Este trabalho investiga elementos da narrativa jornalística contemporânea presentes na programação televisiva e discute o caráter híbrido das tecnologias da comunicação. A partir da análise de programas que retratam a tragédia acontecida na cidade de Santa Maria em janeiro de 2013,são utilizadas bases semióticas e analíticas no intuito de compreender referenciais comuns pelos quais esse tipo de comunicação opera na transmissão de suas mensagens e pontos de vista acerca do real. Traz como resultado a comprovação dos usos dessas estratégias de representação desses dentro do recorte analisado, o que serve como evidência da constante reafirmação de discursos generalistas a respeito dos fenômenos sociais, reeditados em novas bases tecnológicas. / This work investigates elements of contemporary journalistic narrative present in television programming and discusses the hybrid character of communication technologies . From the analysis of programs that depict the tragedy that took place in the city of Santa Maria in January 2013,semiotic and analytical bases are used in order to include common reference by which this type of communication operates in the transmission of messages on reality . It brings as a result the evidences of representation strategies within the analyzed cut. The conclusion serves as evidence of the constant reaffirmation of general discourse about social phenomena, reissued in new technological basis.

This study reports the findings of a systematic visual content analysis of 356 randomly sampled images published about the Iraq War in Time, Newsweek, and U.S. News and World Report from 2003-2009. In comparison to a 1995 Gulf War study, published images in all three newsmagazines continued to be U.S.-centric, with the highest content frequencies reflected in the categories U.S. troops on combat patrol, Iraqi civilians, and U.S. political leaders respectively. These content categories do not resemble the results of the Gulf War study in which armaments garnered the largest share of the images with 23%. This study concludes that embedding photojournalists, in addition to media economics, governance, and the media-organizational culture, restricted an accurate representation of the Iraq War and its consequences. Embedding allowed more access to both troops and civilians than the journalistic pool system of the Gulf War, which stationed the majority of journalists in Saudi Arabia and allowed only a few journalists into Iraq with the understanding they would share information. However, the perceived opportunity by journalists to more thoroughly cover the war through the policy of embedding was not realized to the extent they had hoped for. The embed protocols acted more as an indirect form of censorship.

In the summer of 1995, eighteen protesters came into armed conflict with over 400 RCMP officers and soldiers in central British Columbia. The conflict escalated into one of the costliest police operations in Canadian history. Many accounts of Aboriginal aggression provided by the RCMP are not consistent with evidence disclosed at the trial of the protesters. Moreover, the substance of the legal arguments at the heart of the Ts' Peten Defenders' resistance received little attention or serous analysis by state officials, police or the media. The RCMP constructed the Ts' Peten Defenders as terrorists and downplayed the use of state force that included military weaponry, land explosives and police snipers, who received orders to shoot to kill. Serious questions remain about the role of the RCMP, who acted as the enforement arm of state policies designed to constrain the effort to internationalize the Aboriginal title question. / iii, 225, [44] leaves : ill. ; 28 cm.

Indiana University-Purdue University Indianapolis (IUPUI) / In this study, Janis Edwards and Carol Winkler’s method, based on Michael McGee’s ideograph, is applied to non-discursive forms in order to understand the extent to which these images can be understood as a representative form functioning ideographically. Artifacts for analysis include the 2008 Shepard Fairey Obama “PROGRESS” and “HOPE” images, related campaign graphics, and parodies, political and non-political, humorous and serious. Literature on visual rhetoric, the ideograph, and extensions of McGee’s ideograph to visual forms was reviewed. When the method was applied to the artifacts, the Obama “HOPE” image was found to be an example of a representative form. Additionally, the representative form was demonstrated to function ideographically in the parodied examples analyzed in this thesis. Opportunities for further study on the visual ideograph and additional artifacts were proposed.