The aim of this thesis is with use of case study to describe and subsequently create audiovisual advertising spot for a particular sponsor. Advertising spot should be created efficiently focusing on costs, so target group would be tempted to buy advertised product as much as possible. At the beginning of the work in theoretical part is basic theoretical knowledge of marketing, advertising history, advertising legislation regulation and advertising is also characterized as part of the creative industries. On this theoretical background is linking practical part in which are proposed three options for creating audiovisual spot and subsequently using the methods of management decision making the most appropriate option is selected. In conclusion, we have created the very commercials based on defined process and selected variant.

Submitted by Caroline Falcao (caroline.rfalcao@ufpe.br) on 2017-05-24T18:00:23Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) dissertao_mrcio andrade_bloq.pdf: 2451994 bytes, checksum: fe91f06770dbc0aa51c427f009bd1785 (MD5) / Made available in DSpace on 2017-05-24T18:00:23Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) dissertao_mrcio andrade_bloq.pdf: 2451994 bytes, checksum: fe91f06770dbc0aa51c427f009bd1785 (MD5) Previous issue date: 2013-03-26 / Este trabalho apresenta uma pesquisa participante que analisa como a produção de narrativas audiovisuais pode contribuir para ampliar as concepções e perspectivas de inclusão digital (ID) de jovens de comunidades periféricas do Recife, considerando a dimensão comunicativa deste fenômeno. Para isso, foram usadas referências para atender a três campos temáticos – um, sobre as influências das tecnologias digitais na sociedade e os projetos de inclusão digital; outro, sobre a evolução do ato narrativo, as possibilidades narrativas no ciberespaço e a narratividade audiovisual; e, por fim, outro sobre as ações socioeducativas por meio dos vídeos digitais com jovens na periferia e suas relações com os conceitos de inclusão digital. Como metodologia, empregou-se o questionário semi-estruturado para delinear as concepções e perspectivas de ID destes jovens e seus hábitos de uso de internet e de comunicação. Posteriormente, foram realizadas oficinas de criação de vídeos digitais, em que se registrou o processo de criação destes jovens, sendo, ao final, aplicado outro questionário e realizadas duas entrevistas semiestruturadas – uma, individual; outra, coletiva –, a fim de identificar as mudanças que aconteceram nas concepções e perspectivas de inclusão digital dos sujeitos após o contato com este tipo de produção. Os resultados mostram que os jovens apresentaram mudanças nas concepções e perspectivas de ID a partir de sua participação na oficina de produção, compreendendo-a por vertentes comunicacionais e criativas ao invés de enfatizar mais aspectos técnicos ou de empregabilidade deste fenômeno. / This paper presents a survey participant who analyzes how the production of audiovisual narratives can contribute to enlarge the conceptions and perspectives of digital inclusion (DI) of youths from peripheral communities of Recife, considering the communicative dimension of this phenomenon. For this reason, references were used to meet three thematic fields – one, about the influences of digital technologies in society and digital inclusion projects; another, about the evolution of narrative, the narrative possibilities in cyberspace and audiovisual narrative and, finally, another about social and educational activities through digital videos with youth in the periphery and their relationship with the concepts of digital inclusion. The methodology that we used was the semi-structured questionnaire to outline the concepts and perspectives of DI that these youth had developed and their usage habits of internet and communication. Subsequently, workshops were held to create digital videos, who registered in the creation process of these young people, and, in the end, applied another questionnaire and conducted two semi-structured interviews – one, individual and another, collective - in order to identify the changes that have happened in the concepts and perspectives of digital inclusion of subjects after contact with this type of production. The results show that young people showed changes in conceptions and perspectives of DI from their participation in the workshop production, understanding the aspects of communication and creative rather than emphasizing more technical or employing aspects of this phenomenon.

Dépôt version complète / Cette thèse aborde la composition pour le ciné-concert au travers du prisme de la recherche- création. Je décris mon processus créatif de compositeur pour ce spectacle et fait état des différentes influences, culturelles, autobiographiques, théoriques qui l’ont nourri et fait évoluer. Je dégage de ce parcours créatif des éléments qui permettraient de définir le ciné-concert comme un spectacle à part entière – et à enrichir – dans le panorama artistique contemporain. Cette définition passe par une cartographie du dispositif ciné-concert, riche et composite du fait de son interdisciplinarité : cinéma, musique en direct, mise en espace du dispositif. Avec le réseau de tenseurs établi par cette cartographie, je veux montrer les intersections prégnantes que j’ai privilégiées dans mon travail. Je situe ces intersections dans la déconstruction historique du ciné-concert, un travail matérialiste de l’imaginaire, et une conception de la forme comme transformation musicale des affects. / This thesis approaches the composition for the ciné-concert through the prism of research-creation. As a composer, I describe my creative process through the different cultural, autobiographical, and theoretical influences that have nourished it and made it evolve. From this process, I identify elements that would define the cine-concert as a show in its own right – and to be enriched – in the contemporary artistic panorama. This definition goes through a cartography of the ciné-concert’s rich and composite apparatus, because of its interdisciplinarity: cinema, live music, staging. With the network of tensors established by this mapping, I want to show the significant intersections that I have privileged in my work. I situate these intersections in the historical deconstruction of the cine-concert, a materialist work of the imagination, and a conception of form as a musical transformation of affects.

Au XXIe siècle, les images sont partout. Les avancées technologiques rendent aujourd’hui la fabrication et la distribution des images accessibles à tous, et le temps passé devant les écrans ne cesse de croitre. Pourtant, malgré cette omniprésence, le besoin d’une éducation à l’image n’est pas encore ressenti. Alors que le cheminement scolaire veille à l’enseignement écrit, l’éducation visuelle semble être oubliée, notamment par le système d’éducation québécois. Face à ce problème, j’ai voulu explorer les capacités du cinéma comme outil dans l’enseignement de la littératie visuelle dans un mémoire de recherche-création. Ainsi, dans la première section, les concepts de littératie visuelle et de pensée critique sont définis et analysés, et leur place au sein du système d’éducation est examinée. La deuxième section traite du cinéma, notamment en tant que langage enseignable. La troisième partie couvre, sous divers angles, l’influence des images chez les spectateurs. La quatrième section offre quant à elle une réflexion sur la représentation des genres et son action sur les spectateurs du point de vue des goûts et du rapport aux genres. Enfin, la dernière section présente l’exercice pédagogique à la base de la création accompagnant ce mémoire. Cette création documentaire permet d’observer le processus d’apprentissage de participants dans leur processus d’exercice pédagogique et le développement d’une littératie visuelle. La double mise en abyme offre une opportunité de réfléchir à la capacité du cinéma comme moteur d’apprentissage face aux images. / In the 21st century, images are everywhere. Technological advances have made the production and distribution of visual media accessible to everyone; the time spent in front of screens keeps increasing. Yet, despite this ubiquity, the need for a visual education has not been felt. While the Quebec education system focuses on written language, the visual language seems to have been left apart. In light of this problem, this research-creation thesis intends to explore the potential of cinema to be a relevant tool for visual literacy. In the first section, I offer a definition and an analysis of the concepts of visual literacy and critical thinking, and examine their place in the Quebec education system. The second section covers how cinema can be considered as a teachable language. In the third section, I show different ways in which images can influence viewers. The fourth section reflects on how those influences affect the tastes and opinions regarding gender. As for the last section, it is a description of the pedagogical exercise created for this study. This written part is completed by a creation. My documentary film brings further reflections on visual literacy and how it can be acquired by the participants of the pedagogical exercise. This mise en abyme allows the viewer to look at how cinema can be a vector of learning in the face of visual media.