nÃo hà / Esta pesquisa investiga o processo de elaboraÃÃo do que se denomina como ciberconteÃdos educativos. O objetivo à identificar os elementos-chave que compÃem esse processo, assim como mapear as ocorrÃncias presentes na elaboraÃÃo colaborativa de conteÃdos educativos a partir da cibercultura, identificando formas de interaÃÃo e colaboraÃÃo entre os sujeitos na sua construÃÃo, para descrever uma alternativa contextualizada de elaboraÃÃo de conteÃdos com tal natureza. Para alcanÃar esses objetivos, parte-se do quadro teÃrico referencial para analisar a sociedade em rede; a cibercultura; a relaÃÃo de tal cenÃrio com o campo educativo; como os conteÃdos educativos sÃo interceptados pelas especificidades da cultura on line, para daà propor a denominaÃÃo dos ciberconteÃdos educativos, seus elementos-chave e processo de elaboraÃÃo. A metodologia, de carÃter qualitativo, utiliza-se da abordagem da pesquisa-aÃÃo conjugada aos mÃtodos etnogrÃficos. Ao todo a pesquisa contou com dezessete participantes, que fazem parte do Programa Banco Internacional de Objetos Educacionais- BIOE, do Instituto Instituto UFC Virtual e que congrega alunos de cursos de graduaÃÃo e pÃs-graduaÃÃo nas Ãreas de FÃsica, MatemÃtica, Letras Espanhol, Letras InglÃs, Letras PortuguÃs, Filosofia, CiÃncias ContÃbeis, Engenharia AgronÃmica, Pedagogia, Engenharia de TeleinformÃtica, Engenharia QuÃmica, ComunicaÃÃo Social. O percurso investigativo està organizado em quatro etapas: entrada no campo, planejamento, elaboraÃÃo e mudanÃa, tendo como categorias teÃricas o Conectivismo, a colaboraÃÃo e a mÃltipla autoria. Essas, por meio da observaÃÃo participante, diÃrio de campo, registro de imagem e Ãudio e grupo focal, oportunizaram a categorizaÃÃo analÃtica, organizaÃÃo e exploraÃÃo das ocorrÃncias. A interpretaÃÃo dos resultados desta pesquisa encaminha conclusÃes que apontam para a elaboraÃÃo colaborativa de conteÃdos educativos com formatos diferenciados, feita por muitos autores e que leva em consideraÃÃo as singularidades da rede mundial de computadores / This research investigates the elaboration process of which is defined by educative cybercontents. The purpose is to identify the key-elements that compose this process, such as map the occurrencies present in educative contentes elaboration from the cyberculture, identifying ways of interaction and colaboration among the subjects in its construction, in order to describe a into context alternative to elaborate such nature of contents. To reach these objectives, we start from the referential theoretical frame to analize the society on web; the cyberculture; the relation between this cenario and the educational field; how the educative contents are intercepted by the on line culture specificities, to, then, propose a educative cybercontents denomination, its key elements e elaboration process. The qualitative character methodology exploits the research-action approach together with the etnographic methods. In all, the research counts with seventeen participants, who integrates the Banco Internacional de Objetos Educacionais- BIOE, of Instituto Instituto UFC Virtual which congregates graduate and postgraduate students on the Ãreas of Physics, Mathematics, Letters Spanish, Letters English, Letters Portuguese, Philosofy, Acoounting Sciences, Agronomical Engineering, Pedagogy, Teleinformatics Engineering, Chemical Engineering, Social Communication. The investigative course is organized in four stages: field entry, planning, elaboration and change, having as theoretical categories the Conectivism, the colaboration and the multiple authorship. These, by the participant observation, field diary, image and Ãudio registration and focal group granted opportunity to the analitycal categorization; organization and occurrencies exploitation. The results interpretation of this research leads conclusions which points to colaborative contents elaboration with differentiated formats, made by many authors and taking into account the World Wide Web.

The multiple authorship view for film is the claim that multiple authors exist for almost any given film. This view is a recent development in opposition to the longstanding single authorship view which holds that there is only one author for every film, usually the director. One of the most often-cited reasons in support of the multiple authorship claim is that multiple authorship views more successfully explain the following fact about filmmaking better than single authorship views: filmmakers’ intentions sometimes conflict with each other during the production of a film. However, since multiple authorship views cannot adequately explain how a single filmic utterance can result from conflicting intentions, I want to argue that the single authorship view should be reinstated in those special cases where two or more agents are involved in the production of a filmic utterance and where the intentions of those agents are incompatible.