Cette thèse est une approche du feuilleton télévisuel sentimental sud-coréen de prime time, connu sous le nom de k.drama (korean drama) à l’étranger, en tant que genre fictionnel télévisuel. Dans une première partie présentant l’évolution du système télévisuel sud-coréen, nous montrons comment ce dernier s’est construit autour de la concurrence des chaînes généralistes KBS et MBC avec une nette accélération du phénomène à la suite de la fondation de la chaîne commerciale SBS, puis avec le début d’un phénomène d’engouement pour les contenus audiovisuels coréens en Asie (Vague coréenne). Après une présentation générale du feuilleton télévisuel en Corée (drama) à travers sa typologie et son histoire, nous procédons à une étude de la programmation de prime time entre 1992 et 2005, presque entièrement consacrée à la diffusion de dramas et constatons la place importante de fictions sentimentales courtes appelées « miniseries » par les diffuseurs et« trendy drama » par les spécialistes. Ensuite, nous interrogeons ces deux termes génériques, les rapprochons et concluons sur leur incongruité. Après cette première approche définitoire, nous analysons un corpus de quinze dramas diffusés pendant la période d’étude et sélectionnés parmi les plus représentatifs et les plus populaires.Cette analyse qui a pour but de mettre sur pied une formule générique, nous conduit dans un premier temps à rapprocher l’histoire de celle du roman sériel sentimental avec une spécification quant à la localisation et au nombre de fils narratifs secondaires. Ensuite une analyse du récit permet de montrer son caractère extrêmement fluide et ancré dans le temps présent. La troisième partie portant sur la mise en images et en sons du récit permet de souligner le soin apporté au choix des images et des musiques et de confirmer l’accentuation sentimentale.Une dernière partie consacrée à la médiatisation du récit audiovisuel porte sur le phénomène d’hybridation, le caractère genré du contenu et l’aspect commercial appuyé du drama dont la spécificité réside dans le placement de produits. / This study investigates the genre of Prime Time South Korean Romantic TV serials (TV dramas),known as k.drama abroad. The first section introduces the history and evolution of the Korean television system.It shows how the system emerged from the influence of general-interest TV channels, such as KBS and MBC,but especially took shape after the foundation of the private TV Channel SBS, which helped to trigger the crazefor Korean audiovisual content in Asia (Korean Wave). The second section describes the history and typology of Korean TV Drama, which sets up my analysis of the Prime-Time TV Schedule from 1992 to 2005. The analysis shows the predominance of TV Dramas and short romantic serials, called “miniseries” by distributors but “trendy dramas” by specialists. I then question those two generic labels, compare them and show their incongruity. After problematizing these labels, I conduct an analysis of fifteen Prime Time TV dramas airedduring the study period and selected because of their audience or representative aspects. By trying to discover ageneric formula, I show the similarities with serial literary romance but differences regarding location and number of secondary narratives. I then demonstrate that the narrative process contains some particular qualities,with a focus on the fluidity of the narrative and the representation of time (coincidence of narrative time withviewing time). The third section of the analysis of the generic process shows the attention to displaying musicand images with an emphasis on sentimental tone. The final section deals with the “mediatization” of theaudiovisual narrative. The process entails the hybridization of content, the consideration of gender in messagingand the strong emphasis on marketing which concentrates on product placement.

Traditional advertising has decreased while product placement in, for example, movies has increased. This has led to a problem, which is that viewers can perceive product placement as something negative. Product placement enhances viewers’ ability to recognize brands and products after watching a movie, while the placements can be congruent or incongruent. This study examines how brand recognition is produced and how congruence of a placement can affect audience acceptance. In response to this, a case study was conducted with embedded units consisting of three focus groups where the authors proceeded from a semi-structured interview guide. The study’s result was that five factors; irritation, familiarity, lack of excitement, unnecessary and iconic can impact how brand recognition is generated, based on the results of the focus groups. The study also resulted in placements that are congruent to the audience are accepted, while non-accepting placements are incongruent. A placement’s congruence is affected by the factors; expectancy and relevancy, perceived fit and individual judgements, and plot connection. / Traditionell reklam har minskat medan produktplacering i exempelvis filmer har ökat. Detta har lett till ett problem, vilket är att tittarna kan uppfatta produktplaceringen som något negativt. Produktplacering kan leda till att tittarna känner igen märken och produkter efter att det har sett en film och deras placeringar kan vara passande eller opassande. Den här studien undersöker hur varumärkesigenkänning uppstår och hur en placerings överensstämmelse kan påverka tittarnas accepterande. För att svara på detta gjordes en fallstudie med inbäddade enheter som bestod av tre fokusgrupper där författarna utgick från en semistrukturerad intervjuguide. Studiens resultat var att fem faktorer; irritation, bekantskap, brist på spänning, onödighet och ikoniskt påverkade hur varumärkesigenkänning uppstår baserat på resultatet från fokusgrupperna. Studien resulterade även i att de placeringar tittarna fann passande till filmen är accepterade, medan placeringar som inte är accepterande är opassande. En placerings överensstämmelse påverkas av faktorerna; förväntning och relevans, uppfattad lämplighet och individuella bedömningar och huruvida en placering är kopplad till handlingen.

Syfte: Syftet med denna studie är att jämföra hur Generation X och Y:s attityd till ett varumärke påverkas av produktplacering. Metod: I studien genomfördes en undersökning med hjälp av experimentell design och enkät med 169 respondenter. Varje respondent fick ta del av ett avsnitt från TV-serien Solsidan där det förekommer produktplacering. Därefter fick respondenterna svara på en enkät om de produktplaceringar som förekom i avsnittet. Resultat & slutsats: Resultaten visar att generationerna i de flesta fall har samma inställning till produktplacering generellt. Vår slutsats är att både Generation X och Y har en positiv attityd till ett varumärke som använts i en produktplacering i TV-serien Solsidan. Vi kan se ett undantag vid tydlig produktplacering där båda generationerna visar en negativ attityd. För samtliga varianter av produktplacering går det inte att se någon skillnad mellan generationernas attityd, då Generation X och Generation Y har samma attityd. Förslag till fortsatt forskning: Vårt förslag till vidare forskning är att genomföra samma typ av studie med fler respondenter. Ytterligare ett förslag är att utföra samma typ av studie med hjälp av en kvalitativ undersökning. Uppsatsens bidrag: Det teoretiska bidraget är vår jämförande studie mellan Generation X och Generation Y och deras attityd till varumärket via produktplacering. Vårt praktiska bidrag är att utöka kunskapen för marknadsförare att använda de olika varianter som finns inom produktplacering. Detta för att kunna hjälpa de som använder produktplacering för att nå olika ålderskategorier, då de vill få en positiv inverkan på attityd till varumärket hos konsumenterna de vill nå ut till. / Aim: The purpose of this study is to compare how Generation X and Y´s attitude towards a brand is influenced by product placement. Method: In the study, a survey was conducted using experimental design with 169 respondents. Each respondent was asked to watch a specific episode from the TV-series Solsidan where product placement occurs. Thereafter the respondents answered a survey about product placements that appeared in the episode. Results & conclusion: According to the results, Generation X and Y in most cases have the same attitude to product placement in general. Our conclusion is that both Generation X and Y have a positive attitude towards a brand used in a product placement in the TV-series Solsidan. We can see an exception in prominent product placement where both generations show a negative attitude. For all kinds of product placement, there is no difference between generation's attitude, since Generation X and Generation Y have the same attitude. Suggestions for further research: Our proposal for further research is to do the same type of study with more respondents. Another suggestion is to do the same type of study using a qualitative survey. Contribution of the thesis: The theoretical contribution is our comparative study between Generation X and Generation Y and their attitude towards brands through product placement. Our practical contribution is to expand the knowledge of marketers to use the different kinds of product placement. This in order to help those who use product placement to reach different age categories, as they want a positive impact on the consumer's brand attitude.

This research seeks to address the topic of the influence of the YouTube advertising on society as seen by the members of hipster subculture. This work aims to explore the attitude of hipsters towards the YouTube thanks to an analysis of the interviews and also with the help of a theoretical framework of core concepts such as subculture, hipster, lifestyle or advertising practices. The reason I address hipster attitudes is the fact, that hipster phenomenon has become widespread nowadays. Moreover, those individuals are associated with skeptical stance towards the mainstream trends. Therefore, I have decided to confront the ostensibly distrustful view of hipsters towards YouTube as a representative of modern mainstream and then analyze self-proclaimed attitudes of hipsters as such.

This thesis deals with product placement in Czech cinematographic work as a specific way of presentation branded product. From a few points of view consumer aesthetics, semiotics of cinema and marketing semiotics is explored four movies (Empties, Women in Temptation, Men in hope and Perfect Days). At selected scenes we show how branded products are presented in the movie, how the placements are integrated into the plot and the story. The paper uses classified in terms of efficiency. It is following up the meaning value of the brand, of the context and of the role in which the product placement occurs. The film shots and scenes in which branded products are used, we focus on the denotative and connotative meanings and uses of rhetorical figures of metaphor and metonymy, meaning funds used semiotics and semiotics of film marketing. Along with this case is taken account of consumer aesthetics, which justifies daily consumption. Attention is paid not only at branded products, but also scenes and product which are free from labels (belonging without a brand) or have labels fictional brands. Keywords Product placement, semiotics of cinema, marketing semiotics, consumer aesthetics, branded entertainment, brand, movie

Es de saber que el cine comercial en el Perú tiene al product placement como fuente de financiamiento. Es por eso que esta investigación busca analizar la aplicación de esta herramienta en las películas de la casa productora Señor Z. Para lograr realizar la investigación se revisaron diversas fuentes sobre publicidad y producto placement, cine y narrativa audiovisual. El análisis tiene como punto de partida la identificación y participación de las marcas en el desarrollo de las películas para luego identificar cada escena según la tipología. Además, con el apoyo de trabajadores de la producción de Señor Z se alcanza una mejor visión de la aplicación del producto placement. Esta investigación no tiene como interés criticar el exagerado o sútil uso del producto placement, sino presentar la manera en que es aplicado en el Perú. / It is known that commercial cinema in Peru has product placement as a source of financing. That is why this research seeks to analyze the application of this tool in the films of the production company Señor Z. In order to carry out the research, various sources on advertising and product placement, cinema and audiovisual narrative were reviewed. The analysis has as a starting point the identification and participation of the brands in the development of the films and then identify each scene according to the typology. In addition, with the support of workers from the production of Señor Z, a better vision of the application of the product placement is achieved. This research is not interested in criticizing the exaggerated or subtle use of the placement product, but rather to present the way it is applied in Peru. / Trabajo de investigación

, cinema, , , movie placement / Esta investigación analiza cuál es la percepción del público frente al product placement en las películas como herramienta de publicidad y reforzamiento de la imagen de las marcas exhibidas dentro de los largometrajes. Por otra parte, se busca describir las estrategias de product placement empleadas en la industria cinematográfica y estudiar como repercute dicha estrategia publicitaria en el mundo audiovisual. De modo que, utilizando la pregunta de investigación y objetivos específicos, se podrá constatar si el product placement funciona o no como una herramienta de publicidad eficaz en la industria de la cinematografía. / This research analyzes the public's perception of product placement in films as a tool for advertising and reinforcing the image of the brands exhibited in feature films. On the other hand, it seeks to describe the product placement strategies used in the film industry and study how this advertising strategy has repercussions in the audiovisual world. So, using the research question and specific objectives, it will be possible to verify whether or not the product placement works as an effective advertising tool in the film industry. / Trabajo de investigación

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隨著行動通訊貼圖的興盛與普及，其商業價值更被多數企業相中以作為軟性的品牌置入行銷溝通方式。透過與品牌相關的貼圖設計，將品牌訊息巧妙融合於貼圖中並吸引使用者成為品牌好友以下載使用，讓使用者彼此之間傳散達到短時間內累積龐大粉絲數之效益，更可能將使用者對品牌貼圖之好感度轉嫁到品牌上。因此，如何創造有效的品牌貼圖設計成為企業亟欲了解的課題。 根據過去研究之探究，可發現目前對於品牌貼圖行銷之效果衡量尚未具有量化的數據分析作為實際執行之參考依據，因此本研究將品牌免費貼圖行銷模式視為新型態之置入性行銷方式，整合品牌貼圖設計要素與虛擬代言人、置入性行銷文獻，擬訂一整合品牌貼圖設計之分類架構，以虛擬代言人產品相關性（高vs.低）、品牌露出顯著程度（高vs.低）、品牌置入貼圖情境整合程度（高vs.低）作為自變項，以2x2x2的三因子設計，在共八種不同的品牌貼圖置入設計下，以實驗法進行，並透過問卷調查使用者對其置入效果，以認知、情感、行為意圖效果作為依變數的測量。 研究結果顯示，虛擬代言人產品相關性為品牌貼圖置入設計之最關鍵影響要素，高度相關時其置入效果皆顯著，顯現品牌免費貼圖角色設計為首要優先考量，此時當品牌顯著露出時，更能提昇強化虛擬代言人產品相關之置入效果。而品牌置入貼圖情境整合程度僅體現於貼圖之背景，較難以吸引使用者注意，雖不具顯著影響效果，但與其他因素交互作用下能對認知效果產生顯著影響。而所有置入型式及其交互作用皆對使用者之認知效果產生顯著影響。 / With the popularity of mobile stickers, many companies begin to pay attention to LINE stickers’ marketing influences and consider them as new means of marketing placement. Brand-related stickers design, usually cute and interesting, makes brands attract users to download and use stickers so that brands naturally slip into users’ private conversation space. In this way, millions of users not only become fans of the brand, but also are fond of stickers and the brand itself. To maximize the stickers marketing benefits, how to design useful brand-related stickers is the crucial part. In this research, the experimental design is used to investing the marketing evaluation affected by sticker’s animated spokes-character design (brand-related vs. brand-unrelated), brand exposure (prominent vs. subtle), and context integration (integrated vs. non-integrated). Then, 2x2x2 factorial design is conducted and 8 different scenarios are created online. Questionnaire is set to find the product placement effectiveness including cognition, emotion and behavior. The result indicates that brand-related character design is the crucial factor in sticker’s placement effectiveness. This reflected that stickers use animated spokes-character to attract user’s notice, feelings, and behaviors. Besides, brand-related character and high brand exposure has the best effect. And other factors all influence cognition effect.

本論文旨在經由新聞組織常規與記者專業性兩個面向，來探討置入性行銷對電視新聞的影響。其研究問題有四：（一）了解電視新聞置入性行銷的樣貌；（二）探討置入性行銷對電視新聞常規的影響；（三）探討置入性行銷對記者專業性的影響；（四）探索廣告主導向新聞的內涵為何？ 本研究以質性深度訪談三十位電視新聞工作者，有以下幾項發現：（一）電視新聞的置入性行銷應重新予以定義，其內涵應包括直接付費的專案新聞，及不直接付費的業配新聞，它們都是以服務廣告主為目的而產製的新聞。（二）自2003年起政府將置入性行銷納入公開招標項目中後，已使電視新聞組織內逐漸建制了一種產製置入性新聞的常規，它與生產一般新聞的常規有所不同，宛如一個新聞工廠卻開闢了兩條生產線，用不同的邏輯來生產不同的新聞產品。研究顯示，這種常規使組織內得以藉此分享如何產製置入性新聞的知識。同時，也使得原來在組織中不被認可的價值，藉此取得合理與合法的地位。（三）置入性行銷雖然對記者的專業性認知影響至鉅，但也並非全然悲觀。在產製置入性新聞的過程，記者會呈現出四種不同的自主模式，以協商的方式從廣告主手中爭取更多自主空間；然而，研究也發現，在公共服務的認知上，記者往往會採取自我審查的方式，淡化有爭議的訊息，或用「新聞點」的角度來合理化自己的採訪。（四）本研究進一步提出置入性新聞是一種「廣告主導向」新聞。在台灣的電視新聞界目前正同時生產三種不同價值、不同目的、不同導向的新聞，它們分別是：公共利益導向、市場導向、及廣告主導向。 儘管如此，本研究仍然主張：置入性行銷使得媒體監督的對象可以出錢來影響新聞，而新聞所傳達的資訊摻雜了包裝精良的「廣告」，最終新聞作為一種「信任貨幣」的價值盡失，媒體守望監督的功能也跛了腳，其後果不單是對新聞界的衝擊，對社會整體的負面效果更是全面的。 / Product placement has been used in TV news production since 2000 in Taiwan. It raises an ethical discussion about whether journalism serves public or business interests. This study examines the use of product placement in TV journalism and its impact on TV news routine and professionalism. By using qualitative and quantative methods, this study found the traditional definition of product placement which is used in the marketing field is not suitable for Taiwan’s news placement. The definition of news placement should include “project news placement” and “service news placement”. When the advertisers pay directly for news placement, this is called “project news placement”; on the other hand, when the advertisers pay indirectly and possibly with a promise of future rewards or benefits for the TV news organization, this is called “service news placement”. This study found the production of this kind of paid news has become routinized . It seems like there are two assembly lines in a news factory: one for producing regular news and the other for producing paid news. Through this routinized process, journalists learn how to deal with this kind of news; in other words, the routine provide the mechanism to share the knowledge of producing paid news and also makes this kind of news legitimate in the news organization. The results of this study also show the impact of product placement on the journalists’ perception of their professionalism. Although most TV journalists admit their autonomy has been limited due to control from advertisers who pay for the news, they still perceive they can have different autonomy models: negotiation, domination, accommodation, and carelessness. However, the perception of serving the public for journalists is quite limited. This study found that journalists focused on newsworthiness instead of public service when they were doing news placement, and journalists employ self-censorship when they are doing this paid news. Many respondents admitted they did not criticize the advertisers who pay money for reporting. This kind of news is not serving the public but just serving business. This study suggests it should be called “advertiser oriented news”. In Taiwan, the TV news factory does produces three different kinds of news, which include public oriented, market driven, and advertiser oriented. However advertiser oriented news can be seen daily, this study concluded that unless journalists are able to report independently the audience cannot expect the news to fulfill public service. Any media organization that accepts news placement will gain profit but lose credibility in return.