Pub Date : 2016-01-04DOI: 10.1590/1982-25542016122253
Érico Araújo Lima
This paper discusses the film A idade da terra (Glauber Rocha, 1980), according to a theoretical-methodological approach that highlights the materiality of picture and sound. There are two gestures here: an analytical gesture, which tries to establish a material contact to the film in question; and the other one, of conceptual tone, which consists in situating the debate on the materiality of communication objects. Through the path of this research for concepts, we have found a fundamental bind between the temporal dimension of forms and the materiality of the aesthetic experience.
{"title":"Numa cama, numa greve, numa festa, numa revolução: notas sobre materialidades de uma experiência estética","authors":"Érico Araújo Lima","doi":"10.1590/1982-25542016122253","DOIUrl":"https://doi.org/10.1590/1982-25542016122253","url":null,"abstract":"This paper discusses the film A idade da terra (Glauber Rocha, 1980), according to a theoretical-methodological approach that highlights the materiality of picture and sound. There are two gestures here: an analytical gesture, which tries to establish a material contact to the film in question; and the other one, of conceptual tone, which consists in situating the debate on the materiality of communication objects. Through the path of this research for concepts, we have found a fundamental bind between the temporal dimension of forms and the materiality of the aesthetic experience.","PeriodicalId":30189,"journal":{"name":"Galaxia","volume":"1 1","pages":"117-129"},"PeriodicalIF":0.0,"publicationDate":"2016-01-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67209168","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 : 2015-12-15DOI: 10.1590/1982-25542015220670
Míriam Cristina Carlos Silva
This paper aims to discuss some construction aspects of the Brazilian TV series “O Infiltrado” from the communicative and cultural viewpoint, focusing mostly on the image of the narrator Fred Melo Paiva, as an anthropophagic process of language construction characterized by the cultural interchange and by the rupture of genre canons in media. We took as a basis the Oswald de Andrade’s concept of anthropophagy, here understood as a poetics, i.e., as a way of operating the language. The discursive articulation comes from the gaze of specialists on narrative, such as Walter Benjamin and Umberto Eco. From the empirical point of view, the analysis of some aspects of the series, as a complex text according to Yuri Lotman, highlights the poetics of anthropophagy as a reconfiguration possibility for cultural and media products, as an exercise of otherness.
本文旨在从交际和文化的角度探讨巴西电视剧《O Infiltrado》的一些建构方面，主要关注叙述者Fred Melo Paiva的形象，这是一种以文化交流和媒介类型规范断裂为特征的人食语言建构过程。我们以奥斯瓦尔德·德·安德拉德(Oswald de Andrade)的食人概念为基础，在这里被理解为一种诗学，即一种操作语言的方式。话语式的表达来自于沃尔特·本雅明和翁贝托·艾柯等叙事专家的凝视。从实证的角度来看，对该系列作为尤里·洛特曼的复杂文本的某些方面的分析，突出了食人的诗学作为文化和媒体产品的重新配置的可能性，作为一种他者性的练习。
{"title":"O Infiltrado: narrativas midiáticas e uma poética antropofágica","authors":"Míriam Cristina Carlos Silva","doi":"10.1590/1982-25542015220670","DOIUrl":"https://doi.org/10.1590/1982-25542015220670","url":null,"abstract":"This paper aims to discuss some construction aspects of the Brazilian TV series “O Infiltrado” from the communicative and cultural viewpoint, focusing mostly on the image of the narrator Fred Melo Paiva, as an anthropophagic process of language construction characterized by the cultural interchange and by the rupture of genre canons in media. We took as a basis the Oswald de Andrade’s concept of anthropophagy, here understood as a poetics, i.e., as a way of operating the language. The discursive articulation comes from the gaze of specialists on narrative, such as Walter Benjamin and Umberto Eco. From the empirical point of view, the analysis of some aspects of the series, as a complex text according to Yuri Lotman, highlights the poetics of anthropophagy as a reconfiguration possibility for cultural and media products, as an exercise of otherness.","PeriodicalId":30189,"journal":{"name":"Galaxia","volume":"79 1","pages":"125-137"},"PeriodicalIF":0.0,"publicationDate":"2015-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67208995","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 : 2015-12-15DOI: 10.1590/1982-25542015220453
R. L. M. Rocha, J. C. Sílva, Simone Luci Pereira
This paper introduces and discusses some phenomena which collaborate with the theoretical construction hereby called “the diasporic imaginaries”, signallers of post-peripheral dynamics and of cultural flow’s circulation. The post-peripheral scenario, which gives room to phenomena like the “rolezinhos”, “funk ostentacao” and “pinta” in the city of Natal (RN), reveals subjects of action and speech who are capable of actuating among contexts of frontier.
{"title":"Imaginários de uma outra diáspora: consumo, urbanidade e acontecimentos pós-periféricos","authors":"R. L. M. Rocha, J. C. Sílva, Simone Luci Pereira","doi":"10.1590/1982-25542015220453","DOIUrl":"https://doi.org/10.1590/1982-25542015220453","url":null,"abstract":"This paper introduces and discusses some phenomena which collaborate with the theoretical construction hereby called “the diasporic imaginaries”, signallers of post-peripheral dynamics and of cultural flow’s circulation. The post-peripheral scenario, which gives room to phenomena like the “rolezinhos”, “funk ostentacao” and “pinta” in the city of Natal (RN), reveals subjects of action and speech who are capable of actuating among contexts of frontier.","PeriodicalId":30189,"journal":{"name":"Galaxia","volume":"1 1","pages":"99-111"},"PeriodicalIF":0.0,"publicationDate":"2015-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67208335","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 : 2015-12-15DOI: 10.1590/1982-25542015220588
Alfredo Suppía
There is no consensus regarding the use of terms like “scene” and “sequence” in the theory and practice of the screenplay. Sometimes, both words can designate the same thing, such as an action attached to a given place and time. Whereas some authors explain that a sequence encompasses one or more scenes (FIELD, 1995; PARENT-ALTIER, 2004), others adopt the opposite logic: a scene can encompass one or more sequences (MAMET, 2010; BRISELANCE and MORIN, 2011). But, then again, is this categorization really effective and precise? Why is it so usual at given times, in conversations about any given film, to hear the terms “the scene of the robbery”, or “the bank scene”, but also “the sequence of the robbery”, or “the bank sequence”? Beyond a mere difference in terms of jargon (film vs. television), the categories “scene” and “sequence” will be thoroughly investigated in this paper, in order to clarify controversies concerning the dramatic unit in the screenplay.
在剧本的理论和实践中，关于“场景”和“序列”等术语的使用并没有达成共识。有时，这两个词可以表示同一件事，比如与给定地点和时间相关的一个动作。然而一些作者解释说，一个序列包含一个或多个场景(FIELD, 1995;PARENT-ALTIER, 2004)，其他人则采用相反的逻辑:一个场景可以包含一个或多个序列(MAMET, 2010;BRISELANCE and MORIN, 2011)。但是，话说回来，这种分类真的有效和精确吗?为什么在特定的时间，在任何一部电影的对话中，经常听到“抢劫现场”或“银行场景”，但也会听到“抢劫的顺序”或“银行序列”?除了术语上的差异(电影与电视)之外，本文还将对“场景”和“序列”这两个类别进行深入研究，以澄清有关剧本中戏剧单元的争议。
{"title":"Em torno de cena e da sequência: problemas de categorização","authors":"Alfredo Suppía","doi":"10.1590/1982-25542015220588","DOIUrl":"https://doi.org/10.1590/1982-25542015220588","url":null,"abstract":"There is no consensus regarding the use of terms like “scene” and “sequence” in the theory and practice of the screenplay. Sometimes, both words can designate the same thing, such as an action attached to a given place and time. Whereas some authors explain that a sequence encompasses one or more scenes (FIELD, 1995; PARENT-ALTIER, 2004), others adopt the opposite logic: a scene can encompass one or more sequences (MAMET, 2010; BRISELANCE and MORIN, 2011). But, then again, is this categorization really effective and precise? Why is it so usual at given times, in conversations about any given film, to hear the terms “the scene of the robbery”, or “the bank scene”, but also “the sequence of the robbery”, or “the bank sequence”? Beyond a mere difference in terms of jargon (film vs. television), the categories “scene” and “sequence” will be thoroughly investigated in this paper, in order to clarify controversies concerning the dramatic unit in the screenplay.","PeriodicalId":30189,"journal":{"name":"Galaxia","volume":"1 1","pages":"60-72"},"PeriodicalIF":0.0,"publicationDate":"2015-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67208984","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 : 2015-12-15DOI: 10.1590/1982-25542015221336
B. Marocco
A collection of interviews with journalists has put in evidence a process of autonomization in the journalistic practice. During the asking and answering game, in order to catch them in their illusions about themselves and the journalism, we have constructed a theoretical-methodological device that triggered the notions of discursive consciousness and of control procedures that affect the professional practice (MAROCCO, 212a). In the enunciative analysis of data, which gave birth to the present text, we have detected in the core of four discursive figures the tension between control procedures and the resistance in the journalistic practice.
{"title":"Os procedimentos de controle e a resistência na prática jornalística","authors":"B. Marocco","doi":"10.1590/1982-25542015221336","DOIUrl":"https://doi.org/10.1590/1982-25542015221336","url":null,"abstract":"A collection of interviews with journalists has put in evidence a process of autonomization in the journalistic practice. During the asking and answering game, in order to catch them in their illusions about themselves and the journalism, we have constructed a theoretical-methodological device that triggered the notions of discursive consciousness and of control procedures that affect the professional practice (MAROCCO, 212a). In the enunciative analysis of data, which gave birth to the present text, we have detected in the core of four discursive figures the tension between control procedures and the resistance in the journalistic practice.","PeriodicalId":30189,"journal":{"name":"Galaxia","volume":"1 1","pages":"73-85"},"PeriodicalIF":0.0,"publicationDate":"2015-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67209065","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 : 2015-12-15DOI: 10.1590/1982-25542015220248
Ana Silvia Lopes Davi Médola, C. Caldas
This paper analyzes the videoclip within the context of media convergence, where the production resources available in different infoelectronic communication devices may actuate in the constitution process of their language, creating innovative experiences in the ways of fruition and in the realities of consumption. By being structured on the interactive relationships made possible by digital technologies of contemporary media, we intend to demonstrate how the enunciative strategies are major discourse-making mechanisms in the configuration of the new music video formats. In this perspective, we will analyze the interactive music video experience developed by director Chris Milk, “ The Wilderness Downtown ”, from the theoretical and methodological framework of sociosemiotics, especially the regimes of interaction.
{"title":"Regimes de interação no videoclipe: a experiência interativa de The Wilderness Downtown","authors":"Ana Silvia Lopes Davi Médola, C. Caldas","doi":"10.1590/1982-25542015220248","DOIUrl":"https://doi.org/10.1590/1982-25542015220248","url":null,"abstract":"This paper analyzes the videoclip within the context of media convergence, where the production resources available in different infoelectronic communication devices may actuate in the constitution process of their language, creating innovative experiences in the ways of fruition and in the realities of consumption. By being structured on the interactive relationships made possible by digital technologies of contemporary media, we intend to demonstrate how the enunciative strategies are major discourse-making mechanisms in the configuration of the new music video formats. In this perspective, we will analyze the interactive music video experience developed by director Chris Milk, “ The Wilderness Downtown ”, from the theoretical and methodological framework of sociosemiotics, especially the regimes of interaction.","PeriodicalId":30189,"journal":{"name":"Galaxia","volume":"1 1","pages":"35-47"},"PeriodicalIF":0.0,"publicationDate":"2015-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67208322","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 : 2015-12-15DOI: 10.1590/1982-25542015220160
L. R. D. A. Rodrigues
This paper investigates the power of the “dispositif” as a creative and political strategy in contemporary documentary, adopting as object three recent Brazilian movies ( Pacific , Rua de mao dupla e Câmara escura ). In the analysis, we highlight their aesthetic vitality – the way they confront and suggest alternatives to important problems in documentary tradition –, their points of convergence and divergence, as well as the performances instigated by “the camera effect” in each of them: ambivalent performances that fluctuate between the growing need of exposure and the strong desire of restoring intimacy. Our analytical course starts with a theoretical review of the concept of “dispositif”, followed by a study of its application and results in each movie stated.
{"title":"Notas sobre o dispositivo no documentário contemporâneo","authors":"L. R. D. A. Rodrigues","doi":"10.1590/1982-25542015220160","DOIUrl":"https://doi.org/10.1590/1982-25542015220160","url":null,"abstract":"This paper investigates the power of the “dispositif” as a creative and political strategy in contemporary documentary, adopting as object three recent Brazilian movies ( Pacific , Rua de mao dupla e Câmara escura ). In the analysis, we highlight their aesthetic vitality – the way they confront and suggest alternatives to important problems in documentary tradition –, their points of convergence and divergence, as well as the performances instigated by “the camera effect” in each of them: ambivalent performances that fluctuate between the growing need of exposure and the strong desire of restoring intimacy. Our analytical course starts with a theoretical review of the concept of “dispositif”, followed by a study of its application and results in each movie stated.","PeriodicalId":30189,"journal":{"name":"Galaxia","volume":"37 1","pages":"138-148"},"PeriodicalIF":0.0,"publicationDate":"2015-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1590/1982-25542015220160","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67208266","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 : 2015-12-15DOI: 10.1590/1982-25542015220586
Maria das Graças Pinto Coelho, Daniel D. Lemos
Este artigo apresenta resultados alcancados por pesquisa desenvolvida a partir da analise das manifestacoes no Twitter acerca do #ProtestodosPintas, ocorrido em Natal (RN) em 21 dezembro de 2013. Nossa pesquisa constatou que os sentidos construidos nas redes sociais da Internet acerca do #ProtestodosPintas foram negativos, com a rede se articulando em torno dos perfis @tribunadonorte e @BlogdoBG. As interacoes nas redes sociais analisadas acerca do #ProtestodosPintas se deram estimulando um imaginario social retrogrado em que o desejo de reconhecimento dos jovens das classes populares foi classificado como expressao de violencia e de barbarie. Os 340 tweets coletados foram analisados a partir das ferramentas propostas pelas teorias de analise de redes sociais assim como os enunciados, que foram analisados a partir dos pressupostos da analise do discurso.
{"title":"#Rolezinhos: Análise de redes sociais e construção de sentidos no discurso de tuiteiros acerca do #ProtestodosPintas em Natal (RN)","authors":"Maria das Graças Pinto Coelho, Daniel D. Lemos","doi":"10.1590/1982-25542015220586","DOIUrl":"https://doi.org/10.1590/1982-25542015220586","url":null,"abstract":"Este artigo apresenta resultados alcancados por pesquisa desenvolvida a partir da analise das manifestacoes no Twitter acerca do #ProtestodosPintas, ocorrido em Natal (RN) em 21 dezembro de 2013. Nossa pesquisa constatou que os sentidos construidos nas redes sociais da Internet acerca do #ProtestodosPintas foram negativos, com a rede se articulando em torno dos perfis @tribunadonorte e @BlogdoBG. As interacoes nas redes sociais analisadas acerca do #ProtestodosPintas se deram estimulando um imaginario social retrogrado em que o desejo de reconhecimento dos jovens das classes populares foi classificado como expressao de violencia e de barbarie. Os 340 tweets coletados foram analisados a partir das ferramentas propostas pelas teorias de analise de redes sociais assim como os enunciados, que foram analisados a partir dos pressupostos da analise do discurso.","PeriodicalId":30189,"journal":{"name":"Galaxia","volume":"49 1","pages":"162-177"},"PeriodicalIF":0.0,"publicationDate":"2015-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67208412","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 : 2015-12-15DOI: 10.1590/1982-25542015222289
E. Morettin
This paper analyzes the participation of the cinema in Exposition Internationale des Arts Decoratifs et Industriels Modernes held in Paris in 1925. Since the 1920s, by establishing itself as a means of mass communication, cinema has served more and more as a "showcase" in which the nation could project national virtues to be celebrated in a scenario marked by the imperialist race. In this particular case, the discourses of modernity and tradition reconciled themselves to celebrate the French national character within a framework of growing cultural affirmation of the cinema.
{"title":"A cultura cinematográfica nas exposições universais: modernidade e tradição na Paris de 1925","authors":"E. Morettin","doi":"10.1590/1982-25542015222289","DOIUrl":"https://doi.org/10.1590/1982-25542015222289","url":null,"abstract":"This paper analyzes the participation of the cinema in Exposition Internationale des Arts Decoratifs et Industriels Modernes held in Paris in 1925. Since the 1920s, by establishing itself as a means of mass communication, cinema has served more and more as a \"showcase\" in which the nation could project national virtues to be celebrated in a scenario marked by the imperialist race. In this particular case, the discourses of modernity and tradition reconciled themselves to celebrate the French national character within a framework of growing cultural affirmation of the cinema.","PeriodicalId":30189,"journal":{"name":"Galaxia","volume":"1 1","pages":"48-59"},"PeriodicalIF":0.0,"publicationDate":"2015-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67209148","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 : 2015-12-01DOI: 10.1590/1982-25542015224709
Didier Tsala Effa
The communication of luxury brands had once counted on specific media (special shops, specific pages of magazines, its own advertising codes) distant from other more generic media vehicles, but nowadays such communication must define its new codes, in order to build its specificity in the new virtual media, starting with its presence on the internet, with the constraint of its exclusivity, i.e., to avoid banality and cultivate its exception. Not that we should invent new content, “the luxury is the luxury,” one could say, but obviously it is about the appropriation of this space in its particularity, so it can convey luxury without confusion. A paradox. The problem that follows this evidence is that of the preservation of a status . Facing such a need for reorganization, given the new constraints, how do the luxury brands operate to maintain their essence? According to what modalities? Our research, based on various luxury brand websites (fashion and accessories, jewelry, watchmaking), is to highlight the vertigo of controlling as the heart of the strategy of these brands.
{"title":"Luxe et virtualité: le vertige du contrôle","authors":"Didier Tsala Effa","doi":"10.1590/1982-25542015224709","DOIUrl":"https://doi.org/10.1590/1982-25542015224709","url":null,"abstract":"The communication of luxury brands had once counted on specific media (special shops, specific pages of magazines, its own advertising codes) distant from other more generic media vehicles, but nowadays such communication must define its new codes, in order to build its specificity in the new virtual media, starting with its presence on the internet, with the constraint of its exclusivity, i.e., to avoid banality and cultivate its exception. Not that we should invent new content, “the luxury is the luxury,” one could say, but obviously it is about the appropriation of this space in its particularity, so it can convey luxury without confusion. A paradox. The problem that follows this evidence is that of the preservation of a status . Facing such a need for reorganization, given the new constraints, how do the luxury brands operate to maintain their essence? According to what modalities? Our research, based on various luxury brand websites (fashion and accessories, jewelry, watchmaking), is to highlight the vertigo of controlling as the heart of the strategy of these brands.","PeriodicalId":30189,"journal":{"name":"Galaxia","volume":"1 1","pages":"20-34"},"PeriodicalIF":0.0,"publicationDate":"2015-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67208739","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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