TV shows

Evaluating and updating TV programs using data mining. Guessing the popularity of the TV show is an exciting activity with a growing interest in people in TV dramas. A simple guess of a trending TV game based on individual ratings can be made. Simple predictions of trending TV shows based on individual ratings can be made based on the target audience (Age, Year of Release, Rotten Tomatoes, etc.).

A televisão é uma máquina de fazer histórias. Todo dia, milhares de horas de narrativa voam através de ondas eletromagnéticas e cabos para dentro de nossas TVs e mentes. A televisão faz mais do que simplesmente contar histórias, obviamente, mas sua função quanto meio de narrativa exige uma análise e, com este estudo, eu proponho uma delimitação para analisar um tipo de narrativa televisiva. Diferente de alguns que descreveram a TV como um meio de narrativa, o presente trabalho não isolará o texto de seus realizadores e usuários. Meu propósito aqui é iniciar um estudo da televisão, um trabalho descritivo das estratégias dos comunicadores em moldar narrativas que provocarão certos efeitos nos telespectadores como suspense e surpresa, esperança e medo e apreciação estética. Tal estudo pode ajudar a explicar por que muitas pessoas sentem tanto prazer nas histórias veiculadas pela televisão. Em particular, estou interessado em uma forma de drama televisivo nos EUA, o contemporâneo e roteirizado prime-time serial ou PTS. Pelos últimos 25 anos, houve duas formas principais de programas de horário nobre (prime-time shows). Serials como St. Elsewhere (NBC, 1982-88) dramatizam longas histórias de maneira similar às novelas. Series como Law & Order (NBC, 1990-) seguem o formato de episódios1 no qual todos os problemas apresentados no início de um episódio são resolvidos quando chega ao final, de forma que as 1 Jess, fica atenta a uma distinção aqui. Tem uma diferença entre episódios em sentido estrito com episódios em sentido amplo. Episódio em sentido amplo significa episódio segundo o senso comum, como o episódio de uma série, de uma novela etc. Em sentido estrito, na verdade, o termo episódio designa especificamente um formato de narrativa em que cada episódio traz uma história completa em si, de maneira que o seguinte abordará uma história ou tema diferente, como em Law & Order, White Collar, CSI ou outra série, criminal, por exemplo, em que cada episódio lida com a solução de crimes e histórias distintas e sem relação alguma entre si. Quando é mencionado " formato de episódios " , estou me referindo ao sentido estrito, e não simplesmente a episódio em si (sentido amplo). Fica ligada nisso porque este termo será mencionado ao longo do artigo e é um dos pontos centrais para entender o que o autor quer dizer.

ENGLISH SUMMARY

The book "Worlds To Be Continued. Analysing Possibilities of Serial Narrativity" (in Czech "Světy na pokračování. Rozbor možností seriálového vyprávění") is built upon the assumption that fictional stories presented as serials have been a longstanding part of nearly everyday experience with narrative arts; capitalizing on the case of TV shows, it presents the intellectual framework, research background and analytical tools to effectively describe, explore and explain serial fiction.

The approach is theoretically grounded in serial fiction poetics, which aims to (1) present a systemic explanation of serial fiction, (2) capture a variability of artistic possibilities of serial narrative and, (3) offer tools for the analysis of actual serial works.

The original concept of seriality serves as foundation for the first and second aims; it remains as mere background for analytical hypotheses with regard to the third aim. Serial fiction poetics, as presented here, assumes the presence of a space-time continuum, which is created by the work through interaction with its audience. This is process is termed a fictional macroworld: narrated stories take place within its conditions and settings. Each episode of a serial constitutes an episodic world; seriality denotes a relationship between the state of affairs in a macroworld at the end of a current episode and the state of affairs in the macroworld at the end of the previous one. Depending on the intensity of connectedness between these two states and the relations of fictional characters to them, the book presents a typology of seriality, which serves as a functional and heuristic categorization, yet not as a substantive one.

(1) In the case of a separate seriality type, no fictional characters share the state of affairs at the end of the current episode with the state of affairs at the end of the previous one (e.g. The Twilight Zone, 1959-1964).
(2) In the case of a non-sequential seriality type, the current episode shares at least one fictional character with the state of the macroworld at the end of the previous one, without any open connection between these episodic worlds on the level of narrative causality (e.g. Columbo, 1968-2003).
(3) In the case of a semisequential seriality type, episodic worlds represent rather closed narrative units but they include at least one causal line of events, which continues in the state of affairs in the following episode (e.g. most of House, M.D., 2004-2012).
(4) In the case of a sequential seriality type, there are prevalent causal connections among episodic worlds on various levels (e.g. most of Dallas, 1978-1991; Pride and Prejudice, 1995; Stranger Things, 2016-?).
(5) Lastly, in the case of a disrupted seriality type, the standing linear composition of episodic worlds is problematized; instead of a line, it creates a network of relations among fictional elements in both states of affairs in a macroworld, where the currently valid state of affairs in a macroworld is being rewritten or retrospectively changed (e.g. Arabela, 1980-1981; Day Break, 2006; Lost, 2004-2010).

Worlds To Be Continued is divided into three parts, which are all based on analyses of a sample of roughly four hundred television serials from various countries and times.

1. SERIALITY AS A SYSTEM

The first part of the book gives a systemic explanation of seriality, using the five types top-down, and in these contexts, it describes ways of mediating information (a narrative outline) and issues of identifying fictional entities across episodes (a fictional macroworld arrangement). Both aspects turned out to be functionally related, and they expose a logic of an inner composition of seriality as a specific kind of fictional representation. The first part stands for a theoretical-descriptive dimension of the serial fiction poetics. It deals with relationships of seriality within a theoretical frame and, while considering its systemic transformations, it aims at a clarity of explanations.

2. SERIALITY AS A REGISTRY OF POSSIBILITIES

The second part of the book explores variable possibilities of serial narrative. It approaches the types of seriality from its material, bottom-up, as it explores preferred registries of artistic solutions both within the types of seriality and in the crime serial as a mode of fictional worldmaking. In these contexts, it studies (1) narrative process through an original question-based model of the analysis of a work, one which is not based on knowledge of a whole work, as in various other narratological concepts, because knowledge of this kind cannot be assumed in case of a serial work. The second part further focuses on (2) a fictional macroworld dynamics, which it explains through an original composite model, understanding a fictional macroworld as a dynamic interaction between various areas of a macroworld (microworlds and subworlds); this dynamics can be utilized to explain its happening. The second part of the book stands for a descriptive-analytical dimension of the serial fiction poetics. It deals with the art of seriality in a creative frame, explores registries of preferred artistic solutions, and aims at a productive depiction of a field of possibilities.

3. SERIALITY AS ANALYTICAL BACKGROUND

It was deemed necessary in the last, analytical part of the book to limit the range of types of seriality considered appropriate for research interest. Despite the descriptive potential of the typology, it represents a limiting set of categories for a dynamic analysis, disregarding the fact that one serial work often uses various types of seriality in a variety of patterns (e.g. Doctor Who, 1963-1988; The X Files, 1993-2016). What is specifically focused upon in the third part of the book are those tools which have so far constituted the basis for an analytical framework (narrative outline, fictional macroworld arrangement, question-based model of a narrative process, and composite model of macroworld dynamics) or its auxiliary categories (a cultural encyclopaedia, immersive spectatorship, and analytical spectatorship). The last two chapters attempt to offer the greatest possible degree of aesthetic sensitivity towards those works analysed and those explanations presented. An analysis of the serial 24 (2001-2010) explores tactics applied to achieve clarity and coherence within a very diverse system of narrative situates the work in the contexts of complex serials and those of action films of motion. The closing analysis of Mr. Bean (1989-1995) as a serial addresses the more general question of how can we systemically analyse the narrative and macroworld of serials that seemingly consist of a number of rather independent sketches. The third part of the book considers the analytical dimension of serial fiction poetics. It explores issues related to the explanatory potential of analyses of individual serial works within an aesthetic frame and aims at a maximum degree of adaptability in relation to the artistic uniqueness of these works.

The three parts of Worlds To Be Continued develop and transform, with respect to these three aims, which differ from each other but are also interrelated, only to answer the questions posed, in correspondence with the individual dimensions of serial fiction poetics, in ways that are at the same time systematic and aesthetically sensitive.

टेलीविजन का आविष्कार यूँ तो 'जॉन एल बिलियर्ड' ने 1920 के दौर में ही कर दिया था। लेकिन भारत में यह तकनीक तब पहुंचा जब 15 सितम्बर 1959 को तत्कालीन राष्ट्रपति डॉ राजेन्द्र प्रसाद ने दिल्ली में एक प्रसारण सेवा "दूरदर्शन" का उद्घाटन किया। अतः दूरदर्शन पर आज ही के दिन यानी 15 सितंबर, 1959 को पहला प्रसारण हुआ था। आज दूरदर्शन अपने जीवन के 60 वर्ष (सितंबर, 2019 में ) पूर्ण कर चुका है। हालांकि, आरंभिक वर्षों में इसका विकास बहुत संकुचित था, तथा इसके दायरे में दिल्ली के आसपास के लगभग 40 किलोमीटर तक के ही इलाके आते थे। तब सरकार ने दिल्ली के निम्न और माध्यम वर्गीय क्षेत्र के 21 सामुदायिक केन्द्रों पर टीवी सेट रखवाकर इसके प्रसारण की विशेष व्यवस्था करवाई थी।

आरंभिक वर्षों में इसके पास केवल 180 टेलिविजन सेट्स थे। लेकिन 10 वर्षों के अंदर ही इसके टेलिविजन सेट्स की संख्या बढ़कर 1,250 हो गई और 1977 तक यह संख्या करीब 2.5 लाख तक पहुंच गई। 1972 तक टीवी सर्विस को मुंबई और अमृतसर तक विस्तार दिया गया। 1975 तक भारत के सिर्फ 7 शहरों में टीवी सर्विस उपलब्ध थी और भारत में टीवी का अकेला दूरदर्शन ही सर्विस प्रोवाइडर था। दूरदर्शन के लगभग 60 से ज्यादा चैनल्स हैं जिनमें डीडी1, डीडी2, डीडी दमन और दिउ, डीडी अरुणाचल प्रदेश, डीडी इंग्लिश, डीडी गोवा आदि शामिल है। और 'डीडी इंडिया' अभी लगभग 146 देशों में मौजूद है। साल 1982 में, 'रंगीन दूरदर्शन' की शुरूआत हुई और 3 नवंबर 2003 में दूरदर्शन का 24 घंटे लगातार चलने वाला समाचार चैनल बन गया।

महत्वपूर्ण रूप से, सांस्कृतिक चैनल जैसे ‘डीडी भारती’ को दूरदर्शन ने 26 जनवरी 2002 में आरंभ किया गया। सन 2004 में 16 दिसंबर को ‘डायरेक्ट टू होम’ सेवा को दर्शकों के टेलीविजन सेट पर मुफ्त में दिखाया गया, जिसकी सेवा आज भी बरकरार है। इस तरह बदलते परिदृश्य और दर्शकों की मांग को देखते हुए दूरदर्शन ने खुद को व्यापक स्तर से आगे विस्तार किया। इसके बढ़ते कदम को देखते हुए प्राइवेट चैनलों ने भी भारत में अपनी दस्तक दी। इस कदम में, 2 अक्तूबर सन् 1992 में पहली बार प्राइवेट चैनल ‘जी टीवी’ का प्रसारण हुआ। यह चैनल नए कार्यक्रमों के साथ दर्शकों के समक्ष आया। वर्तमान में, देखते ही देखते जी टीवी ने दूरदर्शन की लोकप्रियता जी टीवी ले जाने लगा। दूरदर्शन की ही तरह जी टीवी ने भी वक़्त के साथ अपने काफी चैनल शुरू कर दिए, इसके बाद दर्शकों ने दूरदर्शन देखना मानो छोड़ ही दिया हो। जैसे-जैसे वक़्त बीतता गया दूरदर्शन पीछे छूटता गया और आखिर में आज वक़्त कुछ ऐसा आ गया है कि 26 जनवरी और 15 अगस्त के अलावा शायद ही कोई दूरदर्शन देखता हो।

हालाँकि, जब 15 अगस्त 1965 को दूरदर्शन पर समाचारों का एक घंटे का नियमित हिंदी बुलेटिन शुरू हुआ तब इसके प्रति लोगों की दिलचस्पी बढ़ती दिखाई देने लगी। इसी दौरान दूरदर्शन पर नाटकों का प्रसारण भी शुरू किया गया। लेकिन इसकी लोकप्रियता में बढ़ोतरी तब हुई जब इसमें शिक्षा और सूचना के बाद 'मनोरंजन' भी जुड़ा। यथार्थ में, जब 2 अक्टूबर 1972 को दिल्ली के बाद मुंबई केंद्र शुरू हुआ तो 'मायानगरी' के कारण इसका फिल्मों से जुड़ना स्वाभाविक था। इस प्रकार समकालीन समय में, दूरदर्शन आगे चलकर जन-सामान्य की जिंदगी का अहम हिस्सा बन गया है। आज यह रोटी, कपड़ा और मकान के बाद लोगों की चौथी ऐसी आवश्यकता बन गया है कि जिसके बिना जिंदगी एक अधूरी सी कहानी प्रतीत होती है। डिजिटल क्रांति के इस युग में युवा पीढ़ी को दूरदर्शन का मतलब शायद ही पता हो, लेकिन पिछली पीढ़ी का इसके साथ गहरा नाता रहा है। अतः आने वाली पीढ़ियों को भी इससे ज्ञान अर्जित करना चाहिए।

कुछ बदलाव के परिणामस्वरूप, 1 अप्रैल, 1976 को टीवी सर्विसेज को रेडियो से अलग किया गया। हालाँकि, इससे पहले यह "ऑल इंडिया रेडियो" का हिस्सा था। इसके बाद ऑल इंडिया रेडियो और दूरदर्शन के कार्यालय का प्रबंधन दिल्ली में अलग-अलग महानिदेशकों द्वारा किया जाने लगा। 1982 में यह नैशनल ब्रॉडकास्टर के तौर पर सामने आया और देश के हर हिस्से में पहुंच गया। दूरदर्शन पर जिस कार्यक्रम का सबसे पहले प्रसारण किया गया वह "कृषि दर्शन" था। दूरदर्शन के कुछ लोकप्रिय टीवी शो इस प्रकार थे; रामायण, महाभारत, शक्तिमान, भारत एक खोज, चित्रहार, हम लोग, ये जो है जिंदगी, बुनियाद, करमचंद, ब्योमकेश बख्शी, विक्रम और बेताल, मालगुडी डेज, ओशिन, जंगल बुक, द पीकॉक कॉल्स और यूनिवर्सिटी गर्ल्स आदि।

समाचार, चित्रहार और फिल्मों के बाद दूरदर्शन में दर्शकों की दिलचस्पी तब बढ़ी जब दूरदर्शन पर 'सीरियल युग' का आरंभ हुआ। हालाँकि, सीरियल के इस नए मनोरंजन ने क्रांति का रूप तब लिया जब 7 जुलाई 1984 को ‘हम लोग’ का प्रसारण शुरू हुआ। आज हमारे पास विश्व स्तरीय तकनीक है तथा हम दुनियाभर में जाकर अपने एक से एक कार्यक्रम बनाते हैं और प्रकाशित करते हैँ। निजी चैनल जिन मुद्दों पर उदासीन रहते हैं वहां दूरदर्शन इन सभी मुद्दों पर बहुत कुछ प्रकाशित करते हैं, जैसे किसानों पर, स्वच्छता पर, बेटी बचाओ बेटी पढ़ाओ पर, कला और संस्कृति पर आदि। इसलिए दूरदर्शन आज महानगरों से लेकर छोटे नगरों, कस्बों और गाँवों तक पूरी तरह जुड़ा हुआ है। इसके द्वारा चलाये गए कार्यक्रम तकनीकी और कंटेंट दोनों में उत्तम हैं। बस समय के साथ-साथ इसके कार्यक्रमों की निर्माण गुणवत्ता में जो आधुनिकीकरण करना पड़े, उसे करना चाहिए। भारत में यह शिक्षा-प्रसार का बहुत बड़ा माध्यम हो सकता है। वास्तव में इसका प्रयोग आम जनता की "उन्नति और समृद्धि" के लिए ज्ञान की कुंजी के रूप में करना चाहिए, क्यूंकि इसके अनेक कार्यक्रम जन-जागरण करने में प्रबल रूप से सक्षम हैं।

लेखक: त्रिलोक सिंह, युथ दर्पण के सीईओ हैं। स्नाक्तोत्तर (राजनीती विज्ञान, किरोड़ी, दिल्ली विश्वविद्यालय)। वर्तमान में, ISOMES, न्यूज़ 24 में पोस्ट ग्रेजुएट जर्नलिज्म प्रोग्राम कर रहे हैं। 

Nesta dissertação, analiso o realismo, a narrativa, as representações e as marcas autorais em séries de TV com inspirações autobiográficas que recebem atenção por parte da indústria televisiva estadunidense e seu entorno discursivo. O interesse é entender como a identidade dos criadores dessas obras – que ocupam, também, os papéis de ator protagonista e showrunner – influencia o enredo das mesmas, por meio de características autobiográficas que são impressas nelas. Investigo como o fenômeno da autoficção começou a surgir no cenário da TV estadunidense, e quais tipos de formações discursivas do circuito midiático massivo, assim como valores e demandas socioculturais, catapultaram seu espraiamento nos streamings e nos canais de TV. Ressalto a diferença de autoria e foco temático entre as primeiras semi-autobiografias e as de 2010 em diante, propondo que o cerne voltado à esfera privada das narrativas mais contemporâneas as caracterizam como semi-autobiografias ultrapersonalistas. Verso, também, sobre como a indústria televisiva, os próprios autores das séries e os veículos de jornalismo e entretenimento online lançam mão desse caráter “semi-autobiográfico” com a intenção de legitimar essas obras. Analiso, então, as séries Better Things (2016-presente, FX) e Master of None (2015-presente Netflix), investigando suas estratégias narrativas, visões realistas e como elas trazem representações e discursos narrativos não-hegemônicos – que, por sua vez, estão atravessados pelas figuras de Pamela Adlon e Aziz Ansari: criadores e protagonistas dessas obras. Através da validação biográfica e do direito de narrar, promovo um debate sobre como Adlon e Ansari utilizam suas plataformas discursivas para contestar regimes de representação e como Better Things, especificamente, renega protocolos estruturais-narrativos altamente propagados pela indústria, reivindicando para si uma autonomia narrativa em sua retratação do cotidiano.

Palavras-chave: ficção seriada televisiva; autoficção; semi-autobiografia; realismo; autoria; representação.

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In this dissertation, I analyze the realism, the narrative, the representations, and the authorial marks in autobiographically inspired TV shows that receive attention from the American television industry and its discursive environment. The interest is to understand how the identity of the creators of these works - who also occupy the roles of lead actor and showrunner - influences the plot of the series, through the autobiographical characteristics that are imprinted on them. I investigate how the phenomenon of autofiction began to emerge in the American TV landscape, and what types of discursive formations of the mass media circuit, as well as sociocultural values and demands, catapulted its spread in streamings and TV channels. I highlight the difference in authorship and thematic focus between early semi-autobiographies and those from 2010 onwards, proposing that the strong inclination towards the private sphere of more contemporary narratives characterize them as ultrapersonalist semi-autobiographies. I also talk about how the television industry, the authors of the series themselves, and online journalism and entertainment vehicles use this "semi-autobiographical" character with the intention of legitimizing these works. I analyze, then, the series Better Things (2016-present, FX) and Master of None (2015-present Netflix), investigating their narrative strategies, realist visions, and how they bring non-hegemonic representations and narrative discourses - which, in turn, are crossed by the figures of Pamela Adlon and Aziz Ansari: creators and protagonists of these works. Through biographical validation and the right to narrate, I promote a debate on how Adlon and Ansari use their discursive platforms to contest regimes of representation and how Better Things, specifically, denies structural-narrative protocols highly propagated and adhered to by the industry, claiming for itself a narrative autonomy in its portrayal of everyday life.

Keywords: tv shows; autofiction; semi-autobiography; realism; authorship; representation.

Based on the methodology of cultural studies, this article has a double objective: first, we will approach the Latin American narconarratives in contemporary visual culture, seeking to demonstrate that they occupy an important place in the globalized audiovisual scenario. Then, we will analyze how some of these productions use seemingly feminist themes, inserting strong female characters in very masculine and patriarchal environments, as well as the limits of these representations, given by the fact that they do not go beyond the spectrum of liberal feminism. We argue, in this sense, that feminist themes have been used in a non-critical way, working to reinforce some capitalist-patriarchal values.

Final and Published version :
“Il potere delle batutte : transformazione sociale, cultura popolare e media nell’Albania post-socialista.” in ed.
Antonio d’Alessandri, Armando Pitassio, Dopo la Pioggia. Gli Stati della ex Jugoslavia e l'Albania
(1991 - 2011), Italia: Argo, AISSEE, Octobre 2011, pp. 379-394.

The purpose of this study is to show how TV series reflect real life, which references they make, and to which extent they represent and project the culture and life. In this globalizing world, the definition and borders of culture, of course, expand and change. People now share almost similar lifestyles, same concepts, and same products, therefore it becomes unhealthier to define all cultures in their specific geographical borders. In this essay, the quick summary of TV series becoming the essential part of our lives is given, TV series is defined and creation of this cultural media product is described. Later on, with analysis of two examples, "Victoria" and "Black Mirror: Nosedive", in the context of projecting the real life, the development of essay is made. This study shows that whether a TV series is fictional or realistic at the extreme levels, it contains elements from real life and it is inevitable, since it is a human work. The arguments given in the introduction are supported.

O presente estudo tem como objetivo analisar de que forma a imagem da mulher é utilizada no papel de assistentes de palco, também nas funções de dançarinas ou bailarinas, nos programas de auditório da TV brasileira, buscando traçar um paralelo com a imagem do sexo feminino formada em uma sociedade machista e patriarcal e aprofundar a discussão sobre o sexismo presente na mídia, explorando a objetificação e a inferiorização da mulher. Para tornar possível tal análise, quatro programas de auditório foram selecionados: “Cassino do Chacrinha”, “Domingo Legal”, “Pânico na TV” e “Caldeirão do Huck” e suas respectivas dançarinas. Neles, foram avaliados a papel das assistentes de palco no programa e suas roupas e exposição dos seus corpos, e, assim, buscando as relações e diferenças em suas origens com o cancã e o teatro de revista nascidos em Paris, que também influenciou a textualidade do rádio brasileiro, presentes até hoje nos programas de auditório da TV.

In this essay, I shall argue that Westworld has redefined the conventions of Western Science Fiction films and marks the new era of this hybrid genre. I shall start by analyzing the narrative conventions of the western and the science fiction genres. Then I shall explore why would the filmmakers decide to use western sci-fi as the main theme for the park, and why did HBO choose to remake it now. Then I shall end with how the decision worked out, both in the marketing aspect and in the ideological one, comparing to its predecessors in the same genre.

Girls (HBO, 2012-17) é uma série de dramédia estadunidense que desde seu lançamento suscitou muitos debates de diferentes vieses. Ao longo de suas temporadas é perceptível uma mudança de um viés predominantemente cômico para um aumento de carga dramática na narrativa. A proposta desse trabalho é analisar como essa dinâmica de tensionamentos entre euforia versus disforia, que enxergamos como intrínseca à dramédia, causa impactos diretos na tipificação cômica (BERGSON, 1983; JAUSS, 2005) da protagonista e em sua Jornada do Herói (CAMPBELL, 1949; VOGLER, 2006), o que vemos que reflete também em sua estrutura narrativa quanto a uma lógica mais episódica ou serializada (MITTEL, 2006; NERI, 2015). Assim, nos propomos a analisar como o imbricamento entre drama e comédia impacta diversos elementos textuais do nosso objeto de pesquisa.

In most American TV shows, the use of sarcasm is valued as a strategy to offend people in a subtle, yet entertaining way. This kind of sarcasm is particularly used in the form of humor. However, the use of sarcasm in humor still needs to be further investigated to find out which strategy is the most appropriate ones to be applied in entertainment media. The current study examines how sarcasm in humor is performed by Ellen DeGeneres as the host of Ellen Show. It uses descriptive qualitative methodology to analyze the data and portrays how sarcasm in humor is performed by Ellen DeGeneres during the show. Moreover, the study applies pragmatic approach with its focus on mock-politeness or sarcasm as suggested by Culpeper (2011) which at the same time is used in the form humor according to the seven kinds of humor as proposed by Schoenewolf (2015). The result of the study reveals that Ellen applies internal mismatch, external mismatch, and the combination of both mismatches to create sarcasm in humor. Besides, she only uses two from seven kinds of humor to be sarcastic; jokes and malicious humor. Furthermore, Ellen's strategy to create a friendlier or more subtle sarcasm that remains offensive in the TV show is by frequently using it in jokes, applying external mismatch, targeting somebody out of the interlocutor, and using compliment to imply offence. The future researchers are suggested to investigate more on the comparison of sarcastic humor usage in different languages. Moreover, it is noteworthy to investigate sarcastic humor strategies in a written text such as in email and social media as it is widely used in digital era nowadays. Lastly, it is also recommended to explore other theories of humor in linguistics. Thus, the study would contribute significantly to the development of sarcasm in humor strategies in linguistic fields.

Mémoire soutenu et publié en 2008 dans le cadre du Master 2 Communication des Entreprises et des Institutions, Université Paris-Est Marne-la-Vallée sous la direction de Patrice Flichy. Cité dans Le Sacre de l'Amateur, Patric Flichy, Seuil/La République des Idées, 2010.
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A partir des travaux de Philippe Le Guern concernant la notion de fans et, en particulier son étude sur la communauté de fans de la série « culte » Le Prisonnier, il me semble intéressant d’approcher de la même manière une communauté de fans d’un objet audiovisuel similaire. Les séries dites cultes en 2008 pourraient être les suivantes : Friends, X-Files, Les Simpsons… En ce qui concerne les mangas, deux d’entre eux sortent du lot par leur popularité : Naruto et Bleach.

A travers l'étude d'un petit groupe de fans et d'une enquête sociologique, ce mémoire évoque comment, parmi l’ensemble disparate de visiteurs quotidiens de (feu) Dailymotion, les fans arrivent à construire une communauté virtuelle autour du phénomène Naruto et des personnages qui l’entourent.

Le sens large du fan est utilisé ici, « un fan est un passionné (au sens de
Bromberger) dont l’objet de rattachement est une production issue des industries
culturelles » ici les mangas et les anime de Naruto diffusés sur Dailymotion.

Comment l’usage d’un média grand public parvient-il à les fédérer dans un secteur déterminé aux codes d’appartenance bien particuliers ? Quels sont les codes d’entrée qui régissent une telle communauté ? La plate-forme Dailymotion catalyse-t-elle les logiques claniques du collectif ou, au contraire, n’est-elle qu’une toile de fond pour ces communautés ? Comment se manifeste ce que Jenkins nomme « le fandom », c’est-à-dire l’existence collective de fans qui n’existeraient pas sans processus
de reconnaissance mutuelle ?

This study analyses the representation of power portrayed through the women in the TV series Game of Thrones. Building on the existing research on women representation in media, this study has mainly focused on the representation of power through the show’s primary characters like Daenerys Targaryen and Catelyn Stark. Using a framework of critical discourse analysis and feminist theories of power, this study examines the discourse of power presented through Daenerys and Catelyn in our social context.  The characters are analysed from Season 1 till the latest aired season i.e. season 6 of the show using critical discourse analysis and textual analysis as a tool for investigation. The overall examination has revealed that power is represented in predominantly patriarchal form in the TV series Game of Thrones through the portrayal of Daenerys Targaryen.

This Undergraduate Major Project examines the various ways in which gender has been represented and reworked over the last ten years within horror films and televisions shows, arguing that the genre has progressed and continues to progress subverting the gender conventions upheld by the genre.

This dissertation explores the genre through the chapters of distribution and marketing, stereotypes and sexual violence and the maternal image. The first chapter argues that modes of distribution and marketing strategies are vital in providing room within the genre for a larger female audience, and thus reworking the assumption that horror mainly caters to men. The second chapter considers the extensive use of stereotyping and focuses on texts that specifically reconsider these ideas. In addition, the chapter also questions the significance of the male gaze within contemporary horror. Chapter three explores the various ways in which sexualized violence is utilized within the genre and further analyses the maternal image questioning whether this becomes the character’s flaw.

This dissertation concludes that contemporary horror films and television shows are realizing the absurd restrictions and assumptions placed on gender. Furthermore reflecting societies changing views regarding gender representation within the genre allowing for future films and television shows to redefine the use of gender within horror.

A Ab bs st tr ra ac ct t This study aims to discuss theories on the violent effects of TV shows on viewers, especially on children. Therefore, this study includes a brief discussion of definitions of violence, discussion of violence theories, main results of researches on televised violence, measuring TV violence, perception of televised violence, individual differences and reactions to TV violence, aggressiveness and preferences for TV violence.

Hace unos años, un anarquista que se llamaba a sí mismo E. G. Eccarius escribió una novela, "Los Últimos Días de Jesucristo, Vampiro". Es cierto que Buffy la Caza Vampiros, la sensación de culto en TV, no aspira a tal nivel de subversión. Pero hay momentos en los que se le acerca.

Neste texto analisaremos três obras da cultura de massas que tratam da
ascensão de uma mulher mexicana a chefe do narcotráfico: 1) o livro do jornalista espanhol Arturo Pérez-Reverte La Reina del Sur (2002); 2) a telenovela La Reina del Sur (2011-2021), produzida pela Telemundo (EUA), pela rede Antena 3 (Espanha) e pela RTI Producciones (Colômbia); 3) e a série Queen of the South (2016-2021), produzida pela USA Network
(EUA). Analisaremos de que modo, nesses produtos, a mulher latino-americana bem sucedida é representada a partir dos valores do feminismo liberal.

In this text we will analyze three works of mass culture that deal with the rise
of a Mexican woman to the head of drug trafficking: 1) the book by Spanish journalist Arturo Pérez-Reverte La Reina del Sur (2002); 2) the telenovela La Reina del Sur (2011- 2021), produced by Telemundo (USA), Antena 3 network (Spain) and RTI Producciones (Colombia); 3) and the series Queen of the South (2016-2021), produced by USA Network (USA). We will analyze how, in these products, the successful Latin American woman is represented based on the values of liberal feminism.

This article examines an informal online community dedicated to The Tudors, a historical television show, and the ways in which its members engaged with a variety of sources in their discussions of the drama’s real-life past. Data were collected over a 5-month period. The analysis included the types of sources used in conversation; members’ purpose for invoking and reaction to sources; as well as topic, participation, and response patterns in the discussion forum. The community is a space in which popular culture and the discipline of history meet. Members come together because of a fictional depiction of the past, yet a desire to corroborate, clarify, contextualize, or uncover what really happened leads users to participate in detective-like inquiry work and the learning of new topics they had not previously considered. Members also challenge and critique one another’s positions and the sources other members invoke in multiple ways, including by using more formal disciplinary heuristics in this informal setting. Key differences emerge in members’ purpose for invoking sources, with popular media used more frequently for illustrating a point or asking a question and nonfiction works most invoked to support and argue historical claims.

La presente tesis fin de máster utilizará la teoría de la performatividad del género expuesta por la filósofa Judith Butler en Gender Trouble (1990) para analizar la serie de televisión Rizzoli & Isles (2010). En esta producción, se presenta a dos mujeres muy distintas pero igual de complejas y con dos performatividades opuestas que rompen con los estereotipos de mujeres investigadoras. Así, tanto la detective Jane Rizzoli como la doctora Maura Isles introducen en el imaginario televisivo dos nuevos modelos de investigadoras igualmente válidos y que, además, comparten una amistad sincera y profunda.

En los últimos años, la información deportiva ha emprendido un viaje sin retorno para
abandonar la rigidez y formalidad del telediario y constituirse en un espacio informativo independiente,
con una identidad propia, bajo la fórmula conocida como infoentretenimiento.
Esta progresiva transición hacia una nueva forma de abordar la actualidad, de una manera
más desenfadada, con un lenguaje coloquial y el empleo de todo tipo de artificios técnicos, se
ha producido también en otro tipo de secciones informativas, como por ejemplo en la información
meteorológica o, incluso, en los propios telediarios, en los que cada vez resulta más
difusa la barrera entre la información y el espectáculo.
Este tipo de tratamiento informativo ha facilitado la incorporación de nuevas fuentes
comunicativas, las redes sociales, cuya presencia en los discursos en torno a la actualidad es
cada vez mayor, llegando a convertirse en ocasiones en el mismo epicentro informativo, al
confrontar las distintas versiones esgrimidas por los protagonistas a través de sus cuentas
personales. En el caso que presentamos a continuación, el uso de este tipo de plataformas por
parte de los deportistas amenaza no solo la importante industria que patrocina a equipos y
jugadores, sino que pone en riesgo a los propios medios de comunicación, al convertirse en
meros portavoces de sus perfiles en las redes sociales.
Para verificar este planteamiento, proponemos un estudio de caso sobre los dos programas
deportivos de referencia en el horario de sobremesa, Deportes Cuatro (Cuatro) y Jugones
(La Sexta), por espacio de una semana. Los resultados demuestran que ambos medios de
comunicación realizan un tratamiento similar en torno a las redes sociales de los deportistas,
incluyendo en sus programas cualquier tipo de publicación que realicen los jugadores de
los equipos con un mayor número de seguidores, el Real Madrid y el Fútbol Club Barcelona.
Cabe preguntarse entonces si son necesarias las ruedas de prensa o, peor aún, si lo somos los
propios periodistas.

O presente artigo procura debater acerca de questões envolvendo o realismo e as marcas autorais em séries televisivas cômicas que recebem certo clamor por parte da crítica especializada. O interesse aqui é entender como a subjetividade dos criadores dessas obras – que ocupam também os papéis de ator protagonista e showrunner – influenciam a estética e o enredo das mesmas, através de características autobiográficas que são impressas na narrativa – e como a indústria televisiva, os próprios autores das séries e os veículos de jornalismo e entretenimento online lançam mão desse caráter semi-autobiográfico para legitimar essas obras. Para isso, focarei minha análise nas séries Better Things (2016-presente, FX) e Master of None (2015-presente Netflix), discorrendo também sobre Pamela Adlon e Aziz Ansari: os criadores responsáveis pelas séries por trás das câmeras, e os rostos que as protagonizam nas telas de TV.

(That paper is in German + English - English version starts at page 2)
“Time is quite simply metamorphosing.”(1) Thus begins a novel from the Arne Dahl series that serves as the basis for the TV series of the same name. Such metamorphoses, with all their painful side effects, above all in how they represent active people taking part in life – both women and men – can be observed and traced in recent
Scandinavian television series. Series like The Killing and Arne Dahl are primarily characterized by credible, modern, and unconventional female characters. I will discuss how the female characters are presented in relation to their dramaturgical significance in the ensemble as well as to the conventions of the detective series. My methodological approach is based on an aesthetic analysis of the series, in which I primarily use the fundamentals from classical dramaturgy – in the sense
of Gotthold Ephraim Lessing, who founded this craft,(6) and in the sense of Theodor W. Adorno, who called for scholarly works to align their terms and definitions with reality.(7)

Com base na análise do discurso, este estudo visa entender a  importância que que as produções audiovisuais têm na formação de personalidade e construção de cultura do público, através do olhar sobre  a representatividade das protagonistas da ficção seriada de comédia Good Girls, disponibilizada pela Netlfix.  Considerando relações de empoderamento, quebra do feminino ideal e estereótipos recorrentes, de forma não universalista e entendendo a interseccionalidade de diferentes mulheres e seus âmbitos sociais.

Based on the discourse analysis, this study aims to understand the importance that audiovisual productions have in shaping the personality
and building culture of the public, by looking at the representativeness of the protagonists of serial comedy Good Girls, provided by Netlfix. Considering relationships of empowerment, breaking of the ideal feminine and recurring stereotypes, in a non-universalistic way and understanding the intersectionality of different women and their social spheres.

“Everywhere you look, Everywhere you look, There's a heart...A hand to hold onto.” Vinte e nove anos depois do fim da série original Full House volta a TV com novos episódios e com o elenco original. O mesmo acontecia com Arrested Development pouco tempo antes, em 2013.
Ambos os seriados foram originalmente concebidos para a televisão tradicional, e foram cancelados pela emissora que foram exibidos. Anos após o cancelamento, as séries ganharam uma sobrevida – graças aos seus fãs – e foram renovadas pela Netflix para uma nova temporada.
Com foco na comunidade de fãs, este estudo analisa as principais características narrativas dos seriados, bem como descreve o conceito de fã, e traça um mapa com as principais participações e presenças desses fãs online.

Cet article s'intéresse à l'émission de TV-prédication algérienne Insahouni, ainsi qu'à l'ascension médiatique de son animateur, le cheikh Chemsedine Bouroubi-dit el Djazaïri, notamment grâce au buzz qu'il suscite en ligne. Outre le rappel du contexte politique de l'apparition de cette émission, l'analyse portera, dans un premier temps, sur la forme de pédagogie que celle-ci propose, sur son esthétique ainsi que sur sa mise en scène suscitant le rire. Dans un second temps, l'analyse de deux vidéos produites à partir d'extraits d'Insahouni révèlera à la fois l'apparition d'un nouveau «régime de visibilité médiatique» (Mateus, 2014) en Algérie, mais également la variété des formes de redoublement du «rire médiatique» (Vaillant, 2018 : §46) du cheikh, produisant parfois une mise à distance de son autorité religieuse et constituant ainsi un levier de desserrement de l' "ordre médiatique néo-autoritaire" (Dris, 2012).

Mots-clés : TV-prédication, Algérie, ordre médiatique, rire médiatique.

In this paper, I explore the role of popular television imagery of torture in shaping the U.S. legal and political debates over the definition of torture, cruel, inhuman, and degrading treatment.Taking the popular show 24 as an instance of a dominant imagery of torture, I analyze how this imagery of torture informs the definitional distinctions adopted by the United States. I argue that the popular imagery of torture with its emphasis on physical brutality continues to influence the legal and political discourse on torture. Apart from legitimizing a narrow definition of torture, the popular imagery also allows the United States to create an arena of acceptability for apparently less severe forms of violence.Thus, the need to call rose by another name is not just an attempt to deny the presence of torture by using narrow definitions but in addition because of the popular imagery, the present time is represented as an actual moment of progress from earlier more brutal times.