Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-23T15:40:08Z No. of bitstreams: 1 DISSERTAÇÃO COMPLETA.pdf: 3658212 bytes, checksum: 5f111beb32259913b7a6263231e51844 (MD5) / Approved for entry into archive by Elane Valverde Madureira (elaneval@yahoo.com.br) on 2018-08-24T14:16:24Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO COMPLETA.pdf: 3658212 bytes, checksum: 5f111beb32259913b7a6263231e51844 (MD5) / Made available in DSpace on 2018-08-24T14:16:24Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO COMPLETA.pdf: 3658212 bytes, checksum: 5f111beb32259913b7a6263231e51844 (MD5) / RESUMO Em um trabalho integrado, o Grupo de Estudos de Artes Cênicas (Dramaturgia e Trabalho do Ator) do Projeto TelaTeatro da Fundação Joaquim Nabuco Recife – PE desenvolveu uma narrativa de ficção científica relatando que, em 1959, uma cidade de cristal, coberta por um domo e aço e vidro, construída no Centro-Oeste brasileiro, tinha o intuito de isolar os habitantes daquela cidade por cinquenta anos a fim de que descobrissem saídas para os problemas que a humanidade enfrentaria no terceiro milênio. Deste modo, é criado por cientistas o projeto PROBESH – Protótipo Prospectivo Biodomo Estufa Humana, mais conhecido como Stufana (2009-2012). A série escrita para a internet contém cinco episódios, desdobrado em nove para web, que narram a saída de nove habitantes da cidade para o mundo exterior. De modo a expandir o universo narrativo, houve um sexto episódio – não gravado, convertido em leitura dramática e radionovela, que conta o retorno dos personagens para casa. Para contextualizar a referida série, haverá um panorama sobre o surgimento do gênero no mundo e sua difusão no Brasil, bem com suas raízes históricas, períodos mais importantes, características literárias, estilos e as formas de expansão nos meios de comunicação como o rádio, o cinema, a televisão e a internet. Também haverá uma abordagem sobre a dramaturgia de Luiz Felipe Botelho e as atividades realizadas no Projeto TelaTeatro com o objetivo de introduzir o processo de criação de Stufana. Deste modo, a presente pesquisa tem por objetivo fazer um estudo de ficção científica na dramaturgia de Stufana, a partir da análise dos roteiros da websérie, através do modelo actancial proposto pela pesquisadora francesa Anne Ubersfeld em Para Ler o Teatro que servirá como guia as análises a fim de compreender melhor a estrutura textual dos roteiros e outros autores relacionados à narrativa audiovisual. Por se tratar de um estudo de ficção científica, a pesquisa pretende também aprofundar na análise dos roteiros de Stufana, a partir de um guia de leitura criado por David Allen em No Mundo da Ficção Científica e outros autores ligados ao gênero que ajudarão a nortear as principais temáticas características de uma narrativa de ficção científica. / ABSTRACT In an integrated work , the Study Group for the Performing Arts ( Drama and Working Actor ) Project TelaTeatro of Nabuco Foundation Recife - PE developed a science fiction narrative reporting that , in 1959 , a city of crystal, covered by a dome and steel and glass , built in the Brazilian Midwest , was intended to isolate the inhabitants of that city for fifty years to discover that solutions to the problems that face humanity in the third millennium . Thus is created by scientists PROBESH design - Prototype Prospective Biodomo Human Greenhouse, better known as Stufana (2009-2012) . Writing for the internet series contains five episodes unfolded in nine webs, portraying the departure nine inhabitants of the city to the outside world. In order to expand the narrative universe, there was a sixth episode - not recorded, converted into dramatic and soap opera, which features the return of characters for home reading. To contextualize the Stufana said series, there will be an overview of the emergence of the genre in the world and its distribution in Brazil, as well as its historical roots , the most important periods , literary characteristics , styles and forms of expansion in the media like radio, cinema, television and the internet . There will also be a discussion of the dramaturgy of Luiz Felipe Botelho and activities undertaken in TelaTeatro Project with the objective of introducing the process of creating. Thus, this research aims to make a study of the science fiction drama of Stufana, from the analysis of the roadmaps of webseries through actantial model proposed by French researcher Anne Ubersfeld to read in the theater that will serve as a guide analyzes order to better understand the textual structure of scripts and other related audiovisual narrative authors. Because it is a study of science fiction, the research also aims to deepen the analysis of scripts Stufana, from a reading guide created by David Allen in The World of Science Fiction and other authors related to gender that help to guide the main thematic characteristics of a narrative of science fiction.

nÃo hà / O presente trabalho busca analisar a estrutura narrativa da websÃrie "The Lizzie Bennet Diaries", considerando suas caracterÃsticas transmÃdiaticas e por se tratar de um produto de entretenimento adaptado. âThe Lizzie Bennet Diariesâ à uma websÃrie adaptada do romance britÃnico âOrgulho e Preconceitoâ, de Jane Austen, escrito no sÃculo XVII. Um estudo de narrativa a partir de pesquisas de ABBOTT (2009), CAMPOS (2016), STAM (2003), dentre outros, foi realizado para compreender as particularidades de cada elemento narrativo analisado e sua relaÃÃo com os paratextos, sob o olhar de GENETTE (2009), ALVARADO (1994) e GRAY (2010), encontrados em TLBD. Com o objetivo de verificar as funcionalidades dos paratextos na narrativa transmÃdia, concluÃmos que as relaÃÃes intertextuais dessa modalidade dentro da narrativa adaptada tÃm um carÃter essencial no qual o paratexto agrega ao processo transmÃdiatico da obra, tornando clara sua necessidade de acompanhar a narrativa, tanto em conteÃdo quanto em processos de divulgaÃÃo.

Cette recherche part des profondes modifications de l’espace sociétal cristallisées par la crise économique et sociale de 2008 dans nos sociétés occidentales. L’objectif de cette étude est d’inscrire la crise de la publicité et des marques dans une mutation sociétale plus profonde, avec une remise en cause du modèle capitaliste de consommation de masse. Dans un contexte de crises, nous sommes en droit de nous interroger sur l’avenir de la marque : va-t-elle évoluer vers un modèle alternatif correspondant davantage aux mutations sociétales en cours ? Notre réflexion s’inscrit dans le champ des sciences de l’information et de la communication en étudiant l’évolution du concept de marque d’un point de vue sociosémiotique, c’est-à-dire en considérant le contexte économique et social comme un cadre primaire analytique au sens de Goffman. Il s’agit de partir d’occurrences concrètes de communication (alter-marque, insertions de produits et de marques dans la série The Big Bang Theory, webséries de marque, publicité native dans le Huffington Post) pour mieux comprendre la société qui constitue leur espace de mutation. Nos travaux mettent en évidence la capacité de la marque à s’extraire du cadre commercial à travers des procédés d’insertion ou de mimétisme médiatique. En mettant en perspective des concepts issus des recherches en sciences de l’information et de la communication contemporaines avec les interprétations de certains experts en stratégie des marques, nous avançons l’hypothèse d’un nouvel ordre de la marque, médiatique et culturel. En effet, la marque mute progressivement vers un modèle culturel et médiatique pour répondre à sa « crise de sens » (Semprini, 2005), notamment en instaurant un imaginaire de marque davantage ancré dans la culture médiatique du public. McLuhan (1967) affirmait dans les années 60 que le médium était le message : aujourd’hui, la marque ne tend-elle pas à devenir elle aussi un média et faire sens en tant que tel dans l’espace public ? / This research emanates from the deep the social changes that our Western societies faced in a context of economic and social crisis, which peaked in 2008. The objective of this study is to demonstrate how the media and brand crisis is part of a deeper social mutation and question the capitalist model of mass consumption. In this context of crisis, we can question the future of brand marketing: is it going to evolve towards an alternative model, more in line with current social changes? Through our study of the evolution of the brand concept from a socio-semiotics angle, we will consider the economic and social environment from the analytical primary framework as defined by Goffman. Therefore, our research is firmly anchored in the field of information and communication sciences. We focus on specific communication occurrences (alter-brand, brand placements in The Big Bang Theory series, brand webseries, native advertising in The Huffington Post) in order to better understand the society that constitutes their environment of transformation. Our research highlights the capacity of the brand to extricate itself from a commercial aspect through insertion or media imitation processes. By focusing on concepts emerging from research in contemporary information and communication sciences, and by putting in perspective experts’ interpretations of brand strategy, we explore the hypothesis of the emergence of a new order of media and cultural brand. Indeed, the brand gradually shifts towards a cultural and media model in order to respond to its “meaning crisis” (Semprini, 2005), in particular by establishing an imaginary around the brand, more anchored in media culture. McLuhan (1967) suggested in the sixties that the medium was the message: today, the brand seems to tend to become a media and establish itself as an integral part of the public sphere

Cette recherche dresse le portrait d’un nouveau genre sur le Web, la websérie. Il s’agit d’analyser la websérie québécoise afin d’en comprendre les influences, particulièrement les influences télévisuelles. Dans le premier chapitre, les théories de l’intermédialité, de la remédiation et de la convergence sont abordées afin de bien comprendre les différents types d’échanges entre les médias d’aujourd’hui. Dans le second chapitre, une vue d’ensemble, en ce qui a trait à l’histoire de la websérie au Québec, est donnée. Ensuite, quatre caractéristiques principales de la télévision sont analysées : le contexte de réception, la programmation, l’esthétique et la sérialité. Il est ensuite démontré que ces caractéristiques sont également présentes dans la websérie et il est expliqué de quelle manière elles le sont. Finalement, dans le dernier chapitre, des analyses de webséries sont faites afin d’exemplifier les différents liens entre les émissions de télévision et la websérie. / This research seeks to illustrate a new genre present on the Web, the webseries. Its goal is to analyse Quebec webseries in order to understand its influences, particularly those of television. In the first chapter, theories of intermediality, remediation and convergence are explained to clarify the actual context of exchanges between media. In the second chapter, a quick historical panorama of quebec webseries is set. Then, four caracteristics of television are explained: watching context, schedule, aesthetics and seriality. In addition, this work demonstrates that those four caracteristics are present in the webseries and it explains how they are developped. Finally, in the last chapter, we analyse webseries to exemplify different existing links between TV shows and webseries.

Made available in DSpace on 2016-04-26T18:15:30Z (GMT). No. of bitstreams: 1 Robson Kumode Wodevotzky.pdf: 14017719 bytes, checksum: 0f588be0bb91a6611a254f8bd06861b8 (MD5) Previous issue date: 2015-12-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research aims to analyze the sociocultural environment of the webseries, fictional serial audiovisuals produced specifically for the web, in the cybercultural context. The platform Youtube and the audiovisual content of the channels Porta dos Fundos and canal8KA compose the corpus of this research and are among the proposition released from the second decade of the XXI century to build a viewing habit of fictional audiovisual products on the web through serialily. The consumption and production of videos and series on the web provides specific characteristics of this environment, such as the rivalry with other attention catalyzers fighting for space on the same window, the use of interactive tools, and the facilitation in the criation and circulation of audiovisuals. The goal is to identify the sociocultural reverberations that have emerged in this environment: how the interactors behave regarding webseries and vice versa, once that in an environmental thinking the social movements impact the products and so does the opposite. The hypothesis is that the webseries environment, through the strategies of acceleration, interaction and ritualisation by repetition brings the interactor user, simultaneously receiver and viewer to a time and space suspension with the temporal acceleration and the obliteration of the world by excessive images, interactive or not. Methodologically, we will analyse the corpus, investigating the available tools and used languages that potentially impact the sociocultural relations in this environment. The theoricalmethodological funtamental basis of this research consists in the works of Norval Baitello and Villém Flusser about image and cultural environments, Umberto Eco about seriality and narrative, Arlindo Machado about audiovisual history and its consumption and Eugênio Trivinho about cyberculture / audiovisuais ficcionais seriados produzidos especificamente para a web, no contexto cibercultural. A plataforma Youtube e os produtos audiovisuais dos canais Porta dos Fundos e canal8KA constituem o corpus da presente pesquisa e estão entre as propostas lançadas a partir da segunda década do século XXI para construir um hábito de visualização de produtos audiovisuais ficcionais na web através da serialidade. O consumo e a produção de vídeos e séries no ambiente web traz características específicas do meio, como a rivalidade com outros catalisadores de atenção disputando espaço na mesma janela, o uso de ferramentas interativas e a facilitação na criação e circulação de audiovisuais. O objetivo é identificar as reverberações socioculturais surgidas neste ambiente: como se comportam os interatores com relação às webséries e vice-versa, uma vez que num pensamento ambiental os movimentos sociais impactam nos produtos e o contrário também. A hipótese trabalhada é de que o ambiente das webséries, através de estratégias de aceleração, interação e ritualização pela repetição, leva o interator usuário, receptor e espectador simultaneamente - a uma suspensão espaço-temporal, com a aceleração temporal e a obliteração do mundo pelo excesso de imagens, interativas ou não. Metodologicamente, analisaremos o corpus numa investigação das ferramentas disponíveis e linguagens utilizadas que potencialmente impactam nas relações socioculturais desse ambiente. A base teórico-metodológica fundamental da pesquisa consiste nas obras de Norval Baitello e Vilém Flusser sobre imagem e ambientes culturais, em Umberto Eco sobre serialidade e narrativa, em Arlindo Machado sobre histórico e consumo audiovisual e em Eugênio Trivinho sobre cibercultura

This thesis outlines the structure and functionality of a selection of webseries, webshows, and eSports casting examples, in order to add to the discourse on online video. Webtelevision, or Web TV production, distribution, and financing systems will be detailed in the case studies made; and industry actors such as entrepreneurs, independents, corporations and conglomerates will be discussed and identified. Who are the producers, the advertisers, the distribution platforms, the sponsors, the rights holders, and how do they interact? In exploring the structure of some examples of Web TV, I wish to debunk the online-amateur association as an inaccurate or insufficient description which permeates much prior academic study on online video. Webshow content, business strategies, legal and copyright issues, as well as fan culture aspects will also be investigated; and in regards to eSports, the question of televised as opposed to streamcast tournaments will be examined.