Made available in DSpace on 2015-04-14T14:41:48Z (GMT). No. of bitstreams: 1 447785.pdf: 5773225 bytes, checksum: ac935215056dd8d4ec9b45fb8bbc01e4 (MD5) Previous issue date: 2013-03-15 / This research aimed to identify and evaluate the presence of transnational framings in the coverage of the ten years of September 11, 2001 from both the Brazilian television channel Globo News and the American network CNN International. In the qualitative content analysis, regarding the framing theoretical stipulations, some quantitative technics were also used in order to identify prevailing terms and images in the audiovisual narratives. From the entire material recorded, a determined period of time was established for examination. The chosen passages were scripted with detailed audio and video features. Then, the most meaningful elements were highlighted according to repetition and potential for cultural resonance. The obtained data revealed the production of very similar frames of significance in both broadcasts. Such a discovery confirmed the initial hypothesis to which the global conjuncture in journalistic television producing can lead to transnational frame-building. In other words, it indicates a common representation of an internationally scaled event by two channels from different national backgrounds. The narratives analyzed in this dissertation refer to complex contemporary matters, such as the vanishing frontiers when it comes to local cultural identities and imaginaries. Furthermore, the homogenization of ideas broadcasted by journalism companies, opposed to debate and critical thinking, may represent a threat to democratic values. / Esta pesquisa teve como objetivo identificar e avaliar a presen?a de enquadramentos jornal?sticos transnacionais nas coberturas dos dez anos do 11 de setembro de 2001 da emissora brasileira Globo News e da norte-americana CNN International. Na an?lise qualitativa do conte?do, a partir dos preceitos te?ricos do framing, tamb?m foram utilizadas t?cnicas quantitativas para a identifica??o de termos e imagens predominantes nas narrativas audiovisuais. A partir da grava??o de todo o material, foi estabelecido um recorte temporal das transmiss?es para o estudo. As passagens escolhidas foram decupadas nas categorias de ?udio e v?deo. Em seguida, os elementos mais significativos foram ressaltados de acordo com sua repeti??o e potencial de resson?ncia cultural. Os dados obtidos revelaram a produ??o de quadros de sentidos muito semelhantes em ambas as transmiss?es. Tal descoberta confirmou a hip?tese inicial de que a conjuntura global da produ??o do jornalismo de televis?o pode levar ? constitui??o de enquadramentos transnacionais, ou seja, da representa??o comum de um evento de escala internacional por duas emissoras vinculadas a nacionalidades diferentes. As narrativas analisadas nesta disserta??o remetem a quest?es complexas da contemporaneidade, como a dissolu??o de fronteiras dos imagin?rios e das identidades culturais locais. Al?m disso, a homogeneiza??o das ideias transmitidas pelos ve?culos jornal?sticos, em detrimento do debate e do posicionamento cr?tico, pode apresentar uma amea?a aos valores da democracia.

Made available in DSpace on 2015-04-14T14:41:51Z (GMT). No. of bitstreams: 1 451595.pdf: 1915439 bytes, checksum: 5e084d8359c4c73cb24746f6316ce5e1 (MD5) Previous issue date: 2013-08-29 / Located in the areas of Applied Social Sciences, Communications and in the field of Studies in Journalism, this study has as its theme journalism on television, its adaptation to other means of communication and the relation with its audience. Due to this outlook of transformations, still in process, the study of telejournalism is relevant in the sense of trying to understand how these changes occur, and what may contribute to the achievement of quality journalism. In a culture of participation, the challenge of professionals who work in the field of communication is to balance the mediation of the journalist and the presence of the audience in the contents, without losing the essence of the television which already works. In the euphoria of technology possibilities, it is necessary to incorporate the ones which may really contribute. In this study, it is assumed that even with the technological transformations, television remains in its essence and potentializes its caracteristics with the digital platforms. O Jornal Hoje, from the Globo Network, the official site of the television, as well as its account on Facebook, are the objects of this research, which were investigated from the content analysis proposed by Bardin (2011). In the theoretical framework, authors, such as Maffesoli (1999), Bauman (2001), Gitelman (2006), Jenkins (2009), Cannito (2010), Brittos e Sim?es (2011), L?vy (1999), Scolari (2009), Castells (2003), Negroponte (1995), Gillmor (2005) e Wolton (1990), among others, were used / Situada na ?rea das Ci?ncias Sociais Aplicadas, Comunica??o e no campo dos Estudos em Jornalismo, este estudo tem como tema o jornalismo de televis?o, sua adapta??o para outros meios e a rela??o com o seu p?blico. Em fun??o desse panorama de transforma??es, ainda em processo, torna-se relevante o estudo do telejornalismo, no sentido de tentar entender como essas mudan?as acontecem e o que pode contribuir para a realiza??o de um jornalismo de qualidade. Em uma cultura da participa??o, o desafio dos profissionais que trabalham na ?rea da comunica??o ? conseguir equilibrar a media??o do jornalista e a presen?a do p?blico no conte?do, sem perder a ess?ncia da televis?o que j? funciona. Na euforia das possibilidades tecnol?gicas, ? preciso incorporar as que realmente podem contribuir. Neste estudo, parte-se do pressuposto de que, mesmo com as transforma??es tecnol?gicas, a televis?o permanece na sua ess?ncia e potencializa suas caracter?sticas com as plataformas digitais. O Jornal Hoje, da Rede Globo, o site oficial do telejornal, bem como a conta no Facebook s?o os objetos desta pesquisa, que foram investigados a partir da an?lise de conte?do proposta por Bardin (2011). No referencial te?rico, foram utilizados, entre outros, autores como Maffesoli (1999), Bauman (2001), Gitelman (2006), Jenkins (2009), Cannito (2010), Brittos e Sim?es (2011), L?vy (1999), Scolari (2009), Castells (2003), Negroponte (1995), Gillmor (2005) e Wolton (1990)

Made available in DSpace on 2015-04-14T14:42:21Z (GMT). No. of bitstreams: 1 397344.pdf: 7214319 bytes, checksum: 634379ac61b931d657801917e95f2919 (MD5) Previous issue date: 2007-11-28 / A partir da correspond?ncia entre a tipifica??o de uma determinada experi?ncia societ?ria e um padr?o tecnol?gico, este trabalho investiga como as novas tecnologias de comunica??o e informa??o interferem na formata??o do telejornal, em suas pr?ticas, fazeres e linguagens. Analisa a sociedade atual na transi??o entre o Industrialismo e a Sociedade em Rede, buscando saber de que forma o jornalismo contempor?neo e a televis?o situam-se nessa passagem entre um modelo organizativo de sociedade a outro. Ou seja, como se d? a conviv?ncia entre valores e marcas das tecnologias mec?nicas industriais e as tecnologias conectivas das redes e que interfer?ncias produzem na concep??o, tratamento, formata??o e apresenta??o da not?cia no telejornal. A aproxima??o da teoria com a pr?tica ? feita no trabalho a partir da observa??o dessa din?mica no telejornal Jornal da Globo, da Rede Globo de Televis?o. Um programa constru?do da intera??o entre valores e processos anal?gicos da linha de produ??o industrial com pr?ticas e marcas rizom?ticas das redes que demarcam seu estado preparat?rio para um novo tempo.

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2015-12-28T17:55:05Z No. of bitstreams: 1 476878 - Texto Completo.pdf: 6243783 bytes, checksum: 5e65cfad4baadbf6a4cd9a47aa9f28f8 (MD5) / Made available in DSpace on 2015-12-28T17:55:05Z (GMT). No. of bitstreams: 1 476878 - Texto Completo.pdf: 6243783 bytes, checksum: 5e65cfad4baadbf6a4cd9a47aa9f28f8 (MD5) Previous issue date: 2015-11-30 / The Internet has transformed the reality of brazilian television, and changed the way of watching its programming. Aligned with a research published in 2015 by the Ministry of Communication that indicates that 42% of the population is connected at least four hours a day to the Internet, Rede Globo has been testing a new model of television drama based on the transmedia storytelling. Such phenomenon constitutes in a trend that shows a new stage of involvement between the receptor and the products of entertainment offered. The success of Cheias de Charme, the 7pm soap opera broadcasted by Rede Globo in 2012, is the result of an experiment that overlapped a fiction environment to a simulated reality scenario. In that context, the viewer is stimulated to move along the several platforms where the plot develops (television, radio, websites and social networks) in a way to fulfill the whole of the plot. Capable of uniting the two contexts (the real and the pseudo-fiction), the Internet was used as a mean (1) and as an object of soap opera. In the first hypothesis (1) it serves as a link between the two atmospheres where the plot develops. In the second (2), the world wide web is addressed as a theme in the script itself, being treated as agent of social transformation, mainly when the phenomenon empreguetes was propelled. This dissertation has as an objective to comprehend the transmedia strategies adopted by the soap opera Cheias de Charme for the launching of the clip Vida de Empreguete. From the content analysis techniques (Bardin, 2009) applied to the body of seven chapters and the materials published on the web ? (www.globo.com/cheiasdecharme) and social networks that surround the clip, it was possible to identify the importance of the usage of Internet in the ambience of the soap opera (fiction) as well as outside of it (pseudo-reality and reality). / A internet transformou a realidade da televis?o brasileira e mudou a forma de assistir a programa??o. Alinhada ? pesquisa divulgada em 2015 pelo Minist?rio das Comunica??es, que indica que 42% da popula??o est? conectada pelo menos quatro horas por dia ? internet, a Rede Globo vem testando um novo modelo de teledramaturgia, baseado na narrativa transmidi?tica. Tal fen?meno se constitui em tend?ncia que demonstra um novo grau de envolvimento entre o receptor e os produtos de entretenimento ofertados. O sucesso de Cheias de Charme, novela das 19 horas exibida pela Rede Globo em 2012, ? resultado de um experimento que sobrep?s um ambiente de fic??o a um cen?rio de simula??o da realidade. Nesse contexto, o telespectador ? incitado a transitar entre as diversas plataformas, nas quais a trama se desenrola (televis?o, r?dio, websites e redes sociais), de forma a completar o c?rculo da trama. Capaz de unir os dois contextos (simula??o da realidade e realidade), a internet foi utilizada como meio (1) e objeto da telenovela (2). Na primeira hip?tese (1), ela serve como elo entre as duas atmosferas onde a trama se desenvolve. Na segunda, a rede mundial de computadores ? abordada como tem?tica no pr?prio roteiro, sendo tratada como agente de transforma??o social, principalmente quando da propuls?o do fen?meno empreguetes. Esta disserta??o tem como objetivo compreender as estrat?gias transmidi?ticas adotadas pela novela Cheias de Charme para o lan?amento do clipe Vida de Empreguete. A partir das t?cnicas de an?lise do conte?do (Bardin, 2009) aplicadas ao corpus de sete cap?tulos e os materiais divulgados na web - site (www.globo.com/ cheiasdecharme) e redes sociais que envolvem o clipe - foi poss?vel identificar a import?ncia do uso da internet, tanto no ambiente da novela (fic??o) quanto fora dela (simula??o da realidade e realidade).

Submitted by Sara Ribeiro (sara.ribeiro@ucb.br) on 2018-01-24T19:55:17Z No. of bitstreams: 1 AlexandreAntoniodeMedeirosAlvaresDissertacao2016.pdf: 3814336 bytes, checksum: 6f0cfae2ef19ebfee8c00b4ca252c94d (MD5) / Approved for entry into archive by Sara Ribeiro (sara.ribeiro@ucb.br) on 2018-01-24T19:55:42Z (GMT) No. of bitstreams: 1 AlexandreAntoniodeMedeirosAlvaresDissertacao2016.pdf: 3814336 bytes, checksum: 6f0cfae2ef19ebfee8c00b4ca252c94d (MD5) / Made available in DSpace on 2018-01-24T19:55:42Z (GMT). No. of bitstreams: 1 AlexandreAntoniodeMedeirosAlvaresDissertacao2016.pdf: 3814336 bytes, checksum: 6f0cfae2ef19ebfee8c00b4ca252c94d (MD5) Previous issue date: 2016-09-12 / It comes to this work the airing of some of the concepts and definitions of the structural aspects of television language, from the point of view of discursive semiotics, an appreciation of their serialized narrative structure. Our effort was dedicated to a narratological analysis of the series Game of Thrones, production fictional epic genre, which uses the embodiment of this narrative genre to institutionalize a sense of tonality, to Elizabeth Duarte, which transfers significant elements, narratological enclaves a literary substance to another, the televisual substance through action of transtext, seen in Genette. These characteristics, understood here as strategies for hearing adherence of Duarte, correlate the narrative structure, in view of the actantial function, as defined by Barthes: the function, the action and actant narration in the course of plot facts. Thus, the relationship between the production instance and the reception instance (one side measured by adherence to the discursive strategies and other lends credibility by identification with the dramatic stories and characters) are perceived as structuring, reorganised, mobilizing and upgraders narrative. / Apresentamos neste trabalho a retomada de alguns dos conceitos e defini????es dos aspectos estruturais da linguagem televisiva, do ponto de vista da semi??tica discursiva, numa aprecia????o de sua estrutura narrativa serializada. Nosso esfor??o dedicou-se a uma an??lise narratol??gica da s??rie Game of Thrones, produ????o de g??nero ??pico ficcional, a qual utiliza a personifica????o desse g??nero narrativo para institucionalizar uma sensa????o de tonalidade, no sentido de Elizabeth Duarte, que transfere elementos significativos, enclaves narratol??gicos de uma subst??ncia liter??ria para outra, a subst??ncia televisual, por meio da transtextualiza????o, visto em Gerard Genette. Essas caracter??sticas, entendidas aqui como estrat??gias para ader??ncia da audi??ncia de Duarte, correlacionam-se ?? estrutura da narrativa, na perspectiva da fun????o actancial, como definido por Roland Barthes: a fun????o, a a????o e a narra????o do actante no desenrolar dos fatos da trama. Dessa forma, as rela????es entre a inst??ncia de produ????o e a inst??ncia da recep????o (de um lado mensuradas pela ader??ncia ??s estrat??gias discursivas e do outro credibilizadas pela identifica????o com os dramas e personagens) s??o percebidas como estruturantes, reorganizadoras, mobilizadoras e atualizadoras da narrativa.

Submitted by Sara Ribeiro (sara.ribeiro@ucb.br) on 2018-01-25T19:41:15Z No. of bitstreams: 1 TatianeRodriguesMateusDissertacao2017.pdf: 3331745 bytes, checksum: fc25d8b4ef55f89a5d8c827500a5fcea (MD5) / Approved for entry into archive by Sara Ribeiro (sara.ribeiro@ucb.br) on 2018-01-25T19:41:45Z (GMT) No. of bitstreams: 1 TatianeRodriguesMateusDissertacao2017.pdf: 3331745 bytes, checksum: fc25d8b4ef55f89a5d8c827500a5fcea (MD5) / Made available in DSpace on 2018-01-25T19:41:45Z (GMT). No. of bitstreams: 1 TatianeRodriguesMateusDissertacao2017.pdf: 3331745 bytes, checksum: fc25d8b4ef55f89a5d8c827500a5fcea (MD5) Previous issue date: 2017-12-13 / This research does a historical analysis, in methodological terms .The temporal cut is eight years (2006-2014). This study aims to provide answers about Argentine and Brazilian public television in face of digital age. This search was based on theoretical background in public communication and Digital TV. These studies enable a perception the public digital television as a social development instrument. It dialogues with public communication and international relations focusing on ISDB-T on Brazil and Argentina with emphasis on Public Communication. / Esta pesquisa fez um levantamento hist??rico das trajet??rias da implanta????o da Tv digital no Brasil e na Argentina. O estudo possui recorte entre os anos de 2006 e 2014. Teoricamente, esta pesquisa se baseou em autores que colaboraram com seus debates entorno da Comunica????o P??blica e que contribu??ram para as reflex??es sobre TV Digital e TV P??blica. A partir do estudo comparativo foi poss??vel perceber que as televis??es p??blicas em sua fase digital podem ser utilizadas como instrumento de desenvolvimento e inclus??o social. A presente an??lise dialoga com a Comunica????o P??blica e com as Rela????es Internacionais, com foco no modelo de TV digital nipo-brasileiro.

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2016-06-01T17:58:11Z No. of bitstreams: 1 DIS_JANAINA_DAUDT_FISCHER_COMPLETO.pdf: 1175606 bytes, checksum: 66c0c4eeb80cc308f36af135095a2d3b (MD5) / Made available in DSpace on 2016-06-01T17:58:11Z (GMT). No. of bitstreams: 1 DIS_JANAINA_DAUDT_FISCHER_COMPLETO.pdf: 1175606 bytes, checksum: 66c0c4eeb80cc308f36af135095a2d3b (MD5) Previous issue date: 2016-03-17 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / Is there a ?Guel Arraes way? (Guel Arraes Center, Globo TV) to create television content? And if so, would this production only be possible in a specific time and place? How are the comic techniques used in the production of meaning in dialogue scriptwriting? These and other issues are covered in this research, which analyzed the dialogues of twelve scripts of the series ?The Comedy of Private Life?, produced and aired by Globo TV from 1995 to 1997, created by Guel Arraes Center. The methodological approach proposes a link between the tools of Film Analysis and the perspective of Cultural Studies (using as inspiration the Cultural Circuit of Richard Johnson) in order to infer the relationship between the writer, the writing and the lived cultures that form and are formed both by producers and spectators. Some categories were created, based mainly on the reading of Henri Bergson?s book ?Laughter?, such as ?inversion?, ?repetition?, ?intelligence opposed to emotion? and ?ethical dimension of humor?, among others. The analysis sought to integrate these categories with Brazilian cultural aspects, inspired by authors like Roberto DaMatta and Mirian Goldenberg. An interview with the director Guel Arraes also makes up the reference?s framework of this research, as well as readings on narrative, humor, comedy, scriptwriting and dialogues. Among the final considerations, we should highlight that is noticed direct relationship between the analyzed dialogues and aspects of Brazilian culture of the late twentieth century, and it is considered that there is a ?positioning? of the authors from which they communicate a vision of Brazil. The research aims to contribute to the theoretical study on the practice of writing comic dialogues on scripts for Brazilian television. / Existe um ?jeito Guel Arraes? de fazer televis?o? E, em caso positivo, seria esta uma produ??o somente poss?vel em um tempo e um espa?o espec?ficos? Como as t?cnicas de comicidade s?o utilizadas na produ??o de sentido na escrita dos di?logos de roteiro? Estas e outras quest?es s?o percorridas na presente pesquisa, que analisou os di?logos de doze roteiros da s?rie ?A Com?dia da Vida Privada?, produzida e exibida de 1995 a 1997, pelo N?cleo Guel Arraes da Rede Globo de Televis?o. A abordagem metodol?gica prop?e um elo entre as ferramentas da An?lise F?lmica e a perspectiva dos Estudos Culturais (utilizando como inspira??o o Circuito Cultural de Richard Johnson) no intuito de depreender as rela??es entre quem escreve, o que escreve e as culturas vividas que formam e s?o formadas tanto por produtores quanto por espectadores. Algumas categorias de an?lise foram criadas, baseandose principalmente na leitura de ?O Riso? de Henri Bergson, tais como: ?invers?o?, ?repeti??o?, ?intelig?ncia em oposi??o ? emo??o? e ?dimens?o ?tica do humor?, entre outras. A an?lise buscou integrar estas categorias com aspectos culturais brasileiros, a partir de autores como Roberto DaMatta e Mirian Goldenberg. Uma entrevista com o realizador Guel Arraes tamb?m comp?e o arcabou?o de referenciais desta pesquisa, assim como leituras relativas ? narrativa, humor, com?dia, roteiro e di?logos. Entre as considera??es finais cabe destacar que se percebe direta rela??o entre os di?logos analisados e aspectos da cultura brasileira do final do s?culo XX, assim como considera-se existir um ?posicionamento? dos autores a partir do qual comunicam uma vis?o do Brasil. A pesquisa pretende contribuir para o aprofundamento te?rico sobre a pr?tica da escrita de di?logos de roteiro de com?dia para a televis?o brasileira.

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2016-06-24T19:18:31Z No. of bitstreams: 1 DIS_LUCILENE_BREIER_COMPLETO.pdf: 2871745 bytes, checksum: 8480cc72a87eff018f53c92ed18257c1 (MD5) / Made available in DSpace on 2016-06-24T19:18:32Z (GMT). No. of bitstreams: 1 DIS_LUCILENE_BREIER_COMPLETO.pdf: 2871745 bytes, checksum: 8480cc72a87eff018f53c92ed18257c1 (MD5) Previous issue date: 2006-10-04 / This work intends to understand the limits and the levels of interactivity in the digital television (DTV). For this reason, at first, it defines DTV as a hybrid medium, exploring the relations between the internet and traditional television in a complex perspective ? as in Morin?s thinking. In a second part, we start our analysis focusing our attention in this relation at the narrative space. It?s where we check the interactive possibilities. In a complementary way, this work presents a historical research of interactive television implementation through the years. / Essa disserta??o pretende entender os limites e os n?veis da interatividade na televis?o digital (TVD). Para isso, numa primeira parte, definimos TVD como um meio h?brido, explorando as rela??es entre internet e televis?o tradicional dentro de uma perspectiva complexa, entendida a partir de Morin. Posteriormente, num segundo momento, focamos nossa aten??o nessa rela??o dentro do espa?o narrativo. ? nele que averiguamos as possibilidades interativas. De forma complementar, fazemos um levantamento hist?rico das tentativas anteriores de implementar a interatividade na televis?o.

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2016-08-18T11:09:29Z No. of bitstreams: 1 TES_LUCIA_LONER_COUTINHO_COMPLETO.pdf: 3910627 bytes, checksum: 8bf7da8b216c3ab51f892a20b1ab6c39 (MD5) / Made available in DSpace on 2016-08-18T11:09:30Z (GMT). No. of bitstreams: 1 TES_LUCIA_LONER_COUTINHO_COMPLETO.pdf: 3910627 bytes, checksum: 8bf7da8b216c3ab51f892a20b1ab6c39 (MD5) Previous issue date: 2016-03-30 / Conselho Nacional de Pesquisa e Desenvolvimento Cient?fico e Tecnol?gico - CNPq / This thesis theme is identity in USA teen television series, known as Teen Dramas, a narrative genre created in the 90's that follows and suits itself to the changes in the television market. From Kellner's (2001) perspective of media culture, contextualized through Marcel Silva?s (2013) series culture, this work approaches this narrative genre, through five selected series (Beverly Hills, 90210, Buffy, the vampire slayer, Dawson?s Creek, Glee e Pretty Little Liars) from the changes in the narrative practices, of circulation and converging consumption, that gave visibility and brought TV series, in their diverse genres, to a relevant space inside media culture. Its importance is also highlighted by Ortiz?s (2000) cultural globalization, bringing, from elements of cultural consumption, a space for symbolic identification that goes beyond borders. Viewing such productions together with Mitell's concept of narrative complexity (2012-2013), that tries to analyze how these techno-cultural elements articulate to form contemporary series, with its particular production processes. Focusing especially in the narratives, we analyze the series through an identity politics, that determines which are the teenage identities privileged in this television format. We also analyze some of the common spaces in which these identities are articulated inside the narrative: family, school and in the different forms of relating inside the group of youngsters (friendship, romance and sexuality). Through this analysis we identify a moderate approach of adolescence, between rebelliousness and submission to social cultural rules. In fact, it points to a teenager in a constant struggle between adequacy and inadequacy to society, a reflexive, sensitive, teen, open to diversity. And at the same time, reflects the changes in the social and family structures in the past decades. Our approach to convergence, establishes it from the adaptation of the media industries to practices made possible by new connection technologies, and how they have, in fact, served to the expansion and marketing of such texts, but still promoting new experiences of consumption and community. / Este trabalho tem como tema a identidade nos seriados televisivos juvenis norteamericanos conhecidos como Teen Dramas, um g?nero narrativo criado na d?cada de 1990 e que acompanha e se adequa ?s mudan?as no mercado televisivo. Tendo como ponto de partida uma perspectiva da cultura da m?dia de Kellner (2001), contextualizada ? cultura das s?ries de Marcel Silva (2013) abordamos este g?nero narrativo, atrav?s de cinco s?ries selecionadas (Beverly Hills, 90210, Buffy, the vampire slayer, Dawson?s Creek, Glee e Pretty Little Liars) a partir das reconfigura??es nas pr?ticas narrativas, de circula??o e consumo convergente, que deram visibilidade e al?aram os seriados, em seus diversos g?neros, a um espa?o relevante dentro da cultura midi?tica. Sua import?ncia tamb?m se ressalta no contexto da mundializa??o cultural, que prop?e Ortiz (2000), marcando atrav?s de elementos de consumo cultural um espa?o de identifica??o simb?lica que ultrapassa fronteiras. Compreendemos tais produ??es a junto ao conceito de Mittell (2012-2013) de complexidade narrativa, que busca desvendar como estes elementos tecno-culturais articulam-se na forma??o dos seriados contempor?neos, com seus processos particulares de produ??o. Centrando-nos particularmente nas narrativas, analisamos os seriados a partir de sua pol?tica de identidades, que determina quais s?o as identidades adolescentes privilegiadas por este formato televisivo. Analisamos especificamente alguns dos espa?os em comum em que estas identidades s?o articuladas dentro das narrativas: fam?lia, escola e nas diversas formas de relacionamento dentro do pr?prio grupo de jovens (amizade, romance e sexualidade). Atrav?s desta an?lise, identificamos uma abordagem moderada da adolesc?ncia, entre a rebeldia e a submiss?o as regras socioculturais. Aponta-se, na realidade, para um adolescente em constante luta entre a adequa??o e inadequa??o ? sociedade a sua volta, um jovem reflexivo, sens?vel e aberto ?s diferen?as. E ao mesmo tempo, refletindo as mudan?as nas estruturas familiar e social das ?ltimas d?cadas. Nossa abordagem a converg?ncia, a estabelece a partir da adapta??o das ind?strias midi?ticas ? pr?ticas possibilitadas pelas novas tecnologias de conex?o, e como elas t?m, na realidade, servido a expans?o e marketing de tais textos, sem que, no entanto, deixem de promover novas experi?ncias de consumo e identifica??o.

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2016-10-10T17:27:30Z No. of bitstreams: 1 DIS_GRAYCE_CLAUDIA_DELAI_COMPLETO.pdf: 2797260 bytes, checksum: 791d83463746c97ea5729b0a97743c62 (MD5) / Made available in DSpace on 2016-10-10T17:27:30Z (GMT). No. of bitstreams: 1 DIS_GRAYCE_CLAUDIA_DELAI_COMPLETO.pdf: 2797260 bytes, checksum: 791d83463746c97ea5729b0a97743c62 (MD5) Previous issue date: 2016-08-26 / The Science Journalism Health needs to be comprehensive and provide the necessary information for an individual to learn how to achieve full welfare state: physical, psychological and social. Scientific news needs to be didactic, simplified and understandable to all audiences. The health agendas on television, needs to be educational and attractive enough to keep the viewers attentive to the the information disseminated. To understand the strategies used by TV show Bem Estar of the Rede Globo to motivate the public was performed a Content Analysis according to the method of Laurence Bardin. It were analyzed 23 editions of the TV show and 619 interactive posts from the public relating to these editions. In order to understand the personal motivations of viewers, a questionnaire was applied to 13 viewers that interacted with the TV show Bem Estar between August 5 and September 4, 2015, and had been connected to interaction channel of the program by your profile in Facebook social network. In the seeking of elements present in the content of the Program Bem Estar that would have motivated the viewer to attend and participate, it was found that the interaction depends on the second screen to be performed. It has been found that the TV show aims to guide the public about how to stay healthy, and that the themes addressed represent the main motive for mobilizing the audience. / O Jornalismo Cient?fico de Sa?de deve ser abrangente e oferecer as informa??es necess?rias para que um indiv?duo saiba como atingir o completo estado de bem-estar: f?sico, psicol?gico e social. As not?cias cient?ficas precisam ser did?ticas, simplificadas e compreens?veis para todos os p?blicos. As pautas de sa?de, na televis?o, precisam ser educativas e atrativas o suficiente para manter o telespectador atento ?s informa??es veiculadas. Para compreender as estrat?gias utilizadas pelo programa televisivo Bem Estar da Rede Globo para motivar o p?blico, realizou-se uma An?lise de Conte?do de acordo com o m?todo de Laurence Bardin. Foram analisadas 23 edi??es televisivas e 619 mensagens interativas do p?blico, referentes a essas edi??es. Para compreender as motiva??es pessoais dos usu?rios, foi aplicado um question?rio em 13 telespectadores que interagiram com o programa Bem Estar entre 5 de agosto e 4 de setembro de 2015, e haviam se conectado ao canal de intera??o do programa atrav?s de seu perfil na rede social Facebook. Na busca de elementos presentes no conte?do do Programa Bem Estar que motivassem o telespectador a assistir e participar, verificou-se que a intera??o depende da segunda tela para ser efetivada. Constatou-se que o programa pretende orientar o p?blico sobre como se manter saud?vel, e que as tem?ticas abordadas representam o principal motivo para mobiliza??o da audi?ncia.