Pub Date : 2016-12-01DOI: 10.1590/1982-25542016223451
Bernard Belisário
This paper analyzes the Brazilian documentary The Hyperwomen (2011) to describe the way the ritual chants take part in the setting of the persons filmed, as well as the camera itself. The film approaches the making of Jamugikumalu, the great female ritual at Alto Xingu. The chants, indispensable to the solemn liturgy, come up with the film as a mover of many registered performances. This text searches on the documented setting for those possible relations existing among the chants’ sonorous-musical form, the bodies of the persons on focus, and the movements of the camera while recording.
{"title":"Ressonâncias entre cinema, cantos e corpos no filme 'As Hipermulheres'","authors":"Bernard Belisário","doi":"10.1590/1982-25542016223451","DOIUrl":"https://doi.org/10.1590/1982-25542016223451","url":null,"abstract":"This paper analyzes the Brazilian documentary The Hyperwomen (2011) to describe the way the ritual chants take part in the setting of the persons filmed, as well as the camera itself. The film approaches the making of Jamugikumalu, the great female ritual at Alto Xingu. The chants, indispensable to the solemn liturgy, come up with the film as a mover of many registered performances. This text searches on the documented setting for those possible relations existing among the chants’ sonorous-musical form, the bodies of the persons on focus, and the movements of the camera while recording.","PeriodicalId":30189,"journal":{"name":"Galaxia","volume":"1 1","pages":"65-79"},"PeriodicalIF":0.0,"publicationDate":"2016-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1590/1982-25542016223451","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67209566","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-12-01DOI: 10.1590/1982-25542016223443
A. Oliveira, F. Marroni
This article analyzes the magazine Illustracao Pelotense , which circulated in the city of Pelotas, Rio Grande do Sul, in the beginning of the 20th century, a span known as its Belle Epoque . It intends to bring back the values and the lifestyle of the Pelotas’ society, depicted in the covers, adverts and chronicles conveyed by the magazine, based on the theoretical and methodological aspects of the discursive semiotics. Since its object articulates different languages, this text also seeks as theoretical support some trends linked to discursive semiotics, such as the visual and the changing ones. From the personal desires to the public consecration, the absorption of other values is embedded in the city and displayed through the press.
{"title":"Um discurso da Belle Époque: moda e modo de vida na revista Illustração Pelotense","authors":"A. Oliveira, F. Marroni","doi":"10.1590/1982-25542016223443","DOIUrl":"https://doi.org/10.1590/1982-25542016223443","url":null,"abstract":"This article analyzes the magazine Illustracao Pelotense , which circulated in the city of Pelotas, Rio Grande do Sul, in the beginning of the 20th century, a span known as its Belle Epoque . It intends to bring back the values and the lifestyle of the Pelotas’ society, depicted in the covers, adverts and chronicles conveyed by the magazine, based on the theoretical and methodological aspects of the discursive semiotics. Since its object articulates different languages, this text also seeks as theoretical support some trends linked to discursive semiotics, such as the visual and the changing ones. From the personal desires to the public consecration, the absorption of other values is embedded in the city and displayed through the press.","PeriodicalId":30189,"journal":{"name":"Galaxia","volume":"14 1","pages":"121-137"},"PeriodicalIF":0.0,"publicationDate":"2016-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67209511","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-12-01DOI: 10.1590/1982-25542016224434
Bárbara Regina Altivo
This paper investigates the central notions that animate the proposal of the Universal Church of the Kingdom of God (UCKG) about love in the contemporary world through their discursive materials. The article discusses the pedagogical content of UCKG's speech about love, family, and gender. As characteristic of this apparatus of power-knowledge-pleasure, we observe the direct association between the immediate pursuit of obtaining happiness. This feeling marks the hedonism present in Theology of Prosperity, and an asceticism of business order, which aims to domesticate the emotional impulses of man and mainly of women, into the intricate dynamics of the romantic relationship. Thus, we can glimpse lines of force that create subjectivities marked by gender commitments in a family model of marketing inspiration.
{"title":"Dever e prazer no casamento- empresa:transações regulares de controle do amor segundo a Igreja Universal","authors":"Bárbara Regina Altivo","doi":"10.1590/1982-25542016224434","DOIUrl":"https://doi.org/10.1590/1982-25542016224434","url":null,"abstract":"This paper investigates the central notions that animate the proposal of the Universal Church of the Kingdom of God (UCKG) about love in the contemporary world through their discursive materials. The article discusses the pedagogical content of UCKG's speech about love, family, and gender. As characteristic of this apparatus of power-knowledge-pleasure, we observe the direct association between the immediate pursuit of obtaining happiness. This feeling marks the hedonism present in Theology of Prosperity, and an asceticism of business order, which aims to domesticate the emotional impulses of man and mainly of women, into the intricate dynamics of the romantic relationship. Thus, we can glimpse lines of force that create subjectivities marked by gender commitments in a family model of marketing inspiration.","PeriodicalId":30189,"journal":{"name":"Galaxia","volume":"1 1","pages":"176-187"},"PeriodicalIF":0.0,"publicationDate":"2016-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67209260","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-12-01DOI: 10.1590/1982-25542016222423
Flávio Pinto Valle
The embedding of media professionals in military units marked the photojournalistic coverage of Iraq War (2003-11). On the one hand, this practice offered reporters the conditions to perform their activities; on the other, it restricted their freedom of action. In this paper, we propose to observe this device's constitution to control the access of photojournalists inside the conflict scenarios. We will discuss, in particular, the way the photographer Benjamin Lowy performs a profanation of it by playing both with his perspective and that one of the soldiers.
{"title":"Jogando com a Perspectiva: A profanação do controle do acesso aos cenários de conflito durante a Guerra do Iraque","authors":"Flávio Pinto Valle","doi":"10.1590/1982-25542016222423","DOIUrl":"https://doi.org/10.1590/1982-25542016222423","url":null,"abstract":"The embedding of media professionals in military units marked the photojournalistic coverage of Iraq War (2003-11). On the one hand, this practice offered reporters the conditions to perform their activities; on the other, it restricted their freedom of action. In this paper, we propose to observe this device's constitution to control the access of photojournalists inside the conflict scenarios. We will discuss, in particular, the way the photographer Benjamin Lowy performs a profanation of it by playing both with his perspective and that one of the soldiers.","PeriodicalId":30189,"journal":{"name":"Galaxia","volume":"1 1","pages":"106-120"},"PeriodicalIF":0.0,"publicationDate":"2016-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67208913","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-12-01DOI: 10.1590/1982-25542016223097
Glaura Siqueira Cardoso Vale
This paper analyzes the ways the photography (as a remembering device) is put into play in three recent movies of Brazilian cinema, understanding it as a trace of the presence of something that has already become absent. The aim is to discuss how images taken from family albums can support the narrative construction that unfolds the life of ordinary men and women, either realistic or imagined by the documentary. Moreover, based on different methodologies, this paper examines the political and aesthetical exercise of a film-making. This analysis exposes the weaknesses and possible frustrations in the reconstruction of the remote (the character's point of view) and the unknown (the authors' point of view), even if the image in the act of remembrance is materially present.
{"title":"Mise-en-film da fotografia em três documentários brasileiros","authors":"Glaura Siqueira Cardoso Vale","doi":"10.1590/1982-25542016223097","DOIUrl":"https://doi.org/10.1590/1982-25542016223097","url":null,"abstract":"This paper analyzes the ways the photography (as a remembering device) is put into play in three recent movies of Brazilian cinema, understanding it as a trace of the presence of something that has already become absent. The aim is to discuss how images taken from family albums can support the narrative construction that unfolds the life of ordinary men and women, either realistic or imagined by the documentary. Moreover, based on different methodologies, this paper examines the political and aesthetical exercise of a film-making. This analysis exposes the weaknesses and possible frustrations in the reconstruction of the remote (the character's point of view) and the unknown (the authors' point of view), even if the image in the act of remembrance is materially present.","PeriodicalId":30189,"journal":{"name":"Galaxia","volume":"1 1","pages":"93-105"},"PeriodicalIF":0.0,"publicationDate":"2016-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67209119","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-12-01DOI: 10.1590/1982-25542016223601
F. Pontes
Resumo: Parte-se da exegese ontometodologica de “O Segredo da Pirâmide: para uma teoria marxista do jornalismo” e de outros ensaios de Adelmo Genro Filho para compreender sua concepcao de ideologia, procedimento que julgamos incontornavel para entender sua definicao do jornalismo como forma de conhecimento. Genro Filho trabalha com tres atribuicoes ao termo ideologia: a critica a ideologia da objetividade jornalistica; a critica as teorias que consideram o jornalismo exclusivamente como aparelho ideologico de classe; e a possibilidade de o jornalismo ser feito para uma ideologia do proletariado. Identificamos que a concepcao de ideologia de Genro Filho e similar a de Gyorgy Lukacs, manifesta em “O Ideal e a Ideologia”, capitulo de “Para uma Ontologia do Ser Social II”. A analise proposta permite a discussao do jornalismo como conhecimento e ideologia, o que revela pertinencia frente a crise simbolica do jornalismo tradicional.
{"title":"O conceito de ideologia na teoria do jornalismo de Adelmo Genro Filho","authors":"F. Pontes","doi":"10.1590/1982-25542016223601","DOIUrl":"https://doi.org/10.1590/1982-25542016223601","url":null,"abstract":"Resumo: Parte-se da exegese ontometodologica de “O Segredo da Pirâmide: para uma teoria marxista do jornalismo” e de outros ensaios de Adelmo Genro Filho para compreender sua concepcao de ideologia, procedimento que julgamos incontornavel para entender sua definicao do jornalismo como forma de conhecimento. Genro Filho trabalha com tres atribuicoes ao termo ideologia: a critica a ideologia da objetividade jornalistica; a critica as teorias que consideram o jornalismo exclusivamente como aparelho ideologico de classe; e a possibilidade de o jornalismo ser feito para uma ideologia do proletariado. Identificamos que a concepcao de ideologia de Genro Filho e similar a de Gyorgy Lukacs, manifesta em “O Ideal e a Ideologia”, capitulo de “Para uma Ontologia do Ser Social II”. A analise proposta permite a discussao do jornalismo como conhecimento e ideologia, o que revela pertinencia frente a crise simbolica do jornalismo tradicional.","PeriodicalId":30189,"journal":{"name":"Galaxia","volume":"1 1","pages":"151-162"},"PeriodicalIF":0.0,"publicationDate":"2016-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1590/1982-25542016223601","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67209592","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-06-29DOI: 10.1590/1982-25542016223802
Cristina Teixeira Vieira de Melo
Vida Estelita e um registro memorialistico da ocupacao do Cais Jose Estelita, em Recife, em meados de 2014. Os entrevistados falam nao apenas da luta pelo terreno, mas do desejo de novas formas de vida. Os realizadores excluiram da edicao final trechos dos depoimentos em que os jovens, ao confrontarem a ordem estabelecida, se expunham mais fortemente. Neste contexto, Vida Estelita reabre a discussao sobre a etica no documentario: como representar o Outro? Como faze-lo de maneira a nao diminuir a sua potencia? Como nao camuflar as formas de vida em luta? Esses dilemas eticos acentuam-se no caso de um cinema militante em que “o filme que se queria fazer se contrapoe aquele que deveria ser feito”.
Vida Estelita是2014年年中累西腓Jose Estelita码头被占领的纪念记录。受访者不仅谈到了对土地的争夺，还谈到了对新生活方式的渴望。导演们从最后的剪辑中删除了一些年轻人面对既定秩序时更强烈地暴露自己的证词。在此背景下，Vida Estelita重新开启了纪录片中关于伦理的讨论:如何代表他人?如何做到这一点，而不降低它的效力?如何不掩盖战斗中的生命形式?这些伦理困境在激进电影的情况下得到了强调，在这种情况下，“人们想要制作的电影与应该制作的电影相矛盾”。
{"title":"Desafios éticos e políticos no vídeo Vida Estelita, subjetividades políticas em devir","authors":"Cristina Teixeira Vieira de Melo","doi":"10.1590/1982-25542016223802","DOIUrl":"https://doi.org/10.1590/1982-25542016223802","url":null,"abstract":"Vida Estelita e um registro memorialistico da ocupacao do Cais Jose Estelita, em Recife, em meados de 2014. Os entrevistados falam nao apenas da luta pelo terreno, mas do desejo de novas formas de vida. Os realizadores excluiram da edicao final trechos dos depoimentos em que os jovens, ao confrontarem a ordem estabelecida, se expunham mais fortemente. Neste contexto, Vida Estelita reabre a discussao sobre a etica no documentario: como representar o Outro? Como faze-lo de maneira a nao diminuir a sua potencia? Como nao camuflar as formas de vida em luta? Esses dilemas eticos acentuam-se no caso de um cinema militante em que “o filme que se queria fazer se contrapoe aquele que deveria ser feito”.","PeriodicalId":30189,"journal":{"name":"Galaxia","volume":"1 1","pages":"52-64"},"PeriodicalIF":0.0,"publicationDate":"2016-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67209640","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-06-29DOI: 10.1590/1982-25542016223462
Gutemberg Medeiros
This paper analyzes one of the boldest editorial ventures checked early in the deployment of modern information journalism from American and French matrices. The magazine Atlantida : mensario artistico, literario e social para Portugal e Brazil was edited by two of the leading journalists of both countries, Joao do Rio and Joao de Barros (1915-1920) under the auspices of the respective governments. This proposal aims to raise elements of the press and culture and the media history. As daily journalism takes a turn prioritizing the most informative aspect, magazines emerge as space also dedicated to vehicular opinion and other media. How are methodological experience and innovation, national and international historiography (speci cally in the history of printing), history of culture and the media interrelated? This magazine is inserted in-depth discussion on the Brazilian national identity, especially in response to the growing “antilusitanismo” reaching the climax in 1922. Therefore, we will describe the constituent elements of the magazine concerning its historical moment.
本文分析了美国和法国矩阵在现代信息新闻部署中早期被检查的最大胆的编辑冒险之一。《atlanda: mensario artistico, literario e social para Portugal and Brazil》杂志由两国的两位著名记者Joao do b里约热内卢和Joao de Barros(1915-1920)在各自政府的支持下编辑。该提案旨在提高新闻文化和媒体历史的要素。随着每日新闻转向优先考虑最具信息量的方面，杂志也成为了专门用于车辆意见和其他媒体的空间。方法经验和创新、国家和国际史学(特别是印刷史)、文化史和媒体是如何相互关联的?这本杂志插入了对巴西民族认同的深入讨论，特别是对1922年达到高潮的日益增长的“反卢西坦主义”的回应。因此，我们将根据杂志的历史时期来描述它的构成要素。
{"title":"100 anos de Atlantida: continente de letras de Brasil e Portugal","authors":"Gutemberg Medeiros","doi":"10.1590/1982-25542016223462","DOIUrl":"https://doi.org/10.1590/1982-25542016223462","url":null,"abstract":"This paper analyzes one of the boldest editorial ventures checked early in the deployment of modern information journalism from American and French matrices. The magazine Atlantida : mensario artistico, literario e social para Portugal e Brazil was edited by two of the leading journalists of both countries, Joao do Rio and Joao de Barros (1915-1920) under the auspices of the respective governments. This proposal aims to raise elements of the press and culture and the media history. As daily journalism takes a turn prioritizing the most informative aspect, magazines emerge as space also dedicated to vehicular opinion and other media. How are methodological experience and innovation, national and international historiography (speci cally in the history of printing), history of culture and the media interrelated? This magazine is inserted in-depth discussion on the Brazilian national identity, especially in response to the growing “antilusitanismo” reaching the climax in 1922. Therefore, we will describe the constituent elements of the magazine concerning its historical moment.","PeriodicalId":30189,"journal":{"name":"Galaxia","volume":"1 1","pages":"163-175"},"PeriodicalIF":0.0,"publicationDate":"2016-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67209577","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-06-29DOI: 10.1590/1982-25542016225800
Fernão Pessoa Ramos
What film does have, and other mobile pictures do not (when they are not movies), is the capacity to close itself to duration. It gives its viewers a previously played game. The film is a kind of washing machine that shakes and flips the time, twisting it up and down, turning it to fruition, with emotion aiding. Film, like a symphony, must pass toward an end (a ‘happy’ end, says de word) that is already there, in the very start, in every plan. An end we find in the heart of its art - unlike a painting or a photo on the wall. Therefore, when we hang a lm, or make it an installation, we can have whatever we want, but not film and no longer cinema. The film creates “ dispositif ” and not the reverse. The quarrel about what is 'left' from cinema has its heart the regressing deaths and this sort of great Leviathan that is the expanded cinema .
{"title":"Mas afinal, o que sobrou do cinema? A querela dos dispositivos e o eterno retorno do fim.","authors":"Fernão Pessoa Ramos","doi":"10.1590/1982-25542016225800","DOIUrl":"https://doi.org/10.1590/1982-25542016225800","url":null,"abstract":"What film does have, and other mobile pictures do not (when they are not movies), is the capacity to close itself to duration. It gives its viewers a previously played game. The film is a kind of washing machine that shakes and flips the time, twisting it up and down, turning it to fruition, with emotion aiding. Film, like a symphony, must pass toward an end (a ‘happy’ end, says de word) that is already there, in the very start, in every plan. An end we find in the heart of its art - unlike a painting or a photo on the wall. Therefore, when we hang a lm, or make it an installation, we can have whatever we want, but not film and no longer cinema. The film creates “ dispositif ” and not the reverse. The quarrel about what is 'left' from cinema has its heart the regressing deaths and this sort of great Leviathan that is the expanded cinema .","PeriodicalId":30189,"journal":{"name":"Galaxia","volume":"1 1","pages":"38-51"},"PeriodicalIF":0.0,"publicationDate":"2016-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67209399","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-06-29DOI: 10.1590/1982-25542016224066
Rafiza Varão
From 1939 to 1940, the Rockefeller Foundation promoted in the Rockefeller Foundation Communication Seminar, in the United States, which brought together researchers once a month to discuss the direction of studies on communication. In the outbreaks of World War II, the seminar turned out to be a milestone in the history of the field of communication. This article seeks to examine a barely visible consequence of Rockefeller Seminar: the gradual replacement of the word propaganda in the media studies in the United States, substituted by the term communication. We conclude that the activities of the seminar were decisive for the change in terminology, which, in turn, had an epistemological impact in the field.
{"title":"A ascensão do termo comunicação a partir do Seminário Rockefeller","authors":"Rafiza Varão","doi":"10.1590/1982-25542016224066","DOIUrl":"https://doi.org/10.1590/1982-25542016224066","url":null,"abstract":"From 1939 to 1940, the Rockefeller Foundation promoted in the Rockefeller Foundation Communication Seminar, in the United States, which brought together researchers once a month to discuss the direction of studies on communication. In the outbreaks of World War II, the seminar turned out to be a milestone in the history of the field of communication. This article seeks to examine a barely visible consequence of Rockefeller Seminar: the gradual replacement of the word propaganda in the media studies in the United States, substituted by the term communication. We conclude that the activities of the seminar were decisive for the change in terminology, which, in turn, had an epistemological impact in the field.","PeriodicalId":30189,"journal":{"name":"Galaxia","volume":"1 1","pages":"188-200"},"PeriodicalIF":0.0,"publicationDate":"2016-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1590/1982-25542016224066","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67209650","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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