INDEX

INTRODUCTION..............................................................................................................2
1. RESEARCH PROBLEM...............................................................................................2
1.1 Approach and formulation of the problem........................................................3
1.2 Formulation of research questions.....................................................................3
1.3 Goals..................................................................................................................... 4
1.3.1 General objective.................................................................................................4
1.3.2 Specific objectives...............................................................................................4
1.4 Rationale of the study..........................................................................................5
1.5 Limitations of the study........................................................................................... 5
2. FRAME OF REFERENCE...........................................................................................6
2.1. Research background..............................................................................................6
2.2 Conceptual framework.......................................................................................... 16
2.3 Hypotheses.............................................................................................................. 20
2.3.1. Justification of the hypothesis...........................................................................20
2.3.2. Hypothesis formulation....................................................................................21
2.3.3. Variable system................................................................................................22
3. METHODOLOGICAL FRAMEWORK....................................................................24
3.1. Scope of the investigation......................................................................................25
3.2. Research design..................................................................................................... 25
3.3 Population and sample...........................................................................................25
3.4. Technique and instrument for collecting information........................................26
3.5. Data processing and analysis technique................................................................27
4. FINDINGS.................................................................................................................... 27
4.1 Presentation and description of findings..............................................................27
4.2 Final reflections...................................................................................................... 29
5. LIST OF REFERENCES.............................................................................................31
6. ANNEXES.....................................................................................................................35
 INTRODUCTION

Currently the film industry has a turnover of millions of dollars, only in the Peruvian
market can we see an increasingly consolidated structure with a growing projection. It has
been predicted that “the sector would grow 32.6% by 2022, with revenues of US$ 244
million, according to the Global Entertainment & Media Outlook 2018-2022 study,
prepared by PwC” (Gestión, 2018).

However, originality and appreciation for art cinema has been lost, as the number of sales
tends to be prioritized over artistic quality. Therefore, we seek to determine if commercial
cinema influences the cinematographic quality preferred by undergraduate students at the
UPC of Monterrico, in order to appreciate if both variables are effectively related and
identify the magnitude of this influence.

It is worth mentioning that our group found it necessary to investigate this problem,
because it is such an everyday issue, but at the same time very important, since it is usually
discussed in the conversations of young people today when discussing the film of the
moment, a new movie or simply your favorite movies. However, this does not mean that it
represents an important issue, since it is actually a vital problem that in business the
passion and love for art is put aside to simply generate greater income.

In this sense, this project has proposed as a research question: How does commercial
cinema influence the cinematographic quality preferred by undergraduate students at the
UPC of Monterrico?

2
1. RESEARCH PROBLEM

1.1 Approach and formulation of the problem

Although an attempt has been made to specifically explain what cinema is, one could
analyze its historical evolution as movements and currents or its scientific evolution in
terms of techniques and technological development, and even then this concept would not
be completely clear. Therefore, before explaining the meaning of commercial cinema, we
must define what cinema is from its most primitive expression, which would be the vivid
way of recording reality, of capturing history in images and sounds and of testifying from a
simple event to an entire political, ideological and philosophical conception of reality.
(Cineteca Nacional de México, 1974). On the other hand, commercial cinema, although it
meets the previous definition, prioritizes obtaining the greatest amount of income over the
dissemination of artistic value, promoting large-scale film production.

Due to this, originality has been lost and today it is very common to come across similar
films not only in writing, but also in technique, it can even be seen that production
companies invest more and more in films adapted from popular novels, to so make sure
you have a wide audience even before releasing the film.

It is saddening to hear someone talk about his “good palate” in terms of film quality,
feeling proud of preferring art cinema over commercial cinema, and as his favorite film he
effusively defends popular feature films and clichés without much narrative or audiovisual
background. such as The Kissing Booth or 50 Shades of Gray based mainly on the
popularity of the work and not on the quality per se . However, this does not mean that
cinema should be exclusively intended for an elite as art was centuries ago, because as
photographer Leila Amat (2014) mentions,

Art should not be for an elite, art should be present in your lives in a routine way,
like eating, like dressing. Contemplation of an artistic work should be as obligatory
as reading for an hour a day or savoring a poem before going to sleep (p.1).

In this sense, the project followed plans to analyze the influence of commercial cinema on
the cinematographic quality preferred by undergraduate students at the UPC of Monterrico.
In order to determine if viewers are indeed beginning to associate quantity with quality.

3
 1.2 Formulation of research questions

General question

How does commercial cinema influence the cinematographic quality preferred by

undergraduate students at the UPC of Monterrico?

Specific questions

How does commercial cinema influence the film tastes of undergraduate students at the
UPC of Monterrico?

What do undergraduate students at the UPC of Monterrico understand by cinematographic

quality?

What do undergraduate students at the UPC of Monterrico understand by auteur cinema?

What encourages undergraduate students at the UPC of Monterrico to attend a certain

film?

1.3 Goals

1.3.1 General objective

Determine the influence of commercial cinema on the cinematographic quality preferred
by undergraduate students at the UPC of Monterrico.

1.3.2 Specific objectives

Explain that commercial cinema influences the film tastes of undergraduate students at the
UPC of Monterrico.

Identify what undergraduate students at the UPC of Monterrico understand by

cinematographic quality.

Identify what undergraduate students at the UPC of Monterrico understand by auteur

cinema.

4
Determine what motivates undergraduate students at the UPC of Monterrico to attend a
certain film.

1.4 Rationale of the study

As the years go by, it is possible to notice that cinema is becoming more and more
commercial; That is to say, it is losing its artistic value and has become a way to make
money by persuading the masses to consume a certain movie that is in fashion or is simply
considered a way to entertain themselves. Although there are numerous festivals and
awards that reward the good work of directors, actors, among others, today's generations
take less importance to the essence of cinema and ignore the fact that a film should be
considered as a work. of art by reflecting not only the vision of the creator, but also, in
many cases, showing problems in society that we overlook. Therefore, this research is
carried out with the purpose of analyzing the decline of cinema as an art in recent years
and, above all, understanding the perception of university students in this regard. In this
way, awareness can be raised about the situation we are presenting.

Our study provides another vision to young students of the new generation and makes them
reflect on the quality of the films that are currently being shown. On the other hand, this
research has great relevance in the field of cultural industries, since the commercialization
of cinema influences the preferences of young people and contributes to the massification
of this industry. Likewise, the study can contribute to highlighting the fact that films are
beginning to follow a certain standard, because the demand for them is towards certain
types of stories and limits the creativity of directors by knowing that, probably, their works
do not They will be recognized if it does not attract a specific section of people. Finally,
this research could benefit members of the film industry or the small niches of people who
analyze and recognize unique films of their genre, as they are characterized by touching on
themes of great importance and not only showing clichés in the productions. Likewise,
young people could also benefit by gaining more knowledge of the subject and supporting
different genres of films, not just the most popular or commercialized ones.

5
 1.5 Limitations of the study

The topic addressed in the current research is the influence of commercial cinema on the
cinematographic quality preferred by undergraduate students at the Peruvian University of
Applied Sciences at the Monterrico campus. On the one hand, the limitations in the topic
addressed began with the lack of reliable sources, since, although we found the number of
sources requested, we found information on pages that were not reliable and therefore we
had to discard them. Likewise, another limitation that was considered is self-reported data,
as some sources may contain bias, which we must be aware of.

On the other hand, it was a bit difficult for us to get the 50 people necessary to carry out
the survey, since sometimes the students were not willing to answer the questions due to
lack of time or willingness. Likewise, there was one person who did not answer the last
question of the survey (question 15), which caused us problems when finding the
percentages.

2. FRAME OF REFERENCE

6
 2.1. Research background

2.1.1 The relationships between cinema, culture and history: an audiovisual

research perspective

The article presented by E. Goyeneche-Gómez is titled The relationships between cinema,

culture and history: an audiovisual research perspective (2012). The purpose of this article
is to analyze an audiovisual research perspective based on the cultural and aesthetic
relationship of cinema, which allows us to understand the use that contemporary societies
make of specific modes of film representation and coding.

The methodology used is qualitative, since descriptive data is obtained: the quotes used
and the observable behavior. Furthermore, it understands reality in different historical
contexts, trying to interpret the phenomena according to the meanings given to them by the
people involved. In this case, the complete speeches from different sources and research
are collected, to then delve into the relationship between cinema, culture and history and in
this way transmit deep knowledge.

In this sense, the text concludes that cinema includes social functions as part of broader
systems of representation, and emphasizes that the weight of representations is not in the
films themselves, but in how society reproduces cultural codes, demonstrating the
importance of knowledge about the historiography of cinema and artistic techniques.
Although the article does not directly develop the research question, extremely relevant
information is addressed, as it demonstrates how the artistic point of view in cinema is
based on the commercial factor: “the schemes of social use of cinema were much stronger
than They sought to please the public by creating films that mixed classic melodrama with
local folklore” (Goyeneche-Gómez, 2012, p.49).

In addition, it presents a particular case that can be used as a comparison to the hypothesis
of the monograph. “The notion of beauty and cinematographic art was linked to an artistic
conception that reproduced European and North American cultural models” (Goyeneche-
Gómez, 2012, p.49), since it has been observed that many young Peruvians mostly prefer
North American superhero films. or clichéd American romances.

7
 2.1.2 Adorno and the criticism of mass culture

In the following article Adorno and the criticism of mass culture , written by J. King
Morató's main objective is to criticize mass culture by focusing on the ideas expressed by
Theodor, who believed that: “the culture industry, which is an entertainment industry,
involves the expropriation of men's conscience, and replaces the genuine artistic
experience through inferior art, testimony to the failure of culture” (Rey Morató, 2014,
p.41). The methodology used is qualitative, because the information presented by Javier
del Rey Morató presents descriptive data that focuses on the criticism of Theodor Adorno;
ergo, their speeches are collected to proceed with the interpretation and analysis of their
ideology.

Morató concludes that in the cultural industry what could be called inferior art occupies an
extremely relevant place, which has been qualitatively modified to achieve its social
integration. According to Adorno, this inferior art was always a testimony of the failure of
culture, which we know as commercial art and bases its security on integration into society
(Rey Morató, 2014). In this sense, the article partially develops the research problem, since
it is evident that the commercialization of art or culture causes the degradation of quality
standards, causing the birth of inferior art. If this premise is applied to the hypothesis of the
monograph, it can be noted that commercial cinema effectively affects the cinematographic
quality preferred by undergraduate students at the UPC of Monterrico, possibly in a
negative way.

2.1.3 Cinema as a candy

8
The Palabra Clave Magazine article written by J. Rivera-Betancur's title is Cinema as a
Candy (2008). This research reflects on the consumption of cinema by young people and
the perception they give to this industry today, given that the majority of students consider
cinema as an entertainment option. Consequently, the appreciation or interpretation that
they give to the audiovisual content is in decline, since, seeing it as an alternative for
entertainment, they do not value the vision or the essence of the work and, therefore, the
films lose creativity when they are unified. to follow a certain cinematographic trend to
satisfy the demand or preference of consumers.

For this research, Rivera-Betancur (2008) uses qualitative methodology, since the
orientation given to the study is towards an approach that analyzes and interprets the
relationships between variables, which would be the influence of commercial cinema and
cinematographic quality. what students prefer today. Likewise, to carry out the research,
the author studied the behavior and preferences of first-semester Communications students
at the University of Medellín, Colombia.

Based on the results, Rivera-Betancur (2008) indicates that today young people are
exposed to a large amount of audiovisual content, which is why, in a certain way, this
saturation of content is also reflected in their choice or preference of films. Likewise, it
denotes that this fact makes focusing difficult and produces visual fatigue; That is, it
prevents the individual from achieving correct concentration to understand the essence of
the work and, consequently, simply considers it as a form of distraction or leisure. In this
regard, Rivera-Betancur (2008) points out that:

The permanent exposure to images generates in viewers a double process of

saturation and habituation (...) these two effects, saturation and habituation, make
the images and their meaning invisible, configuring something like a "landscape
effect" in which one sees only the form, but the essence and content are completely
lost (p. 313).

Finally, the present research addresses the general question of our study, since it
contributes to the explanation of how the commercialization of cinema influences the
cinematographic quality that students currently prefer and, therefore, gives us more details
regarding the reasons why the event occurs. Considering the above, the source will be

9
useful to reflect the changes that have arisen in the way students perceive cinema and
understand and analyze the concept of the industry.

In addition, the author maintains that one of the most important findings is that the
saturation of audiovisual content plays an important role in why young people lose the skill
of interpreting the content; that is, "although students have skills to perceive images, the
audiovisual reading they do is not very conscious and they ignore a good part of the
symbolic content of the materials to which they are exposed" (Rivera-Betancur, 2008, p.
312 ).

2.1.4 The value of cinema to learn and teach

The article from the Scientific Journal of Communication and Education written by E.
Martínez-Salanova is titled The value of cinema for learning and teaching (2003). This
research shows that cinema should have a more important value in the lives of young
people, because it can be used as a complement in teaching by transmitting, through films,
valuable life lessons. Furthermore, the author points out that cinema represents different
cultures and should be considered as an art, not as a simple form of entertainment. For this
reason, it emphasizes that the correct appreciation of cinema must be promoted in students
and even cinema must be incorporated into classrooms so that young people learn to
properly appreciate the works produced, both from the past and the present.

For this research, Martínez-Salanova (2003) uses qualitative methodology, since he

analyzes and interprets different skills and opinions in young Spaniards regarding the
cinematographic field. Likewise, the author seeks to raise awareness among today's
students about the idea of including cinema in teaching, since it is a very deep and complex
way of communication by transmitting different visions. On the other hand, he points out
that the film industry is very present in the lives of new generations, so this point should be
used in favor of young people's learning and promote the development of new skills in
them through cinema.

10
Based on the results, Martínez-Salanova (2003) concludes that the challenge today is to
study quality works, given that there is great diversity in the industry and it must be
analyzed with a critical eye to understand the message that is transmitted in the
productions. Likewise, the author points out that currently new contributions will emerge
that will give another perspective to cinema, which will reflect new and different ideas for
these times. As the years go by, only the works that left a mark in the minds of their
viewers will go down in the history of cinema and possibly, this fact motivates producers
to venture into creating films not with the aim of satisfying the consumption of the masses,
but will focus on providing a contribution to society.

Finally, the present research does not fully address the general question; However, it
contributes to having a clearer answer regarding the specific question of what students
understand by cinematographic quality. Likewise, it helps provide a possible solution for
how young people could learn to distinguish and appreciate films with true vision and,
therefore, argues that students can enrich their knowledge by studying new values, such as
the value of sensitivity , cognitive, creativity, among others. Finally, Martínez-Salanova
(2003) points out that:

It is not just a game or mere entertainment, since cinema has infiltrated, especially
through television, into our way of life, and we cannot afford to stop using it in the
classrooms (p. 49).

2.1.5 Cinema as a tool of mass domination: social, cultural and ideological

implication

11
The article presented by L. by Souza Barcelar is titled Cinema as a tool of mass
domination: social, cultural and ideological implication (2009). The main objective of this
article is to define the concepts of mass culture, massification of culture, cinema and
society; with the appearance of cinema and other media and how an invisible alliance is
established between the system of domination and mass culture. Likewise, it shows us a
reality delimited by an image constructed by cinema that is determined for consumption.

In this article, De Souza (2009) uses qualitative methodology because he seeks to analyze
mass culture as a vehicle of domination and manipulation. To do this, the author used
subtopics such as the massification of culture and cinema and its implications to
understand how mass culture is formed and what it entails. Therefore, the author raises the
assumption that the popularization of culture is linked to a consumerist society that
addresses capitalist perspectives and continues with the trends formed from cinema (De
Souza,2009).

De Souza (2009) concludes that mass culture is based on the profit of the people and the
satisfaction of the interests of the dominant class. On the other hand, the main
repercussions of cinema are shown, such as the beginning of cinematography in the 19th
century, the subordination of cinema to theater, the connection with the world of the
constructed image and the influence of cinema on society. Cinema has become a great
promoter of tastes and ways of being, Morin (1977) tells us that a consumption-production
language results in mass culture, in the middle of a world language, which becomes
society. in its universality. Consequently, cinema has become a dialectical mediator within
society that has achieved manipulation and domination in the 21st century.

In this sense, the author answers the research question directly with one of the main
sections studied, which belongs to the influence of commercial cinema on the tastes of
people who in this case would be undergraduate students at the UPC. from Monterrico.
That said, we can realize that within the influence of tastes is mass culture with respect to
new trends. So, this explains that current mass culture responds in an influential way to the
tastes that students may have when choosing which movie to see. Consequently, young
people no longer value cinema as art but as a form of “fashion” and distraction. On the
other hand, we can highlight from this article the concepts of mass culture, massification of
culture, cinema and society which are of great benefit to support research.

12
 2.1.6 Cinema: The business of culture.

The article presented by D. Lozano, J. Barragán and S. Guerra is titled Cinema: The
Business of Culture (2009). The main objective of this article is to determine the
importance of businesses focused on film production not only as drivers of culture, but also
as a business and economic driver for their country. Likewise, the value that directors and
producers have primarily of executing on these two aspects of film profit is implemented:
as a consumer commodity and culture.

In this article, Lozano, Barragán & Guerra (2009) use the quantitative methodology, since
the authors collected data through the MPPA Montion Picture American Association,
which provides the box office income of American Cinema in domestic and international
markets (in thousands of millions of dollars). Likewise, they collected data through
Cinépolis, the second most important exhibitor in the country of Mexico, that the three
preferred genres in cinematography are action with 44%, suspense with 14% and comedy
with 13%.

Likewise, data were collected from the IMCINE Mexican Institute of Cinematography on
Mexican films produced with State support from 2002 to 2007. It was observed that in
2005, 42 films were produced and in 2007, 41 films were produced. Even with the support
of the Government in cinematography, the productions continue to be unsympathetic to the
public with products lacking in originality and history (Lozano, Barragán & Guerra 2009).

It can be concluded that Lozano, Barragán & Guerra (2009) provide through graphic
information that, to be successful in the cinematographic field, the director must assume
the responsibility of imbuing the film with opinions, appreciations, culture and generating
reflection in the viewers. On the other hand, it must produce new and attractive ideas,
according to the desires of each person when choosing which movie they want to see.
Likewise, the producer's objective is to carry out market research that allows him to
become familiar with the wishes of the public. Likewise, you must create a strategy that
leads to generating greater income and reducing production costs (Lozano, Barragán &
Guerra 2009).

13
In this sense, the authors of this article answer the research question directly, which
pertains to the influence of commercial cinema on the cinematographic quality that people
prefer. That said, we can realize that within the influence of the cinematographic quality
that people prefer, we must take into account what the viewers' desires are. Likewise, we
can better understand what the film market is like and the factors that intervene as a driver
of culture and business and economic promoter of the country in which it is made.

2.1.7 Author cinema: from modern cinema to postmodern cinema

The article written by M. Gutiérrez Correa's title The author's cinema: from modern
cinema to postmodern cinema (2014). This research exposes how the concept of auteur
cinema was born with modern cinema and how it is debated with postmodern cinema, but
remains valid to this day. In addition, the social influences, aesthetic trends, views of the
world and obsessions of some authors of modern and postmodern cinema are analyzed
(Gutiérrez Correa, M.,2014).

Gutiérrez Correa, M. (2014) begins the article with a review of modern and postmodern
thought, since these have a relationship with the aesthetic and narrative characteristics on
which modern and postmodern cinema is based. Then, he explains the origin of the term
auteur cinema in modern cinema and how, despite being questioned, it remains valid in
postmodern cinema to this day. Likewise, he makes a comparison of the perceptions of this
concept for both cinemas and gives his opinion on the matter.

The results reached by Gutiérrez Correa, M. (2014) were that:

Postmodernism does not wish to value the position of the director as a great author,
since art belongs to everyone and for everyone. The premise of modern cinema was
to idolize the genius of the male director as the sole and indisputable author of a
film, and at the same time value cinema as an art. Furthermore, art in modernity
was always valued above mass culture (p.15).

To conclude, this article does not directly address the general research question, but it is
related to the third specific question posed, since it tries to determine if UPC students

14
understand what auteur cinema consists of. Furthermore, this study provides us with
characteristics of modern and postmodern cinema, differences between them, and mainly
analyzes the concept of auteur cinema from the point of view of both cinemas. Therefore,
the source will be useful to have a better understanding of the concept and thus we can
more easily develop the specific question mentioned above.

2.1.8 Cinema as art in mass culture

The article written by M. Vieta, whose title is Cinema as art in mass culture (2016), aims
to redefine cinema as art through the analysis of the elements that make cinema an art
itself, just like painting or theater. It starts from a historical context about the concept of
mass culture and its origin to explain what the Anti-American theory school of thought and
the Benjaminian-Frankfurtian Theory consist of, in order to facilitate the reader's
understanding of why cinema is a art (Vieta, M., 2016).

Vieta, M. (2016) suggests that in order to rethink cinema as art, the negative connotations
attributed to it by the authors of the two aforementioned schools of thought must be
separated from the concept of mass culture, since the circumstances in which their theories
develop are during the rise of fascism to power, and this is one of the main reasons why
they have a pessimistic conception of culture.

Likewise, he makes a comparison between the conceptions of cinema between Walter

Benjamin and the author Andrei Arsenievith Tarkovski in his book ''Sculpting Time." On
the one hand, Arsenievith (1992, as cited in Vieta, 2016) suggests that to achieve
authenticity, the emotions that the director experienced had to be reproduced.

On the other hand, for Benjamin (1998, as cited in Vieta, 2016) the reproduced images
give the films a lack of authenticity. The results obtained by Vieta, M. (2016) noted that:

[Although] (…) cinema [has] traveled down wrong paths, serving petty-bourgeois
interests and [has become], even more so today, [a] consumer market, (…) cinema,
just like all those ''new arts'' criticized by the Frankfurt School can be considered as

15
 such. However, it is important to always take into consideration what makes a work
of art be considered such (p.16).

Finally, the author does not contribute directly to the research question, but the information
she provides allows us to have another point of view on mass culture, since in her research
she separates the term from the negative side and explains how cinema is considered as art
within mass culture, since it states that the reception of the masses is what determines what
is considered a work of art (Vieta, M., 2016).

2.2 Conceptual framework

2.2.1 Film tastes and preferences

To understand the concept of tastes and preferences in the film market, it is important to
first define what preferences, taste and the film industry are. A preference is a specific
interest in an option that unifies a subjectivity or a personal interest. While taste is a
subjective term that aims to appreciate what is beautiful or unpleasant, it can vary
according to the particular customs of each person or due to cultural and social
conventions. On the other hand, the film industry is an economic branch of film
production and distribution that has become an instrument of cultural dissemination and
entertainment of the first order (Guzman, 2004; Nicuesa, 2014; and Peréz and Gardey,
2010).

Regarding the above, it is assimilated that the concept of tastes and preferences in the
film market is raised by various sociocultural changes in film consumers. One of these
changes is transnationalization, since it causes a loss of relevance and value in national
organizations, because now transnational companies influence viewers more than
national ones. Which gives rise, especially in young people, to a new definition of
personality and/or sense of belonging, since transnationalized participation is preferred.
In addition, social characteristics and the demand for identity influence the viewer's
choice. Likewise, another of the changes that influence are new technologies, since they
create a new profile of the consumer who seeks films with sensory and impactful images,

16
accompanied by high speed and high-tech aesthetics (Agredo and Cepeda, 2005; and
Matos, 2017 ).

In conclusion, film tastes and preferences are an interest formed by the particularities of
each person, social and cultural changes, such as transnationalization and technology.

2.2.2 Film criticism

Bordwell and Thompson (2003) distinguish two types of film criticism: reviewers and
critics. On the one hand, reviews are generally published in the mass media where their
main role is to evaluate a film, which provides general information about what the viewer
should see. On the other hand, critics do not recommend a film, since its value requires
more work. They explain details of audiovisual and narrative quality, developing the
work in greater depth, so that the viewer can have a completely complete and different
vision of the film.

To recognize which aspects to criticize in a film, Domérico Chiappe (2015) in his

doctoral thesis, Form and background of multimedia narrative, divides the dimensions
into the form or technical section that involves photography, drawing, soundtrack, etc.;
and the background that involves the creation of characters, the world or world building,
structure, narrative time and tension, dialogues, etc.

On the one hand, the technical section refers to any superficial point or aspect that adorns
the body of the film; photography, for example, affects memory and interpretations; The
drawing in the case of an animated film determines the style of the design; The music that
accompanies the scenes has to match them. On the other hand, the background involves
all the narrative aspects of the film such as the characters who carry the plot of the story.
It is not necessary to overload a scene with dialogues to know the characters, determine
their complexity, genesis and development "by the way How each character acted shows
how those conflicts were faced and resolved” (Chiappe, 2015, p.81). In the same way, it
is these characters who contribute to the construction of the world that is trying to be
captured, the time and tension of various scenes, depending on how they interact and
react to their environment, for this their personalities must be coherent. with the actions
they perform during the film (Chiappe, 2015)

17
 2.2.3 Commercial cinema

This type of cinema bases its security on integration into society (Rey Morató, 2014)
where the commercialization of art or culture causes the degradation of quality standards,
causing the birth of an inferior art.

The concept of commercial cinema gained strength as the films gained greater popular
acceptance and the technological tools obtained greater development "offering stories
with great special effects and frenetic action scenes to capture the viewer's attention,
generally with an empty script and trivial” (Medina, 2018, p.1).

In short, in this type of cinema, the economic benefit that the company will receive
through the use of resources that appeal to the viewer's sensitivity, such as visual effects
or violent, sexual, controversial themes, which the majority of viewers prefer, prevails;
rather than a tightly structured narrative within a coherently approached work. “It has
been shown that photos, especially those of wars, horrors and atrocities, influence public
sensitivity” (Chiappe, 2015, p.63).

2.2.4 Author cinema

To understand the concept of auteur cinema we have to start from its origin, which took
place in the 1950s in the French magazine Cahiers du cinéma. Those in charge of making
the magazine began to analyze and identify recurring elements in films by certain
directors and tried to develop theories about them. This is how the concept of auteur
cinema emerged, which consisted of a process of recognizing an author's work based on
elements such as cinematographic quality and thematic recurrence. Likewise, auteur
cinema defends the idea that the director is the main creative center and the only one
responsible for the entire film process (Rodríguez, 2016; and Sanderson, 2007).

However, over the years many detractors have emerged, who argue that cinema requires
the joint work of several professionals and that it is a mistake to attribute all the
recognition to a single person. This happened in the 1941 film Citizen Kane, which was

18
considered the best film of the time and therefore, director Orson Welles was acclaimed
for his genius and use of resources, such as depth of field and shot. However, what went
unnoticed was that these resources had already been used in some films by another
director, as they were created by cinematographer Gregg Toland, who also worked on
Citizen Kane, but did not receive the title of author or credit. that he deserved (Sanderson,
2007).

In conclusion, auteur cinema is the work of an author with clearly defined elements and
characteristics that identify it and refer to who owns said work. Some of these elements
are cinematographic quality and thematic recurrence.

2.2.5 Cinematic quality

According to Del Prado (2009), throughout history we can observe that the evolution of
cinema happened in an incredible way and its success is a very interesting issue, since it
is highly related to the act of socializing, entertaining and culturalizing human beings.
Thanks to this acclaimed seventh art, different generations are able to discover a large
number of worlds, both imaginary and real, which transports them to another era.
However, when talking about cinematographic quality, it is necessary to indicate that the
cinematographic experience is responsible for providing the necessary tools to better
understand the world and therefore, this experience must be as accurate as possible.

Regarding the above, it is worth highlighting that, having been born in a new era, cinema
has become a modern and innovative art, of which we do not know exactly what
discipline to experience it with. When emphasizing the term cinematographic quality, the
comparison of two other terms is referred to, which are art cinema and commercial
cinema. (Del Prado, 2009).

According to Füguemann (2005), when a differentiation between art cinema and

commercial cinema is desired, it is generally based on the resources used for its
production, such as the theme, the script and the director. Although many producers stop
to reflect on the fact that cinema should be considered a mode of human expression,
others in the medium do not make them with the purpose of being “art.” On the other
hand, when speaking of the term commercial cinema, reference is made to films that are

19
 seen in theaters, on large screens and that contribute to our entertainment, but of which
the artistic aspect of their production is not analyzed. Finally, it is necessary to indicate
that there will never be a direct relationship between the terms art and industry.

2.2.6 Film genres

Since previous times, human beings have always needed to classify what surrounds
them to follow a certain order and name certain aspects or themes present in their daily
lives. The artistic field did not escape this human task and consequently, the films were
classified according to their genre. Likewise, film genres should be considered as
thematic lines for stories and should also serve as an indicator that allows us to know
what to offer the target audience. When the term film genre is used, what is desired is
not to define a long list, but rather to explain its usefulness and formation (Füguemann,
2005).

On the other hand, according to Sánchez (2002), genres are differentiated by the
specialization of their narrative content, announced by the name that designates it. In
this way, we can explain the fact that their classification refers to the public's
expectations regarding a certain work and performs the function of being a guide to
their emotions.

2.3 Hypotheses

2.3.1. Justification of the hypothesis

On the one hand, various authors such as Adorno (2014) mention that the cultural industry
causes a degradation of the very meaning of art, which leads to the birth of an inferior art
where the majority of the public, due to their ignorance, is seduced by works with simpler
standards and without greater complexity. However, other authors such as Lozano,
Barragán and Guerra (2009) affirm that:

20
 To be successful in the cinematographic field, the director must assume the
responsibility of imbuing the film with opinions, appreciations, culture and
generating reflection in the viewers. On the other hand, it must produce new and
attractive ideas, according to the desires of each person when choosing which
movie they want to see (2009).

Although both premises disagree on whether commercial cinema affects positively or

negatively, both agree that this massive commercialization has a direct impact on both the
quality provided by the director and the tastes and preferences of the viewer.

On the other hand, the empirical part will be demonstrated throughout this project, since in
everyday life it can be seen in small debates, discussions or even in simple talks, how
many people defend popular films for the fact of being popular.

Likewise, there are few people who really take the time to analyze the films and artistically
criticize aspects of cinema; That is to say, the cultural industry is gradually leading to the
tendency to associate quantity with quality, leaving aside issues such as aesthetics,
narrative or the genesis and development of characters. Basically, in the field research it
will be possible to verify that the students of the UPC of Monterrico, in the same way, are
attracted and influenced by commercial cinema.

2.3.2. Hypothesis formulation

General hypothesis

The commercialization of cinema significantly influences the cinematographic quality

preferred by undergraduate students at the UPC of Monterrico.

Specific hypotheses

The commercialization of cinema significantly influences the film tastes of undergraduate

students at the UPC of Monterrico.

Undergraduate students at the UPC of Monterrico could understand the concept of

cinematographic quality.

21
Undergraduate students at the UPC of Monterrico could have basic notions about what
auteur cinema means.

Reviews of a film could encourage undergraduate students at the UPC of Monterrico, to a

lesser extent than other factors such as popularity, to attend a certain film.

2.3.3. Variable system

VERIFICATION
VARIABLE DIMENSION INDICATOR OPERATIONALIZATION
SOURCE

Commercial Tastes and

cinema preferences Action (8)
Horror (4)
Favorite genre Comedy (18)
UPC student
among students Suspense (7)
Drama (7)
Others (6)

Medium by Cinema (18) UPC student

which they Netflix (28)
prefer to watch HBO GO (0)
movies Television (0)

22
 DVD (0)
Pages like REPELIS,
CUEVANA, etc. (4)
It is the movie of the moment
(10)
Adaptation of a book they
Main reason have read (3)
Popularity of
why you go to It has good reviews (15) UPC student
the film
see a movie An actor he likes comes out
(16)
Recommendation from a
friend (6)
1 or 2 (30)
Times per
3 or 4 (16)
month they go UPC student
5 or 6 (4)
to the cinema
More than 6 (0)
Time Times per week
1 or 2 (22)
they watch
3 or 4 (16)
movies on UPC student
5 or 6 (7)
digital
More than 6 (5)
platforms
Cinematic Author Number of
quality cinema students who
Yes (40)
understand the
No (10) UPC student
definition of
cinematographi
c quality
Degree of 1 (5)
compression of 2 (4)
the definition 3 (19) UPC student
of cinematic 4 (18)
quality 5 (4)
Number of Yes (17) UPC student

23
 students who
understand the No (33)
definition of
auteur cinema
Yes (17)
Number of
No (11)
students who
I don't know how to UPC student
go to see
distinguish if it is (22)
arthouse films

Number of
students who
Yes (36)
review formal
No (14) UPC student
film reviews
before
watching it
Number of
students who
appreciate the Yes (45)
UPC student
Film review production and No (5)
other elements
of the film
The address (8)
The script (8)
Element of the
The actors (10)
film that they
Production (19) UPC student
appreciate the
The soundtrack (1)
most
The locker room (2)
Others (1)

24
3. METHODOLOGICAL FRAMEWORK

3.1. Scope of the investigation

In our research, the main objective is to determine the influence of commercial cinema on
the cinematographic quality preferred by undergraduate students at the UPC of Monterrico
2019-01. This study will have a correlational scope, since there is an investigation into the
relationship between the field of cultural industries and the effects of film
commercialization; Therefore, the research will focus on aspects (tastes and preferences,
film criticism, commercial cinema, auteur cinema, cinematographic quality and film
genres) that will help us understand the perception of university students regarding how
commercial cinema influences in the decline of cinema as an art in recent years. In
conclusion, these variables studied will make it easier for us to get closer to knowing the
choice of a movie in undergraduate students aged 17 to 24 at the UPC of Monterrico who
are studying the 2019-1 regular cycle.

3.2. Research design

25
In the present investigation, the design that will be used in the proposed study is non-
experimental . On this occasion, we will use the transversal type with a descriptive design,
which will allow us to describe the connection between our selected variables, which have
a reciprocal relationship as they are linked to the field of cultural industries and the effects
of film commercialization. Likewise, the way in which the study will be presented is how
commercial cinema influences the cinematographic quality preferred by undergraduate
students at the UPC of Monterrico and, consequently, analyze whether students who tend
to prefer certain types of Movies follow a certain cinematographic standard.

3.3 Population and sample

On the one hand, the population for the study analysis will be the undergraduate students
of the Peruvian University of Applied Sciences Monterrico headquarters of the 2019-01
regular cycle, whose ages fluctuate between 17 and 24 years. On the other hand, the
sampling applied for our research will be non-probabilistic, since we do not know the
probability of each individual of being included in the sample and it does not allow the
results to be generalized. Likewise, the type of non-probabilistic sampling that will be used
will be casual sampling, since when carrying out the surveys we will select a pilot of 50
students without any specific selection criteria. Therefore, the sample for this study will be
a pilot of 50 students from the UPC of Monterrico from the regular cycle 2019-01 who are
between 17 and 24 years old.

3.4. Technique and instrument for collecting information

The instrument used in the research was the survey, since a set of closed questions and scales
were posed in order to obtain viable information from young undergraduate students at UPC
Monterrico campus 2019 – 01. Likewise, we chose to use this instrument, due to the advantages
it provides, such as the ease of collecting a large amount of data in a large population, also for
having a simple application and accessibility for observing trends. However, sometimes the

26
information may be limited, since the answers are provided by the team and may sometimes be
affected by causes internal and external to the survey.

Regarding the structure of the survey, it consists of 15 questions grouped into three blocks:
general information, questions focused on commercial cinema and cinematographic quality. For
its application we divided ourselves into two pairs, the first made up of Camila Quevedo and
Enzo Ocola, and the second made up of Lesly Cuenca and Naomi Herrera. Each pair was in
charge of surveying 25 students on June 14 at 11:00 am The duration was approximately 3 or 4
minutes per person.

Table 1:
Research technical sheet

Universe All students of the UPC headquarters

Monterrico 2019-01
Kind of investigation Correlational, transversal
Sampling type Non-probabilistic, casual
Sample 50 students from the UPC headquarters
Monterrico 2019-01
Applied tool Survey (own creation)
Sample number 50 students
Data collection period June 2019
Processing technique Explanatory analysis

Source: self made

3.5. Data processing and analysis technique

After completing the surveys, it was verified that they were well completed and correctly
filled out. After verifying them, we decided to use the Excel program to record the data

27
obtained and obtain our database with which the respective statistical graphs were prepared
in order to facilitate their compression and identify which were the most frequent answers
to each question. to be able to analyze the specific hypotheses raised above to verify them.
It will also be possible to confirm or discard our general hypothesis, which was: “The
commercialization of cinema significantly influences the cinematographic quality preferred
by undergraduate students at the UPC of Monterrico.”

4. FINDINGS

4.1 Presentation and description of findings

A sample of 50 students from the Peruvian University of Applied Sciences at the

Monterrico campus has been interviewed (see figure 1, 2 and 3) where 32 of the
interviewees were female and 18 male, likewise, their age was around between 16 to 24
years old. In addition, it should be mentioned that the people surveyed belong to the
following careers: Business (82%), Communications (10%), Design (4%) and Engineering
(4%). That said, the results we have reached are as follows.

4.1.1 Finding 1

It was determined that the preferred genre of those interviewed is comedy (see figure 4)
and that 56% prefer to watch movies on Netflix (see figure 5), where the most popular
films that attract the majority of the public are published. analyzing the market and
reception of previously published films. This result is mutually related, since many of the
films published on this platform belong to that genre, since they are the films most
consumed by the general public.

Therefore, this finding is related to our first specific objective, since it consists of
explaining that commercial cinema influences the tastes of students' films, and as we have
mentioned, the content found on this platform belongs more to cinema. commercial, which
generates that young people have a greater inclination for this type of films.

28
 4.1.2 Finding 2

In the same way, the greatest motivations that respondents have for watching a movie (see
figure 6) are “an actor I like is coming out” (32%), it has good reviews (30%) and it is the
movie of the moment ( twenty%). Likewise, 72% do review the reviews of the films they
watch (see figure 13). This result certainly surprised us, since initially we assumed that
many students did not even take the time to look for reviews or analysis of films. However,
adding the number of people who base themselves on the actors they like and the
popularity of the film itself, the group is much larger than that which reviews film reviews.
Which responds to our fourth specific objective, which consists of determining what
encourages students to attend a certain movie. In this case, the main incentive is the
presence of an actor of your choice and the popularity of the film.

4.1.3 Finding 3

On the other hand, 66% deny being able to understand the definition of auteur cinema (see
figure 11), so they cannot distinguish whether the film they see belongs to this category,
and although 80% of the students interviewed from undergraduates from the UPC of
Monterrico claim to know the concept of cinematographic quality (see figure 9), on a scale
of 1 to 5, 38% of the sample marked “3” in terms of understanding of cinematographic
quality (see figure 10). , so they are not very clear about its definition either.

Finally, these results directly respond to our third specific objective, which seeks to
identify what students understand by auteur cinema, since thanks to them it can be stated
that UPC students, although they know the concept of auteur cinema, do not understand in
depth what this term entails and therefore cannot identify if a film belongs to it.

4.1.4 Finding 4

The four elements that are most appreciated in a film (see figure 15) are “the production”
(38.8%), “the acting” (20.4%), the script (16.3%) and the direction (16.3%). Within critical
standards, the script and direction should be the most valued aspects, since they are the
background of the work, where the first represents what story is told and the second how it
is told, and the rest of the elements cover technical or aesthetic aspects. Based on these
results, it could be related to our second specific objective, since it seeks to identify what
students understand by cinematographic quality.

29
Therefore, it can be inferred that the result obtained is due to the fact that many do not
fully understand the meaning of cinematographic quality and therefore, they tend to prefer
other elements that are not so relevant to the quality of the film.

In conclusion, all the findings mentioned above respond to our main objective, which aims
to determine the influence of commercial cinema on the cinematographic quality that
students prefer. Since, although there is a significant number of people who take the time
to read reviews, learn about cinematographic quality and watch arthouse films, the number
of consumers who allow themselves to be influenced by commercial cinema to determine
their favorite genres or most important elements in films is much greater and the impact of
this is significant.

4.2 Final reflections

1. Thanks to the surveys carried out, we observed that young people currently do not
provide significant support for the film industry, since students, when they mostly
watch films on the Netflix digital platform, limit themselves to watching works that
follow a certain style and ignore watching films. that are shown in cinemas, which
in some cases have a greater cultural contribution. Consequently, certain works that
convey a great message to society and that are truly considered art cinema need
great publicity in order to capture the attention of this audience and thus make them
attend to see it.

2. The new generations take the cast as a point of reference to decide whether they
will attend a film or not and leave aside more relevant elements such as the
message that the film transmits and the essence that the director is reflecting in it.

3. Noticing that the majority of people did examine the reviews of a film contradicted
our hypothesis that people were not interested enough in gathering information
about the work they would be watching. However, when evaluating the results for
the question "What motivates you to watch a movie?", we realized that the criticism

30
 factor took a back seat when competing with other more important elements for
young people, such as fashion or social acceptance of the film, the cast,
recommendations from friends, among others.

4. It should be noted that cinema could be very useful for the learning of new
generations; However, when observing the genres most watched by students, we
realized that the vast majority consider cinema as a form of entertainment, because
the most popular genre was Comedy. On the other hand, a small percentage of
respondents watch cinematographic works or documentaries in order to obtain
some learning.

5. When observing the results for the Time dimension together with the indicators
“Number of times a student attends the movies in a month” and “Number of times a
week that a student watches movies on digital platforms”, we notice that the
frequency The frequency with which a student watches movies through digital
media weekly is greater than the frequency with which a student attends the movies
monthly. When interpreting this fact, we realize that young people prefer the
comfort of being able to watch movies from home and only go to the cinema if the
premiere movie is really attractive to their tastes.

6. In conclusion, the students surveyed are unaware of many of the cinematographic

terms, such as the definition of auteur cinema and cinematographic quality, since
they are not familiar with this area. However, this type of knowledge should be
understood as general culture, since cinema is a great learning tool for present and
future generations.

31
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35
6. ANNEXES

Annex A: Survey

Influence of commercial cinema on the cinematographic quality preferred by

undergraduate students at the UPC of Monterrico 2019-01

1. Gender
o Women
o Man
2. Age
o 16 - 18
o 19 - 21
o 21 - 24
3. Faculty to which it belongs
o Business
o Architecture
o Communications
o Right
o Design
o Engineering
o Others
4. What is your favorite genre of movies?
o Action
o Terror
o Comedy
o suspense
o Drama
o Others
5. What medium do you prefer to watch movies?
o Cinema

36
 o Netflix
o HBO GO
o Television
o DVD
o Pages like REPELIS, CUEVANA, etc.
o Others
6. What motivates you to watch a movie?
o It's the movie of the moment
o It is the adaptation of a book you read
o It has good reviews
o An actor you like comes out
o Recommendation from a friend or family member
7. How many times do you go to the cinema in a month?
o 1 or 2
o 3 or 4
o 5 or 6
o more than 6
8. How many times a week do you watch movies on digital platforms?
o 1 or 2
o 3 or 4
o 5 or 6
o more than 6
9. Do you understand the definition of cinematic quality?
o Yeah
o No
10. How well do you understand the definition of cinematic quality?

11. Do you understand the definition of auteur cinema?

37
 o Yeah
o No

12. Do you watch arthouse movies?

o Yeah
o No
o I don't know how to distinguish if it is
13. Do you check the reviews of the movie you're going to see?
o Yeah
o No
14. When watching a movie, do you appreciate the production and the other elements it
has?
o Yeah
o No
15. What element do you appreciate most in a movie?
o The direction
o The script
o Actors
o The production
o The soundtrack
o Costumes
o Others

38
Annex B: Figures

Figure 1 . Percentage distribution of students at the UPC Monterrico

campus by gender. Own elaboration.

2%

Figure 2 . Percentage distribution of students at the UPC Monterrico

campus by age. Own elaboration.

39
 4%
4%

Figure 3 . Percentage distribution of students at the UPC Monterrico

campus according to the faculty to which they belong. Own
elaboration.

4%
8%
16% Acción
Terror
14% 8% Comedia
Suspenso
Drama

14% Romance
36% Ciencia ficcion

Figure 4 . Percentage distribution of students at the UPC Monterrico

campus according to favorite movie genre. Own elaboration.

40
Figure 5 . Percentage distribution of students at the UPC Monterrico
campus according to favorite medium for watching movies. Own
elaboration.

Figure 6 . Percentage distribution of students at the UPC Monterrico

campus according to reason for watching a movie. Own elaboration.

41
 Figure 7 . Percentage distribution of students at the UPC Monterrico
campus according to times per month they go to the cinema to see a
movie. Own elaboration.

Figure 8 . Percentage distribution of students at the UPC Monterrico

campus according to times a week they watch movies on digital
platforms. Own elaboration.

42
 Figure 9 . Percentage distribution of students at the UPC Monterrico
campus according to their understanding of the definition of
cinematographic quality. Own elaboration.

38 % 36 %

10 %
8% 8%

Figure 10 . Percentage distribution of students at the UPC Monterrico

campus according to their level of understanding of the definition of
cinematographic quality. Own elaboration.

43
Figure 11 . Percentage distribution of students at the UPC Monterrico
campus according to their understanding of the definition of auteur
cinema. Own elaboration.

Figure 12 . Percentage distribution of students at the UPC Monterrico

campus according to arthouse films. Own elaboration.

44
Figure 13 . Percentage distribution of students at the UPC Monterrico
campus according to reviews of the film you will see. Own
elaboration.

Figure 14 . Percentage distribution of students at the UPC Monterrico

campus according to appreciation of the production and other
elements of a film. Own elaboration.

45
 2%
4.1 %
2%

Figure 15 . Percentage distribution of students at the UPC Monterrico

campus according to the element they most appreciate in a film. Own
elaboration.

FINAL WORK Course: HU318 Research Fundamentals

Week: 16 – Virtual session

46
 Activity – Final Project (TF)

Qualification INVESTIGATION PROJECT. Final version

type of participation Group

Delivery term Week 16

Delivery means Virtual classroom
Qualification 0/20

Printed (or digital) document that contains all the components of the Research Project, both those presented
throughout the course, with their corresponding corrections, and the pending component titled “Summary and
description of findings.”
Evidence of learning

Indications

1. Analyze the materials on “Guidelines for reporting field work results,” as well as the examples
provided.
2. Based on the observations raised in all the DD and TA, make the pertinent corrections and work on
the final version of the research project (TF).
3. Based on the formal guidelines for the presentation of research work, set out in the course book
The First Cita , formally present the research project (TF).

Annexes

47
 o Book: The first date
o Class materials: “Guidelines for reporting field work results”
o Guide for the research project

Evaluation criteria

The assignment of the maximum score to each criterion is applicable only if it is met at a satisfactory level. If
not, the teacher will determine the score of the item according to his or her expert judgment.

PRELIMINARY EVALUATION CONDITIONS

- If there is no honesty in the handling of information, the corresponding sanction is

applied according to the Disciplinary Regulations (up to zero in the evaluation and a
reprimand).
- If the group does not present any of the components of the TF, the score
corresponding to said section will not be recognized (0 points).

Formal Presentation Spelling, punctuation and writing Intellectual honesty

The evaluation rubric with the Errors are made in the construction of simple sentences, to If there is no honesty in the
group data is attached along the point that it hinders the understanding of the text. handling of information, the
with the TF. All guidelines for Some linguistic elements are used that reveal informality. It corresponding sanction is
the submission of academic does not use cohesion elements (referents and logical applied according to the
work specified in the Style Text connectors). Does not use the full stop, or uses it Disciplinary Regulations (up to
are met . inappropriately. Does not use commas correctly. zero in the course and a
Punctuation obstructs understanding of the paragraph. reprimand).
Makes spelling errors.

Maximum score against Maximum score against Maximum score against

-3 -3 -20

Discounted score Discounted score Discounted score

Comments Comments

48
 Level
Criteria
Satisfying In progress In start
Pose the problem, questions and
Presents the problem, the general and specific objectives,
questions and general and justification and limitations, Poses the problem, questions
specific objectives, justification incorporating only some of the and general and specific
and limitations incorporating observations raised by the objectives, justification and
Problem
all the observations raised by teacher throughout the process. limitations without
Statement incorporating the observations
the teacher throughout the
process. [1 to 0.5 points] raised by the teacher
[2 points] throughout the process.
[2 to 1.25 points]
[0.25 points]

Presents and supports the Presents the background of the

background of the project; the project; the conceptual Presents the background of the
conceptual framework, the framework, the project; the conceptual
Conceptual operationalization matrix, operationalization matrix, framework, the
formulation and justification of formulation and justification of operationalization matrix,
framework and
hypotheses, incorporating all hypotheses, incorporating only formulation and justification
background of hypotheses, without
the observations raised by the some of the observations raised
teacher, as well as the formality by the teacher, as well as some incorporating the observations
(5 points) raised by the teacher, nor the
protocols established of the protocols established
throughout the process throughout the process protocols established
throughout the process
[Up to 5 points] [Up to 3.5 points]
[Up to 1.5 points]

Presents and supports the

Presents and supports the scope Presents and supports the scope
scope and design; the
and design; the population and and design; the population and
population and sample; the
sample; the information sample; the information
information collection
collection instrument and the collection instrument and the
Methodological instrument and the
corresponding data analysis corresponding data analysis
corresponding data analysis
framework techniques, incorporating all techniques, incorporating some
techniques, without
the observations raised by the of the observations raised by the
incorporating the observations
(2 points) teacher, as well as the formality teacher, as well as some of the
raised by the teacher or the
protocols established formality protocols established
formality protocols established
throughout the process throughout the process
throughout the process
[2 points] [1 point]
[0.5 points]

Presentation of
findings The main findings of the field The main findings of the field The results of the field work
work are presented, at a work are presented at a are presented without
(6 points] descriptive and informative descriptive level, which have grouping work based on the
level, which have been grouped been grouped according to a specific objectives of the

49
 graph or table that sufficiently
and developed based on a
responds to some of the specific research project. The
graph or table that sufficiently
objectives of the research information is scattered and
responds to each of the specific
project. without relevant link to the
objectives of the research
research question.
project.

[Up to 2 points]
[Up to 6 points]
[Up to 3.5 points]

Presents the introduction, the

Presents the introduction, index Presents the introduction, index
index and the final reflections,
Research Project and final reflections, following and final reflections, following
or just some of them, without
all the formal and theoretical some of the formal and
Complements these adapting to the formal
guidelines established by the theoretical guidelines established
and theoretical guidelines
teacher by the teacher
(2 points) established by the teacher.
[2 points] [1 point]
[0.50 points]

Throughout the entire research

project, as well as in the list of
The APA reference system has The rules of the APA
references, the APA reference
Use of the APA been used respecting the reference system have been
system has been used,
regulations only in some parts of partially complied with, even
system respecting its specific
the research project or reference alternating them with other
regulations and correcting the
list. different systems and even
[3 points] observations raised by the
ignoring their incorporation.
teacher, without relevant errors.
[Up to 1 point]
[Up to 4 points] [Up to 2.5 points]

50