Educommunication is a field that seeks to integrate education and communication, empowering communities and citizens to utilize media to promote a better understanding of local issues, raise awareness about the power of community engagement in society, and emphasize the role of communication and dialogue in knowledge construction and the pursuit of improved living conditions. Building upon the principles of educommunication
and decolonization, this research conducts an analysis of profiles and content produced by indigenous users on Instagram, investigating the operationalization of platforms and their algorithms. Recognizing the significance of disseminating decolonial content on digital social networks for societal awareness, the aim is to spark discussions and propose ideas that contribute to educommunicative practices, incorporating the importance of advertising knowledge in presenting ideas on social media.

The main objective of the present study is to analyse how the transition from traditional means of communication to social media for scientific popularisation was conducted by the Social Communication Office of the Federal University of Pernambuco – Ascom UFPE. Having the paradigm of media convergence as our starting point, we investigated how Ascom started to use the internet as a channel for popularisation of UFPE’s scientific production through the Research Bulletin, a native digital periodical. To better understand the publication’s construction, we chose to adapt a qualitative-quantitative approach which combined interviews with professionals from the Communication Office and the analysis of 730 texts from the Bulletin, published between 2005 and 2021. Based on studies on scientific popularisation by authors such as Barata, Bueno, Epstein, Gomes and Zamboni, the present work verifies the importance of the digital newsletter produced by Ascom. The research investigated how the Communication professionals’ self-learning, the lack of technical and human resources, and the lack of institutional support affected the process of building the Research Bulletin as a product for the Internet. We have found that the long-lived publication, present on different digital media platforms, plays a relevant role in disseminating UFPE's knowledge production among the academic community, the press and society in general; establishes a model for scientific popularisation in universities; and contributes to the training process of
journalism students who participate in internship programs in the Communication Office.

Na última década, uma série de filmes brasileiros abordou o universo da branquitude (BENTO; SHUCMAN; SOVIK), de modo a aludir às relações de colonialidade (QUIJANO; SEGATO) presentes na história do país. A casa- grande, celebrada por Gilberto Freyre como o lugar de formação social, cultural e política das famílias patriarcais no período colonial, teve destaque em algumas dessas produções. Mesmo nas obras em que ela não figura, seu vulto histórico se esboça, seja através de formas arquitetônicas atualizadas (condomínios, mansões de luxo, sobrados, latifúndios e camarotes), seja por meio de assombrações, medos e fetiches de personagens brancos, que, inequivocamente, se relacionam com a herança colonial. A partir de um método inspirado no saber da encruzilhada (SODRÉ; SIMAS; RUFINO) e numa abordagem discursiva (SHOHAT; STAM), pretendo analisar os filmes dirigidos por cineastas  rancos e brancas, que deram legibilidade às feridas coloniais e que promoveram a figuração/atualização da casa-grande. Em muitas dessas obras se percebe um acionamento das estratégias do discurso colonial (BHABHA; HALL), de forma que os(as) personagens não-brancos(as) são caracterizados(as), majoritariamente, como subalternos(as), perigosos(as) e/ou sexualizados(as). A representação da violência também é outro ponto crítico, por vezes levando os espectadores a uma contemplação, e em algumas obras a uma experiência de catarse. Além disso, observa-se nos filmes uma contemporização da branquitude representada, principalmente, através da adesão à sensibilidade dos(as) personagens brancos(as).

Science Fiction, as a literary and cinematic genre concerned with contemporary issues, produces speculative images of possible futures, and critical narratives about the displacements and effects of technoscience in the historical and sociocultural field. Sci-fi's subgenres, such as Cyberpunk and Biopunk, portray the human body in the face of the moving terrain of communication technologies and virtuality. On this basis, these works present philosophical discussions interested in the theme of the human condition, such as how finite the body is, when composing universes of contemporary experimentation (LE BRETON, 2017). Thus, this investigation aims to understand from the films and series "Frankenstein: or, The Modern Prometheus" (1818), "The invention of Morel" (1976), “World on a Wire” (1973), “eXistenZ” (1999), “13th floor” (1999), the possible out lines and distortions of the new “life coloring” (FLUSSER, 2007) and post-human bodies (HAYLES, 1999; SIBILIA, 2015) in the face of technologies of the image and virtual experiences in techno-landscapes (GRAU, 2007; MACHADO, 2007). In dialogue with the genealogical perspective (FOUCAULT, 2021), we propose to approach Science Fiction as an apparatus capable of capturing the moving specters of the multiple outlines of the flesh, as well as the doubles shaped by the techniques of the virtual, in order to draw a diagnosis of the driving impulses of these displacements in different regimes.

This research aims to investigate the concepts of avatar and avatarization nowadays, from the digital sphere and pop culture, in the context of Communication and Performance Studies. In this sense, we problematize displacements and recontextualizations of human beings and corporations, in the context of Pop Music, considering the processes of symbolic synthesis involved in the generation of avatars, seeking to understand to what extent these processes are related to performative acts. Initially, we carried out a historical retrospective of the term avatar, which dates back to the Hindu theological narrative, and the social performance that we call avatarization. Then, we began to outline an analytical possibility of communicational phenomena based on what we call the perspective of avatarization, guided by questions that allow us to focus on this process of interdimensional transit, through which a body, named as avatar, is created with the specific purpose of acting in another dimension in relation to the original dimension of its creators. Afterwards, we proceeded to study the performances of the virtual singers Lil Miquela and Hatsune Miku, through the theoretical-methodological tools of dramas and performance scripts, in the wake of the thoughts of Diana Taylor, Thiago Soares, Adriana Amaral and Beatriz Polivanov. Our analyses indicate that the effort of expressive coherence appears as an important resource of the corporate storytelling incorporated by the virtual singers, see the narrative of miscegenation in Lil Miquela, which is based on strategic appropriation processes of Afro-diasporic aesthetics and bodies, and the efforts to foster empathy and promote collaborative creation around Hatsune Miku. The research also highlights the decisive role of infrastructures in pop music and the consolidation of new corporealities defined by digital.

This research has as its central point the authority of the public in journalistic production, understanding this concept as the possibility of interference by society, through the news consumers, in the editorial line of communication vehicles. One of the existing instruments to make this process viable is the press ombudsman, although it lacks sanctioning power against companies or journalists who make mistakes and whose function is commonly questioned due to the supposed lack of independence, autonomy and practical effect in journalistic coverage. This dissertation will seek to assess, based on two categories of indicators, what the reader's ears think about criteria normally associated with notions that guide the quality of journalism, such as objectivity, neutrality, impartiality and balance, in addition to attesting whether their activity really enables the public to have a satisfactory or full impact on news production. For this purpose, Folha de S. Paulo ombudsman reports produced in all Brazilian presidential elections since 1989 are heard, which resulted in the evaluation of more than 160 texts. This trajectory is supported by theories propagated by authors such as Jürgen Habermas, Hans- Georg Gadamer, Ludwig Wittgenstein, Charles Peirce, Herbert J. Gans and Mikhail Bakhtin (philosophy of communication, language, journalistic discourse, normative self-understanding of the media, public authority, public and public opinion), John Soloski, Harvey Molotch& Marilyn Lester, Michael
Schudson, Gaye Tuchmann, Warren Breed, Edward Herman, Miquel Rodrigo Alsina and Stuart Hall (journalism theories, constructivism, objectivity, ideology in media discourse and professionalization of journalism), in addition to paradigmatic authors on ideology (such as Karl Marx and Friedrich Engels, Louis Althusser, MarilenaChauí, John B. Thompson and Terry Eagleton) and on deontology, ethics and the ombudsman institute (such as Daniel Cornu, PedrinhoGuareschi, CaioTúlio Costa and Jairo Faria Mendes). The result, in addition to being very up-to-date, considering that it also focused on the 2022 election between Lula and Bolsonaro, also contains reflections on paths for the ombudsman and media criticism in times of greater access by readers to
other forms of interaction with the media. of communication. 

This study discusses the associations attributed to the terms plus size and fatphobia in the Google database in Brazilian territory. Here, we seek to analyze how the fat body is visible, taking into account searches carried out from the perspectives of consumption and activism. With the methodological support of the Actor-Network Theory, by Bruno Latour, a mapping of the Brazilian scenario of Google searches on the mentioned themes is carried out. Still, the concepts of surveillance (FOUCAULT, 2007) and precariousness (BUTLER, 2018) are used to understand the social dynamics in which the fat body is inserted. There are also discussions about the impossibility of platform neutrality (BENJAMIN, 2019) and the contribution of users to their dynamics (VAIDHYANATHAN, 2011).

Considered a hybridism between Brega from Recife, Carioca Funk, and Technobrega from Pará, the Recife Brega Funk music genre has been experiencing growth in news, digital platforms, and virtual social networks, as well as being incorporated into political and educational campaigns. Understanding journalism as a form of non-formal knowledge and as a contributor to help men and women understand the world they live in, we aim to
reflect, with this research, how journalism frames Brega Funk in its news and reports: whether it shows its reach on the national scene, as well as its reappropriations, such as the choice of the rhythm for educational campaigns against harassment, for example. If it does so, but continues to reinforce the criminalization of its manifestation in the peripheries, associating the music genre with disputes involving drug trafficking and fights between organized football team supporters in the city. Thus, the problem-question that guides our research is: How is Recife Brega Funk being constructed by Recife journalism? Based on the question, we defined our general objective, which is to understand the framing given to Brega Funk by Recife journalism. To answer the question, we delve into Journalism Theories, introducing the discussion of journalism as a form of knowledge, analyzing news values and media framing, taking into account its contribution in the construction of reality; as well as in research on the Brega musical genre and its strands. We used bibliographic and documentary research and content analysis methods (quantitative and qualitative). To collect the data, we used the digital sites of three Pernambuco journalistic vehicles: Jornal do Commercio, Folha de Pernambuco, and Diario de Pernambuco, from 2004 to 2019 – from the break of the Funk scene in Recife and the marginalization of the MC; meetings to the insertion of Brega Funk in institutional campaigns; listing the phases of Brega Funk in Recife media. After collection, we selected only the content that mentions Brega Funk (among reports, notes, and news), in order to answer the questions that guide this research. From the content analysis of the collected data, framings such as "cultural movement" and "resistance" were found, highlighting the potential of Brega Funk as a legitimate and authentic cultural expression. However, at the same time, negative framings were identified that associate the musical genre with an unsafe place,  stigmatized;, unstable, tacky, and sexist. These framings reinforce stereotypes and prejudices regarding Brega Funk and limit its appreciation and recognition as an important cultural manifestation in the music scene of Pernambuco. Thus, the research concludes that, despite the growth of Brega Funk in Recife, local journalism still reproduces stigmas and prejudices regarding the musical genre, while also highlighting its virtues and resistance as a cultural movement. 

From Marker to Kramer, from Cavalier to Akerman, from Kiarostami to Kawase, many filmmakers made filmed letters, film letters and video letters. Unlike a documentary film or a written letter, epistolary cinema is made up of hybrid, heterogeneous and even “minor” forms of cinematography. In this sensitive sharing between filmmaker and spectator, between sender and recipient, films are found woven by memory and intimacy and whose horizon
is the search for the other. By the exchange of videos that made the members of the Waiãpi ethnicity know the members of the Zo'é ethnicity, by the cinematic postcards that crossed the Atlantic in the beginning of the 20th century due to nostalgia suffered by Galician immigrants in America and the poetic correspondence created by the video experimentation of filmmakers Shûji Terayama and Shuntarô Tanikawa, this master's dissertation studies the history of filmic correspondences in visual culture relating their examples in order to understand the survival of their phenomena of origin and their aesthetic experience, in order to question how subjects that constitute themselves by images provoke the encounter with the other who feels called to correspond by images.

Este trabalho propõe uma investigação sobre as intenções estéticas do
Coletivo Som em Pernambuco e como elaboram as sonoridades das
filmografias em que atuam. As análises partem dos rascunhos do fazer criativo - entrevistas, documentos e arquivos/projetos de software de edição - através da crítica de processos, proposta por Cecília Almeida Salles (2008), e destacando os padrões de intenções desses artistas através da crítica interferencial de Baxandall (2006). As relações criativas e metodológicas que surgem no decorrer da realização fílmica, as condições orçamentárias das produções e a forma que esses artistas lidam com as adversidades na elaboração dos projetos, são percebidos como fatores de grande relevância nas obras finalizadas. As análises a partir dessas condições são sustentadas pelo paradigma do problema/solução de Bordwell (2008). Além dos percursos da crítica genética, apresento o estreitamento entre a criação das sonoridades e a análise fílmica, a partir das sequências/cenas citadas pelos artistas. 

A low-researched in film and academia nowadays, the Split Field Diopter technique points out multiple possibilities for creating simultaneous narratives from the fusion of opposite poles of the screen in an illusory perception of a high depth of field. The present work aims to research, identify and analyse the application of the Split Field Diopter as a tensivity generator instrument (ZILBERBERG, 2011) from a clipping included in the genre Thriller of Suspense (DERRY, 1988) from the filmography of filmmaker Brian De Palma in the 1980s. For this, it is necessary to go through a bibliographical trajectory that crosses the historical and technological passage of the apparatus until the 1980s and the reverberations of the hitchcockian aesthetic in De Palma’s Suspense Thriller
genre. Recognising Brian De Palma’s stylistic and aesthetic contribution to the use of the apparatus, the dissertation launches an investigation into the tensive use of the Split Field Diopter in the film Dressed to Kill (1980), which allegorises the intensified use of the technique in the framing historical, based on a precise
film analysis crossed by a semiotic research model identified by authors such as Pietroforte (2021) in the plastic and narrative scope. This approach is expected to serve as a reference for those interested in the subject discussed and be useful in compiling books and articles on the subject.

O reconhecimento do eu, inserido no mundo, expande historicamente a forma das relações humanas; o campo da experiência estética do eu – essa primeira pessoa do singular – não se dá por si só; é a sua contextualização – em um mundo possível – que lhe confere a ideia de um real. Na contemporaneidade emerge um desejo de expressão subjetiva, que se manifesta na circulação dos discursos em primeira pessoa presentes em diferentes plataformas, dentre elas o cinema e os aplicativos dos celulares. Esta profícua produção imagética, dinamizada pelas novas tecnologias, permitiu que o sujeito – cercado por novos estímulos sensoriais e alicerçado em sua própria dinâmica de pensamento – pudesse trocar com o outro as suas impressões em um mundo globalizado; narrando, assim, a sua própria história através de imagens atravessadas por novas ferramentas. A presente pesquisa tem por finalidade compreender este fenômeno e se sua configuração passa por uma transição, uma incorporação ou uma transformação quando analisada as micronarrativas presentes nas redes sociais. Esta dimensão do vivido – através das imagens contemporâneas que se deslocam das salas escuras do cinema para uma virtualidade – diz muito sobre a ocupação de um sujeito veloz no centro da experiência moderna. A partir de uma revisão bibliográfica e análise fílmica, será realizado um estudo de casos múltiplos (YIN, 2005) para investigar o fenômeno através de duas categorias de análise: CATEGORIA A e CATEGORIA B. Os filmes As Praias de Agnès (Les Plages d'Agnès, Agnès Varda, França, 2008), A Month of Single Frames (Lynne Sachs, EUA, 2019), News from home (Chantal Akerman, França/Bélgica, 1976), Sink or Swin (Su Friedrich, EUA, 1990) e A Entrevista (Helena Solberg, Brasil, 1966), pertencem à CATEGORIA A. Enquanto que os perfis das realizadoras audiovisuais presentes no Instagram, a saber, @laiseque & @ilhadelaise, @dandarademorais & @diariosdeborder, @almanova8, @eu_sou_yane, @tretasan & @rebu.doc, @costadarenna, e @aurorajamelo, pertencem à CATEGORIA B. Através da revisão bibliográfica, análise fílmica e do material publicado no Instagram – apoiada por uma entrevista semiestruturada (BARDIN, 2016) com as realizadoras – pretendo elucidar como se dão as relações entre os filmes em primeira pessoa e as micronarrativas audiovisuais contemporâneas. 

ABSTRACT

There is something unsettling about certain images of rituals. The naked bodies, the circular movements, and the moment of ecstasy capable of disconnecting the individual from their own body. In these images, this passage of going beyond oneself becomes visible. Whether in an American film from 2015, a Spanish painting from the 18th century, or a Dutch triptych from the 16th century, there is a power that survives time and manifests itself: the survival of an imaginary or a symbolism that has long been commonly associated with Bacchanalia, ancient secret rites of worship to the god Bacchus. This work aims to study the relationship of these images with the aesthetics of the Dionysian. Drawing from authors such as Mircea Eliade, Paul Ricoeur, and Georges Bataille, I investigate a symbolic connection between audiovisual works such as "The Witch" (2015), "Climax" (2018), and "The Devils" (1971), with a contemporary Dionysian, a symbolic compilation that points to the meaning of the Dionysian. How and why has it survived in Western visual culture, and what does that tell us about our way of dealing with the sacred in the contemporary world?

Discussions about gender and sexuality in contemporary Brazilian cinema have been expanded through queer perspectives. This study follows this trend by observing the presence of aesthetic manifestations of artifice in Brazilian films from the 2010s, such as the use of colors and neon lights. To understand these connections, in the first chapter, the study begins by addressing queer theory and its political propositions, examining the aesthetic roots of the underground American cinema movement that currently influences. Next, the project indicates the paths of queer cinema and its aesthetics, while also providing a brief overview of the history of Brazilian queer cinema to understand the growing aesthetics of artifice. In the second chapter, the research delves into cinematic language, observing light and color as elements related to morality, sensoriality, and queer spectatorship. Aesthetic examples are presented, as well as the history of neon lights, to comprehend the differentiation and identification of queer subjects in relation to their use. Finally, in the third chapter, to illustrate and substantiate this phenomenon,
the general use of neon in cinema is briefly indicated, followed by the creation of a film constellation (SOUTO, 2019) called "Brazilian Neon Queer from 2010 onwards", composed of 10 films that are analyzed comparatively.

The present work investigates the female monstrosity represented within cinematographic works of the Horror genre directed by women. Through the analysis of several films directed by women, it is intended to understand which new potentialities arise from the figure of the monstrous feminine from the moment when female directors
and screenwriters begin to create their own narratives and to participate in cinema as active creators, and they also become creatures as they place their own monstrosity, female monstrosity, as an object of exploitation. Through self-representation - female filmmakers portraying monstrous women - the monstrous figures escape the gaze of the 'other' and create an unusual filmic product, bringing with it new aesthetic and narrative
possibilities and potential. The research asks the following question: “What can a monstrous body do?” The thesis proposes the hypothesis that this monstrous body has the potential to be a possibility of political existence outside the shadows of patriarchy and heteronormativity. The research's theoretical apparatus highlights the work of authors such as Paul B. Preciado, Julia Kristeva, Judith Butler, Gilbert Durand and Silvia Federici, among other theorists who are dedicated to researching aesthetic experience, monstrosity and gender studies.

Cancel culture got stronger during the early years of the third decade of the 21st century, specially on social media, like Twitter and Instagram. This academic research aims to investigate the phenomenon and its relation to a
community of life and of sense, from the proposed concepts by Berger and Luckmann (2004). There is also a demonstration based on Recuero (2009) studies about social media on internet and Bourdieu’s (1986,1998,2004)
capital theory. Domingues and Miranda (2018) allows to establishing a parallel between cancel culture and consumption of activism and identify factores that potentiates and set this culture as a possibly decisive fator of
participation and rupture in communities of sense. With qualitative approach, it’s possible understand which are the function of discourse as a element of training of rules of meaning inside of these communities. The corpus search
used three cases of cancellation with wide repercussion on the web, from with was possible to analyze how the discursive disputes prevailing in the cancel culture could set disruption on the communities of sense.

The funk genre in Brazil has the first steps of its construction marked in Rio de Janeiro, but is currently reconfigured globally. In Belo Horizonte, expressions of this genre, which began in the 1980s, have developed particular electronic aesthetics and sounds since the mid-2010s, claiming a local uniqueness, which finds symbolism in the catchphrase: “BH é quem? BH é nóis” (BH is who? BH is us). I use this catchphrase, widely disseminated by funk production but also drained by various communication expressions in different contexts of the city, as a trigger to go through performative layers that emerge through sound and speak of the articulation between music-territory- body. Along with the notions of performance/oralitura (MARTINS, 2021), connected listening (JANOTTI JR, 2023) and networked audiovisual (GUTMANN, 2021), I analyze sonic singularities of Belo Horizonte’ funk, among the rearrangements of the musical genre in contexts outside the Rio-São Paulo axis, and walk through its media statements, understanding the dynamics of hegemony and counter-hegemony that are staged in different spirals in musical categorizations. I bring elaborations about electronic musical practices such as “montagens” as phonographies (JAMES, 2019) and afrodiasporic sound knowledges that enable the emergence of other worldviews, which take embodied knowledge as an inescapable constituent of musical production and listening. I seek, therefore, also to point to other collectivities in the musical imaginary of the capital of Minas Gerais, which are crossed by intersectional markers.

In this dissertation, we question, as a research problem, how radical alternative media construct media products based on images of police violence. We seek to identify and understand the different ways in which social movements, vehicles and agents of activist and alternative communication use blatant images of abuses committed by security agents in the composition of their materials. We start from the hypothesis that many of these initiatives are structured according to the professional and textual precepts of journalism, resulting in defense journalism. This phenomenon would be based on the circulation of Defense Images – flagrant images and representations of brutality that seek to put an end to the truculence and lethality that characterize the treatment of marginalized populations. Framing Theory serves as a basis to understand both the instrumentalization of images as tools of domination and the processes of de-framing promoted as a response to violence (Butler, 2018; Sontag, 2003). In attempts to resist dehumanization, communication is sometimes configured as a self-defense tactic for peoples (Dorlin, 2020), placing these informational efforts in the category of Radical Alternative Media due to their contexts and purposes (Downing, 2004). In today's computerized world, the dynamics between actors on digital networks fuel online commotion and revolt through images and reports of police violence, leading to protests in the streets, influencing political and legal actions, elucidating cases and guiding traditional press vehicles (Mattos, 2017). Such complaints, reactions and debates write a new chapter of racial uprisings against police violence (Hinton, 2021). To analyze our object, we selected, through a process of autonetnography (Amaral, 2009), a corpus composed of Brazilian radical alternative media projects made available online between 2020 and 2022. With the help of Content Analysis instruments (Bardin, 2002) and the “critical reading of audiovisual narratives”, developed by Becker (2012), we were able to point out how defense journalism initiatives, combat campaigns, artivism and independent opinionated media, through the diverse use of flagrant and representations of police violence, seek to promote the security of the population and the preservation of the rights and dignity of victims. We conclude this investigation by recognizing the important role that these images play in today's struggles for protection and accountability, but pointing out the need for discussion about the revictimization that their indiscriminate use can promote.

The research presented here seeks to open new perspectives for studies on silences and silencing in critical environmental zones. With regard to the theoretical framework, we depart from the Culture of Silence postulated by Paulo Freire (1976, 1983), incorporating the concept and studies of Eni Orlandi (1990, 1995) on the forms of silence in linguistics. We used a variety of methods to analyze the disarticulation of narratives related to the diseases that affect family farmers and workers on large farms that use pesticides. Far from the centers where the main Brazilian media companies are organized and most of the digital influencers live, the environmental and human health problems of communities in the São Francisco Valley make up the case study of this study. In order to map these controversies, we interviewed dozens of professionals from different fields related to pesticides and health problems caused by human exposure to this type of substance, especially in the cities of Juazeiro, Bahia, and Petrolina, Pernambuco. In this context, we seek to develop a new methodology for studies on silences and silencings through content analysis, historical study and interviews with residents of the region, from the perspective that the culture of a population influences the way silencings develop and is part of fundamental interest in the studies of the subject.

This thesis maps an specific use of imagens and sounds in educational environments aiming to develop social, affectional and relational skills in teaching and learning situations from 3 emblems of action: the skin’s intelligence, the production of time and space experiences and the shared mind field, categories assembled by enlightening games created in the context of “Projeto Escola Engenho” with references present in the alchemic
(CARVALHO, 1995; ROOB, 2001) and mystic literature (JODOROWSKY, 2009), and in the Amerindian cosmovision (VIVEIROS DE CASTRO, 2013) (KOPENAWA; ALBERT, 2015). This space for experimentation of cinema and education was produced for children and teenagers in the suburbs of Recife from 2011 to 2016. The thesis analyzes the hypothesis of cinema acting to stimulate a relation of experience with imagens and sounds differentiated from the representation and consumption relation in a Videological Society (Bucci and Khel). The work analyzes the hypothesis that cinema induces a relationship of experience with images and sounds, differentiating itself from the relationship of representation and consumption stimulated by  contemporary video societies (BUCCI; KHEL, 2004). I characterize a repositioning of the aesthetic dimension of education, and the possibility of emancipation through an affective policy of images by the presence of notions of transmutation of matter, reversibility and multi-perspective narratives in such practices, understanding that this way of being together/ but can act to act to de-naturalize the relationship between cinematographic language and the production of subjectivities underway in the 21st century.

This thesis discusses the construction of visual journalism in the narratives of great reports produced in Brazil, showing characteristics of the journalistic visual culture in the trajectory of its production. The theoretical basis seeks to establish how the visual resources work together in the great report as narrative elements, articulating words, images and design. The research revisits the history of expressive journalistic productions, presenting an illustrated historiography of the great report with Brazilian and foreign examples, among them, the magazines O Cruzeiro, Diretrizes e Realidade; and Jornal do Brasil and Jornal da Tarde. The thesis also discusses the valorization of this area in Brazil, presenting graphic transformations that reached the press during the transition to digital means of production. A methodological matrix was elaborated to put on the path of the visual journalism of the great report and its contemporary production. The analysis established plans, divided into structural, functional and expressive elements, based on the pragmatic analysis model of the narrative. From them, the main parameters were identified: visual narrative, editing, design and visibility. Fifteen professionals from visual production teams were also interviewed. The methodology created by Lluís Codina (2004) was adapted to systematically organize the look on the reports, creating indicators and observation phases. The thesis presents a dense analysis of four great contemporary reports from the newspapers O Povo (CE), Jornal do Commercio (PE), Estado de Minas (MG) and O Estado de S. Paulo (SP), in addition to citing other examples. The research revealed a period of rupture in visual journalism with changes in functions and the enhancement of new visual experiences for screen readers and the need to train visual journalists.

This thesis researches the claims of place made by audiovisual fiction. This is done in order to understand the formulations of the scenic space in the audiovisual, its sense and its sensibility. In its introduction, the thesis begins by indicating the sensibilities that motivated the research, locating the author as an involved spectator, interested in building a flow of audiovisuality from generic audiovisual works that present spaces using creative and technological artifices. The chapter “The articulations and unfoldings of space in audiovisual fiction:  andscapes in multiverse and the fictions of place” proposes a methodology of the multiverse as a way of organizing the audiovisual appearances of fictional spaces for analysis. The chapter also defends an intermedial
approach such an analysis. This is done both with the purpose of opening the investigation beyond the specificity of cinema (hence the preference for the term “audiovisual”) and of acknowledging creative and performative gestures that are associated with other forms of art and media. In the same chapter, the thesis defines the theoretical concepts of space, place and landscape, but defends the presentation of space
in audiovisuality as fulfilling – simultaneously and often indistinctly – the senses implied by all these concepts. The thesis is, therefore, more interested in the presentation of space, place and landscape through the staging and the framing of audiovisual fiction, which serves to perceive an instability in the identification of the scenic space. Such an instability demands a revision of the expectations for indexicality in filmic spaces. The  problematic nature of indexicality when related to filmic spaces is discussed throughout the thesis. After establishing these theoretical, conceptual and methodological foundations, the thesis continues with three chapters that organize, each one of them, a specific multiverse from consolidated genres of audiovisual fiction for analysis. The chapter “The stage in the musical” investigates the insertion of new fictional spaces within the already fictional audiovisual representation of the stage in the musical genre. The chapter “Melodrama, interiors in crisis” the genre of melodrama is approached as a global phenomenon that mobilizes different relationships between interiority and exteriority, which relates to excessive gestures and rigorous formal interventions in the scenic space. Finally, the chapter “The outline of unknown spaces” investigates the western desert, animated film and television and the extraterrestrial space of science fiction as spaces beyond the frontier. Those spaces, as they are perceived, radically problematize the distinctions placed between space, place and landscape in the audiovisual.

The new communication dynamics that have arisen since the popularization of the internet and digital devices and the emergence of digital social networks have led society to new stages of social relations. The new social paradigm leads both to substantial gains and to relevant problems, among which is the increase in crises of meaning due to the plurality of sources and the attack on some institutions responsible for the organization of meaning, as is the case of journalism. Faced with a credibility crisis, journalistic organizations are looking for ways to reaffirm themselves as a sustainable professional practice and as holders of symbolic power to construct reality. It is in this scenario that transmedia productions are presented as possibilities for these media organizations to reconnect with their audience by adopting a type of product based on user participation and the dissemination of content across different media. This thesis proposes to understand the potentialities and characteristics of the audience that not only passively consumes, but that interacts with transmedia journalistic products and, thus, understand how this audience co-produces meaning and participates in the construction of the social reality exercised by journalism. To this end, within a qualitative and exploratory bias, data collected from a month of observation of the transmedia products Fantástico, from Rede Globo, and Resumido, an independent podcast produced by a small team led by journalist Bruno Natal, were analyzed. This data was complemented by semi-structured interviews with the former Fantástico digital coordinator, Giovanni Sanfilippo, and with Bruno Natal himself. The analyzes followed a path that merged a deductive
method inspired by content analysis - which allowed the flow from theory to the object, with the elaboration of previous categories - with the inductive method, based on the Grounded Theory, from which it developed the flow from the object to the theory, with categories being created after contact with the studied products. The study presents the proposal for the concept of the expanded audience, which is a broad definition of the audience that has both expanded technical possibilities and expands its own ontology. The concept confirms some characteristics and possibilities foreseen in the theories visited, proposes some alterations in others and also proposes new authorial points.

Digital regimes transformed society in countless fields, in cinema it was no different. The present research recognizes that the cinematography in the digital age, to a large extent, aims to transpose to the new format all the potential and capabilities of the consolidated production regime that prevailed during a century of cinema. Many of the classic cinema procedures, production regimes, elements of style, are almost entirely preserved. This change of platform, from cellulose acetate to the digital sensor, is certainly not the object of interest of the present research. It is not the study of the maintenance of classical statutes or of media emulation solutions that
interests us. The question that justifies the present research is exactly the opposite: what phenomena, technological and stylistic, make digital cinematography unique? What parameters mark the ruptures, intensifications, and transformations of the cinematography in hypermodernity? How have the social, cultural, and technological phenomena of our time transformed the way of producing images, graphic and photographic? Based on theoretical pillars such as hypermodernity, intensified continuity, and media reallocation, we seek to investigate the contemporary condition of cinematography, which is increasingly moving away from its vocation of encapsulating the natural universe to constitute itself in the art of generating synthetic images.

This thesis analyzes the role played by portals as informational filters and mediators of public debate. To do so, it establishes a discussion about the evolution of the web within a sociotechnical context divided into two predominant phases: web 1.0 and web 2.0. With the growing horizontalization of communications symbolized by the potential of mass selfcommunication, we seek to deepen the knowledge about the place occupied by portals in the digital ecosystem. With an increasingly fragmented Public Sphere and journalistic authority based on the outmoded positivist notion of objectivity in question, deepening the understanding of how information flows work in the digital environment and the foundations on which journalism should be the mediator of public debate becomes fundamental. Thus, the present work has an empirical-theoretical case study of the 2018’s presidential elections in Brazil to understand the role played by the homepages as filters and to analyze the diversity of contents and frameworks offered by the coverage of the portals O Globo.com and UOL. In a scenario that poses an excess of information and a growing discussion about the bubbles generated by algorithms, the mediation carried out by journalism can present answers to a better democratic exercise.

By understanding pop music as a space strongly identified with youth, this research seeks to analyze how the permanence of old singers in activity produces discomfort in the sphere of media culture. To this end, the thesis contextualizes the hostile aging scenario in the pop dance genre, showing how advancing age impacts the longevity of the careers of women whose work has been predominantly tied to the athletic, sexualized, and youthful body. It is postulated that surveillance and control of the body synthesize the articulation of Foucauldian biopower logics and the "reprivatization of old age" (DEBERT, 2020) within gender frameworks. We adopt a critique of the idea of positive aging, which is widespread in the media under the guise of self-care and self-help, opening the debate on the epistemic power of old age as an intersectional aspect. Two theoretical contributions are central to the settlement of this argument: the notion of discomfort in the field of music (TROTTA, 2016), developed from the writings about compulsory musical experiences, in displacement to body studies, mapping social discomforts that operate codes of conduct, ethical and aesthetic standards tensioned by the inescapable contact with the presence of the "Other"; and the notion of "moral of smooth skin" (SIBILIA, 2011), to think the rejection of the old body in media instances in the key of obscenity, of the morally inadequate that needs to be disguised by the numerous digital resources available. As a result, this research offers an overview of the modulations that different cultures operate on the nuances of longevity and ageism in the American and Brazilian contexts, pointing to turbulent negotiation zones in which women pop music artists need to act in order to continue occupying media spaces. Two empirical operations are undertaken: in the first one, two American pop music stars (Madonna and Cher) are put in perspective in order to verify, in their live performances, the imperatives of the post-disciplinary body and the crises that emerge from their choice to continue active in the entertainment industry; in the second one, it examines how the Brazilian culture modulates the old age of an important pop singer (Gretchen) in the gears of humor and the “memetization” process as a possibility to remain in the music market spread through the digital social networks. It is concluded that female aging establishes a series of framing problems for pop singers by imposing the need for negotiation and image management, focusing on processes that reveal both the violence of exposure and bullying to the old body, and the capitalization and negotiation of jocosity as a strategy of personal and artistic repositioning (rebranding). We are betting on the premise that the structural violence of ageism can be tensioned, negotiated, and even reversed to the benefit of those who dare not to stop. 

Hacer un inventario de las (r)existencias audiovisuales lésbicas en América Latina y rozar las narrativas visuales con memorias y posibilidades de futuro. A las lesbianas latinoamericanas les gusta la corriente. Construir mapas emocionales, afectivos, sexuales, de historias que fluyen y crean ondas de recuerdos, imaginaciones, imágenes
y vivencias de un deseo por otro espacio experiencialmente lésbico. Disputan flujos de imaginarios y  figuraciones de nuestros cuerpos territoriales en el cine. Tomando como punto de partida de este recorrido películas de este inventario lésbico en las que la presencia del agua emerge como metáfora fundamental del deseo de (r)existencia, una perspectiva situada de las lesbianidades y el abolengo en América Latina. Con las
poéticas y narrativas de las cineastas, vislumbraremos imágenes que enredan diálogos sobre experiencias lésbicas, sobre la creación de imaginarios y afectaciones, cómo estas producciones nos tocan, nos conmueven, cosen en el pecho significados simbólicos y posibilidades de vernos y ser visto. Seguimos con el fluir del agua, lechos de imágenes que nos disputan nuestro lugar en el mundo y en el cine, desde el sur global.

This research investigates a series of cultural and artistic objects that reveal the symbol of the end of the world from expressive and grandiose destructions. The meanings of the end of the world arise from the relationship of several cases that circulate in different media, therefore, the research proposes to study such recurrences in order to understand this end of the world as a cultural and historical phenomenon that goes beyond specific objects. The investigation has as its method the hermeneutic phenomenology through the dialogue with the work of Martin Heidegger, Hans Gadamer, Peter Sloterdijk and Paul Ricoeur. The phenomenological and hermeneutic method starts with reflections on the World, passing through the historical role in the construction of the hermeneutic circle of interpreting the end of the world as a historical symbol, closing with Paul Ricoeur's long hermeneutical route in dialogues with theorists of imagination and media as a onto-epistemological reflection, then, to propose a series of analyzes on the phenomenon of the end of the world as a cultural, media and imaginative reverberation.

The present work aims to develop the relationship between thought and essay film through a theoretical review of the essayistic theme in cinema and connections with authors in the field of Education. The goal is to outline a pedagogy of vision and a thought through images based on the practice of visualizing and creating essayistic films (whether documentary, autobiographical documentary, or in first-person inscription). The editing gestures of these films (interrupting and repeating) reinforce the uniqueness of cinema's way of thinking. On the other hand, we seek to understand the special place the viewer assumes in front of essay films, attempting to analogically consider the viewer's status and the role of the "learner" in the context of film education (or Cine-pedagogy). We present an account of a course experience (Curriculum, Cinema, and Education) taught by myself and professors Thiago Antunes and Thereza Didier for the Pedagogy program at the Education Center of UFPE. The course aimed to stimulate the appropriation of a repertoire of essayistic films, as well as instruments, techniques, and strategies for working with image and sound archives. Hence, the importance of contemplating the idea of an "archive" in the context of the chaotic availability and circulation of images on the Internet, as well as the significance of filmmaking as a gesture creating havens of memory and attention for this material. Ultimately, in the concluding chapter, we discuss the problem of generating doubt through the gratuitous and irresponsible use of editing tools and the role of cinema, especially the essay film, in considering doubt from another perspective: not one that implies disbelief in the world and indifference but one that positions us to take responsibility for facing its problems, violence, and inequalities.

In the present work we seek to reflect about  the use of basic elements of Brazilian neo-Pentecostal culture, especially the precepts spread by the Igreja Universal do Reino de Deus (IURD), for that we take as a guiding point the testimony present in the gospel media product "Os ten commandments - The Movie” (2016). So, we propose a study that contemplates the neopentecostals dynamics and their symbolic productions as a cultural manifestation rich in meanings and stimuli, capable of articulating the reality of the faithful and the biblical text in favor of their contemporary symbolic readings. With this, we seek to understand how the IURD represents yours imaginary in filmic audiovisual entertainment, employing in this reflective exercise its notions of the Theology of Prosperity and Spiritual Warfare. For this, we was built the  theoretical framework focuses on three major areas of the human sciences: religion, communication and Discourse Analysis (DA). For the composition of the research corpus and method of analysis, the objective was to understand the messages contained in the film "Os ten commandments - O filme", opting to carry out an analysis in the light of discursive memory, as postulated by Pêcheux, using by clipping the notions of Spiritual Warfare and Theology of Prosperity present in the testimony of the character Josué.

Brazilian funk is understood as a genre of black music shared with white artists and fans. Despite funk's entry into the mainstream since the 1990s, funk singer stigma and the criminalization of the musical genre remain and are linked to an intersection of issues: geographic, class, race and gender. As funk is a vector of social, political and aesthetic tensions, I investigate whiteness in performances by white funk artists or who are linked to it at a certain point in their careers, identifying possible disputes and displacements of the musical genre in the ecosystem of connected media. I observe the body as a place of transmission of knowledge from artists such as Anitta, Kevinho, and Adriana Calcanhotto. I understand whiteness as a place of power, an ethnic-racial identity attributed to white people and an analytical device that makes white subjectivity emerge in apparently non-racialized contexts. Resulting in stagings of distance from the funkeiro stigma, observed through Kevinho; of moralizing the ass in funk, in a video by Adriana Calcanhotto; of racial transits and between musical genres when mobilized by the idea of miscegenation triggered by Anitta.

In this research, we analyze the narrative approach adopted by independent journalism in Pernambuco when reporting the new coronavirus pandemic, which became the main topic of journalistic news around the world in the 2020/2021 biennium. The survey focuses specifically on the Marco Zero Content portal, the main independent media vehicle of the state, seeking to unveil the frameworks adopted by the collective, which is willing to prioritize agendas of interest from the peripheries, socially excluded groups, social and community movements. Based on the methodology of pragmatic analysis of journalistic narrative proposed by Luiz Gonzaga Motta, we seek to identify the existence of an intersubjective relationship between the narrators and the audience they are addressing, verifying their intentions and strategies used to obtain the receivers'
validation. Although it uses rhetorical resources similar to those adopted by
traditional media, Marco Zero is based on the constructivist paradigm, detaching itself from the shields of objectivity and impartiality under which traditional journalism seeks to protect itself in order to exempt from involvement with the reported facts. The time frame of this research encompasses the first six months of the pandemic in Pernambuco, between March and September 2020, a period configured as the most critical of the "first wave", whose impacts gained more weight due to the novelty of the disease, generating news mismatched and without scientific basis, in addition to a lot of misinformation. Within the rules proposed by Motta, we analyzed several reports published by the collective that may denote the concern to contribute to the understanding of an unexpected health crisis, as well as the measures adopted – or neglected – by public managers, scientists and other institutions responsible for preventing and combating the disease, offering information gathered from official and alternative sectors, both in the field of science and in communities and political backstage. Our research adopted theoretical frameworks proposed by authors who work with journalistic narrative, new technological media, the social construction of reality, democracy and the public sphere, such as Motta (2006; 2013; 2017), Castells (2000; 2008; 2013), Schudson (1988; 2010), Traquina (2016) and Habermas (1997; 2002; 2010). We seek in their theses and ideas important support to verify whether the web journalism practiced by Marco Zero, as an alternative and independent media, has, in fact, the potential to contribute to the democratization of information and social inclusion in Pernambuco.

Pop culture is built by various clichés that cross us daily, and South Korean pop music is no different. K-pop, as a project of modernity and dissemination of a certain idea of Koreanity, spreads around the world, triggering clichés and modifying very well-defined racial and gender horizons. We found in the K-pop cover dance a fruitful terrain to observe the incorporations of the Korean Wave values, because as Diana Taylor (2013) points out, with the notions of archive and repertoire, the body is also an instance of transmission of knowledge that is updated with each performance, and when we set our sights on the covers of K-pop in Recife, we find fans marked by what Butler (2019) recognizes as precariousness, bodies subject to different situations of social marginalization and prejudice, which finds in their condition of shared precariousness a link of solidarity, allowing the sum and crossing of these struggles, claiming for themselves the public space. The research is developed based on a recognition of the standards of body, identity, race and sexuality crystallized in the South Korean pop through the observation of established examples in the market, such as the group Girls ’Generation. The perception of capillarity is continued when we analyze dance covers that use the tag "KPOP IN PUBLIC" on the social video sharing network YouTube, where we find assimilations of an aesthetic of cuteness, the aegyo, which starts to operate under the key of the “seal”, of exaggeration, as it is incorporated by black and Latino gay men. The process narrows when I follow the Black Unicorn group, which materializes the various marks of precariousness pointed out by Butler (2019) and brings out the notion of solidarity outlined by the author when this group of young precarious lives gather to dance and update as choreographies of the K-pop with their devious bodies.

The crossings between fiction and real are increasingly subtle and less demarcated when we thought in the images production for social media. The large production of oneself through the images shared in digital platforms stars from an indiscernibility, between real and fiction, constitutive of the contemporary subject. In the contemporary cinema, we may be think about this condition in the approach to the visual arts. The research makes a cut and selected three Brazilian and contemporary documentaries that present an intense relationship between performance and theatricality, resulting an investment of the body, at the same time that the image denounces it as manipulation. Based on the writings of Josette Féral (2015) about performance and theatrically, the essay seeks to analyze the performative dimension that gives the image an experience of the lived and the theatrically that denounces the ordering of the scene. The research corpus consists of the documentaries: Era o Hotel Cambridge (2016) by Eliane Caffé; Swinguerra (2019) by Bárbara Wagner and Benjamin de Burca; and AGORA (2020) by Andréa Ferraz. In addition to this formal approach, there is also a political context in which such films are inserted. All of them, in their own way, address the unfolding of neoliberal political in a micro-political context, how they affect the subject’s relationship with the other and in the contact with himself. The gestures is decisive for thinking about the dimension of this political, as it creates tension in the peaceful relationship between the real and the fiction in the image. In view of this, the notion of gesture will be thought from a perspective of non- normalization of our body movements, fruits of social constitution mediated by control devices. “In cinema, a society that has lost it gestures, seeks to reappropriate what it has lost and, at the same time, registers its loss.” (AGAMBEN, 2015, p. 54)

Brazilian forró has a historical trajectory of stylistics and sonorous transitions that are affected, greatly, by an idea of nordestinity. This work seeks to investigate how this nordestinity is articulated, contemporarily, in electronic forró, in times when the consumption of music in the internet favors intense exchanges and displacements of music genres. To address this issue, we take as object three music videos of Mano Walter’s career, one of the exponents of greater commercial success in electronic forró. Through three vectors, vaquejada, ostentation and masculinity, we believe that the artist performs in his artistic signature an idea of nordestinity which reconfigures, and also reiterates, the ideas that permeate the very foundation of Brazilian’s Northeast as a region, inserting forró in a vast socio-technical network of pop peripheral music.

The huge success of streaming platforms in terms of audience and profit, especially Netflix, has changed the entire entertainment business and continues to transform the industry, putting the traditional television to the test. In Brazil, Globo Network is the channel that has fastest and aggressive commer ial strategy to maintain its prestige and achieve a new type of audience. This research focus on Globoplay, an on-demand service launched by Globo in 2015, which has received substantial investments to create many dynamics in partnership with broadcast TV (and later with cable channels). The main goal of this work is to understand how the strategies applied by Globo are consolidating its streaming platform and their relationship with the traditional broadcast TV. A categorization system was created to perceive how the largest media group in the country is trying to maintain its power while international companies grow in the Brazilian market. In this document it is proposed a systematization of each stage in the boosting process for Globoplay, divided by historical phases, in addition to understanding how these strategies connect broadcast television to Video On Demand (VOD). The research explores the hegemonic history of Globo Network understanding television as a cultural form beyond technology, as endorsed by Raymond Williams, and how this phenomenon influenced the implementation and consolidation of Globoplay in a new reality where the company now presents itself as a mediatech group.

This research results from the interest in the intersections between immersive journalism with 360-degree videos in Brazil and news values, one of the essential concepts of journalistic practice. The investigation seeks to understand what makes certain events suitable for informative presentation through innovative formats produced with omnidirectional cameras. With the main objective of identifying the criteria present in immersive productions, the dissertation covers ways of seeing and innovations over the last centuries, the emergence of the concept of immersive journalism (DE LA PEÑA et al., 2010) – as well as the ascended academic divergences since then –, the first spherical experiences and definitions that form the pillars of the journalistic field. We chose the newsworthiness factors listed by Traquina (2008) for the investigation of the contents “CCXP em 360º - viaje por dentro da Comic Con 2018”, by UOL, “Baía episódio 1: saneamento nada básico”, by Agência Pública, and “Estadão 360: torcida comemora vitória da seleção na Fan Fest em Moscou”, by Estadão. Along the methodological path of a qualitative- quantitative approach, carried out through devices such as statistical tools and an analysis sheet, it became possible to conclude that techniques and forms can change, especially after the growth of equipment capable of filming in all directions, but journalists continue to attribute editorial decisions to traditional newsworthiness criteria.

Since the first decades of the 2000s, self help is getting more visibility in the media, due its exponential growth. Consequently, the genre has extrapolated the literature and fragmented itself in the ambience of the social media websites. In this context, coaches gained more visibility due the polemics, like the lack of regulations of their activities, the illegal psychology practice and the spectacularization of the inspirational discourse in digital social media. After the spread of the new coronavirus, we opted to direct the research by taking into consideration the self help discourse in this crisis scenario. Due to that, this study aims to analyze how influential coaches on Instagram materialize the
inspirational discourse, focused on the crisis in an unstable period like the pandemic. For that, we started from a theoretical framework composed of studies about Discursive event (PÊCHEUX, 2006), Affective capitalism (ILLOUZ, 2011), Culture of inspiration (CASAQUI, 2017), Self help (MARÍN- DÍAZ, 2015), and Neoliberalism (DARDOT; LAVAL, 2016; SAFATLE; SILVA JUNIOR, DUNKER, 2021). The methodological approach is based on Bardin&content analysis (1977) and on Maingueneau studies (2004, 2008 and 2015) about enunciation scenes. We selected as the study object videos from Instagram, produced by the master coaches José Roberto Marques and Paulo Vieira. With this investigation, we comprehend that the coaches; inspirational discourse is crossed by a series of silencing (ORLANDI, 2020), when hiding the complexity of the crisis situation and enhancing the individual perspective as the problem;s solution. They are anchored in the scientific discourse, aiming to endorse their solutions as the way out from the crisis, those alternatives being linked to the consummation of their own services, and consistent with the guidelines of the neoliberal rationality.

At the top of the lists of bestsellers for the 2010s, the trilogies of Bishop Edir Macedo, from Universal Church of the Kingdom of God, and Father Marcelo Rossi, from Catholic Charismatic Renovation, drew attention for surpassing books with large circulation and national consumption. A double problem emerged from the first immersion in the literary works: How could the narratives of Christian leaders, having the biblical referent as their horizon, be constituted as instruments for the propagation of a political rationality anchored in values supposedly opposed to Christian teachings? In this equation, how do two different currents of Christianity, one Catholic and the other Pentecostal, weave dialogues of meaning? Thus, Macedo and Rossi's narratives of oneself became the object of this research. Our main objective was to understand the meanings relations between the narratives of Christian leaders and the political rationality of our time, based on the pillars of neoliberalism. For this analysis, we developed a methodological approach based on the hermeneutic
perspective of Paul Ricoeur (2006, 2010a, 2010b, 2010c, 2012, 2013, 2014), which aligns philosophical, historiographical, literary and theological knowledge on narratives, with significant contributions from Walter Benjamin (1994, 2013) about history and narrative. So that we built a methodological framework named Dialectic Hermeneutics of Narratives. Among the main results found are the deep relationships that Christianity, through a particular grammar, has been establishing with neoliberal rationality, with some of its movements being important actors for the rooting of this form of contemporary life. With this study, it was possible to understand how Catholicism, especially the Catholic Charismatic Renovation, has a positive ethics in relation to the neoliberal world reason, especially through what we understand as charitable practices. We conclude that, despite their differences, Pentecostalism and Catholicism have historical affinities that have increasingly been consolidated in their narratives, contributing to a way of life based on the realization of the self as a cause in itself. 

RESUMO

RESUMO

This thesis investigates a certain tendency of contemporary cinema to form mindscapes through references to the characters' brain, structuring the regime of neuro-images (PISTERS, 2012). Challenging the diagnosis that sees this phenomenon as an effect of the intersection between neuroscience and the current ecosystem of digital media, we investigate what other forces have made possible the emergence of this somatic mode of subjectivation in recent films. Supported by Vidal and Ortega's (2019) research on the cerebral subject, by Crary's (2012) study on the rise of the embodied viewer, and making use of Foucault's (1998) genealogical method, we assume that the rise of neuro-images has depended on the historical construction of the ontological function of the brain, in which the organ is no longer seen only as a part of the body but is now recognized as the physiological stronghold of personal identity. Our findings show that cinema itself was instrumental in the conformation of this cerebral knowledge about the human being, having done this through the articulation of three filmic figures throughout the 20th century: the nervous face, which embodies the characters' thoughts; the neuroanatomical topography, in which mental landscapes are formed by the recognition of the spatial abilities of the nervous system; and the brain-machine, in which the technological intrusion in the organ allows the externalization and reprogramming of the mind. Although our referential framework of analysis consists of 171 films, the thesis highlights three works in examining each of these figures: La Glace à trois face (1927, Jean Epstein), Je t'aime je t'aime (1968, Alain Resnais), and Possessor (2020, Brandon Cronenberg). By pointing this out, we don't mean to say that the films necessarily articulate a reductive vision of the subject, but that cerebralism is always articulated in the neuro-images.

This thesis investigated how the Programa Casé (1932-1951) became a symbol of modern and innovative radio programming in the 1930s and 1940s. Our corpus was composed of bibliographic and audiovisual references and
interviews with artists and singers from this time. In addition to the digital collection of the National Library, specifically the Magazines Fon-Fon, and O Malho, besides the newspapers O Paiz and Correio da Manhã. From the
interdisciplinarity with History, we use the qualitative method of the case study, which dialogues with the methodological procedure of micro-history. The analysis of our corpus was composed of the methodological approach of the “evidential paradigm” of the Italian historian Carlo Ginzburg. We also have analyzed the practices of the professionalization of the radio artists which have started by the program, such as the cash payment for all the artists and the exclusivity contract. The research also analyzes the prominence given by the radio program to national musical production, hitherto marginalized, because it predominantly was produced by blacks and migrants in the early 20th century. Besides that, we describe how the brazilian radio program was influenced by the broadcasting techniques from abroad, such as the commercials, the radio theater, and the introduction of
background music. Using the report about shortwave radio listening by Ademar Casé, the Brazilian program creator, we investigated the Casé Program as a scenario based on the cosmopolitan openness of a global experiences radio program. The investigation discovered the same practices of cosmopolitanism in everyday life between the radio attractions created in the United States and the Brazilian radio. This thesis proposes in an unprecedented manner the elaboration on a cosmopolitan relationship, with similarities and differences, between the Casé Program and the Chicago program The All-Negro Hour (1929-1935). Both radio programs were pioneers in proposing popular, comercial programming on the radio focused on innovation and broadcasting of musical genres considered worthless by some listeners, such as jazz and blues in the United States; “samba” and emboladas in Brazil. This investigation also covers the behavior patterns that bring us evidence of nascent fan culture, also permeated by the American influence, in the origin of Brazilian radio and especially in Programa Casé. 

The present research tries to understand the specific role of animation in the context of the representative arts of the body and the gestures. To do so, it sought, at first, to observe this relationship from a historical perspective based on the common sense about the body and how it reverberates in the area of aesthetics. It was observed that animated art emerges and is consolidated right on the context of the anthropomorphic paradigm crisis that took place between the end of the 19th century and the beginning of the 20th century, which led the aesthetic field to representations of the body to
detach from the humanist ideal and stared to de-realize the man. Agamben points out in this period a certain obsession with gestures, which would have triggered attempts to recover the knowledge of gestures in the sciences and the arts, a search that would point an art that was fundamentally "gesture oriented" as a place to establish itself: These was the art of Cinema. Animation, as a particular form of cinema, is also essentially an art of gesture. But, by following the new representation paradigms that were formulated following the crisis of humanism, it denies the integral human form of photographic representation and is founded as art from a de-realized body. The research starts from the thesis that, having the gesture as its fundamental element, in animation, this de-realization project extends to gestuality. Thus, this study proposes to investigate the ways of disassemble the gestures that dwell on the animated art, from its origins to the elaboration of a representational competence based on principles of distortion. By closing the borders of deviations in a variety of possibilities limited by the canon formulated for animated art, the loss of gesture continued (and continues) to be pursued in the field of the experimental. On this matter, the research focuses on a representative of experimental animation corpus, operating on it an analytical practice that proposes to observe the gestural deconfiguration from the basic perspective of animated technique: the relationship between frames and poses. The results are discussed under the light of the notion of ‘formlessness’, developed by Georges Bataille to oppose key aspects of the humanist paradigm in the first decades of the 20th century, when animation was founded as an art. The idea of ‘formlessness’ is a key concept to observe and discuss the attributes of this uncertain gesture, which is no longer able to classify the anatomical or cultural standards that operate on bodies.

This research proposes to investigate the role of the sound effect in fictional cinema, starting from the hypothesis that this element has been undergoing a change of status within the scope of cinematographic language, assuming decisive functions in the narrative-aesthetic construction of films, in addition to its conventional role as a mere figurative accessory of the image, sedimented by the classic narrative. We postulate that this scenario of valuing the sound effect would be driven by the conjunction of technological and aesthetic factors, above all: 1. the development of analogical stereophony, followed by the advent of digital sound, which, since the beginning of the 90s, has been significantly expanding the field of creative experimentation in the design of audio tracks for films; 2. the dynamization of the filmic language itself since, in this same time frame, the outbreak of different production cycles and authorial cinematographies that seek to subvert the codes of classic narrative, including in the sound field, is notorious. Our main objective, therefore, is to trace a trajectory of sound effects in fiction cinema, presenting a consistent panorama that allows us to advance in the investigation of the place occupied by them in this artistic scope. We adopted film analysis as a methodological guide, which will be applied to a wide range of films, from different periods and different cinematographies, so that we can ensure the central perspective of the research that the gain in aesthetic-narrative relevance of the sound effect does not it is an isolated phenomenon, but rather a tendency of contemporary fictional cinema

Assuming the existing similarities between Documentary Cinema and Journalism, this work seeks to show how the program Profissão Repórter, shown by TV Globo, is organized in the molds of a representation apparatus and, as such, obeys predetermined production conditions and certain “rules” of execution. The journalistic representation apparatus that we identified in this television program is characterized by self-referentiality, the centrality of the characters in the narrative conduction and the construction of a mentor-reporter. To arrive at these categories, we built an argumentative path supported by studies of Cinema, Journalism and Language. We carried out an exploratory, horizontal observation, making an arbitrary but not random choice of 90 shows run between 2008 and 2019, based on the very hypothesis that guided the research, namely: the possibility of building an apparatus in journalistic programs. From the verification of this proposition in Profissão Repórter, we hope to contribute to scholars and producers of Journalism and Documentary Cinema; after all, the raw material for both is "reality".

Amidst the Covid-19 pandemic, the increasing popularity of TikTok enabled a large part of its content to go beyond the limits of the platform. At that time, the world was confronted with predominantly white young girls dancing in front of their cameras. Wherever they recorded their performances, their backdrops would frequently display their shared social and economic privileges. The above listed characteristics, altogether, constitute the tween, a female identity that takes place between late childhood and early teenhood, an identity also inherently connected with consumer culture. This ideal model of femininity is heavily spread through contemporary media, approaching and encouraging young girls to transport their identity choices to the scope of consumption. Hence, given the growing engagement of young people online, this research aims at understanding how consumption is mobilized by Brazilian young female digital influencers on TikTok to outline and express their tween identities. With the purpose of achieving the mentioned goal, an Analysis of Moving Images (ROSE, 2015) was run, showing broader results. We identified what seemed to demonstrate a transversality and a multifunctionality of consumption. Goods and practices associated with that activity can be seen among different types of content those young influencers post on their TikTok profiles. The former elements supported the efforts the girls made to express several traits that position themselves within the archetypical model labeled as tween.

Labor dynamics underwent changes in the context of the covid-19 pandemic, such as the adoption of the home office and the adaptation of the home environment to accommodate the demands of the professional field.
Journalism was also impacted, since it is a social practice, marked by a process of permanent reinvention (ADGHIRNI, 2012), and it was crossed by changes in the way of investigating the news and contacting sources, activities often carried out with personal equipment and adapted to what is possible in the home environment. With this, the boundaries between the public and the private were blurred, enhancing the accumulation of productive and reproductive labor by women. Our research problem sought to understand the impacts generated by the pandemic on the productive routine of journalists who work in the media located in the Federal District, in Brasília, in the 'Politics' section, and how they interfere in the production of news. The specific objectives are centered on showing what are the changes in this routine during the pandemic; describe the implications of being a woman in the professional journalism market; define what are the impacts of labor changes on women's productive routine; describe how the impacts on the working conditions of women journalists affect the production of news and understand what is the perspective of these women on the moment they are going through. For this, we carried out a literature review; open, semi-structured interviews with journalists from different media and age groups; and a qualitative content analysis of these journalists' oral records. We will use as theoretical support studies on the theory of journalism (VIZEU, 2014; TUCHMAN, 1999; ROCHA, 2018; BERGAMO; MICK; LIMA, 2012; TRAVANCAS; 1993) and the Political Economy of Communication (MOSCO, 2010; VELOSO; 2013). In addition to these perspectives, we will use Habermas (1984) and Silvia Federici (2017) to discuss the structural change in the public sphere, also relying on studies on symbolic violence(BOURDIEU, 2002) and gender (SAFFIOTI, 2004; HIRATA, 2009 ). The results of this study point to the existence of new newsworthiness criteria during the pandemic and the overload of journalists, with impacts on the social construction of reality through news.

A partir da década de 1980, com a apropriação das teorias feministas do cinema pelas realizadoras latino-americanas e do conceito “cinema latino-americano” impulsionado pelos movimentos dos Novos Cinemas, surgiram críticas em relação a ausência de nomes femininos na História do Cinema da América Latina. A partir disso, a necessidade de mapeamento e reconhecimento das realizadoras latino-americanas. Nesta dissertação, através da investigação em jornais, críticas e trabalhos acadêmicos buscamos compreender a trajetória que duas realizadoras e suas obras percorreram para estarem na história. Matilde Landeta, mexicana, realizou filmes no cinema industrial, nos fins dos anos 1940 e só teve sua trajetória dada a conhecer no ano de 1975, Ano Internacional da Mulher. E Sara Gómez, que realizou 17 documentários e 1 longa-metragem de ficção, nos anos 1960 e 1970 em Cuba, e só teve sua obra revisada, a partir dos anos 1980, após uma homenagem em Paris. Este trabalho investiga os caminhos percorridos pelas diretoras e suas obras do esquecimento à história.

Este trabalho visa identificar uma “medialidade” e posterior gags numa leitura do gesto (AGAMBÉN, 2015) curatorial da segunda edição do Festival Internacional de Cinema de Realizadoras (FINCAR), que são traduzidas aqui como a identificação de uma metodologia que se exibe (medialidade) e de características singulares (gags) que denotam algo novo que surge dentro de uma tradição curatorial de cinema. Introduz-se a curadoria de cinema a partir do campo de estudos de festivais, como uma das possibilidades de leitura dos festivais cinematográficos como um fenômeno, seguindo por localizar o episódio local que aconteceu na cidade do Recife, o “Que porra é cinema de mulher?”, como um exemplo de luta política das mulheres do audiovisual recifense contra a estrutura hegemônica patriarcal e machista. Seguindo para a criação do FINCAR e localizando a segunda edição que ocorreu no ano de 2018 a ser analisada, de forma a identificar que um novo modus operandi em curadoria de cinema se apresentava.

RESUMO

The present work is an essay that intends to analyze the coloniality
itineraries that cross the Brega music of the Pernambuco artist Reginaldo
Rossi. For this, the concept of the script according to Diana Taylor and the
idea of coloniality according to the researcher Aníbal Quijano is used, starting from the analysis of the songs Férias em Itamaracá (1987), Itamaracá – Sun of Jamaica (1985), Recife (1980) and Recife, Minha Cidade (1984) and the understanding of Brega music in Pernambuco as a musical genre that is related to specific territoriality. Following the authors’ ideas linked to decolonial studies such as Antonio Benítez-Rojo and Denise Ferreira da Silva, it is understood that Brega music in Pernambuco is part of a continental context and repeats, in the territory of Pernambuco, structural dynamics of the colonial formation of the Americas. From the analysis of the songs, we seek to investigate how these dynamics are presented in the context of Pernambuco and permeate both the themes of Reginaldo Rossi and the debate that took place in 2017 on the site of Brega music in public cultural policies in the State of Pernambuco. Supporting the perspective of Durval Muniz de Albuquerque Jr. on the construction of northeastern regionalism, we start from the hypothesis that these public policies bring an epistemology of thinking about culture that has its origins in authors such as Gilberto Freyre and the construction of the idea of Brazilian Northeast.

This research seeks to map images that approach a perception of the world marked by the experience of the tragic. Noticing the possibility of evidence or tracing unresolvable conflicts, terrible fate, falling image, and destruction of the subjective world aligned with reality outside the subject. I am interested in images circulating in Brazil, mainly since 2013 and circulating in the recent political scenario. Images that arise in journalism and in visual arts and extrapolate an individualexperience of suffering, reaching aesthetic and political meanings. Could this movement be mapped and arranged as a constellation of collective pain experience? I invest in the notion of allegory as a theoretical tool for the methodological practice of articulating these images, even without a sense of unity among themselves, and going beyond the dynamics that are being exhibited. Here, an allegory is not only a synonym for metaphor, but as a constitution of a parameter that allows the immediate meaning of the image to be opened. The overall objective is to understand how images selected as possible remote experiences in Brazil, although it is aesthetic that relates a past and present. Some of the hypotheses that are tested are: 1) observe the occurrence of a tragic experience as a response and construct a form of sensibility (aesthetic) in the face of moments of intensification of the perception of vulnerability of human life; 2) to test the viability of the allegory concept as a methodological tool for the study of images; 3) the possibility of understanding street protests and demonstrations as a way of reviving ritualistic dimensions that enhance symbolic images; 4) propose a dramatic theory of images, thinking of them as actors and acting agents of contemporary theater experience.

This research analyzes the construction and diffusion of news on Facebook, in addition to the re-articulation and expansion of information on fanpages of media vehicles on this social network platform, considering the interactive and participatory dynamics between journalism and the public. The theoretical path addresses cooperative production on the internet, digital journalism and news. The research corpus is composed of journalistic and the public content about the 2018 Elections in Pernambuco, published on the pages of Diario de Pernambuco and NE10 on Facebook. Data were evaluated in the light of qualitative content analysis. Five categories of analysis were identified: Repositioning of the Public; Information Networks Between Journalism and the Public; Textual and Spatial Reordering of News; Online Attributes as a Means of Extension of the Digital Narrative; Dynamism of Information. The results show a redesign of the news. It becomes fragmented, hypermediatic, non-linear, multimedia, multidirectional and, notably, collaborative, associating professional content (reordered in its structure and dynamics) to expanded content (material and values from the public) in the social environment of the page or expanded news environment (interactive space of the fanpage physically and socially linked to the news). In an amplified conception, the informative product is translated into professional news, produced in journalistic newsrooms, and into expanded content, generated by the public in the interactive area of the posts. Together, professional and non-professional elements form the information set in the relational environment of Facebook.

This thesis inquires  into which forms of a pedagogy of seeing emerge from journalism when it is possible to look around one’s surroundings through spherical videos, made with cameras that record images in 360 degrees. It is advocated for the need of a pedagogy of journalism visuality, remarking that offering what to see differs from teaching how to see, regardless of the visual technology being used. Methodology is of quali-quantitative nature, which includes a both theoretical and conceptual literature review; the notion of 360-degree telejournalism being built for this study; semi-structured interviews with scholars who study such theme, and journalist; and a exploratory, descriptive and analytical research through mapping experiences and building an inventory of audiovisual pieces. Empirical corpus encompasses 344 videos, published by 28 media entities in Brazil, from 2016 to 2019. Among the results, it is worth highlighting: a narrow applicability of the pedagogies expected from the 360-degree technology; a poor employment of immersion and presence effects; need for improving practices related to looking around one’s surroundings; and a materiality which, after being analyzed, suggests a disagreement with the uses expected within scholarly knowledge on journalism and what it stablishes as uses for such cameras. In order to avoid both an erratic view, and one that is close to visual dispersion, we present as propositions the intent of use for such format, claimed here as a resource that enable to gaze upon one’s surroundings, considering potential visual areas where symbolic cues are manifested, offering more robust understandings over the facts.

The current research analyses how videogames provide immersion in primarily simulated worlds through the experience of playing to the players. It carries out immersion and sensible experience as theoretical and methodological perspectives, considering its intrinsic essential elements to the comprehension of the relations of game-gamer (environment-individual). It regards discussions on projection-identification, avatar, living results, subjectivity, and immersive triggers, as well as multidisciplinary fonts while treating its object, considering the communications field of study as privileged. It presents a research corpus in order to strengthen the critical thinking on this transport and interactions, applying group monitoring and methods of participatory observation as analytical instruments. The research aims at the registration of how the experience of conscience immersion occurs, identifying characteristics that differs one from another, comprehending affective mobilizations experienced and verifying if this process is able to create ideas and thoughts that could reflect on the daily life of the user.

Fundado em 2012 e com sede em São Paulo, a produtora de videoclipes e canal do YouTube KondZilla está no centro do processo de mainstreaming do funk brasileiro. Em setembro de 2018, o canal da KondZilla teve o primeiro videoclipe brasileiro com mais de 1 bilhão de visualizações no YouTube. Um ano depois, em outubro de 2018, a KondZilla ultrapassou o cantor canadense Justin Bieber e tornou-se o terceiro maior canal do YouTube mundial e o maior da América Latina em números de inscritos. Este trabalho tem como proposta analisar justamente os efeitos, causas e consequências deste direcionamento pop do funk através da KondZilla, buscando analisar suas implicações estéticas, comerciais e políticas. Partimos da ideia de Rede de Música Brasileira Pop Periférica (PEREIRA DE SÁ, 2017), para entender como gêneros musicais diversos se acumulam, conectam e interpenetram no ambiente da cultura digital contemporânea e como a KondZilla atua nessa esfera múltipla e dinâmica negociando sua performance para formar redes com mercados mais amplos, além do nicho do funk

The project aims to understand the interrelationships between new media and audiovisual productions, specifically the serial fictions available on the Instagram application platform. Named social cinema, Instaserie and Nanoserie by the app's own creators, it is believed that these productions, thanks to their hybrid and multimedia language, narrative rhythm, the short duration of episodes, style and editing, bring new features to series productions distributed online. Our journey will start with a debate about amateur images, their emergence, confrontations and their growing proliferation with the emergence of the internet. We will move on to a discussion about increasing serial culture, focusing on network consumption, until we reach the idealized and disseminated productions in online environments, focusing on Instagram. As we move further into the discussion on Instagram, we will introduce the phenomenon of Instaseries in order to understand its origin and main features. Finally, we will try to identify, through the productions of the brazilian group @1Quarto, the aesthetic, narrative and visual processes, in addition to the possibilities of parallel interaction resources that are offered to users, aiming to understand how the experiments arising from this phenomenon have affected the audiovisual market.

This research seeks to investigate the melancholic atmospheres and the ways in which space and landscape are created in the nody of work of Chantal Akerman and Jonas Mekas. In this comparative look between the two filmographies, this work focuses on issues related to displacement through space, the urban wanderings that both filmmakers undertake, and the constant feeling of non-belonging that cross their works. Thus, spatiality is revealed as the guiding axis of the research, pointing to interdisciplinary approaches between cinema and architecture, for example. In addition, the investigations on the films are based on the consideration of the materialities of these images, having as a guiding thread of analysis the notion of melancholy and its aesthetic reverberations in the spaces and landscapes registered by these filmmakers.

This research looks at the recent discovery of Vivian Maier's negatives and his posthumous rise and public legitimation. Found by chance in a Chicago auction house, Maier's immense photographic archive was completely dispersed and re-appropriated, and was later shared online by one of the collectors who purchased the material. Soon the images attracted attention and achieved fame, causing Maier to be quickly legitimized as an icon of documentary photography. The relevance of this discovery is obvious; however, since it is a consecration that had occurred posthumously, some questions become substantial: Maier did not proclaim herself as an artist and never published or sold her photographs before, which leads us to question her authorial identity and the subsequent artistic legitimation of his photographic legacy. As a result of these singularities, we followed the course of his climb highlighting the discursive and communicational approaches that shape his public character and ratify the value of his photographic heritage, using as a foundation the complete biographical incursion of Maier
published by Pamela Bannos, the studies on authorship and work discussed by Michel Foucault and Clarissa Diniz's observations about the legitimating dynamics that move the gears of the art system, which led us to a more diligent observation of the narratives that inhabit the core of the Vivian Maier case and the methods that communicate her public reception as a whole.

This paper makes a study about the scientific dissemination in the Press, using the context of the dengue, zika and chikungunya epidemic, in Brazil, among the years of 2015 and 2017 and, also, the discovery of the cases of microcephaly and other congenital malformations in babies caused by the virus of Zika. During this period, Pernambuco was the state in which attention turned due to the number of cases and the role of local scientists in undertaking research that could explain the causes and consequences of the triple epidemic. Based on the reflections on Bakhtin and Charaudeau's discourse, this study analyzes how the coverage of Pernambuco press was at the time. For this, the news and reports from Jornal do Commercio were selected in a period that comprises two years: from June 2015 to June 2017. Based on the work of selection and thematic categorization of the collected material, the objective was to identify which space was given to science in the periodical and which speeches on the subject of arboviruses were produced by Jornal do Commercio at the time. With the analysis, we observed that the coverage of the newspaper followed a logic aligned with the discourse coming from the health authorities of the state, without deepening the social issues that cause the mosquito’s proliferation, in addition to promoting an educational action, however superficial, which failed to provide a change in perspective in the treatment of science on the newspaper pages.

This work aims the production of comic strips by Laerte Coutinho that started in 2004, when he began to try to subvert this genre, that normally only accept humorous narratives. First, it talk about the particularities of the language of comics, trying to establish the current situation of the academic studies on the field, using works of Groensteen, McCloud, Eisner and Cyrne. To the analysis, it uses the reflections of Michael Baxandall, who proposes that we should look to visual objects using the concept of author’s own intention, realizing how the works respond to social, personal and material contexts, in a historical and esthetical methodology. After that, it observes 31 days of publication of Piratas do Tietê, Laerte’s comic strips published on the newspaper Folha de S. Paulo. This study uses the concept of “troc” – the symbolic and material market in which an artist circulates -, seeing how Laerte creates a new relationship with his public. It looks through the rejection of the humor at Laerte's comic strips; his particular use of the concept of “open work” of Umberto Eco; the proximity he imposes between his comic strips and koans; his references to an erudite and pop cultural repertory; and the way he takes the questions of his work to his life and his body when he goes public about being a transgender, making his own life a defense of art as a way of life.