Avec l’apparition des chaînes musicales au début des années 1980, l’industrie musicale investit massivement dans la production de clips vidéo. Pour répondre à la forte demande de clips, de nombreux réalisateurs venant aussi bien de la télévision, de la publicité, que du cinéma mirent tous leur talent au service de ce nouveau format télévisuel. C’est dans ce contexte que différents artistes visuels furent également sollicités ou proposèrent leur service pour réaliser différents clips. Au début des années 1980, le clip apparut à certains artistes comme le format idéal pour diffuser leurs images à la télévision. Il leur permettait par sa diffusion à la télévision de toucher un plus large public que celui des musées ou des galeries d’art. Pour d’autres, le clip fut un format d’expérimentation mais aussi un prolongement possible pour leur pratique artistique. Ainsi cette étude se propose d’analyser une partie de la production de certains artistes plasticiens souvent ignorée par les historiens de l’art et les critiques. À travers leurs travaux artistiques, certains artistes construisirent au contraire une critique et interrogèrent le format tout en remettant en question la pop culture diffusée à la télévision. Si la création de MTV fut une date fondatrice dans l’histoire du clip vidéo, vingt-cinq ans plus tard, l’avènement de YouTube et des sites de partage de vidéos dès 2005 marqua un grand changement dans la production mais aussi dans la consommation de clips vidéo. Nous verrons que cela entraina de nouveaux usages pour les utilisateurs pour les artistes qui s’emparèrent des contenus disponibles pour les détourner. / With the advent of music channels in the early 1980s, the music industry invested heavily in the production of music videos. To meet the high demand of music video, many filmmakers from television industry, advertising, cinema put their talents in this new TV format service. It is in this context that different visual artists were also requested and proposed their services to direct different music videos. In the early 1980s, the clip appeared some artists as the ideal format to distribute their images on television. It allowed them by its broadcast on television to reach a wider audience than museums or art galleries. For others, the clip was an experimental format, but also a potential extension to their artistic practice. So this study will analyze some of the production of certain visuals artists often ignored by art historians and critics. Through their artworks, some artists built instead a critique and questioned the format while challenging pop culture broadcast on television. If the creation of MTV was a funding event in the history of the music video, twenty-five years later, the advent of YouTube and in 2005 marked a big change in production but also in consumption of music videos. We will see that it led to new uses for Internet users and for artists who took possession available content to divert it.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Leitura teológica do seriado House M. D., tomando o personagem principal como figura estética que simboliza o status existencial humano da época presente e as narrativas da produção como mitologias existenciais contemporâneas. Afirma-se o desencantamento como possibilidade teológica de ressignificação da identidade humana, a partir da discussão a respeito da condição humana, das experiências de fé retratadas no seriado e da perspectiva de resgate de sentido existencial diante da realidade da morte. No primeiro capítulo apresenta-se a série e seus personagens, enfatizando-se a figura do protagonista Gregory House. No segundo capítulo elabora-se um quadro referencial teológico a partir de determinados pontos da produção intelectual de Paul Tillich e Jürgen Moltmann. No terceiro capítulo discute-se a condição humana, enfatinzando-se a experiência da alteridade como superação de uma ética deontológica. No quarto capítulo reflete-se sobre experiências de fé retratadas no seriado, enfatizando-se a dimensão religiosa como abertura a um horizonte absoluto de ressignificação da vida. No quinto capítulo, através de uma análise narrativa do episódio final do seriado, apresenta-se a experiência do morrer como desencantamento final e possibilidade de sentido para a conclusão da vida. / This is a theological reading of the House M.D. serial, using the main character as an esthetic figure which symbolizes the human existential status of current times and the narratives of the production as contemporary existential mythologies. Disenchantment is affirmed as a theological possibility of re-signifying the human identity based on the discussion about the human condition, the faith experiences pictured in the serial and the perspective of the recovery of existential meaning faced with the reality of death. In the first chapter the serial and its characters are presented, emphasizing the protagonist, Gregory House. In the second chapter a theological referential framework is elaborated based on certain points of the intellectual production of Paul Tillich and Jürgen Moltmann. In the third chapter the human condition is discussed emphasizing the experience of otherness as an overcoming of deontological ethics. In the fourth chapter the religious dimension is emphasized as an opening to an absolute horizon of re-signification of life. In the fifth chapter, through a narrative analysis of the final episode of the serial, the experience of dying is presented as a final disenchantment and a possibility of meaning for lifes end.

The thesis focuses on how literary texts of the so called "great tradition" can become parts of contemporary pop culture based on intertextual connections (a wide variety of them from explicit quotation to loose inspiration by the original) with the historical canonical texts, and especially on the changes occurring during such actualization in the narrative categories (storyline, space, time, characters, narrator). The theoretical part defines the concept of adaptation and related terms of intertextuality and intermediality and specifies relevant narrative categories. The analytic part focuses on two literary "giants", William Shakespeare to represent male literary oeuvre and Jane Austen as a representative of female writers' tradition, to show particular narrative modifications by comparing the original versions with their modernized adaptations that function as their pop cultural counterparts.

Submitted by Valquíria Barbieri (kikibarbi@hotmail.com) on 2017-11-08T20:56:59Z No. of bitstreams: 1 DISS_2012_Tatiane Hirata.pdf: 4994391 bytes, checksum: e488576c3f57263ac5e4845b7091553c (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2017-12-15T13:44:11Z (GMT) No. of bitstreams: 1 DISS_2012_Tatiane Hirata.pdf: 4994391 bytes, checksum: e488576c3f57263ac5e4845b7091553c (MD5) / Made available in DSpace on 2017-12-15T13:44:11Z (GMT). No. of bitstreams: 1 DISS_2012_Tatiane Hirata.pdf: 4994391 bytes, checksum: e488576c3f57263ac5e4845b7091553c (MD5) Previous issue date: 2012-02-29 / CAPES / A união entre o vitalismo do cotidiano e as práticas colaborativas da cibercultura deu origem à prática midiática do scanlation, empreendida pelos fãs de mangás, as histórias em quadrinhos japonesas. O scanlation, junção dos termos em inglês scan e translation, é o processo de digitalizar mangás impressos com o intuito de traduzi-los do japonês para outro idioma, para então distribui-los gratuitamente através da internet, sem a permissão dos detentores de direitos autorais. Dispostos a fugir da subjetividade capitalista, os participantes dessa atividade buscam subverter o modo tradicional do consumo de mangá. Reunidos sob a prática do scanlation os fãs espalhados pelo mundo reinventam os processos de re-produção, circulação e consumo de mangá neste período marcado pelos processos de convergência midiática e demandas por formas sempre renovadas de rituais de sociabilidade no anonimato urbano. / The union between vitalism of daily life and collaborative practices of ciberculture gave rise to the media practice of scanlation, an activity undertaken by fans of manga, the Japanese comics. Scanlation, contraction of words scan and translation, is the process of scanning printed mangas in order to translate them from Japanese into another language, and distributing them free of charge through internet without permission from the copyright holders. Willing to escape from capitalist subjectivity scanlation members try to subvert the traditional way of consuming manga. Gathered under the media practice of scanlation, fans around the world reinvent the process of reproduction, circulation and manga consuming in this period characterized by the process of mediatic convergence and requests for ever renewed form of rituals of sociability in urban anonymity.

Submitted by Viviane Lima da Cunha (viviane@biblioteca.ufpb.br) on 2016-09-12T12:57:20Z No. of bitstreams: 1 arquivototal.pdf: 6455376 bytes, checksum: e58e4713480939ca44809d52d4633bea (MD5) / Made available in DSpace on 2016-09-12T12:57:20Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 6455376 bytes, checksum: e58e4713480939ca44809d52d4633bea (MD5) Previous issue date: 2015-09-04 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research aims to focus on the manifestations and social experiences around the young participants of Studio Made In PB, an existing collective in the city of João Pessoa (PB), since 1998, responsible for product, conduct and disseminate activities related to the pop culture in the city. As a term given by the participants of the research, pop culture propels collective and individual actions, revealing authentic and diverse coping mechanisms by such social actors that by appropriating themselves of the purchase of these goods reveal throughout the city lifestyles, identity constructions and group maintenance. By refining the look on the group's activities, the approach followed an ethnographic perspective having as the methodology the actions lived in the field’s work, interviews, informal conversations, virtual community interactions (Facebook) and imagistic registers with the members of the Studio Made In PB. By understanding the consume as a creator social practice, this research reflected on the consumer's role as active - and fandom, teacher, student, creator, staff - exercising strategic positioning on goods choices that open inventive possibilities, maintaining its own social dynamics. Emphasizing the Studio Made In PB as part of the manifestations of youth culture in João Pessoa, the analysis of this research allowed to know the recognition codes construction processes with other social groups in one of the most important activities of the group before their peers: the event "HQPB: comics and pop culture in Paraíba", that took place in November 2014. Above all, ethnographic research, that lasted almost 18 months, sought to understand these actors within the context of postmodern condition, in which they, even involved in complex games of signs in the ways of consumption, legitimize its provisions among themselves and among their peers, consolidating or reinforcing the bonding around the pop culture / Esta pesquisa tem como objetivo abordar as manifestações e experiências sociais em torno dos jovens participantes do Studio Made In PB, coletivo existente na cidade de João Pessoa (PB), desde o ano de 1998, responsável por produzir, realizar e divulgar atividades voltadas à cultura pop na cidade. Sendo um termo dado pelos pesquisáveis, a cultura pop torna-se propulsora de ações coletivas e individuais, revelando formas de lidar autênticas e diferenciadas por estes atores sociais que ao se apropriarem do consumo destes bens, revelam nos espaços da cidade estilos de vida, construções identitárias e manutenções de grupo. Ao refinar o olhar sobre as atividades do grupo, a abordagem seguiu uma perspectiva etnográfica tendo como metodologia as ações vividas em trabalho de campo, entrevistas, conversas informais, interações em comunidade virtual (Facebook) e registros imagéticos junto aos integrantes do Studio Made In PB. Ao compreender o consumo como uma prática social criadora, a pesquisa refletiu sobre o papel do consumidor como ativo – sendo fandom, professor, aluno, idealizador, staff – exercendo posicionamentos estratégicos diante de escolhas de bens que abrem possibilidades inventivas, mantendo dinâmicas sociais próprias. Enfatizando o Studio Made In PB como parte das manifestações das culturas juvenis em João Pessoa, a análise desta pesquisa possibilitou conhecer os processos de construção de códigos de reconhecimento junto a outros grupos sociais em uma das atividades mais importantes do grupo perante seus pares: o evento “HQPB: quadrinhos e cultura pop na Paraíba”, ocorrido entre o mês de Novembro de 2014. Sobretudo, a pesquisa etnográfica, com duração de quase 18 meses, buscou entender estes atores dentro do contexto da condição pós-moderna, em que estes, mesmos envolvidos em complexos jogos de signos, pelas vias do consumo, legitimam suas disposições entre si e entre os pares, consolidando ou reforçando a manutenção de vínculos em torno da chamada cultura pop.

O presente trabalho investiga a obra de Pedro Almodóvar Caballero, cineasta espanhol; mostrando que sua principal marca autoral é trabalhar com elementos da Cultura Pop, fundamentalmente a citação, pastiche e a paródia; mesclados com sua experiência pessoal, da infância em La Mancha, e da busca pela liberdade na Madri, de La Movida, do final do franquismo e da transição para a democracia. Usando a teoria da paródia, como fundamentação teórica, demonstram-se como os filmes de Almodóvar dialogam com textos fílmicos os mais variados, incorporando-os à sua narrativa e imprimindo nela uma marca original e internacionalmente reconhecível. Traça-se uma filmografia crítica da recepção de seus filmes, no contexto em que surgiram no cenário da cultura marginal underground dos anos 1970, e seu pleno desenvolvimento e maturidade no circuito comercial, a partir da década de 80. Centrando-se a análise em Todo sobre mi madre, demonstra-se o nível de diálogo estabelecido com a obra de John Cassavetes, Federico Fellini e na retomada de sua própria obra, como fonte de citação, como o diálogo estabelecido entre La flor de mi secreto/Todo sobre mi madre. / This study carries out research into the work of Pedro Almodóvar Caballero. The great spanish director has, like autor mark, working with icons of Pop Culture, essentially quoting and parody; mixing with his own childhood personal experience, in La Mancha, and the freedom conquered within the Madri of La Movida; post-franquism period of transition throw democracy. Based on the parody theory, this work shows like the movies of Almodóvar talk/exchange subjects with others movie images of diferent kind, getting them incorporated on its narrative, providing his movies of an orginal and internacional hallmark. It sets a critical filmografy of how was the reception of his films, within de underground culture they had born, in the ´70, and its total development and maturity on the commercial circuit of the earlier ´80. The central point of the analysis is the movie All about my mother, fixing the level of the dialogue established with John Cassavetes` Opening night and some characters of Federico Fellini, like Cabiria and Gradisca; and so on, the recycle of the own Almodovar`s previous works, like source of quote, like the exchange made between The flower of my secret and All about my mother.

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-01-17T18:25:46Z No. of bitstreams: 1 marcoscaetanoteixeira.pdf: 6702751 bytes, checksum: 0e32e195643676e30b4b3b8a183ba0ff (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-01-23T14:16:33Z (GMT) No. of bitstreams: 1 marcoscaetanoteixeira.pdf: 6702751 bytes, checksum: 0e32e195643676e30b4b3b8a183ba0ff (MD5) / Made available in DSpace on 2018-01-23T14:16:33Z (GMT). No. of bitstreams: 1 marcoscaetanoteixeira.pdf: 6702751 bytes, checksum: 0e32e195643676e30b4b3b8a183ba0ff (MD5) Previous issue date: 2017-09-28 / A pesquisa aqui apresentada tem como objetivo a análise do mangá Mushishi, de Yuki Urushibara (1999-2008), no que se refere à tradição e a contemporaneidade enquanto representação de uma história e de um povo. Para chegar a tais objetivos, um levantamento histórico baseado na evolução do Japão pós-guerra e sua conquista mundial através do entretenimento pela cultura pop inicia o pensamento, tendo por base do contexto de contemporaneidade de Agamben (2009) seguido, posteriormente, por uma análise comparativa entre os quadrinhos ocidentais e os mangás japoneses, visando estabelecer uma base que mostre a troca de influências entre ambos, o que também leva a ilustrar as questões referentes ao mercado e aos princípios de aceitação de mídia pelo consumidor. A análise no que se refere aos pontos de identidade e lugar do ser social é feita a partir das teorias de Nietzche (1983-2011) e Rolnik (1993), os quais colocam em questão o ser humano enquanto agente social e ator de seu próprio mundo, bem como a aplicação dos conceitos de catarse e reconhecimento de si de Aristóteles (2008), o que, após aplicado à obra em questão, revela como os mangás, exemplificados por Mushishi, podem se mostrar retratos fiéis de um povo ou de uma época. / The research presented here aims to analyze the manga Mushishi, by Yuki Urushibara (1999-2008), in regard to tradition and contemporaneity as a representation of a history and a people. To reach such goals, a historical survey based on the evolution of postwar Japan and its worldwide conquest through pop culture entertainment initiates thought, based on the contemporaneous context of Agamben (2009) followed later by an analysis comparative analysis between western comics and Japanese manga, in order to establish a basis for the exchange of influences between the two, which also leads to illustrate market issues and the principles of consumer acceptance of media. The analysis regarding the points of identity and place of the social being is made from the theories of Nietzche (1983-2011) and Rolnik (1993), which put in question the human being as social agent and actor of his own world, as well as the application of the concepts of catharsis and self-recognition of Aristotle (2008), which, after applied to the work in question, reveals how the manga, exemplified by Mushishi, can be faithful portraits of a people or a time.

Syftet med uppsatsen är att undersöka hur skogen kan användas för att gestalta en bild avidentiteten. För att göra det analyseras musikvideor av Fever Ray och Iamamiwhoami.Gestaltningen består av två noveller. I dessa undersöks relationen till skogen på ettmer individuellt plan. Metoden är mer sökande än teoretiserande. Uppsatsen analyserarmusikvideor ur ett genusperspektiv, som bilder och metaforer. Teoretiker som används ärbland annat Jean Baudrillard, Timothy Morton och Judith Butler. Från deras teorier undersöksvilka värderingar och antaganden som kan sägas ligga till grund för representationen avidentiteten och skogen. Resultatet är bilden av en värld som är splittrad och ovillig att kommatill konkreta ståndpunkter. Å ena sidan visar musikvideorna individer som arbetar medkulturellt betingade bilder av genus och skogen och försöker göra dem till sina egna. Å andrasidan syns en vilja att röra sig bort från dem. Likaså porträtterar gestaltningen personer somkämpar för att komma tillrätta med sin plats i den givna ordningen men aldrig riktigt lyckas. / The purpose of this essay is to investigate how the forest can be used to mirror the identity. Indoing so, music videos by Fever Ray and Iamamiwhoami are being analyzed. The portrayalconsists of two short stories. In these, the relation to the forest is investigated on a moreindividual level. The method is more searching than theorizing. The essay analyzes musicvideos, with a gender perspective, as images and metaphors. Theorists used are amongothers Jean Baudrillard, Timothy Morton and Judith Butler. From their theories the thesisinvestigates the values and assumptions that can be said to constitute the representation of theforest and the identity in the videos. The result is the image of a fragmented world, unwillingto come to concrete conclusions. On one hand the music videos show individuals who workswith the overtaking of given cultural images of the forest and gender. On the other hand a willto reject the same images can be seen. Likewise, the portrayal shows individuals who struggleto come to terms with their place in the given order but never really succeeds.

Captain America and Iron Man are both iconic American heroes, representing different American values. Captain America was created during the Golden Age of comics and represents a longing for the past, while Iron Man was created at the height of the Cold War and looks forward to a new America. This paper will first establish the historical and cultural relationship between comic books and propaganda, beginning with the first appearance of Superman. It will pay special attention to the similarities and differences of Captain America and Iron Man, focusing on their representation of American values over time, and discuss how that aspect of the characters affects their ongoing titles today.

O trabalho é um estudo sobre processos cênicos que partiram de obras da cultura pop, ocorridos entre os anos de 2016 a 2017 na cidade de São Paulo, nos quais o autor da pesquisa esteve presente. O intuito foi o de pensar pedagogicamente o uso de histórias em quadrinhos, videoclipes e canções como materiais de criação cênica com jovens e adolescentes. O desenvolvimento e observação destes processos, somado à pesquisa de teóricos que se debruçaram sobre os temas cultura pop e indústria cultural (como Teixeira Coelho, Douglas Kellner, Umberto Eco, entre outros) trouxeram à tona reflexões sobre o conceito de pop, sua apropriação de temas atuais - principalmente os que dizem respeito a movimentos sociais - e a sua presença dentro de um público jovem. Essas reflexões são aqui chamadas de \"diálogos\", nos quais a busca de uma relação com a cultura pop não passa por um olhar pejorativo ou maniqueísta. A trajetória trouxe como frutos, entre novas reflexões, a criação de dois espetáculos: - Tebaida(2017), uma transposição da linguagem dos quadrinhos para a cena , oriunda de um processo sob minha orientação, ocorrido no Programa Vocacional da Prefeitura de São Paulo; - PLAYLIST 43:04 (2018), uma coreografia de dança contemporânea, ganhadora do 22º. Festival da Cultura Inglesa, sobre a influência da cultura pop no cotidiano dos jovens urbanos. / This paper is a study of scenic processes which came about from projects of pop culture that took place between 2016 and 2017 in the city of São Paulo, in which the researcher was a participant. The intention was to think pedagogically about the use of comics, video clips and pop songs as materials for scenic creation with young people and adolescents. The development and observation of these processes, together with the research of theorists who dealt with the themes of pop culture and cultural industry (such as Teixeira Coelho, Douglas Kellner, Umberto Eco, among others) brought to the fore reflections on the concept of pop, current issues - especially those concerning social movements - and their presence within a young audience. These reflections in this paper will be referred to as \"dialogues\", in which the search for a relationship with pop culture does not pass through a pejorative or Manichean point of view. The trajectory brought as fruits, among new reflections, the creation of two plays: - Tebaida (2017), a transposition of the language of comics to the scene, coming from a process with my guidance, wich took place in Programa Vocacional of the City of São Paulo; - PLAYLIST 43:04 (2018), a contemporary dance choreography, winner of the 22nd. Cultura Inglesa Festival, on the influence of pop culture on the daily life of urban youth.