El mundo publicitario se encuentra saturado por toda la publicidad con la que viven los consumidores diariamente. Debido a esto, en el transcurso de los años se cuentan con nuevas estrategias comunicacionales para poder llegar a los consumidores finales y atraerlos a la compra. Una de las estrategias es el Branded Content, la cual es una estrategia comunicacional que busca captar la atención de los consumidores de una manera no intrusiva; y, lo que se quiere lograr mediante el siguiente trabajo es conocer, a partir de la utilización de la estrategia del Branded Content, cómo se da la recordación de la imagen de marca por parte de los usuarios de Movistar dentro de la creación de su serie web Un día eres Jóven. Las series web forman parte del día a día de muchos usuarios, ya que nos encontramos en una era digital en donde el internet y los formatos streaming se encuentran en su máximo apogeo. Asimismo, la imagen de marca hace que los usuarios tengan un recuerdo de la marca acorde a lo que es percibido mediante su estrategia. A su vez, las organizaciones cada vez se encuentran en búsqueda de nuevas estrategias para poder obtener resultados positivos para su marca. El Branded Content junto a la imagen de marca puede que logren resultados efectivos acorde a los objetivos de la organización que favorezcan la recordación del usuario. Por consiguiente, se empleará un método de investigación cualitativo en donde se quiere obtener el resultado y/o respuestas por parte del público objetivo seleccionado sobre el uso del Branded Content dentro de las series web para generar una imagen de marca de Movistar. / The advertising world is saturated by all the publicity which consumers live daily. Due to this, over the years there are new communication strategies to reach the final consumers and attract them to the purchase. One of the strategies is branded content, which is a communication strategy that seeks to capture the attention of consumers in a non-intrusive way; And, what we want to achieve through the following work is to know, from the use of the branded content strategy, how the brand image is remembered by Movistar users within the creation of their series web Un Día eres Jóven. The web series are part of the day to day of many users, since we are in a digital era where the internet and streaming formats are at their peak. Also, the brand image makes users have a memory of the brand according to what is perceived through its strategy. In turn, organizations are increasingly looking for new strategies to obtain positive results for their brand. The Branded Content next to the brand image may achieve effective results according to the objectives of the organization that favor user remembrance. Therefore, a qualitative research method will be used where you want to obtain the result or responses from the selected target audience on the use of Branded Content within the web series to generate a Movistar brand image. / Trabajo de investigación

One Eyed Suze is an animated, anthology series that follows One Eyed Suze, former leader of the Loco Litter, after she is betrayed and left for dead by her own. She's rescued by a dimwitted rancher named Elliot and they embark on a journey of revenge and redemption.

Ce travail de recherche s’attache à analyser la visibilité des lesbiennes au cinéma américain et dans les séries télévisées et les web-séries américaines. Bien qu’ayant été globalement invisibles ou mal représentées dans le cinéma classique hollywoodien, elles apparaissent de plus en plus fréquemment sur le petit et le grand écran. Toutefois, cette visibilité est construite à partir d’un certain nombre de normes, privilégiant donc une image particulière des lesbiennes à travers notamment la figure de la lesbienne féminine. En outre, cette visibilité repose sur des stratégies de réappropriations et d’emprunts qui visent à « queeriser » les représentations existantes, et, possiblement, à créer un regard lesbien / The purpose of this work is to investigate lesbian visibility in American cinema, TV series and web series. Although lesbians have remained broadly invisible or misrepresented in classical Hollywood Cinema, they now increasingly appear on both the big screen and the small screen. However, this visibility is shaped according to a precise set of norms, thus favoring a specific image of lesbians, particularly through the figure of the feminine lesbian. Furthermore, this visibility is grounded on strategies of reappropriation and borrowings aiming to queer existing representations, and, possibly, to create a lesbian look

Although many advocates believe that the increased representation of transgender people in mainstream fiction will lead to more understanding for the transgender community, many transgender scholars (Page, Richards) are critical of representation that is created without any involvement of actual transgender people. Some fear that the more radical perspectives of trans lives are being erased and replaced with a homogenous idea of the kinds of trans people who are “acceptable” (cárdenas). To avoid this homogeneity, it is important to allow for a multiplicity of trans perspectives and empower transgender people to have agency over their own narratives. The goal of this project is to highlight how trans agency in story telling can benefit trans fiction and take it beyond simply providing a “trans 101” for cisgender audiences. It will also address how the internet has benefitted trans creators by providing a platform for a variety of trans voices to share their stories. By analyzing fiction that centers on transgender experience and is created by transgender people, this thesis will explore the topics and issues addressed in trans stories and the diversity in the perspectives shown. Internet-based fiction such as webcomics and web series will be examined, as well as a trans authored anthology that was funded online. Examining these stories may show us what we are missing by relying on the current homogenous mainstream representation and open our eyes to the importance of empowering transgender people to tell their own diverse, radical stories.

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Individuals who consider themselves both scholars and fans represent not only a subculture of fandom but also a subculture of academia. These liminal figures seem suspicious to many of their colleagues, yet they are particularly positioned not only to be conduits to engaged learning for students but also to transform the academy by chipping away at the stereotypes that support the symbolic walls of the Ivory Tower. Because they are growing in number and gaining influence in academia, the scholar-fans of the television series Buffy the Vampire Slayer (Buffy) and other texts by creator Joss Whedon are one focus of this dissertation. Though Buffy academics or Whedon scholars are not the only ones of their kind (e.g., academic- fan communities have cropped up around The Simpsons, The Matrix Trilogy, and the Harry Potter franchise), they have produced more literature and are more organized than any other academic-fan community. I approach all of my subjects—fandom, academia, fan-scholars, and scholar-fans—from a multidisciplinary perspective, employing various methodologies, including autoethnography and narrative inquiry. Taking several viewpoints and using mixed methods best allows me to begin identifying and articulating a rhetoric of scholar-fandom. Ultimately, I claim that Whedon academic-fans employ a discourse marked by intimacy, community, reciprocity, and transformation. In other words, the rhetoric of Whedon scholar-fandom promotes an epistemology—a way of knowing—that in Parker J. Palmer’s paradigm is personal, communal, reciprocal, and transformational.

Individuals who consider themselves both scholars and fans represent not only a subculture of fandom but also a subculture of academia. These liminal figures seem suspicious to many of their colleagues, yet they are particularly positioned not only to be conduits to engaged learning for students but also to transform the academy by chipping away at the stereotypes that support the symbolic walls of the Ivory Tower. Because they are growing in number and gaining influence in academia, the scholar-fans of the television series Buffy the Vampire Slayer (Buffy) and other texts by creator Joss Whedon are one focus of this dissertation. Though Buffy academics or Whedon scholars are not the only ones of their kind (e.g., academic- fan communities have cropped up around The Simpsons, The Matrix Trilogy, and the Harry Potter franchise), they have produced more literature and are more organized than any other academic-fan community. I approach all of my subjects—fandom, academia, fan-scholars, and scholar-fans—from a multidisciplinary perspective, employing various methodologies, including autoethnography and narrative inquiry. Taking several viewpoints and using mixed methods best allows me to begin identifying and articulating a rhetoric of scholar-fandom. Ultimately, I claim that Whedon academic-fans employ a discourse marked by intimacy, community, reciprocity, and transformation. In other words, the rhetoric of Whedon scholar-fandom promotes an epistemology—a way of knowing—that in Parker J. Palmer’s paradigm is personal, communal, reciprocal, and transformational.