Indiana University-Purdue University Indianapolis (IUPUI) / This thesis sought to attain a greater understanding of persuasion through narrative. First, a rhetorical analysis was conducted. The rhetorical analysis identified fantasy themes represented in two original music video artifacts. These themes formed what the author calls Symbolic Convergence Cycle of Intimate Partner Violence (IPV). Next, an experiment was conducted to provide further evidence that realistic narrative presentations have a greater ability to shape perceptions than more abstract presentations. Findings included that women were more likely to identify subtle abusive behaviors as abusive then men. However, after exposure to conditions containing the visual portion of the music video “Love the Way You Lie”, both female and male participants were less likely to identify subtle abusive behavior as abusive. This revealed that even though two messages can contain the same themes about the subject of IPV, the way that these messages were presented effected the way in which viewers interpreted the messages.

En la actualidad, el periodismo deportivo y el periodismo de espectáculos están ligados ya que el periodismo deportivo toma como fuente al periodismo de espectáculos. Esto no es algo exclusivo del Perú, sino también de gran parte de Latinoamérica y otras partes del mundo. El periodismo deportivo en el Perú tiene como pilar principal al fútbol ya que este es el deporte más popular en el país. Los diarios deportivos también brindan información sobre otros deportes, pero la mayoría de sus páginas están dedicadas al balompié. Al ser el fútbol un deporte tan popular y en la necesidad de vender los ejemplares impresos de los diarios, algunos de estos han optado por tomar a la prensa de espectáculos como fuente y publicar noticias que correspondían a la vida privada de los futbolistas en los diarios deportivos o ligar estas noticias a su desempeño en el campo de juego. Esta investigación busca brindar información sobre el periodismo deportivo, el periodismo de espectáculos y cómo ambos están ligados entre sí. Además, busca contribuir a que el periodismo deportivo en el Perú mejore. La pregunta de investigación es la siguiente: ¿Cuál es la relación entre el periodismo deportivo y el periodismo de espectáculos en el Perú? Y la hipótesis que manejo es la siguiente: La relación que guardan ambos es que el periodismo de espectáculos sirve como fuente del periodismo deportivo y el periodismo de espectáculos percibe como personajes del espectáculo a los futbolistas por lo que decide publicar noticias sobre su vida privada. Finalmente, he decidido utilizar como caso de estudio a las indisciplinas del futbolista Jean Deza cuando formó parte de Alianza Lima entre el 01 de enero del 2020 y el 31 de marzo del 2020 y el trato que le dieron los diarios deportivos Libero y Depor en su versión impresa. / Nowadays sports journalism and enterntaiment journalism are related. It is because sports journalism take enterntaiment journalism as a source for the news the give. That´s something that happens not only in Perú but also in Latin America and other parts of the world. Sports Journalism in Peru has soccer as a pillar because that´s the most popular sport around the country. Sports newspapers also give informations about other sports, but most of their pager are related to soccer. Some newspapers have taken enterntainment journalism as a source and started to post news about the private life of the soccer players and started to link their private life with the performance that they give when they play a match. This research aims to contribute with information about sports journalism, enterntainment journalism and hoy they are related. Also, this research aims to contribute with sports journalism and make it better in Peru. The research question is What is the realtion between sports journalism and enterntainment journalism? The hypothesis is: Sports journalism takes enterntainment journalism as a source and the enterntainment journalism perceive the soccer players as characters of the enterntainment, that´s why they post about their private lifes. I have decided to use the Jean Deza´s indiscipline case when he was an Alianza Lima soccer player as a study case and how the sports newspapers Libero and Depor treated it. / Trabajo de investigación

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[pt] Esta dissertação visa discutir as relações entre jornalismo e entretenimento na sociedade contemporânea. Realizamos um estudo de caso sobre um programa televisivo autodenominado noticioso humorístico com o objetivo de analisar, a partir de autores dos estudos em jornalismo, a estratégia de infotenimento utilizada. O estudo foi feito a partir de uma pesquisa bibliográfica que descortina uma contradição histórica constitutiva do campo jornalístico na Modernidade – a polaridade entre cumprir uma função educativa ou uma função de entretenimento – apontando que o infotenimento é compreendido como um formato híbrido contemporâneo que funde informação jornalística com entretenimento. Tivemos como recorte os 14 episódios da segunda temporada do programa Greg News, exibidos em 2018 no canal por assinatura HBO Brasil e reproduzidos no Youtube. / [en] This dissertation aims to discuss the relationship between journalism and entertainment in contemporary society. We carried out a case study on a television program self-styled humorous news aiming to analyse, based on journalism studies authors, the infotainment strategy used in the show. The study was based on a bibliographic research that reveals a historical contradiction, which is intrinsic to Modern journalism - the polarity between playing an educational role or operating as entertainment - pointing out that infotainment is understood as a contemporary hybrid format that fuses journalistic information with entertainment. This case study analysed 14 episodes from the second season of the program Greg News, aired in 2018 on the cable TV channel HBO Brazil and reproduced on YouTube.

[pt] Neste projeto, inspirados pelas áreas de Pedagogia e Entretenimento, buscamos criar uma plataforma de desenvolvimento de jogos eletrônicos, cujo o objetivo é facilitar a criação de jogos educativos do sub-gênero JRPG (Japanese Role Playing Games), mais interessantes do que a maioria dos jogos educativos disponíveis no momento. O gênero RPG é, por definição, baseado em contação de histórias e interpretação de papéis, identificadas pela literatura como importantes ferramentas cognitivas capazes de estimular a imaginação dos estudantes, envolvê-los emocionalmente e despertar seus interesses por tópicos do currículo escolar tradicional. O sub-gênero JRPG, por sua vez, representa uma categoria especial de RPGs eletrônicos que, herda essas mesmas características educativas, mas possuem delimitações claras acerca de mecânicas de jogo e identidade artística. Tais delimitações são positivas no sentido em que funcionam como uma espécie de guia para que o desenvolvedor se oriente durante o processo de criação de jogos desta natureza. / [en] In this project, inspired by the fields of Pedagogy and Entertainment, we aim to develop a digital games development framework in order to facilitate the creation of educational games of the sub-genre JRPG (Japanese Role-Playing Games), more interesting than the majority of educational games available for now. The RPG genre is, by definition, based in storytelling and role-playing principles, identified by the literature as important tools that stimulates the students imagination, engage them emotionally and arouse their interests for the traditional educational program. The subgenre JRPG, in turn, represents a special category of eletronic RPGs that inherit those same educational principles, but have well defined delimitations in respect of game mechanics and artistic identity. These delimitations are positive in a sense that they work as guidelines for the development process of this kind of games.

Индустрия интерактивных развлечений – относительно новый сложный рынок. Однако, согласно оценке ряда экспертов в области информационных технологий во втором десятилетии 21 века она добилась необходимого уровня, для того, чтобы числиться полноценным сектором всемирной экономики. В данной диссертации рассмотрены основные аспекты целесообразности развития данной отросли в мировой экономике. Виртуальные компьютерные игры - сравнительно новая зона исследований и практики в Российской федерации. Начиная с 80-х годов двадцатого столетия были предприняты первоначальные усилия осмысления виртуальных компьютерных игр. Не взирая на большую скорость распространения, это явление было изучено недостаточно глубоко. Из-за недоступности в Российской федерации настолько развитой индустрии медиа-развлечений, как на Западе, изучение компьютерных игр по масштабам проведённой работы сейчас не столь велико, как странах западного мира. Большая часть трудов, сделанных на тему компьютерных игр в Российской федерации, анализирует их с точки зрения производственных либо гуманитарных нюансов, а никак не с экономических и тем более маркетинговых. / The interactive entertainment industry is a relatively new and complex market. However, according to a number of experts in information technology in the second decade of the 21st century, it has achieved the necessary level, in order to be considered a full-fledged sector of the global economy. In this dissertation, the main aspects of the expediency of development of this branch in the world economy. Virtual computer games are a relatively new area of research and practice in the Russian Federation. Since the 80s of the twentieth century, initial efforts have been made to comprehend virtual computer games. Despite the high rate of propagation, this phenomenon has not been studied in depth. Due to the inaccessibility in the Russian Federation of a well-developed media entertainment industry, as in the West, the study of computer games in terms of the scope of the work carried out is not so great as the countries of the Western world. Most of the work done on the topic of computer games in the Russian Federation, analyzes them from the point of view of production or humanitarian nuances, and in no way from economic or even more marketing ones.

<p dir="ltr">With the recent virtualization of our everyday lives and the development of intelligent AI technology, realistic virtual agents are becoming a useful tool for research, education, and entertainment. With virtual agents customized content can be created and individualized for specific users. However, virtual agents are only effective tools if they can form a connection with the individual. To form a connection the virtual agent must be believable.</p><p dir="ltr">The literature review evaluates topics of virtual agent believability, appeal, and naturalness and how they relate to asymmetry in facial expression animation. The literature suggests that asymmetries can affect the perception of virtual agents. Additionally, it suggests that emulating human behavior is beneficial to increasing perception of believability, appeal, and naturalness.</p><p dir="ltr">In this study we evaluated the effects of facial expression asymmetry on the believability, appeal, and naturalness of virtual agents. To do this we ran an online perception study with students at Purdue University. We found, in brief, that facial expression asymmetries do have significant effect on the believability, appeal, and naturalness of a virtual agent compared to animations that do not include facial expression asymmetries.</p>

Det här examensarbetet genomfördes på ett företag som tillverkar dekor till nöjesindustrin ex. nöjesparker och eventbyråer. I dagsläget tillverkar företaget stillastående dekor, men har en vision att i framtiden bygga in olika sorters rörelser. Frågan de ställer sig är hur? Uppdraget var att nysta i frågan och resultatet är ett introduktionsförslag på hur företaget kan påbörja sitt arbete samt 9 designprinciper för utformning av underhållningsprodukter. Förarbetet innebar en litteraturstudie, benchmarking, intervjuer med andra företag inom underhållningsbranschen samt en analys av uppdragsgivaren och dess förutsättningar. Litteraturstudien visade framförallt hur socialt betingat underhållning är och vikten av att ta hela interaktionen i akt. Ofta skapas en historia runt produkten som steg för steg försöker väcka känslor hos användaren. Högst prioriterade värdeord hos de företag som intervjuades var ”nytt”, ”wow-effekt” och ”den kreativa visionen”. Vanligast återkommande arbetsstrategier var ”förstå användaren”, ”ständigt utvecklas”, ”prototypa” och ”blanda olika tekniker”. Analysen av uppdragsgivaren visade att de anställda hade svårt att ta sig över kunskapströsklar. Detta bottnade framförallt i en paralyserande uppfattning av okunskap och en rädsla för att göra fel. Arbetet fokuserades på att hjälpa detta behov. Introduktionsförslaget, ”kunskapslabbet”, är en arbetsyta där användaren snabbt kan bygga fysiska prototyper. Arbetsytan fungerar som en interaktiv lärobok, de prototyper som byggs sparas och används som utbildande material vid nästa användningstillfälle. Detta blir en cirkulerande inlärningsprocess som innebär att arbetsytan automatiskt expanderar i takt med att företagets kollektiva kunskapsnivå höjs. Konceptet fick framförallt positiv respons för att arbetsytan upplevdes lättillgänglig och inspirerande medan negativ kritik berörde hur dokumentering av ny kunskap skulle uppehållas under en längre tid. / This batchelor’s project was carried out at a company that manufactures decor for the entertainment industry, e.g. amusement parks and event agencies. Currently, the company manufactures stationary decor, but has a vision to integrate different kinds of movement in the designs. The question they ask themselves is how? The objective was to explore this issue and the result is an ”introductory proposal” on how the company can begin its work together with 9 design principles for the design of entertainment products. The preparatory work involved a literature study, benchmarking, interviews with other companies in the entertainment industry as well as an analysis of the client and its conditions. The literature study emphasized how socially conditioned entertainment is and the importance of taking the whole interaction into account. Often a story is created around the product that  step by step tries to evoke emotions in the user. The highest-priority value words of the companies interviewed were ”new”, ”wow effect” and ”the creative vision”. The work strategies most frequently mentioned were ”understand the user”, ”constant development”, ”prototype” and ”mix different technologies”. The analysis of the client showed that the employees had difficulty getting over knowledge thresholds. This was primarily rooted in a paralyzing perception of unfamiliarity and a fear of making mistakes. The project was focused on helping this need. The introductory proposal, the ”knowledge lab”, is a workspace where the user can quickly build physical prototypes. It functions as an interactive textbook, the prototypes that are built are saved and used as material of knowledge the next time they are used. This becomes a circular learning process which means that the workspace automatically expands as the company’s collective knowledge level increases. The concept primarily received positive response connected to that it was perceived as easily accessible and inspiring, while negative criticism was concerned about how the documentation of new knowledge would be retained for a longer period of time.

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