Relevant bibliographies by topics / TV series / Dissertations / Theses
To see the other types of publications on this topic, follow the link: TV series.

Dissertations / Theses on the topic 'TV series'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 March 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 dissertations / theses for your research on the topic 'TV series.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.

1

De, Bortoli Giulia <1992&gt. "The Familiar, the remediation of a TV series. How Danielewski attempts to remediate a TV series." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10223.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Edgerton, Katherine (Katherine Carter). "Byte-sized TV : writing the web series." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/81078.

Full text
Abstract:
Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2013.
Cataloged from PDF version of thesis. "June 2013."
Includes bibliographical references (p. 128-132).
Web series or "webisodes" are a transitional storytelling form bridging the production practices of broadcast television and Internet video. Shorter than most television episodes and distributed on online platforms like YouTube, web series both draw on and deviate from traditional TV storytelling strategies. In this thesis, I compare the production and storytelling strategies of "derivative" web series based on broadcast television shows with "original" web series created for the Internet, focusing on the evolution of scripted entertainment content online. I begin by reviewing of the relevant academic literature in television studies, production studies, transmedia, and television storytelling to situate web series in a theoretical context. I then undertake an exploration of web series storytelling strategies. I compare the types of narratives told by derivative and original web series, investigating how the form has evolved to date, and which genres dominate the landscape. Finally, I focus on web series production, using John Caldwell's concept of "aesthetic salaries" as a lens to investigate creators' motivations for creating online content. I look into original web series production, exploring the aspirations of creators, as well as how they measure success. I also investigate the politics involved in the production of derivative web series-particularly the tensions between guild writers and non-union marketing "creatives," both of whom stake professional claims on web content.
by Katherine Edgerton.
S.M.
APA, Harvard, Vancouver, ISO, and other styles
3

Olsson, Lisa. "Omission Phenomena in the American TV-series ”The Wire”." Thesis, Mid Sweden University, Department of Humanities, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-11398.

Full text
Abstract:

The aim of this study is to find out what effects the omission of intensifiers, interjections and fillers has on the general English subtitle track in the TV-series “The Wire”. Questions addressed in the study include the possible reasons for such omissions, and the consequences of applying omission strategies in this context. Thirteen episodes of the series were investigated in order to see to what extent these three types of words were omitted, and how that affected the experience when watching the series. The investigation showed that the majority of all omitted words in the subtitle track belonged to these three categories, and that technical restrictions were the most common reason for the omissions. Arguably, the lack of intensifiers, interjections and fillers made the language more stiff and formal, which in the end affected the authenticity of “The Wire”.

APA, Harvard, Vancouver, ISO, and other styles
4

Qu, Dake. "Stereotypical Chinese Accent of English in American TV Series." Thesis, Högskolan Dalarna, Engelska, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:du-4659.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Pierson, David P. (David Paul). "A Historical/Critical Analysis of the TV Series The Fugitive." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501081/.

Full text
Abstract:
In many respects, the popular 1960's television series, The Fugitive perfectly captured the swelling disillusionment with authority, alienation, and discontent that soon encompassed American society. This historical/critical study provides a broad overview of the economic, social, and political climate that surrounded the creation of The Fugitive. The primary focus of this study is the analysis of five discursive topics (individualism, marriage, justice & authority, professionalism, science and technology) within selected episodes and to show how they relate to broader cultural debates which occurred at that time. Finally, this study argues that The Fugitive is a part of a television adventure subgenre which we may classify as the contemporary "wanderer-hero" narrative and traces its evolution through selected television series from the last three decades.
APA, Harvard, Vancouver, ISO, and other styles
6

Accornero, Giulia. "Breaking the Offender - The Representation of Criminals in TV Series." Thesis, Malmö universitet, Fakulteten för hälsa och samhälle (HS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-24357.

Full text
Abstract:
Mass media play an important role in shaping public perceptions about differentthematics, including crime and justice. The consumption of mediatic contents indifferent forms, such as newspapers, television news and crime dramas, can affectthe way people perceive and interpret concepts as deviance and punishments, theattitude towards the criminal system and the level of concern for becoming a victim.In the last years, Streaming Videos On Demand platforms have made easier theaccess and the consumptions of contents as crime dramas; the changes in themodality of fruition have been followed by changes in the representation ofcharacters, with the introduction and the increasing diffusion of morally ambiguousfigures. This opens new possibilities of research, particularly regarding the modesof representation of criminals as antiheroes. The purpose of the article is then toinvestigate how the figure of the offender is constructed as antihero in four OriginalNetflix Productions (You, Narcos, Ozark, La Casa de Papel). A Critical DiscourseAnalysis of two narrative themes is conducted combining Marxist andPostmodernist interpretative approaches.
APA, Harvard, Vancouver, ISO, and other styles
7

Tantussi, Francesca <1988&gt. "Fansubbing and TV series: an example of subtitling hybrid proposal." Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/6314.

Full text
Abstract:
The first and basic idea about my dissertation came into my mind long time ago, during my not really conventional and standard study path. In the first year of my Master’s Degree at Ca’ Foscari University of Venice, I was actually in Australia and I did something completely different from what I was supposed to do; nevertheless, over there (or better say “Down Under”) I had the possibility to attend some RMIT University lessons of the Master of Translating and Interpreting, with a specific focus on Media and Audiovisual Translation (AVT). Since that moment, I started to “investigate” the vast and fascinating world of AVT just out of personal curiosity, both from the perspective of a student of Interpreting and Translation who simply wants to acquire new knowledge in an interesting and constantly developing field of study , and also from the side of an amateur and passionate lover of movies and TV series. As a matter of fact, the term “translation” is quite immediately associated with “words” rather than “images”; however, even if it is true that all translation takes shape thanks to and by means of words, the scenario is continuously changing and AVT has evolved to the point where it is now, as a discipline, one of the most vibrant and vigorous fields within Translation Studies (Gottlieb 2004: 88). Starting from these premises, I literally stumbled upon the fansubbing phenomenon (becoming funsubber for a while) and on the lack of comprehensive and complete works on audiovisual translation (in Italian, for instance). Hence, my thesis would like to offer some possible suggestions for further paths and future investigations and the main aim is to present a research study with a multidisciplinary and bottom-up approach, not mainly focused on linguistic and translational issues. It is necessary, in fact, to be aware of the existence of aspects of audiovisual translation that are different, inescapable and complementary and it is essential to start to analyze them in a systematic way and on different levels (Perego and Taylor 2012: 12). This is the reason why a part of this dissertation has been written in English. After a general overview on AVT, briefly analyzing dubbing, subtitling and voice-over as the three main modalities, I will introduce the European situation, focusing on the new challenges and on what is presently changing in some countries; then I will deepen the subtitling topics giving a quick glance to the essential features of professional subtitles and dedicating a special paragraph to the TV series. Consequently, I will examine the fansubbing phenomenon, centering my research on the Italian scenario to highlight the characteristics of amateur subtitles. Afterward, my proposal of a hybrid subtitle between the professional and the amateur ones will be shown by an example, namely the subtitling of the pilot of a new American TV series, followed by a translation analysis and a cinematographic sequences analysis of the most important scenes.
APA, Harvard, Vancouver, ISO, and other styles
8

Morin, Åsa. "Lärarrollen : En studie av yrkets framställning i populärkultur." Thesis, Linnéuniversitetet, Institutionen för pedagogik, psykologi och idrottsvetenskap, PPI, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-23806.

Full text
Abstract:
Syftet med uppsatsen är att undersöka hur lärarrollen karaktäriseras i filmer och TV-serier under 2000-talet. I undersökningen görs en framställning av karaktärernas utmärkande drag samt en indelning i kategorierna: The Good, The Saint, The Sad och The Bad. I resultatet ställs karaktärernas drag i förhållande till människosyn och etiksyn. Sist men inte minst dras några tänkbara slutsatser utifrån resultatet.
The purpose of this essay is to highlight how the popular culture, focusing on film and TV-series during the 2000's, describes the characterization of the teachers' role. The survey gives a description of the character´s significant features and the character´s are placed in one of these four categories: The Good, The Saint, The Sad and The Bad. In the result, these features are set in relation to the vision of human beings and the vision of ethics. Last but not least, some conceivable conclusions are drawn from the result.
APA, Harvard, Vancouver, ISO, and other styles
9

Hancock, Mandy Lee. ""A country practice" : script content and the popular TV drama series /." Title page, contents and conclusion only, 1994. http://web4.library.adelaide.edu.au/theses/09AR/09arh235.pdf.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Bost, Xavier. "A storytelling machine ? : automatic video summarization : the case of TV series." Thesis, Avignon, 2016. http://www.theses.fr/2016AVIG0216/document.

Full text
Abstract:
Ces dix dernières années, les séries télévisées sont devenues de plus en plus populaires. Par opposition aux séries TV classiques composées d’épisodes autosuffisants d’un point de vue narratif, les séries TV modernes développent des intrigues continues sur des dizaines d’épisodes successifs. Cependant, la continuité narrative des séries TV modernes entre directement en conflit avec les conditions usuelles de visionnage : en raison des technologies modernes de visionnage, les nouvelles saisons des séries TV sont regardées sur de courtes périodes de temps. Par conséquent, les spectateurs sur le point de visionner de nouvelles saisons sont largement désengagés de l’intrigue, à la fois d’un point de vue cognitif et affectif. Une telle situation fournit au résumé de vidéos des scénarios d’utilisation remarquablement réalistes, que nous détaillons dans le Chapitre 1. De plus, le résumé automatique de films, longtemps limité à la génération de bande-annonces à partir de descripteurs de bas niveau, trouve dans les séries TV une occasion inédite d’aborder dans des conditions bien définies ce qu’on appelle le fossé sémantique : le résumé de médias narratifs exige des approches orientées contenu, capables de jeter un pont entre des descripteurs de bas niveau et le niveau humain de compréhension. Nous passons en revue dans le Chapitre 2 les deux principales approches adoptées jusqu’ici pour aborder le problème du résumé automatique de films de fiction. Le Chapitre 3 est consacré aux différentes sous-tâches requises pour construire les représentations intermédiaires sur lesquelles repose notre système de génération de résumés : la Section 3.2 se concentre sur la segmentation de vidéos,tandis que le reste du chapitre est consacré à l’extraction de descripteurs de niveau intermédiaire,soit orientés saillance (échelle des plans, musique de fond), soit en relation avec le contenu (locuteurs). Dans le Chapitre 4, nous utilisons l’analyse des réseaux sociaux comme une manière possible de modéliser l’intrigue des séries TV modernes : la dynamique narrative peut être adéquatement capturée par l’évolution dans le temps du réseau des personnages en interaction. Cependant, nous devons faire face ici au caractère séquentiel de la narration lorsque nous prenons des vues instantanées de l’état des relations entre personnages. Nous montrons que les approches classiques par fenêtrage temporel ne peuvent pas traiter convenablement ce cas, et nous détaillons notre propre méthode pour extraire des réseaux sociaux dynamiques dans les médias narratifs.Le Chapitre 5 est consacré à la génération finale de résumés orientés personnages,capables à la fois de refléter la dynamique de l’intrigue et de ré-engager émotionnellement les spectateurs dans la narration. Nous évaluons notre système en menant à une large échelle et dans des conditions réalistes une enquête auprès d’utilisateurs
These past ten years, TV series became increasingly popular. In contrast to classicalTV series consisting of narratively self-sufficient episodes, modern TV seriesdevelop continuous plots over dozens of successive episodes. However, thenarrative continuity of modern TV series directly conflicts with the usual viewing conditions:due to modern viewing technologies, the new seasons of TV series are beingwatched over short periods of time. As a result, viewers are largely disengaged fromthe plot, both cognitively and emotionally, when about to watch new seasons. Sucha situation provides video summarization with remarkably realistic use-case scenarios,that we detail in Chapter 1. Furthermore, automatic movie summarization, longrestricted to trailer generation based on low-level features, finds with TV series a unprecedentedopportunity to address in well-defined conditions the so-called semanticgap: summarization of narrative media requires content-oriented approaches capableto bridge the gap between low-level features and human understanding. We review inChapter 2 the two main approaches adopted so far to address automatic movie summarization.Chapter 3 is dedicated to the various subtasks needed to build the intermediaryrepresentations on which our summarization framework relies: Section 3.2focuses on video segmentation, whereas the rest of Chapter 3 is dedicated to the extractionof different mid-level features, either saliency-oriented (shot size, backgroundmusic), or content-related (speakers). In Chapter 4, we make use of social network analysisas a possible way to model the plot of modern TV series: the narrative dynamicscan be properly captured by the evolution over time of the social network of interactingcharacters. Nonetheless, we have to address here the sequential nature of thenarrative when taking instantaneous views of the state of the relationships between thecharacters. We show that standard time-windowing approaches can not properly handlethis case, and we detail our own method for extracting dynamic social networksfrom narrative media. Chapter 5 is dedicated to the final generation and evaluation ofcharacter-oriented summaries, both able to reflect the plot dynamics and to emotionallyre-engage viewers into the narrative. We evaluate our framework by performing alarge-scale user study in realistic conditions
APA, Harvard, Vancouver, ISO, and other styles
11

Guevara, Cornejo Stefany Milagros. "Estereotipos normalizados en series de origen peruano." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653169.

Full text
Abstract:
En el presente trabajo de investigación se analiza y explora la presencia de los diferentes estereotipos y arquetipos con los que los guionistas, en su mayoría, trabajan y lo representan en los diferentes personajes hombres y mujeres de nivel principal y/o secundario de los diferentes programas de la televisión peruana, ya sea de ficción o de programas de entretenimiento. Es así que, mediante la pregunta y objetivos delimitados se podrá analizar si existe alguna estereotipación en los diferentes programas audiovisuales que se encuentran en la parrilla nacional.
This paper analyzes and explores the presence of the different stereotypes and archetypes with which the writers, for the most part, work and represent it in the different main and / or secondary level male and female characters of the different programs. of Peruvian television, either fiction or entertainment programs. Thus, by means of the question and delimited objectives, it will be possible to analyze if there is any stereotyping in the different audiovisual programs that are on the national grid.
Trabajo de investigación
APA, Harvard, Vancouver, ISO, and other styles
12

Eklund, Thorbjörn. "The use of Digital Visual Effects in contemporary TV-series : An analysis of the use of digital visual effects as a narrative device in the television series Doctor Who, Defiance and Terra Nova." Thesis, Linköpings universitet, Avdelningen för Kultur, samhälle, mediegestaltning – KSM, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-109066.

Full text
Abstract:
In this thesis the argument of a new visual language as a narrative device will be discussed and looked at, by analyzing four different TV-series in the science-fiction genre: Terra Nova 2011, Defiance 2013-, Doctor Who 1963 – 1989 and Doctor Who 2005-. It will be possible to see the use of digital visual effects as a narrator in the image. To do this one main question has been asked and to be able to answer that question a framework model has been created, consisting of seven different questions: How are DVFx used as a visual language in the TV-series? What key elements drive the TV-series forward? What influence did DVFx have on the TV-series? How is DVFx used in the series as a narrator? What does DVFx represent in the image? Could the series have been created without DVFx? Techno-enhancement, visual language or hybrid?
APA, Harvard, Vancouver, ISO, and other styles
13

Vince, Georgiadou Nina, and Cecilia Johansson. "Varför presenterar företag amerikanska tv-serier? : En studie av en marknadsföringsstrategi." Thesis, Södertörn University College, School of Business Studies, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-1461.

Full text
Abstract:

Marketing is an important tool for companies to use in today’s consumptions society, to reach out with products and services. The message that has been sent out is also important, because the message can be distort or reach wrong customer group. Above all this the competition and the struggle round the customer’s increases and it has become more common that the customers tend to be less loyal towards the company. To keep and to develop customer relations it has been more common that the companies consider their trademark has become a very important strategic competition means. A strong trademark gives competitor advantages and more loyal customers, and this has led to more efficient ways for companies to find methods to create value around their trademark.

Many new trademarks and products are presented every year. In the same time market salesmen are working hard to reach out with these and old trademarks and products and old commercial methods are loosing its effect. The company can use different marketing strategies to strength their trademark to reach out to their customers. One way that has been used by many companies is presenting different TV-series.

The purpose with this paper is to study how companies are using TV-series in their marketing, what image the company wants to mediate and what they want to achieve by marketing through TV-series.

An abductive way has been used in this study and the authors have chosen to use a qualitative method, because the method agrees with the problem and purpose of the study. Interviews will be used in this study.

The study shows that the reason why companies choose to present TV-series is to be seen and remind consumers about the company and its products. They also want the consumers to be aware of their trademarks and new products. The companies furthermore want to reach out to as many as possible and create knowledge and an association to their trademark thru the TV-series. The companies choose their TV-series in relation to their target group so that the right target group is reached and can identify with the TV-series and the companies.


Marknadsföring är ett viktigt redskap för företag att använda i dagens konsumtionssamhälle för att nå ut med sina produkter och tjänster. Det budskap som sänds ut av företagen är också av stor vikt, då budskapet kan förvrängas på vägen eller nå ut till fel kundgrupp. Dessutom ökar konkurrensen och kampen om kunderna och det har blivit vanligare att kunderna i större utsträckning tenderar att vara mindre lojala gentemot företagen. För att bibehålla och utveckla sina kundrelationer har det därmed blivit vanligare att företagen betraktar sitt varumärke som ett strategiskt mycket viktigt konkurrensmedel. Ett starkt varumärke ger konkurrensfördelar och lojalare kunder, och har följaktligen lett till att företag försöker hitta effektivare metoder i att skapa värde kring sitt varumärke.

Varje år introduceras mängder av nya varumärken och produkter. Samtidigt som marknadsförare arbetar för att nå ut med både dessa och befintliga varumärken och produkter avtar den effekt som dagens reklam har. För att stärka sitt varumärke kan företagen använda sig av olika marknadsföringsstrategier för att nå ut till sina kunder. Ett sätt som många företag använder sig av är att presentera olika tv-serier.

Syftet med denna uppsats är att studera hur företag använder sig av tv-serier i sin marknadsföring, vilken bild företagen vill förmedla av sig själva och vad de vill uppnå genom att marknadsföra sig genom tv-serier.

I denna studie har ett abduktivt angreppssätt använts och författarna har valt att använda sig av en kvalitativ metod, då metoden bäst överrensstämmer med problemformuleringen och syftet. I denna studie ska intervjuer användas.

Studien visar att anledningen till att företag presenterar tv-serier är för att de vill synas och påminna konsumenterna om företaget och dess produkter. Dessutom vill de ge konsumenterna en medvetenhet om deras varumärke och nya produkter. Vidare vill företagen nå ut till så många som möjligt och skapa kännedom och association till deras varumärke genom tv-serien. Valet av tv-serie påverkas av företagets målgrupp där rätt målgrupp ska nås så att målgruppen kan identifiera sig med tv-serien och företaget.

APA, Harvard, Vancouver, ISO, and other styles
14

Tolö, Sara, and Matilda Wallén. "»I have work, and then I have a dinner thing. And then I am busy, trying to become who I am« : En kvalitativ studie om tv-seriers roll i identitesskapande med fokus på Hannah i Girls." Thesis, Linnéuniversitetet, Institutionen för medier och journalistik (MJ), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-52889.

Full text
Abstract:
Women in visual media are generally underrepresented and stereotypically portrayed.  It is a very undifferentiated image, that few women can actually identify with. Norm-breaking characters can have an essential part and a positive influence on humans identity formation, research shows. The purpose of this study is to examine eight women’s stories about how television shows had an impact on their identity formation, primarily focusing on Hannah from the very popular tv-series Girls. Hannah has been described as a plain and slightly overweight heroine, not suited for modern television. The study is built on a qualitative science-method through semi-structured interviews, with subjective stories as focal point. The selection of interviewees identify themselves as women and have seen Girls. The study shows that Hannah works as a role model by inspiring the interviewees to acknowledge and accept their self-view, in addition to increasing their bravery and place amongst other people. Thenceforth, they felt that there was a small representation of strong female characters on modern television and saw a necessity for Hannah in popular culture.
APA, Harvard, Vancouver, ISO, and other styles
15

BLOMQVIST, NIKLAS, and HENRIK HYGERTH. "A data-driven approach for a chatbot usingtranscripts from a TV-series." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-157635.

Full text
Abstract:
This paper explores a data-driven approach for a chatbotwhere it utilises a database of transcripts from a TV-seriesin an attempt to hide its lack of linguistic knowledge and familiarity of the human language. A built-upon version of the naive implementation with rules prioritizing responses from the same scene to increase coherency is implementedand is compared to the original. Both versions of the chatbot shows some coherency for the individual instance but this diminishes in longer conversations. No significant difference can be found between the two versions.
Denna rapport undersöker en datadriven metod för en chatbot där den använder en databas av repliker från en TV serie i ett försök att dölja sina bristande språkkunskaper. En utbyggd version av den naiva implementationen som har regler för att prioritera repliker från samma scen som föregående svar implementeras och jämförs med den ursprungliga. Båda versionerna av chatbotten uppvisar koherens för enskilda fall men detta förminskas i längre konversationer. Ingen signifikant skillnad mellan de två versionerna påvisas.
APA, Harvard, Vancouver, ISO, and other styles
16

Bidlingmeyer, Lisa Marie. "Agent + Image : how the television image estabilizes identity in TV spy series." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/41244.

Full text
Abstract:
Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2007.
Includes bibliographical references (leaves 105-107).
This thesis explores the intersection of the television image with the presentation of self-identity. I examine two TV series in the spy genre -- Alias (2001 - 2006) and The Prisoner (1967 - 1968) -- discussing how each employs strategies of visual representation to present its protagonist as decentered or unfixed; in so doing, these programs complicate and problematize within their narratives the terms by which "subject" and "agency" have been traditionally understood and represented to popular TV audiences. This problematizing in turn opens up possibilities for detecting new modes of subject formation. This paper argues that television, communication tool and historical and cultural artifact, must be regarded equally as a visual medium. In fact, the TV image brings the enacted identity theorized by Judith Butler into direct contact with Henri Bergson's formulations of memory and image, creating characters and spaces within TV stories that vividly illustrate the limitations to and potentials for creativity within the domains of action and identity. In addition to Butler and Bergson, this paper turns additionally to Gilles Deleuze for an understanding of cinematic image and time, and to the concept of masquerade developed within feminist theory. In The Prisoner, a modern hero must make sense of a landscape of discontinuities and repetitions that challenge his ability to act, react, move, and escape. In Alias, a postmodern heroine must master the art of changing selves in order to move across spaces that, like her own identity, are conditional and are never what they initially appear.
(cont.) In both series, the television image, freed from an obligation to represent only one thing while ruling out others and made multiple by the TV episode format, assumes a resonance over its duration that creates the conditions for the depiction of fluid and changeable spaces and characters. In both cases, the TV image repeated enables a paradigm shift where the depiction of a decentered protagonist, once exceptional, now becomes a normative subject on television. KEYWORDS: Alias -- Bergson -- Butler -- decentered subject -- Deleuze -- feminism identity -- image -- Jennifer Garner -- Patrick McGoohan -- The Prisoner -- spy shows -- television -- visual theory
by Lisa Marie Bidlingmeyer.
S.M.
APA, Harvard, Vancouver, ISO, and other styles
17

Johansson, Tina. "Häxor vs. Häxor : En studie av häxor i TV-serier och deras motsvarighet inom wicca." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-42167.

Full text
Abstract:
This essay examines how witches are portrayed in American produced TV-series in the year 2000 and forward, what elements could have effected that portrayal in the series and also how this portrayal differs itself from witches within Wicca. The material used for this examination are the TV-series Charmed, The Vampire Diaries and Witches of East End and as comparing literature; Living Wicca, The Spiral Dance and Witchcraft Today. The methods used for this process are discourse analysis and content analysis. I used theories of Pierre Wiktorin about religion and popular culture. I used three themes (Characteristics, Practice and mode of thinking) for the processing of the material and to structure the result. The results showed that the witches in the TV-series had a lot in common such as they were all women, they were born with their powers and the human life is sacred in comparison to other creatures that exist in the series. The comparison showed that there are significant differences between the witches in the TV-series and the witches in Wicca. Practicing witches within Wicca is part of a religion where rituals are of high importance and the Goddess and God are worshiped. These are the most important discrepancies that are not a part of witches in TV-series.  The question about why the series are so similar has been analyzed with theories about moral panic and post-feminism to show how social structures can play a part in how TV-series are written. The conclusions that I have reached is that the witches in the series are portrayed very similar. They are all women, they have inherited their abilities as witches and they keep searching for love and are in a constant battle with evil. Elements that could have effected this portrayal are the theories about moral panic, that discusses the fighting against evil, and postfeminism, that discusses the love aspect and the fact that they are all women.  The witches in the series and the witches within wicca are very different. The biggest one is the fact that wicca is a religion that involves rituals for the God and Goddess. This has no part of the portrayal of witches in the TV-series.
APA, Harvard, Vancouver, ISO, and other styles
18

Gustafsson, Tereze. "Det hemsökta vardagsrummet : Gestaltning och förmedling av ockulta fenomen i TV-serien 'Most Haunted'." Thesis, Karlstad University, Faculty of Arts and Education, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-484.

Full text
Abstract:

In the 19th century, photography was often employed in attempts to objectively capture evidence of paranormal phenomena. With the advent of television, this tradition came to be coupled with the apparent mystery of distant communication through electromagnetic waves. The television set has often been depicted as intrinsically occult or even haunted.

It is therefore natural that television has proven to be an ideal medium to present beliefs, tales, and investigations about paranormal phenomena. Most such presentations have been openly ficticious, but in television the distinction between fact and fiction is often blurred, and the emergence of shows where the crew claims to pursue a serious investigation was inevitable. One of the most successful such shows is the British Most Haunted, airing since 2001. In this thesis, the presentation of occult phenomena in three episodes of Most Haunted is analyzed and discussed in light of this framework of traditions.

One main result is that the distinction between fact and fiction is indeed often blurred in Most Haunted. Reconstructions and purported evidence are similar to each other as well as to the historical ghost pictures, and sometimes the crew's reactions or lack of reactions is the only means to tell them apart. Elements aiming at creating a "ghost feeling" are abundant throughout both investigative and other parts of the show, and include monochrome (and sometimes inverted) imagery, blue or green light tones, modified motion speed, and perspectives that let the spectator "be the ghost". Black and white imagery is also a part of the usage of analogue or pseudo-analogue technology to convey connotations of authenticity. Filming the crew's reactions is the most common means of broadcasting a sense of hauntedness, as is often the case in traditional horror motion pictures.

APA, Harvard, Vancouver, ISO, and other styles
19

Svensson, Ann, and Josefin Andersson. "Medier som engagerar : En studie av digitala epitexter kring svenska TV-serier." Thesis, Karlstads universitet, Avdelningen för medie- och kommunikationsvetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-13825.

Full text
Abstract:
Sätten att titta på TV-serier har utökats de senaste åren i och med Internets allt mer centrala rolli vår mediekonsumtion. Sverige har gått ifrån att vara ett land med en enda public service-kanaltill ett med ett stort utbud av kommersiella TV-kanaler med syfte att locka tittare och annonsörer.I vår studie har vi undersökt aspekter av TV-serier som ligger utanför själva texten. GerardGenette (1997) var den som myntade uttrycket paratext som består av de två delarna peritextoch epitext. Dock är det Jonathan Gray (2010) som pratar om paratexter i relation till TV-serier,medan Genette (1997) endast beskriver paratexter i samband med litteratur. Eftersom det finnsså många olika TV-serier och TV-kanaler är det viktigt för en ny TV-serie att sticka ut blandmängden, samt att skapa en bild av vilken typ av TV-serie den är innan den faktiskt börjat sändas.Vi har använt oss av tre olika metoder för att kunna besvara våra två frågeställningar som rörvilka epitexter TV-kanaler använder sig av och hurvida det finns ett intresse hos tittare att kunnaengagera sig vidare i en TV-serie. Vår första metod utgjordes av en kvantitativ innehållsanalys avtio svenska TV-serier på fem olika svenska TV-kanaler, där vi främst riktade in oss på epitextersom kan hittas online. Därefter skapade vi en kvantitativ enkätundersökning där 79 respondentersom tittar på TV-serier deltog. Den sista metoden var en kvalitativ innehållsanalys på fyrapopulära svenska TV-seriers officiella webbplatser.Vårt resultat tyder på att det finns ett starkt intresse hos TV-tittare att följa en TV-serie på andrasätt än endast på utsatt tid på TV:n, och även att det finns en vilja att diskutera TV-serier, medsläkt och med vänner, likväl som med främlingar på Internet. Webbplatser för de olika TV-serierna erbjuder besökare möjligheter till både diskussion och vidare läsning om exempelvisavsnitt eller karaktärer. På så sätt skapas ett engagemang som gynnar båda parter.
Ways of watching TV series have increased over the years by way of the ever expanding part theInternet plays in our media consumption. Sweden has gone from being a country with a singlepublic service channel to one with a wide range of commercial TV channels with the purposeto attract viewers and advertisers. In our study we have examined aspects of TV series that existbeyond the text itself. Gerard Genette (1997) was the one who coined the expression paratextwhich consists of two parts; peritext and epitext. Though Jonathan Gray (2010) is the one whowrote about paratexts in relation to TV series, whereas Genette (1997) only describes them interms of literature. Because there are so many different TV series and television channels it isimportant for a new series to stand out from the rest, while also making it easy for potentialviewers to determine the show’s genre even before it has started airing. We have used threedifferent methods to be able to answer our two main questions about what different epitexts TVchannels use and whether there is an interest among viewers to be able to engage themselvesfurther in a TV series. Our first method consisted of a quantitative content analysis of tenSwedish TV series from five different Swedish television channels, where we mainly looked atepitexts found online. After this we made a quantitative survey in which 79 people who watchTV series took part. Our last method used was a qualitative content analysis of the officialwebsites of four popular, Swedish TV series.The result of our study shows a strong interest among viewers to follow a television seriesbeyond its regular broadcasting on television, and also that there is a will to discuss TV series,among family and friends, as well as with strangers found online. Websites of the different TVseries give visitors possibilities for discussion and further reading about, for example, episodesand characters from the show. In this way an involvement that benefits both parties is created.
APA, Harvard, Vancouver, ISO, and other styles
20

Wu, Linglin. "Gender-Based Different in Compliments : in the American Comedy TV-Series Ugly Betty ." Thesis, Högskolan Kristianstad, Sektionen för Lärarutbildning, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-944.

Full text
APA, Harvard, Vancouver, ISO, and other styles
21

Zhao, Fei. "An Analysis of Gender Differences in Interruption based on the American TV series Friends." Thesis, Högskolan Kristianstad, Sektionen för Lärarutbildning, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-7746.

Full text
APA, Harvard, Vancouver, ISO, and other styles
22

Knutsson, Malin. ""Take a Look at the Lawman" : Musik i TV-drama, en jämförelse mellan Miami Vice och Life on Mars." Thesis, Växjö University, School of Education, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-5109.

Full text
Abstract:

 

Tanken med denna uppsats är att försöka få en inblick i vilka funktioner musiken fyller i TV-dramat. Det finns en del studier att tillgå om filmmusik men ytterst lite om just musik inom TV-serier. Mitt syfte är således att undersöka vad för slags musik som används i TV-dramer, i vilka sammanhang den förekommer och dess relation i förhållande till det som utspelar sig i bild. Utöver det tar jag delvis upp diskussioner om huruvida vi ska uppfatta filmmusik medvetet eller inte. I och med det har viss vikt lagts vid att studera eventuella skillnader i upplevelsen och användandet av instrumentalmusik och populärmusik.

 

Till mitt arbete har jag använt mig av tidigare forskning kring filmmusik och gjort en jämförande analys av polisserierna Miami Vice och Life on Mars. Åtta avsnitt ur varje serie har studerats och därefter har ett representativt avsnitt från respektive TV-drama valts ut för en fördjupad analys. Min uppfattning utifrån studien är att instrumentalmusik och populärmusik i de flesta fall används i liknande sammanhang. Dessa kan exempelvis vara att ge en känsla av atmosfär, understryka en karaktärs känslor, ge tittaren information som inte kan utläsas utifrån enbart bilderna och bidra med kontinuitet. Populärmusik kan i somliga fall vara ett bra alternativ till instrumentalmusik för att vi ska hålla kvar vårt fokus på bilderna. Men populärmusikens främsta funktion i de undersökta serierna är som tidsmarkör för den period handlingen utspelar sig i.

 

APA, Harvard, Vancouver, ISO, and other styles
23

Ekebrink, Hampus, and Josefine Högye. "Ser du det jag ser? : En kvalitativ studie om hur uppmärksammandet av produktplacering skiljer sig mellan män och kvinnor." Thesis, Södertörns högskola, Institutionen för samhällsvetenskaper, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-35651.

Full text
Abstract:
The aim of the study is to identify possible differences regarding how men and women pay attention to product placement. The overall issue underlying the study is as follows: ● How does the attention of product placement differ between men and women? In this study, the authors have chosen to use a multimethod research, which combines qualitative and quantitative methods. In order to fulfil the purpose and answer the main question, quantitative data was initially collected in the form of questionnaires. The data from the surveys were compiled and then mapped to provide a basis for the qualitative focus groups held with ten people, five women and five men. The choice of methodology fell naturally since the aim of the study was to identify possible differences regarding how men and women pay attention to product placements. The result shows that there are similarities as well as differences between the sexes within product placements dimensions, attitude, memory and brand recognition.
APA, Harvard, Vancouver, ISO, and other styles
24

Healy, Guy Hamilton. "Fast and furious film-making: Emerging hybrid online-TV production practices in Australia." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/203318/3/Guy_Healy_Thesis.pdf.

Full text
Abstract:
This study reveals distinctive new forms of screen industry convergence with deep implications for creators themselves and the screen industry in general. It is the first longitudinal study of veteran YouTubers and established TV producers making highly popular serial narrative web-series together, and it shows the professional outcomes from this rapprochement. Fourteen teams from the Google/Screen Australia initiative Skip Ahead and three teams of professional writer-producers were tracked as they launched web-series on YouTube. This study showed the majority of teams parlayed highly viewed web-series into license deals with digital broadcasters and online streamers, and thus potentially sustainable careers.
APA, Harvard, Vancouver, ISO, and other styles
25

Caldas, Victor Hugo de Carvalho. "O jornalista segundo a televisão: uma análise da série The Newsroom." Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/5822.

Full text
Abstract:
Submitted by Erika Demachki (erikademachki@gmail.com) on 2016-08-04T17:58:59Z No. of bitstreams: 2 Dissertação - Victor Hugo de Carvalho Caldas - 2016.pdf: 1875779 bytes, checksum: 16e88aef5001741aa908ab366c41da8b (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)
Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2016-08-04T18:04:43Z (GMT) No. of bitstreams: 2 Dissertação - Victor Hugo de Carvalho Caldas - 2016.pdf: 1875779 bytes, checksum: 16e88aef5001741aa908ab366c41da8b (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)
Made available in DSpace on 2016-08-04T18:04:43Z (GMT). No. of bitstreams: 2 Dissertação - Victor Hugo de Carvalho Caldas - 2016.pdf: 1875779 bytes, checksum: 16e88aef5001741aa908ab366c41da8b (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-06-27
In this work we investigate the construction of the character of the journalist in HBO series The Newsroom, comparing it with its cinematographic representation. In addition, we present an overview of the emergence and evolution of the TV series in USA, very popular today and available to the public through a variety of channels, which implies the importance of their understanding.
Neste trabalho investigamos a construção da personagem do jornalista em The Newsroom, série de TV do canal norte-americano HBO, comparando-a com a representação desse profissional no cinema. Além disso, apresentamos um panorama do surgimento e evolução das próprias séries televisivas nos Estados Unidos, hoje muito populares e disponíveis para o público por meio de uma variedade de canais, o que implica na importância do seu entendimento.
APA, Harvard, Vancouver, ISO, and other styles
26

Bevilacqua, Anna. "A Series of (Un)fortunate Wordplay. Confronto tra sottotitoli ufficiali e fansub di “Una Serie di Sfortunati Eventi” (Netflix)." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2018.

Find full text
Abstract:
Il presente elaborato vuole proporre un confronto tra i sottotitoli ufficiali e i sottotitoli amatoriali (fansub) del team Traduttori Anonimi della serie TV “A Series of Unfortunate Events” (Una Serie di Sfortunati Eventi), creata da Mark Hudis per Netflix e tratta dai libri di Lemony Snicket (pseudonimo letterario di Daniel Handler). Visto che la serie in questione è caratterizzata da un numero elevato di giochi di parole, pun e canzoni in rima, è interessante confrontare due approcci molto differenti, quello "ufficiale" e quello amatoriale. Dopo aver affrontato, nel Capitolo I, metodologia e inquadramento teorico, suddiviso in una panoramica delle pratiche della sottotitolazione amatoriale (il fansubbing) e della traduzione dei giochi di parole, nel Capitolo II vengono presentati i due diversi tipi di organizzazione di Netflix e Traduttori Anonimi. A seguire nel Capitolo III, suddiviso in canzoni, nomi propri, errori grammaticali e pun, l'analisi vera e propria dei diversi language-play in ottica contrastiva, necessaria a formulare alcune considerazioni sulle tendenze traduttive di entrambe le parti nella conclusione.
APA, Harvard, Vancouver, ISO, and other styles
27

Zhao, Han. "A comparative of subtitling strategies: culture specific items in the series Friends." AUT University, 2009. http://hdl.handle.net/10292/890.

Full text
Abstract:
The dissertation is based on the analysis of thirty episodes of the American television series Friends with the focus on the CSIs (Culture Specific Items) and how these differences have been handled by Chinese translators who produced the subtitles for the English-Chinese translation. The analysis was based on the assumption that Mainland China’s culture is different from the US culture so people in these two countries may have problems in understanding CSIs if they are translated literally and if the subtitle translation is not adapted to the target audience. Such adaptation is normally known as localisation. The cultural differences that are ingrained in CSIs might have to be handled with caution in the production of subtitles. The main objective of the dissertation has been to analyse different translation choices which are currently used by the translators in questions, dealing with CSIs where cultural differences between mainland China and the US arise. The research discovered that repetition of CSIs is a strategy which underperformed, failing to help the Chinese audience to comprehend the cultural connotations associated with the CSIs. The paper has provided some recommendations as to how the subtitle translation of such CSIs might be handled in such a way that the audience will have a better understanding of the same.
APA, Harvard, Vancouver, ISO, and other styles
28

Brewer, Paul D. "Real Shakespeare? : development of a visual style in the BBC TV Shakespeare series (1978-1985)." Thesis, University of Liverpool, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432991.

Full text
APA, Harvard, Vancouver, ISO, and other styles
29

Pelkonen, S. (Saija). "Adaptation as a methodical approach:a comparative study of the novel Outlander and the TV series." Master's thesis, University of Oulu, 2016. http://urn.fi/URN:NBN:fi:oulu-201605261971.

Full text
Abstract:
My thesis focuses on Diana Gabaldon’s novel Outlander (1990) and its adaptation (2014). I compare the two works in the light of adaptation theory. My sources include Linda Hutcheon’s The Theory of Adaptation (2013), Julie Sanders’ Adaptation and Appropriation (2016) and Sarah Cardwell’s Adaptation Revisited: Television and the Classic Novel (2002). I also incorporated Roland Barthes’ ideas about the text of pleasure and bliss into Hutcheon’s idea about the pleasures of adaptation. A familiar text creates pleasure but a text that manages to surprise us creates bliss. I also rely on author centered sources including articles and interviews and The Outlandish Companion (2015) by Diana Gabaldon. During my study I found out that even though Outlander at first glance seems like a straightforward popular work of fiction it actually entails complex and sometimes conflicting meanings. Outlander is an original genre mix which attempts to defy conventional ways of reading and interpreting. The author, Diana Gabaldon, attempts to influence the reading experience and interpretation by commenting on the contents and meaning of the novel. Gabaldon declares that she does not write from any political position but whether or not we can trust her word is debatable. I considered four themes around Outlander: time travel, religion, romantic love and sexuality. Especially religion is depicted differently in the TV adaptation when compared to the novel. The TV adaptation plays down Claire’s religious experience. I also found out that in the TV series Claire is depicted as a victim rather than as the hero who saves the male protagonist Jamie. The TV series thus convey the traditional gender positions where Claire is the passive participant who is saved by the active Jamie. This position reflects upon sexuality also. The chapter on male-on-male rape discusses how Jamie is forced to become the passive participant and this depiction remains the same in both works
Tutkielmani tarkastelee Diana Gabaldonin romaania Muukalainen (Outlander 1990) sekä teoksen pohjalta tehtyä TV-adaptaation Matkantekijä (2014) ensimmäistä kautta. Vertailen teoksia keskenään adaptaatioteorian valossa. Lähteisiini kuuluu muun muassa Linda Hutcheon The Theory of Adaptation (2013), Julie Sanders Adaptation and Appropriation (2016) ja Sarah Cardwell Adaptation Revisited: Television and the Classic Novel (2002). Yhdistän tutkielmassani myös Roland Bartesin ajatukset nautinnollisesta tekstistä ja hekumallisesta tekstistä Hutcheonin ajatuksiin adaptaatioiden nautinnollisuudesta. Tuttu teksti luo nautintoa mutta teksti joka yllättää meidät pystyy tuottamaan myös hekumaa. Nojaudun tutkielmassani kirjailijakeskeisiin lähteisiin kuten artikkeleihin ja haastatteluihin sekä Diana Gabaldonin teokseen The Outlandish Companion (2015). Tutkielmani aikana huomasin että Muukalainen on monimutkainen ja jopa ristiriitainen teos suorasukaisesta ensivaikutelmastaan huolimatta. Muukalainen on omaperäinen genresekoituksensa joka pyrkii vastustamaan perinteistä lukemisen ja tulkinnan tapaa. Teoksen tekijä Diana Gabaldon julistaa että hän ei kirjoita mistää poliittisesta asemasta mutta se voimmeko luottaa hänen sanaansa jää kyseenalaiseksi. Käsittelen tutkielmassani Muukalaisessa ilmenevää neljää teemaa: aikamatkustusta, uskontoa, romanttista rakkautta ja seksuaalisuutta. Erityisesti uskonnollisuus kuvataan eri tavalla TV-adaptaatiossa kuin romaanissa. TV-adaptaatio väheksyy Clairen uskonnollista kokemusta. Huomasin myös että TV-sarjassa Claire kuvataan uhrina protagonisti Jamietä pelastavan sankarin sijasta. TV-sarja siis välittää perinteisiä sukupuoli asetelmia joissa Claire on passiivinen osallistuja jonka aktiivinen osapuoli Jamie pelastaa. Tämä asetelma heijastuu myös seksuaalisuuden puolelle. Mies-mies-raiskausta käsittelevä kappale keskustelee siitä miten Jamie pakotetaan olemaan passiivinen osapuoli. Tämä kuvaus pysyy samana sekä Muukalaisessa että Matkantekijä TV-sarjassa
APA, Harvard, Vancouver, ISO, and other styles
30

Favuzzi, Alan <1993&gt. "THE ROCKY ROAD TO GREENLIGHT - nelle co-produzioni internazionali di High-End Drama TV Series." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19316.

Full text
Abstract:
La Green Light (termine tecnico del lessico di produzione televisiva) è uno dei momenti chiave nel lungo processo che porta una co-produzione di una high-end Drama TV Series di fronte ai suoi potenziali spettatori. È il momento nel quale il budget viene chiuso e approvato ed un progetto passa dalla “carta” alla fase di pre-produzione. La presente ricerca di Tesi punta ad esplorare, con una prospettiva basata sul governo delle organizzazioni culturali, tutto il processo - sino ad ora poco approfondito dal punto di vista teorico - che porta al momento della Green Light. Si andranno quindi a mappare e analizzare dal punto di vista teorico gli stakeholder, i tools e i metodi possibili e successivamente si arricchirà la ricerca con un approccio più empirico tramite Case Studies e interviste di alcuni dei protagonisti del settore.
APA, Harvard, Vancouver, ISO, and other styles
31

Silva, Raissa Araújo do Rosário. "As interfaces da relação eu-espectador com séries de tv." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-07112017-155751/.

Full text
Abstract:
Este trabalho apresenta um estudo sobre como séries televisivas reverberam na mente do espectador que as assiste, como interfere - se o faz - na sua capacidade sensorial e perceptiva, que ressonâncias subjetivas são provocadas, em suma, que produção de sentido se realiza no processo mental do espectador, que pode levá-lo a redefinir opiniões, comportamentos e posturas. Para tanto, utilizando, como procedimento de pesquisa, a proposta metapórica, na forma como é exposta pela Nova Teoria da Comunicação, apresentada pelo Núcleo de Estudos Filosóficos da Comunicação, FiloCom, da Escola de Comunicações e Artes da USP. O estudo debruça-se mais especificamente sobre as interfaces que permeiam a relação da identidade daquele que denominamos \"eu-espectador\", em sua relação com a alteridade (de outrem ou de outros objetos), no momento da vivência daquilo que se denomina Acontecimento Comunicacional dentro de uma obra televisiva. Os resultados obtidos desta investigação estão cotejados com proposições do campo teórico, particularmente aquelas que realizam uma reflexão a respeito do sensível como ponto de partida para observar o que atravessa a percepção do espectador em sua relação com as séries de TV.
This work presents a study about how television series reverberate in the mind of the spectator that assists them, how they interfere - if it does - in their sensorial and perceptive capacity, what subjective resonances are provoked, in short, what production of meaning is realized in the mental process of the viewer, which can lead him/her to redefine opinions, behaviors and postures. To do so, we use as a research procedure the metaphorical proposal, as it is exposed by the New Theory of Communication, presented by the Nucleus of Philosophical Studies of Communication, FiloCom, School of Communications and Arts of USP. The study focuses more specifically on the interfaces that permeate the relation of the identity of what we call the \"I-spectator\", in his/her relation to otherness (of others or other objects), at the moment of experiencing what is called \"Communicational event \"in a television work. The results obtained from this investigation are compared with propositions of the theoretical field, particularly those that perform a reflection about the sensitive as a starting point to observe what cross the perception of the viewer in their relation with the TV series.
APA, Harvard, Vancouver, ISO, and other styles
32

Tyrfelt, Christian. "Turism i filmens värld : En fallstudie rörande tv-serien "Morden i Midsomers" potential som turismprodukt." Thesis, Karlstads universitet, Fakulteten för samhälls- och livsvetenskaper, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-7625.

Full text
Abstract:
This essay notice film and TV-series as a resource, which can be utililized by the tourism industry. To be more concrete, the aim of this essay is to examine if and how the Television series “Midsomer murders” can be utilized as a tourism product. To fulfill the purpose of this essay, two different methods have been used: the study off literature and a content analyses, the later in form of a picture & film analyses. The results of this study showed that “Midsomer murders” have qualifications enough to be a successful tourism product. Among other things, tourism based on TV-series or film, seem to be right in time. The post-tourist accepts imagination and finds “authentic” meaning in experiences rather than in objects. The post-tourist even prefer and expects some form of imagination. ”Midsomer murders” as a tourism product, offers a stay based on fiction where rooms of “tourism” comprehend a stage where the tourist plays his part like an actor in the theatre. The plot in the series can be utilized through arranging role-playing, where the tourist is allowed to leave the daily life and assume new identities. The qualities of the post-tourist, easily correspond to those experiences, attractions and attributes offered by filmtourism. That is why the tourism product ”Midsomer murders” is right in time. Further, the plot, sceneries, actors and characters in “Midsomer Murders” can be utilized to create a lasting tourism product. The study also found that locals as well as private, governmental and municipal actors needs to be involved in the tourism planning in order for the tourism product to work efficiently. Agreements on writing guide books and to create an official ”fansite” need to be established by involving the producers and distributors of the series. The study also found that the village of Great Missenden as well as the village of Bledlow could serve as main attractions for the “Midsomer murder” tourism product.
APA, Harvard, Vancouver, ISO, and other styles
33

Szlak, Bruno José. "Shtisel: a ortodoxia judaica chega à televisão." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8158/tde-07062017-093820/.

Full text
Abstract:
Este trabalho procura mostrar aspectos de dois fenômenos contemporâneos que se entrecruzam e que convergem em Israel: a disseminação e importância das séries televisivas e a visibilidade adquirida pela ortodoxia judaica na sociedade israelenses a partir dos anos 1990. Dessa maneira, a partir da análise de uma série produzida para a televisão israelense, Shtisel, busca-se compreender quais são os mecanismos que operam para que audiências das mais diversas, espalhadas pelo mundo, possam se identificar com um grupo tão específico como a ortodoxia judaica. No decorrer do trabalho, para que também se possa entender o fenômeno da visibilidade da ortodoxia nas telas, analisa-se a expansão de um cinema de comunidade, como aqueles produzidos por e para judeus ortodoxos.
This work seeks to show aspects of two contemporary and interwoven phenomena: the dissemination and importance of television series and the visibility acquired by Jewish orthodoxy in Israeli society from the 1990s. Thus, from the analysis of a series produced for the Israeli television, Shtisel, the work seeks to understand what are the mechanisms that operate so that audiences of the most diverse, scattered around the world, can identify themselves with a group as specific as Jewish orthodoxy. In the course of the work, in order to understand this phenomenon of the visibility of orthodoxy on the screen, we analyze the expansion of a community cinema, such as those produced by and for Jewish Orthodoxy.
APA, Harvard, Vancouver, ISO, and other styles
34

Lovell, Erin. "The portrayal of teen pregnancy in the TV series "The secret life of the American teenager"." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4975.

Full text
Abstract:
The aim of the current study was to investigate the way teen pregnancy is portrayed in Seasons 1 and 2 of the television drama The Secret Life of the American Teenager. Framing theory and social cognitive theory were used as guiding frameworks for exploring the way the main character's pregnancy was presented and the way this presentation may influence the ideas and behaviors of viewers. A qualitative content analysis was conducted to examine portrayals in the first 23 episodes. Results indicated that teen pregnancy was portrayed in five major ways: as Dramatic, as Identity, as Manageable, as Transformative, and as Serious. Overall, the findings suggest that teen pregnancy was presented in ways that encourage viewers to perceive this issue as positive and negative, with clearly positive outcomes.
ID: 029808859; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.S.)--University of Central Florida, 2011.; Includes bibliographical references (p. 107-118).
M.S.
Masters
Sciences
Communication
APA, Harvard, Vancouver, ISO, and other styles
35

Ireland, Andrew. "'Conditions of time and space' : a re-enactment experiment with the British TV series Doctor Who." Thesis, Bournemouth University, 2012. http://eprints.bournemouth.ac.uk/20444/.

Full text
Abstract:
The aim of this thesis is to provide a contribution to knowledge in two areas. Firstly, it seeks to further our understanding of the historical conditions of British television drama production; in particular the constraining and liberating influences of production space on the role of the director, and their decision-making process to bring script to screen. Secondly, the work develops the concept of re-enactment as a practice-based augmentation for archive-based textual reconstruction. As such, the thesis offers deeper discussions on the human context missing from current historiographic approaches to broadcast research. The thesis develops a re-enactment methodology that, via practical realisation, allows researchers to gain insight into the production dynamics of a particular era in history to learn about ‘in the moment’ directing decision-making. This is applied to a practice based experiment that includes creating a simulation of 1960s production conditions in order to explore the following research question: how would the decision-making process of producing contemporary television drama be affected by the conditions of 1960s production space? I argue that contemporary location-based production is as constraining as the studio it purports to rise above, yet without the same possibilities for creative reaction to counteract the limitations that historical conditions allowed. As a flagship BBC series reflecting contemporary industry practice, Doctor Who is used as the vehicle for analysis. The experiment focuses on a historical re-enactment of a 2006 episode of Doctor Who, “Tooth and Claw”, written by series executive producer Russell T Davies. The re-enacted audio-visual text is provided on DVD along with artefacts that encapsulate the process of production, informing analysis and reflection.
APA, Harvard, Vancouver, ISO, and other styles
36

PRATI, ELENA. "Serie tv Made in Russia. Percorsi produttivi di original e scripted format nell'economia televisiva della Federazione." Doctoral thesis, Università Cattolica del Sacro Cuore, 2021. http://hdl.handle.net/10280/97591.

Full text
Abstract:
Negli ultimi dieci anni la Federazione Russa si è lanciata nel mercato globale della produzione di contenuti televisivi, migliorando la qualità dei propri prodotti e distinguendosi per i generi e le storie raccontate. Studiarne il sistema televisivo contemporaneo, con la peculiarità dei remake “made in Russia”, permette di comprenderne il funzionamento e l’evoluzione passata e futura, in un’ottica di economia globale. Capire come e perché sui palinsesti nazionali circolano ancora oggi prodotti che sono una copia di serie televisive originali occidentali (ben lontani dal concetto di scripted format) è alla base dell’analisi del sistema televisivo economico e produttivo. Questi remake sono presenti fin dai primi anni Duemila e, seppur con lievi differenze, sono tuttora presenti, prodotti e trasmessi, nonostante la loro versione originale sia comodamente fruibile sia attraverso la televisione lineare, sia attraverso le piattaforme OTT. Per quale motivo, quindi, non risultano ridondanti? Per quale motivo il pubblico russo ne sente la necessità? Esistono degli iter produttivi standardizzati che ne facilitino la produzione e la categorizzazione? Queste le domande alla base dello studio dei percorsi produttivi che le serie televisive occidentali intraprendono una volta che valicano i confini della Federazione Russa, in un meccanismo che rappresenta un unicum nel sistema televisivo economico globale.
In the last ten years Russian Federation has entered the global market of tv-content production, improving the quality of its products and standing out for the genres and stories told. Studying its contemporary television system, with the peculiarity of its remakes “made in Russia”, helps us understanding its functioning and evolution (past and future), in a global economy perspective. Understanding how and why on national show schedules still circulate products that are a copy of Western original television series (distant from the concept of ‘scripted format’) represents the basis of the analysis of the economic and productive system. These remakes are already present at the beginning of the new Millennium and, even if with slight differences, are still present and broadcast, nevertheless their original version can be found and watched both through DTT television and OTT platforms. From what reason, then, aren’t they redundant? Why Russian audience needs them? Are there any standardized productive paths that simplify their production and organization? These are the questions at the foundation of the study of productive paths that Western television series take once they cross Russian Federation borders, in a mechanism that represents an unprecedented example in the global economic television system.
APA, Harvard, Vancouver, ISO, and other styles
37

PRATI, ELENA. "Serie tv Made in Russia. Percorsi produttivi di original e scripted format nell'economia televisiva della Federazione." Doctoral thesis, Università Cattolica del Sacro Cuore, 2021. http://hdl.handle.net/10280/97591.

Full text
Abstract:
Negli ultimi dieci anni la Federazione Russa si è lanciata nel mercato globale della produzione di contenuti televisivi, migliorando la qualità dei propri prodotti e distinguendosi per i generi e le storie raccontate. Studiarne il sistema televisivo contemporaneo, con la peculiarità dei remake “made in Russia”, permette di comprenderne il funzionamento e l’evoluzione passata e futura, in un’ottica di economia globale. Capire come e perché sui palinsesti nazionali circolano ancora oggi prodotti che sono una copia di serie televisive originali occidentali (ben lontani dal concetto di scripted format) è alla base dell’analisi del sistema televisivo economico e produttivo. Questi remake sono presenti fin dai primi anni Duemila e, seppur con lievi differenze, sono tuttora presenti, prodotti e trasmessi, nonostante la loro versione originale sia comodamente fruibile sia attraverso la televisione lineare, sia attraverso le piattaforme OTT. Per quale motivo, quindi, non risultano ridondanti? Per quale motivo il pubblico russo ne sente la necessità? Esistono degli iter produttivi standardizzati che ne facilitino la produzione e la categorizzazione? Queste le domande alla base dello studio dei percorsi produttivi che le serie televisive occidentali intraprendono una volta che valicano i confini della Federazione Russa, in un meccanismo che rappresenta un unicum nel sistema televisivo economico globale.
In the last ten years Russian Federation has entered the global market of tv-content production, improving the quality of its products and standing out for the genres and stories told. Studying its contemporary television system, with the peculiarity of its remakes “made in Russia”, helps us understanding its functioning and evolution (past and future), in a global economy perspective. Understanding how and why on national show schedules still circulate products that are a copy of Western original television series (distant from the concept of ‘scripted format’) represents the basis of the analysis of the economic and productive system. These remakes are already present at the beginning of the new Millennium and, even if with slight differences, are still present and broadcast, nevertheless their original version can be found and watched both through DTT television and OTT platforms. From what reason, then, aren’t they redundant? Why Russian audience needs them? Are there any standardized productive paths that simplify their production and organization? These are the questions at the foundation of the study of productive paths that Western television series take once they cross Russian Federation borders, in a mechanism that represents an unprecedented example in the global economic television system.
APA, Harvard, Vancouver, ISO, and other styles
38

Croona, Beatrice, and Hedvig Hägglöf. "Superkvinnorna : En semiotisk innehållsanalys av Andra Avenyn och Bonusfamiljen ur ett genusperspektiv." Thesis, Högskolan för lärande och kommunikation, Högskolan i Jönköping, HLK, Medie- och kommunikationsvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-38797.

Full text
Abstract:
Målet med denna studie är att med hjälp av en semiotisk innehållsanalys av två svenska tv-serier skapa medvetenhet kring genusutvecklingen. Detta genom att undersöka hur kvinnor framställs i tv-serierna Andra Avenyn och Bonusfamiljen. Framställningen av två kvinnliga huvudkaraktärer från vardera serie granskas i avseende på könsroller, stereotyper och normer för att besvara frågan om och hur framställningen skiljer serierna åt. Studien syftar även på att besvara om Bonusfamiljen är normbrytande i jämförelse med Andra Avenyn, detta med tanke på deras olika produktionsår. Frågorna besvaras genom analys av utvalda scener. Dessa granskas utifrån en denotativ och en konnotativ nivå. Som stöd till analysen har även ett analysschema utformats. Detta baseras på två teman: ”interaktioner” och ”personlighet”. Det teoretiska ramverk som används innefattar genusteori och feministisk teori.  Resultatet visar att karaktärerna är skapta med stor medvetenhet kring genus och feminism. Kvinnorna är självständiga och starka och återspeglar således ”den moderna kvinnan”. En av de kvinnliga huvudkaraktärerna i Bonusfamiljen speglar dock en mer könsstereotyp bild i jämförelse med karaktärerna i Andra Avenyn. Gemensamt för serierna är att de bryter könsmaktsordningen.
The goal with this qualitative semiotic analysis is to enlighten awareness regarding gender development. This, by examining how women are pictured in two Swedish tv series, Andra Avenyn and Bonusfamiljen. Two female main characters from each series are examined in terms of gender roles, stereotypes and norms in order to see if and how the female role differs between the series. The study also aims to answer whether Bonusfamiljen is normative or not in comparison to Andra Avenyn. This, in consideration to their different production years. The questions are answered through analysis of selected scenes. These are examined based on a denotative and a congenational level. In support to the analysis, a schedule has been developed. This is based on two themes: "interactions" and "personality". The theoretical framework used in this study includes gender and feminist theory.  The result shows that the characters are created with great awareness regarding gender and feminism. The women are independent and strong and thus reflect the "modern woman". However, one of the female main characters in Bonusfamiljen reflects a more gender stereotypical image compared to the characters in Andra Avenyn. Although, both series show a more modern look on gender roles.
APA, Harvard, Vancouver, ISO, and other styles
39

Santos, Thiara Ribeiro. "O fascínio do serial killer: protagonismo e naturalização da anormalidade em Dexter." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20370.

Full text
Abstract:
Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-09-13T13:44:48Z No. of bitstreams: 1 Thiara Ribeiro Santos.pdf: 5083039 bytes, checksum: a455035acf193849f87dc2fe74e782ca (MD5)
Made available in DSpace on 2017-09-13T13:44:48Z (GMT). No. of bitstreams: 1 Thiara Ribeiro Santos.pdf: 5083039 bytes, checksum: a455035acf193849f87dc2fe74e782ca (MD5) Previous issue date: 2017-08-28
Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
Fundação São Paulo - FUNDASP
This research investigates the narratives of television series about serial killers, focusing most attention on the North American show Dexter, broadcast from 2006 to 2013, while at the same time comparing the context of the series to others of the same genre. In order to learn how the fascination of crime is narrativized in this type of program, our aim was to identify the similarities and differences, compare the narratives, and the main conflicts of each series, the protagonism of the serial killer, the relations between the subject-characters and complex issues related to actions and characteristics of each serial killer and the development of the narrative itself – all focused on the protagonist’s compulsion to kill, while taking into consideration their permanent invisibility and the social ties between them and the other characters; thus we look back in time to delve into the discursive processes of old movies with the same theme in order to understand how the world of series was established. We start with the assumption that a transformation has been made to the narrative structure and character of the serial killers in audiovisual productions over recent decades. Under this context, there is a need to understand how audiovisual languages are used within series, how they intensify normal versus abnormal opposition, how the viewers’ complicity is summoned, and how violence and perversion become elements of the social structure and eventually even agents of the actions. In our view, questioning what retains the tension in the narrative of the Serial Killers TV series is one way of assessing our processes of true meaning and civil morality. This theory is based on knowledge of the areas of Audiovisual, Semiotics, Psychoanalysis, Sociology and Philosophy. For the audiovisual area, we benefitted from input from Neale, Arlindo Machado and Sonia Rodrigues who have studied narrative strategies in dramatic series; the studies relating to cinema were enhanced by contributions from Shaviro and Naremore and the studies of series consolidated by Douglas L. Howard; investigations made about cinema and representation by Ismail Xavier also strengthened the analyses of this thesis. The analysis of the generative route toward the meaning of narratives was bolstered by the discursive-semiotic contributions from Eric Landowski and Ana Claudia de Oliveira, and the tensive-semiotics contributions from Claude Zilberberg. With regard to psychoanalysis, particularly to focus on the Lacanian concept of perversion and neurosis, we use texts by Nasio, Žižek, Bond, Philippe Julien and Antonio Quinet, which assist us in explaining the universe of our subject, the serial killer. For the sociological and ethical discussions about abnormality and perversity we adopt the thoughts of Dany-Robert Dufour and Simpson
A pesquisa investiga o tema das narrativas de séries televisivas sobre serial killers, centrando sua atenção na série norte-americana Dexter, produzida no período de 2006 a 2013, sem deixar de examiná-la no contexto de outras séries do mesmo gênero. Para saber como o fascínio do crime é narrativizado neste tipo de série buscamos identificar suas semelhanças e diferenças, comparando as narrativas, os conflitos principais, o protagonismo do serial killer, as relações entre os sujeitos-personagens e questões complexas ligadas às ações e características de cada serial killer e ao desenvolvimento da narrativa em si – todas centradas na compulsão de matar do protagonista, considerando sua permanência na invisibilidade e os laços sociais entre ele e os demais personagens; para isto buscamos recuperar historicamente o processo de construção discursiva de filmes antigos com a mesma temática para compreendermos como se estabeleceu o universo das séries. Partimos do pressuposto de que existe uma transformação da estrutura narrativa e dos personagens serial killers nos audiovisuais das últimas décadas. Há, nesse contexto, uma necessidade de entender como as séries se utilizam das linguagens do audiovisual, como tensionam a oposição normal versus anormal, como se dá a convocação da cumplicidade do espectador e como a violência e a perversão se tornam elementos de estruturação da organização social e eventualmente efetivadoras da sanção. A nosso ver, questionar sobre o que mantém a tensão da narrativa das séries é um modo de avaliarmos nossos processos de significação e moralidade civil. A fundamentação teórica se baseia nos saberes das áreas de Audiovisual, Semiótica, Psicanálise, Sociologia e Filosofia. Para o audiovisual, utilizamos Neale, Arlindo Machado e Sonia Rodrigues em seus estudos sobre as estratégias narrativas em séries dramáticas; os estudos sobre cinema contaram com os aportes de Shaviro e Naremore e os estudos de série com Douglas L. Howard; as investigações sobre cinema de Ismail Xavier também fortalecem as análises desta tese. Na análise do percurso gerativo de sentido das narrativas se fazem necessários os aportes da semiótica discursiva de Eric Landowski e Ana Cláudia de Oliveira, mas nos utilizamos também da semiótica tensiva de Claude Zilberberg. Quanto à psicanálise, para abordar o conceito lacaniano de perversão e neurose, nos utilizamos dos textos de Nasio, Žižek, Bond, Philippe Julien e Antonio Quinet, que nos apoiam na explanação do universo do sujeito serial killer. Para as discussões sociológicas e éticas sobre anormalidade e perversidade adotamos os pensamentos de Dany-Robert Dufour e Simpson
APA, Harvard, Vancouver, ISO, and other styles
40

Dore, Magherita. "The audiovisual translation of Humour : Dubbing the first series of the TV comedy programme Friends into Italian." Thesis, Lancaster University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.525323.

Full text
APA, Harvard, Vancouver, ISO, and other styles
41

Silva, Peterson de Santis. "A TV híbrida como oportunidade de negócios para as emissoras regionais de televisão aberta no Brasil /." Bauru, 2017. http://hdl.handle.net/11449/151195.

Full text
Abstract:
Orientador: Francisco Machado Filho
Banca: Marcos Americo
Banca: Fernando Carlos Moura
Resumo: O presente estudo visa analisar e apontar a TV híbrida como oportunidade de negócios para as emissoras regionais de televisão aberta no Brasil. O advento da TV Digital e das SmartTVs, entre outras, que permitem o acesso de conteúdos broadband (sinal por IP - internet protocol), em conjunto com a tradicional transmissão broadcast (sinal por ar) apresentam uma tendência de convergência tecnológica e comportamental que une o broadcast e o broadband, a que pode-se denominar "TV híbrida". A TV híbrida surge não apenas como uma possível convergência natural da cultura da sociedade atual, mas também como oportunidade para uma nova maneira de fazer e ver televisão. Este estudo, por meio de uma metodologia que combina a pesquisa exploratória e o modelo de reconhecimento de oportunidade, identificou a TV híbrida como uma oportunidade de negócios para emissoras regionais de televisão aberta no Brasil, e encontrou no uso da segunda tela oportunidades de negócios para mensuração da audiência, publicidade estratégica, conteúdos extras, ensino à distância (EaD) e edutretenimento, e relacionamento e fidelização da audiência
Abstract: The present study aims to analyze and point out the hybrid TV as a business opportunity for regional broadcasters in Brazil. The advent of Digital TV and SmartTVs, among others, which allow the access of broadband content (using a signal enabled by IP - internal protocol), together with the traditional broadcast transmission (signal enabled by air) present a trend of technological and behavioral convergence that unites the broadcast and the broadband, which can be called "Hybrid TV". This said Hybrid TV arise not'only as a possible natural convergence of the culture in today's society, but also as an opportunity for a new way of making and watching television. This study, using a methodology that combines exploratory research and the opportunity recognition model, has identified hybrid TV as a business opportunity for regional open television broadcasters in Brazil, and found in the use of the second screen business opportunities for Audience measurement, strategic adversitising, extra content, distance learning (EaD) and edutainment, but also to enhance audience relationship and loyalty
Mestre
APA, Harvard, Vancouver, ISO, and other styles
42

Konuslu, Firat. "Production And Labor Process Of The Contemporary Turkish Private Television Series." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614688/index.pdf.

Full text
Abstract:
This thesis focuses on one of the most appreciated products of the Turkish Television, the TV Series'
production and labor process. Starting from the fact that the production side of this highly attention gathering media product hasn'
t received too much academic concern, by analyzing the workers of the sector, this point is tried to be illuminated. This thesis that analyzes TV series'
working conditions in the perspective of &ldquo
precarious employment&rdquo
departing from this framework, argues the workers of the industry are fragmented into two groups, &ldquo
creative&rdquo
and &ldquo
technical&rdquo
workers. In this context it indicates the creative workers not only as not being affected from the precarious employment conditions too much but also as the executor of the technical workers'
experience of precariousness in the production level.
APA, Harvard, Vancouver, ISO, and other styles
43

Grönberg, Anders, and Emanuel Lundberg. "Röda eller blå stjärnor : Politiska budskap i Star Trek." Thesis, Högskolan för lärande och kommunikation, Högskolan i Jönköping, HLK. Medie- och kommunikationsforskning, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-14407.

Full text
Abstract:
Denna uppsats undersöker TV-serien Star Treks värderingar ur ett politiskt ideologiskt perspektiv. Star Trek är en amerikansk science fiction-serie som skapades av Gene Roddenberry i mitten av 1960-talet. Frågeställningarna behandlar om det finns politiskt relaterade värderingar framställda i Star Trek, vilken politisk ideologi som mest liknar värderingarna i serien, och om det går att tolka det som om Star Trek har en ideologisk värdegrund. Med hjälp av dagordningsteori, kritisk medieteori och teorier om budskap diskuteras TV-bolagens makt över seriens innehåll. De politiska ideologierna konservatism, liberalism och socialism har valts för att kunna jämföras med analysmaterialet. Sex avsnitt från originalserien analyserades med hjälp av en hermeneutik och kvalitativ metod för att bäst kunna få insikt i materialet. Den faktiska analysen har skett med den narratologiska aktantmodellen samt närläsning baserad på kritisk medieteori, där citat bryts ut och tolkas. Resultaten har delats in i tre kategorier, nämligen ekonomi, människosyn och samhällsstruktur för att underlätta sammanställandet. Undersökningen visar att det finns både positivt och negativt framställda värderingar i Star Trek.Ingen politisk ideologi framställs som denenda rätta, men tendensen är att konservatism är minst propagerat för, medan den demokratiska varianten av socialism verkar förespråkas mest. Att resultatet blev splittrat kan härledas till att medieföretagen har stort inflytande över innehållet och att det är svårt att konsekvent framhäva en politisk ideologi i en TV-serie som Star Trek. Detta till följd av formatet på serierna och att de amerikanska TV-bolagen sätter speciella kommersiella krav på produktionen. Det reflekteras också över att politiska värderingar i ett underhållningmedium kan vara effektiva eftersom de politiska budskapen inte har fokus utan intas indirekt.
This thesis examines the values in the TV-series called Star Trek from a political perspective. Star Trek is an American science fiction-series that was created byGene Roddenberry during the mid-1960s. The queries are about whether or not political values are expressed in Star Trek, what political ideology is coherent with those, and if it is possible to interpret this as if Star Trek has an actual politically ideological fundament. Media power over content has been discussed, and because of this there has been made use of critical media theories together with theory of agenda setting and message. The political ideologies of conservatism, liberalism and socialism have been chosen to be compared with the material of analysis.Seven episodes of the original series have been chosen to get a good view of the material by the use of hermeneutic and qualitative research methodology.The analysis was done with the narratological actant model plus a method based on critical media theory, where quotes are being extracted and interpreted. The results have been categorised as either relating to economics, view of mankind or structure of society. The examination shows that there are both positively and negatively described values in Star Trek. No distinct political ideology is being clearly advocated, but there are tendencies for negative views of conservative values aswell as a positive coherence with democratic socialism. The results were difficult to conclude, and this could point towards that the media companies have big influence over their transmitted contents, and that it is difficult to consistently highlight politically ideological values in a television series like Star Trek. This is because the format of TV-series set by american commercial interests puts certain demands on productions. There are reflections about that political values in a medium of entertainment could be effective since the political messages are not in focus but received indirectly.
APA, Harvard, Vancouver, ISO, and other styles
44

Smit, Teresa. "Identiteitsontwikkeling in Marilee McCallaghan se Die verklikker en Twee wenners as jeugverhale en Wenners as TV-jeugreeks : 'n analise van tekstransformasie / Teresa Smit." Thesis, North-West University, 2008. http://hdl.handle.net/10394/1846.

Full text
Abstract:
In this comparative study research was done into the ways in which youth novels were transformed into a youth series on TV, in order to compile a transformation model. The Afrikaans youth novels Die verklikker and Twee wenners by Marilee McCallaghan and the TV youth series Wenners, that was based on these stories, were used for this comparison. The texts (youth novels and TV script/text) were analysed and interpreted, and the variants and constants that were found in the comparison were used to compile a model according to which the transformation precedes were deduced. The model that had been compiled applies only to this study, as all stories differ and are unique in themselves, and therefore the model has to be adapted for each adaptation and production of a youth series (book) to a TV youth series. In both the youth novels, Die verklikker and Twee wenners as well as in the TV youth series Wenners all the main characters, and especially the two main characters Carl and Jackie, show identity development. Regarding their social identity Carl and Jackie are constantly aware of their positions in the smaller community of the orphanage, and specifically regarding the other characters and their positive and negative social roles. With regard to their personal identities, both Carl and Jackie had established a feeling of continuity in their existence despite the fact that their father had passed away and there mother was in a psychiatric clinic, and despite the fact that they were both initially confused and disrupted. They had undergone many changes and had developed, but despite the many changes around them and within themselves they each contained the core of his/her identity. Although they are twins, the analysis of the stories shows that Carl and Jackie had developed a feeling of individual identity - a feeling of individuality or uniqueness. Each of them, as an individual had a subjective experience of these various aspects of identity, which enabled both Carl and to experience a feeling of a unique, whole (complete) person in their own right. At this stage in the South African television industry many adaptation of books (prose) to film are made, although it is not done for television on a regular base in Afrikaans. The adaptation of a youth novel to a TV series might inspire the adolescent who is already watching the series to read the book from which the adaptation was made. This, in turn, may lead to a possible new edition of the relevant book, as well as the possible rebroadcast, or even the manufacturing of a new version of the current series, depending on its popularity. In the event of a new production of the series the challenge would indeed be not to be the same as its predecessor, but to convey the theme of the story within a new context.
Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2008.
APA, Harvard, Vancouver, ISO, and other styles
45

Mårtensson, Amanda, and Noah Fernström. "Den nya maskuliniteten : En kvalitativ innehållsanalys av maskuliniteter i Netflix-serien Sex Education." Thesis, Linnéuniversitetet, Institutionen för medier och journalistik (MJ), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-95731.

Full text
Abstract:
The purpose of this study was to identify how the leading male characters in the Netflix series Sex Education were represented through a qualitative content analysis. The theories used in this thesis are Stuart Hall’s representation theory and R.W Connell's theory of hegemonic masculinity. They were further applied to the essay in order to investigate whether the chosen male characters were portrayed in a stereotypical or an unconventional way. The analysis part of the study was created through an analysis tool by Selby and Cowdery. By adapting and using essential parts of the chosen analysis methods, Mise-en-scèneand TheThree-stage Model,we were able to gradually break down a total of 12 sequences from the first two seasons of the series. Findings from this study showed that there were several carriers of Connell's concept of hegemonic masculinity. But there was seldom a complete representation of the various categories of masculinity. Our study also shows that all four of the chosen characters showed signs of stereotypical traits but were given deeper, more groundbreaking personalities as the show progressed.
APA, Harvard, Vancouver, ISO, and other styles
46

Casalboni, Martina. "Translating food on the Internet: from American TV series dubbed for the Italian audience to subtitles on YouTube." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/8173/.

Full text
Abstract:
The aim of this dissertation is to analyze the adaptation of food realia and food-related terms from English into Italian in the world of screen translation. Food has always been at the heart of every human being’s life and is an essential lens of analysis when trying to understand culture. With the awareness of what has been done in the past in American TV series dubbed into Italian and looking at how translations have been changing in the last decade, my thesis demonstrates how strategies are more inclined to an overt approach, which leaves the audiovisual text deeply tied to its source language and culture. The work will also include a practical subtitling exercise of three episodes of the currently most famous YouTube cooking show: Nerdy Nummies by Rosanna Pansino. The fact that the show is published weekly on a YouTube channel gives me the opportunity to comment on the evolution of media in the third millennium and how this implies an improvement as far as the knowledge, the skills and the possibilities for audiovisual translators are concerned.
APA, Harvard, Vancouver, ISO, and other styles
47

Ahlberg, Emma, Annica Lennartsson, and David Wahlström. "No fat chicks : En semiotisk innehållsanalys om hur kvinnliga karaktärer framställs i barnprogram." Thesis, Högskolan för lärande och kommunikation, Högskolan i Jönköping, HLK. Medie- och kommunikationsforskning, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-14999.

Full text
Abstract:
Det finns inte mycket forskning kring hur genus förmedlas genom barnprogram. De få studiersom finns visar på att manliga karaktärer oftare förekommer än kvinnliga, och att de manligakaraktärerna oftast har större och viktigare roller. Syftet med studien är att undersöka hur kvinnliga karaktärer framställs i barnprogrammen från deolika tidsperioderna. Analysen ska utreda på vilket sätt de kvinnliga karaktärerna framställs och omdet har förändrats över tid. Analysen ska även påvisa om karaktärerna kan benämnas somstereotypa eller inte samt om de följer de traditionella könsrollerna. Uppsatsen bygger på en semiotisk innehållsanalys med både denotativ och konnotativ ansats.Semiotiken är både insamlings- och analysmetod. Genom urvalsmetoden som delvis varslumpmässig bestämdes vilka sex barnprogram från tre olika årtionden som skulle utgöra detempiriska materialet. Vår analys vittnar om att det finns både likheter och skillnader mellan kvinnliga karaktärer frånolika barnprogram och årtionden. Det finns däremot inget direkt mönster för dessa likheter ochskillnader. Vår analys visar också att de kvinnliga karaktärerna inte är särskilt stereotypa i sittuppträdande. Det går inte att se någon generell förändring över tid vad gäller karaktärernasbeteende, analysen visar inte att de gått från att bete sig på ett vis till ett annat.
There is little research on how gender is mediated through children’s programs. The few studies that exist indicate the male characters more often appears than female, and the male characters usually have larger and more important roles. The purpose of this study is to examine how female characters are portrayed in the children’s programs from the different time periods. The analysis will show how the female characters are portrayed and if it has changed over time. The analysis will also show whether the characters can be referred to as stereotypical or not, and if they follow the typical gender roles. The essay is based on a semiotic content analysis with both denotative and connotative approach. Semiotics is both collection and analysis method. Through the sampling method which was partially random, the six children’s programs from three different decades were established to constitute the empirical material. Our analysis shows that there are both similarities and differences between the female characters from carious children’s programs and decades. However, there is no direct pattern for these similarities and differences. Our analysis also shows that the female characters’ appearance is not very stereotypical. It is not possible to see any overall change over time in terms of the characters’ behavior; the analysis does not demonstrate that they have gone from behaving in one manner to another.
APA, Harvard, Vancouver, ISO, and other styles
48

CARINI, STEFANIA. "IL TESTO ESPANSO. Il telefilm nell'età della convergenza." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/255.

Full text
Abstract:
Il lavoro è dedicato all'analisi del nuovo testo televisivo nell'epoca della convergenza. Un testo espanso perché capace di dilatarsi su altri media, viaggiando così com'è per più piattaforme; un testo espanso perché capace di generare altri testi su altri media, espandendo il proprio universo narrativo. Le dinamiche di questo testo sono più che mai evidenti nell'industria statunitense, da sempre la più avanzata e organizzata. Proprio al panorama statunitense è quindi dedicata la nostra analisi. Il testo espanso è una tendenza ravvisabile in modo più o meno evidente per tutti i generi televisivi, e più in generale fa parte di una propensione alla crossmedialità presente in ogni media. Abbiamo però focalizzato la nostra attenzione sul telefilm americano, che meglio di altri racchiude, esemplifica, esaspera le caratteristiche del testo espanso.
This study analyses the television text of the Convergence Age, an expanded text as it can be utilized by the other media besides being able to run on different platforms without requiring any editing. It is an expanded text because it can generate other media texts, thus expanding its narrative universe. The potentials residing in this kind of text are well-known to the American television industry, the leader of the sector as well as the most organized and advanced worldwide. Therefore my analysis investigates the American production. The expanded text is a recognizable trend as far as all television genres are concerned, and belongs to an overall tendency to crossmediality which is noticeable in all media. My work focuses on the American TV series as it best displays, exemplifies, and emphasizes the features of the expanded text.
APA, Harvard, Vancouver, ISO, and other styles
49

CARINI, STEFANIA. "IL TESTO ESPANSO. Il telefilm nell'età della convergenza." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/255.

Full text
Abstract:
Il lavoro è dedicato all'analisi del nuovo testo televisivo nell'epoca della convergenza. Un testo espanso perché capace di dilatarsi su altri media, viaggiando così com'è per più piattaforme; un testo espanso perché capace di generare altri testi su altri media, espandendo il proprio universo narrativo. Le dinamiche di questo testo sono più che mai evidenti nell'industria statunitense, da sempre la più avanzata e organizzata. Proprio al panorama statunitense è quindi dedicata la nostra analisi. Il testo espanso è una tendenza ravvisabile in modo più o meno evidente per tutti i generi televisivi, e più in generale fa parte di una propensione alla crossmedialità presente in ogni media. Abbiamo però focalizzato la nostra attenzione sul telefilm americano, che meglio di altri racchiude, esemplifica, esaspera le caratteristiche del testo espanso.
This study analyses the television text of the Convergence Age, an expanded text as it can be utilized by the other media besides being able to run on different platforms without requiring any editing. It is an expanded text because it can generate other media texts, thus expanding its narrative universe. The potentials residing in this kind of text are well-known to the American television industry, the leader of the sector as well as the most organized and advanced worldwide. Therefore my analysis investigates the American production. The expanded text is a recognizable trend as far as all television genres are concerned, and belongs to an overall tendency to crossmediality which is noticeable in all media. My work focuses on the American TV series as it best displays, exemplifies, and emphasizes the features of the expanded text.
APA, Harvard, Vancouver, ISO, and other styles
50

Doveri, Giorgio. "Les Bracelets Rouges: proposta di adattamento per sottotitolazione di una serie tv francese." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amslaurea.unibo.it/18347/.

Full text
Abstract:
In questo elaborato finale ci proponiamo come obiettivo la ricerca di fattibilità della sottotitolazione per una serie TV francese, “Les bracelets rouges”, di genere fiction. Questo ha come fine ultimo quello di individuare le criticità di questa tecnica per favorire una migliore comprensione del genere, così come dei vantaggi e svantaggi di una sua traduzione audiovisiva, e per stimolare una sempre più approfondita ricerca in questo settore della scienza della traduzione. Nei primi due capitoli, saranno fornite delle basi teoriche a sostegno dell’analisi, contenuta nel terzo capitolo, che riguarderà gli aspetti principali della traduzione audiovisiva sia da un punto di vista tecnico che da un punto di vista linguistico. Nella conclusione del terzo capitolo e nelle considerazioni finali, saranno presentati degli spunti di ricerca per avanzare in questo studio e nello studio di altri prodotti e tecniche simili a quanto presentato nelle pagine di questo elaborato.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the bibliographies on the topic 'TV series' for other source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography