El uso de la técnica del brand placement en las películas de ficción, durante los últimos años, el cual, a tenido una mejor valoración por parte de los profesionales de la publicidad y marketing (Nagar, 2016). El saber si es que los elementos que posee esta nueva técnica que se utiliza en las películas de ficción son percibidos por el consumidor y asociados a la imagen de marca. Debido a que consideran que es una inversión mucho más efectiva que las demás, prefieren desarrollar historias que conecten con el consumidor durante largo tiempo (Lorán, 2016). El objetivo general de este artículo es analizar si la percepción de los espectadores de los elementos del brand placement en las películas de ficción se asocian a la imagen de marca. Este se buscará alcanzar por medio de la metodología basado en un enfoque cualitativo y a través de la realización entrevistas personales como técnica de campo, de 5 a 10 jóvenes entre hombres y mujeres de 18 a 25 años, que les gusta ver películas de ficción, de un nivel socioeconómico A y B de Lima Metropolitana, utilizando como herramientas guías de indagación semiestructuradas. / The use of the brand placement technique in fiction films, in recent years, which has had a better evaluation by advertising and marketing professionals (Nagar, 2016). El uso de la técnica del brand placement en las películas de ficción, durante los últimos años, el cual, a tenido una mejor valoración por parte de los profesionales de la publicidad y marketing (Nagar, 2016). Knowing whether the elements of this new technique used in fiction films are perceived by the consumer and associated with the brand image. Because they consider it to be a much more effective investment than the others, they prefer to develop stories that connect with the consumer for a long time (Lorán, 2016). The general objective of this article is to analyze whether the viewers perception of the elements of brand placement in fictional films are associated with the brand image. This will be achieved through a methodology based on qualitative approach and through personal interviews, as a field technique, of 5 to 10 young people between men and women between 18 and 25 years old, who like to watch fiction films, of a socioeconomic level A and B of Metropolitan Lima, using semi-structured inquiry guides as tools. / Trabajo de investigación

This dissertation explores the embodied and sensory dimensions of fantastic film, those elements that are generally held up in contrast to and, often, in excess of, narrative structure. I suggest a departure from the traditional approach to genre study which has been preoccupied with narrative formulas, themes, and iconographies. My goal is not to dispense with those kinds of analyses but to complement them and, importantly, to point to some neglected dimensions of genre pleasure. I propose to transform the presumably excessive pleasures of the fantastic genre into something essential to it. First, I explore the disavowal or avoidance of embodied sensation within popular genre criticism. I then turn to critique existing models of film reception, focusing particularly upon a critique of the ocularcentric or visualist framework. From this critique, I am able to suggest some criteria for an alternative theoretical model based upon embodiment. I propose a theoretical framework based, first, on the phenomenology of Maurice Merleau-Ponty, who demonstrates that human subjects are constituted materially and culturally through their perceptual relations within the world. Second, I rely upon a further interpretation of this phenomenology by the American philosopher Don Ihde. Ihde’s work, configured as “postphenomenology,” draws variously from technoscience studies, the philosophy of science, feminist, and posthumanist theory, and sketches a system for the application of an experimental phenomenology. With this method, I explore various embodied, sensational aspects of fantastic genre films, i.e., spectacle, gore, musical genre conventions. I describe and relate these aspects of fantastic film to other cultural venues, exploring common themes and structures among them. From this, I draw some conclusions as to the nature of these sensational genre pleasures for embodied human individuals. Simultaneously, I consider the possibilities for embodied difference among individuals. / text

Thesis (Ph.D.)--McMaster University, 2005. / Advisor: Susie O'Brien. Includes bibliographical references (p. 250-262). Also available via World Wide Web.

Thesis (M.A.)--University of Wyoming, 2008. / Title from PDF title page (viewed on Nov. 11, 2009). Includes bibliographical references (p. 89-90).

Bad Pixels is a feature-length, microbudget, digital motion picture, produced, written, and directed by Alexander Jon Bowser as part of the requirements for earning a Master of Fine Arts in Film & Digital Media from the University of Central Florida. The materials contained herein serve as a record of the microbudget filmmaking experience. This thesis documents the challenges confronted by a first-time feature filmmaker; an evaluation of both the theory and application of a dynamic microbudget approach to digital content creation. From script development to digital distribution, the thesis aims to reflect on technical and procedural decisions made and assess their impact on the overall experience and final product.

Techronomicon Techronomicon is a science fiction novel that examines far-future military actions from several different perspectives. Human beings have colonized several planets with help from the enigmatic and more technologically advanced Zhir, who gave spaceships and habitable worlds to those they deemed suitable and their descendants. The Joint Expeditionary Force is the military arm of the Universal Faith, called in when conflicts arise that the Faith decides are beyond the local government and militia and require their intervention. Leneveldt and Roader are JEF officers assigned to Operation Techronomicon, investigating what seems to be a Zhir-built defence shield around the planet Lassana. Another JEF company sent to Kalaabhavan after the murder of the planets Confessor-General loses its CO to a land-mine, and Lieutenant Hellerman reluctantly accepts command. Chevalier, a civilian pilot, takes refugees fleeing military-run detention camps on Ararat to a biological research station on otherwise uninhabited Lila. The biologists on Lila discover a symbiote that enables humans to photosynthesize, which comes to the attention of Operation Techronomicon and the JEF's Weapons Research Division. Leneveldt and Roeder, frustrated by the lack of progress on Lassana, are sent to Lila to detain the biologists, who flee into the swamps. Hellerman's efforts to restore peace on Kalaabhavan are frustrated by the Confessors, and his company finds itself besieged by insurgents. The novel explores individuals' motives for choosing or rejecting violence and/or military service; the lessons they learn about themselves and their enemies; and the possible results of attempts to forcibly suppress ideas.

Text in English / This study offers a fine-grained analysis of James Cameron’s film, Avatar (2009), on several theoretical fronts to provide a view of the film from a cognitive cultural studies perspective. The insights gained from cognitive theory are used to situate the debate by indicating the value cognitive theories have in cultural criticism. The critical discourse analysis of Avatar that results is a vehicle for the central concern of this study, which is to understand the diverse, often contradictory, meaning-making exhibited by Avatar audiences. A focus on the construction of empathic responses to the film’s messages investigates the success of this polysemy. Ihe central propositions of the study are that meanings and interpretations of the experience of viewing Avatar are made discursively; they are situated in definable traditions, mores and values; and this meaning-making takes place in a cognitive framework which allows for the technical reproduction and reception of the experience while providing powerful, emerging and cognitively plausible narratives. In an attempt to situate the film’s commercial success and its plethora of awards, including an Oscar for best art direction, the analysis takes a critical view of Cameron’s use of cultural stereotypes and the framing of the exotic other, and considers the continuing development of these elements over the whole series and product line or, as Henry Jenkins (2007) defines it, “transmedia”. In drawing the theoretical boundaries of the methodologies used in this study and in arguing for their complementarities, the study contributes to a renewal of Raymond Williams’ (1961) mostly forgotten claim of the cross-disciplinary cognitive dimension of cultural studies and demonstrates an affirmation of this formulation as cognitive cultural studies. / Art History, Visual Arts and Musicology / M.A. (Art History)

The Happiest Place on Earth is a feature-length film written, directed, and produced by John Goshorn as part of the requirements for earning a Master of Fine Arts in Film & Digital Media from the University of Central Florida. The project aims to challenge existing conventions of the American fiction film on multiple levels – aesthetic, narrative, technical, and industrial – while dealing with a distinctly American subject and target audience. These challenges were both facilitated and necessitated by the limited resources available to the production team and the academic context of the production. This thesis is a record of the film, from concept to completion and preparation for delivery to an audience