiations with modernity in Brazil, but they also show how these tensions have shifted inward to reflect Brazil’s changing awareness of its role on a global stage. In addition to the social, cultural, political and institutional dimensions of Brazilian experience that this study reveals through the mini-series, it adds to knowledge on the ways in which cultural forms enter and shape public discourse about nationhood.
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Goodchild, Rachel. "The 'reality' of the Australian 'Junior Masterchef' television series for preadolescents and their parents." Thesis, Goodchild, Rachel (2012) The 'reality' of the Australian 'Junior Masterchef' television series for preadolescents and their parents. Honours thesis, Murdoch University, 2012. https://researchrepository.murdoch.edu.au/id/eprint/10514/.
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The increase in reality-styled programs on television and in their appeal to young viewers has not been matched by research on what motivates children to watch such programs and if there are any flow-on effects in the home for the children and their families. Current research is limited to mainly North American and European populations of adolescents and adults which reduces the application of findings to Australian children. The present mixed- methods study surveyed Australian pre-adolescent children’s (N= 38) engagement and motivation to watch the Australian series of ‘Junior Masterchef’ and if their involvement with the program was associated with cooking, food and family connectedness. Additionally, parents (N=39) of the children were surveyed to ascertain their awareness of the series, together with their perceptions of children cooking in the home and family connectedness. The children’s (N=16) and parents (N=9) experiences were further explored through focus group interviews using Thematic Analysis. Overall, three factors motivated children to watch the program: education, excitement/entertainment value and vicarious participation. Involvement with the program was not associated with cooking in the home, food engagement or family connectedness. Despite this, family connectedness was highly valued by the children. The benefit of the program for parents was increased ‘family time’ which was an important factor for their experiences of family connectedness. Parents reported their children’s interest in cooking increased when viewing ‘Junior Masterchef’, however, cleaning up and time restrictions were considerations that limited opportunities for children to actively participate.
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Lee, Amy, and 李凱華. "Translocal readings: Hong Kong television serials in US Chinatowns." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37339436.
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Swanepoel, Jan-Hendrik. "Global and local identities: screening the body (politic) in the medical drama series." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20209.
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Thesis (MA)--Stellenbosch University, 2012.ENGLISH ABSTRACT: This dissertation investigates the medical drama series as a television phenomenon which foregrounds the body as central narrative device. By considering House M.D. and Jozi H as global and local manifestations of this genre, transnational, spatial and metafictional categorisations of the body are traced to reveal its nature as social spectacle, and meaningbearing corporeal text. The body and its concomitant identities are exposed as continually and continuously screened inside, outside and, moreover, in relation to the hospital. As an institutional space, the hospital is (re)positioned in national and transnational discourses as nexus for personal and public, individual and societal, as well as local and global truths about the body (politic). Michel Foucault’s understanding of the human body, its position as part of the larger body politic, and its control by the state is employed to foreground the bio-political classification of the (ab)normal body. Both the hospital, as space for healing, controlling and containing the body, as well as the body, as a corporeal and a psychic space itself, are signified as heterotopic spaces: part of, but also outside other places and bodies.
AFRIKAANSE OPSOMMING: Hierdie verhandeling ondersoek die mediese dramareeks as televisie-fenomeen wat die liggaam as sentrale narratiewe middel aanwend. Deur House M.D. en Jozi H as globale en plaaslike uitbeeldings van hierdie genre in oënskou te neem, word transnasionale, ruimtelike en metafiksionele kategoriserings van die liggaam nagespoor om die aard daarvan as sosiale verskynsel en betekenisdraende liggaamlike teks te onthul. Die liggaam en sy verwante identiteite word aaneenlopend en aanhoudend beskou binne, buite en, verder, in verhouding tot die hospitaal. Die hospitaal as institisionele ruimte word (her)posisioneer in nasionale en transnasionale diskoerse as skakel tussen persoonlike en openbare, individuele en sosiale, asook plaaslike- en globale waarhede oor die (staats)liggaam. Michel Foucault se beskouing van die liggaam en die groter staatsliggaam, asook die staat se beheer daaroor beklemtoon die bio-politiese klassifisering van die (ab)normale liggaam. Sowel hospitaal, as helingsruimte, ruimte van beheer en inperkende ruimte, as die liggaam, as ’n materiële en ’n psigiese ruimte, word voorgestel as heterotopias: deel van, maar ook verwyder van, ander ruimtes, plekke en liggame.
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Perrott, Lisa. "The New Zealand Wars Documentary Series: Discursive Struggle and Cultural Memory." The University of Waikato, 2007. http://hdl.handle.net/10289/2579.
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The 1998 television broadcast of The New Zealand Wars documentary series was a significant public event, which had a major impact on a broad range of communities and individuals in Aotearoa New Zealand. This popular television history engaged with issues of historical veracity, race, culture and nationhood and challenged previously dominant discourses associated with these concepts. In doing so, it provoked heated debate, and a re-imagining of 'nation', and also opened up spaces for alternative ways of engaging with historical narrative. Informed by post-colonialism, cultural studies and cultural memory, this thesis explores the discursive and affective role of The New Zealand Wars, as it has operated within the turbulent climate of 1990s New Zealand cultural relations. This catalytic function is described in this thesis as a phenomenon of a television series shaped by, whilst also intervening in, processes of cultural colonisation and decolonisation. While both of these processes involve the transmission of discourse via cultural forms, the act of cultural decolonisation requires, in addition, the convergence of a number of agents (people and communities, discursive and memory resources) and circumstances, within particular contextual conditions. Such a convergence provided the conditions for the discursive synthesis, which shaped the production, construction and reception of this series. The role of audio-visual media (and specifically television documentary) in transmitting cultural memory is significant as it enables the flow of memory through channels or forms (such as visual, oral and aural traditions) that can bring about new perspectives and critical reflections upon colonial discourse and dominant concepts of nation and culture. In addition to these social and intellectual processes of audience engagement, this thesis argues that experiential and affective dimensions of cultural memory can (in these specific circumstances) open up radical spaces, offering the potential for generating awareness and sparking political action. These issues are explored through a tripartite analysis of the production context, construction and reception of The New Zealand Wars series. The integration of these three phases of analysis has generated a number of insights into the potential of audio-visual forms, including their producers and audiences, to participate in the negotiation of, and resistance to, colonial discourse. Such insights serve to challenge taken-for-granted constructions of nation and history, and suggest the increasing relevance of alternative concepts such as community-building and cultural memory. Ultimately, this thesis argues that television documentary can serve as a prime site for the articulation of these concepts. The New Zealand Wars serves as a case study, which demonstrates both the potential of this site, and the significance of the social-historical and cultural context in framing this series.
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Hakala, M. (Mari). "The representations of Britishness and British characters in the American television series Friends:a case study." Bachelor's thesis, University of Oulu, 2017. http://urn.fi/URN:NBN:fi:oulu-201704251546.
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English is spoken around the world both by those who speak English as their first language and by those who have learned English as a foreign language for communicative purposes. This results in English being spoken with various different accents, and a contrast between the native speakers and those who speak it as a foreign language may arise. Using Discourse Analysis to support the analysis, this study investigates how the American television show Friends portray characters from Britain, as well as Britishness in general, in the otherwise American contextEnglantia käyttävät niin sitä äidinkielenään puhuvat kuin hekin, jotka ovat oppineet englantia viestinnällisiin tarkoituksiin vieraana kielenä. Tästä luonnollisesti seuraa, että englantia puhutaan monella eri aksentilla, mikä saattaa synnyttää konflikteja äidinkielenään englantia puhuvien ja englantia vieraana kielenä puhuvien välillä. Diskurssianalyysiä apuna käyttäen tämä kvalitatiivinen kandidaatintutkielma tutkii, miten amerikkalaisen televisiosarjan "Frendit" brittihahmot ja brittiläisyys yleisesti kuvataan muutoin amerikkalaisessa kontekstissa
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Henshaw, Graham Robert. "Single-Session Design: Design Methodology in Compressed Timeframes Derived from the Robot Rivals Television Series." Thesis, Virginia Tech, 2003. http://hdl.handle.net/10919/32211.
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The purpose of this study is to document the design process as it is adapted to compressed timeframes. I have termed this adapted design process single-session design. This study will also explore the application of this type of design methodology in industry where the research and development phases of products are continually being compressed.
The primary research for this study is extracted from the examples of rapid design observed repeatedly on the Robot Rivals television series on the Do It Yourself network. The scope of this television series is a competition between two teams of engineering students to design, build, and operate a robot in a single day. The show yields an ideal platform to study the design process in a highly adaptive and compressed form. This study will show how the design process can be adapted to function in a fast-paced situation.
The design process in general has been studied for quite some time. However, to date there is no focused research on a specific design methodology that is intended for extremely short-term projects. This research provides insight into the situation where significant time constraints stimulate creativity and ingenuity in designs.Master of Science
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Essig, Andrew C. "Analyzing Whedon's FireflyAs Impetus for a Development StrategyFor an Alternate History, Sci-Fi Television Series." Ohio University Honors Tutorial College / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1461250504.
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Dantas, Sílvia Góis. "Gerações femininas em (re)construção: o discurso da série televisiva 3 Teresas." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27152/tde-23072018-163040/.
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A presente pesquisa investigou a produção de sentidos sobre gênero feminino e gerações a partir do discurso da série 3 Teresas (BossaNovaFilms, GNT, 2013-2014), que aborda a convivência familiar de três mulheres (avó, mãe e filha) em meio a conflitos geracionais. Com abordagem qualitativa, trata-se de um estudo de caso com vertente interdisciplinar, que se ampara nos Estudos Culturais, Estudos Latino-Americanos de Comunicação e Estudos de Televisão, e dialoga com o campo da Sociologia e Antropologia. A pesquisa se alicerça ainda sobre os Estudos de Linguagem ao investigar a construção discursiva, utilizando o ferramental teórico-metodológico da Análise do Discurso de linha francesa, bem como os trabalhos de Bakhtin. Tendo a mulher como foco estruturador da narrativa, a série constitui-se um indicador privilegiado de um momento de debate social sobre questões de gênero, que se materializa por meio de discursos cuja produção de sentido articula-se com o empoderamento feminino e com o respeito à pluralidade de identidades geracionais e de gênero. Por meio da análise da discursividade da série foi possível identificar eixos temáticos sobre os quais se estrutura a narrativa verbo-visual: (I) papéis sociais e familiares; (II) relações entre gerações; (III) juventude e envelhecimento; (IV) felicidade; (V) relacionamentos; (VI) sexualidade; (VII) vida profissional; (VIII) trabalho doméstico; (IX) casa. A análise do discurso feminino na intersecção com a categoria geracional identificou diferentes produções de sentido relacionadas a cada faixa etária que tensionam e desconstroem significativamente discursos anteriormente estabelecidos em torno dos limites cronológicos de cada fase da vida feminina - juventude, idade adulta, velhice - retratada na série. Tais tensionamentos desvelam um contínuo embate entre transformações e permanências relacionadas ao papel social da mulher presentes nos discursos da série que, por sua vez, remetem a um contexto social de mudanças significativas na construção discursiva da mulher e, consequentemente, na configuração de seu papel social na sociedade brasileira contemporânea.The present research investigated the production of meanings about feminine gender and generations on the basis of the discourse of the series 3 Teresas (BossaNovaFilms, GNT, 2013-2014), which deals with the coexistence in the family of three women (grandmother, mother and daughter), who are involved in generational conflicts. Based upon a qualitative approach, it is a case study with an interdisciplinary bias, which relies on the Cultural Studies, Latin-American Studies of Communication and Television Studies and it establishes a dialogue with the fields of Sociology and Anthropology. The research is still founded on the Language Studies since it investigates the discursive construction, utilising the theoretical and methodological tools of the French Discourse Analysis as well as Bakhtin\'s works. Having woman as structural focus of the narrative, the series constitutes itself as a privileged indicator of a moment of social debate on gender questions, which materialises itself by means of discourses the production of meanings of which articulates itself with the female empowerment and with the respect for the plurality of generational identities and of gender. By means of the analysis of the discursivity of the series it was possible to identify thematic axes on which the verbo-visual narrative structures itself: (I) social and family roles; (II) relationships between generations; (III) youth and ageing; (IV) happiness; (V) relationships; (VI) sexuality; (VII) professional life; (VIII) household chores; (IX) house. The analysis of the feminine discourse in the intersection with the generational category identified different productions of meaning related to each age group which significantly tension and deconstruct discourses that had been previously established around the chronological limits of each phase of female life - youth, adulthood, old age - which is depicted in the series. Such states of tension reveal a continuous clash between transformations and permanencies related to women\'s social role that are present in the discourses of the series which, on their turn, refer to a social context of significant changes in the discursive construction of the woman and, consequently, in the configuration of her social role in contemporary Brazilian society.
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Aragon, Bernadette, Erica Luiten, and David Apgar. "Inaccuracies in the Second Half of Season Five of the Medical Drama, House, MD." The University of Arizona, 2012. http://hdl.handle.net/10150/614453.
Full textAbstract:
Class of 2012 AbstractSpecific Aims: To assess the accuracy of the presenting signs and symptoms, diagnostic procedures, and treatments presented in the last twelve episodes of season five of the popular medical drama, House, MD. Methods: A descriptive retrospective evaluation of the accuracy and inaccuracies of episodes 13 to 24 in season five of the television series House, MD. The accuracy of the presenting signs and symptoms, diagnostic procedures, and treatment in each episode was rated on a scale of one to four. A rating of one described a correct and usual representation. A rating of two described a correct but somewhat unusual representation. A rating of three described a correct but extremely unusual representation. A rating of four described an incorrect representation. Each researcher independently rated the episodes, and then a collaborative rating was agreed upon by both researchers. Main Results: Results of the ANOVA test demonstrated a statistically significant difference between the three dependent variables (p=0.002). The Tukey HSD post-hoc test confirmed a significant difference between the accuracy of treatment when compared with signs and symptoms (p=0.012), and with diagnostic procedures (p=0.002). The average rating for the treatment variable was 1.58 (0.9), whereas the average ratings for the signs and symptoms and diagnosis variables were 2.75 ( 0.754), and 3 (1.128), respectively. Conclusions: The treatments presented in the last twelve episode of season five of House, MD were more accurate than both the presenting signs and symptoms and the diagnosis.
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PRATI, ELENA. "Serie tv Made in Russia. Percorsi produttivi di original e scripted format nell'economia televisiva della Federazione." Doctoral thesis, Università Cattolica del Sacro Cuore, 2021. http://hdl.handle.net/10280/97591.
Full textAbstract:
Negli ultimi dieci anni la Federazione Russa si è lanciata nel mercato globale della produzione di contenuti televisivi, migliorando la qualità dei propri prodotti e distinguendosi per i generi e le storie raccontate. Studiarne il sistema televisivo contemporaneo, con la peculiarità dei remake “made in Russia”, permette di comprenderne il funzionamento e l’evoluzione passata e futura, in un’ottica di economia globale. Capire come e perché sui palinsesti nazionali circolano ancora oggi prodotti che sono una copia di serie televisive originali occidentali (ben lontani dal concetto di scripted format) è alla base dell’analisi del sistema televisivo economico e produttivo.
Questi remake sono presenti fin dai primi anni Duemila e, seppur con lievi differenze, sono tuttora presenti, prodotti e trasmessi, nonostante la loro versione originale sia comodamente fruibile sia attraverso la televisione lineare, sia attraverso le piattaforme OTT. Per quale motivo, quindi, non risultano ridondanti? Per quale motivo il pubblico russo ne sente la necessità? Esistono degli iter produttivi standardizzati che ne facilitino la produzione e la categorizzazione?
Queste le domande alla base dello studio dei percorsi produttivi che le serie televisive occidentali intraprendono una volta che valicano i confini della Federazione Russa, in un meccanismo che rappresenta un unicum nel sistema televisivo economico globale.In the last ten years Russian Federation has entered the global market of tv-content production, improving the quality of its products and standing out for the genres and stories told. Studying its contemporary television system, with the peculiarity of its remakes “made in Russia”, helps us understanding its functioning and evolution (past and future), in a global economy perspective. Understanding how and why on national show schedules still circulate products that are a copy of Western original television series (distant from the concept of ‘scripted format’) represents the basis of the analysis of the economic and productive system. These remakes are already present at the beginning of the new Millennium and, even if with slight differences, are still present and broadcast, nevertheless their original version can be found and watched both through DTT television and OTT platforms. From what reason, then, aren’t they redundant? Why Russian audience needs them? Are there any standardized productive paths that simplify their production and organization? These are the questions at the foundation of the study of productive paths that Western television series take once they cross Russian Federation borders, in a mechanism that represents an unprecedented example in the global economic television system.
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PRATI, ELENA. "Serie tv Made in Russia. Percorsi produttivi di original e scripted format nell'economia televisiva della Federazione." Doctoral thesis, Università Cattolica del Sacro Cuore, 2021. http://hdl.handle.net/10280/97591.
Full textAbstract:
Negli ultimi dieci anni la Federazione Russa si è lanciata nel mercato globale della produzione di contenuti televisivi, migliorando la qualità dei propri prodotti e distinguendosi per i generi e le storie raccontate. Studiarne il sistema televisivo contemporaneo, con la peculiarità dei remake “made in Russia”, permette di comprenderne il funzionamento e l’evoluzione passata e futura, in un’ottica di economia globale. Capire come e perché sui palinsesti nazionali circolano ancora oggi prodotti che sono una copia di serie televisive originali occidentali (ben lontani dal concetto di scripted format) è alla base dell’analisi del sistema televisivo economico e produttivo.
Questi remake sono presenti fin dai primi anni Duemila e, seppur con lievi differenze, sono tuttora presenti, prodotti e trasmessi, nonostante la loro versione originale sia comodamente fruibile sia attraverso la televisione lineare, sia attraverso le piattaforme OTT. Per quale motivo, quindi, non risultano ridondanti? Per quale motivo il pubblico russo ne sente la necessità? Esistono degli iter produttivi standardizzati che ne facilitino la produzione e la categorizzazione?
Queste le domande alla base dello studio dei percorsi produttivi che le serie televisive occidentali intraprendono una volta che valicano i confini della Federazione Russa, in un meccanismo che rappresenta un unicum nel sistema televisivo economico globale.In the last ten years Russian Federation has entered the global market of tv-content production, improving the quality of its products and standing out for the genres and stories told. Studying its contemporary television system, with the peculiarity of its remakes “made in Russia”, helps us understanding its functioning and evolution (past and future), in a global economy perspective. Understanding how and why on national show schedules still circulate products that are a copy of Western original television series (distant from the concept of ‘scripted format’) represents the basis of the analysis of the economic and productive system. These remakes are already present at the beginning of the new Millennium and, even if with slight differences, are still present and broadcast, nevertheless their original version can be found and watched both through DTT television and OTT platforms. From what reason, then, aren’t they redundant? Why Russian audience needs them? Are there any standardized productive paths that simplify their production and organization? These are the questions at the foundation of the study of productive paths that Western television series take once they cross Russian Federation borders, in a mechanism that represents an unprecedented example in the global economic television system.
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DeBaca, Sarena, Clinton Napier, David Apgar, and Edward Armstrong. "Inaccuracies in the Second Half of the First Season of the Medical Series, House M.D." The University of Arizona, 2014. http://hdl.handle.net/10150/614207.
Full textAbstract:
Class of 2014 AbstractSpecific Aims: To assess the accuracy of the presentation (signs and symptoms), the diagnostic procedures used to arrive at the final diagnosis, and the ultimate treatment performed in each of the last ten episodes of the first season of the television medical drama, House MD. Methods: A descriptive retrospective analysis of the accuracies and inaccuracies of episodes 13 to 22 in season one of the television series House, MD. The accuracy of each episode in regards to the presenting signs and symptoms, diagnostic procedures, and treatment was rated on a scale of one to four: 1) Correct and usual representation; 2) Correct but somewhat unusual representation; 3) Correct but extremely unusual representation; 4) Incorrect representation. Both researchers evaluated each episode on the above criteria independently, and a cooperative and final rating was chosen upon. Main Results: Results of the ANOVA test did not demonstrate a statistically significant difference between the three variables (p=0.581). A Tukey HSD post-hoc test was unable to confirm if there was a significant difference between the the three variables. The average rating for the presenting signs and symptoms was 2.50 (±0.707), and 2.30 (±1.160) and 2.10 (±0.568) for diagnostic procedures and treatment, respectively. Conclusion: There was no difference in accuracies between the presenting signs and symptoms, diagnostic procedures, or treatments in the last ten episodes of the first season of House,MD.
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Yang, Ling. "Where local meets international : Taiwan and Hong Kong television series in Mainland China : a case study of Liaoning Televsion Station [1994-2004]." Thesis, University of Macau, 2005. http://umaclib3.umac.mo/record=b1636347.
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Ponono, Mvuzo. "The influence of viewing context on meaning making : a reception study of the popular drama series Intersexions in Ginsberg township." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1013093.
Full textAbstract:
This study examines the home as a context of viewing for the television programme Intersexions in the township of Ginsberg in the Eastern Cape. The central question asked is whether the household influences the interpretation of the programme. The research was mainly conducted through ethnographical methods of participant observation and focus group interviews. Six families were observed and six gender-based focus groups convened. Drawing from the work of Morley (1986) and Lull (1990) that argues that the home be taken more seriously as a context of viewing; this study posits that the home is a rule-bound micro-society that influences the interpretation of media messages. As a starting point, this study contends with the arguments that the South African government has been slow to acknowledge the extent of the problem presented by the HIV/AIDS pandemic. Much has been written about the inefficiency of state efforts to educate the public, with some pundits suggesting that government communications strategies have largely been outdated and thus resisted by audiences (Treffry-Goatley, Mahlinza & Imrie, 2013). To counter the pandemic, a large number of independent educational television serials have been launched in South Africa, and met with popular appeal since 1994. Furthermore, this development is in line with global trends of high audience ratings for Entertainment- Education (EE) programmes (Singhal et al., 1993). To investigate complex issue of EE reception by audiences in this burgeoning area of study, the programme at the centre of this study, Intersexions, is a good example. The serial, which concluded its second season in August 2013, is second to only the established soap opera, Generations, in television ratings in South Africa. Therefore, the impressive ratings garnered by educational serials in South Africa are a chance for audience studies to study audiences in context. This research investigates Intersexions using the understanding that television audiences must be analysed in "cultural and historic specific" sites because the struggle to make meanings of texts takes place at the moment when the text and subject meet (Fiske, 1987). This research investigates the assumption that the meanings made by audiences depend not just on the text, but also on environment. This means that the research delves into the situational context in which media are used and interpreted. Therefore, the central aim of this study is to analyse television viewing of the entertainment education programme, Intersexions, in the natural setting of the home, which is in line with analysing television viewers in cultural and historically specific sites.
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Legros, Emily Ann. "Unsubs and Profilers: Reality or Fiction? Depictions of Criminal Profiling in the Television Series "Criminal Minds"." Thesis, Boston College, 2010. http://hdl.handle.net/2345/1199.
Full textAbstract:
Thesis advisor: Bonnie JeffersonImages of crime and authorities' attempts to protect society from evil, which saturate dramatic programming on television, have the potential to influence public perception of crime and of crime-solving tools used in the real world. Although "Criminal Minds," a popular broadcast series, shares this potential, it distinguishes itself from others of its genre through its use of criminal profiling as its crime solving mechanism. Using standards provided in Douglas et al.'s "Crime Classification Manual: A Standard System for Investigating and Classifying Violent Crimes, Second Edition," the "Diagnostic and Statistical Manual of Mental Disorders, Fourth Edition," and the "Hare Psychopathy Checklist Revised" as theoretical frameworks, this Communication thesis examines how the criminal profiling depictions of two "Criminal Minds" episodes conform to established criminal profiling conventions utilized by law enforcement. Overall, the results of these analyses suggest that the criminal profiling portrayals in the episodes "L.D.S.K." and "Fear and Loathing" adhere to legitimate real life criminal profiling considerations
Thesis (BA) — Boston College, 2010
Submitted to: Boston College. College of Arts and Sciences
Discipline: Communication Honors Program
Discipline: Communication Department