Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-09-24T14:02:50Z No. of bitstreams: 1 Letícia Franciele Rossa_.pdf: 1939380 bytes, checksum: 5d2497f270ff7b418517264a6611d534 (MD5) / Made available in DSpace on 2018-09-24T14:02:50Z (GMT). No. of bitstreams: 1 Letícia Franciele Rossa_.pdf: 1939380 bytes, checksum: 5d2497f270ff7b418517264a6611d534 (MD5) Previous issue date: 2018-04-05 / Nenhuma / A cultura pop e seus produtos midiáticos provocam sensações e inferências sobre o mundo comum. As celebridades se encaixam neste cenário a partir do momento em que aparecem em performances – e, assim, passam a afetar os sentidos da sociedade. No Brasil, a revista Rolling Stone apresenta a cada mês estes artistas da cultura pop e suas produções – por meio de notícias, listas, entrevistas e colunas opinativas. O espaço de maior evidência destas publicações são suas capas, que mensalmente trazem uma celebridade nacional ou estrangeira, em forma de perfil, para incorporar uma temática nas páginas da revista. Para compreender quais são os valores identitários relativos ao Brasil traçados a partir destes perfis, foram selecionados 12 textos com o protagonismo de celebridades brasileiras – todos aqueles que são capa de Rolling Stone Brasil entre janeiro de 2012 e dezembro de 2015. Para viabilizar esta pesquisa, um estudo cartográfico foi desenvolvido a fim de concretizar a investigação. Após a pesquisa teórica e empírica, se averiguou que cada perfil publicado em Rolling Stone Brasil contribui para a construção de valores identitários relativos à respectiva celebridade entrevistada: a mulher, a atriz, o esportista, o cantor, o negro, e o homossexual. Ou seja, os valores de identidades publicados no conteúdo da revista repercutem na sociedade a partir do momento em que são veiculados. / The pop culture and the media products cause sensations and inferences about the common world. Celebrities fit into this scenario from the moment they appear in performances - and then begin to affect the senses of the society. In Brazil, Rolling Stone presents each month these pop culture artists and their productions - through news, lists, interviews and opinion columns. The most evident space of these publications are their covers, which monthly bring a national or foreign celebrity, in profile format, to incorporate a theme in the pages of the magazine. To understand which are the identity values related to Brazil made from these profiles, 12 texts were selected with the protagonism of Brazilian celebrities - all those who are the cover of Rolling Stone Brazil between January 2012 and December 2015. To do this research, a cartographic study was developed in order to materialize this research. After the theoretical and empirical research, it was verified that each profile published in Rolling Stone Brazil contributes to the construction of identity values related to the celebrity interviewed: the woman, the actress, the sportsman, the singer, the black man, and the homosexual. In other words, the values of identities published in the content of the magazine have repercussions in society from the moment they are transmitted.

It is the aim of this thesis to trace the short history of rock journalism, to examine the factors that led to its development, and to evaluate Rolling stone, the most successful rock magazine and the only one to attract a general-interest audience. Emphasis was placed on the factual development of the publications. Personalities were not developed and a statistical content analysis was avoided in favor of an interpretation of trends. Rock journalism has not yet received an objective evaluation. Its treatment in the several books on the underground press has been superficial and couched in political or even moral terms. By every indication, the rock magazines have exerted more influence than have the underground newspapers and should be accorded proper study. / text

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This dissertation uses mass communication research about framing and positioning to explore media framing as brand positioning and analyze coverage that links the band Phish to the Grateful Dead. Based on content analysis, textual analysis, and interviews, this dissertation explores the framing of Phish--formed in Vermont in 1983 and often compared or connected to the Grateful Dead, a band formed in California in 1965-- in a popular mainstream music magazine and beyond, placing particular interest in how this framing intersects with positioning the band vis-à-vis the Grateful Dead. By exploring framing of a commercially-oriented subject that media coverage regularly constructs in terms of or in relation to another more recognizable subject, this project aims to contribute to mass communication theory and our understanding of media in society. Through comprehension of media about Phish and Phish/Grateful Dead connections, this dissertation studies how, why, and with what result stories are told through such associative coverage. After reviewing previous works regarding Phish, positioning, and framing, media content is closely examined and discussed. A case study of Phish coverage employed a three-pronged multi-method approach focusing on content (Part A) and context (Part B). Part A1 is a content analysis of all Phish album reviews from Rolling Stone. This included 12 album reviews spanning from 1995-2009 and written by eight authors. Findings showed that the majority of reviews connected Phish to the Grateful Dead, that the connections were constructed through various link forms, and that Phish were connected most to the Grateful Dead. Part A2 is a textual analysis of all Rolling Stone coverage of Phish. This included coverage from 1992-2010 and 305 items such as magazine covers, articles, and letters to the editor. Findings identified five frames and four subframes used to portray Phish. Part B is a series of interviews involving a primary group of 19 individuals who have significantly written, edited, and/or published content about Phish; and a secondary group of five individuals who added valuable context for understanding the issues. Findings included discussion of media conventions in general (journalistic) and specific (Phish) terms, and interpretation of the Phish/Grateful Dead link as a powerful, oversimplified reference point. About Phish, the project found they are an entity that innately defies standard molds and thus makes for an extraordinary and fruitful case study. Their naturally complex nature and paradoxical success makes them a potentially perplexing challenge for people in media to understand and address. Media often use the Grateful Dead motif in Phish coverage as a potent method of information assimilation to reconceive simply Phish's unusual combination of characteristics via something more familiar and accessible. In terms of the literature, the collection of media content illustrates framing of the band via socially shared and persistent organizing principles that symbolically structure Phish's character (Reese, 2003). The collection of content also illustrates positioning of Phish through portrayals that are often oversimplified and relate new information to familiar knowledge. The combination of literature on framing and positioning offers a productive explanation of media coverage about Phish, since both processes overlap in their tendency to oversimplistically relate X to Y. Thus, this dissertation's findings suggest a new way of thinking about cumulative media framing's ability to result in and serve as brand positioning, which may happen out of a brand's design. / Mass Media and Communication

Jazz and rock have been historically treated as separate musical traditions, despite having many similar musical and cultural characteristics, as well as sharing significant periods of interaction and overlap throughout popular music history. The rift between jazz and rock, and jazz and rock scholarship, is based on a set of received assumptions as to why jazz and rock are different. However, these assumptions are not naturally inherent to the two genres, but are instead the result of a discursive construction that defines them in contrast to one another. Furthermore, the roots of this discursive divide are to be found in the history of popular music journalism. In this thesis I challenge the traditional divide between jazz and rock by examining five historical case studies in American jazz and rock journalism. My underlying argument is that we cannot take for granted the fact that jazz and rock would ultimately become separate discourses: what are now represented as inevitable musical and cultural divergences between the two genres were actually constructed under very particular institutional and historical forces. There are other ways popular music history could have been written (and has been written) that call the oppositional representation of jazz and rock into question. The case studies focus on the two oldest surviving and most influential jazz and rock periodicals: Down Beat and Rolling Stone. I examine the role of critics in developing a distinction between the two genres that would eventually be reproduced in the academic scholarship of jazz and rock. I also demonstrate how the formation of jazz and rock as genres has been influenced by non-musicological factors, not least of all by music magazines as commercial institutions trying to survive and compete in the American press industry.