Esta pesquisa se utiliza do filme O poder vai dançar (Cradle will rock, 1999), dirigido por Tim Robbins, para entender a História, os avanços e limites de dois momentos históricos: a década de 1930 e a de 1990 nos Estados Unidos. Definido como uma história predominantemente verdadeira, o filme apresenta personagens e fatos reais e fictícios, que se alternam e se relacionam. Ele é composto por uma série de narrativas, aparentemente fragmentadas e desconexas, mas cujas relações são construídas em todo o seu decorrer. De modo geral, podemos dizer que o filme retrata a década de 1930, momento de potencial revolucionário na História dos Estados Unidos, uma vez que a crise econômica potencializou e tornou visíveis os problemas decorrentes do sistema capitalista. Em seu intento, o diretor se aproxima da concepção benjaminiana de História, à medida que, mais do que simplesmente reproduzir a narrativa desse período, opta por se apropriar de um momento explosivo do passado, carregado de elementos em comum com o presente, e utilizar a citação do passado como fonte de inspiração no combate presente. Ou seja, parte desse passado para na verdade dizer algo sobre a realidade em que está inserido, da década de 1990. Assim, ao pensar sobre esses contextos históricos, nos possibilita refletir sobre suas características, motivações e conseqüências. Para tanto, Tim Robbins se utiliza de elementos do teatro épico, e não apenas retrata os elementos históricos do período, mas busca principalmente provocar uma reflexão por parte da audiência. E tal reflexão vai além do entendimento da história, avança sobre questões como o reconhecimento pelo artista de sua condição de proletário da cultura e sobre o limite que se coloca entre fazer arte paga por empresas e a prostituição, entre outras. / This research makes use of the movie Cradle will rock (1999), directed by Tim Robbins, to understand the History, progresses and limits of two historical periods: the decades of 1930 and 1990 in the United States. Defined as a (mostly) true story, the movie presents real and fictional characters and facts, which are alternated and connected to each other. It has a series of narratives, aparently fragmented. However, its connections are built in the course of the movie. In general, we can say that the film portrays the decade of 1930, moment of revolutionary potential in the History of the United States, as a result of the economical crisis, that made visible all the problems deriving from the capitalistic system. In his intent, the director approaches the conception Benjamin has of the History, as he chooses to go beyond than only narrate the facts of the period and decides to appropriate of such an explosive moment of the past, replete of elements in common with the present, and use the citation of the past as a source of inspiration in the current battle. That is, uses the past in order to say something about the reality he experiences in the decade of 1990. In this manner, we can consider these historical periods and reflect on its characteristics, motivations and consequences. In order to do that, Tim Robbins makes use of elements of the epic theater, and not only depicts the historical elements of the period but also tries to provoke the audience and make them reflect about the facts and elements he exposes. These reflections surpass the understanding of the History and reaches questions such as the recognition of the artist of his condition of proletarian of the culture and the limit between making art sponsored by companies and the prostitution of the artist, among other.

Die von T-Helfer (Th) -Zellen produzierten Zytokine spielen eine entscheidende Rolle bei der Einleitung, der Aufrechterhaltung und der Regulation von Immunantworten. Bei der Untersuchung von Immunantworten hat sich eine vereinfachte Einteilung der Th-Zellen in zwei Klassen als hilfreich erwiesen: Th1 und Th2. Stabil differenziell exprimierte Oberflächenmoleküle werden benötigt, um lebende Th1- und Th2-Zellen identifizieren, auf Einzelzellebene charakterisieren und möglicherweise die von ihnen erzeugten Immunantworten modulieren zu können. Auf der Suche nach solchen Molekülen wurde in Zusammenarbeit mit der Firma Millennium Pharmaceuticals das Oberflächenmolekül TIM-3 entdeckt. Die Ergebnisse der vorliegenden Arbeit belegen, dass TIM-3 nicht nur von CD4+ Th-Zellen, sondern auch von CD8+ T-Zellen, gamma/delta-T-Zellen, sowie einigen Makrophagen und der Mehrheit der dendritischen Zellen in der Milz von Mäusen auf der Zelloberfläche exprimiert wird. Die Expression von TIM-3 auf Th-Zellen ist klar mit einem aktivierten Phänotyp assoziiert. TIM-3 wird unter polarisierenden Bedingungen in vitro im Vergleich zu Th2-Zellen bevorzugt, jedoch nicht ausschließlich von Th1-Zellen exprimiert. Erstmals wurde auf Einzelzellebene die Zytokinproduktion TIM-3 exprimierender Th-Zellen untersucht. Die Analyse von Th0-Zellen, welche unter nichtpolarisierenden Bedingungen in vitro hergestellt wurden, ergab keine bevorzugte Produktion von Th1-Zytokinen und keine verminderte Expression von Th2-Zytokinen durch TIM-3 exprimierende Th-Zellen. Aufgrund der in dieser Arbeit erhaltenen Ergebnisse erlaubt die Expression von TIM-3 allein daher nicht die Identifizierung von Th1-Zellen. Nach einer Infektion mit Toxoplasma gondii lag jedoch eine bevorzugte Assoziation zwischen der Expression von TIM-3 und der pathogenspezifischen Produktion von Interferon (IFN)-gamma, Interleukin (IL)-2 und Tumor Nekrose Faktor (TNF)-alpha vor. Somit korreliert die TIM-3 Expression auf Th-Zellen nur unter bestimmten Bedingungen mit einem Th1-Phänotyp. / The cytokines that are produced by T helper (Th) cells are decisive for the initiation, the maintenance and the regulation of immune responses. A simplified classification of Th cells has proven to be useful for the analysis of immune responses: Th1 and Th2. Stably and differentially expressed surface molecules are required for the identification of live Th1- and Th2-cells, their characterisation at the single cell level and the possible modulation of the immune responses that they induce. On the search for such molecules the surface molecule TIM-3 was discovered in collaboration with Millennium Pharmaceuticals. The present work shows that TIM-3 protein is not only expressed on the cell surface by CD4+ Th cells but also by CD8+ T cells and gamma/delta T cells as well as by some macrophages and the majority of the dendritic cells in the murine spleen. TIM-3 expression on Th cells is clearly associated with an activated phenotype. Under polarising conditions in vitro TIM-3 is expressed preferentially albeit not exclusively by Th1 cells compared to Th2 cells. For the first time, the cytokine production of TIM-3 expressing Th cells has been analysed at the single cell level. The analysis of Th0 cells, generated under non-polarising conditions in vitro showed no preferential production of Th1-cytokines and no diminished production of Th2-cytokines by TIM-3 expressing Th-cells. The results obtained in this work lead to the conclusion that expression of TIM-3 does not permit the identification of Th1-cells. However upon infection with Toxoplasma gondii a positive association between the expression of TIM-3 and the pathogen-specific production of Interferon (IFN)-gamma, Interleukin (IL)-2 and Tumor Necrosis Factor (TNF)-alpha was observed. Therefore the expression of TIM-3 on Th-cells only correlates under specific conditions with a Th1-phenotype.

CD4+ T-Helferzellen (Th) entwickeln sich zu Th1 und Th2 Zellen, die nach ihrer Funktion und Zytokinexpression eingeteilt werden. Die differentielle Induktion von Th Zellen, die Th1 oder Th2 Zytokine exprimieren, ist der Schlüssel zur Regulation von Immunantworten bei Infektionskrankheiten, Allergien und Autoimmunerkrankungen. Daher können stabil exprimierte Oberflächenmoleküle, die spezifisch für die funktionell unterschiedlichen Th Zellen sind, von besonderer Bedeutung für die Analyse und selektive funktionelle Modulation von Th Subtypen sein und erlauben es neue therapeutische Strategien für die Behandlung von allergischen und Autoimmunerkrankungen zu etablieren. TIM-3 wurde kürzlich identifiziert als ein Molekül, welches selektiv auf der Oberfläche von Th1 Zellen exprimiert wird und welches möglicherweise eine Rolle bei der Induktion von Autoimmunerkrankungen spielt. Um monoklonale Antikörper gegen humanes TIM-3 zu produzieren, wurde die humane TIM-3 cDNA von in vitro generierten dendritischen Zellen kloniert. Der extrazelluläre Teil des Gens wurde in den prokaryotischen Expressionsvektor pQE100S insertiert und in E.coli BL21(DE3) exprimiert. Die gesamte codierende Sequenz wurde in den eukaryotischen Expressionsvektor pIRES2EGFP subkloniert und auf der Oberfläche von Säugetierzellen exprimiert. Stabile Transfektanten der CHO-K1 und HEK293 Zelllinie wurde etabliert. Die Balb/c Mäuse wurden mit löslichem und unlöslichem rekombinanten humanem TIM-3 sowie mit stabilen Transfektanten für humanes TIM-3 immunisiert. Milzzellen dieser Tiere wurden mit der Myelomzelllinie P3 X 63 Ag8.653 fusioniert. Die entwickelten Hybridome wurden im ELISA und mittels FACS auf Spezifität gegen humanes TIM-3 hin untersucht. Ein Klon der generierten Hybridome war positiv im ELISA zeigte jedoch kein Signal gegen TIM-3 auf der Oberfläche von Zellen. / CD4+ T helper (Th) cells develop into effector Th1 and Th2 cells, which are frequently categorized according to their function and cytokine expression. The differential induction of Th cells expressing Th1 or Th2 cytokines is key to the regulation of immune responses by infectious diseases, allergies and autoimmnune diseases. Thus, stably expressed surface molecules, significant for functionally different types of Th cells could be of utmost importance for the analysis and selective functional modulation of Th subsets and provide new therapeutic strategies for the trestment of allergic or autoimmune diseases. TIM-3 was recently identified as a molecule that is selectively expressed on the surface of Th1 cells and that may have a role in the induction of autoimmune disease. To produce monoclonal antibody of human TIM-3, the human TIM-3 cDNA was cloned from in vitro generated dendritic cells. The extracellular domain of human TIM-3 was inserted into prokaryotic expression vector pQE100S and expressed in E.coli BL21(DE3). The whole coding region was subcloned into eukaryotic expression vector pIRES2EGFP and expressed on the surface of mammalian cells. The stable transfectants of CHO-K1 and HEK-293 cell line was established. The BALB/c mice were immunized with soluble and insoluble recombinant human TIM-3 and also with stable transfectants. Splenocytes were fused with P3 X 63 Ag8.653 myeloma cells. The generated hybridomas were tested in ELISA and FACS for specificity against human TIM-3. A generated clone was positive in ELISA but did not respond to the TIM-3 molecule on the cell surface.

Le cinéma de Tim Burton se reconnaît par des codes thématiques et des images si aisément identifiables que le nom du cinéaste a donné naissance à l’adjectif « burtonien ». Que signifie au juste ce qualificatif ? Cette thèse se propose de démontrer que si la signature de Tim Burton est reconnaissable entre toutes, c’est qu’elle porte l’héritage des gothiques littéraire et cinématographique. Burton s’en empare pour les transformer, adoptant une double stratégie d’adhésion et d’inversion des tropes du genre. Afin de définir ce gothique burtonien, nous étudions dans un premier temps le croisement entre l’humain et le monstrueux, un questionnement directement hérité du Frankenstein de Mary Shelley et de son adaptation éponyme par James Whale en 1931. Nous analysons ensuite la géographie de l’espace burtonien et sa représentation d’une société cruelle et machinique dont les personnages doivent s’extraire pour survivre. L’art émerge comme un moyen de survie ambivalent qui nous mène à considérer la création artistique du cinéaste lui-même, bâtie comme les grandes œuvres gothiques sur un brouillage des frontières, entre la vie et la mort, le passé et le présent, le rêve et la réalité. / The films of Tim Burton can easily be recognized by their thematic codes and identifiable images so much so that the director’s very name has given birth to the adjective “Burtonian”. But what does it qualify exactly? This dissertation proposes to demonstrate that Burton’s signature is particularly recognizable because it inherits from gothic literature and film. Burton tackles and transforms gothic tropes using a double strategy of adherence and reversal. To define what we call the “Burtonian gothic”, we first study the crossing between the humane and the monstrous, an issue directly inherited from Mary Shelley’s Frankenstein and its film adaptation by James Whale in 1931. We analyze then the geography of the Burtonian landscape and its representation of a cruel and mechanical society from which the characters must escape to survive. Art emerges as an ambivalent means of survival which leads us to consider the artistic creation of the filmmaker himself, built like great gothic works on blurred frontiers, between life and death, past and present, dream and reality.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-13T13:05:39Z No. of bitstreams: 1 Heron Ledon Pereira.pdf: 1875659 bytes, checksum: 264b87da07d9f083a3c33271a0541d18 (MD5) / Made available in DSpace on 2018-08-13T13:05:39Z (GMT). No. of bitstreams: 1 Heron Ledon Pereira.pdf: 1875659 bytes, checksum: 264b87da07d9f083a3c33271a0541d18 (MD5) Previous issue date: 2018-06-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research investigates Brazilian children's journalism in recent years and proposes a closer relationship between the press, school and children. Therefore, this study reveals how the TV program Castelo Rá-Tim-Bum can serve as an inspiration for this type of journalism in the country. Unveiled from 1994 to 1997, Castelo is one of the leading children's series in the history of Brazilian TV, with high ratings and international recognition of specialists. Produced by TV Cultura, it returned to gain prominence in the cultural scene of the country in 2014, when it completed 20 years of existence, with exhibitions, new plays and materials in the media. This work brings together historical and recent examples of journalism for children – including universities – and the production of children's content on TV, Internet, cinema, radio, music, literature, comics and theater. It also presents summaries of the main children's programs of TV Cultura before and after Castelo. About the series, this dissertation covers details of the characters, paintings and rooms of the enclosure, as well as old products and recent fruits of attraction. The analysis points out elements that can contribute to journalism for children and with them. There are six topics: children's issues; the role of the journalist; investigation and discovery; playfulness; sounds; children want to talk. The understanding of communication is used as link building, according to Baitello Junior. The concept of ecology of communication, according to Romano, bases the reflection on communication practices that involve children. It is understood the field of educommunication from Soares, and the ideas of Leão about hypermedia help sketch an example of how the results are applied / Esta pesquisa investiga o jornalismo infantil brasileiro nos últimos anos e propõe uma maior aproximação entre imprensa, escola e criança. Para isso, observa-se como o programa Castelo Rá-Tim-Bum pode servir de inspiração para esse tipo de jornalismo no país. Exibido ineditamente de 1994 a 1997, o Castelo é uma das principais séries infantis da história da TV brasileira, com altos índices de audiência e reconhecimento internacional de especialistas. Produzido pela TV Cultura, voltou a ganhar destaque no cenário cultural do país em 2014, quando completou 20 anos de existência, com exposições, novas peças teatrais e matérias nos veículos de comunicação. Este trabalho traz panoramas sobre o histórico e exemplos recentes de jornalismo para crianças – inclusive nas universidades – e a produção de conteúdo infantil na TV, Internet, cinema, rádio, música, literatura, HQs e teatro. Também apresenta resumos dos principais programas infantis da TV Cultura antes e depois do Castelo. Sobre a série, abordam-se detalhes dos personagens, quadros e cômodos do recinto, bem como produtos antigos e recentes frutos da atração. A análise aponta elementos que possam auxiliar o jornalismo para a garotada e com ela. Destacam-se seis tópicos: assunto de criança; o papel do jornalista; apuração e descoberta; brincar; sons; criança quer falar. Utiliza-se o entendimento de comunicação como construção de vínculos, segundo Baitello Junior. O conceito de ecologia da comunicação, conforme Romano, baseia a reflexão sobre práticas comunicacionais que envolvem a meninada. Compreende-se o campo da educomunicação a partir de Soares. E as ideias de Leão sobre hipermídia ajudam a esboçar um exemplo de aplicação dos resultados

I denna studie undersöks socialsekreterarens moraliska värderingar och resonemang i en situation där polis kräver henne på sekretessbelagd information om en klient med utvisningsbeslut. Studien är genomförd med en kvalitativ vinjettmetod där 10 respondenter, samtliga yrkesverksamma socialsekreterare, tagit del av ett fiktivt fall och utifrån detta besvarat ett tiotal frågor kring värderingar, dilemman och beslutsfattande. Data har analyserats med hjälp av en innehållsanalys. Analysen har genomförts genom Zygmunt Bauman och Tim May ́s  teori om ansvar och moraliskt handlande samt Simone de Beauvoirs teori om människans utövande av frihet. Resultatet visar att samtliga respondenter ställer sig kritiska till polisens order samt upplever en konflikt mellan personliga värderingar och arbetsplikt. Majoriteten uppger att de skulle sätta sina personliga värderingar åt sidan och i första hand agera utifrån vad de anser vara arbetsplikten. Flertalet beskriver samtidigt kompromissande strategier, där deras personliga värderingar får ta plats genom tysta och individuella motståndsstrategier, för att på så vis kringgå det upplevda moraliska dilemmat. Resultatet visar sammanfattningsvis på en stor variation i socialsekreterarens handlande och uppfattning av personligt och yrkesmässigt ansvar, samt upplevelse av frihet. / In this study, the social worker ́s moral values and reasoning are investigated in a situation where the police require her to handle out secret classified information about a client with deportation decisions. The study was conducted with a qualitative vignette method in which10 respondents, all working social workers at the social services, responded to a fictitiou scase, answering ten questions about values, dilemmas and decision-making. Data has been analyzed using a content analysis. The analysis was carried out through Zygmunt Bauman and Tim May's theory of man ́s moral action as well as Simone de Beauvoir's theory of man'sexercise of freedom. The result shows that all respondents are critical to the police's orders and they all experience a conflict between personal values and work obligations. The majority state that they would put aside their personal values and primarily act on basis ofwhat they consider to be the duty to work. at the same time the majority describe compromising strategies, where they let their personal values take place through silent and individual resistance strategies, in order to bypass the perceived moral dilemma. Inconclusion, the results show a great variation in the social workers actions and perception ofpersonal and professional responsibility and their freedom.

Esta pesquisa se utiliza do filme O poder vai dançar (Cradle will rock, 1999), dirigido por Tim Robbins, para entender a História, os avanços e limites de dois momentos históricos: a década de 1930 e a de 1990 nos Estados Unidos. Definido como uma história predominantemente verdadeira, o filme apresenta personagens e fatos reais e fictícios, que se alternam e se relacionam. Ele é composto por uma série de narrativas, aparentemente fragmentadas e desconexas, mas cujas relações são construídas em todo o seu decorrer. De modo geral, podemos dizer que o filme retrata a década de 1930, momento de potencial revolucionário na História dos Estados Unidos, uma vez que a crise econômica potencializou e tornou visíveis os problemas decorrentes do sistema capitalista. Em seu intento, o diretor se aproxima da concepção benjaminiana de História, à medida que, mais do que simplesmente reproduzir a narrativa desse período, opta por se apropriar de um momento explosivo do passado, carregado de elementos em comum com o presente, e utilizar a citação do passado como fonte de inspiração no combate presente. Ou seja, parte desse passado para na verdade dizer algo sobre a realidade em que está inserido, da década de 1990. Assim, ao pensar sobre esses contextos históricos, nos possibilita refletir sobre suas características, motivações e conseqüências. Para tanto, Tim Robbins se utiliza de elementos do teatro épico, e não apenas retrata os elementos históricos do período, mas busca principalmente provocar uma reflexão por parte da audiência. E tal reflexão vai além do entendimento da história, avança sobre questões como o reconhecimento pelo artista de sua condição de proletário da cultura e sobre o limite que se coloca entre fazer arte paga por empresas e a prostituição, entre outras. / This research makes use of the movie Cradle will rock (1999), directed by Tim Robbins, to understand the History, progresses and limits of two historical periods: the decades of 1930 and 1990 in the United States. Defined as a (mostly) true story, the movie presents real and fictional characters and facts, which are alternated and connected to each other. It has a series of narratives, aparently fragmented. However, its connections are built in the course of the movie. In general, we can say that the film portrays the decade of 1930, moment of revolutionary potential in the History of the United States, as a result of the economical crisis, that made visible all the problems deriving from the capitalistic system. In his intent, the director approaches the conception Benjamin has of the History, as he chooses to go beyond than only narrate the facts of the period and decides to appropriate of such an explosive moment of the past, replete of elements in common with the present, and use the citation of the past as a source of inspiration in the current battle. That is, uses the past in order to say something about the reality he experiences in the decade of 1990. In this manner, we can consider these historical periods and reflect on its characteristics, motivations and consequences. In order to do that, Tim Robbins makes use of elements of the epic theater, and not only depicts the historical elements of the period but also tries to provoke the audience and make them reflect about the facts and elements he exposes. These reflections surpass the understanding of the History and reaches questions such as the recognition of the artist of his condition of proletarian of the culture and the limit between making art sponsored by companies and the prostitution of the artist, among other.

Chan, Sze Man. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (leaves 167-172). / Abstracts in English and Chinese. / Abstract --- p.I / List of Illustrations --- p.IV / Acknowledgements --- p.V / "Introduction ""Regarding the Pain of Others"": War as Spectacle today" --- p.1 / Chapter Chapter 1 --- "From ""We Bombed in New Haven"" to bombing our new ""haven"": Joseph Heller's War Play of Metatheatre against Spectators" --- p.27 / Chapter Chapter 2 --- "From ""Society of Spectacle"" to Society of Impotence: Tim O'Brien's War Novels of Affect against Spectator-readers" --- p.56 / Chapter Chapter 3 --- "The War Photographer as the exemplary Spectator in disguise: False ""Witness"" of the Photographic Eye" --- p.104 / Conclusion --- p.150 / Endnotes --- p.157 / Bibliography --- p.167

nÃo hà / Esta pesquisa busca analisar os elementos utilizados por Tim Burton para representar a Era Vitoriana atravÃs do figurino, meio de transporte e decoraÃÃo. Trabalharemos tambÃm com a traduÃÃo em imagens do nonsense em sua adaptaÃÃo fÃlmica Alice in Wonderland (2010). Nessa perspectiva, o presente trabalho resulta de um estudo comparativo entre o filme e a obra na qual se baseia, o cÃnone da literatura infantil Aliceâs Adventures in Wonderland de Lewis Carroll (1865). Para tanto, faremos um cotejo entre as duas obras à luz das teorias de Elizabeth Sewell (2015), Wim Tigges, (1988) e Susan Stewart (1980) que alicerÃam o gÃnero literÃrio nonsense. LanÃaremos mÃo da versÃo literÃria Lewis Carroll: The Complete Fully Illustrated Works de 1995 da editora Gramercy, contendo toda a obra de Lewis Carroll com ilustraÃÃes originais. Isso, a fim de viabilizar e facilitar a comparaÃÃo com as figuras presentes no texto literÃrio, quando necessÃrio, para investigar se houve aproximaÃÃo na representaÃÃo visual feita pelo diretor.

A história de dois programas infantis de grande repercussão no Brasil, Vila Sésamo (TV Cultura-TV Globo/1972) e Rá Tim Bum (TV Cultura/1990), indica quais são as características da produção educativa brasileira. Eles apresentam um conflito estrutural entre o método de planejamento educacional, de origem norte-americana, e o repertório cultural dos produtores e do público-alvo. A representação deslocada de infância, relações sociais e Educação dos programas educativos comprometeriam seu impacto sobre o público-alvo. Buscando estabelecer quais os critérios mais adequados para programas educativos nacionais, sugere-se a incorporação da perspectiva de Paulo Freire sobre Comunicação e Educação pelas produções brasileiras. Para Freire, o processo educativo se desenvolve a partir do repertório cultural do educando e o estimula a transformar seu ambiente. Num momento de consolidação da democracia na América Latina, entende-se educar através da televisão como construção simbólica e prática da cidadania, onde produtores e receptores dialogam e se reconhecem como sujeitos do mesmo processo social. Planejar programas com estes propósitos requer a criação de parâmetros a partir da prática da produção cultural no país e da realidade objetiva do público-alvo. Este trabalho sugere critérios básicos para futuras produções de produtos educativos dirigidos às crianças brasileiras, em contraposição ao condicionamento para o consumo proposto pelos programas importados, tidos equivocadamente como educativos. / The history of two children programs of strong impact in Brazil, Vila Sésamo (TV Cultura-TV Globo/1972) and Rá Tim Bum (TV Cultura/1990), points out what the Brazilian educational production characteristics are. They show a structural conflict between the educational planning method of Northern American origin and the producers’ and target audience’s cultural background. Aimed at establishing the most adequate criteria for national educational programs, it is suggested that Paulo Freire’s perspective on Communication and Education by the Brazilian productions be incorporated. To Freire, the educational process starts from the learner’s cultural background and it stimulates him/her to transform his/her environment. At a democracy consolidation moment in Latin America, education through television is understood as symbolic and practical construction of citizenship, where producers and viewers dialogue and recognize themselves as agents in the same social process. Planning programs for educational purposes requires the creation of parameters departing from the country’s cultural production practice and from the target audience’s objective reality. This dissertation suggests basic criteria for making future educational products aimed at Brazilian children, which are opposed to the consumerism conditioned by imported programs mistaken as educational.