USERNAME TAB PASSWORD RETURN Social Networking Site, User Generated Content, Screen Identity, Gender, Sexuality, YouTube, Booty Video, Reaction Video, Digital Culture, Archive

La recherche portera sur la montée des vidéos de gay bashing depuis 2013. Par vidéo de gay bashing, nous entendons des vidéos documentant l’abus physique ou verbal d’individus perçus par les agresseurs comme étant gais, lesbiennes, bisexuels, transgenres ou queer, mais nous nous concentrerons spécifiquement sur des vidéos montrant des agressions envers des hommes. Ces vidéos peuvent être enregistrées par les agresseurs eux-mêmes ou par des témoins de la scène. Il s’agira de situer cette montée dans un contexte politique de retour de lois et sentiments anti-LGBT dans les pays d’où proviennent certaines des vidéos étudiées et par rapport aux différentes théories anthropologiques et socio-historiques concernant les sources et motivations derrière les actes de violence homophobe. Le corpus se composera de trois vidéos venant de Russie («Putin’s Crackdown on LGBT Teens un Russia»), de Lybie («Gay torture and violent in Lybia») et des États-Unis («Attack at gay pride event in Detroit»). L’analyse du corpus se fera en trois temps : d’abord l’analyse de la forme et du contenu des vidéos en tant que tels, ensuite, l’analyse de leur circulation et des différents utilisateurs qui distribuent les vidéos en ligne, et, finalement, l’analyse de la réception des vidéos en portant attention aux commentaires des utilisateurs. Il s’agira de montrer comment les vidéos de gay-bashing effectuent une rupture par rapport à une vision de YouTube, et autres médias sociaux, comme libérateurs et comme lieux d’expression de soi (particulièrement pour les membres des communautés LGBT) et les transforment en lieux d’une humiliation triplée par l’enregistrement de l’humiliation physique et sa diffusion sur le web. Il s’agira ensuite de voir comment la circulation et la redistribution de ces vidéos par différents groupes et utilisateurs les instrumentalisent selon différents agendas politiques et idéologiques, pour finalement se questionner, en s’inspirant du triangle de l’humiliation de Donald Klein, sur le rôle ambivalent du témoin (physique ou virtuel) dont la présence est nécessaire pour qu’il y ait humiliation. Finalement, nous nous intéresserons aux vidéos de témoignages de gay-bashing, vidéos faites par les victimes elles-mêmes, racontant leur traumatisme à la caméra, renouant ainsi avec les vidéos de coming out sous la forme de l’aveu et de la spectacularisation du soi. La présente recherche sera également l’occasion de développer des outils théoriques et méthodologiques propres aux nouveaux médias et aux nouvelles formes et contenus qui s’y développent. / This research will study the rise of gay bashing videos since 2013. We define gay bashing videos as videos documenting verbal or physical attacks against individuals perceived by the abusers as being gay, lesbian, bisexual, transsexual or queer. We will however concentrate our study on videos showing attacks against men. These videos can be recorded by the abusers themselves or by witnesses. This rise in gay bashing videos will be situated within a comeback or anti-LGBT feelings and laws in some of the countries where the videos come from and also within anthropological and socio-historical theories about the sources and motivations behind homophobic violence. The corpus will consist of three videos coming from Russia ((«Putin’s Crackdown on LGBT Teens in Russia»), Lybia («Gay torture and violent in Lybia») and the United States («Attack at gay pride event in Detroit») The analysis of the videos will be made in three steps: 1. The analysis of the form and content of the videos. 2. The analysis of their circulation and the different users circulating them online. 3. The analysis of their reception with a particular attention given to the users’ comments on YouTube. We will show how gay bashing videos are creating a rupture with a certain vision of YouTube and other social medias as liberating and sites of self-expression (especially for LGBT people) and how they transform them as sites of humiliations that are tripled by the recording of the event and its circulation on the web. We will then see how the circulation of those videos by different groups and users transforms them according to different political agendas and ideologies, to finally question ourselves, by following the Humiliation Triangle from Donald Klein, on the ambivalent role of the witness (physical or virtual) whose presence is necessary for a humiliation to take place. Finally we will focus on videos of gay bashing testimonies made by the victims themselves who narrate their trauma in front of the camera thus reviving the logic of avowal that we can find in coming out videos. This research will also be an opportunity to develop new methodological and theoretical tools for the study of new medias.

This diploma thesis discusses the process of communication in new media environment and demonstrates it on the example of YouTube Beauty community which can be seen as an autonomous, independent space for expression and sharing of information. It introduces the specifics of communication in the environment of Beauty community and its characteristics. It discusses some theoretic concepts connected with communication in the environment of new media and also with the Beauty community, for example Web 2.0, citizen journalism, prosumption or the concept of internet as a new space of public discussion. It also discusses concept of political economy about how external especially commercial factors influence communication process and content of traditional media and connects it with influences of external commercial factors on communication in Beauty community. In qualitative research are explored factors that impact communication in this environment and also potential impact of external commercial factors on communications and its contents.

This thesis examines the role of authenticity, its elements and manifestations in the process of developing a relationship between micro-celebrities and their fans. The issue is demonstrated by the example of YouTube, the most important video-sharing site. Part of the issue is whether the YouTube content creators and their subscribers develop parasocial relationships as defined by Horton and Wohl (1956), and authenticity as an element that sets the relationship between micro-celebrities and their fans apart from the relationship between traditional celebrities and their fans. The theoretical part of the thesis deals with concepts that are associated with development of the micro-celebrity phenomenon, discusses the concepts of micro-celebrity and authenticity themselves, and expounds the parasocial relationships theory. Analysis of the role of authenticity in the process of developing the relationship between micro-celebrities and their fans is based on qualitative research that draws from interviews with micro-celebrities and their fans and the analysis of videos and comments by which viewers respond to them.

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2015-05-08T13:23:07Z No. of bitstreams: 1 Sonia Montaño.pdf: 4244321 bytes, checksum: a876e8c9635bed8d999c03d9b8dd5712 (MD5) / Made available in DSpace on 2015-05-08T13:23:07Z (GMT). No. of bitstreams: 1 Sonia Montaño.pdf: 4244321 bytes, checksum: a876e8c9635bed8d999c03d9b8dd5712 (MD5) Previous issue date: 2012-05-30 / Associação Porticus / PROLIC - Pró-Licenciatura / Esta tese aborda o audiovisual contemporâneo que passa pelas plataformas de vídeo YouTube e Justin TV e, em seu percurso, vai realizando uma ecologia do audiovisual da web, entendendo-o como meio. O conceito de ecologia construído nesta tese parte de autores como McLuhan, Benjamin, Bergson e Latour, entre outros. Durante o encontro do princípio ecológico com os materiais audiovisuais em questão, vai se formando uma imagem dialética do audiovisual da web. Isto é, formam-se constelações que imobilizam esse audiovisual na sua duração e dão a ver sua áudiovisualidade atualizada no conjunto: vídeos, interfaces, usos e ambientes. A ecologia aponta para o banco de dados como a ontologia da contemporaneidade. Não só vídeos e usuários se tornam bancos de dados nas interfaces audiovisuais da web. Eles fazem parte de um ambiente, o dispositivo contemporâneo, dotado de urgência por trânsito e por conectividade, que cria outros dispositivos dos quais emerge um audiovisual - cuja característica mais destacada é seu valor de uso e cujos efeitos mais apontados nesta tese são a audiovisualização da cultura e a softwarização do audiovisual. / This thesis addresses the contemporary audiovisual that passes through the video platforms YouTube and Justin TV and, throughout the route, performs an ecology of the audiovisual on the web, regarding this as a medium. The concept of ecology built in this thesis comes from authors such as McLuhan, Benjamin, Bergson and Latour, among others. A dialectical image of the audio-visual on the web is formed during the meeting of the ecological principle with the audiovisual materials under consideration. That is, a set of constellations that immobilize such audio-visual in its duration and enable to see its audiovisuality expressed in the whole: videos, interfaces, uses and environments. The ecology points to the database as the ontology of contemporariness. Not only videos and users become databases in the web’s audiovisual interfaces: they are part of an environment, the contemporary device, provided with urgency for transit and connectivity. This creates other devices from whichan audio-visual emerges. Its most notable characteristic is its use value and its most noticed effect in this thesis is the audio visualization of the culture and the softwarization of the audio-visual.

Submitted by Maicon Juliano Schmidt (maicons) on 2015-05-29T14:12:56Z No. of bitstreams: 1 Michael Abrantes Kerr.pdf: 4793092 bytes, checksum: 4f190ddbdd6b2d5762a7a8400dddd6f4 (MD5) / Made available in DSpace on 2015-05-29T14:12:56Z (GMT). No. of bitstreams: 1 Michael Abrantes Kerr.pdf: 4793092 bytes, checksum: 4f190ddbdd6b2d5762a7a8400dddd6f4 (MD5) Previous issue date: 2015-02-26 / Nenhuma / Esta tese tem por objetivo refletir acerca de uma tendência espectral existente no audiovisual neobarroco contemporâneo, em específico naquele que circula no YouTube. A afirmação da existência de tal tendência é decorrente da percepção de que neste cenário há uma mistura de diferentes tipos de imagens em vídeos montados com imagens de arquivo e em vídeos tecnicamente originais (gravados com câmera) que buscam referências claras em materiais feitos anteriormente. Além disso, por contágio, observa-se um recorrente retorno de imagens, diretas ou indiretas, por repetição ou por diferença, que vêm criando um “estado-fantasma” imagético, no qual vivem, morrem e se movimentam as imagens. Os fantasmas são (ou não) reconhecidos na memória por conta de imagens-lembrança do que vemos naquilo que nos olha. Esses vídeos se encontram, lado a lado e anacronicamente, na mesma interface (a do YouTube), e disputam igualitariamente o interesse de espectadores-usuários. As montagens praticadas foram aqui analisadas e consteladas, pelo viés fantasmagórico, nas seguintes imagens dialéticas: imagem-de-arquivo, imagem-fantasma direta, imagem-fantasma indireta e imagem-fantasma indefinida. A metodologia utilizada implicou a articulação de procedimentos intuitivos (Bergson), cartográficos (Benjamin), desconstrutivos (Derrida) e dissecatórios (Kilpp). / This thesis aims to reflect about an existing spectral trend in contemporary neo-baroque audiovisual, in particular the one circulating on YouTube. The affirmation of the existence of such a trend is due to the perception that in this setting there is a mixture of different types of video footage mounted with archival footage and technically original videos (recorded with camera) seeking clear references in previously made material. In addition, by contagion, there is a recurring return of images, directly or indirectly, by repetition or by difference, that are creating an imagistic "ghost-state", in which the images live, die and move around. The ghosts are (or not) recognized in memory for remembrance images of what we see in what looks at us. These videos are, side by side and anachronistically, in the same interface (YouTube), and compete equally for the interest of viewers-users. The montages were analyzed and organized into a constellation, through a ghostly bias, in the following dialectical images: file-image, direct ghost-image, indirect ghost-image and undefined ghost-image. The methodology employed involved the articulation of intuitive (Bergson), cartographic (Benjamin), deconstructive (Derrida) and dissecative (Kilpp) procedures.

Submitted by Mariana Dornelles Vargas (marianadv) on 2015-06-08T19:07:45Z No. of bitstreams: 1 construcao_acontecimento.pdf: 7766839 bytes, checksum: 70b2e132c1cb5172a6701290e15c1d27 (MD5) / Made available in DSpace on 2015-06-08T19:07:46Z (GMT). No. of bitstreams: 1 construcao_acontecimento.pdf: 7766839 bytes, checksum: 70b2e132c1cb5172a6701290e15c1d27 (MD5) Previous issue date: 2012-06-04 / Nenhuma / Esta dissertação tem como objetivo principal analisar a construção do acontecimento jornalístico, em tempos de avanço das mídias sociais digitais, tomando como base os estudos sobre acontecimento, critérios de noticiabilidade e cultura da convergência. Para isso, parto do pressuposto de que a construção do acontecimento jornalístico tem se reconfigurado, a partir do avanço da utilização das mídias sociais digitais pelos sujeitos, tensionando o processo linear de produção da notícia (emissor - mensagem - receptor). Para refletir sobre este pressuposto elegi o "Acontecimento Geisy Arruda - Uniban", que primeiro circulou no YouTube, em blogs, no Twitter e depois foi transformado em acontecimento jornalístico pelos portais e pelos meios de comunicação tradicionais. Utilizo a perspectiva cartográfica para dar conta de mapear o fluxo do acontecimento jornalístico e seus desdobramentos nos portais G1, R7 e Terra, identificar os platôs desse acontecimento e as questões externas e internas que configuram o acontecimento jornalístico. Construo o mapa do "Acontecimento Jornalístico Geisy Arruda - Uniban" a partir das 960 matérias publicadas nos três portais, desde a publicação dos vídeos no YouTube, no dia 22 de outubro de 2009, até o lançamento da biografia "Vestida para Causar", no dia 17 de novembro de 2010. / This thesis mainly aims at analyzing the construction of the journalistic event, in times of digital social media’s advance, based on studies about events, criteria for newsworthiness and convergence culture. For this to happen, I assume that the construction of the journalistic event has been reconfigured, from the advance of the use of digital social media by subjects, stressing the linear process of news production (sender – message – receiver). In order to reflect on this assumption, I chose the "Geisy Arruda-Uniban Event", which first circulated on YouTube, on blogs, on Twitter, and was later turned into journalistic event by portals and traditional media. I use a cartographic perspective to allow for mapping the flow of the journalistic event and its aftermath on G1, R7 and Terra portals, to identify the plateaus of this event and the external and internal issues that shape it as journalistic event. I build the map of "Geisy Arruda – Uniban Journalistic Event" from the 960 articles published on the three portals, since the publication of the videos on YouTube, on October 22nd, 2009, until the release of the biography "Dressed to Cause" on November 17th, 2010.

Submitted by Programa de Pós-Graduação em Mídia e Cotidiano (ppgmc@vm.uff.br) on 2017-08-21T17:15:45Z No. of bitstreams: 1 João Victal - Dissertação final 19.06 (EDI).pdf: 1109721 bytes, checksum: f6be61eb43a37bd1cf13b129a043092f (MD5) / Approved for entry into archive by Jussara Moore (jussaramoore@id.uff.br) on 2017-08-30T16:46:51Z (GMT) No. of bitstreams: 1 João Victal - Dissertação final 19.06 (EDI).pdf: 1109721 bytes, checksum: f6be61eb43a37bd1cf13b129a043092f (MD5) / Made available in DSpace on 2017-08-30T16:46:51Z (GMT). No. of bitstreams: 1 João Victal - Dissertação final 19.06 (EDI).pdf: 1109721 bytes, checksum: f6be61eb43a37bd1cf13b129a043092f (MD5) Previous issue date: 2017-06 / As manifestações populares ocorridas em junho de 2013 foram episódios sociopolíticos expressivos no Cotidiano da sociedade brasileira como um todo. A relevância nesse tipo de acontecimentos costuma fazer com que as pessoas demandem esclarecimentos por via da grande mídia, em especial ao telejornalismo. Neste contexto, utiliza-se como objeto de investigação a atuação do comentarista Arnaldo Jabor e do apresentador José Luís Datena sobre o início dos protestos em 2013, além de um processo de reação e correção desencadeado pelo público. A partir disso, almeja-se entender o pragmatismo de um mecanismo midiático de produção e reverberação de sentidos sociais que interage com a repercussão de um público telespectador na internet, onde os usuários que utilizam a plataforma Youtube tornam-se participantes ativos no processo comunicativo a partir de um conteúdo jornalístico específico. O desenvolvimento deste trabalho apropria-se da obra de diversos autores, como Gramsci (1979), Habermas (1984), Bardin (2009) etc, para fundamentar uma reflexão que considera a influência do público espectador sobre a angulação da informação jornalística produzida pelos grandes meios de comunicação que, neste caso, podem formar e conformar a produção do código nas mensagens à fatores como a leitura do conteúdo audiovisual pelas pessoas. Assim, a pesquisa busca entender melhor como alguns mal entendidos na comunicação podem, eventualmente, influenciar nas representações dos fatos pelo telejornalismo seguindo uma tendência à adaptação a alguns sentidos predominantes na trama social, em um dado momento. A proposta é seguir uma linha teórica que compreenda um viés sobre o exercício de uma Hegemonia na sociedade atual como um processo que ocorre na/pela Mídia e, que reconfigura-se de um modo contínuo entre os atores sociais e os grandes meios de comunicação. Nesse âmbito, também englobaram-se noções pertinentes ao estudo, como a cultura de convergência, o Materialismo Cultural e uma metodologia de Análise de Conteúdo para, assim, edificar uma argumentação baseada em empirismo acerca da ocorrência de novas possibilidades de Esferas Públicas no espaço Digital e, nas quais, existem dados que podem ser interpretados e indicar uma materialização para alguns sentidos sociais coincidentes acerca da representação telejornalística produzida pelas emissoras Rede Globo e Tv Bandeirantes ao surgimento dos protestos e, a expressão de um público espectador que, corriqueiramente, interage com a Mídia por meio do Espaço digital. / The street protests, wich took place in June of 2013, were expressive sociopolitical events that affected the brazilian society´s daily life as a whole. The relevance of this type of event usually causes people to demand elucidation through the mass media, especially in television journalism. In this regard, the performance of the commentator Arnaldo Jabor and the presenter José Luís Datena during the beginning of these protests in 2013, as well as a process of reaction and correction initiated by the public, are intended to be utilized as objects of investigation. From this way, it is expected to understand the pragmatism of a mediatic mechanism of production and reverberation for social meanings related with the repercussion of an audience on the Internet, where people who use the YouTube platform become active participants in the communicative process from some Specific journalistic content. The development of this work is based on several authors, such as Gramsci (1979), Habermas (1984), Bardin (2009) etc al, to support a reflection proposal wich lead´s itself to the audience´s influence in the angulation of the journalistic information produced by the great Media, wich, in this case, can form and conform the production of the code in the messages to factors such as content appropriation by the current society. Thus, the research aims to understand better, how some misunderstandings in communication may, eventually, influence some representations of events by television journalism, following a trend toward adapting with some prevailing meanings in the society, at a cetain moment. The purposal of this study is to build a theoretical line that understands a bias about the exercise of a Hegemony in the current society, as a process that takes place in / by the Media and that resets itself of a continuous way between the social actors and the media. Reggarding this matter, some ideas pertinent to the study were also included, such as the culture of convergence, Cultural Materialism and a Content Analysis methodology to build a empirical argument about new possibilities of Public Spheres in the Digital space, in which there´s data that can be interpreted and indicates some type of materialization for some coincident social meanings about the news produced by Television broadcasters like the Globo and Bandeirantes with the emergence of the protests linked to the expression of a spectator audience that, usually, interact about the great Media and Daily Life on the Internet.

The expansion of YouTube into the mainstream media and its place as the second most-used website in the world makes it a prime place for health information seeking. However, content can be created and uploaded by anyone and thus, the threat of misinformation on YouTube is high. Medical researchers have established that videos created by health professionals on YouTube promote accurate information whereas videos by non-professionals promote generally inaccurate or misleading information. Yet, videos created by non-professionals have more views and higher relevance rankings on YouTube. To begin to understand this phenomenon, a descriptive study is used to lay a foundation for this area of health communication This study focused on the ostomy community of non-professional content creators on YouTube to. The goal of this study was to thoroughly describe the innate features of the videos using media richness theory, and to describe social support and illness narrative using the framework of social presence theory. The results from the study provide deep description into this particular community of non-professional health influencers and make way for a new line of research in the communication of health information.

Persuasive appeals posted to United States presidential candidates’ YouTube videos were coded using a grounded theory mixed-methods design. 37,562 comments about education, energy, Iraq, health care, the economy, and the presidential debates were randomly collected by date and time for three studies using coding analysis: pilot, presidential primaries, and the presidential election. Seven argument types were identified and theoretically refined according to dual process models of persuasion: reason-based, candidate-based, emotion-based, endorsements, enthusiasmheuristic, other-interest and self-interest. Theoretical comparisons and hypothesis testing of argument types were conducted by issue and election event. Consistent with impression involvement, reason-based appeals were more frequent during the primaries, whereas consistent with value and outcome involvement, emotion- and candidate-based appeals were more frequent during the election.