Este estudo apresenta a minha produção artística entre 2005 e 2007, bem como as questões poéticas e teóricas envolvidas nas obras: imagens instaladas em diversos ambientes. A aproximação com a paisagem é determinada pela articulação dos trabalhos com o lugar, que instiga a reflexão sobre a experiência espacial do observador. Do ponto de vista da artista, o texto aponta para os meios e suportes adotados e desenvolve relações específicas entre obra, espaço físico e imaginação. / This study presents my artistic production between the years of 2005and 2007, as well as the poetical and theoretical questions involvedin this works: installed images in several places. The proximity withthe landscape is determined by the articulations of the work with theplace, instigating the reflection about the spatial experience of theobserver. From the artist´s point of view, the text poitns to themediums and suports that are adopted, developing specific relations between the work, phisical space and imagination.

Em uma história forjada por lutas pela libertação e contra a dominação de estrangeiros e colonizadores, a cultura latino-americana é repleta de um sentimento religioso que pode ser expresso nas mais diversas formas de relação do homem com o sagrado. Independente das raízes religiosas - catolicismo, judaísmo, protestantismo, candomblé, santeria ou qualquer outra denominação - é evidente em toda a América Latina uma religiosidade que transcende as barreiras de idioma e espaço geográfico. Nosso continente se une culturalmente por meio de um sentimento religioso expresso nas mais variadas manifestações originárias do catolicismo e imposta por portugueses e espanhóis, mas que encontrou em toda a América Latina um ambiente favorável e acolhedor, no qual se desenvolveu significativamente. Ao longo de todos esses séculos, a consolidação dessas devoções, principalmente a devoção mariana solidificou-se, tornando as barreiras geográficas, históricas ou de comunicação, conseqüente de idiomas diferentes, insuficientes para impedir a integração cultural baseada na fé e na religiosidade popular. Segundo Kossoy (2002), desde seu surgimento e ao longo de sua trajetória, até nossos dias, a fotografia tem sido aceita e utilizada como prova definitiva, testemunho da verdade do fato ou dos fatos. Com base na afirmação do autor, esse trabalho será conduzido pensando a fotografia como forma de registro documental e contribuição para o processo de comunicação e memória, pois, muito mais que nos textos sagrados ou nas análises acadêmicas, é nas imagens das celebrações devocionais, nas caminhadas dos peregrinos ou nos olhares carregados de fé e aflição que se revela a verdadeira devoção do povo latino-americano. O fio condutor dessa pesquisa baseia-se na abordagem de fragmentos das realidades presentes nos templos e demais locais sagrados, estabelecendo uma narrativa visual, tendo na fotografia a forma de comunicação e o registro documental, objetivando a interpretação da realidade, a partir do ponto de vista do autor, respeitando, contudo o momento histórico e as particularidades das manifestações religiosas. / In a history forged by struggles for liberation and against the domination of foreigners and settlers, the Latin American culture is full of a religious sentiment that can be expressed in various forms of mans relationship with the sacred. Regardless of the religious roots - Catholicism, Judaism, Protestantism, Candomble, Santeria or any other denomination - is evident throughout Latin America a religiosity that transcends language barriers and geographical space. Our continent is united culturally by a religious sentiment expressed in various manifestations originating from Catholicism and imposed by Portuguese and Spanish, but found throughout Latin America a supportive and welcoming environment in which developed significantly. Throughout all these centuries, the consolidation of these devotions, especially Marian devotion solidified, making the geographical, historical or communication barriers, resulting in different languages, insufficient to prevent cultural integration based on faith and popular religiosity. According Kossoy (2002), since its inception and throughout its history, to this day, photography has been accepted and used as definitive proof, witness to the truth the fact or facts. Based on the authors statement, this work will be conducted considering photography as a form of documentary record and contribution to the communication and memory process, therefore, much more than in the sacred texts or in academic analysis, it is the images of devotional celebrations in walks of pilgrims or the looks laden with faith and distress that reveals the true devotion of the Latin American people. The thread of this research is based on the approach of the present realities fragments in temples and other holy sites, establishing a visual narrative, and the picture the way of communication and the documentary record, in order to interpret reality from the point of views of the author, subject, however the historical moment and the peculiarities of religious manifestations.

Orientador: Luciano Guimarães / Banca: Ricardo Alexino Ferreira / Banca: Wagner Souza e Silva / Resumo: A pesquisa busca comprovar a influência do fotógrafo francês Henri Cartier-Bresson (1908-2004), considerado como o mestre do fotojornalismo, sobre alguns fotojornalistas brasileiros atuais, mais especificamente sobre Flávio Damm (1928), Marcelo Buainain (1962) e Tuca Vieira (1974). O fotógrafo francês Henri Cartier-Bresson vêm influenciando fotojornalistas do mundo todo há décadas, devido à sensibilidade e importância de suas fotos. A proposta do instante decisivo, defendida por ele, é uma busca constante, uma espreita, uma atenção, mas que se adéqua a cada época. Além dessa característica marcante em sua obra, outras facilmente destacadas são: o fato de sempre fotografar em preto-e-branco e de apurar com cuidado a composição e o arranjo dos elmentos plásticos que repercutem no personagem central, como se tudo estivesse sob o controle do olhar fotógrafo em uma busca pelas formas e organização da cena através de seu olhar geômetra. Observando assim as características dos fotógrafos citados e comprovando às observadas nas fotos de Cartier-Bresson, torna-se possível comprovar sua influência ainda atual sobre fotógrafos brasileiros. Inicialmente, é apresentada uma exposição das discussões acerca da "realidade" impressa na fotografia e essa busca no fotojornalismo. Ainda ligada a essa questão, introduz-se a teoria utilizada, pensando na fotografia através da Semiótica da Cultura, com focoa nos pesquisadores Vilém Flusser e Norval Baitello Jr., refletindo sobre as pesquisas acerca da imagem téorica, da manipulação da imagem, da crise da visibilidade e da fotografia em preto-e-branco, ligando essas propostas à metodologia utilizada para a análise das imagens. Para comprovar o objetivo da pesquisa, no caso a influência de Bresson sobre os fotojornalistas brasileiros selecionados, é utilizada... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The research seeks to demonstrate the influence of the French photographer Henri Cartier-Bresson (1908-2004)m regarded as the master of photojournalism, on some current Brazilian photojournalists, more specifically about Flávio Damm (1928), Marcelo Buainain (1962) and Tuca Vieira (1974). The French photographer Henri Cartier-Bresson have influenced photojournalists around the world for decades, due to the sensitivity and importance of your photos. The proposal of the decisive moment, advocated by him, is a constant search, a watch, an attention, but that suits every age. Besides this characteristics in his work, others are easily highlighted: the fact to prefer shoot in black and white and carefully determine the composition and arrangement of the plastic elements and impact the central character, as if everything was under control of the photographic look in a search for forms and organization of the scene through his geometer eyes. Initially, it is show an exhibition of discussions about the "reality" printed on photography and photojournalism in this quest. Also connected to this issue, we introduce the theory used, thinking the picture through the Culture of Semiotics, focusing on researchers as Vilém Flusser and Norval Baitello Jr. reflecting on the research about the technique image, the manipulation of the crisis of visibility and photography in black and white, calling such proposals to the methodology used for image analysis. To prove the purpose of the research, in that case, the influence of Bresson on the select Brazilian photojournalists, it is used the Image Theory, from the class taught at UNESP in August 2011 by Professor Dr. Jose Javier Marzal Felici, where a scheme is presented for a through and detailed analysis on photos. The analysis will take place in the contextual level (technical parameters), morphological... (Complete abstract click electronic access below) / Mestre

Orientador: Olympio José Pinheiro / Banca: Isaac Antonio Camargo / Banca: Paula da Cruz Landim / Resumo: Quando considerado o contexto contemporâneo da nossa civilização, baseada principalmente na imagem, o estudo dos diferentes usos da fotografia em peças de design gráfico torna-se importante. Dado um mundo em que as imagens são cada vez mais numerosas, diversificadas e intercambiáveis, faz-se necessária a investigação da efetividade comunicacional de tais imagens na cultura imagética iniciada no século XX e que continua no século XXI. A presente pesquisa buscou ampliar a compreensão da fotografia no design gráfico contemporâneo, identificar a presença histórica da fotografia como elemento do discurso em comunicações visuais socioambientais, e discutir os usos da fotografia digital na construção do discurso de sedução e persuasão usado em campanhas socioambientais. Aqui é analisada a campanha "Meia Amazônia Não" desenvolvida pela Organização Não-Governamental Greenpeace Brasil. Tal objeto foi examinado a partir da semiótica peirceana, para o estudo dos signos e da relação entre significados, e da retórica visual, para entender como as imagens criam significados. O objetivo foi verificar se a linguagem fotográfica utilizada nas campanhas socioambientais tem potencialidades para convencer o receptor da mensagem a aderir às causas defendidas. Os elementos levantados na presente análise corroboram tal hipótese. Nesse contexto, a discussão possibilita entender o valor da linguagem fotográfica no design gráfico para comunicações de cunho político, social e ambiental / Abstract: When considering the contemporaneous context of our civilization, mostly based on image, the study of the different usages of photography in graphic design pieces becomes important. Given a world in which images are numerous, diverse and interchangeable, it is necessary to investigate the communicative effetiveness of such images in the imagetic culture that began in the 20th century and continues in the 21th centuty. The present research sought to broaden the understanding of photography in contemporary graphic design, to identify the historical presence of photography as an element of visual communication in social and environmental speech, and the uses of digital photography in constructing the discourse of seduction and persuasion used in environmental campaigns. Herein, the campaign "No to Half Amazon", developed by the Non-Governmental Organizations Greenpeace Brazil, is analyzed. Such an object was examined based on Peirce's semiotics, to study signs and relationship among meanings, and on classical or visual rhetoric, to understand how pictures create meanings. The aim was to verify if the photographic language used in environment campaigns have the potencial to convince the message recipient to adhere to the causes the campaign advocated. The elements raised during the present analysis corroborate this hypothesis. In this context, the discussion allows to understand the value of photographic language in graphic design for communicating political, social and environmental trends / Mestre

O surgimento da fotografia como descoberta científica causou grande impacto no universo das imagens e de forma vertiginosa se alastrou para muitas áreas do conhecimento. Esse potencial adaptativo e elástico da imagem fotográfica impulsiona a mesma para um contexto no qual as relações entre diferentes sistemas fazem surgir uma nova estrutura com elementos constitutivos de ambos. Com o avanço tecnológico e a convergência das mídias, através dos ambientes digitais, esse processo se potencializa e a complexidade do sistema fotográfico aumenta de tal forma que, em muitos casos, exige uma leitura refinada na tentativa de identificar elementos específicos da composição de seu sistema. Identificar e traçar um panorama de tais processos evolutivos é a linha norteadora desta tese, para, com isso, construirmos um percurso visual a fim de desenhar, através de imagens apresentadas, essas relações sistêmicas formadoras de novas estruturas. / The emergence of photography as scientific discovery caused great impact in the world of images and steeply spread to many areas of knowledge. This adaptive and elastic potential of the photographic image drives it to a context in which relationships between different systems give rise to a new structure with constitutive elements of both. With advances in technology and the convergence of media, through the digital environments, this process is strengthened and the complexity of the photographic system increases in such a way that, in many cases, requires a refined reading in an attempt to identify specific elements of the composition of its system. Identify and give an overview of these evolutionary processes is the guiding line of this thesis, to, thereby, build a visual route in order to draw, through images shown, these systemic relations forming new structures.

As formas de se criar e compartilhar música e imagem se encontram em constante revolução, propiciada pelas novas possibilidades de produção e divulgação de conteúdo. Artistas e público interagem de maneiras criativas e oportunas com esse novo ambiente, enquanto a comunicação como um todo traça um caminho de volta à oralidade na transmissão de conhecimento. É objetivo deste trabalho identificar a importância do conteúdo amador para a divulgação de artistas independentes, em especial no site de vídeos YouTube. Conteúdo esse que é produzido em duas frentes: o público contribui com versões cover, homenagens, registros da plateia de shows, aulas de violão, karaokês e conteúdo original republicado sem autorização; e os artistas oferecem suas cenas de bastidores, novas composições, apresentações ao vivo e participações; entremeadas com seu conteúdo de lançamento comercial - como videoclipes e álbuns. A oralidade secundária que segue o fechamento do Parêntese de Gutenberg, apresentado por Thomas Pettit, traz um novo meio de se conhecer, ouvir, tocar e compartilhar música, especialmente através desse conteúdo amador. Artistas são apresentados por seu próprio público, que relê e reescreve as canções a seu modo, registra e reporta seus acontecimentos com sua própria estética, e realimenta sua produção com seus próprios desejos. Para tanto, sete artistas independentes foram analisados quantitativamente e posteriormente entrevistados quanto a seu faturamento, execução pública e presença no YouTube. Por último, foi proposto um experimento imagético com a participação do público de uma apresentação musical de um dos artistas em questão, cujos resultados foram comparados aos de um experimento similar conduzido dez anos antes. / The ways in which music and image are created and shared are in constant revolution, caused by the new possibilities of producing and disseminating content. Artists and audience take part in creative opportunities for dealing with this new environment, as communication as a whole traces its path back to orality. The purpose of this thesis is to identify the relevance of amateur content on the promotion of independent musical artists, especially through the video website YouTube. Fans share their cover versions, tributes, concert videos, guitar lessons, karaoke animations and original ripped content; while artists share their backstage scenes, rehearsals, new compositions, live performances, special guests along with their official c ommercial releases of tracks and music videos. The secondary orality that follows the closing of The Gutenberg Parenthesis, presented by Thomas Pettit, brings new ways to get to know, listen to, play and share music, especially through the amateur content. Artists are introduced by their own audiences, who re-read and re-write their music in their own way. Fans document and report the artist happenings in their own aesthetics and refuel their production with their own desires. For that purpose, seven independent artists have been quantitatively analysed and subsequently interviewed about their revenue, broadcasts and YouTube presence. At last, an audiovisual experiment was conducted, in which a live music concert was photographed and recorded on video by amateur guests. Their outcome was compared to that of a similar experiment conducted ten years before.

This dissertation examines the use of visual media as a means of resistance to oppressive political narratives in five Mexican works from the twentieth and twenty-first centuries. Included are two novels: Nellie Campobello’s Cartucho: Relatos de la lucha en el Norte de México (1931), on the Mexican Revolution, and Elena Poniatowska’s La noche de Tlatelolco (1971), about the 1968 Mexican student movement and the October 2 massacre. I also analyze three projects, both visual and discursive, related to the 2014 forced disappearance of 43 students of the Ayotzinapa Teacher’s College in Guerrero, Mexico. The three historical moments the five texts explore are marked by particular trends in visual representation as well as by official narratives that manipulate or misrepresent history for political purposes. I analyze Cartucho and La noche de Tlatelolco with regard to their distinctive structures using theories on photography and cinematography, which help to describe the narrative dimensions of the works. The photography theory is primarily drawn from the work of Walter Benjamin, Susan Sontag, and Roland Barthes, while the cinematographic theory is drawn from Sergei Eisenstein’s work on intellectual montage. I argue that Cartucho functions as a textual “album,” in which each brief text (relato) presents a snapshot of a participant or moment during the Mexican Revolution related to the Villista forces. Campobello’s work responds to the commercial and political uses of photographic images of the time (1916-1920) and was written with the goal of refuting the “black legend,” which characterized the Villistas as criminals. Concerning La noche de Tlatelolco, I analyze the way in which early editions of the book incorporated images of 1968, and argue that the text is best understood as an intellectual montage, which communicates through interactions between the fragmentary and contradictory texts that comprise the book. I analyze the three Ayotzinapa projects, a museum exhibit, an online platform, and the Antimonumento +43, by considering how an audience must interact with each; my goal is to understand the discourse these works generate regarding the Ayotzinapa case, and I explore the problems of historicization and memorialization in relation to ongoing Ayotzinapa activism.

While there is significant interest in the lives of looked-after young people, little attention has been given to the way these young people are depicted onscreen. The aim of this study is to explore looked-after young people's perceptions of these fictional depictions and the impact these depictions have on them. Drawing on Freire’s seminal text, Pedagogy of the Oppressed, I adopt a participatory approach throughout. Research methods involved viewing and discussing TV and film content depicting looked-after characters with a group of young people in care, followed by semi-structured interviews with group members. The data is analysed using a modified Interpretative Phenomenological Analysis protocol. My research highlights that these young people perceive onscreen fictional depictions to be “unrealistic” and negative. These depictions have significant impact, particularly in terms of “presumed media influence”, on how these young people perceive negative depictions to influence others. The young people offer a range of suggestions in terms of better depicting looked-after characters, drawing on their own experiences of care. My research also highlights the benefit of utilising a Freirean empowerment model, in terms of raising critical consciousness, for a group of looked-after young people.

This thesis explores practices and experiences of using photography to support remembering. While the increasing use of photography is well documented, we have limited theoretical understanding of how we approach the taking, organising, and sharing of personal images in relation to memory, and of the opportunities and risks that are created through technological change. Two studies were conducted in which a total of 21 participants were interviewed in front of a sample of their photographs. Study 1 explored photography and remembering around a single, specific event: a wedding. Study 2 explored longer-term patterns of photographic and remembering activity across a range of contexts and events. The analysis showed that the ways that participants engaged with other people and technologies were significant in determining the kinds of photographs that were produced, and the engagement with those photos. Photographic practices were also heavily influenced by the situations in which they were performed and the beliefs and preferences of individuals. The existence of photographs could lead to thinking about particular aspects of the past, but the taking of photographs also altered the experience of what was being photographed. This could be seen as disruptive, depending on the participant’s beliefs about whether photography was a legitimate part of experience. When taking photos, participants pursued a mix of aesthetics, objectivity, and personal meaning, and perceptions of these qualities could influence the way that photographs were used in cueing recall. However, while most participants had produced large collections of photographs, there had been limited engagement with these and taking or having photographs could be more important than looking at them. The thesis concludes that there is value in redefining memory as a kind of activity that emerges through the performance of remembering and that is dependent on the tools used to support it and the situations in which it is performed. From this perspective, photography and autobiographical remembering are parts of the same wider activity, an inseparable blend of internal and external processes. As such, attempts to support our memories should consider both the features of technology and the experience of using it, as well as the ways that we work with tools and people when remembering.

\"Cidade Azul\" é o título de conclusão da dissertação de mestrado que apresenta, em formato de livro, a edição de dois ensaios fotográficos, realizados entre os anos de 2009 a 2012, e um breve ensaio, redigido ao longo do último ano. Cada ensaio tem sentido próprio, independente dos demais, e, contudo, é integrante de um mesmo processo de criação, que se desenvolveu com a prática fotográfica (do olhar, à edição, finalização e produção de um livro) e ao enfrentar o desafio da escrita poética. \"Cidade Azul\" apresenta a paisagem urbana em alguns distintos, mas complementares, aspectos: pela improvável sobreposição do tempo (ao justapor imagens) somada as angústias advindas da percepção das cenas retratadas; através de personagens singulares, que se aglomeram e dão vida à cidade; e, finalmente, com a narrativa que acompanha a diversidade de acontecimentos em uma região caótica, no período em que a urbe supostamente descansa. Ambos modificando o olhar rotineiro que repousa sobre a paisagem. / \"Cidade Azul\" [Blue City] is a conclusion of the dissertation that presents, in book form, the editing of two photographic essays, conducted between the years 2009 to 2012, and a brief essay, written over the last year. Each essay has its own meaning, independent of the others, and yet is part of the same process of creation that grew up with photographic practice (look, editing, finishing and production of a book) and the challenge of poetic writing. \"Cidade Azul\" presents the urban landscape in some distinct, but complementary aspects: the unlikely time overlap (by juxtaposing images) plus the anguish arising from the perception of the scenes depicted; through unique figures that crowd and give life to the city; and finally, with the narrative that accompanies the diversity of events in a chaotic region in the period in which the metropolis supposedly rests. Both changing the way routine that rests on the landscape