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Od deviantů k rodičům: Neheterosexuální maskulinity v současných českých televizních seriálech

100%
Sloboda Z.
Gender, rovné příležitosti, výzkum (Gender, Equal Opportunities, Research)
|
2015
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vol. 16
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issue 1
23-34
EN
Since about 2004, together with the boom of production of original Czech television series, non-heterosexual characters start to slowly but constantly appear in the series narratives. In my analysis, I have focused on gay characters: how are they, why and how they appear and disappear, how is their non-heterosexuality installed and how it/they develop in the series narrative. Regarding the development of gay male characters, a perceptible change in their depiction can be witnessed: from mostly miserable characters with the coming out as their only dramatic potential for the series narrative, to more complex characters incorporated in the storytelling experiencing love, partnerships or even parenthood – aspects so normal for the series narrative. Beside this rather descriptive layer of my analysis, taking into account Connell’s and Messerschmidt‘s concept of hegemonic masculinity, I pointed out representations of practices that produce masculinity of single (male) characters in the relation to their non-heterosexuality as subordinate, as complicit, and – for more recent characters – even as hegemonic. The production of non-heterosexual characters as hegemonically masculine seems to be “narratively redeemed” by their homonormativity.
2
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Patriotyzm jako wartość w serialu telewizyjnym na przykładzie Czasu honoru. Powstanie

100%
Molicka P.
Dydaktyka Polonistyczna
|
2018
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issue 4 (13)
189-198
EN
This article is devoted to the issue of valuation in a television series. The exemplification material comes from the popular Polish production Czas honoru. Powstanie. The text aims to present representative examples – mainly the attitudes of young people who can be a model for modern generations of Poles.
3

“That Show You Like Might Be Coming Back in Style”: HowTwin PeaksChanged the Face of Contemporary Television

100%
Moldovan R.
American, British and Canadian Studies Journal
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2015
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vol. 24
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issue 1
44-68
EN
The present study revisits one of American television’s most famous and influential shows, Twin Peaks, which ran on ABC between 1990 and 1991. Its unique visual style, its haunting music, the idiosyncratic characters and the mix of mythical and supernatural elements made it the most talked-about TV series of the 1990s and generated numerous parodies and imitations. Twin Peaks was the brainchild of America’s probably least mainstream director, David Lynch, and Mark Frost, who was known to television audiences as one of the scriptwriters of the highly popular detective series Hill Street Blues. When Twin Peaks ended in 1991, the show’s severely diminished audience were left with one of most puzzling cliffhangers ever seen on television, but the announcement made by Lynch and Frost in October 2014, that the show would return with nine fresh episodes premiering on Showtime in 2016, quickly went viral and revived interest in Twin Peaks’ distinctive world. In what follows, I intend to discuss the reasons why Twin Peaks was considered a highly original work, well ahead of its time, and how much the show was indebted to the legacy of classic American film noir; finally, I advance a few speculations about the possible plotlines the series might explore upon its return to the small screen.
4
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Television humour and preferred meanings in the Catalan identity debate

88%
Martínez-García L.
The European Journal of Humour Research
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2014
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vol. 2
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issue 3
EN
This article analyses a sports-related satirical-parody television series as a generator of preferred meanings that may be associated with an ideological context of a stateless nation such as Catalonia, where the symbolic aspect is fundamental to the imaginary-building process. In this case, the research focuses on identifying whether representations of difference exist in the humorous content of the television series and, if they do, how they are represented and whether they propose imaginary boundaries. Through a quantitative and qualitative analysis in a satirical-parody television series about sports-related news, this study shows that humour generates symbolic boundaries between two spaces. While one of the spaces is in close proximity to the context in which the series is produced and broadcast –Catalonia–, the other encompasses the rest of Spain. In the same direction, humorous audiovisual text contains preferred and also dominant meanings, and these are expressed by how characters valuate other characters, situations, contexts, etc. The nature of the valuations proposes meanings that express the idea of a positive “us” and a negative “them”. Television humour acts as a cultural agent that proposes preferred meanings to the subject, and such meanings become part of the subject’s identity process. 
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Kobieta-matka w roli zawodowej. Obrazy pracujących matek w polskich i amerykańskich serialach telewizyjnych

88%
Anioł J.
Kultura-Społeczeństwo-Edukacja
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2014
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vol. 5
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issue 1
135-156
EN
From the very beginning, presence of women-mothers in the labor market have been causing a lot of controversy. The intellectual women’s work was particular condemn as an improper and disgraceful. Working women-mothers were blaming for withdrawal from the natural role: the patroness of heart. How are the conviction created by the very popular medium as a television series in the present time? Does it important that in many European countries, women represent more than half of all employees? Does it change a perception and representation the vocational role of the mothers? The aim of the article is an analysis of selected Polish and American television series for the characters working women-mothers and the way they are presented.
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Pojem popkulturního občanství jako teoretický rámec studia populární kultury v socialistické a post-socialistické společnosti

88%
Reifová I.
Naše společnost (Our Society)
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2010
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vol. 8
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issue 2
28-34
EN
This theoretical essay explores the concepts of cultural and popcultural citizenships in connection with the period of state socialism in 70s and 80s in Czechoslovakia. The main intention is to test the potential of the concept of popcultural citizenship, which is inspired by John Hartley ́s “do-it-yourself citizenship”. Another aim is to examine textual properties of so called “normalization” television serials with regard to the extent to which it allowed for semiosis to be controlled by the viewers. The article summarizes theoretical debate of the main concepts as a starting point for further audience research.
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Seriale telewizyjne a dystanse klasowe w Polsce

75%
Domański H., Przybysz D., Wyrzykowska K. M., Zawadzka K.
Studia Socjologiczne
|
2023
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issue 1(248)
115-143
PL
Artykuł poświęcony jest jednemu z wymiarów stratyfikacji kultury, jakim jest oglądanie seriali telewizyjnych. Opierając się na danych z badania zrealizowanego w 2019 roku na próbie ogólnopolskiej chcemy ustalić, w jakim stopniu ten sposób spędzania czasu wolnego związany jest z pozycją klasową. Okazuje się, że oglądanie seriali niezbyt silnie zależy od pozycji klasowej, jeżeli kontrolowane są inne czynniki. Ani częstość oglądania, ani rodzaje, ani stopień złożoności seriali nie wchodzą w istotne zależności z usytuowaniem w hierarchii społecznej utożsamianej z pozycją rynkową i stosunkiem do szeroko rozumianej własności. Natomiast ważnymi zmiennymi wyjaśniającymi okazują się inne cechy związane z pozycją klasową. Są to wykształcenie respondentów i pochodzenie społeczne. Zgodnie z oczekiwaniami wyższe wykształcenie respondentów i matek zwiększa szanse oglądania seriali zaliczanych do „wyższej” kultury, podczas gdy oglądanie seriali o niższej złożoności związane jest z niższym kapitałem edukacyjnym. Sugerowałoby to, że oglądanie seriali może sprzyjać odtwarzaniu się podziałów klasowych.
EN
This article focuses on the stratification in viewing TV shows as a factor affecting cultural distances between social classes. Based on the research conducted in 2019 in Poland, we investigate the extent to which the patterns of watching TV series are linked to class position. The article demonstrates that viewing TV series rather weakly depends on social class membership, net of other variables taken into account. Neither the time spent in watching, nor the type or quality of TV series appear to be significantly linked to social class defined in terms of property ownership and market position. Yet, other constitutive factors of class structure such as education and cultural capital of parents turn out to be significant. As expected, the higher education of the respondents and their mothers increases the chances for watching the more ‘ambitions’ TV series, while watching the shows of lesser complexity is characteristic of the respondents with lower educational capital. In sum, our findings suggest that this type of cultural activity contributes to the reproduction of the social class distances.
8
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Zdemaskować niedostrzegalne. Przykłady manipulacji w polskich i zagranicznych filmach fabularnych oraz serialach telewizyjnych

75%
Łęcicki G.
Łódzkie Studia Teologiczne
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2023
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vol. 23
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issue 2
91-106
PL
The article presents examples of media manipulation on the example of Polish and foreign cinematographic works. It points out significant inaccuracies in film adaptations of famous literary works, distortions in historical films and minor details affecting the content of the images. The publication emphasizes the need for permanent media education.
9
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Between Art, Politics, and Satire: History in Iranian Television Series

75%
Rodziewicz M.
Folia Orientalia
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2022
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vol. 59
10
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Imaginaria pracy kreatywnej: ciało i władza w serialu Mad Men

71%
Szarecki A.
Praktyka Teoretyczna
|
2015
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vol. 18
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issue 4
209-225
EN
The paper provides a critical reading of a television series Mad Men, focusing on the way it challenges popular ideas about creative work. In contrast to the Druckerian version of management theory that conceives creativity as a purely mental ability, occurring solely in the abstract sphere of ideas, I propose to understand creativity as a kind of “immaterial labor.” This category refers to the act of producing intangible commodities – like ideas, images and codes – that are both embodied and that constitute the material itself. In this context, I argue that the representations of embodiment in Mad Men provide a way to reassess the prevailing management ideologies and reconsider creative labor as an inherently social and cooperative endeavor.
PL
Mad Men to wielokrotnie nagradzany serial telewizyjny, którego akcja rozgrywa się w latach sześćdziesiątych, ukazując codzienne życie pracowników fikcyjnej agencji reklamowej Sterling Cooper, ulokowanej na nowojorskiej Madison Avenue. Środowisko to przechodziło wówczas radykalną transformację, która położyła fundamenty pod kapitalistyczną mitologię kreatywności. Oryginalność Mad Men polega jednak na tym, że serial unika powielania większości klisz składających się na obraz pracy kreatywnej, zamiast tego ukazując ją jako nieodzownie uwikłaną w cielesne doświadczenie – doznania, afekty i formy więzi społecznej, oraz instytucjonalne struktury władzy – podziały, hierarchie i formy wyzysku. Perspektywa ta umożliwia wyprowadzenie krytycznej analizy pracy kreatywnej, wskazując, że rzekomo minione formy eksploatacji są we współczesnym kapitalizmie wciąż obecne, ale zarazem podatne na zmiany.
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Modern Television Series as a Phenomenon of Popular Culture

51%
Rusakow S.
Studia Warmińskie
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2015
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issue 52
85-94
PL
We współczesnych serialach stosuje się nowy język wizualny. Na jego podstawie można dokonać szczegółowego opisu charakteru głównych bohaterów, przebieg fabuły, której podstawą jest dobra literatura. Według autora artykułu nowoczesny serial określany jest jako „inteligentny”. Wynika to z rozwoju nowoczesnych/inteligentnych technologii coraz powszechniej dostępnych.
EN
This article is about the features of the third period of the development of television series which has become a source of new meanings and values in popular culture. Modern television series differ by the usage of new visual language, detailed description of main characters' nature and details of the plot and good literary basis. The television series of the third period are named "smart" by the author. It is associated with the significant intellectual progress of modern viewers and popular smart technologies in today’s world.
DE
In dem Artikel erschließen sich die Besonderheiten der dritten Welle der Entwicklung von Fernsehserien, die eine Quelle der Sinnsuche und der Idealwerte in der populären Kultur geworden ist. Aktuelle Serien unterscheiden sich durch eine neue Bildsprache, eine detaillierte Beschreibung der Charaktere der Hauptfiguren, Stoffdetails und auch eine literarische Qualitätsbasis. Serien der dritten Welle der Entwicklung nennt der Autor „smart“, da sie mit dem gegenwärtigen geistigen Sprung der Zuschauer und den herrschenden Smart-Technologien verbunden sind.
12
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Rodzinne opowieści z morałem: polskie telewizyjne seriale paradokumentalne

45%
GULANOWSKI J.
Wychowanie w Rodzinie
|
2013
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vol. VIII (2/2013)
137-153
PL
Seriale paradokumentalne to specyficzny rodzaj telewizyjnych produkcji – są to realizowane niskim kosztem udające dokumenty seriale, w których najczęściej grają statyści– amatorzy, wcielający się w role rzekomo prawdziwych osób, a same wydarzenia przedstawiane w tych produkcjach są „z życia wzięte”. Zdobywają one coraz większą popularność, zwłaszcza wśród producentów telewizyjnych, ze względu na niskie koszty produkcji. Najczęstszym tematem ich fabuły są problemy związane z życiem rodzinnym. Przesłanie tych historii pełne jest wewnętrznych sprzeczności i w rzeczywistości stanowi hołd dla ludzkiej witalności oraz jej usprawiedliwienie.
EN
Scripted documentaries are a specific kind of television productions: they are low budget television series resembling documentaries, usually starring amateur actors, who are playing allegedly real characters, and the portrayed events are real life stories. They are gaining wide appreciation, especially among television producers, due to their low costs of production. The most popular theme of these stories are problems connected with family life. The content of these stories is filled with internal contradictions and it is actually a homage to the human vitality and its justification.
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