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O objetivo desta dissertação é analisar a cobertura jornalística ao cinema brasileiro durante os anos cinqüenta em duas revistas de fãs: A Cena Muda (1921-1955) e Cinelândia (1952-1967), avaliando a estrutura da crítica cinematográfica e seu papel como geradora do star system brasileiro. A análise do material de nosso estudo congrega os anos de 1952 a 1955, único período em que as duas publicações coexistiram. Através da análise comparativa com a cobertura ao cinema de Hollywood, traçamos os paralelos da configuração do estrelismo brasileiro, com especial atenção às estratégias de legitimação do sistema para aumentar o interesse dos leitores e às peculiaridades da crítica em lidar com o star system. / This dissertation has by finality the study of the journalistic coverage to the brazilian cinema during the fifties in two fan magazines: A Cena Muda (1921-1955) and Cinelândia (1952-1967) to assess the structure of the critic cinematograph and their role as producer of brazilian star system. The material analysis of our study assembles the years of 1952 to 1955, only period in which both publications coexisted. Through the comparative analysis with the coverage of the Hollywood cinema, we draw the parallel with the configurations of brazilian star system, with special interest to the system legitimacy strategies to increase the readers interest and to the peculiarities of the critic to handle with the star system.

O objetivo desta dissertação é analisar a cobertura jornalística ao cinema brasileiro durante os anos cinqüenta em duas revistas de fãs: A Cena Muda (1921-1955) e Cinelândia (1952-1967), avaliando a estrutura da crítica cinematográfica e seu papel como geradora do star system brasileiro. A análise do material de nosso estudo congrega os anos de 1952 a 1955, único período em que as duas publicações coexistiram. Através da análise comparativa com a cobertura ao cinema de Hollywood, traçamos os paralelos da configuração do estrelismo brasileiro, com especial atenção às estratégias de legitimação do sistema para aumentar o interesse dos leitores e às peculiaridades da crítica em lidar com o star system. / This dissertation has by finality the study of the journalistic coverage to the brazilian cinema during the fifties in two fan magazines: A Cena Muda (1921-1955) and Cinelândia (1952-1967) to assess the structure of the critic cinematograph and their role as producer of brazilian star system. The material analysis of our study assembles the years of 1952 to 1955, only period in which both publications coexisted. Through the comparative analysis with the coverage of the Hollywood cinema, we draw the parallel with the configurations of brazilian star system, with special interest to the system legitimacy strategies to increase the readers interest and to the peculiarities of the critic to handle with the star system.

Diss. Stockholm : Stockholms universitet, 2006.

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-09-20T14:17:59Z No. of bitstreams: 1 gabrielasoarescabral.pdf: 4093019 bytes, checksum: 3d39df127dce8fa5c53481eff8420201 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-10-01T19:07:13Z (GMT) No. of bitstreams: 1 gabrielasoarescabral.pdf: 4093019 bytes, checksum: 3d39df127dce8fa5c53481eff8420201 (MD5) / Made available in DSpace on 2018-10-01T19:07:13Z (GMT). No. of bitstreams: 1 gabrielasoarescabral.pdf: 4093019 bytes, checksum: 3d39df127dce8fa5c53481eff8420201 (MD5) Previous issue date: 2018-06-15 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O presente trabalho analisa as representações da atriz Tônia Carrero (1922-2018) enquanto estrela cinematográfica brasileira nas revistas O Cruzeiro e Scena Muda, publicadas no Rio de Janeiro e que circularam em território nacional, respectivamente entre as datas de 1928 e 1985 e 1921 e 1955. A pesquisa abrange o recorte temporal referente ao período de 1947 e 1955, momento em que Tônia Carrero emergia como estrela de cinema e foi impulsionada pela imprensa, geral e específica, como nome do estrelismo brasileiro. Assim, de modo a embasar nossa análise, traçamos um histórico das representações femininas no star system a fim de compreender as principais características e tipificações das estrelas desde o estabelecimento de Hollywood enquanto indústria cinematográfica. Também relatamos um histórico do surgimento do sistema de estrelas no Brasil, compreendendo as influências norte-americanas neste processo. Partindo para as fontes primárias, observamos como a atriz teve sua imagem construída e identificamos como sua tipificação a good-bad girl. Suas fotografias mostravam uma estrela cercada de códigos estabelecidos pela cinematografia do que era ser bela, glamourosa e sedutora. Ao entender os processos da constituição da consagração de Tônia enquanto estrela, pretende-se contribuir para ampliar a discussão sobre o fenômeno do star system no contexto brasileiro, bem como auxiliar futuros trabalhos sobre a atriz. / The present work analyses Tônia Carrero (1922-2018) representations as brasilian cinematrographic star at O Cruzeiro and Scena Muda magazines, published in Rio de Janeiro and circulated in national territory, respectively between the years of 1928 and 1985 and 1921 and 1955. The research embrace the period that refers to the temporal gap among 1947 and 1955, moment wich Tônia Carrero emerged as cinema star and was promoted by the press, general and specific, as a name of brasilian star system. Therefore, ir order to give basis to our analysis, we will trace the history of female representation at star system to comprehend the stars main characteristics and typifications since Hollywood settlement as cinematographic industry. We also relate the history of brasilian star system emergence, understanding the north-american influences at this process. Heading to primary sources, we could observe how the actress had her image composed and indentified her tipification as good-bad girl. Her photographs showed a star surrounded by codes establhiesed by the cinema about what was beeing beautiful, glamourous and seductive. By understanting the processo of Tônias constitution as consagrated star, we aim to contribute at the discussions about the star system fenomenum at brasilian contexto, and help in future researchs about the actress.

Cette étude a pour l’objectif d’examiner l’industrie musicale et le star-system des années 1930 et 1940. Certaines stars de cette période occupent encore une place considérable dans la mémoire collective ; parmi elles, Édith Piaf est encore régulièrement mentionnée par les médias en 2018. Un public de masse et de nouvelles formes culturelles populaires se forment parallèlement aux transformations politiques et économiques de la période du Front Populaire. Les acteurs musicaux commencent alors à déployer des stratégies de répétition et d’innovation. Ainsi, apparaissent : la réinterprétation de chansons à succès, l’imitation du style d’interprètes célèbres et l’introduction du jazz dans la chanson. À l’aube de l’industrie musicale, la radio prend l’avantage sur le disque dans la fabrication de stars. En effet, les stations radiophoniques privées rivalisent et diffusent la musique gratuitement. Par ailleurs, ces médiateurs font apparaître des chanteurs célèbres pour attirer davantage d’amateurs et de consommateurs. Sous l’Occupation, ce médiateur contribue fortement à la déformation de la réalité. Edith Piaf développe un style propre faisant appel aux émotions et développe ce qu’on appelle aujourd’hui, la « chanson d’amour » française. Sous l’Occupation son traitement médiatique a pour résultat de la re-former en tant que figure représentant « le passé en bonheur » sur lequel est projeté le « je impuissant » des individus, pour reprendre une expression de T.W. Adorno. L’image d’Édith Piaf et ses chansons sont par ailleurs des espaces de médiation de l’individualisme et du féminisme. Ainsi, la star n’est pas simplement fabriquée par les stratégies du star-system : la répétition et l’innovation. Elle découle aussi du fait que son image, son style, ses œuvres musicales et son discours dans les médias imprègnent certaines idéologies dans la réalité sociale. / This study aims to examine the music industry and the star system of the 1930’s and 1940’s. We still talk today about some stars of the 1930s and 1940s. Among them, one French star that is recalled internationally by the media is Edith Piaf; she continues to be regularly mentioned by the media in 2018. A mass audience and new popular cultural forms appear simultaneously to the political and economic evolutions which occurred at the time of the Front populaire in France. From the 1930’s onwards, the French music industry star-system works with the logic of repetition and innovation, for example, release of cover songs, imitation of the style of famous performers and the introduction of jazz into French popular songs. At this dawn of French music industry and star system, radio stations take priority over record companies in the making of stars. In fact, the commercial radio stations are competing among each other and they play popular songs without extra cost for listeners. Furthermore, in the period of Nazi occupation, radio plays a major role in the propagation of the political ideology of the collaborationist Vichy government. Edith Piaf develops her emotional expressions, and creates her own style, what we call today, the `French love song´. During the German occupation of France, she was transformed into a symbolic figure of `the beautiful days of the past´ on which, as Adorno claims, the `lethargic self of individuals´ is projected. The image of Edith Piaf and her songs are also spaces of mediation for individualism and feminism. In short, the star is not simply manufactured by star-system strategies of repetition and innovation. The star is also born when his image, his style, his musical works and his media discourse penetrate certain ideologies in the specific social reality.

本研究以台灣《壹週刊》的影劇新聞為例，以批判論述分析法（Critical Discourse Analysis）的思考精神為啟發，從性別角色、發言權、新聞的語言特色等面向分析《壹週刊》文本。接下來，以明星、經紀人／宣傳的和小報記者的訪談，釐清台灣小報影劇新聞的產製方式，以及明星體系小報文化當中的運作過程，從中分析小報影劇新聞中誰掌握了發言權，明星和經紀人會使用哪些媒體策略來獲得正面助益。 　　本研究結果發現，小報媒體在全球不同文化間依循著類似的軌跡發展，從單元、圖片與題材編排的類似手法，將明星八卦、醜聞、性等細節無限制放大，透過主觀、嘲諷的口語敘事與大量圖片，讓讀者看到明星報導的幕後感與故事性。小報記者參與新聞製作時的立場是正向高度肯定的，因為小報調查式的新聞手法需要長時間籌畫、收集資料、蒐證，因此，記者認為小報才是為讀者揭發社會真相、真正敢言的媒體。另一方面，記者與明星的互動關係是多種權力交織而成的動態協商，多數時間記者掌握了報導發展的詮釋空間，但是，佔上風的角色會隨著藝人實力產生變動。操作過程中，經紀人為了徹底保護明星形象，將明星視為必須保護的文化商品，控制了明星對外發言的權力，也拉開了明星和媒體的距離。面對小報新聞可能造成的傷害，通常經紀人會預先設定立場、準備模板答案，來維護明星聲望在小報文化的侵入下能順利運作。 / Taken the entertainment news of Next Magazine as the example, the main research frame is inspired by Critical Discourse Analysis. The study analyzed the text of Next Magazine from the roles of gender, the voices and the linguistic characters of news to clarify the production logic of Taiwanese tabloid news. Next, from the interviews of entertainers, agents /publicists and tabloid journalists, the study tried to figure out how celebrity news production and Star system work within tabloid culture. Who take the initiative of speech and utilize what kind of strategy to manipulate media relations. The study found that, the tabloid media has developed along a similar path even in different cultures around the world. By using similar manners of the arrangement of units, images and subjects, the tabloids unlimitedly enlarge the details of the gossip, scandals and sex affairs of entertainers; additionally, a colloquial description in a subjective and mocking way and plenty of pictures are utilized to give readers a feel of behind-the-scene and narrative to the entertainers’ news. Nowadays, tabloid journalists hold a positive attitude toward the manner of digging out newsworthy materials, which requires a long time planning, information-gathering and evidence-collecting. On the other hand, the interaction between journalists and entertainers is a dynamic negotiation established by a variety of powers. What’s more, the agent may regard stars as a cultural goods, then control the power of speech of stars in order to completely protect the media image of stars. At the same time, agents block the normal communication between stars and media. To prevent the harm caused by tabloid, the agents might pre-set position and answer the template answer to maintain the reputation of stars.

En s'intéressant aux différentes utilisations que les grands architectes-urbanistes contemporains font de la littérature, ce travail analyse les processus de légitimation de l'action sur la ville de ce groupe d'acteurs, et plus précisément les différents rôles qu'assurent leurs discours publics. Outils de séduction, de mise en scène de leur production, mais aussi de leurs personnalités, les références, tout comme les procédés stylistiques littéraires, constituent des ressources pour justifier et valoriser leur travail des faiseurs de ville. L'éclairage de ces pratiques culturelles permet de comprendre comment ces acteurs s'efforcent de construire leur image publique en répondant aux exigences d'une haute culture, tout en renvoyant à des référents collectivement partagés. Utilisés à des moments stratégiques des discours publics, les références et procédés littéraires leur permettent également de souligner leur positionnement sur des problématiques à forts enjeux de l'architecture et de l'urbanisme contemporains, et de mettre ainsi en scène leur référentiel. Ces usages littéraires révèlent parallèlement la manière dont ces acteurs revendiquent l'inscription dans une approche personnelle et sensible, tout en affirmant une démarche soucieuse des habitants et de leurs pratiques. Leur examen éclaire donc les stratégies de positionnement multiple de ces acteurs qui oscillent en permanence entre recherche de la distinction et affirmation d'une certaine conformité avec les valeurs de différents groupes d'acteurs participant à la production de la ville. En interrogeant l'architecture et l'urbanisme contemporains par l'angle des pratiques culturelles d'un groupe d'acteurs clés de la production des territoires urbains, cette analyse se situe ainsi au point de rencontre entre les sociologies de l'art et des professions, les études urbaines et la géographie de la littérature.