Made available in DSpace on 2016-10-13T14:10:33Z (GMT). No. of bitstreams: 1 VicenteMartinMastrocola.pdf: 4291509 bytes, checksum: e25e3162388b08ca0a21cd2a0e9bd489 (MD5) Previous issue date: 2011-03-22 / This project delimitates the concept of transmedia storytelling: a kind of narrative which develops into multiple mediatic platforms, such as internet, books, videogames, comics, television, cinema etc., examining the use of strategy in the entertainment industry and understanding how the consume and communication strategies materialize in this scenario. The object of this project is: to examine the strategic appropriation of transmediatic narratives in the industry of entertainment; to study the systematic use of multiple platforms on the biggest mediatic series worldwide, using an established example in the industry of entertainment: the Star Wars fiction series. Finally, we will investigate the participation of a digital social network in the consolidation of the success of this series through user-generated (interactor) content and distribution. It is used in this project a multimethodological approach wherein will be highlighted a netnographic character observation, following interactors among diverse social networks and digital platforms where they are found. / Neste projeto, procura-se examinar as narrativas transmidiáticas: um tipo de narrativa que se desdobra em múltiplas plataformas midiáticas, como internet, livros, videogames, quadrinhos, televisão, cinema etc., analisando sua utilização estratégica na indústria de entretenimento e visando compreender como se materializam as estratégias de comunicação e consumo nesse cenário. Pretende-se, com este trabalho: cartografar a apropriação estratégica de narrativas transmidiáticas na indústria do entretenimento; estudar a utilização sistemática de múltiplas plataformas nas grandes séries midiáticas de âmbito global, servindo-se de um exemplo consagrado da indústria do entretenimento: a ficção seriada Star Wars. Por fim, investiga-se a participação de uma rede social digital na consolidação do sucesso desta série por meio da distribuição e geração de conteúdo do usuário (interator). Utiliza-se neste projeto uma abordagem multimetodológica em que se destaca uma observação de caráter netnográfico na internet acompanhando os interatores nas diversas redes sociais e plataformas digitais onde se encontram.

A demonstration robot for conferences and fairs has been built from scratch. The demonstration robot is meant to create lasting impressions at the company booth at conferences or fairs. Thus, the robot needs traits that attract people to the booth and makes sure they remember that company. In this project, traits such as being able to move, do facial expressions and play audio have been developed. The robot has also been designed to draw as much attention as possible to the booth. This was achieved by building a robot that consists of a rolling sphere with a head that always remains on top. All movements are carried out from inside the sphere by four different motors. One motor moves the robot back and forth, two motors spin a flywheel to turn the robot and the last motor rotates the head. These motors are mounted at different places on an internal structure. The internal structure is connected to the sphere at two points, one on each side of the robot. At the top of the internal structure, magnets are placed. Thus, it can attach the head at the outside of the sphere by mounting magnets in the head. All movements of the robots are controlled by a hand controller, which has been made in this project. The head has a built-in display simulating two eyes. The display is driven by a Raspberry Pi. An internal speaker is built-in inside the head, connected to the Raspberry Pi. Each simulated eye consists of 64 squares that can be programmed to be in different colours, thus making it possible to express a wide range of facial expressions.Two PCBs were designed and manufactured to control the robot. One was placed inside the robot, and the other inside the hand controller. The PCBs can communicate over Bluetooth, which makes it possible to control the robot from the outside.All parts of the robot have been designed in a CAD program and subsequently 3D printed. 3D design in CAD was learned from a novice level, since there was no previous knowledge of this in the project group.In addition, a registration form has been developed that allows visitors to register at the booth. Making it easier for the company to connect with visitors after the conference or fair. The registration form is connected with the Raspberry Pi in the head of the robot via Wi-Fi. Thus, when new registrations occur, the robot can print the names of them while audio is played.

Film music has its roots in late-romantic concert music. A number of composers of so-called “serious music” also composed for the film. And some Golden Age film composers came from the concert-music realm and, once they started their association with Hollywood, continued to pen works for the concert stage too. Film music had to struggle for a long time against the prejudice that saw it as music not to be taken seriously; it was regarded as “neglected art”. Nevertheless, film-music concerts have experienced a blossoming in the recent years. There is a large variety, from programmes that only perform film music in concert halls without any additional element to large-scale events in multi-purpose halls where film music is accompanied by film clips or provides the live accompaniment to entire films. This chapter examines the role of John Williams’s film scores in this context. Are there any special features of Williams’s film music that make it particularly suitable to the concert hall? How does the performance practice of his film music differ in comparison to classical concerts? Are there any pieces that are played more frequently than others, and if so, why?

Finding something sacred in secular society is a relatively new field of religious studies. This thesis aims to find the secular sacred amongst Star Wars fans on the blogging platform Tumblr, in relation to Kim Knott and her theory of the secular sacred. I collected and studied 100 blog posts about Star Wars, specifically about one of its main characters, Rey. The research questions used were “How do fans of Star Wars and Rey express themselves on Tumblr?”, and “Could it be seen as sacred according to Kim Knott´s theory of secular sacred?” I analyzed the material with a hermeneutic approach, and using Kim Knott’s theory, I categorized the posts in to three categories: sacred, appreciative and sacrilegious. Even though the appreciative category was by far the largest, the results showed that a fifth of all the blog posts could be perceived as having content that could be seen as sacred to its poster. I came to the conclusion that my study supports the theory of sacredness not being exclusive to religious society, but can be found in the secular as well.

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In my thesis I focus on the problematics of the transmedia storytelling which can influence the original story, even if its main aim is to elaborate that story. Innterferencies can be done on the level of the very story or on the level of the theories,, which can be applicable on it. I'm using the example of Star Wars fictional world, to which theories of Vladimir Propp, Joseph Campbell, J.R.R. Tolkien can be applied, just as the concept of mythology created by Roland Barthes. I'm going to present how transmedia storytelling influences the original story, presented mainly by the film episodes and "G-canon", on the chosen examples of Star Wars transmedia. At the same time transmedia storytelling changes the meaning of the theoretical frames named above, which can be applied to the original story. My aim is to show that the impact of transmedia is much greater that it is usually presented.

A cultura da convergência abarca a questão tecnológica do fluxo de conteúdos, ocorrendo através de múltiplos suportes midiáticos e as questões de mudança de comportamento do público, que se apropria das redes digitais para buscar de diferentes experiências de entretenimento e de informação. Os sujeitos buscam um produto midiático que não se finde na sua própria exibição, mas sim proponha conteúdos que vão além de um único dispositivo de distribuição e necessitem do engajamento do público para que aconteçam efetivamente. Os fãs são personagens centrais da mudança na forma de operar da mídia de massa por serem pioneiros na adaptação às novas tecnologias de comunicação e informação e nos processos de produção e consumo participativos. A partir disso, esta pesquisa busca um olhar sobre as interações que fazem parte do comportamento dos fãs, tanto nas relações entre eles quanto com a indústria midiática. Para tanto, estudam-se os fãs de Star Wars, mais especificamente, os membros do Conselho Jedi do Rio Grande do Sul (CJRS), a fim de que através de um objeto empírico, consolidado e permanente se possa investigar o comportamento deste grupo no contexto de cultura da convergência, onde as interações entre eles e com o mercado de mídia são transformadas. / The convergence culture includes the technological issue of the content flow going through multiple media and the issues of changes in public behavior which appropriates itself of the digital networks seeking for different experiences of entertainment and information. The individuals look for a media product that doesn‟t finish itself in its own exhibition, but propose content that go beyond a single distribution device and require the engagement of the audience to actually happen. The fans are central characters in the change of mass media operating way because they are pioneers in adapting the new technologies of communication and information and in participatory processes of production and consumption. From this, this research seeks a look at the interactions that are part of the behavior of fans, both in relations between them and with the media industry. To this end, the Star Wars fans are studied, more specifically, the members of the Jedi Council of Rio Grande do Sul (CJRS), so that through a consolidated and permanent empirical object, it became possible to investigate the behavior of this group in the convergence culture context where the interactions between them and the media market are changed.

This paper unpacks the franchise system and the often-tumultuous relationship between Producers and Consumers, especially around the release of new films by the Producers. Star Wars represents far more than just a corporate product. There is a thriving ecosystem around pieces that have touched fans lives personally. The reaction of fans to new media texts in existing franchises is in constant flux. Tumultuous emotions of betrayal come in waves from fans immediately following the release of new content. Specifically focusing on reception to prequel films, Episode 1: The Phantom Menace (1999) and Solo: A Star Wars Story (2018), reveals how both generational differences and technology affect fan interaction and reaction across iterations of the franchise. Fans attempt to remediate the differences in cannon and their own interpretations of the franchise through fan creation. Fans have historically been early embracers of new technologies and have used increasingly available editing software and cameras to express their passion for the franchise. A digital world has created ever expanding platforms of interactivity in which Producers/Consumers can reach one another. The spaces in which these interactions occur have evolved from personal fan websites to social media sites. The amount of online information available to consumers, from reviews to fan content, has diminished the power of official franchise content. The release of Solo revealed a dangerous level of apathy from consumers. As opposed to the fervor surrounding powerful media texts at the time of The Phantom Menace, the diversified media landscape has undoubtedly affected Star Wars.

This thesis attempts to better understand how film reboots empower fans by offering unique insight as critiques of the original texts and by displacing hierarchies amongst audience, critic, and author. My hypothesis is that reboots, as an act of adaptation, allow audience members of the original franchise to become authors, in this case screenwriters. By extension these screenwriters become critics by highlighting, expanding, or even disregarding themes found in the original film series. This complicates the reboot beyond a simple capitalistic venture to make money and invites us to consider the way they position and displace interactants to better foster critical engagement with works of art, specifically films.

This thesis examines the nature and impact of the Reagan administration’s self-described projection of “peace through strength.” It argues that Reagan’s defense spending surge, “Star Wars” (SDI) missile shield policy, and 1983 invasion of Grenada gave the president confidence and political cover that allowed him to withdraw U.S. Marines from Beirut in early 1984. Analysts and commentators focus on his muscular power projection like defense spending, SDI, and the invasion of Grenada, but in practice Reagan exercised a high level of restraint in troop deployment. These projections of power and the avoidance of protracted war in Lebanon gave Reagan further confidence and cover to pursue arms control negotiations with the Soviet Union, against the protestations of anti-Soviet hardliners. Although Reagan supporters have credited the administration with either frightening or bankrupting the Soviets into disarmament, these policies—particularly his military restraint in Lebanon—did more to bring Reagan himself to the negotiation table. These power projection measures contributed to a “peace through strength” narrative embraced by much of Reagan’s domestic audience, allowing him to fend off accusations of Munich-style appeasement. While the defense spending surge helped give Reagan the confidence to ink an arms control agreement, the buildup created nonlinear consequences that will outlive arms control treaties.