Making more space at the table: how The New Yorker portrays family dynamics in its audiovisual content

• Název práce v češtině: Více prostoru u stolu: Jak The New Yorker zobrazuje rodinnou dynamiku ve svém audiovizuálním obsahu
• Název v anglickém jazyce: Making more space at the table: how The New Yorker portrays family dynamics in its audiovisual content
• Klíčová slova: The New Yorker, dokumentární film, rodina imigrantů, rámování, mise-en-scène, analýza obsahu
• Klíčová slova anglicky: The New Yorker, documentary film, immigrant family, framing, mise-en-scène, content analysis
• Akademický rok vypsání: 2021/2022
• Typ práce: diplomová práce
• Jazyk práce: angličtina
• Ústav: Katedra žurnalistiky (23-KZ)
• Vedoucí / školitel: Mgr. Jan Miessler
• Řešitel: skrytý - zadáno a potvrzeno stud. odd.
• Datum přihlášení: 04.02.2022
• Datum zadání: 04.02.2022
• Datum potvrzení stud. oddělením: 04.02.2022
• Datum a čas obhajoby: 13.09.2022 09:00
• Místo konání obhajoby: Hollar - Smetanovo nábřeží 6,Praha 1, H011, Hollar - místn. č. 011
• Datum odevzdání elektronické podoby: 01.08.2022
• Datum proběhlé obhajoby: 13.09.2022
• Oponenti: Mgr. František Géla

Seznam odborné literatury

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Předběžná náplň práce

Účelem této studie je vyvolat debatu o zobrazení rodin imigrantů v dokumentech The New Yorker. Obecným cílem je porozumět tomu, jak vizuální rámování a použití prvků mizanscén, jako je scénografie, osvětlení a prostor, hrají klíčovou roli při komunikaci reprezentací rodin přistěhovalců a ovlivňují vnímání diváka vůči této skupině. V této studii je použitou metodou podrobná textová analýza záběrů, kde se rodinná dynamika rozpadá v sedmi dokumentech uváděných v The New Yorker: Ale Libre; Guanajuato Norte; Seasons; Sing Me a Lullaby; Team Meryland; The Prince of Luna Park; and Yves & Variation. Zjištění naznačují, že rodiny přistěhovalců se zobrazují hlavně: 1) uvnitř, během dne; 2) s vysokým osvětlením; a 3) s pozitivním, uzavřeným a hlubokým vesmírným nastavením. Vzdálenost fotoaparátu, která se objevila nejvíce, je „střední blízkost“. Zjištění posouvají, jak jsou rodiny imigrantů sestavovány prostřednictvím mizanscén. Tato studie přispívá k pochopení, že zobrazování rodin imigrantů v dokumentech je výsledkem nejen ekonomických, sociálních, politických a kulturních tendencí a posunů, ale také propracovaných konstrukcí prostřednictvím mizanscénních prvků v rámci. Tato studie má důsledky pro výzkum filmových studií, analýzu mizanscén a rodin přistěhovalců v médiích.

Předběžná náplň práce v anglickém jazyce

The purpose of this study is to generate a debate about the portrayal of immigrant families in The New Yorker documentaries. The general objective is to understand how visual framing and the use of mise-en-scène elements such as set design, lighting and space, play a crucial role in communicating the representations of immigrant families and influencing the viewer’s perception towards this group. In this study, the method used is close textual analysis on shots where family dynamics unraveled in seven documentaries featured in The New Yorker: Ale Libre; Guanajuato Norte; Seasons; Sing Me a Lullaby; Team Meryland; The Prince of Luna Park; and Yves & Variation. Findings indicate that immigrant families are, mainly, shown: 1) indoors, during the day; 2) with high-key lighting; and 3) with positive, closed, and deep space settings. The camera distance that appeared the most is “medium close-up”. The findings advance how immigrant families are framed through mise-en-scène. This study contributes to the understanding that the portrayal of immigrant families in documentaries is a result of not only economic, social, political, and cultural tendencies and shifts, but also of elaborated constructions through mise-en-scène elements in a frame. This study has implications for research on film studies, analysis of mise-en-scène, and immigrant families in the media.