Detalhes bibliográficos
| Ano de defesa: |
2009 |
| Autor(a) principal: |
Ribaric, Marcelo Eduardo
 |
| Orientador(a): |
Carrascoza, João Luiz Anzanello |
| Banca de defesa: |
Hoff, Tania Marcia Cezar
,
Lyra, Maria Bernadete Cunha de |
| Tipo de documento: |
Dissertação
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Escola Superior de Propaganda e Marketing
|
| Programa de Pós-Graduação: |
Programa de Mestrado em Comunicação e Práticas de Consumo
|
| Departamento: |
ESPM::Pós-Graduação Stricto Sensu
|
| País: |
Brasil
|
| Palavras-chave em Português: |
|
| Palavras-chave em Inglês: |
|
| Área do conhecimento CNPq: |
|
| Link de acesso: |
http://tede2.espm.br/handle/tede/212
|
Resumo: |
The dialogue between cinema and audiovisual publicity dates back to the origins of cinema itself, when Thomas Edison produced the first known publicity film in 1897, a little over a year after the presentation of the Lumiére Brothers cinematograph. In addition to making use of cinematographic language, audiovisual publicity – due to its mimetic character – uses cinema intertextually by imitating it, citing it, saluting it, or parodying it. In contemporary society, audiovisual publicity has converted itself into a consumer object, the so-called advertainment – an entertainment product created as a vehicle for promoting specific advertisers. Starting with the eight-installment short film series titled “The Hire”, produced for German automaker BMW, this study aims to disclose the publicity discourse of advertainment, by listening for the unsaid in these movies, using French discourse analysis |
