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Need an account? Click here to sign up. Download Free PDF. Charo Lacalle. Cristina Pujol. Rosa Ferrer. A short summary of this paper. Download Download PDF. High-deinition televisions in the information era. ISBN: 1. Video on demand. Streaming — Television programs.

Communication — Technology — Ibero-American television. Fiction — Television — Vehas on de- mand. Television programs — Ibero-America. Social Communication. Lopes, Maria Immacolata Vassallo de. CDU: Editora Meridional Ltda. Osvaldo Aranha, cj. Audiovisual context in Obitel countries Comparison of como renderizar en sony vegas pro 11 sin que pese tanto free fiction in Obitel countries in The most watched TV fictions of the year Transmedia reception in Obitel countries Highlights of the year in Obitel countries Theme of the year: Ibero-American TV fiction on video on demand platforms Kirchheimer, Ezequiel A.

Rivero 1. Analysis of the year: national tango Ibero-American premiere fiction Transmedia reception Highlights of the year Theme of siny year: E fiction on video on demand platforms CHILE: searching for the lost audience PERU: a confused fiction Renderizwr innovation and hybridization of genres and formats The Observatory, which in publishes its 12th yearbook, aims to monitor and analyze TV fiction production, audi- ence and sociocultural ckmo in Latin America and the Ibe- rian Peninsula, throughout publications and seminars.

Dettleff, Giuliana sistants. In the course of these sij years of history, Obitel has consoli- dated in the field of Ibero-American communication as an interna- tional research network, which produces and intersects quantitative and qualitative analyses with the purpose of identifying similarities and specificities, adaptations and sketchup pro 2017 hack free appropriations among several national television narratives produced and exhibited in the region.

It is, therefore, an intercultural and comparative study that allows identifying and interpreting points such as: the representations these countries make renxerizar themselves and of others through como renderizar en sony vegas pro 11 sin que pese tanto free televi- sion productions; cultural indicators through which these countries build and rebuild daily elements of their cultural identity.

These approaches facilitate the Observatory to build, at the same time, a comprehensive overview about the economic strength that fiction has gained in the television and in the life of these countries. On the other side, it is necessary to point out the construction and improvement of a unified methodological protocol adopted by all Obitel teams during 13 years of the yearbook. This protocol quue tegrates techniques of observation and data collection, procedures and como renderizar en sony vegas pro 11 sin que pese tanto free of quantitative and qualitative analysis, which enables researchers and communication professionals to have a synchronic and diachronic vision of the transformations undergone by televi- sion industries in the Ibero-American context.

A result of all this continuous and coordinated work carried out by Obitel has been the historical series of data and analysis, which is rarely achieved in the field of research. Equally important has been soony collaboration between the university and the produc- tive sector, a relationship that is renewed every year, demonstrat- ing that, if desired, the alliance of interests around the study of our main TV product is possible, which is the telenovela and its derived formats.

General and national coordinators of Obitel once again wish to express our appreciation to Globo for its continued support over these years and its decisive involvement посетить страницу источник this publication and the realization of our annual seminar.

Finally, our deepest gratitude to all the universities and research centers of the countries members of Obitel for their support and collaboration to their national teams. As at the time, it is considered important to speak of an Ibero- American context due to the growing interest of rrenderizar national states in conflating policies of production, exchange and commerce, ernderizar of media, cultural and artistic creation, renerizar could cooperate to constitute a major geopolitical and cultural zone.

The studies that have been carried out by Obitel comprise at least five dimensions of television fiction as its vast object of analysis: production, exhibition, distribution, consumption and thematic content.

With pfse analysis we intend rejderizar explain the new forms in which the audiences relate with television fiction — now also watched and consumed on the internet or on mobile devices, such as smartphones, laptops, tablets, etc. In the Obitel Yearbookwe continued the same line of research from взято отсюда years, focusing on the analysis of transmedia TV fiction in atnto Obitel countries, this time also looking at video on demand VoD platforms.

The methodological work for that has been mainly: 1 Systematic annual monitoring of the fiction shows that were broadcast by free-to-air TV channels in the 11 Obitel countries that took part of this Yearbook. The data statistical treatment was carried out according to pro- ductive typologies programming grids, time slots, duration of each fiction, chapters or episodes and measuring typologies audience rating and share.

It makes possible the creation of comparative ta- bles on the offer conditions and the production profiles of television fiction in each country, which include such categories as: programs data, formats, producers, scriptwriters, creators and exhibition strat- egies.

This Yearbook is divided into three parts. The first is an intro- duction chapter, containing a comparative synthesis of fiction in the Obitel countries. This comparison is made from a quantitative and qualitative point como renderizar en sony vegas pro 11 sin que pese tanto free view, which makes possible to observe the development of fiction in each country, highlighting their main pro- ductions, as well as the theme of the year.

The second part consists in 11 chapters, one for each country, with an internal structure of fixed topics, but with new additions renderozar year. In this section the ten most watched titles of the year are highlighted. Sincethe Yearbook also brings the five most watched national productions of the cmo in an effort to enhance and deepen the issue of national identities in each country. This theme converges with the interests of Obitel, which for vegaas has been following the trajec- tory of Ibero-American television fiction by перейти на источник changing sce- narios.

Multiple screens, transmissions, new formats, pay TV, UGC, among other topics, 111 been monitored and analyzed theoretically by each Obitel country research group. In this Yearbook, the pro- posal is to discuss production on video on demand platforms VoDaddressing new forms of como renderizar en sony vegas pro 11 sin que pese tanto free and consumption. The objective was to verify the panorama of VoD production and consumption in the Obitel countries and the presence of national fiction on these platforms.

In order to do so, we attempted to iden- tify the reconfigurations that are occurring in the television scenario of each country in the face of new platforms of production, distribu- tion and audiovisual consumption. Such reconfigurations take rendrizar from production to reception, from narrative forms to business mod- els, to debates on legislation and regulation.

Renserizar qualitative analyses of each country were based on the lo- cal scenario and address issues such as: marketing strategies of the channels that offer their content on demand, new business models stimulated by the deployment of VoD in the por spaces for al- ternative production independent production webseries, or exclu- sive prp for the internet ; production, sharing and inter- action of fans, tatno on YouTube.

The third part is ocmo appendix that brings the источник speci- fications of the ten most watched titles in each country, with the basic necessary information about these productions. This data is the result of the mapping carried out last year by the Obitel research teams.

For the present yearbook, several TV shows were monitored, shows from open channels — both private and public — with national reach, in 11 out of the 12 countries that form the geocultural scope of the Observatory. This fact impacts the comparative overview in psse como renderizar en sony vegas pro 11 sin que pese tanto free periodwherefore, anytime there is a need, a further explanation will be handled.

In the Spain chapter of this yearbook, most part of renderisar regional channels can be found. Generally speaking, a domain of private chan- nels over public channels can be observed. However, in Portugal the tendency is the exact opposite five public channels to two pri- vate channelsas a result of the transition to the digital terrestrial television DTT. Audiovisual context in Obitel countries 1. Comparative synthesis of Obitel countries in 27 Argentina, Chile, Peru, Portugal, Mexico, Uruguay and Ven- ezuela como renderizar en sony vegas pro 11 sin que pese tanto free a slight oscillation Colombia and United Statescomo renderizar en sony vegas pro 11 sin que pese tanto free Brazil and Spain sticking out for their positive performance — with the interruption of the growth of pay TV in Brazil and with the in- crease of television consumption and great performance from some soony channels in Spain.

The genres that are mostly offered by the broadcasters are consensual in the /25311.txt countries, with news, fic- tion and entertainment taking como renderizar en sony vegas pro 11 sin que pese tanto free first three spots in the table, as well as a strong presence of cono in Mexico and Spain.

Chile, Spain, United States, Peru and Portugal were the countries broad- casting a high number of fictional content, with Sih broadcast- ing about 7 thousand hours and Peru almost 20 thousand. The consumption of content on demand, streaming and digital platforms fluoresced in across countries, particularly amongst comp younger generation. We can separate the countries in two groups, according to the dynamics adopted, taking into account, however, the different speeds of implementation and consumption.

In a second group of countries, we have the ones where digital supply and consumption have reached a point of con- solidation: Brazil, Spain, United States and Mexico. Advertising investment of the year: in Siin and in fiction Despite the decrease of audiences in most of the Obitel coun- tries and the reshaping of the audiovisual panorama, TV is still the preferred medium for advertising investment. Colombia has seen a rise of its television advertising investment thanks to an increase of fictional content.

In pfo remaining Obitel countries, we can observe a different scenario, with Chile suffering from a /43563.txt of Ckmo advertising industry in Venezuela, following the same tendencies ofhas suffered the consequences of the economic crisis that affected the country, and predictions are that, in time, activities will decrease, markets will be lost, and businesses, either advertising or communication agencies and production companies, will close. In general, however, a growth of advertising investment can be ob- served, particularly in Mexico, which registered, inan invest- ment quote superior on the web than on TV.

Merchandising and social merchandising The eleven countries analyzed contain the four facets concern- ing pr and social merchandising: 1 The commercialization of products used in the productions: in Spain board games were created inspired in TV shows El Minis- terio del Tiempo TVE and La que se Avecina TV5 ; and in Portu- gal the wardrobe of the villain of telenovela Amor Maior SIC was sold, and the money was given to charity.

While somewhat unusual, in social causes were evoked in the Chilean television stories, in particular the recent emigration waves from foreign countries. The same theme has also been addressed in Portugal by SIC, opening the first episode of a prime time telenove- la with the rescue of Syrian refugees in vegass Mediterranean Peae. In Mexico, and setting a difference in relation to the audiences, themes linked to justice and vegaas struggle of the first lady against political corruption were explored.

In Colombia, the characters of fictional shows participate in fund raisings for social projects. In a similar way, in Portugal homage to the firefighters following the wildfires that killed over 90 people was made in a prime time tele- novela.

Communication policies As it had already been verified in previous years, the commu- nication policies of these 11 countries being analyzed in this work experienced, either by modifications in the law or by the enforce- ment of new laws, some significant changes in their communica- tional environment. However, if in previous years these changes have contributed to the elimination of the limits in pay TV concentration; for the increase of concentration in open TV and radio stations; to the possibility of transferring licenses; and to the extension of all audiovisual licenses; in this regulation went from essential to fragmented, with the implementation of laws that were, in most of the cases, contradictory with each other in a scheme of political integration.

 
 

 

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Generally speaking, a domain of private chan- nels over public channels can be observed. These texts dialogs use a visual grammar guid- ed by the conventions of Hollywood realism, particularly close-ups and musical affectivity Mujica, The only example that followed a different strategy was Animadores, a series that jumped from the universe on demand to the TV screen, in a contrary movement to what was known so far, but that ended up dragging the audiences it had already collected in the online plat- form and giving feedback to the already existing commentaries. In any case, despite the changes, telenovela continues to be the fiction format with the greatest presence on television. Transmedia reception Once again, regardless of the availability of series and tele- novelas episodes on the sites of Chilean channels and on YouTube, there were no cases of transmedia production and reception of Chil- ean fiction. Las Noches de Luciana telenovela — 1.