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Ling, Qi. "Televising feminism: the Chinese television industry, female television professionals, and neoliberal empowerment." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6179.
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Television drama is a crucial site where notions of gender, as well as other cultural issues, are formed. Since 2010, the Chinese television industry has shown a growing interest in representing feminism-inflected content, most evident in cashing in on serials centering on a strong female character. These women-centric dramas mark a departure from previous constructions of gender, women, and feminism due to their narrative centrality of women, portrayal of strong female leads, expansion of women’s spheres of action, and endorsement of female power and independence. This dissertation explores the phenomenon, examining what feminist discourses are being represented by juxtaposing them with the social context of gender in China and interrogating how they are shaped by industrial practices. The factors at play in the serial production that have surfaced in this study mainly include female television professionals, textual and narrative conventions, considerations of audience profile, and party-state cultural leadership. Based on textual analysis and interviews with professionals associated with several representative women-centric television dramas, this dissertation found that these social and industrial forces collaboratively shaped the feminist discourses into various forms including the post-feminist and neoliberal feminist tendency, a common-ground form of feminism shared by various sections of society, and a vision of gender that combines traditional feminine roles and a powerful presence in the public sphere. The research raises issues about the role of the television industry in cultivating public understandings of feminism and the relationship between televisual forms of feminism and feminist politics.
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SAMPIETRO, SARA. "Teen Television: televisione crossmediale e adolescenti in Italia." Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1529.
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Obiettivo della ricerca presentata in questa tesi è la comprensione delle pratiche televisive convergenti degli adolescenti, a partire da una ricostruzione dei fattori che possono orientare i differenti atteggiamenti fruitivi. Al di là dell’adesione al mito dei “nativi digitali” come soggetti dotati di competenze e abilità superiori a quelle dei loro genitori appare infatti necessario studiare le esperienze crossplatform, contestualizzandole all’interno del set di opportunità e di vincoli, culturali, sociali e contestuali che strutturano la quotidianità dei ragazzi.
L’importanza data ai molteplici fattori che, a diverso titolo, interagiscono nel modellare i consumi convergenti ha guidato l’intero processo di analisi dei risultati fin verso la definizione di uno sguardo interpretativo situazionale e multifattoriale, volto a interpretare la natura contingente e provvisoria degli equilibri su cui si reggono le differenti esperienze di consumo crossmediale.
I dati descritti e analizzati sono frutto di un processo di ricerca etnografica che ha coinvolto adolescenti iscritti ai primi quattro anni della scuola secondaria di secondo grado e residenti in diverse province italiane.The research presented in this thesis explores convergent television-related consumer practices of teenagers by mapping factors which potentially orient fruition patterns. The myth of “digital natives” as more skilled and resourceful than their parents does not suffice: it is necessary to study actual cross-platform experiences by contextualizing them within the sets of affordances and limitations (cultural, social and contextual) which structure the daily lives of teenagers. The centrality assigned to the many factors shaping convergent consumptions has driven the analysis towards the definition of a situational multi-factor interpretative view able to interpret the contingent and ephemeral nature of the balances underpinning convergent consumption experiences.
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SAMPIETRO, SARA. "Teen Television: televisione crossmediale e adolescenti in Italia." Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1529.
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Obiettivo della ricerca presentata in questa tesi è la comprensione delle pratiche televisive convergenti degli adolescenti, a partire da una ricostruzione dei fattori che possono orientare i differenti atteggiamenti fruitivi. Al di là dell’adesione al mito dei “nativi digitali” come soggetti dotati di competenze e abilità superiori a quelle dei loro genitori appare infatti necessario studiare le esperienze crossplatform, contestualizzandole all’interno del set di opportunità e di vincoli, culturali, sociali e contestuali che strutturano la quotidianità dei ragazzi.
L’importanza data ai molteplici fattori che, a diverso titolo, interagiscono nel modellare i consumi convergenti ha guidato l’intero processo di analisi dei risultati fin verso la definizione di uno sguardo interpretativo situazionale e multifattoriale, volto a interpretare la natura contingente e provvisoria degli equilibri su cui si reggono le differenti esperienze di consumo crossmediale.
I dati descritti e analizzati sono frutto di un processo di ricerca etnografica che ha coinvolto adolescenti iscritti ai primi quattro anni della scuola secondaria di secondo grado e residenti in diverse province italiane.The research presented in this thesis explores convergent television-related consumer practices of teenagers by mapping factors which potentially orient fruition patterns. The myth of “digital natives” as more skilled and resourceful than their parents does not suffice: it is necessary to study actual cross-platform experiences by contextualizing them within the sets of affordances and limitations (cultural, social and contextual) which structure the daily lives of teenagers. The centrality assigned to the many factors shaping convergent consumptions has driven the analysis towards the definition of a situational multi-factor interpretative view able to interpret the contingent and ephemeral nature of the balances underpinning convergent consumption experiences.
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Neptune, Nordahl Christian. "A televisão pública no Brasil." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284400.
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Orientador: Adilson José RuizTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A televisão pública no Brasil constitui o objeto central da Tese. O objetivo é avaliar possíveis alternativas que viabilizem sua sustentabilidade econômica e cultural; modelos de negócio, formas de financiamento e fomento. Um marco histórico para a televisão brasileira foi a criação, em 2007, da EBC - Empresa Brasil de Comunicação, a qual é subordinada a TV Brasil, cuja missão é coordenar, efetivamente, a primeira Rede Nacional de Televisão Pública (RNTP), composta por emissoras do campo público federal, estadual e municipal. Os Decretos e Leis da Constituição Federal, que regem o sistema público de radiodifusão no País são insuficientes e a maioria obsoleta. Além de ampla revisão no marco regulatório do setor, é necessário definir com clareza as regras de gestão, modelos e funções para os três sistemas televisivos: o estatal, o público e o privado. Entre os recursos utilizados na metodologia da pesquisa estão os registros orais (congressos, seminários, palestras, fóruns), os textuais (revisão de literatura, livros, revistas, jornais, anais, teses, dissertações, artigos, decretos, leis e pesquisas a documentos recentes) e os audiovisuais (TV, vídeo e internet)
Abstract: Public Television in Brazil is the central subject of the Thesis. The objective is to evaluate possible alternatives that enable its economic and cultural sustainability; business models, ways of financing and promotion. A milestone in the history of Brazilian television was the creation in 2007, of EBC - Empresa Brasil de Comunicação, witch is subject to TV Brasil, whose mission is to coordinate effectively the first Rede Nacional de Televisão Pública (RNTP), consisting of broadcasting stations at the level of country, state and county. Decrees and Laws of the Federal Constitution, governing the public broadcasting system in the country are insufficiently and the majority obsolete. In addition to extensive revision in the regulatory sector, it is necessary to clearly define the management rules, models and functions for the three television systems: the state, public and private. Among the resources used in the research methodology are the oral (records courses, congress, seminars, lectures, forums, workshops), the textual (e-mails interviews, literature review, books, magazines, journals, annals, theses, dissertations, articles, decrees, laws and searches of recent documents) and the audiovisual (TV, video and internet)
Doutorado
Artes Visuais
Doutor em Artes
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Vidigal, Fernanda Rezende. "A televisão pública no Brasil: um estudo sobre estratégias de manutenção da ordem." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-16062008-134113/.
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Partindo do pressuposto de que, nas sociedades contemporâneas, as mídias - e, no Brasil, a televisão - ocupam papel de destaque na produção e difusão de valores e referências identitárias, buscou-se compreender as razões socio-históricas que impediram a construção de um sistema público de televisão brasileiro. A partir de um trabalho comparativo com outros sistemas de radiodifusão, bem como a partir de uma investigação sobre o processo de implantação e consolidação de um mercado nacional de cultura televisiva, foi possível identificar um feixe de condicionamentos de ordem histórica, política e econômica que permitiram a manutenção de estratégias de desregularização do setor.Based on the assumption that in current societies media in general and in Brazil specifically TV, have an outstanding role in the production and dissemination of values and references of identification; we attempted at understanding the reasons that prevented the creation of a national public TV system. The comparison of the Brazilian system to those abroad enabled us to amass a number of historical, political and economical determiners that allowed the maintenance of deregulation policies in the area.
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Önnevall, Elin. "Television Practices : Ethnography, Television and User Practices." Licentiate thesis, Stockholms universitet, Institutionen för data- och systemvetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-100369.
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This thesis explores television practices in a time when new technology has made it possible to interact with and create your own TV content. The work is focused on how user practices need to be understood in a context of chan- ging technology. The practices studied also show the relevance of ethno- graphic methods, and especially the wide spectrum of these different meth- ods within the field of Human-Computer Interaction. We distinguish be- tween sociologically informed ethnography and anthropological ethnogra- phy. Two questions are addressed: how can new forms of television practices be understood by means of different ethnographic methods, and, on a wider level, what method can we use for analysing methods in ethnographic re- search? Because ethnographic methods are qualitative, we have also chosen to use an open and qualitative approach when analysing them. Through comparing our different methods – their data and findings on one specific topic – we have discovered the differences between the methodological ap- proaches.
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Gallo, Stephen. "Interactive television : advancing television through integrated technology /." Online version of thesis, 2008. http://hdl.handle.net/1850/9602.
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Cao, Xuenan. "Discourses on urbanism: "Reality televisions" by Jiangsu Satellite Television since 2010." HKBU Institutional Repository, 2014. https://repository.hkbu.edu.hk/etd_oa/46.
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Since 2004, the Chinese media scene has been dominated by what is called the “pan-reality television” trend. Reality television is capable of synchronizing the effects of all the political, economic, and cultural factors into the participants’ actions and becoming a powerful reconstruction of the social environment from which it emerges. The thesis takes Jiangsu Satellite TV (JSTV)’s golden hour reality televisions as the case to address the question of how they express, reflect and formulate the imaginations and understandings of urban living, focusing on the cultural, social, and political specificities of these reality television shows. The thesis is an attempt to bring into discussions ignored aspects of popular television culture that can be potential source for furthering the understanding of urban conditions in China. The thesis finds that the images, the discursive fields, and the procedures of the games in the reality television shows and the governmental regulations imposed on them are part of the mechanisms to dissemble a set of discourses into the colloquial, the practices of urban lives, and possibly the imaginations of urban lifestyles. Emerging out of this dynamic process is the formulation of a way of life in the context of urban China – specifically, the linear, individual progressivity. The main body of the thesis will empirically show how the linear, individual progressivity is installed and enacted in the shows and political implications of that.
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Wheatley, Helen. "Gothic television." Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/2837/.
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This thesis examines forms of Gothic fiction on television, and defines the ways in which television produces Gothic drama which is medium-specific (e.g. formally distinct from versions of the genre in other media). This work employs a textual analysis to explore Gothic television, and combines this with archival research and an examination of the changing climate of television production in a range of national and historical contexts. The thesis is organised into four case studies, each dealing with different national industries during different periods: British anthology drama of the 1960s and 70s (e.g. Mystery and Imagination (ABC/Thames, 1966-70), Ghost Story for Christmas (BBC1, 1971-78)); Danish art television in the mid-nineties (Riget (Danmarks Radio/Zentropa, 1994)); British adaptations of female Gothic literature, (e.g. Rebecca (BBC2, 1979), The Wyvern Mystery (BBC1/The Television Production Company, 2000); and big-budget, effects-laden series from North America in the 1990s (e.g. American Gothic, CBS/Renaissance, 1995-96), Millennium (20th Century Fox/10:13, 1996-1999). I argue that Gothic television plays on the genre's inherent fascination with the domestic/familial, to produce television drama with an overt consciousness of the contexts in which the programmes are being viewed, a consciousness which is locatable within the text itself; as such, the thesis defines the Gothic as a genre which is well suited to presentation on television. Furthermore, an examination is offered of the 'model' viewer as presented within the television text, enabling an understanding of the ways in which conceptions of television viewership are inscribed into television drama at the moment of production. I also interrogate the notion that television is an 'uncanny' medium by locating the precise sources of uncanniness with Gothic television, and delineate the ways in which innovations in television production have been showcased through the representation of the supernatural and the uncanny with Gothic Television.
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Cardinaletti, Michelangelo. "Ugo Gregoretti, autore e regista televisione : television, cinema, opera lirica e teatro." Electronic Thesis or Diss., Nantes Université, 2023. http://www.theses.fr/2023NANU2029.
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La thèse de doctorat représente une enquête approfondie et complète sur la carrière vaste et diversifiée d'Ugo Gregoretti dans les domaines de la télévision, du cinéma, de l'opéra et du théâtre. À travers une approche biographique et une utilisation extensive des sources du Centre d'études Ugo Gregoretti à Pontelandolfo, cette recherche met en lumière la vie et les œuvres d'un artiste éclectique dont la signification a largement été négligée. Les résultats de l'analyse révèlent un profil artistique d'une grande polyvalence, caractérisé par une profonde sensibilité à l'ironie et une inclination marquée à exprimer sa vision artistique à travers divers médias. Gregoretti se présente comme un auteur d'une grande versatilité, capable de couvrir différents genres et modes d'expression tout en maintenant une originalité cohérente dans chacune de ses œuvres. Un aspect fondamental de la recherche est l'absence d'études approfondies dédiées à Gregoretti, malgré son impact significatif sur le paysage artistique et culturel italien. Cette thèse comble cette lacune en fournissant une analyse complète de sa carrière et de sa contribution au développement de l'art et du divertissement en Italie. Ainsi, la recherche dévoile non seulement une figure négligée, mais elle jette également une nouvelle lumière sur les dynamiques culturelles et artistiques du pays, enrichissant la compréhension globale de son évolutionThe doctoral thesis represents an in- depth and comprehensive investigation into Ugo Gregoretti's extensive and diverse career in the fields of television, film, opera, and theater. Through a biographical approach and extensive use of sources from the Ugo Gregoretti Study Center in Pontelandolfo, this research sheds light on the life and works of an eclectic artist whose significance has been largely overlooked. The findings of the analysis reveal an artistically multifaceted profile, characterized by a deep sensitivity to irony and a marked inclination to express his artistic vision through a variety of media. Gregoretti emerges as an author with extraordinary versatility, capable of spanning different genres and modes of expression while maintaining consistent originality in each of his works. A fundamental aspect of the research is the absence of in-depth studies dedicated to Gregoretti, despite his significant impact on the Italian artistic and cultural landscape. This thesis fills this gap, providing a comprehensive analysis of his career and his contribution to the development of art and entertainment in Italy. In this way, the research not only unveils a neglected figure but also sheds new light on the cultural and artistic dynamics of the country, enriching the overall understanding of its evolution
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Guide, Antonio Marcos de. "TPA - o modelo de tv pública de Angola." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-21072009-201835/.
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Este trabalho apresenta uma análise da TPA - TV Pública de Angola fazendo-se um paralelo com outros modelos de TV pública no Brasil, na Alemanha, nos Estados Unidos e na Inglaterra. Para atingir o objetivo da pesquisa, a presente dissertação começa com uma pesquisa sobre a história de Angola, desde antes da colonização portuguesa até os dias de hoje. Em seguida relatamos a evolução dos meios de comunicação naquele país africano, dos jornais à Internet, com maior ênfase na TPA. Os capítulos seguintes relatam características de programação, capacitação profissional e relações com a sociedade da TV pública angolana. A conclusão estabelece um paralelo entre a TV de Angola e outros modelos de TV pública.This dissertation analyses the TPA TV Pública de Angola Public Television of Angola, building a parallel with different standards of public TV in Brasil, Germany, United States of America and England. To arrive at the main object of the research, the text starts with a research abour Angolass history, since before Portuguese domination until nowadays. Just after that, we present a evolution of Angolas mass communication midia, from newspapers to Internet, given more emphasis on TPA. The following chapters explain about program board, crews professional capacitation and relationship with Angolass society. The conclusion make a parallel betwen the TPA and different standards of public TV around the world.
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Alves, Stefanie Hesse. "A vida como ela é : Nelson Rodrigues no palimpsesto televisivo." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284598.
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Orientador: Gilberto Alexandre SobrinhoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este estudo busca compreender o processo de adaptação de textos de Nelson Rodrigues para a televisão, por meio da análise dos episódios da série A Vida como ela é, dirigida por Daniel Filho, roteirizada por Euclydes Marinho, a partir de textos extraídos da coluna homônima de Nelson Rodrigues, publicada no jornal Última Hora, na década de 1950 e que foi exibida no programa Fantástico, da Rede Globo de Televisão, no ano de 1996. Interessou-nos investigar, a partir de um olhar direcionado aos aspectos narrativos e discursivos, componentes da linguagem audiovisual, como o meio televisivo foi explorado em suas estratégias e singularidades na tradução da obra rodriguiana. Tratamos, portanto, de discutir a presença de elementos característicos da poética rodriguiana nos textos da coluna jornalística, as características gerais da série dentro do panorama televisivo, considerando seu aspecto formal singular, sua inserção em um programa de variedades, a função ocupada pela série na estratégia da emissora no período em que foi exibida, de que maneira os textos de Nelson Rodrigues receberam da equipe de criação da série uma roupagem de cores, formas, figurinos, maquiagens, enquadramentos, músicas, vozes e efeitos sonoros, e como essa construção é ativada na construção de sentido da obra
Abstract: This study intend to understand the process of adapting Nelson Rodrigues texts to the television media, by analysing the episodes from the serie A vida como ela é, directed by Daniel Filho, scripted by Euclydes Marinho, based on texts taken from the column with the same name written by Nelson Rodrigues, published in the newspaper Última Hora, during the 1950 decade, and broadcasted during the program Fantastico, by Rede Globo de Televisão, in 1996. We were interested in studying, from a view directed to the narrative and discursive aspects, components of audiovisual language, how television media was explored in its strategies and singularities in the translation process of Nelson Rodrigues texts. We intend, therefore, to discuss the presence of elements from Nelson Rodrigues writing in the newspaper column, the general characteristics of the series within the television scenery, considering its singular formal aspect, its insertion into a variety show, the role taken by the series in the strategy of the TV station during its exhibition, how Nelson Rodrigues writing received colors, shapes, costumes, makeup, frameworks, music, voices and sound effects by the creative crew, and how this scenario is activated in the serie's comprehension
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Artes Visuais
Mestre em Artes Visuais
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Diao, Ming Ming. "Research into Chinese television development television industrialisation in China /." Phd thesis, Australia : Macquarie University, 2009. http://hdl.handle.net/1959.14/42473.
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Thesis (PhD)--Macquarie University, Division of Society, Culture, Media and Philosophy, Department of International Communication, 2009.Bibliography: p. 431-447.
Introduction -- Literature review -- Methodology -- The development and the actual situation of television industry in China -- Commercial television in the U.S. and public television in the U.K. -- Results and discussion -- Conclusions and recommendations -- Bibliography.
Over the past five decades, China's television industry has gone through various historical periods, which have seen marked changes in China's political and economic spheres, indeed in Chinese society overall. Over the last thirty years, since the reform and opening up of China in 1978, transformation of the original television systems, structure and industrial market chain has been attempted concomitant with the gradual relaxation of the restrictions applicable to China's television industry. Within these circumstances, the Chinese government, media practitioners, and scholars are actively exploring long-term, feasible and sustainable approaches to the further development of the television industry in China. The research examines China's approaches to the development of its television industry, using McQuail's political, economic and social framework, the relevant political economy traditions involving the neoclassic paradigm and the heterodox approach, and the principles of media economics and the 'market chain' theory of the television industry. This thesis first presents a concise review of how television developed in China: it then seeks to map perceived changes and to ascertain the problems throughout the process. Research methods employed are secondary data analysis, in-depth interview and focus group. Chinese scholars, officials and media practitioners are the participants of interviews and focus groups. The discussion draws on previous analyses and discussions, to assess the overall picture of television industrialisation reformation in China, additionally drawing on discourses surrounding commercial television in the United States and public television in the United Kingdom for valuable reference material that will support China's television development. The significance of this research lies in its providing an insight into China's television reformation and adding, to the field of communication and development, the Chinese experience. The research expects to propose a television development pathway with Chinese characteristics, drawing on Chinese as well as Western theories.
Mode of access: World Wide Web.
xix, 461 p. ill
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Kroener, Oliver. "Engaging television characters : a cognitive approach to contemporary television." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/30875/.
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To what degree is the viewer’s engagement with a television character triggered by the distinct narrative context of a programme? As with other types of storytelling (e.g. film, literature), engaging with a television character is an integral part of the overall experience of watching television. More specifically, television characters provide an emotional focal point for the audience. They invite us to imagine ourselves in their situation, challenge our sense of morality, and encourage us to consider how we would react if we were to encounter them in our everyday life. Whereas in the past relating to television characters has been somewhat of a private phenomenon, our relationship with television characters has become increasingly public within the last decade. The ever-growing recap culture around all types of television programmes on websites such as The AV Club, Uproxx, and IndieWire, and the lively discourse around television characters on social media (e.g. Twitter, Instagram, Facebook) underline this increased public interest in television characters. Given the current popular interest in viewer engagement with television characters, it is surprising that only a limited number of scholarly works have previously explored this subject. Furthermore, most existing studies on the viewer/character relationship in contemporary television exhibit little variation in their focus on genre and character type. More specifically, as a result of the impact of The Sopranos (1999 - 2007) and Breaking Bad (2008 – 13) on popular culture, scholarly discourse around television characters has been dominated by studies on the morally corrupt antihero protagonists of contemporary television drama. Aside from a few notable exceptions (e.g. Gorton, 2009; Blanchet and Vaage, 2012; Mittell, 2015), most existing studies on viewer engagement with television characters ignore the way in which narrative characteristics inherent to the television medium influence the viewer/character relationship. The main aim of this thesis is to establish a medium- and programme-specific, text-based theoretical model for the study of viewer engagement with television characters. Various television formats are examined, including wrestling, contemporary drama, animated series, and late-night chat programmes. Also examined are the specific modes of engagement (e.g. antipathy, parasocial engagement, long-term viewer engagement) that shape the viewer-text relationship. The methodological approach is primarily based in cognitive media theory and television studies, however, studies on viewer engagement from a wide range of disciplines (e.g. literary studies, psychology, sociology) are also considered. By examining viewer engagement in this way, this thesis challenges and builds upon existing theoretical approaches, and seeks to provide the reader with a deeper understanding of a relationship that, despite its growing importance in the everyday lives of many television viewers, has thus far only received limited scholarly attention.
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Field, Martin Stanley. "Television advertising and television audiences in contemporary South Africa." Master's thesis, University of Cape Town, 1988. http://hdl.handle.net/11427/21144.
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Bibliography: pages 116-117.The three television channels provided by the South African Broadcasting Corporation target different demographic sectors of the South African population. A survey was conducted quantifying advertisements shown on SABC 1, which caters for a mainly black audience, and on SABC3, which caters for a mainly white audience. The semiotic codes employed to engage the viewers were recorded, tabulated and measured. The differences between the codes used on each channel were compared and tested for statistical significance. Significant differences were observed in the type of speech used by the advertisements, the race of the characters, the types of products advertised, the lifestyles portrayed and the type of rhetoric used. Specific examples were subjected to textual analysis to gauge where the approaches to the audiences differed or converged. A number of strategies were observed, reflecting the advertisers' perceptions of the audiences' relationships with the economic and political establishments. Corporate advertisements often represent the diversity of South African society, establishing a corporate identity as a unifying feature. Advertisements for financial services either exploit white anxieties, or black optimism, encouraging investment or credit purchases respectively. A stereotype representing South African isolation and backwardness is often presented as a negative identity, implying a progressive alternative to which the product is integral. Allegories of societal transformation also feature, with varying moods of anxiety or excitement depending on the audience.
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Calixto, Gustavo Moreira. "A interoperabilidade nos sistemas de televisão digital interativa." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/3/3142/tde-04072016-111102/.
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A televisão nos dias atuais tem sofrido inúmeras inovações tecnológicas nos campos das transmissões multimídia, qualidade audio-visual e diversidade de funcionalidades. Entretanto, esta essencialmente mantêm sua característica de fornecer informações de forma quase que instantânea à população. O ambiente atual da televisão digital é caracterizado pela coexistência de inúmeros dispositivos capazes de oferecerem uma experiência televisa, associando-se computadores pessoais, smartphones, tablets e outros eletrônicos de consumo. Ainda, pode se incluir a este cenário a disponibilidade de inúmeras redes de transporte de dados tais como a radiodifusão, satélite, cabo e redes em banda larga. Este cenário diversificado, em termos de dispositivos e redes, é denominado de cenário de televisão digital híbrida, a qual destaca-se a interação do expectador com os diversos dispositivos. Estes cenários, por sua vez, motivam o desenvolvimento de tecnologias que permitem o aperfeiçoamento da pervasividade e dos meios pelos os quais os aplicativos possam ser suportados em diferentes plataformas. Este trabalho propõe ambientes interoperáveis envolvendo a televisão digital interativa e outros eletrônicos de consumo, aos quais foram realizados estudos e experimentos para se observar diferentes técnicas de sincronização e comunicação entre plataformas de interatividade para a televisão digital híbrida. Os resultados apontam para a possibilidade de cenários interoperáveis envolvendo o uso de marcadores e também recursos de redes e serviços TCP/IP, levando em consideração a eficiência e eficácia nos diferentes métodos. Conclui-se que os resultados odem motivar o desenvolvimento de cenários diferenciados envolvendo a televisão digital interativa e dispositivos de segunda tela, o que incrementa a interatividade e as formas de entretenimento.The television is nowadays under a wide number of technological innovations in the fields of multimedia broadcasts, audio-visual quality and diversity of features. However, TVs essentially retain their characteristic to provide information almost instantly to the population. The current environment of digital television is characterized by the coexistence of numerous gadgats capable of providing a experience aggregating personal computers, smartphones, tablets and other consumer electronics. Thereafter, you can include this scenario the availability of numerous data transmission such as broadcasting, satellite, cable and broadband networks. This scenario in terms of devices and networks, is called hybrid digital television, which highlights the interaction of the viewer with the various devices. By the way, these scenarios motivate the development of technologies which allow the improvement of the pervasiveness and ways that applications can be supported by different platforms. This work proposes interoperable environments involving interactive digital TV and other consumer electronics, which were carried out studies and experiments to observe different synchronization techniques and communication between interactive platforms for hybrid digital television. The results pointed out to the possibility of interoperable scenarios involving the use of tags and also network resources and services such as TCP/IP, taking into account the efficiency and effectiveness of the different methods. The results could lead the development of different scenarios involving interactive digital TV and second screen devices, which increases the interactivity and forms of entertainment.
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Silva, Dirceu Lemos da. "TV a.G: A PROGRAMAÇÃO TELEVISIVA PAULISTA ANTES DA GLOBO." Universidade Metodista de São Paulo, 2012. http://tede.metodista.br/jspui/handle/tede/637.
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Previous issue date: 2012-05-07Television programming is the soul of a network. It places a TV channel within the correct identity among the viewing public and can be considered the true product of broadcasting. A network s schedule of programs is built within a strategy to attract the largest possible audience and, especially, to foment loyalty. In the 70 s, TV Globo reached the highest share-of-audience with a television schedule that, in general terms, still applies nowadays, such as the soap opera-news- soap opera formula. But how was Brazilian television programming before Globo? Which genres were the most common? What was broadcasted during the evening prime time? How was the schedule of former leader TV Tupi? Or how was programs scheduling for other networks, such as TV Excelsior and TV Record, from Mr. Paulo Machado de Carvalho? And how about TV Paulista, that operated from a small apartment? During the first two decades of the Brazilian commercial broadcasting television, we witnessed the introduction of audience ratings, videotapes, satellite transmissions and the creation of networks. How some of those technologies did influence TV programming? Through qualitative and quantitative methodologies, based on bibliographical research, data observation and interviews with TV professionals, this exploratory research is based on two structural pivots: 1) Review the main classification criteria for television genres and, with this classification, conduct the second part of the study; 2) Analyze the characteristics of TV programming for the four leading commercial broadcasting networks in São Paulo, during the decades of 1950 and 1960.
A programação é a alma da emissora, ela dá identidade ao canal e é o verdadeiro produto da TV. A grade de programação faz parte de uma estratégia que busca atrair o máximo de audiência possível e, principalmente, mantê-la fiel. Na década de 1970, a TV Globo alcançou o primeiro lugar de audiência com um modelo de grade que, em linhas gerais, permanece até hoje, como por exemplo, o sanduíche novela-telejornal-novela. Mas como era programação televisiva antes da Globo? Quais os gêneros de programas mais comuns? O era exibido no horário nobre? Como era a programação da então líder TV Tupi? Da glamurosa TV Excelsior? Da TV Record de Paulo Machado de Carvalho? E da pequena TV Paulista que funcionava num apartamento? Nas duas primeiras décadas da TV brasileira é que surgiram as pesquisas de audiência, o videoteipe, as transmissões via satélite e o início da formação das redes. Como algumas dessas tecnologias influenciaram a programação? Por meio de uma metodologia quantitativa e qualitativa, baseada em pesquisa bibliográfica, observação de dados e em entrevistas com profissionais do setor, esta pesquisa de caráter exploratório se baseia em dois eixos estruturais: 1) Rever os principais critérios de classificação de gêneros televisivos e, com esta classificação, fazer a segunda parte do estudo: 2) Analisar as características de programação das quatro emissoras comerciais de maior audiência da TV aberta paulista, nas décadas de 1950 e 1960.
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Escudero, i. Royo Avelina. "Programes educatius a TV3." Doctoral thesis, Universitat de Barcelona, 1990. http://hdl.handle.net/10803/670436.
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Tesis de carácter documental que contiene cinco índices, que forman el núcleo del trabajo:
I. Índice general por series programáticas: ofrece una relación ordenada diacrónicamente sin, en principio, hacer ninguna clasificación sobre los programas que pueden servir para la enseñanza. El número de series relacionadas es de 138, que se desglosan de 4.102 programas.
II. Índice temático: Presenta una relación de los programas educativo-culturales por temas o materias (26 apartados temáticos), indicando qué programas o series de programas corresponden a cada tema.
III. Índice conceptual: hace referencia a los conceptos, a las ideas de carácter educativo y cultural (unos 1.500 conceptos), que se relacionan con los programas ya mencionados.
IV. Índice pedagógico: ofrece una relación de carácter pedagógico o educativo en un sentido estricto, en una doble dirección: a) programas de carácter pedagógico-general, institucional y didáctico y b) programas de carácter cultural-informativo.
V. Índice cronológico: presenta una relación cronológica estricta de los programas educativo-culturales de TV3.
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Costa, Sarah Moralejo da [UNESP]. "Supernatural na web: produção e reprodução audiovisual em suporte convergente." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/89376.
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A diversidade de suportes e mídias que povoam o mercado tecnológico atualmente desperta preocupações por parte dos produtores de conteúdo cultural comercial devido principalmente à necessidade de atender a um novo público que busca cada vez mais interagir com narrativas, com os produtores e com demais consumidores. A web, com suas ferramentas de interatividade e construção coletiva de conhecimento, se destaca como ponto de união de interesses tanto de produtores, com a maior variabilidade de suas narrativas, quanto dos consumidores, com suas diversas formas de fruição de conteúdo. Partindo da hipótese de que as ferramentas da web interferem na forma de fruição, o objetivo da pesquisa se volta para a identificação dessas ferramentas e análise crítica de sua utilização na transmissão de conteúdo audiovisual na web. A pesquisa se debruça sobre um produto audiovisual, a série de TV Supernatural, buscando observar quais são as ferramentas envolvidas no processo de convergência midiática entre televisão e internet, mais especificamente, a apropriação feita pelo público do conteúdo audiovisual para sua transmissão na web, originalmente produzido para a TV. O objetivo é compreender criticamente esse deslocamento de conteúdo e qual a importância das características da web para essa dinâmica, buscando responder quais recursos midiáticos estão disponíveis para transmissão de conteúdo audiovisual. Esta observação se faz a partir da análise de três sites distintos, com formas diferentes de disponibilização do conteúdo de série Supernatural, buscando uma gama maior de ferramentas disponíveis próprias da web
The diversity in media and supports which populate the technology market nowadays brings about some worry on the part of the producers of culturally commercial content due, mainly, to the need of catering to a new public who looks more and mor to interact with the narrative, with said producers and with other consumers of such media. The web, with its interactivity tools and collective construction of knowledge, comes across as union focus of of interests from the part of the producers, with a greater varibility of its narratives, and also from the part of the consumers, with its many ways of fruition of such content. Coming from the bypothesis that the web-tools interfere in the ways of fruition, the aim of this research is to turn is focus on the identification of these tools and on the critical analysis of its usage in the transmission of audiovisual content over the web. The research focu on an audiovisual product, the TV series Supernatural, aiming to observe what are the tools involved in the media convergence process between television and the internet, more specifically, the appropriation made by the public of the audiovisual content for its transmission on the web, originally produced for the TV. The goal is to critically understand such content displacement and what is the importance of the web characteristics for this dynamic, trying to answer what media resources are available for the transmission of audiovisual content. This observation is made by the analyses of three distinct websites, with different ways of release of the content of the series Supernatural, trying to achieve e bigger frame of reference on the tools available over the web
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Costa, Sarah Moralejo da. "Supernatural na web : produção e reprodução audiovisual em suporte convergente /." Bauru : [s.n.], 2012. http://hdl.handle.net/11449/89376.
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Orientador: Marcelo Magalhães BulhõesBanca: Rogério Ferraraz
Banca: Mauro de Souza Ventura
Resumo: A diversidade de suportes e mídias que povoam o mercado tecnológico atualmente desperta preocupações por parte dos produtores de conteúdo cultural comercial devido principalmente à necessidade de atender a um novo público que busca cada vez mais interagir com narrativas, com os produtores e com demais consumidores. A web, com suas ferramentas de interatividade e construção coletiva de conhecimento, se destaca como ponto de união de interesses tanto de produtores, com a maior variabilidade de suas narrativas, quanto dos consumidores, com suas diversas formas de fruição de conteúdo. Partindo da hipótese de que as ferramentas da web interferem na forma de fruição, o objetivo da pesquisa se volta para a identificação dessas ferramentas e análise crítica de sua utilização na transmissão de conteúdo audiovisual na web. A pesquisa se debruça sobre um produto audiovisual, a série de TV Supernatural, buscando observar quais são as ferramentas envolvidas no processo de convergência midiática entre televisão e internet, mais especificamente, a apropriação feita pelo público do conteúdo audiovisual para sua transmissão na web, originalmente produzido para a TV. O objetivo é compreender criticamente esse deslocamento de conteúdo e qual a importância das características da web para essa dinâmica, buscando responder quais recursos midiáticos estão disponíveis para transmissão de conteúdo audiovisual. Esta observação se faz a partir da análise de três sites distintos, com formas diferentes de disponibilização do conteúdo de série Supernatural, buscando uma gama maior de ferramentas disponíveis próprias da web
Abstract: The diversity in media and supports which populate the technology market nowadays brings about some worry on the part of the producers of culturally commercial content due, mainly, to the need of catering to a new public who looks more and mor to interact with the narrative, with said producers and with other consumers of such media. The web, with its interactivity tools and collective construction of knowledge, comes across as union focus of of interests from the part of the producers, with a greater varibility of its narratives, and also from the part of the consumers, with its many ways of fruition of such content. Coming from the bypothesis that the web-tools interfere in the ways of fruition, the aim of this research is to turn is focus on the identification of these tools and on the critical analysis of its usage in the transmission of audiovisual content over the web. The research focu on an audiovisual product, the TV series Supernatural, aiming to observe what are the tools involved in the media convergence process between television and the internet, more specifically, the appropriation made by the public of the audiovisual content for its transmission on the web, originally produced for the TV. The goal is to critically understand such content displacement and what is the importance of the web characteristics for this dynamic, trying to answer what media resources are available for the transmission of audiovisual content. This observation is made by the analyses of three distinct websites, with different ways of release of the content of the series Supernatural, trying to achieve e bigger frame of reference on the tools available over the web
Mestre
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PENATI, CECILIA. "Il focolare elettronico. Una storia culturale dell'ingresso della televisione nello spazio domestico (1954-1960)." Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1100.
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Obiettivo della tesi è stato quello di ricostruire una storia culturale della televisione italiana delle origini, concentrandosi sui percorsi attraverso i quali il medium è diventato parte integrante delle routine quotidiane del suo primo pubblico, cercando di dare senso a come la prima audience del piccolo schermo abbia sperimentato l’arrivo della televisione nello spazio della casa, nel corso degli anni di istituzionalizzazione del medium in Italia (1954-1960).
Dopo una ricognizione della letteratura scientifica sul tema della domestication dei mezzi di comunicazione, della biografia culturale degli oggetti tecnici e dell’analisi storica delle “culture di visione” della tv, la seconda sezione della tesi prende in esame come il sistema dei media popolari (il discorso pubblicitario, il dibattito pubblico sulla stampa popolare, i paratesti aziendali della Rai) abbia attribuito significati alla televisione, "insegnando" al suo primo pubblico come collocarla nello spazio della casa. La terza sezione della tesi è dedicata a una ricostruzione storica del primo consumo televisivo domestico, svolta attraverso una ricerca etnografica condotta con venti interviste a testimoni che hanno vissuto in prima persona la prima diffusione dei ricevitori e la loro prima collocazione nello spazio della casa.This dissertation is aimed to outline a cultural history of early Italian television, focusing on the pattern by which TV became part of its first audience’s daily routines, and trying to give sense of how the first public of the small screen experienced the arrival of the television in the space of their homes, in the years of institutionalisation of the new medium (1954-1960). After an overview of the scientific literature that has dealt with the topic of “media domestication”, cultural biography of technical objects, and historical analysis of television’s culture of viewing, the second section of the thesis examines how the system of popular media (mainly advertising, popular press, and broadcaster’s house organs) ascribed meanings to television as a domestic medium and advised its public how to use it. A third section of the dissertation is devoted to understanding the television viewing and consumption in historical perspective, through a ethnographic research developed with twenty in-depth interviews to witnesses that participated directly in the first diffusion and domestication of the TV sets in Italy.
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PENATI, CECILIA. "Il focolare elettronico. Una storia culturale dell'ingresso della televisione nello spazio domestico (1954-1960)." Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1100.
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Obiettivo della tesi è stato quello di ricostruire una storia culturale della televisione italiana delle origini, concentrandosi sui percorsi attraverso i quali il medium è diventato parte integrante delle routine quotidiane del suo primo pubblico, cercando di dare senso a come la prima audience del piccolo schermo abbia sperimentato l’arrivo della televisione nello spazio della casa, nel corso degli anni di istituzionalizzazione del medium in Italia (1954-1960).
Dopo una ricognizione della letteratura scientifica sul tema della domestication dei mezzi di comunicazione, della biografia culturale degli oggetti tecnici e dell’analisi storica delle “culture di visione” della tv, la seconda sezione della tesi prende in esame come il sistema dei media popolari (il discorso pubblicitario, il dibattito pubblico sulla stampa popolare, i paratesti aziendali della Rai) abbia attribuito significati alla televisione, "insegnando" al suo primo pubblico come collocarla nello spazio della casa. La terza sezione della tesi è dedicata a una ricostruzione storica del primo consumo televisivo domestico, svolta attraverso una ricerca etnografica condotta con venti interviste a testimoni che hanno vissuto in prima persona la prima diffusione dei ricevitori e la loro prima collocazione nello spazio della casa.This dissertation is aimed to outline a cultural history of early Italian television, focusing on the pattern by which TV became part of its first audience’s daily routines, and trying to give sense of how the first public of the small screen experienced the arrival of the television in the space of their homes, in the years of institutionalisation of the new medium (1954-1960). After an overview of the scientific literature that has dealt with the topic of “media domestication”, cultural biography of technical objects, and historical analysis of television’s culture of viewing, the second section of the thesis examines how the system of popular media (mainly advertising, popular press, and broadcaster’s house organs) ascribed meanings to television as a domestic medium and advised its public how to use it. A third section of the dissertation is devoted to understanding the television viewing and consumption in historical perspective, through a ethnographic research developed with twenty in-depth interviews to witnesses that participated directly in the first diffusion and domestication of the TV sets in Italy.
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Capanema, Letícia Xavier de Lemos. "A televisão no ciberespaço." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/5188.
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Previous issue date: 2009-04-28Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This study identifies some characteristics of the television in cyberspace, understood as the space of interconnected network of computers. As known, the television of the XXI century crossed the boundaries of traditional analog devices, to reside, also, in other platforms, such as those based on computer systems. Given the expansion of television and the sum of their properties to the computer, this study questions the TV specificity in cyberspace, and, therefore, what are the characteristics of this new TV. This master's thesis aims to investigate television products in the cyberspace, trying to understand aspects of the reform of television in this environment, and identify elements to its own procedure. For so, television formats in the Internet and digital TV are highlighted, as the search corpus. First, the study elaborates a brief reflection on past and current expectations regarding the future of television, approached in works of fiction and scientific realities. Such reflection serves as reference to understand contemporary expectations related to digital technology. Aiming to contextualize, in the theoretical field, the current television, this work recovers theories of specificity and periodizations of television, as well as those theories that deal with the convergence of media and processes of hybridization. The concept of additive media of Janet Murray and the theory of remediation of Jay Bolter and Richard Grusin are essential to analyze reforms of television in cyberspace. Finally, the research basis on properties of new media - those already erected by Lev Manovich, as those defined by Janet Murray - to analyze and identify characteristics of the mediation of television in the cyberspace. The conclusions of the research allow classifying the current television moment as a period of intense experiments. These experiments involve the application of computational logic and processes in television production, transforming and expanding the definition of television
Esta pesquisa identifica algumas características próprias da televisão presente no ciberespaço, espaço esse entendido como o das comunicações interconectadas por rede de computadores. Como sabido, a televisão do século XXI transpôs os limites dos tradicionais aparelhos analógicos, para habitar, também, outras plataformas, como as baseadas em sistemas computacionais. Diante da expansão da televisão e da junção de suas propriedades às do computador, questiona-se como se definem as especificidades televisivas no ciberespaço e, portanto, quais seriam as características próprias dessa nova televisão. A presente dissertação de mestrado tem como objetivo, pois, investigar manifestações, ditas televisivas, presentes no ciberespaço, buscando compreender aspectos da reformulação da televisão nesse ambiente, bem como identificar elementos próprios a seu processo de mediação. Para tanto, são destacados, como corpus da pesquisa, formatos televisivos existentes na internet e a TV digital. Preliminarmente, realiza-se uma breve reflexão sobre expectativas antigas e atuais relacionadas ao futuro da televisão, abordadas em obras de ficção e realidades científicas. Tal reflexão constitui-se como referência, para compreensão de expectativas contemporâneas relacionadas à tecnologia digital. Objetivando situar o atual momento televisivo, no campo teórico, são resgatadas teorias sobre as especificidades e periodizações da televisão, bem como aquelas que tratam da convergência dos meios e seus processos de hibridização. Em seguida, o estudo busca auxílio no conceito de mídia aditiva de Janet Murray e na teoria da re-midiação de Jay Bolter e Richard Grusin, para analisar reformulações da televisão no ciberespaço. Por fim, a pesquisa se ampara em propriedades das novas mídias tanto as já erigidas por Lev Manovich, como as definidas por Janet Murray - para analisar e identificar características do processo de mediação de televisões existentes no ciberespaço. As conclusões alcançadas na pesquisa permitem classificar o atual momento televisivo como período de intensas experimentações. Tais experiências envolvem a aplicação de lógicas e processos computacionais na produção expressiva televisiva, de modo a transformar e expandir a definição de televisão
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Borer, Tim. "Television standards conversion." Thesis, University of Surrey, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.317305.
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Lewis, Justin. "Decoding television news." Thesis, University of Sheffield, 1985. http://etheses.whiterose.ac.uk/10195/.
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The thesis attempts to develop the field of audience research, by adapting recently developed theoretical approaches to an empirical study of the television audience. The thesis begins by examining two general theoretical areas that provide a framework for the research - semiology and theories of ideology. The work of Louis Aithusser is analysed in a movement towards a semiological theory of ideology. The thesis then examines work on the media that has developed out of this broad tradition - notably cultural studies, textual analysis, discourse analysis and the semiotics of film and T. V. Detailed attention is paid to the theory of encoding and decoding, and, in particular, the work of David Morley. The objective of this examination is to set up the encoding/decoding model within a semiological framework for use in practical research on the T. V. audience. The audience research itself is based upon an exhaustive analysis of fifty in-depth interviews with viewers following a screening of a pre-recorded News at Ten. The aim of the research was not to investigate the views of the fifty decoders, but to establish how and why readings of television programmes are constructed - the process of decoding. The research is presented in three stages. The readings of one item (about British Leyland) are scrutinised in order to establish an appropriate set of variables for understanding the decoding process. These variables are then used to systematically analyse the readings of another single item (about troubles in the West Bank). The points raised during this analysis are then developed in relation to readings of the whole programme. The research reveals a number of problems in the form and character of television news. The thesis therefore ends with a set of recommendations for overcoming these problems.
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Bunn, Derek L. "Interactive Television News." Diss., CLICK HERE for online access, 2010. http://contentdm.lib.byu.edu/ETD/image/etd3397.pdf.
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Polettini, Ricardo [UNESP]. "Produção jornalística em TV digital: mapeamento de competências informacionais para redação convergente." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/89557.
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polettini_r_me_bauru.pdf: 463503 bytes, checksum: 8a300ed9746cfb663a13b13a78a8551e (MD5)O desenvolvimento tecnológico modificou os hábitos de consumo de informação e produção de conteúdos. Para os jornalistas, os avanços das tecnologias da informação e comunicação impactaram diretamente no modo de produzir notícias. Transformaram as redações em usinas de processamento e divulgação de informações em diversas plataformas digitais, ou seja, em redações convergentes. A televisão digital requer, nesse contexto, readequações nos processos produtivos para atender à maior demanda por conteúdos. Com base em pesquisa exploratória, bibliográfica e documental, descrevemos transformações nas redações e nos processos de produção jornalística para televisão e fazemos um mapeamento de competências informacionais desejáveis para atuação eficiente nas redações convergentes de televisão
O desenvolvimento tecnológico modificou os hábitos de consumo de informação e produção de conteúdos. Para os jornalistas, os avanços das tecnologias da informação e comunicação impactaram diretamente no modo de produzir notícias. Transformaram as redações em usinas de processamento e divulgação de informações em diversas plataformas digitais, ou seja, em redações convergentes. A televisão digital requer, nesse contexto, readequações nos processos produtivos para atender à maior demanda por conteúdos. Com base em pesquisa exploratória, bibliográfica e documental, descrevemos transformações nas redações e nos processos de produção jornalística para televisão e fazemos um mapeamento de competências informacionais desejáveis para atuação eficiente nas redações convergentes de televisão
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Nobre, Ana Lúcia Maurício. "O mundo da criança: análise da publicidade televisiva a brinquedos." Master's thesis, Instituto Superior de Ciências Sociais e Políticas, 2011. http://hdl.handle.net/10400.5/3406.
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Dissertação de Mestrado em Comunicação SocialO objectivo deste estudo é identificar as principais caraterísticas dos anúncios televisivos a brinquedos. Procurámos perceber como é que se processa o desenvolvimento da criança, qual a importância do brinquedo nesse processo, para entender como é que a publicidade, especialmente a emitida pela televisão, a pode influenciar e quais as reacções da criança à publicidade. Foram utilizadas dois tipos de análise: a Análise de Conteúdo, para compreender e identificar as características dos anúncios referidos e quais os brinquedos mais relevantes, através da análise a 61 anúncios a brinquedos emitidos em Novembro de 2009, pela SIC; na Análise Secundária de Fontes Oficiais foram utilizados os dados da Marktest para percebermos, ao nível de investimento, a importância do sector dos brinquedos. Concluímos que neste tipo de anúncios o discurso é emotivo, havendo sempre música e narrador. As crianças são uma presença frequente, assim como os desenhos animados e o manuseamento do produto. O tema e o brinquedo mais relevante varia consoante o género do destinatário. Relativamente ao mercado publicitário, este sector não tem muita expressão. Numa sociedade onde a publicidade é uma presença constante os pais e escolas desempenham um papel fundamental na preparação das crianças para esta realidade.
The aim of this study is to identify the main features of television toy’s advertisements. We tried to understand the process of child development, the role of toys in it, in order to understand how can advertising, specially the one viewed on television, influence children and how they react to it. Were used two types of analysis: content analysis, to understand and identify the features of these advertisements and also which are the most relevant toys, through the analysis of 61 toy’s advertisements, broadcasted in November 2009, by SIC; in the secondary analysis of official statistics, were used the data of Marktest in order to realise, through the investment, the importance of toys in the advertising market. We conclude that these type of advertisements have an emotional speech, also the presence of music and a narrator are always there. Children, cartoons and handling the product are other features that appear in them very often. The theme and the most relevant toys depends on the gender of the children. Regarding the advertising market this sector as little expression. In a society were advertising is everywhere parents and schools play a key role in preparing children for this reality.
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Ma, Eric Kit-Wai. "Television ideologies and cultural identities : the case of Hong Kong television." Thesis, Goldsmiths College (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.294793.
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Simmons, Diena L. "Motivations and Gratifications for Selecting a Niche Television Channel: BYU Television." BYU ScholarsArchive, 2002. https://scholarsarchive.byu.edu/etd/5110.
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The growth of direct broadcast satellite television distribution to the home as a viable competitor to cable and terrestrial broadcast has fostered the availability of special interest or niche channels and therefore provided greater choice to the viewer. This study, based on uses and gratifications theory, examined the relationships among ritual and instrumental viewing motivations and satisfactions, viewer religiosity, and viewing attentiveness as they related to the selection of a niche television channel, Brigham Young University Television. The uses and gratification approach provides an appropriate framework for studying "media consumption, the interrelated nature of television user motives, and the relationships among viewing motives and viewing patterns" (Abelman, 1989, p. 57). Data was gathered by way of an online survey of non-random, self-selected BYU Television viewers. Participants answered 67 questions about their motives for choosing to view BYU Television and the gratifications they received from their viewing. The 596 valid responses to the survey were analyzed. The study results are in harmony with previous uses and gratifications studies examining ritual and instrumental viewing patterns. The data found positive relationships between instrumental viewing motives and instrumental viewing satisfactions, as well as instrumental viewing motives and viewing selectivity. There was no support for those hypotheses that dealt with the level of viewing attention as it related to religiosity or instrumental viewing motives. Future topics of study are suggested including the opportunity an expanded media universe provides to increase the depth and breadth of uses and gratification theory, as well as to study the role of niche television services in community building.
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Wilding, Derek. "AIDS and pro-social television : industry, policy and Australian television drama." Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/36314/6/36314_Digitised%20Thesis.pdf.
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This thesis examines the intersection of popular cultural representations of HIV and
AIDS and the discourses of public health campaigns. Part Two provides a
comprehensive record of all HIV related storylines in Australian television drama
from the first AIDS episode of The Flying Doctors in 1986 to the ongoing narrative
of Pacific Drive, with its core HIV character, in 1996. Textual representations are
examined alongside the agency of "cultural technicians" working within the
television industry. The framework for this analysis is established in Part One of
the thesis, which examines the discursive contexts for speaking about HIV and AIDS
established through national health policy and the regulatory and industry
framework for broadcasting in Australia. The thesis examines the dominant liberal
democratic framework for representation of HIV I AIDS and adopts a Foucauldian
understanding of the processes of governmentality to argue that during the period of
the 1980s and 1990s a strand of social democratic discourse combined with
practices of self management and the management of the Australian population. The
actions of committed agents within both domains of popular culture and health
education ensured that more challenging expressions of HIV found their way into
public culture.
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Rocha, Liana Vidigal. "A televisão pública num ambiente de competição comercial. Estudo dos modelos brasileiro e português." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/27/27142/tde-13082009-162336/.
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Esta pesquisa tem o propósito de mostrar como as televisões públicas do Brasil e de Portugal, no caso a TV Cultura e a RTP, convivem num ambiente de competição comercial. A partir de uma pesquisa bibliográfica foi possível estabelecer um quadro teórico de referência sobre serviço público, seus princípios e alguns modelos de televisão pública existentes na Europa Ocidental. Posteriormente, por meio de entrevistas, foi realizado um levantamento de informações que contribuíram para a análise e interpretação das características do objeto de estudo. Um dos principais resultados dessa pesquisa assinala que as televisões públicas dos dois países, em questão, encontram-se diante de um dilema: devem se manter fiéis aos princípios do serviço público ou se entregam às demandas do mercado, agindo comercialmente conforme um canal privado.This research has the intention to show as the public televisions of Brazil and of Portugal, in this case the TV Cultura and the RTP, coexists in an environment of commercial competition. From a bibliographical research it was possible to establish a theoretical picture of reference on public service, its principles and some existing models of public television in the Europe Occidental. Later, by means of interviews, a survey of information was carried through that had contributed for the analysis and interpretation of the characteristics of the study object. One of the main results of this research designates that the public televisions of the two countries, in question, meet ahead of a quandary: fidiciary offices to the principles of the public service must be remained or deliver the demands to it of the market, acting commercially as a private channel.
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Léon, Ruiz Julio Humberto 1985. "Contribuições para o desenvolvimento de aplicações interativas para TV digital baseadas em Ginga-NCL." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/260055.
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Orientador: Yuzo IanoDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Elétrica e de Computação
Made available in DSpace on 2018-08-19T03:10:19Z (GMT). No. of bitstreams: 1 LeonRuiz_JulioHumberto_M.pdf: 2376672 bytes, checksum: 1993d7f97b27f20af58d196c57892d90 (MD5) Previous issue date: 2011
Resumo: No entorno atual da televisão digital no Brasil, a interatividade é uma característica importante para se estabelecer uma plataforma de comunicação entre os usuários e as emissoras. O middleware Ginga, ainda em desenvolvimento, se apresenta como uma oportunidade para a interatividade por meio do Ginga-NCL, um framework que permite o desenvolvimento de aplicações usando as linguagens NCL e Lua. Porém, as formas de se implementar aplicações não são padronizadas, uma vez que os receptores no mercado são limitados em hardware e as aplicações nem sempre poderão ser executadas sem seguir algumas regras ou restrições para se otimizar as aplicações. Este trabalho oferece uma nova perspectiva sobre o desenvolvimento de gráfico de aplicações interativas, com técnicas para se otimizar os parâmetros limitantes, além de uma biblioteca de código aberto para se implementar um teclado virtual em qualquer aplicação Ginga-NCL
Abstract: Interactivity for digital television is, nowadays, a very important feature to stablish a communication pathway between users and broadcasters, due to digital television's current status in Brazil. The Ginga middleware, still in development status, presents an opportunity for achieving interactivity via Ginga-NCL, a framework that allows application development and deployment using NCL and Lua programming languages. However, there are not standardised ways to develop applications, the currently available receivers in the market are very limited in hardware, and released applications will not be able to always execute flawlessly without standards or guidelines to optimise them. The author's work offers a new perspective on graphical environment development for interactive applications with techniques to optimise against the limiting factors, and presents an open-source library for implementing a virtual keyboard in any Ginga-NCL application as well
Mestrado
Telecomunicações e Telemática
Mestre em Engenharia Elétrica
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Feng, Zhuo [Verfasser]. "Cultural Difference in Television Programs : Foreign Television Programs in China / Zhuo Feng." Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2012. http://d-nb.info/1042470707/34.
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Barabas, James. "Holographic television : measuring visual performance with holographic and other 3D television technologies." Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/91863.
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Thesis: Ph. D., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2014.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 89-96).
We are surrounded by visual reproductions: computer screens, photographs, televisions, and countless other technologies allow us to perceive objects and scenes that are not physically in-front of us. All existing technologies that reproduce images perform engineering tradeoffs that provide the viewer with some subset of the visual information that would be available in person, in exchange for cost, convenience, or practicality. For many viewing tasks, incomplete reproductions go unnoticed. This dissertation provides a set of findings that illuminate the value of binocular disparity, and ocular focus information that can be provided by some three-dimensional display technologies. These findings include new experimental methods, as well as results, for conducting evaluations of current and future display technologies. Methodologies were validated on an implementation of digital holographic television, an image capture and reproduction system for visual telepresence. The holographic television system, allows viewers to observe, in real-time, a remote 3D scene, through a display that preserves focus (individual objects can be brought into optical focus at the expense of others), and horizontal motion parallax (depth and other geometry of objects appears natural over a range of head movement). Holographic television can also emulate other precursor 2D and 3D display technologies. This capability was used to validate the evaluation methodologies (meta-evaluation) by comparing visual performance on simulations of conventional displays to results of past studies by other researchers.
by James Barabas.
Ph. D.
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Johnson, Lori Jean. "Nationalism in Canadian television." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28077.
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Contemporary Canadian television suffers from a severe lack of indigenous programming. The majority of programming available on Canadian television screens comes from foreign sources, predominantly the United States, and most of the programs watched by Canadian viewers are American. The dominance of American programming in Canada has resulted in a television system in which indigenous programming plays a minor role. If the Canadian television system is to achieve the aims for which it was created, domestic programming must become a vital force in the system. What is needed are domestic programs that deal with Canadian nationalism.
In this thesis, Canadian nationalism will be defined, and methods for creating television programs in which nationalism is an influential force will be proposed. The suggested changes will focus on entertainment programming, as this is the most popular programming category in Canada. The type of programs necessary will be discussed in detail, and other actions that will help create a framework in which creation of these programs is possible will be outlined. This thesis will show why it is vital that nationalism becomes a significant aspect of entertainment programming, how this can be achieved, and why it should occur as soon as possible.Arts, Faculty of
Theatre and Film, Department of
Graduate
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Liljeqvist, Fredrik, and Marcus Liljeqvist. "Ljudnivåhantering i svensk television." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-145854.
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De flesta klagomål TV-bolag får in från tittare handlar om den upplevda ljudnivåskillnaden mellan program och kanaler. Speciellt irriterande är övergången mellan program och reklam/trailers. Därför har detta examensarbete studerat de svenska TV-kanalerna SVT1, TV3, TV4 och Kanal 5 i avseende att belysa detta problem och dess orsaker. Arbetet har utgått ifrån The European Broadcasting Unions mätstandard för ljudnivånormalisering: loudness recommendation EBU R128. Denna innefattar algoritmer för hur den perceptuella ljudnivån bör mätas och riktlinjer för hur dessa nivåer bör hanteras. I utredningen har intervjuer, mätmetoder och användartester genomförts för att besvara hur kanalerna förhåller sig till ljudnivånormalisering enligt EBU R128 samt om kanalernas nuvarande ljudnivåbehandling är tillfredsställande för tittarna. Resultatet visar att ingen kanal ännu implementerat EBU R128. Däremot har TV4 inlett en ljudnivånormalisering enligt standarden men frångått riktlinjerna för hur mätvärdena ska hanteras. Företagen är eniga om att en överenskommelse mellan kanalerna krävs för att en implementation ska genomföras. Detta eftersom standarden innebär en sänkning av kanalernas nuvarande ljudnivå. Vidare visar resultatet tendenser på att den ljudnivåbehandling kanalerna använder idag inte alls är tillfredsställande för tittaren på någon av kanalerna. Dessutom visar mätresultat att detta skulle förbättras av en implementation av EBU R128. Samtidigt framkommer diverse problemområden inom EBU R128 som lämnar rum för förbättring av standarden. Materialet finns för att lösa problemet, nu krävs bara att TV-bolagen kommer överrens om att använda dem.The majority of complaints TV-companies receive from viewers are about the difference in perceived sound level between shows and channels. Especially irritating are the transitions from programmes to commercials/trailers. Therefore, this bachelor’s thesis has studied the Swedish TV-channels SVT1, TV3, TV4 and Kanal 5 in order to map out this problem and its causes. The investigation has proceeded from The European Broadcasting Union’s standard of loudness normalization: Loudness recommendation EBU R128. This includes algorithms for how the perceptual sound level should be measured, and guidelines as to how these levels should be managed. The investigation uses interviews, measurement methods and user-tests in order to answer what the approach of these channels is to level normalization according to EBU R128, and if the present sound level treatment of these channels is satisfying to the viewers. The results show that none of the channels have yet implemented EBU R128. However, TV4 have started normalizing their sound levels according to EBU R128, but abandoned the guidelines as to how the measurement values should be managed. The companies are unanimous in that an agreement between the channels is necessary for an implementation to take place. This is because the standard means a lowering of the channel’s present overall sound level. Furthermore the results show tendencies that the present sound level treatment is not satisfying to the viewer on any channel. The results of the measurements show that this would be improved by an implementation of EBU R128. Meanwhile, different problem areas are apparent within EBU R128 which leave room for an improvement of the standard. The material for solving these problems exists, now all that is needed is for the TV-companies to agree on using them.
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Curtis, Jenefer. "Neil Postman on television." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ57764.pdf.
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Gura, Damon E. "Television technology data link." Ohio : Ohio University, 1996. http://www.ohiolink.edu/etd/view.cgi?ohiou1178649372.
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Howland, Paul Edward. "Television based bistatic radar." Thesis, University of Birmingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275123.
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Robinson, Rebecca Grace. "Scottish television comedy audiences." Thesis, University of Glasgow, 2002. http://theses.gla.ac.uk/1177/.
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This study explores how Scottish people feel about representations of Scottishness in contemporary television comedy. The thesis is in two related parts, articulating an exploration of genre, comedy and Scottish television texts with the theory, methodology and analysis of empirical audience research. The thesis begins by exploring how current television comedy is poorly served by critical literature beyond notions of genre although this field of study too fails to indicate significant contemporary permeabilities between comedy sub-genres, and between comedy and other kinds of leisure shows. The second chapter explores historical approaches to Scottish cultural criticism and literary myths (Tartanry, Kailyardism, Caledonian anti-syzygy, Clydesidism) and sets these against contemporary mythologising by individual Scottish comedy practitioners. The second half of the thesis marks a shift from textual studies toward audience research, and in particular develops a discussion about the problematics of researching comedy and audiences qualitatively. The first part of the second half is a literature survey of selected examples of audience research which is translated from theory and epistemology, to methodology and technique in the next section which comprises a discussion of the model for the empirical data collection. The next section presents data from a quantitative survey and qualitative focus-group discussions. The last part of the second section interprets the data through triangulation although this is limited by lack of comparable critical materials. The whole attempts to explore concepts of national identity in Scottish television comedy with audiences, but also develops the additional problematic of empirical quantitative research and comedy themes.
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Brown, Roger. "Children and popular television." Thesis, Cardiff University, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.375974.
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Truog, Michael R. "The television pause function." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/26806.
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Khor, Eng Keat. "Processing digital television streams." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/38113.
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Mori, Yutaka. "Demand for interactive television." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/11863.
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Curtis, Jenefer (Jenefer Ann) Carleton University Dissertation Journalism and Communication. "Neil postman on television." Ottawa, 2000.
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Homer, Mona U. "Television and migrant children." Thesis, Homer, Mona U. (1993) Television and migrant children. Honours thesis, Murdoch University, 1993. https://researchrepository.murdoch.edu.au/id/eprint/49734/.
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This study is in the tradition of audience reception research and has its focus on the relationship between television viewing and the everyday life of a group of children, who had recently migrated to Australia from non-English speaking countries.
The research method applied in this study is ethnographic, using indepths interviews with the children as well as some observations about the television viewing activity in their homes.
In chapter one, I present the theoretical context in which this case study can be located.
Chapter 2 discusses the research method and provides profiles of the children.
Chapter 3 is concerned with the description of television's place in the lives of individual children, in order to give insight into social and cultural aspects of their television experiences.
Chapter 4 examines some common themes in the children's television use, highlighting how the collective experience of being a recent migrant has influence on television viewing.
The thesis is rounded off by some concluding remarks.
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Felix, José Carlos. "Film and television adaptation." Florianópolis, SC, 2004. http://repositorio.ufsc.br/xmlui/handle/123456789/87828.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Letras/Inglês e Literatura CorrespondenteMade available in DSpace on 2012-10-22T02:29:14Z (GMT). No. of bitstreams: 0
A presente pesquisa tem como objetivo principal investigar o processo de adaptação de filmes baseados em textos literários em relação ao contexto histórico e social em que eles foram produzidos. Desta forma, a pesquisa apresenta uma análise comparativa de duas versões cinematográficas da peça do dramaturgo Tennessee Williams A Streetcar Named Desire produzidas em momentos históricos distintos, a primeira para o cinema, dirigida por Elia Kazan (1951) e a outra feita para a televisão, dirigida por Glenn Jordan (1995). Uma discussão sistemática sobre o processo de
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Souza, Emiliano Daniel de. "Shakespeare, television, and painting." reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/93787.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2010Made available in DSpace on 2012-10-25T03:24:44Z (GMT). No. of bitstreams: 0
Este estudo trata da adaptação de peças de William Shakespeare à televisão. Abrange, em especial, duas produções da BBC Shakespeare Series, a saber, Antony and Cleopatra (1981), dirigida por Jonathan Miller, e Cymbeline (1983), dirigida por Elijah Moshinsky. Ambas foram filmadas numa época em que a maioria dos produtores e diretores da BBC concebiam a televisão como um meio no qual as produções tinham que parecer mais realísticas possíveis, como numa abordagem fílmica realística. Miller e Moshinsky, por outro lado, fizeram uso de estilização#uma abordagem não realística#em suas produções, tomando pinturas do final do século XVI e do século XVII como inspiração para a composição de cenários, figurinos, iluminação e organização do espaço. Este estudo busca fazer uma análise comparativa de elementos visuais das referidas produções, assim como verificar a presença e a eficácia de estilização como abordagem de se televisionar as peças de Shakespeare.
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Altafaja, Vela Silvia. "La construcción de la imagen de la mujer china y japonesa a través de los canales de televisión internacionales estatales de China, CCTV, y Japón, NHK." Doctoral thesis, Universitat Autònoma de Barcelona, 2017. http://hdl.handle.net/10803/457574.
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La globalización ha traído consigo la internacionalización de los medios de comunicación. Esta conexión directa posibilita la circulación de información en todas las direcciones y provoca un intercambio cultural e informativo muy importante abriendo un nuevo escenario. Esta tesis analiza la construcción y representación de la mujer en dos canales asiáticos internacionales estatales, el de China, CCTV, y el de Japón, NHK, cuya proyección es la ventana que da a conocer al mundo una parte de la realidad social de estos países. A pesar de ser grandes potencias económicas mundiales, China y Japón son dos países donde las tradiciones aún están profundamente arraigadas y conviven con unas sociedades aparentemente modernas y avanzadas; sin embargo, las desigualdades y desequilibrios de género son todavía un mal endémico que tienen mucho camino por recorrer antes de desparecer por completo. Comparar ambos países aporta nuevas reflexiones sobre los prejuicios y el desconocimiento que desde occidente se tiene de estas culturas y de sus realidades actuales. Los objetivos se han planteado en la línea de analizar la programación de ambos canales para delimitar qué tipos de contenidos incluyen. Los contenidos se han clasificado en macrogéneros y géneros televisivos. Se ha investigado y analizado la representación de la mujer y los estereotipos de género que se transmiten a través de estos canales y se ha establecido una comparación de la imagen representada por cada uno de estos países. Se han detectado las diferencias en los roles representados por hombres y mujeres, así como la visibilidad o invisibilidad de las mujeres en los programas analizados. Para ello se ha utilizado la metodología de análisis de contenido con el objetivo de delimitar y cuantificar una serie de categorías que definen en qué géneros televisivos es mayor la presencia de hombres y mujeres, cuándo éstos o éstas son protagonistas o no de la acción, en qué ámbitos o profesiones están inscritos ambos géneros y qué roles tienen asignados. En definitiva, nos ofrece una visión global de la representación de las mujeres en estos canales que después hemos comparado para establecer similitudes y diferencias entre ambos.Globalization has brought the internationalization of the media. This direct connection enables the circulation of information in all directions and yields a very important cultural and informative exchange, thus opening a new scenario. This thesis analyzes the construction and representation of women in two international Asian state channels: CCTV from China and NHK from Japan, whose projection is the window that shows to the world a part of the social reality of these countries. Despite being great world economic powers, China and Japan are two countries where traditions are still deeply rooted and coexist with seemingly modern and advanced societies. However, gender inequalities and imbalances are still an endemic evil that have much to go before disappearing completely. Comparing both countries brings new reflections on the prejudices and the ignorance that the west has on these cultures and their current realities. The main aim of this thesis has been to analyze the programming of both channels to delimit what types of content they include. The contents have been classified in televisión macrogenres and genres. The representation of women and gender stereotypes that are transmitted through these channels have been investigated and analyzed. A comparison of the image represented by each of these countries has been established. Differences in the roles played by men and women have been detected, as well as the visibility or invisibility of women in the analyzed programs. In order to do so, the content analysis methodology has been used to delimit and quantify a series of categories that define in which genres the presence of men and women is greater, when they are protagonists of the action or when they are not, what fields or professions are registered each of both genders and what roles are assigned. In short, it offers us a global vision of the representation of women in these channels that we have then compared to establish similarities and differences between the two.