La influencia de la música nostálgica se lleva a cabo a raíz que se evocan experiencias que han sucedido años atrás donde se anhela la recuperación de dichas situaciones que no están presente en la actualidad y se genera actitudes positivas frente a la situación. Además, la familiaridad en las marcas sucede cuando el consumidor tiene cierto grado de confianza y ha tenido alguna experiencia previa; sin embargo, en cuanto la familiaridad en las marcas internacionales se menciona que estas deben generar actitudes positivas en los consumidores, pero resulta mejor cuando las marcas no locales se adaptan al mercado; es decir, se lleva a cabo la llamada glocalización. Esta investigación es cualitativa y se realizó entrevistas semiestructuradas a universitarios de UPC de la sede Monterrico y estudiantes de SISE sede Ate Vitarte con la finalidad de conocer sus intereses, opiniones y gustos. Dichos resultados arrojaron que los estudiantes de UPC y SISE tienen semejanza en las situaciones que vivieron durante su niñez y la preferencia por las canciones criollas; a pesar de que a la gran mayoría les agradó el comercial; los estudiantes de UPC mencionaron que no sienten familiaridad hacia la marca porque la consideran un buen restaurante de comida rápida, mientras que los estudiantes de SISE sí se sintieron identificados a través de la canción y los personajes mostrados. Por ello, la familiaridad no se llega a dar por completo debido a que los jóvenes universitarios consideran a la marca como una cadena de comida rápida mientras que en los estudiantes de SISE si se lleva a cabo porque consideran a la marca internacional como una que otorga estatus social. / The influence of nostalgic music is carried out as a result of the experiences that have happened years ago where the recovery of differences that are not present today and positive attitudes towards the situation are desired. In addition, familiarity with brands happens when the consumer has a certain degree of trust with the brand and has had some previous experience; However, when familiarity with international brands is mentioned, they should generate positive attitudes in consumers, but it is better when non-local brands adapt to the market where they are present; that is, the so-called glocalization is carried out. For this research it is qualitative and interviews were carried out with university semi-structures of the UPC of Monterrico headquarters and students of SISE Ate Vitarte headquarters with the request to know their interests, opinions and tastes of the interviewees. These results showed that UPC and SISE students have similarities in the situations they experienced during their childhood and the taste for Creole songs and that remind them of those moments; although the great majority liked the commercial; UPC students mentioned that they were not familiar with the brand because it considers it a good fast-food restaurant that has made a strategy to get closer to the Peruvian market, while SISE students did feel identified with the brand through the Creole song and the characters shown. Therefore, familiarity does not come to fruition due to the fact that young university students consider the brand as a fast food chain while in SISE students an outing is carried out because it considers the international brand as one that projects social status. / Trabajo de investigación

La façon dont les bandes sonores ont été abordées dans le cinéma péruvien au cours des dernières décennies a changé. Depuis l'apparition des techniques numériques de réalisation de films en 1996, les films ne suivent pas les mêmes conventions qui ont été établies durant la seconde moitié du XXe siècle. Cette étude vise à comprendre comment les musiques afro-péruviennes et créoles péruviennes traditionnelles ont été utilisée dans la bande originale des longs métrages commerciaux péruviens entre 1996 et 2015. Après l'observation de 113 des 146 films péruviens commercialisés au cours de cette période, les 13 films contenant de la musique afro-péruvienne ou créole traditionnelle ont été sélectionnés afin d'analyser leur bande sonore. Chaque analyse se concentre sur les aspects généraux du film, la musique diégétique et les chansons, le style et le concept, les techniques de composition et présente une évaluation de la bande sonore. La comparaison des résultats des analyses a montré que la façon dont la musique traditionnelle a été utilisée dans le cinéma péruvien a changé par rapport aux décennies précédentes et que certains modèles de son utilisation sont apparus. / The way soundtracks have been approached in Peruvian cinema during the last decades has changed. Since the apparition of digital filmmaking techniques in 1996, movies don’t follow the same conventions that were established during the second half of the 20th century. This study aims to understand how traditional Afro-Peruvian and Peruvian creole music has been used in the soundtrack of commercial Peruvian feature films between 1996 and 2015. Based on the observation of 113 of the 146 commercially released Peruvian films during this period, the 13 movies that contain traditional Afro-Peruvian or creole music were selected in order to analyse their soundtrack. Each analysis focuses on general aspects of the film, the source music and songs, the style and concept, the compositional techniques and presents an evaluation of the soundtrack. The comparison of the results from the analyses showed that the way traditional music has been used in Peruvian cinema has changed in relation to previous decades and that some patterns in its use have appeared.