Nous nous concentrons sur la reproduction visuelle de la « femme » dans le quadrinhos en tant que référence de la période créatif et innovante de la littérature visuelle au Brésil au travers du manga. Cette thèse étudie le fait que la « femme » en tant que personnage principal peut être vu comme un simple critère esthétique pour un regard masculin érotique. Cependant, nous trouvons également dans ces caractéristiques un contrepoids, puisque dans ce référentiel érotique, ces personnages féminins sont devenus un exemple de liberté personnelle d´indépendance et d´autonomie au Brésil. Nous analysons de manière entrelaçé l´immigration au Brésil et au Japon, la représentation visuelle féminin en quadrinhos, manga et manga-inspirés quadrinhos, le fandom et les contradictions féminines. / The visual reproduction of the "woman" in quadrinhos marks a creative and innovative period of the visual literature in Brazil concerning its hybridization with manga. This thesis concerns the fact that this "woman" can be seen as a simple aesthetic criterion for an erotic male gaze. However, we argue that this characteristic becomes a counterweight for women´s personal freedom, independence and autonomy in Brazil. We analyse it through a carnivalization which mark the immigration of Japanese to Brazil and of Brazilian Japanese to Japan with the female visual representation in quadrinhos, manga and manga-inspired quadrinhos, the fandom and feminine contradictions.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research aims to point which would the place that fandoms could occupy inside the production process managed by culture industries inside the convergence culture context. So, we chose the Brittish TV Show “Doctor Who” as a starting point because it has a lot of features of the convergence culture presented by the authors we used and also because of its longevity and adaptability during all these 50 years on air. Then, we bring up the concept of convergence culture based on Aquino (2012) who proposes a theoretical triad ir order to comprehend this issue: technology, society and culture. So, we add the economic feature to her statement through an approach that values the “Theoretical Interdisciplinarity” (KLEIN, 2010) intending to include a general overview. Only after that we come up with a generic model that includes fans and, at last, we chose two of the biggest Brazilian fandoms to instace this model. A content analys based on the entire production of both groups in Twitter during November 2013 was made. This was the period when the Doctor Who 50-year anniversary was emphasized by BBC and it was inside Twitter that Brazilian fans respondend to that when they got mobilized for the annyversary especial showing at the movies. So, through a combination of content analysis (BARDIN, 1995) and interviews with the fandom leaders, we could find that the generic model could be applicable in both specific cases and thet the cultural industries players hás been proposing new strategies that, at the same time, pitch in with the maintenance of a productive cicle managed by them but also opens to fandom a role as an intermediary instance capable of guide the consumption of the other audiences. / Esta pesquisa tem a intenção de situar o lugar que os fandoms podem ocupar dentro do processo de produção coordenado pelas indústrias culturais no contexto da cultura da convergência. Para isto, escolhemos a série britânica "Doctor Who" como ponto de partida, pois, dada sua adaptabilidade ao longo dos mais de 50 anos do ar, ela tem se adaptado com muita eficácia ao contexto da cultura da convergência. O segundo passo foi levantar o conceito de convergência a partir da proposta de Aquino (2012) que aborda a temática a partir de um tripé teórico: tecnologia, sociedade e cultura. A partir desse ponto, o que propomos é adicionar o aspecto da economia à ideia da autora através de uma abordagem que preza pela “interdiscipliniridade teórica” (KLEIN, 2010) na tentativa de compreender a questão de uma forma mais geral e só então é que propomos o nosso modelo. Por último então escolhemos os dois maiores fandoms brasileiros da série para ilustrar esse modelo através de uma análise de conteúdo dos seus perfis no Twitter. Foi possível perceber também que em novembro de 2013 a BBC intensificou a divulgação de material promocional em relação ao aniversário de 50 anos, sobretudo relacionado ao especial a ser exibido no cinema e, com isso, a mobilização dos fãs acompanhou o mesmo movimento, por isso este foi o período escolhido para ser detalhado. Definidos os parâmetros, utilizamos uma aliança entre análise de conteúdo (BARDIN, 1995) e entrevistas com os administradores dos grupos a fim de constatar a aplicabilidade do modelo proposto para nesses casos em específico e que os players das indústrias culturais têm proposto novas estratégias que, ao mesmo tempo contribuem para a manutenção de um ciclo produtivo comandado por eles, abre espaço para a inserção dos fandoms como uma espécie de instância intermediária capaz de guiar o consumo das audiências.

Nesta dissertação investigamos três dos principais discos tropicalistas - Gilberto Gil (1968), Caetano Veloso (1968) e Grande Liquidação (1968), de Tom Zé procurando identificar marcas do processo social nas canções e atitudes líricas. Essa leitura busca repensar o sentido do tropicalismo no processo de transformação político-cultural do final dos anos 60, decisivo, talvez, para a compreensão da história recente do país. / This dissertation investigates three important tropicalist solo albums - Gilberto Gil (1968), Caetano Veloso (1968) e Grande Liquidação (1968), Tom Zé´s album searching the signs of the social process in its songs and lyrical attitudes. This reading purpose rethinks the meaning of the tropicalismo in the politic and cultural transformation in the late 1960´s, maybe the principal moment to understand the contemporary history of Brazil.

Entre 1970 e 1984, a jornalista e escritora Helena Silveira dedicou-se à crítica televisiva nas colunas Helena Silveira Vê TV e Videonário, publicadas no jornal Folha de S.Paulo. A dissertação pretende resgatar essa produção jornalística, observando-a a partir do instrumental teórico dos estudos culturais. O primeiro capítulo trata dos conceitos de experiência e estrutura de sentimento, além de se referir a trabalhos dos estudos culturais acerca da experiência da televisão. O segundo capítulo apresenta um perfil da jornalista Helena Silveira e os diferentes momentos de sua atuação na empresa Folha da Manhã entre as décadas de 1940 e 1980. O terceiro capítulo procura refletir sobre a natureza da crítica televisiva, com destaque para o modo particular como Helena Silveira a desenvolveu, fazendo uso de um tom próximo da crônica. O quarto capítulo avalia como, no âmbito da crítica de TV, é possível reconhecer a promoção do prestígio da telenovela, sua fixação como produto capaz de produzir identificações e prazer. O quinto capítulo procura resgatar uma dimensão política latente em muitos textos em que Helena Silveira dialogou com o clima de expectativas e esperanças da chamada abertura política, considerando a importância da TV no contexto de redemocratização do país / Between 1970 and 1984, journalist and writer Helena Silveira devoted herself to television criticism in the columns Helena Silveira Vê TV and Videonário, published in Folha de S.Paulo newspaper. This dissertation aims to rescue this journalistic production, using the theoretical frame of cultural studies. The first chapter deals with the concepts of experience and structure of feeling and with works of cultural studies about the experience of television. The second chapter presents a profile of journalist Helena Silveira and the different moments of Folha da Manhã between the 1940s and 1980s. The third chapter seeks to think about the nature of television criticism, highlighting the particular way in Helena Silveira has developed it, making use of a chronicle tone. The fourth chapter analyzes how, in the context of television criticism, it is possible to recognize the promotion of prestige of a genre like telenovela and at the same time, its attachment as a product able to create identification and pleasure. The fifth chapter intends to rescue a latent political dimension in many texts in which Helena Silveira write about the climate of expectations and hopes for the end of the dictatorship in Brazil, considering the importance of TV in the context of re-democratization of the country

Sabe-se que celebrações e outras manifestações culturais humanas podem sofrer influências tanto positivas quanto negativas de instituições religiosas e dos meios de comunicação. Aqui, buscou-se entender a interferência da mídia na reconstrução do Carnaval de São Luiz do Paraitinga, em 1981 proibido anteriormente pela Igreja e também na promoção desta festa na atualidade. À luz do conceito de indústria cultural, foi investigado se a manifestação, motivada por uma matéria da Rede Globo, se tornou ela própria um produto da indústria cultural. Como aporte teórico para este estudo, foram usados os preceitos de Theodor W. Adorno sobre o impacto dos meios de comunicação de massa naquela sociedade. Foram investigadas, ainda, as origens do Carnaval luizense. O estudo concluiu que a influência dos media foi determinante para a festa, tanto no passado quanto na contemporaneidade, mas outros elementos, como o próprio ethos cultural dos habitantes do município, também interferiram na mobilização destes para a produção do Carnaval ressignificado. / It knows that celebrations and other cultural human manifestations can suffer both positiveand negative influences from religious institutions and from the media. Here, it sought to comprehend the medias interference in the construction of São Luiz do Paraitingas Carnival, in 1981 - previously banned by the Church -, and also in the promotion of this party at present time. Taking in consideration the concepts of the culture industry, it was investigated whether the party, motivated by a news report from Globo Network Television, became itself a product of the culture industry. The precepts of Theodor W. Adorno regarding the impact of the mass media in that society were used as theoretical support for the research. The origins of São Luizs Carnival were also investigated. The study has concluded that the influence of the media was determinant to the party, both in the past and nowadays, but other elements, such as the citys inhabitants cultural ethos, also interfered in the peoples mobilization to produce a ressignified Carnival.

Esta pesquisa pretende demonstrar as principais transformações da música das escolas de samba do Rio de Janeiro através da transcrição, catalogação e análise de suas estruturas melódicas, harmônicas e formais mais recorrentes. Entre as estruturas analisadas estão as que considerei como características do samba-enredo, as quais são compartilhadas por um grande número de compositores das mais diversas épocas e tendências estilísticas. A partir do seu estudo detalhado, passou-se a reflexões mais amplas relativas à presença do formulismo no processo de composição dos sambistas, o qual pode estar ligado tanto ao modelo oral de pensamento e comportamento ainda existente nas escolas de samba quanto ao fato de o samba-enredo estar inserido em uma lógica capitalista que abarca desde a indústria cultural da qual ele faz parte (gravação de discos, transmissão em rádio e TV) até o próprio modo de escolha das obras que são apresentadas no carnaval. / This research intends to demonstrate the main transformations of the music of the samba schools of Rio de Janeiro through the transcription, cataloging and analysis of its most recurrent melodic, harmonic and formal structures. The analyzed structures include those that I considered as characteristics of samba-enredo, which are used by a large number of composers from diverse epochs and stylistic tendencies. From their detailed study, I examine the presence of formularity in the composition process of the sambistas, which may be related both to the oral model of thinking and behavior that still exists in the samba schools and to the fact that samba-enredo is embedded in a capitalist logic that ranges from the cultural industry it takes part in (disc recording, radio and TV broadcasting) to the way of choosing the works that are presented in the carnival.

Submitted by Programa de Pós-Graduação em Mídia e Cotidiano (ppgmc@vm.uff.br) on 2017-05-16T20:15:13Z No. of bitstreams: 1 LUCAS BASTOS - Dissertação.pdf: 2254326 bytes, checksum: 18c398a9b3c36dbf0bb431e9d791af94 (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-05-23T14:11:01Z (GMT) No. of bitstreams: 1 LUCAS BASTOS - Dissertação.pdf: 2254326 bytes, checksum: 18c398a9b3c36dbf0bb431e9d791af94 (MD5) / Made available in DSpace on 2017-05-23T14:11:01Z (GMT). No. of bitstreams: 1 LUCAS BASTOS - Dissertação.pdf: 2254326 bytes, checksum: 18c398a9b3c36dbf0bb431e9d791af94 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Essa dissertação busca compreender como se dá a influência das narrativas midiáticas da imprensa esportiva nos processos de construção e desconstrução de ídolos futebolísticos na contemporaneidade. Para atingir os objetivos de pesquisa investiga-se os interesses que a mídia poderia atender em suas narrativas acerca desses jogadores, a partir de conceitos como indústria cultural e sociedade do espetáculo. Também explorase o perfil multifacetário do ídolo futebolístico contemporâneo a partir dos conceitos de mito, herói e celebridade, assim como a relação entre o futebol e a identidade nacional brasileira. Para tanto, realiza-se um estudo de caso sobre o jogador Adriano, a partir das análises de conteúdo e de discurso das reportagens veiculadas pelos jornais Extra e O Globo em diferentes momentos da carreira do atleta. Essa análise revela variações no tratamento dado à Adriano pela imprensa mediante principalmente a oscilações no desempenho esportivo do jogador mas também pela adequação ou não da conduta social e comportamental do atleta às diretrizes de produção de conteúdo desses veículos / This dissertation seeks to understand how is the influence of the media narratives of the sports press in the processes of construction and deconstruction of football idols nowadays. To achieve the research objectives investigates the media concerns that could fit in their narratives about these players, from concepts such as culture industry and the society of spectacle. It also explores the multifaceted profile of contemporary football idol from the concepts of myth, hero and celebrity, as well as the relationship between football and the Brazilian national identity. The study presents a case study on Adriano, from the analysis of content and discourse of articles published in the newspapers Extra and O Globo in different athlete career moments. This analysis reveals variations in the treatment given to Adriano by the press mainly to fluctuations in the sporting performance of the player but also the adequacy or not of social and behavioral conduct of the athlete to the content of these vehicles production guidelines

Cette recherche interroge les conceptions de l’Identité qui sont en jeu dans les écrits d’écran du Web contemporain. On étudie les représentations de soi et du groupe telles qu’elles sont actualisées par les dispositifs techno-sémiotiques de sites comme Myspace, Facebook et Youtube. L’inscription de la notion d’Identité dans le temps long met à distance les valeurs de « nouveauté » habituellement attribuées à ces dispositifs pour structurer trois grands axes analytiques. En premier lieu, un point de vue logocentrique examine la reconnaissance d’acceptions logiques, personnelles et collectives de l’Identité à l’écran. Ensuite, un regard médiacentrique explore l’héritage historique des industries culturelles et médiatiques entre les formes textuelles du Web et les identifications qu’elles favorisent. Enfin, un regard technocentrique déconstruit des discours qui réduisent l’Identité à une conception « numérique » perméable à des stratégies économiques. Face aux fabriques de « profils » personnels sur le Web, ces trois temps décrivent un régime de production culturelle qui décline les identités entre des positions d’auteur, de pair et de client / This research questions the issues surrounding Identity as screen writings reshape different conceptions on the contemporary Web. Self and group representations are studied within the techno-semiotic apparatus of websites such as Myspace, Facebook and Youtube. In order to demythologize the “innovative” values that are usually ascribed to Web devices, a long historical viewpoint is chosen to structure three main chapters. Firstly, a logocentric approach examines how logical, personal and collective Identity conceptions can be recognized on screen. Then, a mediacentric scope focuses on the historical heritage of media and culture industries as it inspires textual forms and identification practices on the Internet. Lastly, a technocentric approach deconstructs a range of discourses that label Identity as being “digital” and could be influenced by economic strategies. Across the online factories of personal “profiles”, these three studies describe a regime of cultural production that constantly switches identities between author, peer and customer positions.

This study explores how Chinese ancient cultural memory is constructed, and specifically how it is reconstructed through Chinese Xianxia TV dramas during the past five years. Ancient Chinese culture has become a hit in Chinese popular culture today, in which Xianxia TV dramas draw the biggest audiences. This study focuses on the ways, namely the transformations between cultural memory as storage memory to cultural memory as living functional memory, in which the Xianxia genre reconstructs the past. Bringing together a ritual view of communication, cultural memory and participatory culture, it applies a cultural approach to communication, which refers to the production and the fandom reception of Xianxia TV drama. Meanwhile, the perspective of culture industry provides a critical dimension to look into this highly commercial genre. This study is based on the analysis of content and representations of the theme song lyrics, posters and the general narratives of six selected Xianxia TV dramas, as well as a virtual ethnography of fan-generated videos and their comments. The findings suggest that, the reconstruction of ancient Chinese cultural memory in Xianxia TV dramas is a complex interplay between the culture industry logics of Xianxia production and the passionate participatory fan culture. The limited representations of the past in the series are absorbed and practiced by the fan audiences. Through fan practices, the fans extend the media text with their passion and knowledge of ancient culture, attaching the cultural memory into their present real-life cultural identity and hence vigorously transforming cultural memory from storage memory into functional memory.  This study speaks to the lack of bottom-up perspectives in the studies of the ancient culture revival trend in China, and it contributes to a deeper scholarly understanding of the Xianxia genre.

<p>  </p> <p>The transition of Folk music in the USA from the margins to notoriety, had its roots in the ‘leftist’ ideology of their proponents, and a message of communal solidarity, based on the ‘we’. The arrival of Bob Dylan in the 60s to an already recognized folk movement propelled him to global stardom, which made it possible for his music to permeate Spanish houses and songwriters’ circles. Dylan focused on the ‘you’ as a finger-pointing technique that questions his listener’s alliances. He had a revolutionary character that influenced songwriters both in the USA and Spain, whether through his lyrics or his rebellious rejection of any kind of pressure group. </p> <p>His lyrical content of vivid images placed before the eyes of the listeners (<em>enargeia</em>), captivated his audiences. Spanish songwriters, who at the same time received influence from France, or the social poets of the first half of the 20th Century, among others, found in Dylan a valuable source to widespread a non-conformist message of freedom. They translated and reinterpreted some of Dylan’s protest songs, and in the case of Catalonia or Galicia, used their native languages as a symbol of defiance against the Francoist Government.</p> <p>Early Dylan and his counterparts in Spain became organic intellectuals as a bridge between the subalterns and the ruling bloc. They used epideictic discourses to put their audiences in questioning and decision-making positions. Their use of <em>prosopopeia</em> bestowed memory to those individuals who were wronged by the judiciary system in the USA and Spain; aiding in developing a counter-hegemonic discourse that placed them in the tradition of the <em>euphantasiotos</em>, who is as skilled in the <em>ars </em>of <em>enargeia </em>as in the <em>ars </em>of <em>actio</em>, as a poet and a performer. </p>