The main hypothesis of this dissertation says that movies which are shown in cinemas in 2D and also 3D version have greater box office than movies which are shown only in 2D version. The model with two simultaneous equations was constructed to confirm or reject this hypothesis. Data set includes movies which had wide release between January 2009 and December 2011 in the USA. The results show that 3D has no influence in the first week but there are negative significant effect on the number of screens, which could be connected with insufficient capacity of technologically equipped screens, and positive significant effect on revenues in the next nine weeks. The model includes other important and significant factors influencing revenues and the thesis compares these results with recent literature dealing with this topic.

The thesis titled Analysis of the integration of product placement in the audiovisual work "I wake up yesterday," focuses on the use of marketing tools product placement in this particular film. The theoretical part defines the issues and their types of promotion. Characteristics of effective legislation in the Czech Republic and related European Union regulations. Pricing for product placement and the possibility of measuring effectiveness. The practical part deals with concrete examples on the matter after legalization in the Czech Republic. The work deals with the number of occurrences of brands in the audiovisual work. Furthermore, the work focuses on, whether product placement was used in accordance with the law and what proportion of occupied product placement in the total broadcast time. What percent was used for active or passive product placement and the share of the dominant and nondominant expresses shot on the product. Furthermore, it is also concentration on realism brands.

Today, commercial industry spends huge amount of resources in advertisement campaigns, new marketing strategies, and promotional deals to introduce their product to public and attract a large number of customers. These massive investments by a company are worthwhile because marketing tactics greatly influence the consumer behavior. Alternatively, these advertising campaigns have a discernible impact on recommendation systems which tend to promote popular items by ranking them at the top, resulting in biased and unfair decision making and loss of customers’ trust. The biasing impact of popularity of items on recommendations, however, is not fixed, and varies with time. Therefore, it is important to build a bias-aware recommendation system that can rank or predict items based on their true merit at given time frame. This thesis proposes a framework that can model the temporal bias of individual items defined by their characteristic contents, and provides a simple process for bias correction. Bias correction is done either by cleaning the bias from historical training data that is used for building predictive model, or by ignoring the estimated bias from the predictions of a standard predictor. Evaluated on two real world datasets, NetFlix and MovieLens, our framework is shown to be able to estimate and remove the bias as a result of adopted marketing techniques from the predicted popularity of items at a given time.

[pt] Esta pesquisa apresenta a trajetória de Woody Allen desde sua formação de comediante até o final da década de 1970, quando co-escreveu, dirigiu e estrelou dois de seus filmes mais emblemáticos ambientados em Nova York: Noivo neurótico, noiva nervosa (Annie Hall, 1977) e Manhattan (1979). A primeira parte introduz suas origens, a influência da comédia stand-up no desenvolvimento de seu estilo humorístico e de sua persona fílmica, e o início de sua carreira no cinema. Na segunda parte, estes dois filmes são analisados do ponto de vista da construção de uma narrativa fílmica mais elaborada que aborda questões da vida contemporânea, assim como da representação da cidade de Nova York. / [en] This research presents Woody Allen’s development from his early comedian background until late 1970’s, when he co-wrote, directed and starred two of his most iconic films set in New York City: Annie Hall (1977) and Manhattan (1979). The first part introduces his origins, the influence of stand-up comedy in the development of his comic style and his film persona, as well as the beginning of his career as filmmaker. In the second part, these two films are analysed from the perspective of building a more elaborate cinematic narrative that deals with issues of contemporary life, as well as Allen’s portrayal of New York.

Les années soixante-dix ont vu la résurgence d'un genre hollywoodien centré sur la figure du justicier civil, errant dans la modernité urbaine ou rurale afin d'éradiquer le crime en lieu et place des institutions officielles. Baptisé "vigilante movie" par la critique des années soixante-dix, ce type de film a connu son avènement commercial dans une séquence que nous situons entre 1968 et 1989.La majorité des œuvres concernées étant, à nos yeux, conscientes des contrastes et des égarements comportementaux de leurs personnages, nous nous attachons ici à analyser le regard critique porté par leurs auteurs sur la justice civile – un regard souvent occulté par les textes rédigés contre ces films, perçus comme des apologies conservatrices des solutions les plus draconiennes à la criminalité. Nous proposons donc de relever les procédés communs fondant la nature profondément pessimiste de ce cinéma d'action. Comme nous allons le voir, les cinéastes et les scénaristes des grands studios et des circuits de l'exploitation ont saisi que le vigilante est en soi l'outil idéal pour incarner tout à la fois l'Amérique, ses origines, son évolution, ses aspirations, son rêve de liberté et d'indépendance. / Within the nineteen-seventies, a Hollywoodian genre focusing on the vigilante archetype, wandering throughout urban or rural modernity in order to eradicate crime instead of legal institutions, came back in the public eye. Called "vigilante movie" by critics in the nineteen-seventies, this genre arose commercially within a period that we situate between 1968 and 1989. Since most works are, according to us, aware of the paradoxes and bewilderments of their characters, we try to analyze the critical view expressed by authors on vigilante justice - that is, a view often neglected by texts written against these movies, perceived as conservative glorifications of the most radical reactions to criminality. Therefore, we propose a collection of common aesthetic processes that define the pessimistic aspect of these action films. As we are about to see, filmmakers and screenwriters from major studios and exploitation channels have understood that the vigilante in itself is the ideal tool for the embodiment of America, its origins, its aspirations, its evolution, its dreams of liberty and independence.

The purpose of this study is to follow the acting career of Dean Jagger through a list of theatrical productions, motion pictures, radio and television appearances. The study will also include a brief biography of his life and personal philosophies which contribute to the success of the actor and the person. The study will follow an appraisal of personal interviews with Mr. Jagger and his wife, information gained from the "Dean Jagger Collection" located at Brigham Young University Manuscrips Library, and critical review and interviews with his fellow actors.

My Perfect Little Doll tells the story of a fourteen year old girl, Jenny, who lives with her adopted parents and has a fascination with dolls. Her father is a troubled man who suffers from violent mood swings due to a work-related injury. He blames the world for his ailments. Jobless and home-stricken, Jenny's father is a frustrated individual who has built up anger and resentment over the years. Without proper medication, his problem becomes severe. His mood swings lead to abusive behavior toward shy Jenny, who constantly blames herself for her father's abusive ways. Through a flashback, we learn of the special relationship that Jenny has with Laura, a classmate. Laura feels a duty to help the powerless, which leads her into a friendship with Jenny. Eventually, Jenny invites Laura to her house to seek comfort during times of chaos. Upon arrival, Laura sees one of Jenny's father's violent mood swings and his ability to slip into abusive behavior. Eventually, Laura witnesses Jenny's father's physical abuse on Jenny and tries to convince her to leave. However, Jenny is torn between the love for her father who can be a loving, gentle man, and her own need for safety. This story weaves its tale with a mixture of pathos and hope. Based on a true story, this film draws from the multileveled emotions that the situation contains. The drama is framed in reality, where even the monsters have hearts. We learn that it is the victim as much as the perpetrator who denies the problem. But what will the victim do when offered a chance to escape...?

[pt] Produção e consumo do audiovisual: o trabalho de roteirista e o poder do cineasta no cinema brasileiro tem como proposta aprofundar a reflexão sobre a autoria dos roteiros na produção audiovisual brasileira e o jogo de forças entre os profissionais da área de roteiro e os da área de direção. Ao tomar como ponto de partida para esta reflexão o fato de que o campo de produção cinematográfica no país não valoriza o roteirista tal como na televisão, é o foco da pesquisa investigar o domínio de poder de criação por parte do diretor, considerando os impactos no exercício do trabalho de roteirista e, subsequentemente, nas condições de criação de histórias para o cinema. A estratégia metodológica envolveu recursos qualitativos, como a realização de entrevistas em profundidade para a análise da profissão de roteirista. O objetivo é que o resultado do trabalho sirva como base de informações que possam fomentar reflexões sobre a questão da construção de narrativas no cinema brasileiro, com abordagens que envolvem as formas de representações desse trabalho e de suas condições sociais, econômicas e financeiras para permanecer na cadeia produtiva do audiovisual. / [en] Audiovisual production and consumption: screenwriting as work and the power of directors in Brazilian cinema is an in-depth examination of screenwriting professionals in Brazil, specifically those who work on the scripts of feature-length narrative films. The study begins with the fact that screenwriters are not valued in the field of feature-length narrative film production as they are in television. The investigation focuses on what it truly is to write Brazilian cinema; what structures are behind the profession of creating cinematic stories; and what is the director s dominion of power regarding creation, considering its impact on the screenwriter s work and, therefore, the conditions for creating stories for cinema. The methodological strategy involves qualitative resources, such as in-depth interviews analyzing the screenwriting profession; the use of data gathered through bibliographical research as a trigger for discussions with the screenwriters themselves; media material on the subject; and the actions of other actors in the field, such as audiovisual project sponsors. The finished project should serve as a source of information which can inspire further examinations of narrative construction in Brazilian cinema, especially regarding approaches that embrace the field s representational forms, as well as the social, economic, and financial conditions required for enduring as a part of the audiovisual production chain.

No description available.

No description available.