|dc.description.abstract||The purpose of this bachelor thesis was to look what happens to programme makers visions
and ideas in reality or how much it matches with finished product that is on air and available
for viewers. This thesis is doing it through economic programme Kapital. This picture will
reveal itself by comparing qualitative content analysis and semi-structured interviews answers
from Kapital makers. In this bachelor thesis, there is also a comparison between referred
theoretical approaches (such as Shoemaker, Holland, McQuail, Bourdieu etc.) and its
concurrence with reality in creating TV programmes.
This research fulfilled its purposes, because in results it was drawn out clearly that there are
many important concurrents and contradictions between theoretical material and in real
programme producing process. There are also both concurrents and contradictions in Kapital
makers visions about their programme and in present thesis authors content analysis results.
In addition to theoretical approaches and empirical material, there is a laconic overview of
economic programmes in Estonian Television (ETV) since 1990’s to Kapital under
discussion. Kapital started its first and currently airing programme on September 9th 2010
and so far there has been aired 35 episodes.
As this bachelor thesis has nothing to do with statistical data and material over what could
make big generalizations to the field, the author points out the most important result in
By very wide choice of themes in Kapital programme it covers all the levels from numerical
concept to social and cultural concept that Bourdieu proposes. Programmes overall tonality is
descriptive, clarifying or introductory. That is explaining some economic cases to the viewer,
showing current trends and above all widening the horizon. One of the claims that EAS, the
sponsor of Kapital had was that programme has to have instructive content and this claim is
fulfilled most of the times. One of the most important criteria for choosing programme
themes and segments is international dimension that is giving an example from another
The programme does not use so called watch-sourced and most of the interviewees are not
well-known for wider public. The main “key” in Kapital is so called success-stories.
Interviewees and companies they represent are always covered in positive side while
highlighting them as examples – this could be considered as free advertisement. Programme
makers themselves also do not deny that they wittingly create positive heroes.
The main standards and values that Kapital appreciates are honest business-making,
innovation, initiative, importance of good examples and positive heroes, courage to take risks
and to experiment, intelligence, professionality, widening horizon, informing and inspiring.
In makers point of view the programme has moved from smaller firmly defined aim target to
bigger general interest auditorium – commercialization. Also the segments or rubrics of the
programme are very floatable within the show and there also occurred some extra fragments
that originally fixed format did not foresee. From 28 shows there were 7 shows with extra
segment. It was also clearly showed that Kapital’s feedback alternatives are poor.
The styles and handwriting of authors are easily differed and pieces of programme can not be
taken as co-authorship. It was surprising result that textbooks and real TV producing the roles
are divided very differently. For counterpoise to theoretical base, biggest judgment-call is not
producer’s, it is programmers Eva Tihhonova’s.
From these results or observations we may draw a conclusion that the concept of „capital“ is
something much more than just money and numbers and to deeply hack through the
programme theme, there is certain purpose for using interview and foreign-segment beside
regular segments in this magazine-like programme. The editorial board establishes their own
criteria to choosing programme themes, segments and interviewees – establishing criteria is
individual in each programme and can not be always taken or studied from books. Because of
poor feedback alternatives, programme team rather does what they like while not taking into
consideration programme viewers ideas and wishes as much as they should.
While going through theoretical material, watching/analyzing Kapital and talking with
programme makers, the author of this bachelors thesis came to the conclusion that real TV
production might not coincide with the textbooks and the maturing TV programme is
individual. Mixing different elements like hard factual information base and entertaining
methods make the economical programme Kapital elegantly yellowed and an eatable product
not only for stock-market enthusiast but for wider auditorium as well.
In the future, it would be wise to analyze economical themes wider than only Kapital
programme. This thesis might be appropriate stepping-stone while doing it. As concrete thesis
showed, then roles division do not always match in theoretical and practical TV producing, it
might be good to explore different speciality programmes production in the future and also to
study what effect does each team-member have on this process.||en