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La ficción televisiva está en auge en las últimas décadas, sin embargo, pese a los cada vez más numerosos estudios en torno a ella, sus cabeceras no han acaparado la atención que sí han tenido los títulos de crédito cinematográficos. El objetivo del presente trabajo es realizar una aproximación centrada en el origen y evolución de estas partículas que forman parte de la arquitectura de la ficción televisiva y que han crecido a la sombra de sus homólogos en la industria cinematográfica. Para ello, se sigue una metodología basada en una revisión bibliográfica a través de las aportaciones disgregadas de diferentes autores. Se consigue así la construcción de una línea evolutiva cronológica compacta que sirve para comprender las estrategias actuales en el diseño de cabeceras de las series de televisión. Television fiction has increased on recent decades, however, despite the increasingly number of studies around it, its openings have not attracted the attention that credit title sequences have. The main aim of present work is to do a qualitative approach focused on the origin and evolution of this particles which form the television fiction's architecture, and they have been developed in the shadow of its counterpart in film industry. For that purpose, it is used a methodology based on a bibliographic review through different author's dispersed contributions. As a result, a chronologic evolution timeline it has been built to understand current strategies on television series opening's design.

This paper discusses how television professionals in Germany negotiate the transnational potential as well as the regional, national and local particularities of German quality drama. The cen-tral hypothesis is that the practitioners’ current industry discourse on quality TV drama bears clear “glocal” traits, as their debates on transnationalisation focus on national or local specificities as well. Drawing on the theoretical concept of glocalisation, the analysis is based on 12 expert interviews with 15 producers, scriptwriters, commissioning editors and directors of recent quality TV drama projects from Germany. First, the article outlines key concepts and methods for the analysis. Subsequently, it describes transnationalism and regionalism in the German-speaking television landscape and among public broadcasters, which are the most important commissioners of German TV fiction. Further, the article deals with industry discourses on foreign sales and transnational distribution. Finally, it discusses the transnationalisation of project networks and individual practitioners on a micro level., Global Media Journal - German Edition, vol. 13(2023), no. 1

In the Swedish/Finnish/British/Norwegian television series Jordskott (2015–17) child victims’ mysterious disappearances signal that ‘something’s not right’ in Silverhöjd, a Swedish town. Three detectives uncover a conflict between the locals who depend on a local industry and preternatural human-like but non-human forest creatures familiar from Nordic tradition and fairylore. Both humans and semi/non-humans are ambivalent, but what sets the latter apart is their implication in caring for nature, protecting it, and punishing those who harm it. We analyse this series’ instantiation of a folkloristic popular green criminology, based in the idea that popular discourses’ representations of crimes and harms may offer serious interventions into issues of environmental, ecological, and species justice. Our ecocritical analysis suggests that tradition offers material for reflection, but also for sociocultural intervention, as it is circulated to address the dependencies and hierarchical configurations between humans and other life-forms, and the many consequences of ecological and individual harm. peerReviewed

Este estudio aborda el uso de estrategias y técnicas generadoras de miedo de la teoría de la propaganda en el audiovisual, enfocándose en el análisis de la serie distópica de El cuento de la criada. El miedo es utilizado en propaganda como una herramienta de control social y dominación política. Esta investigación plantea si este instrumento propagandístico se utiliza en los sistemas políticos representados en el audiovisual, pues estos son reflejos de los miedos actuales en un futuro catastrófico. Para esto, utiliza un análisis de contenido que se aplica a las tres primeras temporadas de la serie mencionada a través de las escenas en las que aparecen Fred Waterford, Serena Joy y Tía Lydia, como representantes de Gilead en la narrativa. The present study addresses the use of fear-generating strategies and techniques related to the theory of propaganda in audio-visual productions, focusing on the analysis of the dystopian series known as The Handmaid’s Tale. Although fear is commonly used in propaganda as a tool for social control and political domination, this study asks whether it is used in the political systems represented in audio-visual dystopias, as these are reflections of current fears of a catastrophic future. To achieve this objective, the study herein uses content analysis applied to the first three seasons of the aforementioned series through scenes in which Fred Waterford, Serena Joy and Aunt Lydia appear in the narrative as representatives of Gilead.

In the eight seasons of Showtime’s television show Homeland, leading character Carrie suffers from a bipolar disorder which repeatedly results in psychotic episodes. During these psychotic breakdowns, her grip on reality is disturbed by delusions. However, her psychotic disposition also leads to abilities and insights that make her a valuable agent in international secret agencies such as the CIA. This essay examines how the productivity of Carrie’s psychoses can be related to the political, military-industrial order within which she operates as a spy fighting terrorism and other threats to national and international security. What does the fact that a person suffering from psychoses is able to comprehend complex international political processes tell us about these processes and the context in which they occur? To answer this question, I turn to two scholars, both of whom have theorized subjectivity in relation to psychosis: psychoanalyst Jacques Lacan and philosopher Mauricio Lazzarato. The radically different notions of Lacan and Lazzarato lead to different interpretations of Homeland. However, although Lazzarato is a critical opponent of Lacanian psychoanalysis, I demonstrate that Lacan’s psychoanalytical ideas and Lazzarato’s machine theories can to some extent be read as complementary in an analysis of Homeland, for what the two distinct theorists have in common is that they both relate subjectivity to sign systems—to the emergence and assignment of meaning, as well as to the suspension and absence thereof. This paper argues that the psychoses of Homeland’s lead character produce political meanings because of the condition’s specific relation to meaninglessness.

Due to its effect and importance in the structuring of the social subject, in this study, the characteristics of oral, written and visual culture -which is also interpreted as secondary oral culture- are classified. Popular television series and books published in Turkey between 2001-2006 were analyzed in this context. The ‘TV series boom’ experienced in Turkey between 2001 and 2006 has important signs to understand today's visual culture and today's middle age generation. When examined in depth, it is noticed that this culture, which developed under the influence of television, evaluates and consumes the elements of oral and written culture in the context of new cultural industries. As a result of the study, it has been seen that education and having a label are ways of developing and gaining social statues for people of oral culture, but these issues do not mean the same value for people of visual culture. During the watching process, the verbal and written cultural values being acquired and lost in a few minutes. Audience cannot establish the reward-cost relationship regarding these values, and experiences short-term satisfaction in a virtual world where process and effort are not seen. In oral culture, humor has been used as a way of thinking and as an element of criticism in written culture. Satires and critical programs that were transferred and inspired by the print media disappeared over time, the suggestive aspect of humor was forgotten, and program types which did not give the opportunity to think, emerged. As a result of the study, it has also been determined that the features of visual culture are no longer only found on television, but also in written culture products. The concepts twisted by visuality in books and novels that have become popular are processed with similar context and content.

Continuing the study of Philip Dick’s alternate historical novel «The Man in the High Castle» (1962) and Frank Spotnitz’s eponymous television series (2015–2019), the author focuses on the domestication of Nazi ideology, on «the banality of evil» in the series. The authors of the show strive for such an effect for the sake of immersing the viewer in complex historical processes, to demonstrate that following a dangerous ideology can happen to almost anyone. The series features, in particular, the East Coast of the United States, primarily New York in the 1960s, under the rule of the Nazis. The article compares the models of the world in the novel and the series and emphasizes that certain features of ambivalent American society provide its immunity against Nazi ideology, while others, under certain conditions, enable compromise with Nazism.In the TV series, among the main characters are the Smith family: John Smith, Reichsmarschall and later Reichsführer of North America, his wife Helen, and their children (son Thomas, daughters Amy, and Jennifer). All of them are absent in Dick’s novel, but the introduction of these characters is the success of the series and helps its authors raise the painful topic of collaboration with the Nazis and even the full acceptance of their inhumane ideas by ordinary Americans (moreover, by any people). A former Captain of the US Army, Smith makes a difficult choice after the surrender of his country to save himself and his family from starvation and repression. John agrees to work for the Nazis, then he betrays his best friend, a Jew, later Smith brutally investigates the Resistance, learns to survive under the Nazis, and participates in their power intrigues. Like a true predator, Smith becomes part of the inhumane System, but throughout the series, the audience feels that John’s soul does not yet fully belong to this regime.In our reality, John Smith also exists: he is also a former US military man, but later John becomes a successful sales clerk, a decent citizen, a true gentleman, and an ideal family man. Traveling to our world, Smith sees what he could be like in a country without the Nazis. At the end of the series, before committing suicide, Reichsführer Smith says that he has become the worst copy of himself of all possible, but his last actions show that he can only get out of the game, but not stop the System, which he has been building for many years.The author concludes that John’s life reveals the initial contradiction and splitting of the components of the American Dream: materialism and idealism, individualism and national interests, success and ways to achieve it. On the one hand, Smith as a Nazi is a successful person, a great family man, and almost a superman. On the other hand, John Smith betrays the American Dream in terms of the ideals of democracy and freedom. The end of his life coincides with the beginning of the end of Nazi America., Продовжуючи вивчення альтернативно-історичного роману Філіпа Діка «Людина у високому замку» («The Man in the High Castle», 1962) й однойменного телесеріалу Френка Спотніца за його мотивами (2015–2019), у цій публікації авторка зосереджується на феномені одомашнення, «банальності зла», передусім нацистської ідеології, у зазначеному фільмі. Творці серіалу прагнуть такого ефекту заради занурення глядача у складні історичні процеси, для демонстрації того, що слідування небезпечній ідеології може трапитися майже з кожним. У серіалі представлено зокрема східне узбережжя США, насамперед Нью-Йорк 1960-х рр., під владою нацистів. У статті порівнюються моделі світу в романі й серіалі; наголошується на тому, що окремі риси американського суспільства забезпечують його імунітет проти нацистської ідеології, натомість інші за певних умов уможливлюють компроміс із нацизмом. Приклад родини Смітів демонструє залежність звичайних людей від обставин, пропаганди та маніпуляції масовою свідомістю, особливо коли існує ідеологія, що виправдовує їхні дії, підтримувана суспільством і державою.

La representación de las reclusas experimenta un notable incremento en la ficción literaria y audiovisual de la segunda década del siglo XXI, constituyendo un síntoma de las crisis contemporáneas al tiempo que humaniza y singulariza a las “mujeres malas”. La exclusión y reclusión de las presas presenta una contradicción con consecuencias tanto en la política feminista como en los modelos de ficción. Se produce un reconocimiento de sujetos imprevistos que apenas habían aparecido en la ficción debido a que se las consideraba parias, deshechos, residuos (Varikas 2007; Bauman 2005). Sin embargo, las representaciones recientes, influidas por la importancia del género, la sexualidad y la racialización, crean nuevos matices: distintos tipos de parias (Arendt 2004) y nuevas figuras tránsfugas (Leibovici 2013; Jaquet 2018). Nuestro propósito es contextualizar y analizar estas figuras de exclusión de la escritora gallega Inma López Silva en su novela "Aqueles días en que eramos malas" (2016) en comparación a la producción audiovisual contemporánea, particularmente la serie "Vis a vis"., Literary and audiovisual fiction of the second decade of the 21st century experiences a notable increase in the representation of women prisoners, constituting a symptom of contemporary crises and, at the same time, humanising and singularising the “bad women”. The exclusion and confinement of women prisoners presents a contradiction with consequences for both feminist politics and fictional models. There is a recognition of unforeseen subjects who had hardly appeared in fiction because they had been considered outcasts, wastes, residues (Varikas 2007; Bauman 2005). However, recent representations, influenced by the importance of gender, sexuality and racialisation, create new nuances: different types of pariahs (Arendt 2004) and figures of defectors (Leibovici 2013; Jaquet 2018). Our aim is to contextualize and analyze the figures of exclusion of the Galician writer Inma López Silva in her novel "Aqueles días en que eramos mala"s (2016), in comparison to contemporary audiovisual production, particularly the series Vis a vis.

Resumen El diminutivo, cuyo contenido conceptual y valor pragmático se encuentra mucho más allá de la mera referencia al concepto de ‘pequeño’, es un complejo fenómeno gramatical y pragmático muy utilizado en la lengua española. A través de un corpus oral formado por las teleseries en el último lustro (2014-2019) en España, México, Colombia, Argentina y Chile, se ha analizado este fenómeno desde un punto de vista morfológico, pragmático y sociolingüístico. En la confección del corpus, se ha tenido en cuenta la factibilidad de utilizar los medios audiovisuales como corpus de referencia en cuanto a la inmediatez, la distancia comunicativa y la oralidad simuladora; también se han tomado en consideración el criterio de delimitación de las zonas de habla hispana y la teoría sobre el estudio de interacción comunicativa. El resultado, fruto del análisis de este corpus, refleja la característica multifuncional y la variedad sociolectal y generacional del diminutivo, además de constatar su capacidad de adjuntarse a diferentes categorías léxicas. Por lo que respecta a los aspectos socioculturales del diminutivo, en cuanto a las variables de sexo, y se ha observado respectivamente una ligera predominancia en favor del sexo femenino y de un estrato socioeconómico inferior. Con respecto a la edad, se ha mostrado un equilibrio entre diferentes generaciones. Abstract The diminutive is a complex grammatical phenomenon widely used in Spanish. The concepts and the expressions that make up the diminutive and guide its use go far beyond mere references to “small” size. Through an oral corpus composed of television series produced and aired in the last five years (2014-2019) in Spain, Mexico, Colombia, Argentina and Chile, the use of the diminutive has been analyzed from a morphological, pragmatic and sociolinguistic point of view. In the preparation of the corpus, the feasibility of using audiovisual media as a reference corpus has been taken into account in terms of immediacy, communicative distance and simulative orality. In turn, the delimitation criterion of Spanish-speaking areas and the theory on the study of communicative interaction are also part of the methodological and theoretical frameworks. The result of the analysis of the aforementioned corpus reflects the multifunctional characteristics of the diminutive as well as the sociolect and generational variation seen in its use. We have confirmed the viability of diminutive attachment to different lexical categories. Regarding the sociocultural aspects of the diminutive as it relates to variables of sex and social class, a slight predominance of use has been observed in female speakers and in those from lower socioeconomic classes respectively. Regarding the generational variable, a balance in use among different age groups has been identified. Résumé Le diminutif, dont le contenu conceptuel et la valeur pragmatique dépassent de loin la simple référence au concept de « petit », est un phénomène grammatical et pragmatique complexe largement utilisé dans la langue espagnole. À travers un corpus oral constitué par des feuilletons au cours des cinq dernières années (2014-2019) en Espagne, au Mexique, en Colombie, en Argentine et au Chili, ce phénomène est analysé d’un point de vue morphologique, pragmatique et sociolinguistique. En ce qui concerne la préparation du corpus, la faisabilité d’utiliser les médias audiovisuels comme corpus de référence a été prise en compte en termes d’immédiateté, de distance communicative et de simulation d’oralité. Le critère de délimitation des espaces hispanophones et la théorie sur l’étude de l’interaction communicative ont également été pris en considération. Le résultat, fruit de l’analyse de ce corpus, reflète le caractère multifonctionnel et la variété sociolectale et générationnelle du diminutif, en plus de vérifier sa capacité à s’attacher à différentes catégories lexicales. En ce qui concerne les aspects socioculturels du diminutif, au niveau des variables sexe et stratification sociale, l’on observe respectivement une légère prédominance d’usage en faveur du sexe féminin et d’une couche socio-économique inférieure. En ce qui concerne l’âge, un équilibre entre les différentes générations est mis en évidence.

The diminutive is a complex grammatical phenomenon widely used in Spanish. The concepts and the expressions that make up the diminutive and guide its use go far beyond mere references to “small” size. Through an oral corpus composed of television series produced and aired in the last five years (2014-2019) in Spain, Mexico, Colombia, Argentina and Chile, the use of the diminutive has been analyzed from a morphological, pragmatic and sociolinguistic point of view. In the preparation of the corpus, the feasibility of using audiovisual media as a reference corpus has been taken into account in terms of immediacy, communicative distance and simulative orality. In turn, the delimitation criterion of Spanish-speaking areas and the theory on the study of communicative interaction are also part of the methodological and theoretical frameworks. The result of the analysis of the aforementioned corpus reflects the multifunctional characteristics of the diminutive as well as the sociolect and generational variation seen in its use. We have confirmed the viability of diminutive attachment to different lexical categories. Regarding the sociocultural aspects of the diminutive as it relates to variables of sex and social class, a slight predominance of use has been observed in female speakers and in those from lower socioeconomic classes respectively. Regarding the generational variable, a balance in use among different age groups has been identified.

L’objectif de cet article est d’analyser les représentations des agressions sexuelles contre les femmes dans les téléséries contemporaines au Québec, pour interroger les normes sexuelles et de genre qui y sont véhiculées. Une analyse thématique de données télévisuelles (tirées de Fugueuse, Les Simone et Le Monstre) a été faite, en mobilisant la théorie des scripts sexuels de William Simon et John Gagnon. L’article se demande : a) quels types de scripts sur les agressions sexuelles pouvons-nous observer dans les téléséries étudiées ? b) qu’est-ce que la présence (et la coexistence) de ces scripts nous apprend sur les normes sexuelles et de genre contemporaines ? Notre recherche a montré que certains scripts mobilisant des mythes (SM) n’apparaissent plus, alors que d’autres se prolongent et coexistent au sein d’un même récit avec des scripts s’éloignant des SM. Nous constatons ainsi dans notre échantillon la présence de récits alternatifs s’éloignant des histoires archétypales sur le viol, bien que cela n’implique pas nécessairement un changement de normes sexuelles et de genre. Cette coexistence de scripts pourrait être expliquée par l’ambivalence structurelle des téléséries, mais pourrait aussi constituer une brèche idéologique liée au contexte de revendications féministes des dernières années. The main goal of this article is to analyze representations of sexual violence against women in Quebec mainstream television series, to question the sexual and gender norms. By mobilizing the theory of sexual scripts of Simon and Gagnon, the following questions were studied: which kind of scripts can we observe in these representations and what does the presence (and coexistence) of these scripts tell us about contemporary sexual and gender norms. A thematic analysis of television data was done (from three television productions: Fugueuse, Les Simone and Le monster). Our research has shown that some scripts mobilizing rape myths (SM) are no longer present, while others extend and coexist with scripts different from SM within the same narrative. The analysis shed light on the presence of alternative narratives moving away from archetypal rape stories. Nevertheless, this does not necessarily imply a paradigm shift in the popular understanding of gender-based violence. This coexistence of scripts could be explained by the structural ambivalence of TV series, but could also constitute an ideological breach linked to the context of feminist demands in recent years.

American popular culture has always been fascinated by the concept of serial killers. Modern mass media only contribute to that with their representation of famous serial killers. Serial killers are common motifs in art as well – from real-life killers documentaries to fictional serial killers whose portrayals are often based on true events. The character of Paul Spector from the Irish TV series “The Fall” (2013-2016) is one such example where a fictional serial killer is inspired by a real-life case. Spector, whose persona was inspired by the American serial killer Dennis Rader, however, offers to some extent a different portrayal of the typical serial killer on the screen. Not only does the series provide a complex insight into Spector's character and what led him to become a killer but it also provokes the audience's sympathy for him which results in the substitution of the emotions towards the killer with those that are supposed to be felt for the victims. This final paper focuses on the sympathetic depiction of the psychopathic serial killer in the TV series The Fall with a special emphasis on the factors that contribute to such a standpoint. The paper aims at identifying the series' deviations from the typical portrayal of the serial killer only as the villain and how those deviations influence the audience's vision of the main character and serial killers in general. Spector's sympathetic portrayal in the series is analyzed with the help of Agnew's general strain theory, Bandura's social learning theory, Cohen and Felson's routine activity theory, and Hirschi's social bond/control theory that explain the motivation of serial killers as stemming from the subject's surrounding and their relationships with other people rather than their inner defect. Američka je popularna kultura oduvijek fascinirana konceptom serijskih ubojica. Moderni masovni mediji svojim reprezentacijama tome samo dodatno doprinose. Serijski ubojice čest su motiv i u umjetnosti – od dokumentarnih filmova o stvarnim ubojicama do fiktivnih serijskih ubojica čiji su prikazi često bazirani na stvarnim događajima. Lik Paula Spectora iz irske TV-serije „Pad“ (2013-2016) jedan je takav primjer baziranja fiktivnog serijskog ubojice na stvarnom slučaju. Spector, čiji je lik inspiriran američkim serijskim ubojicom Dennisom Raderom, ipak, predstavlja u nekoj mjeri drugačiji prikaz tipičnog serijskog ubojice na platnu. Ne samo da serija nudi kompleksan uvod u Spectorov lik i ono što ga je dovelo do toga da postane ubojicom, već i izaziva simpatiju publike prema njemu što rezultira zamjenom emocija prema ubojici onima koje bi se trebale osjećati prema žrtvama. Ovaj se rad fokusira na suosjećajan prikaz psihopatskog serijskog ubojice u TV-seriji „Pad“ s posebnim naglaskom na faktore koji takvom prikazu doprinose. Rad nastoji identificirati devijacije serije u prikazu serijskog ubojice isključivo kao negativca i na to kako one utječu na viđenje publike kada je u pitanju glavni negativac, ali i serijski ubojice općenito. Spectorov je suosjećajan prikaz u seriji analiziran uz pomoć Agnewove opće teorije sojeva, Bandurine teorije socijalnog učenja, Cohenove i Felsonove teorije rutinskih aktivnosti i Hirschijeve teorije socijalne veze/kontrole koje objašnjavaju kako motivacija serijskih ubojica izvire iz subjektove okoline i njihovih veza s drugim ljudima radije nego njihovog unutarnjeg defekta.

This article identifies and analyzes the image and stereotypes associated with Arab Muslim women in the discourse of fiction produced in Spain through the study of the series 'Skam Es-paña' and 'La víctima número 8'. Through a qualitative methodology based on the characterization model and the analysis of the stereotype figure, it is concluded that both audiovisuals give relevance to these women, offer alternatives to the activities and spaces to which they are commonly circumscribed and enable them to confront and correct the stereotypes with which they are defined.

This bachelor thesis explores the connection between the image of the president in the Ukrainian TV series Servant of the People and the real presidential candidate Volodymyr Zelenskyy, because it was him who played the role of the president in the aforementioned TV show. The aim is to find out whether the film character Vasyl Goloborodko had the potential to contribute to Zelenskyy's election campaign and to what extent the examined figures coincide and differ. The theoretical part of the thesis describes the phenomenon of the television series, the Servant of the People series itself, specifically the plot, cast, audience response and criticism of the series in relation to Zelenskyy's candidacy in the elections, and also introduces the connection between celebrities and politics, explaining the concept of celebrity politician and its academic categorization. The research part examines the figure of Vasyl Goloborodko in selected episodes of the series and Volodymyr Zelenskyy in the video content of his election campaign through qualitative content analysis. The results of the subsequent comparison show that the examined characters are largely the same, but not exactly identical. Nevertheless, given the number of similarities, it can be concluded that the serial president may have contributed to...

Der Beitrag untersucht, wie weiblich gelesene Geschlechterrollen als Doing Gender in die Narrationen der beiden deutschen Fernsehserien Babylon Berlin (Sky/ARD 2017) und Eldorado KaDeWe - Jetzt ist unsere Zeit (ARD 2021) eingehen und diese dadurch politisieren. Zunächst wird das Verhältnis von Erzählen und Gender skizziert. Die dann folgende Analyse der beiden Serien zeigt Erzählmuster auf und beschäftigt sich mit den Kernelementen Zeit, Ort und (Erzähl-)Perspektive. Gezeigt wird, dass Babylon Berlin Fragen nationaler Identitätsbildung in den Fokus stellt und Weiblichkeitskonzepte reformuliert, ohne die Geschlechterhierarchie aufzulösen. Eldorado KaDeWe - Jetzt ist unsere Zeit hingegen reflektiert Genderidentitäten als kontingent und wandelbar. Die Serie schafft mit ihrer Erzählung über die Weimarer Republik einen Gründungsmythos für eine genderfluide Politik der Diversität. This article discusses how gender roles that are read as female have an influence on the narratives of the two German TV series Babylon Berlin (Sky/ARD 2017) and Eldorado KaDeWe - Jetzt ist unsere Zeit (ARD 2021) as a form of doing gender, thereby politicising them. First, the relationship between narrative and gender is outlined. The analysis of the two series that follows shows up narrative patterns and looks at the core elements of time, place and (narrative) perspective. I argue that Babylon Berlin focuses on questions of national identity formation and reformulates concepts of femininity without dissolving the gender hierarchy. By contrast, Eldorado KaDeWe - Jetzt ist unsere Zeit reflects gender identities as contingent and changeable. With its narrative about the Weimar Republic, the latter creates a foundational myth for a gender-fluid politics of diversity.

Multimediju komunikācija Informācijas un komunikācijas zinātnes Multimedia Communication Information and Communication Sciences Bakalaura darbā “Stereotipiska sieviešu reprezentācija latviešu televīzijas seriālā “Viņas melo labāk” galvenais mērķis ir atklāt kādi stereotipi attiecībā uz sievietēm ir pielietoti, novērojot arī to attīstību seriāla pirmajās trīs sezonās kopumā, veidojot secinājumus. Teorētiskajā daļā tiek aplūkota dzimtes stereotipu teorētiskā bāze, dzimuma un dzimtes jēdzienu atšķirības, dzimuma lomas, stereotipiska sieviešu reprezentācija, kā arī stereotipiskas reprezentācijas piemēru meklēšana un izpēte, seriāla “Viņas melo labāk” apskats, kā arī teksta kvalitatīvās analīzes ideju apkopojums. Savukārt empīriskajā daļā tiek veikta teksta kvalitatīvā analīze, kas dod iespēju no seriāla “Viņas melo labāk” 1.-3. sezonām iegūt un analizēt dialogus, kuros iespējams novērot dzimtes stereotipus attiecībā uz sievietēm, kas veido stereotipisku sieviešu reprezentāciju seriālā. Pētījuma daļā atklājās, ka seriālā “Viņas melo labāk” dialogos ir novērojama stereotipiska sieviešu reprezentācija, gan seriāla varoņu personībās, gan profesionālajā darbībā, kā arī vizuālajos elementos. Atklājās, ka seriāls “Viņas melo labāk” ir svarīgs, jo tajā tiek parādīta tā brīža sabiedrībā esošie uzskati, normas, kas, iespējams, nesakrīt ar situāciju 2023. gadā. Atklājās, ka seriālā ir uzskaitāmi vairāki stereotipi attiecībā uz sievietēm, kas atkārtojas pirmajās trīs sezonās, kas tika noteikts meklējot atbilstošos elementus dialogos, balstoties uz literatūru par tēmu stereotipiska sieviešu reprezentācija. The main goal of the bachelor's thesis "Stereotypical representation of women in the Latvian television series "They (females) lie Better" is to reveal what stereotypes have been applied to women, observing their development in the first three seasons of the series as a whole, drawing conclusions. The theoretical part deals with the theoretical basis of gender stereotypes, the differences between the concepts of gender and gender, gender roles, stereotypical representation of women, as well as the search and research of examples of stereotypical representation, the review of the TV series "They lie better", as well as a collection of ideas for the qualitative analysis of the text. On the other hand, in the empirical part, a qualitative analysis of the text is carried out, which gives an opportunity from the series "They Lie Better" 1.-3. seasons, to obtain and analyze dialogues in which it is possible to observe gender stereotypes in relation to women, which form a stereotypical representation of women in the series. The part of the research revealed that in the series "They lie better" a stereotypical representation of women can be observed in the dialogues, both in the personalities of the characters of the series, in their professional activities, as well as in the visual elements. It turned out that the series "They Lie Better" is important because it shows the beliefs and norms of the society at that time, which may not coincide with the situation in 2023. The series was found to have a number of recurring stereotypes of women in the first three seasons, which was determined by looking for relevant elements in the dialogues based on literature on the topic of stereotypical representation of women.

In this study the use of "well" as a discourse marker is analysed in sixteen episodes of a television series and in two English language textbooks to illustrate what communicative language teaching can get from work on discourse analysis. Results of the analysis show that the meaning of well as a mainly interactive device signalling acceptance due to modification is present both in television series and in textbooks. However, the analysis also shows an absence of inductive and language awareness approaches to focus learners’ attention on the interactive features of “well” as a discourse marker. Further research is needed in different languages to understand the meaning and use of discourse markers and the implications of these analyses for language teaching.

Diffusé par l’ORTF entre novembre 1968 et décembre 1969, Thibaud ou les Croisades est le premier feuilleton historique sur le sujet. Il invite à interroger l’image qui est donnée des croisades dans le contexte politique et socio-culturel des années 70. Examiner la fabrique du feuilleton, puis celle de la croisade permet de saisir comment est perçu et représenté ce phénomène complexe et ce qu’il révèle, à une période donnée, sur les mentalités et l’imaginaire d’une société. Thibaud ou les Croisades, broadcast by ORTF between November 1968 and December 1969, was the first historical television series set during the Crusades. It allows us to explore the representation of the Crusades in the political and socio-cultural context of the 1970s. By examining the construction of the series and the Crusade, we can learn how this complex phenomenon was perceived and portrayed, and what it reveals about a society’s mentalities and imaginations during the period.

The satirical television series Jiskefet ran from 1990 to 2005 at the VPRO channel. While the popular satirical television series Kooten & De Bie focused more on political parody, Jiskefet was more absurdist and mainly made parodies of certain subcultures. In this article, I want to look at how these timeless parodies can be used as course materials. Not only is Jiskefet itself part of Dutch culture, but the parodies also magnify typical Dutch cultural elements. Examples include student associations, the culture of voluntary work, nursing homes that often appear in the news, and the office culture with the inevitable lunch box and office humor. Furthermore, the parodies constitute interesting linguistic material in the form of neologisms, which have enriched the Dutch language and will also be discussed here. Finally, the fact that stereotypes and prejudices are used in parodies offers the possibility of discussing the subject with students.

This paper explores how the central female characters of the television series Killing Eve gain power by accessing and enacting forms of violent “otherness”. By rejecting traditional conceptions of...

The world of Art History has made its way, not only through bibliography or museums but also through the audiovisual world. From here, we have to distinguish two similar entities, but at the same time very specific: the cinema itself, and on the other, the section of television series. In the case of the latter, it is important to point out the differences with cinematography, which, although it shares the same languages and codes, it is true, it raises some broader horizons in providing a closer narrative to detail and richer and abundant contextualization contributing to a better understanding of the historical and artistic fact, and this can be scrutinized through a careful selection of TV series whose main protagonist is the Art History and the artists.

The aim of the paper is to introduce or rather (re)present The Witcher as a model-like pop cultural phenomenon illustrating the mechanisms within the framework of which a local hero, the main character of fantasy narratives written by Andrzej Sapkowski, transforms into a global hero. The Witcher — the character as well as the trademark, or rather brand — represents popular culture pars pro toto and emblematically a pop cultural artefact, undergoing a transformation on an axis from short stories to a novel saga, becoming an object of local cinematic and television-based adaptation and also a thematic basis for a successful digital-game series distributed globally, as well as recently a source of a high-budget television series designed for a global television market.

Atualmente, como consequência da progressiva digitalização e fragmentação das audiências, observam-se novas práticas de consumo do conteúdo de entretenimento. Entre estas, encontram-se as séries televisivas, cujo consumo aparenta ser cada vez mais rápido e intenso. Práticas como o binge watching ou a construção de comunidades de fãs tornam-se num hábito recorrente, refletindo a forte atração que as séries televisivas exercem no espectador. Verifica-se também uma presença, por vezes diária, destes programas na vida dos espectadores. É perante este contexto que surge o principal objetivo da presente investigação, que passa por compreender de que forma as personagens das séries televisivas consumidas por fãs têm impacto na construção da sua identidade. Neste processo, a identificação com as personagens é fundamental e, por esse motivo, será um dos principais focos e ponto de partida no desenvolvimento desta investigação. Com o intuito de responder a esta problemática, foi elaborado um estudo com base num questionário online, de modo a verificar quais são os hábitos de consumo, se os indivíduos se identificam com as personagens das séries, etc. Procurou-se ainda verificar quais os fatores que causam identificação e, finalmente, qual o impacto que este fenómeno tem nos fãs, em particular, na construção da sua identidade. Aos dados recolhidos foi aplicada uma metodologia mista, de forma a analisar os dados em termos quantitativos e qualitativos, para dar resposta aos objetivos propostos. Os resultados confirmam a presença destas novas formas de consumo e evidenciam a importância do processo de identificação dos fãs na visualização de séries televisivas. Currently, as a consequence of the progressive digitalization and fragmentation of audiences, new practices of consumption of entertainment content are observed. Among these are television series, whose consumption seems to be increasingly fast and intense. Practices like binge watching or building fan communities become a recurrent habit, reflecting the strong attraction that television series exert on the viewer. There is also a presence, sometimes daily, of these programs in the lives of viewers. It is in this context that the main objective of this research arises, which is to understand how the characters of television series, consumed by fans, have an impact on the construction of their identity. In this process, the identification with the characters is fundamental and, for this reason, it will be one of the main focuses and starting point in the development of this research. In order to answer this problematic, a study based on an online questionnaire was elaborated, in order to specify consumption habits, whether or not individuals identify themselves with the characters, etc. We also sought to verify which factors cause identification and, finally, what impact this phenomenon has on fans, particularly in the construction of their identity. A mixed methodology was applied to the data collected, in order to analyze the data in quantitative and qualitative terms, so as to respond to the proposed objectives. The results confirm the presence of these new forms of consumption and highlight the importance of the fan identification process in the watching of television series.

Gledalci se lahko identificirajo z anti-junaki kot protagonisti v popularnih televizijskih serijah. Tudi serijski morilci lahko nastopajo kot anti-junaki, do katerih so gledalci empatični, za njih navijajo in si želijo, da jih organi pregona ne bi ujeli. S procesom moralne razbremenitve posamezniki zmanjšujejo resnost njihovih dejanj in jih v določenih primerih celo upravičujejo. Gledalci se lahko torej vživijo tudi v takšne like in doživljajo zgodbo skozi njihove oči. Z metodo fokusne skupine sem pridobila vpogled v zgoraj opredeljeno problematiko in odgovorila na raziskovalno vprašanje, kakšni so razlogi in mehanizmi identifikacije s protagonistom iz serije You, Joejem Goldbergom, in iz serije Dexter, Dexterjem Morganom. Izbrani seriji namreč v središče postavljata serijskega morilca, anti-junaka. V okviru fokusne skupine sem se bolj osredotočila na serijo You, s pomočjo literature pa sem dobila vpogled še v serijo Dexter. V diplomski nalogi so raziskani mehanizmi značilnosti identifikacije z moralno ambivalentnimi liki, poleg tega pa so odkriti razlogi, ki to omogočajo. Viewers can identify with anti-heroes as protagonists in popular television series. A serial killer is an anti-hero, whom viewers empathise for, root for and wish for him to avoid being caught by law enforcement. Through the process of moral disengagement, individuals reduce the seriousness of the protagonists’ actions and in some cases even justify them. Viewers therefore empathise with such characters and experience the story from their perspective as well. The focus group method was used to gain insight into the issue identified above and to answer the research question of what are the reasons for and mechanisms of identification with the protagonist in the series You, Joe Goldberg, and in the series Dexter, Dexter Morgan. The two series chosen are centred around a serial killer, an anti-hero. The questions for the focus groups were focused more on the series You, and insight into the series Dexter was received through literature. This thesis explores the mechanisms behind the identification with morally ambivalent characters and the reasons that make this possible.

Los Simpsons es una de las series con más éxito a nivel global. ¿Quién no conoce a esta singular familia de Springfield? La mayoría de jóvenes de hoy en día han crecido viendo las divertidas aventuras de la familia y sus vecinos. Pero, ¿nos hemos planteado qué hace que sea tan exitosa esta serie? ¿Cómo puede llevar tantos años en pantalla y seguir teniendo tantos seguidores? Quizá es por la originalidad de la trama, por la comedia absurda que se desarrolla en muchos episodios o por la aparente sencillez de los mismos. Lo que es indiscutible es que cambió radicalmente la narrativa en televisión que conocíamos hasta su llegada, llegando a constituirse como un referente cultural absoluto cuyo poder e influencia ha llegado a los lugares más recónditos. No cabe duda de la influencia esta serie y de cómo se ha convertido en parte de la cultura actual. Reflexionaremos sobre esta cuestión en este trabajo. The Simpsons is one of the most successful series worldwide. Who doesn't know this unique Springfield family? Most young people today have grown up watching the funny adventures of the family and their neighbors. But have we ever wondered what makes this series so successful? How can it have been on screen for so many years and still have so many fans? Perhaps it is because of the originality of the plot, the absurd comedy that takes place in many episodes or the apparent simplicity of the episodes. What is indisputable is that it radically changed the narrative in television that we knew until its arrival, becoming an absolute cultural reference whose power and influence has reached the most remote places. There is no doubt about the influence of this series and how it has become part of today's culture. We will reflect on this issue in this paper. Universidad de Sevilla. Grado en Comunicación Audiovisual

When Richard Donner's blockbuster Superman arrived in theaters in 1978, critics praised the filmmakers for avoiding camp in their adaptation of the comic book, comparing the film positively to the Batman television series (1966–68) of the previous decade. Several sequels later, critics attributed the series’ diminishing financial returns to its growing investment in camp, an investment that peaked in Jeannot Szwarc's Supergirl spinoff (1984), a critical and commercial misfire. Drawing on the work of camp theorists Susan Sontag, Moe Meyer, and Andrew Ross, I argue that critics have misrepresented the place of camp within the franchise, a misunderstanding stemming from their neglect of the film scores. There are two different yet overlapping forms of camp operating within these films. In their reviews, critics expressed disdain for pop camp, a highly legible form of camp, characterized by overblown performances, that the Batman show popularized in the 1960s. My analyses of Superman and Supergirl center on a subtler camp aesthetic present from the very start that critics celebrated: a playful mismatching of gender signifiers and an undercutting of heteronormative romantic relationships that I refer to as queer camp. I offer queer readings of John Williams's and Jerry Goldsmith's leitmotivic scores for Superman and Supergirl—supposedly the least campy and the campiest films in the franchise—to bring into focus the overlooked political work the series accomplishes. In a bold reclamation of the comic books’ suppressed queer legacy, the films’ queer camp aesthetic subverts the heteronormativity of the protagonists to construct Superman and Supergirl as queers of steel.

This paper seeks to examine some of the principles governing the representation of the contemporary metropolis in Brazilian audiovisual media. Beyond the progress and dynamism inherent to the modern city, contemporary discourse addresses the metropolis as a disorienting space that catalyzes and amplifies sensory experiences. Thus, we will investigate the representation of Sao Paulo in the television series Alice (2008), whose protagonist’s life is pierced with her impressions of the city as she engages in a “feminist strategy of reading space” (Bruno, 2007). Based on other audiovisual representations of the city from the first decade of the 2000s, we also intend to discuss the strategies employed by the contemporary world cinema for addressing the urban space, questioning its tendency to use sensory appeals towards the “return of the real”.

Steve Canyon, developed in the late 1950s from the popular newspaper comic strip of the same name created by Milton Caniff, was the first attempt at generating a filmed dramatic series for American...

espanolEn este trabajo propongo analizar las series de television como un producto que, mediante sus tramas, es capaz de transmitir contenido filosofico. Para ello, comenzare estableciendo una justificacion teorica de las series como producto artistico y, veremos a traves de Noel Carroll (Carroll 2011) un analisis de las imagenes en movimiento como vehiculo filosofico. Tras ello, mostrare las similitudes que presentan las series con los relatos literarios y propondre la forma en que entiendo su potencial filosofico. En definitiva, pretendo analizarlas como relatos especialmente interesantes para la filosofia por incentivar la reflexion en los espectadores y ampliar el punto de vista desde el cual enfocan la realidad. EnglishIn this work, I propose to analyze television series as a product that, through its plots, are able of transmitting philosophical content. To do this, I will begin by establishing a justification for the series as an artistic product and, through Noel Carroll (Carroll 2011), we will see an analysis of moving images. After that, I will show the similarities that the series have with literary stories and I will propose the way in which I understand their philosophical potential. In short, I intend to analyze them as stories that are especially interesting for philosophy because it encourages reflection in viewers and broadens the point of view from which viewers focus on reality.

In 2017, BBC released a video revealing that Jodie Whittaker would be the actor to play the thirteenth Doctor in the 2018 season of Doctor Who (1963–), the popular BBC television series. The “reveal” that a woman had been cast in the role of the Doctor prompted an overwhelming backlash and fierce online discussion. The same period saw a number of popular films and series cast women as leads. The intense discussion that the reveal generated indicates that televisual representations of gender continue to matter greatly to viewers. The question is how? Fan comments posted below the reveal video on YouTube suggest that viewing publics are less engaged in a controversy over feminism than bewildered by gender categories becoming unstable. Notably, once the series aired, discussion about the Doctor’s gender died down. Seeing the Doctor addressed as “Ma’am,” it turned out, was not what upset viewers.

This empirical study investigates the differences in the appreciation of British humour by 128 British and 95 American English L1 users (with 18 having experiences in the UK). Participants rated the funniness of two short extracts from two British television series and answered an open question on their perceptions. Results indicated that American English L1 users perceived British humour as less funny and were less able to “get” the ironic and sarcastic aspect of British humour than British English L1 users. This study highlights the role of emotion, as both a reaction during humour processing and a prerequisite prior to it. Moreover, length of residence is not related to the appreciation of humour in another dialect in this study.

ResumenEl presente trabajo busca ofrecer aportes teóricos de los Estudios de Comunicación, Género y Culturales para el análisis de las series de televisión desde una perspectiva feminista. En este sentido, el objetivo es abrir el campo a indagaciones acerca de qué representaciones mediáticas de los feminismos construyen estas narrativas audiovisuales teniendo en cuenta el contexto de la Cuarta Ola Feminista, marcado por niveles de masividad y diversidad inéditos para el movimiento; y por la Tercera Edad de Oro de las series, caracterizada por poner en debate temas sociales de coyuntura en general y demandas de los movimientos de mujeres en particular.AbstractThis paper seeks to offer theoretical contributions from Communication, Gender and Cultural Studies for the analysis of television series from a feminist perspective. The objective is to open the field to inquiries about what media representations of feminisms construct these audiovisual narratives, taking into account the context of the Fourth Feminist Wave, marked by levels of massiveness and diversity unprecedented for the movement; and by the series' Third Golden Age, characterized by debating current social issues in general and demands from women's movements in particular.

ResumenEste artículo se propone analizar los roles ocupados por (o asignados a) mujeres migrantes hacia España en la serie televisiva Vientos de agua, de Juan José Campanella (2005). El tema de las migraciones contemporáneas, muy presente en la realidad social pero, a su vez, en ocasiones soslayado, demanda mayor atención cuando se focaliza el rol satelital de la presencia femenina en ese contexto de desplazamiento. Si bien el siglo XXI se muestra como una época propicia para la deconstrucción de mandatos e imágenes preconcebidas, incluso en un lenguaje audiovisual actual como el de las series, prevalecen aún modelos que las representan atadas a roles prototípicos de servicio, acompañamiento, ámbito doméstico y satisfacción de las necesidades de otros. AbstractThis article aims to analyze the roles played by (or assigned to) migrant women to Spain in Juan José Campanella's television series Vientos de agua (2005). The issue of contemporary migrations, very present in social reality but, at the same time, sometimes overlooked, demands greater attention when focusing on the satellite role of the female presence in this context of displacement. Although the 21st century appears to be a propitious time for the deconstruction of mandates and preconceived images, even in a current audiovisual language such as that of the series, models that represent women linked to prototypical roles of service, accompaniment, domestic environment and meeting the needs of others still prevail.

Bu çalışmada Türk televizyon yayıncılığının en yaygın program türlerinden biri olan yerli dizilerde babalık temsillerine odaklanılmıştır. Amaç: Bir erkeklik performansı olarak babalığın Türk televizyon dizilerindeki temsil ediliş biçimlerinin ve babalığa yüklenen anlamların nitel veri analizi yöntemi aracılığıyla çözümlenmesi amaçlanmıştır. Yöntem: 2010-2020 yılları arasında en az bir sezon yayınlanan diziler amaçlı örneklem yöntemi ile araştırmaya dahil edilmiştir. Analiz süresince araştırmacı tarafından örneklem içerisindeki her bir dizinin birinci sezonunun ilk 5 bölümü izlenmiş ve analitik notlar yazılmıştır. Analitik notlar aracılığıyla elde edilen veriler birbirleriyle ilişkilendirilerek sınıflandırılmış yani kategorileştirilmiş ardından da örüntü ve temalara ulaşılarak Türk televizyon dizilerinde babalık temsilleri ve babalığa yüklenen anlamlar bulgulanmıştır. Bulgular: Araştırmanın bulgularına göre söz konusu anlatılarda babalık bir bütün olarak değişmez kurallara sahip değildir. Aksine örneklem dahilindeki dizilerde babalık kurumu aynen toplumsal yapıda olduğu gibi son derece hassas ve kırılgan bir zemin üzerinde ilerlemektedir. Özgünlük: Bu araştırma ile kitle iletişim araçlarındaki babalık temsillerine dair sınırlı sayıdaki çalışmaya bir yenisi daha eklenmiştir. In this study, one of the most common types of programs in Turkish television broadcasting is focused on representations of fatherhood in domestic series. Purpose: It is aimed to analyze in terms of the representations of fatherhood as a masculinity performance, and the meaning attributed to fatherhood by using qualitative data analysis method. Method: The series that have been broadcasted at least for one season between the years 2010-2020 have been included in the study by the method of purposive sampling. During the analysis, the researcher watched the first five episodes of the first season of each series, and took analytic notes. The data obtained by the analytic notes have been correlated and categorized prior to reach patterns and themes to conclude the meanings attributed to fatherhood representations and fatherhood itself in the Turkish television series. Findings: Consequently, rather than being an institution which consists of unchangeable body of rules of masculinity performance, fatherhood is a condition of being a parent, that proceeds on a sensitive and fragile ground. Originality: With this research, a new one has been added to a limited number of studies on fatherhood representations in the mass media.

The TV series Our Boys (2019), which deals with traumatic historical events, provides the basis for a discussion of blind spots (scotoma) as a metaphor for collective denial. This social blindness ...

En este artículo nos adentramos en las representaciones que TVE difunde de la mujer trabajadora en las series de ficción durante la tercera legislatura de Felipe González. Son los años en los que el Instituto de la Mujer establece el primer Plan para la Igualdad de Oportunidades de las Mujeres (PIOM, 1988-1990) que favorece la integración masiva de las mujeres en el mercado laboral remunerado, esto es, a su "profesionalización". Esta imagen se transmite en las series en la que la caracterización y las narrativas se presentan bajo la óptica patriarcal respecto a la imagen de la mujer. Es más, las mujeres de clase trabajadora están sistemáticamente invisibilizadas y/o minusvaloradas a través de bromas sexistas, violencia verbal... In this article I will explore the representation of women according to their social status in television series shown during the period 1989-1993 on Spanish public television (TVE). While there are a significant number of young active women occupying key roles in series made during this period – a move influenced by the Equal Opportunity Plan for Women (PIOM) from the ruling Socialist Party and the Women's Institute – their characterisation and narrative function remain heavily attached to a patriarchal view of women. Furthermore, working-class women are systematically under-represented and/or undervalued through sexist jokes, verbal violence and mockery towards housewives.

This research Take up the development of the introductions of the Egyptian television series in the eighties to the stage of digital technology, and the emergence of modern techniques, methods and graphic visual effects, to give a graphic value that expresses the dramatic, and be It is like the window that overlooks this work, which has become an art in itself, that is prepared separately and carefully. The study summarized: an attempt to understand and explain the visual language used in the design of the introductions, by providing an analytical study of a number of models for the introductions, the role of technology in graphic processing, and the extent of diversity caused by the development of the use of digital technology in the treatment of the introductions of the Egyptian television series. The researcher recommends: inviting the institutions concerned with teaching this field, inviting cultural and artistic institutions to sponsor and interest in this art and on television, and allocate budgets from the state and incentive awards for makers of television introductions.

Didactic resources are widely used in the teaching-learning process to support the construction of knowledge, even if they were not designed for this purpose, such as television series. The use of series in the classroom allows a lot of advantages, such as interdisciplinary work, students' prior interest and everyday situations in locus of learning. The aim of this work was to review the literature on the use of didactic resources in education, focusing on the use of television series for Chemistry teaching. The data reveal the percentage of the Brazilian population who watches series is high, most of them using television. Prominent authors argue the incorporation of students' daily lives in the educational context actually contributes to an effective learning process. In teaching chemistry, they might be a strong ally for the demonstration of chemical and/or physical processes which are difficult to perform in teaching environment, thus, facilitating work with more abstract contents. The analyzed works show that it should be used in different ways and contents. Recursos didáticos são amplamente utilizados no processo ensino-aprendizagem para facilitar a construção do conhecimento, mesmo que não tenham sido concebidos para esse fim, como os seriados televisivos. A utilização dos seriados em sala de aula permite inúmeras vantagens, tais como o trabalho interdisciplinar, interesse prévio dos estudantes e situações cotidianas. O objetivo desse trabalho foi fazer uma revisão da literatura acerca da utilização dos recursos didáticos na educação, com enfoque na utilização de seriados televisivos para o ensino de Química. Os dados revelam que é alta a porcentagem da população brasileira que assiste séries, utilizando-se predominantemente a televisão. Diversos autores defendem que a incorporação da vida cotidiana dos estudantes no contexto educativo contribui de fato para um processo mais efetivo de aprendizagem. No ensino de química, podem ser um forte aliado para a demonstração de processos químicos e/ou físicos de difícil execução, além de facilitar o trabalho com conteúdos mais abstratos. Os trabalhos analisados mostram que pode ser utilizado de formas diversas.

En el presente informe de la modalidad de Pasantía Institucional, se verá sistematizado el trabajo realizado en el II Cuarto de Escritores, proyecto organizado por la Secretaría de Desarrollo Económico de la ciudad de Cali en compañía de organizaciones como: Algo en Común, Bibliotec y la Universidad Autónoma de Occidente. Se describirá el proceso de creación de los dos decks de venta para series, desde la formación de los equipos de trabajo hasta la escritura de los diferentes elementos que conforman un deck. Esta pasantía institucional fue un proceso de tres meses en el que se trabajó y se aprendió constantemente sobre la industria de creación audiovisual, sobre todo en el aspecto de la creación de contenido para televisión y las diferentes plataformas de streaming de contenido audiovisual. Se presenta la metodología seleccionada para el proceso y lograr las metas propuestas; además, se mencionan las dificultades que se encontraron en el camino, el conocimiento adquirido en el trabajo de creación y en las charlas recibidas por los diferentes profesionales. Pasantía institucional (Profesional en Cine y Comunicación Digital)-- Universidad Autónoma de Occidente, 2022 Pregrado Profesional en Cine y Comunicación Digital

This article presents a quantitative and qualitative analysis of formal and semantic trends of the flashback in Netflix original drama series between 2013 and 2017. The purpose is to determine whether such temporal digressions are commonplace to develop a better understanding of the evolution of television storytelling in the streaming era. The method applied involves a scene-by-scene quantitative analysis of temporality in 33 pilot episodes, an original methodology in television narratology. This is followed by a theoretical definition of the five categories of flashback: delimited, expository, undefined, independent, and oneiric. Tables displaying the data support the results of the study. The subsequent discussion combines the data with a qualitative analysis to identify patterns in how Netflix dramas juxtapose the five categories of flashbacks. Three conclusions are offered: the prevalence of temporal disruptions; the wide variety of flashback categories appearing in Netflix drama series; and the formal simplicity using these tropes.

Empleando el método investigativo inspirado en el Modelo Estructuralista de Ferdinand de Saussure y los hallazgos de la estructura del discurso televisivo del Doctor Luiss Mas Manchón y las funciones para el análisis estructural estudiadas por Roland Barthes, se pretende analizar la estructura de los ocho capítulos que integran la primera temporada de la serie para mayores de edad “Euphoria” emitida por la cadena televisiva HBO GO en el año 2019. En base a este objeto de estudio, se analizará el discurso empleado por los creadores y el impacto considerable que generó en los adolescentes permitiendo evidenciar la influencia que tiene el discurso televisivo en una población determinada. Using the research method inspired by the Structuralist Model of Ferdinand de Saussure and the findings of the structure of the television discourse of Dr. Luiss Mass Manchón and the functions for structural analysis studied by Roland Barthes, the aim is to analyze the structure of the eight chapters that make up the first season of the adult series "Euphoria" broadcast by the HBO GO television network in 2019. Based on this object of study, the discourse used by the creators and the considerable impact it generated on adolescents will be analyzed to demonstrate the influence that television discourse has on a specific population Proyecto de grado (Comunicador Social-Periodista)-- Universidad Autónoma de Occidente, 2022 Pregrado Comunicador(a) Social – Periodista

La série télévisée ouest-allemande La clinique de la Forêt-Noire, diffusée dans les années 1980, connut un succès phénoménal et reste ancrée aujourd’hui encore dans la mémoire culturelle allemande. Se déroulant essentiellement en Forêt-Noire, elle en célèbre de manière appuyée la beauté des paysages et la qualité de vie. Cette harmonie subsiste pleinement lors du voyage aux Etats-Unis entrepris par le personnage principal. La beauté sans faille de l’Amérique reflète d’une part les solides liens culturels et géopolitiques établis entre la République Fédérale d’Allemagne et les Etats-Unis et, d’autre part, la vision idéalisée qu’en avaient beaucoup de citoyens des deux Allemagnes. The West German television series The Black Forest Clinic, broadcast in the 1980s, was a phenomenal success and remains embedded in the German cultural memory to this day. Taking place mainly in the Black Forest, it celebrates the beauty of the landscape and the quality of life in an emphatic way. This harmony is fully maintained during the journey to the United States undertaken by the main character. On the one hand, America's unfailing beauty reflects the strong cultural and geopolitical ties between the Federal Republic of Germany and the United States, and, on the other hand, the idealised view held by many citizens of both Germanies.

Cet article s’inscrit dans le contexte des études portant sur la FASP / fiction spécialisée (Petit, 1999 ; Isani, 2004a). Bien que la variété générique de la FASP romanesque ait été explorée (Charpy, 2004, 2014), l’impact des séries télévisées sur les (futurs) professionnels de santé est toujours en cours d’investigation (Carnet, 2020).Le but de cet article est d’étudier le modus operandi des étudiants et des hospitalo-universitaires français lorsqu’ils regardent des séries spécialisées anglo-saxonnes en anglais (VO ou VOST) pendant leur temps libre ou à l’UFR des Sciences de Santé.Un questionnaire a été soumis à trois groupes distincts : 32 étudiants de première année, 13 étudiants de la deuxième à la sixième année des études de santé et 22 hospitalo-universitaires. Les questionnaires comportaient un tronc commun de 8 questions ciblant les différents types de séries visionnées par les (futurs) professionnels de santé, leurs séries médicales ou médico-légales préférées, leurs motivations, l’intérêt socio-professionnel et lexical de la fiction spécialisée et sa pertinence. Deux questions supplémentaires, réservées aux étudiants en fin de cursus et aux professionnels, portaient sur d’éventuels échanges avec les membres de leur communauté et sur l’utilisation pédagogique effective de la fiction spécialisée. Il a également été demandé aux professionnels de santé de répondre à quelques questions sur la FASP romanesque.Afin de mieux comprendre les liens entre « réalité télévisuelle » et réalité professionnelle, l’impact de la FASP télévisuelle a été analysé à la lumière de la « théorie de la culture » / cultivation theory (Gerbner et al., 1986). En s’appuyant sur la distinction entre « lecteur naïf », « lecteur profane » et « lecteur spécialisé » de la FASP (Isani, 2009), l’auteur a également étudié les diverses voies d’accès à la FASP télévisuelle des (futurs) professionnels de santé ainsi que leurs relations ambivalentes avec la réalité offerte par la fiction. Les résultats de l’enquête pourront être mis à profit pour dégager des pistes de travail pédagogiques prometteuses en anglais de spécialité. This article is set within the context of the study of FASP/specialised fiction (Petit, 1999; Isani, 2004a). Although the FASP subgenre has been explored (Charpy, 2004, 2014), the impact of television series on (future) healthcare professionals is still under investigation (Carnet, 2020).The purpose of this article is to study the modus operandi of French medical students and healthcare professionals when they watch specialised television series in English in their spare time or at the medical school.A questionnaire was submitted to three distinct groups: 32 first-year students, 13 medical students ranging from the second to the sixth year, and 22 hospital doctors. The questionnaires comprised a common body of eight questions focusing on the television series subgenre and the various categories (future) healthcare professionals watched, the medical or forensic series they preferred, their motives, the socio-professional and lexical interest of specialised fiction and its relevance. Two additional questions, aimed at advanced students and healthcare professionals, bore on potential exchanges between viewers and members of their specialised community and the actual pedagogical use of specialised fiction. In addition, the healthcare professionals were asked to answer a few questions about the medical thriller subgenre.In order to better understand the links between “TV reality” and professional reality, the impact of the FASP subgenre on members of the healthcare community in France was analysed in light of Media Cultivation Theory (Gerbner et al., 1986). By relying on the distinction between “the naïve FASP reader”, “the lay FASP reader” and “the specialist FASP reader” (Isani, 2009), the author also studied the various ways (future) healthcare professionals access TV series along with their ambivalent relationship with fictional reality. Results from the survey could be used to open up promising pedagogical avenues in the field of English for Specific Purposes.

La fiction à substrat professionnel (FASP) télévisuelle constitue un objet de recherche « légitime et pertinent » en anglistique de spécialité, dans la mesure où elle fournit « une voie d’accès [audio-visuelle] à l’anglais de spécialité » (Petit, 1999 : §3). Cet article porte sur les principales manifestations et caractéristiques de trois aspects du spécialisé observables dans la FASP télévisuelle, et plus particulièrement dans la série NCIS. Dans cette « panachée FASP » (Isani, 2004a : 28-29), substrats et adstrats disciplinaires, culturels et langagiers s’entremêlent afin de présenter un aperçu du spécialisé à l’œuvre dans trois domaines : la criminalistique, l’enquête et la Marine américaine. Des stratégies narratives et discursives sont alors mobilisées pour adapter le contenu spécialisé et le rendre accessible au grand public, conférant ainsi une certaine visée didactique à ce genre. Televised professionally-based fiction (better known as FASP in French) is a relevant and interesting object of study in the field of English for Specific Purposes, as it makes specialised varieties of English accessible to a wide audience (Petit, 1999: §3). This article focuses on the main characteristics of the three different types and levels of specialisedness that can be identified in televised FASP, and more specifically in the NCIS TV series. In this “panachée FASP” (Isani, 2004a: 28-29), disciplinary, cultural and linguistic substrata and adstrata are combined, offering insights into three different professional worlds: forensic science, police investigation and the U.S. Navy. In order to make the specialised content accessible to a lay audience, narrative and discursive strategies are used, revealing the didactic dimension of this genre.

espanolEn este articulo se analiza un conjunto de ciclos televisivos de ficcion compuestos por episodios unitarios y emitidos en la Argentina en la ultima dictadura civico-militar (1976-1983), con el objetivo de constatar la demarcacion de un espacio alternativo de creacion-expresion. En primer lugar, se aborda la constitucion de un tejido artistico-creativo que obro proactivamente en la concrecion de los ciclos. En segundo lugar, se estudian las caracteristicas textuales de estos programas y su apuesta por modalidades narrativas y espectaculares que facilitaban abordar criticamente problematicas relacionadas con el presente historico. Finalmente se indaga en la produccion de sentido, en la cual el efecto de corpus y la recepcion complice de los espectadores adquieren vital protagonismo. Se concluye que los ciclos estudiados se distanciaron de la programacion televisiva de la epoca y configuraron una experiencia que obro en disidencia al regimen, postulando la critica y la resistencia a sus lineamientos ideologicos y practicas politicas. EnglishThis article analyzes a group of anthology television series broadcasted in Argentina during the last civil-military dictatorship (1976-1983), with the aim of confirming the demarcation of an alternative space of creation-expression. First, we address the constitution of an artistic-creative fabric that worked proactively in the realization of the cycles. Secondly, we study the textual characteristics of these programs and their commitment to narrative and spectacular modalities that facilitated a critical approach to issues related to the historical present. Finally, the production of meaning is investigated, in which the corpus effect and the complicit reception of the viewers acquire vital prominence. It is concluded that the cycles studied distanced themselves from the television programming of the time and configured an experience that worked in dissidence to the regime, postulating criticism and resistance to its ideological guidelines and political practices.

Autor artykułu przedstawia przykłady tekstów literackich, w których można odnaleźć cechy gier komputerowych, takie jak poczucie zanurzenia, interaktywność czy złudzenie kontroli (sprawczości). Wśród nich najciekawiej prezentują się dzieła polskiego autora fantastyki naukowej Jacka Dukaja. Pisarz nawiązuje w swoich powieściach i opowiadaniach do gier cyfrowych poprzez imersywną konstrukcję świata przedstawionego, obrazowy i sugestywny język oraz specyficzne podejście do czytelnika, od którego pisarz wymaga ciągłej koncentracji. Opracowanie zawiera również rozważania na temat przekształceń współczesnych mediów pod wpływem gier komputerowych, które wymuszają na kinie, serialach telewizyjnych i literaturze zwrot w kierunku interaktywności.

This article addresses the benefits of audio-visual input for learning second language (L2) vocabulary and grammatical constructions. Specifically, it explores the role of frequency, the effects of subtitles and captions, and the mediating role of learner proficiency on language gains in two longitudinal studies. Study 1 targets vocabulary acquisition in two groups of adolescents with an elementary L2 proficiency level who view 24 episodes of a TV series spread weekly over a whole academic year, one group with subtitles (first language) and one with captions (second language). Study 2 targets grammar acquisition in two groups of university students with an intermediate proficiency level who view 10 episodes over five weeks, one group with captions and one without captions. Results of both studies show significant correlations between language gains and frequency in the input, but the size of the frequency effect appears to depend on the type of support provided by the on-screen text. The analyses also show no significant advantage of captions or subtitles for vocabulary learning at this proficiency level, a significant advantage of captions over no captions for grammatical constructions learning, as well as the significant role of proficiency. It is concluded that viewing audio-visual material leads to L2 learning and it can support learners in their preparation for study abroad and maximize their learning experience during their sojourn.

Black Mirror (2011–current), an anthology science-fiction television series, portrays how digital technologies reflect and shape our dreams and nightmares about the current media environment. The w...