Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2014-10-20T12:27:08Z No. of bitstreams: 2 Dissertacao Rafael Mendonca Lisita Pinto - 2014.pdf: 3410801 bytes, checksum: 568a59b5ffe00961f389baa657ee1671 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2014-10-20T17:34:24Z (GMT) No. of bitstreams: 2 Dissertacao Rafael Mendonca Lisita Pinto - 2014.pdf: 3410801 bytes, checksum: 568a59b5ffe00961f389baa657ee1671 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-10-20T17:34:24Z (GMT). No. of bitstreams: 2 Dissertacao Rafael Mendonca Lisita Pinto - 2014.pdf: 3410801 bytes, checksum: 568a59b5ffe00961f389baa657ee1671 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-04-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This dissertation results of the research developed throughout the Master’s Degree course within the Art and Visual Culture Graduate Program in FAV-UFG. It aims to investigate de representation of uncanny identities in music videos, starting out with some analysis of Lady Gaga’s videos, in order to develop my videographic discourse in my music video “Electric Guitar”. The main goal is to continue creating subversive audiovisuals, which consist in primary and complex products that contemplate several parameters of approach, exploring sensorial matters and establishing bonds with historical, sociological and cultural issues. The first chapter presents Lady Gaga and her artistic body of work which, curiously, defends minorities in spite of the singer being inserted into the star system. The second chapter introduces concept of “the uncanny”, from teoretical dialogues and, also, addresses their presence in music videos. The third chapter focuses on the study of music video as a audiovusal format, its relevance in visual culture and how they develop through media. The forth chapter reapproaches Lady Gaga’s music videos, selected according to this investigation theme, focusing on their analysis. The last chapter discusses the creative experience of “Electric Guitar” through my goal of reassuring the relevance of studying the uncanny and, also, my attempt to expand music video’s frontiers by employing new perspectives to them, without escaping the plastic aesthetics predominant in pop. / Esta dissertação é resultante do projeto de pesquisa realizado através do Programa de Pós-graduação em Arte e Cultura Visual, nível mestrado, da FAV-UFG, e visa apresentar o tema da representação de identidades estranhas em videoclipes, partindo de uma investigação no campo, acompanhada de análises dos clipes da artista Lady Gaga, para a construção do meu discurso videográfico no videoclipe “Electric Guitar”. O principal objetivo é dar continuidade aos discursos audiovisuais de formato subversivo, que consistam em produtos primários complexos os quais contemplem diversos parâmetros de abordagem audiovisual, explorando o sensorial e estabelecendo vínculos com questões de teor histórico, sociológico, cultural etc. O primeiro capítulo apresenta Lady Gaga e seu trabalho artístico que, curiosamente, defende minorias com uma postura favorável da cantora, ainda que ela esteja inserida no star system. O segundo capítulo introduz a temática dos estranhos, explica este conceito a partir de diálogos teóricos e, também, aborda a presença dos estranhos em videoclipes. Já o terceiro capítulo foca no estudo do videoclipe como formato audiovisual, trata da sua relevância na cultura visual e dos seus desdobramentos na mídia. O quarto capítulo volta a tratar dos discursos videográficos de Lady Gaga, porém, com foco na análise de alguns dos seus videoclipes, selecionados de acordo com o tema desta pesquisa. O quinto e último capítulo trata da experiência criativa do videoclipe “Electric Guitar” e do meu objetivo de reforçar as discussões sobre o “estranho” buscando expandir as fronteiras do senso comum a respeito do videoclipe por meio do emprego de novas linguagens, sem promover uma fuga da estética plástica predominante no pop.

Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-05-19T17:42:46Z No. of bitstreams: 1 TES_TICIANO_RICARDO_PALUDO_COMPLETO.pdf: 4503183 bytes, checksum: 26a6e1ee4a05505a08456c1b16493040 (MD5) / Made available in DSpace on 2017-05-19T17:42:46Z (GMT). No. of bitstreams: 1 TES_TICIANO_RICARDO_PALUDO_COMPLETO.pdf: 4503183 bytes, checksum: 26a6e1ee4a05505a08456c1b16493040 (MD5) Previous issue date: 2017-03-22 / This thesis aims to study the articulations and tensions that exist in the 21st century musical myths, and will verify the possibility of tracing a 2000?s mythic construction paradigm to understand the plurality of proposals, platforms and contemporary languages. For this, it presents its own analysis method to think about the total artist concept. An illustrative cut occurs through David Bowie, Kiss and Lady Gaga?s music videos. Bowie will be presented as one of the very first total artists in pop culture, fowward by Kiss, and Gaga. Music videos will be presented as encapsulated operas. In the end, the thesis discuss the adversongs, an union between music, and advertising, apex of the total artist of the 2010 decade. / A presente tese busca compreender as articula??es e tens?es existentes nos mitos musicais do s?culo XXI para verificar a possibilidade de tra?ar-se um paradigma de constru??o m?tica p?s anos 2000 que d? conta da pluralidade de propostas, plataformas e linguagens contempor?neas. Para isso, apresenta metodologia pr?pria de an?lise do que chama de artista total. O recorte ilustrativo se d? atrav?s de videoclipes dos artistas David Bowie, Kiss e Lady Gaga, sendo esta ?ltima uma expoente do referido artista total, e David Bowie, o fundador do modelo. Os videoclipes s?o pensados como ?peras encapsuladas e vetores de constru??o m?tico-espetacular, desde que obede?am a certos crit?rios que s?o explanados durante a pesquisa. Ao final, a tese apresenta o conceito de adversong que compreende a uni?o entre m?sica e publicidade, ?pice do artista total da d?cada de 2010.

Syftet med uppsatsen är att undersöka vilka underliggande mönster som styr två populärkulturella texter i form av musikvideor publicerade på webbsajten YouTube: Madonnas Like A Virgin och Lady Gagas Bad Romance, samt undersöka om dessa mönster lever vidare inom populärkulturen genom ständigt återskapande.Metoden som används är diskursanalys med genusperspektiv för att ta reda på hur maskulinitet och femininitet konstrueras i det här sammanhanget. En diakron tillika jämförande analys görs för att se om liknande diskurser styr de båda musikvideorna. I arbetet används det vidgade textbegreppet och således utgörs texterna i det här fallet av rörliga bilder, sångtexter och YouTube-kommentarer.Frågeställningarna som ligger till grund för undersökningen är följande: Vilka diskurser, sedda ur genusperspektiv, genomsyrar texterna samt hur gestaltas och förmedlas dessa? Har de båda texterna liknande underliggande mönster, trots att de producerats med 25 års mellanrum? Kan man genom intertextuella kopplingar till de analyserade verken påvisa att diskurserna hela tiden skapas och återskapas i samhället genom populärkulturella texter?Slutsatser: texterna genomsyras av fem dominerande diskurser: kvinnan som oskuld respektive hora, drömprinsen, ”en riktig karl”, mannen har makten samt den starka kvinnan. De båda texterna har liknande underliggande kulturella mönster trots de mellanliggande 25 åren. Intertextuella kopplingar till äldre verk samt moderna texter visar att diskurserna hela tiden skapas och återskapas i populärkulturen.

The purpose of this study is to see how gender is produced in one music video, chosen by a stratified, purposive sampling. This is done partly by studying the visual and linguistic dimensions of the text, partly by defining its discourse. The analysis is conducted by using MCDA (Multimodal critical discourse analysis). To study the material, the video was segmented into smaller sections based on the parts of the song (chours, verse etcetera). The semiotic resources that is considered in this analysis is participants, gaze and poses. The result of this study shows that, in this particular music video, gender is portrayed in similar ways through the resources. The gender of the dominant and strong woman is mostly portrayed through hands placed in the waist, legs placed wide and a neutral face combined with eye contact or hidden eyes/gaze. The innocent, emotional woman is portrayed through a including gaze towards the viewer. The gender man on the other hand is portrayed as dominant and strong through a intense, observing gaze and a relaxed body in combination with a broad-legged position. It also became clear that women were more sexualized that men in the video, even though they both established dominance through the same use of the resources in the bigger part of the video. The discourse for the material was connotated to be mostly a sexual discourse with a hint of and emotionaland/ or love discourse.

No description available.

[pt] O presente trabalho tem como objetivo estudar a cultura de fãs no Rio de Janeiro, suas formas de comunicação e de interação com a cidade. Este estudo também se concentra em entender de que maneira os fãs percebem seus ídolos, uma vez que estes se apresentam perante a sociedade e a mídia, muitas vezes, como seres superiores e/ou indefectíveis. O ato de ser fã é um fenômeno já bastante investigado por alguns teóricos e, por outro lado, carrega significados, por vezes, pejorativos, quando tratado pelo senso comum e por alguns contextos midiáticos. Utilizando a abordagem dos estudos subculturais em uma etnografia foi possível constatar que o impacto das divas do pop estudadas, Lady Gaga e Beyoncé, em suas respectivas fandoms, Little Monsters e Beyhive, dá-se em âmbitos não só de entretenimento, mas, acima de tudo, subjetivos. A cultura de fãs atua como criadora de grupos sociais altamente organizados no mundo digital e no mundo real, capazes de promoverem bem-estar e debates políticos e ideológicos de forma a estimular a reflexão sobre as minorias às quais pertencem e a luta contra os mais diversos tipos de discriminação sofridos pelos participantes das fandoms. / [en] This work aims to study the culture of fans in Rio de Janeiro, its forms of communication and interaction with the city. This study also focuses on understanding how fans perceive their idols, once they present themselves to society and the media, often as superior or indefectible beings. The act of being a fan is already investigated by researchers and on the other hand carries some meanings that sometimes are pejoratives while handled by the common sense and also by some mediatic contexts. By using the subculture studies approach in an etnography it was possible to verify that the impact of the studied pop divas, Lady Gaga and Beyoncé, on their respective fandoms, Little Monsters and Beyhive, takes place not only in the entertainment area, but also in a very subjective way. The fan cultures acts as the creator of highly organized social groups both in the digital and in the real world, promoting not only their well-being, but also political and ideological debates, in order to stimulate reflection on the minorities to which they belong to, and the fight against the most diverse types of discrimination suffered by participants of the fandoms.

No description available.