Made available in DSpace on 2017-07-21T13:42:55Z (GMT). No. of bitstreams: 1 Elaine Schmitt.pdf: 4844970 bytes, checksum: bfc8b9a4c146425a57179b7dfa4f06d3 (MD5) Previous issue date: 2017-03-16 / The present research proposes to observe how the press of the interior approached the civil military coup that broke out in Brazil in 1964, through an analysis of the discourse produced by the newspapers O Comércio (União da Vitória / PR) and Caiçara (Porto União / SC). Based on the theoretical-methodological reference of the Discourse Analysis of French Line, which helped in the clipping and interpretation of the statements collected (during the period from january to december of 1964), it was possible to highlight the discursive formations that guided the journalism production, in which the senses around nationalism, anticommunism and religiosity contributed to the legitimation of the current ideology. The study, during the understanding aspects of the productive process of the press, defends an approach to journalism as a mechanism for social construction of reality and as a powerful apparatus to constitute the social imaginary, which contributes to crystallize certain meanings in the history of a country. / A presente pesquisa propõe- se a observar como a imprensa do interior abordou o golpe civil militar que eclodiu em 1964 no Brasil, por meio da análise do discurso produzido pelos jornais O Comércio (União da Vitória/PR) e Caiçara (Porto União/SC). Com base no referencial teórico-metodológico da Análise do Discurso de linha francesa, que auxiliou no recorte e na interpretação dos enunciados coletados (no período que compreende os meses de janeiro a dezembro de 1964), foi possível evidenciar as formações discursivas que orientaram a produção jornalística, em que os sentidos em torno do nacionalismo, do anticomunismo e da religiosidade contribuíram para a legitimação da ideologia vigente. O estudo, ao compreender aspectos do processo produtivo da imprensa, defende uma abordagem do jornalismo como mecanismo de construção social da realidade e como um potente aparato para constituir o imaginário social, que contribui para cristalizar determinados sentidos na história de um país

From the earliest days of English-language Canadian Broadcasting Corporation television (CBC-TV), the military has been regularly featured on the news, public affairs, documentary, and drama programs. Little has been done to study these programs, despite calls for more research and many decades of work on the methods for the historical analysis of television. In addressing this gap, this thesis explores: how media representations of the military on CBC-TV (commemorative, history, public affairs and news programs) changed over time; what accounted for those changes; what they revealed about CBC-TV; and what they suggested about the way the military and its relationship with CBC-TV evolved. Through a material culture analysis of 245 programs/series about the Canadian military, veterans and defence issues that aired on CBC-TV over a 40-year period, beginning with its establishment in 1952, this thesis argues that the conditions surrounding each production were affected by a variety of factors, namely: (1) technology; (2) foreign broadcasters; (3) foreign sources of news; (4) the influence of the military and its veterans; (5) audience response; (6) the role played by personalities involved in the production of CBC-TV programs; (7) policies/objectives/regulations set by the CBC, the Board of Broadcast Governors and the Canadian Radio-Television Commission (later, Canadian Radio-television and Telecommunications Commission); (8) ambitions for program development and the changing objectives of departments within the CBC; (9) economic constraints at the CBC; (10) CBC-TV’s relations with the other producers of Canadian television programming, like the NFB; and, (11) broader changes to the Canadian social, economic, political and cultural scenes, along with shifts in historiography. At different times, certain of these conditions were more important than others, the unique combination of which had unpredictable results for programming. The thesis traces these changes chronologically, explaining CBC-TV’s evolution from transmitting largely uncritical and often positive programming in the early 1950s, to obsession with the horrors of war and questioning of the military’s preparedness by decade’s end, to new debate about the future of the forces and the memory of war in the 1960s, to a complex mixture of activism, criticism and praise in the 1970s and 1980s, and, finally, to controversy and iconoclasm by the 1990s.