No description available.

No description available.

Submitted by Verena Pereira (verenagoncalves@uefs.br) on 2018-07-23T22:00:43Z No. of bitstreams: 1 ASPECTOS DO CINEMA DE FERNANDO CONI CAMPOS E IMAGENS POLISS?MICAS DO RISO NA OBRA O M?GICO E O DELEGAD.pdf: 7875724 bytes, checksum: 62b5a64e28234e8181b82852232b1b1d (MD5) / Made available in DSpace on 2018-07-23T22:00:43Z (GMT). No. of bitstreams: 1 ASPECTOS DO CINEMA DE FERNANDO CONI CAMPOS E IMAGENS POLISS?MICAS DO RISO NA OBRA O M?GICO E O DELEGAD.pdf: 7875724 bytes, checksum: 62b5a64e28234e8181b82852232b1b1d (MD5) Previous issue date: 2017-08-31 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / The present work proposes to analyze aspects of the cinema of Fernando Coni Campos, and the polysemic images of laughter contained in the feature film O M?gico e o Delegado (1983) in order to work: the meanings of polysemy and the semiotic field Audiovisual image; The exploration of the local identity imaginary and the inference of the dialogues present in the work with literary, popular, political, economic, social and historical references; The historical and original foundations of Brazilian comedy and circus art, as well as the first cinema and national cinema; The cinematographic canon. These and other objectives are characterized in the exploratory research, which aims to provide familiarity with the problem, and bibliographical research, documentary and film, reading and audiovisual reference. Therefore, the present work intends to discuss the pertinent issues of the "absence in presence" problem in the cinematographic canon and nuances of the idea of Bahia contained in the movie / O presente trabalho se prop?e a analisar aspectos do cinema de Fernando Coni Campos, e as imagens poliss?micas do riso contidas no longa-metragem O M?gico e o Delegado (1983) a fim de trabalhar: os sentidos de polissemia e do campo semi?tico no tocante ? imagem audiovisual; a explora??o do imagin?rio de identidade local e a infer?ncia dos di?logos presentes na obra com refer?ncias liter?rias, populares, pol?ticas, econ?micas, sociais e hist?ricas; os fundamentos hist?ricos e origin?rios da comicidade brasileira e da arte do circo, bem como do primeiro cinema e do cinema nacional; o c?none cinematogr?fico. Esses e outros objetivos caracterizam-se na pesquisa explorat?ria, a qual visa proporcionar familiaridade com o problema, e da pesquisa bibliogr?fica, documental e f?lmica, de leitura corrente e de refer?ncia audiovisual. Isto posto, o presente trabalho pretende discutir as quest?es pertinentes a problem?tica da ?aus?ncia em presen?a? no c?none cinematogr?fico e nuances da ideia de Bahia contidas no filme elencado

Emojis är ett digitalt uttryckssätt baserade på smileys och emoticons som introducerades i smarta telefoner under 2011 och har sedan dess blivit en integrerad del av många människors vardagliga kommunikation. De används också i politisk kommunikation på sociala medier på samma sätt som en del i ett modernt uttryckssätt. Den här undersökningen tittar på 557 emojis i 300 inlägg gjorda av tre ledande politiska partier – Høyre i Norge, Socialdemokraterna i Sverige och Venstre i Danmark. Syftet är att förstå vilken funktion emojis har i förhållande till texten och bilden i inlägget. Med utgångspunkt i Goffmans gestaltningsteori görs en kvantitativ översiktsskapande analys av 300 inlägg där alla emojis placeras i en av Fairhursts gestaltningsteknik baserat på vilken funktion de har i inlägget. I en djupare analys undersöks 15 inlägg där alla emojis analyseras utifrån teorierna gestaltningsteknik, polysemiskt objekt och positionsvärde. Emojis används av alla tre partier på liknande sätt och alla tre partier delar en likadan gestaltningsteknik bland de topp tre vanligaste. Främst är de ett substitut för mellanmänsklig kommunikation men sällan svårtolkade. Eftersom alla partier använder emojis på ett liknande sätt kan det ses som en medialisering i förhållande till sociala medier, snarare än en utveckling utifrån en nationell kultur. / Emojis is a digital expression based on smileys and emoticons that were introduced in smartphones during 2011, and has since then become an integrated part with peoples every day communication. They are also used in political communication on social media as part of a modern expression. This is an examination of 557 emojis in 300 Instagram post made by three leading political parties – Høyre in Norway, Socialdemokraterna in Sweden and Venstre in Denmark. The overall purpose is to understand what function the emoji have in the Instragram text and picture context. This is a quantitative examination starting in the Goffman framing theory were 300 Instagram posts are analyzed and the emojis are assigned a Fairhurst framing technique based on its function in the post. It’s also a qualitative analysis of 15 Instagram posts were the containing emojis are analyzed from the theories framing technique, polysemic object and position value. Emojis are used in similar ways by all the parties and they share one framing technique on their top three used techniques. The emoji is used as a substitute for nonverbal communication in the posts and are seldom hard to understand. The usage can be seen as a result of medialization in relation to social media rather than a development from a national culture.

No description available.