Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-06-06T21:55:13Z No. of bitstreams: 1 CarlaPatriciaOliveiraDeSouza_DISSERT.pdf: 2770355 bytes, checksum: 487128952cfbffa881de5cbd27f645ac (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-06-08T22:49:14Z (GMT) No. of bitstreams: 1 CarlaPatriciaOliveiraDeSouza_DISSERT.pdf: 2770355 bytes, checksum: 487128952cfbffa881de5cbd27f645ac (MD5) / Made available in DSpace on 2016-06-08T22:49:14Z (GMT). No. of bitstreams: 1 CarlaPatriciaOliveiraDeSouza_DISSERT.pdf: 2770355 bytes, checksum: 487128952cfbffa881de5cbd27f645ac (MD5) Previous issue date: 2015-05-22 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES) / Esta pesquisa focaliza a trajet?ria do cineasta Guel Arraes e escolhe para an?lise dois filmes, O Auto da Compadecida (2000) e O Bem Amado (2010), bem como seus figurinos. O enfoque no figurino ? realizado a partir da Semiologia e objetiva decifrar os sentidos produzidos na indument?ria. Tr?s personagens dos filmes ter?o os seus figurinos analisados a partir da teoria de Roland Barthes, principalmente com os elementos da Semiologia (l?ngua e fala), (significante e significado) e (sistema e sintagma). A influ?ncia do movimento Armorial no filme O Auto da Compadecida e da est?tica Kitsch no filme O Bem Amado merecem uma reflex?o, al?m do estudo da fun??o do figurino no interior da narrativa amparado pela an?lise estrutural da narrativa de Roland Barthes. Buscamos identificar o equil?brio entre a fala dos personagens e a imagem da indument?ria f?lmica. Para complementar o estudo do poder do figurino na narrativa, estudamos os tra?os caracter?sticos do diretor e roteirista Guel Arraes nas suas obras, que s?o a identidade de nordestino, a representa??o do Nordeste e a com?dia popular. Partimos do princ?pio que o trabalho de escolhas de sua cria??o n?o est? separado das influ?ncias que o diretor teve durante sua vida. A nossa pesquisa se concentrou na aprecia??o dos filmes e na investiga??o minuciosa de toda a linguagem. As principais reflex?es t?m como sustenta??o as seguintes teorias: Barthes (2007), Figueir?a e Fechine (2008), Moles (2001), Stuart Hall (2005) e Mikhail Bakhtin (2013). / This research focuses on the course of Guel Arraes, moviemaker, and picks two movies for analysis: O Auto da Compadecida (2000) and O Bem Amado (2010), as well as their costumes. The focus on the costume is based on Semiology and aims to decode the meanings that stem out of the clothes. Three of the movies characters will have their costumes analyzed based on Roland Barthes? theory, mainly considering semiology elements (language and speech), (significant and meaning) and (system and syntagma). The influence of the Armorial movement into the movie O Auto da Compadecida and the Kitsch aesthetic in O Bem Amado deserve consideration, aside from the study on costumes function within narrative, supported by Roland Barthes? structural analysis of the narrative. We sought to highlight the balance between characters? lines and the image of the costumes in the movies. Adding to the study on how costumes strongly accounts to narrative, we observed characteristic traits of director and scriptwriter Guel Arraes present in his works, which are the northeastern man identity, a presentation of the Northeast and popular comedy. We believe that his choices when creating and his life influences are not separate from one another. Our research was movie-appraisal centered and had a thorough investigation all over language. The main considerations are supported by the following theories: Barthes (2007), Figueir?a and Fechine (2008), Moles (2001), Stuart Hall (2005) and Mikhail Bakhtin (2013).

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-07-26T00:34:28Z No. of bitstreams: 1 FranciscoJadsonSilvaMaia_DISSERT.pdf: 949955 bytes, checksum: 67bbd168c50b00c9e456cc785d821cfa (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-08-08T19:51:58Z (GMT) No. of bitstreams: 1 FranciscoJadsonSilvaMaia_DISSERT.pdf: 949955 bytes, checksum: 67bbd168c50b00c9e456cc785d821cfa (MD5) / Made available in DSpace on 2016-08-08T19:51:58Z (GMT). No. of bitstreams: 1 FranciscoJadsonSilvaMaia_DISSERT.pdf: 949955 bytes, checksum: 67bbd168c50b00c9e456cc785d821cfa (MD5) Previous issue date: 2016-03-04 / Neste trabalho busca-se compreender as especificidades da comunica??o em rede e a l?gica de articula??o das insurg?ncias sociais no contempor?neo inferidas a partir do rizoma, conceito cunhado por F?lix Guattari e Gilles Deleuze, e da multid?o como pregam Michael Hardt e Antonio Negri. Para tanto, levanta-se os processos e as pr?ticas dos corpos pol?ticos, chegando a linhas e estrat?gias comuns de opera??o. Salvo as especificidades, ? poss?vel tra?ar uma comunica??o cont?nua e rizom?tica que percorre tanto os corpos inscritos na democracia institucionalizada, como o movimento-partido espanhol Podemos e a coaliza??o grega Syriza, quanto os coletivos aut?nomos, como o Movimento Passe Livre, que luta pelo transporte p?blico universal, gratuito e de qualidade, e as iniciativas de m?dia livre M?dia NINJA e Catarina Santos, dispostas a compreender os movimentos sociais. O aditivo constituinte deste modelo de comunica??o em rede parece ser o desejo de radicaliza??o da democracia, no vi?s de Ernesto Laclau e Chantal Mouffe, como uma luta estrat?gica e comum. Com efeito, falando especificamente da m?dia livre, s?o constru?dos a partir daqui processos que se efetivam na compreens?o do agenciamento dos corpos como pertinente ? a??o pol?tica em dire??o ao projeto de democracia radical, como na utiliza??o de softwares livres, o agenciamento comunicador-manifestante, a performance, a viv?ncia coletiva. / This paper aims to understand the specifics of the network communication and the logic of articulation of social insurgencies in contemporary inferred from the rizome concept coined by Felix Guattari and Gilles Deleuze and the multitude as preach Michael Hardt and Antonio Negri. To do so, it raises the processes and practices of political bodies, reaching lines and common strategies of operation. Unless the specifics, it is possible to draw a continuous and rizomatic communication that traverses both bodies enrolled in institutionalized democracy, as the spanish movement-party Podemos and the greek coalition Syriza, as the autonomous collectives, such as the Movimento Passe Livre, fighting for universal public, free and quality transport, and the free media initiatives Media Ninja and Catarina Santos, willing to understand the social movements. The constitutional amendment of this model of communication networking seems to be the desire to radicalization of democracy, the bias of Ernesto Laclau and Chantal Mouffe, as a strategic and common struggle. Indeed, speaking specifically of free media, they are built from here processes that take place in understanding the agency of the bodies as relevant to political action toward the radical democracy project, and the use of free softwares, the communicator-protester agency, the performance, the collective experience.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2018-04-02T15:27:10Z No. of bitstreams: 1 VeruzaDeMoraisFerreira_DISSERT.pdf: 2039251 bytes, checksum: 59b1e0bc8c55d3b114594792431681ad (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-04-06T14:02:30Z (GMT) No. of bitstreams: 1 VeruzaDeMoraisFerreira_DISSERT.pdf: 2039251 bytes, checksum: 59b1e0bc8c55d3b114594792431681ad (MD5) / Made available in DSpace on 2018-04-06T14:02:30Z (GMT). No. of bitstreams: 1 VeruzaDeMoraisFerreira_DISSERT.pdf: 2039251 bytes, checksum: 59b1e0bc8c55d3b114594792431681ad (MD5) Previous issue date: 2018-02-07 / Essa disserta??o investiga como se d? a forma simb?lica atuante no hibridismo est?tico presente nos filmes de Jean-Luc Godard, especificamente em O Dem?nio das Onze Horas (Pierrot Le Fou, 1965), Paix?o (Passion, 1982) e Adeus ? Linguagem (Adieu Au Langage, 2014), no que toca a rela??o entre cinema e pintura. Duas quest?es centrais nortearam o foco desta investiga??o: como se d? a constru??o simb?lica da maneira pict?rica de Godard? Os elementos pict?ricos presentes na narrativa f?lmica se prop?em realmente a construir significados e transmitir sensa??es reais como as do movimento impressionista nas pinturas? A rela??o entre cinema e pintura na obra de Godard ? trabalhada aqui no contexto de promover um di?logo entre as artes e a comunica??o. Partindo do pressuposto de que filmes s?o objetos art?sticos que comunicam por meio de elementos simb?licos, este trabalho busca identificar a forma simb?lica de Godard dentro de uma linguagem h?brida por meio da an?lise de elementos como a cor e a luz. / This research aimed to expand the existing studies regarding the relationship between cinema and painting, investigating how the symbolic form acting in the hybridism present in the films of French film director Jean-Luc Godard. The dissertation is developed in two chapters. The first chapter, entitled "From pictorial to cinematographic", focuses on cinema and its transformations concerning the ways to represent the "real", emphasizing the French New Wave and Godard?s cinema. In the second chapter, entitled ?Cinema, painting and hybrid language in Jean-Luc Godard?, after defining the concept of hybridism and its applicability, regarding the use of color, to the aspects of symbolic, hybrid and intertextual representation in the cinema, the films Pierrot Le Fou (1965), Passion (1982) e Goodbye to Language (2014) are analyzed in light of Vanoye and Goliot-L?t? (1994), Penafria (2009) and Rose (2003). Throughout the text, the relationship between cinema and painting in Godard's work is carried out with a view to promoting a dialogue between art and communication. Two questions guided the investigation: how does the symbolic construction of Godard's pictorial way take place? Do the pictorial elements present in the filmic narrative really propose to construct meanings and transmit real sensations like those of the Impressionist movement in the paintings? In the understanding achieved by the research, it is affirmed that symbolism and poetics are inherent in cinema and painting in the film production of Jean-Luc Godard.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2018-04-02T15:27:11Z No. of bitstreams: 1 YgorFelipePinto_DISSERT.pdf: 3456090 bytes, checksum: cbc538eecc466a176e0202b699abff01 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-04-06T14:08:16Z (GMT) No. of bitstreams: 1 YgorFelipePinto_DISSERT.pdf: 3456090 bytes, checksum: cbc538eecc466a176e0202b699abff01 (MD5) / Made available in DSpace on 2018-04-06T14:08:16Z (GMT). No. of bitstreams: 1 YgorFelipePinto_DISSERT.pdf: 3456090 bytes, checksum: cbc538eecc466a176e0202b699abff01 (MD5) Previous issue date: 2017-10-02 / O filme Utopia e Barb?rie (2010) narra ? hist?ria da famosa gera??o que marcou a segunda metade do s?culo XX chamada gera??o de 1968, pelo olhar de seu diretor Silvio Tendler. Atualmente percebe-se o crescimento do n?mero de document?rios que tem como mat?ria prima a hist?ria narrada em primeira pessoa, que se afasta da narra??o distante e imparcial dos document?rios tradicionais, dando abertura a um olhar mais subjetivo e aproximado sobre a hist?ria. No presente trabalho realizamos um estudo de caso sobre Utopia e Barb?rie buscando entender os aspectos subjetivos e ?ntimos do diretor envolvidos na narrativa. Assim tomamos como objetivo a identifica??o dos procedimentos est?ticos utilizados nessa narrativa e como neles se manifestam a afetividade e as mem?rias de seu realizador. Para tanto utilizamos como referencial te?rico o conceito de ?espa?o biogr?fico? de Leonor Arfuch (2002), mem?ria coletiva de Maurice Halbwachs (1950) e o conceito de sujeito fragmentado Stuart Hall (1996) para nortear nossa an?lise. Utopia e Barb?rie, um filme-ensaio narrado em primeira pessoa que promove uma mistura de elementos visuais e sonoros para produzir um documento hist?rico, n?o o bastante faz isso pelo vi?s pessoal do seu realizador, que ? o condutor da hist?ria e atrav?s dela revela detalhes de sua vida pessoal fazendo uso de fotografias pessoais, filmes e pela voz over que o representa. / The film Utopia e Barb?rie (2010) tells the story of the famous generation that marked the second half of the twentieth century called the generation of 1968, by the look of its director Silvio Tendler. Nowadays, it is possible to notice the growth in the number of documentaries that have as story material the story told in the first person. Here we ask ourselves the aesthetic procedures used for this narrative and how it manifests the affectivity and the memories of its filmmakers. In the present work we carried out a case study about the film seeking to understand the subjective and intimate aspects of the director involved in the narrative. For that, we use as theoretical reference the concept of "biographical space" of Leonor Arfuch (2002), collective memory of Maurice Halbwachs (1950) and the concept of fragmented subject Stuart Hall (1996) to guide our analysis. Utopia e Barb?rie, a first person essay film promotes a mixture of visual and sound elements to produce a documentary history, not enough does it for the personal bias of its director, who is the conductor of the story and through it reveals details of his life Personal making use of personal photographs, films and the voice over that represents him.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-10-26T23:54:52Z No. of bitstreams: 1 AndrielleCristinaMouraMendes_DISSERT.pdf: 5292721 bytes, checksum: 50478c0f75cddab202b6e306bb2b190f (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-12-27T15:31:41Z (GMT) No. of bitstreams: 1 AndrielleCristinaMouraMendes_DISSERT.pdf: 5292721 bytes, checksum: 50478c0f75cddab202b6e306bb2b190f (MD5) / Made available in DSpace on 2016-12-27T15:31:41Z (GMT). No. of bitstreams: 1 AndrielleCristinaMouraMendes_DISSERT.pdf: 5292721 bytes, checksum: 50478c0f75cddab202b6e306bb2b190f (MD5) Previous issue date: 2016-05-13 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES) / Cartografam-se as mudan?as e perman?ncias no Jornalismo em Natal (RN), tendo como campo de mapeamento as empresas jornal?sticas Tribuna do Norte, Novo e O Jornal de Hoje (em Natal, capital do Rio Grande do Norte - Brasil) e investigam-se as altera??es e perman?ncias na rotina produtiva, desde a elabora??o da pauta at? a produ??o e circula??o de conte?do, a partir da associa??o da cartografia simb?lica (SANTOS, 1998; 2011) ? m?todos e t?cnicas, como a observa??o sistem?tica, aplica??o de question?rios e entrevistas em profundidade. Conclui-se que o jornalismo local passou por v?rias mudan?as no que diz respeito ?s formas de produ??o, circula??o, gest?o de conte?do, capta??o de receitas e relacionamento com o p?blico e fontes, mas tamb?m foi marcado por perman?ncias, sobretudo, no que se refere a gest?o das pessoas que atuam nas reda??es. Hor?rios foram antecipados em virtude do privil?gio ? informa??o online; plataformas e aplicativos foram introduzidos na produ??o, circula??o e gest?o de conte?do e de tarefas; fun??es foram extintas; novas formas de capta??o e diversifica??o de receita foram testadas; edi??es em papel foram encerradas e uma empresa jornal?stica fechou no per?odo analisado, evidenciando uma reconfigura??o da forma de se praticar jornalismo em Natal (RN). Essas altera??es n?o se reverteram na atualiza??o da gest?o de pessoas, ?rea respons?vel por administrar e manter as mudan?as e garantir que os profissionais estejam treinados e motivados para vivenciar esse momento marcado pela hipercompetitividade e fluidez nos processos. / We plat the changes and continuities in Journalism in Natal (RN), considering the mapping field of the news companies Tribuna do Norte, Novo and O Jornal de Hoje (in Natal, capital city of Rio Grande do Norte - Brazil) and we investigate the changes and continuities in the production routine, from the preparation of the agenda to the production and circulation of content, starting at the association of symbolic cartography (SANTOS, 1998; 2011) up to the methods and techniques such as systematic observation, questionnaires and interviews in depth. We conclude that local journalism has undergone several changes regarding the forms of production, circulation, content management, revenue captation and relationship with the audience and sources, but was also marked by continuities, especially regarding the management of people who work in editorial rooms. Deadlines were anticipated due to the privilege to online information; platforms and applications were introduced in production, circulation and content and task management; functions were extinguished; new forms of funding and revenue diversification were tested; printed editions were eliminated and a news company closed during the period analyzed, making evident a reconfiguration of the way of practicing journalism in Natal (RN). These changes did not turn into updating the people management area responsible for managing and maintaining the changes and ensure that professionals are trained and motivated to experience this moment marked by hypercompetitiveness and fluidity in the processes.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-01-13T13:16:45Z No. of bitstreams: 1 DahianaDosSantosAraujo_DISSERT.pdf: 1931141 bytes, checksum: e0551c6e95f98a171aee185cf37894e3 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-01-24T12:55:10Z (GMT) No. of bitstreams: 1 DahianaDosSantosAraujo_DISSERT.pdf: 1931141 bytes, checksum: e0551c6e95f98a171aee185cf37894e3 (MD5) / Made available in DSpace on 2017-01-24T12:55:10Z (GMT). No. of bitstreams: 1 DahianaDosSantosAraujo_DISSERT.pdf: 1931141 bytes, checksum: e0551c6e95f98a171aee185cf37894e3 (MD5) Previous issue date: 2016-02-24 / A proposta deste trabalho ? avaliar o cen?rio jornal?stico, e a maneira como o jornalismo se comporta em seu papel de lugar de mem?ria, diante da atual conjuntura das reda??es, dispostas a partir da cultura da converg?ncia e aos reflexos nas pr?ticas sociais. Atua-se com reflex?es a partir de teorias e autores - como Flores e Ren? (2012), Halbwachs (1990), Jenkins (2008), Fechine et al. (2012), Moloney (2011), Nora (1984), Ricoeur (2007). Para debater o assunto, optou-se pela an?lise de conte?do a partir de um estudo de caso de produtos veiculados pelo Jornal O Globo na cobertura da Jornada Mundial da Juventude (JMJ Rio 2013). Est?o no levantamento, textos, gr?ficos e imagens veiculadas entre os dias 20 e 30 de julho de 2013 pela edi??o impressa do jornal, assim como seu site, a vers?o exclusiva para tablet, O Globo a Mais, e o E-book Os Encantos de Francisco, assim como postagens na rede social Facebook do peri?dico. A partir de uma coleta e dados e de t?cnicas de pesquisa qualitativa, como a entrevista, avaliamos conte?do produzido pelo O Globo para diversas plataformas apontando a rela??o das estrat?gias utilizadas pela empresa com as estrat?gias de transmidia??o trabalhadas por Fechine et al. (2012) e com os princ?pios do jornalismo transm?dia elaborados por Moloney (2011). Os di?logos entre o que se aponta na cobertura do O Globo e no corpo te?rico desta disserta??o s?o expostos a fim de proporcionar uma vis?o do jornalismo, diante do contexto da converg?ncia, como uma pr?tica social ef?mera, mas que, embora esteja inserida nos avan?os tecnol?gicos, mant?m aspectos tradicionais da produ??o de informa??o, como os crit?rios de noticiabilidade. / The purpose of this work was to research the journalistic scene, and how journalism behaves in its role as a ?place of memory?, given the current situation of newspaper, by insert of the culture of convergence and reflections on social practices. It works with reflections from theories and authors - such as Flores and Ren? (2012), Halbwachs (1990), Jenkins (2008), Nora (1984), Ricoeur (2007). To debater, we use to product content analysis conveyed by the O Globo Joural in coverage of ?Jornada Mundial da Juventude (JMJ Rio 2013)?. The survey have text, graphics and images transmitted between 23 and 29 July 2013 the printed edition of the printed journal, as well as its website, the exclusive version for tablet, ?O Globo a Mais?, and the e-book's ?Os Encantos de Francisco?, as well as posts on the social network Facebook journal. With a data collection and qualitative research techniques such as interview, evaluate content produced by O Globo Journal for several platforms pointing the relation of the strategies used by the company with the transmidia??o strategies worked by Fechine et al. (2012) and the principles of journalism transmedia prepared by Moloney (2011). The dialogues between that point on the roof of O Globo Journal and theoretical body of this work are exposed to provide a journalism vision before the convergence context, as an ephemeral social practice, but that, although it is inserted in the technological advancements maintains traditional aspects of the production of information, such as the criteria of newsworthiness.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-06-02T22:42:00Z No. of bitstreams: 1 ManoelMeirellesAmorimBatista_DISSERT.pdf: 3722710 bytes, checksum: 3a02d19cab31f998b37eb32a35dc5355 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-06-08T23:41:15Z (GMT) No. of bitstreams: 1 ManoelMeirellesAmorimBatista_DISSERT.pdf: 3722710 bytes, checksum: 3a02d19cab31f998b37eb32a35dc5355 (MD5) / Made available in DSpace on 2017-06-08T23:41:15Z (GMT). No. of bitstreams: 1 ManoelMeirellesAmorimBatista_DISSERT.pdf: 3722710 bytes, checksum: 3a02d19cab31f998b37eb32a35dc5355 (MD5) Previous issue date: 2017-02-20 / A presente pesquisa se prop?e a analisar a paisagem nordestina constru?da no filme ?O C?u de Suely?, dirigido por Karin A?nouz em 2006. Considerando que a paisagem ? uma constru??o do olhar humano em dire??o a uma dada regi?o espacial, e que esse olhar organiza e seleciona os dados da realidade a partir das refer?ncias pr?vias subjetivadas e do imagin?rio de cada observador, exploramos a representa??o da paisagem nesse filme por meio da an?lise f?lmica preconizada por Jacques Aumont (2004), acrescida de uma abordagem plurimetodol?gica que agrega concep??es da paisagem atinentes a diversos campos das humanidades como arte, geografia, hist?ria e literatura. Primeiramente, a constru??o da paisagem nordestina foi examinada em sua correla??o com outros filmes do cinema contempor?neo e de per?odos anteriores do cinema nacional. Em seguida foram investigados diferentes aspectos da paisagem no filme escolhido para ser objeto emp?rico desta pesquisa, como sua produ??o, roteiro, equipe t?cnica, or?amento e loca??es, bem como averiguamos como se formou o olhar do diretor em rela??o a essas espacialidades, por meio do levantamento de dados profissionais e biogr?ficos, que ajudaram a entender suas refer?ncias pr?vias subjetivas. Com esse aporte te?rico, a an?lise em espec?fico do filme foi direcionada por tr?s chaves de leitura selecionadas, sendo elas o c?u, o sert?o e a mulher. Tais chaves potencializaram as reflex?es sobre a paisagem referenciadas por pontos de adensamento simb?lico e marcadores espaciais, sendo examinadas as fun??es e peculiaridades que a paisagem assume nessa narrativa, tendo funcionalidades al?m da mera descri??o espacial, apontando fortes evid?ncias de que ela pode impulsionar a narrativa, refletir estados subjetivos dos personagens, ou at? funcionar como antagonista em certos momentos. Em ?O C?u de Suely? a paisagem constitui exemplo das novas tend?ncias no cinema nordestino, as quais trazem para o foco as transforma??es, a diversidade e atualiza??es que ocorrem nessas espacialidades, e permitem assim, a incorpora??o de elementos urbanos, globalizados, transculturais a essas constru??es espaciais. / The following research intends to propose an analysis of Northeastern landscape built in the movie ?Suely in the Sky?, directed by Karin Ainouz in 2006. Considering that a landscape is built by the human eye directing of a certain spatial region and that that look organizes and selects subjective previews and the imaginary of each viewer, it was explored a landscape representation in the movie via a film analysis penned by Jacques Aumont (in 2004), expanded by a plethora of methodological lines which adds landscapes concepts linked to several fields of humanities such as Arts, Geography, History and Literature. Firstly, the construction of the northeastern landscape was examed in its correlation to other movies from Contemporary Cinema and previous periods of National Cinema. Secondly, different aspects of the referred movie were investigated, since it was chose as the research empirical object, such as its production, screenplay, crew, budget and locations; it was also examined how the director?s style originated from those spatialities, elaborating a research through his career and biography ? that enabled a full understanding of his preliminary references. With this theoretical input, the movie?s specific analysis was driven by three selected themes: the sky, the sert?o and the woman. These themes boosted the discussions about landscape, deepened by its symbolism and spatial markers, thus, examined its functions and peculiarities which are elaborated towards landscape in this piece of work. An analysis supported beyond mere spatial description, leading to strong evidence for the narrative?s appeal, communicating the character?s personal states or even functioning as an antagonist in certain moments. In ?Suely in the Sky?, the landscape itself constitutes an example for the new tendencies of Northeastern Cinema, linked to its transformation, diversity e actualization characteristics that occurs in such spacialities, also enabling the embodiment of urban, global and transculturals elements to those spatial constructs.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-07-04T13:54:58Z No. of bitstreams: 1 AcaciaPierreDosSantosMedeiros_DISSERT.pdf: 3655066 bytes, checksum: e60336f468fa7b5fbfa22beb1d9db4e3 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-07-12T14:37:11Z (GMT) No. of bitstreams: 1 AcaciaPierreDosSantosMedeiros_DISSERT.pdf: 3655066 bytes, checksum: e60336f468fa7b5fbfa22beb1d9db4e3 (MD5) / Made available in DSpace on 2017-07-12T14:37:11Z (GMT). No. of bitstreams: 1 AcaciaPierreDosSantosMedeiros_DISSERT.pdf: 3655066 bytes, checksum: e60336f468fa7b5fbfa22beb1d9db4e3 (MD5) Previous issue date: 2017-03-25 / A expans?o tecnol?gica e comunicacional propiciou o surgimento de novas pr?ticas de visualiza??o e apropria??o de informa??es, de modo a afetar a visibilidade e as pr?ticas das comunidades de f?s, que se constituem a partir de uma participa??o ativa dos membros que as integram. Este trabalho procura inserir-se no contexto da cultura participativa a fim de melhor compreender o fen?meno de cultura de f?s e contribuir para os estudos que a ele est?o relacionados. Para isto, utiliza-se o filme Batman vs Superman ? A Origem da Justi?a com o objetivo de demonstrar como os f?s se organizam e quais as suas pr?ticas em uma comunidade virtual. O m?todo empregado ? o da netnografia apoiada ? observa??o das pr?ticas online e ? elabora??o de question?rios destinados aos membros da comunidade. A base te?rica ? composta por autores como Henry Jenkins (1992;2006;2009;2015), Matt Hills (2002), Clay Shirky (2011), Paul Booth (2010), Mark Duffett (2013), dentre outros que procuram compreender a participa??o como o fator fundamental da cultura de f?s. / The technological and communicational expansion provided the emergence of new practices of preview and appropriation of information, affecting the visibility and the practices of the fans communities, which stabilish from an active participation of members that integrate them. This paper seeks to insert in the culture participatory context in order of better understand the fans culture phenomenon and contribute to the studies that are related to it. Therefore, I use Batman vs Superman ? Down of Justice film to demonstrate how the fans organize themselves and which are their practices in a virtual community. The used method is the netnography with the observation of online practices and the elaboration of quizzes for the community members. The theoretical basis is composed of authors like Henry Jenkins (1992; 2006; 2009; 2015), Matt Hills (2002), Clay Shirky (2011), Paul Booth (2010), Mark Duffett (2013), and others that try to understand the participation as the key factor of the fans culture.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-08-01T14:27:30Z No. of bitstreams: 1 RenataAlvesDeAlbuquerqueOthon_DISSERT.pdf: 4272876 bytes, checksum: 1b6279edd3c561a258ad09f194830035 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-08-08T14:21:55Z (GMT) No. of bitstreams: 1 RenataAlvesDeAlbuquerqueOthon_DISSERT.pdf: 4272876 bytes, checksum: 1b6279edd3c561a258ad09f194830035 (MD5) / Made available in DSpace on 2017-08-08T14:21:55Z (GMT). No. of bitstreams: 1 RenataAlvesDeAlbuquerqueOthon_DISSERT.pdf: 4272876 bytes, checksum: 1b6279edd3c561a258ad09f194830035 (MD5) Previous issue date: 2017-03-16 / Este estudo tem como objetivo discutir o papel do self reality show online - conceito desenvolvido na pesquisa que trata da autoexposi??o de microcelebridades na internet - na apropria??o de pr?ticas de consumo alimentar saud?vel entre usu?rios do Instagram. Nesse ponto, analisa-se o papel e o trabalho de influenciadores digitais, um novo modelo de neg?cio que vem ditando tend?ncias e articulando mentes, a partir da observa??o da expans?o do constructo de saudabilidade, da gastronomiza??o e do estudo das tend?ncias alimentares contempor?neas. Para tanto, adota-se conceitos centrais que fazem a ponte entre sociedade, m?dia e sa?de: midiatiza??o, ? luz dos estudos de Hjarvard (2012), Muniz Sodr? (2012), Fausto Neto (2006, 2008) e Ver?n (2014); sociabilidade em rede, embasada nas pesquisas de Castells (2003, 2010) e Recuero (2009); visibilidade e exibicionismo, sob a ?tica de Debord (1964), Rocha e Castro (2009), Rocha (2006), Goffman (2002) e Sibilia (2007, 2008); consumo contempor?neo e tend?ncias da alimenta??o, baseados em Lipovetsky (2007), Barbosa (2009), Esp?rito Santo Neto (2009) e Jacob (2013). Metodologicamente, por meio da da Teoria Fundamentada, coment?rios gerados em publica??es relacionadas ? alimenta??o saud?vel, pertencentes aos perfis @carolbuffara e @mimisfranzoni, s?o analisados de acordo com o processo de codifica??o da TF e sistematizados em categorias e memos, intitulados codifica??o aberta, axial e seletiva. Entrevistas via question?rio Google Docs com seguidores dos perfis analisados tamb?m s?o consideradas como suporte para a interpreta??o dos dados. O estudo te?rico e a an?lise apontam para a transforma??o da opini?o de microcelebridades em crit?rio de legitimidade, fen?meno ancorado pela representatividade e visibilidade presentes nas redes sociais na internet, que as transformam em uma refer?ncia e esp?cie de manual de estilo de vida sintonizado com a saudabilidade e a gastronomiza??o, tend?ncias ainda pautadas pela m?dia e pelas ind?strias aliment?cia e da beleza. Interpreta-se os resultados como reflexos de uma sociedade que tem como forte tend?ncia de comportamento o culto ao corpo e de uma cultura hedonista imaginativa que institucionaliza a busca de sensa??es, experi?ncias e emo??es por interm?dio do consumo, sob a ?tica do consumo de imagens. / This study aims to discuss the role of the online self reality show - a concept developed in the research that deals with the self exposition of microcelebrities on the internet - in the appropriation of healthy food consumption practices among Instagram users. At this point, the part played by digital influencers - a new business model that has been dictating trends and articulating minds - and their work is analyzed, based on the observation of the expansion of the healthyness construct, the gastronomization and the study of contemporary food trends. To do so, core concepts that bridge the gap between society, the media and health are adopted: mediatization, in the light of the studies of Hjarvard (2012), Muniz Sodr? (2012), Fausto Neto (2006, 2008) and Ver?n (2014); networked sociability, based on Castells (2003, 2010) and Recuero (2009); visibility and exhibitionism, from the perspective of Debord (1964), Rocha and Castro (2009), Rocha (2006), Goffman (2002) and Sibilia (2007, 2008); contemporary consumption and food trends, based on Lipovetsky (2007), Barbosa (2009), Esp?rito Santo Neto (2009) and Jacob (2013). Through the methodology of the Grounded Theory, comments generated in publications related to healthy eating, belonging to the profiles @carolbuffara and @mimisfranzoni, are analyzed according to the decoding process of TF and systematized in categories and memos, called open, axial and selective codification. Interviews applied via Google Docs with followers of the analyzed profiles are also considered as support for the interpretation of the data. The theoretical study and the analysis and interpretation of the data point to the transformation of the microcelebrities? opinions into a standard of legitimacy, a phenomenon anchored by the representativeness and visibility present in the social networks in the internet, that transform these digital influencers into a reference of lifestyle tuned with the healthiness and gastronomization, trends still based on the media and the food and beauty industries. The results are interpreted as reflections of a society that has as a strong behavioral tendency the cult of the body and of an imaginative hedonistic culture that institutionalizes the search of sensations, experiences and emotions through the consumption, from the point of view of the consumption of images.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-10-04T23:04:59Z No. of bitstreams: 1 EmanoelLeonardoDosSantos_DISSERT.pdf: 2559806 bytes, checksum: 1edb06eb9069c93bdfccdcae025512a1 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-10-16T19:30:30Z (GMT) No. of bitstreams: 1 EmanoelLeonardoDosSantos_DISSERT.pdf: 2559806 bytes, checksum: 1edb06eb9069c93bdfccdcae025512a1 (MD5) / Made available in DSpace on 2017-10-16T19:30:30Z (GMT). No. of bitstreams: 1 EmanoelLeonardoDosSantos_DISSERT.pdf: 2559806 bytes, checksum: 1edb06eb9069c93bdfccdcae025512a1 (MD5) Previous issue date: 2017-06-06 / Esta disserta??o tem como objetivo analisar o trabalho efetuado pela r?dio Reis Magos ? 96 FM na internet. Por meio de observa??o emp?rica preliminar, constata a presen?a cont?nua da r?dio na plataforma digital, no entanto, encontrada algumas lacunas na forma como a emissora atua e utiliza a web para o desenvolvimento do seu trabalho. A pesquisa toma por base as a??es de converg?ncia realizadas pela empresa no site e nas redes sociais (Facebook, Instagram e Twitter) no per?odo que compreende o m?s de novembro de 2016. Durante a observa??o, a hip?tese era de que n?o havia investimentos na ?rea digital da emissora. Essa quest?o se d? pela n?o presen?a de publicidades nesses canais de comunica??o. Para a elabora??o desta pesquisa, serviram como base para a tem?tica abordada autores como Lopes (2016), Meditsch (2001), Ferrareto (2007) e Kischinhevsky (2016), que foram de extrema import?ncia para o desenvolvimento deste estudo de caso (YIN, 2005). Alguns procedimentos metodol?gicos tamb?m foram importantes, como a an?lise das p?ginas da r?dio, tanto no site quanto nas redes sociais, a perman?ncia in loco (LAGO, 2007), o que resultou em entrevistas e na observa??o do trabalho da emissora (WINKIN, 1998), sendo este fora da rede digital. Verifica, ainda, que entre as emissoras de r?dio de Natal, a 96 FM ? a que mais atua e desenvolve trabalhos na internet. Apesar disso, a pesquisa verifica que falta muito para a empresa estar com uma totalidade de produ??es na web, talvez pela aus?ncia de investimentos ou ainda pela acomoda??o dos profissionais que atuam nela. Por fim, esta disserta??o aponta a necessidade de se investir mais nas produ??es das emissoras de Natal na internet, n?o s? pelo desenvolvimento e pelo crescimento das r?dios mas tamb?m para ouvintes terem a op??o de acompanhar as suas programa??es favoritas a partir de qualquer dispositivo de transmiss?o, sejam eles fixos sejam m?veis. / The present dissertation aims to analyze the work accomplished by Reis Magos radio service ? 96 FM, offered on the internet. Through preliminary empiric observation it was noticed the continuous presence of the radio on the digital platform, however, some failures were found on how the broadcast station acts and uses the web for the development of its work. This research is based on the actions of convergence realized by the company on its website and on Social Medias (Facebook, Instagram and Twitter) in the period of November 2016. During the observation it was pointed out a hypothesis for the lack of investments in the digital area of the radio station, what happens by the non-presence of advertising in the referred communication channels. For the elaboration of this research some bibliographies were used and served as base for the current thematic, authors such as Lopes (2016), Meditsch (2001), Ferraretto (2007) and Kischinhevsky (2016) were all of extreme importance for the development of this case study (YIN, 2005). Some methodological procedures were also important, like the analysis of both the website and the public profile of the radio on Social Medias, and the permanence in loco (LAGO, 2007), what resulted in interviews and in observation of the work developed by the station (WINKIN, 1998), this last one being outside the digital network. Through this observation, it was noticed that, among the radio stations located in Natal, 96 FM is the one that both acts and develops more works on the internet. Nevertheless, the research identifies that it is a long way until the company have a totality of productions on the internet, maybe for the lack of investments or even for the accommodation of the professionals working in it. Lastly, this dissertation points out the necessity of more investment in the internet productions of the radio stations from Natal, not only for the development and expansion of the radio stations, but also for the listeners to have the option of following their favorite programs from any receptor device, be them fixed or mobile.