The integration of artificial intelligence (AI) is reshaping the organizational and productive dynamics of the advertising industry, transforming creative processes, decision-making practices, and professional roles. Despite its growing implementation, empirical evidence on the factors associated with AI adoption among advertising professionals remains limited. This exploratory study analyzes the factors associated with AI tool adoption in the advertising sector through the Motivation–Opportunity–Ability (MOA) model, which enables an integrated examination of motivational, organizational, and competency-related dimensions associated with the use of this technology. A quantitative study was conducted using an online questionnaire administered to 122 advertising professionals, assessing motivational, organizational, and competency-related variables associated with AI use, as well as future adoption intentions. Data were analyzed using Mann–Whitney U tests and Pearson correlation analyses. The findings reveal a favorable attitude toward AI adoption, primarily driven by functional motivations related to productivity and work effectiveness. AI users report higher technological skills and perceive greater organizational support than non-users, while training deficiencies and unequal access to technological resources continue to operate as significant barriers. This study provides empirical evidence on the associations between motivational, organizational, and competency-related factors in AI adoption, highlighting the need to strengthen training and organizational support to foster ethical, sustainable AI integration within advertising.
This study examines the priorities of characterization in Persian audio descriptions of films for visually impaired audiences, focusing on a comparative analysis of adult and children’s films. By employing Rimmon-Kenan’s (2005) model of indirect characterization – action, speech, environment, and external appearance – and integrating Egri’s (1923) character bone structure, the research analyzes the portrayal of film protagonists across 14 audio-described films. A total of 1,915 protagonist-related audio descriptions were identified, from which 4,735 instances of characterization elements were extracted and analyzed: 2,623 from adult films and 2,112 from children’s films. The findings reveal a consistent prioritization pattern across both film groups, with the description of the environment ranked highest, followed by actions, external appearance, and speech. However, differences within these categories provide key insights into the distinct demands of audio descriptions for different audiences. Notably, in children’s films, external appearance is described prior to the start of the animation, as children’s cognitive development may require more explicit cues to grasp social and emotional elements. These findings highlight the critical importance of well-prioritized descriptions in enhancing accessibility for visually impaired audiences, allowing them to engage with films as fully as sighted viewers.
Cinema translates historical experience into collective memory through both film narratives and the preservation of cinematic objects. This study examines cultural translation between Hollywood and Yeşilçam through the Istanbul Cinema Museum and three film comparisons: Dracula and Drakula İstanbul’da; City Lights and Cafer Bey, İyi, Fakir ve Kibar; and The Adventures of Robin Hood and Vatan Kurtaran Aslan. Drawing on cultural translation, representation, and cultural memory, the analysis combines structured observations from three museum visits with comparative readings of narrative, characterization, setting, and symbolism. It distinguishes the museum’s institutional framing of cinematic heritage from the transformations identified within the films, without assuming a direct remake relationship in every pair. The comparisons identify localization through urban and religious imagery, the verbal expression of generosity in melodramatic comedy, and the historical framing of heroism. Museum displays provide a complementary perspective by situating the material traces of these productions within an account of national cinema. The article argues that cultural translation operates through both narrative reinterpretation and the recontextualization of popular cinema as heritage. It contributes to translation studies and film studies by explaining how transnational exchange can remain visible within national cinematic memory, while recognizing the limits of museum observation as evidence of adaptation pathways, audience reception, or state ideology.
This article examines the challenges inherent to audiovisual production in contexts involving victims of the armed conflict in Colombia. To this end, it focuses on audiovisual producers as social communicators—professionals capable of creating spaces and social practices that foster citizenship and, through communication, contribute to shaping a collective sense of meaning. Methodologically, drawing on an interpretive qualitative approach with thematic analysis, five discussion groups were implemented, and the discourse generated among the participants was analyzed. According to the participating filmmakers, the two main contributions focus on the audiovisual as a tool and process to promote 1) the recognition and dignification of the victim during the audiovisual co-creation process and 2) the externalization of emotions. A third relevant aspect lies in the commitment and ethical duty of the audiovisual production team towards the communities. These findings are discussed from the perspective of the responsibility that falls on the audiovisual production team during all phases of production so that they can act as a social agent capable of giving communication the necessary meaning to build citizenship.
Este artigo analisa o videoclipe Etnocídio (2023), de Brisa Flow com participação de Ian Wapichana, lançado durante o Acampamento Terra Livre, principal mobilização dos povos originários no Brasil. A obra é compreendida como mídia digital e expressão artística que denuncia a escalada da violência contra os povos originários e as ameaças representadas pela tese do Marco Temporal, em contraposição ao direito originário às terras ancestrais assegurado pela Constituição Federal de 1988. A partir de uma abordagem qualitativa, investigam-se as temáticas abordadas e os recursos narrativos, visuais e sonoros do videoclipe, analisando também entrevistas concedidas por Brisa Flow a jornais e revistas. Em seguida, analisa-se a recepção pública a partir dos comentários publicados no YouTube, utilizando o software IRaMuTeQ, para examinar o corpus textual que evidenciou relações semânticas e padrões de engajamento. Os resultados indicam que Etnocídio mobiliza estratégias estéticas e discursivas que tensionam narrativas hegemônicas, frequentemente associadas a estereótipos sobre o que é “ser indígena” no imaginário social brasileiro, configurando-se como arquivo visual de resistência e de ativismo da memória. A análise da recepção revela o reconhecimento do videoclipe como uma produção de caráter documental, voltada à denúncia e à valorização das lutas dos povos originários, embora os comentários apresentem menor aprofundamento das temáticas explicitamente desenvolvidas na canção. Esses resultados evidenciam a necessidade de ampliar o debate sobre o etnocídio no Brasil, articulando as produções de ativismo digital ao fortalecimento da representatividade dos povos originários em espaços de tomada de decisões políticas, reconhecendo a centralidade dessas pautas para a proteção do meio ambiente e do futuro do planeta.
