This thesis is focused on both product placement problems on a general theoretical level and their usage in a specific movie called Probudím se včera (I wake up yesterday). In the theoretical part of the essay the relevant notions involving marketing and media areas are defined, the practical part includes both the analysis of specific integration types of various brands in the film and the evaluation of information picked up by a questionnaire form which has searched for a respondents attitude to the product placement dilemma in a general way and also from the point of view of the chosen movie Probudím se včera.

The main aim of this diploma thesis is to identify the determinants of behavior of demand for multiplexes in Prague. The main building material is the dataset of attendance and revenues evolution for individual movies distributed between years 2002 and 2011, always for the first four weeks from the premiere, provided by the Union of Film Distributors. The paper investigates consumer behavior on the movie market. The demand for movies is the dependent variable measured by the number of visitors in the corresponding weeks. The subject of analysis -- explanatory variable - is price, film rating (critics), genre, country of origin, character of time frame, frequency of screenings in a given week, format (2D/3D), length of movie, popularity of the actor/director, impact of movie series etc. The data are exposed to the regression according to which the significance of different variables is tested. The hypothesis about strong negative correlation of the price and quantity demanded is investigated based on the results, (Dewenter R., Westermann M., 2005) versus the hypothesis of weak sensitivity those two variables (Sangho Kim, 2009) against a more significant relationship of demand and other determinants. The influence of price on attendance has shown to be insignificant on the Prague movie market in the short term. A significant determinant impacting the attendance for a movie in the entire monitored period is the film rating, actor, length of movie, and number of screenings.

Product placement as one of the modern tools of marketing communication has become very important. This is also the case of the Czech Republic, especially after recent legislative changes and related legalization of product placement. The thesis characterizes product placement, states its particular forms and methods of evaluating its effectiveness. The aim of the thesis is to determine the difference between product placement in a situation when in an audiovisual work is presented in the first case known brand, in the second case unknown brand and in the third case fictitious brand. This is examined by the executed experiment based on watching a video with three type situations and filling in a subsequent questionnaire survey. Analysis of the survey results reveals that product placement is the most effective when displaying known brand, using unknown brand is considerably less effective and that the effectiveness of fictitious brand is the lowest. On the basis of statistical hypothesis testing, it is confirmed that there is a statistically significant relation between brand knowledge and its effectiveness.

El presente trabajo tuvo como objetivo general el desarrollo de un plan de negocio para un servicio de recreación de escenas de películas, llamado Tu Movie, en donde el cliente es el protagonista. Tu Movie ofrecerá 3servicios complementarios: de recreación audiovisual, fotográfica y a empresas. Los resultados obtenidos en el análisis estratégico proponen que Tu Movie enfrenta un ambiente positivo para su realización en lo que respecta a la tecnología y al entorno social, pero que consta de inconvenientes como el aspecto legal de las recreaciones en cuanto a derechos y la alta copiabilidad del proyecto. Por otro lado, la oferta actual se encuentra diversificada en cuanto a propuestas de valor, abarcando distintos segmentos de clientes, en donde el cine se encuentra excluido, lo cual favorece al negocio por su aspecto innovador y la poca competencia que presentan las actuales empresas de la industria. La propuesta de valor se centra entonces, en ofrecer la experiencia de ser un actor profesional, bajo los conceptos de calidad, cercanía y ambiente cinematográfico. Se determinó en el estudio de mercado para el servicio audiovisual, un mercado meta corresponde a las personas mayores de 15 años, de la región Metropolitana y del sector socioeconómico ABC1 y C2. Según encuestas realizadas, un 63% del mercado meta se muestra dispuesto a utilizar Tu Movie, lo que correspondientes a un millón de personas, sin embargo, según estimaciones de demanda, se atendería a 3200 personas el primer año. El servicio fotográfico se centra en los sectores socioeconómicos bajo el nivel C2, con una estimación de 4590 sesiones el primer año, mientras que el 3º servicio se enfoca en el rubro de entretención para empresas. En el plan de marketing se caracterizaron los servicios y se enfocó la promoción a través de los nuevos medios digitales disponibles en internet y las redes sociales como Facebook y Youtube, además de una página web propia, lo que permite contacto directo con los clientes. La inversión total se determinó en $43.839.689. Los flujos de caja netos para el proyecto bordean los 160 millones en promedio, obteniéndoseun VAN de $28.689.204 y una TIR de 41.44%. Se determina que el proyecto es rentable en la medida que el servicio fotográfico mantenga una demanda aceptable detallándose en el análisis de sensibilidad. Se concluye que se trata de un proyecto rentable con un escenario favorable para su implementación, pero dependiente de algunos servicios específicos. Se termina recomendando analizar expansiones territoriales del negocio y nuevos servicios.

O projeto O cinema vai à escola, da SEE-SP/FDE(de 2008 a 2015), é objeto de estudo do presente trabalho, queoexamina aproximando as perspectivas do cinema e da educação. Para tanto, parteda questão benjaminiana doempobrecimento da experiênciae, de algum modo, da adorniana doempobrecimento do repertório de imagens,buscando identificar modos de uso do cinemana escolaeinvestigandose eem que medidao referido projeto provoca o empobrecimentoda experiênciaem razão dos meios aplicados naoficialização da entrada do cinema na escola. Em geral, o cinema na escola é sustentado por um discurso pedagógico oficial que especifica e atribui o lugar do cinema no universo escolar. Interessa a esta pesquisaidentificar eanalisar esseslugares.Cinematografias, tais como a de Godard,adoNeo-realismoitaliano eadoCinema Novobrasileiroconfrontame se colocam como referências aesse lugar atribuído ao cinemapela escola. Entende-se aqui que aperspectiva desses cinemas, bem como nossa concepção de escola, cuja função primordial tem a ver com o deslocamento das referênciasestabilizadasdos sujeitos,não se constituemde elucubraçõesdesconectadasda chamada realidadedo universo escolar atual.Ao contrário, entendem que o presente em que parece seconstituir o filmeopera aí encaminhamentos sem solução definitiva. Contudo, ao se utilizar de modo ilustrativo do cinema, o discurso pedagógicohegemôniconas escolas, a despeito da discussão sobrea diluição do sujeitoisto é,da perda da perspectiva histórica unitária-, fortalece esse lugar dosujeito, entendido como oposição ao objeto. Assim, promove um modo de aprendizagem que toma o conteúdo da obra, a mensagem do filme,comoobjeto central, moralizando-o. Dessa forma,não oconsideraobra de arteou mesmo objeto de vivência, reduzindo-oarecurso pedagógicoque pode facilitarosestudosde teor cientificizantes.Nesse sentido,faz-seimportante a investigaçãosobre aideia de currículo e o lugarque nele ocupaa arte e mais especificamenteo cinema, em virtude da urgência uníssona quanto ao tratamento das mídias e do cinema na escola.Para tanto,este trabalho analisatextos oficiais da SEE-SP(osCadernos de cinema doprofessor e os vídeos sobre o Projeto),que regulamentam a entrada do cinema na escola, dentrevários outros.Em tempo, tomamos como parâmetro a experiência francesa transposta em livro por Alain Bergala (2007), além de conceitos / The projectO cinema vai à escola (\"Cinema goes to school\"), from SEE-SP / FDE (2008 to 2015), is the subject of study of the present work, which examines it by approaching the perspectives of cinema and education. Thus,begins fromthe Benjaminian question of the impoverishment of experience and, in some way, of the embellishment of the impoverishment of the repertoire of images, seeking to identify ways of using cinema in school and investigating if and to what extent the said project causes the impoverishment of experiencethroughtheways ofthe entrance of the cinema in school. In general, cinema at school is supported by an official pedagogical discourse that specifies and attributes the place of cinema in the school universe.This work identifies and analyziesthese places. Cinematographies, such as Godard\'s, Italian Neo-realism and Brazilian Cinema Novo, confront and place themselves as references to this place attributed to cinema byschool. It is understood here that the perspective of these cinemas, as well as our conception of school, whose primary function has to do with the displacement of the stabilized references of the subjects, do not constitute of lucubrations disconnected from the socalled reality of the current school universe. On the contrary, they understand that the present in which the film appears to constitute the film operates there with no permanent solution. However, in using illustrative cinema, hegemonic pedagogical discourse in schools, in spite of the discussion about the dilution of the subject-that is, of the loss of the unitary historical perspective-strengthens this place of the subject. Thus, it promotes a mode of learning that takes the \"content\" of the work, the \"message of the film\", as the central object, moralizing it. In this way, it does not take it as a work of art or even as an object of experience, reducing it to a pedagogical resource that can \"facilitate\" scientific studies. In this sense, it is important to investigate the idea ofcurriculum and the place that art occupies in it, and more specifically the cinema, because of the unanimous urgency regarding the treatment of media and cinema in school. In order to do so, this work analyzes the official texts of the SEE-SP (Cadernos de Cinema do Professor-\"Teacher\'s Film Schedules\"-and the videos about the Project),among others,which regulate the entrance of cinema to school. In time, we took as a parameter the French experience transposed in book by Alain Bergala (2007), as well as parameter the French experience transposed in book by Alain Bergala (2007), as well asimportant

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[pt] A imagem animada enquanto meio de manutenção das tradições populares na contemporaneidade brasileira, discute até que ponto as animações com temáticas populares podem contribuir para a permanência e renovação das práticas tradicionais na sociedade atual. O presente trabalho tem como objetivo esclarecer essa indagação. Por essa razão, fazemos uma viagem no tempo até o início do século XX para mostrar a trajetória da animação brasileira e sua relação com os símbolos nacionais, viagem que culmina no momento de crescimento atual, o início do século XXI. Para comprovar o fortalecimento do setor e a expressiva produção de filmes com temáticas populares, recortamos o período compreendido entre 1998 até 2012 do festival de animação Anima Mundi, para analisar o aumento das animações com temática folclórica no Brasil. O impacto dessa nova forma de apresentação das práticas tradicionais na sociedade brasileira deu se através da observação das novas gerações. Realizando um trabalho de campo com alunos da Rede Municipal de Ensino do Rio de Janeiro e utilizando como suporte a série de animação Juro que vi, série que trabalha elementos da mitologia brasileira, estabelecemos um diálogo com os jovens e percebemos que as animações com temáticas populares contribuem para a formação desse imaginário e manutenção dessas tradições. A família e a escola, por outro lado, são elementos importantíssimos para a manutenção desse imaginário nas práticas na sociedade atual. / [en] The motion picture as a means of maintaining the popular traditions in contemporary Brazil discusses the extent to which popular theme with in animations may contribute to the persistence of traditional practices in contemporary society. This paper aims to clarify this question. For this reason, we make a trip back in time to the early twentieth century to show the trajectory of Brazilian animation and its relationship with national symbols, culminating in the current growth momentum, the beginning of the XXI century. To prove the significant strengthening of the sector and the large production of films with popular themes, we cut the period from 1998 to 2012 of Anima Mundi animation festival, to analyze the increase in animations themed folk in Brazil. The impact of this new form of presentation of traditional practices in Brazilian society was studied through the observation of the new generations. Conducting field work with students of municipal schools of Rio de Janeiro and using as support the animated series I swear I saw, which presents the Brazilian mythology, we have established a dialogue with young people and realized that animations with popular themes contribute to the formation and maintenance of this imaginary traditions. But they are not alone, family and school are important elements for maintaining those practices in today s society.

Recommender systems are an integral and successful application of machine learning in e-commerce industry and in everyday lives of online users. Recommendation algorithms are used extensively for news, musics, books, point of interests, or travel recommendation as well as in many other domains. Although much focus has been paid on improving recommendation quality, however, some real-world aspects are not considered: How to ensure that top-n recommendations are fair and not biased due to any popularity boosting events, such as awards for movies or songs? How to recommend items to entities by explicitly considering information from heterogeneous sources. What is the best way to model sequential recommendation systems as heterogeneous context-aware design, and learning on-the-fly from spatial, temporal and social contexts. Can we model attributes and heterogeneous relations in a heterogeneous information network? The goal of this thesis is to pave the way towards the next generation of realworld recommendation systems tackling fairness and information heterogeneity challenges to improve the user experience, while giving good recommendations. This thesis bridges techniques from recommendation and deep-learning techniques for representation learning by proposing novel techniques to address the above real-world problems. We focus on four directions: (1) model the effect of popularity bias over time on the consumption of items, (2) model the heterogeneous information associated with sequential history of users and social links for sequential recommendation, (3) model the heterogeneous links and rich content of nodes in an academic heterogeneous information network, and (4) learn semantics using topic modeling for nodes based on their content and heterogeneous links in a heterogeneous information network.

The topic of this diploma thesis is a form of own personal space which is confronted with scene visuality used in film industry. It is about linking an existing and fictive (illusionary) environment. I can see the cinematographic space as an image of its physical equivalent. I do search for scenes in existing movies, which are charting the interiors of environments, where the movie is being set. I do use the camera moves and the ways of seeing the immediate surroundings as they are used in those scenes and I repeat them in my own private apartment. Screenplay structure comes from my apartment dispositions. The final dual channel video leads the spectactor through two levels of space in the same time.

This work will focus on the possibilities of data mining in film analysis and its use in predicting ratings on ČSFD movie diabase, based on film annotations and other attributes of the film. The main goal is to determine whether it is possible to predict user ratings of new movies and identify the attributes that affect the most the ratings on Movie Database, as well as other factors such as. revenues and attendance.