995 resultados para publicidad audiovisual


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No estoy seguro que la importancia del sistema educativo aumente con el paso del tiempo por más que se nos diga a los profesores por parte de las autoridades de turno en ocasiones destacadas y con voz engolada aquello de que vuestra misión es muy importante porque en vuestras manos esta nuestro jóvenes el futuro y la sociedad, pero hay que cerrar los ojos para no ver el despegue fulgurante y la influencia creciente de los medios de comunicación social encabezado por la televisión, un miembro destacado de las nuevas familias, en las que el poder lo tiene quien maneja el mando a distancia, pero seguidos de cerca por la radio, con todos sus principales, la prensa que da carta de existencia a los hechos que recogen y ahora la tela araña que nos invade por internet de una importancia tal que se ha despajado del conjunto de medios.

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Radio advertising is suffering from a remarkable crisis of creativity as it has yet not found its role in a radio model based on voice locution and information genres. This article suggests the need for implementing a peripheral or heuristic strategy to attract and hold listeners’ attention. Within this framework, the narration and scene representation are proposed as suitable persuasion techniques. The objective is to design a useful conceptual tool for an efficient creative conception of narration at the service of certain commercial strategy. First, the concept of narrative persuasion is grounded according to the possibilities of the sound code. Second, the keys of scene representation and commercial strategy (brand, product, advantage, benefit and target) within the sound message are presented. And third, these keys are articulated in a model. This model is pre-tested by means of analyzing eight different case-radio ads.

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A study on Extremenian music and audiovisual production has been carried out through YouTube media. The purpose of this study is to analyze all audiovisual products and also assessing what broadcasting processes are conducted by creators to publicize their musical and audiovisual works. A quantitative and qualitative study of audiovisual materials of Extremadura bands was done to find out which processes are most suitable to increase the number of viewers for videos.

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En el artículo se analizan las posibilidades que tiene el crowfunding (CF) para financiar el audiovisual. Se explica el modelo de financiación del CF y se indican las distintas ventajas que reporta para el promotor este modelo de financiación alternativa. Además se exponen ampliamente las principales características del proceso de CF seguido para financiar el cortometraje Juan y la nube (que se alzó con el Goya al Mejor corto de animación en el año 2015). Se comentan también los principales motivos que llevan a los mecenas a financiar los proyectos

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Existen diferentes definiciones del concepto de masculinidad. Por un lado están las normativas, que la entienden como lo que los hombres deberían ser y, por otro, los enfoques semióticos, que la definen como no-feminidad. Partiendo de este último enfoque y teniendo en cuenta que la feminidad ha evolucionado en los últimos años junto con la sociedad desdibujando la frontera entre lo que forma parte del rol femenino y lo que no, se puede afirmar que han surgido a partir de los renovados modelos de feminidad, diferentes y nuevas masculinidades entre las que se encuentra la del hombre metrosexual. Es en este tipo de masculinidad en concreto en la que se centra la presente investigación y en cómo se construye la narración de dicha masculinidad en el discurso publicitario actual recurriendo a la figura mítica de Narciso. Así, a partir de una revisión bibliográfica y de un análisis de contenido, se pretende analizar la influencia de la publicidad en la aparición del hombre metrosexual como nueva masculinidad en respuesta a la transformación de la feminidad, a la par que confirmar la presencia de la figura de Narciso como recurso en la construcción de la masculinidad en la publicidad actual.

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The aim of this work is to show the type of media coverage done by the newspapers La Razón, El País and Público about the 15-M social movement during the time that the camping at Sol took place. Specifically, in terms of how the characterization of the “indignados” (outraged) got made. Based on our previous descriptive observations, we approached a visual analysis of the photographs published on the paper editions of those mainstream media from May 15-June 12 of the 2011. we started from a total sample of 379 items, developing:1) A content analysis of La Razón, El País, and Público; the most frequents words of each media, articles classifications from the reviews found on them (expositive, positive-evaluation, negative-evaluation).2) An analysis of the 408 images obtained from the total sample, which establishes a clear evolution of the “indignados” profile and how differently each media took the movement as such. That’s, when they stop naming them “indignados”, and recognize its nature as social movement by calling it: “Movimiento 15-M"...

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This article focuses on the reading of audiovisual productions of contemporary art as a creative process, seeking to analyse which effects of meaning the articulations between the visual and sound systems produce, and the meaning that children give to then. It describes a video art, identifying the languages that compose it and the relationships that link them. Such reading exercise had as corpus of analysis the Chair video art, by Masaru Ozaki, and counted with the theoretical and methodological support of the discourse semiotics, especially with studies on assembly procedures that articulate visual and auditory languages. Also, it presents a focal study with the meanings that a group of children gave to the video art. The findings indicate the importance of including the reading of audiovisual productions of contemporary art at school through the problematization of effects of meaning produced by the interrelation between different languages. And they suggest some subsidies that allow teachers from different areas of knowledge to reflect about the visuality in their pedagogical practice; the choice of the audiovisual materials taken to the classroom and other ways of seeing these texts edited.

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Existing referencing systems frequently prove inadequate for the citation of moving image and sound media such as vidcasts, streaming television, sound files, un-catalogued archive footage, amateur content hosted online or
non-broadcast radio recordings. Back in 2009 and 2010 a British working group funded by Higher Education Funding Council for England (HEFCE) and co-ordinated by the British Universities Film and Video Council investigated this problem. This report documents the early stages of the project.

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The use of visual cues during the processing of audiovisual (AV) speech is known to be less efficient in children and adults with language difficulties and difficulties are known to be more prevalent in children from low-income populations. In the present study, we followed an economically diverse group of thirty-seven infants longitudinally from 6–9 months to 14–16 months of age. We used eye-tracking to examine whether individual differences in visual attention during AV processing of speech in 6–9 month old infants, particularly when processing congruent and incongruent auditory and visual speech cues, might be indicative of their later language development. Twenty-two of these 6–9 month old infants also participated in an event-related potential (ERP) AV task within the same experimental session. Language development was then followed-up at the age of 14–16 months, using two measures of language development, the Preschool Language Scale and the Oxford Communicative Development Inventory. The results show that those infants who were less efficient in auditory speech processing at the age of 6–9 months had lower receptive language scores at 14–16 months. A correlational analysis revealed that the pattern of face scanning and ERP responses to audiovisually incongruent stimuli at 6–9 months were both significantly associated with language development at 14–16 months. These findings add to the understanding of individual differences in neural signatures of AV processing and associated looking behavior in infants.

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Research on audiovisual speech integration has reported high levels of individual variability, especially among young infants. In the present study we tested the hypothesis that this variability results from individual differences in the maturation of audiovisual speech processing during infancy. A developmental shift in selective attention to audiovisual speech has been demonstrated between 6 and 9 months with an increase in the time spent looking to articulating mouths as compared to eyes (Lewkowicz & Hansen-Tift. (2012) Proc. Natl Acad. Sci. USA, 109, 1431–1436; Tomalski et al. (2012) Eur. J. Dev. Psychol., 1–14). In the present study we tested whether these changes in behavioural maturational level are associated with differences in brain responses to audiovisual speech across this age range. We measured high-density event-related potentials (ERPs) in response to videos of audiovisually matching and mismatched syllables /ba/ and /ga/, and subsequently examined visual scanning of the same stimuli with eye-tracking. There were no clear age-specific changes in ERPs, but the amplitude of audiovisual mismatch response (AVMMR) to the combination of visual /ba/ and auditory /ga/ was strongly negatively associated with looking time to the mouth in the same condition. These results have significant implications for our understanding of individual differences in neural signatures of audiovisual speech processing in infants, suggesting that they are not strictly related to chronological age but instead associated with the maturation of looking behaviour, and develop at individual rates in the second half of the first year of life.

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The daily access to news broadcast is something that, generally speaking, we do not abstain ourselves from, whether it is to be aware of what is going on in our country or to be informed about international events. But are we attentive to how the information about those events, namely those that occur outside Portugal, reaches us? How is that information handled – and who handles it – until we have it at our disposal? Is the audience aware that a large part of the news must be translated and must have a linguistic treatment? And how can we describe that same translation and the way it is presented? This case study is just an example of translation‘s role and its crucial presence on TV news broadcast, considering the way translation is processed, how it is barely noticed – or not –, how it influences the construction of the story and how the story influences the translation process. This case study was presented at the 2nd International Conference ―Media for All‖, with the theme ―Text on Air, Text on Screen‖, which took place at the Polytechnic Institute of Leiria, on 7-9 November 2007. O acesso diário a serviços informativos noticiosos é algo de que, de um modo geral, não nos privamos, seja para ficar a par do que se passa no nosso país, seja para ficarmos mais informados sobre eventos e acontecimentos internacionais. Mas teremos noção de como essas informações sobre esses acontecimentos, nomeadamente os que têm lugar fora de Portugal, chegam até nós? Qual será o tratamento dado a essas informações – e quem trata essas informações – até serem colocadas à nossa disposição? Será que o público, de um modo geral, se apercebe que grande parte das notícias é alvo de tratamento tradutológico e linguístico? E como se caracterizará essa tradução e a forma de apresentação da mesma? O presente estudo de caso é apenas um exemplo do papel e da presença fulcral da tradução em serviços noticiosos televisivos, seja pela forma como é feita, pelo modo como passa despercebida (ou não), pela influência que terá na construção da peça noticiosa e pela influência que a peça noticiosa terá no modo como se processa a tradução. Este estudo de caso foi apresentado na 2ª Conferência Internacional ―Media for All‖, subordinada ao tema ―Text on Air, Text on Screen‖, que teve lugar no Instituto Politécnico de Leiria de 7 a 9 de Novembro de 2007.

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Dissertação apresentada à Escola Superior de Comunicação Social como parte dos requisitos para obtenção de grau de mestre em Audiovisual e Multimédia.

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Relatório de estágio apresentado à Escola Superior de Comunicação Social como parte dos requisitos para obtenção de grau de mestre em Audiovisual e Multimédia.