Darbe atskleidžiama atminties svarba ir laiško kaip atminties fiksavimo forma. Apžvelgiama laiško transformacija atsirandant naujoms technologijoms ir internetinės erdvės galimybės videolaiškų siuntimui. Kūrybinėje darbo dalyje vyksta virtualus bendravimas videolaiškais internetiniame tinklapyje. Iš elektroninių laiškų atsakymų kuriami nauji video laiškai ir talpinami internetinėje svetainėje. / In this work are opening the meaning of memory and letters as memory fixing forms mode. Are reviewing letter’s transformation appearing new technologies and reviewing in video – letter sending possibilities in internet space. Created virtual communication exist in network all the time. From letters are created video – letters which are sent in network again.

This study scrutinizes the trajectory of an international development communication intervention aimed at mediating, rendering public and mobilizing processes of reconnection among estranged citizens across the former Yugoslavia. The intervention, which took place between 2000 and 2005 in the wider context of post-conflict international development assistance and peacebuilding operations in the region, was known as the Videoletters project. Centered on a documentary TV series aimed at promoting the reestablishment of relationships among ordinary people affected by ethno-political divisions, Videoletters was adopted by European bilateral funders for large-scale implementation and categorized as a “tool for reconciliation”. Starting from an understanding of communication as a right to which citizens are entitled, as a responsibility of practitioners and institutions, and as a capability that is socially distributed in unequal ways and has an ambiguous potential, the study looks into the contextualized potential and limitations of international development communication intervention to attend to the citizens that it is supposed to benefit. By providing rich empirical details about a process of intervention, the study argues in concrete terms for the study of development communication not as a presumably positive tool, but as an institutionally driven practice that may or may not strengthen conditions of justice, with consequences that will differ depending on the specificity of sociopolitical situations in time and space. Depending on contextual and institutional conditions and on the forms of mediation privileged/disregarded throughout the process, the deployment of a specific development communication intervention may/may not foster proper distance, and thus strengthen/weaken conditions of justice for the citizens under consideration, who are subject to the governance structure of international development assistance. By linking the practice of international development communication to a framework of justice, the study brings the political and ethical dimensions of said practice to the fore and contributes to a critical agenda for theorization and research that takes accountability into consideration and puts citizens at the center.

Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2017-10-20T15:06:41Z No. of bitstreams: 2 Dissertação - Sophia Ferreira Pinheiro - 2017.pdf: 56698362 bytes, checksum: 896097b17235ef4914a076d87608381d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-10-23T10:03:07Z (GMT) No. of bitstreams: 2 Dissertação - Sophia Ferreira Pinheiro - 2017.pdf: 56698362 bytes, checksum: 896097b17235ef4914a076d87608381d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-10-23T10:03:07Z (GMT). No. of bitstreams: 2 Dissertação - Sophia Ferreira Pinheiro - 2017.pdf: 56698362 bytes, checksum: 896097b17235ef4914a076d87608381d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-08-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research study aims to outline the trajectory of indigenous film-maker Patrícia Ferreira Pará Yxapy. Patrícia belongs to the Mbyá-Guarani ethnic group and is currently regarded as the most relevant female figure in Brazilian indigenous filmmaking. I attempt to understand her trajectory from the standpoint of the relations she establishes with images to contribute with research on indigenous women and filmmakers and, hence, to understand the paths available for a female indigenous filmmaker in Brazil. I employ audiovisual methods to verify the passage from the representation of an ‘indian image’ – in view of representations brought forth by stereotypical non-indigenous policies – towards the ‘indigenous gaze’. In other words, by focusing on a self-represented and political image as well as on filmmaking from the standpoint of a shared gaze, repertoires, and her own experiences, Patrícia becomes the leading figure of her claims. Therefore, her work opposes the apparent passiveness which is often assigned to the imagery production relation active/man and passive/woman. She distances herself from a romanticized and exotic view (‘of the other’) through appropriations of her discourses, hence performing her own artistic agency in the production of a female indigenous cinematography. There is a tension between borders and their discursive possibilities which have originated from the appropriation of audiovisual technologies that make up hegemonic stances. It is based on this rupture that I carry out an ethnographic experience of video letters, i.e. exchanged videographic messages about a wide range of topics. In this project, they exist between the two of us to show our relationship through images and sounds. In Patrícia’s own words: ‘what I put out used to be inside me’. / Esta pesquisa procura traçar a trajetória da cineasta indígena Patrícia Ferreira Pará Yxapy. Patrícia é Mbyá-Guarani e é atualmente tida como a mulher mais relevante para o cinema indígena brasileiro. Procuro entender sua trajetória a partir das relações que ela estabelece com as imagens a fim de contribuir com os estudos sobre mulheres e cineastas indígenas e, a partir daí, compreender os caminhos de uma mulher indígena cineasta no Brasil. Utilizo métodos audiovisuais para verificar a passagem da representação da “imagem do índio” – diante das representações realizadas por políticas não indígenas estereotipadas – para “o olhar indígena”. Ou seja, com a imagem autorrepresentada e política e o dispositivo cinematográfico a partir do olhar compartilhado, de repertórios e suas experiências, Patrícia torna-se protagonista de suas reivindicações. Portanto, sua obra contrapõe-se ao pressuposto lugar de passividade que é atribuído, frequentemente, à relação de produção imagética ativa/homem e passiva/mulher. Ela afasta-se da visão romantizada e exótica (“do outro”) por meio das apropriações de seus discursos, empreendendo sua própria agência artística na produção de uma cinematografia indígena feminina. Desse modo, deparamo-nos com uma tensão entre fronteiras e suas possibilidades discursivas abertas pela apropriação de tecnologias audiovisuais constitutivas das posições hegemônicas. É a partir dessa fissura que fazemos uma experiência etnográfica de vídeo-cartas, que constituem trocas de mensagens videográficas dos mais diversos temas. Neste projeto, elas existem entre nós duas a fim de mostrar com imagens e sons nossa relação. Como afirma Patrícia: “o que pus para fora estava dentro de mim”.