Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-09-12T12:16:41Z No. of bitstreams: 1 DIS_MARCEL_VIERO_COMPLETO.pdf: 7949872 bytes, checksum: e9446a7629852c1c2b6566b868f0f8f1 (MD5) / Made available in DSpace on 2017-09-12T12:16:42Z (GMT). No. of bitstreams: 1 DIS_MARCEL_VIERO_COMPLETO.pdf: 7949872 bytes, checksum: e9446a7629852c1c2b6566b868f0f8f1 (MD5) Previous issue date: 2017-07-28 / The dissertation is about Branded Entertainment in the television of Brazil from an advertising campaign of Combat to Cancer of Mama launched in 2015. The case was exhibited outside the commercial brake and within the program Fant?stico of the open channel of the Globo Network, in the year in which the ?Fashion Target? campaign would celebrate twenty years in the country. The commercial brake and the advertising that runs between entertainments were investigated by the research. The theoretical framework that bases the research starts on leisure and social with Dumazedier (1973) and entertainment with Cobra (2008), Dyer (2005), Parreno (2010), Mackee et al (2014) and Hackley (2015). Machado (2009), Marcondes (2002) and Kotler (2010) support advertising and Wolf (2015) television in the digital age. Reis e Silva (2009) offers an initial methodological model for analysis of the entertainment product and the case of Branded Entertainment. The objective aspects regarding the production, distribution and exhibition of entertainment and subjective ones with the content of this product are observed in the analysis, that proposes to understand also the roles of the partners in this process. Television channels, digital influencers and producers of audiovisual entertainment content could also act in Branded Entertainment establishing another kind of commercial relations that still in evolution process. / Esta disserta??o tem como tema de pesquisa o Branded Entertainment na televis?o aberta do Brasil, a partir da campanha publicit?ria de Combate ao C?ncer de Mama que aconteceu em 2015. O caso foi exibido fora do intervalo comercial e dentro do programa Fant?stico do canal aberto da Rede Globo, no ano em que a campanha do ?Alvo da Moda? comemoraria vinte anos de atua??o no pa?s. O intervalo comercial e a publicidade que atua fora dele s?o investigados pela pesquisa. O referencial te?rico que fundamenta a pesquisa parte do lazer em Dumazedier (1973) e do entretenimento com Cobra (2008), Dyer (2005), Parreno (2010), Mackee et al (2014) e Hackley (2015). Machado (2009), Marcondes (2002) e Kotler (2010) sustentam a publicidade e Wolf (2015) a televis?o na era digital. Reis e Silva (2009) oferece um modelo metodol?gico inicial para an?lise do produto de entretenimento e do caso de Branded Entertainment. Aspectos objetivos referentes ? produ??o, distribui??o e exibi??o do entretenimento e subjetivos com rela??o ao conte?do deste produto s?o observados na an?lise, que prop?e entender tamb?m os pap?is dos colaboradores neste processo. Canais de televis?o, influenciadores e produtores de conte?do de entretenimento audiovisual atuam no Branded Entertainment formando rela??es que fogem do convencional.

Made available in DSpace on 2016-08-03T12:29:25Z (GMT). No. of bitstreams: 1 JAMILE MARINHO PALACCE.pdf: 4045432 bytes, checksum: 3ffcc23dc03b1f99366e4caff9bb64c9 (MD5) Previous issue date: 2011-09-13 / The promotional calls are considered as a commercial broadcaster. Through them, the programming content is disclosed to persuade the public to watch the programs. This research has identified that the use of verbal and visual appeal, close calls, language publicitaries. No But the similarities do not get the publicity at the time of the exhibition pieces. Baseaded on the concept of redundancy proposed by the Information Theory and Learning Theory in the Message, Carl Hovland, research conducted a case study of the first two seasons of THE FARM, displayed on the Rede Record TV. It was concluded that the so-called reality show were not displayed in accordance with the concepts of advertising GRP coverage and often wasted space caused overexposure of the breaks and the public with self-promotional messages. / As chamadas promocionais são consideradas como um comercial da emissora. Através delas, o conteúdo da programação é divulgado para persuadir o público a assistir os programas. Esta investigação identificou que o uso de apelos verbais e visuais, aproxima as chamadas da linguagem publicitária. No entanto, as semelhanças com a publicidade não se dão no momento da exibição das peças. Baseando-se no conceito de redundância proposto pela Teoria da Informação e na Teoria da Aprendizagem da Mensagem, de Carl Hovland, a pesquisa realizou um estudo de caso das duas primeiras temporadas de A FAZENDA, exibidas na Rede Record de Televisão. Pôde-se concluir que as chamadas do reality show não foram exibidas de acordo com os conceitos publicitários de GRP, cobertura e frequência, desperdiçando o espaço dos breaks e causando superexposição das mensagens autopromocionais.