Made available in DSpace on 2014-07-29T15:05:33Z (GMT). No. of bitstreams: 1 dissertacao Pablo.pdf: 7283315 bytes, checksum: 0998ffc87cbb8b188779565777c14f62 (MD5) Previous issue date: 2011-04-28 / This study explores and discusses how students from the teacher training program of the Visual Arts School of the Federal University of Goiás relate to the idea of cultural difference taking as reference the video clip Birdman, from Coca-cola. The study articulates three focus: 1) what students understand as cultural difference the phenomenon and the social actors with whom they identify this theme; 2) what values cultural difference has for their lives and for society; 3) what motivates them to discuss - or not - questions about cultural difference based on publicity images and how they would do it. The research promotes a discussion crossing the student s point of views, my own positions and the points of view of various authors (from cultural studies and visual culture education) building an analyses about repertoires, interests, conflicts and ambiguities that orientate such positionings. These focus were achieved through the choice of a qualitative approach guided by the expectation to work deeply the subjects perceptions and interpretations. The methodological procedures chosen to gather the data were individual and focal open interviews. Six students of the program participated on the investigation: two attending the fourth semester of the program, two attending the sixth and two attending the eighth. Using an advertising VT to discuss and analyze cultural difference, this study pretends to contribute for a critical visual culture education. / Esta dissertação explora e discute como alunos da Licenciatura em Arte Visuais da Faculdade de Artes Visuais da Universidade Federal de Goiás (FAV/UFG) se relacionam com a ideia de diferença cultural a partir do VT publicitário Birdman, da Coca-cola. O objetivo da pesquisa se articula através dos seguintes focos: 1) o que entendem por diferença cultural - quais os fenômenos e/ou atores sociais com os quais identificam este tema; 2) que valor(es) entendem que a diferença cultural tem para suas vidas e para a sociedade; 3) que motivos os levam a discutir ou não questões de diferença cultural a partir de imagens de publicidade e como fariam isso. Mais do que coletar informações dos colaboradores, a pesquisa promove uma discussão que entrecruza minhas posições sobre o tema e os pontos de vista de autores (dos estudos culturais e da educação da cultura visual) construindo uma reflexão acerca dos repertórios, interesses, conflitos e ambiguidades que pautam tais posicionamentos. Para que tais intenções fossem concretizadas, foram necessárias algumas decisões metodológicas. A escolha da abordagem qualitativa é consequência desta intenção de trabalhar com percepções e interpretações dos colaboradores e pensá-las em profundidade. Os procedimentos escolhidos para coleta de dados foram entrevistas, tanto individual quanto em grupo. Seis alunos participaram da pesquisa, sendo dois do quarto período, dois do sexto e dois do oitavo. Utilizando uma imagem publicitária para discutir o tema diferença cultural, esta dissertação almeja contribuir com a educação da cultura visual.

Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2016-03-21T21:36:39Z No. of bitstreams: 2 Tese - Pablo Petit Passos Sérvio - 2015.pdf: 6644320 bytes, checksum: 97ed5d5d51b286b798c5c675ff5a5cc6 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-03-22T14:25:11Z (GMT) No. of bitstreams: 2 Tese - Pablo Petit Passos Sérvio - 2015.pdf: 6644320 bytes, checksum: 97ed5d5d51b286b798c5c675ff5a5cc6 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-03-22T14:25:11Z (GMT). No. of bitstreams: 2 Tese - Pablo Petit Passos Sérvio - 2015.pdf: 6644320 bytes, checksum: 97ed5d5d51b286b798c5c675ff5a5cc6 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-03-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This thesis investigates the way visual art teachers pedagogically relate to the use of advertising images. Nine teachers in Goiania's municipal system participated as collaborators in the research. The methodological procedures used were observations, field notes and individual interviews. Based on Cultural Studies and principles of Visual Culture Education, this study adopts an epistemological approach that favors poststructuralist assumptions. It assumes that advertising images are relevant for a Visual Culture Education since they contribute to built and at the same time legitimize meanings that guide ways of perceiving, being and having dialogues with the world. The research opposes the prescription of content for the reason that it characterizes school submission to the university and indicate the need to identify and discuss the practices and aspirations that these teachers engage in their day-today teaching. Visual Culture Education highlights that today the visual arts teachers' challenge is not just work with images apart from those that are culturally considered art, but, especially, decide how to use them pedagogically. The research identifies, analyses, and discusses aspects of these teachers discourses and practices being able to produce questions for a Visual Culture Education. / Esta tese investiga o modo como professores de artes visuais se relacionam pedagogicamente com imagens de publicidade. Nove professores da Rede Municipal de Goiânia participaram como colaboradores da pesquisa. Observações, anotações de campo e entrevistas individuais foram os procedimentos metodológicos utilizados. Fundamentada nos Estudos Culturais e nos princípios da Educação da Cultura Visual, esta pesquisa assume posição epistemológica que privilegia pressupostos pós-estruturalistas. Este trabalho parte da convicção de que imagens de publicidade são relevantes para uma Educação da Cultura Visual porque contribuem para construir, ao mesmo tempo em que legitimam, significados que orientam modos de perceber, estar e dialogar com o mundo. Opõe-se à prescrição de conteúdos, pois tal atitude caracteriza uma submissão das escolas à universidade, apontando a necessidade de identificar e discutir as práticas e aspirações pedagógicas que estes professores perseguem no seu cotidiano docente. A Educação da Cultura Visual destaca que hoje o desafio dos professores de artes visuais não está apenas em trabalhar com imagens além daquelas socialmente legitimadas como arte, mas, especialmente, o modo de abordá-las pedagogicamente. A pesquisa identifica, analisa e discute aspectos de discursos e práticas desses professores produzindo questionamentos para uma Educação da Cultura Visual.

Syftet med denna studie är att utveckla en djupare förståelse för inställningen till reklambilder hos svenska kvinnor i generation Z. Vi kommer undersöka vad de anser är viktigt att inkludera och hur de vill bli representerade när det gäller modeller som bär kläder på reklambilder på bildplattformen Instagram. Det empiriska materialet består av tolv djupgående semistrukturerade intervjuer med kvinnor födda mellan åren 1997-2000. Som underlag i intervjuerna använder studien visuella moodboards (fotokollage) med reklambilder från sex olika varumärken. Syftet med moodboards var att möjliggöra bättre diskussionsunderlag och sedan kunna analysera varför respondenterna rangordnade respektive moodboard på plats 1, 3 och 6. Resultatet visade att respondenterna främst ville representeras genom igenkänningsfaktorer såsom kroppsform, etnicitet och personlig stil. De ville även representeras som självsäkra och med bred mångfald, för att spegla hur samhället faktiskt ser ut. Respondenterna ansåg att mångfald var viktigt där de ville att reklambilder på Instagram skulle inkludera flera olika attribut. De viktigaste attributen var först och främst olika kroppstyper och etniciteter, för att öka igenkänningsfaktorn. Utöver kroppstyp och etnicitet ansåg de även att det var viktigt att inkludera flera grupper som ansågs underrepresenterade, såsom äldre, människor med funktionsvariation och transpersoner. Ytterligare attribut som ett fåtal respondenter påpekade att de ville inkludera i reklambilder var aknebenägen hud och glasögon, för att höja igenkänningsfaktorn. Avslutningvis vill respondenterna att reklambilder på Instagram ska framhäva och inkludera attribut som människor vanligtvis vill dölja och därför gå åt det mer naturliga hållet. Detta ansågs som rätt i tiden och dit samhället förhoppningsvis är på väg. / The purpose of this study is to develop a deeper understanding of the attitude towards advertising images among Swedish women in generation Z. We will investigate what they consider important to include and how they want to be represented in terms of models who wear clothes in advertising images on the social media platform Instagram. The empirical material consists of twelve in-depth semi-structured interviews with women born between 1997 to 2000. As a basis for the interviews, the study uses visual moodboards (photo collage) with advertising images from six different brands. The purpose of the moodboards was to enable better discussion material and then be able to analyze why the respondents chose the respective moodboard in place 1, 3 and 6. The results show that the respondents mainly wanted to be represented through recognition factors such as body shapes, ethnicity and personal style. They also wanted to be represented as self confident and with a wide diversity, to reflect what society actually looks like. Respondents believed that diversity was important and wanted advertising images on Instagram to include several different attributes. The most important attributes were first and foremost different body types and ethnicities, to increase the recognition factor. In addition to body type and ethnicity, they also felt that it was important to include several different groups that were considered underrepresented, such as the elderly, people with disabilities and trans people. Additional attributes that a few respondents indicated they wanted to include in advertising images were acne-prone skin and glasses, due to increasing the recognition factor. Lastely, the respondents wanted advertising images on Instagram to show and include attributes that people usually want to hide and therefore go in the more natural direction. This was considered the right time and where society is hopefully heading.

Varje dag refererar och associerar individer till reklambilder i sin vardag (Fagerström och Nilson, 2008). Syftet med examensarbetet är att undersöka hur Gina Tricot konstruerar en karriärkvinna i sin reklamkampanj Power suits starring Bianca. Vi undersöker reklamkampanjen utifrån två huvudteorier: representationsteorin av Stuart Hall (2013) och genusteori utifrån Melin (2015) och Gill (2009). Genom en semiotisk textanalys undersöker vi Gina Tricots reklamkampanj Power suits starring Bianca. Vi fann att Gina Tricot konstruerar reklamkampanjen på ett ohälsosamt och skadligt sätt genom att marknadsföra ett ätstört, objektifierande och sexualiserande ideal för unga kvinnor. Studien kommer även fram till att kritiken mot Gina Tricot inte var tillräcklig eftersom företaget inte bara marknadsfört ett sjukligt ÄS ideal utan även bidragit till att upprätthålla patriarkatet och att objektifiera kvinnor på arbetsplatser. / Individuals refer to and observe advertising images in their everyday lives (Fagerström and Nilson 2008). The aim of the thesis is to investigate how Gina Tricot has constructed a career woman in their advertising campaign Power suits starring Bianca. We examine the advertising campaign from two main theories: the representation theory by Stuart Hall (2013) and from two main gender theories by Melin (2015) and Gill (2009). By applying a semiotic text analysis to the thesis, we aim to find the elements that Gina Tricot's advertising campaign is built upon. We found that Gina Tricot constructs a career woman in an unhealthy and harmful way by promoting eating disorders and by objectifying and sexualizing the female model in the campaign Power suits starring Bianca. This also concludes that the criticism aimed against the company wasn’t enough. Not only did the company promote this unhealthy eating disordered ideal, they also contributed to maintaining the patriarchy and objectifying women in their commercial campaign.

The apparent ‘invisibility’, or lack of representation of black men in contemporary mainstream gay visual cultures is the primary critical issue that the study engages with. The study presupposes that the frequency with which white men appear in popular representations of ‘gayness’ prevails over that of black men. In order to substantiate this assumption, this study analyses selected issues of the South African queer men’s lifestyle magazine Gay Pages. Gay visual cultures appear to simultaneously conflate ‘whiteness’ and normative homosexuality, while marginalising black gay men by means of positioning ‘blackness’ and ‘gayness’ as irreconcilable identity constructs. Images of the gay male ‘community’ disseminated by queer and mainstream media constantly offer stereotypical, distorted and race-biased notions of gay men, which ingrain the exclusive cultural equation of white men and ideal homomasculinity. The disclosure of racist and selectively homophobic ideologies, which seem to inform gay visual representation, is therefore the chief concern of the dissertation. By investigating selected images that ostensibly embody the complex cultural relationship between race and homomasculinity, the study addresses the following forms of visual representation: colonial representations of ‘blackness’; so-called gay ‘colonial’ representations; black self-representation; gay black self-representation; and contemporary representations of homomasculinity in advertisements and queer men’s lifestyle magazines such as Gay Pages. A genealogy of images is explored in order to illustrate the ways in which ‘blackness’ and ‘whiteness’ are respectively positioned as contradictory to and synonymous with dominant visual representations of homomasculinity in gay visual cultures. The hegemony of ‘whiteness’ in images sourced from colonial systems of representation, queer male art and commercial publicity, for example, are thus critiqued in order to address the various race-based prejudices that appear to be symptomatic of contemporary gay visual cultures. Copyright / Dissertation (MA)--University of Pretoria, 2009. / Visual Arts / unrestricted