Brand awareness and established corporate reputation are argued as the expected outcomes of social media recruitment initiative. In discussing recruitment initiatives, many companies have begun to harness the power of social media to drive leads of new talents and employees recruiting strategy while strengthening. In this regard, they confirm the need for a more nuanced treatment of paratextuality explicated within the theoretical framework.Īdvances in digital technology have contributed to the shift of companies’ marketing strategy in regards to realtime engagement with customers to support brand-to-customers and attracting future employees. The findings uncover the ambiguous status of a video game trailer as both a paratextual element and a noteworthy text in its own right.
In the empirical part of the thesis, I focus on video game trailers and analyze both their formal qualities as well as their audience reception. Its more practical dimensions then acknowledge the cultural specificities of the video game cultural industry. Due to its unsatisfactory state, I propose an updated paratextual framework, which builds on the theoretical foundations of textual transcendence. In the thesis, I present a thorough critical review of the current state of paratextual research. Figuratively described as a threshold, the concept of paratextuality deals with often overlooked elements of media ecosystems, such as promotional materials or instruction manuals.
Still, paratextuality has the potential to provide a unique insight into cultural practices across various cultural industries, including video games. However, the recent appropriations of the paratextual framework significantly deviate from its original conceptualization and cause terminological confusion. This concept coined in 1982 by Gérard Genette in the context of literary publishing has been throughout the last thirty-five years adopted by other fields, including television and film studies, and game studies. The thesis explores paratextuality in the video game culture. A pesquisa evidenciou que o uso das intermídias aliado à perspectiva dos multiletramentos favorece a aproximação entre ensino e realidade social, o que configura uma aprendizagem significativa, tendo em vista que os jovens consomem e produzem conteúdos midiáticos rotineiramente e que a escola, portanto, deve aliar-se a essas práticas midiáticas a fim de favorecer a formação integral de agentes do conhecimento. Para tanto, alguns enquadramentos foram investigados com base em pressupostos teóricos vinculados à intermidialidade, aos multiletramentos e à autoria, com subsídio, especialmente, em Clüver (2006), Rojo (2012), Kucer (2015) e Orlandi (2015). A partir da produção audiovisual, a pesquisa procurou analisar o uso da intermidialidade como potencializadora da autoria discente no ensino e aprendizagem de Literatura. Resumo: Neste artigo analisam-se recortes de book trailers baseados na obra O auto da barca do inferno, de Gil Vicente, e produzidos por estudantes do primeiro ano de um Curso Técnico Integrado ao Ensino Médio, do Instituto Federal do Rio Grande do Sul. It can be argued, while book trailers have not yet reached the realm of the everyday, they will gradually come to the attention of academics and this article wants to present a starting point for this development. Depending on the viral potential of social networks such as YouTube, Facebook, and Tumblr book trailers reach a global audience and, therefore, open up new markets. Additionally, book trailers are not limited to the promotion of one specific genre or age group.
A book trailer may be simple, supported only by music and pictures, but they may also be as complex as short films. Although guidelines apply for the production of book trailers, such as constraints relating to time and content, there are no limitations for the imagination of the producers. The article examines specific examples and highlights methods that establish the relationship between the content of the book and its representation in the book trailer. Since then the appearance of the book trailer has changed considerably. In 2002 the book trailer emerged as a new web-based marketing strategy for the launch of new books. The solution is almost ironic: popular media, which is assumed to decrease readership, is turned into a tool to increase the number of readers. However, in a globalized world which is more and more ruled by mass media and technology, it is increasingly difficult for writers and publishers to promote their books. Despite the introduction of audiobooks and e-books, printed stories still are in high demand.
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