Based on concepts from black racial theory, such as transcoding (Hall, 2016), control images (Collins, 2019), and the Black Atlantic (Gilroy, 2001), the work of three interlocutors was investigated,  Mc Tha, Luedji Luna, and Bixarte, afro-Brazilian artists who embody aspects of black religiosity in their sound and performance, including rites, rituals, and the presence of Ialodês - the female orixás such as Iansã, Nanã, Oxum, and Iemanjá. Through methodological indicators applied to their works and a specific methodology called Gira Midiática, three axes were examined: visualities, soundscapes, and textualities. Throughout the investigations, the symbolic presence of African-derived religions in their music videos was discussed, such as the performance of orixás and previously defined ancestral and afro-diasporic analysis indicators like water, rituals, colors, beads, leaves, and food. Considering the cited authors, the inseparability of music produced in the Black diaspora and African-derived religions was considered, as well as the confrontation of proposed images with the racialized representation regime. Concepts like transcoding images (Hall, 2016) were evoked to understand how these images shift stereotypes in the brazilian social imaginary about african-derived religions, often perceived as precarious in a predominantly -cand racially biased country. Images of freedom (Guilherme, 2022) were used to contemplate how the interlocutors speak from their own perspectives, no longer subordinate to the colonizing white gaze, while also confronting control images that confine black bodies, bodies from religious temples, and gender non-conforming bodies (Mombaça, 2021). Thus, it was defined in this dissertation that the images in the music videos of the analyzed Black Brazilian singers in Oxum (A Nova Era, Parte I) (2021), Banho de Folhas (2017), and Rito de Passá (2019) are transgressive and emancipatory. They utilize cultural products as a space where racialized women, cis or trans, followers of Umbanda or Candomblé, can use their repertoire and presence to feel empowered, reaffirming their existence and the groups they represent in a process of resistance. The artists were chosen for bringing political confrontation in their works, for emerging from racialized spaces in brazilian peripheries, and for incorporating aspects of their religiosity into their performance. Consequently, efforts to bring opposing images (hooks, 2019), with elements of appreciation, tranquility, and serenity through african-derived religious rituals, challenge the controlling images imposed on temple populations.

With the increase of far-right movements in the world, it becomes necessary to analyse the discursive strategies that allow the acceptance of this type of ideology by the population. Given the adaptation that this discourse has suffered over the years, new perspectives must also be adopted in their studies. Thus, in line with de growth of debates about toxic and hegemonic masculinity in our society, the dissertation seeks to understand the importance of the masculine ideal to support the main pillars of these governments. From the above, in this work, a discourse analysis is carried out based on French studies, with Michel Pêcheux (1995) and Eni Orlandi (2003), having as the corpus of the analysis the slogan “God, Homeland and Family” used by Jair Messias Bolsonaro during the 2022 election campaign. In addition, the research presents the context in which these speeches reverberate in society, enhancing aggressive and dangerous behaviours in view of the naturalization provided by these speeches when reproduced by influential leaders, as in the case of then president of Brazil.

This study delves into the discursive analysis of Bolsonarist rhetoric, scrutinizing the discrepancies between the foundational principles employed in the 2018 campaign and their repercussions on the surge of political violence in Brazil. The research corpus encompasses statements issued by presidential candidate Jair Bolsonaro, tracing their impact among Bolsonarism adherents from the onset of the 2018 presidential campaign to the culmination of the 2022 presidential race. The analytical framework is firmly anchored in French Discourse Analysis, underpinned by the tenets of historical materialism and structuralism, affording a robust lens for the investigation. Adopting a qualitative approach, the study employs primarily bibliographic and documentary research methods to dissect Jair Bolsonaro's discursive expressions and their societal implications. Anticipated outcomes of this research encompass an elucidation of how Bolsonarist discourse has exacerbated animosity and political aggression, ultimately culminating in the tragic demise of Marcelo Arruda. Additionally, the study endeavors to furnish a profound comprehension of the discursive dynamics within the Brazilian political terrain.

This study investigates the importance of institutional communication in the context of public health, focusing on the Virtual Campus of Public Health of PAHO (Pan American Health Organization). Initially, the theoretical foundations of public and institutional communication are presented, highlighting their relevance for the dissemination of information and knowledge construction. The text explores the role of the Virtual Campus as an essential tool for health education, emphasizing its structure and the use of social networks to promote institutional communication. Additionally, the challenges and strategies to legitimize communication in media organizations are discussed, with an emphasis on media visibility and the operating logic of the PAHO Virtual Campus. To obtain the results, a methodological approach involving case study and analysis of the impact of institutional communication was used, identifying difficulties and proposing solutions to optimize its effectiveness. Finally, the final considerations are presented, highlighting the importance of institutional communication in promoting public health and suggesting directions for future research. The study is based on a comprehensive literature review with studies on mediatization (Almeida, 2021; Alencar and Hjarvad, 2022; Véron, 2004; Sodré, 2012; 2022) and Health Communication (Soares, 2020), Organizational Communication (Matos, 2010; Kunsch, 2003), as well as relevant annexes to complement the presented analysis.

 This thesis addresses the various childhood images circulated within social media (RECUERO, 2018; RECUERO; BASTOS; ZAGO, 2020), specifically on the Instagram platform, based on a case study of three children's profiles, notably children represented there as child digital influencers (ABIDIN, 2021; JORGE; MARÔPO; NUNES, 2018); The main goal is to understand how these images encourage specific perspectives on the social construction of childhood in the digital context; we point out a situation of frank mediatization (FAUSTO NETO, 2008; SANTI, 2016; SODRÉ, 2002), in which the media acquired a reinforced sense of windows to the world, ordering everyday life; we are conceiving the relationship of children's subjects with the media and their culture through the lens of symbolic consumption (CANCLÍNI, 1999; SILVERSTONE, 2005), so that the media elements that the individual appropriates are intertwined with others from their experience (BARBERO , 2006); we tense a theoretical-methodological approach that overcomes manichaeism in relation to children (BUCKINGHAM, 2012), considering them as active and competent in the process; we understand the media as a social entity linked to the constructions of meanings, values and practices related to the individual's experience, to the fabric of ways of life in society, in its various spheres of socialization; in terms of methodology, we used a qualitative approach, using bibliographic research techniques (STUMPF, 2006), case study (DUARTE, 2006) and content analysis (BARDIN, 2011); Among the conclusions, we mainly observe the predominance of the childhood-product/child-consumption perspective to the detriment of other angles that favor more plural and comprehensive representations of what it means to be a child and experience childhood, in its various crossings of race, gender and socioeconomic level.

This research investigates how the digital influencer Nathalia Arcuri, through the YouTube channel “Me Poupe!”, disseminates the theme of personal finance and contributes to fostering the culture of Financial Education in the virtual ecosystem, without limiting itself to it. To do so, it analyzes the video entitled “MÉTODO N.A PRA QUEM GANHA POUCO DINHEIRO! Planejamento financeiro FÁCIL!” while observing the influencer's performance in front of the channel. It is an empirical research, of basic nature, with an exploratory purpose, qualitative approach, and makes combined use of elements of content analysis, thematic and enunciation types, and textual analysis. The theoretical discussion is based on the intertwining between Financial Education, Audiovisual Communication in finance, and Digital Influencers. Among the objectives achieved are: signaling the communicative strategies used by the influencer to share information about finance and encourage the adoption of healthy financial behaviors by the audience; identifying themes and ideas related to financial practices circulating in the analyzed video; and discussing the potential of digital and audiovisual communication to foster the culture of Financial Education. It concludes that the influencer Nathalia Arcuri, at the helm of the channel “Me Poupe!”, disseminates a worldview anchored in the centrality of notions, dynamics, and perceptions linked to the financial universe; opts for informality in the use of verbal language; didacticism and relaxation in communicating with the audience; and creativity in dealing with the subjects in circulation. It emphasizes that the analyzed video emerges as an effective instrument in promoting Financial Education.

The research aims to identify whether there are and how specific communication campaigns are offered, or not, to Venezuelan refugee populations, with a view to understanding the institutional behavior of official bodies responsible for health campaigns in relation to these refugees. We take into account the sociocultural aspects that permeate the context of migration and how the Secretaria de Saúde do Rio Grande do Norte, as well as the Ministério da Saúde (representing Brazil) have behaved in the perspective of meeting the demands that arise from of the presence of these populations in Brazilian territory, we also make observations about the Secretaria de Saúde do Estado de Roraima. Emphasis will be given to the pandemic caused by the new coronavirus. In addition to surveying these actions, we will carry out our investigation from the perspective of Critical Discourse Analysis, by Van Dijk (2018), which takes into account how the power relations present in media discourse are capable of perpetuating asymmetrical relationships. As it is a group with limited and minority access to basic services, compared to citizens born in the country, we also reflect on the very notion of citizenship (SANTOS, 2020) that the value of the citizen is linked to his place in the territory. Finally, we highlight the limitation found in these materials, both in numbers and access, in the portals of the two states mentioned above and the Ministério da Saúde, and the importance that International Agencies end up having when it comes to communicating with Venezuelan refugee populations. We noticed how communities are dependent on actions that come from these institutions that are partners with federal and state agencies, but which, however, end up developing most of the projects that deal directly with these people. However, despite this distance still existing, we notice the integration of new laws and the development of public policies - also involving a greater dialogue with the highlighted agencies - which project a more promising future than the revisited period. In order to contribute beyond this research, we offer a Guide for Communicators from Rio Grande do Norte, which can be used as a reflective basis for communication professionals who write, research or deal with the theme of the Venezuelan refuge in everyday life.

The present dissertation analyzes the documentary 7 denunciations: the consequences of the Covid-19 case, by the company and audiovisual content producer Brasil Paralelo. It discusses the participation of that company in the dissemination of government speeches during the Covid-19 pandemic. It aims to analyze how the effect of a sense of reality is built, in the context of the pandemic and its consequences, from the agency of certain discursive memories (ORLANDI, 2012) are used and serve as a structure for the diffusion of the filmic discourse. For this, filmic analysis (AUMONT; MARIE, 2004; VANOYE; GOLIOT-LETÉ, 2002) and discursive analysis (ORLANDI, 2013; PECHÉUX, 1990; COURTINE, 2013) of the documentary are proposed, in order to identify the discursive and ideological formations. We start from the hypothesis that the documentary serves as a tool for spreading disinformational narratives, considering the form and content in an environment controlled by big techs, in this case Google, owner of the social network YouTube, which hosts the film.

The media has occupied a central position in Brazilian politics, mediated by government communication advisors, which reproduce administrative or governmental political discourses in the production of institutional news content. In this context, the dissertation seeks to understand how discursive formations are produced in the news posted by the Government Communication Office to contribute to efficient Public Communication. And this is the problem question of the research. It raised the hypothesis that the communicational strategies built by governmental communication advisory offices have developed a more institutional communication, aligned to the political interests of the government, limiting its contributions to develop a democratic communication, which prioritizes the public interests and foments the exercise of citizenship in the construction of the public discourse. Therefore, the study aims to analyze the enunciates of the news published on the government portal, to identify the type of predominant communication in the discursive media practices of Assecom/RN, from Discourse Analysis and theoretical perspectives of the field of the Public Communication. The research is fundamentally qualitative, as it is characterized as an analytical and descriptive-exploratory study, which develops a French-line Discourse Analysis, grounded in Pêcheux (1975, 1988, 2009), Maingueneau (1984/2015), Orlandi (1989/2012), Brandão (2004, 2012) and Fiorin (2012), as well as establish theoretical relations with the doing Public Communication, under the conceptual perspective of Zémor (1995), Duarte (2006, 2007), Brandão (2007) and Matos (1999). The analysis of the results it is empirically verified the democratic contributions of the government communication advisory, in the production of meanings of their discursive and inter-semiotic practices, which generate communicative processes in the narratives of the posted news.

The research has as its main objective to analyze the telejournalistic narratives about homeless women, understood as a heterogeneous group of women who have no fixed address and use the streets as a place to live. The programs "Câmera Record" and "Repórter Record Investigação", both broadcast by Record TV, will be analyzed, seeking to understand how these stories are told to the public and what meanings they produce. For this, a survey of the editions produced between the years 2017 and 2022 was carried out, adding up to eleven stories, which constitute the corpus of analysis. The time period was chosen based on the problematic of the street situation, which has worsened over the years as a result of the COVID-19 pandemic and the drop in the Human Development Index (HDI) in the country. The work uses a combination of the methodologies of Film Analysis (PENAFRIA, 2009); Content Analysis, based on BARDIN (2011) and Intersectional Roulette, proposed by CARRERA (2020). The research categorizes and analyzes the reports produced by the programs specified here make use of a predominantly melodramatic language to present the situations of social vulnerability to which these women are subjected.

The objective of this research was to analyze the representation of blackness in horror films, based on the conceptualizations by Denise Ferreira da Silva, through contemporary horror cinema. The research question was: what can horror narratives reveal when they are read, felt, and experienced through the lens of race? Four horror films were selected according to established criteria in the research. The films were watched, and their narratives were explored in terms of language, concepts, and imagery to compose an essay that addresses a multitude of issues, supported by theories and studies from communication, philosophy, psychology, quantum physics, conspiracy theories, and pop culture. The four main Brazilian films used as narratives were: "As Boas Maneiras" (2018), "O Rastro" (2017), "O Nó do Diabo" (2018), and "O Clube dos Canibais" (2018). In addition to these main films, secondary films were used, such as "Panic Room" (USA, 2002), "Population 436" (USA, 2006), "Under The Shadow" (IR, 2016), "Trabalhar Cansa" (BR, 2011), "Alien Nation" (USA, 1988), "Nope" (USA, 2022), and "Fresh" (USA, 2022). The research methodology was guided by the proposals of Roldán and Viadel (2012), according to which the reflection on narrative and argumentative structure in visual discourses for visual arts research finds some possibilities of exploration in film editing. Important theoretical frameworks for the essay construction include the ideas of philosophers Denise Ferreira da Silva (2022), Audre Lorde (2019), Patricia Hill Collins (2019), bell hooks (2019), and Angela Davis (2016). The research was also heavily inspired by the theorizations of African-American researcher and filmmaker Dr. Robin R. Means Coleman (2019) on black horror cinema in the United States. The concept of hybrid warfare commonly used in militarism/politics was also significant. Other equally important references make up the essay. As a result, the analysis revealed the multiple conceptual possibilities that horror narrative plots can point to when considered in their symbolic plane to think about issues related to race and colonialism.

The pandemic news represented a change in the production routine of television news, as The coverage of the pandemic represented a change in the production routine of television news, as journalists had to maintain social distance to avoid getting sick. But while reporters and sources, or even journalists and viewers, were distant as a security measure, on the other hand, there was a reformulation in the language of television news, with the use of videos, photos and interviews done remotely, through cell phones and with broadcast programs over the internet. This research intends to understand the (re)configurations from Covid-19, using local news from Globo in the Northeast as an object, seeking meaning in the proximity established with viewers, focusing on the news produced in the capitals of PB, PE and RN . Through the Content Analysis of these local newscasts, the types of interviews that remained after the peaks in cases of Covid-19 will be identified: remote or face-to-face / synchronous or asynchronous / recorded or live, with specialists / people and local / regional sources / national/international. Researches on journalistic coverage in times of pandemic, by authors such as EMERIM et al. (2020) and BELÉM et al. (2020), in addition to the interface concept SCOLARI (2018) will be fundamental for building an understanding of these changes. As a hypothesis, we have posited that the concept of proximity in the voices of the local television news, which has always been fundamental for the construction of meaning in the reports, has become even more fluid and the use of multiple and distant sources has become a permanent reality since the pandemic, causing a lowering of production routines and more agility in the process of building reports and the television news itself.

The media, at times, has contributed to perpetuating a negative and stereotyped image of public health in Brazil. Despite the SUS facing challenges and difficulties, there are many programs that are resolute and that benefit thousands of Brazilians. The Unified Health System has even saved thousands of lives in the Covid-19 pandemic. So we start from the assumption that the SUS was built through struggles and social movements, that it is a heritage of the Brazilian people and that it needs a less prejudiced look on the part of journalists and communicators who cover public health services. The present research, therefore, seeks to analyze the social representation of public health in the news published in the ABTV 1st and 2nd Edition of TV Asa Branca, an affiliate of Rede Globo, located in the municipality of Caruaru - Pernambuco, between 2014 and 2016. For that, we will use the theoretical framework of Social Representation (MOSCOVICI, 1978, 2009); Communication and Health (ARAÚJO, 2007, 2014, 2015); SUS (PAIM, 2019); Newsworthiness Criteria (TRAQUINA, 2005), (SILVA, 2005), in addition to stressing and reflecting with other authors who deal with regional media and regional television journalism. Our methodology is based on Content Analysis (BARDIN, 2011).

The aim of this research is to analyze symbolic representations in the films Wings of Desire (Der Himmel Über Berlin) by Wim Wenders (1987) and Undine (Undine) by Christian Petzold (2020), using expressions of the imaginary, memory and myth as parameters. These concepts are intertwined through a common basis, which is the theory of the image. Human beings construct mental representations of the world based on their previous and current imaginary experiences, which generates information in their mental universe about themselves and the environment in which they are inserted, including the social, cultural and historical. In order to deal with this intertwining, the notions of representation and the symbolic are also used, which make it possible to give an expression and a comprehensive meaning to imagetic, imaginary, mnesic or mythical manifestations. Symbolic representation is part of the evolutionary and historical process of humanity and is suggestively manifested in the films analyzed through images of angels, air, nymphs and water. Such manifestations allow for possible reading keys and reflections on social relations, phenomena and spaces in film narratives, including historical and contemporary situations in German society. In order to understand this, theoretical-methodological procedures are adopted, such as the qualitative approach (MINAYO, 2009; CHIZZOTTI, 2005), through film analysis (PENAFRIA, 2009; VANOYE, GOLIOT-LÉTÉ, 2012), of the elements of expression, their symbolism and contexts.

The northeastern wilderness, its subjects and cultures have consolidated themselves as a recurring space in Brazilian audiovisual, often associated with elements such as drought, violence and the permanence of tradition (ALBUQUERQUE JÚNIOR, 2011). And national television, whose main fictional product is the telenovela, also followed this path, especially because of its concern with creating a narrative of the nation (LOPES, 2003). This research, therefore, starts from the understanding of the images of the sertão constructed in the audiovisual to investigate how television production practices approach this space under the logic of the aesthetics of repetition (CALABRESE, 1987), a tendency that attributes to part of Western cultural creations a constant dialogism. , marked by the production of novelty in a scenario of repetitions. The empirical object chosen is the serial fiction work Onde Nascem os Fortes (TV Globo, 2018), which set its story in a space presented as a sertanejo. The objective will be to identify how the northeastern wilderness  elaborated in the production reflects possible articulations between the traditional images of this space and constructions associated with the novelty, with a focus on place indicators, characters and themes. The investigative path adopted will seek to integrate the propositions of Jost (2007), on television research as a joint broadcast, with the Analysis of Audiovisual Materiality (COUTINHO, 2016), a methodology that proposes a look at the works as the union between , sound, text, timing and editing. The research hypothesis is that Onde Nascem os Fortes builds a contemporary sertão, in the sense of the polyphony proposed by Moreira (2018), but still maintains traditional elements associated with the wilderness, such as drought and an endogenous vision of justice.

This study is part of the list of those who seek to investigate aspects of the professional identity of Brazilian journalists, in particular, the career of journalists from Rio Grande do Norte. Career is a concept that has been studied since the beginning of the 20th century in the areas of Social Sciences, Psychology and Administration, with common sense associated with the latter, mainly with aspects of ascension and professional success. Here, career is understood as a concept in which the individual's movements within their profession and their subjective perception of their work coexist (BECKER, 2008; CHANLAT, 1998; BENDASSOLLI, 2009; RIBEIRO, 2011). The interest in the subject came from observing, as a journalist, the closing of several press vehicles in the State, during the 2010s, especially the printed ones, reducing the number of jobs in this segment and affecting the chances of mobility. Consequently, these changes also affect journalists' perception of their world of work and their position in it. To understand this scenario, our main objective was to find the symbolic connections between the individual professional trajectories of these actors in order to establish a collective perception about the career of a journalist in Rio Grande do Norte. To this end, we adopted the Foucaultian perspective of device (FOUCAULT, 1998, AGAMBEN, 2009; DELEUZE, 2015) to observe the world of Potiguar journalism and extract its current state through the subjectivation of its individuals. Empirically, we carried out a quantitative survey with the aim of profiling local journalists, and in-depth interviews with professionals who participated in the survey. Together, the data from the poll and the interviews show that the world of journalistic work in Rio Grande do Norte has demanded greater training and availability from the individual who intends to build a career there, while facing problems in giving continuity to the existence of journalistic companies; acting in press relations is a viable career option; experienced journalists are passed over due to high salaries and tend to leave the profession over time.

In this text, we present the aquilombamento virtual midiático (AVM) as a thesis proposal. This is a methodological movement to study how brazilian black media operate, based on three main theoretical bases: quilombismo (NASCIMENTO, 2019), bios virtual (SODRÉ, 2002) and the political concept of quilombo (NASCIMENTO, 2014); and three methodological references: transmetodologia (MALDONADO, 2011), afroperspectivismo (NOGUERA, 2014) and roleta interseccional (CARRERA, 2020). By black media we mean a articulation of insurgent communicational experiences that (co)move people in the rewriting of different narratives about black people. They are groups encouraged by struggles against structural racism and other possible intersectionalities, such as sexism, the danger of a single story, domination, the hegemony of the mainstream media and its agenda, invisibility, the social and cognitive injustices of the world, exclusion and media coloniality. They can be seen, therefore, as groups with a significant decolonial feature. Inspired by the trails that enslaved blacks people opened in the woods on their escape to the quilombos, the AVM develops in three routes: 1) Sankofa movement; 2) recognition of escrevivências; 3) basket of voices. The empirical reference includes six black media groups: Alma Preta, Mundo Negro, Negrê, Notícia Preta, Portal Geledés and Revista Afirmativa. We justify the analytical clipping because they are media practices developed in digital environments that consider as their central objective the breaking of the the single story logic and the producing content directed to the issue of race and other lines of oppression. For data collection, we articulated some tools such as interviews, virtual non-participant observation and bibliographical research. A methodological approach from AVM shows us that the brazilian black media consider communication and, specially, journalism, as a alternative opposition to the coloniality of the hegemonic media and for the construction of new matrices of visibility about black people. We conclude that the digital black media are heiresses of the black resistance since the colonial period and these groups find in the quilombos an ancestral instrument to build a ideia of an antiracist journalism. As main references for the preparation of this thesis, we have authors such as: Abdias Nascimento, Beatriz Nascimento, Clóvis Moura, Conceição Evaristo, Edison Carneiro, Grada Kilomba, Lélia González, Muniz Sodré, Sílvio Almeida and Sueli Carneiro.

This doctoral thesis studies the local media consumption practices on channel 4 in Currais Novos/RN. The city, located in Brazil’s poorest and most stigmatized area, the sertão nordestino, stands out in the history of Brazilian media for being the pioneer in the cable television industry in the Northeast region. It is also peculiar because it is considered a small city – with an average population of 45 thousand inhabitants – with six television stations exclusively featuring local content. Therefore, it differs from the typical characteristics of municipalities considered news deserts in Brazil (ATLAS DA NOTÍCIA, 2021), in other words, that do not have journalistic vehicles and, consequently, significant press coverage. Thus, to understand the local television media consumption practices and how they occur via channel 4 in Currais Novos/RN, we developed a hybrid methodological path, which began with the selection of five family houses and, then, with the use of four data collection instruments: a) semi-structured audience questionnaire; b) consumption diaries; c) non-participant observation, and d) in-depth interviews. The empirical data gathered from the field research were articulated with our theoretical contributions, governed primarily by the concept of consumption (BAUMAN, 2008; BAUDRILLARD, 2007; JENKINS, 2009; MILLER, 2007; TAPSCOTT & WILLIAMS, 2007). In addition, the methodological basis was developed from questions about audience studies with an emphasis on media consumption studies (TOALDO & JACKS, 2013; WOTTRICH, 2017). With the analysis carried out, this thesis exposes six categories of local media consumption practices in Currais Novos/RN: use of devices, recognition of the other, place of consumption, self-recognition, sociability, and television media (local). The research reveals in 24 claims about local television consumption practices in Currais Novos/RN, confirming previous hypotheses, such as the predominance in the use of the television set in local consumption, the zapping effect (switching channels) throughout the program is null or low, and that local television consumption essentially takes place at home, in the nuclear family.

Personal needs (material and affective) are exposed daily on Brazilian television in politically
and business-interested shows, a symbolic violence with traces of abuse of power disguised as
social action. It is in this media environment that this research is framed, which has as its object
the assistencialism practiced by the presenter Luciano Huck and, as a starting point, the
following problem: how this television strategy establishes material and affective relationships
with the public. The objective is to identify and analyze the characteristics of the presenter's
speech, which, among other categories, we propose to call neokitsch assistencialism, as a
retrofit of coronelism. We understand that the study can contribute to the field of research in
communication by proposing, in addition to an aesthetic rating of assistencialism, the
discussion of concepts such as the electronic halter: an affective link with political connections
established with the public from the resolution of emotional and material problems, as did the
colonel, a historical character from a period that Vilaça and Albuquerque (1978) call
“feudalismo matuto”. Furthermore, we consider the importance of analyzing this strategy
within the spectrum of media discourse studies. We apply adapted methodological tools, which
include televisual analysis, discourse analysis (French school) and critical discourse analysis.
Regarding coronelism, the theoretical framework is based on Leal (2012), Vilaça and
Albuquerque (1978) and Vilela (2008). Regarding assistencialism, we adopted Alayón (1995),
Mota (2010) and Sitcovsky (2009) as reference. We also take as a reference Weber's (2004)
concept of charismatic domination, as well as reflections on popular TV programs by França
(2006) and Araújo (2006). About the political bias, reference in Gomes (2004) and Aldé (2004).
In the exercise of assistentialist actions, Luciano Huck has difficulties in dialoguing with poorer
people and with that reverberates prejudices typical of a conservative (with an air of modernism)
and elitist discourse. Based on this panorama, we argue that this discourse of coronelism in a
retrofit version is presented as an electronic halter project based on solidarity. Paradoxically, it
separates the two sides of the issue, as it contributes little or nothing to solving the assisted's
problems, from a structural point of view.

Health campaigns play a substantial role in fostering dialogue between society and public health organizations. It was through these campaigns that the Ministry of Health carried out specific communication actions aimed at combating congenital and acquired syphilis in Brazil. Against this backdrop, the general aim of this doctoral thesis is to propose an evaluation model for health campaigns, based on the case of the national health campaign entitled “Lembre de se cuidar. Sífilis. Teste, trate e cure”, which is also the subject of this research. To support the evaluation model, we articulated the empirical data with the theoretical framework on communication and health (SOARES; CARDOSO, 2007; ALBARADO, PRADO AND MENDONÇA, 2019), health campaigns (ATKIN AND RICE, 2012) and campaign evaluation (SNYDER, HAMILTON AND HUEDO-MEDINA, 2009; FRENCH et al., 2014; FRIEDMAN et al., 2016; ANKER et al., 2016). Based on an analytical movement involving theory and empirics, the methodological process was systematized into five phases: (I) Integrative review on indicators for evaluating health promotion campaigns: collection and selection of indicators (understanding of the message, effect of the campaign, effectiveness and acceptability); (II) Definition of the corpus: “Lembre de se cuidar. Sífilis. Teste, trate e cure” campaign; (III) Collection of empirical data through Focus Groups - Young People, Diversity, Health Professionals and Pregnant Women; (IV) Analysis of the data based on Grounded Theory and validation of the indicators and (V) Proposal of the Health Campaign Evaluation Model. Among the results of this research, we highlight the proposition of a theoretical-descriptive model for evaluating communication campaigns called I-P.A-AS (Information Targeted at the Audience to Stimulate Action for Health), structured in three main dimensions: 1) Information and Health Strategy; 2) Involvement of the Audience and 3) Action for Health. The model also validates the results of the grounded theory of the data, proving Health Information as the main dimension for directing the communication strategies of a health campaign. It is hoped that the implications presented throughout this thesis, especially the analysis model, will provide new perspectives for the field of communication and health, allowing the model to be applied in the implementation and evaluation of campaigns.

Taking as starting points the contemporary media ecosystem and the mediatization of the life-world, this paper conducts a theoretical investigation of the home, understanding it as a symbolic and environmental experience. The theoretical proposals of Media Ecology, where the medium behaves as an environment or as a space with complex dynamics; and Mediatization, identified as a process of intersections between everyday life and media; allowed us to visualize changes in the production of the home and its spread beyond the domains of domestic spaces. Thus, the sense of dwelling proposed by Martin Heidegger (2006) meets here with the productions of space (LEFEBVRE, 2013) and everyday life (CERTEAU, 2012), with the subjectivity of the spaces of the house (BACHELARD, 2008), the relationships between body, city, and media (FLUSSER, 2002; SENNETT, 2003; DI FELICE, 2009), nomadism (MAFFESOLI, 2001), mediatization (HJARVARD, 2008), and media ecology (MCLUHAN, 2003; SCOLARI, 2015). Recognizing the home, as well as its spread over the territory, as an intersubjective experience, we anchor ourselves to Alfred Schutz's social phenomenology (1979) in order to understand the processes that involve the subject and their collaboration in the development of an identitary space with systemic and deterritorialized dynamics. This space, which is the home, does not require a delimited place with limited opportunities for access, nor do its inhabitants need to be aware if and when they constitute a home, given that dwelling is their condition of existence and that media promote new forms of sensitivity.

This study addresses the forms of violences that journalists from Natal suffer in the exercise of their profession. Violence has always crossed women’s destiny. Gender, race and class can be determinants for personal and professional survival of journalists, an to obtain the job positions. Their bodies, narratives and existences have been in constant risk. Seen as the “Other” (BEAUVOIR, 1980), in other words a strange and indifferent person, women still need to keep fighting for a place in society. In professional exercise, these violences are not different. In Journalism, women’s roles since their arrival at newsrooms were secondary, reinforcing beliefs that the feminine duty was to care for others (BUITONI, 1990). However, even over the decades, being a woman in a newsroom is a risk to life and psychological well-being of journalists, how research finds Federação Nacional dos Jornalistas (2020), Gênero e Número Agency (2017) and Repórteres Sem Fronteiras (2021). To comprehend how violence crosses the lives of these journalists from Natal, we used feminist and intersectional feminism studies from Saffioti (2015), Davis (2016), Akotirene (2018), Hooks (2019), as well as other materials that discuss the sexual division of labour and how that phenomenon is connected to journalism routines. And to answer the guiding questions of this study, we used the life stories method (MARTINEZ, 2015), to comprehend the sensible, humane, affective and to allow that narratives that were once silenced to be finally heard. Audre Lord (2020) affirms that to break silences and understand feelings is to allow us to be fertile fields of ideas. So, we define as narratives of (re)existence the process in which women transform situations of violence into tools to keep withstanding and fighting sexism, racism and patriarchy within work environments, family units and in society in general. 

This research aims to investigate how authorial fashion brands, small and medium-sized, are carrying out their media practices through the ephemeral sharing of their contents in the context of digital social networks. For this, Stories on Instagram is considered as a universe and object of analysis. The methodology is mainly developed through Grounded Theory (OROZCO GOMEZ; GONZÁLEZ REYES, 2011) (FRAGOSO; RECUERO; AMARAL, 2011) (GLASER, HOLTON, 2004) (SILVA; CABRAL; CASTRO; 2019) (KOERICH et al, 2018) (CASSIANI; CALIRI; PELÁ, 1996), but parallel supportive quantitative approaches were also used in order to visualize the research object in different perspectives. Thus, two data surveys were carried out in five profiles of different brands, in different periods of the year. The first data survey was established between June 19, 2019 and August 18th, 2019 and the second in November 30th, 2019 to January 30th, 2020, summing up to four months and 3,766 ephemeral shares to be analyzed and studied. As a result, we achieved, in the selective coding, the grounded theory that emerged from the empyrical data: to expand their midiatic practices and promote their online brand, owners of small and medium of authorial fashion brands, take turns between running the company and producing content for posting, in most cases, on work days and hours, as their main objective is to invite the user, through an advertising showcase, to the physical or online store. Therefore, the communication of the brands was based on this "hybrid advertising showcase", using its ephemerality as a form of constant renewal of this invitation.

The investigation into how motherhood can influence and cross photographic artwork moves the research. The social functions and representations associated with a woman mother are tensioned along the way through text and images. Photography is understood as a process of mediation and as a language, by enabling the expression of meanings and the communication of ideas and thoughts. I analyze the artistic practice in photography starting from contemporary discussions and produce a dissertation-creation written in the first person singular in a methodological approach with postmodern ethnography and autoethnography, in which the articulation of theoretical discussion with empirical discussion is done through of a dialogue with authors and authors. The three chapters accommodate the photographic works "Corpo", "Acolhida'', "Experimento Miguel", "32ml" and "O leite do fim" made by me as a mother-body. The research brings together the concepts of photography and performance, as well as the condition of mother to a social performance. The photographic artistic productions intend to confront the traditional representations of motherhood in contemporary times. Edgar Morin, Stuart Hall, Grada Kilomba, Madina Tlostanova, Adolfo Montejo Navas and Maria Lugones

This investigation is located in the subject of Media Communication and discusses the context in which the socio-digital media play a central role in the development of practices and policies in the journalistic and cultural fields. The empirical object of the research is Blimunda magazine, published online and distributed free of charge by the José Saramago Foundation (FJS). A conceptual references linked to the ideas of "journalism as a form of knowledge", "cultural sphere" and "transnational activism" are mobilized to target the magazine contente, positioning it as a vehicle of cultural journalism, and starting from the historical intersection between journalism and culture The first empirical result indicates that the magazine produces knowledge about: a) literature; b) reading policies and incentives for public libraries; c) literary tourism; and d) on cultural diversity, multiculturalism and human rights, with a focus on transnational solidarity. In the eight-year period analyzed, the magazine focused primarily on: a) expanding access, financing and encouraging reading; b) a continuous, specialized and collaborative journalistic coverage of an Ibero-American circuit of literary festivals and fairs; c) the promotion of literary tourism in journalistic and advertising content; and d) a number of initiatives to support the recognition of diversities and multiculturalism in cultural production and contemporary cultural policies. The online magazine is named from the protagonist of the book Baltasar and Blimunda, by José Saramago (1922-2010). Blimunda magazine was created in the emergence of media phenomen in the internet context, which are provided by a way of positioning itself in the cultural field based on technology, aesthetics and intensification of the transnational dialogue between public and cultural spheres that give rise to new themes, claims and ways of narrating. The dissertation seeks to understand the insertion of journalistic content of Blimunda in the network of activist practices related to the entity that publishes it, highlighting the textual forms, topics covered and consulted sources that are able to point out the FJS' journalistic agenda and, consequently, also point out to the potential in the dimension of circulation of Blimunda since its relevance in the outlined cultural and political context. In order to undertake such analyses, an authorial and interdisciplinary methodological path is built, under the theoretical perspective of Cultural Studies, which combines bibliographic review and cultural-media analysis with instrumentalization arising from thematic analysis.

It investigates the communicative and folkmedia production of rap battles (rhythm and poetry) in the environment of UFRN – Federal University of Rio Grande do Norte – Central Campus. To develop the work, we used bibliographical research, participant observation in the pre-pandemic period, internet research and an adaptation of transdisciplinary techniques (photography, cartography and textual analysis) to systematize the research results. As a methodology, we used an adaptation, based on symbolic cartography (SANTOS, 2002) and sociocultural photocartography (NOBRE, 2011), to represent, through a visual and symbolic map, the uses and appropriations of the university's living spaces to carry out battles of rap, as forms of communication. From the results obtained, we observed that rap battles appropriated the most diverse spaces and apparatuses to communicate, raising a discussion about the communication processes that constitute the marginalized groups of society, demanding more in-depth research on their communicative practices, including them as cultural manifestations of popular resistance.

Cinema portrays a diversity of feelings in its narratives and loss is one of them. The objective of this research is to analyze the Michel Gondry film Mood Indigo (L'Écume des Jours,2013), an adaptation from the homonymous novel written by Boris Vian, published in 1947. The purpose of this text is to question whether the colors chosen by the director, present in the film scenic elements, are related to the grieving process experienced by the main character, Colin. The narrative, which has aspects of surrealism, tells a love story between Colin and Chloe, who after their marriage discover a water lily growing in their lungs. Plants are used in an attempt to cure the illness but without success. With no resources, Colin search for a way to have money to pay for the treatment, but soon Chloe will be dead. The hypothesis of this study is that the change in the color palette is related to the grief experienced by the main character, in addition to being a chronological marker in the narrative. The film presents significant changes regarding the colors, as when discovering the terminal illness of Chloé, the world of Colin is transformed, the sets becomes increasingly dark, losing all their color, ending the narrative with the film photographycompletely in black and white. The French director Michel Gondry, in his playful universe, worked on deep aspects of human nature, seeking in his memories and experiences the necessary poetics to transform pain into art. To understand their mise-en-scène, we will use Bordwell (2008), Oliveira Jr. (2013), Elsaesser (2018) and Rancière (2005). To understand the grief process and identify it in the film, we will use the Elisabeth Kübler-Ross (1996) concept of the fivephases of grief, which are: denial, anger, bargaining, depression, and acceptance. The grieving process is not only related to the death itself, but to all the feelings present in a process of loss (in case of terminal illnesses, end of a relationship, and death, for example) but it can occur as well from the discovery of the illness, as in thecase of anticipatory grief, a concept proposed by Kovács (1992). The qualitative methodology used is the Vanoye and Goliot-Lété (2012) film analysis. To select the material we will use the decoupage technique (DELEUZE, 1983). Thus, the color palette of each image was produced using Adobe Color. The chromatic analysis was based on Farina (2000), Guimarães (2001), Heller(2013) and Silveira (2015).

The first idea of city present, made image, in my memory is a concrete layout that is discovered between streets, alleys, lanes, corners, walls that protect and expose the subjects and their crossings (DE CERTEAU, 1998; FERRARA, 2015). But the true dynamics of everyday life today presents us every day with an idea of city that instead of being the reverse of the other, is an extension (DI FELICE, 2009; LEMOS, 2009). It is nurtured in an infinite dimension that goes from the city to the digital social networks, in a path called, here in this paper, "imaginary crossings of streets-digital social networks" and that is made possible by the protagonism that the image of urban art exerts in our minds, and in many of the symbolic contexts - social, cultural, affective - that surround us, by placing us before image-messages defined here as "political-poetic narratives" (ARENDT, 2002; BACHELARD, 1978). In view of this, we dialogue with authors about the insertion of graffiti panels exposed on the street, considering its physical-digital extension, from a discussion involving the subjects and the images that affect them within scenarios that become spaces of urban legibility and places of memory (FLUSSER; 1985; HALBWACHS, 1990; NORA, 1984). To this end, through an ethnographic methodological perspective, guided by a dense description (GEERTZ, 1978), we created a field notebook to describe walking routes through street art expressions. Thus, we experimented and analyzed five urban landscapes, in the city of Fortaleza, where there is graffiti wall, discussing the relationship between the symbolic forms present in artistic expressions and the spaces that become scenarios of open-air exhibition, worldwide (DIÓGENES, 2015; CAMPOS, 2007).

Pathways. This thesis defends the idea that investigating them is configured as a contributory proposal for the field of Communication, especially for the area of studies whose approach dialogues with the media dimension. The research proposal is based on the following problem question: how to approach the communicational mobility undertaken by the subjects through different interactional environments, based on the narrative circulation that develops through media communication? A possible answer to the problem is the development of an investigative strategy to think about media mobility from the perspective of the subject. Therefore, this thesis empirically mobilizes Raul Lampião do Crato, a character played by Antônio Carlos Ricardo da Silva. A hybrid figure that mixes physical aspects of the singer Raul Seixas with leather accessories in a reference to the cangaceiro Lampião. This popular communicator professionally carries out the Professional activity of advertising in the city of Crato, Ceará, so that the research focuses on the narrative circulation of the interactive ambience of the street for the interactive ambience of the media undertaken by the investigated subject over the last decade. In view of this reality, we seek to describe the communicational circuits through which the subject transits, to recognize the predominant narrative communication in these systems of relations, in addition to identifying the narrative functions that the subject occupies in the interaction devices triggered during the investigation. Theoretically, the Communication approach is approached from the Latin American perspective (MARTÍN-BARBERO, 2018) articulated to the heuristic of interactional matrices from the communicational perspective (BRAGA, 2017), configuring a conceptual intersection that allows thinking of the narrative as a communicative mediation that permeates the interactional devices that make up the communication circuits. Methodologically, the subject is activated as an analytical operator (RICOEUR, 2014; FRANÇA, 2006) and narrative communication (MOTTA, 2013) as a media mobility strategy that runs through the multiple processes of co-construction of meanings to describe and analyze the subject's circulation by the interactive ambiences of the street, traditional media and digital media. The Communicational Pathways are configured, therefore, as an investigative strategy to address contemporary narrative mobility considering media communication as its main practicability mechanism.

The present work sought to appropriate the theoretical concept of cinematic style, undertaking the analysis of the fantastic plot of fictional films from Potiguar, taking as a starting point the following film productions: Inácio Garapa, Um Matuto Sonhador (José Gomes, 2010); O Mundo de Ana (Wigna Ribeiro, 2014) and Lua de Fogo (Walfran Guedes, 2016). The path presented seizes the theoretical-methodological path of David Bordwell's (2008;2016;2018) understanding, for which style concerns the choices of filmmakers in historical circumstances and opportune time. We seek to deepen and supplement the analysis by viewing cinematic works as expressive works (of artistic language — symbolic and signical), by considering the traces of intentionality of the authorship (directors) and the solution of emerged problems. We also tried to contribute, from the studies of the super category of the fantastic plot —, which describes the mythical aspect of the elements synthesized as universal and of popular northeastern tradition —, identifying anaphoric (recurrent) and disparate elements in the subcategories of scenery, costume and staging. Thus, the main objective of the thesis is to understand the relationship between the filmmakers and their languages in the scope of contemporary fictional films from Rio Grande do Norte in order to perceive the recurrence of elements and techniques characteristic of a representative style of regional cinema, and to elucidate the existence or not of a characteristic dominant style. It is proposed, within the scope of this research, the connection of theoretical and conceptual bases articulated to the expression of cinematographic language that involve the concepts of style, aesthetics, public policies, technical choices, theories, analysis and language of cinema and art (Armorial Movement) (AUMONT, 2003, 2008, 2009, 2018; BAUER; GASKELL, 2002; BETTON, 1987; BORDWELL, 1996, 2008 2016, 2018; CARREIRO, 2011, 2019; COELHO, 2017,2019; CRUZ; SCKAFF; FILHO, 2016, 2020; IKEDA, 2015, 2017; PENAFRIA, 2013; RANCIÈRE, 2009; SANTOS, 1999; SUASSUNA, 1974; STOLNITZ, 2007

This is a positive thesis. It was produced from the perspective of portraying flows and circulations of audiovisual content in interconnected digital networks, materialized around cultural and political meanings regarding seropositivity. It presents narratives and scripts from people who recognize, in their personal experiences, energy to lead processes of empowerment and social change, in relation to historical contexts of violence and discrimination to which individuals were conditioned by virtue of their HIV status. The internet is the environment where such practices are observed, in which people living with HIV appropriate creative technological resources to, based on their experiences, promote spaces for the exchange of knowledge and production of knowledge, establishing conditions to consummate collective acts in name of seropositive visibility. In this sense, the research is developed with the purpose of analyzing the content shared from YouTube, with regard to the characteristics of media products, and the itineraries of the channels, in the context of how production tactics are conceived and practiced. audiovisual on online video platforms. Therefore, the investigation was conducted within the scope of ethnographic research, in the interest of obtaining a “thick description” of the dynamics and meanings established in these actions (GEERTZ, 2008). In conducting the study, an accompanying observation was made (MISKOLCI, 2017) of the digital practices in relation to the routines of video circulation on the channels and, through the mapping of the pages, the empirical cut consisting of 18 channels produced by seropositive gay men was determined. Based on this material, content analysis was applied (BAUER, 2002; BARDIN, 2002) through which the complexity of the tangle of discourses organized under discursive genres, audiovisual production formats and thematic approaches of the various layers of social life was reached. The material is a reference, along with transcriptions and analyzes of speeches and life stories (BECKER, 1999; MYERS, 2002) of the four channels with the highest volume of content, to produce inferences about the models of social and political action in the construction of the #EsferaPosithiva. From the pictures obtained, it was possible to conceive of politicizations of conversational environments on the internet, based on the libertarian and emancipatory culture founded on the foundations of an interconnected society (CASTELLS, 2003; 2005; 2015; 2017). Video channels consist of actions that foster empowerment processes, with a view to critically taking the production of subjectivities through performative acts to counteract the historical frameworks of precariousness of seropositive lives (BUTLER, 2015; 2018; 2020). At the same time, they reveal processes of transformation of the social and organizational structures of a mediatized society, resulting from the creative and interactive appropriation of digital technological devices (HJARVARD, 2014). Finally, there is the understanding that the figure of digital influencers emerges in the articulation with activism, with regard to the possibilities of circulating, in the interconnected sphere, political meanings and narratives that contest the stigma and the subaltern conditions to which subjects are historically established.

This research proposes to reflect on female beauty stereotypes in the Instagram app. The corpus of this study are posts made by users of the social network. We know that digital media have changed behaviors, habits and ways of consuming information, communication and social relations. On Instagram, the social network of interest in this research, life is narrated through publications. In sequence, the posts from this network compose a showcase where the beautiful female body is exposed wrapped in categorical discourses of beauty stereotypes. In a scenario that calls for visibility, this research proposes to analyze the discursive production of stereotypes of female beauty on Instagram, using archaeology and the analysis of Foucault's discourse as research tools. In addition to the foundation in Foucault (2014; 2020; 2019), this research is supported by Debord (1997), Lasch (1985) and Bauman (2001) in the social field, Castro (2001), Sibilia (2016), Santaella (2018) ), Sant'anna (2014) and Bernuzzi in the notions of body and beauty and VEIGA-NETO (2007), VEYNE (2011), Gregolin (2015) Fischer (2005) and countless other voices that contributed to the theoretical basis of this text. We found that the statements produced on Instagram result in the construction of stereotypes of a beautiful female body.

This research proposes to present a method for analyzing the use of the body positive movement to build the brand's self. It is known that the movement of body positivity is still quite recent and poorly structured, and that it emerged as a response to the imposition of restricted and unattainable aesthetic standards. With the aim of promoting an exaltation of marginalized bodies, valuing self-love and breaking standards of beauty, body positive was widely propagated by digital media, however, this wide spread through digital social media led to a great commodification of the movement, culminating in an appropriation and an emptying of its ideals. In the midst of this context, the research proposes the construction of a theoretical-methodological apparatus that can assess the brands that build their self based on the positive body. As the movement of body acceptance is still lacking in scientific studies, it is necessary to conduct a study before its emergence, starting with notions about the body with Bourdieu (1979) and Le Breton (2006), passing through the understanding of beauty issues with Eco (2016), in order to understand his training. To develop the analysis criteria further, the research goes through the understanding of the concepts of diversitywashing, brand self and social facade, with Giddens (2000), Goffman (1985), Carrera (2019) and several others that contribute to the understanding of these concepts. At the end, 5 analysis criteria are developed for brands that use the body positive as a strategy in building their selves.

The media, in alliance with consumer markets, presents the female body as an object that can be molded to socially determined aesthetic standards. It is from this conception that an ideal of beauty that overvalues predominantly youthful traits is confirmed. In this scenario, the anti-aging discourse emerges responsible for disseminating that old age is a state to be rejected, disguised and eliminated, preaching the glorification of the capital-body, which has a high value in contemporaneity for meeting market demands and corresponding to beauty prototypes. With this in mind, we raise the reflection on the role of the media in the social construction of aging, considering the discursive articulations that promote this process. Thus, we seek to understand how this anti-aging discourse is constructed in cosmetic ads, identifying the discursive strategies used in creation of posts on Instagram. Therefore, we adopted a methodological tool the discourse analysis supported by Foucault (2008) and (2014b) a research corpus composed of posts published in the institutional profiles of cosmetic brands Avon, Beyoung and Payot in order to investigate how each one of them uses, through advertising on that social network, discursive strategies corresponding to the anti-age discourse. The theoretical foundation, we use authors such as Le Breton (2012) and (2013a), Foucault (2014a) and Goldenberg (2015) to contextualize the issue of the body in contemporaneity, in addition to the theoretical assumptions of Novaes (2006), Lipovetsky and Serroy (2015), Han (2019), and Baudrillard (1970) to support the discussion about the relationship between contemporary standards of body beauty and consumer culture; and those by Beauvoir (2018) and (2019), Debert (1999), (2011) and (2018) and Sibilia (2011) to portray the themes linked to aging. Finally, we verified that there is, in fact, an anti-aging discourse that tends to exalt youth as an exclusive model of beauty and well-being, being constructed through four central discursive strategies: the construction of the notion of body care as a requirement to prevent and mask the signs of aging; the production of a concept of beauty that approaches perfection, a definition that excludes aged body features and exalts youthful characteristics; the invisibility of the old body; and the use of rejuvenated female figures to associate them with hegemonic ideals of beauty.

The Covid-19 pandemic has challenged humanity with alarming implications. For this reason, there is also a strong concern about the circulation of information that hinders the fight against the disease. The disinformation (WARDLE, 2017; GELFERT, 2018) affects everyday life and social imaginary, being reinforced by the performance of digital agents that facilitate its dissemination (PARISER, 2011; BRUNO, 2012; CANCLINI, 2019). The belief in this type of content, evidenced by the culture of the post-truth (SANTAELLA, 2018; ANCONA, 2018; BUCCI, 2019) occurs in a symbolic dimension that extends to actions, compromising fulfillment of safe guidelines for the prevention and treatment of infection (BRIAND, 2020; GALHARDI et al., 2020). Thus, our research aims to analyze the disinformation in the Covid-19 pandemic through the Saúde sem Fake News information channel of the Ministry of Health, based on the concept and methodology of Information Disorder (WARDLE; DERAKSHAN, 2017).

This Case Study proposes to investigate the practice of stereoscopic photography by the journalist and jurist from Rio Grande do Sul, Manoel Dantas (1867-1924). In its unprecedented collection, there are 2,146 images, produced between 1900 and 1924, in an amateur character. Using Kossoy's (2014) Iconographic Analysis methodology, we focused on the images to identify the constituent aspects of a photograph: the photographer, the technology used by him and the subjects that were recorded. In addition to Kossoy (2002; 2007; 2014), we also looked to Giséle Freund (1995) and Ana Maria Mauad (2008) for theoretical contributions regarding the historical study of photography. As for aspects related to the use of stereoscopic photography, we base ourselves on the works of Maria Inez Turazzi (1995) and Inácio Parente (1999). At the end of this historical survey, we obtained information about uses and functions, in addition to mapping the access to equipment and supplies of stereoscopic photography by Manoel Dantas.

This PhD thesis arose from the hypothesis of the lack of a specific bibliography that addresses in an integrated, systematic and meaningful way the hybridizations made in new news formats that do not fit into the existing classical nomenclatures and advances on concepts already structured by theorists who developed important studies about newsmaking. It also presents a comparative theoretical analysis between the language of television journalism and the technology available at that time. As for the approach to the subject, it is characterized as a mixed methods research. Thus, initially, the approach is quantitative and then it becomes qualitative. To define the research corpus, it was decided to build three weeks with the analysis of the editions of each of the five TV newscasts (Hora 1, Bom Dia Brasil, Jornal Hoje, Jornal Nacional and Jornal da Globo) aired nationally by TV Globo. In total, there were: 15 editions of H1, which represents 28 hours, 12 minutes and 3 seconds; another 15 from BDBR, with another 15 hours, 54 minutes and 8 seconds; 18 of JH, which adds up to 11 hours, 50 minutes and 54 seconds; another 18 from JN representing in time for 13 hours, 22 minutes and 4 seconds; and finally another 15 from JG, with another 9 hours, 5 minutes and 36 seconds. Thereby, it is possible to build the profile of each newscast and arrive at a picture of the news program itself, adding all the data and, statistically, presenting a representation of TV Globo network newspapers. It was also analyzed qualitatively, for this reason, what was called, in this work, the Parameters Worksheet was created. In it, 18 hybrid formats were identified, which also gained conceptualization, description and exemplified: Ao vivo coberto; Ao vivo direto; Ao vivo ilustrado; Cabeça ao vivo; Cabeça ilustrada; Nota coberta do repórter;  Nota direta; Nota ilustrada; Nota pé ao vivo ; Nota pé coberta; Reportagem ao vivo; Retomada; Stand-up coberto; Stand-up completo; VT do apresentador; VT em conjunto; VT repartido; and, VT sonora. The general and specific objectives of the Thesis were met by working with the phenomenon of hybridization of news formats and by showing how much technology influences the language of telejournalism.

This research analyzes six contemporary Brazilian cinema films made by Brazilian filmmakers in order to understand the production of meaning in the construction of protagonism in the forms of representation of women in the narrative in works directed by women. The women filmmakers and films chosen for analysis here are: Laís Bodanzky (SP) and the film Como Nossos Pais (2017); Jorane Castro (PA) and the film Para Ter Onde Ir (2018); Roberta Marques (CE) and the film Rânia (2012), Cristiane Oliveira (RS) and the film Mulher do Pai (2016); and Adriana Vasconcelos (DF) and the film Mãe (2018). For this investigation, we ask the following questions: How does identity is built in these films directed by women within the context of the contemporary Brazilian cinema? How has the trajectory of the researched filmmakers developed when it comes to making their films? How do these women filmmakers see the troubles and obstacles imposed on their work and their desire for producing a work that survives time?  Within the framework of Cinema Theory and Gender Studies this work aims to comprehend the aspects and impasses that contribute to gender inequality in the Brazilian film industry. The implications of power in social relations at a capitalist society and the concepts developed in the studies of Saffioti (1987), J. Butler (2003), Foucault (1988) and Bourdieu (1998) are related applied for the film analysis, focusing on the questions about the cinema made by women and the ways to confront chauvinism and gender discrimination. Through the analysis and interpretation of films, specifically fiction feature films carried out by women in the last decade (2010-2020), and through interviews with filmmakers, the thesis exposes emerging questions about the film making by women in the contemporary context. The research resulted in the confirmation of the hypothesis about the aspects that contribute to gender inequality in cinema and impede a greater number of productions directed by female filmmakers. Consequently, the results validated the thesis that Brazilian filmmakers produce contemporary cinema marked by the valorization of women´s protagonism, with the preponderance of direct and indirect political themes and approaches, standing out from this is the affirmative action (thematic, language and narrative) that show the fight against sexism and also racism present in Brazilian cinema.

ABSTRACT

Memories, as well as recollections, forgettings and acts of silencing, have all been central elements of the experiences and impasses of the digital field and therefore of research and scientific debates. Within the scope of the individual and his autonomy to produce writings and rewritings of himself, the intertwining of personal and social cultural memories (DIJCK, 2007) is the discussion in this work, in a context of ample presence and participation of media artifacts that solidify the emergence of increasingly hybrid subjectivity. This means that memories, which previously resulted from the articulation of one's own (re)construction of oneself added to the one of contact nodes in the social network and materials such as photos, letters, tickets, videos or audios, now, in the digital era, rely on the presence of several elements and objects, physical and/or symbolic, which make up the systems of the so-called culture of algorithms (STRIPHAS, 2015). This text builds itself from the perception that algorithms are the result of an economic and social and model that specialized a part of its technologies towards developing increasingly accurate and individualized reading, ordering, analysis and prediction through mathematical mechanisms of which social media platforms are only one of many facets (BUCHER, 2018; ZUBOFF, 2020; SILVEIRA, 2017; BRUNO, 2013). Then it goes on to question how the individual proposes to write himself in a mediation structure based on the culture of algorithm and how the structure of the network itself participates in the (re)construction of (auto)biographical memories. In terms of methodological scope, the work is focused on analyzing the possibilities made available by Facebook for the organization and representation of information, whether of a textual, visual or audiovisual nature, as well as the relationships individuals establish with such possibilities. Based on the perspective of the materialities of communication and media, the core of the work consists of the analysis [1] of the interface, recognizing it as a material manifestation of the algorithmic system (JOHNSON, 2007; DIJCK, 2014), [2] of the institutional voice, collected in the Privacy and Security and Data Policy documents, added to Facebook Research publications about services concerning memories and remembrances and [3] of the perception users have on the use of the platform in terms of the modes of (re)writing themselves, the recognition of publications as interaction strategies and the presence of the algorithm in the evocation of memories and production of meaning. The reflection suggests that, although not exactly its initial function, Facebook points out ways for the individual to write himself, organize and store narratives as well as personal collections of memories. However, in terms of retrieval, representation, meaning attributions, these seem to improve in the offer of automated systems, not allowing the user the same freedom that the company has over the data generated by them.

This research aims to identify and analyze a profile of open television in Rio Grande do Norte. Let us gather information on the general characteristics of local broadcasters and answer the key question: what are the categories and genres present in potiguar television programs? Rio Grande do Norte currently has 12 broadcasters operating on an open channel. As an empirical object, we will have the first five TV stations installed in the state and which concentrate the largest number of viewers: University TV, Ponta Negra TV, Cabugi TV, Tropical TV and Band RN. To achieve the research objective, we will rely on Williams (2016), Jost (2004) and Bourdieu (1997) concepts of television, with contributions from Machado (2000), Rezende (2000) and Mattos (1990) to understand the trajectory of TV in Brazil, Lima (2010, 2001, 2000) on regional media and Kneipp (2017) on TV in Rio Grande do Norte, as well as studies by Duarte and Castro (2007) and Aronchi de Souza (2004) on television genres and formats. In the methodology, we will apply Content Analysis (BARDIN, 2011), associated to methods and techniques of data collection of the current programming, considering that we intend to have as a final result a television profile in Rio Grande do Norte with descriptive aspects, critical and analytical.

As a reflection on the production of meanings emerging from the social practices present in the advertising cyberspace, we propose, throughout this work, to present data in the discursive structures published and commented on the digital platforms that incorporate the visibility of Lesbians, Gays, Bisexuals, Transsexuals, Transvestites, Transgender, Queer, Intersex, Asexual and other diversities compiled by the acronym LGBTQIA+ in contemporary advertising, here called “Cyber  Advertising” (Atem, Oliveira and Azevedo, 2014). Thus, through foundations in gender studies from an anthropological and social perspective; of sexuality and community theorizations of LGBTQIA+ movements in Brazil, above all, the interconnection of these concepts and the reflections of contemporary media theories, is that we start from the objective of analyzing the meanings produced by the comments published in the Doritos Rainbow campaign to investigate the construction of perceptual subjectivities of the LGBTQIA+ protagonism through the users' discourse on the brand's Facebook page in 2017 and 2018. The methodology used is hybrid and does not present itself as a closed research model. We use discourse analysis in the Foucault perspective to investigate discursive structures and modes of subjectivity in their relationship with power, knowledge and ethics, especially in field of language and communication. This dissertation, therefore, seeks to present concepts about the impact of LGBTQIA+ representation in cyber advertising through the discourses commented on the publication of Doritos Rainbow in Brazil.

Abstract: The concepts of mediation and mediatization are useful to think about the experience of women during pregnancy, giving birth and maternal today. We are interested in this study to investigate how this process of seeking information and creating networks of affection on the Internet and social media takes place to better understand the marks that the media leave in the reports about the experience of pregnant women and mothers. To understand these relationships, the concepts of mediation and mediation of Barbero (2003) will be used, with the contribution of Lopes (2014) and Braga (2012), among others that also deal with the theme. In addition to ethnographic observation (Geertz, 1989) of groups of pregnant women and mothers of Natal (RN), in meetings over six months, in-depth interviews were conducted with three women to observe how the themes are reported using the methodology of oral history (MAIA, 2006).

In the state of Rio Grande do Norte (RN), as well as throughout Brazil, several experiences of alternative journalism has emerged from the reformulations in the journalist’s labour market. Based on this experience, we propose to investigate alternative media in RN from the experience of a Potiguar arrangement, the Saiba Mais Reporting Agency, answering some questions that contribute to problematize the chosen theme: how journalists organized in alternative economic arrangements of media corporations support their autonomy at work? how do they mobilize the communication devices at their disposal to institute new prescriptions for journalistic work? Do the formulated prescriptions in these alternative economic arrangements institute more democratic and shared relations of communication in the work process?  It was adopted as the main theoretical framework, authors working with the Theories of Journalism, such as Nelson Traquina (2012) and Felipe Pena (2008); sociology of journalism, such as Neveu (2006); and authors dealing with the world of work in contemporaneity in the fields of Philosophy, such as Han (2017) and Communication such as Roseli Figaro (2017).

Through the study of the meme “Bela, Recatada e do Lar”, with an analysis of Tumblr images- www.belarecatadaedolar.tumblr.com, created in response to the Revista Veja magazine of August 2016, which addressed the life and intimacy of Marcela Temer, the first lady at the time, the main objective of this work is to understand and analyze new practices, within the mediatized society, that make use of the internet meme, an informal artifact with predominantly irreverent and risible characteristics, as a tool of feminist discourse. It seeks to analyze the gender identity struggle of women of the fourth feminist wave who use the internet, the image, the political body through the memes to bring up a counter-hegemonic discourse, in relation to the publication of the Magazine, with notes and relevant struggles of the movement, such as the role of women in the public x private sphere, femininity, motherhood, among others.

Digital communication has transformed the forms of visibility of public, private and civil society institutions and the ways of interaction and relationship between these organizations and citizens, who seek more transparency in information of public interest and in meeting their demands. This investigation seeks to analyze how the communication practices of the Federal Senate on Facebook are evidenced. For this, it is necessary to investigate the communicative practices that guide the dissemination of news through the page of this Legislative House on Facebook, aiming to contribute to a public communication model. The objectives are to verify whether the information published by the Legislative is consistent with the assumptions governing public communication and identify the practices that guide the work of writing, and analyze how the Federal Senate interacts with citizens. The theoretical discussion is based on the concepts of public communication, its principles and forms (ZÉMOR, 2012; DUARTE, 2012; BRANDÃO, 2012), in a context of growing virtual presence of institutions (HJARVARD, 2014; CASTELLS, 2015), parting from the fundamental prerequisites for interaction (RECUERO, 2012; PRIMO, 2011). The method employed will be discourse analysis (CHARAUDEAU, 2012), with observation and description of online practices. The qualitative analysis will be guided by the information released from July to December 2017.

The small farmers of the Northeastern semi-arid region have been provoking a transformation in the local reality since they abandoned the modern paradigm of Combate the Drought to bet on the sustainable development from the concept of the Coexistence with the Semiarido in the hand with the land. In the last decades, the globalized world has followed a growing process of mediatization of the spheres of life, especially since the popularization of the Internet and, as the access structure expands, traditional societies previously excluded from the infocommunication process, appropriate and approach to the contemporary public sphere. Therefore, the objective of this research is to analyze the impact of contemporary mediatizations in territories of infocommunication exclusion from the rural youthness in cyberspace. As a methodological tool, we start from the assumptions of the pragmatist approach of relational communication (FRANÇA, 2016), guided by an empirical research of the quantitative and qualitative quantitative and qualitative transformations in the territories of the agreste, cariri
and seridó paraibano (BONIN, 2016). Thus, a gradual growth of the rural digitized and the cultural impact of rural youth were identified, despite the few policies and communicative actions geared to the digital in the set of articulations, networks and social movements that work in the semi-arid with the young.

The research investigates the affection as a tool of persuasion in the speech of presenter Carlos Alberto de Sousa, politician and businessman, founder of TV Ponta Negra, who between the late 1980s and early 1990s led an audience program on the station. The cutout is a program with 5h 18sec, distributed in 10 frames, shown on December 5, 1987, and a frame of 9min 15sec, of June 17, 1987. It is sought, through a televisual analysis and discourse analysis, a critical analysis upon some of the codes that link the two sides of the screen in an environment of assistencialism, entertainment and politics. The theoretical framework is based on the functionalist theory of the media (hypothesis of Uses and Gratuities), with reference in Merton and Lazarsfeld (2000) and Katz, Gurevitch and Hass (1973). Still, in the concepts of grotesque and in the television analysis of Sodré (1975, 1977, 2002, 2006); of the media discourses, in Charaudeau (2010); on the relation politics x mass communication, in Aldé (2004), Gomes (2004) and Lima (2001); about spectacle, in Debord (2003), about popular programs on TV, in the analysis of França (2006). Midiatization has a reference in Hjarvard (2012, 2014), and the concept of electronic coronelismo is based on Santos and Caparelli (2005). Affection has reference in Sodré (2006) and Freire Filho (2017); and charismatic domination, in Weber (2004). For television analysis, the reference is Jost (2004, 2007). For the discourse, the forgettings described by Orlandi (1999) and Pêcheux (2014), of the French school of AD, having support in the methodology proposed by Souza (2014). The methodology of the research includes bibliographical research, documental, oral history and videographic research next to the collection of the TV station. It is concluded that, with rare episodes of spontaneity, the affections are strategically staged in a narrative of entertainment and assistencialism with politic-business purposes. With traces of grotesque and electronic coronelismo, the frames reveal a conservative, capitalist, macho and discriminatory discourse.

Within the context of contemporary communication and the ease of producing and consuming content within cyberspace, it is possible to verify that certain subjects still face difficulties in achieving visibility. This is the case of black women whotubers, who even appropriating the digital environment to build a network of conversations and emancipation for other women, through the discussion of empowerment (BERTH, 2018, FREIRE, 1979) and feminism (RIBEIRO, 2017, 2018 , DAVIS, 2003) are still in a lower position when we visualize the data of media coverage. Discussing under the cross-sectional bias (COLLINS, 2015, 2016, AKOTIRENE, 2018, CARNEIRO, 2003, 2005, 2018, GOMES, 2003, HOOKS, 2010, 2019) and YouTube in the context of participatory culture (BURGESS; GREEN , 2009), we observe the Afros and affines channels, Alexandrismos, De Pretas, Ellora Haonne, JoutJout Prazer and Rayza Nicácio, and we present a descriptive study of the approaches and distances from the reach, interaction and thematic categories. In the research question, we questioned whether the difference in visibility was one of the modes of racism in the contemporary world. We have concluded that black women youtubers interact more significantly than non-black youtubers, but this fact does not interfere with the visibility of your channels, since the reach data of black youtubers videos is lower than that of non-black youtubers. The universalization of the "being woman" was identified in the speeches of the non-black youtubers, due to which their reach turns out to be more expressive. Meanwhile, even though black youtubers talk can reach all women, they are understood only from the racial rather than the gender issue.

It investigates the occurrences of the communicational and mediatic processes of the street theater of Companhia Teatral Arte Viva (Santa Cruz, Rio Grande do Norte, Brazil), its representative characteristics, and the social interaction between the Company and the public. The report highlights the observation of an original phenomenon: the Company's resistance and representativeness in association with its media contextualization. It approaches the expression of a theatricality that occupies the public space and demonstrates, in its essence, the vocation. The contextualizations related to the folk-communication theory are analyzed (BELTRÃO, 1980, 2001, 2013), (MARQUES DE MELO, 2006, 2007, 2008), to the Media Activism (TRIGUEIRO, 2007; 2008) and to the studies focused on Southern Epistemologies (SANTOS, 2006, 2007, SANTOS and MENEZES, 2010). The proposal of a methodological strategy used to construct the text is based on interviews with its representatives, the public, the company's presentations, photographic and video records, bibliographic research and consultation of its collections in the from May 2017 to March 2019.

The technological transformations that allow us, today, to be productors and consumers of content, expanded not only the access to the means of production, but also enable the emergence of new spaces for exchange and circulation of independent audiovisual production. In this sense, this research aims to investigate the practices and strategies of production and circulation of independent audiovisual works in Rio Grande do Norte from 2010 to 2018, considering the formats of short and médium films, feature films and webseries. Adopting cartography as a methodological method for audiovisual studies, establishing dialogues with Deleuze and Guattari (1995), Rolnik (2006), Barros and Kastrup (2015); Rosario and Aguiar (2012); Cesar et al. (2013); Rosário (2016), in dialogue with independent audiovisual production in contemporary times (IKEDA, 2018; MIGLIORIN, 2012; OLIVEIRA, 2015). After an initial look at the trends presented by the productions exhibited at the festival circuit in the State, we conducted in-depth interviews with seven directors and collectives working in the period, which reveal a heterogeneity of production and circulation methods, assuming from the most autonomous and self-financed approaches, even productions with industrial aspirations, configuring a multiplicity of independent audiovisual production in the State of Rio Grande do Norte.

The investigation approaches the proposal of a methodology of resistance from the communicative citizenship as a social practice of the subjects, having as field of investigation the resistance effected in the collective Lagoas do Norte, for whom? in Teresina, Piauí (Brazil). Resistance is emphasized as processes of social contestation where subjects in conditions of inequality and exclusion act to produce visibility, search for rights and conditions of existence. The systematization of the methodology is articulated from the point of view of citizen praxis and resulting from transmethological movements (MALDONADO, 2006). Theoretical-systematic research, bibliometric research, research by research, empirical research with direct observation, interviews, field diary, participation in the resistance movement were the paths covered for the understanding of a rationality of praxis in communicative citizenship that could architect the methodology of resistance as a general objective of this thesis. Bibliometric research is carried out in scientific databases in Ibero-America, in the area of communication in interface with citizenship. The observations derived from this analysis trigger a reflection based on the qualitative research by research (BONIN, 2011). These methodological decisions reconciled with the theoretical aspects of communicative citizenship worked in Maldonado (2006, 2011, 2012), Mata (2005) and Camacho Azurduy (2005) are structured for the proposition of a resistance methodology that can be an agent in real concrete. These observations on methodology add knowledge to an understanding of scientific research that aims to suggest analytical methodological categories, such as: understanding communicative and social practices from communicative citizenship and perceiving resistance tactics. Empirical research systematizes ten communicative resistance practices articulated by the collective Lagoas do Norte, for whom? reverberating in complex processes of media visibility and production of communicative citizenship in non-hegemonic devices. The proposed methodology of resistance articulated from these decisions is figuratively structured as the metaphor of a body. It consists of five parts, called methodological resistance figures - head (resistance), face (visibility), arms (interfaces and communication media), trunk (collective), legs (community research), which present meaning in isolation but are structured together reiterating the notion of communicative citizenship as praxis, founded on a rationality of the subjects in resistance. The proposed methodology is not intended to mimic methodological schemes, but rather to stress them to processes of understanding communication that are denser, and that do not distance themselves from social reality, from those that traditionally do not produce scientific knowledge. Thus, leading to an understanding of communicative citizenship as a praxis that provides emancipatory processes.

This thesis pressuposes the concept of authorship in cinema as core principle for the cultural history of the artistic expressive media. It is assumed that the author’s notion is idealized from imaginary constituted by aesthetics and cultural discussions that envolves several speech producers institutions, these will include, critics specialized publications, international film festival circuit, commerce of cinema products, and the academics film studies. It is proposed in this draft the connection from a cluster of theoretical premisses related to the cinematographic thinking envolving the terms cinephilia, history and theories of cinema, art cinema as institution and a mode of film practice, authorship marks and star system (BAECQUE, 2010; SARRIS, 2010; BORDWELL, 2005; NEALE 2002; DE VALCK, 2007; STAIGER, 2003; CORRIGAN, 2003; ELSAESSER, 2010; GRAY, 2010; MORIN, 1989). This leads us to an understanding about how cultural-artistic values is related to techniques for visibility of works by the market of distribution in order to arouse sensibilities and gain recognition from analists and viewers. The concept of authorship, in this scenario, emerge as original source of reverberation involved in values that affect the meanings related to notions about art and industry, producing an uncritical interchange between the author’s idea as artistic representation or such as brand of cultural products promotion in commercial comunication.

The objective of this thesis was to understand the phenomenon of “mass self-communication” in the emerging digital culture, from a bibliographic-analytical study of Catalan sociologist Manuel Castells, and then to verify, through the “Case Study” method, the influence of the investigated phenomenon in the learning process of the students of the Communication area, in three higher education units: Marketing Course, Faculty of Philosophy, Sciences and Letters of Cajazeiras (FAFIC); Journalism Course at the State University of Rio Grande do Norte (UERN) and Journalism Course at the Federal University of Rio Grande do Norte (UFRN). This thesis was carried out at the Department of Social Communication Sciences of the Salesian Pontifical University (UPS) in Rome, in cotutela with the Federal University of Rio Grande do Norte. Among other results obtained in the research, the author emphasizes two important discoveries. First, a clear theoretical understanding of the ongoing paradigmatic shift from “mass communication” to self-communication in digital media ecologies. The practice of self-communication in digital media is accomplished through a multimodal two-to-many communication system, with the ability for each connected person to autonomously access an infinite set of hypertextual information without the prior need for program time and space, having interactivity as its main rule (CASTELLS, 2017). This unprecedented communicative model emancipates, as never before, the culture of autonomy, which, for Castells (2013, 2015), is the predominant culture of today. Secondly, taking as reference some categories present in the description of the object of study, it was argued as subsidiary hypotheses that the practice of mass self-communication among higher education students emancipates autonomy in the access, management and publication of academic content in the digital media of the students themselves. The final result of the “Case Study” revealed that all 52 students involved in the research live and learn immersed in the new interactive, hypertextual and multimodal paradigm of self-communication. This new digital “ecology” emancipates students' academic autonomy, thus provoking a clear communicative dissonance between the new learning model adopted by the students and the traditional didactic-pedagogical model. Aware, therefore, that there is an ever widening communicative and cultural gulf between students' new learning dynamics and the secular environment of teaching structures, and also aware that digital media has become the main research 'library' for students interviewed, the author concludes the research by presenting some practical propositions to emancipate the pedagogy of the student's academic autonomy from the era of self-communication in the emerging digital culture.

The interdependence of members of a group is fostered in the interactive experience of language. In a deep mediatized group, in which the exchange of ideas can take place through frames of relevance, the empirical aspect of understanding it by transposing the content was left to form. The thesis investigates the interactions of the actors of a WhatsApp group that, linked to American diplomatic policy, propagates notions of startup entrepreneurship in Brazil. The media research triangulation method was instrumentalized, with quantitative and qualitative studies based on hidden participant observation through a journal opened to the group members. The thesis considers that technical functionalities of the representation of writing, speech, and gestures, through mediatized interaction, symbolize intentions and emotions, forge the representations of the actors and script the narratives of a group in an informal network – which was considered as a link to a media policy. Empirically comparable with the language medium in face-to-face communication, the technical functionalities of the utterance device, metaphorically, figured the assumption of measuring a mediatized face-to-face communication. By applying the studies of Erving Goffman’s frames of interaction, the human and non-human embrace the complexity of deep mediatized and “dataficated” interactions, as the thesis theoretically explores, intermingling in the German research network called Communicative Figurations. By interaction anchorages, the fact that the following technical functionalities are markers of openings and closings, internal parentheses of a conversational theme was categorized: notifications, writing characters, technical images, audios and symbols, as well as the different temporalities of the sequential order of interaction. The mapping of links of effervescence, modeling, recognition and temporality of an interaction oppose that frames of relevance can propose categories of adhesions and interlacing in groups about a supposed public opinion, urgent to new empirical mechanisms.

This thesis proposes to understand the increasing number of digital influencers fashion and beauty and their institutionalization from communicational strategies adopted in the Instagram application to influence consumption in the female universe through a case study of five selected profiles (@camila_morais_, @achadinhosdanega, @ricademarre, @ nicolepinheiro and @thuanyazevedo), in order to characterize female virtual consumption and its transformations in the 21st century mediated by digital social media, focusing on Instagram, to analyze how the interaction between female digital influencers occurs - selected for this case study - by comparing the posts in the news feed and the instastories in order to verify which strategies they use to promote consumption, to point out the impacts on the advertising market with the emergence of digital influencers on Instagram, presente the diferences and confluences between the concepts of opinion maker and digital influencer and to understand the media consumption of followers, emphasizing tastes and preferences according to likes and comments in the news feed. There is an assumption that the level of interaction in the Instagram application between digital influencers and their followers defines their institutionalization. Thus, it is understood that the authors called digital influencers are in a consolidation phase in the advertising system by associating their lifestyle with the products and services they advertise, which use communication strategies, which we now call “product-experience” and “ service-experience ”. The theoretical-methodological framework of this thesis presents as predominant the studies of Influence, from the perspective of the “two-step flow” theory represented mainly by the studies of Paul Lazerfeld (1944 to 1952); Mediatization (HJARVARD, 2014, FAUSTO NETO, 2008, HEPP, 2014, VERÓN, 2014); Digital Influencers (KARHAWI, 2018, FINDLAY 2015, ROCAMORA, 2011) and Media Consumption (TRINDADE and PEREZ, 2016), Interaction (THOMPSON, 2018) and Expanded Advertising (TRINDADE, 2017). The analyzes are based on the monitoring of the Instagram profiles of the five influencers, over a period of 60 days, through systematic observation of the non-participant type. This quanti-qualitative research is based on the metrics defined by the author and systematized in Excel spreadsheet to achieve the specific objectives of this thesis. For data analysis it will be applied Content Analysis. In parallel, it was applied the interview as data collection instrument with the influencers, on different days and times, individually, via mobile phone application. The qualitative stage is complemented by the selection of the five posts in the Instagram news feed of each influencer who had the most comments.

This work investigates how the symbolic form present in the aesthetic hibridism ofJean-Luc Godard's films, specifically O Demônio das Onze Horas (Pierrot Le Fou, 1965), Paixão (Passion, 1982) e Adeus à Linguagem (Adieu Au Langage, 2014), is related to the relationship between cinema and paiting. Two central questions are posed: how does Godarad’s symbolic pictorial form is constructed? Are these narrative pictorial elements constructed with the intention of building meanings and real sensations like the ones of the picturial impressionist movement? The relationship between cinema and painting in Godard’s films is looked at here with the intention of promoting a dialogue between arts and communication. From the standing point that films are artistic objects that comunicate through symbolic elements, this work Will identify the symbolic form in Godard’s work within the context of an hybrid language constructed by aesthetic elements such as color and light.

This masters dissertation investigate the practice’s impacts of digital mobile journalism, in which mobile technologies, such as smartphones and tablets, are appropriated by journalists in the production and distribution of their routines at job. Digital mobile devices, with their hybrid-miniaturized structures and the possibility of wireless Internet connection (WiFi, 3G and 4G), are increasingly present instruments in the process of construction of information content by journalistic companies. This situation happens because such devices reconfigure spatiotemporal notions of the development and dissemination of the materials produced, providing a faster and more instantaneous production. However, this activity has modified the modus operandi of journalistic corporations, the relationship of professionals with technology, the emergence of new potentialities linked to the formats and languages of journalistic products and the demand by the market for a differentiated professional profile. In the presentreport, we aim to prepare a Cartography of journalistic mobility, inspired by the analytical virtualities of Symbolic Cartography (SANTOS, 2011) associated to the interview, bibliographical research and photographic record for data collection. Looking for the approach to the research object, all processes were totally accomplished with mobile devices. As an empirical field of research, we opted for a cut in the local scope and studied the companies Tribuna do Norte and Novo, both active in the printed and digital platforms about journalism. In this work, the focus is on the social dimension of the mobile journalism culture. As results, we observed the formation of behaviors that became symbolic from this practice, that were analyzed through a reflexive -analytic approach, which are: the polyvalent-indolent journalist; content levels; the practice of selfiejournalism; the image reporter; the opening of information channels; and the immobile journalism.

How, in the creation of biographical narratives of the journalism, can exchanges the narratives identities of the Journalism Students and their interviewees? To answer this question and to observe the person's learning process through the biographical interviews, we investigate how the Journalism Students in the Universidade Federal do Rio Grande do Norte (UFRN) learn to make interviews. For this, the theory by Martín-Barbero (1997), Martinez (2008) and Gomes (2008) were used as foundation, in order to create this model that we call Open Model of Biographical Narratives to Journalism. It was divided in three phases: Phase 1 – Social Context Map, Phase 2 – Interaction Map and Phase 3 – The Dialogical Meeting. Finally, in the end of three phases, the students were motived to make the texts’ edition according the digital Project Humans of New York, categorized by Lima (2014). Besides, it was firstly proposed in this thesis a theoric reflection, based on the ideas of life stories in Pineau and Le Grand (2012), journalistic narrative in Motta (2004, 2005), dialogical interview in Medina (2001), biography in fractals in Pena (2004) and close-ups and biographies in Vilas Boas (2002, 2003, 2008, 2014). Therefore, based on Open Model of Biographical Narratives to Journalism, we could observe the interviewers behavior before and after the interviews, identifing the interviewees' similarities and differences. The Intervention-Research, through cartographic method of Passos, Kastrup e Escóssia (2009) and Hermeneutic Philosophy of Ricoeur (1983, 1984, 1985, 1991), had as the main results the model's improvement and interviewers' interpretative capacity.

This research seeks to understand the effects of the use of the grotesque as an expressive form in the works of the filmmakers Federico Fellini and Pedro Almodóvar. For that, we comparatively analyze two films: 8½ (FELLINI, 1963) and All About My Mother (ALMODÓVAR, 1999), to establish dialogic relations between the analyzed works and the other productions of the directors from their representations of bodies stigmatized. This methodological strategy allowed us to discuss the aesthetic way in which filmmakers articulate symbolic marks and stereotypes in their narratives. Although there are innumerable differences in the way they make cinema, is possible to approach them in the way they both create labyrinthine patterns for transgressing characters, using an aesthetic elaboration that provokes estrangement and thus contributes to the deconstruction of stereotypes and social stigmas. The figure of the clown, the life experiences and the threats of death size the circus perspective of the universe of Fellini, who celebrates the madness, the obscene and the deformed; Almodóvar abolished the right and wrong dichotomies, good and bad to invite the viewer to aberration, solitude, marginality. As a theoretical main contribution to the research, we use Goffman's (1978) notions of stigma and Soares (2009) about social stigma in the media, the categorizations of the grotesque in the light of Sodré and Paiva (2002) and the theories of cinema coined by Edgar Morin (2014) and Christian Metz (1980). The method of approach suggested by Vanoye and Goliot-Lété (1994) was used to analyze the films.

This research has as main objective to analyze the journalistic practice and the strategies adopted by the newspapers Tribuna do Norte and Novo in the cover of the rebellion in Alcaçuz, in January of 2017, from the use of the live transmissions in Facebook. We start from the notion that the event always happens to someone and that we can understand it from two distinct forms, its double life - existential and object (QUÉRÉ, 2005; 2012). We work on the concept of social networking sites and seek to relate them to communicational practice in the context of convergence so that we can understand how journalistic events on Facebook are formed. Our empirical object is formed by 69 videos broadcast live on that platform between January 14 and 24, 2017, by the Tribuna do Norte and Novo newspapers, and is analyzed based on the adaptation of the methodological protocol Journalistic Coverage Analysis (ACJ) and semi-structured interviews. As a result, we note that the reason for the journals to adopt this device as a dissemination strategy was the possibility of the rebellion event in Licorice being reported in real time. However, with the application of the ACJ, we perceive the lack of critical-reflective coverage of the rebellion by reporters and newsrooms.

With the exaggeration of the role of digital technology tools, such as social media and content sharing applications, programs that measure online audience metrics have invaded essays, with a focus on audience data, a 'Click Culture' (Anderson, 2009), with an intrinsic risk of understanding audience numbers as an improvement tool. Empirical perception has stimulated research on how journalistic routines are influenced and how journalists assimilate this new ingredient, observing what strategies are adopted to ratify a settled knowledge. The hypothesis arises that editorial processes go through journalistic adjustments, whose root lies in the interference of users' preferences in editorial decisions. To do so, an ethnographic incursion is used in the writing of Tribuna do Norte, in accordance with Duarte (2008) and Rovida (2015), with the presence of pertinent techniques such as non-participant observation and in-depth interviews to analyze the process of content construction, norms and texts of professional journalists in production for online media. The results show that, although the clicks are heard daily in the newsroom, editorial decisions are accompanied by a reflection on the thematic pertinence, even if journalists seek to add professional meaning to users' behavior.

The mobilization of rural communities by recognition as quilombos remnants, a legal figure created by the 1988 Constitution, involves a complex process of identity construction that has the social communication as one of the keys to its achievement. After all, it is essential that these groups have the ability to symbolically materialize and communicate the identity they claim. In the community of Capoeiras-RN, we investigate how these communicational and symbolic processes are structured in local cultural manifestations, seen as open systems capable of incorporating new information and recoding their repertoires in order to legitimize a quilombola collective identity, above all in the sensitive self-recognition of those who assume this difference.

This study weaves meanings relations between the audiovisual representations of urban spaces and the dramatic actions found in the short films Janaína Colorida Feito o Céu (Babi Baracho, 2014, 15 min) and Sailor (Victor Ciríaco, 2014, 13 min). The objective was to identify and describe characteristics that cities assume when symbolized in fictional realities and that, in the movement of the subjective experience of representation/fruition, allow the emergence of new subjectivities directed to the represented spaces. For this, we constructed an interpretative web of the productions, which interweaves Morin (2014) and Armando Silva (2011) touching aspects related to the social imaginary. As specific perspectives on the urban space and subject, we seek contributions in the thinking of Massimo Canevacci and, once again, on Armando Silva (2011). The methodological procedures are part of a qualitative research of film analysis, which considers a set of observations made by Aumont and Marie (2004), Manuela Penafria (2003; 2009). Our analysis concluded that the urban environments, which become media reality through the enunciation of discourses composed by imagery-sound elements, represent fragmented spaces with no specific geographic location, through which wander subjects equally shattered, which bring to the surface elements of a contemporary urbanity evidenced by ephemerality of relationships, by violence. We also perceive the possibility/willingness to re-signify urban spaces through the media.

This dissertation describes ESPM's journal Communication, Media and Consumption within the context of the publication of scientific research in graduate programs in Social Communication. The main objective is to understand the editorial and political criteria, both stated and hidden, that govern the classification and quality of journals in the area. The descriptive and exploratory research is a case study and points to a necessary change in the editorial criteria of scientific publication.

SUMMARY

 Mobile interaction devices and connections established and sustained by them are considerable elements when dealing with changes in visibility and in their schemes (BRUNO, 2013). Certainly, access to these connected devices, along with the capacity to produce and share symbolic contents, are essential for the emergence of the society of self-promotion (THOMPSON, 2008) that we experience today, in which self- become frequent, generating a profusion of images that invade the screen tools almost uninterruptedly. Among the various modalities of self representation on the internet, we highlight in this dissertation the practice of risk selfie. Through bibliographic research and with the aid of virtual ethnography, we will seek clarifications that touch the question: what implications are generated in the process of subjectivity and sociability formation from the practice of risk selfie? Based on this questioning, the research aims to understand how subjectivities are associated with visibility devices, as well as, what reconfigurations the practice of self-risk can lead to the development of contemporary sociabilities.

The present thesis addresses the desire for media visibility in cyberculture, the image of the fitness body as a media product in the hyperconsumption society, narcissism and the aesthetics of the existence lived in contemporary society. The media and communication technologies are progressively standardizing, labeling the body ideal, and suggesting a perfect body, healed, without fat or excess, stimulating the consumption of goods and services. The image cult of the fitness body has become a reference for social relations; individuals tend to communicate and create bonds through the same goal: to conquer the perfect body, the one understood as such by society. This process becomes hybrid, follows a trend, and causes a life change that is shared, and rewarded, with followers of the same style. This thesis had as object of investigation and analysis the image of the fitness body as lifestyle and consumer product in the profile of Webcelebridade Priscila Soares in Instagram as a form of Ecommercer. Thus, we adopted a theoretical-methodological model focused on three categories: the transformation, interaction and sharing of the image of the fitness body as a product of consumption in cyberspace. In this sense, it was possible to understand that the transformations in the bodies are able to alter the social practices in which they are inserted, to influence them and to modify them through the social interactions and the behaviors through the instances of mediation and mediatizations of symbolic and cultural goods consumption.

The insistent and repetitive use of visual images on the Internet as its main media language, promotes the circulation of meanings between users and their connections, especially at virtual communication environments. In this new dynamics of cyberculture, we find the meme to be a phenomenon and a language used on this type of medium, an image-based discourse that is capable of replication and resignification through the interactions between users and contents, a phenomenon that holds implications that must be explored. We perceive in the meme, new forms of expression, part of the experience of a new generation with new medias of communication, that brings new possibilities of discussion on diverse subjects. Our study aims to problematize the way in which the discourses spread by the political imagetic meme contributes to the representation of political participation on Facebook. Our analysis focuses on the period that corresponds to the first round of debates in 2014 Presidential Elections in Brazil and understands that the sharing of political memes during this period, corroborated to evidence public opinion about these events. The study relies on the concepts of meme, by Limor Shifman, and of Sociotechnical Network (from the Actor Network TheoryANT) by Bruno Latour, to understand its meaning in the digital medium. As a methodological procedure of discursive analysis, the studies of the french school (DA) led us to realize that the rhetoric of the memes disqualifies the traditional political discourse, mainly through humor, and constitutes another form of political participation supported also by the dynamics of valorization and social-capital of sociotechnical networks. As main theoretical reference in (DA), we use Dominique Maingueneau and the premise of the exploring interdiscourses, which favors a qualitative and interpretative analysis of the discursive facts in the meme.

This research proposes reflections about the perception of time in different periods of communication technologies evolution, such as: (1) the period of newspapers, magazines, radio and the cinema predominance, (2) the period of the television expansion in Brazil and (3) the period that consists of the expansion of the use of internet and the advent of satellite transmissions. Thus, it discusses the perception of time through the social practices related to hurry of three different generations: the 30's, the 60's and the 90's. The empirical basis of the research consists of nine interviews which were held according to the Oral History techniques, a theoretical-methodology proposal that added new possibilities to the already known techniques and are widely applied in researches conducted by the Communication Sciences, providing new horizons, due to the revaluing of single experiences and individualizing voices in a historical period where “globalization” fortifies the mass concept. The research theoretical foundation shows reflections based specially on Norval Baitello Junior, José Carlos Meihy, Renato Ortiz, Stephen Bertman and Paul Virilio. The hermeneutical approach proposed by Michel de Certeau acted as the basis in the processing of the information collected in the field research developed during the investigation.  

The present study analyses the way in which the newspaper Tribuna do Norte the accompanied the changes in the energy matrix of Rio Grande do Norte, following the implementation of the first wind farm in the state, in January 2004. For this, the texts published about the theme between January 2003 and January 2004 are analysed, using the Critical Discourse Analysis, using Norman Fairclough's point of view, as a methodological tool for text analysis and Roland Barthes's semiotics for image analysis. According to the journalistic criteria of noticiability and agenda, it is understood that the period studied was favorable to the dissemination of the wind issue in the media. The study demonstrates that the subject was underutilized and that the publications prioritised economic debates before the environmental agenda. It is evaluated that the absences and the media silences were not casual, but products of political and economic interests.

This research is about the consumption of images of cultural industry products in the form of tattoos, at Pipa beach, Tibau do Sul, Rio Grande do Norte. An analysis was performed on the agency of cultural industry products’ images, making personal and written narratives in the body with tattoos. Thereunto, an ethnographic methodology and a field research that took five months were made.We also took into account the life’s story of three local residents and the empirical observation in a tattoo studio, between July and August 2016.  The reflections presented here are mainly based in the works of Le Breton (2007), Luiz Braga (2011), Goffman (2012), Giddens (2003) and Lipovetsky (2007), Sodré (2013), Canevacci (2008) and Appadurai (2004). The aim is to deepen understanding about communicational episodes and social interactions that are stablished in the daily life of Pipa residents, and which are stimulated by the tattooed body with images of cultural industry products.

In media studies, symbolic exchanges between production and reception allow us to understand how the gears of the cultural industry work. Being Batman, a character born in comic books in the 1930s was transmuted following the temporal flow in connection with the media universe, immersed in the imagery and symbolic repertoire of mass culture through the uniqueness of its trajectory. By problematizing the character of Batman, his condition of mediation through his adaptations to the television and cinematographic means identifying the narrative discourses in distinct historical-cultural contexts, relativizing the relation between author-work-reader, in the light of cultural studies Of John B. Thompson and Pierre Bourdieu, of the mediations of Jesús Martín-Barbero, of the narrativity of Umberto Eco and of the concept of Hero Journey of Joseph Campbell

This work investigates the satirical parody of the journalism produced by the humor website known as Sensacionalista, and how this parody media vehicle comically criticizes the media. The satirical parody promoted by fictional news sites, such as Sensacionalista, subverts values and dogmas of journalism. In this movement, parody vehicles question the work of the media, the performance of its professionals, its products, processes, logic and routines. Critically disseminated content comically promotes, even momentaneously, critical reflections on the reader. The unnews work within the critical-interpretive social system, proposed by Braga (2006), as an alternative to more elaborate, in-depth, serious and criticized media critics for an audience made of initiates. The theoretical basis includes studies on humor, comedy and laughter, by Bergson, Propp, Alberti, Minois and Bakhtin; on fictional news and journalistic parody, by Oliveira, Gerson and Dornelles, Silveira, Barbosa de Sousa and Santiago, Figueira and Santos; and on media critique, by Dines, Traquina, Bertrand, Marcondes Filho, Braga, Motta, Hamilton, Silva and Paulino, Loures and Christofoletti. The analysis of content proposed by Bardin (2008), applied to a corpus of 101 publications with critical content about the media, in a peiord of eight months (January 1st, 2016 to August 31st, 2016) is adopted as the methodology.

Radio, one of the traditional mass media outlets, is a resource widely used by Brazilian public institutions to publicize their activities and provide people the access to information, which is constitutionally guaranteed. The radio broadcast known as A Voz do Brasil is used as a communication tool by the Brazilian federal government since 1935. This masters thesis intends to study through A Voz do Brasil’s coverage on a recent chapter of Brazilian political history and its importance to the national government: Dilma Rousseff presidential impeachment. This research adopted the guidelines Yin (2005) and Gil (2009) as a method plus the application of literature and documents, content analysis and interview for the collection and processing of data techniques. It was possible to verify and classify the type of news coverage on the show based on the government communication concept. Based on Duarte et al. (2012), Bucci (2008; 2013; 2015), Jaramillo (2012), Rothberg (2011), Moraes Júnior (2013) and others, it was also possible to analyse the definitions of public communication and public interest. Guided by Ferraretto (2007), Ortriwano (1985; 2003) and Zuculoto (2012) this thesis tried to present the radio broadcast main characteristics and its timeline in Brazil for a better understanding of the study object's function to society.

This research discusses the female representation and protagonism in the movie Aárvore de Marcação (1987-1993), directed by JussaraQueiroz. We consider the female protagonism happens in two ways: through the trajectory of the director, for being the first woman to make movies in Rio Grande do Norte state, and also by female characters, observing their participation and contribution to the film narrative. Therefore, we will bring texts and debates related to gender issues, focusing on how this discussion penetrates media studies and results in the Feminist  Film Theory, which talks about women's in film direction and protagonism. Cinema was one of the main mass media during the twentieth century and, along with its popularization, language and market development, it has fundamental changes in the demands and roles of women in society, triggering transformations in the forms of representation, as well the appropriation of film production by women. With this, we built a referential of female directors from the Brazilian Cinema, observing such changes and her protagonism, bringing names, themes and how these films approach the representation of women and the feminine universe until the context of the “Retomada” in the 1990s, when there is an increase of women on direction of films in the country. Finally, we will focus on the trajectory of JussaraQueiroz and her work, observing how the category of "northeastern women" crosses both stereotypes and a female perception and protagonism as a possibility to be practiced.

In the last years, the water scarcity has remained in the Brazilian
public debate in consequence of the great droughts that affected the
northeast and southeast regions of the country. Because it fits in different
criteria of newsworthiness (public interest, actuality, novelty, routine and
conventional break), the event "water crisis" has aroused the journalism
interest. In São Paulo, the main economic and cultural center of the country and
the largest city in Latin America, about 20 million people have been affected by
the worst drought of the last 80 years. Starting from this context and the current
conjuncture of sensory and informational hypertelia, this study investigates how
the journalistic coverage of the Jornal Folha de São Paulo made it possible or
not for the “Paulist water crisis” event to become an Event in the New Theory of
Communication proposed terms: Communication is an event that altering, that
violates the thought. According to this theoretical perspective, much more than
information, the dense communication approximates from art, insofar as both
present themselves as forms of sensitive apprehension of the world, of feeling
the world around (aisthesis) when is building new senses. The Metáporo has
been chosen as a research procedure with the purpose of chasing and feeling
the vibrations of the event in the atmospheric media continuous. Therefore, the
object was investigated from the observer-enjoy perspective: researcher as the

one who observes and studies the communication unfolding in himsef and
presents the research results in the form of a metaporic story of the event.

CONVERGÊNCIA E TEIA NARRATIVA: a dinâmica do jornalismo como lugar de memória

O TRANSBORDAMENTO DA MÍDIA TELEVISIVA: UMA ANÁLISE DO USO DO VC NO RNTV NO TELEJORNALISMO

O presente trabalho teve por objetivo compreender como o segmento gospel - tendo por base o Ministério de Louvor Diante do Trono, se articula à lógica de mercado por sua inserção na indústria fonográfica e se utiliza da lógica simbólica nas canções temas dos seus CDs/DVDs. Nossa pesquisa caracterizou-se por estudo de caso, constituindo-se metodologicamente pela análise descritiva do processo de produção, distribuição e veiculação dos CDs da banda e da análise funcional da música que permeou toda a dissertação. Como corpus analítico, as seguintes canções temas dos CDs: Preciso de Ti, Quero me Apaixonar, Tua Visão, Creio, Tu Reinas e Tetelestai. Partimos da hipótese que as instituições religiosas, como campo detentor da estruturação de bandas e artistas gospel, vivenciam uma nova dinâmica que consiste em uma modernidade de superfície ratificada nas formas de comunicar dos bens simbólicos produzidos, ou seja, simulam uma modernidade religiosa mantendo valores tradicionais quanto aos dogmas da religião, mas incorporam procedimentos empresariais e publicitários na divulgação de seus produtos. Os resultados encontrados apontam para a música gospel como mediação, integrante do ritual religioso, por vezes como oração e por outras como pregação, estimulante de consumo e de entretenimento, e, desempenha a ação de dispositivo na construção referencial de bens simbólicos.

Assumindo o corpo como um espaço de comunicação e de produção de subjetividades, investiga-se, através da perspectiva dos jovens contemporâneos da UFRN, a complexidade proveniente do ato de adornar o corpo, como uma ação comunicacional, mais precisamente uma comunicação visual, repleta de simbolismos e personalidade. Através do quase-método metapórico, buscamos acompanhar a ato comunicacional, resultante da relação entre os jovens da UFRN, seus adornos e vestimentas, como produtor de sentindo. Compreender o corpo como um eu-comunicacional permite, através de um ponto de vista amplo, enxergar os adornos e vestimentas como símbolos capazes de gerar o novo e de refletir singularidades. O objetivo central da pesquisa reside em acompanhar o processo comunicacional e o produto resultante (mesmo reconhecendo sua temporalidade) da relação destes jovens com seus corpos, suas vestimentas e adornos,  através das narrativas e das expressões singulares observadas neste corpo adornado/vestido.  

MEMÓRIA NO CINEMA DOCUMENTÁRIO: UMA IMERSÃO NA CONSTRUÇÃO DO FILME A PESSOA É PARA O QUE NASCE, DE ROBERTO BERLINER.

Acreditamos que as recorrentes mudanças do cinema clássico, abrindo espaço no cinema para o pensamento feminista, tem chegado ao Brasil de diferentes formas e com diversas temáticas fortemente dentro do cinema independente. Neste sentido, nossa pesquisa surge da necessidade de compreender as transformações sociais e na produção audiovisual sobre a mulher atleta e suas possíveis relações com a Teoria Feminista do Cinema. Deste modo, nosso objetivo de trabalho foi analisar a obra cinematográfica brasileira “Mulheres Olímpicas”, estabelecendo suas possíveis relações com a teoria feminista do cinema. Realizamos uma análise contextual da obra através dos estudos de Gumbrecht. Nossas fichas técnicas de análise foram organizadas em dois momentos. O primeiro momento é composto pelos objetos e pelas condições da experiência estética do filme debatidos a partir dos elementos do texto fílmico. O segundo momento, regido pelos conteúdos e efeitos da experiência estética, está dividido nas categorias que surgem partir da análise de conteúdo de Bardin, a saber: desigualdade de sexo; desvalorização da atleta; lutas políticas e conquistas de espaço; diferentes mulheres brasileiras; objetos e marcas simbólicos e; desconhecimento da história do esporte olímpico brasileiro. Ao estudarmos as categorias, concluímos que o documentário não só apresenta relações com a Teoria Feminista do Cinema, como retrata imagens de mulheres brasileiras atletas que há muito tempo foram ofuscadas em sua visibilidade midiática e que, tributária a emergência dessa teoria, ganham olhares mais generosos à problematização dos espaços sociais ocupados pela mulher que predominam na obra.

Os seriados de televisão norte-americanos são um produto audiovisual de circulação global, assistidos por audiências em todo o planeta. Caracterizados por uma peridiocidade fixa, e exibições semanais regulares, os seriados se transformam quando passam a ser produzidos por empresas que oferecem conteúdo audiovisual sob demanda, que disponibilizam todos os episódios simultaneamente. Esta pesquisa investiga como fãs de seriados assistem e utilizam esses programas, dentro de um contexto participativo, e como interpretam este novo ritual de assistência televisiva

A (auto) representação identitária do Profissional de Informação transforma-se diante da abrangência e sofisticação dos meios de informação e comunicação na sociedade contemporânea. Assim, emergem novas interações em ambientes virtuais e novas práticas culturais para acomodar o perfil do profissional que utiliza a rede social digital como um canal de comunicação. Neste estudo problematiza-se a inscrição do profissional na ambiência da rede social digital Linkedin quanto à representação de si em termos de competência e atualidade para que seja localizado e acionado no mercado de trabalho cognitivo e imaterial. Objetiva-se, de modo geral, investigar as práticas da representação de si feitas pelos Profissionais da informação que disponibilizam currículo por meio do Linkedin. Especificamente, verifica-se como as práticas do Profissional da Informação impactam na construção do currículo e identidade profissional; identifica-se como esses profissionais evidenciam competências nesta ambiência; e, por fim, analisa-se como se configura o seu ethos. Concluímos com vislumbres de novas e possíveis práticas mercadológicas tanto para o profissional quanto para a profissão.

The page of the Evangelical Church Assembleia de Deus in Facebook was created to publicize events and news related to the church itself, but the appropriation of the page followers starting from comments made in some posts made them entered on the scene elements of a community autonomously speech. The formation of this community takes place in the context of that for some time there is no deliberative meeting between the leadership and church members in order to listen to the members and answer their demands. This research aims to analyze, through the methodology Ethnography of speech, the configuration characteristics of new talks of places recognized among church members, still tacitly but beginning to gain visibility in front of the class that has always taken the decisions of the centuries-old institution.

This work is an analysis of Tatuagem, o filme (Hilton Lacerda, 2013) from the concepts of courage of truth and aesthetics of existence discussed by Foucault. It focuses on the cynical form of the courage of truth and in queer policies and studies as theoretical analysis tools creating a dialogue between these two theoretical currents of thought that, with the analyzed film, exercise even a form of parresía in academic discourse. The methodological framework is based on Foucault's discourse analysis perspective, highlighting the genealogical period of this author introducing in the process some epistemological disobedience from Queer Studies. Focusing on the presentation of the fictitious group of the film, Chão de Estrelas, this work presents an analysis of the production of performativities and bodies as expressions of the courage of truth in the Tatuagem’s filmic discourse concluding that the film’s discourse establishes itself as a counter discourse that is articulated with social practices of questioning normativities, subversion of identities and utopian production of bodies.

RESUMO

Esta pesquisa analisa as dinâmicas de conversações sobre política estabelecidas no espaço simbólico do YouTube. Interessa-nos examinar o modo pelo qual os comentaristas do vídeo “Globo e os Protestos” articularam, no campo destinado aos comentários, um espaço público voltado à disseminação e circulação de sentidos sobre questões políticas. O vídeo estudado foi publicado por PC Siqueira e Diego Quinteiro, durante os protestos de junho de 2013 no Brasil, para direcionar a compreensão política acerca do movimento vivido naquele período. Segundo eles, os protestos possuíam posição política de esquerda e, por isso, os manifestantes deviam rejeitar a cobertura realizada pela Rede Globo (um veículo com ideais de direita) e permitir a participação de partidos ligados ao espectro ideológico da esquerda. Essa narrativa gerou empatia e controvérsias por parte dos comentaristas, o que produziu no âmbito dos comentários, um intenso processo argumentativo acerca dessas teses (direita e esquerda). Para entender o fenômeno, realizamos uma pesquisa exploratória com abordagem qualitativa, tendo como principal procedimento metodológico a análise etnometodológica do discurso. Buscamos a observação dos modos pelos quais os sujeitos estabeleciam conversações sobre política no espaço dos comentários, para, a partir de então, organizar categorias de análise com base nas recorrências discursivas identificadas. As reflexões empíricas são sustentadas a partir de discussões sobre o potencial do YouTube, enquanto mídia digital que comporta estratégias massivas e enquanto espaço articulador no engajamento dos sujeitos em questões políticas; problematizamos também os aspectos que envolvem as práticas de conversação que decorrem em dinâmicas de sociabilidades e, principalmente, de conflito, nas redes sociotécnicas; e por fim, suscitamos uma reflexão sobre o acionamento de circuitos nos quais os sujeitos se apropriam e realizam novas leituras acerca dos produtos recebidos. Concluindo que a utilização de mídias digitais, como o YouTube, tem provocado importantes mudanças nas formas de produção e recepção de produtos simbólicos e nos modos como as pessoas participam das questões políticas concernentes à vida em sociedade.

A ciência tem se mantido em posição hegemônica entre as diversas formas de conhecimento que possibilitam perceber nosso entorno. Após um movimento de introversão do campo científico, que oportunizou o empoderamento da academia, é crescente a discussão, na atualidade, sobre a necessidade de se divulgar o conhecimento da área para a sociedade. Nosso estudo se propõe a observar o discurso de divulgação científica institucional, levando em consideração as condições históricas que possibilitaram a emergência da ciência como legítima observação da natureza e do homem, bem como a outorga de credibilidade à mídia. Para tanto, temos como objeto de estudo os textos de editoriais da revista Darcy, de divulgação científica e cultural da Universidade de Brasília. Voltamo-nos para a observação da emergência do discurso de compartilhamento de saber pela mídia, abordando, para tal, o conceito de “profanação” em consonância com conceitos da área de comunicação organizacional, bem como conceitos de prestígio e saber-poder, que se associam ao fortalecimento da própria instituição e do próprio campo científico. A pesquisa, apoiada da Análise do Discurso, leva-nos a perceber um processo de mútua validação dos discursos científico e jornalístico em textos que têm como pano de fundo o fortalecimento da imagem e da reputação institucionais.

Esta pesquisa focaliza a trajetória do cineasta Guel Arraes e escolhe para análise dois filmes, O Auto da Compadecida (2000) e O Bem Amado (2010), bem como seus figurinos. O enfoque no figurino é realizado a partir da Semiologia e objetiva decifrar os sentidos produzidos na indumentária. Três personagens dos filmes terão os seus figurinos analisados a partir da teoria de Roland Barthes, principalmente com os elementos da Semiologia (língua e fala), (significante e significado) e (sistema e sintagma). A influência do movimento Armorial no filme O Auto da Compadecida e da estética Kitsch no filme O Bem Amado merecem uma reflexão, além do estudo da função do figurino no interior da narrativa amparado pela análise estrutural da narrativa de Roland Barthes. Buscamos identificar o equilíbrio entre a fala dos personagens e a imagem da indumentária fílmica. Para complementar o estudo do poder do figurino na narrativa, estudamos os traços característicos do diretor e roteirista Guel Arraes nas suas obras, que são a identidade de nordestino, a representação do Nordeste e a comédia popular. Partimos do princípio que o trabalho de escolhas de sua criação não está separado das influências que o diretor teve durante sua vida. A nossa pesquisa se concentrou na apreciação dos filmes e na investigação minuciosa de toda a linguagem. As principais reflexões têm como sustentação as seguintes teorias: Barthes (2007), Figueirôa e Fechine (2008), Moles (2001), Stuart Hall (2005) e Mikhail Bakhtin (2013).

Esta pesquisa analisa a narrativa transmídia da telenovela Cheias de Charme, compreendida como um mundo ficcional multiplataforma, composto por várias peças distribuídas em mídias distintas, e inserida no contexto da convergência midiática. Tendo em vista a sua expansão em diversos meios de comunicação controlados pela produção, investigou-se como os princípios (JENKINS, 2008, 2009a, 2009b) e as estratégias de expansão e propagação (FECHINE et al., 2013) foram apropriadas pela ficção. Para tal, foram realizadas revisões de literatura acerca dos processos de transmidiação e das especificidades da narrativa transmídia, com a finalidade de identificar os possíveis espaços de atuação e as formas de envolvimento com público. Além disso, refletiu-se sobre as reconfigurações do gênero telenovela na era da cultura participativa. Para uma melhor compreensão da dissertação, as observações foram divididas em quatro capítulos distintos, tendo como fio condutor e ponto de partida a inserção da telenovela no ambiente da internet. Com auxílio de uma pesquisa descritiva com vistas à aplicação do procedimento de Estudo de Caso, à luz das contribuições de Gil (2010), acredita-se que os objetivos propostos foram alcançados. Por fim, concluiu-se queCheias de Charme, exibida pela TV Globo, em 2012, no horário das 19h, utilizou-se de ações criativas e planejadas que funcionaram de forma eficaz no desenvolvimento de uma narrativa transmídia.

Há mais de 50 anos o Curso de Comunicação Social – Habilitação em Jornalismo, da UFRN, tem atraído a aqueles que desejam ingressar nessa profissão, seduzidos por uma imagem do jornalismo repleta de valores democráticos, mitos, símbolos e representações presentes no cotidiano social. Uma pesquisa realizada em 2012 (MAIA; FEMINA, 2012) mostrou, no entanto, que os valores profissionais desses estudantes caminham para uma associação entre jornalismo, entretenimento e comunicação organizacional, refletindo uma confusão entre os campos jornalístico e informacional (MARCONDES FILHO, 2009). Isto posto, este trabalho se propôs a investigar como a dimensão ideológica do jornalismo é percebida pelos estudantes e como as instâncias de formação acadêmica e do mercado de trabalho participam desse processo. Para tal, buscamos apoio no interacionismo simbólico, perspectiva sociológica que permite uma análise da estrutura social a partir de observações das interações dos seus indivíduos. Autores como Becker (1996), Blumer (1980), Mead (2010), Pereira (2003, 2009 e 2011) e Strauss (1999) nos guiaram nessa incursão. Também discutimos a formação da dimensão ideológica do jornalismo com autores como Bourdieu (1997), Fidalgo (2005), Marcondes Filho (2009), Neveu (2006) e Traquina (2005 e 2013). Utilizamos a metodologia do grupo focal para realizar nossa investigação junto aos estudantes de Jornalismo. Ao final, os dados apontam que a dimensão ideológica desta profissão atua na formação identitária como outro generalizado (MEAD, 2010), embora com um amplo espectro de representações pelos quais o self do estudante pode caminhar e permitir estabelecê-lo como sujeito.

Esta pesquisa busca compreender como o problema da segurança da informação no Brasil é tratado pela tematização pública e de que maneira poderá afetar os aspectos políticos e econômicos do governo e das empresas brasileiras utilizando como estudo de caso o acontecimento do vazamento de documentos daNational Security Agency por Snowden. Para isso, foi realizado o estudo de caso da cobertura da mídia online sob a perspectiva do paradigma indiciário, dos estudos sobre circulação e de acontecimento. Interessa-nos examinar como o tema segurança da informação é tratado pela mídia e qual seu impacto nas relações políticas nacionais e internacionais. O caso analisado foi o maior vazamento de dados da história da NSA, a qual se configura como a agência de inteligência de mais expressão mundial. Esse vazamento provocou grandes repercussões no Brasil, pois foi revelado que o país foi o mais vigiado pelos Estados Unidos, atrás apenas do pais americano. As consequências foram um grande tensionamento entre o Brasil e os EUA e a discussão pública sobre a privacidade e liberdade na internet. A pesquisa analisou 256 publicações divulgadas por veículos de comunicação brasileiros nos meios digitais, no período entre junho e julho de 2013.

O presente trabalho versa sobre a utilização da mídia Facebook pelo setor de comunicação do Grupo de Apoio à Criança com Câncer do Rio Grande do Norte – GACC, mostrando sua filosofia de trabalho, a qual procura incentivar a adesão de novos voluntários e doadores para a entidade, por meio  de postagens com características humanitárias e da exposição de momentos nos quais as doações ocorrem, além da presença de voluntários e crianças atendidas em eventos culturais e sociais. Através de pesquisa qualitativa, análises e observações, com a utilização de entrevistas, chega-se à conclusão de que a maneira como o setor de comunicação da entidade trabalha obtém resultado satisfatório quanto ao envolvimento de mais voluntários e de maior aporte de recursos. Essa maneira de agir encontra amparo no Ciberativismo, que busca apoio para suas causas através da Internet e de outras mídias, tentando, com isso, formatar uma rede de solidariedade. É revelado, ainda, um painel do câncer, de maneira geral, no planeta, no Brasil e no Rio Grande do Norte, com detalhamento da atuação do GACC e do seu setor de comunicação. O estudo qualitativo recortou os meses de agosto, setembro e outubro de 2014.  Todas as postagens da página do GACC no Facebook, no período anteriormente citado, foram analisadas, e alguns visitantes da página entrevistados, além de membros da entidade e pessoas de áreas afins ao assunto, como jornalistas e psicólogas.  O conjunto de observações e de depoimentos conduziu o pesquisador ao entendimento de que as postagens conseguem sensibilizar as pessoas em direção a uma participação mais efetiva na entidade, seja contribuindo financeiramente, seja doando algo periodicamente ou, eventualmente, sendo a maneira não invasiva da comunicação – não expondo as crianças com suas fragilidades físicas e psicológicas e, sim, utilizando sempre o lado alegre, participativo e feliz de tudo que está relacionado ao universo das crianças atendidas, um dos fatores essenciais para o envolvimento de pessoas com o GACC. A pesquisa foi pontuada por teóricos da comunicação como Dinah Menezes (2005), que aborda a questão da limitação da ação das ONGs e aponta na direção da necessidade de um trabalho de comunicação estratégica para que possam ficar mais sólidas e atuantes; Recuero, descrevendo a interação mediada pelo computador que gera e mantém relações complexas de tipos e valores; Paula Sibilia, com a constante reafirmação do eu em suas complexas relações com o outro, a narrativa, a privacidade, a visibilidade, a instantaneidade, o culto à personalidade, a ficção, a solidão e o espetáculo; Thompson, com a sua “nova visibilidade”, em que pessoas podem ser vistas por muitos observadores sem que elas mesmas não os vejam; e, principalmente, Leonardo Boff, com suas teses de hospitalidade, virtudes, convivência, respeito e tolerância.  

Investiga-se e analisam-se as marcas culturais e a produção de sentido sobre a cultura popular, em homenagem aos santos católicos do mês de junho: Santo Antônio, São João e São Pedro (celebrados, respectivamente, nos dias 13, 24 e 29) nas fotografias jornalísticas dos periódicos Tribuna do Norte (Natal, Rio Grande do Norte, Brasil) e Correio da Manhã (Lisboa, Portugal), publicadas no mês de junho de 2012, com base teórica e metodológica da Folkcomunicação e da Fotocartografia Sociocultural. A partir dessas pressupõe-se que tais imagens possuem significados representacionais das manifestações culturais populares das festas. A pesquisa ainda aponta que há um olhar comum ao se retratar a cultura popular no veículo de comunicação. Um olhar cujas características são de um paradigma dominante o qual exclui conhecimentos ditos “não eruditos”.

O mercado jornalístico brasileiro vem passando por severas mudanças nos últimos anos, culminando em uma precarização da profissão de jornalista. Ao mesmo tempo em que o mercado exige um profissional multifuncional, este precisa estar cada vez mais especializado em cada função que exerce. Neste ínterim, uma das funções que passou por mais modificações nos últimos anos foi a de assessor de imprensa. É comum, ao jornalista brasileiro, exercer funções relacionadas à comunicação organizacional, ou ainda possuir simultaneamente vínculos empregatícios na mídia e fora dela, o que gera uma situação profissional complexa. Diante deste contexto, nosso objetivo geral com a pesquisa é investigar como se dá a prática profissional dos jornalistas que atuam concomitantemente em redações jornalísticas e assessorias de imprensa em Natal-RN. Para tanto, desenvolvemos um arcabouço teórico acerca do ethos e da identidade; e uma base metodológica pautada na etnometodologia, na entrevista em profundidade e na pesquisa quantitativa. Os dados obtidos tornam possível inferir que a atuação dos profissionais diplomados torna-se dificultosa principalmente com relação à remuneração e esta situação faz com que os profissionais busquem as assessorias de imprensa com vistas à complementação de suas rendas.

Neste trabalho pretendemos, a partir do caso de Seu Lunga, um personagem da cultura nordestina, cujas histórias circularam oralmente até virarem versos de cordel, compreender o folheto, produto cultural tão significativo, como mídia, com características de linguagem específicas, que atuam como formas de construção e transmissão de realidades. Para compreender este fenômeno de produção de sentidos na mídia cordel, utilizamos a hermenêutica como método e aplicamos a teoria geral da interpretação aos seis folhetos escolhidos. Trabalhamos com uma perspectiva construtivista, que nos embasa na discussão sobre realidade cotidiana e ficção, conceitos que são levantados em torno da essência do personagem que é real, mas que é também parte das atividades criativas dos poetas, como ambos estão interligados e constituem a compreensão que os indivíduos têm do real. A partir das análises realizadas, percebemos que cada poeta apresenta os campos de significação de Seu Lunga de uma forma diferenciada, partindo da subjetividade, da intencionalidade e das mediações existentes entre cada um deles e os discursos que produzem. Cada cordelista contribui a seu modo de significação para a construção do imaginário em torno de Seu Lunga. O discurso dos cordelistas contém uma série de elementos que buscam legitimar como ‘verdade’ as ações descritas. Neste embate, nosso objetivo neste trabalho é o de compreender a construção dos campos de significação, onde esses discursos se localizam, a produção de sentidos em torno de um personagem que não está em um campo finito, mas que transita por diversos deles, tornando dinâmicos os limites entre realidade e ficção.

O presente estudo discorre acerca da prática de comunicação nas bibliotecas a partir da apropriação dos recursos da web 2.0, em especial das mídias sociais, estabelecendo a partir dos aspectos da midiatização novos cenários de comunicação em seus ambientes. Objetiva compreender como na sociedade contemporânea, as bibliotecas, que simbolizam um espaço tradicional na busca por informações e conhecimentos, modificam seus contextos mediante os recursos tecnológicos envolvidos em seu cenário, e especificamente, verifica como o processo de midiatização está inserido nos processos comunicacionais das bibliotecas, observando a relevância da apropriação das mídias sociais, em especial twitter e facebook, por parte das bibliotecas da Universidade Federal do Rio Grande do Norte - UFRN. Utiliza como procedimentos metodológicos, uma abordagem teórica no que concerne à pesquisa conceitual com investigação de assuntos referentes às mídias sociais, prática de comunicação, midiatização e sociedade em rede, bem como caracteriza-se por ser uma pesquisa de caráter exploratório descritivo, de natureza qualitativa, com a adoção do estudo de caso utilizando de entrevistas e observação direta, para analisar  a reconfiguração do cenário das bibliotecas universitárias situadas na UFRN. Conclui-se, apresentando um panorama de como se estabelece esta realidade de utilização das mídias sociais no cenário investigado, verificou-se que há uma nova ambiência comunicativa que envolve as práticas diárias das bibliotecas que gera novas possibilidades de divulgação de serviços, de disseminação de informação e de interação com o usuário.

O testemunho é uma maneira de enunciação que demonstra ou admite a existência de uma realidade com a qual o enunciador entrou em contato. Esse é, pois, levado a dizer o que viu, ouviu ou tocou. Neste trabalho, buscamos verificar os efeitos de sentido produzidos no blog do Bispo Edir Macedo, fundador da Igreja Universal do Reino de Deus (IURD), a partir de um corpus que reúne nove testemunhos de supostos fiéis, selecionados entre 64 depoimentos distribuídos durante o ano de 2012. Diferente dos depoimentos instantâneos, de uma apresentação ao vivo, essas narrativas midiáticas são alicerçadas por atributos como hiperlinks, elementos visuais, tradutores linguísticos, além dos mecanismos de interação e compartilhamento em outras esferas também de cunho midiático. A problemática desta análise nasceu a partir da observação de pontos regulares na arquitetura discursiva desses testemunhos, quando foi identificada a relação de forças existente entre o sagrado e o profano e as práticas cotidianas. Durante seis meses, tempo de análise do material empírico, encontramos alguns efeitos de sentidos nos testemunhos, como: a estrutura dialética e a necessidade de desnudamento de passado precário; um engajamento para isentar de culpa a figura de Edir Macedo e da IURD perante a sociedade; a atualização de uma cruzada contra outras religiões; a presença de certa sensualidade na autodepreciação dos depoentes; e uma relação desigual de forças (sagrado e profano) na construção da verdade. Para dar conta desta investigação, utilizamos os pressupostos teóricos e metodológicos da Análise do Discurso de linha francesa (AD), denunciando a natureza qualitativa da pesquisa. Como princípio metodológico, fizemos uso ainda da transdisciplinaridade, que legitimou alguns dos nossos diálogos, sobretudo com a filosofia. A concepção de discurso modelado por um suporte midiático e atravessado pelo agenciamento de sujeito (s) e pela(s) história(s) caracterizou a perspectiva da investigação. 

Essa pesquisa apresenta uma análise dos aspectos e potencialidades dialógicas presentes no cinema documentário. Procuramos identificar a utilização dos elementos constitutivos da linguagem audiovisual como forma de compreender a produção de sentido no documentário. Analisamos o cinema documentário  e sua construção numa perspectiva dialógica. Para constituir o corpus de nossa pesquisa elencamos três documentaristas e suas respectivas obras (uma de cada) a fim de conhecer suas experiências e estratégias e ações durante o processo de produção de um documentário.  Nossa reflexão tem como  subsídio as experiências dos documentaristas, os filmes escolhidos para análise e as teorias sobre documentário (LABAKI, 2005; LINS, 2008, NICHOLS, 2005; PENAFRIA ,2009 ), cultura (HALL, 2003), dialogismo (BUBER, 2001; FREIRE, 1987), comunicação e mediação (MARTÍN-BARBERO, 1997); leitura de documentário (ODIN 1984). 

A narrativa transmídia se trata de fenômeno de recente conceituação teórica (JENKINS, 2003, 2009), surgida a partir da análise de produtos midiáticos ficcionais e disseminada também por meio da aplicação em outros campos. Esta dissertação busca analisar como as narrativas transmídias podem ser aplicadas ao jornalismo tendo por base um gênero específico, a reportagem. Para isso, se referencia em desdobramentos teóricos realizados por autores brasileiros (FECHINE et all., 2011, 2012, 2013), tendo por base a ficção televisiva, que resultaram em conceitos como transmidiação e conteúdos transmídias, e aprofundaram a compreensão e a pesquisa na área. A partir daí, o trabalho propõe uma problematização e apropriação de tal suporte teórico para o campo do jornalismo, se utilizando, para isso, de uma compreensão do fazer jornalístico tanto ao nível discursivo (CHARAUDEAU, 2009) como de suas práticas sociais (newsmaking). A pesquisa empírica também faz um duplo percurso. Primeiro, analisa um conjunto de reportagens nas quais existe transmidiação, de modo a verificar a configuração do fenômeno transmídia – e mais especificamente da narrativa transmídia – e suas peculiaridades no jornalismo. Em seguida, desenvolve uma investigação, baseada no método etnográfico, das rotinas produtivas do setor de reportagens especiais do Jornal do Commercio (Recife/PE), com o objetivo de apurar as condições em que se dá a transmidiação nesse âmbito e as práticas que favorecem e dificultam o emprego da narrativa transmídia. Os resultados são, assim, comparados e relacionados, com o objetivo de proporcionar uma visão multidimensional do fenômeno.

Este trabalho se debruçou sobre a produção audiovisual das movimentações de protesto ocorridas em Natal, capital do Rio Grande do Norte, entre maio e junho de 2011, denominadas #ForaMicarla. Objetivou-se caracterizar esta produção numa tentativa de responder o porquê e como eles lançaram mão do vídeo em suas ações, sob as hipóteses de que a midiatização e o acesso facilitado a estas tecnologias tinham a ver com suas opções. Lançou-se mão de procedimentos histórico-dialético e teoria fundamentada (Fragoso, Recuero e Amaral), a partir das técnicas de observação não-participante, aplicação de questionário e entrevistas em profundidade. Posicionou-se estas movimentações sociais em redes, na conceituação de Castells, dentro de uma perspectiva da contra-hegemonia como uma Mídia Radical (Downing), sendo um Audiovisual de Combate (Bustos). Esta mídia possui as características do Novo Protesto (Assis), inserido no contexto da midiatização da sociedade de Verón e Sodré.  Tentou-se também identificar historicamente as origens do poder hegemônico e a estrutura oligárquica, coronelística e familiar que fundou o poder no Brasil, apropriando-se do conceito de Coronelismo Eletrônico de Lima e Lopes e Assistencialismo Midiático de Guareschi, Dias e Hartmann.  Através dos dados obtidos houve a emersão das categorias para análise deste tipo de audiovisual.

No acesso diário à Internet, facilmente nos deparamos com as celebridades. Seja na página inicial do provedor de email, em portais de informação, redes sociais ou sites de entretenimento, de alguma maneira, elas estão mais próximas do nosso cotidiano. Nesta pesquisa, buscamos analisar através da perspectiva do blog de humor Te dou um dado? o fenômeno da celebridade, contextualizando historicamente o conceito, estudando elementos cômicos tradicionais e algumas estéticas existentes na cultura midiática, como o camp e o pastiche, e mapeando brevemente processos criativos que têm se apresentado na cibercultura. Como método de análise do objeto, estabelecemos uma adaptação das categorias de riso e comicidade criadas por Vladímir Propp (1992), fazendo uso de critérios relacionados ao princípio da remixagem, também denominado por Lemos (2005) de ciber-cultura-remix. Durante nosso estudo, fizemos 14 análises de postagens, selecionadas durante o período de 18 meses de observação das publicações. A pesquisa quantitativa-qualitativa foi realizada de 1º de janeiro de2012 a 30 de junho de 2013. As análises resultam no entendimento da construção dos efeitos de humor e da remixagem, presentes no nosso objeto empírico, revelando significativas representações sobre a valoração social da fama e os artifícios para alcançá-la. O estudo também suscita reflexões sobre a espetacularização da vida e a superexposição da intimidade no contexto das celebridades na Internet e sobre o surgimento do estereótipo da subcelebridade.

Os infográficos, historicamente, acompanharam o processo de evolução do jornalismo, desde os modelos incipientes feitos à mão no século XVIII até a inclusão de computadores e softwares sofisticados nos dias atuais. Seja para enfrentar o advento da TV, frente à tomada de parte dos leitores do jornal impresso, ou para representar a Guerra do Golfo, onde não se permitia a fotografia, a infografia alcança níveis modernos de produção e publicação. Os dispositivos técnicos possibilitaram que os infográficos evoluíssem para o ambiente da internet, com condições para a manipulação do leitor, incorporação de vídeo, áudio e animações, o que se denominou então infografia interativa. Tais modelos digitais de visualização da informação aportaram recentemente nos diários nordestinos e em seu s respectivos sites na internet com feições regionalizadas. Esta dissertação, portanto, propõe-se a explorar e descrever os processos de elaboração da infografia interativa, tomando o exemplo do Diário do Nordeste, da cidade de Fortaleza, capital do Estado do Ceará, cujo departamento especializado na tarefa foi instalado em 2011. Para tanto, baseia-se na perspectiva da Teoria do Jornalismo, como o newsmaking, os filtros (gatekeeping) e as etapas de construção da notícia. Recorre também ao quadro teórico de referência acerca do tema, em conceitos que apontam características essenciais da infografia, bem como nos procedimentos metodológicos de observações empíricas nas rotinas produtivas da redação que possam atestar limitações e/ou avanços.

 Trata-se de uma investigação que busca revelar, registrar e analisar o processo de apropriação e utilização das mídias digitais por alunas universitárias, com idade entre 40 e 60 anos. Interessou-nos estudar como essas transformações são percebidas na esfera educacional, por discentes que passaram pela formação escolar liberal/tradicional, ou seja, efetuaram o primeiro contato com os dispositivos tecnológicos midiáticos depois de adultas e dentro da universidade. Esta investigação buscou contribuir para ampliar o conhecimento sobre a utilização das novas estratégias de aprendizagem impostas pelas mídias digitais, através do registro e análise dos relatos da amostra pesquisada. Permitiu conhecer o universo cultural dessas mulheres, revelando o contexto no qual recebem as mensagens mediadas e quais os usos que fazem dessas estratégias de aprendizagem dentro de sua vida cotidiana acadêmica. Reuniram-se, neste trabalho, reflexões orientadas pelos Estudos de recepção midiática e o papel desempenhado pelas mídias digitais, como construtores de imagens e dinamizadores na aquisição de conhecimento, escolhemos trabalhar com duas noções teóricas principais: comunicação midiática e a inclusão digital. Quanto à metodologia investigativa, utilizamos a técnica exploratório-descritiva, aliada a outras técnicas apropriadas. Na forma de abordagem do problema podem ser observadas duas fases: uma quantitativa, na qual se utilizou como procedimento investigativo um levantamento, tendo este como técnica de coleta um questionário com perguntas fechadas; e uma fase qualitativa, na qual foi utilizada como técnica de coleta de dados uma observação participante, por meio de um diário de campo a partir das situações vividas em sala de aula. O objetivo principal de analisar de que forma as mídias digitais são recebidas, apropriadas e utilizadas pelas mulheres universitárias foi cumprido, sendo notável que elas acessam com dificuldade e não podem ser consideradas incluídas digitalmente, os resultados apontam que o problema dessas agentes não é o acesso; há formas de apropriação das mídias digitais oferecidas na IES, e foi possível observar que elas buscam se integrar ao mundo tecnológico e até possuem dispositivos que podem inseri-las nesse mundo. A inserção na cibercultura configura-se pela capacidade de encontrar meio favorável para a tomada de consciência da realidade e a produção de saberes e fazeres libertadores e dignificantes, que nesse caso refere-se a uma apropriação da cidadania por meio do domínio dos aparatos tecnológicos oferecidos como uma perspectiva emancipatória para as interagentes.

Em um momento de convergência midiática, o telejornalismo encontra-se em transição. A notícia passa a não ser transmitida ao telespectador apenas durante o telejornal mas é difundida em outras plataformas, como em sites, blogs, twitter, facebook. A dissertação tem como objetivo apresentar a apropriação da internet pelo Jornal Nacional. Para tanto, lançou-se mão da análise de conteúdo das reportagens realizadas em cidades dos nove estados localizados na região nordeste do Brasil que foram veiculadas no telejornal da Rede Globo e publicadas no blog oficial do projeto especial JN no Ar, entre os dias 31 de agosto e primeiro de outubro de 2010. O objetivo desta pesquisa foi verificar as diferenças entre o conteúdo televisivo e eletrônico e as suas interrelações. Como base conceitual e teórica apoiada na comunicação linear e em rede.

Nos projetos de cinema itinerante realizados no país, a experiência única de assistir a filmes na grande tela é realizada em espaços ao ar livre, com o estabelecimento de um ritual contemporâneo, em que a presença dos espectadores é fundamental. Considerando esta dinâmica de realização do cinema itinerante, o objetivo principal desta pesquisa é analisar o processo de recepção dos espectadores das sessões de cinema do projeto Cine Sesi Cultural, realizado pelo Serviço Social da Indústria – SESI, no Rio Grande do Norte. O corpus da pesquisa foi composto pelo público das sessões de cinema do projeto na edição desenvolvida no ano de 2010. As análises foram feitas a partir do olhar sobre o público das sessões abertas de filmes desse projeto através de um estudo de caso. O referencial teórico consta de autores latino-americanos como Jésus Martín-Barbero, Guillermo Orozco, Eliseo Veron e Nestor García Canclini, que apresentam bases teóricas importantes para as análises da pesquisa sobre a recepção dos espectadores de cinema.

Esta pesquisa é uma modesta análise sobre o contexto atual que envolve a publicidade direcionada para infância no Brasil. Serão analisados a retórica destes anúncios e a presumível adequação de seus conteúdos aos públicos para o qual comunicam. Investiga-se também a necessidade da atuação da sociedade através de mobilizações que exijam o cumprimento e o aperfeiçoamento da legislação vigente evitando abusos e possíveis deturpações de trechos generalistas da lei.
Realizou-se uma nálise específica sobre a infância e suas conceituações e papel social, abordando-se também o brinquedo e o ato de brincar na atualidade e suas matrizes históricas na tentativa de construir uma base que sustente a análise sobre a relação da infância com a publicidade e o consumo.
Serão abordados, tanto as atuações de instituições com posturas radicais a favor da aprovação do Projeto de Lei Substitutivo nº 5.921/2001 que sugere a proibição da publicidade infantil em todo o país, quanto as abordagens amplamente integradas e, portanto, favoráveis à continuidade das ações publicitárias no país sob a ação auto-regulamentadora do CONAR. Será realizado também um estudo sobre atuação desta instituição e seu Código de Auto-Regulamentação Publicitária inferindo-se sobre sua viabilidade e quanto ao seu cumprimento.
Finalmente serão abordadas as alternativas de educação para o consumo das mídias, como proposta de mudança de paradigma no mercado publicitário brasileiro. Para concluir a investigação serão analisados VT´s publicitários gravados no período da Semana da Criança, do dia 01 ao dia 12 de outubro de 2010 visando dar legitimidade às declarações e argumentos aqui propostos.

Esta pesquisa tem como objetivo identificar o processo de apropriação do recurso audiovisual (vídeo digital) para a produção coletiva simbólica (prática videográfica participativa que expressa a cultura popular) num contexto sociocultural onde estão as minorias. Para tanto, baseamos este estudo na experiência dos integrantes das oficinas de formação em cinema e vídeo ministradas pelo Ponto de Cultura Cinema para Todos, em Natal, RN. Ponto de Cultura (PC) é o projeto estruturante do “Programa Nacional de Cultura, Educação e Cidadania – Cultura Viva” do Ministério da Cultura (MinC). Em 2010, o PC Cinema para Todos desenvolveu três oficinas de cinema e vídeo nos municípios norte-rio-grandenses de Açu, Lajes e São Gonçalo do Amarante, dentro de um projeto de política pública de inclusão sociocultural. Estas três oficinas compõem o recorte empírico desta investigação. Para fundamentar a análise deste estudo investigativo consideramos que os espaços das oficinas de cinema e vídeo digital são locais de práticas sociais embrionárias, pressupondo-se que sejam reveladores do desenvolvimento das modificações das ações que geram novas práticas. Nesse contexto sociocultural os agentes comunitários assumem o papel de interlocutores e processam as mediações comunicativas da cultura onde as lógicas de produção passam da ação (uso do vídeo digital) para a prática cultural midiática (vídeo auto etnográfico). A estratégia metodológica de estudo de caso foi considerada adequada para a observação do objeto, por se tratar de um fenômeno da contemporaneidade, estar inserido em um contexto da vida real e proporcionar pouco ou nenhum controle sobre os eventos. A observação participante e a entrevista também se aliaram ao estudo de caso. Contribuíram para o suporte teórico analítico desta investigação a noção de mediação formulada por Jesús Martín-Barbero e o conceito de habitus de Pierre Bourdieu. Durante a escrita dos dados coletados busco traçar um breve paralelo com a evolução da prática social cinema, da perda da ‘aura’ com a fotografia, até a hibridação da prática cinema e vídeo com o advento da tecnologia digital. Foi possível identificar que a nova forma de comunicar reflete a mudança tecnológica cultural vivenciada pelo grupo social. Os vídeos auto etnográficos revelam uma experimentação alegórica da mídia hegemônica, pois ao mesmo tempo em que se apropriam da linguagem, reelaboram a estética, sem revisar a história, mas se propondo a recontá-la com detalhes pitorescos e esquecidos da cultura popular.

O presente trabalho tem como finalidade refletir sobre o cotidiano vicentino e suas práticas de sociabilidade nos primeiros anos da presença da televisão na cidade de São Vicente (RN), a partir das memórias dos protagonistas que presenciaram a inserção dos primeiros aparelhos de TV nos inícios da década de 1970. Dessa maneira, a pesquisa foi norteada por algumas indagações consideradas pertinentes ao estudo no sentido de compreender as mudanças mais significativas no cotidiano vicentino impulsionadas pela chegada da TV em algumas residências particulares, que logo se transformaram em local de encontro, lazer e sociabilidade. Nessa época, a TV exercia o papel de aglutinar e unir as pessoas. Essas casas, reinventadas em espaços de sociabilidade eram sancionadas pelos diversos atores que se reuniam diariamente para contemplar a programação televisiva. Essa popularidade da televisão era mensurada pelos mutirões de pessoas que se deslocavam de suas casas para os lares que tinham esse aparelho técnico. Cada lar, com sua singularidade e peculiaridade, atraía a população cuja frequência a esses espaços era constante. Claro que as pessoas continuavam a sentarem nas calçadas, a realizar os passeios noturnos nas ruas e na praça, mas logo que chegava o horário dos programas preferidos, entravam em seus lares ou saíam para as residências que possuíam TV, no desígnio de acompanhar esses programas audiovisuais. Usamos a memória oral como metodologia principal, no intuito de interpretar as memórias narradas pelas pessoas que vivenciaram esse momento no período pesquisado. Para tanto, foi construída uma narrativa que põe em relevo as categorias memória, mídia, práticas sociais, cotidiano e que, portanto, tem nos aportes teóricos e metodológicos de autores das Ciências Humanas e Sociais seu principal alicerce. Na pesquisa de campo, nos utilizamos das entrevistas em profundidade, visto que as narrativas dos entrevistados constituem nossa pesquisa. A importância de um estudo de tal ordem está não só na compreensão da TV como uma mediadora essencial para a interação dos sujeitos no campo social, no período de 1970 em São Vicente (RN), mas também para o desvendamento de sua relação com as rotinas diárias dos vicentinos, alicerçadas em conjunturas e simbologias que regularam a conduta e reordenaram as práticas sociais e de sociabilidades desses sujeitos. Nesse sentido, a feitura de um trabalho sobre a presença da TV na cidade de São Vicente (RN) é de suma relevância também à história dessa mídia no âmbito nacional, isso porque isso nada mais é que um conjunto de múltiplas histórias.

Compreendendo a música como uma manifestação social, capaz de representar a época e a cultura juntamente com seus usos e costumes, lançamos nosso olhar sob a figura feminina presente no gênero forró eletrônico. Através de uma leitura dos dois gêneros – musical e feminino – buscamos identificar os discursos, presentes nas composições, que remetem ao universo feminino – com temática e/ou termos referentes à mulher. O estudo se concentra nas composições realizadas no período de 2009 a 2010 e que se tornaram hits, ou seja, as que atingiram o maior número de ouvintes da Rádio 96 FM através do programa Paradão 96, veiculado diariamente na cidade do Natal/RN. Embasados por conceitos como indústria cultural, cultura de massa, folkcomunicação e gênero, analisamos os processos de produção de sentido como decorrência da utilização da figura feminina e mais exatamente, acerca da representação da mulher através dos discursos do forró eletrônico. Optamos pela pesquisa descritiva com abordagem qualitativa e a análise do discurso como técnica, a fim de identificar os termos que se referem à mulher, refletindo sobre quais as significações possíveis encontradas nesses discursos. Apontamos que em nossa investigação não predominou uma figura feminina transformada em objeto sexual, erotizada e submissa, atributos dados à mulher, presentes nos discursos do forró eletrônico. Com temáticas variantes – algumas lúdicas e outras acerca da traição feminina – identificamos que, para a surpresa de muitos, inclusive nossa, o amor romântico foi quem liderou os pedidos da audiência durante o nosso recorte temporal e que a figura feminina possui diversas facetas dentro do forró eletrônico.

Essa dissertação é o resultado do desenvolvimento de uma pesquisa de dois anos, intitulada O SERTÃO POTIGUAR COMUNICA: MIDIATIZAÇÃO E PÁTICAS SOCIAIS. Ou como a recepção da pauta política se desdobra em práticas sociais em Pau dos Ferros, em que mostra Pau dos Ferros, como uma cidade do interior oestano do Rio Grande do Norte, vivendo hoje um conjunto de transformações sociais significativas, as quais interagem com práticas midiáticas que acabam midiatizando novas políticas públicas na área de Educação Técnica e Superior. Assim, com a implantação e expansão de políticas públicas estaduais e federais de democratização do Ensino Técnico e Superior, no período de 2002 a 2010, o fenômeno de migração dos estudantes de ensino fundamental e médio, antes existente, mudou significativamente na região em que Pau dos Ferros se faz polo. A concentração dos meios de comunicação da cidade nas mãos dos políticos, a favor destes, e o surgimento de novas midiatizações estão contribuído para a formação desta (não-migração) e de outras práticas sociais, reinventando e reordenando o agendamento das ideias e conceitos sobre as práticas educativas. Nosso objetivo é observar essas relações de interação entre mídia, política e educação e analisar como os jovens estudantes estão percebendo essa interação. Sob as perspectivas da recepção à luz dos Estudos Culturais, nossa pesquisa passeia primordialmente sobre a técnica de coleta de dados Grupo Focal.

O objetivo principal deste trabalho é investigar as significações do corpo e do figurino como componentes essenciais do discurso estético dos jornalistas de televisão, exemplificados através dos apresentadores do Jornal Nacional, da Rede Globo. Inspira-se nos caminhos propostos pela semiótica, aliados a outras técnicas de investigação científica, para identificar as relações de significado presentes nessa forma não-verbal de comunicação. Para tanto, o trabalho recorre ao conceito de comunicação proposto pelos autores da Escola de Palo Alto, mais especificamente a conceituação de Watzlawick et al. (2005), que a entende como relação inerente ao ser humano. Os preceitos do pensamento complexo e do princípio hologramático de Morin (1990), que prezam pela união e pela necessidade de ligar o conhecimento dos elementos ou partes ao dos conjuntos ou sistemas que elas constituem, também se faz presente no pensamento que norteia o trabalho. No decorrer dos capítulos, explicitamos nosso entendimento do corpo e da televisão como mídias e da moda e do telejornal como linguagens. O trabalho aborda também uma história televisual do Jornal Nacional, com o objetivo de compreender melhor as propostas estéticas do telejornal ao longo do tempo, de seus apresentadores e figurinos. Os elementos que fazem parte dos planos de expressão e do conteúdo da linguagem televisual são abordados para que se possa compreender melhor o papel do corpo e do figurino dos apresentadores nesse contexto. Por fim, fazemos análises das significações do corpo e do figurino dos apresentadores de telejornal através dos seus estereótipos, da sua inserção no ciclo da moda e ainda na análise televisual dos principais elementos que compõem o figurino do casal de apresentadores do Jornal Nacional: cores, modelagens e acessórios. Dessa forma buscamos fortalecer a compreensão do figurino – indissociável do corpo – como comunicação e detalhar alguns dos seus processos de produção de sentido.