CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / No contexto tecnocultural da sociedade de consumo contemporÃnea, observamos uma crescente virtualizaÃÃo das relaÃÃes humanas. Os indivÃduos transformam-se em potenciais terminais receptores e transmissores de dados via web, sendo grande parte destes, alusivos a imagens. Neste cenÃrio, destacam-se os selfies, autorretratos capturados via smartphone ou webcam para o compartilhamento em redes sociais. Esta prÃtica tem crescido e abarcado diferentes aspectos da vida: a hora de dormir (bedtimeselfie), de dirigir automÃveis (drivingselfie) e, atà mesmo, do sexo (aftersexselfie). HÃ, ainda, selfies como o braggie, que busca gerar inveja atravÃs da ostentaÃÃo de objetos e vivÃncias socialmente desejÃveis. Logo, os selfies tornaram-se um importante veÃculo de difusÃo de ideais e estilos de vida contemporÃneos. Este trabalho se propÃs a analisar o fenÃmeno selfie, considerando o culto à autoexposiÃÃo estetizada e modelada por ideais de consumo, bem como refletir sobre as repercussÃes deste fenÃmeno na subjetividade e sociabilidade dos indivÃduos. Para este fim, utilizamos a Teoria CrÃtica da Escola de Frankfurt, bem como de crÃticos da cultura contemporÃnea que tematizam acerca de conceitos como Sociedade de Consumo, Tecnocultura, IndÃstria Cultural e Sociedade do EspetÃculo. Metodologicamente, nos valemos da abordagem microlÃgica da Teoria CrÃtica, que concebe o particular como um valioso Ãndice que remete ao todo. Logo, alÃm de compreender o fenÃmeno selfie como um Ãndice capaz de desvelar a totalidade de ideais culturais contemporÃneos, tambÃm foi utilizada esta abordagem durante a coleta de dados: selfies, reportagens, hashtags, comentÃrios de cibernautas, documentÃrios, tutoriais e vÃdeos. Portanto, no decorrer deste trabalho, realizamos uma anÃlise teÃrico-crÃtica, articulando prÃtica e teoria, findando por erigir trÃs categorias-chaves a partir da recorrÃncia de certos temas: Dolce Vita, Telerrealidade e Corpo Ideal. A primeira refere-se a certo estilo de vida encontrado nas imagens, ao passo que a segunda alude à ambiÃncia, que compÃe este estilo de vida. Quanto à terceira, relaciona-se ao corpo nestas imagens. Nossas reflexÃes finais apontam para o selfie como um fenÃmeno de consumo do eu e do outro, de modo que observamos o espelhamento de aspectos da sociedade de consumo em suas diversas facetas - tipos, finalidade, busca por selfies perfeitos e por curtidas. Busca-se, pois, capturar o olhar do outro atravÃs do que lhe à familiar: a linguagem publicitÃria, espÃcie de idioma da indÃstria cultural. Almeja-se, enfim, o espetÃculo, porque este se tornou um modo de existir total, concernente tanto a produtos quanto a pessoas: ele engloba a cena social. Daà a relevÃncia deste estudo para a contemporaneidade, especialmente para a psicologia social crÃtica. Ainda, nesta investigaÃÃo desvelam-se indivÃduos imersos no clima homogeneizante de bens culturais produzidos por uma indÃstria cultural exacerbada pela tecnocultura. Logo, a produÃÃo deste indivÃduo, isto Ã, a maneira que ele escolhe para autorretratar-se, espelha esta âpedagogia do existirâ ou âpedagogia da visÃoâ, na qual visibilidade e existÃncia encontram-se, muitas vezes, sobrepostos. / In contemporary consumer societyâs tecnocultural context, weâve watched a growing virtualization of humanâs relations .The individuals become potential web terminals of dataâs reception and transmittion, being images a great part of that data. In this scenario, a certain type of image detaches: the selfies. At those, individuals self-portrait themselves on smartphones or webcams to share their images on social medias. This practice has increased broadly and has enclosed many lifeâs aspects. For example, we highlight moments in bed (bedtimeselfie), while driving (drivingselfie) and even after sex time (aftersexselfie) . Also, there is a certain kind of selfie called braggie that seeks to cause envy through desirable objects or social experiences. Therefore, the selfies have become an important vehicle of contemporary ideals and lifestyles. The aim of this study proposes a selfie phenomenon analysis, considering the cult of self-exposition through consumption ideals and a reflection about the repercussion of this phenomenon on individualâs subjectivity and sociability. In order to do this, we approach the phenomenon, in a qualitative perspective, using the Critical Theory from Frankfurtsâs School as a theoretical and methodological referential, in addition to contemporary critical authors that thematizes about aspects involving the object of the research. Methodologically, it was made a use of Critical Theory proposal, whose micro logical approach conceives the particular as a revealing index that remits to social whole. By this mean, we elected selfie phenomenon as an index able to uncover the totality of contemporary significant consumption ideals. Therefore, objectifying this phenomenonâs comprehension, we first percussed a documental stage, being oriented by details, marginal data, vestiges and evidences connected to the presented phenomenon. The documents considered were: selfies, reportings, hashtags, cybernautsâ comments, documentary, tutorials and videos. Afterwards, the collected material was organized on three key-categories by certain themes: Dolce Vita, Telerrealidade and Ideal Body. The first one refers to a certain lifestyle found in the analyzed images, while the second one specifies the ambience that compounds this lifestyle. The third category is related to the body that appears in those images. Finally, we proceeded to our final considerations, which involved a dialectical articulation between the adopted theory referential and the documental stage that pointed selfies as consumption phenomenon of the self and the other. In fact, on selfies many sides â its finality, its types, the search for the perfect selfie and for likes â we observe the mirroring of consumption societyâs aspects. The perfect selfie, synonym of maximum visibility and likes, shows itself as the âperfectâ integration of consumption ideals through new shapes. The search to capture the otherness eyes through what is familiar: the publicity language, part of Culture Industryâs speech. In the end, the spectacle is craved because became a total existing manner to people and to objects: it has included the social scene. By this mean, we point the relevance of this study to our contemporaneity, especially, to critical social psychology. Still, at this research, itâs uncovered an individual immersed in an homogenizing clime produced by a culture industry exacerbated by Tecnocultura. Therefore, this individualâs output, in other words, the way he chooses to portrait himself, shows this âexistence pedagogyâ or âvision pedagogyâ , on which visibility and existence are, at many times, overlapped.

The Sundance Film Festival has transformed from being a fringe festival to a leading showcase for independent cinema. This research shows that studios now descend upon the festival to acquire films for commercial distribution. The Sundance Film Festival seems to currently operate as a marketplace for films rather than an independent festival. This research seeks to examine how Hollywood studios have been able to infiltrate and commodify independent projects from the Sundance Film Festival and what the potential ramifications are for emerging independent filmmakers seeking to have their projects screened at the festival. In other words, have Hollywood studios coopted the Sundance Film Festival and if so, what does this process look like? This research seeks to answer these questions through an analysis of Sundance Film Festival data and interviews with festival informants.

YouTube is a new kind of media, offering new ways to search for meaning and identity in the digital information age. In this study, I explore how the struggle to establish meaning and identity is played out in this new cultural space, centering on amateur creators as they navigate tensions and test semiotic relationships with their productions online. I first situate YouTube within a larger context of cultural criticism that sees meaning as socially negotiated by consumers as active participants with cultural productions. I then discuss television as a cultural force and the effects of a new digital territory for these forces. By grounding my discussion in an understanding of media ecology that assumes a more varied and diverse collection of available cultural material will yield a healthier media ecology and thus healthier cultural subjects, I argue that YouTube is a positive intensification of television because it allows more viewers to participate in and more importantly participate in this media system. I then use two particular YouTube creators (Philip DeFranco and Hannah Hart) to demonstrate how these ideas are articulated in practice and how this process is not without its own problems. / Master of Arts

This study aims to provide a critical assessment of social networking sites along with the underlying form of rationality propelling such technological innovations. The hypothesis of this study is rooted in the firm conviction that while social networking sites can be regarded as impressive technological achievements, and while there are certainly an array of benefits that can be associated with them, they nevertheless can be perceived as a hegemonic force which surreptitiously undermines the autonomy and freedom of the modern individual. In order to corroborate and augment such an assertion, this study relies primarily on the critical works of Adorno and Horkheimer (1997); Bauman (2003; 2007 & 2013) and Foucault (1977) in order to both investigate and critically evaluate the everyday assumptions typically associated with a technologically enlightened society, techno-scientific rationality and the recent emergence of technological tools such as social networking services. Based upon the findings that have emerged throughout the course of this investigation, it becomes clear to see that there is indeed a dialectical tension inherent to the nature of the various social networking technologies as they currently operate within the 21st century. Such a discovery is primarily based upon the fact that while social networking technologies do inherently possess emancipatory potentialities for the modern individual, they have nevertheless failed to actualise such potentialities due to the following reasons: 1) Social networking technologies have managed to propagate and entrench a powerful sentiment of technological determinism within modern society along with a highly corrosive form of instrumentalized rationality to which all individuals are now required to acquiesce; 2) Such technologies are paradoxically abrogating the possibility of meaningful interpersonal contiguity due to the fact they have managed to commodify the technological culture associated with a digital form of interaction/communication along with the individual making use of such technologies; and 3) In their current format, social networking services are allowing for the objectification, manipulation and exploitation of the online subject to take place in order to pursue and promote an instrumentalized strategy of marketing surveillance and capital accumulation. / MA (Philosophy), North-West University, Potchefstroom Campus, 2015

This study aims to provide a critical assessment of social networking sites along with the underlying form of rationality propelling such technological innovations. The hypothesis of this study is rooted in the firm conviction that while social networking sites can be regarded as impressive technological achievements, and while there are certainly an array of benefits that can be associated with them, they nevertheless can be perceived as a hegemonic force which surreptitiously undermines the autonomy and freedom of the modern individual. In order to corroborate and augment such an assertion, this study relies primarily on the critical works of Adorno and Horkheimer (1997); Bauman (2003; 2007 & 2013) and Foucault (1977) in order to both investigate and critically evaluate the everyday assumptions typically associated with a technologically enlightened society, techno-scientific rationality and the recent emergence of technological tools such as social networking services. Based upon the findings that have emerged throughout the course of this investigation, it becomes clear to see that there is indeed a dialectical tension inherent to the nature of the various social networking technologies as they currently operate within the 21st century. Such a discovery is primarily based upon the fact that while social networking technologies do inherently possess emancipatory potentialities for the modern individual, they have nevertheless failed to actualise such potentialities due to the following reasons: 1) Social networking technologies have managed to propagate and entrench a powerful sentiment of technological determinism within modern society along with a highly corrosive form of instrumentalized rationality to which all individuals are now required to acquiesce; 2) Such technologies are paradoxically abrogating the possibility of meaningful interpersonal contiguity due to the fact they have managed to commodify the technological culture associated with a digital form of interaction/communication along with the individual making use of such technologies; and 3) In their current format, social networking services are allowing for the objectification, manipulation and exploitation of the online subject to take place in order to pursue and promote an instrumentalized strategy of marketing surveillance and capital accumulation. / MA (Philosophy), North-West University, Potchefstroom Campus, 2015

Sunset Boulevard (Crepúsculo dos Deuses, EUA) foi coescrito e dirigido pelo cineasta Billy Wilder (1906-2002), entrando em cartaz em 1950 período marcado pela ascensão do macarthismo nos Estados Unidos. Para burlar a censura imposta pelo Red Scare, o filme apresenta diversas possibilidades de interpretação, as quais serão perseguidas ao longo da análise. Dentre elas, observa-se o melodrama aos moldes hollywoodianos; um panorama da transição do cinema mudo ao sonoro (e suas implicações); um mapeamento das forças produtivas na indústria cinematográfica norte-americana; a proposta de uma organização de trabalho colaborativa (em oposição à hierárquica e alienada, estabelecida pelo fordismo); e a própria censura do Red Scare, que se faz presente por sua ausência. Duas formas de trabalho são apresentadas ao espectador (e ao protagonista) o trabalho alienado e o trabalho colaborativo e são utilizadas estratégias para expô-las e contrapô-las através da articulação de diversos recursos (como foco narrativo, instâncias narrativas, objetos cênicos etc.). Assim, é possível efetuar um mapeamento das opções que se desenham ao protagonista. Desta maneira, serão demonstradas não apenas quais possibilidades apresentadas foram adotadas (ou abandonadas) pelo protagonista e quais estratégias narrativas foram utilizadas para corroborá-las, mas também as implicações e consequências históricas de suas escolhas / Sunset Boulevard (USA) was co-written and directed by Billy Wilder (1906-2002), being released in 1950 a period well-known for the ascension of McCarthyism in the United States. In order to fool the censorship imposed by the Red Scare, the movie presents several layers of interpretation which will be pursued during the analysis. Among them, there is a typical Hollywood melodrama; a panorama of the silent film transition to the talkies (and its implications); a mapping of the labor force in the North-American cinematographic industry; the proposal of a collaborative work organization (in opposition to a hierarchic and alienated one, established by fordism); and the censorship imposed by the Red Scare itself, which appears through its absence. Two forms of work are presented to the spectator (and to the main character) the alienated work and the collaborative work and strategies are used in order to expose and counter them through the articulation of a plethora of devices (such as point of view, narrative instances, props etc.). Therefore, it is possible to map the options presented to the protagonist. Thus, not only which possibilities presented were adopted (or abandoned) by the main character and which narrative strategies were used to support them will be demonstrated, but also the implications and historical consequences of his choices

Este trabalho foi realizado com o objetivo de compreender a possibilidade de se promover uma educação formativa que oferecesse condições de resistência à cultura do consumo e da publicidade, com o intuito de retirar os sujeitos de uma posição passiva e espectadora para outra, criadora e engajada. Visualizava-se, inicialmente, realizar uma alfabetização para a publicidade, que proporcionasse aos jovens alguns instrumentos para lidar com estes estímulos de forma lúcida e alerta. Nossa investigação teórica e de campo indicou, finalmente, que esta tarefa pode suscitar resistências psíquicas associadas à retirada do que se gosta, ou acredita-se gostar que envolve sonhos baseados em ter e parecer e o consumo de marcas - aspectos que podem ser entendidos como alguns dos pilares da ideologia e da lógica da indústria cultural sob o capitalismo tardio. Os conceitos teóricos norteadores do trabalho foram sociedade administrada e indústria cultural, como apresentados por Theodor Adorno e Max Horkheimer, da Escola de Frankfurt, assim como as propostas de Adorno para uma educação formativa que atuasse como antídoto a tal indústria. Os conceitos de ideologia, da forma como articulados, depois de Marx, por Wilhelm Reich e retomadas por René Kaës, em sua Teoria Psicanalítica de Grupos, foram fundamentais para se refletir sobre a construção de laços sociais e a mediação de grupos, segundo uma perspectiva transformadora. Para analisarmos os discursos dos jovens, recorremos ainda à formulação freudiana de perlaboração, aos estudos sobre as problemáticas adolescentes de Mônica do Amaral, Jeammet e Corcos e outros autores. O olhar de Gilles Lipovetsky sobre os fenômenos da contemporaneidade e a assim chamada Cultura Moda-Mídia foi importante para atualizar uma discussão acerca da sociedade de consumo. Como resultado de nosso trabalho de campo, conduzido com jovens do 3º ano do Ensino Médio de uma escola pública de São Paulo, concluímos que a apreensão formal do que está por trás da lógica da publicidade é rápida e precisa. Porém, ela implica uma desconstrução que pode ser ameaçadora e dolorida e que deve ser cuidada com atenção, uma vez que se trata de uma desconstrução estrutural do que percebemos que nos cerca e pode levar consigo alguns sonhos. Estes, embora emprestados da indústria cultural, são os que existem, os que guiam a muitos de nós. O trabalho de educação crítica para o consumo e a publicidade deve, portanto, ultrapassar uma abordagem instrumental, e focalizar o fortalecimento do eu, por meio de atividades que propiciem a autoconsciência e a transformação intra e intersubjetiva, e que preferencialmente atue no território do intermediário através da mediação de grupos. / This work aims to understand the possibility to promote a formative education which could offer conditions for some resistance to consumer and advertising culture, with the intention of withdrawing the subjects out of a passive and spectator attitude to a creative and engaged one. At first we aimed to carry out an advertising and media literacy which would skill the youth to deal with these stimuli in an enlightened and attentive way. Our theoretical and field surveys revealed that this task could provoke psychic resistance related to withdrawing what we like or what we believe we like which involved dreams based on having and looking like and brands consumption. These aspects may be understood as some of the pillars of culture industry ideology and logics in late capitalism. The theoretical concepts which guided this work were administered society and culture industry as presented by Theodor Adorno and Max Horkheimer from the Frankfurt School, Adorno´s proposals for formative education which could work as antidote to this industry, as well as the concept of ideology as articulated after Marx by Wilhelm Reich and retaken by René Kaës. Kaës´ Psychoanalytical Theory of Groups was the basis to think the formation of social ties and groups facilitation in a transforming perspective. In order to analyze the youth discourse we are based on the Freudian concept of perlaboration, on studies about adolescent problems by Monica do Amaral, Jeammet and Corcos and others. Gilles Lipovetskys look upon contemporary phenomena and the so-called media-fashion culture were important to update a discussion about consumer society. As a result of our field survey held with young people from the 3rd grade of high school in a public school in São Paulo, Brazil, we concluded that a formal apprehension of what lies behind the logic of advertising is fast and precise. However, it implies a deconstruction which can be threatening and painful. It has to be looked at carefully as it refers to a structural deconstruction of what is understood as our environment, and so some dreams may fade away. Although borrowed from the culture industry, these dreams exist and guide many of us. The work of a critical education towards consumption and advertising must therefore overcome an instrumental approach and focus on the strengthening of the self by means of activities to promote self-awareness and intra / intersubjective transformation, preferably acting in transitional space through groups facilitation.

Esta tese de doutorado é uma discussão sobre a precariedade na articulação poíesis/práxis/ theoria na formação musical no Brasil. A educação brasileira encontra-se, atualmente, numa estrutura de semiformação (Halbbildung1), com tendência tecnicizante, na qual está inserido o ensino de música (da escolaridade regular e das escolas especializadas na formação musical). Essa articulação precária da poíesis/práxis/theoria no ensino musical talvez seja decorrente, entre outras possíveis razões, da hegemonia da indústria da cultura (enquanto sistema ideológico) que promove padrões pré-estabelecidos para o consumo, aprisionando a aísthesis num gosto nivelador e mediano. Nesta perspectiva, buscamos investigar as possibilidades de rearticulação dialética das atividades musicais (poíesis/práxis/theoria) para uma formação musical alicerçada na apreciação musical e na compreensão da obra de arte, alternativa à indústria da cultura. Para tanto, partimos da fundamentação teórica dos conceitos adotados (educação, arte, cultura, indústria da cultura, formação/Bildung, as atividades da poíesis, práxis e theoria) e abordamos as considerações de Adorno sobre a educação em música, com ênfase no pensamento dialético e discutimos formas para que ocorra esta articulação poíesis/práxis/theoria, uma vez que em diversos contextos do ensino musical essas atividades se encontram totalmente dissociadas, dificultando uma compreensão global do objeto de estudo. Por meio das várias propostas pedagógicas sobre a educação e a formação musical surgidas no século XX no mundo e seus desdobramentos no Brasil, traçamos uma retrospectiva da gradativa exclusão da música da escolaridade regular e a crescente interferência da indústria da cultura nos âmbitos do ensino, da poética e da práxis musicais, influenciando os hábitos de audição e a aísthesis (percepção), o gosto e o juízo estético, bem como o uso indiscriminado de métodos de ensino de música tendenciosos e restritos à canção popular. A nossa discussão sobre a formação e o ensino de música busca a religação das atividades musicais da poíesis, da práxis e da theoria, de forma dialética, interativa e complementar, plena e não tecnicizante, onde a poética (compositores e obras) venha a ser o eixo sincronizador dessas atividades, das disciplinas e do conteúdo, desenvolvendo um pensamento crítico, hermenêutico e emancipado dos padrões do consumo musical, seja o músico compositor, intérprete ou musicólogo. Por fim, analisamos o projeto de educação musical Tocando a Vida da Instituição Aparecido Savegnago que contempla essa rearticulação das atividades musicais desde suas diretrizes ao cotidiano pedagógico, a fim de verificarmos a pertinência, a viabilidade e a exequibilidade das ideias por nós discutidas. / This doctoral thesis is a discussion of the precariousness of the articulation poiesis/praxis/ theoria in music education in Brazil. Currently, the structure of Brazilian education finds itself in a half education (Halbbildung2) structure, with technicalizing tendencies, into which the teaching of music (in regular schooling and special schools in musical training) is inserted. This precarious articulation of poíesis/praxis/theoria in music education may be due, among other possible reasons, to the hegemony of the culture industry (as an ideological system) that promotes pre-established standards for consumption, and in the process traps aisthesis within a leveling and average taste. In this perspective, we seek to investigate the possibilities for the dialectical re-articulation of musical activities (poíesis/praxis/theoria) for a musical education grounded in music appreciation and comprehension of the work of art, an alternative to the culture industry. In this light, we start from the theoretical framework based on the adopted concepts (education, culture, culture industry, training / Bildung, the activities of poiesis, praxis and theoria), and we discuss the considerations of Adorno regarding music education, with emphasis on dialectical thinking. We examine ways for the articulation poiesis/praxis/theoria to occur, since in many contexts of musical teaching these activities are fully decoupled, making difficult a comprehensive understanding of the object of study. Through the various pedagogical proposals on education and musical training that emerged throughout the world in the twentieth and their evolution in Brazil, we retrospectively trace the gradual exclusion of music from regular schooling and the growing interference of the culture industry in the fields of education, of musical poetics and praxis, influencing listening habits and aisthesis (perception), taste and aesthetic judgment, as well as the indiscriminate use of methods of music education both biased and restricted to popular song. Our discussion of the training and teaching of music seeks the recoupling of the musical activities of poiesis, praxis and theoria in a dialectical, interactive and complementary, full and not technicalizing form, where poetics (composers and works) will be the synchronizing axis of these activities, disciplines and content, developing a critical, hermeneutic thought that is emancipated from the standards of musical consumption, be the musician songwriter, performer or musicologist. Finally, in order to verify the relevance, feasibility and practicability of the ideas discussed, we analyze the design of the musical education project Playing the Life (Tocando a Vida) of the Aparecido Savegnago Institution (Instituição Aparecido Savegnago), which takes into account this rearticulation of musical activities, from their pedagogical guidelines to their everyday pedagogy

Esta dissertação busca analisar o filme The Big Lebowski (O Grande Lebowski, 1998), escrito e dirigido por Joel e Ethan Coen. Devido à grande quantidade de recursos estilísticos utilizados na construção da narrativa, o filme é considerado um exemplo inequívoco de uma obra pós-moderna. A narrativa não apenas se alimenta de incontáveis referências culturais, por meio da reciclagem de textos anteriores e da mistura de gêneros e estilos, mas também se apoia no uso de várias outras técnicas, como a repetição de motivos visuais, o uso recorrente de clichês e a fragmentação do enredo. Por outro lado, apesar da estética pós-moderna, é difícil ignorar a existência de um conteúdo histórico, uma vez que muitos temas relevantes são inseridos no fluxo da narrativa. A guerra do Golfo, o Reaganismo e os movimentos políticos dos anos 60 são alguns dos temas encontrados no filme, que tem como cenário a cidade de Los Angeles no início da década de 90. Nesse sentido, a nossa hipótese é de que o filme revela uma contradição entre duas tendências opostas: a estética pós-moderna e a representação do conteúdo histórico. / This dissertation aims at analyzing the movie The Big Lebowski (1998), written and directed by Joel and Ethan Coen. Owing to the great amount of stylistic devices deployed to construct the narrative, the movie has been regarded as an unequivocal example of a postmodern work. Not only does the narrative feed on countless cultural references, through the recycling of former texts and the mixture of genres and styles, but it also relies on many other techniques, such as the repetition of visual motifs, the recurrent use of clichés and the fragmented storytelling. On the other hand, despite the postmodern aesthetics, it is difficult to overlook the existence of a historical content, as many relevant themes abound in the narrative flow. The Gulf War, the Reaganism and the political movements of the sixties are some of the themes found in the movie, which is set in the city of Los Angeles in the early nineties. In this sense, our hypothesis is that the movie brings forth a contradiction between two opposing tendencies: the postmodern aesthetics and the representation of the historical content.

O objetivo dessa dissertação é compreender de que maneira se relacionam três elementos presentes na narrativa de Kansas City (1996), do cineasta Robert Altman. Em primeiro lugar o jazz, cuja utilização vai além da concepção tradicional de música como trilha sonora em filmes; em segundo lugar, a imitação de modelos da indústria cultural, que aparece configurada nas personagens Blondie e Johnny O\'Hara; e em terceiro lugar, o cenário político, tanto da narrativa como da produção da obra respectivamente, as décadas de 1930 e 1990 do contexto norte-americano. / This research aims at understanding how three elements of Robert Altman\'s Kansas City (1996) are related to each other. In the first place the jazz, which is not used as mere soundtrack in this film; in the second place the imitation of culture industry models, personified in the characters Blondie and Johnny O\'Hara; and in the third place the political scenario, concerning both the narrative and the production of the film respectively the 1930s and the 1990s in the north-american context.