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[pt] A internet permite reunir – simultaneamente e no mesmo ciberespaço informativo – os jornalistas, os leitores, as fontes de informação e as instâncias organizadas da sociedade. Neste ambiente, em que todos têm voz, o papel do jornalista é posto em xeque. Frente a uma crise de identidade jamais enfrentada, o jornalista on-line vem reconfigurando suas funções. Esta pesquisa analisou as rotinas produtivas nos sites de O Globo e do Extra para verificar como a web adicionou papéis a estes profissionais. O ponto de partida foi o estudo pioneiro sobre a função do jornalista na seleção das notícias realizado por David White, em 1950, para verificar a pertinência do papel de gatekeeper no jornalismo on-line. O conceito gatewatcher, que define o jornalista on-line como um observador à procura de conteúdos do interesse de seu público, também foi aplicado. Na sequência, a antiga teoria que relaciona o jornalista a um mediador foi revista, à luz da internet. Observamos que, assim como o modelo de comunicação horizontal da internet traz uma nova camada de informações ao jornalismo on-line, ele também superpõe camadas funcionais aos jornalistas. A produção noticiosa proveniente de canais interativos, como blogs e enquetes, é adicionada aos processos tradicionais de apuração, edição e distribuição da notícia que sempre caracterizaram o jornalismo off-line. Entretanto, a crescente participação do público impõem novas funções aos profissionais na redação. Sustentamos que o jornalista on-line está firmando sua identidade em um novo alicerce: o de mobilizador da audiência, atuando para engajar seu público em torno de diversas causas. / [en] The internet enables the assembling of – concurrently and in the same informative cyberspace – journalists, readers, information sources and society organized agencies. In this scenario, in which everybody has a say, the journalist role is called into question. In view of an identity crisis never seen before, the on-line journalist has been resetting his/her roles. The present research has analysed the productive routines in O Globo and Extra web sites to see how the internet added roles to these professionals. The starting point was David White s pioneering study about the journalist role in selecting news, in 1950, in which he ascertains the relevance of the gatekeeper s role in the on-line journalism. The gatewatcher concept, which defines the journalist on-line as an observer searching for content that may be of his audience interest, has also been applied. Following, the old theory which relates the journalist to a mediator has been reviewed, vis-à-vis the internet. We observe that, as the horizontal communication model of the internet brings a new layer of information to the on-line journalism, it also superimposes functional layers to the journalists. The news production from interactive channels, like blogs and polls, is added to the traditional processes of verification, editing and distribution of news that always characterized off-line journalism. However, increasing public participation imposes new roles for professionals in the newsrooms. It was possible to see how the on-line journalist is establishing his identity based on a new pillar: as an audience mobilizer, seeking the public engagement to support certain causes.

The aim of this study is to look at how organisations’ discourse is tailored to reach and persuade the donors, how it is constructed in terms of representation and power, and if there has been a change on representation of aid over the last decade. The study is conducted from texts and visuals from the Anglo-Saxon Save the Children Organization and the French Apprentis d’Auteuil Catholic Foundation to evaluate cultural points in relation to discourse constructions; most of the selected Material has been extracted from respective website at the same period of time (2003, 2013, and 2014) to make the comparison fair. The theoretical framework includes communication for development, post-colonialism, social theology, representation, discourse and power; the methodology is related to discourse analysis and visual analysis. The deconstruction of the texts has revealed that the traditional way of representing the disadvantaged as the voiceless ‘Others’ and the hegemonic approach, in the name of globalisation, are still strongly present as it seems to be a trigger for the act of donation. Nevertheless, according to studies, a new wind of social responsibility instead of Christian duty is emerging. A gap between the traditional representation of aid and actual modern actions implemented by organisations has been noticed mostly on the French national level. The recommendation to the organisations would be to compose a new discourse in their communication, placing the helper and the helped on a balanced representation, giving a common ‘human’ voice, promoting participation and insuring sustainable social change, towards a real changing of mentalities of the audience. This communication should also be homogenised between ‘old’ and ‘new’ media as well as speeches held by the organisations’ staff.

My dissertation examines how early modern metatheater enabled the Renaissance stage and its original audience to develop a complex and symbiotic relationship. Metatheater--by which I mean a particular mode of theatre, in which actors, playwrights, dramatic characters and/or (in particular) audiences express or share a perception of drama as a fictional and theatrical construct--pervaded Renaissance drama, not by simple happenstance but arising almost inevitably from the complex context within which it functioned. The early modern stage was a particularly conflicted forum, which monarchs and playwrights, town fathers and actors, censors and audiences, impresarios and anti-theatricalists, all strove to influence and control. The use of the metatheatrical mode allowed playwrights and players to better navigate this difficult, sometimes dangerous, space. In particular, the development of Renaissance metatheater derived from (and, simultaneously, affected) the unique nature of its original spectators, who practiced a much more actively engaged participation in the theater than is often recognized. Performers and playwrights regularly used metatheatricality to adapt to the needs and desires of their audience, and to elicit the intellectual and emotional responses they desired. My study utilizes a historically contextualized approach that emphasizes the material conditions under which Renaissance drama arose and functioned. It begins by examining the influence of the surrounding milieu on the Renaissance stage and its spectators, especially its facilitation of the development and use of metatheater. Then, via close readings of four plays--Kyd's The Spanish Tragedy, Shakespeare's Henry V and Antony and Cleopatra, and Beaumont's The Knight of the Burning Pestle--the dissertation indicates how varied and versatile early modern metatheater was, and how it responded to and influenced the nature of its audiences. My study demonstrates the centrality of metatheater to early modern theatrical practice, delineates its pervasive influence on the stage-audience relationship in Renaissance theaters, and underlines the influence of material conditions on the creation and dissemination of Elizabethan and Jacobean drama. / English

In this dissertation I explore what binge-watching is, how it is practiced, and its relationship with contemporary identities of television and viewers. Building on the theoretical frameworks of ambivalent cultural studies, post-structural feminism, and collective memory, I examine binge-watching and binge-viewers through their mediated articulations and ritualized actions. In Chapter 2, I chronicle the history of the terms’ usages in journalism from 1948-2016 and use that data to construct a functional definition of binge-watching. In Chapter 3, I analyze advertised constructions of binge-viewers in the commercial rhetoric of media companies from 2013-2015. In Chapter 4, I explore the rituals of contemporary television viewers through semi-structured interviews to understand how and why people binge-watch. In Chapter 5, I synthesize my findings on the articulations and actions of binge-watching and provided a reflexive narrative of my subject position as a binge-viewer studying binge-watching. I conclude that binge-watching is a techno-cultural phenomenon, which, through its action and articulation, is reshaping the identities of and relationships between television and viewers. / Media & Communication

The purpose of this dissertation is to 1) critically explore how contemporary advertisers are operating within a glocal framework to diffuse product information and branding to diverse, distant consumers; and 2) to assess the implications of these processes for consumer-audiences. This project explores what approaches global advertising producers utilize to distribute product information and branding to local audiences, how these processes then impact and shape the creation and diffusion advertising campaigns, and lastly, how do those processes impact the way advertisers imagine and target their audiences. The findings of this study shed light on how advertising producers imagine their work, their role within that work, and the audiences who consume their products. This project uncovers how the processes of global information diffusion impact partnerships between “headquarters” and local offices, the way in which messages are adapted and localized for various audiences, how these messages are extolled around the world, and conversely, what messages, stories, or cultural values might be minimized or lost as a result of this current environment. This project draws upon in-depth interviews with advertising professionals and other global stakeholders, as well as on industry trade reports, press articles, and academic research. Interviews were conducted with global stakeholders at Airbnb, Campbell Soup, and Under Armour. In addition to conducting in-depth interviews as a methodological approach, this dissertation engages with a case study logic as a way of understanding the context within which global advertisers localize global brands. Furthermore, employing a multiple-case study approach allowed me to compare and contrast processes and implications between and amongst this trio of brands and various global producers, balancing the intricacies of a single organization with larger themes and trends in industrial production. Themes related to the glocal framework emerged that spoke to the complex processes that global producers must navigate in order to do work on a global scale. These themes, the Global Mindset, which considers how producers conceptualize their role and their work; the Global Story, which explores how producers tell global stories to their consumers (and to themselves); and the Global Consumer, which illuminates the undercarriage of the delicate relationship between producers and consumers; have significant implications because understanding global production processes helps to explain under what context campaigns were conceptualized, how decisions were made, and why certain campaigns are more culturally relevant to local audiences. Beyond this, these findings shed light on the nuances of global brand diffusion pointing to larger trends in glocal advertising, and more broadly, the future of advertising on a global scale. / Media & Communication