Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-06-30T14:47:44Z No. of bitstreams: 1 DIS_RENATA_PINHEIRO_SOUTO_COMPLETO.pdf: 10131660 bytes, checksum: bcf51641c8be168cdebd34941d50190e (MD5) / Made available in DSpace on 2017-06-30T14:47:44Z (GMT). No. of bitstreams: 1 DIS_RENATA_PINHEIRO_SOUTO_COMPLETO.pdf: 10131660 bytes, checksum: bcf51641c8be168cdebd34941d50190e (MD5) Previous issue date: 2017-03-28 / The objective of this study is to map and identify the changes that occurred in the market dynamics of Porto Alegre, starting with the implementation of a new regulatory framework for pay-TV, which is Law 12.845, sanctioned in 2011, seeking to provide data for an introductory study and Descriptive of the current situation of the local audiovisual and its relations with the pay-TV market. To this end, the proposed analysis model includes independent production and pay-TV taking into account the production, distribution, exhibition, institution and market aspects of the national and regional audiovisual sector. The presentation of the national dimension of the Brazilian audiovisual was understood as necessary by this research, since it is understood that the effects occurring at the national level will be a reflection of the unfoldings occurring in the local market. In order to carry out this mapping the basis of this study was based on documental, bibliographic research and exploratory interviews with local agents. For the documentary research technique, data were used by the National Film Agency and by publications of other entities of the Sector such as Anatel, ABTA, ABPITV, SIAV and Fundacine. The bibliographies used were based on the studies of Octavio Getino, Jo?o Guilherme Barone, Luiz Gonzaga de Assis De Luca, Andr? Gatti, Pedro Butcher, Tuio Becker, Val?rio Cruz Brittos, Cesar Bola?o, Nelson Hoineff and other authors who dealt with similar questions. Finally, the interviews were used with the local market agents, essencial material to understand the most varied views and opinions on the same subject: the developments of the SeAC law in the audiovisual market of Porto Alegre. / O objetivo deste estudo ? mapear e identificar as mudan?as ocorridas nas din?micas do mercado de Porto Alegre, a partir da implementa??o de um novo marco regulat?rio para a televis?o por assinatura que ? a Lei n? 12.845, sancionada em 2011, buscando fornecer dados para um estudo introdut?rio e descritivo da situa??o atual do audiovisual local e suas rela??es com o mercado de televis?o por assinatura. Para tanto, o modelo de an?lise proposto contempla a produ??o independente e a televis?o por assinatura, levando em considera??o os aspectos de produ??o, distribui??o, exibi??o, institui??o e mercado do setor audiovisual nacional e regional. A apresenta??o da dimens?o nacional do audiovisual brasileiro foi entendida como necess?ria por esta pesquisa, uma vez que se compreende que os efeitos ocorridos em ?mbito nacional ser?o reflexos dos desdobramentos ocorridos no mercado local. Para a realiza??o deste mapeamento, a base deste estudo apoiou-se em pesquisa documental, bibliogr?fica e em entrevistas explorat?rias com os agentes locais. Para a t?cnica de pesquisa documental, foram utilizados dados fornecidos pela Ag?ncia Nacional do Cinema (ANCINE) e por publica??es de outras entidades do setor como Anatel, ABTA, ABPITV, SIAV e Fundacine. J? as bibliografias utilizadas basearam-se nos estudos de Octavio Getino, Jo?o Guilherme Barone, Luiz Gonzaga de Assis De Luca, Andr? Gatti, Pedro Butcher, Tuio Becker, Val?rio Cruz Brittos, Cesar Bola?o, Nelson Hoineff e outros autores que trataram de quest?es semelhantes. Por fim, as entrevistas utilizadas na pesquisa foram realizadas com os agentes do mercado local, material essencial para apreender as mais variadas vis?es e opini?es sobre o mesmo assunto: os desdobramentos da lei de SeAC no mercado audiovisual de Porto Alegre.

Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-06-30T17:43:49Z No. of bitstreams: 1 DIS_BRUNA_ATTI_PROVENZANO_COMPLETO.pdf: 9774141 bytes, checksum: 7138c5fc0f3c806ef1bf1c89f6e1ae18 (MD5) / Made available in DSpace on 2017-06-30T17:43:49Z (GMT). No. of bitstreams: 1 DIS_BRUNA_ATTI_PROVENZANO_COMPLETO.pdf: 9774141 bytes, checksum: 7138c5fc0f3c806ef1bf1c89f6e1ae18 (MD5) Previous issue date: 2017-04-10 / In this study, our gaze turns to the relationship between the media and the death of football players. Our focus is on the journalistic coverage of the Fernand?o death. We delimit, as the essence of our analysis, articles published by Correio do Povo e Zero Hora. We limit our corpus with five piece of news from each journal. They are the first productions of informative sort produced on the idol death and published in the printed version of the newspapers. Our objective is to study the production of meaning in the coverage of the death of a sports idol as Fernand?o. We are also motivated by the search for an understanding of the way the piece of news collaborate in the construction of the athlete myth.We will proceed using the analysis method as the Paradigm of Complexity from Edgar Morin (2011), which bets not on the linearity of the way, but on the constant dialogue between different knowledge. We define the analysis technique of our corpus the Semiology from Roland Barthes (1996). By unveiling the speeches - verbal and nonverbal - we seek to find what is obtuse in the productions about the Fernand?o death. By unveiling the speeches - verbal and nonverbal - we seek to find what is obtuse in the productions about the Fernand?o death. Our analyzes will be guided by six categories a priori that we understand as pertinent for the accomplishment of this study. Our starting point is based on: Photography, with the subcategories studium and punctum; Fait divers; myth; imaginary; Stereotype and socioleto. All are based on Barthes? reflections.The study revealed similarities in the discourse produced by the two journals about the death of Fernand?o. From verbal and non-verbal elements, the material tries to clear the player?s trajectory, highlighting, above all, the moments of victory and joy, suppressing the contradictions. / Neste estudo, nosso olhar se volta para a rela??o entre a m?dia e a morte de jogadores de futebol. Nosso foco est? na cobertura jornal?stica realizada acerca da morte de Fernand?o. Delimitamos, como ess?ncia de nossa an?lise, mat?rias publicadas pelos jornais Correio do Povo e Zero Hora. Limitamos nosso corpus a cinco publica??es de cada um dos peri?dicos. S?o as primeiras produ??es de g?nero informativo produzidas sobre o falecimento do ?dolo colorado e publicadas nas vers?es impressas dos jornais. Nosso objetivo ? estudar a produ??o de sentido na cobertura da morte de um ?dolo esportivo como Fernand?o. Tamb?m nos motiva a busca pela compreens?o da forma como as mat?rias observadas colaboram na constru??o do mito do atleta. Como m?todo, nos valemos do Paradigma da Complexidade proposto por Edgar Morin (2011), que aposta n?o na linearidade do caminho, mas no di?logo constante de saberes. Definimos como t?cnica de an?lise de nosso corpus a semiologia de Roland Barthes (1996). Ao desvelar os discursos - verbais e n?o verbais - buscamos encontrar o que est? obtuso nas produ??es sobre a morte de Fernand?o. Nossas an?lises ser?o orientadas por seis categorias a priori que entendemos como pertinente para a realiza??o deste estudo. Nosso ponto de partida est? alicer?ado em: fotografia, com as subcategorias studium e punctum; fait divers; mito; imagin?rio; estere?tipo e socioleto. Todas s?o baseadas nas reflex?es de Barthes. O estudo revelou semelhan?as no discurso produzido pelos dois peri?dicos acerca da morte de Fernand?o. A partir de elementos verbais e n?o verbais, as mat?rias tratam de inocentar a trajet?ria do jogador, destacando, sobretudo, os momentos de vit?ria e alegria, suprimindo as contradi??es.

Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-06-30T17:55:06Z No. of bitstreams: 1 TES_CAMILA_GARCIA_KIELING_COMPLETO.pdf: 2798917 bytes, checksum: 9bb0d9ac61c8fb787fe5c6f6e4d11443 (MD5) / Made available in DSpace on 2017-06-30T17:55:06Z (GMT). No. of bitstreams: 1 TES_CAMILA_GARCIA_KIELING_COMPLETO.pdf: 2798917 bytes, checksum: 9bb0d9ac61c8fb787fe5c6f6e4d11443 (MD5) Previous issue date: 2017-03-30 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / This thesis presents an analysis of newspapers narratives representing Brazilian and Portuguese hegemonic presses in two moments of institutional breakdowns: the civil-military coup of 1964 in Brazil and the revolution of April 25, 1974 in Portugal. In the first case, the result was the overthrow of President Jo?o Goulart and the beginning of a military dictatorship that lasted 21 years; in the second, the fall of an autocratic regime that existed for 48 years and the beginning of a revolutionary process that consolidated the country democracy. The research corpus is O Estado de S. Paulo and Jornal do Brasil in Brazil and Di?rio de Not?cias and Rep?blica in Portugal. In our approach institutional breakdowns are events that give access ? through media narratives ? to historical consciousness for they express particular modes of grasping changes regarding the mass media centrality in the modern conception of an event, according to Nora (1979). Through the narratives of the lived and the imaginary (SILVA, 2006; 2010) we seek to unveil the object of our research through theoretical-methodological covering. Therefore we reflected upon the event category, having Nora (1979) and Sodr? (2009) as the major references. With the comparative method of Detienne (2004), our analysis approach was oriented by the Critical Narrative Analysis focused on journalism, as proposed by Motta (2013) Understanding the journalistic narrative as a product of the technology of the imaginary (SILVA, 2006) through which facts are challenged through its spectacularisation, our analysis has been conducted by comparable categories that enabled us to acquire an understanding of the imaginary dimension of the journalistic narratives used to report those episodes of institutional rupture, namely: the composition of intrigue, the characters, the media repercussions, the lexicon and the expressions of time. / Nossa tese apresenta uma an?lise das narrativas de jornais representativos das imprensas hegem?nicas brasileira e portuguesa em dois momentos de ruptura institucional: o Golpe Civil-Militar de 1964 no Brasil e a Revolu??o de 25 de Abril de 1974 em Portugal. No primeiro caso, ocorre a derrubada do presidente Jo?o Goulart e o in?cio de uma ditadura militar que durou 21 anos. No segundo, a queda de um regime autocr?tico que j? se prolongava por 48 anos e o come?o de um processo revolucion?rio que consolidou a democracia naquele pa?s. Constituem o nosso corpus de pesquisa, no Brasil, O Estado de S. Paulo e Jornal do Brasil e, em Portugal, Di?rio de Not?cias e Rep?blica. Em nossa abordagem, as rupturas institucionais s?o eventos que d?o acesso ? atrav?s das narrativas midi?ticas ? ? consci?ncia hist?rica, porque expressam modos particulares de apreens?o da mudan?a, tendo em vista a centralidade dos meios de comunica??o na concep??o contempor?nea de acontecimento, conforme observado por Nora (1979). Atrav?s do percurso das narrativas do vivido e do imagin?rio (SILVA, 2006; 2010) buscamos o desvelamento de nosso objeto de pesquisa atrav?s do recobrimento te?rico-metodol?gico. Para tanto, realizamos uma reflex?o acerca da categoria acontecimento, tendo como refer?ncias principais Nora (1979) e Sodr? (2009). Com o m?todo comparativo de Detienne (2004), nossa t?cnica de an?lise foi direcionada pela An?lise Cr?tica da Narrativa voltada ao jornalismo, tal como proposta por Motta (2013). Compreendendo a narrativa jornal?stica como produto de uma tecnologia do imagin?rio (SILVA, 2006) que interpela os fatos por meio de sua espetaculariza??o, nossa an?lise ? conduzida por categorias compar?veis, as quais nos permitiram compreender a dimens?o imagin?ria das narrativas jornal?sticas analisadas sobre os referidos epis?dios de ruptura institucional, a saber: a composi??o da intriga, as personagens, as repercuss?es midi?ticas, o l?xico e as express?es do tempo.

Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-06-30T18:37:59Z No. of bitstreams: 1 DIS_ANDRESSA_FANTONI_COMPLETO.pdf: 2590228 bytes, checksum: 46b33e4127b2fbee5a386b14743ff065 (MD5) / Made available in DSpace on 2017-06-30T18:37:59Z (GMT). No. of bitstreams: 1 DIS_ANDRESSA_FANTONI_COMPLETO.pdf: 2590228 bytes, checksum: 46b33e4127b2fbee5a386b14743ff065 (MD5) Previous issue date: 2017-03-30 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / This work aims to understand how teenagers of Porto Alegre/RS represent themselves on Instagram and how the features of the social network ? that is, the instantaneity in capturing and sharing images and the aesthetic orientation of the application ? influence on the communication of these subjects. In order to contextualize the research, it starts from the presentation of a theoretical contribution on youth, youth cyberculture practices and selfpresentation. Next, it discusses the mobile internet and mobile access devices, as well as the concept of mobile social networks. The qualitative method is used to collect data about young Instagram users, the semi-structured interview being the main one among the techniques employed. Data found on field show that adolescents elaborate images of themselves with some caution, and the instantaneous condition of Instagram is neglected by these young people. / Este trabalho objetiva compreender de que forma os adolescentes de Porto Alegre/RS representam a si mesmos no Instagram e como as propriedades da rede social ? isto ?, a instantaneidade na captura e compartilhamento de imagens e a orienta??o est?tica do aplicativo ? atuam sobre a comunica??o desses sujeitos. Para contextualizar a pesquisa, partese da apresenta??o de um aporte te?rico sobre juventude, pr?ticas ciberculturais juvenis e autorrepresenta??o. Em seguida, ? discutida a mobilidade da internet e dos dispositivos de acesso, bem como o conceito de redes sociais m?veis. O m?todo qualitativo ? adotado para coletar dados sobre jovens usu?rios do Instagram, sendo a entrevista semiestruturada a principal entre as t?cnicas empregadas. Os dados encontrados em campo mostram que os adolescentes elaboram, com algum cuidado, imagens de si mesmos, e o car?ter instant?neo do Instagram ? negligenciado por esses jovens.

Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-06-30T18:44:35Z No. of bitstreams: 1 DIS_BRUNA_VIANNA_LOPES_COMPLETO.pdf: 1745697 bytes, checksum: e6cd90dab2484114d9bdd689a529e23b (MD5) / Made available in DSpace on 2017-06-30T18:44:35Z (GMT). No. of bitstreams: 1 DIS_BRUNA_VIANNA_LOPES_COMPLETO.pdf: 1745697 bytes, checksum: e6cd90dab2484114d9bdd689a529e23b (MD5) Previous issue date: 2017-04-26 / This dissertation is about collaborative production. Our general objective is to investigate how collaborative production can develop in the television. For this, we will analyze the program Hitrecord on TV, screened by cable channel Pivot, in the United States. We selected four episodies (season 2014 and 2015) and we will use the Thompson Depth Hermeneutics method (2002). The theoretical reference is composed of the authors Wolton (1996), Marcondes Filho (1995), Orozco (2005), Ver?n (2009), L?vy (1999), Jenkins (2009), Dizard (2000) and Salaverr?a, Garc?a Avil?s and Masip 2012), Tapscott and Williams (2006), Shirky (2011) and others. The results of this research show that collaborative production depends on four factors to develop: massification of digital technologies, cognitive surplus, connectivity and organization. Within a television program, the stage of content production is the most permissive phase of the viewer's involvement. It is possible for the participant to create inputs from internal team guidelines. The viewer's contribution may be in text, image, video or audio format. The adoption of collaborative production of the viewer in vehicles is an opportunity to reduce costs and innovate in the format, but the television will have to adapt to other factors like the collective creation and the decentralization of the production. / Esta disserta??o tem como tema de pesquisa a produ??o colaborativa do espectador na TV. Nosso objetivo geral ? investigar como a produ??o colaborativa pode se desenvolver no ?mbito da televis?o. Para isso, vamos analisar o programa Hitrecord on TV, exibido pelo canal a cabo Pivot, nos Estados Unidos. Ao todo, selecionamos quatro epis?dios (temporada 2014 e 2015) e vamos utilizar o m?todo da Hermen?utica de Profundidade de Thompson (2002). O referencial te?rico ? composto pelos autores Wolton (1996), Marcondes Filho (1995), Orozco (2005), Ver?n (2009), L?vy (1999), Jenkins (2009), Dizard (2000) e Salaverr?a, Garc?a Avil?s e Masip (2012), Tapscott e Williams (2006), Shirky (2011) e outros. Os resultados desta pesquisa mostram que a produ??o colaborativa depende de quatro fatores para se desenvolver: massifica??o das tecnologias digitais, excedente cognitivo, conectividade e organiza??o. Dentro de um programa televisivo, a etapa de produ??o de conte?do ? a fase mais permissiva ao envolvimento do espectador. Nela ? poss?vel o participante criar insumos a partir de diretrizes da equipe interna. A contribui??o do espectador pode ter formato de texto, de imagem, de v?deo ou de ?udio. A ado??o da produ??o colaborativa do espectador nos ve?culos ? uma oportunidade para reduzir custos e inovar no formato, por?m a televis?o precisar? se adaptar a outros fatores como a cria??o coletiva e a descentraliza??o da produ??o.

Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-07-05T13:51:22Z No. of bitstreams: 1 DIS_CHRISTIAN_ASTIGARRAGA_ORDOQUE_COMPLETO.pdf: 3323562 bytes, checksum: ce73fa468b2cffee94fac55821912e80 (MD5) / Made available in DSpace on 2017-07-05T13:51:23Z (GMT). No. of bitstreams: 1 DIS_CHRISTIAN_ASTIGARRAGA_ORDOQUE_COMPLETO.pdf: 3323562 bytes, checksum: ce73fa468b2cffee94fac55821912e80 (MD5) Previous issue date: 2017-03-30 / Institutional book is one of the communication products most traditionally used by companies to publicize their trajectory. Throughout them the companies elaborate a narrative that differentiate them from their competitors. In our study, we sought to analyze two institutional books: The first book is called ?Petrolinho Edi??o Especial Comemorativa ao 25? Anivers?rio da Refinaria de Petr?leo Ipiranga S/A?, produced in 1962. The second book of Ipiranga has the title: ?Uma Hist?ria de Realiza??es. Empresas Petr?leo Ipiranga 60 anos?, produced in 1997. Our analysis will be made through the Hermeneutics Depth method of John B. Thompson and we will use as Technical Discursive Textual Analysis of Roque Moraes, trying to answer if the books present the memory or the history of the company. For that, the analysis of three contexts is necessary; The relationship between culture and organizational communication, the debate between History and Memory and the more current context of corporate social responsibility and historical responsibility. With our study, we intend to contribute to the analysis of the insitutional book, its process of elaboration and use as an communication tool for companies. / O livro institucional ? um dos produtos de comunica??o mais tradicionalmente utilizados pelas empresas para a divulga??o de sua trajet?ria. Atrav?s deles as empresas elaboram uma narrativa que as diferenciam de seus concorrentes. Em nosso estudo, buscamos analisar dois livros institucionais: O primeiro livro se chama ?Petrolinho Edi??o Especial Comemorativa ao 25? Anivers?rio da Refinaria de Petr?leo Ipiranga S/A?, produzido em 1962. O segundo livro da Ipiranga tem o t?tulo: ?Uma Hist?ria de Realiza??es. Empresas Petr?leo Ipiranga 60 anos?, produzido em 1997. Nossa an?lise ser? efetuada atrav?s do m?todo Hermen?utica de Profundidade de John B. Thompson e utilizaremos como t?cnica a An?lise Textual Discursiva de Roque Moraes, buscando responder se os livros apresentam a mem?ria ou a hist?ria da empresa. Para tanto, a an?lise de tr?s contextos se faz necess?ria; a rela??o entre cultura e comunica??o organizacional, o debate entre Hist?ria e Mem?ria e o contexto mais atual da responsabilidade social empresarial e da responsabilidade hist?rica. Pretendemos com nosso estudo, contribuir para a an?lise do livro institucional, seu processo de elabora??o e utiliza??o como ferramenta de comunica??o para as empresas.

Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-07-11T17:30:11Z No. of bitstreams: 1 DIS_ELISA_ROCHA_CELIA_COMPLETO.pdf: 1675032 bytes, checksum: 426faa034a169c1d3cf12f824ccca8d9 (MD5) / Made available in DSpace on 2017-07-11T17:30:11Z (GMT). No. of bitstreams: 1 DIS_ELISA_ROCHA_CELIA_COMPLETO.pdf: 1675032 bytes, checksum: 426faa034a169c1d3cf12f824ccca8d9 (MD5) Previous issue date: 2017-03-29 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / The objective of this study is to observe and understand the adequacy of the advertising film format in the midst of media convergence. We will study the change in modes of production, the adaptation of advertising to new technologies and to the new consumer, who ceases to be just a receiver and starts to play the role of content issuer and producer. Thus, it will be approached the growing creation of formats for exclusive use in social networks, even if allied to already traditional formats in the history of advertising. In this sense, the present work proposes to seek conceptualizations that make sense in the current research, such as audiovisual, storytelling, viral marketing, among others. This dissertation aimed to observe these changes in the presence of advertising in social networks, based on the case study of the campaign "Cada Momento Conta", from the Ita? bank. / O objetivo deste estudo ? observar e compreender a adequa??o do formato de filme publicit?rio em meio ? converg?ncia das m?dias. Estudaremos a mudan?a nos modos de produ??o, a adapta??o da publicidade ?s novas tecnologias e ao novo consumidor, que deixa de ser apenas um receptor e passa a assumir tamb?m o papel de emissor e produtor de conte?do. Sendo assim, ser? abordada a crescente cria??o de formatos para veicula??o exclusiva nas redes sociais, mesmo que aliadas ? formatos j? tradicionais na hist?ria da propaganda. Nesse sentido o presente trabalho prop?e buscar conceitualiza??es que fazem sentido na pesquisa em voga, como audiovisual, storytelling, marketing viral, entre outros. Essa disserta??o teve como objetivo, observar essas mudan?as da presen?a da publicidade nas redes sociais, a partir do estudo de caso da campanha ?Cada momento conta?, do banco Ita?.

Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-07-17T18:44:48Z No. of bitstreams: 1 DIS_JEFERSON_CRISTIANO_CORTES_ZAMBOM_CARDOSO_COMPLETO.pdf: 2414682 bytes, checksum: a28fa961a9801c5698c6ff6e48429406 (MD5) / Made available in DSpace on 2017-07-17T18:44:48Z (GMT). No. of bitstreams: 1 DIS_JEFERSON_CRISTIANO_CORTES_ZAMBOM_CARDOSO_COMPLETO.pdf: 2414682 bytes, checksum: a28fa961a9801c5698c6ff6e48429406 (MD5) Previous issue date: 2017-03-28 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / This dissertation analyzes the phenomenon called binge-watching and how this new way of watching television is changing the behavior of viewers who come to play roles of users, hiperviewers and multipliers. For this was done an anlytical in two stages. In the first was done an monitoring, measurement and analysis of the comments of this public on Twitter before, during and after the launch of sitcom Orange Is The New Black (OITNB), production of Netflix, in addition to posts in Brazilian official accounts (@OITNBrazil) and American (@OITNB) to check public behavior in these spaces. In the second stage was done an monitoring, measurement and analysis of the comments of this public on Twitter before, during and after an marathon simulation, in the pay television, of sitcom The Walking Dead (TWD), production of AMC, displayed by Fox, in addition to posts in Brazilian official accounts (@TWDBrasil) and American (@WalkingDead_AMC), to see what changes when the binge-watching is spontaneous, occurring in a file environment, in which one can determine when will be marathon or not, or when the binge-watching is induced, occurring in a flow environment in which the viewer can not determine when it will do the marathon, can only choose whether to follow what it is being broadcast on television or not. It was contacted that the official accounts are restricted to participation of moderators and in Brazil the public does not use the term binge-watching, but marathon, watching the series mainly on launch day, when in file, and not having a strong attachment to the simulations. To support this research were used authors as Jenkins (2009), Kinder, (1991), Cannito (2010), Bauman (2008/2009/2013), Anderson (2006), Jenkins, Green and Ford (2014), Lipovetsky and Serroy (2012), Johnson (2012), Shirky (2011), Scolari (2014), Mattos (2013), Negroponte (1995), Eco (1986), Foucault (2002), Wolton (1996) and McLuhan (1979).. The methodology used was the Depth Hermeneutics as Thompson's vision (1995), using as technique of structuring data collection Bardin's Content Analysis (2011) and the analysis of data Computer Discourse Mediated Analysis (CDMA ) Herring (2004). / Esta disserta??o analisa o fen?meno chamado binge-watching e como esse novo modo de assistir televis?o vem modificando o comportamento dos telespectadores, que passam a desempenhar pap?is de usu?rios, hipertelespectadores e multiplicadores. Para isso foi realizada uma an?lise em duas etapas. Na primeira foi feito um acompanhamento, mensura??o e an?lise dos coment?rios desse p?blico no Twitter antes, durante e ap?s o lan?amento do seriado Orange Is The New Black (OITNB), produ??o do Netflix, al?m das postagens nas contas oficiais brasileira (@OITNBrazil) e americana (@OITNB), a fim de verificar o comportamento do p?blico nesses espa?os. Numa segunda etapa foi feito um acompanhamento, mensura??o e an?lise dos coment?rios desse p?blico no Twitter antes, durante e ap?s uma simula??o de maratona, na televis?o paga, da s?rie The Walking Dead (TWD), produ??o da AMC, exibida pela Fox, al?m das postagens nas contas oficiais brasileira (@TWDBrasil) e americana (@WalkingDead_AMC), a fim de verificar o que modifica quando o binge-watching ? espont?neo, ocorrendo em um ambiente de arquivo, no qual a pessoa pode determinar quando vai maratonar ou n?o, ou quando o binge-watching ? induzido, ocorrendo em um ambiente de fluxo, no qual o telespectador n?o pode determinar quando ir? fazer a maratona, podendo apenas escolher se ir? acompanhar o que est? sendo transmitido pela televis?o ou n?o. Contatou-se que as contas oficiais ficam restritas a participa??o dos moderadores e que no Brasil o p?blico n?o utiliza o termo binge-watching, mas sim maratona, assistindo aos seriados principalmente no dia do lan?amento, quando em arquivo, e n?o tendo uma forte ades?o as simula??es. Para embasar essa pesquisa foram usados autores como Jenkins (2009), Kinder (1991), Cannito (2010), Bauman (2008/2009/2013), Anderson (2006), Jenkins, Green e Ford (2014), Lipovetsky e Serroy (2012), Johnson (2012), Shirky (2011), Scolari (2014), Mattos (2013), Negroponte (1995), Eco (1986), Foucault (2002), Wolton (1996) e McLuhan (1979). A metodologia utilizada foi a Hermen?utica de Profundidade conforme a vis?o de Thompson (1995), usando como t?cnica de estrutura??o da coleta de dados a An?lise de Conte?do de Bardin (2011) e para a an?lise dos dados a An?lise de Discurso Mediada por Computador (CDMA) de Herring (2004).

Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-07-24T19:29:55Z No. of bitstreams: 1 DIS_LUCAS_OSORIO_RIZZATTI_COMPLETO.pdf: 1631622 bytes, checksum: 194e0f3c40cdd30591726452f8229610 (MD5) / Made available in DSpace on 2017-07-24T19:29:55Z (GMT). No. of bitstreams: 1 DIS_LUCAS_OSORIO_RIZZATTI_COMPLETO.pdf: 1631622 bytes, checksum: 194e0f3c40cdd30591726452f8229610 (MD5) Previous issue date: 2017-01-06 / This research seeks understanding the role played by the imaginary technologies over the figure of the 1950 World Cup major villain. The starting point is the goalkeeper Barbosa who centralizes the imaginary of the villain. The analysis developed presents how such technologies acted in order to establish this scenario, focusing on the published editions of "Jornal dos Sports" since the decisive match involving Brazil and Uruguay. The study is based on the intepretative sociology and the imaginary technologies, including aspects towards the sports journalism, mainly the brazilian one. / Este trabalho procura uma reflex?o do papel das tecnologias do imagin?rio sobre a figura do vil?o da Copa do Mundo de 1950, disputada no Brasil. Tomamos como ponto de partida que o goleiro Barbosa centraliza o imagin?rio do vil?o e, a partir da?, busca-se compreender como se chegou a tal cen?rio e o quanto as tecnologias dispon?veis agiram nesse sentido tendo como foco de pesquisa as edi??es do Jornal dos Sports de 1950, desde que o Brasil perdera para o Uruguai por 2 a 1 na partida decisiva. O trabalho se apoia nas no??es de sociologia compreensiva e tecnologias do imagin?rio, al?m de aspectos voltados ao jornalismo esportivo, sobretudo brasileiro.

Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-08-09T14:55:57Z No. of bitstreams: 1 TES_PAULA_CRISTINA_VISONA_COMPLETO.pdf: 16296138 bytes, checksum: 9e7d14a3df6448979a0bd7903506b8f7 (MD5) / Made available in DSpace on 2017-08-09T14:55:58Z (GMT). No. of bitstreams: 1 TES_PAULA_CRISTINA_VISONA_COMPLETO.pdf: 16296138 bytes, checksum: 9e7d14a3df6448979a0bd7903506b8f7 (MD5) Previous issue date: 2017-07-04 / This work offers a perspective on the identification of sociocultural trends. We align the emergence of these trends to the constituent factors of the social imaginary, building on Maffesoli's work regarding the relationship between the imaginary and everyday experiences. We articulate this perspective with other contributions, particularly regarding methodology, built by combining aspects of comprehensive sociology, interpretive anthropology, and dialogism. By means of this methodology we seek to identify the consequences of a specific socio-cultural trend called being-together-with, so as to reveal a number of its associated emerging elements, in order to employ scenario building. Such methodological perspectives posit an approach to being-together-with which allows for the understanding of its respective resultant social forms qua social trend: Creative Collectives. Therefore, we identify some of these social forms in the city of Porto Alegre qith an understanding that, as the first stage of the manifestation of a sociocultural tendency, they stimulate other manifestations aimed at the emergence of new trends, particularly those related to the emergence of the creative economy. / Neste trabalho apresentamos uma perspectiva de identifica??o de tend?ncias socioculturais. Alinhamos a emerg?ncia dessas tend?ncias a fatores constituintes do imagin?rio social, apoiando-nos amplamente na perspectiva apresentada por Maffesoli no que tange ? rela??o entre o imagin?rio e as viv?ncias cotidianas. Articulamos esta perspectiva a outros aportes, principalmente no que se refere ? metodologia, constru?da pelo cruzamento entre aspectos da sociologia compreensiva, da antropologia interpretativa, e do dialogismo. Por meio desta metodologia, buscamos identificar desdobramentos de uma tend?ncia sociocultural espec?fica - denominada estar-junto-com - visando relevar alguns elementos emergentes, a fim de colocar em pr?tica a tarefa de constru??o de cen?rios de futuro. Tais perspectivas metodol?gicas postulam uma abordagem de aproxima??o com o que reconhecemos como formas sociais decorrentes do estar-junto-com enquanto tend?ncia sociocultural: os Coletivos Criativos. Para tanto, identificamos algumas destas formas sociais na cidade de Porto Alegre, compreendendo que, como primeiro est?gio de manifesta??o de uma tend?ncia sociocultural, acabam por estimular outras manifesta??es, objetivando o surgimento de novas tend?ncias, especialmente aquelas relacionadas ? emerg?ncia da economia criativa.