Diploma thesis deals with the management of information in companies, especially the use of audiovisual content in the online environment. The theoretical basis of the work offers insight into the problems of communication through company websites, definitions of terms needed for subsequent research investigation in the empirical part. It provides quantitative and qualitative findings from the Czech export companies and their access to audiovisual content in the communication with stakeholders.

Bohuš Získal Methodology for design of digital archives Summary: This work examines how concepts and recommendations defined within the ISO 14721:2003 standard could be applied to archives in audiovisual industry and how its key components and processes relate to the corresponding structure of real production archives. A basic overview of audiovisual content formats, storage solutions and metadata structures is provided with respect to long time content preservation. The most common standards (international, industry and proprietary ones) specific for this area are discussed within the perspective of inevitable data migration process. As certain types of organisation have their archive deeply integrated in the production process and its functional and organisational parts could not be easily distinguished from the rest of the structure, the various approaches to the complex archive design are evaluated, including a brief introduction to MAM system role and implementation. The data migration to new solutions also means the integration with the existing technologies, where a rather higher level of dependence on commercially available solutions is often involved. As the interoperability standards are not widely adopted yet, some decisions are inevitably tied with previously adopted technologies. Changes in...

[pt] O sistema capitalista impacta diretamente a produção do conteúdo direcionado às crianças, formando uma cultura de massa, a atual cibercultura, e o consumo em larga escala, deixando marcas significativas no desenvolvimento cultural das crianças na primeira infância. Dois dos principais pontos desta discussão são a padronização da infância e a discussão sobre a responsabilização do conteúdo veiculado a partir de algoritmos das plataformas em meio à crescente sociedade do cansaço. Assim, o objetivo principal deste trabalho é compreender como o sistema capitalista influencia a produção dos conteúdos audiovisuais infantis brasileiros. Para isso, parte-se da contextualização do sistema capitalista neoliberal e de seu desenvolvimento histórico, relacionando-o com sua atual fase enquanto sistema de vigilância. Destaca-se a crescente padronização da infância e dos produtos voltados para esse público, sobretudo com a ascensão das novas mídias, a lógica bidirecional de comunicação e a mundialização do capital. É neste panorama que a dissertação apresenta dois estudos. O primeiro foi dedicado à realização de uma revisão sistemática da literatura sobre as novas narrativas audiovisuais infantis plataformizadas e seus efeitos na infância. Os principais resultados apontam o excesso de responsabilização para os pais em detrimento de uma maior regulação das mídias e conglomerados que as financiam. O segundo estudou contempla uma análise dos 12 canais de maior audiência no YouTube com conteúdo voltado para crianças, com foco especial nos canais: Maria Clara e JP e Kids Diana Show. Foram selecionados vídeos para posterior transcrição e análise lexical através do software IRaMuTeQ. Através de nuvem de palavras e análise de similitude, identificaram-se palavras recorrentes e padrões de discurso que reforçaram o consumo, o acúmulo e a homogeneização da cultura. Conclui-se que o desenvolvimento infantil, sob uma perspectiva de cultura e identidade, está intrinsecamente ligado ao sistema econômico vigente. A padronização dos conteúdos infantis reflete a influência do sistema capitalista na infância, ressaltando a importância de uma análise crítica e de intervenções para regulamentar as mídias, responsabilizar plataformas no intuito de promover um desenvolvimento saudável, seguro e representativo das crianças, o que é garantido a elas por direito. Portanto, faz-se necessário investir mais em estudos e políticas públicas para a regulação das plataformas digitais, destacando a necessidade de compreender não apenas a utilização dos dispositivos, mas principalmente a qualidade e responsabilidade dos conteúdos veiculados. / [en] It is known that the capitalist system directly impacts the production of content aimed at children, forming a mass culture, the current cyberculture and large-scale consumption, leaving significant marks on the cultural development of early childhood children. It is considered that some of the main points of this discussion would be the standardization of childhood and the discussion about the accountability of content broadcast and massively algorithmized on platforms in the midst of the growing tired society. Thus, the main objective of this work is to understand how the capitalist system influences the production of Brazilian children s audiovisual content. In its introduction, this work contextualized the neoliberal capitalist system and its development throughout history, relating it to the current system of surveillance capitalism. The growing standardization of childhood and products aimed at this audience was also highlighted, especially with the rise of new media, the bidirectional logic of communication and the globalization of capital. The first study was dedicated to carrying out a systematic review of the literature on new platformed children s audiovisual narratives and their effects on childhood. Among some of the main results obtained, it was noted that there was excessive responsibility for parents to the detriment of greater regulation of the media and the conglomerates that finance them. The second study was dedicated to carrying out an analysis of the 12 most watched channels on YouTube with content aimed at children, with a special focus on the channels: Maria Clara and JP and Kids Diana Show, which had some of their videos transcribed and subjected to a lexical analysis using the IRaMuTeQ software. Word cloud resources and similarity analysis were used, thus identifying recurring words and speech patterns that reinforce the consumption, accumulation and homogenization of culture. It is concluded that child development, from a culture and identity perspective, is intrinsically linked to the current economic system. The standardization of children s content reflects the influence of the capitalist system on childhood, highlighting the importance of critical analysis and interventions to regulate media, hold platforms accountable in order to promote healthy, safe and representative development of children, which is guaranteed them by right. Therefore, it is necessary to invest more studies and public policies to regulate digital platforms, highlighting the need to understand not only the use of devices, but mainly the quality and responsibility of the content conveyed.

Los influencers son la nueva “élite”. Muchos tienen más fanáticos que una estrella de Hollywood, y son referentes de moda, estilo, maquillaje, viajes y otros pasatiempos. En el presente trabajo se busca identificar los valores y creencias adoptados por los jóvenes a partir del consumo de contenidos audiovisuales realizados por influencers de Lifestyle en Instagram. Se propone un estudio desde el paradigma interpretativo con un enfoque cualitativo. El diseño es etnográfico digital, porque el foco de la investigación está puesto en los comportamientos de los seguidores. Por un lado, se aplicará la técnica de análisis de contenido en las publicaciones de Instagram de los top 5 de influencers peruanos de Lifestyle con mayor engagement rate y que a la vez sean patrocinadores de una marca en dicha plataforma. Por otro lado, se aplicará la técnica de entrevista en jóvenes de 17 a 25 años residentes de Lima que sigan el contenido de los influencers mencionados. / This paper analyzes the values and beliefs adopted by young people about the audiovisual content of Lifestyle influencers on Instagram. The purpose of this study is to identify the values and beliefs adopted by Lifetstyle influencers on Instagram. In order to do this, an analysis of audiovisual content of engagement rate and who are also sponsors of different brands on Instagram will be carried out. An interview with young people from 17 to 25 years of age, residents of Lima and consumers of the content of the above mentioned influencers, will also be held. / Trabajo de investigación

Cette thèse est une approche du feuilleton télévisuel sentimental sud-coréen de prime time, connu sous le nom de k.drama (korean drama) à l’étranger, en tant que genre fictionnel télévisuel. Dans une première partie présentant l’évolution du système télévisuel sud-coréen, nous montrons comment ce dernier s’est construit autour de la concurrence des chaînes généralistes KBS et MBC avec une nette accélération du phénomène à la suite de la fondation de la chaîne commerciale SBS, puis avec le début d’un phénomène d’engouement pour les contenus audiovisuels coréens en Asie (Vague coréenne). Après une présentation générale du feuilleton télévisuel en Corée (drama) à travers sa typologie et son histoire, nous procédons à une étude de la programmation de prime time entre 1992 et 2005, presque entièrement consacrée à la diffusion de dramas et constatons la place importante de fictions sentimentales courtes appelées « miniseries » par les diffuseurs et« trendy drama » par les spécialistes. Ensuite, nous interrogeons ces deux termes génériques, les rapprochons et concluons sur leur incongruité. Après cette première approche définitoire, nous analysons un corpus de quinze dramas diffusés pendant la période d’étude et sélectionnés parmi les plus représentatifs et les plus populaires.Cette analyse qui a pour but de mettre sur pied une formule générique, nous conduit dans un premier temps à rapprocher l’histoire de celle du roman sériel sentimental avec une spécification quant à la localisation et au nombre de fils narratifs secondaires. Ensuite une analyse du récit permet de montrer son caractère extrêmement fluide et ancré dans le temps présent. La troisième partie portant sur la mise en images et en sons du récit permet de souligner le soin apporté au choix des images et des musiques et de confirmer l’accentuation sentimentale.Une dernière partie consacrée à la médiatisation du récit audiovisuel porte sur le phénomène d’hybridation, le caractère genré du contenu et l’aspect commercial appuyé du drama dont la spécificité réside dans le placement de produits. / This study investigates the genre of Prime Time South Korean Romantic TV serials (TV dramas),known as k.drama abroad. The first section introduces the history and evolution of the Korean television system.It shows how the system emerged from the influence of general-interest TV channels, such as KBS and MBC,but especially took shape after the foundation of the private TV Channel SBS, which helped to trigger the crazefor Korean audiovisual content in Asia (Korean Wave). The second section describes the history and typology of Korean TV Drama, which sets up my analysis of the Prime-Time TV Schedule from 1992 to 2005. The analysis shows the predominance of TV Dramas and short romantic serials, called “miniseries” by distributors but “trendy dramas” by specialists. I then question those two generic labels, compare them and show their incongruity. After problematizing these labels, I conduct an analysis of fifteen Prime Time TV dramas airedduring the study period and selected because of their audience or representative aspects. By trying to discover ageneric formula, I show the similarities with serial literary romance but differences regarding location and number of secondary narratives. I then demonstrate that the narrative process contains some particular qualities,with a focus on the fluidity of the narrative and the representation of time (coincidence of narrative time withviewing time). The third section of the analysis of the generic process shows the attention to displaying musicand images with an emphasis on sentimental tone. The final section deals with the “mediatization” of theaudiovisual narrative. The process entails the hybridization of content, the consideration of gender in messagingand the strong emphasis on marketing which concentrates on product placement.

L’audiovisuel sur smartphone est un phénomène complexe et en construction. La mobilité et l’hybridation caractérisent ce nouveau territoire audiovisuel et cette thèse cherche à comprendre en quoi ces deux dimensions contribuent à la construction des usages sociaux et des logiques économiques de l’audiovisuel sur smartphone. À partir de plusieurs enquêtes qualitatives et d’une observation des offres des chaînes sur ce nouvel écran, ce travail analyse comment les utilisateurs et les acteurs de l’audiovisuel particulièrement les chaînes de télévision se saisissent de ce nouvel écran.Ce territoire audiovisuel est d’abord contextualisé, puis une lecture originale de l’évolution de l’audiovisuel est présentée, au prisme de disruptions d’ordre technologique, économique et d’usage. La construction de la posture scientifique reposant sur une approche interdisciplinaire est ensuite exposée. Dès lors, cette thèse met en évidence que la mobilité participe de l’appropriation du smartphone en tant qu’écran audiovisuel, notamment à travers les dimensions de contexte et de contraintes technologiques, commerciales, sociales. Quant au déploiement des modèles économiques des chaînes de télévision sur cet écran, il est contraint par un environnement technoéconomique imposé par les plateformes mobiles (comme Apple et Google). Avec la dimension d’hybridation, la thèse montre que les usages se construisent dans une logique d’entrelacement des pratiques audiovisuelles et des pratiques de communication et de connexion. Les chaînes de télévision réagissent en proposant des applications enrichies, en se déployant dans les réseaux socionumériques et en développant des dispositifs interactifs entre le smartphone et le téléviseur. Autant de nouvelles modalités d’agrégation susceptibles de drainer des implications économiques défavorables aux chaînes. / Watching and delivering video contents on smartphone is a complex phenomenon because it is forming as we investigate it. Both dimensions of mobility and hybridization characterize this new media territory and this thesis explains how their contribution leads to the construction of the social uses and the economic logics. Through several qualitative surveys based on interviews with users and professionals and a long term observation of the TV offers on this new screen, this research analyzes how the users on one hand and the broadcasting industry (TV networks) on the other hand, seize this new screen.This new audiovisual field is put into perspective by drawing up its offers overview and the first observed uses. An original reading of the audiovisual field evolution with the prism of technological, economical and use disruptions is then presented, and the construction of our scientific position is described, by explaining the interdisciplinary approach.Therefore, this research highlights that the mobility contributes to the appropriation of the smartphone as an audiovisual screen, essentially through the dimensions of context, as well as technological, commercial and social constraints. It also analyzes how the techno-economic environment, generated by the mobile platforms (Apple and Google), constrains the deployment of French TV networks’ business models on this new screen. With the dimension of hybridization, this thesis explains that the uses are expanding through the interlacing of communication, connection and audiovisual uses. Therefore, Television Networks try to conquer the attention of smartphone users by providing enhanced applications, by spreading in Social Networking Sites and by developing interactive systems between the smartphone and theTV set. But, these new aggregations often come with adverse economic implications.

Solicitud de embargo por publicación en revista indexada. / El presente artículo analiza los patrones narratológicos presentes en los fashion films basándonos en la selección del Berlín Fashion Film Festival 2019. Los fashion films son un formato publicitario que viene ganando mayor notoriedad en las grandes marcas. Sin embargo, las investigaciones con enfoque audiovisual que se han realizado son escasas. Por consiguiente, se busca identificar patrones presentes en los fashion films para así despertar un mayor interés en las personas relacionadas al rubro audiovisual. Asimismo, a pesar de que la narratología consta de distintos elementos, la presente investigación se centra en analizar únicamente los patrones narratológicos de tiempo y espacio. Para lograr esto, se realizó una investigación cuantitativa con análisis de contenido. Ello con el fin de poder contrastar los resultados de un fashion film con otro y poder así identificar de manera clara los patrones. Es así como en los fashion films analizados se han identificado diversos patrones tanto del tiempo como espacio que confirman lo mencionado en algunos hallazgos anteriores respecto a la función del fashion film. Sin embargo, lo identificado respecto al tiempo refleja datos como el constante uso de la cámara lenta y elipsis lo cual es interesante de contrastar con lo hallado también en investigaciones previas. Esta indagación ha permitido conocer a los fashion films desde otra perspectiva y con sus resultados propone su futuro estudio desde diversas áreas de lo audiovisual u otros. / The present article analyzes the narratological patterns present in fashion films based on the selection of the Berlin Fashion Film Festival 2019. Fashion films are an advertising format that has been gaining greater notoriety in major brands. However, the researches that has been carried out on these are scarce in terms of an audiovisual approach. It seeks to identify patterns present in fashion films in order to awaken a greater interest in people related to the audiovisual field. On the other hand, despite the fact that narratology consists of different elements, this research focuses on analyzing only the narratological patterns regarding time and space. To achieve this, it was decided to conduct a quantitative research with content analysis. This in order to be able to contrast the results of one fashion film with another and thus be able to clearly identify the patterns. In the analyzed fashion films, various patterns of both time and space have been identified that confirm what was mentioned in some previous findings regarding the function of fashion film. However, what was identified with respect to time reflects data such as the constant use of slow motion and ellipsis, which is interesting to contrast with what was also found in previous research. This investigation has allowed us to know fashion films from a different perspective and with its result proposes their future study from various areas of the audiovisual and others. / Tesis

El presente proyecto de investigación analiza los cambios adoptados por las productoras peruanas al realizar contenido audiovisual. A partir de las limitaciones provocadas por el coronavirus o Covid-19 en los procesos de pre producción, producción y post producción audiovisual. Es importante analizar estos cambios frente a la nueva normalidad, porque permite prever cómo se desarrollará la industria en el futuro y si las condiciones actuales perjudican la calidad de los productos audiovisuales. Además, posibilita reconocer formas de prevención de contagio en el equipo de producción. Este proyecto tiene por objetivo identificar las características de esos cambios y explicar cómo las áreas audiovisuales pueden adaptarse efectivamente a la nueva normalidad. Entendiendo la nueva normalidad como un conjunto de acciones, actitudes, protocolos, nuevas plataformas, limitaciones financieras, pero principalmente como una nueva oportunidad de adaptación para la industria audiovisual. Asimismo, pretende exponer qué complicaciones pueden presentarse durante la producción de contenido en tiempos de pandemia. Por ello, el paradigma de la investigación es interpretativo y utiliza una metodología cualitativa. El instrumento de esta investigación es una entrevista estructurada a ´´productores´´ de diferentes casas realizadoras peruanas. / This research project analyzes the changes adopted by Peruvian production companies when creating audiovisual content. Based on the limitations caused by the coronavirus or Covid-19 in the audiovisual pre-production, production and post-production processes. It is important to analyze these changes in the face of the new normal, because it allows us to foresee how the industry will develop in the future and if current conditions harm the quality of audiovisual products. In addition, it makes it possible to recognize forms of contagion prevention in the production equipment. This project aims to identify the characteristics of these changes and explain how audiovisual areas can effectively adapt to the new normal. Understanding the new normal as a set of actions, attitudes, protocols, new platforms, financial limitations, but mainly as a new adaptation opportunity for the audiovisual industry. It also aims to expose what complications can occur during content production in times of pandemic. Therefore, the research paradigm is interpretive and uses a qualitative methodology. The instrument of this research is a structured interview with ´´producers´´ from different Peruvian filmmakers. / Trabajo de investigación

La presente investigación busca analizar la percepción de estudiantes audiovisuales de la UPC, que se dedicarán al cine, sobre la representación de la cultura andina en el cine peruano de los últimos 15 años. Con esta investigación se busca conocer cómo los estudiantes audiovisuales, que tengan como propósito profesional el dedicarse al cine, interpretan las propuestas involucradas con la dirección de arte de este tipo de películas. Sin estar involucrados, directa o indirectamente, a esta cultura perteneciente a las regiones del interior del país. Para esto, se usarán películas que empleen este tipo de arte en sus escenografías, vestuarios y utilería. Aún hayan sido grabadas o no en la región andina del Perú. / This research seeks to analyze the perception of audiovisual students of the UPC, who will dedicate themselves to cinema, on the representation of Andean culture in Peruvian cinema in the last fifteen years. This research seeks to know how the audiovisual students, whose professional purpose is to dedicate themselves to the cinema, interprets the proposals involved with the art direction of this type of film. Without being involved, directly or indirectly, in this culture belonging to the interior regions of the country. For this, will be used films that use this type of art in their sets, costumes and props. They have still been recorded or not in the Andean region of Peru. / Trabajo de investigación

El presente trabajo analiza el rol del aprendizaje informal en nuestro país, usando el caso específico de los comunicadores audiovisuales orientados al área de postproducción en el Perú. Asimismo, se identifica cuáles son las herramientas más utilizadas por los alumnos, cuál es el objetivo del aprendizaje formal y si se cumplen de manera satisfactoria en la educación. Finalmente se establece una diferenciación entre los temas revisados tanto en estructuras formales e informales, y cuál es el nivel de control que ejercen los estudiantes. / This paper analyzes the role of informal learning in our country, using the specific case of audiovisual communicators oriented to the post-production area in Peru. Likewise, the tools most used by students are identified, what is the objective of formal learning and if they are satisfactorily fulfilled in education. Finally, a differentiation is established between the topics reviewed in both formal and informal structures, and what is the level of control exercised by the students. / Trabajo de investigación