O conceito de interatividade tem sido amplamente utilizado como premissa para a estruturação institucional de museus, sendo comumente introduzido no espaço museológico nas décadas recentes. A museografia interativa frequentemente aparece como alternativa para a apresentação de acervos formados a partir de bancos de dados digitais, participando ativamente da constituição de museus encarados como centros de referências e da criação das narrativas museais. O estudo pretende analisar a interatividade entendida como diálogo entre arquitetura, museografia e museologia, investigando sua relação com a concepção e recepção do espaço expositivo contemporâeo. Para tanto, possui como foco principal a análise do contexto brasileiro a partir dos casos de referência selecionados: Museu do Futebol (São Paulo, 2008) e Museu do Amanhã (Rio de Janeiro, 2015). A partir da análise proposta, pretende-se aprofundar o entendimento sobre a consolidação do campo da museografia interativa no Brasil, verificando suas implicações para o projeto de arquitetura de museus ao avaliar como se configura a relação entre acervos digitais, museografia interativa e arquitetura de museus. / Interactivity has been a widely used concept for the structuring of institutional museums. It has been frequently introduced in the museological space as an important point of consideration by the exhibition´s design, markedly in recent decades. The interactive museography is a common solution used to present digital collections, having assumed an important role to reference center museums. Although interactivity in museums has been a recurring theme developed in recent studies, the relation between interactivity and architectural design has not yet been enough analyzed. For this reason, this is the central question addressed by this article: to investigate the interactivity concept known as the relation between architecture, museography and museology, focusing on the relation between the creation and the reception of the exhibition contemporary space. For this reason, the study intends to deepen the analysis of the Brazilian context, especially in the lights of the Museum of Football (São Paulo, 2008) and the Museum of Tomorrow (Rio de Janeiro, 2015). By this research, we intend to deepen the present comprehension of interactive museography in Brazil, investigating the relation between digital collections, interactive museography and museum contemporary architecture.

L'Exposition a fait l'objet de nombreuses analyses et pourtant son rapport à la photographie est rarement évoqué. Considérée comme un procédé, elle développe de nombreux liens avec celui de la Photographie. Toutes les deux consistent à "montrer". Au-delà de leurs analogies, la Photographie et l'Exposition sont interdépendantes. L'étude de l'Exposition passe désormais inévitablement par la photographie. Les artistes et les commissaires utilisent aujourd'hui la photographie non pas comme une finalité mais comme un outil permettant de penser la mise en espace. Une photographie de vue d'exposition n'est jamais une reproduction, elle se détermine en fonction du temps et de l'espace. Elle est, avant, pendant et après l'exposition, à la fois un indicateur et un vérificateur. Les indices qu'elle fournit constituent des éléments de l'analyse critique de l'exposition. La mise en photographie dont l'exposition a toujours fait l'objet permet les "comparaisons", et "vérifications" qui influent, par voie de conséquence, sur sa conception.Car l’acte d’exposer, régulièrement remis en question, est en perpétuelle évolution. Parce qu'il s'est autonomisé, il est toujours plus difficile de l'appréhender. S’attacher à ses ambiguïtés, notamment celle de son "devenir-image", permet d'en mesurer toute la complexité. Ce qui ouvre certainement la voie à de nouvelles stratégies d’étude qui permettront progressivement une compréhension plus complète et mieux opératoire de son influence certainement décisive sur l’évolution à venir de l’art contemporain. / The Exhibition as format has been the object of numerous analyses and nevertheless its relationship with photography is rarely evoked. Considered as a process, it develops numerous links with the process of Photography. Both consist in "showing". Beyond their analogies, Photography and Exhibition are interdependent. The study of Exhibitions is now inevitably related to photography. Today artists and curators use photography not as an end but as a tool allowing them to think about space.An exhibition view is a photograph but it is never a reproduction, it is determined according to time and space. It indicates and verifies at the same time, before, during and after the exhibition. The indications it supplies establish elements for the critical analysis of the exhibition. The process of photography, to which exhibitions have always been submitted allows "comparisons", and "verifications" which influence, consequently, its conception.Because the act of exhibiting, regularly questioned, is in perpetual evolution. Because it is autonomous, it is always more difficult to comprehend. Focusing on its ambiguities, in particular its capacity to become an image, allows to measure its complexity. This probably opens the way to new strategies of study which will gradually allow a more complete and effective understanding of its certainly decisive influence on the future evolution of contemporary art.

The thesis focus on detection of motivation and satisfaction of visitors and exhibitors of annual design fair Designblok 2011 in Prague. Its creation proceeded in cooperation with main organizers and the results aimed to be usable in practice while planning and organizing of forthcoming years. One part of it deals with visitor's research executed by personal questioning whose results were analyzed in statistic software IBM SPSS Statistics. Satisfaction and motivation of exhibitors in another section was detected by means of half-structured interviews. While analyzing all the findings the maximal applicability in real life of Designblok and future usability was emphasized. The conclusion includes summary and review of all the recommendations connected to partial research results.

Film marketing is gaining new features every day and is underlying a dynamic development. This work is devoted to two categories of films - art house and mainstream films in European and American markets. Film is a very complex and unique product and therefore requires specific distribution and communication strategies. This thesis analyses the differences in marketing and promotion between art house and mainstream films. The aim of this paper is to explore contemporary means of marketing art house and mainstream films as well as the differences in the perception of these film categories by the viewers. The theoretical part is devoted to set light upon the differences in expectations of the viewer and the various marketing strategies with regard to these film categories. The practical part is dedicated to the analysis of the qualitative research, which was carried out for the purposes of this thesis. The research is based on personal interviews as well as on a questionnaire survey. The conclusion resulting from this research is applied on the hypotheses stated in the beginning of the thesis and discusses the advantages and disadvantages of different marketing tools used by these two film categories as well as their anticipated future development.

A challenge ignited the research outlined in this thesis. Design is increasingly being framed (across academia and industry) as an integral method and strategy for social, cultural and economic innovation. How is this value to be communicated within the museum context, which is more commonly rooted in an object-centric tradition? Temporary exhibitions are a primary means of communication and engagement for museums. The presentation of contemporary design has followed traditions of display stemming from fine art practices, as well being influenced by those in commercial environments. Consequently the thesis argues that there is a prevailing tendency to display the outcomes of design activity, to celebrate aesthetics and functionality, and to concentrate on the personality and talent of the designer. A key concern underpinning this research is that many museum design exhibitions arguably struggle to reveal the complexity of design activity: the intellectual and material processes driving innovation. This arguably risks limiting broader interpretation, and stifles the opportunity to extend audience understanding of design. The aim of this thesis is to question and explore key concepts that constitute the communication and exhibition of design in the museum. Design, innovation, curating, exhibition, audience: in the dynamic, transitioning contexts of design and the museum, all concepts must be scrutinized. In order to navigate this territory, a core method of design inquiry is adopted: prototyping. In this research, prototyping actively puts concepts to work through a dialectical investigation. This involves actively engaging in design to examine the concepts of curatorial practice, the exhibition, and innovation, whilst concurrently exploring concepts of design and innovation through the process of curating exhibitions. This dual-focussed research approach that has been developed, can be described as a hermeneutic, practice-led methodology. Hermeneutics supports a belief in contextually situated, practical action as a basis for developing understanding and knowledge (Bolt, 2011; Heidegger, 1962). The method of exhibition-making is framed and employed as a practical prototyping process: curating exhibitions in order to reflect on the construction of design narratives from within. Prototyping becomes a way to reflexively explore, analyse and question the practice of framing, mediating and communicating design as innovation. Three iterative practical projects act as case studies for the thesis, situated in three concrete contexts: the industry sponsor – V&A Museum of Design Dundee; design in Higher Education; and a national innovation festival. Each can be seen as the exploration and delineation of a design space (Heape, 2007), with all three forming part of the wider design space that is the thesis as a whole. Through reflecting on the acts of evaluating, selecting, editing, juxtaposing, connecting, framing and presenting design practice through exhibition, the research has formulated a curatorial strategy that aims at attending to the complex nature, changing priorities and values of particular design contexts. The thesis names this approach ‘the constellation’: adapting this term from the work of critical theorist Theodor Adorno (1973). The constellation takes the form of a series of visualisations that draw on, combine and develop research on design theory, design processes, and prototyping, by a number of key design researchers (e.g. Buchanan, 1998, 1995a; Dorst, 2015a, 2008; Heape, 2007; Lim et al., 2008; Sanders and Stappers, 2014, 2008). Operating at two levels, the constellation is the manifestation of the reflexive research process, illuminating both design and curatorial practice. It makes an original contribution to knowledge in two ways: firstly as the visual delineation of a prototype curatorial strategy for researching, framing and communicating narratives of design; secondly it offers a conceptualisation of concept development in design practice, shown as the continuous exploration of a design space. This articulates how prototyping, as a key design method, can encourage innovation through the exploration and analysis of concepts at varying levels of detail, with the aim of developing new perspectives. This thesis also makes an original contribution on a methodological level by extending the practice and discourse of prototyping to the method of exhibition, framing it as a strategy for innovation in design research. This adds to current discourse surrounding practice-led research within art and design. It also contributes to nascent discourse in relation to curatorial practice for design, and the growing interest in the specificities of design curation, in the context of the museum.

This thesis examines the ways in which the process of exhibition development and the politics this involves affects the practice of history in the museum. It does this by establishing the broad parameters of history practice in the museum and places this in relation to academic practice, focusing on the New Zealand context and specifically upon Auckland War Memorial Museum. From this basis the thesis examines the development of City exhibition at Auckland Museum as a large-scale museum history exposition. The development process for this exhibition was created with the aim of changing the traditional Museum approach so as to create a more engaging and scholarly history exhibition than is traditional. At the same time however, there was also an aim of retaining the appearance of the traditional Museum within this programme of change. These aims were to be met by the innovation of the collaboration between an academic historian and the Museum's practitioners in the development process.The research is based upon a detailed investigation of the roles played by the exhibition team members and the decisions, negotiations and compromises that they made through the development process. Beginning with their original intentions and concepts for the exhibition its metamorphosis into the exhibition as it was installed in the Museum gallery is traced. Emphasis is placed on the resonance that the various decisions and changes carried into the finished exhibition. The findings indicate that the Museum's traditions of developing and displaying knowledge exerted a strong conservative effect over the exhibition development in conflict with the programme of change. This conservatism vied with the authorial intentions of the exhibition development team. As a result of this influence the exhibition developed leant towards the conventional. The unexpectedly orthodox outcome resulted from the absence of critical museological practice. The thesis argues that although Auckland Museum had undergone extensive restructuring, including the introduction of new exhibition development processes and a new outlook as an organisation, the conception of history in the Museum had not changed. Ultimately this precluded that the practice of history in the institution would advance through the revised exhibition development process. However, the development of City did help achieve the updating of social history in the Museum and remains a platform upon which a more critical approach to the past can be built.

In the early years of the twentieth century, the unique new medium of motion pictures was the focus of significant theorization and experimentation at the fringes of the American advertising industry. Alongside the growth of the nickelodeon, and the multiple shifts in the American cinema's business model in the 'transitional era,' various individuals at the margins of the advertising industry attempted, and most often failed, to integrate direct consumer-goods advertising regularly into motion picture theaters. Via techniques as diverse as the glass slide, the commercial trailer, and the advertising wall-clock, cinema patrons of the 1910s witnessed various attempts by merchants and manufacturers to intrude upon their attention in the cinema space. Through research in the trade presses of the cinema, advertising, and various consumer-goods industries, along with archival ephemera from the advertising companies themselves, this dissertation explores these various on and off-screen tactics for direct advertising attempted in silent cinemas, and their eventual minimization in the American cinema experience. Despite the appeal of the new, popular visual medium of cinema to advertisers, concerns over ticket prices, advertising circulation, audience irritation, and the potential for theatrical 'suicide-by-advertising,' resulted, over a mere fifteen years, in the near abandonment of the cinema as an advertising medium. As a transitional medium between the 19th century forms of print and billboarding, and 20th century broadcasting, the silent cinema was an important element in the development of modern advertising theories.

Nowadays, most consumers prefer products with originality, fashion and innovation, and seek for quality and design. In addition, by the effects of the popularized knowledge of media products, the increasing educational level, the change of social concepts and the frequent interaction between human-beings, the demand of multimedia merchandises is raising and the expenditure is also increasing. The purpose of this study is to discuss the impact factors of purchase behavior by impulse buying and the relationship between the background knowledge to products and the purchase intention in multimedia expos in Kaohsiung area. After deleting invalid questionnaires, 501 of 550 research objects who were the consumers in the multimedia expo in Kaohsiung were taken into this study. The results which were made by research tools such as impulse buying scale, impulse buying behavior factors scale, product knowledge scale and purchase intention scale through statistic methods including reliability test, item analysis, factor analysis, descriptive statistics, independent samples t test, One-way ANOVA, Pearson's product-moment correlation and level regressions are as follows. (1) Significant differences can be seen in the catalogues of gender, marital status, age, educational level, occupation, average monthly wagers upon impose buying and the impact factors of behavior in the Multi Media Expo.(2) Consumers of various age or occupation have different knowledge level regarding the products. (3) Significant differences of purchase intentions between consumers in various educational levels in the multimedia expo. (4) Positive significant impacts of purchase intentions impacted by impulse buying especially in some promotion ways of advertisement, shopping situation and payment terms. (5) Significant influences of the impact between the consumers¡¦ shopping intentions and product knowledge. (6) Significant impacts in impulse buying personality to impulse shopping behavior and purchasing intention with positive interference between impulse shopping personality and purchasing intention. Negative impact occurs on shopping situation and purchasing intention regarding to impulse buying personality. (7) Significant interference impact on knowledge of products and shopping intention regarding to impulse buying personality. To conclude, except explaining and discussing the applications of the research result, the following suggestions were also mentioned to the exhibitors. (1) Combine marketing policies and product advertisement to raise the marketing performance. (2) Arrange better endorsements to attract the crowds. (3) Flexibly utilize quantitative promotions and main commodities to create a purchasing rush. (4) Properly plan the expo venue and improve the service quality to create situational stimuli. (5) Exercise various paying methods to improve the shopping intention of young people. (6) Make the best use of the consumers¡¦ product knowledge to improve shopping intention. (7) Utilize the interference impact of impulse shopping personality to raise the consumers¡¦ shopping intention. Moreover, some advices for future research were also mentioned.

This paper explores how Taiwanese curators represent ¡¥new immigrant women¡¦ in their curatorial speech as they encounter the trends of new immigrants as part of multiculturalism in Taiwan. In-depth interview and analysis of exhibitions are applied to unveil the gender, race and class meanings behind the curators¡¦ planning of exhibition on this immigrant group. From interview data and the analysis of two exhibitions, we find that the gendered and racialized imaginations of this female immigrant group embedded in Taiwan¡¦s patriarchy society frame curators¡¦ exhibition practices. However, the power relationships between the curators and the gazed Other are not static, and the anxiety of how to locate the Other in Taiwan society by the colonizing agents makes it more imminent to keep the female immigrants in the private sphere.

In recent years, many sexually attractive PR females can be seen at every exhibition. They are top models, stars, adult video actresses, poster girls, show girls, etc. A lot of literatures have mentioned that females are frequently objectified and commercialized in order to satisfy the desire of males in a patriarchal and capitalistic society. Due to the changing trends, saleswomen reveal different appearances in various frameworks of exhibition. Sexually attractive females have become the key persons in the exhibition; their mission is not only to soften the atmosphere permeated by cold hard products, but also to attract visitors, engage in customer relations, and achieve the expected turnover. The study subjects were visitors at the 2007 Kaohsiung Computer Multimedia and Audio Exhibition. By answering the questionnaires their ¡§visiting purpose¡¨ and ¡§purchase intention¡¨ as well as the ¡§demographic statistic variables¡¨ were all investigated. All data were analyzed via: descriptive statistics, reliability factors, correlation and single-factor variation (one way ANOVA). The correlation and study assumptions can therefore be verified. The research results showed that there is a correlation among ¡§visiting purpose¡¨, ¡§purchase intention¡¨ and ¡§demographic statistic variables.¡¨ It proved that the sexually attractive females did not necessarily attract consumers with pure intentions to purchase their desired products, but they did attract consumers who love to ogle scantily clad females or who just want to spend their free time at the exhibition. The demographic statistic variables presented that those sexually attractive females did attract many students under the age of 25, and they were willing to change their purchase intention. Companies can refer to this research in planning their sales strategies and determine special promotions where sexually attractive PR females can be used to help hawk their products, so that the best benefits can be achieved. Keywords: exhibition, feminism, sexually attractive females, visiting purpose, purchase intention