This paper expands existing understandings of how entertainment content viewers conceptualize, encounter, evaluate, and select entertainment video content in the emerging television ecosystem. Special attention is paid to the influences that create awareness around a particular media product and the decision-making dynamics that influence viewers as they move through the selection process. Patterns of awareness, discovery, selection, and adoption relevant to a theoretical understanding of media content choice are identified and discussed.

This research explores a new way of enhancing audience experience in film entertainment, presenting the design and implementation of a wearable prototype system that uses haptic sensations to intensify moods in lm music. The aim of this work is to enrich the musical experience of film audiences and might also have implications on the hearing-impaired, providing them with a new enhanced emotional experience while watching a movie. Although there has been previous work into music displays of a visual and haptic nature, and on the importance of music in film, there is no documented research on musical enhancement experience in film entertainment. This work focuses on the mood conveyed by film music in order to understand what role it plays in creating the film experience, and also explores the possibility of enhancing those feelings through haptic sensations. Drawing on HCI and interaction design principles, the design of a piece of haptic wearable technology is proposed and used as the tool for user studies. This research contributes to the fields of: HCI, interaction design, user experience design, multimodal interaction, creative technology, wearable technology, haptics, entertainment technology and film music. This work also provides a set of design suggestions to aid future research and designers of haptic sensations for media enhancement. Proposed guidelines are based on a number of empirical findings that describe and explain aspects of audience emotional response to haptics, providing some first evidence that there is a correlation between vibrotactile stimuli (such as frequency and intensity) and perceived feelings.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-01-12T17:49:54Z No. of bitstreams: 1 Marilia Gabriela Gonçalves.pdf: 1516938 bytes, checksum: 77cd5942f198cd482b3d8a97b1a2d606 (MD5) / Made available in DSpace on 2017-01-12T17:49:54Z (GMT). No. of bitstreams: 1 Marilia Gabriela Gonçalves.pdf: 1516938 bytes, checksum: 77cd5942f198cd482b3d8a97b1a2d606 (MD5) Previous issue date: 2016-12-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This doctoral dissertation’s aim is to reflect upon the action of neo-liberal emerging power devices and how they influence means of communication and the production of culture in Brazil. Departing from the theory of “media body”, which analyses relations between the body and the environment, we try and clarify how cultural production and artistic creation processes are not apart from their political and economical choices. We also quote other authors such as Giorgio Agamben, Michel Foucault and Pascal Gielen, who help us identifying the main problems. The empirical object of our research are exemplifications of projects, events and works made possible through different ways: institutions (Itaú Cultural, Sesc, etc.), with no institutional support, with Estate support or not, in big cities and in our country inlands. Our thesis propounds a redefinition of the producer by thinking of him as a propeller of movements and sharing amongst artists, places and audience. This research result is a mapping of experiences that point out questioning and possible ways out for some ethical impasses which we have faced, mainly in the last twenty years / O objetivo desta tese é refletir sobre a ação de dispositivos de poder que emergem do sistema neoliberal e impactam os modos de comunicar e produzir cultura no Brasil. Partimos da teoria corpomídia que analisa as relações entre corpo e ambiente, esclarecendo como a produção cultural e os processos de criação artística não são apartados de suas escolhas político-econômicas. Pontualmente são citados outros autores como Giorgio Agamben, Michel Foucault e Pascal Gielen, que auxiliam a identificar os principais problemas. O objeto empírico da pesquisa são exemplificações de projetos, eventos e obras viabilizados de formas diversas: em instituições (Itaú Cultural, Sesc etc.), sem apoio institucional, com financiamento público ou não, em grandes cidades e no interior do país. A tese propõe uma redefinição do produtor ao pensá-lo como um instaurador de movimentos e compartilhamentos entre artistas, lugares e público. O resultado da pesquisa é um mapeamento de experiências que apontam questionamentos e saídas possíveis para alguns impasses éticos com os quais nos deparamos, especialmente nos últimos vinte anos

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-07-11T12:44:42Z No. of bitstreams: 1 Lize Antunes de Oliveira.pdf: 78673563 bytes, checksum: 1e01aebb50f105f0889c7f3a0ba07fc8 (MD5) / Made available in DSpace on 2017-07-11T12:44:42Z (GMT). No. of bitstreams: 1 Lize Antunes de Oliveira.pdf: 78673563 bytes, checksum: 1e01aebb50f105f0889c7f3a0ba07fc8 (MD5) Previous issue date: 2017-06-22 / Entertainment occupies a privileged position in contemporary society, based on consumption and visibility, result of new socioeconomic and cultural dynamics, which the spectacle is one of its manifestations. The current scene of the music industry suggests other ways of consuming music, motivating interest in understanding the evolution of festivals and the consequent reinvention of previous practices. A better comprehension of this context justifies the choice of Rock in Rio music festival as an object of study. The event underwent a remarkable change throughout its history: from a first edition of difficult set up, in 1985, until its consolidation as a brand of global impact. The research corpus covers the 1985 and 2015 Rock in Rio editions, manifested in audio-visual texts of their main artists’ performances, such as Queen and Metallica; communication pieces of sponsoring brands of the festival in 2015; And the spatial configuration of the Cidade do Rock in the thirty years commemorative edition of Rock in Rio, from which are apprehended the emerging senses of the lived one, given that its structure conditions the interactions between the subjects that make the fruition experience of the event and its value construction happen. The proposed study seeks to show that Rock in Rio is unique as a collective experience. Its methodology of analysis and theoretical foundation addresses Greimas' semiotics and its unfolding, such as Landowski's sociosemiotics (2014a; 2014b) and its dynamics of sense and interaction regimes between subjects, besides the contributions of semioticists of the French line who develop studies on the relations between expression and content, spatiality and the semiotics of situations. The perception of spectacle by Charle (2012) is fundamental to better achieve the suggested analyzes. In the expectation of these conceptions guiding the research in the comprehension of the topics addressed, we have the support in a literature that allows the understanding of the socio-cultural and economic movements that transform entertainment into consumption goods, like the work of Pine and Gilmore (2011), and the emergence of the audience as the subject of the show, based on the contributions of Rancière (2012). The investigation confirms the hypothesis that the sensitive experience articulated to the construction of value of the festival by a complex destinator is what makes the audience loyal to Rock in Rio, which is revealed to be a strong brand of the entertainment during its thirty years of history / O entretenimento ocupa posição privilegiada na sociedade contemporânea, fundamentada no consumo e na visibilidade, resultado de novas dinâmicas socioeconômicas e culturais, das quais o espetáculo é uma das suas manifestações. O cenário atual em que se insere a indústria musical sugere outras formas de consumir música, motivando o interesse em compreender a evolução dos festivais e a consequente reinvenção de práticas precedentes. Uma maior compreensão desse contexto justifica a escolha do festival de música Rock in Rio como objeto de estudo. O evento passou por uma mudança notória no decorrer de sua história: de uma primeira edição, em 1985, de difícil construção, até a sua consolidação como marca de impacto global. O corpus da pesquisa abrange as edições do Rock in Rio de 1985 e de 2015, manifestadas em textos audiovisuais das performances de seus principais artistas, como Queen e Metallica; as peças de comunicação de marcas patrocinadoras do festival em 2015; e a configuração espacial da Cidade do Rock na edição comemorativa dos trinta anos do Rock in Rio, da qual são apreendidos os sentidos emergentes do vivido, dado que sua estrutura condiciona as interações entre os sujeitos que fazem a experiência de fruição do evento e de sua construção de valor acontecer. O estudo proposto busca dar a ver que o Rock in Rio faz-se único como experiência coletiva. Tem como metodologia de análise e fundamentação teórica a semiótica de Greimas e seus desdobramentos, como a sociossemiótica de Landowski (2014a; 2014b) e sua dinâmica dos regimes de sentido e de interação entre sujeitos, além das contribuições de semioticistas da linha francesa que desenvolvem estudos sobre as relações entre expressão e conteúdo, a espacialidade e a semiótica das situações. É fundamental a percepção de espetáculo por Charle (2012) para uma melhor consecução das análises sugeridas. Na expectativa dessas concepções orientarem a pesquisa na compreensão dos temas abordados, tem-se o apoio em uma literatura que permite o entendimento dos movimentos socioculturais e econômicos que transformam o entretenimento em bem de consumo, como a obra de Pine e Gilmore (2011), e a emergência do público como sujeito do espetáculo, a partir das contribuições de Rancière (2012). A investigação confirma a hipótese de que a experiência sensível articulada à construção de valor do festival por um destinador complexo é o que fideliza o público ao Rock in Rio, o qual se revela uma forte marca do entretenimento no decurso de seus trinta anos de história

Two of the most important behaviors affecting youth are alcohol use and aggression. Advertisements that promote alcohol consumption and display aggressive images and words may influence attitudes and behaviors of youth. While there is considerable research on these kinds of advertisements in various media channels, there is limited research describing such advertising within public transit systems. The purpose of this study was, therefore, to describe and prevalence and characteristics of advertisements about alcohol and with violent content on the platform walls of the New York City subway system. Methods: A cross-sectional design with direct observations was used to document all advertisements in four boroughs: Bronx, Brooklyn, Manhattan, and Queens. Subway stations with and without advertising were identified and selected characteristics of advertisements about alcohol and with violent content were described. The presence of advertisements was examined based on racial/ethnic and income characteristics of station location using logistic regression. Results: Of 472 subway stations observed, 143 contained 8,737 advertisements, including duplicates. Of the 143 stations with any type of advertisements, 76 (53.1%) displayed one or more alcohol advertisements while over 95% included one or more advertisements with violent content (136 of 143). Of the 8,737 advertisements observed, 129 (1.5%) were for alcohol (including three public service messages) and 1,154 (13.2%) had violent content. Almost two-thirds of the 129 advertisements about alcohol were for beer. There were 144 advertisements that pictured guns. Not one public service announcement for violence prevention was observed. Examination of the presence of advertisements based on racial/ethnic and income characteristics of station location (n = 454 with complete data) showed no differences for advertisements with violent content, but greater odds of alcohol advertisements being present in locations with a higher percentage of Black population. Considerable variability existed between neighborhoods within each borough. Conclusions: Almost 9,000 advertisements were documented in this study. Despite the low number of advertisements about alcohol, one or more such advertisements was present in over one-half of the stations with advertising. Advertisements with violent content were pervasive. Recommendations focus on how public transit spaces can be used more productively to help cultivate caring communities.

O art. 6 da Constituição Federal estabelece que o lazer é um direito social. A referida proteção constitucional conquistada com a Carta Cidadã de 1988, somada a previsão internacional da Declaração Universal dos Direitos Humanos por si só ensejam a elaboração de estudo detalhado do tema. Além disso, a ascensão de uma nova classe média com maior poder de consumo, a efervescência da terceira revolução industrial e a eleição do Brasil, e especificamente da cidade do Rio de Janeiro, como sede de diversos eventos de entretenimento internacional, são os argumentos que introduzem o estudo a cidade e a satisfação do direito ao (do) entretenimento. Assim, a partir da conceituação de entretenimento à luz da comparação com as outras ciências humanas e o direito alienígena, enseja-se a propositura de um conceito próprio para o ordenamento jurídico pátrio, que delimita os deveres do Estado na satisfação deste direito, e na regulação e fomento da atividade econômica que circundam o lazer, denominada indústria do entretenimento. O estudo aborda ainda a compreensão de que a cidade pode ser concebida como oikos do entretenimento, permitindo uma análise das formas como as cidades devem comportar conteúdo mínimo que viabilize a satisfação do lazer. Ao final, tendo por paradigma a cidade do Rio de Janeiro, se analisa como determinadas cidade podem possuir características geográficas, históricas e culturais próprias que permitem que sua vocação econômica seja a satisfação do entretenimento em nível internacional. / The art. 6 of the Brazilian Federal Constitution states that leisure is a social right. Such constitutional protection achieved with the Brazilian Federal Constitution of 1988, coupled with international forecasting the Universal Declaration of Human Rights itself requires the preparation of detailed study of the subject. Moreover, the rise of a new middle class with greater purchasing power, the effervescence of the third industrial revolution and the election of Brazil, and specifically the city of Rio de Janeiro, as the headquarters of several international entertainment events, are the arguments that introduce our study "the city and the fulfillment of the entertainment law." In order to provide a brazilian concepction of entertainment law, we will analyze , at a first moment, conception of other humanities and foreign law. From that, we will define the duties of the state in satisfaction of this right, as well the regulation power and the fostering in economic activity surrounding the leisure, called the entertainment industry. The study also addresses the understanding that the city can be conceived as oikos of the entertainment, allowing an analysis of the ways that cities must behave in order to provide minimum content of leisure. At the end, with the paradigm of Rio de Janeiro city, we will analyze how certain cities may have geographical, historical and cultural characteristics that make these municipalities internacional centers of entertainment satisfaction.

Diplomová práce se zabývá problematikou rozvoje širokopásmového připojení (broadbandu) k Internetu v České republice. Snaží se odpovědět na otázky nízké penetrace domácností Internetem u nás a překážek jejího rozvoje. Práce ve své úvodní části obsahuje analýzu v Česku nejrozšířenějších dostupných možností připojení k Internetu a jednotlivých nabízených služeb včetně formulace nutných podmínek na trhu pro rozvoj broadbandu v ČR. Na tuto analýzu navazuje kapitola trendů v oblasti broadbandu, tedy pohled na plány významných subjektů v Česku i ve světě, na současnou do jisté míry latentní poptávku po službách využívajících broadband infrastrukturu a projektované zákaznické potřeby. Z této analýzy vyplývají důležité závěry, které jsou následně využity pro formulaci doporučení v podobě klíčových faktorů úspěchu firem působících na broadband trhu. Další text práce se rovněž zabývá současným stavem GTS Novera a dívá se i na její veřejně dostupné plány dalšího rozvoje. Načerpané teoretické znalosti jsou následně použity ke zpracování samotného přínosu práce, jímž je case studie zasíťování modelového pražského sídliště broadband infrastrukturou a navržení reálného technicko-ekonomicko-obchodního modelu pro společnost GTS Novera k realizaci byznys plánu v těchto konkrétních podmínkách. Následně jsou tyto výsledky zasazeny do rámce studie návratnosti investice s návrhem nových služeb pro další rozvoj společnosti GTS Novera.

The work focuses on the design, development and implementation of a web entertainment portal. The main objective of this work is to create an application that will meet the required functionality using appropriate technologies. Defining the desired functionality as well as the selection of appropriate technology is part of corresponding chapters. As the selected and then used technology was chosen server-side programming language PHP in conjunction with the MySQL database system. The application is a web portal based on Zend framework application that is practical implementation of the MVC architecture. As the client-side programming language was chosen JavaScript, together with a freely available library jQuery that simplifies and streamlines work with the language. The thesis then describes the design data model, which forms the basis for future application. The following chapter describes the structure of each system and relations between them. The conclusion is devoted to consideration of whether the fulfillment of the objectives, benefits and work output.

Made available in DSpace on 2016-03-15T19:43:35Z (GMT). No. of bitstreams: 1 Joao Marcondes da Silva Neto.pdf: 2360839 bytes, checksum: a8a5607a9ef136fe0a76d9c92cef295f (MD5) Previous issue date: 2009-08-14 / Fundo Mackenzie de Pesquisa / The study notes that line the main Brazilian phonographic market changes, between 1902 and 2007. Classifying primary sources, phonograms, the structuring of knowledge. Includes in its history, the principle of the Brazilian phonographic market. The changes between the XIX and XX century for musicians in general. Illustrates a second time, the profiles of musicians, instruments and their role in the phonogram, the formation of Brazilian popular music. Presents the main changes to the product phonographic. It proposes a way to work artistically with the technologies available in the phonographic market. / Estudo que observa linearmente as principais modificações do mercado fonográfico brasileiro, entre 1902 e 2007. Classificando fontes primárias, fonogramas, na estruturação do conhecimento. Contempla em seu histórico, o princípio do mercado fonográfico brasileiro. As modificações ocorridas entre o século XIX e XX para os musicistas de forma geral. Ilustra num segundo momento, os perfis de musicistas, dos instrumentos e sua função no fonograma, da constituição da música popular brasileira. Apresenta as principais modificações do produto fonográfico. E propõe uma forma para trabalhar artisticamente com as tecnologias disponíveis no mercado fonográfico.

Esse trabalho analisa a publicidade apresentada sob a forma de conteúdo produzida por quatro marcas brasileiras, veiculada no Youtube durante o período compreendido entre 2012 e 2016. O objetivo é estudar o conteúdo de marca, verificando suas definições, sua relevância, as características de sua mensagem e sua presença na expressividade marcária. Para isso, nossa pesquisa traça um panorama sobre a sociedade contemporânea, colocando em discussão conceitos sobre os tempos atuais e suas definições por diversos autores, que têm em comum o consenso sobre a mudança na relação com o tempo, com o espaço e um maior individualismo. Feito isso, problematizamos também a inserção do consumo e sua centralidade em virtude das transformações sociais. Além disso, estudamos a evolução da publicidade brasileira até chegar ao conceito do conteúdo de marca, debatendo antes questões relativas a outros formatos que se assemelham a ele, como o Product Placement. Acerca do conteúdo de marca discutimos sua estrutura, cuja constituição apoia-se nos vetores persuasão, entretenimento, interação e compartilhamento. Antes de avançarmos à análise, colocamos questões relativas ao reconhecimento mercadológico acerca do conteúdo de marca, por meio das premiações e de um olhar sobre a regulamentação da publicidade brasileira. A partir daí, propomos uma análise de conteúdo para selecionar os materiais mais relevantes nos canais das marcas: Itaú e Skol (marcas que integram o ranking das dez mais valiosas do país), Vivo e O Boticário (marcas que se destacaram nos últimos anos por conteúdos veiculados, principalmente, na internet). Essa etapa permitiu escolher, dentre os 298 vídeos, 24 peças para análise. Eles são analisados a partir dos princípios da semiótica da marca e da circulação midiática, verificando a manifestação dos quatro vetores da constituição do conteúdo de marca em sua estrutura. Para finalizar, apresentamos uma representação visual dos quatro vetores, por meio de gráfico de radar, para cada uma das marcas selecionadas. Os resultados obtidos apontaram para ampla presença do conteúdo de marca, ainda que a maioria das marcas apoie sua comunicação sobre os atributos da persuasão, com grande ênfase para o entretenimento, explorando pouco a interação e o compartilhamento. / This work analyzes the advertising presented in the form of content produced by four Brazilian brands, transmitted on YouTube during the period between 2012 and 2016. The objective is to study branded content, verifying its definitions, its relevance, the characteristics of its message and its presence in brand expressivity. For this, our research traces a panorama about the contemporary society, putting in discussion concepts about the present times and its definitions by diverse authors, who have in common the consensus on the change in the relation with time, with space and a bigger individualism. Once we have done this, we also problematize the insertion of consumption and its centrality by virtue of social transformations. In addition, we study the evolution of Brazilian advertising to the concept of branded content, discussing issues related to other formats that resemble it, such as Product Placement. About branded content we discuss its structure, whose constitution relies on the vectors of persuasion, entertainment, interaction and sharing. Before we proceed to the analysis, we also discuss issues related to the market recognition of branded content, through awards and a look at the regulation of Brazilian advertising. From there, we propose a content analysis to select the most relevant materials in the channels of brands: Itaú and Skol (that integrates the ranking of the ten most valuable brands in the country), Vivo and O Boticário (brands that stood out in recent years for Content aired mainly on the internet). This stage allowed to choose, among the 298 videos, 24 pieces for analysis. They are analyzed from the principles of brand semiotics and media circulation, verifying the manifestation of the four vectors of the constitution of the branded content in its structure. Finally, we present a visual representation of the four vectors, by means of a radar chart, for each of the selected brands. The results obtained pointed to the wide presence of branded content, although most brands fit their communication on the attributes of persuasion, with great emphasis on entertainment, and a lower exploring of interaction and sharing.