Esse trabalho traz questões estéticas da dança e da linguagem cinematográfica focalizando os registros audiovisuais de um espetáculo. O desenvolvimento da relação entre essas duas formas de arte vão desde os registros iniciados por Edson até as modernas videodanças ou videoclipes. Kontakthof, coreografado e dirigido por Pina Bausch e dançado por três elencos de idades e formações diferenciadas e registrados de formas muito distintas em cinco filmes, é usado para se discutir a importância dos registros audiovisuais enquanto memória, explorando aproximações e distinções entre o documentário e a documentação num cenário em que cinema e dança geram conhecimento do presente e do passado. Por fim, esta pesquisa destaca uma mesma cena dessa coreografia, encontrada nos filmes Pina de Wim Wenders e Un jour Pina m`a demande de Chantal Akerman e no registro da peça integral, analisando-a a partir dos diferentes olhares e estratégias. Conclui-se, então, que o registro, com sua aparente aspiração de objetividade, abre espaço para a explicitação da subjetividade tal qual os outros filmes, resgatando essa forma de audiovisual do exílio ao qual, normalmente, é encerrado nas discussões sobre o universo cinematográfico / This thesis aims to offer reflections about the relationships between dance and cinema focusing on the audiovisual records of the Kontakthof choreography, conceived and directed by Pina Bausch. The Kontakthof piece is danced by three casts varying in age and dance background and it was registered by five filmmakers who used very distinct cinematographical principles. It discusses the importance of records and movies as memory and simultaneously explores the meta questions of how art, cinema and dance generate knowledge about the present and the past. This is accomplished by focusing on one scene that appears in \"Pina\" from Win Wenders, \"One Day Pina Has Asked Me\" from Chantal Ackerman and in the documentation itself of the whole Kontaktof piece This scene is then analyzed bringing forth the three different perspectives that generated them. This thesis points out that the registry itself, with its outward intention of being a vessel for memory, becomes an attentive, receptive space, wherein its subjectivity can be ultimately revealed. This inquiry, in turn, allows this form of registry to be rescued from the cinematographical exile that it had been condemned in the past.

The term transmedia storytelling describes an interactive narrative that exists in multiple platforms. This phenomenon allows active audience participation as a part of the narrative creation process. Part of the prior research on transmedia focuses on how to create a transmedia narrative. However there is a dearth of literature examining the merit that transmedia narratives create in Marketing. In order to answer the research question “How can transmedia storytelling be used to create value in marketing?” we conducted a multiple case study research in which we examined four marketing campaigns to reveal the transmedia elements in them. Using the approach of qualitative content analysis we applied a structured method according which we collected and ­­analysed the data from these campaigns. Our findings suggest that creating audience participation through transmedia storytelling in marketing campaigns for movies, products and services can be beneficial. By using different media, platforms and stimulating user participation, concepts such as brand extension and brand awareness are introduced to the audience with an alternative way. The aim of this thesis is to illustrate several ways of how transmedia can be a valuable asset to a marketing campaign through storytelling.

The master’s thesis addresses the transmedia education strategies applied in the CO2 degrees challenge, a project by the Global Carbon Capture and Storage Institute (GCCSI), dedicated to educating students about the low-carbon technology carbon capture and storage (CCS). Based on the literature review, the thesis theoretically discusses the public perception of low-carbon technology and carbon capture and storage in connection to transmedia storytelling and education. The thesis is structured upon a qualitative approach and conducts a detailed study of a selected single case. In addition, expert interviews are used to support the in-depth analysis of the case study with the use of the transmedia design analytical and operational model by Gambarato et al. (2020). The analysis provides insights into how this technical process was presented to the educators and students and identifies challenges and opportunities of the transmedia education project in the realm of low-carbon technologies. The results of the study show that the CO2 degrees challenge offered a significant contribution to the knowledge dissemination about the CCS technology among students, helped them to understand current problems, and to discuss real-time solutions. The results also point to the challenge of communicating a scientific and engineering topic with the audience outside of the technological and engineering industry, the complicated structure of the project, and difficulties connected with possible financial interests of the private companies supporting and funding the educational material and the project itself.

Alors qu’ils ne sont seulement que 45% à pratiquer 2 heures de sport par semaine, 90% des français consomment 1 à 2 heures d’images à contenu sportif par jour. Le sportif de haut niveau reste la figure qui unifie ces deux rapports au sport dans nos sociétés contemporaines par sa présence ou ses avatars. Notre hypothèse est que, dans ce contexte, la peau du sportif de haut niveau en dit long sur nos environnements naturels, culturels et corporels. Elle serait même annonciatrice d’autres manières d’habiter son corps et d’habiter le monde, bref d’une écologie corporelle dont il convient de dresser les contours. Le système tégumentaire des athlètes est le plus souvent appréhendé selon des principes de résilience. Le sportif de haut niveau semble avoir une peau exceptionnelle, résistante aux chocs, aux coups, aux agressions des milieux naturels et sociaux. Elle est également la griffe retenue du paraître arborant de multiples corps étrangers à vertus ornementatives (piercing, tatouages, implants…). Elle est l’objet de toutes les attentions : quête d’éternelle jeunesse, de sensations inédites, d’impressions fortes, signe de triche ou de souffrance, révélatrice d’une appartenance identitaire.Mais c’est oublier aussi qu’il s’agit d’un écosystème en soi. Les théories du paraître et du frisson prennent en compte cette idée selon laquelle la peau du sportif de haut niveau serait biologiquement et culturellement singulière, énonciatrice d’un nouveau style de vie ou d’une mutation. Nous proposons d’analyser ce phénomène en croisant plusieurs corpus :- Enquête bibliométrique sur la peau des sportifs de haut niveau- Biographies écrites et documentaires de sportifs de haut niveau- 76 questionnaires-entretiens avec des sportifs de haut niveau- 200 spots publicitaires- Sondages et enquêtes de notoriété / French people are 45% to practice 2 hours of sport by week, until they are 90% to consume sport’s images. The high level athlete unified those two ways of sports being. Our hypothesis is that athlete’s skin tells a lot about our environments and embodiments. Skin symbolize ways of dwelling the world, a body ecology witch this thesis try to understand. Athlete skin is a resilience process that confers to them their exceptional properties. Skin athletes is also an embodiment support for the sport marketing and the transmedia who appropriates skins biological and psychological functions.It’s also a forgotten ecosystem revealing by postmodern paradigm founded on shiver and aesthetics theories. To analyze those mutation we have worked on several data:- Bibliometric enquiry on high level athlete skins- Biography and documentary on sports champions- 76 record from high level athletes- 200 publicities- Global data on celebrities of sport

Este proyecto tiene como objetivo explorar el uso de la narrativa como una herramienta fundamental que fortalece la experiencia interactiva en la nueva era digital. A través de la investigación en varias obras audiovisuales, será posible ejemplificar cómo ha evolucionado el proceso mencionado. También será posible mostrar cómo los modelos de diferentes géneros audiovisuales se han simplificado en conexión con la interactividad. Finalmente, con la información recopilada, se puede desglosar las diferencias marcadas en algunos ejemplos de estos proyectos y por lo mismo recoger información importante que permita comparar cómo el videojuego ha prestado ciertos elementos a otros formatos audiovisuales de los últimos 19 años. Para la realización de este proyecto, será necesario obtener resultados mediante un análisis cualitativo de personas que disfrutan de la experiencia otorgada en Bandersnatch. / This project aims to explore the use of narrative as a fundamental tool that strengthens the interactive experience in the new digital era. Through the investigation in several audiovisual works, it will be possible to exemplify how the mentioned process has evolved. It will also be possible to show how the models of different audiovisual genres have been simplified in their connection with interactivity. Finally, with the information collected, you can break down the differences marked in some examples of these projects and therefore collect important information that allows you to compare how the video game has lent certain elements to other audiovisual formats of the last 19 years. In order to carry out this project, it will be necessary to obtain results through a qualitative analysis of people who enjoy the experience granted in Bandersnatch. / Trabajo de investigación

Syfte – Syftet med denna uppsats är att undersöka fenomenet transmedialt berättande som marknadsföringsverktyg och hur Generation Z ställer sig till marknadsföring som kommunicerar information genom flera mediekanaler i olika format. Ur ett historiskt perspektiv används transmedialt berättande inom n jesbranschen och definieras som en interaktiv berättelse som finns på flera plattformar i olika format. Från fiktiva berättelser används fenomenet både som ett världsskapande berättande till ett användbart verktyg inom marknadsföring. För denna uppsats definieras Generation Z som personer födda mellan år 1995 och 2008. Metod – Uppsatsens unders kningsmetod är tillämpad utifrån en metodtriangulering som inkluderar en kombination av en kvantitativ metod i form av en enkät, en kvalitativ metod i form av semistrukturerade intervjuer samt en litteraturs kning. Resultat och slutsats – Resultatet från enkätundersökningen visade att Generation Z  är negativt inställda till att delta i en kampanj som stäcker sig över flera medier i olika format. Detta är baserat på respondenternas medievanor som visade lågt engagemang. Resultatet från intervjuundersökningen visades ytterligare fynd som menar på att geografisk plats kan vara en bidragande faktor till målgruppens låga engagemang. Empirin från undersökningen menade även på att respondenterna och intervjuobjekten behöver ha ett personligt intresse för en produkt, tjänst, företag eller kampanj för att vilja delta eller engagera sig.  Det mest signifikanta resultatet var sociala medier som visade sig vara det mest använda mediet vilket stärker tidigare forskning. De mest använda sociala medieplattformarna var Snapchat, YouTube och TikTok. Formaten som den undersökta målgruppen ställde sig mest negativt till var marknadsföring via traditionella mediekanaler, däribland TV och tryckt material. Format som målgruppen var positivt inställda till var marknadsföring ä r via influencers samt korta reklamvideor. Resultatet visade således att det är svårt att engagera Generation Z genom platsspecifikt berättande, det vill säga att närvara fysiskt där kampanjen äger rum. Däremot visade undersökningen mottaglighet för genomarbetat samt unikt innehåll, gärna igenkänningsfaktorer såsom musik. / Purpose – This paper aims to examine the phenomenon transmedia storytelling as a marketing tool and how Generation Z responds to marketing that communicate information through several media channels in different formats. From a historical perspective, transmedia storytelling has mainly been used in the entertainment industry and is described as an interactive narrative that exists on multiple platforms in different formats. From fictional stories, the phenomenon is used both as a world-creating narrative and as a useful tool for marketing campaigns. For this paper, Generation Z is defined as people who are born between the years 1995 and 2008. Methodology – The thesis has been using the approach of a method triangulation that includes a combination of a quantitative method by a survey, a qualitative method by semi-structured interviews, and a literature search. Findings and conclusion – The findings from the quantitative survey showed that the demographic cohort Generation Z has a negative attitude about marketing in several media in different formats. This is based on the target group's media habits that showed low commitment. The results from the interviews showed further findings that suggest that geographical location may be a contributing factor to the target group's low commitment. Through the qualitative interviews, further findings were shown that the respondents and the interviewees need to have a personal interest in a product, service, company, or campaign in order to want to participate or get involved with it. The most significant result was social media, that showed to be the most used medium, which strengthens previous research. The most used social media platforms were Snapchat, YouTube, and TikTok. The format that the target group showed the least engagement was marketing through traditional media channels, including television and printed material. Additional receptive formats for marketing are through influencers and short commercials. Also, the result suggested that it is difficult to engage Generation Z using site-specific storytelling, i.e., to be physically present where the campaign takes place. On the other hand, the thesis showed receptivity to elaborate and unique content, preferably recognition factors such as music.

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[pt] As séries de ficção estão entre as principais fontes de entretenimento nos últimos anos, fazendo parte do dia a dia e dos diálogos travados por um grande número de pessoas. O aumento de opções de plataformas para o consumo deste tipo de conteúdo e a tecnologia de video on demand (VOD) foram alguns dos principais fatores que permitiram a oferta de mais títulos de séries simultaneamente, com a possibilidade de acessá-los em um banco de dados, inclusive de alcance mais global. O estudo da ficção seriada é um campo de aumento de interesse acadêmico, mas ainda aquém em pesquisa, perante a relevância do tema, até para um melhor desenvolvimento do mercado brasileiro. O foco deste trabalho está no estudo da ficção seriada que entrelaça diferentes pontos de vista. As narrativas que apresentam múltiplas perspectivas chamam atenção para a relatividade da verdade e para o fato de que a realidade é construída. Serão analisadas séries de ficção que trabalham nessa lógica de perspectivas múltiplas, seja em um mesmo episódio, como a série norte-americana The Affair; seja na mistura entre episódios e temporadas, como em Thirteen Reasons Why; ou a partir da serialização por diferentes plataformas, como a websérie transmídia The Lizzie Bennet Diaries; ou a série norueguesa Skam, que além de ser transmídia muda de protagonista, entre os alunos de uma mesma escola, a cada temporada. / [en] Fictional series are among the main entertainment activities in recent years, being part of the daily life and social debate of a number of people. The increase in platform offer for the consumption of this type of content and the video on demand technology (VOD) were some of the main factors that allowed the offer of more serial titles simultaneously, with the possibility of accessing them in a databank, including a higher global reach. The study of serial fiction is gaining academic interest, but it is still small given the relevance of the theme, even for a better development of the national market. The focus of this work is the study of serial fiction that combines different points of view. Narratives that present multiple perspectives call attention to the relativity of truth and the fact that reality is created. Fictional series that operate on this logic of multiple perspectives will be analyzed, whether in the same episode, such as the North American series The Affair; or in a mix of episodes and seasons, as in Thirteen Reasons Why; or from serialization in different platforms, such as the transmedia web series The Lizzie Bennet Diaries; or the Norwegian series Skam, that besides being transmedia, changes each season its protagonist, among students of the same school.

Scholars are paying a great deal of attention to the complexity of the stories being created for print, film, television, and the Web. In this essay, we expand on the concept of polymediated narrative complexity in contemporary storyworlds to explore how external discourses influence their legacies and interpretations. Our exploration of the relationship between complex narratives and the discourses in which they participate focuses on one television genre and starts with one television program: Kolchak: The Night Stalker. We argue that Kolchak remains an important and ever-evolving discursive fragment within the supernatural drama genre.

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