Zweite Studienarbeit Hochschule für Angewandte Psychologie Zürich, 2005.

<p>Product placement isn´t a new concept, matter of fact it has existed for almost hundred years. On the other hand to use TV-series as a marketing channel for product placement is a present vogue for brands and companies to reach the right target audience. Through product placement in TV-series companies are available to get away with the problem that people zapping commercials. Our purpose with the thesis is to have increased comprehension about TV-series as a channel for product placement considering effect against different target audience, products and brands. For this study we applied a qualitative approach and did six depth interviews with different people to gain several viewpoints. The result is presented with seven headings in which we have state our own conclusions suited to our purpose. Finally we have created a model to describe the process of product placement in TV-series.</p>

Musik figurerar i spels laddningsskärmar för att hålla spelaren investerad även när denne inte spelar. Den här studien undersöker om det går att förändra en spelares tidsuppfattning genom att förändra tempot på musiken i spelets laddningsskärmar. Tre urvalsgrupper fick testa tre varianter av samma spel. Den enda skillnaden mellan varianterna var tempot på musiken i spelens laddningsskärmar. I samband med detta genomfördes en kvantitativ samt kvalitativ studie där grupperna fick bedöma längden på spelets laddningsskärm. Resultatet av undersökningen antyder att det eventuellt går att förändra en spelares tidsuppfattning via musikens tempo men att andra utomstående faktorer också måste beaktas.

Syftet med uppsatsen är att studera hur det moderna narrativa TV-spelet The Last of Us (Naughty Dog, 2013) förhåller sig till interaktivitet – en grundläggande egenskap för digitala spel – i kombination med ett filmiskt stilval. Uppsatsen väljer ut sekvenser från spelet och analyserar hur de använder sig av filmklippningstekniker i samband med interaktiva moment. Analysen sker i förhållande till en modell för filmklippningsvärderingar samt modeller för interaktivitet inom speldesign. Studien är ämnad för att vara användbar för både filmskapare och spelskapare vid skapandet av nya verk. Resultatet av studien visar att spelet med hjälp av klippningstekniker använder klassiska filmuttryck för att bygga på spelarens känslor av bekanthet från samhällets generella filmvana i mån om att leda till önskat engagemang.

Den här uppsatsen kommer att utreda hur kvinnor porträtteras i den norska tv-serien SKAM. Serien SKAM har varit en av de senaste årens största succé när det kommer till tv-serier. Serien har fått både kritik och hyllningar under de senaste åren. En stor del av kritiken som riktats mot SKAM handlar om hur serien porträtterar kvinnorna. Uppsatsen vill undersöka om den kritiken har en poäng. Frågorna vi ställde för att få fram resultatet var; -          Hur framställs de unga kvinnornas relation till killar och kärlek? -          Hur framställs de unga kvinnorna utifrån sitt utseende och beteende? Analysen har olika feministiska filmteorier som utgångspunkt, och semiotiken som metod. Feministisk filmanalys är ett relativt behandlat område men eftersom att SKAM är en så pass ny serie som inte många skrivit om så hoppas vi att den kan bidra med någonting nytt inom området. Serien SKAM är unik på grund av sina långa scener och användning av sociala medier i handlingen. När en serie blir så pass framgångsrik, så finns det en stor chans till att den påverkar samhället på något sätt. Det kan också vara så att serien också på något sätt speglar olika föreställningar i samhället. Det är anledningen till varför vi tyckte att SKAM var en relevant serie att analysera. Resultatet visade oss att kvinnor i SKAM blir porträtterade väldigt olika utifrån hur de ser ut. Kvinnornas relation till killar och kärlek var också mycket olika beroende på hur nära de var normen för hur en kvinna ska se ut. Noora, som är kvinnan närmast det perfekta utseendet, får den populäraste killen i skolan. Chis, som är den kvinnan som dock är längst ifrån det perfekta utseendet, blir porträtterad som motbjudande och överdriven i sin sexualitet. Det framställs som att ingen karaktär i serien tar hennes känslor på allvar.

135f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-08T17:40:56Z No. of bitstreams: 1 dissert_Cibele Costa.pdf: 1307299 bytes, checksum: 65aebf0f26cd871ed1c660282ba35161 (MD5) / Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-05-08T18:04:01Z (GMT) No. of bitstreams: 1 dissert_Cibele Costa.pdf: 1307299 bytes, checksum: 65aebf0f26cd871ed1c660282ba35161 (MD5) / Made available in DSpace on 2013-05-08T18:04:01Z (GMT). No. of bitstreams: 1 dissert_Cibele Costa.pdf: 1307299 bytes, checksum: 65aebf0f26cd871ed1c660282ba35161 (MD5) Previous issue date: 2010 / O presente trabalho tem a intenção de aprofundar o debate sobre a televisão brasileira, especificamente o telejornalismo, e sua influência na expressão de identidades culturais e alteridades. A questão é pertinente numa época em que a TV deixa de ser um simples eletrodoméstico para se tornar um centro de poder político ou de controle social e cultural, como acontece nos dias atuais. Para tanto, foi feita a análise do Jornal Hoje, da Rede Globo, a fim de verificar qual é o grupo identitário de referência e como transparecem as figuras da alteridade, na concepção sociossemiótica de Éric Landowski, no telejornal transmitido em rede e padronizado para todo o Brasil – país de dimensões continentais, com múltiplas faces identitárias e diverso por sua própria natureza. O percurso de análise correspondeu ao acompanhamento sistemático de edições do programa, buscando identificar a referência cultural das reportagens e a forma como apareceram as alteridades, com base na identificação de critérios de noticiabilidade e de categorias de apresentação da alteridade. Ao final do trabalho, verificou-se que o Jornal Hoje tem como referência principal para o padrão das matérias o eixo Rio-São Paulo. Também foi possível perceber que a Rede Globo constrói o “outro” em suas reportagens por meio de uma diversidade de modos de tratamento do grupo de referência para com a alteridade exibida na televisão. / Salvador

Submitted by Marco Antônio de Ramos Chagas (mchagas@ufv.br) on 2017-03-24T11:55:39Z No. of bitstreams: 1 texto completo.pdf: 284544 bytes, checksum: fbf7842cca0f5e424889718780575fb8 (MD5) / Made available in DSpace on 2017-03-24T11:55:39Z (GMT). No. of bitstreams: 1 texto completo.pdf: 284544 bytes, checksum: fbf7842cca0f5e424889718780575fb8 (MD5) Previous issue date: 2002-05-17 / Esse trabalho buscou investigar a interação entre os Meios de Comunicação de Massa e a escola, as conseqüências dessa interação para o aprendizado e as alterações acarretadas na natureza do processo, deste aprendizado. Num ambiente social cada vez mais permeado pela mídia, a informação e o conhecimento migram dos tradicionais ambientes e suportes educativos e se dispersam no meio social. Com os suportes tecnológicos disponíveis a linguagem assume discursos híbridos, com formatos sígnicos variáveis como o som, a imagem e o texto escrito. Nesse sentido, o objetivo geral desse trabalho foi investigar como o contato prévio do aluno, com essas informações fragmentadas e esse conhecimento disperso, contribui para o aprendizado. 0 canal TV Escola, projeto de Educação a Distância do Ministério da Educação e Cultura, foi escolhido como ponto de partida para essa análise. Foram escolhidas três escolas públicas que usam sistematicamente esse projeto para realizar a pesquisa de campo junto aos professores. De natureza descritiva e qualitativa, esse estudo utilizou fundamentalmente a pesquisa bibliográfica e a entrevista semi-estruturada para a coleta de dados. 0 foco de análise foi junto ao corpo docente de cada instituição, pois como observadores privilegiados do processo pedagógico, em contato direto com os estudantes, poderiam responder com mais propriedade às perguntas que nortearam essa pesquisa. Os resultados do universo pesquisado indicam que há muito tempo já existe um diálogo aberto entre escola e meios de comunicação. Essa troca faculta pontos positivos para o aprendizado, mas abre simultaneamente grandes desafios, uma vez que a mídia não foi concebida para fins educativos, apesar de estar contribuindo estimular o aprendizado. / The purpose of this work was to verify the interaction between Mass media and school, and the results of this interaction to the learning process. In a social enviroment permeated by media, information and knowledge are no longer restrict to school, but widely spread. Language becomes hybrid of many signs (sound, image and writing) as techonological supports avaílable íncrease. Thus, the overall aim of this research was to analyse how the students' previous contact with media contribute to the educational process. "TV Escola", a distance education project, held by Ministério da Educação e Cultura was chosen as a base for this anaiysis. Three public schools that have been using the former project were chosen. Under a descriptive and qualitative approach, bibliographic research and interviews with teachers were the main tools for collecting data. As teachers are privileged observers of learning process, in their daily contact with students, they could more properly answer the questions. An important finding of this study shows an open dialogue between Mass media and school. Such an interchange brings positive results to learning, at the same time it raises great challenges. Although media having not been conceived with educational goals, media's contríbution and stimulation to this process cannot be denied. / Dissertação importada do Alexandria

AN ABSTRACT OF THE DISSERTATION OF Yuhui Tai, for the Doctor of Philosophy degree in Mass Communication and Media Arts, presented on October 31, 2013, at Southern Illinois University Carbondale. TITLE: DEVELOPMENT OR DEPENDENCY? THE EMERGING CHINESE CULTURAL-LINGUISTIC TV MARKET AND IDOL TV DRAMA IN TAIWAN AND CHINA MAJOR PROFESSOR: John Downing and Jyotsna Kapur The global expansion of neo-liberalism and the new development of media technology have opened up national TV markets worldwide and the changing structure--a weakened local TV industry, multiple TV channels, and the increasing need for importation--has prepared the historical contingency for the emergence of regional cultural centers. The Chinese regional market based on China, Hong Kong and Taiwan is the most prosperous regional market due to the China hub effect, and it is playing an increasingly important role in world economy. In this research, I examine the formation and the driving forces behind the Chinese cultural-linguistic TV market, the dynamic dialectical global/regional/local relationships, the directions in which these forces push, and the major contradictions between these forces in the context of a global capitalist system. This research indicates that the dominant "cultural proximity" argument tends to naturalize the dominance of the regional cultural center and conceals multiple factors interwoven in the formation process. This research argues that it is important to examine the dialectical relationship between the position of a domestic country in the global capitalist system and its development in the regional cultural market. Second, the confluence of the popular cultural/creative policy and the soft power discourse strengthens the ambition and the competition between different states to pursue the crown of the regional cultural center. Third, the domestic state policy plays a determinant role in the dynamic formation of a regional cultural market. Fourth, the political motivation and manipulation might not be easy to recognize but are influential powers forging the regional cultural market. For example, the Chinese Communist Party (CCP) proposed the China-Taiwan TV drama co-production policy near the end of 2007 in order to improve the prospects of Taiwan's pro-China party in the 2008 presidential election in Taiwan. In addition, it is not self-evident to assume that a regional cultural center definitely challenges the existing cultural dominance and that a regional cultural-linguistic market is emancipating. It requires careful examination to scrutinize the power relationships among those societies involved in the regional market to determine whether it increases the cultural diversity in this area. This research examines the power relationship in the Chinese cultural-linguistic TV market and argues the possible existence of dual suppression, in that a member of the regional cultural-linguistic market might simultaneously suffer from the dominance of the global center and the regional center. This research examined the historical development of idol drama in Taiwan and found that the Chinese censorship system has great impact on the production and distribution of cultural products in the Chinese cultural-linguistic TV market. Producers either tend to lower the potential risks by taking a conservative, non-historical approach to making TV drama, or, selling cultural products containing specific cultural odor, such as President Ma Ying-jeou's slogan, "Chinese culture with Taiwan characteristics (Ma, 2011.01.01)." Third, this research analyzes the production mode of idol drama in Taiwan and China from 2000 to 2012 and points out that the Taiwan TV industry has been moving on a dependency road through three phases, with four aspects of dependency. After 2005, some Taiwanese TV producers turned to the secondary export market due to the deepening neo-liberalism and the deteriorating Taiwan TV industry, which impedes its advancement in the regional market. In this stage, the emergence of the first wave of Taiwanese-made Chinese TV drama proved that the combination of the CCP's protectionist policy and a lucrative Chinese domestic market creates magnetic effects and attracts TV workers from the deteriorating region. In the second stage from 2008 to 2010, the CCP's cooptation policy, which encourages Taiwan-China co-produced TV drama, and the Kuomintang's China-centered CCI Policy emphasized the importance of the China market and strengthened the orientation to focus on the secondary export market rather than improve the quality of Taiwanese TV drama and aim at Asia and the global market. In 2010, the CCP denounced the phenomenon of "pseudo China-Taiwan co-produced TV drama," which was the byproduct of the strict Chinese censorship system, and issued a warning against it. It pushed some Taiwanese producers to abandon the Taiwan market and spurred the second wave of Taiwanese-made Chinese TV drama which appeals to Chinese audiences, and lowers or even closes the production business in Taiwan. This research demonstrates the four aspects of the dependency relationship in the Chinese cultural-linguistics TV market, which includes capital, export market, production chain, and cultural products flow. First, sufficient Chinese capital provides the CCP leverage to mold the Chinese cultural-linguistic TV market, purchase resources, and expand its influence into Taiwan society. Second, being the largest TV market in the world makes China an attractive export market, even with strict Chinese censorship. Third, the CCP's cooptation policy and the deteriorating Taiwan TV market gradually make Taiwan TV workers a supplement rather than a force in Chinese TV drama production. Fourth, the exportation of Chinese TV programs, including conventionally weak genres, into Taiwan is increasing. In short, the Taiwan TV industry has suffered from the dual crises of neo-liberalism and the dependency relationship with China, which is making Taiwan a dumping site for regional cultural product exporters, mainly from Korea, China, and Japan.

Submitted by Pós-Com Pós-Com (pos-com@ufba.br) on 2015-01-16T13:22:56Z No. of bitstreams: 1 Júnia Cristina Ortiz Matos.pdf: 4715840 bytes, checksum: dac26efa0d1d3c7b6eb96aa45de6b02f (MD5) / Approved for entry into archive by Vania Magalhaes (magal@ufba.br) on 2018-01-23T12:54:33Z (GMT) No. of bitstreams: 1 Júnia Cristina Ortiz Matos.pdf: 4715840 bytes, checksum: dac26efa0d1d3c7b6eb96aa45de6b02f (MD5) / Made available in DSpace on 2018-01-23T12:54:33Z (GMT). No. of bitstreams: 1 Júnia Cristina Ortiz Matos.pdf: 4715840 bytes, checksum: dac26efa0d1d3c7b6eb96aa45de6b02f (MD5) / Capes / presente trabalho tem como objetivo investigar a configuração dos hábitos de consumo televisivo atrelados ao uso social da internet, problematizando o que se entende por experiência televisiva. Com o uso social da internet, a web se torna ambiente de interação que possibilita o estabelecimento de relações entre as pessoas e a formação de redes sociais, essas transformações na forma de se compreender e utilizar os recursos disponibilizados pela internet provocam alterações nos hábitos de consumo de mídia. A crescente intensificação do uso dos sites de redes sociais tem estabelecido não só novos padrões para a comunicação que se desenvolve no ambiente da web, mas também novos hábitos de consumo midiático. Neste estudo em específico, buscaremos compreender como a experiência de consumo televisivo tem sido reconfigurada, a partir das relações estabelecidas entre recepção e produtos televisivos, materializadas via sites de redes sociais. No que diz respeito aos procedimentos metodológicos para esta pesquisa, empreendemos uma análise da conversação em tempo real em torno do conteúdo televisivo no Twitter. Para tanto, os dados foram obtidos por meio de monitoramento no Twitter realizado durante vinte dias – de 21 de maio a 15 de junho de 2012, só dias da semana - para a captura de conversações online a respeito dos produtos televisivos em análise. Após a análise dos dados, foi realizada uma reflexão teórica a partir do método de abordagem proposto, buscando entender como o objeto se articula com características contextuais, tecnológicas, políticas e culturais, proporcionando uma compreensão mais ampla do fenômeno estudado. / This study aims to investigate the configuration of television consumption habits linked to social use of the internet, questioning what is meant by television experience. With the social use of the internet, the web becomes interactive environment that allows the establishment of relationships between people and the formation of social networks, these changes in the way we understand and use the resources provided by the internet cause changes in consumption habits media. The increasing intensification of the use of social networking sites have not only set new standards for communication that is developed in the web environment, but also new habits of media consumption. In this study in particular, we seek to understand how the experience of televi sion consumption has been reconfigured from the relationships established between reception and television products, materialized in social networking sites. Regarding the methodological procedures for this research, we undertook an analysis of real-time conversation around television content on Twitter. The data were obtained by monitoring the Twitter for twenty days -from May 21 to June 15, 2012, only days of the week - to capture online conversations about television products that we analyzed. After analyzing the data, we performed a theoretical reflection based on the approach method proposed, seeking to understand how the object interacts with contextual, technological, political and cultural characteristics, providing a broader understanding of the phenomenon studied.

Submitted by Roberth Novaes (roberth.novaes@live.com) on 2018-07-13T17:05:47Z No. of bitstreams: 1 CUSTÓDIO, Ana Carolina Passos_dissertação.pdf: 2992916 bytes, checksum: acc4419b4397dc573d415320c0ac6a4a (MD5) / Approved for entry into archive by Setor de Periódicos (per_macedocosta@ufba.br) on 2018-07-19T21:10:39Z (GMT) No. of bitstreams: 1 CUSTÓDIO, Ana Carolina Passos_dissertação.pdf: 2992916 bytes, checksum: acc4419b4397dc573d415320c0ac6a4a (MD5) / Made available in DSpace on 2018-07-19T21:10:39Z (GMT). No. of bitstreams: 1 CUSTÓDIO, Ana Carolina Passos_dissertação.pdf: 2992916 bytes, checksum: acc4419b4397dc573d415320c0ac6a4a (MD5) / As narrativas [sempre] retornam. Este retorno acontece, contemporaneamente, em uma grande diversidade midiática, impulsionado por uma velocidade de propagação cada vez mais acentuada, que acaba por desgastar e inviabilizar as fronteiras hierárquicas entre textos canônicos e público leitor. No centro da ação está o tradutor. É através dele que as narrativas [re]ocorrem, em uma complexidade dinâmica que conjuga, entre outras variáveis, devir, double bind e contexto, resultando na suplementação da obra anterior. Em Slings & Arrows, minissérie canadense traduzida para o contexto brasileiro contemporâneo sob o título Som & Fúria, dirigida por Fernando Meirelles, temos marcada a presença desse sujeito, leitor atento de seu lugar de fala, que faz voltar, em formato televisivo com qualidade cinematográfica, quatro das principais narrativas de William Shakespeare: Sonho de uma noite de verão, Hamlet, Romeu e Julieta e Macbeth. São três olhares diferentes sobre tradução, metaforizados nas vozes de personagens de três diretores teatrais: a Voz da Tradição a Voz do Limiar e a Voz da Desconstrução. Essas metáforas, que nos fazem refletir sobre as relações do tradutor com o texto e com o cânone, percorrem um caminho circular, através do qual chegamos a um Shakespeare também tradutor, que trouxe de volta aos palcos elisabetanos, ressignificadas e atualizadas, diversas narrativas já conhecidas pelos leitores de seu tempo. / Narratives [always] return. This return takes place, currently, across multiple media, driven by an increasingly fast propagation, which eventually fade away the hierarchical boundaries between canonical texts and its readers. In the center of the action is the translator. It is through him that the narratives will [re]occur in a complex dynamic that combines, among other factors, the philosophical concept of becoming, double bind and context, resulting in the supplementing of earlier works. Slings & Arrows, Canadian miniseries translated into the context of urban, contemporary Brazil under the title Som & Fúria [Sound & Fury], directed by Fernando Meirelles, the work of the translator, this careful reader of his own place of speech, is highlighted. The work of translation brings back in TV format - nevertheless in a film-like image quality - four of the main narratives of William Shakespeare: Midsummer night ’s dream, Hamlet, Romeo and Juliet and Macbeth. There are three different views on translation, metaphorized as the voices of the characters of three dramaturges: the Voice of Tradition, the Voice of the Threshold, and the Voice of Deconstruction. These metaphors, which make us reflect on relations of the translator both with the text and the canon, perform a circular pathway by which we arrive [re]discovering Shakespeare working as a translator as well, for he brought back on the Elizabethan stages many resignified and updated narratives, almost all of them well-known by the readers of his time.