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Dissertations / Theses on the topic 'Television talk shows'
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Osborn, Barbara. "A big wet kiss?, A barrel of laughs? the 2000 presidential election TV talk show interviews with the candidates /." Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3213854.
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Thesis (Ph. D.)--University of California, San Diego, 2006.Title from first page of PDF file (viewed June 27, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 347-379).
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Keyes, Daniel. "The performance of testimonial television on daytime talk shows." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/nq22913.pdf.
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Williams, Marcus Andrew. "The construction of infidelity on American television talk shows /." Title page, table of contents and abstract only, 2003. http://web4.library.adelaide.edu.au/theses/09ARPS/09arpsw7211.pdf.
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Gun, Cagan. "An Analysis On The Daytime Woman Talk Shows In Turkey." Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12608113/index.pdf.
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As from 2000, the &ldquodaytime woman talk shows&rdquo
with the contents of family tragedies, personal disasters and discussions increasingly draw audience&rsquo
s attention, particularly women&rsquo
s, became a popular TV genre with almost every private TV channel having one of its own in the year 2005 in Turkey. Defining themselves as &ldquo
reality shows&rdquo
presenting only &ldquo
reality&rdquo
and &ldquo
spontaneity&rdquo
, the basic claim of these programs is that the ordinary people are hosted to the programs, the problems in their everyday lives are deal with in an enlightening and educational manner, and solutions are brought to them with thanks of the programme. These daytime woman talk shows that led to various discussions in the country&rsquo
s agenda with some death events experienced and their controversial functions form the subject of this study. The principal purpose of the thesis is to understand which production practices and dynamics why and how play a role in the content formation and the production process of the programs and in this manner to explain the place and significance of the programs in the Turkish television industry. In the thesis, three programs are analyzed as the pioneering and confrontational shows of this genre in Turkey. The specific features and the world wide historical developments of the daytime woman talk shows are handled on, along with their fundamental elements, and also the interviews with show producers and participants, and the observations about the production processes are included in the analysis.
5
Paz, Pérez Elisa. "Gender representation and television talk show: An analysis of prime time and late-night shows in Europe and the United States." Doctoral thesis, Universitat Autònoma de Barcelona, 2020. http://hdl.handle.net/10803/670726.
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Aquesta investigació analitza la representació de gènere en programes televisius emesos en franges de prime-time i nit a Europa i als Estats Units. El principal objectiu d’aquesta tesi és determinar si aquest popular format televisiu perpetua estereotips de gènere o si, per contra, les representacions de gènere que es duen a terme proposen nous rols que desafien presumpcions socials tradicionals.
Per assolir aquest objectiu s’ha realitzat un anàlisi de contingut aplicat a la mostra que conforma la tesi. Aquesta mostra inclou tots els talk shows televisius que s’han emès durant les franges horàries de màxima audiència o nit, en cadenes generalistes emeses en obert a Europa (Espanya, França, Itàlia i Regne Unit) i els Estats Units.
A la mostra d’aquesta investigació apareixen dos tipus de participants pel que fa al gènere: homes i dones. D’una banda, els participants masculins solen ocupar rols de major autoritat dins del programa, especialment el càrrec de presentador. Les dones participants tendeixen a ocupar rols que impliquen una menor dominància i utilitzen l’humor en moltes menys ocasions. No obstant això, aquests programes mostren imparcialitat a l’hora de presentar els participants, independentment del seu gènere, i també solen tractar temes de les esferes públiques i privades amb homes i dones per igual.
El més rellevant pel que fa a la comparació per països és que l’ús de l’humor te molta més presència en països anglosaxons que en aquells que fan servir una llengua evolucionada del llatí. Aquest fet es tradueix en una major equitat en la representació de gènere en els primers.
La principal conclusió d’aquesta investigació és que el talk show de prime-time i nit s’enfronta a reptes concrets pel que fa a la representació de gènere, tant per l’absència de dones al capdavant dels programes com pels estereotips de gènere existents en la realització de l’humor per part de les dones.Esta investigación analiza la representación de género en talk shows televisivos emitidos en franjas de prime-time y noche en Europa y Estados Unidos. El principal objetivo que persigue esta tesis es determinar si este popular formato televisivo perpetúa estereotipos de género o si, por el contrario, las representaciones de género que se llevan a cabo proponen nuevos roles que desafían presunciones sociales tradicionales. Para alcanzar este objetivo se ha llevado a cabo un análisis de contenido aplicado a la muestra que conforma la tesis. Dicha muestra incluye todos los talk shows televisivos que se han emitido durante las franjas horarias de prime time o noche, en cadenas generalistas emitidas en abierto en Europa (España, Francia, Italia y Reino Unido) y Estados Unidos. En la muestra que atañe a esta investigación aparecen dos tipos de participantes en cuanto al género: hombres y mujeres. Por una parte, los participantes masculinos suelen ocupar roles de mayor autoridad dentro del programa, especialmente el cargo de presentador. Las mujeres participantes tienden a ocupar roles que implican menor dominancia y utilizan el humor en muchas menos ocasiones. Sin embargo, por otra parte, estos programas muestran imparcialidad a la hora de presentar a los participantes, independientemente de su género, y también suelen tratar temas de las esferas públicas y privadas con hombres y mujeres por igual. Lo más llamativo en cuanto a la comparación por países es que el uso del humor es mucho más acentuado en países anglosajones que en aquellos que usan un idioma evolucionado del latín, lo cual se traduce en una mayor equidad en representación de género en los primeros. La principal conclusión de esta investigación es que el talk show de prime-time y noche se enfrenta a retos concretos en cuanto a representación de género tanto por a la ausencia de mujeres al frente de los programas, como por estereotipos de género existentes en cuanto a la ejecución del humor por parte de las mujeres.
This research analyses the representation of gender on prime time and late-night television talk shows in Europe and the United States. The main goal is to assess whether traditional gender stereotypes are depicted in this popular form of television genre or if, on the contrary, representations found on late-night talk shows are challenging hegemonic notions of gender and encouraging new portrayals. To achieve this goal, content analysis is carried out for examining the sample, which is composed by every television talk show which aired on prime time or late-night timeslots. More particularly, programmes aired in general-interest channels in Europe (Spain, France, Italy and the United Kingdom) and the United States have been selected. Results show that only binary expressions of gender have participated: male and female participants. On the one hand, men are more likely to perform a dominant role within these programmes, especially that of the host which is of the utmost relevance towards the dynamics of the format. Women tend to appear on roles that are less dominant and use far less humour than their male counterparts. On the other hand, late-night talk shows do show equity at the time of introducing female and male guests and are also likely to discuss themes from both the personal and private spheres with either gender. In this cross-national research, what can also be concluded is the fact that English-speaking countries (the United Kingdom and the United States) use much more humour than the remaining ones (Spain, France, and Italy). The main conclusion that can be drawn is that this format is still challenging in terms of a fair gender representation mainly due to both the lack of female participants performing dominant roles, as well as traditional assumptions of women performing humour.
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Tartory, Raeda. "A Comparative Study of Gender in English and Arabic Television Talk Shows." Thesis, University of Sussex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.505894.
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Nassif, Dana. "Arab talk shows and the gendered public sphere : the case of Jordan." Thesis, Loughborough University, 2014. https://dspace.lboro.ac.uk/2134/14985.
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This thesis analyses the content of three Arab satellite television talk shows and their reception by women in Jordan. It aims to assess the role of talk shows in the Arab public sphere by engaging with different conceptualisations and criticisms of the public sphere theory, starting with Habermas (1989) influential work. The thesis argues that once the criticisms of the criteria that underpin Habermas original theory are taken into consideration, and alternative conceptualisations by different traditions of democratic theory are considered, contemporary popular media genres like talk shows can be re-evaluated for their role in the public sphere. The thesis aligns itself with conceptualisations of the public sphere as an on-going and continuous process, rather than a concluded state, and argues through the analysis that this process transpires and continues in different contexts, within and beyond the media. Through its theoretical and empirical engagement, the thesis hopes to contribute to research on Arab television genres and its audiences, and their implications for investigations of the Arab public sphere. The thesis employs a multi-method approach to analyse the three talk shows Kalam Nawaem [Soft talk], Ahmar Bel Khat Al Areed [In Bold Red] and Sireh Winfatahet [An Open Case] and their audiences as two contexts where engagements with the public sphere continually take place. First, it uses thematic analysis to examine the content of the talk shows in terms of the issues they discuss and their relation to the Arab public sphere. Second, it also uses formal analysis to examine the structural features of the shows in order to demonstrate how these aspects collaborate to further shape the function of these shows in the public sphere. Third, the thesis analyses the audience research conducted through focus groups with women in Jordan, in order to study audiences perceptions of these shows and their role in the public sphere. The thesis proposes different ways in which these shows discussions can be consequential to the Arab public sphere, and the ways in which these transnational shows and discussions are watched and deciphered by audiences at a national level. Finally, the thesis reflects back on what it has achieved, its methodological limitations and alternatives, as well as future work that can be pursued on this topic.
8
Yan, Xiaoping. "A discourse analytical study of TV talk-show therapy." HKBU Institutional Repository, 2008. http://repository.hkbu.edu.hk/etd_ra/863.
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Stanton, Jennifer K. "Midday with Ray Martin : a semiotic analysis." Thesis, Queensland University of Technology, 1991. https://eprints.qut.edu.au/36400/1/36400_Stanton_1991.pdf.
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The central argument of this thesis is that while elements of semiotics (in particular, codes and discourses) can be applied to the analysis of
media texts it is not sufficient on its own to provide information about the audiences' response to those texts.
It is safe to say that existing literature supports the conceptual framework of semiotics. Indeed this thesis advocates the application of semiotics as a appropriate methodology for analysing Midday with Ray Martin quite effectively.
However this thesis looks at Midday with Ray Martin as a television
program which forms meaning at the moment of the text and argues
for a particular content arrangement of what is broadcast. In doing this,
the thesis develops an argument for making meaning outside the text
and in conditions of practice which have other social and cultural
significance for the audience. That is to say, it concentrates on a shift
from what the text means to what the audience might actually do with
the text.
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Wood, Helen Kathleen. "Interacting with television : morning talk-TV and its communicative relationship with women viewers." n.p, 2000. http://ethos.bl.uk/.
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Kay, Jilly. "Gender, feminism and talk on British television, 1970-1990." Thesis, De Montfort University, 2015. http://hdl.handle.net/2086/11419.
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This thesis uncovers and analyses the relationship between forms of talk on British television between 1970-1990, and the uneven transformations in gender politics that occurred in this period, which encompasses both the second wave feminist movement and the rise of neoliberal politics. It presents five historical case studies of talk-based television programmes from across this time period: No Man’s Land (Associated Television/ITV, 1973), Good Afternoon! (Thames Television/ITV, 1971-1984), Pictures of Women: Sexuality (Channel 4, 1984), Watch the Woman (Channel 4, 1985), and Question Time (BBC One, 1979-present). These case studies offer a deliberate selection of television texts that differ according to their institutional contexts; their position in the schedules; their status in existing broadcasting histories; their discursive arrangements; and their modes of address. The thesis seeks to consider how the communicative ethos of television talk has been gendered in three key ways: at the level of production - in the sense of when, how, and why television spaces have been opened up for gendered forms of talk in relationship to wider shifts in gender politics; at the level of the text - in terms of how the discursive arrangements of talk-based programmes have worked to include, exclude, legitimise or disavow women’s voices; and at the level of critical reception - in the sense of how television talk has been evaluated in profoundly gendered terms. The thesis is methodologically innovative because it theorises gendered forms of television talk in relationship to histories of television production, as well as to broader political, cultural and gender histories. It carries out important empirical ‘recovery work’ of hidden women’s television histories through the presentation of original archival research. It also presents theoretical work, which re-evaluates the distinctive communicative ethos of television – or its “sociability” in light of feminist theories of language, gender and power. Moreover, it sheds some historical light on why the institutional parameters of television still delimit the available spaces for women's speech.
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Snyder, Marcus E. ""Playing to the cameras" the presence of an entertainment perspective in political panel programming and the implications of making politics palatable and appealing /." Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=2097.
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Thesis (M.S.)--West Virginia University, 2001.Title from document title page. Document formatted into pages; contains vi, 357 p. Includes abstract. Includes bibliographical references (p. 134-137).
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Awwad, Julian M. "Al-Jazeera's discourse of 'Arabness' : an examination of the discursive construction of identity in talk show programming." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100315.
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Al-Jazeera asserted itself in the global media scene shortly after the attacks of September 11th, 2001 in the United States. The station's regional prominence had already been entrenched in the new Arab media environment before it was overshadowed by the station's newfound global fame. Subsequently, al-Jazeera was considered an Arab media ambassador and the "voice of the Arab world." This dissertation provides an analysis of al-Jazeera's programming in Arabic that is lacking in the burgeoning English language academic literature. The dissertation furthermore highlights the way treatment of global current affairs informs a sense of Arab identification on a regional level. Moreover, it argues that, apart from competitive broadcast journalists, al-Jazeera offers an oppositional discourse of identification that does not necessarily challenge the hegemony of Western media discourses. By employing an oppositional stance expressed in typical anti-colonialist and anti-imperialist terms, it constructs an overarching notion of "Arabness" that is predominately discursive.The dissertation analyzes three live talk shows: al-Ittijah al-Mu'akis (The Opposite Direction), Bila Hudoud (Without Boundaries), and Li-Nisa' Faqat (For Women Only). These talk shows are ideal sites for examining this oppositional discourse because they constitute important forums in which perceptions of identity are cultivated in the discussion of current affairs. In my analysis, each episode is treated as a media "text" that contributes to the formation of a discourse of "Arabness." The objective of the analysis is to identify the recurrent discursive patterns and strategies in providing the basis for this discursive category of identification across Arab state borders. In constructing an oppositional discourse, the United States and Israel are employed as necessary rhetorical references; Islam is infused into "Arabness" as a homogenizing constituent in identity formation; and finally, a culturally-threatened "Arabness" converges upon a context in which the world is marked by globalization. The dissertation concludes by indicating that al-Jazeera offers merely a representation of "Arabness" that, despite its power to influence, remains one way of perceiving Arab identity.
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Quemener, Nelly. "Le pouvoir de l’humour : Politiques de représentations dans les sketches télévisuels en France. De Coluche à nos jours, transformation de la figure du comique en humoriste et montée des groupes subalternes." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030120.
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Cette thèse porte sur l’émergence des groupes subalternes, particulièrement des minorités ethnoraciales et des femmes, sur la scène télévisuelle de l’humour, depuis Coluche jusqu’à nos jours. Elle interroge l’état des discours au moment de leur apparition et les capacités d’agir de l’humour. Elle articule le passage du comique en humoriste. Dans les années 1970, le comique bouffon incarne une figure de contestation d’un système de pouvoir centralisé, dont il est un observateur critique. Il se transforme avec la montée de l’individualisme en acteur d’un monde dont il produit une vision subjective. L’analyse d’un corpus de sketches tirés de douze émissions de talk show montre que les humoristes femmes proposent des personnages aux identités de genre fluctuantes et multiformes, à la charnière du masculin et du féminin, à travers des procédés parodiques et un jeu d’incarnation basé sur le corps. Les humoristes issus des minorités ethnoraciales proposent des contre-modèles à l’intégration républicaine avec des récits « authentiques ». Ils ouvrent la voie à l’expression de subjectivités non blanches et à la dénonciation des discriminations sur la base de la couleur de peau. Leur humour s’actualise en 2006 avec l’appropriation du stand-up, la mise en scène de la diversité et des multiples territoires de l’identité. Cette thèse conclut sur un processus de contre-offensive, ou backlash, contestant aux groupes subalternes les avancées conquises durant la période précédente. Ce backlash se manifeste à partir de 2007 par un humour basé sur des commentaires d’actualité et des caricatures. Il favorise les visées hégémoniques blanches et masculines dans l’humour et l’éviction des politiques des identitésThis thesis deals with the emergence of subaltern groups in mainstream television, from Coluche until today. It focuses on two groups, female humorists and ethnic minorities. It questions the agency of humour and its power of displacement of hegemonic media representations, as well as the state of discourses at the moment of the appearance of subaltern groups. It articulates the transformation of comedian into humorist. The buffoon of the late 1970s stands for the figure of contestation of a centralized power, which it comments with a critical gaze. The growth of individualism and expressions of identities turn the comedian into a humorist that assumes a role of actor of the world and a subjective gaze. The analysis of sketches in television talk shows reveals that female humorists expose multiple subjectivities and destabilize the binary system masculine-feminine, by resorting to body acts as parts of humoristic mechanisms. Humorists from ethnic minority groups denounce discriminations and perform hybrid bodies and identities that destabilize the republican model of integration. Their appropriation of stand-up comedy genre renews in 2006 the staging of diversity and of the multiple territories of identities. The period 2007-2010 shows a counter-offensive, a backlash that marks the return to dominant values in the field of humour and denies to subaltern groups the advantages they’ve gained during the previous period. It is characterized by a renewal of humour based on news comments and caricatures, by the hegemonic power of masculine white humorists and the eviction of identity politics
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Adib, Doss Maria. "Les talk-shows en Egypte. D’un dispositif de modernisation de l’autoritarisme à des arènes de parole dissidente. Mise en perspective d’une situation révolutionnaire (25 janvier - 11 février 2011)." Thesis, Paris 2, 2018. http://www.theses.fr/2018PA020037.
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Cette thèse étudie les talk-shows, ces émissions sociopolitiques « dialogiques » qui ont marqué la scène médiatique et politique durant les dernières années du règne de Moubarak, jusqu’à la nouvelle donne politique post-juillet 2013. La question principale qui a guidé cette recherche était : dans quelle mesure les talk-shows ont-ils constitué une arène de parole dissidente ? La thèse démontre, à travers l’étude du processus qui a permis l’émergence de ces émissions, de leurs acteurs et de leurs modalités de fonctionnement, que ce dispositif s’est inscrit dans un espace public dessiné par des dynamiques particulières et caractérisé par un autoritarisme adaptif et libéralisé. Ce dispositif a également permis la manifestation de processus sociaux, notamment des mouvements d’opposition, en leur permettant de s’exprimer et de gagner en visibilité. Les talk-shows ont fait partie de différentes dynamiques politiques et les ont alimentées, défiant ainsi le pouvoir politique. Ils ont gagné des rôles et un espace de parole que le pays n’avait pas connu depuis 1952, dépassant leur fonction première qui était conçue par le pouvoir. Ce processus a pu avoir lieu malgré les outils de contrôle que le pouvoir a conservés pour garantir un minimum de mainmise sur les médias, élargissant ainsi les domaines de luttes et les espaces de contentieux. La thèse observe ensuite les dynamiques des révoltes de janvier 2011. Partant d’une approche interactionniste, d’un travail issu d’une enquête de terrain de plusieurs années, menée aussi bien auprès de professionnels de la télévision que d’invités de ces émissions et d’une analyse d’un corpus d’émissions, nous démontrons que le rôle des talk-shows fut incontournable dans le conflit médiatique doublant celui sur le terrainThe subject of this thesis is the talk-shows, those socio-political tv shows that marked the media and political scene during the last years of Mubarak’s regime till the new political era post-July 2013. The main question that guided this research was: to what extent have the talk shows been an arena of dissident speech? The thesis demonstrates that this mechanism was a part of a public space designed by specific dynamics and branded by a liberalized and adaptive authoritarianism. It allowed the manifestation of social practices including counter movements endorsing them to express themselves and to gain visibility.Thus, through the study of the process that allowed the appearance of such shows, its actors and its operating methods, we observe how these broadcasts were a part of different political dynamics and served challenging the political power. They acquired roles and a freedom of expression that the country hadn’t experienced since 1952, exceeding their initial function as designed by the regime despite the means of control that the latter kept in order to maintain a minimum control on media and hence widening the fields of struggles and spaces of contentious. Then, the thesis studies the dynamics of January 2011 uprisings. Based on an interactionist approach and a work of several years field study of both television professionals and guests of these shows and an analysis of a record of broadcasts. We demonstrate that the talk-shows role was fundamental in the media conflict which doubled the conflict in the field
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Fernández, Tafur Vanessa Valerine. "Construcción de los roles de género en los talk shows de la televisión de señal abierta peruana. Análisis del programa Andrea de ATV entre el 05 y el 30 de agosto de 2019." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/654001.
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En los últimos años, el formato talk show ha vuelto a ganar protagonismo en el espacio televisivo peruano. La exposición de conversaciones privadas a un entorno público ha permitido poner en evidencia la prevalencia de determinados estereotipos de rol de género arraigados en la sociedad. Es por ello, que parte de esta investigación tiene como finalidad conocer la relación entre discurso y lenguaje televisivo; y como estos, aportan a una difusión de estereotipos masculinos y femeninos. A raíz de esto, se decidió elegir fue el programa Andrea, el único programa talk show emitido de lunes a viernes en horario familiar por la casa televisora ATV (canal 9).
Este trabajo busca identificar los criterios y referentes con los que se construyen los roles de género en este espacio televisivo.Para esto se utilizó una metodología cualitativa y se optó por elegir un corpus representativo de ocho emisiones del mes de agosto de 2019. Asimismo, se diseñó un instrumento de análisis a partir de cuatro subcategorías que nos permitió identificar la relación de recursos televisivos y rol de género; el papel en el escenario de los invitados y conductora, y el vínculo entre los roles de género (hombre-mujer)
Una vez finalizada la investigación, se llegó a la conclusión de que existe un quiebre en el papel de la mujer; ya que esta puede ser multifacética sin que su rol de madre, profesional y mujer se vea afectado. Asimismo, se puso en evidencia la prevalencia de estereotipos tradicionales femeninos y masculinos dando continuidad a una jerarquización patriarcal en la sociedad.In the last years, the talk show format has gained prominence in the Peruvian television space, once again. The exposure of private conversations to a public environment has made it possible to highlight the prevalence of certain gender role stereotypes rooted in our society. Because of this, I decided to analyze the case of the program Andrea, the only talk show broadcast from Monday to Friday during family hours by the television channel ATV (channel 9). That is why part of this research is aimed at knowing the relationship between speech and television language; And like these, they contribute to a diffusion of male and female stereotypes. This work seeks to identify the criteria and referents with which gender roles are constructed in this television space. To achieve this goal, a qualitative methodology was used and a representative corpus of eight broadcasts from August 2019 was chosen. Likewise, an analysis instrument was designed from four subcategories that allowed us to identify the relationship of television resources and the gender role; the role of guests and host on stage and the link between gender roles (male-female) Once the investigation was completed, it was concluded that there is a break in the women role; since it can be multifaceted without affecting her role as mother, professional and woman. Further, the prevalence of traditional female and male stereotypes was evidenced, giving continuity to a patriarchal hierarchy in society.
Trabajo de investigación
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Baur, Natalija. "Russische Frauensprache : feministisches Postulat oder Wirklichkeit? : empirische Untersuchung anhand russischer Talkshows." Hamburg Kovac̆, 2005. http://www.verlagdrkovac.de/3-8300-1762-6.htm.
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Lopes, Carlos Renato. "Identidades, poderes e saberes em um programa popular da televisão brasileira - uma abordagem discursiva." Universidade de São Paulo, 2000. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-23012008-110205/.
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O presente trabalho situa-se na convergência interdisciplinar entre a Análise do Discurso de linha francesa e os estudos da mídia na pós-modernidade. Nele pretende-se demonstrar, com base na observação de 10 episódios de um programa popular da televisão brasileira (o Programa do Ratinho), como existe no gênero uma tendência crescente de dispersão de identidades, poderes e saberes. Embora limitados por regras discursivas que determinam sua produção e exibição, esses programas se caracterizam pela constante negociação e redefinição dos limites de poder dos diferentes sujeitos envolvidos - apresentadores, convidados leigos e especialistas, público da platéia e audiência doméstica. Propõe-se que tal tendência à dispersão está ligada ao fenômeno marcadamente pós-moderno da dispersão dos sentidos, promovida por sua vez em grande parte pela multiplicidade de vozes que se fazem ouvir, com níveis desiguais de poder, nos formatos da mídia contemporânea. No programa popular brasileiro em questão, observa-se uma aparente contradição no que diz respeito à construção de poderes e saberes. Por um lado, a multiplicação potencial das diversas vozes no programa sugere uma situação mais ou menos caótica, na qual os discursos circulam sem uma hierarquia nítida ou estável. Por outro lado, há uma valorização visível das narrativas da experiência pessoal dos participantes, experiência essa que tende a desbancar a autoridade do discurso oficial da ciência - o discurso especializado dos psicólogos, advogados e médicos - e a assumir o status de parâmetro de autenticidade. Nesse sentido, a autenticidade do conhecimento (e também do poder) torna-se maior quanto melhor construída e articulada no espaço concreto do programa popular, ainda que isso implique em uma maximização do elemento performático, que nesse contexto se equivale à verdade autenticada.This dissertation is situated in the interdisciplinary convergence between the French approach to discourse analysis and the Media Studies in postmodernity. We set out to demonstrate, based on the observation of 10 episodes of a popular Brazilian TV program (Programa do Ratinho), how the genre is marked by a growing tendency towards the dispersion of identities, power and knowledge. Despite being restrained by discursive rules which determine their production and exhibition, these programs are characterized by constant negotiation and redefinition of the limits of power of the different subjects involved - hosts, lay and expert guests, and the audiences at home and in the studio. We propose that such tendency towards dispersion is associated with the markedly postmodern phenomenon of the dispersion of meanings, which in turn is grounded partly on the multiplicity of voices which are heard, at unequal levels of power, in the contemporary media formats. On the Brazilian popular broadcast in question, we observe an apparent contradiction regarding the construction of power and knowledge forms. On the one hand, the potential multiplicity of voices on the show points to a rather chaotic situation, in which discourses circulate without a distinct or stable hierarchy. On the other hand, there is a clear emphasis on the participants\' narratives of personal experience, of the kind that tend to debunk the authority of the official discourse of science - the expertise discourse of psychologists, lawyers and doctors - and to take on the status of parameters of authenticity. In this connection, the authenticity of knowledge (and also of power) becomes all the greater the better it is constructed and articulated within the concrete space of the popular broadcast, even if this implies a maximization of the performative element, which in this context is equivalent to authenticated truth.
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Vargas, Gutiérrez José Luis. "Adiós a la verguenza : el fenómeno de los talk shows en la televisión nacional." Master's thesis, Pontificia Universidad Católica del Perú, 1999. http://tesis.pucp.edu.pe/repositorio/handle/123456789/7217.
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Suelo recordar a Kurt Vonnegut cuando me preguntan porqué decidí trabajar el tema
de los talk shows para obtener el grado de Magister en Comunicación. Lo hago
porque este escritor es un convencido de que la mitad de lo que nos sucede en la vida
está signado por lo impredecible, por aquello que llamamos suerte y que no podemos
controlar o a veces explicar, pues sólo sucede. Algo de eso hay en la elección y
posterior trabajo de esta investigación, pues originalmente mis ideas estaban
orientadas a una área temática diferente, pero fue durante el segundo semestre de
1997, en el curso de Espacio y Opinión Pública, con Pepi Patrón como maestra, que
se produjo el giro.Tesis
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Lorenzo-Dus, Nuria. "The discursive co-construction of participants' identities in the television talk show Kilroy." Thesis, Cardiff University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269492.
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Hair, Carolyn Houston. "The conversationalization of television talk in the mediated public sphere : an analysis of the British audience participation talk show and the docu-soap." Thesis, Southampton Solent University, 2003. http://ssudl.solent.ac.uk/611/.
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This thesis investigates the daytime audience participation talk show and the docu-soap, in terms of public participation in a televisual public sphere. It is argued that these genres show the conversationalization of television talk where the dichotomies of public/private, citizen/consumer and information/entertainment are played out. On the talk show and the docu-soap laypersons make private revelations in public and in the increasingly commercialised boradcasting environment the citizen-viewer of public service television is addressed as a consumer resulting in the infotainment genre. It is argued that these genres exemplify cultural and social shifts in language usage, commodification and public sphere (Dahlgren, 1995, Scannell, 1989) and this thesis examines 'reality' TV to assess television's potential to improve a democratic televised show as there has been little critical entertainment with non-American shows: Esther, Kilroy and Vanessa. The docu-soap is used as a comparison as it illustrates the conversationalization of the documentary form. Critical discourse analysis (CDA) has been employed as a critical tool in order to analyse the discursive practice of these texts and to ascertain if there is evidence of negotiations in terms of power relations in these forms of 'trash' television. The results indicate that the structures of the genres confine the participants and that the confessional and therapeutic discourses forestall public participation on television. Within hegemonic televisual structures it is posited that, in terms of micro-power relations, there are some forms of negotiation in the talk show site. The genres are compared in terms of performance and the results forma a synthesis of these television texts and theories of the public sphere, drawing on Hanermas and critical revisions of his work. These programmes reveal the problematic nature of public participation through television in the climate of increasing commercialisation. The points when the lay participants resist control are drawn upon in order to illustrate the ways in which television could ameliorate public participation.
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Dorsey, Jennifer M. "An Exploration of Youth Talk Around Representations of Individual Difference in the American Television Show Glee." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:27112712.
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In this study I investigate the ways in which youth talk about difference and fictional television characters in order to better understand youth's relationship with the media and diverse others. I use the theoretical framework of constructivism and the analytic framework of Foucauldian Discourse Analysis in order to answer the following research questions:
1) What discourses and positionings do youth use when talking about fictional characters?
2) What discourses and positionings do youth use when talking about difference in the context of a television program that presents diverse characters, specifically in the areas of (a) ability, (b) sexuality, and (c) ethnicity?
3) What do these ways of talking about characters and difference make possible for youth in the world?
I chose to study these questions by investigating the meanings that youth were making of characters on the television show Glee. I conducted a qualitative interview study, recruiting participants in accordance with purposive sampling for maximum variation. Data gathering consisted of qualitative interviews, both with individuals and pairs. Interviews included both photo and video elicitation. Following data collection and interview transcription, I conducted data analysis using positioning theory, discourse theory, and Foucauldian Discourse Analysis.
In my first analytic chapter I identified two main discourses that youth use when talking about characters: Character as Person and Character as Creation. In my second analytic chapter I analyze youth speech and discuss the discourses and positionings that they use when talking about difference, identifying three main discourses: Being Different, Having Difference, and Enacting Difference.
In my final analytic chapter I look more closely at the parasocial relationships that youth describe having with characters, investigating when youth do and do not describe identifying with the characters on Glee. I note that when youth describe relating strongly with a character because of a shared difference, they most often use the discourses of Character as Person and Being Different.
Through the lens of Foucauldian Discourse Analysis, I am able to explore not only the patterns apparent in youth talk about characters and difference, but also what this talk makes possible in the world.
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Alexis, Lucie. "Réponses à la mission culturelle de la télévision publique : analyse sémiologique des rapports institutionnels, des figures de l'artiste et des écritures numériques à France Télévisions (1993-2017)." Thesis, Paris 2, 2017. http://www.theses.fr/2017PA020048.
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Ce travail s’intéresse à la mission culturelle de France Télévisions à partir de la problématique suivante : La culture à la télévision de service public a-t-elle une qualité particulière ? Si oui, quels en sont les principes régulateurs et comment se manifeste sa cohérence ? À partir d’une définition restrictive de la notion de culture qui inclut à la fois les grandes disciplines artistiques et les productions des industries culturelles, le lecteur suit un parcours chronologique à travers trois mouvements : une analyse de rapports institutionnels publiés entre 1993 et 2008 ; une étude de figures d’artistes tels que visibles dans trois émissions de plateau (On n’est pas couché, Ce soir (ou jamais !) et Des mots de minuit) entre 2010 et 2011 ; des formes numériques d’écriture et de diffusion de la culture expérimentées entre 2011 et 2017. Nous appuyant sur une histoire de la télévision publique, nous nous inscrivons principalement dans une perspective sémiologique. Toutefois, nous empruntons quelques outils à l’analyse de discours, à l’approche par les modèles socio-économiques des industries culturelles, et proposons une conduite d’entretien graphique. L’hétérogénéité des objets concrets et des méthodologies que nous mobilisons nous conduisent à conclure que la culture de la télévision de service public se nourrit à la fois d’une conception majoritairement institutionnellement consacrée, d’une attention portée aux productions des industries culturelles et aux « médiacultures » et tend à s’élargir davantage au travers d’expériences numériques. C’est d’une conjugaison de cet ensemble d’éléments sur un mode propre que procède la culture de la télévision de service public.Descripteurs : télévision publique ; France Télévisions ; culture et arts ; industries culturelles ; rapport institutionnel ; programmes télévisuels ; nouvelles écritures audiovisuelles ; geste graphiqueThe dissertation focuses on the France Télévisions’s cultural agenda and addresses the following question : Is there a form of culture specific to public service broadcasting ? If there is, how is it regulated and how does its coherence appear? We tackle the issue using a restricted definition of the notion of culture that includes both the great artistic disciplines and the productions of cultural industries. A chronological analysis follows three movements that place the reader/audience in various political and media territories: an inquiry into the institutional reports published between 1993 and 2007; figures and portraits of artists in three lateevening TV shows (On n’est pas couché, Ce soir (ou jamais!), and Des mots de minuit) broadcast between 2010 and 2011; and digital writings/narratives of culture between 2011 and 2017. Based on a history of public television, our perspective is mainly semiological. However, our study is inscribed in a project that includes several methodological tools while also using discourse analysis and a socioeconomic approach of the cultural industry. Finally, we have carried out graphic interviews. The heterogeneous nature of the artefacts and methods we summon lead us to conclude that public television culture is conveyed thanks to an understanding of culture close to the "established culture", the productions of cultural industries and "mediacultures", although it tends to expand in relation to digital experiences. Lastly, the combination of a number of factors produces a synoptic vision of the different conceptions of public television culture. Keywords : Public television ; France Télévisions ; culture and arts ; cultural industry products ; institutional reports ; talk-shows ; new audio-visual writing ; graphic gesture
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Bernhardt, Eva [Verfasser]. "Variación diafásica en una conversación polémica y pública : Análisis de un talk show de la televisión española / Eva Bernhardt." Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2012. http://d-nb.info/1042460507/34.
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King, Jack. "The key lessons learnt from producing the ABC programme Talking Heads a talk show/documentary hybrid in a fast turnaround environment." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/31828/1/Jack_King_Thesis.pdf.
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The following exegesis will detail the key advantages and disadvantages of combining a traditional talk show genre with a linear documentary format using a small production team and a limited budget in a fast turnaround weekly environment. It will deal with the Australian Broadcasting Corporation series Talking Heads, broadcast weekly in the early evening schedule for the network at 18.30 with the presenter Peter Thompson. As Executive Producer for the programme at its inception I was responsible for setting it up for the ABC in Brisbane, a role that included selecting most of the team to work on the series and commissioning the music, titles and all other aspects required to bring the show to the screen. What emerged when producing this generic hybrid will be examined at length, including: „h The talk show/documentary hybrid format needs longer than 26¡¦30¡¨ to be entirely successful. „h The type of presenter ideally suited to the talk show/documentary format requires someone who is genuinely interested in their guests and flexible enough to maintain the format against tangential odds. „h The use of illustrative footage shot in a documentary style narrative improves the talk show format. iv „h The fast turnaround of the talk show/documentary hybrid puts tremendous pressure on the time frames for archive research and copyright clearance and therefore needs to be well-resourced. „h In a fast turnaround talk show/documentary format the field components are advantageous but require very low shooting ratios to be sustainable. „h An intimate set works best for a talk show hybrid like this. Also submitted are two DVDs of recordings of programmes I produced and directed from the first and third series. These are for consideration in the practical component of this project and reflect the changes that I made to the series.
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Libanore, Silvia. "L'impatto della pandemia di COVID-19 sull'industria televisiva." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2022. http://amslaurea.unibo.it/25132/.
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La pandemia di COVID-19 sarà senza dubbio ricordata come un evento spartiacque nella storia mondiale, che ha avuto un innegabile impatto su diversi aspetti della vita quotidiana e su diversi settori produttivi. Anche l'industria televisiva ha subito gli effetti della pandemia, e nel corso dei mesi si è dovuta più volte adattare alla situazione in costante sviluppo. Con questa tesi si intende analizzare l'impatto della pandemia di COVID-19 su questo settore, offrendo una panoramica delle difficoltà affrontate dalle diverse categorie di programmi durante l'emergenza sanitaria e le tipologie di soluzioni adottate.
Nella prima parte si analizzeranno gli effetti immediati dell'interruzione delle attività lavorative e sociali e il confinamento in casa, quali i cambiamenti nei livelli di ascolti o nei numeri di abbonati a piattaforme streaming. Si rifletterà inoltre sulla centralità della televisione in questo periodo e sulle modalità con cui diversi programmi hanno continuato la produzione a distanza o sono stati creati da zero nell'ottica del distanziamento sociale. Nella seconda parte si analizzerà la graduale ripresa delle normali attività produttive e il modo in cui la realtà della pandemia è stata affrontata serie scripted, oltre alle misure di sicurezza adottate nella ripresa di programmi unscripted. Nella terza parte si prenderanno in considerazione i cambiamenti nella produzione, la distribuzione e il consumo che si sono verificati durante l'emergenza sanitaria e si tenterà di capire in base alle opinioni di studiosi e professionisti del settore quali tra questi saranno con buone probabilità permanenti e cosa questo potrebbe comportare a medio-lungo termine. Nell'ultima parte, infine, si prenderà in considerazione il caso specifico del talk show Che tempo che fa e si analizzeranno le modifiche da esso messe in atto durante i mesi di emergenza, tanto dal punto di vista produttivo quanto da quello dei contenuti.
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Bracciale, Paolo. "Tra parole ed emozioni: interpretare per la televisione di intrattenimento. Il caso dell'interpretazione simultanea dal russo in italiano." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/20574/.
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Il presente elaborato è dedicato allo studio della trasmissione vocale non-verbale (paraverbale) delle emozioni in interpretazione simultanea per la televisione di intrattenimento.
Il primo capitolo si pone l’obiettivo di esplorare il mondo delle emozioni umane: di darne una definizione, di descriverne natura e funzioni, nonché di analizzarne brevemente l’espressione tramite parole (livello verbale), gesti (livello non-verbale) e voce (livello paraverbale). Il secondo capitolo rappresenta un approfondimento del livello paraverbale e consiste nello studio dei tratti vocali, della loro suddivisione in informativi (extralinguistici) e comunicativi (paralinguistici), nonché del raggruppamento di questi ultimi in un codice dotato di regole proprie. Il terzo capitolo funge da ponte tra lo studio delle emozioni e della loro espressione vocale e quello della televisione di intrattenimento: in questa parte verranno delineate le principali caratteristiche della Conversazione-Spettacolo dal punto di vista discorsivo e interpretativo. Il quarto capitolo riguarda la presentazione di un esperimento pratico di interpretazione simultanea dal russo in italiano di un’intervista a un ospite russofono invitato negli studi di un talk show. Un elemento interessante del presente capitolo consiste nell’uso, per la trascrizione del testo dell’esperimento e delle rese dei candidati, del codice dei segni vocali paralinguistici ideato nel secondo capitolo. Il quinto e ultimo capitolo è dedicato, invece, alla rielaborazione di quattro interviste a interpreti professionisti nell’ambito della televisione di intrattenimento. Partendo dalle conclusioni dell’esperimento, l’obiettivo è quello di passare in rassegna le strategie che possono essere messe in pratica per produrre una resa quanto più fruibile possibile per una platea di telespettatori.
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Volpe, Maíra Muhringer. "O divã no palco: discurso terapêutico, indústria cultural e a produção de bens culturais com pessoas comuns." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-04112013-131315/.
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Não é raro encontrar na televisão brasileira, e mesmo na rádio, emissões que trazem depoimentos de pessoas comuns comentados por especialistas, sobretudo, psicólogos. Desentendimentos conjugais, problemas com filhos, desavenças com vizinhos, conflitos no trabalho, são alguns dos temas exibidos. Trata-se de versões cujo formato orienta também produções estadunidenses, europeias e latino-americanas, cuja temática, apropriada pela indústria cultural nacional, difunde um discurso terapêutico. Embora as ideias de manipulação dos participantes e de sensacionalismo na busca por audiência sejam justificativas para a veiculação desse tipo de emissão, existem outros sentidos que podem ser atribuídos quando se aproximam as razões que mobilizam pessoas a dar visibilidade a histórias e questões consideradas de foro íntimo. Foram esses outros sentidos aqui investigados. Uma abordagem, portanto, a partir dos participantes de No Divã do Gikovate (Rádio CBN), Casos de Família (SBT) e Márcia (Bandeirantes) norteou a pesquisa apresentada. A interação social no palco, nos bastidores e na plateia foram vias de acesso a dois grupos sociais envolvidos na produção e no consumo desses bens culturais. O estudo dessas interações apontou lógicas diferentes de produção: uma demanda espontânea, entre aqueles que integram as emissões animadas pelo Dr. Gikovate, e um sistema de produção da exibição, ou seja, uma cadeia produtiva por trás das emissões televisivas que abarca tanto profissionais formalmente contratados pelas emissoras quanto pessoas engajadas informalmente. Tais interações indicam ainda grupos que possuem universos mentais distintos, com repertórios expressivos e recursos afetivos específicos. Seus integrantes apropriam-se do discurso terapêutico difundido transformando-o em senso prático para sua vida afetiva.Its not rare to find in Brazilian television and radio, transmissions that bring ordinary peoples testimonials commented by experts, mainly psychologists. Marital fights, problems with children, quarrels with neighbors are some of the themes presented. Those are Brazilian versions of programs which circulate around the United States reaching Latin American and European countries, which the thematic, taken by their own national culture industry, diffuses a therapeutic discourse. Although the participants ideas manipulation and the sensationalism in the quest for audience are explanations for placing this kind of transmission, there are other senses that may be attributed when one gets closer to the reasons that mobilize those people to bring out stories and affairs once considered intimate. These other senses were the ones studied here. Thus, an approach close to that of the participants of No Divã do Gikovate (Gikovates Divan, Radio CBN), Casos de Família (Family Affairs, SBT) and Márcia (Marcia, Bandeirantes) guided this research. The social interactions on stage and backstage were ways to reach these two social groups involved in the production and consumerism of these cultural products. The study of these interactions led to different logics of production: a spontaneous demand between those who compose the transmissions cheered by Dr. Gikovate, and a production system of exhibition, which means a productive chain behind the television transmissions that reach professionals formally hired by the networks and people informally involved. Those interactions have also indicated groups with different mental universes, with specific expressive repertoire and affective appeal. Their integrants employ the therapeutic discourse, transforming it into logic of practice to be used in their affective life.
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Rigante, Tatiana. "Os caminhos da persuasão sob a perspectiva da metafunção interpessoal em uma entrevista de talk show." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/14002.
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Previous issue date: 2008-08-13The amount of research about interviews in talk-shows and the way this gender is approached is scarce in Brazil. In this perspective, the present study aims at analyzing the persuasion which permeates the conversation turns in an interview with the deputy Denise Frossard, on Jô talk show program, with a view to answering the following question: what discursive resources Jô Soares and Denise Frossard mostly employ to persuade their audience in the interview? Considering the dynamics of the realizations of various meaning combinations which this analysis implies, my study has an eclectic theoretical support, including Fowler (1991), based on Critical Discourse Analysis, and theories complementing the Systemic-Functional Linguistics, particularly the interpersonal metafunction. In so being, I make use of these persuasive notions which help me understand both explicit and implicit persuasion that pervade the interview interloctions, according to the following elements: dialogism (Bakhtin, 1981); frame and footing (Goffman, 1981), smuggling information (Luchjenbroers e Aldridge, 2007); directed information (Coffin e O Halloran, 2006), notions of cryptic-argumentation (Kitis e Milapides, 1996) and finally Analysis of Conversation (Eggins e Slade, 1997), which sheds light on the existing phenomena in the conversation turns. The data showed that amongst the occurrent persuasive elements, the implicit ones are the most frequent in the speech of the interlocutors. However, the host resorts to a discourse apparently friendly and capable of facilitating the exposure of the interviewee s opinion. The interviewee in most of her turns use monoglossic utterances
É pequeno o número de trabalhos sobre entrevistas em talk show e a abordagem desse gênero sofre carência de pesquisas no Brasil. Nessa perspectiva, o presente estudo objetiva analisar a persuasão que percorre os turnos conversacionais, na entrevista realizada com a deputada Denise Frossard, no talk show Programa do Jô, e deve responder à seguinte pergunta: que recursos discursivos são mais utilizados por Jô Soares e por Denise Frossard, visando a persuadir seu interlocutor na entrevista? Para abranger a dinâmica da realização da conjunção de significados diversos que essa análise implica, meu estudo tem um suporte teórico eclético , na esteira de Fowler (1991), com base na Análise Crítica do Discurso, formado por teorias que complementam a proposta da Lingüística Sistêmico-Funcional, em especial, no que diz respeito à metafunção interpessoal dessa teoria. Assim, apóiome em noções discursivas que ajudam a compreender a persuasão, por meios explícitos e implícitos, que entremeiam as interlocuções da entrevista, conforme os seguintes elementos: o dialogismo (Bakhtin, 1981); o frame e o alinhamento (Goffman, 1981); a inserção sub-reptícia de informação (Luchjenbroers e Aldridge, 2007); a informação direcionada (Coffin e O Halloran, 2006), e a noção de criptoargumentação (Kitis e Milapides, 1996) e, finalmente, à Análise da Conversação (Eggins e Slade, 1997), que esclarece fenômenos ocorrentes nos turnos conversacionais. Os dados permitiram apurar que, dentre os elementos persuasivos ocorrentes, os implícitos são os mais freqüentes na fala dos interactantes. Contudo, o apresentador recorre a um discurso aparentemente amigável e facilitador para que a entrevistada exponha a sua opinião. Esta, por sua vez, na maior parte de seus turnos, produz enunciados monoglóssicos
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Stenberg, Ulrika, and Stina Lantz. "Diskursiva handlingar och resurser i talkshows med flerpartssamtal : En samtalsanalys av tv-programmet Skavlan." Thesis, Örebro universitet, Akademin för humaniora, utbildning och samhällsvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-15968.
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This paper examines the function of narrative discourse in television talk shows. Basing our analysis on five episodes of the Swedish talk show Skavlan, we illustrate how narratives are initiated and elaborated by the participants of the show. The analysis shows that the institutional roles are challanged and that the roles vary between the host ant the guests. The analysis also shows that when guests introduce and elaborate stories they use the same discursive actions and resources as the host. When participants enter an actvie role in their storytelling the hos takes a more restrained role in which he lets the the conversation evolve spontaneously. The analysis identifies yet another participant role which was not included in the studies of Ochs & Taylor and Thornborrow. The role appears when the host uses indirect form of address to both the studio audience and the overhearing audience. This role is relevant in the study of broadcast talk because of the very nature of television.
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Champagne, Fran. "Talk Ricki!: a qualitative study of teen perspectives on the "Ricki Lake Show" and other daytime television talk shows." Thesis, 1998. http://hdl.handle.net/2429/8901.
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This study explores the responses of a selected group of female teenage
viewers to the Ricki Lake Show. Although a number of studies have been done in
the area of audience, very few of them have considered teenage and young adult
audiences. Most of the current research to date has focused on either how
television affects viewers' behaviour, primarily children, or in the field of reception
research, where studies have explored how viewers respond to various television
programs, primarily soap operas, where the subjects were mostly adult women.
This study uses the reception research methodology of visiting participants in
their homes. A total of seventeen teenage women were interviewed in ten
sessions. Interviews covered the following areas: a) why they watch television talk
shows; b) their perceptions of the components of the genre, i.e., host, topics,
guests, studio audience members, expert, and visual style; and c) their overall
perceptions of the genre of talk TV. Each session involved a different episode of
the Ricki Lake Show, except for one repeat. Each session lasted for between two
and three hours, one hour of which was spent watching the show. The remainder
of the time was spent in discussions. A list of questions was used to guide
discussions. Interviews and discussions were fully transcribed prior to analysis.
The overall results strongly suggested that age and socio-economic status
influenced the responses of the study participants. The results also made it clear
that these viewers were active participants of media in the sense that they could
critique and interpret the genre in a personal manner. However, the participants
seemed to lack media awareness skills essential for critical viewing, such as an
understanding of the techniques used in creating media images, awareness of
the distinction between the view of the world presented on television and the real
world, and awareness of the commercial motivations for creating these programs.
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林妍君. "Transnational Marriage and New Immigrant in Taiwan’s Television Talk Shows: A Case Study of WTO Sister Show." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/82rmsv.
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碩士輔仁大學
大眾傳播學研究所碩士班
107
WTO Sister Show is a television talk show that was originally broadcast in 2009. The talk show is extremely lively and interesting, and it also reverses the images of new immigrant. The study focuses on how transnational marriage and new immigrant are represented in WTO Sister Show. For this study, a critical discourse analysis are performed on nineteen typical episodes of the talk show. The results of this study show that differences and conflicts of transnational marriage are represented through tacit test, opinion test and multi-party debate in WTO Sister Show. In addition, differences and conflicts are prominent throughout the major issues about transnational marriage: differences of nationality and race, love expression, family economy, housework, misunderstanding of word expression and custom differences. Although the conversation discourse in this talk show seems to be easy, it is actually an important process for dynamic circulation of meanings.
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Almeida, Abílio Renato Gomes. "O daytime televisivo em Portugal: uma análise ao papel do riso nos principais talk shows matinais." Doctoral thesis, 2022. http://hdl.handle.net/1822/75831.
Full textAbstract:
Tese de doutoramento em Ciências da ComunicaçãoO uso das emoções como gratificação não é algo novo no daytime televisivo, nem tampouco nos estudos sobre essa realidade. Mas e o que dizer do caso específico de Portugal? Neste estudo, centrado nos talk shows matinais, foi possível contabilizar vários episódios com centenas de risos, sugerindo que essa é uma expressão emocional relevante para a realidade em análise. Partindo do pressuposto de que a televisão é mais do que um mero objeto, um vínculo social, no qual existe uma dinâmica de “dar e receber”, que papel se acredita que o riso tenha tido e continue a ter nesse já longo e razoavelmente estável “relacionamento” entre os conteúdos televisivos e as pessoas que os observam no período da manhã, em Portugal? (1) Num Ocidente profundamente influenciado pelo platonismo – onde o riso é visto como um sinal externo de uma fraqueza interna – poderão esses programas ter contribuído para uma espécie de “democratização” do ato de rir em solo nacional? (2) De que forma esse considerável número de risos aparenta estar hoje a ser usado e quão consciente mostra ser o seu uso, por parte dos principais intervenientes? (3) Em que medida o riso, nesses programas e não só, pode colocar problemas que suscitem a atenção por parte de quem o estuda? Com tais questões, de forma mais ou menos direta, como base, este estudo foi dividido em três partes fundamentais. A primeira parte, dividida em dois capítulos, procurou: (1) compreender a construção do conceito do riso de acordo com o modelo platónico e evolucionista; e (2) analisar o fenómeno do riso “de fora para dentro”, tendo em conta distintas alteraçõessociais e tecnológicas. A segunda parte, igualmente dividida em dois capítulos, visou: (1) uma ampla compreensão do fenómeno televisivo e das suas respetivas audiências; e (2) uma descodificação daquilo que é realmente o daytime, com um foco nos programas que nas últimas décadas ocuparam as manhãs da televisão portuguesa. A terceira parte, dividida em quatro capítulos, examinou: (1) o número de risos dos programas selecionados e dos seus principais intervenientes; (2) a diferença entre a realidade observável no televisor (muito riso) e aquela que não o é, no local das emissões; (3) o parecer dos entrevistados, distribuído por oito temáticas específicas associadas à realidade em análise; e, por fim, (4) a própria investigação, como um todo, tendo como base uma apreciação global dos três principais tópicos: o riso, o daytime televisivo e o papel do riso na primeira parte do daytime televisivo em contexto nacional.
The use of emotions as gratification is not something new in daytime television, nor in the studies about this reality. But what can be said about the specific case of Portugal? In this study, focused on morning talk shows, it was possible to count several episodes with hundreds of laughs, suggesting that this is a relevant emotional expression for the reality under analysis. Assuming that television is more than a mere object, a social bond, with a "give and take" dynamic, what role do we believe laughter has had so far and continues to have in this already long and reasonably stable "relationship" between television contents and those who watch them in the mornings in Portugal? (1) In a West deeply influenced by Platonism - where laughter is seen as an external sign of an internal weakness - may these programmes have contributed to a kind of "democratization" of the act of laughing on national soil? (2) In what ways does this considerable amount of laughter appear to be used today, and how conscious are the main participants of its use? (3) To what extent can laughter, in these programmes and beyond, pose problems which arouse the attention of those who study it? With these questions more or less directly as a basis, this study has been divided into three key parts. The first part, divided into two chapters, sought to: (1) understand the construction of the concept of laughter according to the Platonic and evolutionary model; and (2) analyse the phenomenon of laughter "from the outside in", considering distinct social and technological changes. The second part, also divided into two chapters, aimed at: (1) a broad understanding of the television phenomenon and its respective audiences; and (2) a decoding of what “daytime” really is, with a focus on the morning programmes of the last decades in portuguese television. The third part, divided into four chapters, examined: (1) the number of laughs in the selected programmes and of the main participants; (2) the difference between the reality which is observable on television (a lot of laughter) and that which is not, where the broadcasts actually take place; (3) the opinion of the interviewees distributed by eight specific themes associated with the reality under analysis; and, finally, (4) the research itself, as a whole, based on a global study of the three main topics: laughter, daytime television and the role of laughter in the first part of daytime television in a national context.
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Ferraz, Sara Raquel Mesquita. "Agora Nós: a audiência e os programas televisivos do canal público." Master's thesis, 2015. http://hdl.handle.net/10362/15848.
Full textAbstract:
A televisão do século xx e da primeira década do século XXI não foi uma televisão do espectador. A neotelevisão veio acabar com a ligação unidireccional que a paleotelevisão mantinha com o telespectador, criando uma maior proximidade devido às semelhanças com o quotidiano do individuo. O talk-show, o género televisivo mais popular na América nos anos 90, é frequentemente a principal companhia e fonte de informação para milhares de espectadores. O talk-show alia informação ao entretenimento através do talk, com entrevistas entre convidado e apresentador intercaladas por momentos de humor e música, o show. O sucesso de um talk-show é observável pela audiência registada, uma vez que as emissões são feitas de acordo com o perfil do público que assiste televisão nesse determinado período. Em Portugal, o entretenimento representado pela ficção e pelos programas recreativos, ocupa uma grande parte da grelha de programação da televisão generalista. Na RTP, vários foram os talk-shows que serviram de modelo para outros programas pela forma peculiar e inovadora com que se apresentaram, como é o caso do Praça da Alegria. Em 2014, a renovação das manhãs da RTP foi assinalada pela estreia do Agora Nós, um talk-show com incidência nas histórias de vida do cidadão comum. Estas histórias tornam-se exemplos de vida para os espectadores, aproximando-os e identificando-os com o programa. O Agora Nós está inserido num canal de serviço público e, portanto, deve assegurar conteúdos variados, de referência e qualidade, com valorização cultural, económica e educacional que corresponda às necessidades e interesses do público.
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Yeh, Chih-hsien Jeanne, and 葉芷嫻. "Journalists and Television Talk Show: A Perspective of Interpretive Communities." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/96182335311386302041.
Full textAbstract:
碩士世新大學
傳播研究所(含博士班)
94
Drawing upon Stanley Fish’s idea of interpretive communities, this study explains that journalists as interpretive communities are united through their collective interpretations. This thesis aims mainly to explore the shared interpretations of journalistic interpretive community. Then, it realizes further that how journalists comment on the performance of their colleagues in television talk show by using shared meanings. This study does not start with a traditional approach, news professionalism, to evaluate journalists’ performance, but with the perspective of culture as a tool-kit, proposed by Ann Swidler, to probe into the cultural givens in journalistic practice. And this offers a new direction for news production research. My investigation focuses on journalists’ beliefs on their roles and news work, their appraisal of journalists’ performance in television talk show, and the interpretive strategies taken by journalists in the show. I conducted in-depth interviews to collect data from the three following groups: (1) the journalists who are the guests of television talk show, (2) the journalists who haven’t participated in television talk show, and (3) the talk show’s hosts who were reporters and talk-show guests in the past. The interviewees in this study are 14 people in total. The results show that, first of all, journalists are indeed the members of interpretive communities. They share the same beliefs and values regarding their profession. They particularly value the accuracy and completeness of information they obtain, whether a reporter eyewitnesses a news event or not, the extent to which a reporter specializes in the knowledge of a beat, and the conduct of objective reporting. Based on the above shared beliefs, journalists make sense of their daily work and appraise or criticize the performance of their own or their colleagues in television talk show. Secondly, when interviewees appraise journalists’ performance in television talk show, they are divided into two interpretive communities based on their different experience with television talk show. One community is formed by the journalists who participate in television talk show. the other is constituted by those who do not participate in the show. These two interpretive communities hold different normative beliefs on whether journalists should attend television talk show. Therefore, the interpretive viewpoints and evaluation criteria that the two groups employ to comment on journalists’ performance in television talk show are not consistent. For those interviewees that attend television talk show, they hold different views on their roles in journalists’ practice and in television talk show. Although they still possess firm beliefs on what journalists should stand for and how journalists should do, these journalists employ different interpretive strategies to elaborate their role in television talk show and to comment the performance of other journalists in the show. They usually don’t make evaluation in terms of the professional ideology of journalism. However, the performance of journalists attending television talk show tends to follow two journalistic standards: speaking on the facts and drawing upon on-the-spot interview. For journalists attending the show, speaking on the facts is especially important because it provides them with three advantages: It can avoid the criticism and labeling from audiences. It can avoid revilement among the guests. It can redeem a lack of on-the-spot interview.
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Chiu, Chung-Jung, and 丘忠融. "From Public Sphere to Public Television: An Analysis of Political Talk Show in Public Television." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/39436597835809103653.
Full textAbstract:
碩士淡江大學
大眾傳播學系碩士班
93
In order to discover the ways of improving the democratic function of Taiwan’s television talk shows, the thesis attempts to build an analytical framework based on Habermas’ theory of public sphere to analyze on and make a comparison between the performances of public talk shows of three countries’ public television services, the Public Television Service of Taiwan (PTS), the British Broadcasting Corporation (BBC), and the Australian Broadcasting Corporation (ABC). By literature review and information collecting, Question Time of the BBC and Insider of the ABC are selected as representative programs and as the referents of two main political talk programs of PTS. For approaching the conclusion, thesis the methods of text analysis, discourse analysis, and in-depth interview are used. In conclusion, some key operational and production features of Question Time and Insider display and enhance the ideas of public sphere, such as the process of selecting guests, the arrangement of the topic, the structure of the program, and the tactics to create an ideal situation of communication and debate. The PTS ought to take these practices as important references and to contribute on the realization of the local public spheres. However, the limited budget and scale of the PTS would be one of the major difficulties to copy the production models of Question Time and Insider. The thesis thus concludes that a transformation of the PTS from a single-channel service to a multi-channel broadcasting system with more resources would be necessary.
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Gomes, Carolina Leandro Sarmento. "Os canais televisivos internacionais : uma análise da SIC Internacional." Master's thesis, 2018. http://hdl.handle.net/10400.14/27679.
Full textAbstract:
A televisão é um objeto que invadiu os lares da nossa sociedade e que se tornou uma companhia permanente no dia-a-dia dos cidadãos em todas as partes do Mundo. Esta “caixa mágica” também permitiu que os telespectadores emigrados tivessem acesso à sua cultura, à sua tradição, às “suas” pessoas, à sua língua e ao seu próprio país.
Ao longo do desenvolvimento deste meio não só a nível nacional como internacional, os conteúdos transmitidos aos telespectadores foram-se adaptando de acordo com as necessidades e exigências da sociedade.
Um dos tipos de conteúdos que se foi afirmando nas grelhas de programação, por exemplo, do canal em estudo (SIC Internacional), foram os talk shows devido ao modo como são produzidos e transmitidos. Os talk shows permitem que haja momentos para tudo, tais como: sorrir, brincar e informar. Todos os dias, os talk shows levam até às pessoas que se sentam em frente ao ecrã várias novidades de diferentes temas.
Deste modo, este tipo de programas permite representações várias de diferentes e múltiplas identidades através das suas emissões. A representação que pretendemos estudar neste trabalho é a Identidade Nacional. Ou seja, como é que através de um programa de televisão, é ou não possível transmitir algumas das características mais importantes que caracterizam e definem Portugal.
Assim, este tema leva-nos a questionar: De que forma é (re)produzida a identidade nacional no programa Alô Portugal (SIC Internacional) para as comunidades portuguesas?.
Com o desenvolvimento deste projeto, tendo uma parte teórica e empírica, tentarei explicar todo o processo de execução de um talk show e perceber se este género de programas consegue levar às comunidades portuguesas uma ideia de identidade nacional materializada em diversos veículos e conteúdos.The television is an object that invaded the homes of our society and has become a constant companionship on the daily life of our citizens in every part of the world. This “magic box” has allowed for emigrant tv viewers to access their culture, their traditions, their people, their language and even their own country. Throughout the development of this medium, not only on a national level, but also international, the content broadcasted to viewers has been adapted accordingly to society’s needs and demands. One of the contents that has been earning its place on the broadcasting programming, for example, on the studied channel (SIC International), are the talkshows due to the way they are produced and broadcasted. Talkshows allow for there to be moments for everything such as smiling, playing and informing. Everyday talkshows bring to their viewers who seat in front of a screen several news about different subjects. Moreover, this type of programming allows various representations of different and multiple identities throughout its broadcasting. The representation that was studied in this research regards the nacional identity. In another words, how is it possible to, through a television program, portrait or not some of the most important characteristics that define Portugal. Considering the above, this subject makes one question the following: In which way is the national identity (re)portrayed on the program Alô Portugal (SIC International) to the Portuguese communities?. With the development of this project, having a theoretical and empirical part, an explanation of the execution process of a talk show will be carried in order to understand whether this genre of programming is able to bring the Portuguese communities an idea of national identity materialised in several vehicles and contents.
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Tsai, Yu-chi, and 蔡祐吉. "The Media Logic of Television Talk-show Program Production – A Case Study of "News Night Club"." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/80861309738253656825.
Full textAbstract:
碩士世新大學
新聞學研究所(含碩專班)
99
As a result of the process of democratization and the lifting of restrictions on the media in Taiwan in recent decades, over the past few years political discussion programs have emerged as the “fourth mainstream category of TV programming” alongside the “big three” of variety shows, dramas and news programs (Sheng, 2005). However, in the past very little academic research has been undertaken in the field of media studies in Taiwan relating to political discussion TV programs. Those few papers that have been written in this area have tended to focus on the selection of topics for call-in programs, the content of these topics, and their impact. Up until now, there have been no studies examining the process whereby political talk-show television programs of the non-call-in type are made. Rather than focusing on content and results, the present study concentrates on the actual production of non-call-in political discussion programs. The study adopts an organizational sociology perspective and a multidimensional approach, examining the interaction between program production, specialist know-how, the individual, and the organization, as well as examining the way in which various internal and external environmental factors affect each stage of the program production and broadcasting process. The aim is to identify the media logic behind the production of political talk show TV programs. The present study focuses its analysis on the TVBS program News Night Club. It makes use of qualitative research methods, including participant observation and in-depth interviews, which were implemented over a period of ten months. The following findings were obtained. Non-call-in political talk show programs were found to have three chief characteristics: A higher level of discourse can be maintained; errors can be corrected promptly; the only views expressed are those of the participants invited to appear on the program. Production is carried out according to media logic based on a “production-line” type production process, with perceived experience being privileged over objective data. The external and internal factors and variables that affect program production were found to include the division of labor within the production team, the way the program host directs the course of the discussion, the degree of freedom granted the program by the network, and the limited amount of time available for production.
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Summergrad, Sophie. "Can we talk? A discussion of gender politics in the late-night comedy career of Joan Rivers." Thesis, 2016. https://hdl.handle.net/2144/17118.
Full textAbstract:
Television has often been considered a safe haven for female performers, especially comedians. But in fact, women have often been marginalized – narratively and institutionally – within the medium of television. While there has been a promising increase in the number of creative and professional opportunities afforded to women in TV, there is one arena in which women have historically been, and continue to be, excluded: late-night comedy. As the first female late-night talk show host, Joan Rivers is central to the history of broadcast television and American comedy. While some (but not much) work has centered on Rivers’ impact as a comedian, little of this research has contextualized her career through the industrial frameworks of late-night broadcasting. From starting out as a standup comedian, to becoming Johnny Carson’s permanent guest host in the 1980s, to acrimoniously splitting with Carson and NBC for the opportunity to host her own late-night program, Rivers creatively performed her gender in order to differentiate herself as the singular female host in late night. From a feminist media studies perspective coupled with a historical analysis of Rivers’ professional trajectory in late-night comedy, this thesis will uncover the systemic, personal, and gender-specific factors that contributed to Rivers’ initial success, yet ultimate exile from late night.
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彭后諦. "The Hyper-commodification of Reporters: take the Reporter Guest in Taiwan’s Television News Talk Show as Example." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/95244705348264236837.
Full textAbstract:
碩士國立政治大學
新聞研究所
95
In an era of knowledge economy, knowledge, aside from land, labor and money, has become another productive element. Moreover, with the establishment of media society, the power and value of signs sometimes even surpass those of the reality. Finally, market-driven capitalism transforms the media into commercial-oriented companies. The above three phenomena change all walks of life. As an information worker, reporters are granted the role of public intellectual. They not only earn money by producing reports for its newspaper, they also make use of their use and exchange value by presenting themselves on other media channels. The dissertation takes the reporter guests in Taiwan’s TV news talk shows as example. Reporters make themselves commodities by the surplus value they carry. This dissertation reviews reporters’ history and the changes that industry has gone through. The dissertation then deals with theories such as knowledge economy, knowledge politics, knowledge society and semiology in order to re-discuss the commodity theory in communication studies. The result is a model of reporter’s “(hyper-) commodification.” The dissertation applies theories to analyze the background of talk show’s guests, and the discourse on the show. Interviews of the audience were conducted to further discuss the social power of reporters. The above analysis and theories finally give birth to a theory of the “hyper-commodification of reporter.”
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Mendes, Rita Cristóvão Caria. "A expansão dos conteúdos televisivos para o digital : o estudo de caso de um talk show de daytime : o Programa da Cristina." Master's thesis, 2020. http://hdl.handle.net/10400.14/34282.
Full textAbstract:
Ver televisão já não passa apenas por ligar o televisor. A crescente digitalização do dispositivo televisivo permitiu novas rotinas, variados padrões de consumo e possibilitou aos consumidores novas utilizações do dispositivo televisivo a partir de uma multiplicidade de ecrãs e de serviços. As práticas de consumo televisivo estão a mudar constantemente e nos últimos anos tem-se assistido a um fluxo migratório das audiências televisivas para os media digitais. O presente relatório pretende analisar a expansão dos conteúdos televisivos para o digital e a interação que estes conteúdos oferecem aos seus utilizadores. Para tal, o relatório incidirá sobre um programa do género televisivo talk show do canal generalista SIC, O Programa da Cristina e a sua rede social no Instagram. Tendo em conta as evoluções tecnológicas constantes que a televisão tem sofrido, este relatório tem como objetivo perceber no uso dos múltiplos ecrãs qual o papel das novas interações, através do estudo de caso do processo de divulgação pelo programa de entretenimento O Programa da Cristina divulga do seu conteúdo televisivo na conta de Instagram e das interações que proporciona aos seus seguidores.Watching TV is no longer just about turning on the TV. The increasing digitalization of the television device allowed new routines, varied consumption patterns, and enabled consumers to use the television device from a variety of screens and services. Television consumption practices are constantly changing. In recent years there has been a migratory flow from television audiences to digital media. This report aims to analyze the expansion of television content to digital and the interaction that this content offers to its users. As so this report will focus on the talk-show program of the generalist channel SIC, O Programa da Cristina and its social network Instagram. Taking into account the constant technological developments that television has undergone, this report aims to understand the role of new interactions using multiple screens. And to acknowledge how the entertainment program O Programa da Cristina spreads its television content on Instagram and what type of interactions it provides to its followers.
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Hernandez, Virginia Rose. ""I'm sorry this hasn't been a fairy tale" : examining romance reality TV through The bachelor." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3277.
Full textAbstract:
Romance reality programming has become a major player in the television field, with the most successful shows garnering huge ratings and massive audiences over the course of numerous seasons. But while the concept of finding love in a competitive environment on the national stage is new, romance reality TV programs seem to regenerate outdated stereotypes which work in a retrograde fashion to envisage love in traditional, pre-feminist heteronormative and patriarchal structures. Combining a background of literature on reality TV which gives insight to the manipulative tendencies of the industry; feminist scholarship on the acculturating and indoctrinating nature of classic fairy tales; and writings on the prevalence of postfeminist ideology that emphasizes self-surveillance/subjectification, the rhetoric of self-empowerment, and natural differences between the sexes, this thesis examines one of the most ubiquitous romance reality shows, The bachelor. Through the lens of nine tropes--beauty, passivity, marriage, victimization, vilification, romance rhetoric, gender roles, consumerism, and the male gaze--I analyze a full season of episodes, tallying the occurrences in each category. Using these tally numbers as general indicators and providing examples of each theme, I argue that the lessons conveyed to audiences by The bachelor and other romance reality programs bear a striking resemblance to classic fairy tales morals in which positive outcomes for heroines directly correlate to their perceived femininity, including conventionally feminine virtues like physical beauty, moral turpitude, and adherence to normative gender roles. The presence of postfeminism in the media contributes to making these outdated fairy tales themes seem congruent with female agency and empowerment by uncritically casting the failure to find love as a personal one. At the same time, men are placed in advantageous positions of authority and power, affirming the inevitability and desirability of patriarchal relationship arrangements.text
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Rato, Anabela Alves dos Santos. "Interacção conversacional do Talk Show televisivo: institucionalidade e género nas entrevistas de Late Night with Conan O'Brien e The Tonight Show with Jay Leno." Master's thesis, 2009. http://hdl.handle.net/1822/23080.
Full textAbstract:
Dissertação de mestrado em Língua, Literatura e Cultura InglesasO presente trabalho, que se inscreve nas áreas de investigação da Análise Conversacional e da Sociolinguística, pretende investigar as estratégias discursivas e linguísticas que regem a organização da interacção conversacional das entrevistas dos talk shows televisivos. Partindo de um corpus de análise constituído por transcrições de vinte e quatro entrevistas dos talk shows nocturnos Late Night with Conan O’Brien e The Tonight Show with Jay Leno, transmitidos pelo canal norte-americano NBC entre Setembro de 2008 e Janeiro de 2009, pretende-se apresentar as especificidades desta interacção conversacional de natureza híbrida, através de uma análise comparativa de duas variáveis. Em primeiro lugar, as manifestações de institucionalidade em contraponto com as características particulares de uma interacção conversacional não-institucional. Em segundo lugar, as representações de género subjacentes ao discurso e ao comportamento interaccional dos intervenientes nas entrevistas em foco. Propomo-nos avaliar até que ponto estas duas dimensões de análise se reflectem numa heterogeneidade de aspectos específicos, quer das conversas espontâneas, quer das interacções conversacionais preparadas, nomeadamente nos padrões sequenciais da entrevista, nos mecanismos do sistema de alternância de vez, na gestão de tópico, na construção de narrativas, na escolha lexical e no posicionamento dos participantes na interacção comunicativa.
This thesis, developed within the Conversational Analysis and Sociolinguistics frameworks, aims to investigate the discursive and linguistic strategies involved in the organization of the conversational interaction underlying the TV talk show interview. By focusing on a corpus of analysis which includes twenty-four interviews taken from two late night talk shows, The Tonight Show with Jay Leno and Late Night with Conan O’Brien, broadcast by the North-American channel NBC between September 2008 and January 2009, this study is intended to capture the defining features of this hybrid conversational interaction by comparing two variables. The first one is the institutional vs. the noninstitutional character of the conversational interaction. The second variable is the genderbased differences latent in the discourse and interactional behaviour of the interview participants. It is expected that the semi-institutional and gender-oriented nature of the talk of these interviews is displayed in the heterogeneity of the distinguishing features pertaining to both casual and monitored conversation in terms of sequence organization of the interview, turn-taking system, topic control, narrative construction, lexical choice and participants footing.
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Lourenço, Florbela Franco. "A produção de conteúdos informativos em programas de entretenimento : o caso de um programa de daytime da televisão portuguesa." Master's thesis, 2017. http://hdl.handle.net/10400.14/22789.
Full textAbstract:
O conceito de infotainment é sobretudo utilizado na literatura para se referir ao que se crê ser a contaminação dos espaços noticiosos por conteúdos de entretenimento. No caso da televisão podemos, contudo, observar também o inverso, ou seja, que programas de entretenimento, como os talk shows, se têm focado em conteúdos informativos. Saúde, justiça, desemprego e outros temas sociais, preenchem, atualmente, grande parte da grelha dos programas daytime da televisão portuguesa, sobretudo quando são assuntos que se encontram na ordem do dia e que afetam diretamente o cidadão comum. Informar não acontece apenas nos noticiários ou em programas de debate, sendo algo visível em formatos televisivos classicamente associados ao entretenimento.
Perante tal realidade, torna-se importante compreender a deslocação da informação para o entretenimento, apurando como se constroem os conteúdos de carácter informativo emitidos em programas cujo principal objectivo é entreter. Tal implica apurar a existência ou inexistência de regras orientadoras para a produção deste tipo de conteúdos, bem como a presença ou ausência de valores jornalísticos.
Tendo então por base uma análise da produção de conteúdos de índole informativa emitidos no programa televisivo Você na TV!, o presente relatório verificou, de facto, a existência de método de trabalho. Este baseado em práticas classicamente associadas ao jornalismo e às quais são aglomeradas ferramentas próprias do entretenimento, falamos do recurso ao grafismo e do apelo à emoção, por exemplo. Todos estes componentes acabam por contribuir para a produção de conteúdos que informam a entreter e que entretêm a informar.The concept of infotainment is mainly used in literature to refer to what is believed to be the contamination of news spaces by entertainment content. In the case of television, however, we can also observe the reverse, that is, entertainment programs, such as talk shows, have focused on informational content. Health, justice, unemployment and other social issues currently fill a large part of the daytime schedule of Portuguese television programs, especially when they are matters that are relevant nowadays and have a direct impact on citizens. Informing does not just happen in the news or in debate programs, it happens in television formats classically associated with entertainment as well. Faced with such reality, it is important to understand the presence of news content on entertainment shows, ascertaining how to construct informative content issued in programs whose main purpose is to entertain. This implies determining the existence or nonexistence of guidelines for the production of this type of content, as well as the presence or absence of journalistic values. Based on an analysis of the production of informative content broadcast on the TV show Você na TV!, this report verified the existence of a method of work which integrates news information in an entertainment based show. It was, therefore, concluded that several elements associated with news departments, as well as values and journalistic techniques, are used together with tools typical of entertainment, programmes such as the use of graphics and the appeal to emotion, for example. All these components end up contributing to the production of content that inform to entertain and entertain to inform.
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Міськова, Дар'я Ігорівна, and Daria Ihorivna Miskova. "Лінгвопрагматичні особливості адресант-адресатних відносин у діалогічному просторі англомовних ток-шоу (на матеріалі вечірніх ток-шоу з Девідом Леттерманом)." Master's thesis, 2020. http://repository.sspu.edu.ua/handle/123456789/9734.
Full textAbstract:
Метою роботи стало визначення лінгвопрагматичних особливостей адресант-адресатних відносин у жанрі вечірніх ток-шоу. Вивченню вказаних особливостей у дослідницькій роботі було приділено значну увагу.The purpose of work is to determine linguopragmatic features of the addressor - addressee relations in the genre of late night talk-shows. Much attention was paid to the study of these features in the research work.
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Pereira, Paula Cristina Pepe. "Produção da SIC Mulher : estudo comparativo dos programas Mais Mulher e Faz Sentido." Master's thesis, 2016. http://hdl.handle.net/10400.14/21516.
Full textAbstract:
A televisão é um dos principais meios de comunicação utilizado pelos portugueses para aceder a programas de entretenimento. Para além de funcionar como um meio de entretenimento e busca de informação, esta difunde hábitos e costumes que contribuem para a definição de identidades, produção e estandardização de estilos de vida. Independentemente da segmentação socio-demográfica, a população tem uma identificação com o aparelho televisivo, o que possibilita uma aproximação entre as pessoas. Assim sendo, os telespectadores criam uma relação íntima com os seus programas preferidos. Mas o que acontece quando esse mesmo programa muda de nome? Quais as razões para tal acontecer? Este relatório pretende analisar os talk shows Mais Mulher e Faz Sentido, tendo por base os seus conteúdos, a instituição que regula e as audiências que, de certa forma, condicionam, conhecendo os motivos da mudança e o que se alterou.Television is one of the main media outlets used by the Portuguese to access entertainment shows. Not only is it used as an entertainment outlet and information searcher, it also diffuses habits and customs that contribute for defining identities, production and standardization of lifestyles. Regardless of social-demographic segmentation, society identifies with television, which enables a bond of closeness between people. Therefore, television viewers create an intimate relationship with their favorite shows. But what happens when that same show changes its name? What are the reasons behind it? This report intends on analyzing the talk shows Mais Mulher and Faz Sentido, based on content, regulatory establishments and the audience, which in a certain way weight influence, knowing the reasons behind the change and what changed
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Козинка, Вікторія Валеріївна, and Viktoriia Valeriivna Kozynka. "Вербалізація стратегій і тактик позитивної ввічливості в англомовному телевізійному дискурсі." Master's thesis, 2020. http://repository.sspu.edu.ua/handle/123456789/9730.
Full textAbstract:
Магістерська робота «Вербалізація стратегій і тактик позитивної ввічливості в англомовному телевізійному дискурсі» зосереджена на отриманні науково достовірних результатів щодо особливостей вербалізації стратегій і тактик позитивної ввічливості у телевізійному дискурсі.The research work “Verbalization of strategies and tactics of positive politeness in English television discourse” focuses on obtaining scientifically reliable results on the features of verbalization of strategies and tactics of positive politeness in the above-mentioned television discourse.
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Jošt, David. "Analýza účasti politických aktérů v pořadu Otázky Václava Moravce mezi lety 2016 a 2018." Master's thesis, 2021. http://www.nusl.cz/ntk/nusl-448596.
Full textAbstract:
The aim of this diploma thesis is to analyze the spectrum of participants in the Questions of Václav Moravec talk show between the years 2016 and 2018. It investigates its political balance, changes over the monitoring period and the impact the 2017 election had on it. Theoretical part deals with qualitative indicators of bias and circumstances that might affect it. It discusses the alternatives to public media and obligations the Czech Television must meet in its shows as defined by law. Content analysis has been chosen as the research method. In the analytical part of the thesis, participants are coded based on their sex, age, political affiliation and function. Obtained results about the spectrum of participants are then confronted with the CT Code to either confirm or refute its compliance.